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捷拳圖說
A HANDBOOK FOR NIMBLENESS BOXING
傅秀山
by Fu Xiushan
[1930]
[translation by Paul Brennan, Oct, 2018]
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傅秀山編
by Fu Xiushan:
捷拳圖說
A Handbook for Nimbleness Boxing
馬公愚題
– calligraphy by Ma Gongyu
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國術真魂
The true soul of martial arts!
李景林題
– calligraphy by Li Jinglin
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禹城傅秀山著述
by Fu Xiushan of Yucheng:
㨗拳
Nimbleness Boxing
于右任
– [calligraphy by] Yu Youren
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國技導師
Martial arts leadership!
陳嘉祐題
– calligraphy by Chen Jiayou
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發揚國光
Promoting our national glory!
許世英題
中華民國十八年雙十節
– calligraphy by Xu Shiying, National Day, Oct 10, 1929
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秀山先生属題
for Xiushan:
技進乎道
“Skill brings us closer to the Way.”
楚之熙
– calligraphy by Chu Zhixi
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神乎斯技
How wondrous this art is!
明州朱霞天題
– calligraphy by Zhu Xiatian of Mingzhou [old name for Ningbo]
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傅秀山先生小影
Portrait of Fu Xiushan:
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序
PREFACE
我中華國於亞洲。具五千年之歷史文化。本宜强逾歐美。稱雄寰宇也。然今日竟淪於次殖民地地位。可勝痛哉。溯本窮源。雖由科學幼稚。工商不振。教育不能普及。內亂未克敉平。而構成此內政失修外侮日亟之局勢。然全民衆忽視體育。沿襲重文輕武之惡習。而養成今日萎靡不振奄奄垂斃之多數病夫。實為我中華民族衰老之絕大原因也。我國上古。本重體育。如干戈弓矢之屬。撲擊拳勇之技。無不家喻戶曉。降至近世。火器發明。拳術遂廢棄湮沒而無聞。殊不知國術之為用。可使弱者强。夭者壽。病者痊。頽唐萎靡者。可使剛毅果敢。其直接間接影響於社會國家。不亦深且鉅哉。禹城傅秀山先生。國術專家也。本其健身强國之旨。研究國術。歷數十年如一日。其武藝之精通。技術之超卓。早已蜚聲全國。無待贅言。尤能力事提倡。誨人不倦。茲本生平研究之心得。歷經名師之指導。編纂是書。個中祕訣。闡發無餘。盡道人所不能道。生龍活虎。蹤躍奔騰。種種精奧。一一筆而出之。掃盡前人不公開之惡習。書成之日。行見紙貴洛陽。爭覩為快。其有裨國術前途。寧有涯涘耶。
中華民國十八年十二月三十日山左諶祖安序於上海國術比賽大會
Our Chinese nation has tallied up five thousand years of history and culture in Asia. This greatly exceeds Europe and America, and yet they are considered to be dominant over the whole world whereas we are nowadays relegated to the position of an inferior people. This is truly unbearable. Tracing back to the source of this problem, our scientific understanding is at a childish level, and thus industry has not grown, education has not spread, and we continue to have unquellable domestic strife, putting us in our situation of both internal disorder and external threat from Japan. And yet the masses ignore physical education, carrying on the old evil of valuing only intellectual pursuits and trivializing martial affairs, thereby generating our current state of being countless lethargic feeble “sick men”. Surely this is the cause of the frailty of the Chinese people.
Our nation in ancient times emphasized physical education involving weapons and archery, wrestling and boxing, and these were things known in every household. But with the invention of firearms in modern times, martial arts were abandoned, and so they disappeared from view and ceased to be spoken of. Little do people realize the usefulness of martial arts, capable of making the weak strong, of giving long life to those who would have died young, of helping those with illness recover, of turning the listless and dispirited into the resolute and courageous. This could have both a direct and indirect influence upon our society that can be profound and enormous.
Fu Xiushan of Yucheng [in Shandong] is an expert in martial arts, intent on using physical fitness as a means of strengthening the nation. He has studied martial arts consistently for decades, and his incredible skill has long since made him famous throughout the nation. It goes without saying that he is uniquely capable of promoting these arts. A tireless instructor, he has now taken what he has learned throughout his life, all that he has learned from his teachers, and compiled it into a book. All of the special terminology within is fully explained, revealing even what experts would claim cannot be described in words. With the liveliness of a dragon and the vigor of a tiger, he leaps and dashes through all sorts of exquisite techniques, which he has written down one after another, sweeping aside the vice of earlier generations of not sharing information. Once this book comes out, it will be popular and sought-after. Its potential benefit for the future of our martial arts is limitless.
- written by Chen Zu’an of Shanzuo [i.e. Shandong] at the Shanghai Martial Arts Tournament, Dec 30, 1929
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自序
AUTHOR’S PREFACE
蓋聞有大志者。而後可以負大任就大事。然尤須有大精神大魄力濟之而後可。苟有志焉。而神如風燭。力難縛雞。惡乎其可也。孟子曰。故天將降大任於是人也。必先苦其心志。勞其筋骨。餓其體膚。空乏其身。行拂亂其所為。所以動心忍性。增益其所不能。是孟子之重視心性與體魄可知。心性之磨鍊。或由學問。或由境遇。至於磨鍊體魄。舍國技莫屬。何則。蓋運動之術雖多。而能益內利外。用剛濟柔。有百利而無一弊。則惟國技耳。世之君子。鑒於國病民弱。起而倡之。良有以也。山也不肖。幼而瘠弱。且又善病。或勸山習國技以壯身。韙之。迺從劉師希嶽練習梅花拳有年。漸識其味。及劉師不祿。山又負笈遍遊各地。幸於濟垣。獲見韓愧生先生之捷拳。剛中寓柔。柔中寓剛。適合生理。有益心身。得蒙傳授。雖未洞澈其中玄奧。然從事以來。未受病魔之苦。豈非斯術所賜歟。客秋海上中華國技學會。有國技報出刊。山適主教席於松之武術會。因而函索拙稿。然山不文。安敢操觚著述。不過將師之所遺口訣五要。動作理法。錄以付諸棗梨。並附以圖說。編輯成册。聊作野人獻芹。以襄有志君子。為磨鍊體魄之一助。更希海內名達。不棄鄙陋。有以教正之。則幸甚矣。
I have heard that ambitious people can do anything, but what is really needed is great spirit and boldness in order to be able to succeed. If you have ambition but your spirit wanes, you will hardly have enough strength to tie up a chicken. How then could you succeed at anything? Mengzi said [Mengzi, chapter 6b]: “When Nature bestows responsibility on a person, it first tests his willpower, works his body, starves him, makes him destitute, and ruins whatever he tries to do, thereby activating his mind and building his endurance, making him able where he used to unable.”
Mengzi obviously attached importance to both one’s mental and physical condition. Mental training comes sometimes from learning, sometimes from experience. As for physical training, how can it be done without martial arts? There are many exercise arts, but these can benefit you both internally and externally, using both hardness and softness. They have countless advantages and not one drawback. That is why they are deemed our “national arts”. Seeing that our nation is ill, our people weak, wise gentlemen have started to promote these arts as a good means of dealing with the problem.
I was a sickly child, often very ill, and so I was advised to practice martial arts in order to build up my body. This was good advice indeed. I learned Plum Blossom Boxing from Liu Xiyue for several years, gradually coming to understand its special flavor. But then Liu passed away, and so I left home to learn elsewhere, traveling many places, until I was lucky enough to discover Han Kuisheng’s Nimbleness Boxing. It has softness within hardness, hardness within softness. It conforms to physiological principles, benefitting both mind and body. I have still not yet penetrated all of its mysteries, but ever since I started practicing it, I have never suffered from any illness. Therefore how could this art not a blessing?
While visiting the Shanghai Chinese Martial Arts Association, where they publish a martial arts newspaper, they recommended me for a teaching position at the Song River Martial Arts Association, which then requested that I send them a manuscript about this material. Since I am not a highly literate person, how could I presume to not only write about what I learned from my teacher, his twelve terms, five requirements, and movement principles, but also publish it all, including photographs of myself performing the postures, in an actual book? I am just a country bumpkin and this is just my meager contribution, intended to give some aid to ambitious gentlemen in the training of their bodies. I hope this art will become respected throughout the nation and not be dismissed as something shallow, but if anyone has any criticisms of this book, I would be very happy to receive them.
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捷拳圖說目錄
CONTENTS
捷拳之要旨
Essentials of Nimbleness Boxing
十二字訣
Twelve Key Terms
五要
Five Requirements
論指
On the Use of the Fingers
論拳
On the Use of the Fists [Palms]
論捶
On the Use of the Fists
〔論腿〕
[On the Use of the Legs]
總訣
General Principles
節目歌訣
Mnemonic Verse for Each Posture
捷拳之表演
Performance of Nimbleness Boxing
第一式 立正
Posture 1: STANDING AT ATTENTION
第二式 預備
Posture 2: PREPARATION
第三式 順風領衣
Posture 3: WIND TUGS THE JACKET
第四式 順手推舟
Posture 4: GOING WITH THE CURRENT TO PUSH THE BOAT
第五式 靈獼護腦
Posture 5: CLEVER MACAQUE COVERS ITS HEAD
第六式 蜻蜓點水
Posture 6: DRAGONFLY SKIMS THE WATER
第七式 葉底藏花
Posture 7: FLOWER HIDDEN UNDER THE LEAF
第八式 出爪亮翅
Posture 8: SENDING OUT CLAWS, SPREADING WINGS
第九式 摟膝拗步
Posture 9: BRUSH KNEE IN A CROSSED STANCE
第十式 黑虎掏心
Posture 10: BLACK TIGER STEALS THE HEART
第十一式 跨虎登山
Posture 11: STALKING TIGER CLIMBS THE MOUNTAIN
第十二式 魁星奪斗
Posture 12: KUIXING SEIZES THE BIG DIPPER
第十三式 葉底藏花
Posture 13: FLOWER HIDDEN UNDER THE LEAF
第十四式 金龍合口
Posture 14: GOLDEN DRAGON CLOSES ITS MOUTH
第十五式 彩鳳囘頭
Posture 15: COLORFUL PHOENIX TURNS ITS HEAD
第十六式 玉女穿梭
Posture 16: MAIDEN SENDS THE SHUTTLE THROUGH
第十七式 燕子穿簾
Posture 17: SWALLOW FLIES THROUGH THE CURTAIN
第十八式 懷中抱玉
Posture 18: HOARDING THE JADE
第十九式 推窗望月
Posture 19: PUSH OPEN THE WINDOW TO GAZE AT THE MOON
第二十式 摘星換斗
Posture 20: PLUCK THE STARS TO ROTATE THE BIG DIPPER
第二十一式 收爪斂鋒
Posture 21: RETRACTING SHARP CLAWS
第二十二式 分掌横跺
Posture 22: SPREADING PALMS, SIDE KICK
第二十三式 英雄獨立
Posture 23: HERO STANDS ON ONE LEG
第二十四式 迎門正跺
Posture 24: KICKING STRAIGHT AHEAD
第二十五式 魁星奪斗
Posture 25: KUIXING SEIZES THE BIG DIPPER
第二十六式 葉底藏花
Posture 26: FLOWER HIDDEN UNDER THE LEAF
第二十七式 金龍合口
Posture 27: GOLDEN DRAGON CLOSES ITS MOUTH
第二十八式 彩鳳囘頭
Posture 28: COLORFUL PHOENIX TURNS ITS HEAD
第二十九式 靈獼護腦
Posture 29: CLEVER MACAQUE COVERS ITS HEAD
第三十式 柳線垂金
Posture 30: GOLD HANGING FROM THE WILLOW BRANCHES
第三十一式 藤蘿掛壁
Posture 31: VINE CREEPS UP THE WALL
第三十二式 進步指南
Posture 32: ADVANCE, POINTING-COMPASS POSTURE
第三十三式 丹鳳朝陽
Posture 33: PHOENIX LANDS ATOP THE SUNNY SLOPE
第三十四式 風擺荷葉
Posture 34: WIND SWEEPS THE LOTUS LEAVES
第三十五式 順風擺柳
Posture 35: WIND SWAYS THE WILLOW
第三十六式 單鞭
Posture 36: SINGLE WHIP
第三十七式 單擄手
Posture 37: SINGLE PULLING HAND
第三十八式 彩鳳囘頭
Posture 38: COLORFUL PHOENIX TURNS ITS HEAD
第三十九式 黑虎掏心
Posture 39: BLACK TIGER STEALS THE HEART
第四十式 前進踢打
Posture 40: ADVANCE, KICK & HIT
第四十一式 左前進踢打
Posture 41: LEFT ADVANCE, KICK & HIT
第四十二式 迎門正跺
Posture 42: KICKING STRAIGHT AHEAD
第四十三式 魁星奪斗
Posture 43: KUIXING SEIZES THE BIG DIPPER
第四十四式 葉底藏花
Posture 44: FLOWER HIDDEN UNDER THE LEAF
第四十五式 金龍合口
Posture 45: GOLDEN DRAGON CLOSES ITS MOUTH
第四十六式 彩鳳囘頭
Posture 46: COLORFUL PHOENIX TURNS ITS HEAD
第四十七式 靈獼護腦
Posture 47: CLEVER MACAQUE COVERS ITS HEAD
第四十八式 渾元一氣
Posture 48: RETURNING TO YOUR ORIGINAL STATE
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捷拳圖說
A HANDBOOK FOR NIMBLENESS BOXING
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捷拳之要旨
ESSENTIALS OF NIMBLENESS BOXING
梅花捷拳。以劈、挑、閃、衝、斜、五式為基本。以上中下三盤為捷法。捷者何。敏之謂也。拳曰捷。猶路之有捷徑也。捷拳之用。貴巧不貴力。乘敵之隙而動。所謂出其不意攻其無備也。遠則用手足。近則使肘膝。身體靈活。動作敏捷。如能精達此意。則敵雖有賁育之勇。亦無所施其技矣。是故拳之所以貴乎捷。而捷拳之命名。及其致用之功。槪可見焉。
The basics of Plum Blossom Nimbleness Boxing are the five qualities of chopping downward, carrying upward, rushing in, thrusting forward, and using angles, and its nimbleness lies in the three areas of the body: upper, middle, lower. Why “nimble”? Because of its agility. This boxing set is described as having nimbleness because it seems to seek shortcuts.
In application, it values skillfulness more than strength, taking advantage of the opponent’s gaps. As it is said [Art of War, chapter 7]: “Appear where he does not expect. Attack where he is not prepared.” At long range, use hands and feet. At short range, use elbows and knees. The body is lively and the movement is nimble. If you can master these ideas, then even though your opponent may have great courage, he will have no way to use his skills. Therefore the reason this boxing art values nimbleness, and why its name is Nimbleness Boxing, clearly has to do with its practical function.
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十二字訣
TWELVE KEY TERMS
點 按 伸 縮 奇 正 弔 擄 速 巧 活 合
The key terms are: focus and pressure, expanding and contracting, direct and indirect, hanging and pulling, quickness and skillfulness, liveliness and unification.
解曰
They are explained below:
點者。以重力聚於一點也。夫重力聚於一點。其力較散漫者為大而速。譬如鐵錘。愈重則其速力愈滯。刃鋒愈利。則其速力愈疾。所謂能受一拳。不能受一掌。能受一掌。不能受一指之精意也。
[1] FOCUS: concentrating a heavy force upon a single point. If it is not concentrated upon a single point, it will be scattered over a general area. It should be a large force, but also have an element of speed. Take for example an iron mace. The heavier it is, the slower it is swung. But the sharper its spikes, the faster it will pierce through. It is said: “If he can handle a punch, then I will slice with the edge of my palm. If he can handle my palm, then I will stab with my fingertip.” This is exactly the idea.
按者。當我手未及敵人之身也。視之若無力然。及至其身也。猛力一按。使其氣虛而內傷也。
[2] PRESSURE: Before my hands reach the opponent’s body, I seem to have no power, but then in the moment that I get to his body, I press into him with sudden force, knocking the wind out of him and injuring him internally.
伸者。舒也。張而大之。引伸而使之長也。
[3] EXPANDING: to stretch out until there is a feeling of reaching far, extending your body so that there is a sense of lengthening.
縮者。斂也。充而實之。聚氣以斂神也。
[4] CONTRACTING: to gather in until there is a fullness and solidity, gathering energy in order to accumulate spirit.
奇者。側也。正者正也。善技擊者。不出奇正。奇正相生。變化無窮。或指前而打後。或指左而打右。或指上而打下。虛實相乘。剛柔互用。端倪莫測也。
[5] INDIRECT: going from the side.
[6] DIRECT: going straight ahead.
An expert at fighting does not use only either direct or indirect techniques, for the direct and indirect give rise to each other, alternating without limit. Indicate you are going forward, then attack to the rear. Indicate you are going to the left, then attack to the right. Indicate you are going upward, then attack downward. Making use of both emptiness and fullness, of both hardness and softness, your actions will be impossible to predict.
弔擄者。沉潛之勢也。先賢謂沉機以觀變。潛心以觀理。窮理以接物。拳術之弔擄手。乃順敵手之來。我乃以手弔之擄之。故能乘敵人之勢以應之。敵之來勢愈猛。其仆也愈快。其跌也愈遠矣。
[7 & 8] HANGING & PULLING: a sinking action. A piece of ancient wisdom says: “Submerge yourself in situations in order to see how they change, concentrate your mind in order to notice principles, and then delve into the principles in order to deal with the world.” As for the boxing arts technique of “hanging and pulling”, I go along with the opponent’s attack, then use my hand to hang over it and pull on it. I am therefore able to respond to his attack by taking advantage of his incoming force. The fiercer his attack, the faster and farther he will fall.
速者。神速也。能於敵手未到之際。我手已先着其身。我手之去。不見其去而已去。我手之來。未見其來而已來。敵雖欲格拒。已不及矣。
[9] QUICKNESS: amazing speed. With this ability, before the opponent’s hand has reached me, my hand has already hit his body. When my hand goes out, he does not see it go out and it has already arrived. When my hand comes back, he does not see it come back and it has already returned. No matter how he tries to block my attacks, it is always too late.
巧者。引進落空。空而未現。現而不見。使敵攻無所攻。守無所守。擊其要而避其勁。擊其虛而避其實。擊其微而避其顯。故云。四兩撥千斤。誠非虛語也。
[10] SKILLFULNESS: drawing the opponent in to land on nothing. Where I disappear, he does not noticed I have disappeared. Where I appear, he does not noticed I have appeared. I cause him to attack where there is nothing to attack, and defend where there is nothing to be defended against. I strike where he is vulnerable and avoid him where he is strong. I strike where he is empty and avoid him where he is full. I strike where he is not paying attention and avoid him where he is focused. Thus it is said: “Four ounces deflects a thousand pounds.” This is not just an empty phrase.
活者。心機靈敏。動作活潑。勢若常山之蛇。擊首則尾應。擊尾則首應。擊其中則尾首俱應。能攻能守。非活而何。
[11] LIVELINESS: Your mind is nimble and your movement is lively. This is like the “Mt. Chang Snake” battle formation [Art of War, chapter 11]: “Strike its head, its tail responds. Strike its tail, its head responds. Strike its middle, its head and tail respond together.” In this way, you are able to both attack and defend. But without liveliness, you would not be able to do this.
合者。內而精氣與神。外而手、眼、身、法、步。使其表裏相應。上下相隨。剛柔相濟。動靜有節。虛實互用。則豁然貫通。乃稱合焉。
[12] UNIFICATION: Internally you have essence, energy, and spirit. Externally you have your hands, eyes, body, techniques, and steps. There should be coordination between inside and out, upper body and lower. There should be cooperation between hardness and softness, movement and stillness, emptiness and fullness. One day these things will suddenly all fall into place, and then you can be said to be in unified state.
–
五要
FIVE REQUIREMENTS
一眼明
1. CLEAR GAZE
善擊技者。眼必明。不然。受制於人。何能克敵。如取守勢。未明敵之來勢。或欲攻擊。未明敵之虛實。貿然擊去。雖快雖硬。鮮能命中。則勞神耗力。其能久持乎。故云。未交手前。必先審察。審察已明。乘虛而入。出其不意。攻其無備。則事半而功倍。可謂眼明之證矣。
To be good at fighting, you have to have a clear gaze. If not, you will be under the opponent’s control, and then how would you be able to defeat him? If you adopt a defensive position without clearly seeing what the opponent’s attack is, or if you try to attack without clearly seeing where the opponent is vulnerable, you will be lashing out in haste, and even if your strikes are fast and hard, you would rarely be able to hit the target. In this way, you would just end up wasting your energy and not be able to fight for very long. Therefore it is said: “Before making contact with your hands, you must observe the opponent. Having studied him, then take advantage of his gaps. ‘Appear where he does not expect. Attack where he is not prepared.’” You will thereby be able to do half the work and get twice the effect. This demonstrates the value of a clear gaze.
二手快
2. QUICK HANDS
手滯而露。其力雖大而易避。手快而隱。其力雖小亦難防。設如我與敵人同時發手。我手尚在進行之線。敵手業已先臨。雖欲避之。已無及矣。拳譜云。以快打慢。此之謂也。
If your hands are slow and obvious, then even if your techniques are more powerful, they will be easy to evade. If your hands are quick and subtle, then even if your techniques are less powerful, they will be difficult to defend against. For example, an opponent and I shoot out our hands at the same time, but my hand is still on its way by the time his has already arrived, and so even if I tried to evade it, I would be too late. It is said in boxing classics: “Use quickness to attack slowness.” This is the idea.
三心沉
3. CALM MIND
應敵之際。切忌心慌。心慌則意亂。意亂則手足失措。攻守失當。故習拳者。當先治心。治心之道無他。沉着而已。不以危急而色變。不為强敵而心驚。其庶幾乎。
When dealing with an opponent, you must by all means avoid getting mentally flustered. If your mind is flustered, your intention will be in disorder. If your intention is in disorder, then your hands and feet will be in disarray and every action of attack or defense you make will be inappropriate. Therefore you first have to control your mind, and the method of gaining this control is nothing more than being calm. As long as you do not treat the situation as a desperate emergency and lose your composure, nor consider the opponent to be too powerful and become afraid of him, then you will be halfway there.
四步穩
4. STEADY STEPS
進步須近敵身。手到身隨。方能得勁。動如虎豹。靜如山邱。出入要有方位。進退令其莫測。欲進也故示之以退。欲退也故示之以進。故學者對於步位。須加意焉。
When advancing, you must get close to the opponent’s body. As your hands arrive, your body follows. That way you will be able to express power. “In movement, be like a tiger. In stillness, be like a mountain.” As you move back and forth, you will be moving in definite directions, but make your advancing and retreating impossible to read. When you want to advance, show that you are about to retreat, and when you want to retreat, show that you are about to advance. Therefore you have to give extra attention to your stepping.
五膽壯
5. COURAGE
技擊尚膽壯。膽壯則氣勇。邁步猱進。敵勁雖强。期在必摧。乘機而退。退而不亂。是乃膽壯之效用也。孟子謂孟施舍之勇。視不勝猶勝也。言其有大無畏之精神也。是以手、眼、步、心、膽、五者俱備。然後能言技擊。然勝而不驕。退而不亂。非膽壯而心細者。其孰能之。
Fighting demands courage. With courage, your spirit will be bold. You will advance with determined steps, and then even if your opponent is powerful, he is sure to be destroyed. Or if retreat is called for, you will retreat without falling into disorder. Both of these situations show the effectiveness of courage. Mengzi said [Mengzi, chapter 2a]: “The courage of Meng Shishe was to see winning and losing as the same thing.” These words describe someone with a fearless spirit. Once all five of these qualities are prepared – eyes, hands, steps, mind, guts – then you will be ready to discuss fighting. However, to win without becoming arrogant and to retreat without falling apart – these things cannot be achieved without being mindful about courage.
–
論指
ON THE USE OF THE FINGERS
指力雖微。功效甚偉。指有勾、摟、擒、拿、之性。使之輕則輕。使之重則重。緩則緩。速則速。邇則邇。遠則遠。何其靈也。使作準繩。可法可則。指雖剛而腕似棉。是其巧也。蓋力之所至。氣之所使也。學者當目在於斯。心在於斯。一身之精氣神俱注於斯。日積月累。使之力達於指。則不期然而然。莫之致而至矣。
Although the strength of the fingers is slight, their effectiveness is great. Fingers can hook, pull, seize, and grab. They can act with lightness or heaviness, slowness or quickness, be near or far. Such is their marvelous dexterity. From these criteria, certain standards form. Although the fingers may use hardness, the key is that the wrist stays supple. Then wherever strength arrives, energy will be activated. You should focus on this point, think about it, concentrate the essence, energy, and spirit of your whole body upon it, and then after practicing for a long time, strength will manifest in the fingers unexpectedly and without any forcing of it to happen.
論掌
ON THE USE OF THE PALMS
掌用翻轉之力。翻轉卽陰陽。陰陽宗一氣。氣有淸濁之別。掌有陰陽之變。惟須練習純熟。方能旋轉如意。果能專心致志。則全身之力。可運於掌矣。
The palm uses rotational power, meaning the alternation between passive and active, the two aspects functioning together. Energy divides into “clear energy” and “murky energy” as the palm alternates between the passive and active aspects [clear corresponding to active, murky corresponding to passive]. But you have to practice to the point of skillfulness to be able to switch them efficiently. If you can focus your mind entirely, then the power of the whole body can be sent to the palm.
論捶
ON THE USE OF THE FISTS
拳有剛柔並進之性。或曰。非柔不活。非活不快。非快不取。又曰。至剛不破。非剛不克。然此皆為偏倚之談。何若拳似流星、肱似繩、剛中含柔、柔以摧剛、剛柔相濟、為用之得當也。
Punches should use both hardness and softness. It has been said: “Without softness, it will have no liveliness. Without liveliness, it will have no quickness. Without quickness, it will not reach the target.” It has also been said: “With too much hardness, it will do no damage. Not enough hardness, it will not arrive at all.” But these might be somewhat narrow statements, so try this one: “The fist is like a meteor, the arm like a rope.” Hardness contains softness, for softness is what is used to deliver hardness. Thus hardness and softness have to complement each other in order for techniques to be carried out properly.
論腿
ON THE USE OF THE LEGS
腿有升、降、進、退、踢、蹬、掃、截、勾、翦、蹅、跥、之分。為拳術中必要之具。蓋腿長於手。而力尤過之。然或用之不當。間有為害者。故學者於斯。當自權其功力。而後用之可也。
Legs actions are divided into: rising and lowering, advancing and retreating, toe kicks and heel kicks, sweeping and blocking, hooking and scything, stepping and stomping, These are all essentials within the art. Because the leg is longer than the arm, its power is much greater, but if it is used improperly [i.e. at the incorrect range, either too far or too close], you will only end up getting hurt. Therefore your use of your legs depends entirely on skill in order for it to be effective.
總訣
GENERAL PRINCIPLES
平心靜氣。無思無慮。舌抵上腭。氣沉丹田。
Balance your mind and calm your energy, no thoughts, no worries. With your tongue touching your upper palate, energy sinks to your elixir field.
–
捷拳之表演 節目歌訣
PERFORMANCE OF NIMBLENESS BOXING
(including a mnemonic verse for each posture [except Postures 1, 31, and 37])
第一式 立正
Posture 1: STANDING AT ATTENTION
身體立正。頭向上頂。如頂物然。二目平視。口微閉。舌抵上腭。氣貫丹田。兩手鬆攏下垂。兩足尖離開六十度。
Your body stands straight, head upright as though supporting an object on your head, your gaze level. Your mouth is closed, your tongue touching your upper palate. Energy is coursing through to your elixir field, your hands relaxed and hanging down. Your feet are spread apart at the toes by about sixty degrees. See photo 1:
取靜默從容之態度。除去一切雜念。自然心靜氣淸矣。達摩祖師謂人生感於情慾。一落有形之身。臟腑肢骸。悉為滓穢所染。必洗滌淨盡。無絲毫之障礙。方可步超凡入聖之門。故習拳者。不由此。則進道無機矣。是卽先賢所謂靜而安。安而慮。慮而後能得者也。
Seek a state of quiet calm, getting rid of all distracting thoughts, and then naturally your mind will be at ease and your energy will be clear. The founder Damo said: “Human beings feel desires, because we have material bodies. Our organs, limbs, and bones are stained by corruption and have to be thoroughly cleansed. Once there is not the slightest hindrance, then you will be able to transcend the world.” If practitioners of boxing arts do not work from this principle, there will be no way to progress. Therefore an ancient sage said [from the “Da Xue”, chapter 42 of the Book of Rites]: “With calm, there is peace. With peace, there is mindfulness. With mindfulness, the objective will be achieved.”
第二式 預備
Posture 2: PREPARATION
預備捷拳頸直伸。鬆肩垂手足踵匀。身從左扭腿微曲。雙手持拳與腰均。
In the PREPARATION posture of Nimbleness Boxing, your neck is straight,
shoulders loose, hands hanging, heels together.
Then your body twists to the left, your legs slightly bending,
your hands grasping into fists and shifting up to waist level.
第二式開始動作。身稍下沉而左轉。兩腿微屈。（足不動）
This posture is the initiating of movement. Your body slightly sinks and turns to the left, both legs slightly bending (your feet not leaving their location). See photo 2a:
兩手握拳上提。附於腰間。手心向內。兩目亦隨左轉平視。
Then your hands become fists and lift up to your waist, the centers of the hands facing inward, your gaze going along with the leftward turn, looking level. See photo 2b:
為靜中求動。前言靜乃淸其內。此言動乃堅其體。體堅則精神亦充足矣。達摩祖師謂人之一身。內而精氣與神。外而筋骨與肉。所組織而成者也。然使之周身靈活。手足翕張。伸縮裕如者。精氣神也。卽如天地生物。亦莫不隨陰陽之氣而生焉。况於人生乎。且夫精氣神。乃無形之物也。筋骨肉乃有形之身也。此法必先練有形者。為無形之佐。練無形者。為有形之輔。是一而二二而一者也。
若專練無形。而棄有形則不可。專練有形。而棄無形則更不可。所以有形之身。必得無形之氣相和而不違。乃成不壞之體。設學者不明此義。不特不得捷拳之要妙。而且徒費時日。虛耗工夫。深望學者悉心體驗之。
Seek movement within a state of stillness. Stillness purifies you internally, then movement strengthens the body. With a strong body, spirit will be abundant. Damo said: “Internally there is essence, energy, and spirit. Externally there is sinew, bone, and muscle. Work both of these aspects together and you will be complete.” This will naturally cause the whole body to move with nimbleness, the hands and feet effortlessly performing opening and closing, extending and retracting.
Essence, energy, and spirit are the equivalent of the sky, the ground, and living things. All things are created by the workings of the passive and active aspects, even more so in the case of human beings. But essence, energy, and spirit are intangible things, whereas sinew, bone, and muscle are tangible. To practice this art, you must first train the tangible as an aid to the intangible, and then train the intangible as an aid to the tangible, a process of starting from one to get to two, and then working from two to get back to one.
You will not get anywhere if you focus on training the intangible and ignore the tangible, and especially if you focus on training the tangible and ignore the intangible. Therefore the tangible body must be merged with the intangible energy and never separated, and then you will develop an unsullied skill. If you fail to understand this principle, not only will you fail to obtain the marvels of Nimbleness Boxing, you will also simply be wasting your time and effort. Therefore I sincerely hope that you will practice with the utmost mindfulness.
第三式 順風領衣
Posture 3: WIND TUGS THE JACKET
順風衣領古人傳。弔手纏腕步當先。二目注看前敵勢。靜而制動莫遲延。
WIND TUGS THE JACKET is a technique passed down since ancient times,
using a hanging hand, curling wrist, and forward step.
Your gaze goes forward toward the opponent.
Use a quality of stillness to control his movement, but do it without delay.
接前式右足跨進一步。同時左手手心向下。由腰際前。猛向後拎。（為弔手）肘尖況下。微有下沉之意。手腕用勁。身微下蹲而後挺。以助其力。右手握拳。手心向上。置於腰際。與腰帶齊。右足尖向外撇。左足跟提起。身體半面向左。目注前手。
Continuing from the previous posture, your right foot advances a step as your left hand goes from in front of your waist and fiercely carries to the rear, the center of the hand facing downward (making a hanging hand), the elbow hanging down with a slight intention of sinking, power expressing at the wrist. Your body is slightly squatting down and leaning back to assist the power, your right fist still placed at your waist, the center of the hand facing upward. Your right toes are swung outward, your left heel lifted. Your body is turned halfway to the left, your gaze toward your front hand. See photo 3:
第四式 順手推舟
Posture 4: GOING WITH THE CURRENT TO PUSH THE BOAT
順手推舟要順肩。進身撒手腿微拳。鬆肩墜肘腕增力。側體攻心取敵便。
GOING WITH THE CURRENT TO PUSH THE BOAT involves going along with the shoulder
as you advance and shoot out your right hand, your legs slightly bending.
Loosen the shoulder, drop the elbow, and increase strength at the wrist.
Angling your body sideways, attack to the solar plexus, seeking the opponent where he is vulnerable.
接前式左手翻轉收囘。微有下沉之意。置於腰際。手心向上。此時左足往前跨進一步。右手猛向前推。手掌用勁。手指向上。手心向左。鬆肩墜肘。身體向左。右膝蓋頂於左腿彎。左足尖向外撒。右足跟提起。兩腿微彎。目注右手中指尖。
Continuing from the previous posture, your left hand turns over and withdraws with a slight intention of sinking and is placed at your waist, the palm facing upward, your left foot at the same time advancing a step as your right hand fiercely pushes forward, power expressing at the palm, the fingers pointing upward, the palm facing to the left, with the shoulder loosened, the elbow hanging. Your torso is facing toward the left, your right knee touching the back of your left knee, the toes of your left foot swung outward, your right heel lifted, both legs slightly bent. Your gaze is toward the tip of the middle finger of your right hand. See photo 4:
第五式 靈獼護腦
Posture 5: CLEVER MACAQUE COVERS ITS HEAD
靈獮護腦右手托。左手握拳搥海穴。側面馬襠稱步弓。勝過弓蹬更便捷。
In CLEVER MACAQUE COVERS ITS HEAD, your right hand props up
as your left hand grasps into a fist and punches to the opponent’s sea of energy [i.e. lower abdomen, though the photo seems to be punching higher].
Your body is turned sideways, making a horse-riding stance in a deep lunge.
The more your legs bend, the more nimble the posture.
接前式右手向外翻轉。由頂上抽囘。胳膊微彎。手心向上。用托勁。手背離頭頂約二寸許。同時左拳由腰間翻轉前射。用衝勁。手心向右。大指上節頂於中指上節根。使中指中節突出。五指扣緊。鬆肩墜肘。挺腕。腰隨右猛轉。兩足尖稍向前。身體向右。目注左拳之上節。
Continuing from the previous posture, your right hand turns over outward and withdraws over your head, the arm slightly bending, the palm facing upward, using a propping energy, the back of the hand about a quarter of a foot away from your headtop. At the same time, your left fist shoots forward from your waist, the fist rotating, using a thrusting energy, the center of the hand facing to the right, the top joint of the thumb pressing the top knuckle of the middle finger, causing the mid-knuckle of the middle finger to stick out, all five fingers squeezing tightly, with the shoulder loosened, the elbow hanging, the wrist straightening. Your waist correspondingly turns to the right [with your left foot also shifting forward], the toes of both feet pointing slightly forward. Your torso is facing toward the right, your gaze toward the top knuckle of your left fist. See photo 5:
第六式 蜻蜓點水
Posture 6: DRAGONFLY SKIMS THE WATER
蜻蜓點水要神速。熟能生巧工夫足。專攻敵人要害中。不必跳躍多勞碌。
DRAGONFLY SKIMS THE WATER should be performed with amazing speed,
an ability that will come with practice.
Focus on attacking the opponent at his vulnerable areas
instead of leaping so much that you only wear yourself out.
接前式左足微向前進。足尖向前。右足向前跟步。右足跟靠於左足跟之右後方。約二寸許。同時右手五指收攏。（不可加緊）再極力向前撒。如投物然。手心向右下方。中指用勁。鬆肩。墜肘。挺腕。同時左拳變掌。抽囘貼於右胳膊彎。兩腿微屈。胸部微向後吸。身體向前。目注右手中指尖。
Continuing from the previous posture, your left foot slightly advances, the toes pointing forward, and your right foot does a following step until your right heel is about a quarter of a foot away from your left heel. At the same time, the fingers of your right hand curl in (though not tightly) and then forcefully release forward as though throwing an object, the palm facing downward to the right [left], power expressing at the middle finger, with the shoulder loosening, elbow hanging, wrist straightening, while your left fist becomes a palm and withdraws near your right elbow. Your legs are slightly bent, your chest slightly sucked in, your torso facing forward, your gaze toward the tip of the middle finger of your right hand. See photo 6:
第七式 葉底藏花
Posture 7: FLOWER HIDDEN UNDER THE LEAF
葉底藏花退中守。陰陽相合變化有。胸前出手便利多。或左或右攻卽誘。
FLOWER HIDDEN UNDER THE LEAF retreats defensively,
then the passive and active aspects switch roles.
Send out your hand from in front of your chest with great ease.
Whether performing the technique on the left or right, attacking is a matter of luring the opponent in.
接前式上身不動。退後三步。先退右足。次退左足。再退右足。及右足着地時。將身子往下猛蹲。左手變拳。沿右手腕下向前衝出。鬆肩。墜肘。挺腕。拳握緊。仍將中指突出。拳尖用勁。右手貼附於右胳膊彎。手指朝上。步法用弓蹬步。身體半面向右。目注左拳之上端。
Continuing from the previous posture, with your upper body maintaining its position, retreat three steps – right, left, right – and when your right foot comes down, your body suddenly squats down and your left hand, becoming a fist, thrusts out forward along the underside of your right wrist, the shoulder loosening, elbow hanging, wrist straightening, fist gripping tightly, with [the mid-knuckle of] the middle finger again sticking out, power expressing at the knuckles, your right hand going near your right [left] elbow, fingers pointing upward. You are in a bow stance, your torso facing halfway to the right, your gaze toward the top knuckle of your left fist. See photo 7:
第八式 出爪亮翅
Posture 8: SENDING OUT CLAWS, SPREADING WINGS
出爪高張手拓弦。身成十字左尖前。手心向上為陽掌。中指挑匀要對肩。
In SENDING OUT CLAWS, SPREADING WINGS, your hands seem to slide along a string,
your body making a cross shape with your left toes forward.
Your palms are facing upward, making active palms,
your middle fingers carrying equally, aligned with your shoulders.
接前式左足往後收囘。離右足脛二三寸許。足跟提起。足尖點地。兩腿微彎。左手同時往後摟。手指向下。（目隨視摟手）腕肘俱彎。左足再向右前方斜進半步。仍足尖點地。同時右手向前伸。左手向後伸。如撇物之狀。兩手中指用勁。手心向上。與肩平。腰向左擰勁。目注右手中指。
Continuing from the previous posture, your left foot withdraws to be about a quarter of a foot away from your right ankle, the heel lifted, toes touching down, both legs slightly bent, your left hand at the same time pulling back, the palm facing downward (your gaze following it), the wrist and elbow bending. Then your left foot diagonally advances a half step to the forward right, again touching down with the toes, as your right hand extends forward and your left hand extends behind, as though flinging away objects, power expressing through the middle fingers, the palms facing upward at shoulder level, your waist twisting to the left. Your gaze is toward the middle finger of your right hand. See photo 8:
第九式 摟膝拗步
Posture 9: BRUSH KNEE IN A CROSSED STANCE
摟膝拗行手足擡。向前右足左還摧。躋襠反尾步虛實。右手勾摟左手推。
In BRUSH KNEE IN A CROSSED STANCE, your right hand and right foot lift,
then your right foot goes forward as your left hand smashes.
Your stance is twisted so your opposite foot is forward
as your right hand hooks back and your left hand pushes out.
接前式右手向左後掛。（目隨視掛手）手指向上與左肩齊。手心向左。左手同時向下翻轉變為鈎手。手指向上。微停。
Continuing from the previous posture, your right hand is placed to the left rear (your gaze following it), the fingers pointing upward at shoulder level, the palm facing to the left, your left hand at the same time going downward, turning over to become a hooking hand, the fingers pointing upward. There is a slight pause in this position. See photo 9a [reverse view]:
次將右腿提起。右手由左膝前。向下向後摟。（摟手同前）右足卽前進一步。足尖點地。左手隨從左脇之前翻轉前推。手心向右。手指向上與肩平。手掌用勁。目注左手食指尖。
Then your right leg lifts, your right hand pulls downward to the rear from in front of your left [right] knee as your right foot advances a step, the toes touching down, and your left hand goes along the front of your left ribs, turns over, and pushes forward, the palm facing to the right, the fingers pointing upward at shoulder level, power being expressed at the palm. Your gaze is toward the tip of the forefinger of your left hand. See photo 9b [reverse view]:
第十式 黑虎掏心
Posture 10: BLACK TIGER STEALS THE HEART
黑虎掏心出手長。三尖相對始為良。一前一後攻兼守。十字擰身扣緊襠。
In BLACK TIGER STEALS THE HEART, you reach out your hand far.
The three structure points [nose, fist, forward toes] have to be aligned with each other.
One hand goes forward as the other pulls back, performing attack and defense simultaneously.
Twist your body across, closing your crotch.
接前式左足向左前方移動。距離隨人之身體。以不費力為宜。左手先向右掛。（同前）次卽向前向左往後擄。（歸抱肘式）再右手變拳。向前衝。左腿下彎。右腿向後蹬直。（為弓蹬步）兩足往下蹬勁。兩膝往裏扣勁。擠襠、反尾、擰腰、順肩、墜肘、挺腕。右拳向前伸勁。左膀往後擺勁。右拳與左右肩成一平直線。目注右拳大指根節。
Continuing from the previous posture, your left foot steps forward to close the distance to the opponent’s body, keeping you from wasting energy trying to reach it with just your hands, as your left hand is first placed upward to the right (as your right hand was before), then goes forward and pulls toward the left rear (to return to the wrapping-elbow posture). At the same time, your right hand becomes a fist and thrusts forward as your left leg bends and your right leg straightens behind (making a bow stance), both feet having an energy of pressing downward, both knees having an energy of covering inward. With your crotch squeezing, your tailbone tucking in, your waist twisting, the shoulder stretching, the elbow hanging, and the wrist straightening, your right fist extends forward, your left arm having an energy of swinging toward the rear, your right fist making a level line with your shoulders. Your gaze is toward the large knuckle of your right fist. See photo 10:
第十一式 跨虎登山
Posture 11: STALKING TIGER CLIMBS THE MOUNTAIN
登山跨虎敵難容。左手架遮右足從。蹲胯方能足抓地。敵人相望欲逃蹤。
STALKING TIGER CLIMBS THE MOUNTAIN is hard for the opponent to endure.
Your left hand blocks up as your right foot is unleashed.
By squatting down your hips, your left foot roots into the ground.
When the opponent sees this posture, he will want to flee.
接前式右手抽囘歸抱肘式。左拳變掌由胸口前向上翻。胳膊微彎。手心向上。手指向右。手背相離頭頂寸許。手腕向上向外翻勁。同時右腿向前蹬。足尖向右上方。足跟用勁。足掌向前仰。所蹬之足高不過膝。目注右足。
Continuing from the previous posture, your right hand withdraws, returning to a wrapping-elbow position, as your left fist becomes a palm and goes upward from in front of your chest, turning over so the palm is facing upward, the arm slightly bent, the fingers pointing to the right, the back of the hand about an inch away from your headtop, the wrist having an energy of turning upward and outward. At the same time, your right foot presses forward, the toes pointing toward the upper right, power expressed at the heel, the sole of the foot stretching back. The kick is no higher than knee level, your gaze toward your right foot. See photo 11:
第十二式 魁星奪斗
Posture 12: KUIXING SEIZES THE BIG DIPPER
魁星奪斗手相連。左右無差身莫偏。左足跟前丁字步。附於右肘左當先。
In KUIXING SEIZES THE BIG DIPPER, your hands move in coordination,
left and right properly placed, and your body should not be leaning.
Your left foot follows forward to make T stance [i.e. its toes touching down].
To touch your right elbow, your left hand has to come forward.
接前式右足落地時。極力向前邁。左足向前跟。足尖點地。右拳向前衝。鬆肩。墜肘。挺腕。手心向左。拳與肩平。同時左手向下壓。手指向上。附於右胳膊彎。目注右拳食指中節根。
Continuing from the previous posture, your right foot comes down with a strong step forward, then your left foot comes forward with a following step, the toes touching down and pointing toward the front heel. At the same time, your right fist thrusts forward, the shoulder loosening, the elbow hanging, the wrist straightening, the center of the hand facing to the left at shoulder level, as your left hand presses down, fingers pointing upward near your right elbow. Your gaze is toward the mid-knuckle of the forefinger of your right fist. See photo 12:
第十三式 葉底藏花
Posture 13: FLOWER HIDDEN UNDER THE LEAF
第十三式葉底藏花。同前見第七式。
(same as Posture 7 [except in this case making only two retreating steps: left, then right])
第十四式 金龍合口
Posture 14: GOLDEN DRAGON CLOSES ITS MOUTH
金龍合口手毋高。防敵良機使莫逃。掌合陰陽從後帶。手停胯下稍沉腰。
In GOLDEN DRAGON CLOSES ITS MOUTH, your hands should not be high.
Its purpose is to prevent the opponent from taking the opportunity to escape.
With your palms facing each other, drag to the rear,
stopping below your hips, your waist slightly sinking.
接前式雙手向後向下擄。如拉物然。左手拉至左胯之下停住。手心向外。右手拉至右膝之下停住。手心向內。兩胳膊微彎。同時左足往後撤半步。足尖點地。兩腿微彎。兩膝蓋向左前方。右胯微向下沉。兩手向後抽勁。並有下按之意。身體向右。目注兩手之間。
Continuing from the previous posture, your hands pull down to the rear as though pulling an object, your left hand pulling until below your left hip, the palm facing outward, your right hand pulling until below your right knee [hip], the palm facing inward, both arms slightly bent. At the same time, your left foot withdraws a half step, the toes touching down, both legs slightly bent, both knees pointing toward the forward left [forward right], your right knee slightly sinking. As your hands pull back, they also have an intention of pushing down. Your torso is facing toward the right, your gaze toward the space between your hands. See photo 14:
第十五式 彩鳳囘頭
Posture 15: COLORFUL PHOENIX TURNS ITS HEAD
彩鳳囘頭快翻身。轉身進步莫因循。步虛制敵進兼退。左短右長備敵掄。
COLORFUL PHOENIX TURNS ITS HEAD involves quickly turning around,
turning your body as you advance, and without any hesitation.
Your step empties to control the opponent [behind you], turning an advancing action into a retreat.
Your left hand is at short range, right hand at long range, swinging out to guard against him.
接前式左足前進一步。右足再進一步。同時左手手腕向外擰。手心向前。由腹部向上畫。畫至目前往後擄。左足退後一步。此時身體成一大轉身式。右手亦隨著轉身。上下畫一圓圈。惟左手用擄勁。右手畫至上方變拳。往下劈勁。手心向左上方。左手附於右胳膊彎。兩腿微彎。右足尖點地。身體向左。目注右拳大指。
Continuing from the previous posture, your left foot advances a step and then your right foot advances a step, your left wrist at the same time twisting outward so the palm is facing forward, the hand arcing upward from your belly until in front of your eyes, then pulling to the rear as your left foot retreats a step while your body makes a large turn. Your right hand goes along with this turn by drawing a circle, upward and then downward. While your left hand pulls, your right hand becomes a fist once at the top of the circle and then chops downward [until at shoulder level], the center of the hand facing upward to the left, your left hand going close to your right elbow. Both legs are slightly bent, your right toes touching down. Your torso is facing toward the left, your gaze toward the thumb of your right fist. See photo 15:
第十六式 玉女穿梭
Posture 16: MAIDEN SENDS THE SHUTTLE THROUGH
玉女穿梭手左挪。發將雙手在腰窩。手心向外格推式。由此閃身敵奈何。
MAIDEN SENDS THE SHUTTLE THROUGH involves reorienting to the left
as you bring your hands back toward your waist,
then pushing out with the palms facing outward.
How can the opponent deal with this sudden maneuver?
接前式左足向前方斜進一大步。右足向前跟步。右足尖離左足跟二寸許。同時右手收囘。手心向上。右掌與小指貼於心口之前。左手向上架。指尖向右。手心向上。胳膊彎如弧形。右手同時向前推。手指向上。與喉齊。手心向外。掌根用勁。身體向前。目注右手中指尖。
Continuing from the previous posture, your left foot advances diagonally forward with a large step and your right foot goes forward with a following step so that your right toes are about a quarter of a foot away from your left heel. At the same time, your hands withdraw, the palms facing upward, the little fingers touching your solar plexus area, and then your left hand props upward, the fingers pointing to the right, the palm facing upward, the arm bending to make a semicircle shape, as your right hand pushes forward, the fingers pointing upward at throat level, the palm facing outward, power expressing at the heel of the palm. Your torso is facing forward, your gaze toward the tip of the middle finger of your right hand. See photo 16 [reverse view]:
第十七式 燕子穿簾
Posture 17: SWALLOW FLIES THROUGH THE CURTAIN
燕子穿簾步莫淹。掌須反背敵難拈。展開雙手猶張翅。似虎離山下嶺巓。
In SWALLOW FLIES THROUGH THE CURTAIN, your steps have no delay.
Your palms have to turn over to make it difficult for the opponent to grab.
Then spread open with both hands as though spreading wings.
It should seem as though a tiger has left its mountain den and is prowling the summit.
接前式右足向右閃進一步。左足亦向右跟步。進至右足脛骨前。足尖點地。左手手掌向右向下壓。掌貼於右腋。同時右手貼近左手內腕。向右向上穿出。兩手手心俱向上。再將左足向前方進半步。足尖點地。左手同時向左前方伸去。與肩平。兩腿微彎。身體半面向右。目注右手小指。
Continuing from the previous posture, your right foot advances a sudden step to the right, your left foot also going to the right with a following step, advancing in front of your right ankle, the toes touching down, as your left palm presses downward to the right until near your right armpit. At the same time, your right hand threads out upward to the right along the inside of your left wrist, both palms now facing upward, and then as your left foot continues forward a further half step, the toes touching down, your left hand extends forward to the left at shoulder level [the photo showing the left foot going forward but the left hand not yet extending]. Your legs are slightly bent, your torso facing halfway to the right, your gaze toward the little finger of your right hand. See photo 17 [reverse view]:
第十八式 懷中抱玉
Posture 18: HOARDING THE JADE
懷中抱玉貴蓄勢。手置胸前善開閉。量敵而進出手先。知己知彼不失利。
HOARDING THE JADE is a posture for storing power.
Your hands are placed in front of your chest, one opening, the other closing.
Get the measure of the opponent and advance, sending out your hands.
Knowing both self and opponent, you will not lose.
接前式左足向左前方進一大步。兩手往下鬆垂。右足向前跟進一步。足尖點地。兩手向上向後掛。右手虎口與心口齊。左手微高。位於右手之前。左手大指離右手小指寸餘。左腿向下弓。右腿向下彎。右膝蓋緊抵左腿彎。左足尖與左膝蓋成一垂直線。身體向前。目注右手虎口。
Continuing from the previous posture, your left foot advances to the forward left with a large step as your hands hang down, then your right foot goes forward with a following step, the toes touching down, as your hands go upward and hang aside to the rear [right rear], the tiger’s mouth of your right hand at solar plexus level, your left hand slightly higher and placed forward of your right hand, your left thumb just over an inch away from your right little finger. Your legs are bent with your right knee touching the back of your left knee, your left toes and left knee making a vertical line. Your torso is facing forward, your gaze toward the tiger’s mouth of your right hand. See photo 18 [reverse view]:
第十九式 推窗望月
Posture 19: PUSH OPEN THE WINDOW TO GAZE AT THE MOON
推窗望月腿雙彎。左手當心易格攔。右手單推掌向外。目觀前手指頭端。
In PUSH OPEN THE WINDOW TO GAZE AT THE MOON, both legs are bent.
Your left hand is at your solar plexus to make it easy to block an attack.
Your right hand pushes out on its own, the palm facing outward.
Your gaze is toward the fingertips of your front hand.
接前式左足向前進一大步。右足向前跟步。足尖點地。右膝抵住左腿彎。身體向前。目注前手虎口。右手向前推。掌根用勁。左手微向下壓。兩手手指俱向上。手心俱向前。左手置於心口前。
Continuing from the previous posture, your left [right] foot goes forward with a large step and your right [left] foot goes forward with a following step, the toes touching down, your right [left] knee touching the back of your left [right] knee. At the same time, your right hand pushes forward, power expressing at the heel of the palm, with your left hand slightly pressing downward, the fingers of both hands pointing upward, the palms facing forward, your left hand placed in front of your solar plexus. Your torso is facing forward, your gaze toward the tiger’s mouth [fingertips] of your front hand. See photo 19 [reverse view]:
第二十式 摘星換斗
Posture 20: PLUCK THE STARS TO ROTATE THE BIG DIPPER
摘星換斗若何為。右足先提手目隨。左手勾摟從上剔。右宜摟膝足踵支。
How is PLUCK THE STARS TO ROTATE THE BIG DIPPER to be performed?
First your right foot lifts, your hands and eyes following
as your left hand hooks backs, rising upward.
Then your right hand pulls past your right knee and the heel presses the leg straight.
接前式右手往裏拓。手心向上。朝着左腮向後掛。（此時右足落地）左足高提。左手沿右手手背向上撩。亦往後摟。摟時二目隨著手向後看。（抅子手）左手衝左上方。微停。
Continuing from the previous posture, your right hand rubs inward, the palm facing upward, and goes toward your left cheek to be placed to the rear (as your right [left] foot comes down fully), your left [right] foot lifting. Your left hand is raising along the back of your right hand and then pulling to the rear, your gaze following your hand (which makes a hooking hand) as the hand thrusts upward to the left. There is a slight pause in this position. See photo 20:
再左足落地。右足提起。（目視右手）從右膝前往後摟。（成勾手）手指向下。此時右足向前落地。左手向裏反轉下落。手心向上。從右脇貼着心口向前推。手心向右。手指向上。掌緣用勁。左手與肩平。右手微高。身成十字形。右腿向後蹬直。目注右手食指。
Then your left [right] foot comes down so that your right [left] foot can lift, your gaze following your right hand as it pulls to the rear past your right knee (making a hooking hand), the fingers pointing downward. At the same time, your right [left] foot comes down forward as your left hand arcs inward and downward, the palm facing upward, the hand touching your right ribs and then pushing out forward from your solar plexus, the palm facing to the right, the fingers pointing upward, power expressed at the edge of the palm, the hand at shoulder level, your right hand slightly higher, your body making a cross shape with your right leg straightened behind. Your gaze is now toward the forefinger of your right [left] hand. [Although there was originally no photo supplied for this second part of the posture, it would be similar to photo 36, but with the left hand as a palm and the right hand as a hook instead of fists.]
第二十一式 收爪斂鋒
Posture 21: RETRACTING SHARP CLAWS
斂鋒收爪勢收查。左手後摟左脚挑。非但防來左面敵。同迎左右乃為超。
RETRACTING SHARP CLAWS is a posture for gathering in and assessing the situation.
Your left hand pulls to the rear as your left foot draws in.
This technique is not only for defending against an attack to your left,
for it could be applied on either side.
接前式左足向前進一步。進至右足脛骨。足尖點地。右足前進時。身體稍向右轉。又往下蹲。同時左手向後摟。（成勾手）手心向上。同時右手往上挑。挑至左肩手指與肩齊。手心向左。大指與食指貼於胸部。目注右手指尖。
Continuing from the previous posture, your left foot comes forward a step to be beside your right ankle, the toes touching down, your torso turning slightly to the right and squatting down. At the same time, your left hand pulls to the rear (making a hooking hand), the center of the hand facing upward, as your right hand carries upward until in front of your left shoulder, the fingers at shoulder level, the palm facing to the left, the thumb and forefinger near your chest. Your gaze is toward the fingertips of your right hand. See photo 21:
第二十二式 分掌横跥
Posture 22: SPREADING PALMS, SIDE KICK
分掌横跥腿挺直。手足齊發方為劇。若非鍛鍊功夫深。重點焉能貫一足。
In SPREADING PALMS, SIDE KICK, your legs straighten.
With your hands and foot expressing in unison, it is a dramatic technique.
But if you do not practice to the point that your skill is deep,
how will you be able to focus power through your foot?
接前式兩手向心口前合攏。作交叉形。兩手手心向上。右手腕壓住左手腕。目視兩手之中間。次將左腿高提。向左横跥。足指向右後仰。足跟用勁。同時左右手向左右平分。（與肩平）手指俱向前。掌緣用勁。兩腿挺直。目注左足。
Continuing from the previous posture, your hands come together, crossing in front of your solar plexus, the palms facing upward, your right wrist pressing down on your left wrist, your gaze going toward the space between your hands. Then your left leg lifts and does a side kick to the left, the toes pointing toward the right rear, power expressing at the heel, your hands at the same time spreading apart to the left and right (at shoulder level), the fingers pointing forward, power expressing at the edges of the palms, both legs straightening. Your gaze is toward your left foot. See photo 22:
第二十三式 英雄獨立
Posture 23: HERO STANDS ON ONE LEG
獨立英雄先轉身。高低雙掌互通神。勢如敗式非眞敗。誘敵之機是好因。
HERO STANDS ON ONE LEG involves first turning around.
Your palms extend in unison, one high, one low.
This is a posture of appearing to be defeated, but you are not actually in a position of defeat.
Lure the opponent in to try something, and then make use of it.
接前式左足縮囘。兩手仍歸交叉形。身體猛向右向後轉。左足猛向下跥地。右足提起。前進半步。足尖點地。左手從胸前向上托。胳膊彎如半月形。手背離頭頂寸許。手指向右。手心向上。左手往下劈。手掌用勁。手指向右下方。離右膝蓋二寸許。兩膝蓋往裏合。兩腿微彎。身體向右。目視右前方。
Continuing from the previous posture, your left foot retracts, your hands returning to being crossed, and your body suddenly turns to the right rear, your left foot fiercely stomping the ground. Then your right foot lifts and advances a half step, the toes touching down, as your left hand props up from in front of your chest, the arm bent to make a crescent moon shape, the back of the hand a few inches away from your headtop, the fingers pointing to the right, the palm facing upward, and your left [right] hand chops downward, power expressing at the palm, the fingers pointing downward about a quarter of a foot away from your right knee. Both knees are closing inward, both legs slightly bent. Your torso is facing toward the right [left], your gaze forward to the right. See photo 23:
第二十四式 迎門正跥
Posture 24: KICKING STRAIGHT AHEAD
迎門正跥用挑手。進步跥腿敵難走。上虛下實方合宜。虛虛實實變化有。
KICKING STRAIGHT AHEAD involves an action of the right hand carrying,
and then when you advance with a pressing kick, it is difficult for the opponent to get away from.
Using a feint above to complement a real technique below will make it work.
Fake techniques should be varied among real techniques.
接前式右足全足蹬地。左足前進一步。右手向上挑。亦往後摕。歸抱肘式。同時左手向下劈。劈至心口前變為拳。向前平出。手心向右。同時右足向前蹬。足尖向上。足指向後仰。足跟用勁。兩腿挺直。身子不可偏斜。亦不可俯仰。微向後坐。身體向前。目注左拳之大指。
Continuing from the previous posture, your right foot comes down fully and your left foot advances a step as your right hand carries upward. Your right hand then pulls back, returning to a wrapping-elbow position, as your left hand chops down forward until at solar plexus level, the hand becoming a fist, the center of the hand facing to the right. At the same time, your right foot presses forward, the toes pointing upward and stretching back, power expressing at the heel, both legs straightening. Your body must not be leaning forward or back, or to either side, just slightly sitting back. Your torso is facing forward, your gaze toward the thumb of your left fist. See photo 24:
第二十五式 魁星奪斗。同十二式。
Posture 25: KUIXING SEIZES THE BIG DIPPER (same as Posture 12) [reverse view]
第二十六式 葉底藏花。同第七式。
Posture 26: FLOWER HIDDEN UNDER THE LEAF (same as Posture 7) [reverse view]
第二十七式 金龍合口。同十四式。
Posture 27: GOLDEN DRAGON CLOSES ITS MOUTH (same as Posture 14) [reverse view]
第二十八式 彩鳳囘頭。同十五式。
Posture 28: COLORFUL PHOENIX TURNS ITS HEAD (same as Posture 15) [reverse view]
第二十九式 靈獼護腦。同第五式。
Posture 29: CLEVER MACAQUE COVERS ITS HEAD (same as Posture 5)
第三十式 柳線垂金
Posture 30: GOLD HANGING FROM THE WILLOW BRANCHES
柳線垂金向後轉。左掤右摟面沖前。後將右足磨齊步。左足隨教外撇邊。
GOLD HANGING FROM THE WILLOW BRANCHES involves turning around to the rear.
Prop up with your left hand and pull back with your right hand to deal with an incoming attack.
Your right foot slides straight back
and your left foot is correspondingly turned outward.
接前式身體向右轉。右足向後退一步。同時左手由胸前向上架。胳膊微彎。手心向上。右手向下向後摟。左腿下彎。足尖向外撇。右腿挺直。足尖點地。足跟起。目注左手手背。
Continuing from the previous posture, your body turns to the right, your right foot retreating a step. At the same time, your left hand props upward from in front of your chest, the arm slightly bent, the palm facing upward, as your right hand pulls downward to the rear. Your left leg is bent, the toes swung outward, and your right leg is straightened, the toes touching down, heel lifted. Your gaze is toward the back of your left hand. See photo 30:
第三十一式 藤蘿掛壁
Posture 31: VINE CREEPS UP THE WALL [no verse]
接前式左腿向後退一步。右腿下彎。左腿蹬直。足尖衝前。同時右手經胸部之前向上架。（架手與前同）左手往下壓。壓至與臍相齊停住。左手手心向下。手指向右。二目向前平視。
Continuing from the previous posture, your left leg retreats a step and your right leg bends, your left leg straightening, the toes [of both feet] pointing forward. At the same time, your right hand props upward, passing in front of your chest (same kind of propping action as in the previous posture), as your left hand presses downward until level with your navel, the palm facing downward, fingers pointing to the right. Your gaze is forward and level. See photo 31:
第三十二式 進步指南
Posture 32: ADVANCE, POINTING-COMPASS POSTURE
指南進步轉身衝。右足前騰速似風。拳術多宜此等式。身成側面少遭攻。
ADVANCE, POINTING-COMPASS POSTURE involves turning around and thrusting out,
your right foot also shooting out forward as quick as the wind.
Boxing arts often use this kind of posture,
the body turned sideways to reduce one’s own potential to be a target.
接前式身體向左向後轉。（轉身時）左足尖蹻起。足跟碾勁。同時左手手心向下。往前擄。右手往下沉。卽變為拳。由右脅貼於左手上方往前衝。手心向左。在右拳衝時。右足前進半步。足尖點地。左手附於胳膊彎。兩腿微彎。身體向左。目注右拳食指中節。
Continuing from the previous posture, your body turns around to the left rear with your left toes lifting and the heel having an energy of grinding the ground [i.e. the foot pivoting on the heel]. At the same time, your left hand pulls forward, the palm facing downward, and your right hand sinks down, becoming a fist, then thrusts forward from your right ribs over your left hand, the center of the hand facing to the left. As your right fist thrusts out, your right foot advances a half step, the toes touching down, both legs slightly bending, your left hand going near your right elbow. Your torso is facing toward the left, your gaze toward the mid-knuckle of the forefinger of your right fist. See photo 32 [reverse view]:
第三十三式 丹鳳朝陽
Posture 33: PHOENIX LANDS ATOP THE SUNNY SLOPE
丹鳳朝陽右足彈。雙雙挑劈掌相連。弓蹬半步身須正。步穩氣沉自占先
PHOENIX LANDS ATOP THE SUNNY SLOPE involves your right foot springing out.
Your hands perform carrying and chopping, the palms working in unison.
When going a half step back into a bow stance, your torso has to be facing squarely forward,
and so your stance being stable and your energy sinking are naturally given priority.
接前式右拳變掌。向右耳後方掛。左手向前推。左足提起。右足隨向前踢。將腿挺直。足尖用勁。式不停。將右足向左足之後撤一步。左腿下彎。右腿蹬直。同時右手向前向下劈。左手附於右胳膊彎。右手手心向左。手指向前。掌緣用勁。目注右手大指。
Continuing from the previous posture, your right fist becomes a palm and is hung behind your right ear, your left hand pushing forward, as your left foot lifts and your right foot kicks forward [with a hop], the leg straightening, power expressing at the toes. The posture does not pause in this position, your right foot retreating a step behind your left foot, and your left leg bends, your right leg straightening, as your right hand goes forward and chops downward, your left hand going near your right elbow, your right palm facing to the left, the fingers pointing forward, power expressing at the edge of the palm. Your gaze is toward your right thumb. See photo 33:
第三十四式 風擺荷葉
Posture 34: WIND SWEEPS THE LOTUS LEAVES
風擺荷葉手托護。右步倒叉向後顧。那怕敵從四面來。聲東擊西敵難做。
In WIND SWEEPS THE LOTUS LEAVES, your left hand props up to guard your head
and your right foot crosses behind your left foot so that you are now looking to the rear.
Why worry about an opponent attacking from any direction?
By “threatening to the east but striking to the west”, you will make it hard for him to do anything.
接前式右足向左後方倒叉一步。足尖點地。右膝蓋抵住左腿彎。兩腿下彎。身體往下沉。同時右手向下垂。又往右往後拉。再往上托。胳膊彎曲。手指向左。手心向上。同時左手向左平出。手心向上。手指向左。手與肩平。身體向左。目注左手。
Continuing from the previous posture, your right foot does a crossing step to the left rear, the toes touching down, your right knee touching the back of your left knee, both legs bending, your body sinking down. At the same time, your right hand drops down, pulling to the right rear, then props up, the arm bent, the fingers pointing to the left, the palm facing upward, as your left hand goes out to the left, the palm facing upward, the fingers pointing to the left, the hand at shoulder level. Your torso is facing toward the left, your gaze toward your left hand. See photo 34:
第三十五式 順風擺柳
Posture 35: WIND SWAYS THE WILLOW
順風擺柳弔擄勢。我力無能借敵施。柔以致剛能變化。拳精尤貴快攻遲。
WIND SWAYS THE WILLOW is an example of “hanging & pulling”.
It is for when you are not in a position to borrow the opponent’s force.
Use softness in order to be able to switch back to hardness.
Boxing masters put great emphasis on using quickness to attack where there is slowness.
接前式左足向左前方進半步。足尖點地。足跟向後。兩腿微彎。同時左手向右向後擄。手與臍齊停住。同時右手向後向下按。按至心口之左方。與心口平。手心向下。雙手五指分開。手指相印。兩肩向外開勁。兩肘向內抖勁。身體向右。目注右手指尖。
Continuing from the previous posture, your left foot advances a half step to the forward left [to be next to your right foot], the toes touching down, heel lifted, both legs slightly bent. At the same time, your left hand pulls to the right rear until level with your navel as your right hand pushes downward to the rear until level with and to the left of your solar plexus, the palm facing downward. The fingers of both hands are aligned with each other and are spread apart. Your shoulders have an energy of opening outward, but your elbows have an energy of squeezing inward. Your torso is facing toward the right, your gaze toward your right fingertips. See photo 35:
第三十六式 單鞭
Posture 36: SINGLE WHIP
單鞭順式一條線。右腿直蹬左腿彎。兩手握拳平正直。足踵實地穩如山。
SINGLE WHIP is in a straight stance [same hand and foot forward] and forms a line [with the arms].
Your right leg presses straight, your left leg bending.
Your hands grasp into fists and go straight out until level.
Your heels are solidly on the ground, your stance stable as a mountain.
接前式右手向裏。左手向下壓。兩手變拳。右手向右向後衝。左手向左向前衝。兩拳與肩平。同時左足前進半步。左腿下彎。右腿蹬直。兩手與兩腿上下成一垂直線。身體挺直。目注左手大指節根。
Continuing from the previous posture, your right [left] hand goes inward as your left [right] hand presses downward, both hands becoming fists, and then your right hand thrusts out behind you to the right as your left hand thrusts out forward to the left, both fists at shoulder level. At the same time, your left foot advances a half step and the leg bends, your right leg straightening. There is vertical line from each hand to its respective foot, and your body is upright. Your gaze is toward the large knuckle of the thumb of your left hand. See photo 36:
第三十七式 單擄手
Posture 37: SINGLE PULLING HAND [no verse]
接前式左手向下向後擄。右手不動。（擄手）與金龍合口相同。步法亦同。惟彼是雙手擄。此用單手擄耳。
Continuing from the previous posture, your left hand pulls downward to the rear, your right hand maintaining its position. The pulling hand technique is the same as in GOLDEN DRAGON CLOSES ITS MOUTH [Posture 14], and the footwork is also the same, but in that case it is an action of double pulling hands and is here only a single hand pulling. See photo 37:
第三十八式 彩鳳囘頭。同十五式。
Posture 38: COLORFUL PHOENIX TURNS ITS HEAD (same as Posture 15)
第三十九式 黑虎掏心。同第十式。
Posture 39: BLACK TIGER STEALS THE HEART (same as Posture 10) [reverse view]
第四十式 前進踢打
Posture 40: ADVANCE, KICK & HIT
進前踢打兩邊同。手足齊到方始攻。莫道簡單程式易。無窮奧妙在其中。
ADVANCE, KICK & HIT involves both sides working in unison,
hand and foot attacking together.
The technique seems simple, the posture easy,
and yet it is limitlessly profound.
接前式右手向後拉。歸抱肘式。右手向前平出。指尖衝前。手心向右。同時左腿向前踢。足尖用勁。兩腿挺直。兩胯向裏合住勁。右足向下蹬住勁。身體向前。目注左足足尖。
Continuing from the previous posture, your right hand pulls back, returning to a wrapping-elbow posture, then its fingers thrust out forward, the hand level, the palm facing to the right. At the same time, your left leg kicks forward, power expressing at the toes, both legs straightening, the thighs closing inward, and your right foot has an energy of pressing downward. Your torso is facing forward, your gaze toward your left toes. See photo 40 [reverse view]:
第四十一式 左前進踢打。同四十式。
Posture 41: LEFT ADVANCE, KICK & HIT (same as Posture 40 [except with left and right reversed]) [There was originally no photo included here, but the posture can easily be shown by flipping the previous photo.]
第四十二式 迎門正跥。同二十四式。
Posture 42: KICKING STRAIGHT AHEAD (same as Posture 24)
第四十三式 魁星奪斗。同十二式。
Posture 43: KUIXING SEIZES THE BIG DIPPER (same as Posture 12) [reverse view]
第四十四式 葉底藏花。同第七式。
Posture 44: FLOWER HIDDEN UNDER THE LEAF (same as Posture 7 [but with only two retreating steps: left, then right]) [reverse view]
第四十五式 金龍合口。同十四式。
Posture 45: GOLDEN DRAGON CLOSES ITS MOUTH (same as Posture 14) [reverse view]
第四十六式 彩鳳囘頭。同十五式。
Posture 46: COLORFUL PHOENIX TURNS ITS HEAD (same as Posture 15) [reverse view]
第四十七式 靈獼護腦。同第五式。
Posture 47: CLEVER MACAQUE COVERS ITS HEAD (same as Posture 5)
第四十八式 渾元一氣
Posture 48: RETURNING TO YOUR ORIGINAL STATE
渾元一氣卽空提。雙手持拳心與齊。氣守中和能得法。自然入化到神奇。
In RETURNING TO YOUR ORIGINAL STATE, let go of the situation and rise up,
your hands as fists shifting to be level with your solar plexus.
By keeping your energy balanced, you will be able to obtain the art.
You will naturally transform yourself and achieve a magical skill.
接前式左右足向後各退半步。兩脚靠攏。兩腿微彎。左手變拳。右手握拳。抱於臍前。
Continuing from the previous posture, your feet each retreat a half step [left then right] to stand next to each other, your legs slightly bent, as your left [right] hand becomes fist and, together with your right [left] fist, is placed in front of your navel [solar plexus]. See photo 48:
再兩手下垂。歸立正式。
Then your hands hang down and you return to the posture of STANDING AT ATTENTION.
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