INTERCEPTION BOXING

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攔截拳
INTERCEPTION BOXING
山東蓬萊羅光玉老師授
as taught by Master Luo Guangyu of Penglai, Shandong
百粵黃漢勛編著及演式
text & performance by Huang Hanxun [Wong Honfan] of Guangdong
攝影者譚以仁　攝於一九五七年十一月八日
photographed by Tan Yiren on Nov 8, 1957

[translation by Paul Brennan, Jan, 2023]

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序
PREFACE

攔截拳簡短而清脆為螳螂拳中難得之傑構也。惟歷代祖師擇徒而傳者甚謹，因此習得者不多，漢勛且得傳於先師旣宣佈收山之後，初擬名為「蘭節」師且首肯此二字矣。後余最三陳說此二字之欠解且取饒有意義與近音之「攔截」二字而禀命於先師正之，師笑領曰：可嗣後即以斯為名矣，後之習者祈知之焉。
丁酉季秋旣望　五七年十一月八日
Interception Boxing is short and clear, a superbly structured practice set within the Mantis art. Previous generations of teachers were selective about who they taught it to. Consequently, there are not many practitioners who know it. I became one of the lucky ones when Master Luo shared it with me after he told me that he was going to go back to Shandong. According to Luo, the name for the set was originally written as 蘭節. [These words would oddly imply the “Ghost Festival” (中元節) or “Feast of All Souls” held in early autumn, the Buddhist name for it being 盂蘭盆會 or 盂蘭盆節, which usually gets abbreviated to 盂蘭節, and 蘭節 simply looks like a further abbreviation.]
　　After I had expressed my doubts several times about these being the correct words, I finally suggested to him that the far more logical 攔截 [same pronunciation, different characters] was what was intended and that we ought to change it. He laughed in acknowledgement and said: “Yes, pass it down that way from now on.” I hope future generations of practitioners will also agree with my reasoning.
　　- 34th year of the cycle, last month of autumn, 16th day (i.e. Nov 7, 1957)

[Included below is a comment from Huang’s Revised Posture Lists (published 1959), in which he touched upon this point again.]

攔截拳，陳震儀兄亦云是「蘭節」拳，余乃大不謂然，後叩諸先師亦證實為「蘭節」二字始合，余廿餘年來念念不忘於蘭節二字之推研，始終未得其眞意所在，因此余在初版「拳譜」時未敢將此譜刋出，今不顧一切毅然改之為「攔截」旣為諧音相同而又與拳法大多吻合之處，余將來有機會將此拳出版時必加蘭節二字以待有志硏習斯拳者多一引證也
About Interception Boxing, my “elder brother” Chen Zhenyi pointed out that it was originally written as 蘭節 rather than 攔截, corroborating what Master Luo had told me. After contemplating the use of 蘭節 for more than twenty years, I am still convinced that 攔截 was what was really intended. Because of this issue, I could not bring myself to include this set among the other sets when I published the first version of Mantis Boxing Posture Lists (1953).
　　I have since decided to throw caution to the wind and boldly include it in the updated version. The pronunciation of 攔截 is the same as 蘭節, but it sure seems to have a lot more to do with martial techniques than 蘭節 does. If in the future I have the opportunity to publish my book about this set, I will make sure to include this point about the original name so that serious practitioners will have verification of what it was and why I changed it.

–

[Note about the photos below: Postures 1, 5, 11, 22, 24, and 28 are not represented by photos from 1957, either because those photos were lost, did not turn out, or were neglectfully not taken in this first place. These half dozen photographic gaps were filled fifteen years later by new photos, which appear to have been taken on the same day as the photos for Linked Brocade Boxing.]

第一式：四平雙蓄勢
Posture 1: FOUR-LEVEL POSTURE, BOTH FISTS STORING POWER

說明：
Explanation:
雙腳靠攏，雙手握拳收緊於腰脅之間，使氣力充盈以俟拳式之展開焉。如『第一圖』
Stand facing west, feet together, your hands grasping into fists and pulling back tightly against your ribs, thereby filling yourself with energy in readiness to perform the boxing movements. See photo 1:

功用：
Application:
僅能增進氣力之集中實未克以言於實用也。
This posture is just for concentrating one’s energy and cannot really be said to have a function as a fighting technique.

第二式：騎馬式挑掌
Posture 2: HORSE-RIDING STANCE, CARRYING PALMS

說明：
Explanation:
循上式，先移開左腳以成馬式之勢，雙拳化掌分右長左短向面前挑出，如『第二圖定式』
Your left foot shifts out to the left to make a horse-riding stance as your fists become palms and go out forward with a carrying action, your right hand at long range, left hand at short range. See photo 2:

功用：
Application:
對方擬自我頭上劈下一拳，我即開馬用長短排掌法以作抵禦。
The opponent sends a fist chopping down toward my head, so I promptly step out into a horse-riding stance and send out my palms – one at long range, one at short range – to resist his attack.

第三式：七星右劈掌
Posture 3: BIG-DIPPER STANCE, RIGHT CHOPPING PALM

說明：
Explanation:
循上式，先殿右腳，左腳開前以成左七星步，左手後循右臂之上抹出，右掌則趁勢收後，再向前斜斜劈出，至終點則以左掌迎送之，如『第三圖定式』
First your right foot stomps down as your left hand wipes along the top of your right arm, your right hand withdrawing, then your left foot steps out forward as your right hand chops out forward diagonally, your left palm catching the right wrist area as your right hand reaches its final position. See photo 3:

功用：
Application:
彼欲握制我右掌，我乃先用左掌抹消之，再乘機用掌劈向彼之頸項間。
The opponent tries to grab my right hand, so I first use my left palm to wipe his hand away, then take advantage of the opportunity that consequently appears by using my right hand to chop his neck.

第四式：左右雙刁手
Posture 4: DOUBLE HOOKING HANDS

說明：
Explanation:
循上式，原步略向前挺進，雙手化作刁手向左右太陽穴上拖起，如『第四式定式圖』
Maintaining your stance, your feet slightly advance as your hands become hooking hands and spread apart to the sides, pulling back and rising up to be over your temples. See photos 4a [side view] & 4b [front view]:

功用：
Application:
彼招開我劈掌後即用雙拳向我左右太陽穴位撞來，我即化雙刁手消去之。
The opponent has blocked my chopping palm and now sends both fists to smash my temples, so I promptly make hooking hands to dispel his attack.

第五式：入環雙屯掌
Posture 5: KNEELING STANCE, DOUBLE BRACING PALMS

說明：
Explanation:
循上式，原步標前化成左入環步，雙刁手向下化為雙掌中心衝出，如『第五定式圖』
Dart forward into a left kneeling stance as your hooking hands lower, becoming palms, and thrust out straight ahead. See photo 5:

功用：
Application:
我旣消去彼雙捶後即緊食來勢標入，順勢用雙掌向彼胸部推之。
As soon as I dispel the opponent’s double punch, I take advantage of the resultant opening by darting forward and using both palms to push his chest.

第六式：肘底左看爪
Posture 6: HIDING THE RIGHT CLAW UNDER THE LEFT ELBOW, SHOWING THE LEFT CLAW

說明：
Explanation:
循上式，先蹺起左腳以成左七星步，雙手化成刁手，右下而橫，左上反肘而曲，其勢向前打出，如『第六定式圖』
Your body rises up and your left foot goes forward to make a left big-dipper stance as your hands form hooking hands, your right hand going across to the left and downward, your left arm bending inward and then extending outward above, the wrist striking out forward, the elbow staying slightly bent. See photo 6:

功用：
Application:
我先變步，並且先用右手封住來手，然後以左手反爪迎面打去彼臉部。
Adjusting my stance, I use my right hand to seal off the opponent’s incoming hand and then send out my left hand with a wrist strike to his face.

第七式：肘底右看爪
Posture 7: HIDING THE LEFT CLAW UNDER THE RIGHT ELBOW, SHOWING THE RIGHT CLAW

說明：
Explanation:
循上式，進右腳以成右七星步，左刁手橫收於右肘之下，右刁手曲肘反手向上打出，如『第七定式圖』
Your right foot advances to make a right big-dipper stance as your left hooking hand goes across to the right to be placed under your right elbow and your right arm bends inward and then extends outward above, the wrist striking out forward, the elbow staying slightly bent. See photo 7:

功用：
Application:
與上式略同，祇左右連環性之作用耳。
Same as in the previous technique, except with left and right reversed.

第八式：七星前後掌
Posture 8: BIG-DIPPER STANCE, FRONT & REAR PALMS

說明：
Explanation:
循上式，進左腳以成左七星步，雙刁手化成雙掌自頭頂分前後一分，如『第八定式圖』
Your left foot advances to make a left big-dipper stance as your hooking hands become palms, rise toward your headtop, and spread apart to the front and rear. See photo 8:

功用：
Application:
彼以手來封我右刁手，我即進馬以左掌分去來手，且藉此連消帶打之法直劈彼面上。
The opponent sends out a hand to seal off my right hooking hand, so I advance and send out my left hand to both deflect his incoming hand and continue straight through with a chopping action to his face.

第九式：肘底左看爪
Posture 9: HIDING THE RIGHT CLAW UNDER THE LEFT ELBOW, SHOWING THE LEFT CLAW

說明　功用：
Explanation & Application:
俱與第六式同
Same as in Posture 6. See photo 9:

第十式：肘底右看爪
Posture 10: HIDING THE LEFT CLAW UNDER THE RIGHT ELBOW, SHOWING THE RIGHT CLAW

說明　功用：
Explanation & Application:
俱與第七式同
Same as in Posture 7. See photo 10:

第十一式：入環右撞爪
Posture 11: KNEELING STANCE, RIGHT CRASHING CLAW

說明：
Explanation:
循上式，循左轉身以成反後作前之勢，步乃成左入環步，右刁手由前作後，由上變下抽出之，並以左手迎送之，如『第十一定式圖』
Your body turns around to the left to make a left kneeling stance as your right hooking hand lowers and shoots out forward with a wrist strike, your left hand slapping against the forearm. See photo 11:

功用：
Application:
彼擬自我後方作突襲，我亦變馬反後作前向其下三路攻擊焉。
An opponent suddenly attacks me from behind, so I turn around and send an attack to his lower area.

第十二式：七星前後爪
Posture 12: BIG-DIPPER STANCE, FRONT & REAR CLAWS

說明：
Explanation:
循上式，殿右腳，左腳開前以成七星步，兩手俱化成刁手，右往頭上拖起，左向前打出，如『第十二定式圖』
Your right foot stomps and your left foot goes forward to make a big-dipper stance as your right hand pulls up over your head and your left hand, also becoming a hooking hand, strikes out forward. See photo 12:

功用：
Application:
彼避過我上式之下路攻擊後，反向我上方擊來，我即用右手拖消之，左手疾向彼面門擊去。
The opponent evades my low attack and counters by attacking me above, so I use my right hand to pull his incoming hand aside and quickly send out my left hand with a wrist strike to his face.

第十三式： 入環雙屯掌
Posture 13: KNEELING STANCE, DOUBLE BRACING PALMS

說明：
Explanation:
循上式，原步標變成左入環步，雙手同時化成掌，中平向前直揷而出。如『第十三定式圖』
Dart forward into a left kneeling stance as your hooking hands become palms and charge out straight ahead. See photo 13:

功用：
Application:
彼以我雙刁手頗為兇勇，因此意欲撤退以避，我不俟其退即跟馬攻用雙掌攻之。
The opponent is intimidated by the fierceness of my double hooks, so he decides to back off, but before he can get away, I am already chasing him and attacking with both palms.

第十四式： 登山單揷掌
Posture 14: MOUNTAIN-CLIMBING STANCE, CHARGING PALM

說明：
Explanation:
循上式，先殿右腳，進左腳為登山式，右手收腰，左手仍用掌向前直揷而出，如『第十四定式圖』
Your right foot stomps and your left foot advances to make a left mountain-climbing stance as your left hooking hand switches to a palm and charges out straight ahead, your right hand withdrawing to your waist. See photo 14:

功用：
Application:
彼再欲退步求脫離我之步步進擊，我仍一貫之連續性追逼之，因此乃有此式之攻勢也。
The opponent tries to retreat in order to escape my constant advancing, so I continue to pursue him, now employing this technique of pure attack.

第十五式：登山右補捶
Posture 15: MOUNTAIN-CLIMBING STANCE, RIGHT FILLING PUNCH

說明：
Explanation:
循上式，進右腳為右登山式，右拳以補捶法出擊，如『第十五定式圖』
Your right foot advances to make a right mountain-climbing stance as your right fist strikes out with a filling punch. See photo 15:

功用：
Application:
亦為連續進擊之法，亦即與一般補捶之法而已。
Continuing the motif of advancing attacks, a filling punch fits in quite well.

第十六式：出羣右蹬腿
Posture 16: SOLITARY GOOSE LEAVES THE FLOCK, RIGHT PRESSING KICK

說明：
Explanation:
循上式，全身往前躍出，至定式則已成獨立之勢時，右腳以蹬腿法直出，右手封手而返，左拳平出，如『第十六定式圖』
Your body hops forward [left foot, then right foot], finishing in a one-legged stance with the right leg extended straight out in the position of a pressing kick, as your right hand seals and pulls back, and your left fist goes out straight ahead. See photo 16:

功用：
Application:
手之運用之是與一般之「孤雁出羣」無二，但其後加一腳則尤覺增強攻勢不少矣。
For the hands, this is no different from the ordinary “leaves the flock” technique [seen in White Ape Leaves the Cave, Posture 44], but the inclusion of a kick in this case adds an element of simultaneous attacks.

第十七式：跌勢右疊肘
Posture 17: DROPPING INTO PLACE, RIGHT PILING ELBOW

說明：
Explanation:
循上式，此跌勢須先將站在地上之左腳跳離地面然後再全身如跌下之勢撲成斜形之左登山式狀，當步將成時右手曲肘疊下以成如『第十七定式圖』
First reorient your stance by shifting your left foot slightly outward with a tiny hop, then your whole body drops down with your right leg reaching back, making a diagonal left mountain-climbing stance, as your right elbow piles downward to the left, your left palm slapping against it. See photo 17:

功用：
Application:
跌勢是集合全身所有勁道，因此乃比其他疊肘法大為增強其壓下之力也。
This action of dropping down concentrates the power of the whole body, and therefore this kind of elbow technique has a greater downward force than other elbow techniques.

第十八式：七星右掯掌
Posture 18: BIG-DIPPER STANCE, RIGHT TRAPPING HAND

說明：
Explanation:
循上式，右腳移左以成為右七星步，雙手俱化成掌，右掌由前返內而擊，如『定式圖』
Your right foot shifts forward to the left to make a right big-dipper stance as your right hand strikes inward, striking with the back of the hand against your left palm. See photo 18:

功用：
Application:
彼擬漏手搶擊我之左身傍，我乃改用雙掌搌擊之也。
The opponent sends out a hand to attack the left side of my body, so I bring my hands together to strike his hand with a sandwiching effect.

第十九式：七星右撞爪
Posture 19: BIG-DIPPER STANCE, RIGHT CRASHING CLAW

說明：
Explanation:
循上式，原步標前仍如右七星式，右爪反手向前撞出，左手掌護於右肩之內，如『第十九定式圖』
Maintaining your stance, dart forward as your right hand forms a hooking hand and crashes forward with the wrist striking out, your left palm guarding at your right shoulder. See photo 19:

功用：
Application:
我輾擊彼來掌於先，彼必急謀掙脫也，於是我乃順步以陰爪撞擊之也。
As soon as I capture the opponent’s incoming hand, he will try to find a way to free it, so I immediately rush in and attack him with a wrist strike.

第二十式：肘底左看爪
Posture 20: HIDING THE RIGHT CLAW UNDER THE LEFT ELBOW, SHOWING THE LEFT CLAW

說明　功用：
Explanation & Application:
俱與第六式同
Same as in Posture 6. See photo 20:

第二十一式：肘底右看爪
Posture 21: HIDING THE LEFT CLAW UNDER THE RIGHT ELBOW, SHOWING THE RIGHT CLAW

說明　功用：
Explanation & Application:
俱與第七式同
Same as in Posture 7. See photo 21:

第二十二式：走步左措捶
Posture 22: HOPPING STEP, LEFT TWISTING HIS FIST

說明：
Explanation:
循上式，原步蹤身直出，仍為右七星步，當跳起時右手先封，左拳措之，如『第二十二定式圖』
Hop forward [left foot going forward, then right foot], finishing in the same stance, as your right hand seals and your left fist twists. See photo 22:

功用：
Application:
與一般措捶無異，但蹤步直出即寓有追擊之意而已。
This is no different from the ordinary “twisting his fist” technique [seen in Avalanche Steps, Postures 36 & 37], but in this case involving a hop forward and therefore adding an intention of pursuit.

第二十三式：走步右措捶
Posture 23: HOPPING STEP, RIGHT TWISTING HIS FIST

說明：
Explanation:
循上式，再原步蹤跳而前，仍為右七星步，左先封而用右拳措之，如『第二十三定式圖』
Again hop forward, again finishing in the same stance, as your left hand seals and your right fist twists. See photo 23:

功用：
Application:
與式同，祇左右與連續之別耳。
Same as in the previous technique, except with the hands reversed left and right.

第二十四式：騎馬雙刁手
Posture 24: HORSE-RIDING STANCE, DOUBLE HOOKING HANDS

說明：
Explanation:
循上式，從左方轉身以成騎馬式，雙手化刁為左長右短抅去，如『第二十四定式圖』
Turn around to the left to make a horse-riding stance as your fists become hooking hands and hook aside to the left, your left hand at long range, your right hand at short range. See photo 24:

功用：
Application:
彼欲自我後方施暗襲，我迅即改後方作前方，並用左右長短之刁手封擊之。
An opponent comes to attack me from behind, so I quickly turn around and use hooking hands to seal off his attack, my right hand at short range, left hand at long range.

第二十五式：左圈左蹬腿
Posture 25: LEFT SWINGING PUNCH, LEFT PRESSING KICK

說明：
Explanation:
循上式，全身疾起，凌空蹬出左腿，同時左橫捶圈過右方，如『第二十五定式圖』
Your body leaps up, your right foot coming down forward where your left foot was, as your left hand becomes a fist and swings across to the right and your left foot goes out with a pressing kick. See photo 25:

功用：
Application:
彼往後疾走，我乃躍跳而前以超之，且用上下齊施之法分襲之。
The opponent quickly backs off, so I leap forward to chase him and send out simultaneous attacks above and below.

第二十六式：登山左崩捶
Posture 26: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

說明：
Explanation:
循上式，左腳落地以成登山步，先右手封去，再以左拳曲肘反拳打出，如『第二十六式定式圖』
Your left foot comes down to make a left mountain-climbing stance as your right hand goes out with a sealing action and then your left fist strikes out as a backfist, the elbow staying slightly bent. See photo 26:

功用：
Application:
彼欲漏手接去我腿，我迅即落地用崩捶迎頭擊落。
The opponent sends out a hand to sweep my leg aside, so I quickly bring my foot down and send an avalanche punch striking downward to his face.

第二十七式：七星左刁手
Posture 27: BIG-DIPPER STANCE, LEFT HOOKING HAND

說明：
Explanation:
循上式，原步化成左七星式，右拳收腰部，左手化成刁手，如『第二十七定式圖』
Sit back into a left big-dipper stance as your right fist withdraws to your waist and your left fist switches to a hooking hand. See photo 27:

功用：
Application:
彼漏過我崩捶後並自我左方撥擊我耳部，我乃虛步刁去之。
The opponent evades my avalanche punch by slipping away to my left side and counterattacks to my left ear, so I sit back and hook his hand aside.

第二十八式：七星右補捶
Posture 28: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

說明：
Explanation:
循上式，進右腳以成右七星步，右拳自腰間直出以補捶法以打成如『第二十八定式圖』
Your right foot advances to make a right big-dipper stance as your right fist strikes straight out from your waist with a right filling punch. See photo 28:

功用：
Application:
我旣刁得來手即進馬用右捶以襲擊之也。
Once I have hooked aside the opponent’s incoming hand, I counterattack by advancing and sending out a right punch.

第二十九式：蹤跳右劈軋
Posture 29: HOP FORWARD, RIGHT CRUSHING CHOP

說明：
Explanation:
循上式，先拍埋左腳以成立正之勢，左掌撇出右拳鋒外，如「過渡式圖」
Your left foot stomps down next to your right foot as your left palm flings out over your right fist. See photo 29a:

再兩腳拍齊全身躍起殿落後右捶以橫勢軋式劈落如『第二十九定式圖』
With both feet stomping down together, your whole body hops forward as your right fist chops down diagonally. See photo 29b:

功用：
Application:
彼以手封牢我右拳，我先用左手撇消之，再全身跳起用右拳橫殺彼頭上。
The opponent sends out a hand to seal off my right fist, so I fling out my left hand to clear his hand away, then hop forward and use my right fist to smash his head.

第三十式：蹤跳雙封手
Posture 30: HOPPING FORWARD, DOUBLE SEALING HANDS

說明：
Explanation:
循上式，左右手分陰陽封去，再全身跳起以成獨立之勢，如『第三十定式圖』
Your hands both perform sealing, left hand with the palm side facing upward, right hand with the palm side facing downward, as your whole body hops forward into a right one-legged stance. See photo 30:

功用：
Application:
彼偷手攻我面部，我即搶封之，再跳起以備出腳擊之。
The opponent sneaks out a hand to attack my face, so I snatch his arm and seal it off as I hop forward into a position of being ready to lash out with a kick.

第三十一式： 獨立右疊肘
Posture 31: ONE-LEGGED STANCE, RIGHT PILING ELBOW

說明：
Explanation:
循上式，原步不變，右手曲肘向左方疊去，如『第三十一定式圖』
With your stance not changing, your right elbow bends and does a piling action to the left, your left hand slapping against it. See photo 31:

功用：
Application:
我旣封得來手即連續用右疊肘法疊壓之。
Once I have sealed off the opponent’s incoming hand, I continue into a right piling elbow to press down on him.

第三十二式：繞掌右滾膀
Posture 32: ROLLOVER PALM, RIGHT ROLLING FOREARM

說明：
Explanation:
循上式，原步未動，先將右肘化掌平出，繞過右後方，如「過渡式」。
With your stance still not changing, your right elbow straightens, sending your right palm out until it is straight ahead. See photo 32a:

再落右腳為右入環步，右手再由掌化作拳而曲肘橫推而出，斯即滾膀矣，如『第三十二式定式圖』
Your right hand continues to roll through downward to the right rear, then as your right foot comes down to make a right kneeling stance, your right arm bends in and pushes out with the forearm, your hands becoming fists, your left fist assisting at your right wrist. See photo 32b:

功用：
Application:
繞掌是先掠去來手，其手旣去彼中下部即洞開矣，我再用滾膀法推去之。
The rollover palm sweeps aside an incoming hand from the opponent, which exposes his middle and lower area, so I then roll my right forearm into place and push him away with it.

第三十三式：入環左滾膀
Posture 33: KNEELING STANCE, LEFT ROLLING FOREARM

說明：
Explanation:
循上式，原步轉過左後方以成左入環步，亦以左滾膀法推出，如『第三十三定式圖』
Turn around to the left to make a left kneeling stance and push out with your left forearm, your right fist assisting at your left wrist. See photo 33:

功用：
Application:
與上式及一般滾膀無異。
Same method of pushing out as in the previous technique.

第三十四式：入環右滾膀
Posture 34: KNEELING STANCE, RIGHT ROLLING FOREARM

說明：
Explanation:
循上式，進右腳以成右入環步，再用右滾膀推出，如『第三十四定式圖』
Your right foot advances to make a right kneeling stance and you again push out with your right forearm, left fist at right wrist. See photo 34:

功用：
Application:
與上式為連環亦與一般滾膀相同矣。
Same method of pushing out as in the previous technique, the two postures performed together as a continuous flow.

第三十五式：騎馬式挑掌
Posture 35: HORSE-RIDING STANCE, CARRYING PALMS

說明：
Explanation:
循上式，先將右腳向右後方撤成騎馬式，右拳化掌以與左掌向上挑起，如『第三十五定式圖』
Your right foot withdraws to the right rear to make a horse-riding stance as your hands become palms and go upward with a carrying action, right hand at long range, left hand at short range. See photo 35:

功用：
Application:
挑掌專為抵禦上來手者，但亦此拳之收式也。
The purpose of carrying is to block the opponent’s incoming hand upward. This also serves as the concluding posture of the set.

（完稿於丁酉十月初一日上午十一時五十五分）
(Manuscript completed in the 34th year of the cycle, 10th month, 1st day [i.e. Nov 22, 1957] at 11:55 AM.)

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

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心戰與術戰
PSYCHOLOGICAL FIGHTING & PHYSICAL FIGHTING

孫子云攻敵攻心為上策，攻城陷地殺人盈野者策之下也，拳腳交攻之際，尤兩軍之對壘焉，謀定然後動致勝之道也。
心戰者亦戰略之一也，心靜則氣不浮，是必可從容應敵，則縱橫如意，所往莫禦矣，武經又曰知己知彼，百戰百勝，試觀漢高祖以百戰百敗之師，於垓下一戰而定天下，使心高氣浮如羽者亦功敗垂成可為一例也。
估敵太高足使我為之氣衰，銳氣一減，雖有高妙技術亦難於施用，視敵過低則易招輕敵致敗之弊，然則高旣不可，低亦不能，究以何者為合乎，曰，先置諸難勝，以求不敗之心庶乎近矣。
戰端一啓心無傍鶩，亦可奏專心致意克敵致果之功，知彼之長，使無機可逞，察彼之短用我所長何愁強敵當前耶。
術戰者極盡全身上下四肢各部之所能，配以巧妙之法門，長短兼施，剛柔互用，長則無遠弗至，短則肩肘膝臀淋漓盡致，剛似泰山壓頂，柔若曲水浸紗，開、閉、閃、賺、騰、挪，各盡其妙。
進則翻車轆轆，迎面直統使無堅不摧，退亦步步有法，飄忽有若猴隼，毋使敵有可乘之機，則我心術兩戰之功為不虛矣。
Sunzi explained that the superior strategy is to attack the enemy’s morale and that to lay siege to his cities and slaughter his troops is an inferior scheme. [This paraphrasing is probably drawing from this passage from Art of War, chapter 3: “The best strategy is to upset his strategy, second best is to sway his allies, third to chop his armies, and worst is to attack his fortifications, which is purely last resort.” However, the statement actually seems closer to Records of the Elders of Xiangyang, in which this quote is attributed to General Ma Su: “Better to attack his morale than attack his cities. Better to engage in a battle of wits than a battle of armies.”] Fighting with fists and feet is a similar situation to two armies meeting on the battlefield. Settle upon a strategy and then set it in motion to achieve victory.
　　One such strategy is to address the psychological aspect of fighting. Quiet your mind and control your temper, then you will be able to deal with your opponent calmly, acting with such ease and efficiency that he cannot defend against any of your techniques. As it says in the military literature [Art of War, chapter 3]: “Knowing both self and opponent, you will win every time.” Consider the example of Liu Bang and his rival Xiang Yu. Liu Bang had become known as the “Always Defeated”, yet through composure and patience, he was finally victorious at the crucial Battle of Gaixia, which resulted in him becoming emperor, whereas the arrogance and temper of Xiang Yu brought about his own downfall just when he had been at the brink of success.
　　Overestimating the opponent’s skill will weaken your morale and hence diminish your aggressiveness [in effect tricking yourself into giving up before the fight even begins], and even if your own skill level is quite high, you will resignedly not rally yourself into making proper use of it. On the other hand, underestimating his skill will make it easy for you to fall into traps that you otherwise would not, and you will end up losing simply from not taking him seriously enough. In either case, you fail. The best balance is struck when you assume every opponent will be difficult to beat and at the same time you cultivate a mindset of refusing to lose. When a fight begins, you must not be distracted by anything. Focus your mind entirely on the task of defeating your opponent. Know his strengths in order to keep him from having opportunity to exploit them. Observe his weaknesses in order to capitalize on your own strengths. You will then have nothing to fear even from a stronger opponent.
　　The physical aspect of fighting requires being able to employ your entire body, upper and lower, all four limbs, every part, and pairing this with skillful methods, such as alternating between long range and short range, and using both hardness and softness. At long range, let there be no distance that you cannot reach. At short range, make full use of your elbows and knees, your shoulders and hips. Hardness: a mountain crushing his head. Softness: yielding like water, absorbing like gauze. Further subtleties include actions such as opening and closing, and having the constant readiness of a coiled spring, the suddenness of lightning. When advancing, use wheeling or winching or thrusting straight ahead, techniques that nothing can stand up against. When retreating, be as nimble as a monkey or falcon, never giving him any opportunity to take advantage of. The two approaches of mental and physical will thus never let you down.

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疲勞戰法
THE STRATEGY OF EXHAUSTING THE OPPONENT

當準備搏鬥之初，凡熟於戰法者必先細察敵之外表，易於動怒或臉呈兇殺之氣者，與夫奮勢蓄拳者皆莽夫耳，無足深懼，聲和氣柔婉轉相俟及鎭靜如處子者俱不可輕侮也，先祗用虛手方式，在欲進若退之間以探其眞偽，其虛實剛柔之法為我瞭然，則破敵自易，研練拳擊之道者不可少之法則也，然則疲勞之法為何？
曰敵比我臺型優異，氣力雄猛，穩健逾常至屢攻不下者，則我非採疲勞戰法難克頑敵也，將我全身應有之氣力隱藏，使敵無法發現我主力何在，便無被擊破重點之可能，並且極盡誘惑之能事，以引動其出擊，逐漸消失至實力，在一靜一動之比例，其相去奚止霄壤，糾纏至筋疲力竭之時，彼必求有所息止，唯我須把握時機步步緊逼，彼欲停則我進，彼用眞我以假應之，困攪至再衰三竭之時，則我疲勞戰法之目的達矣，（孫子兵書云以逸待勞之法亦如是而已）苟此法為敵所施與則我須另尋別法應付，勿以一己之見以為天下莫敵，須知世上許多剃人頭者，人亦剃至頭，兵兇戰危，能勿以息事寧人之計高矣。
When preparing to fight, a good strategist first observes the opponent’s behavior. One who easily loses his temper, wears a murderous look on his face, is eager to lash out, and keeps clenching his fists will tend to act recklessly and is not worth fearing, whereas one who is soft-spoken, polite, patient, and as calmly reserved as a chaste maiden should never be underestimated. Start by distracting the opponent with fake techniques, seeming to be about to advance and then backing off, in order to tease out his real abilities. If the principles of emptiness and fullness, hardness and softness, are clear to you, then you will easily defeat him. But there is one indispensable rule in martial arts: exhaust the opponent.
　　If the opponent happens to be better than you, stronger and sturdier, and your attacks have no effect, it would be difficult to defeat him unless you employ the strategy of exhausting him. Conceal the strength of your whole body so that he has no way of knowing where the majority of your strength might be at any moment, thus taking away his capacity to wreck your balance, while at the same time giving you the ability to lure him into bad positions. Rile him up and make him attack only to miss over and over, gradually sapping his strength. Staying in a state of calm while he is brought to the brink of agitation, you become as distinct from each other as soil and clouds.
　　Once he has been harassed to the point that he is worn out, he will start to look for a way to quit, but you must instead take advantage of the opportunity and gradually close in on him. As soon as he wishes to stop, advance. While he is using real techniques, respond with more fake techniques, draining his energy further, until the strategy of exhausting him has succeeded. This strategy comes from The Art of War [chapter 7]: “Calmly await the enemy’s exhaustion”.
　　If the opponent himself employs this strategy against you, then you will have to switch to yet another tactic. Never imagine that any strategy is invincible. Contemplate this [quoting from the early Qing Dynasty “Head-Shaving Song” about the Manchus mandating that every Chinese man have the front half of his head shaved and wear the pigtail behind]: “There are those who cut hair and those who get their hair cut.” [i.e. There are those who control, those who are controlled.] But also this [quoting from Chao Chuo’s “A Few Words on Military Affairs”]: “With soldiers wielding such fiendish weapons, battle is a risky endeavor. [It is liable to diminish the great, weaken the strong, and drag nobles down to the level of commoners.]” Sometimes a bit of compromise to bring a quarrel to an end faster might be the best plan.

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應付彈性防禦與疲勞戰法
RESPONDING TO ADAPTIVE DEFENSE BY WEARING THE OPPONENT DOWN

遭遇著俗語所謂（軟皮蛇）之彈性防禦法，與夫疲勞戰術，我雖雄猛絕倫將見無用武之地，苟不別尋善法將難保其不敗也。
（孫子云）知己知彼，百戰百勝，知己之能駕彼之上，知彼之弱為可破者，若如是則可採速戰速決策畧，集中全力以期一鼓破之，不克，亦當留有餘力以作最後之撐持，毋使一蹶不能復振，雖小敗亦不至塗地斯為下策。
彼不攻，我不進，彼不動，我不動，彼以靜待我，我亦以靜處之，將見其心勞日絀，徒勞無功，抑亦以其人之道以治其人，是為策之中也。
彼欲動，我先動，彼欲進，我先進，彼以假誘我，我以眞制之，著著搶先，步步競快，彼欲輕剛襲我，我用重剛應之，吾人苟能體昧斯旨又何畏乎軟皮蛇哉。
You may encounter an opponent who is skillful at adapting, someone using such methods being commonly called a “supple snake”, and the best way to deal with him is to tire him out. Even if you have great strength, you may see there is no way to make use of it in certain situations, and thus if you do not find better methods, you will have no guarantee of success.
　　Sunzi said: “Knowing both self and opponent, you will win every time.” Knowing your own strengths, you will be able to confront him, and knowing his weaknesses, you will be able to defeat him. You can then adopt decisive blitzkrieg tactics, focusing all of your power to quickly vanquish him. Even if you cannot win right away, you should still have plenty of energy to try again. Do not let any setbacks demoralize you. Minor failures should never be allowed to lead you into total defeat. That would be bad strategy indeed.
　　If he does not attack you, do not approach him. If he does not move, do not move either. If he is waiting for you in stillness, also wait in stillness. Cause him to overthink and make bad decisions, wasting his energy and achieving nothing, so that everything he tries to do to you just rebounds upon himself. This is a much better strategy.
　　When he is about to act, act first. When he is about to advance, advance first. He may try to use fake techniques to lure you in, but you use real techniques to take control. Always get there before him, quicker than him. When he adds more lightness to his movement to try to catch you by surprise, add more heaviness to your response. As long as you can hide your intentions, there is no need to fear the opponent’s variations.

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