EIGHTEEN ELDERS

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十八叟拳
EIGHTEEN ELDERS BOXING SET
著作者：黄漢勛
by Huang Hanxun [Wong Honfan]
繪圖者：鄭祥　攝影者：譚以仁
postures drawn by Zheng Xiang, based on photographs taken by Tan Yiren
出版者：香港精武體育會國術部
published by Hong Kong Jingwu Athletic Club – Martial Arts Department
[1954]

[translation by Paul Brennan, March, 2018]

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十八叟拳
Eighteen Elders Boxing Set
黃漢勛編並誌
– calligraphy by Huang Hanxun

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十八叟拳形勢圖　黃紀强會
Posture Map for the Eighteen Elders Boxing Set (drawn by Huang Jiqiang):

S
南
W  西      東   E
北
N

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[AUTHOR’S PREFACE]

羅師授技時。是先教十八叟。而後授揷拳也。余今著述螳螂拳叢書。乃反而行。人或有怪之者。惟余因適應一般需求。故不淂不如此耳。且著述與教授為兩件事。余謹于此致意焉。
十八叟之『叟』字。初有人稱之為『手』字後幾經羅師解釋。始知叟字為合。蓋螳螂拳滙合各家共數為十八家。北方人稱之為十八個老頭。即十八個老叟之謂。故十八叟一拳。是紀念其創十八家拳術之勞績也。
十八叟乃左右最平均之基本拳極適宜於初學者之練習。今繼揷拳之後。刋印備作學者之参攷云爾。
When Master Luo [Guangyu] gave instruction in this art, he first taught the Eighteen Elders boxing set and then the Charging Punches boxing set. But in writing the Mantis Boxing Book Series, I reversed their order [Charging Punches being Vol. 6, Eighteen Elders being Vol. 7]. People may say this is strange, but I felt I had to do it in this way to suit popular demand. Furthermore writing about the sets and teaching them are two different things, and I am careful to distinguish between the two [i.e. the order of publication does not affect the order of the teaching curriculum].
　　The “elders” of Eighteen Elders was originally thought by people to be “hands”. [The words 叟 (elders) and 手 (hands) have a similar pronunciation in Mandarin and an identical pronunciation in Cantonese, leading to a natural confusion.] After repeated explanation from Master Luo, it was finally understood that “elders” is more fitting. This is because Mantis Boxing is a merging of various styles, eighteen in total. Northerners call the masters of those styles the “eighteen old men”, meaning the “eighteen venerable gentlemen”, and therefore naming a boxing set “Eighteen Elders” is a way of paying homage to the achievements made in those eighteen styles of boxing arts.
　　Eighteen Elders is a fundamental boxing set, working left and right pretty equally, and so it is very suitable for beginners to practice. Following on from my book on the Charging Punches set, this set is now ready to be published for students to study.

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十八叟拳名稱
NAMES OF THE POSTURES IN THE EIGHTEEN ELDERS BOXING SET

中平雙蓄勢
[1] STANDING STABLY, BOTH FISTS STORING POWER
七星左刁手
[2] BIG-DIPPER STANCE, LEFT HOOKING HAND
七星右劈軋
[3] BIG-DIPPER STANCE, RIGHT ROLLING CHOP
提腿封統捶
[4] LIFTING LEG, SEAL & THRUST PUNCH
登山右叠肘
[5] MOUNTAIN-CLIMBING STANCE, RIGHT PILING ELBOW
登山右崩捶
[6] MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH
右抅摟採手
[7] RIGHT GRAB & PULL CATCHING TECHNIQUE
七星挑補捶
[8] BIG-DIPPER STANCE, CARRYING, FILLING PUNCH
呑塌右低牽
[9] ABSORB & SINK STANCE, RIGHT DOWNWARD DRAGGING
登山右崩捶
[10] MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH
七星右刁手
[11] BIG-DIPPER STANCE, RIGHT HOOKING HAND
七星左劈軋
[12] BIG-DIPPER STANCE, LEFT ROLLING CHOP
提腿封統捶
[13] LIFTING LEG, SEAL & THRUST PUNCH
登山左叠肘
[14] MOUNTAIN-CLIMBING STANCE, LEFT PILING ELBOW
登山左崩捶
[15] MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH
左抅摟採手
[16] LEFT GRAB & PULL CATCHING TECHNIQUE
七星挑補捶
[17] BIG-DIPPER STANCE, CARRYING, FILLING PUNCH
呑塌左低牽
[18] ABSORB & SINK STANCE, LEFT DOWNWARD DRAGGING
登山左崩捶
[19] MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH
七星左刁手
[20] BIG-DIPPER STANCE, LEFT HOOKING HAND
七星右補捶
[21] BIG-DIPPER STANCE, RIGHT FILLING PUNCH
撤步左躱剛
[22] WITHDRAWING STEP, LEFT DODGING HARDNESS
撤步右躱剛
[23] WITHDRAWING STEP, RIGHT DODGING HARDNESS
登山雙撞捶
[24] MOUNTAIN-CLIMBING STANCE, DOUBLE RUSHING PUNCHES
提步封統捶
[25] LIFTING LEG, SEAL & THRUST PUNCH
登山右叠肘
[26] MOUNTAIN-CLIMBING STANCE, RIGHT PILING ELBOW
登山刁劈捶
[27] MOUNTAIN-CLIMBING STANCE, HOOK, CHOPPING PUNCH
右抅摟採手
[28] RIGHT GRAB & PULL CATCHING TECHNIQUE
七星番車式
[29] BIG-DIPPER STANCE, ROLLING TECHNIQUE
七星左刁手
[30] BIG-DIPPER STANCE, LEFT HOOKING HAND
七星右補捶
[31] BIG-DIPPER STANCE, RIGHT FILLING PUNCH
裡纒絲軋腿
[32] INWARD TWINING SILK, CRUSHING KICK
掛統躱腿式
[33] HANG & THRUST PUNCH, SUDDEN KICK
七星右劈軋
[34] BIG-DIPPER STANCE, RIGHT ROLLING CHOP
雙刁右揪腿
[35] DOUBLE HOOKING, RIGHT SCOOPING KICK
雙封手揷掌
[36] DOUBLE SEALING HANDS, CHARGING PALM
引針右腰斬
[37] DRAWING THE NEEDLE AND SLASHING THE WAIST
登山左圈捶
[38] MOUNTAIN-CLIMBING STANCE, LEFT SWINGING PUNCH
登山左崩捶
[39] MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH
七星左刁手
[40] BIG-DIPPER STANCE, LEFT HOOKING HAND
七星右補捶
[41] BIG-DIPPER STANCE, RIGHT FILLING PUNCH
跨虎捕蟬式
[42] SITTING-TIGER STANCE, CATCHING A CICADA

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第一式　中平双蓄勢
Posture 1: STANDING STABLY, BOTH FISTS STORING POWER

說明
Explanation:
此中平勢為螳螂拳極普遍之開式。兩足緊靠。兩手握拳向上抽起。以兩肘不外挺為合。但不可抽之太髙。
This posture of standing stably is the most common opening posture in Mantis Boxing. With your feet next to each other, your hands grasp into fists and draw upward. To keep your elbows from sticking out, you must not pull your fists up too high. See drawing 1:

功用
Application:
為未展式之準備。無功用可言。
This is a preparation before performing the movements, with basically no other function to speak of.

第二式　七星左刁手
Posture 2: BIG-DIPPER STANCE, LEFT HOOKING HAND

說明
Explanation:
左腳向左開前成七星步左手自腰出。向外刁。右手右足不動。肘向下沉。以管朿此勢之不浮。
Your left foot steps out forward to the left to make a left big-dipper stance as your left hand leaves your waist to hook outward, your right hand and right foot staying where they are. Your left elbow is sinking down to keep the posture from having a floating quality. See drawing 2:

功用
Application:
彼欲以虛手探我重點所在。我不防將計就計亦以虛應之。彼虞我詐終使彼失望也。若虛來實招正中彼懷耳。我出一刁手者。實採觀望之策。彼以實纒。我當以實輔此之不足也。
The opponent tries to use a feint to find out where I am vulnerable. As I am unprepared to engage, I beat him at his own game by likewise responding with a feint. As his attempt to trick me amounts to nothing, this makes him feel disappointed. If he were to do a feint and it induced me to commit to a real technique, he would win the exchange, and so I send out a hooking hand just to find out what he is up to. If he was doing a real attack, I would have to follow up with a real technique, for this posture would not be enough to end the situation.

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

說明
Explanation:
進右步成右七星式右手自腰提起向前直劈而下。與左掌相碰即發出。逼卜之聲。劈手旣定左掌亦貼右肩以資維護
Your right foot advances to make a right big-dipper stance as your right hand lifts from your waist and goes forward with a downward chop, your left palm striking against it with an audible crack. By the time the chopping technique has reached its completed position, your left hand is guarding at your right shoulder. See drawing 3:

功用
Application:
上式為虛手作試探之用。繼而用剛手為前式之殿也。練時用時此兩式互相聯繫之準備。亦即先柔後剛相連引用之着也。
The hand technique in the previous posture is insubstantial, the purpose being to find out about the opponent, and then I continue from it by sending forth a solid attack. Whether during practice or actual application, these two postures are meant to be linked together, making a combined technique that first has a softness and then a hardness.

第四式　提腿封統捶
Posture 4: LIFTING LEG, SEAL & THRUST PUNCH

說明
Explanation:
左脚不動。右脚提起。以膝平為標準。成獨立式。右臂之手向前作封手。與提腿之同時往後拖。收囘腰部。左拳与右手互相交替。平線直出至盡為止。
Your left foot stays where it is and your right foot lifts so the knee is level, making a one-legged stance. At the same time, your right hand does a sealing action in front and then pulls back to your waist as your leg lifts, your left fist going straight out until it has switched places with your right hand. See drawing 4:

功用
Application:
前式由彼首部劈落為勢太兇。彼不淂不以橫手迎架。故主動為我所得。右手乘便而反封淂彼手向己右方拖返。其勢彼將隨我手而傾前。故我以左拳擊彼臉部。使彼失去招架之機會。
In the previous technique, my chop to the opponent’s head comes down with such ferocity that he has no choice but to use a hand to block it across, so I take charge of the situation by sealing his hand with my right hand and pulling it to my right side, which causes him to lean forward, and then using my left fist to strike to his face before he has a chance to block.

第五式　登山右叠肘
Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT PILING ELBOW

說明
Explanation:
將提起之右脚踏下成右登山式。右手自腰部曲肘叠下。左掌向上迎之。
Your right foot comes down to make a right mountain-climbing stance as your right hand goes from your waist, the elbow bending and piling downward, your left palm going upward to meet it. See drawing 5:

功用
Application:
當我右衝捶擊彼臉部時。彼當全力架拒。否則祗此一着彼己難消受矣。彼來迎之手又為我握着。再以純剛之叠肘法。傾動全身之勢壓下。使彼難於解禳。
When my right [left] thrust punch attacks the opponent’s face, he puts all his strength into blocking it, for if he does not, it would take only that one technique to make it difficult for him to continue. I now grab his incoming hand and then employ a piling-elbow technique using a pure hardness, pressing downward with a full-body leaning action, making it difficult for him escape his new misfortune.

第六式　登山右崩捶
Posture 6: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

說明
Explanation:
原步不變。左手向前自上而下封。右捶由內反出是為崩捶。
With your feet staying where they are, your left hand goes forward, sealing downward from above, and your right fist goes out from the inside, performing an avalanche punch. See drawing 6:

功用
Application:
叠肘為中路之硬壓法。專叠『破骨千斤』但彼若以沉肘法解禳。我當無奈伊何唯當一沉一消之空間。其上路必感空虛。我突以迎面崩下。襲彼上路。斯為攻其無備之要着也。
The piling elbow is a method of applying hard pressure to the opponent’s middle area, focusing on the quality of “breaking bones under the weight of a thousand pounds”. But if he uses a method of sinking my elbow down to divert his fate, I have no choice but to go along with him into the space into which he is sending my elbow away, and since he is thereby emptying above, I suddenly send an avalanche punch downward to his face, making a surprise attack to his upper area. This is a key technique for “attacking where the enemy is unprepared” [Art of War, chapter 7].

第七式　右抅摟採手
Posture 7: RIGHT GRAB & PULL CATCHING TECHNIQUE

說明
Explanation:
第五。第六與此式皆原步不變之登山式。右手向外。刁出。左手繼封。右手化捶直統而出合之為抅摟採手也
Remaining in the mountain-climbing stance from Postures 5 and 6, your right hand hooks outward, your left hand seals, then your right hand becomes a fist and goes out with a straight thrust punch. These movements combined make the “grab & pull catching” technique. See drawing 7:

功用
Application:
彼此。皆以不變步法。互相來往。我崩捶為彼招去我即順手以採手法。連續合多手法而成一個完整攻勢。複雜而不牽強為常用之法也
The opponent and I are remaining in our stances as we make these exchanges. He draws away my avalanche punch, so I go along with it by performing a “catching” technique, involving a combined flurry of hand actions forming a single integrated attack. This is a commonly used technique that is complex but not overly elaborate.

第八式　七星挑補捶
Posture 8: BIG-DIPPER STANCE, CARRYING, FILLING PUNCH

說明
Explanation:
左後腳拍前一步與右脚合攏。右脚開前再成為右七星式。此為同方向進前之方式。左掌自右腋下穿出。右拳抽囘腰部。再以補捶方式打出。
Your left foot comes forward a step, stomping down next to your right foot, and your right foot goes out to make a right big-dipper stance, advancing still in the same direction, as your left palm threads out from below your right armpit and your right fist pulls back to your waist, then strikes out with a filling punch. See drawing 8:

功用
Application:
我採為彼㪽招或封纒。我必須解脫。然後始有别式之展開。我以挑手法脫去糾纒。若祗此便是招式而已。惟我更輔以補捶。為招之即打。完全符合螳螂拳之㪽宗。
The opponent draws in my catching technique, or perhaps seals it off. I have to extricate my arm in order to perform another technique, so I use a carrying action to strip away his grip. This would be sufficient in itself, but I also add a filling punch to strike him, which is more fitting in the Mantis Boxing tradition.

第九式　呑塌右低牽
Posture 9: ABSORB & SINK STANCE, RIGHT DOWNWARD DRAGGING

說明
Explanation:
將右七星式倒往後轉成為左呑塌式。類似反登山式。右拳向下往後轉一大圈。復歸後。更以左手迎之。使達定點時。得更穩定之㳒。
Your stance turns [leftward] toward the rear [with your right foot turning inward and your left foot stepping farther back] to make a left absorb & sink stance, which is basically a reverse mountain-climbing stance, as your right hand arcs downward, to the rear, and makes a large circle that returns it to the rear, your left hand meeting it so that as it reaches its final point, there is added stability. See drawing 9:

功用
Application:
補捶為彼消去。同時彼更以下路突襲法攻我下路。我先轉馬以。解其勢。再用低牽之法刀掃來腿。彼不但無所淂。且更受我之反擊矣
The opponent deflects my filling punch and at the same time makes a surprise attack to my lower body, so I first turn my stance to dispel it, then use a downward dragging action, like a saber sweeping at a kick. In this way, not only will he not reach me, he will also suffer my counterattack.

第十式　登山右崩捶
Posture 10: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

說明
Explanation:
原步不變。將右膝挺前成右登山式。左手向前封。右捶反前劈下与第六式相同。
With your feet staying in their location, your right knee bends forward to make a right mountain-climbing stance, your left hand going forward with a sealing action, your right fist rolling over and chopping downward. It is the same as in Posture 6. See drawing 10:

功用
Application:
第六式為正面攻擊。此式則為反身攻擊。大致相同也。
Mainly the same as in Posture 6, but in that case this technique is an attack for an opponent right in front of you, whereas in this case it is used as an attack involving the body turning.

第十一式　七星右刁手
Posture 11: BIG-DIPPER STANCE, RIGHT HOOKING HAND

說明
Explanation:
左右不變。化登山式成七星式便合。左手收貼腰部。右手化刁手向外。肘下沉對膝為標準。
With your left foot staying where it is, switch to a big-dipper stance as your left hand withdraws to your waist and your right hand goes outward as a hook, the elbow sinking down to be aligned with your [right] knee. See drawing 11:

功用
Application:
崩捶為剛強之手法。旣為彼迎拒㦯消去。而彼必乘機反襲我之右方。我立化為七星式以手刁之使彼無可乘之機。反利吾施展下式之妙用也。
The avalanche punch is a technique involving a hardness, but the opponent blocks or deflects it. He will then take advantage of the opportunity by counterattacking to my right side, so I immediately switch to a big-dipper stance and use a hand to hook onto his attack, thereby spoiling his chance. Now that I have the advantage, I capitalize upon it to marvelous effect by continuing into the following posture.

第十弍式　七星右劈軋
Posture 12: BIG-DIPPER STANCE, RIGHT [LEFT] ROLLING CHOP

說明
Explanation:
進左腳為左七星式。收腰之左手自上劈落。至中途与右掌相碰而發出逼卜）之聲。以助其定點之正確。斯為練螳螂拳人慣用之手法。
Your left foot advances to make a left big-dipper stance as your left hand chops downward from above. Once your left fist is level, your right palm is striking against it, making an audible crack, thereby reinforcing correct positioning. For a Mantis Boxing practitioner, this is a habitual technique. See drawing 12:

功用
Application:
上式我旣刁着彼手。我欲不進彼必先進矣。我為把握時機即迫近使用劈軋之法。以攻彼上路無懈無忽此之謂歟。
When I hook the opponent’s hand in the previous posture, I want to not advance and instead get him to advance first, then I seize the opportunity to close in and use a rolling chop to attack him above. In this way, I am neither inattentive to the situation nor in a rush.

第十三式　提腿封統捶
Posture 13: LIFTING LEG, SEAL & THRUST PUNCH

說明
Explanation:
將前步之左腿提起成獨立式。左手向前封而收返。右手用捶直出。与左手成彼收此出之勢。
Your left leg lifts to make a one-legged stance as your left hand seals in front and withdraws, your right hand punching straight out, your hands performing a technique of one hand withdrawing while the other hand goes out. See drawing 13:

功用
Application:
我左手為彼自下穿上。再退步卸我。如是則距離愈逺矣。我欲不使其逺離。祗有隨手封之。旣封彼手。立用迎面直統法攻彼。此為連續性之攻擊。
The opponent threads upward from below to defend against my left hand, then retreats to get away from me. In this way, he creates more distance between us, but I do not want to cause him to go even farther away, so I use only a hand to seal him, and once I have sealed his hand, I immediately use a straight thrust punch to attack his face. This is a means of continuous attack [i.e. building upon the previous technique].

第十四式　登山左叠肘
Posture 14: MOUNTAIN-CLIMBING STANCE, LEFT PILING ELBOW

說明
Explanation:
落左腳成左登山式。左手化肘向前叠出。右手由拳變掌托上。
Your left foot comes down to make a left mountain-climbing stance as your left hand switches to elbowing, going out forward with a piling action, your right fist becoming a palm and propping up against it. See drawing 14:

功用
Application:
與第五式同。祗左右之别耳。
Same as in Posture 5, except with left and right reversed.

第十五式　登山左崩捶
Posture 15: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

說明
Explanation:
原步不動。右手由上封下。左捶曲肘自後反打而出。
With your feet staying where they are, your right hand seals downward from above and your left fist rolls over to strike out from behind the elbow. See drawing 15:

功用
Application:
與第六式相同。惟左右之分耳
Same is in Posture 6, except with left and right reversed.

第十六式　左抅摟採手
Posture 16: LEFT GRAB & PULL CATCHING TECHNIQUE

說明
Explanation:
與第十四。十五等式均未變步。左刁。右摟。左手復統一捶。便成整個之（採手）矣。
Remaining in the same stance from Postures 14 and 15, your left hand hooks, your right hand pulls, then your left hand goes out with a thrust punch, completing a “catching” technique. See drawing 16:

功用
Application:
與第七式相同。祗左右之别也。
Same as in Posture 7, except with left and right reversed.

第十七式　七星挑補捶
Posture 17: BIG-DIPPER STANCE, CARRYING, FILLING PUNCH

說明
Explanation:
右後脚進前一步。（即兩脚拼合）左前脚因而淂以再開前成為左七星式。右掌自腋下穿出以達拳鋒之外。斯為挑手。左拳由腰際衝出而成補捶之勢
Your right foot comes forward a step to stand next to your right foot, your left foot going along with this action by going forward to make a right big-dipper stance, as your right palm threads out from below your right armpit to the outside tip of your fist, performing a “carrying hand”, and then your left fist thrusts out from your waist, performing a filling punch. See drawing 17:

功用
Application:
彼我相距較逺。迫得拼前再進以求与之接近。我手被封。必受制於人。有利我稍有突前之機則求解脫之道。手旣脱出反而突擊對方者為招之則打之法。
The opponent and I have gotten farther apart, so I have no choice but to advance in order to close in on him anyway, but he has sealed off my hand, which would put me under his control. To regain the advantage, I seize the opportunity to slightly charge forward and seek a way to get my hand out, then once my hand is free, I strike him suddenly.

第十八式　呑塌左低牽
Posture 18: ABSORB & SINK STANCE, LEFT DOWNWARD DRAGGING

說明
Explanation:
承上式原步倒反向後即成右呑塌式矣。步雖未移動。但其勢已易。左出之拳。淂以垂下倒抽而返。手步合一。可化攻為守矣。
Continuing from the previous posture, your stance turns [rightward] toward the rear [with your left foot turning inward and your right foot stepping farther back] to make a right absorb & sink stance, so that your posture changes even though the location of your feet barely shifts, as your left fist hangs down, draws to the rear, and circles [to return to the rear], your hands and feet working in unison. This is a means of changing an offensive position to a defensive position. See drawing 18:

功用
Application:
彼用手撥去我左補捶。同時反以脚襲我下三路。我若待變勢易步為時間㪽不許於斯應急之法乃移前弓式為後呑塌之法。以消其勢。再漏手殺下。縱彼如何迅勁。亦無從施展矣。
The opponent uses a hand to deflect my filling punch and at the same time uses a foot to make a surprise attack to my lower body. If I hesitate to shift my position and change my stance, it will be too late to deal with this emergency, so I use the method of switching from a forward bow stance position to the rear with an absorb & sink stance in order to dispel it, then drop a hand to smash downward. In this way, no matter how fast his attack is, it will not amount to anything.

第十九式　登山左崩捶
Posture 19: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

說明
Explanation:
循上式變呑塌步為左登山式。右手自上摟下。左拳自內反出迎頭崩下。
Continuing from the previous posture, your stance switches to a left mountain-climbing stance as your right hand drags downward from above and your left fist rolls over from the inside, performing an avalanche punch to the opponent’s head. See drawing 19:

功用
Application:
彼脚為我猛殺。必急則撤囘。以資解禳。但我以其上路疎於防範。突則反身轉步。趁勢以左崩之法迎頭擊落。斯法近於八剛中之泰山壓頂矣。
After I fiercely smash the opponent’s foot, he will quickly withdraw it in order to escape his misfortune. But I notice that he has carelessly left himself open above, so I suddenly turn my body, switching my stance, and take advantage of the opportunity by using a left avalanche punch to strike downward to his head. This technique is very similar to MT. TAI CRUSHES THE HEADTOP from among the “eight kinds of hardness”.

第弍十式　七星左刁手
Posture 20: BIG-DIPPER STANCE, LEFT HOOKING HAND

說明
Explanation:
與第弍式同。祗由中平式與左崩捶之出手略異耳。
Same as in Posture 2, except that the hand action is slightly different when transitioning from an avalanche punch instead of the position of standing stably. [The hand in this case is circling downward, inward, outward. There is also no mention of the stance change here, which involves sitting onto your right foot and slightly withdrawing your left foot.] See drawing 20:

功用
Application:
與第二式同
Same as in Posture 2.

第弍十一式　七星右補捶
Posture 21: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

說明
Explanation:
右脚進前成右七星式。右拳自腰間衝出為補捶。
Your right foot advances to make a big-dipper stance as your right fist thrusts out from your waist, performing a filling punch. See drawing 21:

功用
Application:
彼為我左手所刁。欲求擺脱我之糾纒。猛力往後直拖我在此微妙關頭。焉可放過機會。迅則進前直取其脅下。補者乃填補刁手未完之空虛也。
Once I have hooked the opponent’s left hand, he will try to cast off my snare by fiercely pulling back. Although there is now only a small window of opportunity, I must not pass it up, so I quickly advance to attack his armpit, using a filling punch to fill in the gap created by my hooking.

第弍十弍式　撤步左躱剛
Posture 22: WITHDRAWING STEP, LEFT DODGING HARDNESS

說明
Explanation:
右脚先退。左脚繼向左方斜步撤退。約距半之遥。左手自腋下穿出。向上橫挑過頭。再由下反圈而上。蓄勢以待。
First your right foot retreats, then your left foot retreats diagonally about a half step to the left, as your left hand threads out from below your [right] armpit, goes upward with the hand sideways, carrying past your head, downward, and arcing upward, and waiting there in a state of storing power. See drawing 22:

功用
Application:
我右手為彼㪽握持。須謀脫出之計。我乃從斜勢後撤。同時以手穿去。俾上下呼應。易於擺脫糾纒。或彼扑前猛衝。我亦可以此法應之。斯為避免正面衝擊之妙着也。
The opponent grabs my right hand, so I have to have a way to extricate it. I thus withdraw diagonally while threading out with my other hand, above and below working in concert, thereby enabling me to easily cast off his grip. Or he attacks forward with a fierce thrust, which I can also use this technique to deal with, for it is a marvelous means of evading a thrusting strike from directly ahead.

第弍十三式　撤步右躱剛
Posture 23: WITHDRAWING STEP, RIGHT DODGING HARDNESS

說明
Explanation:
先退左脚。右脚斜走。約距半步之逺。然後站定。右手自腋下穿出。向上橫挑過頭。再由下反圈而上。再避其剛。而消耗彼之力。
First your left foot retreats, then your right foot retreats diagonally about a half step [to the right], as your right hand threads out from below your [left] armpit, goes upward with the hand sideways, carrying past your head, downward, and arcing upward, again evading the opponent’s hardness, thereby spending his strength. See drawing 23:

功用
Application:
我已斜走避之。彼仍苦苦逼來。我如仍求免於兩剛相碰時。即再由右方撤向左方。如彼誤我懦怯者。則俟下式之展開。便知我連續撤退之真諦矣。
As I again evade diagonally, he stubbornly crowds in. If I want to again avoid a case of hardness colliding with hardness, I then withdraw from the right side to the left side. If he mistakes my action for cowardice, then with the following technique he will find out the true purpose of my retreating.

第弍十四式　登山雙撞捶
Posture 24: MOUNTAIN-CLIMBING STANCE, DOUBLE RUSHING PUNCHES

說明
Explanation:
提右脚殿步。左脚趁勢進前一步而成馬式。同時双手握拳向前橫劈而下。再由馬式轉成左登山式。兩手分上下向前衝去。上手以面。下手以胸作目標。
Your right foot lifts and stomps down, and your left foot follows upon this action by taking a step forward to make a horse-riding stance, both of your hands making fists and chopping across forward and downward. Then your stance switches to a left mountain-climbing stance, your hands thrusting out forward with one above and one below, the upper hand targeting the face, the lower hand targeting the chest. See drawing 24:

功用
Application:
倘彼估計我怯敵。則是大錯之誤。當彼正以剛硬之手進攻時。我為避鋒銳計。故連續退却之勢。迨見其再衰三竭時。我突反採主動。以再剛猛之双撞法反擊。使彼有突如其來之勢。
If the opponent assumes I am shying away from him, then he is making a big mistake. As his hands come in, attacking with hardness, I use the strategy of avoiding the full force of it by making continuous retreats, and then when I see he has tired himself out, I suddenly reverse our roles and take charge, using the hard fierceness of the technique of double rushing punches to counterattack, stopping him in his tracks.

第弍十五式　提步封統捶
Posture 25: LIFTING LEG, SEAL & THRUST PUNCH

說明
Explanation:
循上式位置不變。轉身提後右脚成獨立式。右手往後反封。左捶亦配合向後中平衝去。斯時手步。及全身俱已化前作後。變後為前矣。
Continuing from the previous posture, without leaving your location, turn around [rightward], lifting your right leg to make a one-legged stance, as your right hand goes to the rear with a sealing action and your left fist performs a level thrust punch also to the rear [while your right hand pulls back]. Hands, feet, and body have all now turned the front into the rear so that the rear has now become the front. See drawing 25:

功用
Application:
當我正与前敵作猛烈之攻防時。另一敵人自後施以夾擊。㦯彼突趨我後。以求一逞。我若待全身移動。必為彼所算無疑。於是我以化後作前之法應之。使彼詭詐不逞。
While fiercely attacking the opponent in front of me, another one comes in behind me so that I am being engaged on both sides, rushing in from behind to catch me while I am occupied with the first one. If I wait until I have turned around to face him, I will surely fall into his trap, thus I use a technique of changing rear to front in order to deal with it, thereby thwarting his plans.

第弍十六式　登山右叠肘
Posture 26: MOUNTAIN-CLIMBING STANCE, RIGHT PILING ELBOW

說明
Explanation:
右脚踏下成右登山式。右手曲肘沉下。左手以掌承之。肘與掌相碰。發出猛烈之（必卜）聲。
Your right foot comes down to make a right mountain-climbing stance as your right hand sinks down, the elbow bending, your left hand carrying it as a palm, elbow and palm striking against each other, making an audible crack. See drawing 26:

功用
Application:
我以上統捶攻彼上部。彼必以手來迎。彼我旣相接觸。我立即緊握來手。右手曲肘沉下。使彼肘部為我壓制斯為叠肘之㳒
When my thrust punch attacks the opponent’s face, he has to send a hand to meet it. Once we make contact, I immediately grab his incoming [left] hand tightly and sink my right hand down with the elbow bending, pressing down onto his own elbow. This is another method of using a piling-elbow action.

第二十七式　登山刁劈捶
Posture 27: MOUNTAIN-CLIMBING STANCE, HOOK, CHOPPING PUNCH

說明
Explanation:
由右登山式。原位不變。往後轉身而成為左登山式。左手先往後刁去。右拳以（日字式）由後自上劈落。
Without leaving your location, turn your body to the rear to make a left mountain-climbing stance, with first your left hand hooking aside, then your right hand chopping down from above and behind you. See drawing 27:

功用
Application:
彼自前轉後。或另一人自後偷襲。我即須以最迅速之法應付方可。因此我即化後作前。手隨身轉。左手先刁者。乃先消去彼之來手。再以右劈之手擊其上部。可解突擊之危矣。
The opponent shifts from in front of me to be behind me, or another sneaks up behind me. I must respond quickly in order to deal with this situation, so I change the rear into the front, my hands going along with the turning of my body, first my left hand hooking to take aside his incoming hand, then my right hand chopping to strike to his upper area, and in this way I can eliminate the danger of his sudden attack.

第二十八式　右抅摟採手
Posture 28: RIGHT GRAB & PULL CATCHING TECHNIQUE

說明
Explanation:
與上式之步不變。右刁左摟復加一手。便成抅摟採手矣。
With your stance staying the same, your right hand hooks, your left hand pulls, and then your right hand sends out a punch, performing the grab & pull catching technique. See drawing 28:

功用
Application:
與第七式略同
Same as in Posture 7.

第二十九式　七星番車式
Posture 29: BIG-DIPPER STANCE, ROLLING TECHNIQUE

說明
Explanation:
殿右腳進前半步。左前脚乘勢進前成左七星式。右手由上往後力拖。左手自下作挫捶衝去。
Your right foot goes forward a half step, stomping down, and your left foot continues the motion by going forward to make a left big-dipper stance as your right hand strongly pulls back above and your left hand thrusts out from below with a scraping punch. See drawing 29:

功用
Application:
彼以手招我採手。我趁勢封之。因距離過逺。故殿步進前以求接近。再由左拳衝上。襲彼下頷。使彼上下俱受我控制。
The opponent uses a hand to draw in my grabbing hand, so I take advantage of the situation by sealing his, and because he has moved too far away, I stomp forward to close the distance, then thrust upward with my left fist to attack his chin, causing him to be under my control both above and below.

第三十式　七星左刁手
Posture 30: BIG-DIPPER STANCE, LEFT HOOKING HAND

說明
Explanation:
原步不動。右拳收囬腰部。左手向前刁出。
With your feet staying where they are, your right fist withdraws to your waist and your left hand hooks out forward. See drawing 30:

功用
Application:
我番車之勢為彼㪽解。彼更由中路揷進一捶。當我兩手俱注意上路時。彼有此一擊實為髙明之着。我為應付其急激計。則沉手刁之。以解其危。
The opponent deflects my rolling technique and charges forward with a punch to my middle area, which is indeed a wise move on his part, since my hands are occupied above, so I respond to his rapid attack by sinking a hooking hand onto it in order to eliminate the danger.

第三十一式　七星右補捶
Posture 31: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

說明。功用。俱與第二十一式相同
The explanation and application are the same as in Posture 21. See drawing 31:

第三十二式　裏纒絲軋脚
Posture 32: INWARD TWINING SILK, CRUSHING KICK

說明
Explanation:
右前脚踏下。右手自後反手抽上至臍部即以左掌承之。從表面着是類似（頂臍捶）實為裏纒絲也。左後腳由後橫掃而出。以求配合時間。軋脚併用。
Your right foot comes down forward as your right hand goes from the rear, turning over, and draws upward until at navel level, whereupon your left hand is bracing against the arm. This is similar in appearance to a “belly-piercing punch”, but is actually an inward “twining silk” maneuver. Your left foot at the same time sweeps out from the rear with the foot sideways to simultaneously perform a crushing kick. See drawing 32:

功用
Application:
躱剛所有之纒絲是「小」「外」「轉」三種而已。此纒絲是裏纒之法。力道勝於前者。再輔以橫軋之脚更使人難予防備。與下式再有連貫並用之利。更形嚴密矣。
In the Dodging Hardness boxing set, there are three kinds of twining-silk actions: small, outward, and turning. This technique involves an inward twining, which is better for developing strength. The technique is supplemented by a sideways crushing kick, making it even more difficult for the opponent to defend against, and then continues into the following posture for even fuller effect.

第三十三式　掛統躱腿式
Posture 33: HANG & THRUST PUNCH, SUDDEN KICK

說明
Explanation:
右手向上作掛手勢。左拳直出。不待左軋之腿着地即縱身而起。用右脚直撑而出。使左捶與右腿同線同時為佳
Your right hand goes upward as a “hanging hand” while your left fist goes straight out, and before your left leg comes down, your body leaps up and your right foot shoots out, your left punch and right kick elegantly forming simultaneous parallel lines. See drawing 33:

功用
Application:
我用軋脚襲彼。彼撤步卸去。復以手劈我上門。我乘其撤步之虛勢。即跟進以右手掛去來拳。再以穿心腿法緊逼之。與上式有連續之妙用也。
I use the crushing kick to take the opponent by surprise, but he withdraws out of the way and uses a hand to chop at me above, so I pretend to withdraw my foot but then follow him, using my right hand to hang away his incoming fist and close in on him with a through-the-center kick. The ingenuity of this technique lies in linking with the previous posture.

第三十四式　七星右劈軋
Posture 34: BIG-DIPPER STANCE, RIGHT ROLLING CHOP

說明
Explanation:
右撐起之腿着地時成右七星式。上右手順勢落。至中平線與左手相觸而發出（必卜）之聲。
As your right leg comes down, making a right big-dipper stance, your right hand goes along with it by lowering until level, your left hand striking against it with an audible crack. See drawing 34:

功用
Application:
我穿心腿為彼漏過。我即落步以剛手劈軋法迎頭劈落。蓋穿心法。為彼躱去。若非以極剛之手實難禦其乘機溜入之危矣。
The opponent evades my kick so I come down with a forceful technique, using a rolling chop to attack his head. Once he evades my kick, unless I use a technique of great hardness, it would be difficult for me to defend against the opportunity that he now has, and I would slip into a dangerous position.

第三十五式　雙刁右揪腿
Posture 35: DOUBLE HOOKING, RIGHT SCOOPING KICK

說明
Explanation:
此為囘頭式。左手往後刁。右手繼之。當右手刁時右脚同時往左揪去。如為定式則應當至地停止。若為便利下式之展開則以離地為佳。
Turn around [leftward] with your left hand hooking to the rear, then your right hand also hooks, your right foot at the same time scooping away to the left. If you want to be stable in this posture, your foot should finish on the ground, but if you want to move more fluidly into the next posture, it is better for the foot to leave the ground. See drawing 35:

功用
Application:
彼突走我後方襲擊吾背。若不及時迎拒則危險甚矣。於是我乃以左手刁之。繼以右手直取其喉。再用下揪法襲彼下路。使彼有顧此失彼之虞。
An opponent suddenly runs up to make a surprise attack behind me. It would be very dangerous for me if I were to block it too late, so I [turn around] with my left hand hooking. Then I use my right hand to attack his throat while using a scooping technique to attack his lower body, causing him to have too many things to deal with at once.

第三十六式　雙封手揷掌
Posture 36: DOUBLE SEALING HANDS, CHARGING PALM

說明
Explanation:
右脚殿地左脚進前成左登山式。兩手同時向右封去。右手再由後迎面直揷而出。
Your right foot comes down and your left foot advances to make a left mountain-climbing stance, your hands at the same time going to the right to seal away, then your right hand charges straight out from the rear with a strike to the face. See drawing 36:

功用
Application:
彼提脚避過我揪腿。我即殿步上前以求貼近再以双手封去彼手。然後抽囘右手化掌直取其面部。
The opponent lifts his leg to evade my scooping kick, so I stomp [with my right foot] and step forward [with my left foot] in order to crowd him, using both hands to seal off his hand, then I withdraw my right hand and send it straight out to attack his face with a palm strike.

第三十七式　引針右腰斬
Posture 37: DRAWING THE NEEDLE AND SLASHING THE WAIST

說明
Explanation:
右脚跟前一步。左脚再開前成左七星式。左手自右穿出。再往左拖。右掌同時向彼腰部斬去。
Your right foot follows a step forward and then your left foot steps out forward to make a big-dipper stance, your left hand at the same time threading out from your right side and pulling across to the left as your right hand slashes out to the opponent’s waist. See drawing 37:

功用
Application:
引針腰斬一着。為螳螂拳中之柔極手法。有左右分化。上下齊施之用。雖為妙着。但施用之機會甚少。較難於運用自如。此為由剛化柔之難。難於由柔變剛之故也。
This is the softest hand technique in Mantis Boxing, involving left and right doing different things while above and below are working in unison. Although it is an ingenious technique, opportunities to use it are rare. And it is difficult to master, for it entails the difficulty of switching from hardness to softness, which is more difficult than switching from softness to hardness.

第三十八式　登山左圈捶
Posture 38: MOUNTAIN-CLIMBING STANCE, LEFT SWINGING PUNCH

說明
Explanation:
由左七星式落下成左登山式。左捶往右力圈達半徑之狀。後以右掌迎之發出必卜之聲。
Your foot comes down to make a left mountain-climbing stance as your left fist forcefully arcs in a half circle to the right, your right palm meeting it with an audible crack. See drawing 38:

功用
Application:
此為由極柔化極剛之手。較上式易於施展。當我用引針腰斬時。彼往後竄避。我左膝略挺前成左登山式。自上部圈出一捶。使彼難於應付。
This technique involves switching from extreme softness to extreme hardness, and compared to the previous posture is easier to apply. When I use the technique of DRAWING THE NEEDLE AND SLASHING THE WAIST, the opponent backs off to evade it, so I bend my left knee forward, making a left mountain-climbing stance, and swing out a punch to his upper area, making it even harder for him to deal with the situation.

第三十九式　登山左崩捶
Posture 39: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

說明
Explanation:
承上登山式不變由外圈內之拳。反由內而崩外。封而崩之
Continuing from the previous posture, without changing your stance, your [left] fist circles inward and then rolls over outward as you perform a sealing action and an avalanche punch. See drawing 39:

功用
Application:
崩捶與挫捶若以定式觀之實無二致。惟崩捶則由上打下。挫捶由下衝上。崩捶利於用脚。挫捶利於進逼。其未來之趨勢不同。
An avalanche punch and a scraping punch will look no different in the finished posture, but an avalanche punch strikes downward from above, whereas a scraping punch thrusts upward from below. Also, an avalanche punch makes use of the stance you are already in, whereas a scraping punch works best when advancing, and so they are different situations.

第四十式　七星左刁手
Posture 40: BIG-DIPPER STANCE, LEFT HOOKING HAND

說明
Explanation:
登山式反坐後腿。前腿往後一仰。則成七星式。右拳收貼腰部。左手向前刁出。
Sit back onto your rear leg, your front leg pulling back with the toes raised, making a big-dipper stance, as your right fist withdraws to your waist and your left hand goes out forward as a hook. See drawing 40:

功用
Application:
拳擊之戰與鎗炮之戰其分别䖏在距離。以登山式移後作七星式一前一後約差尺餘。假若為敵逼近。無法可解時。退而讓之之妙法也。
Combat with fists is vastly different from combat with cannons. Shifting back from the mountain-climbing stance into the big-dipper stance reduces the distance between my front foot and rear foot to just over a foot apart. When an opponent comes in with an attack I have no chance of dispelling, retreat is the best option [unlike with artillery fire, which cannot be outrun if you are already in range].

第四十一式　七星右補捶
Posture 41: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

說明
Explanation:
左七星式進一步為右七星式。其捶法与順步補捶相同。
Advance to make a right big-dipper stance with the same forward-stepping filling punch technique as before [Postures 21 and 31]. See drawing 41:

功用
Application:
七星式為螳螂拳常步。因其虛實各半。進退自如。故多用之。刁手為卸讓之法。補捶亦填其卸漏也。
The big-dipper stance is the most common stance in Mantis Boxing. Because it is half empty and half full, you can advance and retreat with ease, and this is why it is so frequently used. The hooking hand clears the way, and then the filling punch fills the gap.

第四十二式　跨虎捕蟬式
Posture 42: SITTING-TIGER STANCE, CATCHING A CICADA

說明
Explanation:
由七星式踏下手隨身轉。反身跨虎蓄勢。利我起脚反擊也。
Continuing from the previous posture, your [right] foot comes down and your hands go along with the turning of your body as you turn around and get into a sitting-tiger stance, storing power, so that you are in a good position to lift a foot and counterattack. See drawing 42:

功用
Application:
倘敵從後追來。我即轉身反封若捕蟬之狀。蓄勢踢出使彼難於躱避。
If an opponent pursues from behind, I turn around and seal off his attack with a “catching a cicada” gesture, storing power to give him a kick that he will find difficult to dodge.

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XIUART

Art, Brennan Translation, Xiuart, 中国武术 - Zhongguo Wushu

DRUNKEN LUOHAN

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醉羅漢拳
DRUNKEN LUOHAN BOXING
順德黃漢勛編述
by Huang Hanxun [Wong Honfan] of Shunde
山東蓬萊羅師光玉授
as taught by Luo Guangyu of Penglai, Shandong
[published Jihai year, 6th month, 27th day (Aug 1, 1959)]

[translation by Paul Brennan, Feb, 2018]

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醉羅漢拳
Drunken Luohan Boxing
韋基舜題
– calligraphy by Wei Jishun

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自序
PREFACE

中國拳技之以醉拳馳譽武林，厥惟「醉八仙」南北各派拳術皆有以此命名者，其他如「醉六躺」「醉打蔣門神」「醉酒鬧東海」「醉羅漢」「醉劉唐」「醉猴掌」「醉螳螂」莫不蜚聲武林，然治此技者必先具備輕靈之身手，穩健之腰馬方可嘗試，否則雖盡半生心力尤恐未易達於成功之境域，尤其難練者厥為「練氣」若徒作翻滾之小動作以取悅於觀衆者則相去「醉拳之眞意遠矣。
拙著跌蕩翻騰，處處皆須表觀其似醉還醒，欲跌還穩之態，斯為上選也，倘希有志研練者，三復斯旨為幸。
己亥孟春上院黃漢勛於螳螂小隱
Drunken boxing sets are famous within Chinese martial arts, although only Drunken Eight Immortals is common to both northern and southern styles. But there are also others, such as Drunken Six Falls, Drunken Wu Song Fighting Jiang Zhong the Door-God, Drunken Fight at the Eastern Sea, Drunken Luohan, Drunken Liu Tang, Drunken Monkey Palms, and Drunken Mantis, which have all gained a degree of fame in the martial arts community.
　　To possess this kind of skill, you must first have agility of body and hands, and stability of waist and stance, and then you will be able to give these sets a try. Otherwise even if you work at it for half a lifetime, I fear it will be not be easy for you to succeed, and it will be particularly difficult for you to develop its unique energy. If you only focus on the tricks of rolling around in order to please spectators, then you will be taking yourself away from the true meaning of drunken boxing.
　　In my performance below of stumbling and swaying, turning and hopping, it is meant to look like a drunk sobering up. An appearance of stumbling and then returning to stability is what you should be aiming for. For those rare individuals out there who aspire to practice this set, I hope you will repeatedly examine this point.
　　- Huang Hanxun at the Mantis School, Jihai year, 1st ten-day period of the 1st month of spring, [early Feb, 1959]

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前中央國術舘舘長　張之江先生題字
Inscription by former director of the Central Martial Arts Institute, Zhang Zhijiang:

術德並重
“Give equal emphasis to both skill and morality.”
之江
– [Zhang] Zhijiang

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練藝貴能貫通精氣神
“Practicing these arts will enable the smooth flow of essence, energy, and spirit.”
盧煒昌　漢勛同志囑書廿八、四、四
– inscription by Lu Weichang for Hanxun’s books, Apr 4, 1939

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第一式：中平拱手讓座
Posture 1: STANDING STABLY, SALUTING TO INVITE A GUEST TO TAKE A SEAT

說明：
Explanation:
假定找擇比方站立以作此拳之起點，則為右北左南，背東面西，雙脚緊靠作中平勢，雙拳同時抽起，曲肘而與肩部看齊，如『定式圖』。
If you stand in the northern part of the practice space to begin this boxing set, then the north is to your right, the south to your left, the east behind you, the west in front of you. With your feet next to each other, making a posture of standing stably, your fists pull up, elbows bent at shoulder level. See photo 1:

功用：
Application:
此為開式，本無功用可言，惟曲肘上抽之着力，更比中平蓄勢尤强，多練可使胸部發達與增厚，臂肘間之力道也。
This is simply an opening posture, with basically no other function to speak of except for the exertion involved in bending your elbows as you pull your arms upward, further increasing the strength being stored in this position of standing stably. Frequent practice of this movement can cause your chest muscles to develop and thicken, and is a strengthening method for the elbows.

第二式：脱拷勢雙墜捶
Posture 2: BREAKING FREE WITH DOUBLE DROPPING PUNCHES

說明：
Explanation:
循上式，雙脚向左右分開，未分之前先全身騰空跳起，然後以殿地法用力踏下以成騎馬式，雙拳自上向馬內疾穿而下，拳腕向作微曲以增加穿下之力。
Continuing from the previous posture, your body hops up and your feet spread apart to the sides, then you come down in a strong horse-riding stance, your fists quickly piercing downward from above toward the inside of your thighs, the wrists bending slightly inward to add power to these downward thrusts. [See photo 2:]

功用：
Application:
彼若以找腰部空虛而乘機攻來，則我可乘勢穿下以破來勢，或雙手被捉亦可找於全身由上踏下之勢與雙下墜之力道去掙脫之。
If the opponent notices that my waist area is now an open target and takes advantage of the opportunity to attack, I can seize the moment by piercing downward to smash his attack. Or if my hands have been grabbed, I can send my whole body downward from above while strongly dropping my fists to break free.

第三式：馬式舉杯敬酒
Posture 3: HORSE-RIDING STANCE, RAISE THE CUP TO OFFER A TOAST

說明：
Explanation:
循上式，原步不動，右拳化成封手，（舉杯法）自襠下舉出，左拳化成刁手往後抅去，目注視前方，如『定式圖』。
Continuing from the previous posture, with your feet staying where they are, your right fist becomes a sealing hand (in a “raise the cup” posture) and goes out raising up from below your crotch, your left fist at the same time becoming a luring hand and hooking away to the rear. Your gaze is forward. See photo 3:

功用：
Application:
彼擬以拳自我中部擊來，我先用左手勾消之，再用右手斜斜穿上，雖無醉酒法之形式，但變為拳掌均以適合當為所需而定也。
An opponent tries to use a fist to strike to the middle area of my body, so I first use my left hand to lure it away and dispel his attack, then use my right hand to diagonally pierce upward. Although this technique does not seem to exhibit a drunken method, the fists switch to hand positions appropriate to the theme.

第四式：醉酒欲跌還穩
Posture 4: DRUNKARD ABOUT TO FALL REGAINS HIS STEADINESS

說明：
Explanation:
循上式，先將右脚白面前繞過左方成偸步法如「過渡式甲圖」。
Continuing from the previous posture, first your right foot arcs in front of you toward the left, making a stealth step. See photo 4a:

而將左脚繞出面前而成為「過渡式乙圖」。
Then your left foot arcs around in front of you, making [another stealth step]. See photo 4b:

再將右脚抽出後復為騎馬式，如「定式圖」。
Then your right foot steps out from behind you for you to again make a horse-riding stance. See photo 4c:

註，
Note:
全式須作左右搖動如醉後之形狀及連貫為妙。
The key to this technique is that you have to continuously sway side to side, as one does after becoming drunk.

功用：
Application:
全式須盡量運用腰馬之力道使盡量發揮醉酒中之最高境界，運用上有欲進還退，欲左忽右之神妙。
This technique depends on being driven from your waist and stance. It will work best if you give free rein to a drunken behavior. Its application lies in the subtlety of being about to advance but then retreating, or of being about to go left but then suddenly going right.

第五式：登山封手統捶
Posture 5: MOUNTAIN-CLIMBING STANCE, SEALING HAND, COORDINATED PUNCH

說明：
Explanation:
循上式，原步轉過左南方，以成為左登山步，同時左手亦向南封去然後收於腰部，右拳自腰直向南方衝出如『定式圖』。
Continuing from the previous posture, with your feet staying in their location, your body turns to the left to be facing to the south, making a left mountain-climbing stance, your left hand at the same time going to the south with a sealing action. The hand then withdraws to your waist as your right fist thrusts out to the south from your waist. See photo 5:

功用：
Application:
彼繞過我左方攻來，我趕速轉馬先封去來手，然後以右拳還擊之，當我封去來手時必順勢牽之，使彼身體傾來，我右拳及時擊之，其勢至强也。
The opponent circles around to my left to attack me, so I pursue him by quickly turning my stance and sealing off his incoming hand, then I use my right fist to counterattack. When I seal off his incoming hand, I have to seize the moment by pulling it in, causing his body to lean toward me, so that when I strike with my right fist the technique is much more powerful.

第六式：封手十字腿法
Posture 6: SEALING HAND, CROSSED-BODY KICK

循上式：說明，
Explanation:
先以右拳化成封手，再收回腰部，左拳由腰化掌與右腿向前齊出，腿與掌必同一線為合，如『定式圖』。
Continuing from the previous posture, first your right fist changes to a sealing hand, then it withdraws to your waist as your left fist changes to a palm and goes out to the left in unison with your right leg. The leg and arm have to be parallel with each other. See photo 6:

功用：
Application:
彼出手招去我上式之拳，我卽循來手封之，旣封得之後，卽以左掌又右腿還擊彼中下二路，我先封住來手然後施以手腿齊攻之法是無犯險之忌矣。
The opponent sends out a hand to draw away the fist that I used in the previous posture, so I go along with his incoming hand by sealing it off. Once his hand has been sealed, I then use my left palm and right leg to counterattack to the middle and lower areas of his body. As this is a method of first sealing off an incoming hand and then attacking with hand and leg in tandem, it therefore involves no element of risk.

第七式：蹤跳雙飛腿法
Posture 7: LEAP UP INTO A FLYING DOUBLE KICK

說明：
Explanation:
循上式，先兩手不動，祗先將踢出之右脚踏下，再提起左後脚，如「過渡式甲圖」，
Continuing from the previous posture, your hands maintain their position as first your right foot stomps down and then your left foot lifts up behind you. See photo 7a:

再全身跳起而踢出右脚，同時右拳化掌由下向上而出，左掌則由上擊下，使互相碰擊如「過渡式定圖」，
Then your whole body leaps up [driven by your left leg swinging forward] and your right foot kicks out, your right fist at the same time becoming a palm and going out upward from below as your left palm strikes downward from above, your hands striking each other. See photo 7b:

再以右掌往下拍落右腿如『動式圖』。
Then your right palm slaps down onto your right leg. See photo 7c:

註
Note:
動定二圖，實二而一而已。
Although photos b and c are two photos, they are actually showing just one movement.

功用：
Application:
全身騰空而起，出腿進擊，實為兇險之法，居於彼我之間，並非某方獨佔其利弊也。
My whole body leaps up and I send a leg forward to attack. This is a risky maneuver, advantage or disadvantage depending on the spacing between myself and the opponent, rather than on my being positioned in a particular place.

第八式：右旋風腿舉杯
Posture 8: RIGHT WHIRLWIND KICK, RAISE THE CUP

說明：
Explanation:
循上式，不侍上式之脚踏地卽全身向右翻起，左掌向右脚底打去，如「過渡式甲圖」，
Continuing from the previous posture, without waiting to fully come down, your body spins around to the right [left], rising up, and your left palm goes out to strike the sole of your right foot. See photo 8a:

而右脚落地成騎馬式，右手以舉杯法斜向前方舉出，左刁手往後拘去如『定式圖』。
Then your right foot comes down to make a horse-riding stance and your right hand goes out forward in a raise-the-cup posture, your left hand hooking away behind you. See photo 8b:

功用：
Application:
我雙飛腿旣屬兇險之法，難保對方不乘我凌空而起時突用掃膛腿法襲我下一路，因此我再凌空以旋風腿法還擊彼上路。
The flying double kick is a risky maneuver, for it is difficult to keep the opponent from taken advantage of the time during which I am in the air. He suddenly attacks toward my lower body with a hall-sweeping kick, so I again leap up and now perform a whirlwind kick to counterattack to his upper body.

第九式：醉酒似退實進
Posture 9: DRUNKARD SEEMS ABOUT TO RETREAT BUT ACTUALLY ADVANCES

說明：
Explanation:
循上式，兩手不變，先將右脚向左方倒退如偸步之勢，如「過渡式甲圖」。
Continuing from the previous posture, your hand position does not change as you first retreat your right foot to the left [passing in front of your left foot], almost getting into a stealth step position. See photo 9a:

再將左脚自後抽出，畧離地面，如「過渡式乙圖」。
Then your left foot pulls out from behind you [and comes around in front of your right foot], slightly lifted off the ground. See photo 9b:

再以左脚着地，右脚須迫前，仍成騎馬式，右手再舉出，如『定式圖』。
Then bring your left foot down, which causes your right foot to go forward, and you again make a horse-riding stance, your right hand again going out raised up. See photo 9c:

功用：
Application:
全式，看來但欲退却似當其將退時卽返身進前，必須盡量表現跌蕩醉態為佳。
The sum of this technique is that you seem about to retreat, but while retreating, your body is instead advancing. You have to do your utmost to look like a stumbling drunk for it be right.

第十式：醉酒似退實進
Posture 10: DRUNKARD SEEMS ABOUT TO RETREAT BUT ACTUALLY ADVANCES

說明：
Explanation:
循上式，兩手不變，先將右脚向左方倒退如偸步之勢如「過渡式甲圖」
Continuing from the previous posture, your hand position does not change as you first retreat your right foot to the left [passing in front of your left foot], almost getting into a stealth step position. See photo 10a:

再將左脚自後抽出，畧離地面，如「過渡式乙圖」
Then your left foot pulls out from behind you [and comes around in front of your right foot], slightly lifted off the ground. See photo 10b:

再以左脚着地，右脚復進前仍成騎馬式，右手再舉出如『定式圖』。
Then bring your left foot down, which causes your right foot to go forward, and you again make a horse-riding stance, your right hand again going out raised up. See photo 10c:

功用：
Application:
全式，看來似欲退却，但當其將退時卽返身進前，必盡量表現跌蕩醉態為佳。
The sum of this technique is that you seem about to retreat, but while retreating, your body is instead advancing. You have to do your utmost to look like a stumbling drunk for it be right.

第十一式：醉酒似退實進
Posture 11: DRUNKARD SEEMS ABOUT TO RETREAT BUT ACTUALLY ADVANCES

說明：
Explanation:
循上式，兩手不變，先將右脚向左方倒退如偸步之勢如「過渡式甲圖」
Continuing from the previous posture, your hand position does not change as you first retreat your right foot to the left [passing in front of your left foot], almost getting into a stealth step position. See photo 11a:

再將左脚自後抽出，畧離地面，如「過渡式乙圖」
Then your left foot pulls out from behind you [and comes around in front of your right foot], slightly lifted off the ground. See photo 11b:

再以左脚着地，右脚須迫前仍成騎馬式，右手再舉出如『定式圖』。
Then bring your left foot down, which causes your right foot to go forward, and you again make a horse-riding stance, your right hand again going out raised up. See photo 11c:

功用：
Application:
全式，看來似欲退却，佢當其將退時卽返身進前，必須盡量表現跌蕩醉態為佳。
The sum of this technique is that you seem about to retreat, but while retreating, your body is instead advancing. You have to do your utmost to look like a stumbling drunk for it be right.

第十二式：醉酒欲斜還正
Posture 12: DRUNKARD ABOUT TO LEAN REGAINS HIS BALANCE

說明：
Explanation:
循上式，兩手不變，全身向右一擰成扭身之勢，如「過渡式甲圖」
Continuing from the previous posture, your hands maintain their position as your body twists to the right, making a twisted stance [with your right leg over your left]. See photo 12a:

再將後脚抽出反居於前，手畧低垂，如「過渡式乙圖」
Then your rear [left] foot swings around to be in front, your [right] hand slightly lowering. See photo 12b:

右脚再向右開成面對南方之騎馬式如『定式圖』。
Then your right foot steps out to the right, making a horse-riding stance that is squared to the south. See 12c:

功用：
Application:
如一般之醉酒法，須跌蕩如酒醉法演出方稱佳妙。
For the typical drunken method, you have to stumble and sway like the performance of a drunkard, and then it can be said to be right.

第十三式：雙封手右蹬腿
Posture 13: DOUBLE SEALING HANDS, RIGHT PRESSING KICK

說明：
Explanation:
循上式，雙手分左前右後，前陽後陰封去，右腿向斜前方橫蹬而出如，『定式圖』。
Continuing from the previous posture, your hands spread apart, left hand forward, right hand behind, sealing off with your forward hand facing upward, rear hand facing downward, and your right leg goes diagonally forward with a sideways pressing kick. See photo 13:

功用：
Application:
敵方欲自我左方攻來，我先用雙手封去之，再出右腿襲擊彼中部，我旣封牢其手，使彼無法退避也。
An opponent tries to attack from my left, so I first use my hands to seal it off, then send out my right foot with a surprise attack to the middle area of his body. By firmly seizing his hand, I cause him to have no means of escape.

第十四式：臥地雙輾腿法
Posture 14: LYING DOWN, SCISSOR LEGS

說明：
Explanation:
循上式，不俟踢起之右腿着地卽全身自空中向前扑下，右腿先下而斜過左方在下，左腿後下而居上，斜過右方兩腿便成較剪形，雙掌按地而使雙脚有剷前之勢為合，如『定式圖』。
Continuing from the previous posture, without waiting for your kicking right foot to come down, your whole body then goes from a state of being in mid-air to lunging forward lying down, your right leg coming down first and going diagonally to the left under your left leg, which then comes down going diagonally to the right over your right leg, your legs making a scissors shape, your palms pushing down onto the ground to give your feet an effect of shoveling forward. See photo 14:

功用：
Application:
彼以我橫蹬腿突攻彼腹部而欲極力往後倒退，我不俟其退卽用臥地法在前用輾腿法以攻其下路。
The opponent notices my sideways pressing kick suddenly attacking his belly, so he does his utmost to retreat. Instead of waiting for him to get away, I then lunge forward, lying down, using a scissor legs technique to attack him below.

第十五式：翻身左掃腿法
Posture 15: TURN OVER WITH LEFTWARD SWEEPING LEGS

說明：
Explanation:
循上式，身畧向地臥下：先舉起左腿，如「過渡式甲圖」
Continuing from the previous posture, your body lies down further toward the ground and you first lift your left leg. See photo 15a:

再將全身翻過左方，左腿着地而反舉起右腿，雙手亦隨身翻過左方而按地，如「過渡式乙圖」
Then your whole body turns over to the left, your left leg coming down to the ground, your right leg correspondingly lifting up, your hands going along with the turning of your body to push down on the ground to the left. See photo 15b:

再使右腿落下則再成臥下輾腿法，如『定式圖』。
Then your right leg comes down, returning you to the position of LYING DOWN, SCISSOR LEGS. See photo 15c:

功用：
Application:
我旣臥於地下，使彼方必欲乘空以居高臨下之勢來襲，於是我乃用連環掃腿法以還攻彼中下路。
Now that I am lying on the ground, the opponent will want to take advantage of my vulnerable position, feeling that he is now in a clearly superior position above me, and will suddenly attack. Therefore I apply this technique of continuously sweeping legs in order to counterattack to his middle or lower body.

第十六式：翻身右掃腿法
Posture 16: TURN OVER WITH RIGHTWARD SWEEPING LEGS

說明：
Explanation:
循上式，全身不動，先將右腿舉起，如「過渡式甲圖」
Continuing from the previous posture, your body stays where it as you first lift your right leg. See photo 16a:

再全身翻過右方，右腿着地，反而舉起左腿，如『過渡式乙圖」
Then your whole body turns over to the right, your right leg coming down to the ground, your left leg correspondingly lifting up. See photo 16b:

再將左腿落於右方以成為剪形，如『定式圖』
Then your left leg comes down to the right side, your legs making a scissors shape. See photo 16c:

功用：
Application:
上式，向左，此式向右互為左右呼應而已，至實二而一耳。
The previous posture went to the left side, and now this one goes to the right side. Working both sides equally, these two postures are actually one technique.

第十七式：臥虎欲起還跌
Posture 17: SLEEPING TIGER WANTS TO GET UP BUT THEN LIES BACK DOWN

說明：
Explanation:
循上式，全身由兩足趾尖與兩掌支撑而起，使身體全部離開地面，頭作廻顧勢，起愈高愈佳，至盡則再全身與手足扑下，如『定式圖』。
Continuing from the previous posture, your whole body, from toes to palms, rises up so that you have completely left the ground, your head turned to look back. The higher you go away from the ground, the better, and then your body, hands, and feet, again plop back down [the effect of the movement looking like a full-body burp]. See photo 17:

功用：
Application:
雖無出手，動腿之運用，能使四肢增强，力道於拳擊上不無禪補也。
Even though you are not sending out your hands or moving your legs, this exercise can strengthen your limbs. It is a strengthening method within boxing arts that is not without real benefit.

第十八式：翻身大滾突圍
Posture 18: TURN OVER AND DO A FULL ROLL TO ESCAPE FROM DANGER

說明：
Explanation:
循上式，全身向前而起，以翻滾方法向前滾去。按，初習以雙掌抵地蹺起左脚，右脚着力往前撑去則易滾，若練之成熟，則不必用手幫助便可滾去矣。如『定式圖』
Continuing from the previous posture, your body goes forward and rises up, and you perform a tumbling maneuver to roll away forward. (Note: In the beginning of the training, it may be easier to roll by putting both palms on the ground, lifting your left [right] foot, and using your right [left] leg to push you over forward, but once you have practiced to the point of skillfulness, you will easily be able to roll without needing your hands to help.) See photo 18:

功用：
Application:
我為求得機起立以作與對方撑擊，乃借滾翻之勢以撤出被圍攻之險地焉。
I find an opportunity to stand up, but it only gives the opponent opportunity to attack, so I go into rolling over in order to remove myself altogether from the place he is attacking.

第十九式：右旋風腿舉杯
Posture 19: RIGHT WHIRLWIND KICK, RAISE THE CUP

說明：
Explanation:
循上式，我脫翻過前方，卽起身作旋風腿之打法卽如第八式同，如「過渡式及定式圖」。
Continuing from the previous posture, once you have rolled over forward, stand up and perform a whirlwind kick. It is the same as in Posture 8. See photos 19a and b:

功用：
Application:
我雙飛腿旣屬兇險之法，難保對方不乘我凌空而起時突用掃膛腿法襲我下一路，因此我再凌空以旋風腿法還擊彼上路。
The flying double kick [forward roll] is a risky maneuver, for it is difficult to keep the opponent from taken advantage of the time during which I am in the air [on the ground]. He suddenly attacks toward my lower body with a hall-sweeping kick, so I again leap up and this time perform a whirlwind kick to counterattack to his upper body.

第二十式：醉酒欲轉還止
Posture 20: DRUNKARD ABOUT TO SPIN ALL THE WAY AROUND STOPS HIMSELF

說明：
Explanation:
循上式，循左扭身以成扭步勢，右手亦隨身移過左方，如「過渡式甲圖」
Continuing from the previous posture, your body twists to the left [right], making a twisted stance [with your right leg over your left], your right hand going along with your body by shifting to the left [right]. See photo 20a:

再將左脚抽出繞過面前以成偸手之勢，手亦轉過右方，如「過渡式乙圖」
Then your left foot comes out and swings around in front of you, making a stealth step, your [right] hand going along with the movement by shifting farther to the right. See photo 20b:

再換步轉身，如「過渡式丙圖」
Then your feet switch their roles [of being the front or rear foot] as you turn around. See photo 20c:

再以醉酒法將身體移正以成騎馬式，手向右方移正，如『定式圖』。
Then shift your body to be facing squarely as you make a horse-riding stance, your [right] hand shifting to the right [left]. See photo 20d:

功用：
Application:
如一般醉酒法向右轉半個身，定式可一次或二次，走時須表現十分醉態為佳。
A typical drunken method is to make a half turn to the right and then steady yourself. This can be done one time or two times [depending on how far you want to get turned around]. When stepping, you have to look extremely drunk for it to be right.

第二十一式：醉酒欲轉還止
Posture 21: DRUNKARD ABOUT TO SPIN ALL THE WAY AROUND STOPS HIMSELF

說明：
Explanation:
循上式，原步向右扭去如偸步勢，手亦隨之轉右，如「過渡式甲圖」
Continuing from the previous posture, with your feet staying in their location, twist to the right, making a stealth step position [with your right leg over your left], your [right] hand going along with the movement by shifting to the right. See photo 21a:

再換步繞過面前，手畧向後移，如「過渡式乙圖」
Then switch your stance by swinging your rear [left] foot around in front of you, your [right] hand shifting farther to the rear. See photo 21b:

再將右脚向右方開出以成騎馬式，手向右前斜方開出，如『定式圖』。
Then your right foot steps out to the right and you make a horse-riding stance, your [right] hand going out diagonally to the forward right [forward left]. See photo 21c:

功用：
Application:
合二十式雖為醉酒法紙得二次，但練時則可增至四次，惟四次皆不可轉至一圈以上，卽是每醉一次皆僅移轉少許而已。
This technique is combined with Posture 20. Although it is performed here only twice, you can add to it and perform it up to four times when practicing. However, if you do it four times, you must not turn yourself all the way around in a complete circle, and therefore each time has to shift you around to a smaller degree.

第二十二式：捧酒過景陽崗
Posture 22: CARRYING WINE TO THE SUNNY SIDE OF THE HILL

說明：
Explanation:
循上式，左脚向右脚拍齊，膝部彎曲，雙手化拳，曲手向正中相貼，如「過渡式圖」
Continuing from the previous posture, your left foot stomps next to your right foot, knees bent, as both hands become fists and come together toward the middle, arms bent. See photo 22:

再原式向前疾走四步仍維持原狀，
Then quickly advance four steps [left, right, left, right], while maintaining this position.

功用：
Application:
彼欲進捶擊我中路，我卽手步向中集合，旣減小攻擊目標，又能以兩手撞擊來手。
The opponent tries to strike forward to the middle area of my body, so I bring together my hands and feet toward the center, thereby shrinking his targeting area. Or I can also use my hands to smash his incoming hand.

第二十三式：騎馬掛手統捶
Posture 23: HORSE-RIDING STANCE, HANGING HAND, COORDINATED PUNCH

說明：
Explanation:
循上式，先將左脚向左後斜方移開，再將右脚向右後斜方移開以成騎馬式，左拳曲肘向上架起，右拳直出如『定式圖』。
Continuing from the previous posture, first your left foot shifts out diagonally to the left rear, then your right foot shifts out diagonally to the right rear, and you make a horse-riding stance. Then your left fist props up, the elbow bent, and your right fist goes straight out. See photo 23:

功用：
Application:
被漏過我手再出手由上劈落我頭上，我畧向後移開，再以招之卽打之法迎擊之。
The opponent slips out of my hands and then sends a hand chopping down to my head from above, so I slightly shift to the rear, then use a method of drawing in and striking out to stop him in his tracks.

第二十四式：登山左劈捶法
Posture 24: MOUNTAIN-CLIMBING STANCE, LEFT CHOPPING PUNCH

說明：
Explanation:
循上式，右脚向後退以成左登山式，左上拳向右前拳腕間劈落，左拳劈落後，卽向前伸出，右拳貼左肩之內，如『定式圖』。
Continuing from the previous posture, your right foot retreats to make a left mountain-climbing stance as your left fist chops down toward the area of your right wrist and then extends forward, your right fist at the same time withdrawing to the inside of your left shoulder. See photo 24:

功用：
Application:
彼先以手封去我之右拳，我為解去其困乃以左拳劈落彼腕部，再乘勢以左拳衝出，斯為連消代打之法也。
The opponent first uses a hand to seal off my right fist, so I escape this predicament by using my left fist to chop down to his wrist, and then follow through by thrusting out. This is a method of defense continuing into attack.

第二十五式：登山右劈捶法
Posture 25: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING PUNCH

說明：
Explanation:
循上式，退左脚以成右登山步，右拳自左肩部近向左腕部劈去，左拳受去一劈之後，反收於右肩之內，如『定式圖』。
Continuing from the previous posture, your left foot retreats to make a right mountain-climbing stance as your right fist chops out from your left shoulder toward the area of your left wrist and then extends forward, your left fist at the same time withdrawing to the inside of your right shoulder. See photo 25:

功用：
Application:
與上式同，祗左右之別耳！惟左右連環足以抑止猛烈之攻勢有餘，同時用之作攻擊亦頗具威脅之效。
Same as in the previous posture, only with left and right reversed. By continuously stepping away to diminish the fierceness of the opponent’s attack while at the same time attacking him, the result is that he will be the one to feel intimidated.

第二十六式：登山左劈捶法
Posture 26: MOUNTAIN-CLIMBING STANCE, LEFT CHOPPING PUNCH

說明：
Explanation:
循上式，右脚向後退以成左登山步，左上拳向右前拳腕間劈落，左拳劈落後，卽向前伸出右拳貼左肩內，如『定式圖』。
Continuing from the previous posture, your right foot retreats to make a left mountain-climbing stance as your left fist chops down toward the area of your right wrist and then extends forward, your right fist at the same time withdrawing to the inside of your left shoulder. See photo 26:

功用：
Application:
彼先以手封去我之右拳，我為解去其困乃以左拳劈落彼腕部，再乘勢以左拳衝出，斯為連消帶打之法也。
The opponent first uses a hand to seal off my right fist, so I escape this predicament by using my left fist to chop down to his wrist, and then follow through by thrusting out. This is a method of defense continuing into attack.

第二十七式：登山右劈捶法
Posture 27: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING PUNCH

說明：
Explanation:
循上式，退左脚以成右登山步，右拳自左肩部近向左腕部劈去，左拳受去一劈之後，反收於右肩之內，如『定式圖』。
Continuing from the previous posture, your left foot retreats to make a right mountain-climbing stance as your right fist chops out from your left shoulder toward the area of your left wrist and then extends forward, your left fist at the same time withdrawing to the inside of your right shoulder. See photo 27:

功用：
Application:
與上式同，祗左右之別耳！惟左右連環足以抑止猛烈之攻勢有餘，同時用之作攻擊亦頗具威脅之效。
Same as in the previous posture, only with left and right reversed. By continuously stepping away to diminish the fierceness of the opponent’s attack while at the same time attacking him, the result is that he will be the one to feel intimidated.

第二十八式：撲腿掛手掃捶
Posture 28: CROUCHING STANCE, HANGING HAND, SWEEPING PUNCH

說明：
Explanation:
循上式，先原步不動右手拳往後下方殺落，如「過渡式圖」
Continuing from the previous posture, with your feet first staying where they are, your right fist smashes downward to the rear. See photo 28a:

再身往向左方移轉以成扑腿法，右拳由後轉前向襠下掃落，左拳曲肘橫欄於頭上，如『定式圖』。
Then your body turns to the left and you make a crouching stance, your right fist arcing forward from the rear and sweeping downward until below your crotch, your left fist blocking across above your headtop, the elbow bent. See photo 28b:

功用：
Application:
彼欲以手足兼旋法分向我上下兩路攻來，我左拳護頂，右拳反向袴下掃落俾橫截來腿也。
The opponent tries to swing both a hand and a foot to attack me above and below simultaneously [on my left side], so I send my left fist to guard my headtop [against his attacking hand] as my right fist sweeps down lower than my crotch in order to stop his incoming leg.

第二十九式：封手登山揷掌
Posture 29: SEALING HANDS, MOUNTAIN-CLIMBING STANCE, CRASHING PALM

說明：
Explanation:
循上式，提右脚踏下，再進左脚以成左登山步同時雙手封過右方，再出右掌向前直揷而出，如『定式圖』
Continuing from the previous posture, your right foot lifts up and stomps down, then your left foot advances to make a left mountain-climbing stance. At the same time, both hands seal across to your right, then your right palm crashes forward. See photo 29:

功用：
Application:
彼閃身走過我右方，進拳擊我中上路，我先以雙手封去之，再出掌反攻之。
The opponent suddenly moves over to my right side and sends a fist striking forward to my middle or upper area, so I first use both hands to seal him off, then send out a palm to counterattack.

第三十式：翻身封手叠肘
Posture 30: TURN AROUND, SEALING HAND, FOLDING ELBOW

說明：
Explanation:
循上式，向右翻身過後方，蹶右脚以成左登山步，雙手自上封下，如「過渡式圖」
Continuing from the previous posture, your body does a rightward turn to the rear, your right foot retreating to make a left mountain-climbing stance, your hands sealing downward from above. See photo 30a:

再以右手曲肘向前叠去，如『定式圖』
Then your right arms bends and your elbow goes out forward with a folding action. See photo 30b:

功用：
Application:
彼欲由我後方施行突擊，我迅卽翻身用雙封手法封閉來手，再以叠肘法壓逼來手。
An opponent tries to attack me suddenly from behind, so I quickly turn around, using both hands to seal off his attacking hand, then use a folding-elbow technique to apply pressure to his incoming arm.

第三十一式：欲起先落敬酒
Posture 31: DROPPING DOWN BEFORE RISING UP TO PROPOSE A TOAST

說明：
Explanation:
循上式，原步向右後方扑下，左手抅落後方右手以舉杯法垂下至地，如「過渡式圖」
Continuing from the previous posture, with your feet staying in their location, turn to the right rear and crouch down, your left hand hooking away behind you, your right hand lowering toward the ground in a raise-the-cup position. See photo 31a:

再全身往上挺起右提腿以成獨立勢，身體盡量俯前，如『定式圖』
Then your whole body rises up and your right leg lifts to make a one-legged stance, your body leaning forward as far as it can. See photo 31b:

功用：
Application:
此式對練拳者有發揮表現其腰馬與重心力之機會，功用上則與其他舉杯法相同。
As for practice, this posture exhibits a greater potential for training the waist, stance, and balance. As for application, it is the same as the other raise-the-cup moments.

第三十二式：飄步騎馬献酒
Posture 32: RUSHING STEP, HORSE-RIDING STANCE, OFFERING WINE

說明：
Explanation:
循上式，將提起之右脚盡量向前擊落以成標進之騎馬式，右手先收貼胸部，然後向前舉出，如『定式圖』
Continuing from the previous posture, send your lifted right foot strongly striking down forward, making a rushing-advance horse-riding stance, as your right hand first withdraws near your chest, then goes out forward, raised up. See photo 32:

功用：
Application:
由上落下之標前法端賴身步有靈活力道方克臻此，其用法悉如醉酒舉杯法。
This is a method of rushing forward that involves coming down from above. It depends entirely on the nimbleness and strength of your body and step in order for it to work. In application, it is similar to the previous postures of the drunkard raising his cup.

第三十三式：翻身右旋風腿
Posture 33: SPIN AROUND, RIGHT WHIRLWIND KICK

說明：
Explanation:
循上式，循左轉身打旋風如第八，十九圖打法如『定式圖』。
Continuing from the previous posture, spin around to the left, performing a whirlwind kick. It is the same technique as in Postures 8 and 19 [except without finishing by raising the cup]. See photo 33:

功用：
Application:
與第八，第十九
Same as for Postures 8 and 19.

第三十四式：凌空臥下輾腿
Posture 34: GOING FROM MID-AIR TO LYING DOWN, SCISSOR LEGS

說明：
Explanation:
循上式，不俟右腿着地卽凌空向地扑下，着地時兩腿向左右分開以成輾腿之勢如『定式圖』
Continuing from the previous posture, without waiting for your kicking right leg to come down, go from a state of being in mid-air to lying down. As you come down, your legs spread apart to the left and right, making a scissors shape. See photo 34:

功用：
Application:
與第十四式同。
Same as for Posture 14.

第三十五式：翻身左掃腿法
Posture 35: TURN OVER WITH LEFTWARD SWEEPING LEGS

說明：
Explanation:
循上式，先舉起左腿如「過渡甲式圖」
Continuing from the previous posture, first lift your left leg. See photo 35a:

再全身翻過左方，左腿着地，右腿由下反上，亦於左方以成為較剪形狀如『定式圖』
Then your whole body turns over to the left, your left leg coming down to the ground, your right leg correspondingly going up from below and then also coming to the left side, your legs making a scissors shape. See photo 35b:

功用：
Application:
與第十五式同。
Same as for Posture 15.

第三十六式：翻身右掃腿法
Posture 36: TURN OVER WITH RIGHTWARD SWEEPING LEGS

說明：
Explanation:
循上式，先舉起右腿如「過渡式圖」
Continuing from the previous posture, first lift your right leg. See photo 36a:

再全身翻過右方，右脚先着地，左腿由下反上以交過右方，以成為較剪形狀，如『定式圖』
Then your whole body turns over to the right, your right leg coming down to the ground, your left leg correspondingly going up from below and then crossing over to the right side, your legs making a scissors shape. See photo 36b:

功用：
Application:
與第十六式同
Same as for Posture 16.

第三十七式：翻身大滾突圍
Posture 37: TURN OVER AND DO A FULL ROLL TO ESCAPE FROM DANGER

說明：
Explanation:
循上式，全身向前而起，以翻滾方法向前滾去。按初習以雙掌抵地蹺起左脚，左脚着力往前撑去則易滾，若練之成熟，則不必以手扶助便不滾去矣，如』定式圖』。
Continuing from the previous posture, your body goes forward and rises up, and you perform a tumbling maneuver to roll away forward. (Note: In the beginning of the training, it may be easier to roll by putting both palms on the ground, lifting your left foot, and using your right leg to push you over forward, but once you have practiced to the point of skillfulness, you will easily be able to roll without needing your hands to help.) See photo 37:

功用：
Application:
我為求得機起立以作與對方撑擊，乃借滾翻之勢以撤出被圍攻之險地焉。
I find an opportunity to stand up, but it only gives the opponent opportunity to attack, so I go into rolling over in order to remove myself altogether from the place he is attacking.

第三十八式：右旋風腿舉杯
Posture 38: RIGHT WHIRLWIND KICK, RAISE THE CUP

說明：
Explanation:
循上式，我旣用滾法滾過前方，再疾起用旋風腿法，如「過渡式圖」
Continuing from the previous posture, once you have rolled over forward, quickly stand up and perform a whirlwind kick. See photo 38a:

着地後再舉杯，如『定式圖』
After you come down, again raise the cup. See photo 38b:

功用：
Application:
與三十五勢同。
Same as for Posture 35 [33].

第三十九式：拱拳中平歸座
Posture 39: SALUTING FISTS, STANDING STABLY, RETURNING TO YOUR SEAT

說明：
Explanation:
循上式，左脚向右靠攏，雙手化拳曲肘，平肩，如「定式圖」
Continuing from the previous posture, your left foot moves to stand next to your right foot as your hands become fists and your elbows bend at shoulder level. See photo 39:

功用，
Application:
此為收式，本無功用可言，惟曲肘上抽之着力更比中平蓄勢尤强，多練可使胸部發達與增厚臂肘間之力道也。
This is simply a closing posture, with basically no other function to speak of except for the exertion involved in bending your elbows as you pull your arms upward, further increasing the strength being stored in this position of standing stably. Frequent practice of this movement can cause your chest muscles to develop and thicken, and is a strengthening method for the elbows.

第四十式：脱拷勢雙墜捶
Posture 40: BREAKING FREE WITH DOUBLE DROPPING PUNCHES

說明：
Explanation:
循上式，雙拳由上而下至終點時肘部仍微曲。拳腕間作微曲以增加穿下之力道也如「定式圖」
Continuing from the previous posture, your fists go downward from above, finishing with your elbows still slightly bent, the wrists bending slightly inward to add power to the action of piercing downward. See photo 40:

功用：
Application:
彼若以我腰部空虛而乘機攻來，則我可乘勢穿下以破來勢或我雙手被捉亦可於全身由上踏下之勢與雙下墜之力道去掙脫之。
If the opponent notices that my waist area is now an open target and takes advantage of the opportunity to attack, I can seize the moment by piercing downward to smash his attack. Or if my hands have been grabbed, I can sink my body while strongly dropping my fists to break free.

「全拳至此已完」
(This completes the whole set.)

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XIUART

Art, Brennan Translation, Xiuart, 中国武术 - Zhongguo Wushu

DRUNKEN LUOHAN

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醉羅漢拳
DRUNKEN LUOHAN BOXING
順德黃漢勛編述
by Huang Hanxun [Wong Honfan] of Shunde
山東蓬萊羅師光玉授
as taught by Luo Guangyu of Penglai, Shandong
[published Jihai year, 6th month, 27th day (Aug 1, 1959)]

[translation by Paul Brennan, Feb, 2018]

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醉羅漢拳
Drunken Luohan Boxing
韋基舜題
– calligraphy by Wei Jishun

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自序
PREFACE

中國拳技之以醉拳馳譽武林，厥惟「醉八仙」南北各派拳術皆有以此命名者，其他如「醉六躺」「醉打蔣門神」「醉酒鬧東海」「醉羅漢」「醉劉唐」「醉猴掌」「醉螳螂」莫不蜚聲武林，然治此技者必先具備輕靈之身手，穩健之腰馬方可嘗試，否則雖盡半生心力尤恐未易達於成功之境域，尤其難練者厥為「練氣」若徒作翻滾之小動作以取悅於觀衆者則相去「醉拳之眞意遠矣。
拙著跌蕩翻騰，處處皆須表觀其似醉還醒，欲跌還穩之態，斯為上選也，倘希有志研練者，三復斯旨為幸。
己亥孟春上院黃漢勛於螳螂小隱
Drunken boxing sets are famous within Chinese martial arts, although only Drunken Eight Immortals is common to both northern and southern styles. But there are also others, such as Drunken Six Falls, Drunken Wu Song Fighting Jiang Zhong the Door-God, Drunken Fight at the Eastern Sea, Drunken Luohan, Drunken Liu Tang, Drunken Monkey Palms, and Drunken Mantis, which have all gained a degree of fame in the martial arts community.
　　To possess this kind of skill, you must first have agility of body and hands, and stability of waist and stance, and then you will be able to give these sets a try. Otherwise even if you work at it for half a lifetime, I fear it will be not be easy for you to succeed, and it will be particularly difficult for you to develop its unique energy. If you only focus on the tricks of rolling around in order to please spectators, then you will be taking yourself away from the true meaning of drunken boxing.
　　In my performance below of stumbling and swaying, turning and hopping, it is meant to look like a drunk sobering up. An appearance of stumbling and then returning to stability is what you should be aiming for. For those rare individuals out there who aspire to practice this set, I hope you will repeatedly examine this point.
　　- Huang Hanxun at the Mantis School, Jihai year, 1st ten-day period of the 1st month of spring, [early Feb, 1959]

–

前中央國術舘舘長　張之江先生題字
Inscription by former director of the Central Martial Arts Institute, Zhang Zhijiang:

術德並重
“Give equal emphasis to both skill and morality.”
之江
– [Zhang] Zhijiang

–

練藝貴能貫通精氣神
“Practicing these arts will enable the smooth flow of essence, energy, and spirit.”
盧煒昌　漢勛同志囑書廿八、四、四
– inscription by Lu Weichang for Hanxun’s books, Apr 4, 1939

–

第一式：中平拱手讓座
Posture 1: STANDING STABLY, SALUTING TO INVITE A GUEST TO TAKE A SEAT

說明：
Explanation:
假定找擇比方站立以作此拳之起點，則為右北左南，背東面西，雙脚緊靠作中平勢，雙拳同時抽起，曲肘而與肩部看齊，如『定式圖』。
If you stand in the northern part of the practice space to begin this boxing set, then the north is to your right, the south to your left, the east behind you, the west in front of you. With your feet next to each other, making a posture of standing stably, your fists pull up, elbows bent at shoulder level. See photo 1:

功用：
Application:
此為開式，本無功用可言，惟曲肘上抽之着力，更比中平蓄勢尤强，多練可使胸部發達與增厚，臂肘間之力道也。
This is simply an opening posture, with basically no other function to speak of except for the exertion involved in bending your elbows as you pull your arms upward, further increasing the strength being stored in this position of standing stably. Frequent practice of this movement can cause your chest muscles to develop and thicken, and is a strengthening method for the elbows.

第二式：脱拷勢雙墜捶
Posture 2: BREAKING FREE WITH DOUBLE DROPPING PUNCHES

說明：
Explanation:
循上式，雙脚向左右分開，未分之前先全身騰空跳起，然後以殿地法用力踏下以成騎馬式，雙拳自上向馬內疾穿而下，拳腕向作微曲以增加穿下之力。
Continuing from the previous posture, your body hops up and your feet spread apart to the sides, then you come down in a strong horse-riding stance, your fists quickly piercing downward from above toward the inside of your thighs, the wrists bending slightly inward to add power to these downward thrusts. [See photo 2:]

功用：
Application:
彼若以找腰部空虛而乘機攻來，則我可乘勢穿下以破來勢，或雙手被捉亦可找於全身由上踏下之勢與雙下墜之力道去掙脫之。
If the opponent notices that my waist area is now an open target and takes advantage of the opportunity to attack, I can seize the moment by piercing downward to smash his attack. Or if my hands have been grabbed, I can send my whole body downward from above while strongly dropping my fists to break free.

第三式：馬式舉杯敬酒
Posture 3: HORSE-RIDING STANCE, RAISE THE CUP TO OFFER A TOAST

說明：
Explanation:
循上式，原步不動，右拳化成封手，（舉杯法）自襠下舉出，左拳化成刁手往後抅去，目注視前方，如『定式圖』。
Continuing from the previous posture, with your feet staying where they are, your right fist becomes a sealing hand (in a “raise the cup” posture) and goes out raising up from below your crotch, your left fist at the same time becoming a luring hand and hooking away to the rear. Your gaze is forward. See photo 3:

功用：
Application:
彼擬以拳自我中部擊來，我先用左手勾消之，再用右手斜斜穿上，雖無醉酒法之形式，但變為拳掌均以適合當為所需而定也。
An opponent tries to use a fist to strike to the middle area of my body, so I first use my left hand to lure it away and dispel his attack, then use my right hand to diagonally pierce upward. Although this technique does not seem to exhibit a drunken method, the fists switch to hand positions appropriate to the theme.

第四式：醉酒欲跌還穩
Posture 4: DRUNKARD ABOUT TO FALL REGAINS HIS STEADINESS

說明：
Explanation:
循上式，先將右脚白面前繞過左方成偸步法如「過渡式甲圖」。
Continuing from the previous posture, first your right foot arcs in front of you toward the left, making a stealth step. See photo 4a:

而將左脚繞出面前而成為「過渡式乙圖」。
Then your left foot arcs around in front of you, making [another stealth step]. See photo 4b:

再將右脚抽出後復為騎馬式，如「定式圖」。
Then your right foot steps out from behind you for you to again make a horse-riding stance. See photo 4c:

註，
Note:
全式須作左右搖動如醉後之形狀及連貫為妙。
The key to this technique is that you have to continuously sway side to side, as one does after becoming drunk.

功用：
Application:
全式須盡量運用腰馬之力道使盡量發揮醉酒中之最高境界，運用上有欲進還退，欲左忽右之神妙。
This technique depends on being driven from your waist and stance. It will work best if you give free rein to a drunken behavior. Its application lies in the subtlety of being about to advance but then retreating, or of being about to go left but then suddenly going right.

第五式：登山封手統捶
Posture 5: MOUNTAIN-CLIMBING STANCE, SEALING HAND, COORDINATED PUNCH

說明：
Explanation:
循上式，原步轉過左南方，以成為左登山步，同時左手亦向南封去然後收於腰部，右拳自腰直向南方衝出如『定式圖』。
Continuing from the previous posture, with your feet staying in their location, your body turns to the left to be facing to the south, making a left mountain-climbing stance, your left hand at the same time going to the south with a sealing action. The hand then withdraws to your waist as your right fist thrusts out to the south from your waist. See photo 5:

功用：
Application:
彼繞過我左方攻來，我趕速轉馬先封去來手，然後以右拳還擊之，當我封去來手時必順勢牽之，使彼身體傾來，我右拳及時擊之，其勢至强也。
The opponent circles around to my left to attack me, so I pursue him by quickly turning my stance and sealing off his incoming hand, then I use my right fist to counterattack. When I seal off his incoming hand, I have to seize the moment by pulling it in, causing his body to lean toward me, so that when I strike with my right fist the technique is much more powerful.

第六式：封手十字腿法
Posture 6: SEALING HAND, CROSSED-BODY KICK

循上式：說明，
Explanation:
先以右拳化成封手，再收回腰部，左拳由腰化掌與右腿向前齊出，腿與掌必同一線為合，如『定式圖』。
Continuing from the previous posture, first your right fist changes to a sealing hand, then it withdraws to your waist as your left fist changes to a palm and goes out to the left in unison with your right leg. The leg and arm have to be parallel with each other. See photo 6:

功用：
Application:
彼出手招去我上式之拳，我卽循來手封之，旣封得之後，卽以左掌又右腿還擊彼中下二路，我先封住來手然後施以手腿齊攻之法是無犯險之忌矣。
The opponent sends out a hand to draw away the fist that I used in the previous posture, so I go along with his incoming hand by sealing it off. Once his hand has been sealed, I then use my left palm and right leg to counterattack to the middle and lower areas of his body. As this is a method of first sealing off an incoming hand and then attacking with hand and leg in tandem, it therefore involves no element of risk.

第七式：蹤跳雙飛腿法
Posture 7: LEAP UP INTO A FLYING DOUBLE KICK

說明：
Explanation:
循上式，先兩手不動，祗先將踢出之右脚踏下，再提起左後脚，如「過渡式甲圖」，
Continuing from the previous posture, your hands maintain their position as first your right foot stomps down and then your left foot lifts up behind you. See photo 7a:

再全身跳起而踢出右脚，同時右拳化掌由下向上而出，左掌則由上擊下，使互相碰擊如「過渡式定圖」，
Then your whole body leaps up [driven by your left leg swinging forward] and your right foot kicks out, your right fist at the same time becoming a palm and going out upward from below as your left palm strikes downward from above, your hands striking each other. See photo 7b:

再以右掌往下拍落右腿如『動式圖』。
Then your right palm slaps down onto your right leg. See photo 7c:

註
Note:
動定二圖，實二而一而已。
Although photos b and c are two photos, they are actually showing just one movement.

功用：
Application:
全身騰空而起，出腿進擊，實為兇險之法，居於彼我之間，並非某方獨佔其利弊也。
My whole body leaps up and I send a leg forward to attack. This is a risky maneuver, advantage or disadvantage depending on the spacing between myself and the opponent, rather than on my being positioned in a particular place.

第八式：右旋風腿舉杯
Posture 8: RIGHT WHIRLWIND KICK, RAISE THE CUP

說明：
Explanation:
循上式，不侍上式之脚踏地卽全身向右翻起，左掌向右脚底打去，如「過渡式甲圖」，
Continuing from the previous posture, without waiting to fully come down, your body spins around to the right [left], rising up, and your left palm goes out to strike the sole of your right foot. See photo 8a:

而右脚落地成騎馬式，右手以舉杯法斜向前方舉出，左刁手往後拘去如『定式圖』。
Then your right foot comes down to make a horse-riding stance and your right hand goes out forward in a raise-the-cup posture, your left hand hooking away behind you. See photo 8b:

功用：
Application:
我雙飛腿旣屬兇險之法，難保對方不乘我凌空而起時突用掃膛腿法襲我下一路，因此我再凌空以旋風腿法還擊彼上路。
The flying double kick is a risky maneuver, for it is difficult to keep the opponent from taken advantage of the time during which I am in the air. He suddenly attacks toward my lower body with a hall-sweeping kick, so I again leap up and now perform a whirlwind kick to counterattack to his upper body.

第九式：醉酒似退實進
Posture 9: DRUNKARD SEEMS ABOUT TO RETREAT BUT ACTUALLY ADVANCES

說明：
Explanation:
循上式，兩手不變，先將右脚向左方倒退如偸步之勢，如「過渡式甲圖」。
Continuing from the previous posture, your hand position does not change as you first retreat your right foot to the left [passing in front of your left foot], almost getting into a stealth step position. See photo 9a:

再將左脚自後抽出，畧離地面，如「過渡式乙圖」。
Then your left foot pulls out from behind you [and comes around in front of your right foot], slightly lifted off the ground. See photo 9b:

再以左脚着地，右脚須迫前，仍成騎馬式，右手再舉出，如『定式圖』。
Then bring your left foot down, which causes your right foot to go forward, and you again make a horse-riding stance, your right hand again going out raised up. See photo 9c:

功用：
Application:
全式，看來但欲退却似當其將退時卽返身進前，必須盡量表現跌蕩醉態為佳。
The sum of this technique is that you seem about to retreat, but while retreating, your body is instead advancing. You have to do your utmost to look like a stumbling drunk for it be right.

第十式：醉酒似退實進
Posture 10: DRUNKARD SEEMS ABOUT TO RETREAT BUT ACTUALLY ADVANCES

說明：
Explanation:
循上式，兩手不變，先將右脚向左方倒退如偸步之勢如「過渡式甲圖」
Continuing from the previous posture, your hand position does not change as you first retreat your right foot to the left [passing in front of your left foot], almost getting into a stealth step position. See photo 10a:

再將左脚自後抽出，畧離地面，如「過渡式乙圖」
Then your left foot pulls out from behind you [and comes around in front of your right foot], slightly lifted off the ground. See photo 10b:

再以左脚着地，右脚復進前仍成騎馬式，右手再舉出如『定式圖』。
Then bring your left foot down, which causes your right foot to go forward, and you again make a horse-riding stance, your right hand again going out raised up. See photo 10c:

功用：
Application:
全式，看來似欲退却，但當其將退時卽返身進前，必盡量表現跌蕩醉態為佳。
The sum of this technique is that you seem about to retreat, but while retreating, your body is instead advancing. You have to do your utmost to look like a stumbling drunk for it be right.

第十一式：醉酒似退實進
Posture 11: DRUNKARD SEEMS ABOUT TO RETREAT BUT ACTUALLY ADVANCES

說明：
Explanation:
循上式，兩手不變，先將右脚向左方倒退如偸步之勢如「過渡式甲圖」
Continuing from the previous posture, your hand position does not change as you first retreat your right foot to the left [passing in front of your left foot], almost getting into a stealth step position. See photo 11a:

再將左脚自後抽出，畧離地面，如「過渡式乙圖」
Then your left foot pulls out from behind you [and comes around in front of your right foot], slightly lifted off the ground. See photo 11b:

再以左脚着地，右脚須迫前仍成騎馬式，右手再舉出如『定式圖』。
Then bring your left foot down, which causes your right foot to go forward, and you again make a horse-riding stance, your right hand again going out raised up. See photo 11c:

功用：
Application:
全式，看來似欲退却，佢當其將退時卽返身進前，必須盡量表現跌蕩醉態為佳。
The sum of this technique is that you seem about to retreat, but while retreating, your body is instead advancing. You have to do your utmost to look like a stumbling drunk for it be right.

第十二式：醉酒欲斜還正
Posture 12: DRUNKARD ABOUT TO LEAN REGAINS HIS BALANCE

說明：
Explanation:
循上式，兩手不變，全身向右一擰成扭身之勢，如「過渡式甲圖」
Continuing from the previous posture, your hands maintain their position as your body twists to the right, making a twisted stance [with your right leg over your left]. See photo 12a:

再將後脚抽出反居於前，手畧低垂，如「過渡式乙圖」
Then your rear [left] foot swings around to be in front, your [right] hand slightly lowering. See photo 12b:

右脚再向右開成面對南方之騎馬式如『定式圖』。
Then your right foot steps out to the right, making a horse-riding stance that is squared to the south. See 12c:

功用：
Application:
如一般之醉酒法，須跌蕩如酒醉法演出方稱佳妙。
For the typical drunken method, you have to stumble and sway like the performance of a drunkard, and then it can be said to be right.

第十三式：雙封手右蹬腿
Posture 13: DOUBLE SEALING HANDS, RIGHT PRESSING KICK

說明：
Explanation:
循上式，雙手分左前右後，前陽後陰封去，右腿向斜前方橫蹬而出如，『定式圖』。
Continuing from the previous posture, your hands spread apart, left hand forward, right hand behind, sealing off with your forward hand facing upward, rear hand facing downward, and your right leg goes diagonally forward with a sideways pressing kick. See photo 13:

功用：
Application:
敵方欲自我左方攻來，我先用雙手封去之，再出右腿襲擊彼中部，我旣封牢其手，使彼無法退避也。
An opponent tries to attack from my left, so I first use my hands to seal it off, then send out my right foot with a surprise attack to the middle area of his body. By firmly seizing his hand, I cause him to have no means of escape.

第十四式：臥地雙輾腿法
Posture 14: LYING DOWN, SCISSOR LEGS

說明：
Explanation:
循上式，不俟踢起之右腿着地卽全身自空中向前扑下，右腿先下而斜過左方在下，左腿後下而居上，斜過右方兩腿便成較剪形，雙掌按地而使雙脚有剷前之勢為合，如『定式圖』。
Continuing from the previous posture, without waiting for your kicking right foot to come down, your whole body then goes from a state of being in mid-air to lunging forward lying down, your right leg coming down first and going diagonally to the left under your left leg, which then comes down going diagonally to the right over your right leg, your legs making a scissors shape, your palms pushing down onto the ground to give your feet an effect of shoveling forward. See photo 14:

功用：
Application:
彼以我橫蹬腿突攻彼腹部而欲極力往後倒退，我不俟其退卽用臥地法在前用輾腿法以攻其下路。
The opponent notices my sideways pressing kick suddenly attacking his belly, so he does his utmost to retreat. Instead of waiting for him to get away, I then lunge forward, lying down, using a scissor legs technique to attack him below.

第十五式：翻身左掃腿法
Posture 15: TURN OVER WITH LEFTWARD SWEEPING LEGS

說明：
Explanation:
循上式，身畧向地臥下：先舉起左腿，如「過渡式甲圖」
Continuing from the previous posture, your body lies down further toward the ground and you first lift your left leg. See photo 15a:

再將全身翻過左方，左腿着地而反舉起右腿，雙手亦隨身翻過左方而按地，如「過渡式乙圖」
Then your whole body turns over to the left, your left leg coming down to the ground, your right leg correspondingly lifting up, your hands going along with the turning of your body to push down on the ground to the left. See photo 15b:

再使右腿落下則再成臥下輾腿法，如『定式圖』。
Then your right leg comes down, returning you to the position of LYING DOWN, SCISSOR LEGS. See photo 15c:

功用：
Application:
我旣臥於地下，使彼方必欲乘空以居高臨下之勢來襲，於是我乃用連環掃腿法以還攻彼中下路。
Now that I am lying on the ground, the opponent will want to take advantage of my vulnerable position, feeling that he is now in a clearly superior position above me, and will suddenly attack. Therefore I apply this technique of continuously sweeping legs in order to counterattack to his middle or lower body.

第十六式：翻身右掃腿法
Posture 16: TURN OVER WITH RIGHTWARD SWEEPING LEGS

說明：
Explanation:
循上式，全身不動，先將右腿舉起，如「過渡式甲圖」
Continuing from the previous posture, your body stays where it as you first lift your right leg. See photo 16a:

再全身翻過右方，右腿着地，反而舉起左腿，如『過渡式乙圖」
Then your whole body turns over to the right, your right leg coming down to the ground, your left leg correspondingly lifting up. See photo 16b:

再將左腿落於右方以成為剪形，如『定式圖』
Then your left leg comes down to the right side, your legs making a scissors shape. See photo 16c:

功用：
Application:
上式，向左，此式向右互為左右呼應而已，至實二而一耳。
The previous posture went to the left side, and now this one goes to the right side. Working both sides equally, these two postures are actually one technique.

第十七式：臥虎欲起還跌
Posture 17: SLEEPING TIGER WANTS TO GET UP BUT THEN LIES BACK DOWN

說明：
Explanation:
循上式，全身由兩足趾尖與兩掌支撑而起，使身體全部離開地面，頭作廻顧勢，起愈高愈佳，至盡則再全身與手足扑下，如『定式圖』。
Continuing from the previous posture, your whole body, from toes to palms, rises up so that you have completely left the ground, your head turned to look back. The higher you go away from the ground, the better, and then your body, hands, and feet, again plop back down [the effect of the movement looking like a full-body burp]. See photo 17:

功用：
Application:
雖無出手，動腿之運用，能使四肢增强，力道於拳擊上不無禪補也。
Even though you are not sending out your hands or moving your legs, this exercise can strengthen your limbs. It is a strengthening method within boxing arts that is not without real benefit.

第十八式：翻身大滾突圍
Posture 18: TURN OVER AND DO A FULL ROLL TO ESCAPE FROM DANGER

說明：
Explanation:
循上式，全身向前而起，以翻滾方法向前滾去。按，初習以雙掌抵地蹺起左脚，右脚着力往前撑去則易滾，若練之成熟，則不必用手幫助便可滾去矣。如『定式圖』
Continuing from the previous posture, your body goes forward and rises up, and you perform a tumbling maneuver to roll away forward. (Note: In the beginning of the training, it may be easier to roll by putting both palms on the ground, lifting your left [right] foot, and using your right [left] leg to push you over forward, but once you have practiced to the point of skillfulness, you will easily be able to roll without needing your hands to help.) See photo 18:

功用：
Application:
我為求得機起立以作與對方撑擊，乃借滾翻之勢以撤出被圍攻之險地焉。
I find an opportunity to stand up, but it only gives the opponent opportunity to attack, so I go into rolling over in order to remove myself altogether from the place he is attacking.

第十九式：右旋風腿舉杯
Posture 19: RIGHT WHIRLWIND KICK, RAISE THE CUP

說明：
Explanation:
循上式，我脫翻過前方，卽起身作旋風腿之打法卽如第八式同，如「過渡式及定式圖」。
Continuing from the previous posture, once you have rolled over forward, stand up and perform a whirlwind kick. It is the same as in Posture 8. See photos 19a and b:

功用：
Application:
我雙飛腿旣屬兇險之法，難保對方不乘我凌空而起時突用掃膛腿法襲我下一路，因此我再凌空以旋風腿法還擊彼上路。
The flying double kick [forward roll] is a risky maneuver, for it is difficult to keep the opponent from taken advantage of the time during which I am in the air [on the ground]. He suddenly attacks toward my lower body with a hall-sweeping kick, so I again leap up and this time perform a whirlwind kick to counterattack to his upper body.

第二十式：醉酒欲轉還止
Posture 20: DRUNKARD ABOUT TO SPIN ALL THE WAY AROUND STOPS HIMSELF

說明：
Explanation:
循上式，循左扭身以成扭步勢，右手亦隨身移過左方，如「過渡式甲圖」
Continuing from the previous posture, your body twists to the left [right], making a twisted stance [with your right leg over your left], your right hand going along with your body by shifting to the left [right]. See photo 20a:

再將左脚抽出繞過面前以成偸手之勢，手亦轉過右方，如「過渡式乙圖」
Then your left foot comes out and swings around in front of you, making a stealth step, your [right] hand going along with the movement by shifting farther to the right. See photo 20b:

再換步轉身，如「過渡式丙圖」
Then your feet switch their roles [of being the front or rear foot] as you turn around. See photo 20c:

再以醉酒法將身體移正以成騎馬式，手向右方移正，如『定式圖』。
Then shift your body to be facing squarely as you make a horse-riding stance, your [right] hand shifting to the right [left]. See photo 20d:

功用：
Application:
如一般醉酒法向右轉半個身，定式可一次或二次，走時須表現十分醉態為佳。
A typical drunken method is to make a half turn to the right and then steady yourself. This can be done one time or two times [depending on how far you want to get turned around]. When stepping, you have to look extremely drunk for it to be right.

第二十一式：醉酒欲轉還止
Posture 21: DRUNKARD ABOUT TO SPIN ALL THE WAY AROUND STOPS HIMSELF

說明：
Explanation:
循上式，原步向右扭去如偸步勢，手亦隨之轉右，如「過渡式甲圖」
Continuing from the previous posture, with your feet staying in their location, twist to the right, making a stealth step position [with your right leg over your left], your [right] hand going along with the movement by shifting to the right. See photo 21a:

再換步繞過面前，手畧向後移，如「過渡式乙圖」
Then switch your stance by swinging your rear [left] foot around in front of you, your [right] hand shifting farther to the rear. See photo 21b:

再將右脚向右方開出以成騎馬式，手向右前斜方開出，如『定式圖』。
Then your right foot steps out to the right and you make a horse-riding stance, your [right] hand going out diagonally to the forward right [forward left]. See photo 21c:

功用：
Application:
合二十式雖為醉酒法紙得二次，但練時則可增至四次，惟四次皆不可轉至一圈以上，卽是每醉一次皆僅移轉少許而已。
This technique is combined with Posture 20. Although it is performed here only twice, you can add to it and perform it up to four times when practicing. However, if you do it four times, you must not turn yourself all the way around in a complete circle, and therefore each time has to shift you around to a smaller degree.

第二十二式：捧酒過景陽崗
Posture 22: CARRYING WINE TO THE SUNNY SIDE OF THE HILL

說明：
Explanation:
循上式，左脚向右脚拍齊，膝部彎曲，雙手化拳，曲手向正中相貼，如「過渡式圖」
Continuing from the previous posture, your left foot stomps next to your right foot, knees bent, as both hands become fists and come together toward the middle, arms bent. See photo 22:

再原式向前疾走四步仍維持原狀，
Then quickly advance four steps [left, right, left, right], while maintaining this position.

功用：
Application:
彼欲進捶擊我中路，我卽手步向中集合，旣減小攻擊目標，又能以兩手撞擊來手。
The opponent tries to strike forward to the middle area of my body, so I bring together my hands and feet toward the center, thereby shrinking his targeting area. Or I can also use my hands to smash his incoming hand.

第二十三式：騎馬掛手統捶
Posture 23: HORSE-RIDING STANCE, HANGING HAND, COORDINATED PUNCH

說明：
Explanation:
循上式，先將左脚向左後斜方移開，再將右脚向右後斜方移開以成騎馬式，左拳曲肘向上架起，右拳直出如『定式圖』。
Continuing from the previous posture, first your left foot shifts out diagonally to the left rear, then your right foot shifts out diagonally to the right rear, and you make a horse-riding stance. Then your left fist props up, the elbow bent, and your right fist goes straight out. See photo 23:

功用：
Application:
被漏過我手再出手由上劈落我頭上，我畧向後移開，再以招之卽打之法迎擊之。
The opponent slips out of my hands and then sends a hand chopping down to my head from above, so I slightly shift to the rear, then use a method of drawing in and striking out to stop him in his tracks.

第二十四式：登山左劈捶法
Posture 24: MOUNTAIN-CLIMBING STANCE, LEFT CHOPPING PUNCH

說明：
Explanation:
循上式，右脚向後退以成左登山式，左上拳向右前拳腕間劈落，左拳劈落後，卽向前伸出，右拳貼左肩之內，如『定式圖』。
Continuing from the previous posture, your right foot retreats to make a left mountain-climbing stance as your left fist chops down toward the area of your right wrist and then extends forward, your right fist at the same time withdrawing to the inside of your left shoulder. See photo 24:

功用：
Application:
彼先以手封去我之右拳，我為解去其困乃以左拳劈落彼腕部，再乘勢以左拳衝出，斯為連消代打之法也。
The opponent first uses a hand to seal off my right fist, so I escape this predicament by using my left fist to chop down to his wrist, and then follow through by thrusting out. This is a method of defense continuing into attack.

第二十五式：登山右劈捶法
Posture 25: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING PUNCH

說明：
Explanation:
循上式，退左脚以成右登山步，右拳自左肩部近向左腕部劈去，左拳受去一劈之後，反收於右肩之內，如『定式圖』。
Continuing from the previous posture, your left foot retreats to make a right mountain-climbing stance as your right fist chops out from your left shoulder toward the area of your left wrist and then extends forward, your left fist at the same time withdrawing to the inside of your right shoulder. See photo 25:

功用：
Application:
與上式同，祗左右之別耳！惟左右連環足以抑止猛烈之攻勢有餘，同時用之作攻擊亦頗具威脅之效。
Same as in the previous posture, only with left and right reversed. By continuously stepping away to diminish the fierceness of the opponent’s attack while at the same time attacking him, the result is that he will be the one to feel intimidated.

第二十六式：登山左劈捶法
Posture 26: MOUNTAIN-CLIMBING STANCE, LEFT CHOPPING PUNCH

說明：
Explanation:
循上式，右脚向後退以成左登山步，左上拳向右前拳腕間劈落，左拳劈落後，卽向前伸出右拳貼左肩內，如『定式圖』。
Continuing from the previous posture, your right foot retreats to make a left mountain-climbing stance as your left fist chops down toward the area of your right wrist and then extends forward, your right fist at the same time withdrawing to the inside of your left shoulder. See photo 26:

功用：
Application:
彼先以手封去我之右拳，我為解去其困乃以左拳劈落彼腕部，再乘勢以左拳衝出，斯為連消帶打之法也。
The opponent first uses a hand to seal off my right fist, so I escape this predicament by using my left fist to chop down to his wrist, and then follow through by thrusting out. This is a method of defense continuing into attack.

第二十七式：登山右劈捶法
Posture 27: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING PUNCH

說明：
Explanation:
循上式，退左脚以成右登山步，右拳自左肩部近向左腕部劈去，左拳受去一劈之後，反收於右肩之內，如『定式圖』。
Continuing from the previous posture, your left foot retreats to make a right mountain-climbing stance as your right fist chops out from your left shoulder toward the area of your left wrist and then extends forward, your left fist at the same time withdrawing to the inside of your right shoulder. See photo 27:

功用：
Application:
與上式同，祗左右之別耳！惟左右連環足以抑止猛烈之攻勢有餘，同時用之作攻擊亦頗具威脅之效。
Same as in the previous posture, only with left and right reversed. By continuously stepping away to diminish the fierceness of the opponent’s attack while at the same time attacking him, the result is that he will be the one to feel intimidated.

第二十八式：撲腿掛手掃捶
Posture 28: CROUCHING STANCE, HANGING HAND, SWEEPING PUNCH

說明：
Explanation:
循上式，先原步不動右手拳往後下方殺落，如「過渡式圖」
Continuing from the previous posture, with your feet first staying where they are, your right fist smashes downward to the rear. See photo 28a:

再身往向左方移轉以成扑腿法，右拳由後轉前向襠下掃落，左拳曲肘橫欄於頭上，如『定式圖』。
Then your body turns to the left and you make a crouching stance, your right fist arcing forward from the rear and sweeping downward until below your crotch, your left fist blocking across above your headtop, the elbow bent. See photo 28b:

功用：
Application:
彼欲以手足兼旋法分向我上下兩路攻來，我左拳護頂，右拳反向袴下掃落俾橫截來腿也。
The opponent tries to swing both a hand and a foot to attack me above and below simultaneously [on my left side], so I send my left fist to guard my headtop [against his attacking hand] as my right fist sweeps down lower than my crotch in order to stop his incoming leg.

第二十九式：封手登山揷掌
Posture 29: SEALING HANDS, MOUNTAIN-CLIMBING STANCE, CRASHING PALM

說明：
Explanation:
循上式，提右脚踏下，再進左脚以成左登山步同時雙手封過右方，再出右掌向前直揷而出，如『定式圖』
Continuing from the previous posture, your right foot lifts up and stomps down, then your left foot advances to make a left mountain-climbing stance. At the same time, both hands seal across to your right, then your right palm crashes forward. See photo 29:

功用：
Application:
彼閃身走過我右方，進拳擊我中上路，我先以雙手封去之，再出掌反攻之。
The opponent suddenly moves over to my right side and sends a fist striking forward to my middle or upper area, so I first use both hands to seal him off, then send out a palm to counterattack.

第三十式：翻身封手叠肘
Posture 30: TURN AROUND, SEALING HAND, FOLDING ELBOW

說明：
Explanation:
循上式，向右翻身過後方，蹶右脚以成左登山步，雙手自上封下，如「過渡式圖」
Continuing from the previous posture, your body does a rightward turn to the rear, your right foot retreating to make a left mountain-climbing stance, your hands sealing downward from above. See photo 30a:

再以右手曲肘向前叠去，如『定式圖』
Then your right arms bends and your elbow goes out forward with a folding action. See photo 30b:

功用：
Application:
彼欲由我後方施行突擊，我迅卽翻身用雙封手法封閉來手，再以叠肘法壓逼來手。
An opponent tries to attack me suddenly from behind, so I quickly turn around, using both hands to seal off his attacking hand, then use a folding-elbow technique to apply pressure to his incoming arm.

第三十一式：欲起先落敬酒
Posture 31: DROPPING DOWN BEFORE RISING UP TO PROPOSE A TOAST

說明：
Explanation:
循上式，原步向右後方扑下，左手抅落後方右手以舉杯法垂下至地，如「過渡式圖」
Continuing from the previous posture, with your feet staying in their location, turn to the right rear and crouch down, your left hand hooking away behind you, your right hand lowering toward the ground in a raise-the-cup position. See photo 31a:

再全身往上挺起右提腿以成獨立勢，身體盡量俯前，如『定式圖』
Then your whole body rises up and your right leg lifts to make a one-legged stance, your body leaning forward as far as it can. See photo 31b:

功用：
Application:
此式對練拳者有發揮表現其腰馬與重心力之機會，功用上則與其他舉杯法相同。
As for practice, this posture exhibits a greater potential for training the waist, stance, and balance. As for application, it is the same as the other raise-the-cup moments.

第三十二式：飄步騎馬献酒
Posture 32: RUSHING STEP, HORSE-RIDING STANCE, OFFERING WINE

說明：
Explanation:
循上式，將提起之右脚盡量向前擊落以成標進之騎馬式，右手先收貼胸部，然後向前舉出，如『定式圖』
Continuing from the previous posture, send your lifted right foot strongly striking down forward, making a rushing-advance horse-riding stance, as your right hand first withdraws near your chest, then goes out forward, raised up. See photo 32:

功用：
Application:
由上落下之標前法端賴身步有靈活力道方克臻此，其用法悉如醉酒舉杯法。
This is a method of rushing forward that involves coming down from above. It depends entirely on the nimbleness and strength of your body and step in order for it to work. In application, it is similar to the previous postures of the drunkard raising his cup.

第三十三式：翻身右旋風腿
Posture 33: SPIN AROUND, RIGHT WHIRLWIND KICK

說明：
Explanation:
循上式，循左轉身打旋風如第八，十九圖打法如『定式圖』。
Continuing from the previous posture, spin around to the left, performing a whirlwind kick. It is the same technique as in Postures 8 and 19 [except without finishing by raising the cup]. See photo 33:

功用：
Application:
與第八，第十九
Same as for Postures 8 and 19.

第三十四式：凌空臥下輾腿
Posture 34: GOING FROM MID-AIR TO LYING DOWN, SCISSOR LEGS

說明：
Explanation:
循上式，不俟右腿着地卽凌空向地扑下，着地時兩腿向左右分開以成輾腿之勢如『定式圖』
Continuing from the previous posture, without waiting for your kicking right leg to come down, go from a state of being in mid-air to lying down. As you come down, your legs spread apart to the left and right, making a scissors shape. See photo 34:

功用：
Application:
與第十四式同。
Same as for Posture 14.

第三十五式：翻身左掃腿法
Posture 35: TURN OVER WITH LEFTWARD SWEEPING LEGS

說明：
Explanation:
循上式，先舉起左腿如「過渡甲式圖」
Continuing from the previous posture, first lift your left leg. See photo 35a:

再全身翻過左方，左腿着地，右腿由下反上，亦於左方以成為較剪形狀如『定式圖』
Then your whole body turns over to the left, your left leg coming down to the ground, your right leg correspondingly going up from below and then also coming to the left side, your legs making a scissors shape. See photo 35b:

功用：
Application:
與第十五式同。
Same as for Posture 15.

第三十六式：翻身右掃腿法
Posture 36: TURN OVER WITH RIGHTWARD SWEEPING LEGS

說明：
Explanation:
循上式，先舉起右腿如「過渡式圖」
Continuing from the previous posture, first lift your right leg. See photo 36a:

再全身翻過右方，右脚先着地，左腿由下反上以交過右方，以成為較剪形狀，如『定式圖』
Then your whole body turns over to the right, your right leg coming down to the ground, your left leg correspondingly going up from below and then crossing over to the right side, your legs making a scissors shape. See photo 36b:

功用：
Application:
與第十六式同
Same as for Posture 16.

第三十七式：翻身大滾突圍
Posture 37: TURN OVER AND DO A FULL ROLL TO ESCAPE FROM DANGER

說明：
Explanation:
循上式，全身向前而起，以翻滾方法向前滾去。按初習以雙掌抵地蹺起左脚，左脚着力往前撑去則易滾，若練之成熟，則不必以手扶助便不滾去矣，如』定式圖』。
Continuing from the previous posture, your body goes forward and rises up, and you perform a tumbling maneuver to roll away forward. (Note: In the beginning of the training, it may be easier to roll by putting both palms on the ground, lifting your left foot, and using your right leg to push you over forward, but once you have practiced to the point of skillfulness, you will easily be able to roll without needing your hands to help.) See photo 37:

功用：
Application:
我為求得機起立以作與對方撑擊，乃借滾翻之勢以撤出被圍攻之險地焉。
I find an opportunity to stand up, but it only gives the opponent opportunity to attack, so I go into rolling over in order to remove myself altogether from the place he is attacking.

第三十八式：右旋風腿舉杯
Posture 38: RIGHT WHIRLWIND KICK, RAISE THE CUP

說明：
Explanation:
循上式，我旣用滾法滾過前方，再疾起用旋風腿法，如「過渡式圖」
Continuing from the previous posture, once you have rolled over forward, quickly stand up and perform a whirlwind kick. See photo 38a:

着地後再舉杯，如『定式圖』
After you come down, again raise the cup. See photo 38b:

功用：
Application:
與三十五勢同。
Same as for Posture 35 [33].

第三十九式：拱拳中平歸座
Posture 39: SALUTING FISTS, STANDING STABLY, RETURNING TO YOUR SEAT

說明：
Explanation:
循上式，左脚向右靠攏，雙手化拳曲肘，平肩，如「定式圖」
Continuing from the previous posture, your left foot moves to stand next to your right foot as your hands become fists and your elbows bend at shoulder level. See photo 39:

功用，
Application:
此為收式，本無功用可言，惟曲肘上抽之着力更比中平蓄勢尤强，多練可使胸部發達與增厚臂肘間之力道也。
This is simply a closing posture, with basically no other function to speak of except for the exertion involved in bending your elbows as you pull your arms upward, further increasing the strength being stored in this position of standing stably. Frequent practice of this movement can cause your chest muscles to develop and thicken, and is a strengthening method for the elbows.

第四十式：脱拷勢雙墜捶
Posture 40: BREAKING FREE WITH DOUBLE DROPPING PUNCHES

說明：
Explanation:
循上式，雙拳由上而下至終點時肘部仍微曲。拳腕間作微曲以增加穿下之力道也如「定式圖」
Continuing from the previous posture, your fists go downward from above, finishing with your elbows still slightly bent, the wrists bending slightly inward to add power to the action of piercing downward. See photo 40:

功用：
Application:
彼若以我腰部空虛而乘機攻來，則我可乘勢穿下以破來勢或我雙手被捉亦可於全身由上踏下之勢與雙下墜之力道去掙脫之。
If the opponent notices that my waist area is now an open target and takes advantage of the opportunity to attack, I can seize the moment by piercing downward to smash his attack. Or if my hands have been grabbed, I can sink my body while strongly dropping my fists to break free.

「全拳至此已完」
(This completes the whole set.)

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