MANTIS STEALS A PEACH

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螳螂偷桃
MANTIS STEALS A PEACH
主編演式：黃漢勛
text & performance by Huang Hanxun [Wong Honfan]
[published in Hong Kong, 1972]

[translation by Paul Brennan, Nov, 2022]

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螳螂偷桃
Mantis Steals a Peach
黃漢勛書
– calligraphy by Huang Hanxun

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序
PREFACE

螳螂拳術始於嶗山而大盛於黃河北岸有達三百年之久，南方之知有斯拳而未經寓目者頗久，自民八中央精武特派專人體聘范公旭東南下授技，范公辭以年邁而未果行，專使轉求范公派徒以代，於是乃派出三師伯楊維新及先師兩人南下，先師任職中央總會，楊師伯則任第一分會及山東會館總敎練，半年後楊以不習慣都市生活而辭職北返，遺缺俱由先師代之，先師不擅酬應，功課餘暇多閉門練技以自遣，因此乃引起一部份年齡稍長而未得總敎練銜者所侮慢，先師雖稍有所知，亦淡然一笑置之耳！
迨民十八全國運動會假首都（南京）舉行，亦卽首次有國術項目（錦標）比賽，大師兄馬成鑫（建超）先代表精武參加全市（上海）之遴選，結果以全勝獲得首席代表，至此不但精武同寅甚至全市武師對羅某俱另眼相看矣。
及至馬成鑫由預賽、複賽、決賽、總決賽，俱榮列首榜，大會於頒獎時特邀請先師登臺作示範表演師祗以「基本十四路彈腿」中之第十四路「磨盤二手」作表演而已！時京滬各報皆以體育版大字刋載此項消息，羅氏四十年國術生活中由此奠定其光耀之歷史也。
未幾香港精武卽派代表往滬要求派先師南下以救精武之頹勢，先師蒞任未及半載卽連捷全港第一次國術表演賽，及粵省全省運動會國術團體冠軍，由此精武會務復見蓬勃焉。
羅師留港十餘年，參加表演會達數百次之多，師表拳則「螳螂偷桃」，器械則「虎尾三節棍」，捨此外余尚未之見，時同學中頗羨慕師之所擅，頗多人皆以得習為榮，間亦有以此為請者，師喻曰：吾傳之不難，惟捨本逐末徒耗時間而已！數年後師卒徇衆請而廣傳焉。但以余默察衆人之成就甚為參差，是乃知習技之難是關係於基礎可斷定結果也。
偷桃一拳雖僅四十餘式，然長短、虛實，剛柔與夫抓打擒拏，封閉開合無不曲盡其妙，過剛失於呆滯，太柔亦失搏擊可勝之機，總而言之是易學難精之拳也。余授拳亦達二十八年矣，傳之者僅限於少數，此非自秘或自私之意，實不欲濫傳以失前人創技之苦心而已！茲寫成全部講義並引述螳螂拳南傳四十年簡史外並畧述偷桃拳如上述是為序。
一九六〇年十二月廿日　黃漢勛　庚子仲冬上浣
Mantis Boxing began three hundred years ago at Mt. Lao and then flourished in the area north of the Yellow River. Southerners had heard of this boxing art, but had not yet seen it. In 1919, the Central Jingwu Association invited the expert Fan Xudong to come south to Shanghai and teach it. Replying that he was too old to do it, he sent a couple of his students in his place: Yang Weixin and Luo Guangyu. Luo was then appointed to teach at the central location, while Yang was sent to teach at the first branch location in Shanghai (Hongkou Market District) and at the third branch (Shandong Guild Hall).
　　Failing to acclimatize to city life, Yang quit after half a year and returned home in the north, leaving Luo responsible for the two branch positions in addition to his own at the central location. Luo was not a social animal, and so in his free time after classes were finished, he shut the door and continued to practice by himself. His lack of social effort put him in the somewhat humiliating situation of being an actual instructor but not considered by others to rank as an instructor. When he was made aware of the confusion he was causing, he laughed it off with indifference.
　　In 1929, the National Games was held in Nanjing. It was the first time a martial arts division was added to it. [This comment indicates that the 1933 Games might be the one intended, since the first of the National Games to include competition in martial arts was the 5th National Games held in Nanjing in 1933. There was no National Games held in 1929 at all. The 4th National Games, held in 1930, took place in Hangzhou rather than Nanjing, and the 6th National Games, held in 1935, took place in Shanghai. The 1933 one would therefore seem the likeliest of these other choices, but problematic since Luo was supposed to have already gone to Hong Kong in 1932.] My elder fellow student Ma Chengxin, called Jianchao, was selected to represent the Jingwu Association, out of all the students in Shanghai, and won first place. As a result of this, not only did Master Luo’s Jingwu colleagues see him in a new light, but so did all the martial arts teachers throughout Shanghai.
　　Ma Chengxin had won in the preliminary rounds, then the semifinals, then the finals. When he was presented with an award for his performance, the Games organizers also specially invited his teacher to give a demonstration. Luo mounted the stage and exhibited just the fourteenth line of Fourteen-Line Tantui. Newspapers in Nanjing and Shanghai then described the event in large print on the sports pages, leading Luo’s lifetime of martial arts into its most glorious phase.
　　The Hong Kong Jingwu Association soonafter sent a representative to Shanghai to ask Luo to come south and help boost the declining school. Luo accepted a position. Not even six months later, he had coached the Jingwu students to victory at the 1st All-Hong Kong Forms Competition [for their performance of Avalanche Steps] and made them the champion martial arts team at the 12th Guangdong Provincial Games. Due to these public triumphs, the school was flourishing once again.
　　Master Luo stayed in Hong Kong for more than ten years. During that time, he participated in hundreds of demonstrations. His favorite boxing set to perform was Mantis Steals a Peach, favorite weapon set was Tiger Tail Three-Section Staff. For public demonstrations, I never saw him perform any other sets but these. My fellow students were very envious of his spectacular display. Many had the honor to learn such things from him, but many got this response from him when asking for instruction: “It wouldn’t be hard for me to teach you this, but it would be a waste of your time to learn fancy stuff instead of fundamentals.” After a few years, he gave in to popular demand and started teaching widely. However, I quietly noticed that the more students he taught, the lower the quality of their learning, just as he had warned, making it clear to me how absolutely crucial it is for students to first give great attention to building a proper foundation.
　　Mantis Steals a Peach is not a lengthy set, comprised of just under fifty postures, but it contains an elaborate mix of long-range techniques and short-range techniques, fake techniques and real techniques, hardness and softness. There are also intricate methods of grabbing and striking, catching and capturing, sealing and shutting, opening and closing. Too much hardness means you will be too stiff, but too much softness means you will have nothing to win with. In other words, this boxing set is easy to learn and difficult to master.
　　I learned this set twenty-eight years ago, but I have taught it to only a few people, not because I want to keep it to myself, but because I do not wish to rashly spread it around to just anyone, for many people could easily learn it improperly and exhibit it poorly, and thereby I would be guilty of disrespecting the painstaking effort of previous generations in creating it. Having presented an overview of how Mantis Boxing came to the south forty years old and given a brief introduction to this particular boxing set, I below provide complete explanations for how to perform it correctly.
　　- written by Huang Hanxun, 37th year of the cycle, during the 1st ten-day period of the 2nd month of winter (Dec 20, 1960)

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第一式：背式雙覆掌
Posture 1: STANDING WITH YOUR BACK TURNED, DOUBLE COVERING PALMS

説明：
Explanation:
假如我是擇定由東方作起式者，先擇定東方站立，我應是面南，背北，左東，右西，目向西注視如「過渡式甲圖」，
Stand in the eastern half of the practice space with the south in front of you, north behind you, the east to your left, west to your right. Your gaze is toward the south. See photo 1a:

雙掌由下轉上，如「過渡式乙圖」，
Your palms arc upward. See photo 1b:

再雙掌平下至直如『定式圖』。
Your palms then push straight down. See photo 1c:

功用：
Application:
二掌連環反覆者是此拳之開式，螳螂拳中除此外尚有「梅花落」俱如是者，對功用上是微乎其微矣。
The two continuous actions of the palms rising and coming back down form the opening movement of this boxing set. It is the same opening as in Plum Blossoms Falling and likewise has very little practical function beyond being a moment of getting ready for the movements.

第二式：倒勢捕蟬式
Posture 2: RETREAT, CATCHING A CICADA

説明：
Explanation:
循上式，右腳先循右方向後移，左腳跟住一拉便卽成為左跨虎步，雙掌亦同時由掌化成刁手以變為捕蟬式，斯時整個姿勢亦由背面變為正面矣，如『定式圖』。
Your body turns around to the right, so that your chest is now facing toward the north, as your right foot steps back to the right rear and your left foot pulls back to make a left sitting-tiger stance, your palms forming hooking hands and adopting the “catching a cicada” position. See photo 2:

功用：
Application:
彼方欲自我右攻我中上之路，我迅卽由背面化成正面已躱開來勢，復用倒勢捕蟬式以牽纏來手，左腳亦準備還擊之。
An opponent on my right side attacks my upper area, so I quickly turn around and back off to evade it while using the “catching a cicada” technique to draw in and coil my fingers around his incoming arm, at the same time positioning my left foot to counterattack.

第三式：七星右劈軋
Posture 3: BIG-DIPPER STANCE, RIGHT CRUSHING CHOP

説明：
Explanation:
循上式，右後腳進前一步以成右七星步，左刁手先向前刁出，右手化拳由後向前自上直劈而下，將至終點時則與左掌相觸右臂與左掌碰時乃發出「必卜」之聲，右手必以正直為準左掌倚於右肩之內。如『定式圖』。
First your left hooking hand hooks away forward, then your right foot steps forward to make a right big-dipper stance as your right hand becomes a fist and chops forward and downward, your left hand becoming a palm and striking against your right forearm with an audible crack, finishing at the inside of your right shoulder. See photo 3:

功用：
Application:
彼以拳直取我左方中路，我先以左手伸出刁去之，再用右手以泰山壓頂之勢直劈其顱，斯剛手之第一著。
The opponent punches to the middle area of my left side, so I first send out my left hand to hook it away, then send my right fist chopping straight to his skull in the manner of MT. TAI CRUSHES THE HEAD, the technique which involves the greatest use of hardness.

第四式：孤雁左出群
Posture 4: LEFT “SOLITARY GOOSE LEAVES THE FLOCK”

説明：
Explanation:
循上式，右拳化成摟手向右方封出，再原步全身向前標出，以成右登山步，同時將右封手曲肘拉後，左拳直出，如『定式圖』。
Your fist opens to again close into a pulling hand, sealing off to the right, then your body darts forward into a right mountain-climbing stance as your right hand pulls back, the elbow bending fully, and your left fist goes straight out forward. See photo 4:

功用：
Application:
彼擬用手接我上式之劈拳，我卽循其來勢而反封閉之，再標前半步以求與彼接近，出左拳直奔彼面部，此連消帶打也。
The opponent tries to block my chopping fist, so I borrow the momentum of his incoming hand and switch to sealing it off, then dart forward a half step to close the gap while quickly sending my left fist punching toward his face. This is a case of flowing smoothly from defense to offense.

第五式：登山右圈捶
Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SWINGING PUNCH

説明：
Explanation:
循上式，原步標前仍為右登山步，右後手向左方橫掃而出，至中點則以左手接之，相接時形成互碰之勢乃發出極響亮之聲為度，如『定式圖』
Your body darts forward again, remaining in a right mountain-climbing stance, as your right fist swings across to the left, your left hand opening and striking against your right wrist with an audible crack once the fist crosses the centerline. See photo 5:

功用：
Application:
彼用手架格我弧雁出羣之勢，我不俟其出手迅卽標步進前而以右拳橫擊其太陽穴，斯險著也。
The opponent sends out a hand to block my left punch, so without giving a chance to capitalize on the moment with a counterattack, I quickly dart forward and swing out my right fist to strike his left temple. This is a very dangerous technique indeed.

第六式：右抅摟採手
Posture 6: RIGHT HOOK & PULL SEIZING

説明：
Explanation:
循上式，抅摟採是螳螂拳中之成法，幾每套拳均有之者，抅是虛手，其性質等於試探。摟是實手，由虛變實其理至順、合之卽為採，再加一拳是手也。我先不動左手，右手向右方刁出，再用左封手由上封下，右刁手化拳自腰部直出，於是抅摟採手乃完成矣。如『定式圖』。
This is one of the signatures techniques in Mantis Boxing, appearing in most of the boxing sets. The hooking action is insubstantial, merely feeling out what the opponent is doing. The pulling action is solid, now sure of the opponent’s intention and able to act in accordance with it. These two actions combined make the “seizing”, upon which a punch is then added. Your right hand hooks away to the right, then your left hand seals downward from above, and then your right hooking hand becomes a fist and punches straight out from your waist. See photo 6:

功用：
Application:
來手飄忽未動之際，我若貿然以實手應之，斯則無啻是採敵以可乘之機，因此我循先虛後實之連環法應之，實手旣得方予敵以致命的一擊，得宜與否存乎一心也。
When the aim of the opponent’s incoming hand is not yet clear, it would be foolish of me to hastily commit to a particular means of dealing with it, in fact my action would then only give him an opportunity to take advantage of, therefore I use a pair of actions of first probing for what he is doing and then committing to taking control once I know, the committed hand thereby giving me the power of life and death over him, solidifying my focus.

第七式：入環右腰斬
Posture 7: KNEELING STANCE, RIGHT SLICING THROUGH THE WAIST

説明：
Explanation:
循上式，左腳自後進前，右腳亦畧拉前以成左入環步，左手自下拉出再曲肘橫架於頭上，右手變掌收後至腰部再斜向左方撇出，如『定式圖』。
Your left foot steps forward and your right foot slightly pulls in behind it to make a left kneeling stance as your left hand threads out and blocks over your head, the elbow bent and the palm positioned sideways, your right fist becoming a palm and withdrawing to your waist, then flinging out diagonally to the forward left. See photo 7:

功用：
Application:
彼用手封去我採手之勢，我以左手穿出以消其勢，又用入環之下盤步以逼之，再加切腰掌斜斬其腰使其身失去平衡，使彼有跌倒之虞。
The opponent tries to use a sealing action to take aside my punch, so I send my left hand threading out to disrupt his sealing, then crowd his space, sinking down into a kneeling stance, while sending out a waist-slicing palm to wreck his balance, making him panic that he is about to fall down.

第八式：登山左圈捶
Posture 8: MOUNTAIN-CLIMBING STANCE, LEFT SWINGING PUNCH

説明：
Explanation:
循上式，左腳踏前以成左登山步，左手橫拳向右方掃去，至正中則以右掌逆迎之。拳掌相觸時以發出「必卜」之聲為佳，如『定式圖』。
Your left foot steps forward to make a left mountain-climbing stance as your left hand becomes a fist and sweeps across to the right your right hand striking against your left wrist with an audible crack once the fist crosses the centerline. See photo 8:

功用：
Application:
我上式以下盤逼馬腰斬法攻之，彼撤步換勢欲反擊我上門，我卽踏步上前以求與彼貼近，先出右手封消來手，再用左拳揮擊其太陽穴。
Because I have just attacked the opponent in a lowered stance, he withdraws a step, switches feet, and naturally tries to counterattack to my upper area, so I step forward to again crowd his space while first using my right hand to seal off his incoming hand and then sending my left fist to strike across to his right temple.

第九式：登山左崩捶
Posture 9: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

説明：
Explanation:
循上式，原步不動，先將左拳畧為移後，再以右手向前由上封下，左拳反手曲肘自後向前，由上劈落，右封手置於左肘之下，如『定式圖』。
With your stance not changing, your left fist slightly shifts inward, your right hand passing over it and sealing downward, then your left fist rolls over and chops out forward and downward with a backfist strike, your left elbow staying slightly bent, your right hand placed underneath it. See photo 9:

功用：
Application:
我方以橫捶疾掃彼太陽穴時，彼欲低頭閃避，我不俟其另有行動卽反手曲肘，迎頭崩下，單獨言之，亦可封消來手方用崩捶作出擊，連接與單獨稍為分別而已。
The opponent ducks to evade my swinging punch, then before he has any chance to counterattack, I immediately roll my fist over and bring it crashing down onto his head. This backfist strike would be sufficient by itself, but can also be done with a sealing hand to dispel any incoming attack and thus clear the way for the avalanche to achieve maximum destruction. To do the backfist by itself or to do a sealing hand flowing into it are only slightly different actions.

第十式：七星左刁手
Posture 10: BIG-DIPPER STANCE, LEFT HOOKING HAND

説明：
Explanation:
循上式，左右腳之原來位置不變，僅將前足蹺起便卽成為左七星步矣，右拳收腰，左手由崩拳化成刁手隨步而向後收，如『定式圖』。
Sit back, your left foot drawing back to make a left big-dipper stance, as your right fist withdraws to your waist and your left hand pulls back as a hooking hand. See photo 10:

功用：
Application:
我接連以圈捶，崩捶等剛手進擊，當彼俟機躱過之後必卽採取反攻，彼旣消去我之崩捶後彼當必循我側面來，因此我先用沉手坐馬法刁之，以俟下式之展開。
The opponent has dodged my swinging & avalanche combo, two techniques involving hardness, and will now try to counterattack. Once he has moved out of the way of the avalanche punch, I anticipate he will probably attack me from the side, so I sit back, lower my front arm a little, and hook his attack away as soon as it appears.

第十一式：七星右補捶
Posture 11: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

説明：
Explanation:
循上式，右腳進前以成右七星步，同時右拳亦自腰部直出，將至終點則與左掌相觸，當互碰時乃發出「必卜」之聲，左掌復置於右肩之內，如『定式圖』。
Your right foot steps forward to make a big-dipper stance as your right fist thrusts out from your waist, your left palm striking against it with an audible crack just as it is about to reach its fully extended position and then finishing at the inside of your right shoulder. See photo 11:

功用：
Application:
補捶者是補上式之不足也，我旣刁得來手當不容易縱敵以退，但刁手旣乏攻擊能力，乃以此拳補其不逮也。
The filling punch fills the gap that was set up by the previous technique. My hooking hand makes it difficult for the opponent to retreat, but because the hooking hand itself has no capacity to be an attack, the filling punch fills in for that role.

第十二式：登山右挫捶
Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

説明：
Explanation:
循上式，原步踏前以成右登山步，右拳收腰，左掌化成刁手向前由上封下，右拳自腰部向前由下逆抽而上，（定式與崩捶無異，惟練法與用法俱不同者，請注意之。）如『定式圖』。
Your right foot advances to make a right mountain-climbing stance as your right fist withdraws to your waist, your left hand goes forward and downward with a sealing action, and your right fist shoots out forward and upward. (The completed position of this technique is the same as the avalanche punch, the difference lying in the movement and application.) See photo 12:

功用：
Application:
崩捶是由上順劈而下，挫捶則由下逆抽而上，如祗見其定式每易發生誤解也，崩捶是以對方面門作攻擊，挫捶則以彼下頷為目標也。
The avalanche punch chops downward from above, whereas the subduing punch shoots upward from below. Because the final position looks the same, it is easy to confuse them with each other. The avalanche punch strikes to the face, whereas the subduing punch targets the chin.

第十三式：登山掛統捶
Posture 13: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

説明：
Explanation:
循上式，原步往後倒撤，仍為原來之右登山式，倒撤愈遠愈佳，右拳曲肘往頭上攔，左拳正中而出，如『定式圖』。
Back off as far as you can, remaining in a right mountain-climbing stance, as your right fist blocks over your head, the elbow bent, and your left fist thrusts straight out. See photo 13:

功用：
Application:
彼旣招去我之挫捶，當必向我作反擊，如彼用上門手迎頭劈下，我迅卽倒撤半步之遙以求卸去來勢，右手已招之，左拳卽予以還擊也。
The opponent blocks my subduing punch and counterattacks by chopping downward to my face, so I quickly withdraw a half step to diminish his power while I use my right hand to block his attack and send out my left fist to counterattack.

第十四式：登山右劈軋
Posture 14: MOUNTAIN-CLIMBING STANCE, RIGHT CRUSHING CHOP

説明：
Explanation:
循上式，再原步標前，仍是右登山步，右上拳隨步之進而自上直劈而落，將至中間終點時與左掌互相碰擊，以發出「必卜」之聲為最佳，如『定式圖』。
Your body darts forward, remaining in a right mountain-climbing stance, as your right fist chops down forward and your left fist becomes a palm, smacks against your right fist with an audible crack, and goes to the inside of your right shoulder. See photo 14:

功用：
Application:
彼欲用手擒捉我之左拳，我不俟其達成卽以右拳由上劈落，斯為「泰山壓頂」之法，實不易招禦也，抑亦圍魏救趙焉。
The opponent tries to grab my left fist, but before he has the chance to establish his grip, I quickly send my right fist chopping straight down at him. The force of this technique seems like Mt. Tai is collapsing onto his head, truly not easy to defend against. It is also an example of “besieging Wei to rescue Zhao”, dealing with an attack in one area by starting an attack somewhere else.

第十五式：肘底右看爪
Posture 15: HIDING THE LEFT CLAW UNDER THE RIGHT ELBOW, SHOWING THE RIGHT CLAW

説明：
Explanation:
循上式，左腳循後進前以成左七星步，雙手均向右方作雙刁手勢，左手不變不動，右刁手則曲肘反手向前而出，如『定式圖』。
Your left foot steps forward to make left big-dipper stance as your hands form hooking hands and hook away to the right, your right hand continuing inward and then going out forward with a wrist strike, the elbow staying slightly bent, your left hand staying where it is under your right elbow. See photo 15:

功用：
Application:
我先以雙刁之法以穩拏對方之手，再出右手迎面打去，雖然用反刁手之力道不強，惟其變化至多，譬喻彼用格架，我迅卽可以變為張開五指直抓頭面各部也。
I first use double hooking hands to be more certain of catching the opponent’s incoming hand, then send out my right wrist to strike his face. Although this wrist strike does not have a great deal of power behind it, it is a position that can change into many opportunities. For instance, if he blocks it, I can quickly extend my fingers to grab him by the hair or scratch his eyes.

第十六式：七星右圈捶
Posture 16: BIG-DIPPER STANCE, RIGHT SWINGING PUNCH

説明：
Explanation:
循上式，原步不變不動，先由左下手自肘底穿出，右拳化成後畧為移後，再復向前左方圈出，至正中為止止時則與左掌接觸，如『定式圖』。
With your stance not changing, your left hand threads out from below your right elbow as your right hand forms a fist and slightly withdraws, then goes out to the right, forward, and across to the left, your left palm striking against your right wrist once the fist crosses the centerline. See photo 16:

功用：
Application:
假如我看爪式為抓住，則我先以左手脫去之，再順其來勢而出右拳橫掃彼太陽穴。
The opponent prevents my wrist strike by grabbing hold of my wrist, so I first use my left hand to peel away his hand, then swing my right fist across to strike his left temple.

第十七式：七星左圈捶
Posture 17: BIG-DIPPER STANCE, LEFT SWINGING PUNCH

説明：
Explanation:
循上式，原步不變不動，祗將左掌移後化拳再復圈出向右，右手化掌接之，與上式大致相同，如『定式圖』。
With your stance not changing, your left palm withdraws, becoming a fist, and swings across to the right, your right fist becoming a palm, which strikes against your left wrist once your left fist crosses the centerline. It is the same technique as in the previous posture, except with left and right reversed for the hands. See photo 17:

功用：
Application:
與上式為連環性之運用，大凡左方被攻者必集中注意於左，於是我突然轉右，受敵者每易為之自亂攻守之法矣。
This action is to be done as a continued flow from the previous posture. It is usually the case that when we get attacked on one side, we will focus our attention on that side, therefore I now suddenly switch attention to the opposite side, throwing the opponent into confusion as to who is the attacker and who is the defender.

第十八式：登山左崩捶
Posture 18: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

説明：
Explanation:
循上式，原步左右位置不變，祗將前左腳踏平，右後腳伸直便卽變成左登山步矣，右手向前由上向下封去，左拳曲肘轉右再正中崩出。如『定式圖』。
Your left foot comes down forward and your right leg presses straight, making a left mountain-climbing stance, as your right hand goes forward and seals off downward and your left fist rolls over and goes out forward with an avalanche punch, the elbow staying slightly bent. See photo 18:

功用：
Application:
我用圈捶橫掃彼太陽穴，彼低頭躱過，方欲變成反攻我不俟其動作發出便卽換步迎頭崩下使其難迎拒矣。
The opponent ducks my swinging punch and then repositions to counterattack, but before he has a chance to do anything, I step in and send an avalanche punch crashing down onto him, putting him into the difficulty of again having to deal with defending.

第十九式：登山右崩捶
Posture 19: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

説明：
Explanation:
循上式，此是囘頭式，全身由右方轉過後面，左右腳以原來位置而反後作前以成為右登山步，左手先隨步而向後封去，右拳再迎頭劈落。如『定式圖』
Your body turns around to the right to face behind you, your feet staying in their location, your legs switching to a right mountain-climbing stance, as your left hand seals off forward and downward and your right fist goes out with a downward chop to the face. See photo 19:

功用：
Application:
我直線向前作攻擊之勢者已十八式耳，我後方突多另一敵人，或原來之敵忽走過我後方，若我轉馬換勢必將為敵所乘，因此乃用囘頭連消帶打之法也。
Another opponent suddenly attacks from behind, or the opponent in front of me suddenly dodges around behind me. I will have to confront whatever his attack might be, so it seems best to choose a technique that involves flowing smoothly from defense to offense.

第二十式：登山掛統捶
Posture 20: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

説明：
Explanation:
循上式，原步再向前標，仍成為右登山步，崩下之右拳變為曲肘向頭上橫攔，同時左拳稍先移至腰間始再直出，使配合右手之動作為度。如『定式圖』
Your body darts forward, remaining in a right mountain-climbing stance, as your left fist first withdraws to your waist and then thrusts straight out, your right fist blocking over your head, the fist pointing sideways, the elbow bent. See photo 20:

功用：
Application:
我旣用十分剛硬之法迎頭劈之，彼必求消解之法以破之，旣已消去我手，亦必施以反擊，若彼以牙還牙攻我上路，則我掛統正用得著。
Having deflected my chop to his head, the technique involving the greatest use of hardness, he now tries to counterattack to my upper area with the same technique, exhibiting an attitude of “an eye for an eye”, so I hang up his downward chop and send him a thrust punch.

第廿一式：登山右劈軋
Posture 21: MOUNTAIN-CLIMBING STANCE, RIGHT CRUSHING CHOP

説明：
Explanation:
循上式，原步再標前，仍為右登山步，右上拳自上向前劈落，左拳化掌以與右劈相碰，觸時而發出「必卜」之聲，然後左掌則倚於右肩之內。如『定式圖』
Your body darts forwards, remaining in a right mountain-climbing stance, as your right fist chops down forward and your left fist becomes a palm, smacks against your right fist with an audible crack, and goes to the inside of your right shoulder. See photo 21:

功用：
Application:
彼欲用擒拏法以捉我之左拳，我不俟其得手迅卽以右上拳直劈而下，其勢有如萬馬奔騰，實不易抗禦也。
The opponent tries to grab my left fist, but before he has the chance to establish his grip, I quickly send my right fist chopping straight down at him. The force of this technique seems like a herd of stampeding horses, truly not easy to defend against.

第廿二式：脫手右圈捶
Posture 22: STRIPPING HAND, RIGHT SWINGING PUNCH

説明：
Explanation:
循上式，先畧拉起前腳使類似跨虎之勢，右拳曲肘向下沉，左手自右手之上脫出，原步標前仍為右登山步，右拳稍向後移，再向左方圈出，至終點則以左掌迎之。『定式圖』
First your right foot pulls back to almost make a sitting-tiger stance as your right fist sinks down, the elbow bending, and your left hand strips away over your right fist hand, then your body darts forward as your right fist swings across to the left, your left palm striking against its wrist once the fist crosses the centerline. See photo 22:

功用：
Application:
彼已乘我劈出之勢而緊握我手，我用脫拷之法，右手沉肘以減其勢，左手脫出，務使不脫不得為止，我旣掙脫封閉，當卽改用橫拳反襲其太陽穴。
While I chop at him, the opponent grabs my attacking hand, so I pull my right hand out of his grip by making my elbow heavy and using my left hand to strip his hand away. Once I have escaped his grab, I then counterattack by punching across to his left temple.

第廿三式：登山右仰膀
Posture 23: MOUNTAIN-CLIMBING STANCE, RIGHT PRESSING FOREARM

説明：
Explanation:
循上式，原步再標前，仍成右登山步，兩手畧向左下斜移，再向右至正中而向前膀出，右拳曲肘有如崩捶，挫捶一樣，左拳則貼於右手尺脛之內。如『定式圖』
Your body darts forward, remaining in a right mountain-climbing stance, as your hands shift to the lower left and then re-center and send your right forearm pressing out forward, your right fist in the position of an avalanche punch or subduing punch, the elbow bent, your left fist touching at the pulse area of your right wrist. See photo 23:

功用：
Application:
螳螂膀手有二，橫手推前為滾膀，拳鋒向上前推為仰膀，因勢利導固不必以成法自囿也，前手乃壓制對方之活動，後手則加強推進之力道也。
There are two forearm techniques in Mantis Boxing: the rolling forearm with the forearm placed across and the pressing forearm with the forearm placed upright. They are used according to the situation, no need to be constrained by either. The front hand suppresses the opponent’s movement and the rear hand supplies the pushing power.

第廿四式：入環左滾膀
Posture 24: KNEELING STANCE, LEFT ROLLING FOREARM

説明：
Explanation:
循上式，進左腳，右腳拍前以成左入環步，兩手仍如前式，祗稍向右下方移後，俟步之成再向前推出，左拳曲肘橫推，右拳貼緊於左尺脛之內。如『定式圖』
Your left foot advances and your right foot closely follows to make a left kneeling stance as your fists slightly shift back to the lower right and then push out forward together, your left forearm placed across, the elbow bent, your right fist pressing at the inside of your left wrist. See photo 24:

功用：
Application:
上式已將膀手畧加分別矣，滾膀之法有如波浪之形，滾滾不絕有若長江之後浪推前浪，加以入環步之下盤推進法，益使手步合一也，左手是壓制來手，右手則主推前之力道焉。
This is slightly different from the forearm usage in the previous technique. The rolling forearm gives a sense of a wave, like the waves in a river rolling on and on, new waves replacing old waves. The addition of the kneeling stance provides a lowered position to push forward in, producing a more coherent unity between hands and feet. The job of the left hand is to suppress the opponent’s incoming hand and then the right hand supplies the power to push through him.

第廿五式：登山封統捶
Posture 25: MOUNTAIN-CLIMBING STANCE, SEAL & THRUST PUNCH

説明：
Explanation:
循上式，此式又是自東方轉過西方者，左右腳不變原來位置，僅使由入環轉為右登山步耳；先使右手向後封去，再轉正為面對西方，右手收腰部，出左拳作直統之勢。『定式圖』
Turning around from the east to be facing toward the west, your body turns around to the right, your right foot advancing to make a right mountain-climbing stance, as your right hand first goes out with a sealing action, then withdraws to your waist, and your left fist thrusts straight out. See photo 25:

功用：
Application:
彼自我後攻來一拳，我不待轉身先卽以右手封之，再出左拳還擊。
An opponent attacks from behind with a punch, so I turn around before he has completed it, using my right hand to seal it off and then sending out my left fist with a counterattack.

第廿六式：馬式右補捶
Posture 26: HORSE-RIDING STANCE, RIGHT FILLING PUNCH

説明：
Explanation:
循上式，原步標前以成為騎馬式，右拳隨步之標前而出，左手化掌而於右拳將抵達終點時碰之，以發出「必卜」之聲為合，當拳掌相觸時切勿使拳鋒受有牽滯為佳。如『定式圖』
Your body darts forward into a horse-riding stance as your right fist shoots out forward, your left fist becoming a palm and striking against your right fist with an audible crack on its way out. Make sure that the impact of your left palm does not divert the path of your right fist. See photo 26:

功用：
Application:
補捶在螳螂拳乃一特色，不識者每視為多餘。然深悉者則另有玄機，蓋是心中幻出一假想敵以配合為練也，斯補捶亦可稱之為偷心法，如以上式連貫為用便是矣。
The filling punch [i.e. the action of punching through your own palm] is a special characteristic of Mantis Boxing. Laymen look upon it as something superfluous, but those with a deeper understanding can see its value, the way it makes it easier to imagine the presence of an opponent during solo practice. The filling punch can also be thought of as a version of the “heart stealing” punch and flows nicely from the previous technique.

第廿七式：登山右崩捶
Posture 27: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

説明：
Explanation:
循上式，原步撐直左腳卽成為右登山步矣，左手向前由上封下，右拳先收貼身，然後再向前曲肘自上劈下。如『定式圖』
Your left leg presses straight to make a right mountain-climbing stance as your left hand goes forward and seals off downward, your right fist first withdrawing to your body, then going forward and chopping downward, the elbow staying slightly bent. See photo 27:

功用：
Application:
螳螂拳素以「腳去身離」馳譽武林，由廿七，廿八，廿九三式連貫用之卽為腳去身離之妙著，惟知易行難，苟非久於練習亦難以實用也，港粵同學多呼之為「崩捶踢腳走」是此三著之簡稱矣。
Mantis Boxing often uses the tactic of kicking out while retreating, well-known throughout the martial arts community. Postures 27–29 are a trio of continuous actions that highlight this maneuver. It is easy to understand, but difficult to do, and without practicing it for a long time, very difficult to apply. Cantonese practitioners often abbreviate this triple combo to “avalanche punch, kick, retreat”.

第廿八式：右閉門腳法
Posture 28: RIGHT DOOR-CLOSING KICK

説明：
Explanation:
循上式，先將右崩拳向身體收貼，左足向下沉，右腳平起向前踢出。如『定式圖』
Your right fist withdraws to your body as you sit onto your left leg and your right foot kicks out forward. See photo 28:

功用：
Application:
一般十字腿法俱是大同而異者，蓋十字腿是平起直出，但閉門腿則區別於足尖斜抅向左者，因搏擊中甚少正面對人者，側面迎敵旣可減少目標，又能使本身手足伸長，消長之間繫於一線而已！旣然是側面則我用腿非如是又曷克臻於閉門之義哉。
This is mostly the same as an ordinary cross-shaped kick, except that the toes are angled slightly to the left instead of pointing straight ahead. In actual fighting, you are very rarely facing the opponent directly. Being slightly angled in your positions reduces his ability to find targets, and also allows you to more fully extend your hands and feet along their lines of movement. Furthermore, without involving such angling to the side, the “door closing” kick would simply not be able to do what its name says.

第廿九式：跨虎右挑掌
Posture 29: SITTING-TIGER STANCE, RIGHT CARRYING PALMS

説明：
Explanation:
循上式，先將右腳循左方而跨過後方，左腳再退，右腳拉起以成為右跨虎步，合三個動作一起如蹤跳之勢更足表現猿猴步之佳妙，手則由右掌先挑起，左掌替之，右掌復挑出，合三掌便成。如『定式圖』
Your right foot withdraws, crossing in front of your left foot, then your left foot retreats and your right foot pulls back to make a right sitting-tiger stance (these three movements – right foot, left foot, right foot – performed as a single hop, a fine example of “monkey stepping”) as your hands perform the triple palm action of: right palm carrying upward, then left palm, then right palm. See photo 29:

功用：
Application:
我用腳去身離之法應敵，若被破解時必被其跟蹤追來無疑，昔人皆蓄長髮者，諺曰：「牽一髮動全身」若被敵握制長髮則敗象已成，因此有挑掌之法以殿其後，挑掌是向敵臂肘之間穿去者，敵反受我制矣。
I deal with the opponent by employing a method of kicking out while retreating, which then induces him to chase me. People in earlier eras always grew their hair long and thus had a saying: “Pulling a hair moves the whole body.” If he were to pull on me at this moment, I would not be able to retreat, therefore I use carrying palms to secure my ability to back off. Carrying palms thread out under the opponent’s forearm, keeping his hand away and restoring control of the situation back to myself.

第三十式：提腿雙封手
Posture 30: LIFTING LEG, DOUBLE SEALING HANDS

説明：
Explanation:
循上式，先提起左腳再以蹤跳方式跳出，定點時則提起右腳為獨立式，手由右手用陰手法封出，左手用陽手繼之封去，手與步務以配合為佳，雙封手俱置於右斜方。如『定式圖』
Your left foot lifts up, the momentum pulling you into a forward hop, and then once your left foot comes down, your right foot lifts up as your hands go diagonally to the right, each as a sealing hand, your right hand with the palm side facing downward, your left hand with the palm side facing upward. See photo 30:

功用：
Application:
此式之本質上是先封得來手，然後再乘跳蹤向前之勢而用膝部頂撞對方陰腹之部者，若距離過遙則出腿襲擊亦無不可，技術貴能變化，若墨守成規反見誤事也。
The purpose of this technique is to seal off the opponent’s incoming hand and then send a knee crashing into his belly. It has to be done at the right distance in order for the knee to connect properly, therefore you have to be able to make adjustments. Do not foolishly rely on the preprogrammed choreography of the posture to take care of everything for you only to let you down by a few crucial inches in one direction or the other.

第卅一式：馬式右補捶
Posture 31: HORSE-RIDING STANCE, RIGHT FILLING PUNCH

説明：
Explanation:
循上式，先將提起之右腳落下以成騎馬式，右捶用補捶法打出。（與廿六式同祈參閱之）如『定式圖』
Your right foot comes down forward to make a horse-riding stance as your right fist strikes out with a filling punch, the rest of the explanation the same as in Posture 26. See photo 31 [which is a reuse of photo 26]:

功用：
Application:
與二十六式同，祗上式之變化稍異耳。
Same as for Posture 26, except that the transition from the preceding posture is slightly different.

第卅二式：登山右挫捶
Posture 32: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

説明：
Explanation:
循上式，先由左腳撐直以為右登山式，左手向前自上封下，右拳轉內反手曲肘自下逆衝而上。如『定式圖』
Your left leg straightens, pushing you forward into a right mountain-climbing stance, as your left hand goes forward and downward with a sealing action and your right fist curls inward and then thrusts out upward, the elbow remaining slightly bent. See photo 32:

功用：
Application:
與十二式相同。
Same as in Posture 12.

第卅三式：入環窩肚捶
Posture 33: KNEELING STANCE, PUNCH TO THE BELLY

説明：
Explanation:
循上式，左腳自後轉前，右腳亦移前以成左入環步，左拳自右肘下拉出，再橫掛於頭上，右拳先拉後至腰部，再以「日字拳」衝出。如『定式圖』
Your left foot steps forward and your right foot follows it forward to make a left kneeling stance as your left fist pulls out upward from below your right elbow and blocks over your head with the fist pointing sideways, your right fist first pulling back to your waist and then thrusting out with the fist vertical. See photo 33:

功用：
Application:
彼擬用手攔拒我之挫捶，我卽進馬以入環步靠貼之，再由穿手之便而出右拳直衝彼之腹部，此非下盤之手實步坐低而成耳。
The opponent sends out a hand to try to block away my subduing punch, so I advance into a kneeling stance to crowd his space while threading out with my left hand to clear the way and then sending my right fist thrusting out to his belly. This technique has to be done from a lowered position in order to be effective.

第卅四式：登山掛統捶
Posture 34: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

説明：
Explanation:
循上式，此式亦是如「十九式」一樣為囘頭式，亦卽係「二十式」之拳法。先由左入環步循右轉身變為右登山步，右拳曲肘隨轉身而橫掛於頭上，左拳亦同時衝出。如『定式圖』
This is the same technique as in Posture 20, with the addition of turning around, which was provided before by Posture 19. Your body turns around to the right and your right foot goes forward to make a right mountain-climbing stance as your right fist rises over your head pointing to the left, the elbow bent, and your left fist thrusts out. See photo 34:

功用：
Application:
與二十式相同。
Same as for Posture 20.

第卅五式：登山右劈軋
Posture 35: MOUNTAIN-CLIMBING STANCE, RIGHT CRUSHING CHOP

説明：
Explanation:
循上式，原步再標前，仍為右登山步，右上拳自上向前劈落，左拳化掌以與右手相碰，觸時而發出「必卜」之聲，然後左掌則倚於右肩之內。如『定式圖』
Your body darts forward, remaining in a right mountain-climbing stance, as your right fist chops down forward and your left fist becomes a palm, smacks against your right fist with an audible crack, and goes to the inside of your right shoulder. See photo 35:

功用：
Application:
彼欲用擒拏法以捉我之左拳，我不俟其得手迅卽以右上拳直劈而下，其勢有如萬馬奔騰，實不易抗禦也。
The opponent tries to grab my left fist, but before he has the chance to establish his grip, I quickly send my right fist chopping straight down at him. The force of this technique seems like a herd of stampeding horses, truly not easy to defend against.

第卅六式：登山右挫捶
Posture 36: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

説明：
Explanation:
循上式，原步畧為標前，左手先封出，右拳曲肘自下向前逆抽而上。如『定式圖』
Maintaining your stance, slightly dart forward as your left hand does a sealing action and your right fist shoots out forward and upward, the elbow slightly bent. See photo 36:

功用：
Application:
與十二式相同。
Same as in Posture 12.

第卅七式：呑塌低捕蟬
Posture 37: GULP & SINK STANCE, LOW CATCHING-A-CICADA POSTURE

説明：
Explanation:
循上式，先將右前腳反曲為直，左後腳則反直為曲便卽成為呑塌步矣，左手先化刁手，自下穿出，右手亦變刁手，向左轉右一匝，右手曲肘倚於右肩之內，右手伸直向前，刁手斜向右方。如『定式圖』
Your right leg straightens and your left leg bends to make a gulp & sink stance as your hands form hooking hands, your left hand threading out from below and finishing at the inside of your right shoulder with the elbow bent, your right hand drawing a counterclockwise circle to the left and then right, the arm finishing extended forward, the hooking hand pointing diagonally to the right. See photo 37:

功用：
Application:
彼擬架消我之挫捶，我迅變馬易勢而先以左手穿去來手，再漏手抓之，此法亦可稱之為「黃鶯戳眼」而反手取對方之雙目者，但以余體察所得則抓喉部之機會較多於前者，且迅速無比，庸手遇之輒為所困。
The opponent tries to block my subduing punch, so I quickly sit back while threading out my left hand to take aside his incoming hand, then slip out my right hand to catch him with a method called “oriole pokes out an eye”, my hand turning over and attacking his eyes, although I have found in my personal experience that this claw hand more often is even better for attacking the throat, an action which is quicker and more difficult to defend against.

第卅八式：入環右鎖喉
Posture 38: KNEELING STANCE, RIGHT THROAT GRAB

説明：
Explanation:
循上式，先進左腳以成左入環步，雙手俱以封手而向右下方封去，再出右手如鎖喉勢向前伸出。如『定式圖』
Your left leg steps forward to make a left kneeling stance as your hands go to the lower right with a sealing action and then your right hand extends forward with a throat grab. See photo 38:

功用：
Application:
彼消去我上式後欲避過我接連性之攻勢而退步，我隨之進步，彼乘我欲進未達之時先出拳襲擊，我乃用雙封之法緊緊握牢來手，再出右手直取彼喉部。
The opponent retreats to evade my attack, so I advance to chase him, but before I get all the way forward, he suddenly punches, so I use double sealing hands to tightly pull in his incoming hand, then send out my right hand to attack his throat.

第卅九式：入環右滾膀
Posture 39: KNEELING STANCE, RIGHT ROLLING FOREARM

説明：
Explanation:
循上式，右腳進前再成為右入環步，雙手偏貼過左方，然後右拳曲肘橫出，左拳則緊貼右臂之內。如『定式圖』
Your right foot advances to make a right kneeling stance as your hands slightly shift back to the lower left and then push out together as fists, your right forearm placed across, the elbow bent, your left fist pressing at the inside of your right wrist. See photo 39:

功用：
Application:
與廿四式相同，祗左右之異耳。
Same as in Posture 24, except with left and right reversed.

第四十式：右劈左軋腳
Posture 40: RIGHT CHOP, LEFT CRUSHING KICK

説明：
Explanation:
循上式，先左拳收腰，右拳先稍向右後方移去，再向前橫劈而下，同時以左腳橫掃而出，時間務以吻合為佳，如『定式圖』
Your right fist shifts to the right rear and then chops out forward and downward to the left, your left fist withdrawing to your waist, as your left foot sweeps out with the foot angled sideways. The chopping fist and crushing kick have to be done in unison. See photo 40:

功用：
Application:
因我連續二式俱採下盤馬低手作攻擊，彼乘不備之際突由中上部猛攻一拳，我卽改採高馬並用右拳劈殺來手，同時更以左腳橫軋彼脛骨，斯為上下配合與左右呼應之妙著，軋腿乃螳螂拳獨特之法，非素習者不易瞭解也。
Because I have just done two techniques in a row that were performed in a lowered position, the opponent notices that I have left a gap above and now punches to my upper area, so I switch to a taller stance, using my right fist to chop away his incoming hand while sending out my left foot with a crushing kick to his shin. This is an ingenious maneuver of upper and lower, left and right working in concert. The crushing kick is a characteristic technique of Mantis Boxing, not easy for laymen to understand.

第四十一式：登山左統捶
Posture 41: MOUNTAIN-CLIMBING STANCE, LEFT THRUST PUNCH

説明：
Explanation:
循上式，先將旣出之左腳向後撤囘仍成右登山步，右拳收腰，左拳隨腳退而直出，如『定式圖』
Your left foot withdraws and steps back to make a right mountain-climbing stance as your right fist withdraws to your waist and your left fist thrusts out. See photo 41:

功用：
Application:
彼欲漏手下沉而捉我腿，我不俟彼達成目的卽先退步，彼旣採取下盤手法，上路空虛無疑，於是我突出左拳攻彼之上，使彼囘救莫及矣。
The opponent tries to slip a hand down and grab my leg, but before he can get to it, I lower my foot and step it back. This draws him into lowering his position and leaving a gap at his upper area, so I suddenly shoot out my left fist to attack him above, thereby busying him with desperately trying to find a way to rescue himself.

第四十二式：劈軋右撩腿
Posture 42: CRUSHING CHOP, RIGHT RAISING KICK

説明：
Explanation:
循上式，先出右拳向前左方橫殺如「四十式」同時出右腳向上而前直撩，手與腿務必同時而出，否則力道大減，且重心易受搖動也。如『定式圖』
Your right fist smashes out forward and to the left, same as in Posture 40, as your right foot raises directly forward. The actions of your hand and foot have to be done in unison, otherwise the power will be reduced and your balance will be disrupted. See photo 42:

功用：
Application:
彼若以手來捉我之左拳或用手來架格，我以見手打手之法破之，同時出右腳作撩陰之勢，此乃招之卽打，打之連消之法也。
The opponent sends out a hand to grab or block my left fist, so I defeat this attempt by using a method of “see a hand, strike a hand” and at the same time send out my right foot to attack his groin. This can be a case of either drawing him in to be attacked or of attacking while defending.

第四十三式：撤式右反掌
Posture 43: APPEARING TO WITHDRAW, RIGHT BACKHANDED STRIKE

説明：
Explanation:
循上式，往後以小跳式撤退乃成為右登山式，兩手俱化為掌，左掌先橫落，右掌則直落成一橫一直之勢，如『定式圖』
Come down with a small hop to the rear, finishing in a right mountain-climbing stance, as your hands become palms, your left palm coming down pointing sideways, your right hand coming down pointing straight ahead, your arms thus forming a right angle. See photo 43:

功用：
Application:
彼以我上下夾攻亦卽採上下分迎之法應付，我誠恐左右上下受制於敵，乃先作撤退，但彼擬乘勢逼我，我以雙掌齊下之法，亦卽寓守於攻之法也。
The opponent deals with my double attack – one from above, one from below – by spreading apart upward and downward, so before I end up under his control to the left and right, up and down, I retreat, which induces him to chase, and then bring my palms down in unison, a defensive action that contains a simultaneous attack.

第四十四式：中式右叫圈
Posture 44: CENTERING STANCE, RIGHTWARD DRAMATIC CIRCLE

説明：
Explanation:
循上式，原步前標成兩腳俱曲，右畧高於左，其兩腳之距離約相等於「入環步」，此乃螳螂拳慣用之步法，兩手俱由掌化成封手，左陽，右陰，往右後方拉入。如『定式圖』
Your body darts forward, both legs bending, your left leg bending slightly deeper than your right, the distance between your feet similar to a kneeling stance (this kind of maneuver of darting forward with the space between your shrinking being a common stepping method in Mantis Boxing) as your hands form sealing hands and pull across to the right rear, left hand with its palm side facing upward, right hand with its palm side facing downward. See photo 44:

功用：
Application:
我上式之右手已壓制對方之一手，彼另一手又來架我右掌，於是乃成四手交織之勢，惟我有居在上之利，因此乘勢力握彼雙手而復標馬緊逼之。
In the previous technique, my left hand is already suppressing one of the opponent’s hands, so he uses his other hand to block my right hand, causing all four of our hands to be in a position of crossing, but I keep the advantage by seizing the opportunity to grab his hands and rush in to crowd his space.

第四十五式：登山右圈捶
Posture 45: MOUNTAIN-CLIMBING STANCE, RIGHT SWINGING PUNCH

説明：
Explanation:
循上式，原步畧前標以成右登山式，右拳自後向前橫掃而出，至中點則以左手抵之，如『定式圖』
Your body slightly darts forward into a right mountain-climbing stance as your right fist swings out, forward, and across to the left, your left palm striking against your right wrist once the fist crosses the centerline. See photo 45:

功用：
Application:
我上式已控制對方之雙手，彼必欲掙脫以解威脅，我不俟彼脫去卽出右拳橫掃彼太陽穴。
In the previous technique, I seized control of the opponent’s hands. He will now try to cast off my hands in order to escape the danger he is in, but before he has a chance to get free, I am already sending my right fist swinging across to strike his left temple.

第四十六式：右抅摟採手
Posture 46: RIGHT HOOK & PULL SEIZING

説明：
Explanation:
循上式，抅摟採是螳螂拳中之成法，幾每套拳均有之者，抅是虛手，其性質等於試探，摟是實手，由虛變實其理至順，合之卽為採，再加一拳是手也。我先不動右手，右手向右方刁出，再用左封手由上封下，右刁手化拳自腰部直出，於是抅摟採手乃完成矣。如『定式圖』
This is one of the signatures techniques in Mantis Boxing, appearing in most of the boxing sets. The hooking action is insubstantial, merely feeling out what the opponent is doing. The pulling action is solid, now sure of the opponent’s intention and able to act in accordance with it. These two actions combined make the “seizing”, upon which a punch is then added. Your right hand hooks away to the right, then your left hand seals downward from above, and then your right hooking hand becomes a fist and punches straight out from your waist. See photo 46:

功用：
Application:
來手飄忽未動之際，我若貿然以實手應之，斯則無啻是採敵以可乘之機，因此我循先虛後實之連環法應之，實手旣得方予敵以致命的一擊，得宜與否存乎一心也。
When the aim of the opponent’s incoming hand is not yet clear, it would be foolish of me to hastily commit to a particular means of dealing with it, in fact my action would then only give him an opportunity to take advantage of, therefore I use a pair of actions of first probing for what he is doing and then committing to taking control once I know, the committed hand thereby giving me the power of life and death over him, solidifying my focus.

第四十七式：撤式左統捶
Posture 47: APPEARING TO WITHDRAW, LEFT THRUST PUNCH

説明：
Explanation:
循上式，原步倒退半步，仍為右登山步，右拳撤囘腰部，而以左拳直統而出，如『定式圖』
Back off a half step, remaining in a right mountain-climbing stance, as your right fist withdraws to your waist and your left fist thrusts straight out. See photo 47:

功用：
Application:
上式是採取搶入之攻擊法，此式則改用欲進先退之法，彼若以為我眞退而貿然攻入則彼必為直統捶所擊中無疑，拳擊之道貴能剛柔無定，虛實不一也。
The previous technique stubbornly digs its way in, whereas this technique switches to a method of “advancing by retreating”. If the opponent is convinced my retreat is genuine and rashly attacks, he will run right into my thrust punch. Fighting arts value ability to use hardness and softness unpredictably, emptiness and fullness without pattern.

第四十八式：馬式右補捶
Posture 48: HORSE-RIDING STANCE, RIGHT FILLING PUNCH

説明：
Explanation:
循上式，原亦標前以成騎馬式，右拳擦過左掌而成補捶勢。如『定式圖』
Dart forward into a horse-riding stance, your right fist performing a filling punch, grazing along your left palm on the way. See photo 48:

功用：
Application:
補捶在螳螂拳乃一特色，不識者每視為多餘。然深悉者另有玄機，蓋是心中幻出一假想敵以配合為練也，斯補捶亦可稱之為偷心法，如以上式連貫為用便是矣。
The filling punch [i.e. the action of punching through your own palm] is a special characteristic of Mantis Boxing. Laymen look upon it as something superfluous, but those with a deeper understanding can see its value, the way it makes it easier to imagine the presence of an opponent during solo practice. The filling punch can also be thought of as a version of the “heart stealing” punch and flows nicely from the previous technique. [Postures 40–48 are the same series of techniques as in Postures 25–33 of the Small-Scale Postures boxing set.]

第四十九式：跨虎捕蟬式
Posture 49: SITTING-TIGER STANCE, CATCHING A CICADA

説明：
Explanation:
循上式，由向東之勢而循左轉為向西方，左腳拉貼右腳約距一尺之內以成為左跨虎步，兩手亦沿步而轉，左上，右下交疊而向左繞一圈，然後卽成為『定式圖』
Your body turns around to the left to be facing toward the west, your left foot pulling back to be about a foot in front of the inside of your right foot, as your hands draw a counterclockwise circle while moving across to the left, your left hand crossing over your right hand before finishing in the completed position. See photo 49:

功用：
Application:
此為螳螂拳中之收式，但並不祗收式已也，其運用上亦不可忽畧之兩手是以纏繞封閉對方來手，跨虎步乃準備隨時踢出者，習之者切宜注意焉。『完』
This is the major closing posture in Mantis Boxing, though not the only one. However, its role as a concluding posture is no reason to neglect its function. The hands coil around and seal off the opponent’s incoming hand, and the sitting-tiger stance puts you in a position of readiness to kick. These aspects deserve your attention.

– – –

[As a bonus, included below are three chapters from Huang’s Further Notes on the Mantis Boxing Art (1955).]

–

睡獅醒乎？
WILL THE SLEEPING LION AWAKEN?

中國論文化，人口，土地，歷史俱不落後於西方諸國故有東方雄獅之稱，然獅子醒時固雄猛異常，大吼一聲，群獸懾服，惟睡眼則鼠子可戲其側矣，中國近世紀以來，從政體以至夫農工藝作俱未能迎合時代之需求，去進步國家之日新月異者遠矣。
賣酒言酒，吾亦三句不離本行，就拳術問題以言比諸歐美膛乎後矣，拳擊比賽以歐法為正規，世界最大之「奧林匹先」運動會設有錦標，中國素乏代表出席該項比賽，苟有參加之項目亦唯洎來渣滓是尚，遠者姑不論就香港一隅而言，西拳比賽可公開挑戰，或借報章以為罵戲之地，各逞毫鋒，至焦頭爛額始已，若夫中國拳術家而有此現象，有司當視之為違法，社會人士亦必戰指罵曰：此「無謂」之鬥也，同是拳擊而已！何厚此薄彼之甚！國術界同道須閉目自思此由來之結徵所在？蓋自拳匪倡亂以降先失國人崇仰之心，再為外人窺破此中內幕，凡中國拳術家其心目中已加一（匪）字，有此不良印象，吾人仍不本著「知恥近乎勇」之毅力與決心，從本身做起務期一洗近年來蒙著之不美名，使外邦人士刮目相看，則我武維揚指日不待，若夫仍兩肩齊耳，瘦骨嶙峋亦自誇為中華之勇士，其不貽笑他邦人士者幾稀！街頭巷尾演技討錢者雖情有可厚，但在此半洋化之香港似不應該，更增加厭惡國術者之口實，醒獅乎？睡獅乎？國術已至衰微之時，尚不萬衆一心，急起挽救於垂危，吾不敢斷國術尚能持續於若干年也，吾非無病呻吟，諸君試留心之便可知余言不謬也。
In terms of culture, population, territory, and history, China does not fall behind the Western nations, and thus it is known as the “Lion of the East” [referring to a famous quote attributed to Napolean: “La Chine est un lion endormi qui fera trembler le monde lorsqu’il s’éveillera.” (“China is a sleeping lion that will shake the world when it awakes.”)]. When a lion awakes, it gives a fierce resonating roar to intimidate all other animals, but while it sleeps, even mice can play right next it. However, in the current century, government in China has failed to provide for the needs of farmers, laborers, and craftsmen. It is still a long way from becoming a developing nation.
　　In the same way that wine sellers always talk about wine, I cannot stop talking about martial arts. On the status of our boxing arts, I compare it to the status of boxing in Europe and America. Their boxing matches are conducted according to European rules. The world’s most prestigious athletic event, the Olympics, gives medals for it. There are hardly ever any Chinese participants, and the few that do show up to represent us are unfortunately the most uncouth hooligans.
　　In even as far away a place as Hong Kong, a competition in Western boxing can be a public challenge, open to all. It is often treated by newspapers like some circus event, the fighters showing off so much that it turns into a disreputable mess. When Chinese martial artists try to hold such events, the authorities immediately declare it a criminal act. Ordinary citizens then condemn the hypocrisy: “Hold on a minute, this so-called ‘mindless violence’ is exactly the same thing as the Western boxing matches! Why’s it okay when they do it, but not okay when we do it?”
　　Martial arts colleagues all close their eyes in despair and try to figure out how we got into this situation in the first place. It seems to have started with the Boxer Rebellion. Because of that fiasco, Chinese boxers lost support from the people, and then foreigners noticed that there is disapproval of Chinese martial arts even within Chinese society. Chinese martial artists always have it in the back of their minds that they will get associated with the foolish rebel Boxers and are therefore doomed to give people a bad impression. They still lack the willpower and resolve of this sentiment [from the Zhong Yong]: “Knowing shame will give you courage.”
　　We have in recent years started to wash away some of our bad reputation, causing foreigners to see us with a bit more respect. The day is getting closer when we might truly be able to say [from the Book of Documents, document 28]: “Our martial prowess is on the rise.” But cowering skinny little fellows who boast about being “Chinese warriors” only tend to inspire ridicule from foreigners. Those who make their living giving street performances of their skills are usually considered acceptable, but it seems to be inappropriate here in semi-foreignized Hong Kong, where it produces criticism which further increases disgust for our martial arts.
　　So is it possible to say the lion is awakening? Or is it just slipping into a deeper sleep? Our martial arts are already in decline, and yet somehow there is no unanimous haste to save them from destruction. I will not dare to give up on these arts, for I believe they can indeed continue for many years to come. Do not dismiss my observations about the situation as mere complaining. Think about it and you will see that my words are not exaggerations.

–

無題
ON THE SURVIVAL OF CHINESE MARTIAL ARTS

中國拳術之所以歷久不墜者，頗有研究之價値，余學識陋實未探得其要，茲就個人所究以質海內外高明。
火器未昌明之前固是賴之以作為國干城之需，且孔聖倡六藝以為民敎育中亦有射之設，當時之讀書人亦有背劍持卷之習慣，吾人切勿以遜淸時代之讀書人作模範，否則大錯特錯矣，有淸幾及三百年中俱是執行愚民政策，致使稍具智識之士，俱有懷才抱病，莫為世助之感！鼎革後始再重振德智體三育並行之敎育，振頹立懦，我武維揚，英英勃勃之靑年始見於今日，當亡淸三百年中經攸長之時間，何以不使拳術消滅者為何？
曰：道義二字有以維繫之耳！道者，前人有不少殉道，盡道，之偉烈事蹟，歷史相傳為吾中華民族所崇尚，義者，義以連枝，雖赴湯蹈火在所不辭，由道義二字以維持拳術於不墜者昭彰事實也。
四十年前由中央精武高呼化除門戶派之議，後二十年中央國術館亦極力提倡國術大同之旨趣，筆者固百份之百贊同者，惟經數十年來尤未輕易改其舊觀念者何也？
蓋國術中人之以本派自相標榜正如中國人之姓氏宗親無異，若能化除姓氏間之糾葛，則年中所發生之械鬥於無形，拳術若能泯滅派別門戶，亦當漸趨大同，為人人瞭解此理，站定崗位，極力提倡，相信三數年間便可實行矣，惟國人多半守著孝子賢孫之路線，不欲由本身去破壞數千年之名敎，使本人犯數典忘宗之過，於是姓氏關係永遠保留迄今也，此是中華民族之美德，實無可厚非者。
拳術亦然，誰願由己甘負破壞「尊師重道」之責任？以是而各持理由，爭持不下，雖經數十年之爭辨，終亦無法改過積習也。
拳術界之互不相讓及互相攻許者多半出自派別及嫡傳問題！甲派除自詡技術如何高超外復大加譭謗乙派，或師兄自命為正統嫡傳，並譭師弟為非嫡傳者，或其徒稍可立足於社會則譭其師為老而無能於是國術便陷於友不友，兄不兄，弟不弟，師不師，徒不徒之境地矣，苟如是吾人何以對得前人創技設敎之艱難？將何以作下一代之楷模？吾書至此，不禁擲筆三歎！
It is worth studying the reasons why Chinese martial arts have been around for so long. My knowledge on the subject is not as deep as it should be, and so I will gladly defer to those who are more qualified to discuss it. Before firearms were commonplace, it was necessary to rely on those who had martial skills in order to defend the nation. Confucius advocated using the “six arts” as a means of educating the people. Among the arts is archery [the others being rituals, music, calligraphy, mathematics, and charioteering]. During his time, it was normal for a scholar to be carrying a sword on his back just as often as he had a book in his hands. It would be a huge mistake for us to instead use the effete and inferior Qing era scholars as role models.
　　Throughout the three hundred years of the Qing Dynasty, the government’s policy was to keep the people ignorant. The result of this was that scholars with the barest minimum of knowledge became overly proud of their meager talents and developed no sense of duty to be of service to society. After the Revolution [1911], the three types of education (moral, intellectual, physical) began to be restored. The dispirited now became inspired and the timid learned to stand taller. This sentiment began to be felt [from Book of Documents, document 28]: “Our martial prowess is on the rise.” Bright and energetic young people could be seen everywhere. But three hundred years is a long time, so how could our martial arts possibly have survived through such a period?
　　It is said that there is a bond between the two words “righteousness” and “honor”. A sense of “righteousness” is exemplified by the countless people throughout history who have died for a cause. Great achievements are built upon total devotion to a cause, which is why such commitment has always been so highly respected by Chinese people. By “honor” is meant a sense of fraternal code, as in [from Fu Xuan’s annotations to Records of the Three Kingdoms, Books of Wei, bio of Liu Biao]: “Now that I have enlisted, I will obey my commander’s orders. I will go willingly through fire or water, risk death without complaint.” It is obvious that righteousness and honor are keys to preserving Chinese martial arts.
　　Forty years ago, the Central Jingwu Association was very vocal about eliminating all the petty feuding between styles. Throughout the time that I have myself been a part of the Jingwu Association, over the last twenty years, it has still been strongly advocating for harmony between the different martial arts. I agree wholeheartedly with this attitude and am impressed that they have managed to maintain their ideals over several decades?
　　The praise that Chinese martial arts practitioners have for their styles is no different from the pride that Chinese people have in their family names. If disagreements between family clans could be done away with, feuds between them would quickly disappear. If sectarian bias within martial arts schools could just fade away, there would gradually be harmony among them. If everyone could understand this principle, hold fast to it, and strongly encourage it, I think it would take just a few years to have a transformative impact.
　　Most of my fellow countrymen choose to be worthy descendants and have no desire to throw away thousands of years of honored teachings, to commit the sin of forgetting ancestors. The sense of duty to one’s family lineage continues to this day. This is one of the virtues of the Chinese people, surely an attitude that is beyond reproach. It is the same in martial arts. Nobody wants to be known as the one who betrayed the teacher and the art, and so they all hold firmly to their traditions and will not budge an inch. Despite decades of argument between their styles, there is therefore no way to make them change their old habits.
　　In the martial arts community, the various styles do not accept each other and instead attack each other. Most of the time, it comes down to issues of which school is superior and which style is the true interpretation. One school sings its own praises while condemning another school, praising and condemning with equal exaggeration. Or an older student proclaims himself the true inheritor of a system, denigrating a younger student for “not possessing the authentic transmission”. Or a student manages to get himself somewhat established as a teacher by slandering his own teacher as being too old and no longer capable of representing the art.
　　Our martial arts are therefore bogged down in a situation in which friends are not behaving like friends, brothers not behaving like brothers, teachers not like teachers, students not like students. In this way, respect is not being paid to previous generations for all their hard work in creating these arts and developing methods to pass on their teachings. Nor is a good example being set for the next generation of students. Thinking about this makes me want to throw my pen across the room and sigh in despair.

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濫學等如負債
TRYING TO LEARN TOO MUCH IS LIKE GOING INTO DEBT

諺曰：「百藝莫如一藝精」，又曰：「週身刀無張利」是可知習藝之貴有恆心與專一為成功之階梯也，同學兄朱君浸淫於南北拳術者，歷二十餘年，但聞某拳師有一藝為獨到者，必千方百計以求學得為止，單計棍法一種亦學過百套以上，甚至以巨金逾千元學來者，亦有數套，其師授時是關閉房門然後傳與者，蓋恐為他徒竊得也，朱君於數年間竟棄其父數十年心血經營所得商店數間轉讓與人，其心迷於拳術者可謂至極矣，民二十二三年間來港，主持僅存於港之商店，後得友介紹其來港精武習技，其初頗輕視螳螂拳之劈拍蹤跳，羅師傳敎數十年，足跡遍大江南北，對此焉有不知之理，惟亦任之而已！一次羅師於講解拳法中，朱竟排衆趨前以刁手作何用為問，羅師微笑曰：僅黏其手耳！並無若何大用，朱伸手任羅師黏之，羅師含笑握之，朱又問：已握穩否？羅師以其輕佻已極，乃力握之，且曰：已握穩矣，汝可脫之，於是朱乃大喝一聲，用穿手沉橋法擬脫離羅師之握持，衆以朱小題大做必辱由自取矣，果見朱一穿一沉，再穿再沉，仍無法動羅師之手分毫，反而逾握逾實，且見朱腕間血作涔涔下，朱痛極而求羅師釋放，羅師亦一笑放之，朱捧手視之，已三指所握之處深深入肉至分餘矣，嗣後再有數次之試技始正式跟隨羅師習技，後且與余等蒙羅氏錄於門牆之內，時余方年少好奇，好勝，聞朱學棍頗多，心欲求其指點一二，又不欲輕於啓齒，一次於練拳散班後，朱乃高談濶論其棍法之如何神妙？時余方習得六合棍中之上三路，極其幼稚之至！聞朱言頗露不愉之態，朱見余默默不言乃曰，汝不信乎？可拈棍來一試，余正求之不得，欣然持棍與之相對，朱先以棍自中平直刺而來，余除用跟棍殺入之外，別無他法矣，因此乃循棍鋒削入，不料朱前鋒手竟為所削而棄棍於地，吾得意外之收獲，乃一則以喜，一則以懼，蓋喜者乃能在於兩棍一接觸便獲致勝利，懼者乃如朱君之學如許多棍且得如此結果為可懼，後與羅師論及此事，師曰：汝之所以勝實因心專法一而致，朱則因心雜法廣而不知用何者為佳，以是而猶豫莫決也，後朱竟棄其二十餘年之所學而專致力於螳螂拳藝，而卒至有成。
余二十餘年致力於拳術運動，默察一般學者，初學時期必欲多學，快學，不理拳法之正確與否？但求能多識幾套拳械便算達其目的矣，似此情形實近於濫學矣，凡天下事物若濫必不能精，理至顯明也，凡濫學者不但不能使精研拳理及姿勢等，並且有隨學隨忘之弊，今之同學多有詢余曰：汝每日練拳皆揀幾套而練，終年累日俱如是，不虞他拳忘紀乎？吾答之曰：余今之練拳非為保持記憶而練！實為保持氣力及純熟其手步耳！蓋各拳已在習拳時熟誌於心中，固不必俟諸今日之強記也，因吾習拳二年僅習得拳械十套而已！今之習拳者則不同，頗欲一天之內連習兩拳為更佳，凡學畢一拳之後隔兩三天便向余要求另習他拳矣，似此急促之練習一拳又何怪其不隨學隨忘哉！
學多而不能練，曷若學小而多練，此為余殷殷致意於各同學者也。
譬喻一個月規定學一套拳，一日至十日為學習時期，十一至卅日為練習時期，有此三星期以上之時間練習其拳當熟誌於心矣，一月至十月共習拳十套，十一月，十二月為總練習期以結束其一年之時間，在時間與習拳數目已比余習拳時縮倍數矣，若能如此或能補此積多忘練之弊病也，且可不致如越欠越借，越借越多，卒至債台高築無法自拔，其不破產者幾稀！學拳者又何必以多是尚哉。
There is a saying: “Knowing a hundred techniques is not as good as mastering one.” And another in the same vein: “No point in being covered with blades if none of them are sharp.” Clearly the keys to successfully learning these arts are perseverance and focus.
　　My fellow student Zhu Zhixiang is familiar with both northern and southern boxing arts, which he had practiced for more than twenty years. Whenever he heard about a master with a unique skill, he did whatever it took to learn it from him. He had learned more than a hundred sets for the staff alone. He often spent large amounts of money for many of the things he learned. His teachers taught him behind closed doors, worrying that others might eavesdrop and learn the material without permission.
　　Zhu many years ago abandoned the chain of shops that his father had put decades of effort into managing, giving them to someone else to run. This demonstrates how obsessed he is with martial arts. In 1922 or 23, he came to Hong Kong to run the shop that his father owned there. But then a friend recommended to him that he join the Hong Kong Jingwu Association and learn the martial arts that were being taught there.
　　Zhu initially mocked Mantis Boxing for its noisy chopping actions and constant hopping around. Master Luo Guangyu taught for several decades, his influence spreading everywhere both north and south of the Yangzte, to the point that there was surely nobody left in the area who was unaware of his art. Once while Luo was explaining boxing methods, Zhu interrupted and asked what the hooking hand is for.
　　Master Luo smiled and said: “It’s just for sticking to the opponent’s hand, nothing special.” Zhu reached out his hand and told Luo to stick to it. Luo smiled and grasped his hand. Zhu asked him: “Are you grasping firmly?” Luo then became serious and gripped tightly, saying: “It is now. Try to escape.” Yelling with effort, Zhu used the methods of the “threading hand” and “sinking bridge” to attempt to break free of Luo’s grip.
　　The crowd thought Zhu was making a big deal out of a small issue anyway, and that he was now humiliating himself in trying to prove a pointless point. They watched him thread and sink, again and again. He could not budge at all, and in fact the grip only seemed to get tighter. They saw blood begin to drip from his wrist. He was now in extreme pain and begged Luo to release him.
　　Luo smiled and let him go. Zhu held his hand in his other and looked down at it to find that there were three deep pits in his flesh where Luo’s gripping fingers had been. He subsequently made more tests of Luo’s skill and then finally decided to formally become his student. He later joined myself and others as part of Luo’s inner circle of closed-door disciples.
　　Due to my youth at that time, I was full of curiosity and competitiveness. I heard that Zhu had learned many staff sets, so I wanted him to give me a few pointers, but he was not willing to share. One time after a class, Zhu was bragging about his marvelous staff skill. I was very inexperienced, having only learned about a third of the Liuhe staff set, but I could not hide the doubt on my face while listening to him. He stared at me quietly, without comment, then said: “Don’t believe it? Pick up your stick and try me.”
　　I was thrilled by the chance to get some pointers from him at last, so I eagerly took up my staff to spar with him. He started by thrusting straight toward me. I used my staff to smash down at his weapon, because in my innocence I could not think of anything else to do. This action continued by itself and turned into my staff tip sliding along his staff with a cutting effect, which unexpectedly dislodged his front hand and made him drop his staff onto the ground. My accidental victory made me in one way pleased, but in another way a little worried. I was pleased to discover that I had some aptitude for staff fighting after all, but worried because Zhu had learned so much and yet had less ability than I imagined.
　　I afterward asked Master Luo about this problem. He told me: “The reason you won is because your mind was fully committed to a single action, whereas there are so many techniques in Zhu’s mind that he doesn’t know which one to pick, making his actions hesitant and indecisive.” Zhu thereupon cast aside all the superfluous junk he had learned over the previous twenty years and devoted himself entirely to Mantis Boxing, a decision which ultimately became the key to his success in martial arts.
　　For more than twenty years now, I have devoted myself to martial arts, and throughout that time have quietly observed the tendencies of ordinary students. Beginners always want to learn a lot of stuff and quickly. They do not really care whether or not they are performing the material correctly, they just want to be able to know as many boxing and weapon sets as possible. It truly is an issue of trying to learn too much, of “quantity over quality”. By trying to learn too much, you will not only deny yourself the chance to study the principles and postures in better detail, you will also easily forget what you have already learned.
　　My fellow students have often asked me: “In your daily practice, you always pick certain sets to work on over others. If you neglect some sets for a long time because of this, don’t you worry you’re gonna forget them?” My answer is: “I never practice these sets just to maintain my memory of the movements, but to get stronger and more skillful at the techniques. When I learn a set in the first place, I work on it until it is second nature to me, imprinted forever in my mind. It wouldn’t make sense to leave the memorizing of it until later.”
　　During my first couple years of martial arts training, I learned only about ten sets altogether, including both boxing and weapons. Students nowadays are not so patient, wishing they could learn two sets in one day, and whenever they finish learning one, they might work on it for just a couple of days and then already ask me to teach them another one. Learning sets with such haste, it is hardly a surprise when they keep forgetting what the next movement is.
　　I have a maxim that I politely offer to all my fellow students: “Better to learn a little and practice it a lot than to learn a lot and practice little.” If you learn one set a month, spend ten days learning it and then twenty days practicing it. Those three weeks of practice will solidly ingrain it in your mind. If in this way you learn ten sets in ten months, spend another two months just practicing all you have learned so far, and then marvel at how much you have absorbed within a single year. That is already twice as fast as my own learning process was. This method ought to help correct the error of over-learning and under-practicing, thereby avoiding a situation of “the more you owe, the more you borrow, and the more you borrow, the more you owe”, until you end up so overwhelmed with debt that you go bankrupt. More is not necessarily better.

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