DESCENDING EAGLE PALMS

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落鷹掌
DESCENDING EAGLE PALMS
黃毅英演式
performed by Huang Yiying
黃漢勛說明
text by Huang Hanxun [Wong Honfan]
黃鵬英攝影
photographed by Huang Pengying
[published in Hong Kong, 1972]

[translation by Paul Brennan, Nov, 2022]

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落鷹掌
Descending Eagle Palms
黃漢勛書
– calligraphy by Huang Hanxun

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序
PREFACE

飛雁掌至第三十七式而止，接連之者卽由三十七式作為開式以至四十一式止為落鷹掌，合演之則共為七十四式，可以名之為飛雁掌上下路，茲為易於分別起見則上路為飛雁掌下落鷹掌，倘欲連續演習者則可以兩路相聯為用。兩拳所括幾盡螳螂派之掌法，凡用掌多為柔手必須運用敏捷之身形步法為輔乃相得益彰矣，否則雖有上佳之掌法亦無濟於事。多練之，細味之自得其中奧妙，所謂勤動手腳，細心啄磨乃有收益，後之學者毋負兩掌之傳而發揚光大之。
一九七二年一月二十日　黃漢勛於螳螂樓
From the final posture of the thirty-seven postures of Flying Goose Palms, continue into the first posture of the forty-one postures of Descending Eagle Palms, combining the two sets into a single one totaling seventy-four postures [though it might perhaps make more sense to skip straight to Posture 4 of Descending Eagle, thus making a combined set of seventy-one postures]. These two sets could be thought of as Flying Goose Palms – Parts 1 & 2 [or “upper part” and “lower part”]. It is easy to make the parts distinct by describing the upper part “flying” and the lower part as “descending”, but if you want to flow from the first part right into the second part, they can be linked together as one.
　　These two sets contain most of the palm techniques in Mantis Boxing. Because palm techniques are usually applied as soft techniques, it is necessary to train greater nimbleness in your body maneuvering and footwork in order to support them, otherwise no matter how good you are with your hands, the techniques would be ineffective. With frequent practice and constant contemplation, you will naturally come to understand the subtleties of these sets. Diligently working your hands and feet, carefully refining your movements, will gain you tremendous benefits. Students, do not abandon these sets, instead carry them forward to bring the art ever greater glory.
　　- written by Huang Hanxun at the Mantis School, Jan 20, 1972

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第一式：中平雙蓄勢
Posture 1: STANDING STABLY, BOTH FISTS STORING POWER

説明：
Explanation:
假如我擇定東方作起式，則右東，左西，面北，背南而立，雙手握拳收腰，拳與胸齊，如「定式圖」
Stand in the eastern half of the practice space with the east to your right, west to your left, north in front of you, south behind you. Your hands grasp into fists and withdraw to your waist, rising up to chest level. See photo 1 [no photo supplied here].

功用：
Application:
拳勢尚未展開故於動作上毫無功用可言，惟先心平氣和，蓄勢以俟，亦於練習上有莫大之益處，萬勿輕忽之為是。
There is no martial technique occurring with this posture, therefore it could be said to have no function. However, to take a moment to settle your mind, calm your energy, and store power is enormously beneficial, and so do not dismiss it as irrelevant.

第二式：反覆雙蓋掌
Posture 2: HANDS TURNING OVER, DOUBLE COVERING PALMS

説明：
Explanation:
循上式，雙腳不動，雙拳化掌反手由上而下，再翻上至肩齊，然後再用正掌順下，如「定式圖」
With your feet still not moving, your fists become palms, lower with the backs of the hands facing downward, arc upward to shoulder level, then push down beside you with the palms facing downward. See photo 2:

功用：
Application:
此式亦在開式之內，在蓋掌中可先調和氣力然後使拳勢之展開。
This is also a movement of preparation, a chance to harmonize your energy and strength, thus fully equipping you to carry out the boxing techniques.

第三式：跨虎左挑掌
Posture 3: SITTING-TIGER STANCE, LEFT CARRYING PALMS

説明：
Explanation:
循上式，右腳先往後移開，左腳隨移動而變成左跨虎步，掌由左挑，右挑，再左挑合三掌乃成挑掌之勢，如「定式圖」
Your right foot steps back and your left foot follows it to make a left sitting-tiger stance as your palms carry upward in a triple motion: left palm, then right, then left. See photo 3:

功用：
Application:
撤步挑掌者屬螳螂派十二柔手中之「見剛而囘手」，譬喻對方以泰山壓頂或番車勢臨我，我俱可藉此躱消之，尤其對握髮、鎖喉等險著更為有效。
The action of withdrawing with carrying palms relates to one of the twelve softnesses: “He uses hardness, I withdraw.” If an opponent bears down on me using the techniques of MT. TAI CRUSHES THE HEAD or LARGE WHEELING, I can use this technique to evade the threat. It is also especially good for preventing him from grabbing me by the hair or throat.

第四式：入環雙推掌
Posture 4: KNEELING STANCE, DOUBLE PUSHING PALMS

説明：
Explanation:
循上式，順步標前變為左入環步，左掌在頭上，右掌在腰部，雙掌與前配合推出，如「定式圖」
You dart forward into a left kneeling stance as your palms push out in unison, your left palm higher than your head, right palm at waist level. See photo 4:

功用：
Application:
順步雙掌與迎面直統俱為螳螂拳佳妙手法之一，左掌連招帶推，加以右掌之直推，合雙掌及步之衝動乃有無堅不搉之效果。
Such direct techniques like pushing with both palms or attacking with a straight thrust punch are among the best methods in Mantis Boxing. My left palm props up and pushes out at the same time, while my right palm just pushes straight ahead. With my hands and feet all charging forward, nothing can stand against me.

第五式：入環雙推掌
Posture 5: KNEELING STANCE, DOUBLE PUSHING PALMS

説明：
Explanation:
循上式，進右腳以成右入環步，上掌轉下，下掌繞上，隨步之轉移而同時推進，如「定式圖」
Your right foot advances to make a right kneeling stance as your palms rotate counterclockwise, left palm arcing downward, right palm arcing upward, and push out forward in unison. See photo 5:

功用：
Application:
與上式有左右上下之別，惟功用則一左右連環滔滔不絕有如長江大河，務使對方疲於奔命而為我推倒為止。
Same as for the previous posture, except with left and right reversed. When fighting, there has to be a constant switching of left and right, “like a long river flowing into the wide ocean, on and on ceaselessly”, keeping the opponent guessing until he has been toppled over.

第六式：左撇掌揪腿
Posture 6: LEFT FLINGING PALM, SCOOPING KICK

説明：
Explanation:
循上式，左掌長在前，右掌短而在後向左方撇去，同時左腳向右前方揪去，如「定式圖」
Your palms fling across to the left, left palm in front at long range, right palm behind it at short range, as your left foot scoops away to the forward right. See photo 6:

功用：
Application:
螳螂拳一般揪腿多輔用雙刁手者，是封手而抅鎖喉部之法固是佳著也，但此式則不必封手，祗撇開來手卽用另一手橫殺彼喉頸部位，比較上為簡單而易用。
The scooping kick is often paired with double hooking hands, one hand sealing off in one direction, the other hand attacking the opponent’s throat in the opposite direction, then the kick again reversing toward the first direction, thereby toppling him. However, pairing it instead with flinging hands does not require the sealing action, both hands moving across in the same direction, the hand at short range casting aside the opponent’s incoming hand, the hand at long range smashing across his neck, while kicking out his leg in the other direction. This version is therefore simpler and easier.

第七式：右撇掌揪腿
Posture 7: RIGHT FLINGING PALM, SCOOPING KICK

説明：
Explanation:
循上式，右短掌變長在前，左長掌化短而在後，向右前方撇出，右腿同時向左方揪出，如「定式圖」
Your palms fling across to the right, right palm in front at long range, left palm behind it at short range, as your right foot scoops away to the forward left. See photo 7:

功用：
Application:
與上式是左右連環而已！運用上則一。
Same as for the previous posture, except with left and right reversed.

第八式：入環右滾膀
Posture 8: KNEELING STANCE, RIGHT ROLLING FOREARM

説明：
Explanation:
循上式，右腳向前踏下，左腳跟前以成右入環步，右掌向後收變成拳，曲肘橫出，左拳緊貼右腕之內隨步向前推出，如「定式圖」
Your right foot comes down forward, your left foot following forward to make a right kneeling stance, as your right palm withdraws, becoming a fist, the elbow bending to place the forearm crosswise in front of you, your left palm also becoming a fist and pressing out against the inside of your right wrist, and both fists push out forward. See photo 8:

功用：
Application:
彼以手欲捉我腿，我落步標前橫手壓制來手，並加左手力道推之。
The opponent tries to grab my kicking leg, so I bring my foot down and dart forward into him, my right forearm obstructing his incoming hand, my left hand increasing the power of my push.

第九式：提腿迎面掌
Posture 9: LIFTING LEG, PALM STRIKE TO THE FACE

説明：
Explanation:
循上式，提前右腳以成獨立式，兩掌隨步而上，右掌橫攔頭上，左掌直出，如「定式圖」
Your right foot lifts to make a one-legged stance as your fists rise up, becoming palms, your right palm blocking above your head with the palm sideways, your left palm going out straight ahead. See photo 9:

功用：
Application:
彼避過我滾膀後立卽向我上路進擊，我亦迅卽提前腳為上勢，先用右手橫架來手，同時更出左掌迎面砍入。
The opponent evades my rolling forearm and then immediately attacks my upper area, so I quickly lift up my right foot to produce upward momentum as I block his incoming hand with my right hand and throw out my left palm straight to his face.

第十式：登山右反掌
Posture 10: MOUNTAIN-CLIMBING STANCE, RIGHT BACKHANDED STRIKE

説明：
Explanation:
循上式，以小跳法往後跳去變為右登山步，左掌橫攔向後收，右掌反手自上直蓋而下如「定式圖」
With a small hop to the rear, come down into a right mountain-climbing stance as your left hand withdraws, blocking down with the palm sideways, and your right hand comes down directly forward, striking with the back of the hand. See photo 10:

功用：
Application:
橫掌壓去來手，直掌則自敵頭上反蓋而下，與泰山壓頂之剛強大有異曲同工之妙。
I use my left hand to push down an incoming hand, then send my right hand to attack the opponent’s head with the same hardness and power as the technique of MT. TAI CRUSHES THE HEAD.

第十一式：跨步左撇掌
Posture 11: CROSSING STEP, LEFT FLINGING PALM

説明：
Explanation:
循上式，先刁右手，如「甲圖」
First your right hand hooks aside. See photo 11a:

向左方大跨步，左掌隨步而向前右方斜撇，右手仍為刁手，如「乙圖」
Your left foot takes a large step going around your right foot and across to the forward right as your left palm flings out to the forward right, your right hooking hand withdrawing in front of your chest. See photo 11b:

功用：
Application:
此式之運用端賴步法之靈活，一蹤身卽繞過敵人之後方，旣不犯險又能迅予敵人以攻擊，實法之至善也。
This technique is entirely a matter of stepping nimbly, of suddenly sneaking around behind the opponent. Because it both minimizes risk to myself and facilitates an increased danger upon him, it is an example of a perfect technique.

第十二式：跨步右撇掌
Posture 12: CROSSING STEP, RIGHT FLINGING PALM

説明：
Explanation:
循上式，先刁左手，如「甲圖」
First your left hand hooks aside. See photo 12a:

再循右方大跨步，同時出右掌斜撇，如「乙圖」
Your right foot takes a large step going around your left foot and across to the forward left as your right palm flings out to the forward left, your left hooking hand withdrawing in front of your chest. See photo 12b:

功用：
Application:
與上式同一手步，左右連環互為運用，則使敵疲於應付矣。
This is the same technique as in the previous posture, now executed on the other side. Zigzagging side to side in this way wears out the opponent’s ability to respond.

第十三式：坐盤右屯掌
Posture 13: SITTING-TWISTED STANCE, RIGHT BRACING PALM

説明：
Explanation:
循上式，原步向左轉成坐盤步，右掌隨步之轉移而自腰間橫掌而出，如「定式圖」
Maintaining your location, your body turns around to the left and sinks down into a left sitting-twisted stance as your right hand withdraws to your waist and then goes out with the palm sideways, your left hand withdrawing to your waist. See photo 13:

功用：
Application:
我用左右連環繞步翻身之法攻之，彼亦以繞步翻身之法而繞過我後攻來，我迅卽轉馬迫之，並出橫掌屯之，亦卽爭取時間與主動之法也。
The opponent dodges around me and attacks from behind, so I immediately turn around to confront him with a bracing palm. The key to this technique is a sense of urgency and an attitude of taking charge of the situation.

第十四式：馬式左屯掌
Posture 14: HORSE-RIDING STANCE, LEFT BRACING PALM

説明：
Explanation:
循上式，向右往後轉成騎馬式，同時收右掌，出左掌如「定式圖」
Your body twists to the right to make a horse-riding stance as your left palm goes out, your right palm withdrawing. See photo 14:

功用：
Application:
原步轉馬至為敏捷，同時出左掌亦勢順而力道強。
Nimbly rotating into a horse-riding stance while sending out the left palm increases the power of this palm strike.

第十五式：分掌右揪腿
Posture 15: SPREADING PALMS, RIGHT SCOOPING KICK

説明：
Explanation:
循上式，自下出右掌向右前方倒撇，左掌則自下向左後撇返，同時出右腳向前左方揪去，如「定式圖」
Your hands move inward toward each other and then spread apart, your right palm swinging upward to the forward right, your left palm swinging away downward to the left rear, as your right foot goes out with a scooping kick to the forward left. See photo 15:

功用：
Application:
兩掌分左右上下向相反方向分撇，來手之肘腕部時有被斷之虞，同時更出腿揪之則威脅力更強大矣。
This action of the palms flinging apart diagonally, to the lower left and upper right, connecting at the opponent’s incoming wrist and elbow, can potentially break his arm, and the addition of the scooping kick at the same time dramatically increases his peril.

第十六式：入環右滾膀
Posture 16: KNEELING STANCE, RIGHT ROLLING FOREARM

説明：
Explanation:
循上式，揪起之右腳向前踏下，左腳拖前以成右入環步，右手化拳曲肘在前，左拳緊貼右腕之內，同時向前推出，如「定式圖」
Your right foot comes down forward, your left foot sliding forward behind it to make a right kneeling stance, as your right palm becomes a fist, the elbow bending to place the forearm crosswise in front of you, your left palm also becoming a fist and pressing out against the inside of your right wrist, and both fists push out forward. See photo 16:

功用：
Application:
我揪腿為彼躱過，不論彼有何動作，我皆依照我有利條件下迅化膀手向前力推之。
The opponent dodges my scooping kick and then gets ready to counterattack, but no matter what counter he tries, the most efficient thing for me to do based on the position I am already in is to just quickly go forward with a forceful forearm push.

第十七式：左獻挑踢腿
Posture 17: LEFT OFFERING A PEACH, KICK

説明：
Explanation:
循上式，雙拳化為雙掌，左長在前，右短而貼左腕之傍由下托上，用時出左腿，如「定式圖」
Your fists become palms, rolling over outward so that your left palm is farther forward, your right palm behind it touching on the side of your left wrist, and both palms prop up as your left leg kicks out. See photo 17:

功用：
Application:
獻桃是集兩掌自下而上，由後向前，乃消去敵方來手者，同時出其不意而起左腳使彼難於應付矣。
To “offer a peach” is to send both hands forward and upward to dispel an attack from the opponent’s incoming hand, but I then take him by surprise by kicking him with my left foot at the same time, difficult for him to deal with while being distracted by my hands gesturing “eat this”.

第十八式：入環左滾膀
Posture 18: KNEELING STANCE, LEFT ROLLING FOREARM

説明：
Explanation:
循上式，先將踢起之腳向前踏下後腳拖前成左入環步，兩掌先收後，再化為拳，左在前而曲肘，右拳緊壓左腕之內同時推出，如「定式圖」
Your left foot comes down forward, your right foot sliding forward behind it to make a left kneeling stance, as your palms withdraw, becoming fists, your left elbow bending to place the forearm crosswise in front of you, your right fist pressing out against the inside of your left wrist, and both fists push out forward. See photo 18:

功用：
Application:
彼擬漏手捉我腳，我不待其得手立卽自上順勢而下，由後推前，並以兩手合力攻擊之。
The opponent tries to grab my foot, but before he has a chance to catch me, I immediately come down and push forward, attacking him with the combined power of both of my arms.

第十九式：右入環滾掌
Posture 19: RIGHT KNEELING STANCE, ROLLING PALM

説明：
Explanation:
循上式，自前轉後，由左入環變成右入環步，雙掌右長在前，左短貼於右肩之內，同時向右前方撥出，如「定式圖」
Turn around to the right, switching to a right kneeling stance, as your hands deflect across to the forward right, your right palm extended forward, left palm going to the inside of your right shoulder. See photo 19:

功用：
Application:
此為滾手，合下式乃為滾漏手，是螳螂派有名之手法，與白鵝亮翅有異曲同工之妙，左手拍去來手，右手同時攻敵方之面部。
The technique and the following technique form a famous combo in Mantis Boxing. The effect is similar to the technique of WHITE GOOSE SWATS WITH ITS WINGS, in which the left hand slaps aside the opponent’s incoming hand and the right hand simultaneously attacks his face.

第二十式：右入環漏掌
Posture 20: RIGHT KNEELING STANCE, SLIPPING PALM

説明：
Explanation:
循上式，原步標前，雙掌沉下旋繞半圈再自外向內拍入，如「定式圖」（姿勢與上式同）
Maintaining your stance, dart forward as your palms sink down, draw a half circle counterclockwise to slap inward, the completed position looking exactly the same as in the previous posture. See photo 20:

功用：
Application:
上式乃自內向外，此式則由外而內是合稱滾漏手也。
The previous technique slaps outward, whereas this one slaps inward. These two techniques combined into one are called “rolling & slipping”.

第廿一式：雙壓掌滾膀
Posture 21: DOUBLE SUPPRESSING PALMS, RIGHT ROLLING FOREARM

説明：
Explanation:
循上式，原步往後倒撤成中式步，雙掌右前而陽，左後而陰如「甲圖」
Maintaining the distance between your feet, withdraw to make a centering stance as your palms lower into place, turning over so that your right palm in front is facing upward and your left palm behind is facing downward. See photo 21a:

再原步標前成右入環步，雙掌變拳，右在前曲肘，左在後緊壓右腕之內，同時向前推出，如「乙圖」
Maintaining the distance between your feet, dart forward to make right kneeling stance as your palms become fists and push out forward together, your right fist in front with the forearm bent across, your left fist behind it and pressing against the inside of your right wrist. See photo 21b:

功用：
Application:
彼消去我滾漏手後，向我中部攻來一拳，我用雙掌倒撤壓制之，再乘勢推前壓逼之。
The opponent evades my rolling & slipping technique and counters with a punch to my middle area, so I withdraw my palms downward to suppress his attack, then push forward to pressure him away.

第廿二式：雙壓掌滾膀
Posture 22: DOUBLE SUPPRESSING PALMS, LEFT ROLLING FOREARM

説明：
Explanation:
循上式，左腳進前成左中式，雙手再為掌，左在前而陽，右在後而陰，自前拖後，由上而下如「甲圖」
Your left foot advances to make a centering stance as your fists again become palms and pull back downward, your left palm in front facing upward, your right palm behind facing downward. See photo 22a:

再原步標前成左入環步，雙手變為拳，左前曲肘而橫，右在後而直貼於左腕之內向前推出，如「乙圖」
Maintaining the distance between your feet, dart forward to make left kneeling stance as your palms become fists and push out forward together, your left fist in front with the forearm bent across, right fist behind it and pressing against the inside of your left wrist. See photo 22b:

功用：
Application:
與上式同祗左右之別耳。
Same as for the previous posture, except with left and right reversed.

第廿三式：掠翅右踢腿
Posture 23: SWATTING WINGS, RIGHT KICK

説明：
Explanation:
循上式，原步囘頭雙手變掌，右前而長，左後而短貼於右肩之內，同時出右腳，如「定式圖」
Turn around to the right, your fists becoming palms, right palm in front at long range, left palm behind it at short range, going to the inside of your right shoulder, as your right foot kicks out. See photo 23:

功用：
Application:
短手乃拍出來手，長手則襲擊對方面部，對方視線被阻則我出腿的機會至大。
My left hand slaps away an opponent’s incoming hand and my right hand does a sudden attack to his face, thereby obstructing his vision and giving me an excellent opportunity to kick him.

第廿四式：跨虎右挑掌
Posture 24: SITTING-TIGER STANCE, RIGHT CARRYING PALMS

説明：
Explanation:
循上式，乘出腳之便而往後小跳變成右跨虎步，先挑右掌，再挑左掌，再挑右掌以成如「定式圖」
Making use of the momentum of your right foot pulling back after kicking, do a small hop to the rear, finishing in a right sitting-tiger stance, as your palms carry upward: right palm, then left, then right. See photo 24:

功用：
Application:
挑掌是集三掌而組成，乃連穿帶挑之法，專應付上路被襲，尤其頭髮被握為最有效。
This technique involves a triple movement of the palms, a method of continuously threading out and carrying upward, focusing on dealing with a sudden attack to my upper area, particularly effective for preventing the opponent from grabbing me by the hair.

第廿五式：外掛手三掌
Posture 25: OUTWARD HANGING TRIPLE PALMS

説明：
Explanation:
循上式原步標前成右登山步，雙掌分陰陽，右前左後同時向右前方撲去如「甲圖」
Your right foot comes down forward to make a right mountain climbing stance as your hands swat across to the forward right, first your right hand with its palm facing upward and thus slapping away with the back of the hand, then your left hand with its palm facing downward and thus slapping with the palm. See photo 25a:

再出右掌向前蓋下，左掌橫置右肘之下如「乙圖」
Then your right palm goes out forward covering downward, your left hand placed under your right elbow with the palm sideways. See photo 25b:

功用：
Application:
乃螳螂派有名手法之「外掛手」分兩掌，合前後而撥消來手，再迎頭拍落。
This is a famous technique in Mantis Boxing for deflecting an opponent’s incoming hand and then slapping down onto his head.

第廿六式：外掛手三掌
Posture 26: OUTWARD HANGING TRIPLE PALMS

説明功用：
Explanation:
卽上式之重演一次而已。
Maintaining your stance, you dart forward, repeating the hand movements in Posture 25. See photos 26a & 26b:

第廿七式：穿掌右蹬𨁏
Posture 27: THREADING PALM, RIGHT PAVING KICK

説明：
Explanation:
循上式，先左腳由後偷前以成偷步式，右掌畧縮，左掌由下穿出，如「甲圖」
First your left foot goes forward and to the right with a stealth step as your right palm slightly withdraws, your left palm threading out underneath it. See photo 27a:

再乘偷步之勢右腳往後蹬去，同時右掌由後斜穿而出，如「乙圖」
Then your right foot goes to the rear with a paving kick as your right palm threads out forward diagonally. See photo 27b:

功用：
Application:
前揪後蹬俱為襲擊對方前鋒馬法之一，同時更以穿掌攔腰撐去其力量何止倍數。
Sending a scooping kick forward or paving kick to the rear are both methods of attacking an opponent’s front leg. Adding a threading palm or a waist-slicing palm in the opposite direction to a paving kick multiplies its power significantly.

第廿八式：扭步雙刁手
Posture 28: TWISTING STANCE, DOUBLE HOOKING HANDS

説明：
Explanation:
循上式，原步向右轉移以成扭步之勢，雙手化刁，右在上而抅後，左在前而反抅，上下兩手遙遙相對，如「定式圖」
Your right foot comes forward and your body turns to the right to make a twisting stance as your hands form hooks and align with each other diagonally, your right hand hooking upward to the rear, your left hand going forward with a wrist strike. See photo 28:

功用：
Application:
彼用手來迎我穿掌，我順勢刁之，扭步使正面與敵相對，左手反刁迎面撞去，與刁手崩捶同具佳妙，此刁手看似柔弱，其實是非常剛猛之著也。
The opponent sends out a hand to intercept my threading palm, so I hook it away while twisting my stance to be facing him directly and send out my left wrist to smash him in the face, just as effective as an avalanche punch. This hooking hand appears soft and supple, but in this case is actually carrying out an action that involves hardness and ferocity.

第廿九式：入環雙屯掌
Posture 29: KNEELING STANCE, DOUBLE BRACING PALMS

説明：
Explanation:
循上式，進左腳，標前卽成右入環步，雙手先收腰部，再變雙掌，齊與平直出，如「定式圖」
Your left foot advances and your right foot darts forward behind it to make a left kneeling stance as your hands first withdraw to your waist and then push straight out as palms. See photo 29:

功用：
Application:
作戰之道乃得勢不饒人者，我迎面刁手旣已得手乃迅卽原步標馬逼進，並輔以雙掌突入中路，為勢殊疾勁。
Methods of combat involve moments of no mercy. Having already gained the upper hand with my hooking hands, I now quickly rush forward to further capitalize on my position by sending out my palms to attack his middle area. This technique is to be done with tremendous speed.

第三十式：右崩捶撐腿
Posture 30: RIGHT AVALANCHE PUNCH, BRACING KICK

説明：
Explanation:
循上式，自右方囘身，左手向前封去，右拳曲肘自內向外，由上崩下，同時出右腳隨手撐出，如「定式圖」
Your body turns around to the right, your left hand goes forward with a sealing action, your right hand forming a fist, the forearm bending inward, then your right fist rolls over, striking downward from above with an avalanche punch, as your right foot also goes out with a bracing kick. See photo 30:

功用：
Application:
我後被襲，我立卽囘身轉馬先封來手，再以崩捶撐腿同時反擊之。
An opponent suddenly attacks me from behind, so I immediately turn around, seal off his incoming hand, then counterattack with an avalanche punch and bracing kick simultaneously.

第卅一式：登山上措掌
Posture 31: MOUNTAIN-CLIMBING STANCE, UPWARD SCRAPING PALMS

説明：
Explanation:
循上式，提起之腳殿地，再進左腳成左登山步，右掌在上，由前往後力拍，左掌在下向前伸出，當兩掌相對時互相力拍，使發出「劈拍」之聲，如「定式圖」
Your right foot stomps down and your left foot advances to make a left mountain-climbing stance as your right hand forcefully withdraws downward and your left hand forcefully extends forward and upward, the palms audibly clapping against each other on the way. See photo 31:

功用：
Application:
彼以崩捶自上攻來，我以左掌向上力托其肘，右掌則自其內腕向下力壓，我兩掌以不同方向著力使彼有斷臂之虞。
The opponent uses an avalanche punch to attack my upper area, so I use my left palm to forcefully prop up his elbow and use my right palm to forcefully press down at the inside of his wrist, my hands applying force in opposite directions to break his arm.

第卅二式：登山下措掌
Posture 32: MOUNTAIN-CLIMBING STANCE, DOWNWARD SCRAPING PALMS

説明：
Explanation:
循上式，原步不變不動，兩掌一前一後互易位置，惟當兩掌交疊時仍須互為力拍使發出「劈拍」之聲，如「定式圖」。
With your stance not changing, your palms switch places, again audibly clapping against each other on the way. See photo 32:

功用：
Application:
此式乃專破挫捶者，凡自逆擊我下頷部者俱可用之。在練拳時每被外界歧視及本派人士悞為缺乏實用之招式，其實互相碰擊是螳螂拳之特色，抑亦使練習者增進力道及令拳掌俱有寄托，其奧妙之處恐非筆墨所能形容萬一也。
This technique is for defeating a subduing punch attacking my chin, my left hand propping up his elbow, my right hand forcing his wrist back and slightly to the side, thus making his arm bend into a dangerous position. When this technique is performed solo, laymen cannot see the function and dismiss it as having no practical value, just another noisy movement. However, the presence of techniques involving the hands striking against each other is a distinguishing feature of Mantis Boxing, useful for developing greater power and for conditioning the hands, as well as other subtleties that words are not really equipped to convey.

第卅三式：登山番車式
Posture 33: MOUNTAIN-CLIMBING STANCE, WHEELING TECHNIQUE

説明：
Explanation:
循上式，原步仍未變動，右掌化拳自前往後向上抽起，左手變拳由下向前抽上，兩拳前後上下形成對峙，如「定式圖」
Without changing your stance, your right palm becomes a fist, goes upward, and pulls back to the rear as your left hand also becomes a fist, goes forward, and shoots upward, the fists maintaining their position relative to each other as they move into place. See photo 33:

功用：
Application:
我壓制其挫捶，彼沉肘避去，並乘勢攻我一拳，我亦順手封牢之，並卽用左手拳反抽其下頷。
The opponent evades getting trapped in my sandwiching scraping hands by sinking his elbow and then takes advantage of the opportunity to attack me a punch, so I use my left hand to firmly seal off his incoming hand and shoot my left fist upward to attack his chin.

第卅四式：扭步左屯掌
Posture 34: TWISTING STANCE, LEFT BRACING PALM

説明：
Explanation:
循上式，原步循右方往後一扭以成扭步，同時收右拳，橫出左掌，如「定式圖」
Maintaining your location, your body turns around to the right to make a right twisted stance as your left hand goes out with the palm sideways, your right fist withdrawing to your waist. See photo 34:

功用：
Application:
我後被襲，欲待轉身換勢已為形勢所不許，乃用扭步返身之法，再出齊掌應之。
An opponent suddenly attacks from behind, so I turn around to prevent it, turning so much that I end up in a twisted stance as I send out a palm to stop him in his tracks.

第卅五式：馬式右屯掌
Posture 35: HORSE-RIDING STANCE, RIGHT BRACING PALM

説明：
Explanation:
循上式，向左扭卽成騎馬式，出右掌以替左掌，左掌則倚於右肩之內，如「定式圖」
Your body twists to the left to make a horse-riding stance as your right palm goes out to switch places with your left palm, your left palm going to the inside of your right shoulder. See photo 35:

功用：
Application:
彼出手迎我左掌，我順勢轉馬出右掌攻之。
The opponent sends out his left palm to strike me, so I seize the moment by switching to a horse-riding stance while sending out my right palm to attack him first.

第卅六式：登山左屯掌
Posture 36: MOUNTAIN-CLIMBING STANCE, LEFT BRACING PALM

説明：
Explanation:
循上式，原步由馬式轉為右登山步，再出左掌替囘右掌，如「定式圖」（合卅四、卅五、卅六三式是為連三掌）
Maintaining your location, you switch to a right mountain-climbing stance as your left palm goes out to switch places with your right palm, your right hand withdrawing to your waist. (Postures 34–36 are to be performed as a continuous triple-palm technique.) See photo 36:

功用：
Application:
合三掌為一組手法則稱為連三掌；步雖無轉動，惟變馬可使形勢恰可。
These three palm actions are combined into a single technique, sometimes called “continuous palms”. Although the feet are not changing their location throughout, the stance changes to accommodate the movement of the hands.

第卅七式：走跳右仰膀
Posture 37: HOP FORWARD, RIGHT PRESSING FOREARM

説明：
Explanation:
循上式，原步用蹤跳方式向前跳去以成右入環步，右拳自後向前轉過左方，然後移為正面，左拳自內腕壓之，如「定式圖」
Hop forward, left foot and then right foot, coming down into a right kneeling stance, as your right fist goes to the rear, upward, forward, and across to the left, then the forearm pushes out forward, your left fist pressing forward on the inside of your right wrist. See photo 37:

功用：
Application:
彼被我連三掌急攻而難以抵禦，逼得往後疾走，我如影隨形般蹤身直往，加以仰膀法力推之。
My rapid triple palm strikes were too difficult for the opponent to defend against, forcing him to quickly retreat, so I follow him by leaping forward and powerfully push him away with a pressing forearm technique.

第卅八式：小番天印式
Posture 38: SMALL OVERTURNED-SKY STAMP

説明：
Explanation:
循上式，提右腳，右手化掌由上蓋落，如「甲圖」，
Your right foot lifts up as your fists become palms and cover downward from above. See photo 38a:

再出左掌橫壓而下，收右掌於腰，如「乙圖」
Your left palm goes out pressing down, your right palm withdrawing to your waist. See photo 38b:

再落步以成右登山步，右掌自後伸前，由上拍下，左掌收於右肘之內，如「丙圖」
Your right foot comes down forward to make a right mountain-climbing stance as your right palm extends forward and slaps downward, your left palm withdrawing below your right elbow. See photo 38c:

功用：
Application:
與外掛三掌及卅四、卅五、卅六三式之連三掌有異曲同工之妙，合三掌互為長短，含攻守於一記動作之中，練之者幸勿忽畧之。
Along with OUTWARD HANGING TRIPLE PALMS and the series of three continuous palm strikes in Postures 34–36, this is another series of three palm actions. This technique contains within it actions of both attack and defense, therefore do not dismiss it as just another batch of movements.

第卅九式：登山左偷手
Posture 39: MOUNTAIN-CLIMBING STANCE, LEFT SNEAKY HAND

説明：
Explanation:
循上式，進左腳以成左登山步，左掌向前橫蓋而下，如「甲圖」
Your left foot advances to make a left mountain-climbing stance as your left hand goes forward, covering downward with the palm sideways. See photo 39a:

再出右掌由上拍下，左掌則收右肘之下，如「乙圖」
Your right palm goes out slapping downward, your left palm withdrawing below your right elbow. See photo 39b:

再左掌由右肘內穿出，反拍向前左方，如「丙圖」
Your left hand threads out from under your right elbow and goes across to the forward left with a backhanded slap [“sneaking” out from underneath to surprise with a sideways strike], your right hand withdrawing to your waist. See photo 39c:

功用：
Application:
此亦為三掌合用者與前者在運用上雖微有不同，惟予敵人以打擊則同收效果，此亦基本拳第七路之手法也。
This is yet another triple palm technique. Although it is somewhat different from the previous ones, it has the same result: the opponent gets hit. (This technique forms the content of the seventh line of Fourteen-Line Tantui.)

第四十式：登山右偷手
Posture 40: MOUNTAIN-CLIMBING STANCE, RIGHT SNEAKY HAND

説明：
Explanation:
循上式，進右腳以成右登山步，右掌斜出拍下，如「甲圖」
Your right foot advances to make a right mountain-climbing stance as your right palm goes out slapping diagonally downward and forward. See photo 40a:

再出左掌伸前以替囘右掌，如「乙圖」
Your left palm extends forward to switch places with your right palm, your right palm withdrawing below your left elbow. See photo 40b:

再右掌自下穿出橫撥過右前方，如「丙圖」
Your right hand threads out from under your left elbow and goes across to the forward right with a backhanded slap, your left hand withdrawing to your waist. See photo 40c:

功用：
Application:
與上式祗左右之別矣。
Same as in the previous posture, except with left and right reversed.

第四十一式：跨虎左挑掌
Posture 41: SITTING-TIGER STANCE, LEFT CARRYING PALMS

説明：
Explanation:
循上式，自左轉身，左腳畧拖後以成左跨虎步，先挑左掌，再挑右掌，最後挑左掌，卽成如「定式圖」
Turn around to the left, your left foot slightly pulling back to make a left sitting-tiger stance, as your palms carry upward: left palm, then right, then left. See photo 41:

功用：
Application:
與第三式，廿四式相同。全拳亦以此作為收式。（完）
Same as in Postures 3 and 24. This also serves as the closing posture for the whole set.

– – –

[As a bonus, included below are three chapters from Huang’s Notes on the Mantis Boxing Art (1951).]

–

國術師資的養成
ON THE CULTIVATING OF MARTIAL ARTS TEACHERS

中國敎育史上，自有師範學校之設立後，日趨正軌而另開一新頁，不若以前之師承為大病，惟國術一道，數千年來曾無一改故態，有之亦精武會為先河而已，蓋自霍公元甲手創精武以還，大精武主義予國術界有絕大改進，當時策劃者如盧君煒昌，陳君公哲，姚君蟾伯，陳君銕生等數君，皆學貫中西之士，旦抱有改進國術之宏願，其顯著者如剷除門戶之成見，以增進大同公有之旨，設立師範班，由二年初級四年中級六年高級之後始可加入受嚴格訓練，期雖二年之暫，然皆得良好效果，期滿選其優異者分派各地分會服務，在嚴密督導之下，數月或一年，則又分別調動，務使各員皆有更多之見聞，由此可知前賢之苦心矣，民廿一年以後，此項重要工作停頓，迄今未復，今後繼續精武工作與夫貢獻國術之偉大工作，將不知何處將羅矣。
近人之對國術運動有七八年賡續力者已難得，在七八年中又能循規按程埋頭苦練者更如鳳毛麟角，對技術上之認識及傳授方法之統一，難乎其難也，引導譬喻之有形無形中使學者增加其熱度，對任敎之工作認識及立塲之確切，試執一當敎之（師傳）問之將不得其答？今日國術在不絕如縷之情形下，更缺此堅強之師資，將來國術之命運，惟付之予天而已！言念及此，不禁擲筆三歎。
Physical education has entered a new era because of the standardized training of teachers. This is not intended as an accusation that teachers in previous eras were doing anything wrong. The issue is that martial arts training had become stuck in its ways for many centuries. The first step in the modern approach was when Huo Yuanjia established the Jingwu Association and the great “Jingwu doctrine” which has given an enormous boost to the martial arts community. The main planners behind the project, such as Lu Weichang, Chen Gongzhe, Yao Chanbo, and Chen Tiesheng, were all scholars of both Chinese and Western learning.
　　Their goal was to improve Chinese martial arts, most notably by eliminating prejudice between styles in order to give these arts directly to the public, and also by instituting a standard teacher-training program: completing the beginner level after two years, the intermediate level after four years, the advanced level after six years, followed by rigorous specialized training. Two-year stages seemed to give the best results. At the end of this process, the best of the best were selected and sent to teach in the branch schools under strict supervision. Based on their performance within a year’s time, they were transferred to other locations, thereby furthering their knowledge and experience. This shows how much hard work was put into these arts by previous generations.
　　This vital program came to an end in 1932 and has not been resumed since then. Let us now restore and carry on this Jingwu project in order to make greater contributions to our martial arts, and may it never again come to an end. It is difficult to find people nowadays who have even practiced martial arts for seven or eight years, much less seven or eight years in a disciplined and systematic training program, and almost impossible to find practitioners who are both knowledgeable in the skills and well-versed in teaching methods. To be able to give guidance with the use of creative analogies inspires greater enthusiasm in students, and therefore a teacher needs to have a high level of knowledge in order to truly live up to his position. It does not look good if a student asks him a question and he can think of no answer at all.
　　Our martial arts are now in a precarious situation due to a lack of good teachers, with the result that the fate of these arts has been rather cowardly left in God’s hands. Thinking about this makes me want to throw my pen across the room and sigh in despair.

–

國術界面臨極大危機
THE MARTIAL ARTS COMMUNITY IS FACING AN ENORMOUS CRISIS

好勇鬥狠逞能爭勝之英雄主義，在今日廿世紀科學昌明之際，逐漸消失其本來價値，倘迷戀已往封建制度，則國術前途眞不堪設想矣，在鄕村間偶有口舌之爭，便先向腰間探索，動輒手鎗對付，還有拳腳之地位乎？通都大邑則軍警林立之區，打鬥便是犯法，凡良善之人何敢為非，前人常曰「十八般武藝精通」，勇武絕倫，試言之於今日者，人將笑其落伍矣，昔者我國之萬里長城為防禦天塹，在今日視之不啻為耗財廢物耳，時代進化，我輩國術界份子仍不急起直追，或改善其法增進強身健魄，使之為民衆普遍之運動，使一向厭惡國術之人得切實之好感，至其駛用方式亦應由繁複變易為簡易，使習三年兩載者足可應付強梁而有餘，深以好勇為可恥之事，使後之學者能趨於正軌，毋再故神其說以耗習者之時光，使十年八載仍乏應急之方，苟能人人認清時代之需要，自我反省急起直追，國術前途尚有稀微曙光，否則國術將成歷史陳跡而已，余追隨諸前輩立在精武三星旗幟下廿餘年於茲，目覩如斯景象，能不為國術前途痛惜哉！
The heroic ideal of proving one’s prowess by getting into fights has gradually lost its value in the twentieth century, a time in which science has become the theme of the age. If you have romantic feelings for the past, it could be downright painful to imagine what future, or lack thereof, that martial arts may have in this new world. Even in rural areas, quarrels are resolved simply by drawing a gun from one’s waist. Therefore is there any place left for punching and kicking?
　　In big cities, there are of course large numbers of policemen and soldiers, thus preventing assaults, and decent citizens would usually not be attacking each other anyway. Previous generations commonly used phrases like “master of the eighteen weapons” and “matchless bravery”, but if you try saying such things nowadays, people will just laugh at you, dismissing them as hopelessly old-fashioned ideas. Long ago, the Great Wall was built to be a crucial means of defense, but it is now looked upon as being merely a pointless waste of money.
　　The times have changed and we in the current generation of the martial arts community have been slow to change with them. The methods of these arts have often been “improved” to turn them mainly into a means of building health and fitness, thereby making them a more popular form of exercise for the masses, tricking those who had previously had only contempt for martial arts into somehow developing a good opinion of them.
　　However, applications for the postures should now be changed back from overly elaborate flashy techniques to simple practical actions, so that after just a few years of practice, students can be made more than capable of dealing with attackers. A love of getting into fights should of course be treated as shameful in order to keep students on the right ethical path, but any mystical explanations are just a waste of time, leaving students with nothing to use to save themselves in an emergency even after ten years of training.
　　If everyone truly recognized the needs of the time, they would take a good hard look at themselves and what they stand for, and then perhaps our traditional martial arts would have a brighter future instead of being on the cusp of becoming mere relics of the past. I have followed in the footsteps of my Jingwu elders, standing proudly under the three-starred banner for more than twenty years. Seeing with my own eyes how desperate the situation has become, I cannot help but greatly worry for the future of our martial arts.

–

求師難求徒更難
HARD TO FIND THE RIGHT TEACHER, EVEN HARDER TO FIND THE RIGHT STUDENT

書曰立雪程門以求師事程子，列國誌云孫臏三謁王禪而不可見，劉皇叔三顧茅廬始聘得諸葛出山，是知求師之難自古已然，拳術界中人多習染，若以有限度之束脩所得，而供其無限嗜慾之需其有可能乎？於是喪德敗行之事層出不窮矣，如是之師亦足為人師表否？
世復不少為生活環境驅逼下，以淺劣之技術希圖苟免於飢寒者，遇有詢其術之來源時，復大言炎炎自炫為某名師之秘傳者，問所精何技必曰十八般武器件件俱精，欲求其傳輒曰吾習時固曾傾家蕩產，汝輩欲學斯技非得償所失不可，言下大有交易所中討價還價之態。
不幸遇此，奇技未得已先喪財矣，上述諸端僅其梗槪而已。
求徒難乎？近世之人多缺乏刻苦耐勞之精神，習技絕無最終目的，志存玩要而已，其未得個中三眛者固比比皆是，出而招事惹非，一言不合動輒拳腳繼之，試思有徒若此亦能使國術日趨光明乎？國文、國醫、國畫、國術俱為我中華數千年歷史之國粹，惟後浪推不動前浪，致使一代不如一代，是為我國藝界之大病也，反觀歐美諸邦，不論在醫藥體育俱有一日千里之勢，此退彼進，相形之下，眞不可以道里為計也。
In ancient literature, the traditional way to seek a teacher was to stand in the snow in front of his door for however long it took for him to acknowledge you. According to ancient chronicles, the strategist Sun Bin went to visit the hermit Guiguzi three times before finally finding him, and Liu Bei also needed to make three visits to Zhuge Liang’s cottage in order to employ his services. Therefore it has been understood since ancient times just how difficult it is to find a good teacher.
　　One particular issue is that the martial arts community has plenty of corrupt people in it, for whom a very reasonable amount of tuition will not induce them to share all of their knowledge. Their ethics have been eroded, their conduct compromised, whittled away by greed. Such teachers cannot be considered worthy. It may be the case that many of these so-called “teachers” simply feel compelled by their circumstances, doing the best they can with their inferior abilities in order to avoid poverty. When asked where their skills come from, they brag about receiving the “secret teachings” of some famous master. When asked what exactly the master had mastered, the response usually involves: “Oh, he was an expert in every kind of weapon!” When asked about how to become a student, the sales pitch goes like this: “In order to learn it, I had to sacrifice my family’s entire fortune. If you wanna learn it too, you’re gonna have to pay.” The whole thing is presented as a pure transaction. Alas, the outcome of such situations is that you end up spending all of your money and get taught none of the advertised skills. This is just a general glimpse of this problem.
　　On the other hand, it is extraordinarily difficult to find worthy students. This is because people nowadays often lack a hardworking spirit. Practitioners of these skills have no meaningful goal in mind, they are just playing around. So many of them are unenlightened fools, deliberately provoking trouble for the sake of it, so that at the slightest insult they can then act justified in hurling out their fists and feet. Such behavior is hardly going to make these arts more respected.
　　Chinese literature, Chinese medicine, Chinese painting, and Chinese martial arts all form the essence of our ancient culture. However, “the waves behind are not replacing the waves in front” [i.e. the new is not excelling the old, subverting the proverb “the waves behind push away the waves in front”], and as a result, the current generation is actually inferior to the one that preceded it. The arts of our nation are therefore suffering a serious illness. Europe and America are constantly making giant strides in both medicine and physical education. As our civilization retreats, theirs advances, and we are now so inadequate that we no longer even qualify for comparison.

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