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白猿偷桃
WHITE APE STEALS A PEACH
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
攝影者：黃子英
photographed by Huang Ziying
校對者：黃翔
text proofread by Huang Xiang
[published 35th year of the cycle, 10th month, 10th day (Nov 20, 1958)]

[translation by Paul Brennan, June, 2018]

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白猿偷桃
White Ape Steals a Peach
黃電明題
– calligraphy by Huang Dianming

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目錄
CONTENTS

第一式：中平雙蓄勢
Posture 1: STANDING STABLY, BOTH FISTS STORING POWER
第二式：入環單臂爪
Posture 2: KNEELING STANCE, SINGLE CLAW-ARM
第三式：提步右挫捶
Posture 3: LIFTING LEG, RIGHT SUBDUING PUNCH
第四式：穿手右統捶
Posture 4: THREADING HAND, RIGHT THRUST PUNCH
第五式：登山右挫捶
Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH
第六式：扭步左黏肘
Posture 8: TWISTING STANCE, LEFT STICKY ELBOW
第七式：劈圈右仰膀
Posture 7: CHOPPING SWING, RIGHT PRESSING FOREARM
第八式：囘身刁踢腿
Posture 8: TURN AROUND, HOOKING HAND, SNAPPING KICK
第九式：圈捶連環腿
Posture 9: SWINGING PUNCH, CONTINUOUS KICK
第十式：入環右仰膀
Posture 10: KNEELING STANCE, RIGHT PRESSING FOREARM
第十一式：撤步掛統捶
Posture 11: WITHDRAWING STEP, HANG & THRUST PUNCH
第十二式：登山右劈軋
Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP
第十三式：蹤步穿梭式
Posture 13: LEAPING STEP, SENDING THE SHUTTLE THROUGH
第十四式：封手雙飛腿
Posture 14: SEALING HANDS, FLYING DOUBLE KICK
第十五式：登山掛統捶
Posture 15: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
第十六式：登山右劈軋
Posture 16: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP
第十七式：橫圈大擺蓮
Posture 17: SWINGING PUNCH, LARGE SWINGING LOTUS KICK
第十八式：登山掛統捶
Posture 18: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
第十九式：蹤步右統捶
Posture 19: JUMPING STEP, SEALING, THRUST PUNCH
第二十式：登山番車式
Posture 20: MOUNTAIN-CLIMBING STANCE, ROLLING PUNCH
第二十一式：登山掛統捶
Posture 21: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
第二十二式：封手右撐腿
Posture 22: SEALING HANDS, RIGHT BRACING KICK
第二十三式：囘身掛統捶
Posture 23: WITHDRAWING BODY, HANG & THRUST PUNCH
第二十四式：跨虎挑統捶
Posture 24: SITTING-TIGER STANCE, CARRY & THRUST PUNCH

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螳螂國術學院第十一屆畢業禮
SPEECH FROM THE 11TH GRADUATION CEREMONY OF THE MANTIS MARTIAL ARTS ACADEMY
黃院長漢勛演詞　受業黃漢超節錄
by director Huang Hanxun (recorded by your student, Huang Hanchao):

五七年十月廿三日，螳螂國術學院第十一屆畢業典禮於東方體育會禮堂舉行，是晚，特級並高中初三級畢業同學四十餘人，曁新舊同學於會後舉行聯誼，會前，院長致詞，勗勉諸生，語多切中近來國術界之弊病，指出國術衰落之原因，並提出救正之方法，其言亟宜錄出以作改進國術者之參考，以下是院長演詞之節錄：
On Oct 23, 1957, the 11th Graduation Ceremony for the Mantis Martial Arts Institute was held in the assembly hall of the Far East Athletic Club. On that evening, there were more than forty students graduating, from the beginner, intermediate, and advanced levels, as well as the special instructor level. At the close of the event, students old and new joined in camaraderie to give a demonstration. At the beginning of the event, the director of the school gave a speech to encourage all the students, in which he particularly discussed the problems currently facing the martial arts community, pointing out the causes of the decline of martial arts and putting forward methods of rescuing them. His important words should serve as a reference for how to improve the state of martial arts. Below is an excerpt from his speech:

國術衰落之原因
Causes for the decline of martial arts:

（一）病在學者好為人師，以致師道不尊：
1. There is a problem of students trying to be teachers, resulting in real teachers no longer being respected.

由於靑年多缺乏正確的練習國術認識，在未習拳以前，已懷有為人師的念頭，這不是說學者不應為人師，乃是說不應好為人師。蓋習拳者、日久功深，所謂三年一小成，十年一大成，未嘗無理，然在小成大成之期間，若不能大殺（苦練也）一番，功力必不進；苟無良師益友，技亦停滯不前，蓋拳技之道，泳涵愈久，功力愈精到。有習拳三年五年者，卽自視甚高，以為可以應世致用，為人師表；實不明拳理，不諳武術之興替。家法不明，而沾沾以將為人師而喜。懷此輕浮之心，國術何得不衰？
Young people typically lack proper martial arts knowledge, and yet before they have even begun training in a boxing art, they already have it their heads that they want to teach it to others. I am not saying that students should not become teachers. What I am saying is that they should not be using the art just to have something to teach.
　　Practicing boxing arts requires a long time for skill to deepen, hence the expression “three years will give you a small achievement, ten years a large achievement”. This is not an unreasonable plan, but in the time between the small achievement and the large achievement, if you cannot fight your way through it (i.e. endure bitter training), your skill will most assuredly not progress the rest of the way. Or if you are without a close mentor, your skill would again stagnate and cease to move forward.
　　It is the way of any boxing art that the longer you swim in it, the more refined your skill will become. Those who have practiced a boxing art for three to five years think highly of themselves and believe that they can function for others as a model teacher. But actually they still do not understand the boxing theory and are not experienced in the ups and downs of martial arts. Even though the methods of the art are not yet fully understood, they are nevertheless steeped in their happy plans of teaching these methods to others.
　　With this kind of frivolous attitude, how could our martial arts not be in decline?

（二）雜誌、報章、電影、武俠小說之過事渲染：
2. Magazines, newspapers, films, and martial arts novels do a lot of exaggerating.

以上諸出版物並電影，本可以作復興國術之用，以前精武體育會就有此等組織，迺使國術一道，風靡全國，以實事求是，非投機取巧。可惜今日所見所聞，多以奇技相標榜，以異術相眩博，言過其實，描寫一人，務以出神入化之筆以吸引讀者觀衆。觀者不知，誤認天下間竟有如此奇人，學技之心隨之而興，以為自己亦可致此也。彼纔入學，則所親炙者多平平無奇，與傳聞所說大異，尋轉他學，亦復如此。輕蔑國術之心亦因之而起，彼習技之一股勇氣，化為子虛烏有，國術界因此而喪失不少人才。空腹高論，其不俾實際如此，國術何得不衰？
All of these forms of media have the potential to rejuvenate our martial arts. When the Jingwu Athletic Association made use of these kinds of media to make martial arts fashionable throughout the nation, they did so in order to show the reality of these arts and were not seeking to make a profit. Unfortunately what we see and hear nowadays is usually the flaunting of bizarre skills and the glorifying of crazy stunts. Depictions of individuals are exaggerated caricatures, and the writing is pushed to be as exciting as possible in order to attract audiences.
　　Spectators do not understand and mistakenly think that people with such strange abilities exist. They are then inspired to learn those skills in the belief that they themselves can achieve them. Once they join a school, they discover that what they are being personally taught is average and unremarkable, vastly different from what they had heard about, and so they seek out other teachers to learn from in the hopes that it will be more like what they had expected. Then in their disappointment, they will consequently start to have contempt for martial arts, going from being mesmerized by the thought of the training to realizing it was all a hoax. Because of this, the martial arts world has lost many talented people.
　　To have such “lofty dreams on an empty stomach” and not be able to make any of it come true, how could our martial arts not be in decline?

（三）不願公開獨到的拳術：
3. There is an unwillingness to publicly share unique boxing arts.

習拳技者知拳技易學難精，學者幾經苦練而後有所得，故任敎後，每想及得技非易，苟輕易以之授徒，心有不甘。的確，如果無心向藝，目拳術為交易之物者，自不應以高深之法理授之，然百人中豈無好學者？故不以獨到之技傳粗心浮意者可，不以獨到之技傳好學深思者則失之矣。俗謂說：「求師難，求徒更難。」若人人存有不傳獨得之技的念頭，而持之以終老，亦老死而矣。懷此自私之心，國術何得不衰？
Those who practice boxing arts know that these arts are easy to learn but difficult to master. Students have to go through a great deal of hard training in order to make any gains. Once practitioners start teaching, they constantly fret over how difficult it is to achieve skill, and so they sour to the idea of teaching just anyone. Indeed if a student does not care about the degree of craftsmanship involved and looks upon boxing arts as easy things, it seems natural that he should not be given instruction in advanced theories.
　　But it’s a numbers game: among a hundred people, there is bound to be one who appreciates knowledge. Therefore while it is reasonable not to teach unique skills to those who are indifferent or impatient, it is a mistake not to teach these skills to those who love learning and contemplating. There is a common saying: “It’s hard to find the right teacher, but even harder to find the right student.” However, if everyone decided to keep their art to themselves and hold onto it until they die, it would also die with them.
　　With this kind of selfishness, how could our martial arts not be in decline?

院長又提出救正國術衰落的幾點意見，他說：
Director Huang then put forth these suggestions for rescuing our martial arts:

（一）敎者應以身作則，應有實在之經驗及拳術修養：
1. Teachers should set an example by actually going through the training process and mastering a boxing art.

濫竽充數者不論，有名師授受矣，如彼自以為名師而輕視他人，不屑與後生小子羣，授技只敷衍了事，不能做到學不厭，敎不倦，學者受此影響，亦會走上其師的老路，轉相授受，敎者卒不能以身作則，立定規模以示後學。故在為師者言，應有學不厭，敎不倦的精神，期以收默化潛移之效；另一方面言，本身亦應有實在之經驗及拳術修養，始能肩師道之任。故救正國術之病，不得不從為師者之以身作則起。
It means nothing to just fill up teaching positions. There are “famous teachers” giving instruction. If an instructor considers himself to be a famous teacher and looks down on other people, disdaining to be in the presence of the students, the instruction he gives will be barely mediocre. He has not been able to achieve the condition of [quoting from the Lun Yu, 7.2:] “learn insatiably, teach tirelessly”. Students will be influenced by this and instead only learn how to behave like that teacher. Such a teacher ultimately cannot set an example and ceases to be a good model for the students.
　　Therefore to be considered a teacher, one should have the mindset of “learn insatiably, teach tirelessly”, which will have the effect of subtly influencing the students. On the other hand, he should also have actually gone through the experience of mastering a boxing art, and then he will be able to shoulder the responsibility of being a teacher in the first place.
　　Thus rescuing our martial arts has to start with teachers setting an example.

（二）學者應走鈍的一路，不應走巧的一路：
2. Students should tread the boring path, not the exciting one.

心躁氣浮，為練拳術者之大忌，此一點使學者好為人師外，更阻碍拳術之進步。常見初習拳術者，每見老同學之演習，輒嘖嘖稱羨，彼不知練者費幾許精神時間，始克至此。於是每多蹈蠟等之弊，一技未了，又見異思遷，以巧的方法去獵取；不肯勤練，以鈍的方法去涵泳。拳術之道，易得易失，不經體驗，不知其中痛癢，而臨淵羨魚，不如退而結網，是待學者之善學而後國術有救正之可言。
A boxing arts practitioner is not allowed to have an impetuous mind and distracted temperament. That kind of thing is an even bigger hindrance to making progress than wanting to hurry up and be a teacher.
　　Often when we see beginners watching their older classmates practicing, we hear them express their envy. But they do not understand how much determination and time was required to attain such a level. Therefore they tend to make the error of skipping steps. Before they have developed even a single skill, they see something different and their attention shifts, always in pursuit of exciting material, never willing to put in the hard training, which involves wading through the boring stuff.
　　Boxing arts methods are easy to obtain and easy to lose. Unless you go through the experience, you will have no idea of the ordeals within the training. [from the Books of Han, bio of Dong Zhongshu:] “To stare at the water and wish for a fish is not as good as stepping back and making a net.”
　　Only when the student has learned how to learn will he then be of use in rescuing our martial arts.

（三）應不畏艱難，多發明前人所未發的拳術眞理：
3. We should not shy away from the hard work of expressing boxing arts knowledge that previous generations did not.

欲使國術成為一門學，非要找出其能成為學的關鍵不可，是則有待於國術界同人之努力，而撰著專籍，尤為切要。從來拳術授受，多憑口耳，載籍實不足，而晚近有關國術之書籍，以排比編纂，鈔襲陳言為多，能有眞正經歷其境而登其堂而筆之於書者，實不多覩，以今日論，欲救正此等風氣，非用大心力以從事研究不可。發明前人所未發，實為當前國術界應有之責任，是亦為救正國術之一大方針也。
If we wish for martial arts to become a field of learning, we cannot do it unless we find out what the keys are to such knowledge. It then depends on the hard work of our colleagues in the martial arts community to carry out the crucial task of putting all that knowledge into specialized books.
　　However, learning martial arts always requires some personal instruction, for books themselves are insufficient. In recent years, martial arts books have been getting systematically compiled, but they are usually just the copying of arcane texts. To be able to actually go through the training that those texts describe and then write books that are also based on one’s own experience of that training is something that is rarely seen. If we wish to fix this current trend, it cannot be done without a great deal of effort.
　　To express what earlier generations did not is a duty of the martial arts community, and is also a major guiding principle in rescuing our martial arts.

–

自序
PREFACE

余自出版螳螂拳術叢書以來，經十餘年之努力，至今已二十三種矣，惟不論拳與械均在數十式之間者，此拳僅得二十四式，得毋太短乎？曰：此拳原本如是，實無能使之為長也。螳螂拳是以一氣呵成見稱於世者，拳式長，動作多固然使練之者增加氣力於不知不覺間，但勿以拳式短，動作少而輕視其用氣用力必少也，苟能每拳俱認眞用力發勁亦頗使練之者大費精神矣。
此拳與「白猿出洞」正如牡丹之與綠葉互為襯托乃有益彰之妙也。卽亦如「螳螂出洞」「螳螂偸桃」之並重，故余以之緊隨白猿出洞之後而出版者，意卽使之易於相生相成之效也，余將賡續努力於螳螂拳之著述，成敗利鈍固所非計矣，幸海內外同道時錫南針為幸。
黃漢勛螳螂樓　戊戌年重陽
Since starting to publish the “Mantis Boxing Art Book Series”, I have given it more than a decade of effort, and there are now twenty-three volumes in it. Regardless of boxing set or weapon set, all of the sets contain a large number of postures, except the boxing set in this book, which has only twenty-four. If this seems too short, I can only say that this is the way the set was originally designed, and so I have no right to lengthen it.
　　Mantis Boxing is consistently regarded as being comprised of boxing sets that are long and have many movements. Practitioners take it for granted that working on such sets will increase energy and strength, and they then think that one should not bother with boxing sets that are short and have few movements, dismissively assuming that they must be of little use for the training of energy and strength. But if we can wholeheartedly exert ourselves and express power in all of the sets, we will gain enormously in the development of spirit.
　　This set and White Ape Leaves the Cave are as intimately connected as a peony tree and its leaves, benefiting each other wondrously, which is likewise true of Mantis Leaves the Cave and Mantis Steals a Peach, and for this reason the publication of this book follows close upon the publication of White Ape Leaves the Cave [although it actually ended up getting published before it], in hopes that this will more easily produce the effect of the two sets developing and fulfilling each other.
　　I will continue to put effort into writing about Mantis Boxing, ignoring all thoughts of success or failure, for my hope is only to provide material that will serve as a guide for my fellow practitioners both within the nation and overseas.
　　- Huang Hanxun at the Mantis School, 35th year of the cycle, Double Ninth Festival, [Oct 21, 1958]

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

說明：
Explanation:
假如我以東方作起式，則應是右東，左西，面北，背南矣。雙足合攏直立，雙拳收束至胸平齊以蓄中平之氣，目向左視，以俟拳式之展閉焉。
If you begin in the eastern part of the practice space, then the east should be to your right, the west to your left, north in front of you, south behind you. With your feet together, stand straight, your fists pulled up to chest level in order to store a balanced power. Your gaze is to the left, and you are ready to begin the boxing postures. See photo 1:

功用：
Application:
螳螂派各拳多為中平作起式者，其次為四平式及背轉式，所謂中平，四平，背轉等皆是方向之區別耳！其雙拳之蓄勢則一，中平開始者是表示敵方將由我左方而來，因此要注視左方。四平則敵自我正面來故向前面視。背轉是敵由我右攻來，故亦向右注視焉，三式之區別處在此，祈留意及之。
The boxing sets in the Mantis system usually begin with this posture of “standing stably”, but sometimes there is the “four-level posture” and also the “back-turning posture”. They are different in terms of the direction they are facing, though they are the same in that the fists are storing power. When beginning in the posture of standing stably, I am showing that there is an opponent who is about to attack from the left, and thus I should be looking to the left. In the four-level posture, an opponent is attacking from in front of me, and thus in that case I should be looking forward. In the back-turning posture, an opponent is attacking from my right, and thus in that case I should be looking to the right. These are the distinctions of these three postures. Take note of them.

第二式：入環單臂爪
Posture 2: KNEELING STANCE, SINGLE CLAW-ARM

說明：
Explanation:
循上式，左脚向西開出，右脚曲而跟進以成入環式，右拳化刁手，左手化掌隨步由下橫斜而出，如『定式』。
Continuing from the previous posture, your left foot steps out to the west and your right foot follows it forward, the leg bending, to make a kneeling stance, as your right fist changes to a hooking hand and your left hand becomes a palm, your hands going along with your feet by going across diagonally from below. See photo 2:

功用：
Application:
彼自我中部攻來一拳，我撥消來手，右手反爪直取其下陰部，斯手極毒輕易不可用之，有人以為此式何必捨拳不用而用爪，此正是其妙處所在也，蓋襠下位置是下濶上窄者，若用拳旣勢不順而又出發點與終點大相逕庭，用爪則自下而上恰如彼特異之位置，斯為此式之妙處所在也。
An opponent attacks my middle area with a punch, so I deflect his incoming hand while my right hand goes out as a reverse claw [i.e. using the back of the wrist] to attack his groin. This technique is very cruel and so you must not use it rashly. Some people wonder why this posture requires a claw-hand rather than using a fist, but this is in fact the key to the technique. The area below the crotch is wider below and narrower at the top. Using a fist will not work as well going from the previous posture into this posture, but a claw-hand coming upward from below will fit just right into that particular place, and this is why it is key to the posture.

第三式：提步右挫捶
Posture 3: LIFTED LEG, RIGHT SUBDUING PUNCH

說明：
Explanation:
循上式，先提右後脚以成獨立式，左掌向前由上封下，右拳從內穿出乃成挫捶如『定式』。
Continuing from the previous posture, your right foot lifts to make a one-legged stance as your left palm goes forward, sealing downward from above, and your right fist threads out from the inside with a subduing punch. See photo 3:

功用：
Application:
彼以我低馬沉手取其下路，立卽轉取我上路，我乃提步使高，先封去來手，再用挫捶法自下逆抽而上，耑擊其頷下，登山挫捶為螳螂拳極普遍之拳法，提步挫捶不單是使勢高己也，譬諭我剛封來手而欲挫捶之俄頃，彼勉强軋我一脚以求解圍，我亦已捉住來手勢難縱之者，因亦提步卸去來脚而强用捶挫之。
The opponent takes advantage of my low stance and low hands attacking to his lower body by immediately changing to attack my upper area, so I lift a leg to make my stance taller while sealing off his incoming hand, then counter by sending a subduing punch upward from below to strike to his chin. A subduing punch in a mountain-climbing stance is a very common technique in Mantis Boxing, but a subduing punch with a lifted leg happens just this once. In the moment that I firmly seal off his hand to then do a subduing punch, the opponent does an emergency crushing kick to my leg to try to keep me from reaching him, so when I grab his incoming hand to make it difficult for him to get away, I also lift my leg to avoid his incoming foot and can then powerfully apply the punch.

第四式：穿手右統捶
Posture 4: THREADING HAND, RIGHT THRUST PUNCH

說明：
Explanation:
循上式，左捶自下穿出，至右拳鋒外為止，時右拳亦可收回腰部矣，右脚落下以成騎馬式，右拳乃自腰部直統而出，左掌則貼於右肩之上如『定式』。
Continuing from the previous posture, your left fist threads out from below, and once it is to the outside of your right knuckles, your right fist can then withdraw to your waist. Then your right foot comes down to make a horse-riding stance as your right fist thrusts out from your waist, your left palm touching at your right shoulder. See photo 4:

功用：
Application:
彼手來搭我之挫捶，我先用左手穿去之，乘勢落馬用統捶法反攻其中部，此式驟視之旣似「黑虎偸心」或「馬式補捶」，其練時固不必以右拳擦過左掌而出也，此式比平常之統捶更能增高其力道之處，厥惟由提步踏下標馬之勢，旣有居高臨下之佳妙，又有如波浪之滾進也。
The opponent blocks my subduing punch, so I first use my left hand to thread out and take it aside, then come down into a horse-riding stance to attack his middle area. This posture resembles BLACK TIGER STEALS THE HEART or HORSE-RIDING STANCE, FILLING PUNCH. When practicing it, it is not at all necessary for your right fist to scrape past your left palm as it goes out, and thus this posture can be a better means of increasing your power than with the ordinary thrust punches. Due to the lifted leg coming down darting into a horse-riding stance, this technique has the elegance of descending from a height and also has the quality of rolling forward like an unstoppable wave.

第五式：登山右挫捶
Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

說明：
Explanation:
循上式，撑直左後脚以成右登山式，左手向前由上封落，右拳收近腰部，再反拳由下抽上如『定式』。
Continuing from the previous posture, your left leg presses straight to make a right mountain-climbing stance, your left hand going forward, sealing downward from above, as your right fist withdraws almost to your waist and then goes out upward from below with the fist turned over. See photo 5:

功用：
Application:
彼招去吾統捶後，另以一手打來，我卽以左手封住來手，右拳由下逆衝而上，專擊其下頷，第三式提腿之功用已述之如上，登山之特長是進退之間旣靈活而又穩健，且由騎馬轉為登山步之間，亦標進同具有衝擊之無比力道也。
The opponent deflects my thrust punch, then sends his other hand to strike, so I use my left hand to seal off his incoming hand, and my right fist turns over and thrusts upward from below, striking to his chin. The application is the same as in Posture Three, in which it is performed with a lifted leg, but the advantage of performing this technique in a mountain-climbing stance is that within the nimbleness of advance or retreat there is also more firmness, and furthermore, the switch from horse-riding stance into mountain-climbing stance darts you forward to make this thrusting strike overwhelmingly powerful.

第六式：扭步左黏肘
Posture 6: TWISTING STANCE, LEFT STICKY ELBOW

說明：
Explanation:
循上式，原步往右方一扭卽成扭步之勢，右拳改為刁手，往後一拉，左拳自下曲肘而上，與「崩步之第二十二式相同」如『定式』。
Continuing from the previous posture, your feet twist to the right to make a twisted stance as your right fist changes to a hooking hand and pulls to the rear, your left fist going upward from below with the elbow bent, the same as in Posture 22 of the Avalanche Steps set. See photo 6:

功用：
Application:
彼欲以手來挑高我之挫捶，我食住其手刁之，往後一拉，左手自下曲肘托上以斷其臂部，此是合兩手之勢與力及上下分勢之法去應付對方一隻手乃佔有絕大優勢也，若對方見機則不俟合力分勢之成而先曲肘卸去之，乃可脫離險境也。（見領崩步法）
The opponent tries to send out a hand to carry my subduing punch upward, so I receive his hooking hand and pull it to the rear, and my left forearm goes upward from below, elbow bent, to break his arm. This is a method of both hands working together to apply force upward and downward [i.e. your right hand bracing downward as your left elbow props upward], against a single arm, thus putting you in the superior position. If the opponent notices an opportunity, you will not have time for your hands to apply force together to make this technique, and you will instead have to pull your elbow back to keep yourself out of a dangerous situation. (It is the same technique as in the Avalanche Steps set.)

第七式：劈圈右仰膀
Posture 7: CHOPPING SWING, RIGHT PRESSING FOREARM

說明：
Explanation:
循上式，先進左脚，右拳自後劈前向下如「過渡式圖」，
Continuing from the previous posture, first your left foot advances as your right fist chops forward and downward from the rear [your left hand now touching the elbow area]. See photo 7a:

再進右脚以成入環步，手自右向左轉，復由內反出推前，右拳曲肘而向內，左拳貼於右腕之下如『定式』。
Then your right foot advances to make a kneeling stance as your [right] hand arcs to the left and then turns over from inside to push out forward, the center of your right fist facing inward, elbow bent, your left fist now touching below your right wrist. See photo 7b:

功用：
Application:
彼沉肘避過我黏肘，再漏手攻我肘之下，我乃先劈去來勢，再進馬用仰膀法緊貼而傾跌之。
The opponent sinks his elbow to evade my sticky elbow and then slips the hand through to attack under my elbow, so I first chop away his incoming attack, then advance while using a pressing forearm technique to crowd him and make him topple.

第八式：囘身刁踢腿
Posture 8: TURN AROUND, HOOKING HAND, SNAPPING KICK

說明：
Explanation:
循上式，自左轉身，先收右拳於腰部，左刁手與左脚同時向後東方而出，如『定式』。
Continuing from the previous posture, your body turns around to the left, your right hand withdrawing to your waist, as your left hooking hand and left foot go out in unison to the east behind you. See photo 8:

功用：
Application:
彼閃身過我後方，自我頭上劈來一捶，我若俟轉身迎架則失去主動與時間矣，因此乃用手腿合一之法破之，卽是以刁手搭去來手，脚則取其下路也。
The opponent dodges around behind me and attacks with a chopping punch toward my head. If I wait until I have turned around to block it, then I will have missed the moment, so I use a technique of sending out a hand and a foot in unison to defeat it, using a hooking hand to connect to his incoming hand while sending a foot to attack his lower area.

第九式：圈捶連環腿
Posture 9: SWINGING PUNCH, CONTINUOUS KICK

說明：
Explanation:
循上式，不俟左脚落地，卽全身凌空踢出右脚，同時右拳亦自腰部橫圈過左方，如『定式』。
Continuing from the previous posture, without waiting for your left foot to come down, your whole body leaps into the air and your right foot kicks out, your right fist at the same time going from your waist and swinging across to the left [to strike against your left palm]. See photo 9:

功用：
Application:
吾不俟彼招迎躱避卽以右脚繼出，使彼無從容應付之時間也，且恐威力不足更以右圈捶同時使用，以便威脅其上路也。
此法受之者固然認為險着，且用之者亦同具有冒險性之存在，是以非必用此法之時則以避免為佳。
Before the opponent has a chance to deflect or evade my kick, I immediately continue into sending out my right foot, causing him to have no time to deal with it. The power of this kick may be insufficient, so I add a right swinging punch at the same time into order to threaten his upper area. A training partner on the receiving end of this technique will consider it to be very dangerous, and the one performing it will also feel that it is too risky to apply. Therefore when it is not necessary to actually use this technique, it may be better to avoid doing so.

第十式：入環右仰膀
Posture 10: KNEELING STANCE, RIGHT PRESSING FOREARM

說明：
Explanation:
循上式，落下踢出之右脚，拉埋左脚以成入環步，手則按照圈捶之勢不變，轉歸內復轉推出，如『定式』。
Continuing from the previous posture, your right foot comes down and your left foot pulls forward to make a kneeling stance, your hands staying in their swinging-punch position as they arc inward and turn over to push outward. See photo 10:

功用：
Application:
彼欲以手來捉我脚，我不俟其捉卽落步用仰膀力推之，使解我危。
上式是絕高及全身凌空出擊之法，此式則是極低之法，合兩式卽成如波浪之形矣，絕高與極低俱不可能連續數式者乃勢之所然與必然之理也，仰膀是合兩手分壓推之勁道為用其勢至强也。
The opponent tries to send a hand to grab my foot, but I bring it down before he has the chance and use a pressing-forearm technique to strongly push forward, thereby keeping myself from falling into danger. The previous posture is very high, involving the whole body leaping into the air while sending out an attack, whereas this posture is very low. The two postures combined make an effect of a wave crashing down. Alternating between very high and very low cannot be continued through many postures, or what you are doing would become predictable to the opponent. The pressing forearm is a very powerful technique as it involves the pushing power of both hands combined.

第十一式：撤步掛統捶
Posture 11: WITHDRAWING STEP, HANG & THRUST PUNCH

說明：
Explanation:
循上式，兩脚左右不變，往後一撤便成右登山式矣，右拳橫架於頭上，左拳直衝而出，如『定式』。
Continuing from the previous posture, without switching your feet, withdraw smoothly to the rear and make a right mountain-climbing stance as your right fist blocks across higher than your head and your left fist thrusts straight out. See photo 11:

功用：
Application:
彼避過我仰膀，再自我頭上劈來一捶，我卽撤步以成登山勢，右手橫架來手，左拳直取其中路，忽進忽退，飄忽無定，使敵難於捉摸，斯為拳術之為拳術也，倘呆板進擊又有何術之可言哉！標前撤後，左右橫跨等均為攻守上不可缺小之法。
The opponent evades my arm and then does a chopping punch toward my head, so I withdraw a step to make a mountain-climbing stance as my right hand blocks his incoming hand and my left hand attacks straight to his middle area. By suddenly advancing as I suddenly retreat, I appear to be acting without any pattern, causing him to have difficulty understanding what I am doing. This is a primary technique in the art, but if you attack stiffly, it will be no technique at all. Seek forward while withdrawing to the rear, your feet stepping evenly so that your offense and defense will leave no gap.

第十二式：登山右劈軋
Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP

說明：
Explanation:
循上式，原步不變，僅全身向前一標約有半步之遙，右上手由上向前劈落，將至定點時與左掌相碰，而有「必卜」之聲如『定式』。
Continuing from the previous posture, with your stance not changing, your whole body shifts forward about a half step with your right hand going forward, chopping down from above, your left hand striking against it with an audible crack just before it reaches its final position. See photo 12:

功用：
Application:
彼漏手殺落我左手處，我隨卽以上手反劈其手，其勢至快而力猛也，上式是倒撤而退後，此式是標前而進，退進之間純賴步法之精純方克置之於實用，若欲求進退迅速之法必先瞭解其原理，然後力行之乃克有成。
The opponent sends out a hand to smash down onto my left hand, so I then use my upper hand to chop down at his hand, an action that is fast and fierce. The previous technique involved withdrawing and now this one involves shifting forward. The switch from retreating to advancing depends entirely on skillful footwork in order for it to be effective. If you wish for your advancing and retreating to be done swiftly, you must first understand this principle, and then you will be able to succeed at performing these techniques with vigor.

第十三式：蹤步穿梭式
Posture 13: LEAPING STEP, SENDING THE SHUTTLE THROUGH

說明：
Explanation:
循上式，小跳進前仍為登山式，先左後右兩手刁自上刁下，如「過渡式」甲、
Continuing from the previous posture, hop forward to again make a mountain-climbing stance as both hands, your left hand still behind your right hand, hook downward from above. See photo 13a:

再右前刁手不動，左後手化成兩指直向前揷出，作取眼法，如「過渡式」乙，
With your right hooking hand not moving, your left hand changes to a double finger position and shoots out forward to do an eye attack. See photo 13b:

再原步不變，左指復化成刁手往後一拉，右刁手順手撞出如『定式』。
With your stance not changing, your left fingers than switch back to being a hooking hand, which pulls to the rear as your right hooking hand strikes out [with the wrist area]. See photo 13c:

功用：
Application:
彼欲作撤退之勢，我追踪跟之，先以兩手封閉其手，然後用取眼法搶攻之，彼必以手來招吾之險着，我卽順手刁之，再以撞爪法攻其肋內肺腑焉。
The opponent tries to retreat, so I follow him, first using my hands to seal off his hand, then doing a snatching attack to his eyes. He is sure to send out a hand to deflect my dangerous technique, so I use my hands to hook onto it, then use a crashing claw-hand maneuver to attack his ribs and thereby his lungs underneath them [although the photo seems to show that the throat may be the target instead].

第十四式：封手雙飛腿
Posture 14: SEALING HANDS, FLYING DOUBLE KICK

說明：
Explanation:
循上式，先原步不動，右前手化作封手，由前陽手封後，左後手由後往前以陰手封落，如「過渡式圖」，
Continuing from the previous posture, with your stance not changing, your right hand goes to the rear as a sealing hand, the palm facing upward, while your left hand goes forward and downward, also as a sealing hand, the palm facing downward. See photo 14a:

再全身往前跳起，當蹤之至高時右脚亦隨之撑起，但兩手仍不變原來狀態，如『定式』。
Then your whole body jumps forward [kicking out with your left foot] and your right foot goes out with a bracing kick when the jump is reaching its peak of height, your hands maintaining their position. See photo 14b:

功用：
Application:
彼擬自我中下路攻來，我卽分陰陽手封閉之，彼以手為我控制，於是極力謀解脫，且欲退馬避我，我乘其退馬之際，空卽全身騰起用雙飛腿襲之。
The opponent tries to attack my middle or lower area, so I perform a sealing action with the palm of one hand facing downward, the other facing upward. Realizing I will now have control over his arm, he does his utmost to pull it back, trying to retreat away from me, so I ride along with his retreating by jumping into the air and surprise him with a flying double kick.

第十五式登山掛統捶
Posture 15: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

說明：
Explanation:
循上式，將踢起之脚由原位置着地，以成右登山式，右拳曲肘橫架於頭上，左拳向前統出，如「定式』。
Continuing from the previous posture, your kicking leg comes back down to make a right mountain-climbing stance as your right fist blocks across higher than your head, the elbow bending, and your left fist thrusts our forward. See photo 15:

功用：
Application:
彼避過我仰膀，再自我頭上劈來一捶，我卽撤步以成登山勢、右手橫架來手，左拳直取其中路，忽進忽退，飄忽無定，使敵難於捉摸，斯為拳術之為第術也，倘呆板進擊又有何術之可言哉！標前撤後，左右橫跨等均為攻守上不可缺小之法。
The opponent evades my arm [leg] and then does a chopping punch toward my head, so I withdraw a step to make a mountain-climbing stance as my right hand blocks his incoming hand and my left hand attacks straight to his middle area. By suddenly advancing as I suddenly retreat, I appear to be acting without any pattern, causing him to have difficulty understanding what I am doing. This is a primary technique in the art, but if you attack stiffly, it will be no technique at all. Seek forward while withdrawing to the rear, your feet stepping evenly so that your offense and defense will leave no gap.

第十六式：登山右劈軋
Posture 16: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP

說明：
Explanation:
循上式，原步不變，僅全身向前一標約有半步之遙，右上手由上向前劈落，將至定點時與左掌相碰，而有「心卜」之聲如『定式』。
Continuing from the previous posture, with your stance not changing, your whole body shifts forward about a half step with your right hand going forward, chopping down from above, your left hand striking against it with an audible crack just before it reaches its final position. See photo 16:

功用：
Application:
彼漏手殺落我左手處，我隨卽以上手反劈其手，其勢至快而力猛也，上式是倒撤而退後，此式是標前而進，退進之間純賴步法之精純方克置之於實用，若欲求進退之迅速之法必先瞭解其原理，然後力行之乃有成。
The opponent sends out a hand to smash down onto my left hand, so I then use my upper hand to chop down at his hand, an action that is fast and fierce. The previous technique involved withdrawing and now this one involves shifting forward. The switch from retreating to advancing depends entirely on skillful footwork in order for it to be effective. If you wish for your advancing and retreating to be done swiftly, you must first understand this principle, and then you will be able to succeed at performing these techniques with vigor.

第十七式：橫圈大擺蓮
Posture 17: SWINGING PUNCH, LARGE SWINGING LOTUS KICK

說明：
Explanation:
循上式，先右拳不動，左掌化刁手往後刁去，如「過渡式圖」
Continuing from the previous posture, with your right fist not moving, first your left palm becomes a hooking hand and hooks away to the rear. See photo 17a:

再起右後脚至直橫向前掃去，同時右後捶則橫圈而前，以成如『定式』。
Then your right foot lifts and sweeps across in front of you as your right hand goes forward and across with a swinging punch. See photo 17b:

功用：
Application:
彼自我腦後襲來一捶，我不待轉身卽先以手刁之，再乘全身轉過之勢疾起右脚用擺蓮腿法，橫掃彼腰脅之間也。
An opponent suddenly punches from behind, so without waiting to turn my body, I send a hand to hook onto his attack, then spin my whole body around with the action of quickly lifting my right foot into an [inward] swinging lotus kick to sweep across to his rib area.

第十八式：登山掛統捶
Posture 18: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

〔說明：〕
[Explanation:]
循上式，先將擺起之脚轉過左方至正後方為止，身再從左轉便成為左登山式矣，左捶橫上曲肘架於頭上，右拳直統而出，如『定式』。
Continuing from the previous posture, your swinging kick arcs all the way through to the left and comes down behind you, your torso at the same time spinning around to the left, and you make a left mountain-climbing stance, your left fist blocking across higher than your head, the elbow bending, your right fist thrusting straight out. See photo 18:

功用：
Application:
與第十一及第十五式相同。
Same as in Postures 11 and 15.

第十九式：蹤步封統捶
Posture 19: JUMPING STEP, SEALING, THRUST PUNCH

說明：
Explanation:
循上式，全身往前小跳，着地時仍為左登山式，兩手同時作雙封勢由上封下，如「過渡式圖」，
Continuing from the previous posture, your whole body goes forward with a hop to come down into another left mountain-climbing stance, your hands at the same time sealing downward from above. See photo 19a:

再直統出右拳如『定式』。
Then your right fist thrusts out. See photo 19b:

功用：
Application:
彼往後小跳，並出手攻我，我卽跟入先封來手，然後用統捶法攻之。
The opponent hops away to the rear and sends out a hand to attack me, so I follow him while first sealing off his incoming hand and then use a thrust punch to attack him.

第二十式：登山番車式
Posture 20: MOUNTAIN-CLIMBING STANCE, ROLLING PUNCH

說明：
Explanation:
循上式，原步不動，右拳向上拉起，左拳由面前曲肘而出，如『定式』。
Continuing from the previous posture, with your stance not changing, your right hand pulls upward and your left fist goes out from in front of your face, the elbow bending. See photo 20:

功用：
Application:
彼手來招，我卽順手一扣，再以左捶迎面打去。崩步拳之番車式為跨虎步。十八叟拳之番車式乃七星步，三套之同一手法而以步區別之，如要分別其佳劣，余曰：各擅勝場而已。跨虎是虛式隨時俱可出脚者，七星則易於變化換步，此式之登山步是穩健之步法也。
The opponent deflects my incoming hand, so I cover his hand and then use my left fist to strike to his face. (The rolling punch in the Avalanche Steps set is in a sitting-tiger stance. The rolling punch in the Eighteen Elders set is in a big-dipper stance. These three sets use the same hand technique in different stances. If you want to know which version is best, I say that each is the best for its particular situation. A sitting-tiger stance is an empty stance and is thus easy to kick from, a big-dipper stance is an easy position for switching into another position, and the mountain-climbing stance is a stance of solidity.)

第二十一式：登山掛統捶
Posture 21: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

說明：
Explanation:
循上式，原步不變，左拳轉上曲肘橫架於頭上，右拳轉至腰部再直統而出如『定式』。
Continuing from the previous posture, with your stance not changing, your left fist arcs upward to block across higher than your head, the elbow bending, as your right fist arcs to your waist and then thrusts straight out. See photo 21:

功用：
Application:
與第十一，十五，十八等式同。
Same as in Postures 11, 15, and 18.

第二十二式：封手右撑腿
Posture 22: SEALING HANDS, RIGHT BRACING KICK

說明：
Explanation:
循上式，原步不變，兩手同時化成封手，分右陽左陰向左封去，如「過渡式圖」，
Continuing from the previous posture, with your stance not changing, your hands both switch to sealing, your right hand with its palm facing upward, left hand with its palm facing downward, sealing away to the left. See photo 22a:

再撑起右脚，如『定式』。
Then your right lifts and does a bracing kick. See photo 22b:

功用：
Application:
彼漏手攻我腰部，我卽用封手緊扣其腕肘之間，再以撑腿擊之。
The opponent evades my hand and attacks my waist, so I use sealing hands to close off his forearm, then attack him with a bracing kick.

第二十三式：囘身掛統捶
Posture 23: WITHDRAWING BODY, HANG & THRUST PUNCH

說明：
Explanation:
循上式，先將撑起之脚往左後轉，轉至後方然後着地仍成左登山式，左拳橫架於頭上，右拳直統出，如『定式』。
Continuing from the previous posture, your kicking foot arcs to the left rear [with your body spinning leftward], coming down to again make a left mountain-climbing stance, as your left fist blocks across higher than your head and your right fist thrusts straight out. See photo 23:

功用：
Application:
與第十一、十五、十八、二十一等式同。
Same as in Postures 11, 15, 18, and 21.

第二十四式：跨虎挑統捶
Posture 24: SITTING-TIGER STANCE, CARRY & THRUST PUNCH

說明：
Explanation:
循上式，拉起左前脚以成左跨虎步，右拳自前化掌撇落右大腿之上，然後轉往頭上斜斜架起，左拳轉去腰部再統出，如（揷捶之收式）如『定式』。
Continuing from the previous posture, your left foot pulls back to make a left sitting-tiger stance as your right fist becomes a palm, swings down against your right thigh, then arcs upward higher than your head to block away diagonally, and your left fist arcs to your hip and then thrusts out. It is the same as in the closing posture of the Charging Punches set. See photo 24:

功用：
Application:
彼以脚撩陰，我先用掌拍消之，然後架於頭上以資掩渡，左拳直取中上路。
（全拳完）
The opponent does a raising kick toward my groin, so I first use my [right] palm to slap it away, then bring it up to guard my head as my left fist attacks to his middle or upper area. (This completes the entire set.)

–

–

–

–

武當劍法筆記
NOTES ON THE WUDANG SWORD ART
（浙江温嶺胡子謨記）
(Recorded by “The Beard” of Wenling, Zhejiang [Yi Fanzhai])
[1939]

[translation by Paul Brennan, May, 2018]

–

[This text which began simply as a document for personal reference survives as an invaluable record of the sword art that had been handed down from Li Jinglin, presenting the five-section two-person sword set in much greater detail than the meager outline in Huang Yuanxiu’s 1931 manual, and Huang quite rightly decided to include it in the expanded version of his Martial Arts Discussions, which was later published in 1944. It is not clear whether Huang made any adjustment to Yi’s text, with only the parenthetical comment at the end of movement 2.4 seeming a likely addition on his part.
　　To make this text more functional, I have also plugged in all forty-one photos from Chapter Four of the 1931 book, showing Huang Yuanxiu (in the lighter outfit) and Chu Guiting (in the darker outfit) demonstrating the core techniques. These photos can be slightly confusing because Huang and Chu do not stay consistent in their roles as Person A and Person B, and the view is often shown from the reverse profile (Section Four being the only section where the roles and the view in the photos remain consistent). It is best to ignore their identities as Huang and Chu in each photo, and to pay attention only to who is portraying A and B based on their actions within any given photo. There is unfortunately not a photo for each movement, but there are enough of them to be very helpful for adding clarity to many of these movement descriptions.]

–

第一路
SECTION ONE

預備式（上手稱甲下手稱乙）
PREPARATION POSTURE (The person who makes the first move is called A, and the person who responds to it is called B.)

甲乙各執劍就位――
[1.1] A and B, each of you stand holding your sword.

左手執劍反貼左臂外方，右手垂直貼右胯傍，兩足平立，離開之距約與肩等，身體正直，目平視前方。
Your left hand is holding your sword backwards, touching the outside of your left forearm. Your right hand hangs down close beside your right hip. Your feet are standing parallel about shoulder width apart. Your body is upright and your gaze is forward.

出劍式
SENDING OUT THE SWORD [This posture is comprised of movements 1.2 and 1.3. (After PREPARATION POSTURE and SENDING OUT THE SWORD, none of the subsequent movements are grouped under specific names.)]

甲乙各交劍與右手――
[1.2] Both of you, switch your sword to your right hand.

右手戟指掌心向上，屈右腕與腰平，伸右臂向右與肩水平，頭向右轉目視右手，轉左足向左方，轉身上右足，左足微屈，右足着地，同時右手戟指向前一指，目視敵方。退右足同時轉身，兩手自左上向右後方畫一大圈，左右各收至胸前，右掌向上，左掌向下，將劍交與右手，斯時身體作勢下挫，重心寄於右足，目仍視敵方。
Your right hand forms a “spearing finger”, the center of the hand facing upward, your right wrist bent and level with your waist. Extend your right arm to the right to be at shoulder height, your head turning to the right, your gaze toward your right hand. Then your left foot turns to the left, your body turning, and your right foot steps forward, your left leg slightly bending, your right foot [toes] touching down, as your right hand’s spearing finger points forward and your gaze goes toward the opponent. Then your right foot retreats, your body turning [to the right], and both hands make a large circle from the upper left to the right rear until in front of your chest, your right palm facing upward, left palm facing downward, and you send the sword into your right hand. Your body is now squatting, the weight on your right leg, your gaze still toward the opponent.

甲乙各伸劍平刺――
[1.3] Both of you, extend your swords at each other with horizontal-blade stabs.

斯時左足在前，右足在後，成弓箭步，左手戟指在左額前方，右手極力伸劍平刺，太陽劍。
With your left foot forward, right foot behind, make a bow and arrow stance, your left hand’s spearing finger going in front of the left side of your forehead, your right hand putting all its energy into extending with a horizontal-blade stab, using a “full active grip” [i.e. tiger’s mouth facing to the right]. [The photo for this moment shows A and B closer to each other than they would be yet, with B already stepping his right forward to begin the next movement.]

[photo for movement 1.3, showing A on the left, B on the right]

甲乙對反繃――
[1.4] Both of you, do an overturned flick to each other.

右足進一步立定左足作探步，蹲身向下，左手戟指微屈臂向左，右手以中陽劍反繃，頭向右，轉目注對方之腕。
Advance your right foot a step, stand firmly on it, and make a reaching step with your left foot, squatting your body down, as your left hand’s spearing finger goes to the left, the arm slightly bent, and your right hand uses a half active grip [tiger’s mouth facing downward] to do an overturned flick. Your head is turned to the right, your gaze turned to your opponent’s wrist.

[photo for movement 1.4, showing A on the left, B on the right]

甲點腕――
[1.5] A, tap to B’s wrist.

突然起立轉身收左足，向左斜後方，半步着地，卽出右足，作預備姿勢，足尖點地，右手以中陰劍尖點敵腕，左手戟指微扶劍柄，目注敵腕。
Suddenly rise up, turning your body, withdrawing your left foot a half step diagonally to the left rear and then putting out your right foot the same as in the preparation posture, toes touching down, as your right hand uses a half passive grip [tiger’s mouth facing upward] to tap your sword tip toward B’s wrist, your left hand’s spearing finger slightly assisting at your sword handle [raised to the left in the photo]. Your gaze is toward B’s wrist.

[photo for movement 1.5, showing A on the left, B on the right]

[Huang later had another photo made of this situation, which appeared in his 1936 publication of Martial Arts Discussions, again showing Chu Guiting on the left in the role of A and Huang Yuanxiu on the right in the role of B.]

乙抽腕――
[1.6] B, do a drawing cut to A’s wrist.

乙亦突然起立，轉身立定左足，換出右足，向右後方退一步，右手以老陰劍從下方抽甲之腕，同時體重移於左足，成弓步，目視敵腕。
B, also suddenly stand up, turning your body, and stand firmly on your left foot, switching feet and sending your right foot back a step to the right rear [forward right], as your right hand makes a three-quarter passive grip [tiger’s mouth facing to the lower left] and does a drawing cut under A’s wrist, the weight at the same time shifting to your left [right] foot to make a bow stance. Your gaze is toward A’s wrist.

[photo for movement 1.6, showing A on the left, B on the right]

[According to the 1931 book, B follows his drawing cut by stabbing forward (with a vertical-blade stab), resulting in the extra image below (showing B on the left, A on the right, in a reversed view), meaning that A must have raised his wrist to evade the drawing cut, pulling his sword away enough to create a target for B to stab. Apparently A then responds to this by beginning the following movement slightly ahead of B.]

對刺――
[1.7] Both of you, stab toward each other.

甲乙各將右足後退，右手提劍前刺，（老陰劍）同時上體竭力向前探，左手戟指，置左額前方，手掌向外，目注敵方。
Both of you retreat your right foot as your right hand stabs your sword forward [and downward] into a lifting posture (using a three-quarter passive grip) [tiger’s mouth facing to the lower left], your upper body at the same time striving to reach forward, and your left hand’s spearing finger is placed in front of the left side of your forehead, the center of the hand facing outward. Your gaze is toward the opponent.

[photo for movement 1.7, showing A on the left, B on the right]

對繞走（換位）――
[1.8] Both of you, perform circle walking (switching places).

兩劍仍相交，甲乙各起右足，進步向左方繞走，對換位置，仍取前勢停止。
With your swords still touching, both of you lift your right foot and advance to the left into a [counterclockwise] circle walk, walking until you have switched places, stopping in the spots occupied in the previous movement.

乙反格――
[1.9] B, do an overturned block.

乙以中陽劍反格甲腕。
B, use a half active grip [tiger’s mouth facing downward] to do an overturned block to A’s wrist.

甲帶――
[1.10] A, do a dragging cut.

甲將劍轉為太陽劍，同時將肘往下一沈，劍往左帶，身半向左轉，兩足在原位置，左實右虛，目注敵人劍尖。
[At the same time,] turn your sword to a full active grip [tiger’s mouth facing to the right], sinking your elbow down, and do a dragging cut to the left, your body turning halfway to the left. Your feet will stay where they are, left [right] foot full, right [left] foot empty. Your gaze is toward B’s sword tip. [Following the pattern of the next movement, 1.9 and 1.10 should probably have been written in reverse order.]

[photo for movements 1.9 & 1.10, showing A on the left, B on the right (reverse view)]

[Huang had another photo made of this situation, appearing in his 1936 book. In this photo, the partner on the left is Ye Jingcheng in the role of A, with Huang Yuanxiu again on the right in the role of B.]

乙帶腰甲反格乙腕――
[1.11] B, do a dragging cut to A’s waist. A, do an overturned block to B’s wrist.

甲見乙腕避去，已為我劍所不及，趁勢轉為太陽劍，帶乙之腰，乙卽含胸轉腰，避過甲劍，同時將劍變為中陽劍，反格甲腕，如是往復三遍。
A, when you see B’s wrist evade and that your sword will miss, take advantage of the situation by switching to a full active grip [tiger’s mouth facing to the right] and doing a dragging cut to B’s waist. B, hollow your chest and turn your waist to evade A’s sword, at the same time switching to a half active grip [tiger’s mouth facing downward] and doing an overturned block to A’s wrist. Go back and forth in this way for a total of three times.

[photo for movement 1.11, showing B on the left, A on the right]

乙壓劍貫耳――
[1.12] B, press down A’s sword and perform a “filling the ear” technique.

俟甲劍反格，正轉變帶腰時，突然將劍變為中陰劍，往下橫壓甲劍，
Wait until A’s sword switches from doing the overturned block to do another dragging cut to your waist, then suddenly switch to a half passive grip [tiger’s mouth facing upward] and press down across his sword [the grip in the photo being aligned somewhat differently].

[photo for the first part of movement 1.12, showing A on the left, B on the right (reverse view)]

隨卽起身以太陽劍貫甲右耳，左手扶住劍柄。
Then raise your body and strike [rightward] to his right ear using a full active grip [tiger’s mouth facing to the right], your left hand assisting at your sword handle [although it is raised to the left in the photo].

甲直帶腕兼繃――
[1.13] A, do a vertical-blade dragging cut to B’s wrist with a flicking energy.

右手用中陰劍左手扶住劍柄。往後直帶復往下一沈，劍尖正對敵腕繃刺。
With your right hand using a half passive grip [tiger’s mouth facing upward] and your left hand assisting at your sword handle, go to the rear with vertical-blade dragging, then sink your hand down so that your sword tip heads toward B’s wrist as a flicking stab.

[photo for the second part of movement 1.12 and movement 1.13, showing A on the left, B on the right (reverse view)]

[The photo above is used in the 1931 book to specifically demonstrate striking, even though it already shows the other person flicking in response, but then the book uses the variant photo below to highlight the vertical-blade dragging, even though it depicts the same striking situation. In the variant photo, Huang and Chu’s roles are reversed, as is the view.]

[Huang had yet another photo made of this situation, based on the variant photo, which appeared in his 1936 book, showing Ye Jingcheng on the left in the role of B, with Huang Yuanxiu again on the right in the role of A.]

對提――
[1.14] Both of you, make a lifting posture.

乙避甲之劍尖，提腕變為老陰劍，刺甲之腕，甲亦提腕，變為老陰劍以防之。
B, evade A’s sword tip by lifting your wrist, switching to a three-quarter passive grip [tiger’s mouth facing to the lower left], and stab toward A’s wrist. A will also lift his wrist and switch to a three-quarter passive grip to defend against it.

[photo for movement 1.14, showing A on the left, B on the right]

對劈――
[1.15] Both of you, chop at each other.

甲乙各將劍尖自左下方向上繞一小圓圈，變為中陰劍，直往下劈攻敵之右腕。
Send your sword tip upward in a small circle from the lower left, switching you to a half passive grip [tiger’s mouth facing upward], and chop downward toward your opponent’s right wrist.

乙刺喉甲粘帶――
[1.16] B, stab to A’s throat. A, stick to B’s sword with a dragging action.

乙右手變太陽劍左手扶住劍柄，由下往上正刺敵喉，斯時劍尖向敵喉，劍柄約當自己胸下，甲亦變為太陽劍，左手扶住劍柄，劍身粘住乙劍，同時身體微向右轉，帶去乙劍。
B, your right hand switches to a full active grip [tiger’s mouth facing to the right], your left hand assisting at your sword handle, and goes upward from below to stab straight toward A’s throat. When your sword tip is pointing toward A’s throat, your sword handle is just below your own chest. A, also switch to a full active grip [tiger’s mouth facing to the right], your left hand assisting at your sword handle, and with your sword body sticking to B’s sword, turn your body slightly to the right and drag aside B’s sword.

[photo for movement 1.16, showing B on the left, A on the right]

甲刺喉乙粘帶――
[1.17] A, stab to B’s throat. B, stick and drag.

甲旣帶去乙劍，趁勢伸劍刺乙之喉，乙亦轉身粘帶，復反刺甲，如是三遍（太陽劍圈）。
A, once you have dragged B’s sword aside, take advantage of the opportunity to extend your sword with a stab toward B’s throat. B, now you also turn your body while sticking to A’s sword, and then you will return a stab toward A. Do this [back and forth] for a total of three times (circling with a full active grip) [tiger’s mouth facing to the right].

[photo for movement 1.17, showing B on the left, A on the right]

甲橫攪乙隨之――
[1.18] A, perform horizontal stirring [circling clockwise]. B, go along with it [counterclockwise].

甲俟乙劍刺來時，將劍粘住乙劍，向右向下橫攪之，
A, wait until B’s sword is stabbing toward you, then stick your sword to his and go to the right and downward with horizontal stirring.

[photo for the first part of movement 1.18, showing B on the left, A on the right]

同時舉右足交步向左繞走乙隨之亦交步向左繞走，斯時兩劍相粘不離，隨攪隨走，各俟機會，但攪時各伸出右手，左手戟指置於左方，平掌向外，頭向右轉，目視敵劍。
At the same time, lift your right foot into a crossover step and do a circle walk to the left [i.e. counterclockwise]. B, also do a crossover step and circle walk to the left. At this time, both swords are sticking to each other, stirring while walking, both of you waiting for an opportunity. But while stirring, your right hand stays extended, your left hand’s spearing finger placed level toward the left, palm facing outward, your head turned to the right, your gaze toward your opponent’s sword.

乙擊頭――
[1.19] B, strike to the head.

如前繞走，彼此互換位置時兩劍尖已第二次互攪至下方，乙劍正換至甲劍外方，甲劍正向上攪乙趁勢以少陽劍擊甲之頭。
Once both of you have switched places in your circle walk, your sword tip has completed two downward stirs. B, when your sword has been moved to the outside [inside] of A’s sword and A’s sword is about to stir upward again, take advantage of the opportunity to use a one-quarter active grip [tiger’s mouth facing to the upper right] and strike [leftward] to his head.

甲擊腿――
[1.20] A, strike to B’s thigh.

身微向左後披重點寄於左足，成左實右虛弓步，避過乙劍，同時右手變太陰劍，斬擊乙之右腿。
Your body slightly drapes to the left rear, the weight shifting to your left foot, making a bow stance of left foot full, right foot empty, in order to evade B’s sword. At the same time, your right hand switches to a full passive grip [tiger’s mouth facing to the left] and does a slashing strike [rightward] to B’s right thigh.

乙截腕――
[1.21] B, check to A’s wrist.

體重寄於左足，舉右足向左前方斜進半步，避去甲劍，同時右手變為太陰劍斜截甲腕。
The weight shifting to your left foot, raise your right foot and advance a half step diagonally to the forward left, evading A’s sword, while your right hand switches to a full passive grip [tiger’s mouth facing to the left] and does a diagonal checking action to A’s wrist.

甲帶腕――
[1.22] A, do a dragging cut to B’s wrist.

右手變為太陽，往左肩前帶避，劍尖向敵方劍把，較肩略低，目注敵人。
Switch to a full active grip [tiger’s mouth facing to the right] and drag evasively toward the left until in front of your left shoulder, your sword tip now pointed toward B’s grip, slightly lower than shoulder level. Your gaze is toward B.

乙上步截腕――
[1.23] B, step forward and check to A’s wrist.

右足向右斜方趕上一步，右手用中陰劍，截敵右腕，重心移於右足，成右實左虛弓步。
Step your right foot forward diagonally to the right, and with your right hand using a half passive grip [tiger’s mouth facing upward], check to A’s right wrist, the weight shifting to your right foot, making a bow stance of right foot full, left foot empty.

甲抽手――
[1.24] A, do a drawing cut to B’s hand.

將腕往下一沈，避去乙劍，同時右手變為老陰劍，從左向右抽乙握劍之手。
Sink your right wrist downward to evade B’s sword, at the same time switching to a three-quarter passive grip [tiger’s mouth facing to the lower left], and go from left to right with a drawing cut to B’s hand.

乙抽避甲刺腹――
[1.25] B, withdraw to evade. A, stab to his belly.

趁乙抽劍避開之時，用中陰劍直刺乙腹，斯時體重移於右足。
A, as B draws back his sword to evade, take advantage of the moment by using a half passive grip [tiger’s mouth facing upward] to do a vertical-blade stab to his belly, your weight now shifting to your right foot.

乙截腕――
[1.26] B, do a [left] check to A’s wrist.

身微側讓去敵劍，右手用中陰劍橫截敵腕，斯時體重寄於右足。
With your body slightly leaning to the side to evade A’s sword, your right hand uses a half passive grip [tiger’s mouth facing upward] to check across his wrist, your weight now shifting to your right foot.

[photo for movements 1.25 & 1.26, showing A on the left, B on the right]

甲帶乙反格――
[1.27] A, drag. B, do an overturned block.

甲用太陽劍姿勢，將右腕往左前方一帶避開，同時收回右足移向左斜方半步，身半向左：目視敵方，乙劍跟隨敵腕由下往上反格，中陽。
A, using a full active grip [tiger’s mouth facing to the right], drag your right wrist evasively to the forward left [left rear]. At the same time, withdraw your right foot a half step diagonally to the left, your body turned halfway to the left, your gaze toward your opponent. B, your sword follows A’s wrist upward from below to do an overturned block using a half active grip [tiger’s mouth facing downward].

甲抽腕保門――
[1.28] A, do a drawing cut to B’s wrist to get into the “guarding the gate” posture.

將右腕往上一翻，變為太陰劍，同時劍尖向下由左往右抽乙之腕，退步（右足往後退一步）轉身，斯時右手微屈高舉在右額前，成中陽劍，劍尖向敵，左手戟指扶住右腕，身體向右，體重寄於右足，左足置於右足左前方半步，足尖點地，目注敵方。
Your right wrist goes upward, turning over and switching to a full passive grip [tiger’s mouth facing to the left], and your sword tip, now angled downward, does a drawing cut to B’s wrist, from left to right, as you retreat your right foot a step, turning your body. Your right hand, arm slightly bent, is now raised up in front of the right side of your forehead in a half active grip [tiger’s mouth facing downward], your sword tip pointing toward B. Your left hand’s spearing finger is assisting at your right wrist. Your body is turned to the right, the weight shifted to your right foot. Your left foot is placed a half step in front of your right foot to the forward left, toes touching down. Your gaze is toward B.

[photo for second part of movement 1.27 and movement 1.28, showing B on the left, A on the right (reverse view)]

乙帶腕保門――
[1.29] B, do a dragging cut to A’s wrist, then get into the “guarding the gate” posture.

乙劍變為太陽，往左帶敵之腕，同時收右足至左足前方半步，然後變為中陽劍，右足往右後方退一步立定，成保門姿勢。
B, switch to a full active grip [tiger’s mouth facing to the right] and go to the left with a dragging cut to [the inside] of A’s wrist, at the same time withdrawing your right foot until a half step in front of your left foot. [Although the photo above depicts A finishing his drawing cut while B is still in his blocking position, the dragging cut described here will happen as A is beginning his drawing cut and the swords will then be pulling away from each other at the same time.] Then switch to a half active grip [tiger’s mouth facing downward], retreat your right foot a step to the right rear, and stand firmly on it, making the “guarding the gate” posture.

[This guarding posture is perhaps best exhibited in the photo that goes with the first movement of Section Four, by B on the left side of the photo.]

（完）
(This completes Section One [which has a total of twenty-nine movements and is comprised of twenty-two different techniques].)

–

第二路
SECTION TWO

乙上步擊頂――
[2.1] B, step forward and strike to A’s head.

右足前進一步，同時右手以少陽劍擊甲之左頂，左手分開置於左後方。
Advance a step with your right foot as your right hand uses a one-quarter active grip [tiger’s mouth facing to the upper right] to do a [leftward] striking action to the left side of A’s head, your left hand spreading away to the left rear.

甲上步擊腕――
[2.2] A, step forward and strike to B’s wrist.

右足前進一步，同時右手用太陽劍擊乙之腕，左手分開置於左後方。
Advance a step with your right foot as your right hand uses a full active grip [tiger’s mouth facing to the right] to do a [leftward] striking action to B’s wrist, your left hand also spreading away to the left rear.

[photo for movements 2.1 & 2.2, showing A on the left, B on the right]

甲乙對提――
[2.3] Both of you, make a lifting posture.

乙先提，甲隨之式如前。
B lifts first, then A, same as before [movement 1.14].

[photo for movement 2.3, showing A on the left, B on the right]

甲乙對刺膝――
[2.4] Both of you, stab to the knee.

各將右足微起用左足着力一蹬，箭步前進，刺敵之膝，但兩劍相拒，各刺不中（此時另有動作須面授）。
Both of you slightly lift your right foot, pressing the ground with your left foot, and advance into a bow and arrow stance, stabbing to your opponent’s knee. But because your swords are resisting against each other, the stabs go off center. (The rest of the movement at this point requires personal instruction.) [This is perhaps referring to the tighter way the two people are walking around each other rather than normal circle walking.]

甲乙各上步反繃――
[2.5] Both of you, step forward and do an overturned flick.

當刺不中，彼此挨身而過時，各將劍變為中陰，竭力使用劍身粘住敵劍，（防其趁勢而入帶腰或帶腿也）斯時雙方各將左足前進一步，披身下挫，同時以中陽劍反繃敵腕。
When your stabs miss, both of you wait for the other’s body to go past, then switch your grip to half passive [tiger’s mouth facing upward], deliberately sticking your sword body to the other sword (thereby preventing him from taking advantage of the opportunity to come in with a dragging cut to your waist or thigh). Then both of you advance your left foot a step forward [behind your right leg], draping your body by bending forward, while using a half active grip [tiger’s mouth facing downward] to do a reverse flick toward your opponent’s wrist.

[photo for movement 2.5, showing B on the left, A on the right]

甲轉身點腕――
[2.6] A, turn your body and tap to B’s wrist.

以左足着地迅速轉身起立，收回右足，成預備步，同時以中陰劍點敵之腕。
Pivoting [withdrawing] your left foot, quickly turn your body and stand up, withdrawing [putting out] your right foot, the same as in the preparation posture, and at the same time use a half passive grip [tiger’s mouth facing upward] to tap toward B’s wrist.

[photo for movement 2.6, showing A on the left, B on the right (reverse view)]

乙轉身斜步繃腕――
[2.7] B, turning your body, step diagonally, and flick to A’s wrist.

迅速轉身起立，以右足着地，左足隨卽向左側方移進一步，收回右足，成預備步，身向下沈左手扶住劍柄，同時劍尖向上斜繃敵腕。
Pivoting on your right foot, quickly turn and stand up, advancing your left foot a step to the left side and withdrawing your right foot to stand the same as in the preparation posture. [The text is therefore calling for an empty stance rather than the bow stance in the photo, which would make sense considering that B will have to step forward into a right bow stance in his next movement.] With your body sinking down and your left hand assisting at your sword handle, flick your sword tip diagonally upward toward A’s wrist.

[photo for movement 2.7, showing A on the left, B on the right (reverse view)]

甲抽――
[2.8] A, do a drawing cut.

將腕往右外避去乙劍，右腕下沉抽乙握劍手，同時右足向右前斜方跨出半步，重心在右足。
Send your wrist outward to the right to evade B’s sword, then sink your right wrist into a drawing cut to B’s sword hand, at the same time stepping your right foot out diagonally a half step to the forward right, the weight going onto your right foot.

乙刺腹――
[2.9] B, stab to A’s belly.

趁甲抽劍避開之時，用中陰劍直刺甲腹，同時右足向右前斜移半步，重心寄于右足。
When A evades by doing a drawing cut, [draw back your sword and then] use a half passive grip [tiger’s mouth facing upward] to do a vertical-blade stab to his belly, at the same time shifting your right foot diagonally a half step to the forward right, the weight going onto your right foot.

甲左截腕――
[2.10] A, do a left check to B’s wrist.

俟乙劍刺腹時，將身略偏避去乙劍，同時右手以中陰劍向前截乙執劍之手，重心仍在右足。
Wait for B’s sword to be stabbing toward your belly, then slightly lean away to evade his sword, at the same time using a half passive grip [tiger’s mouth facing upward] to go forward to his hand with a checking action, the weight still on your right foot.

[photo for movements 2.9 & 2.10, showing B on the left, A on the right]

乙劈甲亦劈――
[2.11] B chops and A also chops.

如前對劈之式。
Same as before [movement 1.15].

乙上步貫耳――
[2.12] B, step forward and perform “filling the ear”.

右手變為太陽劍，左手扶住劍柄，上右足探身伸劍貫敵右耳。
Switch to a full active grip [tiger’s mouth facing to the right], and with your left hand assisting at your sword handle [although it is raised to the left in the photo], step your right foot forward, reach with your body, and extend your sword in a [rightward] strike to A’s right ear.

甲平帶――
[2.13] A, do a horizontal dragging cut.

右手用太陽劍，垂肘轉腰，同時將劍往右後方平帶乙腕，格開乙劍。
With your right hand using a full active grip [tiger’s mouth facing to the right], drop your elbow and turn your waist, at the same time sending your sword to the right rear in a horizontal dragging cut [using the inner edge] to B’s wrist, thereby blocking his sword aside.

[photo for movements 2.12 & 2.13, showing B on the left, A on the right]

乙抽腿――
[2.14] B, do a drawing cut to A’s leg.

趁勢將劍一翻，變為太陰，轉身抽甲之腿。
Take advantage of the opportunity to turn your sword over, switching to a full passive grip [tiger’s mouth facing to the left], and turn your body [with your right foot stepping to the forward right] as you do a drawing cut to A’s leg.

甲刺腕――
[2.15] A, stab to B’s wrist.

向左斜方舉起右腿，避去乙劍，同時右手將劍尖指敵右腕刺去。
Lift your right leg diagonally to the left to evade B’s sword, then your right hand points your sword tip toward his right wrist and stabs.

[photo for movements 2.14 & 2.15, showing B on the left, A on the right]

[Huang had another photo made of this situation, appearing in his 1936 book, showing Ye Jingcheng on the left in the role of B, Huang Yuanxiu again on the right in the role of A.]

乙退步繞避，甲進步追刺――
[2.16] B retreats with an evasive arc as A advances with a chasing stab.

乙向右退步繞避，甲向左進步繞追，雙方各循半圓形之弧線進退。
B, retreat to the right, making an evasive arc, as A advances to the left, making a chasing arc. Both of you are performing your retreat and advance [with your feet] while drawing a half circle [with your swords].

甲抽腹乙含胸轉腰刺腕――
[2.17] A, do a drawing cut to B’s belly. B, hollow your chest, turn your waist, and stab toward A’s wrist.

甲進至中圓形弧線將終點時，將劍轉為太陰，抽乙之腹，
A, advance until you reach the full extent of the arc you are drawing, then turn your grip to full passive [tiger’s mouth facing to the left] and do a drawing cut to B’s belly.

[photo for movement 2.16 and the first part of movement 2.17, showing B on the left, A on the right]

乙卽含胸轉腰避去甲劍，同時將己劍轉為太陽，刺甲之腕。
B, hollow your chest and turn your waist to evade A’s sword, at the same time switching to a full active grip [tiger’s mouth facing to the right] and doing a [horizontal-blade] stab toward his wrist.

甲退步繞避乙進步追刺――
[2.18] A retreats with an evasive arc as B advances with a chasing stab.

甲亦向右循半圓形弧線退步繞避，乙進步繞追，如是三遍。
A, it is now your turn to retreat, stepping to the right, as you make an evasive arc, while B chases [stepping to the left], making a chasing arc, and thereby you are both drawing the other half of the circle. Do this for a total of three times [i.e. drawing three full circles].

乙壓劍上步擊頂――
[2.19] B, press down A’s sword, then step forward and strike to his head.

乙繞退將至終點時，突然止步將劍變為太陽，微抬其腕，讓甲劍從腕下刺過，趁勢將甲劍壓格於外方，隨卽上步擊甲之左頂。
B, when your circling retreat has brought you back to where you started, suddenly stop, turning your sword to a full active grip [tiger’s mouth facing to the right] and slightly raising your wrist to allow A’s sword to stab under it, then take advantage of the opportunity by pressing down A’s sword and block it outward. Then step forward with a [leftward] strike to the left side of A’s head.

甲退步帶腕上步回擊――
[2.20] A, retreat with a dragging [drawing] cut to B’s wrist, then step forward, returning a strike.

退步避過乙劍，同時將劍往右外方平帶，
Retreat to evade B’s sword while sending your sword outward to the right with a horizontal dragging [drawing] cut.

[photo for the second part of movement 2.19 and the first part of movement 2.20, showing B on the left, A on the right]

復趁勢上步回擊乙之左頂。
Then take advantage of the opportunity to step forward and return a [leftward] strike to the left side of B’s head.

乙退步抽腕保門――
[2.21] B, retreat with a drawing cut to A’s wrist, both of you returning to the guarding posture.

俟甲伸劍進擊，轉為中陽劍，從下方抽甲之腕，同時右足退一步保門。甲退步保門。
Wait for A to reach out with his sword, advancing to strike, then turn your sword to a half active grip [tiger’s mouth facing downward] and go from below with a drawing cut to A’s wrist. At the same time, retreat your right foot a step, returning you to the guarding posture, and then A also retreats to return to the guarding posture.

[The 1931 book replaces B’s drawing cut with both people getting into a lifting posture as a means to return to the guarding posture. The accompanying photo shows both people pulling back from lifting, but already retreated into the guarding posture in terms of their feet. The result is that they are standing in this image much closer than they would be, a similar situation to the photo for movement 1.3, possibly indicating in both cases that the photographer may have had a cramped studio and could not widen the frame enough to have two people standing very far apart.]

（完）共十九式不同者十式
(This completes Section Two, which has a total of nineteen [twenty-one] movements and is comprised of ten different techniques.)

–

第三路
SECTION THREE

乙上步劈頂――
[3.1] B, step forward, chopping to A’s head.

右足上步，右手用中陰劍，正劈甲頂。
Step forward with your right foot, your right hand using a half passive grip [tiger’s mouth facing upward] to do a chop straight to A’s head.

甲格劍進步翻身帶腰――
[3.2] A, block B’s sword, advance, turning your body, and do a dragging cut to B’s waist.

上右足，用中陽劍格，
Step forward with your right foot, using a half active grip [tiger’s mouth facing downward] to block to B’s sword.

[photo for movement 3.1 and the first part of movement 3.2, showing A on the left, B on the right (reverse view)]

隨卽向左前方進左足，復交步上右足，右手將劍轉為太陽，帶乙之腰。
Quickly advance your left foot to the forward left, then your right foot will step forward with a crossover step, your right hand turning your sword over into a full active grip [tiger’s mouth facing to the right], and do a dragging cut to B’s waist.

乙格腕帶腰――
[3.3] B, block to A’s wrist, then do a dragging cut to his waist.

一面含胸轉身，退右足避過敵劍，一面將劍尖下指，右腕上提，從左往右外方格甲之腕，
Hollowing your chest and twisting your body, retreat your right foot to evade A’s sword. At the same time, point your sword tip downward, lifting your right wrist, and go outward from left to right with an [overturned] block to A’s wrist.

[photo for the second part of movement 3.2 and the first part of movement 3.3, showing A on the left, B on the right (reverse view)]

甲旣翻身避去，乙迅速向左前方進左足，復交步上右足，亦將劍變為太陽帶甲之腰。
A will twist his body away to evade this, so quickly advance your left foot to the forward left, step your right foot forward with a crossover step, and change your grip to full active [tiger’s mouth facing to the right] as you do a dragging cut to his waist.

甲格腕帶腰――
[3.4] A, block to B’s wrist and drag to his waist.

亦如乙之動作，如是互換繞走數遍。
This is the same as B’s movement. Circle walk [counterclockwise] in this manner, repeating the movement a number of times until you have switched places.

乙壓劍貫耳――
[3.5] B, press down A’s sword and perform “filling the ear”.

俟甲劍轉為太陽，尚未進步帶腰之際，用中陰劍往下擊壓，
Wait for A to turn his sword to the full active grip [tiger’s mouth facing to the right], and in the moment before he has advanced to drag to your waist, use a half passive grip [tiger’s mouth facing upward] to hit downward with a pressing action.

[photo for the first part of movement 3.5, showing A on the left, B on the right]

隨卽起身上步，用太陽劍貫甲右耳。
Then raise your body and step forward, using a full active grip [tiger’s mouth facing to the right] to strike [rightward] to his right ear.

甲直帶繃――
[3.6] A, do a [vertical-blade] dragging cut with a flicking energy.

起身微向後挫，用中陰劍直帶兼繃敵之腕。
Raise your body and slightly sit back, using a half passive grip [tiger’s mouth facing upward] to do a vertical-blade dragging cut, flicking toward B’s wrist.

[photo for the second part of movement 3.5 and movement 3.6, showing A on the left, B on the right]

乙提――
[3.7] B, make a lifting posture.

如以前式，提劍刺敵之腕。
As performed previously [movement 1.14], make a lifting posture, stabbing toward A’s wrist.

甲反擊腕――
[3.8] A, do a reverse strike toward B’s wrist.

右足向左方交進一步，身向下蹲，同時將劍從左下方繞一圓圈，側面反擊敵之右腕，左手扶住劍柄，頭向右轉，目注敵右腕。
Advance your right foot with a crossover step to the left and squat your body down, at the same time sending your sword downward to the left and circling back up from the side with a reverse strike [i.e. rightward] toward B’s right wrist, your left hand assisting at your sword handle, your head turning to the right, your gaze going toward B’s right wrist.

乙反擊腕――
[3.9] B, do a reverse strike toward A’s wrist.

亦用甲同樣動作姿勢反擊。
Do the same movement as A, also making a reverse strike toward his wrist.

[photo for movements 3.8 & 3.9, showing A on the left, B on the right]

對繞走――
[3.10] Both of you, circle walk.

甲乙兩劍尖各指敵腕，蹲身繞走，從左方向右繞走，至互換位置時停止。
With both of you using your sword tip to point toward the other’s wrist, squat your body and walk in a rightward [counterclockwise] circle until you have switched places.

乙抽劍刺――
[3.11] B, withdraw your sword, then stab.

突然抽劍向後變為中陰劍直刺，同時右足開一步向右。
Suddenly withdraw your sword to the rear, changing to a half passive grip [tiger’s mouth facing upward], then do a vertical-blade stab, at the same time stepping your right foot out to the right.

甲反格腕――
[3.12] A, do a reverse block to B’s wrist.

抽劍向後，同時右足開一步向右，用中陰劍，從敵腕下反格之。
Withdraw your sword to the rear, at the same time stepping your right foot out to the right, and use a half passive grip [tiger’s mouth facing upward] to do a reverse block under B’s wrist.

[photo for movements 3.11 & 3.12, showing A on the left, B on the right (reverse view)]

乙直帶腕――
[3.13] B, do a vertical-blade dragging cut to A’s wrist.

微抬其腕，劍尖向下交敵之腕，隨卽將腕往下一沈，向後抽帶。
Slightly raise your wrist so your sword tip angles downward and crosses over A’s wrist, then sink your wrist downward and withdraw to the rear with a dragging cut.

甲反手帶腕――
[3.14] A, turn your hand over and do a dragging cut to B’s wrist.

甲將肘往下往左避去敵劍，同時反腕，成中陽劍，抽帶敵腕。各退步保門。
A, send your elbow downward to the left to evade B’s sword, at the same time turning your wrist to make a half active grip [tiger’s mouth facing downward], and withdraw with a dragging cut to B’s wrist [using the inner edge]. Then you both retreat to the guarding posture.

（完）其計十五式不同者六式
(This completes Section Three, which has a total of fifteen [fourteen] movements and is comprised of six different techniques.)

–

第四路
SECTION FOUR

甲上步洗――
[4.1] A, step forward and do a clearing cut.

右足前進一大步，右手執劍從右下方往上洗，變為中陽劍，伸直右臂左手戟指，置於左後方，兩足成右實左虛弓步，目視敵方。
Advance your right foot a large step, your right hand sending your sword clearing upward from the lower right, switching to a half active grip [tiger’s mouth facing downward], your right arm reaching, your left hand’s spearing finger placed to the left rear, your feet making a bow stance of right foot full, left foot empty. Your gaze is toward the opponent.

[photo for movements 4.1, showing B on the left, A on the right]

乙上步帶腕（陽劍圈起手式）――
[4.2] B, step forward and do a dragging cut to A’s wrist (circling your sword to a full active grip [tiger’s mouth facing to the right] with your hand lifted).

右足向左前方側進一步，身體微蹲，右手執劍，從右上方經右下方向左前方復轉右前方，畫一螺旋形反帶甲之右腕，斯時變成太陽劍，伸直右臂，左手同時扶住劍柄，頭半向右轉，目注敵腕，兩足成交步。
Advance your right foot a step to the forward left, slightly squatting your body, as your right hand draws a circle with your sword from the upper right to the lower right to the forward left, then again to the forward right to finish the circle with a reverse [i.e. inner edge] dragging cut toward A’s right wrist. Your grip has now switched to full active [tiger’s mouth facing to the right] and your right arm is extended. Your left hand at the same time assists at your sword handle. Your head is turned halfway to the right, your gaze toward A’s wrist. Your feet are making a crossover stance.

甲上步帶腕（陽劍圈起手式）――
[4.3] A, step forward and do a dragging cut to B’s wrist (circling your sword to a full active grip [tiger’s mouth facing to the right] with your hand lifted).

亦如乙之動作姿勢，反帶乙腕。
Mirror B’s movement by [stepping your right foot out to the left and] doing a reverse dragging cut toward his wrist.

[photo for movements 4.2 & 4.3, showing B on the left, A on the right]

對陽劍圈――
[4.4] Both of you, make circles with full active grips [tiger’s mouth facing to the right].

甲乙各先進左足，同時將劍往自己懷中帶回，
Both of you advance first your left foot while withdrawing your sword with a [reverse] dragging cut.

[photo for the first part of movement 4.4, showing B on the left, A on the right]

次進右足，同時將劍由左往右平走一圓圈，反帶敵腕，如是繞走三遍。
Then advance your right foot while again sending your sword across from left to right. Continue into a [counterclockwise] circle walk while doing these reverse dragging cuts toward your opponent’s wrist, walking in this way as your swords make a total of three circles.

對陰劍圈――
[4.5] Both of you, make circles with full passive grips [tiger’s mouth facing to the left].

甲乙各將劍變為太陰，同時開右足向右側方探步，一面繞走，一面抽敵腕與敵腹，如是繞走三遍。
Both of you switch your sword to a full passive grip [tiger’s mouth facing to the left] while stepping your right foot out to the right side in a reaching step, then continue into a [clockwise] circle walk as you each do [reverse (i.e. inner edge)] drawing cuts [moving from right to left] toward the other’s wrist or belly, walking in this way as your swords make a total of three circles.

乙進步攪――
[4.6] B, advance with [vertical] stirring.

如前繞走至終圈時，突然將劍往胸前收回，變為太陽劍，劍尖從右往左（在敵腕上）
Once you have circle walked back to where you started, suddenly withdraw your sword in front of your chest, changing to a full active grip [tiger’s mouth facing to the right], and your sword tip goes from right to left (over A’s wrist).

[photo for the first part of movement 4.6, showing B on the left, A on the right]

復從左往右（在敵腕下）繞攪敵腕，
Then your sword tip goes from left to right (under A’s wrist), stirring a full [counterclockwise] circle around his wrist.

[photo for the second part of movement 4.6, showing B on the left, A on the right]

一面逐步前進，左手扶住劍柄，此動作全在腰腿手腕一致敏活，否則難以得勁勢矣。
While stirring, you are also chasing forward [though the photos do not really seem to demonstrate any stepping] and your left hand is assisting at your sword handle. This [stirring] movement entirely comes from the liveliness of your hips and wrist, otherwise it is difficult to get the energy of it.

甲退步攪――
[4.7] A, retreat with [vertical] stirring.

甲亦如乙之動作，但隨乙之進逼，逐步後退，（進退之步法須四平步挫腰）。
A, this is the same as B’s movement, but while B is advancing, you are retreating [and your stirring is instead making a clockwise circle]. (The advancing and retreating steps should be coordinated with folding in at the waist [indicating that the opposite hip is coming forward with each step, thus bringing your sword handle across your body as you go].)

乙退步抽帶――
[4.8] B, retreat with drawing and dragging.

用太陰太陽劍，從敵腕下方抽帶，一面逐步後退，（此式如太極劍中之獅子搖頭）。
Using both the full passive [tiger’s mouth facing to the left] and full active [tiger’s mouth facing to the right] grips, draw and drag under A’s wrist while retreating. (This is the same technique as Taiji Sword’s LION SHAKES ITS HEAD.)

甲進步抽帶――
[4.9] A, advance with drawing and dragging.

亦用太陽太陰劍，從敵腕上方抽帶，但甲用抽，則乙用帶，適與相反，一面逐步前進。
Using both the full active [tiger’s mouth facing to the right] and full passive [tiger’s mouth facing to the left] grips, draw and drag on top of A’s wrist while advancing. While you are drawing, B is dragging, and so you should be doing the opposite of each other.

[photos for movements 4.8 & 4.9, showing B on the left, A on the right]

乙繃腕――
[4.10] B, do a flick to A’s wrist.

退回原位置時，突然用中陰劍上繃甲腕。甲抽劍避之。兩手相左右分開。
When you have retreated to your original position, suddenly use a half passive grip [tiger’s mouth facing upward] to flick upward toward A’s wrist. A will withdraw his sword to evade it by spreading his hands apart to the sides.

乙上步刺頭――
[4.11] B, step forward and stab to A’s head.

斯時見敵方正面無備，上步用中陰劍直刺其面。
Noticing that A is now unguarded in front, step forward and use a half passive grip [tiger’s mouth facing upward] to do a vertical-blade stab to his face.

甲壓劍――
[4.12] A, press down B’s sword.

將頭向左側一偏，避過敵劍，同時右手將劍壓住敵劍，向右下方，兩足須左實右虛。
Lean your head away to the left to evade B’s sword, your right hand at the same time sending your sword to press B’s sword to the lower right. Your feet should be left foot full, right foot empty.

乙反壓――
[4.13] B, do a counter press.

將敵劍反壓於左下方，兩足須左實右虛。
Send A’s sword to the lower left with a counter press. Your feet should be left foot full, right foot empty.

甲帶腿――
[4.14] A, do a dragging cut to B’s leg.

趁我劍被壓時，進劍帶敵之右腿，隨卽起身，將劍反擊敵之右耳，伸直右手，兩足右實左虛弓步。
Go along with being pressed down by advancing your sword into a dragging cut to B’s right leg. [B of course lifts his leg to evade this and then puts it down again.] Then raise up your body and do a reverse strike to B’s right ear, straightening your right arm. Your feet are in a bow stance of right foot full, left foot empty.

乙直帶兼繃。――
[4.15] B, do a vertical-blade dragging cut with a flicking energy.

身體微向後傾，同時用中陰劍，由前向後直帶敵腕，終仍變為繃式。
Your body slightly leans back as you use a half passive grip [tiger’s mouth facing upward] to pull back with a vertical-blade dragging cut to A’s wrist, finishing as a flicking action.

[photo for the second part of movement 4.14 and movement 4.15, showing B on the left, A on the right]

[Although the 1931 book suggests using this variant version at this point in the set, emphasizing the vertical-blade dragging more than the flicking, the text here does not indicate that this situation is substantially different from what is described in movements 1.13 and 3.6, and so the earlier photo would seem to work just as well.]

甲乙各提劍保門――
[4.16] Both of you, make a lifting posture, then return to the guarding posture.

甲先變為提，乙隨之。
A first switches to lifting, then B.

[photo for the first part of movement 4.16, showing B on the left, A on the right]

（完）共計十七式不同者十式
(This completes Section Four, which has a total of seventeen [sixteen] movements and is comprised of ten different techniques.)

–

第五路上
SECTION FIVE – Part 1

甲乙各作伏勢――
[5.1] Both of you, get into a crouching posture.

身向右後方下披，重點寄於右足，伸直左腿，近貼地面，右手變為太陽劍，橫於胸前，劍尖向敵，左手戟指扶右手之腕，目視敵方。
Your body goes to the right rear and drapes downward, the weight shifting onto your right foot, your left leg straightening and almost touching the ground, as your right hand switches to a full active grip [tiger’s mouth facing to the right] and holds your sword across the front of your chest, the tip pointing toward the opponent, your left hand’s spearing finger assisting at your right wrist. Your gaze is toward the opponent.

甲上步直刺――
[5.2] A, step forward and do a vertical-blade stab.

聳身向前，右足前進一步，右手用中陰劍直刺敵胸。
Launch your body forward, your right foot advancing a step, as your right hand uses a half passive grip [tiger’s mouth facing upward] to do a vertical-blade stab to B’s chest.

乙上步擊腕――
[5.3] B, step forward and strike to A’s wrist.

聳身向前，右足前進一步，右手用太陽劍，平擊敵腕。
Launch your body forward, your right foot advancing a step, as your right hand uses a full active grip [tiger’s mouth facing to the right] to strike across [leftward] to A’s wrist.

甲抬腕平擊腕――
[5.4] A, raise your wrist and strike across to B’s wrist.

抬高手腕避過敵劍，同時以太陽劍，平擊敵腕。
Raise up your wrist to evade B’s sword, at the same time using a full active grip [tiger’s mouth facing to the right] to strike across [leftward] to B’s wrist.

[photo for movements 5.3 & 5.4, showing B on the left, A on the right]

乙側身截腕――
[5.5] B, take your body to the side and check to A’s wrist.

左足向左側開進一步，成左實右虛弓步，體重寄於左足，同時右手用中陰劍，從敵之右前方，側截其腕。
Your left foot advances a step out to the left side, making a bow stance of left foot full, right foot empty, the weight shifting to your left foot. At the same time, your right hand uses a half passive grip [tiger’s mouth facing upward] to go to the forward right with a [right] check to A’s wrist from the side.

[photo for movement 5.5, showing A on the left, B on the right (reverse view)]

甲側身截腕――
[5.6] A, take your body to the side and check to B’s wrist.

亦如乙之動作姿勢。
Same as B’s movement and posture above.

對提對繞走――
[5.7] Both of you, make a lifting posture, then circle walk [counterclockwise].

此兩動作已見前第一路中。
These two actions are the same as in Section One [movements 1.7 & 1.8].

[photo for the first part of movement 5.7, showing B on the left, A on the right]

甲正繃腕――
[5.8] A, do an upright flick to B’s wrist.

繞走至互換位置時，突然轉為中陰劍，繃敵之腕，
Once you have walked around B to the point that you have switched places with him, suddenly switch to a half passive grip [tiger’s mouth facing upward] and do a flick toward his wrist.

乙帶腕避――
[5.9] B, do a dragging cut to A’s wrist, dodging away.

向左帶腕，避去敵劍，身體同時半向左轉，體重寄於右足。成左實右虛弓步。
Go to the left with a dragging cut to A’s wrist, evading his sword by turning your body halfway to the left as the weight shifts to your right [left] foot, making a bow stance of left foot full, right foot empty.

甲進步反格腕――
[5.10] A, advance and do an overturned block to B’s wrist.

左足速進一步，同時以中陰劍，劍尖斜向下方如提劍式，左手扶住右腕，用力自下向上反格敵腕。
As your left foot quickly advances a step, use a half passive [half active] grip [tiger’s mouth facing downward] to point your sword tip diagonally downward, similar to the lifting posture, and with your left hand assisting at your right wrist, forcefully go upward from below with an overturned block to B’s wrist.

乙截腕――
[5.11] B, check to A’s wrist.

將右腕抬高，避去甲劍，從甲腕上繞過，用中陰劍截其腕，斯時體重移於右足，成右實左虛弓步。
Raise your right wrist up to avoid A’s sword, arcing over A’s wrist, then use a half passive grip [tiger’s mouth facing upward] to do a [left] check toward his wrist. At this moment, the weight is shifting to your right foot to make a bow stance of right foot full, left foot empty.

甲上步截腕――
[5.12] A, step forward and check to B’s wrist.

速離開左手，將右腕往右一移避過乙劍，同時右足前進一步，成右實左虛步，截敵之腕。
Quickly spreading away your left hand, send your right wrist to the right to evade B’s sword and do a [left] check to his wrist as you advance your right foot a step, making a bow stance of right foot full, left foot empty.

乙抽身截腕――
[5.13] B, withdraw and check to A’s wrist.

略移右腕，同時抬腕，劍尖向下截敵右腕外方，兩足變左實右虛。
Slightly shift your right wrist back, at the same time raising it so your sword tip is angled downward, and do a [reverse] check to the outside of A’s right wrist, your feet switching to left foot full, right foot empty.

[photo for movements 5.12 & 5.13, showing A on the left, B on the right]

甲壓腕（或作截腕）――
[5.14] A, press down B’s wrist (or check to his wrist).

將腕往左避開，同時將劍從敵腕上繞過，下壓敵腕，（用太陰劍若截則用中陰劍）斯時步法變為左實右虛。
Dodge your wrist to the left while arcing your sword over B’s wrist, then press down on his wrist. (If pressing, use a full passive grip [tiger’s mouth facing to the left]. If checking, use a half passive grip [tiger’s mouth facing upward].) [Since you just did a check and are already in that position, the press would seem to make more sense anyway.] At the same time, your stance switches to left foot full, right foot empty.

乙抽手截腕――
[5.15] B, withdraw your hand, then do a [left] check to A’s wrist.

仍如前式。
Same as before [movement 5.11].

甲帶腿――
[5.16] A, do a dragging cut to B’s leg.

斯時右腕旣被敵劍壓住，惟有趁勢從下往左帶敵之腿，同時體重移於左足，收回右足，移至左足前方半步，復趁勢刺敵之腰。
With your right wrist now being pressed [checked] by B’s sword, take advantage of the situation by going downward and to the left with a dragging cut to A’s leg, at the same time shifting your weight to your left foot and drawing in your right foot to be a half step in front of your left foot, then start to stab to B’s waist [which B beats you to by stabbing to your waist, and so your movement of raising your sword to stab will simply become the beginning of the action in movement in 5.18 of pulling your sword back].

乙刺腰――
[5.17] B, stab to A’s waist.

蹺起右足，避過敵劍，迅速起立，將右足移至左足前方半步，身半向左，右手以中陰劍刺敵之右腰。
Raise your right foot to evade A’s sword, briefly standing on one leg, then shift your right foot to be a half step in front of your left foot, your body turning halfway to the left as your right hand uses a half passive grip [tiger’s mouth facing upward] to stab to the right side of A’s waist.

甲抽腕――
[5.18] A, do a drawing cut to B’s wrist.

抬高其腕，一面避去敵劍，一面以太陰劍抽敵之腕，同時收回右足，向右前方移一步。
Raise your wrist as you evade A’s sword and use a full passive grip [tiger’s mouth facing to the left] to do a drawing cut to his wrist. At the same time, withdraw your right foot and shift a step to the forward right [right rear].

乙金鷄獨立刺胸――
[5.19] B, perform GOLDEN ROOSTER STANDS ON ONE LEG to stab to A’s chest.

右手往左一帶，避去敵劍，隨卽以中陰劍，直刺敵胸，並提起左足，全身重點，寄於右足，作金鷄獨立式。
Your right hand goes to the left with a dragging action to evade A’s sword, then uses a half passive grip [tiger’s mouth facing upward] to do a vertical-blade stab to his chest. At the same time, lift your left foot, the weight of your whole body shifted onto your right foot, making the posture of GOLDEN ROOSTER STANDS ON ONE LEG.

甲擊手――
[5.20] A, strike to B’s hand.

用太陽劍平擊敵之手指。
Using a full active grip [tiger’s mouth facing to the right], strike across [leftward] to B’s fingers [while your left foot steps behind your right foot and you make an empty stance].

[photo for movement 5.19 and the first part of movement 5.20, showing A on the left, B on the right]

甲乙各提劍保門，甲先提，乙隨之。
Both of you then make a lifting posture, A [B] lifting first, then B [A], then return to the guarding posture.

[photo for the second part of movement 5.20, showing A on the left, B on the right]

（上半完）。
(This completes the first part of Section Five.)

–

[SECTION FIVE – Part 2]

甲乙各作伏勢――
[5.21] Both of you, get into a crouching posture.

見前。
Same as before [movement 5.1].

乙上步刺胸――
[5.22] B, step forward and stab to A’s chest.

上右足，用中陰劍，直刺敵腹。甲上步平擊。
Step forward with your right foot as you use a half passive grip [tiger’s mouth facing upward] to do a vertical-blade stab to A’s belly [chest]. A at the same time steps forward and strikes across [leftward, to B’s wrist].

對提――
[5.23] Both of you, make a lifting posture.

見前各式中。
Same as before [second part of movement 5.20].

[photo for movement 5.23, showing A on the left, B on the right]

對劈――
[5.24] Both of you, chop at each other.

用中陰劍直劈，取敵之左方，與以前各式中取敵之右方者不同。
Using a half passive grip [tiger’s mouth facing upward], chop with the blade vertical, this time seeking the opponent on his left side, different from the previous times [movements 1.15 & 2.11], which sought him on his right side.

對刺腹――
[5.25] Both of you, stab toward your opponent’s belly.

中陰劍直刺。
Use a half passive grip [tiger’s mouth facing upward] to do a vertical-blade stab.

甲反格腕――
[5.26] A, do an overturned block to B’s wrist.

中陰劍從敵腕下方反格。
Using a half passive [half active] grip [tiger’s mouth facing downward], do an overturned block under B’s wrist.

乙反帶腕――
[5.27] B, do a reverse drag to A’s wrist.

開左足，向左斜方上，全體向左傾，右手從敵腕上以中陽劍往左一帶。
Step out your left foot diagonally to the forward left [left rear] and lean your body to the left as you use a half active grip [tiger’s mouth facing downward] to do a dragging cut to the left along the top of A’s wrist [using the inner edge].

[photo for movement 5.26 & 5.27, showing B on the left, A on the right (reverse view)]

[The 1931 book uses this photo to illustrate an action of vertical-blade stabbing with the wrist turned over, akin to the stabbing action in movement 2.4, meaning that the overturned block should perhaps also have an intention of reaching forward.]

甲反腕帶――
[5.28] A, turn over your wrist and drag.

與第三路末式乙之動作同。
Same as B’s final movement in Section Three [movement 3.13, meaning that you turn over your sword and do a dragging cut on top of B’s wrist].

各轉身劈――
[5.29] Both of you, turn your body and chop.

雙手捧劍，劍尖向下，轉身向右，上左足，復轉身退右足，當轉身退右足時，趁勢將劍舉起劈下。各保門。
Hold your sword with both hands, the tip angled downward, then turn your body to the right as you step forward with your left foot and then continue turning your body as you retreat your right foot. As you are turning, [bringing your left foot forward,] and retreating your right foot, take advantage of the momentum of these actions by raising your sword and chopping down. Then return to the guarding posture. [The 1931 book then mentions that this is followed by a “closing posture”, but does not explain how it is to be performed. The safest bet is probably the very generic action of grabbing the sword in your left hand and lowering it to your left side so the sword is standing behind your arm, your right hand lowering with it and then circling to your right, up, and back down in front of you with the hand still formed as a spearing finger, pushing down in front of your belly.]

（完）共計三十式不同者十二式。
(This completes the whole of Section Five, which has a total of thirty [twenty-nine] movements and is comprised of twelve different techniques.)

–

[POSTSCRIPT]

武當劍法五路共百一十劍，其中不同者有六十劍，李芳宸先生所傳也。武林黃文叔為先生入室弟子，余從文叔遊，因得而私淑焉。憶龍年寓杭垣湧金門時，距文叔之西湖新宅不數里，晨夕過從，每當酒酣耳熱，輒相與起舞，意氣豪甚。顧此年衰病侵尋，置不復習，強半遺忘，甚矣余之惰而荒也。今春遇文叔於滬上，彼方以劍法授潘子時雨，傅子養德，徐子梅岐，且假余庭固為演練之場，於是向之遺忘者歷歷然復印諸心目，濡筆記之備他日復習之用，且以記此一段因緣云。
民國二十八年歲次已卯三月一日　易範齋主人子慕跋
The five sections of the Wudang Sword set have a total of a hundred and ten [hundred and nine] movements, comprised of sixty distinct techniques. It was taught by Li Fangchen [Jinglin]. Huang Wenshu [Yuanxiu] was his indoor disciple. I learned it from Huang because I had no opportunity to learn it from Li. I remember that in the last year of the dragon [1928] I was living in Hangzhou, near Yongjin Gate, not many miles from Huang’s new house at West Lake. We spent time together constantly, always drinking wine, exuberant in each other’s company, our spirits unrestrained.
　　But during this last year, I was gradually weakened by illness and ceased practicing what I had learned. I have now forgotten more than half of the set, so rusty have I become in my lethargy. This spring, I received Huang in Shanghai so that other students he had taught the sword set to – Pan Shiyu, Fu Yangde, and Xu Meiqi – could borrow the use of my courtyard as a practice space. Because of this, all I had forgotten was clearly restored, imprinted on my mind. I then made these notes of it so that I can have something to refer to when I start practicing again, and I here make a record of the event with these brief words.
　　- written with esteem by your student, Yi Fanzhai, 16th year of the cycle, 3rd month, 1st day [April 20, 1939]

–

–

–

–

軍中大刀術
LARGE SABER TECHNIQUES FOR THE ARMY
順德黃漢勛編述
by Huang Hanxun [Wong Honfan] of Shunde
山東蓬萊羅光玉老師授
as taught by Luo Guangyu of Penglai, Shandong
演式者：黃漢超
postures performed by Huang Hanchao
攝影者：黃子英
photographed by Huang Ziying
校對者：韋漢生
text proofread by Wei Hansheng
[published 1955]

[translation by Paul Brennan, April, 2018]

–

軍中大刀術
Large Saber Techniques for the Army
黃漢勋署
– calligraphy by Huang Hanxun

–

序
PREFACE

斬馬刀者乃大鋒短柄而利於戰陣中之步兵武器，專砍馬蹄者，馬上兵將遇之而畏，固古戰場上之慣用兵械也。
曩自（古北）（喜峯）及（淞滬）以至（七七）（八一三）之戰役，吾國軍事當局鑑於新武器及機械俱落敵後，然以民族獨立生存而戰實義無反顧矣，於是乃以血肉組成長城，以維護我五千年文化歷史，我古代武器乃得及鋒而試，初試鋒刃即使敵望而生畏，所謂大和魂，武士道之精神，乃挫落千丈，嗣此即引起軍事當道之注意，尋且廣聘個中能手普及訓練師干，一時有風起雲湧之勢，吾師羅先生亦將范公秘技改編而成為簡單化，實用化之近代軍中大刀術，民二十七年秋「華僑歸國服務團」歸國經港，特走訪羅氏，願留港習此備用，先師亦慨然允之，後該團頗活躍於各戰區，因此羅氏大刀術之名乃不脛而遍走各地矣。今漢特編成冊本以廣流傳，及供有心人之研討，工拙固不計，祗求依法編釋耳！若對團體學校之訓練尤得器械健身之宏效，固不必上陣交鋒已也。因述之如上以為序焉。
The “horse-slashing saber”, which had a long blade and a short handle, was a useful weapon for infantry troops, designed for cleaving off the hooves of horses. Cavalry troops were struck with fear when they encountered it, and so it became a common weapon on ancient battlefields.
　　From battles like “Gubei” and “Xifeng” [Gubeikou Pass and Xifengkou Pass, during the Defense of the Great Wall (Jan–May, 1933)], as well as “Song Hu” [Battle of Shanghai (Aug–Nov, 1937)], to events such as “Seven Seven” [i.e. July 7, 1937 – Marco Polo Bridge Incident] and “Eight Thirteen” [i.e. Aug 13, 1937 – Second Shanghai Incident], our nation’s military authorities noticed that we were far behind the enemy in terms of modern weapons and machinery, but that our people’s only chance was nevertheless to stubbornly fight on. Therefore they had to rely on flesh and blood to fortify the Great Wall and defend our five thousand years of culture and history. Our ancient weapons were thus right tools at the right time. The very first cuts from those sharp blades struck terror into the enemy, plunging his spirit of “Yamato-damashii” or “Bushido” into a deep chasm. This caused our military leaders to give these weapons attention and they sought widely for experts to spread instruction throughout the army, an addition to training which rapidly became very popular.
　　My teacher Luo [Guangyu] took the secret skills of his teacher Fan [Xudong] and adapted them to construct this simple set, making an even more practical large saber set for the modern army. In the autumn of 1938, the Overseas Chinese Return-to-Enlist Corps were returning to the mainland. While passing through Hong Kong, they paid a special visit to Master Luo, wanting to stay for a time in Hong Kong to train in these skills. Luo generously consented to teach them, and then afterward they had to hurry off to their respective combat zones. Because of this, the fame of Luo’s large saber art quickly spread everywhere.
　　Now I have specially made this volume to spread this art even more widely and share it with those who have a desire to study it. To do this, I have ignored my own low level of skill at it, seeking only to explain these methods as faithfully as possible. If it is used for drilling large groups in schools, this is a greatly effective tool for developing physical fitness, though you will not actually be required to go into battle! I have recounted the information above merely to give some background to the set.

–

刀之説明
DIMENSIONS OF THE SABER

長度：由刀盤至刀鋒尖端，計長者二十寸，短者十八寸。
Length of the blade: From hilt to tip, it is as long as twenty inches or as short as eighteen inches.

濶度：上端：鋒與背計三寸。中段：二寸五分。下端：近刀盤處，一寸七分。
Width of the blade: From edge to back, the upper section is three inches, the middle section is two and a half inches, and the lower section near the hilt is one and seven tenths inches.

鋒薄而利，背厚四分，取其堅硬也。
The edge is very thin and sharp, whereas the back of the blade is a two fifths of an inch thick and is very hard.

盤：週圍計達十一寸，邊緣高二分。
The hilt has a circumference of eleven inches, and the height of its edge is about a fifth of an inch.

柄：長而微曲，直徑計長九寸五分。粗圍三寸二分。
The handle is long and somewhat curved, with a length of nine and a half inches, and a circumference of roughly three and a fifth inches.

如以人作計算則捧刀立正時刀鋒僅及肩部為最適合，逾此則或有矮人而善用長械，高人而喜用短械者是例外矣。
To determine if a saber is the right size for you, when you are in the position of standing at attention holding the saber, ideally the tip should reach to shoulder level. If it reaches farther than this, it will be like a long weapon for a short person, [and if does not reach that far,] it will be like a short weapon for a tall person. There are always exceptions to the standard.

–

古今之稱刀考
EXAMINING ANCIENT & MODERN VIEWS OF THE SABER

古之稱刀有五行，即金，木，水，火，土。進而別以，天，地，君，臣，師。
及至民國以後又更易為，天，地，國，親，師。
不論前者，後者俱逃不出（五）數。
茲根據少林眞傳所載及先師所言，是將刀平放作計則為刃之上端，即刀尖處是為「天」線。向下之刃鋒為「地」線。朝上之刀背為「君」線。護手之刀盤為「臣」線。柄之末端為「師」線。
Ancient people said that the saber has the five elements – metal, wood, water, fire, and earth – which was then extended to mean the sky and the ground, the sovereign and the subject, and the soldier. Once the Republic was established, “sovereign and subject” were changed to “the nation and the family”. Regardless of the former or latter interpretation, in either case the count is still five.
　　According to what is written in Authentic Shaolin Teachings [by Fan Xudong], as well as what has been said by my teacher, when you hold out the saber, holding it level in front of you, the top section of the tip of the blade corresponds to the sky, the edge facing downward corresponds to the ground, the back facing upward corresponds to the sovereign [or nation], the hilt guarding your hand corresponds to the subject [or family], and the handle all the way to its end point corresponds to the soldier.

–

軍中大刀術名稱
NAMES OF THE POSTURES

第一式：捧刀中平式
Posture 1: HOLDING THE SABER, STANDING STABLY
第二式：四平舉刀式
Posture 2: FOUR-LEVEL POSTURE, RAISING THE SABER
第三式：登山斬倭顱
Posture 3: MOUNTAIN-CLIMBING STANCE, CUTTING OFF A JAPANESE HEAD
第四式：蹤步斬倭顱
Posture 4: LEAPING STEP, CUTTING OFF A JAPANESE HEAD
第五式：扑腿橫斬馬
Posture 5: REACHING LEG, SLASHING ACROSS AT THE HORSE
第六式：竄跳橫斬馬
Posture 6: EVASIVE HOP, SLASHING ACROSS AT THE HORSE
第七式：跨虎雙舉刀
Posture 7: SITTING-TIGER STANCE, BOTH HANDS RAISING THE SABER
第八式：蹤步斬倭顱
Posture 8: LEAPING STEP, CUTTING OFF A JAPANESE HEAD
第九式：旋轉坐盤刀
Posture 9: CIRCLING CHOP IN A SITTING TWISTED STANCE
第十式：纏繞斬倭顱
Posture 10: COILING AROUND, CUTTING OFF A JAPANESE HEAD
第十一式：漏刀攔腰斬
Posture 11: WITHDRAWING SABER, SLASHING TO THE WAIST
第十二式：竄跳迎頭砍
Posture 12: EVASIVE HOP, CLEAVING STRAIGHT AHEAD
第十三式：竄跳迎頭砍
Posture 13: EVASIVE HOP, CLEAVING STRAIGHT AHEAD
第十四式：斜步舉刀式
Posture 14: DIAGONAL STEP, RAISING THE SABER
第十五式：蹤步斬倭顱
Posture 15: LEAPING STEP, CUTTING OFF A JAPANESE HEAD
第十六式：旋轉往上挑
Posture 16: TURNING OVER TO CARRY UPWARD
第十七式：反身坐盤刀
Posture 17: TURNING AROUND TO CHOP IN A SITTING TWISTED STANCE
第十八式：纏繞大轉勢
Posture 18: COILING AROUND IN A LARGE CIRCLE
第十九式：纔繞大轉勢
Posture 19: COILING AROUND IN A LARGE CIRCLE
第二十式：撤步迎頭斬
Posture 20: WITHDRAWING STEP, CHOPPING STRAIGHT AHEAD
第二十一式：挑刀蹤步劈
Posture 21: CARRYING SABER, LEAP & CHOP
第二十二式：挑刀蹤步劈
Posture 22: CARRYING SABER, LEAP & CHOP
第二十三式：跨虎橫撥刀
Posture 23: SITTING-TIGER STANCE, DEFLECTING ACROSS
第二十四式：反刀斬倭顱
Posture 24: REVERSE-SABER CUTTING OFF A JAPANESE HEAD
第二十五式：纏繞攔腰斬
Posture 25: COILING AROUND, SLASHING TO THE WAIST
第二十六式：斜步舉刀式
Posture 26: DIAGONAL STEP, RAISING THE SABER
第二十七式：蹤步斬倭顱
Posture 27: LEAPING STEP, CUTTING OFF A JAPANESE HEAD
第二十八式：纏繞大轉勢
Posture 28: COILING AROUND IN A LARGE CIRCLE
第二十九式：纏繞大轉勢
Posture 29: COILING AROUND IN A LARGE CIRCLE
第三十式：撤步迎頭砍
Posture 30: WITHDRAWING STEP, CLEAVING STRAIGHT AHEAD
第三十一式：四平舉刀式
Posture 31: FOUR-LEVEL POSTURE, RAISING THE SABER
第三十二式：收刀四平式
Posture 32: WITHDRAWING THE SABER, FOUR-LEVEL POSTURE

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半匝試刀式　出匝看刀式
Photos demonstrating unsheathing the saber halfway and fully in order to examine it:

古之嗜武者多有所好於「寶刀」「寶劍」之習染，凡有良好寶劍之類俱把玩至不忍釋手者，當其小試其鋒刃時輒持鞘徐徐抽出察驗，俾判其刀種之良劣，余今效之者，實無異有東施效顰之誚，然旨在提倡吾國古武術，固無暇計此矣。
其全刀抽出察看者其意類於試刀，惟余之不厭求詳者，實寓有另一意思也。
一可使刀之寬長尺度得一全輪廓。
二可使鞘與刀之比量得一正確表示，實非看「寶刀」擺姿勢，徒作（奴婢扮夫人）之作態也。
Ancient people who were addicted to martial arts were often obsessed with “precious sabers” and “precious swords”. There were always those who loved their precious swords so much that once they held them, they could not bear to let them go. When they took a look at a blade, they held the scabbard and slowly drew out the weapon to examine it, in order to judge whether or not the saber was of good quality. As I perform this in these photos, it is a pale imitation of the way they did it, but as I am busy with promoting our nation’s ancient martial arts, I do not really have the time to be too finicky about how this looks.
　　The purpose of drawing out a saber fully is to examine it, but just to be clear, I have another intention here: 1. to give a sense of the length and width of the saber, and 2. to show a standard of measure between saber and scabbard. And so I am not really demonstrating a posture of swinging around a “precious saber”, which would just be a pretentious posing (like the maidservant dressing up as the madam).

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持刀者：黃漢超　持棍者：黃漢勛
[Three demonstration photos] with Huang Hanchao holding the saber, Huang Hanxun holding the staff:

上圖：遇對方用長械殺落時即以逆刀反劏而上。
1. When an opponent uses a long weapon to smash down at me, I turn my saber over and go upward with a reverse slicing action [similar to Posture 16]:

中圖：對方用械橫掃我下路，我當以坐盤低攔式橫殺之。
2. The opponent then uses his weapon to sweep across to my lower body, so I use a low slashing in a sitting twisted stance to smash it aside [similar to Postures 5 and 6, though using a different stance]:

下圖：演式者之十字橫刀式。
3. The performer demonstrates CROSS-SHAPED POSTURE WITH THE SABER HORIZONTAL [As nothing resembling this occurs in the set, and would be an unlikely maneuver on the battlefield, this is perhaps intended as an example of posing.]:

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第一式：捧刀中平式
Posture 1: HOLDING THE SABER, STANDING STABLY

說明
Explanation:
假定我擇西方作起點，是面南背北，左東右西而立正，右掌貼身直垂，右手虎口向下緊握近刀盤處，上刀鋒貼近於肩外，勿使搖動不定，否則易使自己有觸刀之弊矣，全身蓄勢目注前方使精神得以集中，以俟刀勢之展開也。
If you stand in the western part of the practice space to begin this boxing set, then you are facing to the south, the north behind you, the east to your left, the west to your right. Stand at attention with your right palm hanging down close to your body, your right [left] tiger’s mouth facing downward due to the hand tightly grasping near the saber hilt. The saber tip is close to the outside of your [left] shoulder, but do not allow it to sway around, or you may easily cut yourself. Your whole body is storing power, your gaze forward. Concentrate spirit in readiness to perform the saber techniques. [See photo 1:]

第二式：四平舉刀式
Posture 2: FOUR-LEVEL POSTURE, RAISING THE SABER

說明
Explanation:
循上式，先退左脚半步，右脚一拉俾成右跨虎步，右手向刀盤一握以替代左手之位置，而左手則緣刀柄向下而持末端，刀尖向上一舉，刀鋒向外東方，以右臂平線為合度，如第二圖。
Continuing from the previous posture, first your left foot retreats a half step, then your right foot pulls back to make a right sitting-tiger stance, as your right hand grabs the saber near the hilt, switching places with your left hand, which goes downward to hold the end of the saber handle, and the saber tip goes upward with a raising action, the saber edge facing outward to the east. Your right arm should be level. See photo 2:

功用
Application:
彼以長械如槍棍之類迎頭殺落，我即雙手舉刀向上一挑，斯乃中心之刀法，使來械滑落左右，來勢雖兇猛異常，至此亦落空矣。且可籍其落空而予以反擊，是彼造成有利之機會與我，非强而可行也，知乎此方足以言用械之奧妙矣。
An opponent uses a long weapon such as a spear or staff to smash down onto my head, so I use both hands to raise the saber upward with a carrying action, which is a core saber method, causing his weapon to slide off to either side. Even if his incoming force is extremely fierce, this technique will make it land on nothing, giving me the chance to counterattack. Thus because his action ends up causing me to have the advantage, I can act without having to struggle. From understanding just this one technique, you will know the profound usefulness of this weapon.

第三式：登山斬倭顱
Posture 3: MOUNTAIN-CLIMBING STANCE, CUTTING OFF A JAPANESE HEAD

說明
Explanation:
循上式，右脚踏前以成右登山式，同時將刀向前畧斜往左北方殺出，亦以右臂平為合式，如第三圖。
Continuing from the previous posture, your right foot steps forward to make a right mountain-climbing stance as you send the saber slashing forward and slightly to the left, i.e. north. Your right arm should again be level. See photo 3:

功用
Application:
假如彼械為我上式斜落右方，我即進馬以近彼方，順刀斜撇其項部，此乃沿械削入之法也，勢速而致於要害為法之上乘也。蓋械長易佔優勢，惟鋒端為人所過則反見其弊矣，我刀旣卸落之，當以最迅速之法突入，勿輕失克敵致果之良機也。
If in the previous technique the opponent’s weapon falls to my right, I advance to get closer to him, hurling my saber diagonally at his neck with an action of scraping along his weapon. This is a rapid movement and is the best technique for causing injury. It is easy for a long weapon to occupy the superior position, but when a sharp blade comes into play, the opponent will discover he has been wounded. Once my saber has made him miss, I should use the quickest means of getting in and not lightly let a good opportunity to defeat the opponent pass by.

第四式：蹤步斬倭顱
Posture 4: LEAPING STEP, CUTTING OFF A JAPANESE HEAD

說明
Explanation:
循上式，先提起左後脚，再以刀背返後下方撥歸，如「過渡式」
Continuing from the previous posture, first lift up your left foot behind you while using the back of the saber to deflect downward and to the rear. See photo 4a:

再乘蹺起後脚之便全身躍前以成右登山步，刀再自下後方向前上方斜斜撇出，如「第四圖定式」。
Then go along with the momentum from lifting your foot by jumping forward with your whole body to make a right mountain-climbing stance, the saber going upward and hurling out diagonally forward. See photo 4b:

功用
Application:
彼以低樁沉械法向我膝部點落，我即以往後拖刀法消去來勢，再食其上路空虛之勢，用躍進法反刀向上再劈彼項部焉。
The opponent gets into a low stance, sinking his weapon, and stabs downward to my knee, so I send my saber to the rear with a dragging action to dispel his incoming force, then take advantage of the opening to his upper body by leaping forward, rolling my saber upward, and chopping to his neck.

第五式：扑腿橫斬馬
Posture 5: REACHING LEG, SLASHING ACROSS AT THE HORSE

說明
Explanation:
循上式，先化右登山步為右扑腿，刀自上北方沿腿上削落往後南方力撇，如「第五圖定式」。
Continuing from the previous posture, shift to a right reaching-leg stance as the saber goes from above in the north and forcefully swings downward to the south, cutting above and parallel with your leg. See photo 5:

功用
Application:
彼方側首避我劈項之刀我疾即漏刀揮殺其前鋒馬，使其有顧此失彼之危也。斯即射人先射馬，打人先打手之意，彼雖乘馬與我作戰，惟苟能予以創傷其脚部，其害尤甚於斬其乘騎也，抑亦為斬馬刀之本色，故時刻不忘傷害下之路也。
The opponent ducks his head away to evade saber chopping to his neck, so I quickly withdraw my saber and swing it down to slash to his front leg, causing him to be in the predicament of having too many things to deal with at once. This is the concept of “to shoot a man, first shoot his horse” [from the poem “Forward to the Frontier” by Du Fu] and similar to the notion of “to strike a man, first strike his hand”. Although the enemy may be riding a horse into battle against me, if I can injure its leg, this can do even more damage than slashing at its rider. This was the whole point of the “horse-slashing saber”, therefore keep in mind at all times the potential for injuring the opponent’s lower body.

第六式：竄跳橫斬馬
Posture 6: EVASIVE HOP, SLASHING ACROSS AT THE HORSE

說明
Explanation:
循上式，先提右脚如獨立式狀，將刀向上舉，如「過渡式」
Continuing from the previous posture, first lift your right foot as though making a one-legged stance, the saber raising up. See photo 6a:

再往後西方蹤身而返，約有步半之距離再成右扑腿式，刀由上斟斜撇過大腿之上，刀鋒向後南方着力，如「第六圖定式」。
Then your body leaps away about a half stride to the west to again make a right reaching-leg stance as the saber pours down from above with a diagonal swinging action over your leg, the saber tip moving toward the south behind you and expressing strength. See photo 6b:

功用
Application:
彼漏過我刀，即再擊我低躺之膝部，我乃提腿避之，再躍跳返身以刀劈向彼械，使毋再生變化也。
The opponent dodges my saber and then attacks below to my knee, so I lift my leg to evade it, leap my body away, and use my saber to chop at his weapon, causing him to not attempt such a maneuver again.

第七式：跨虎雙舉刀
Posture 7: SITTING-TIGER STANCE, BOTH HANDS RAISING THE SABER

說明
Explanation:
循上式，先拉起右脚以成右跨虎步，刀由橫下削法轉為朝上向：如「第七圖定式。」
Continuing from the previous posture, your right foot pulls back to make a right sitting-tiger stance as the saber arcs from below to be pointing upward. See photo 7:

功用
Application:
彼以長械如槍棍之類迎頭殺落，我即雙手舉刀向上一挑，斯乃中心之刀法，使來械滑落左右，來勢雖兇猛異常，至此亦落空矣，且可籍其落空而予以反擊，是彼造成有利之機會與我，非强而可行也，知乎此方足以言用械之奧妙矣。
An opponent uses a long weapon such as a spear or staff to smash down onto my head, so I use both hands to raise the saber upward with a carrying action, which is a core saber method, causing his weapon to slide off to either side. Even if his incoming force is extremely fierce, this technique will make it land on nothing, giving me the chance to counterattack. Thus because his action ends up causing me to have the advantage, I can act without having to struggle. From understanding just this one technique, you will know the profound usefulness of this weapon.

第八式：蹤步斬倭顱
Posture 8: LEAPING STEP, CUTTING OFF A JAPANESE HEAD

說明
Explanation:
循上式，先提起左後脚，再以刀背返後下方撥歸，如「過渡式」
Continuing from the previous posture, first lift up your left foot behind you while using the back of the saber to deflect downward and to the rear. See photo 8a:

再乘蹺起後脚之便全身躍前以成右登山步，刀再自下後方向前上方斜斜撇出，如「第四圖定式」。
Then go along with the momentum from lifting your foot by jumping forward with your whole body to make a right mountain-climbing stance, the saber going upward and hurling out diagonally forward. See photo 8b:

功用
Application:
彼以低樁沉械法向我膝部點落，我即以往後拖刀法消去來勢，再食其上路空虛之勢，用躍進法反刀向上再劈彼項部焉。
The opponent gets into a low stance, sinking his weapon, and stabs downward to my knee, so I send my saber to the rear with a dragging action to dispel his incoming force, then take advantage of the opening to his upper body by leaping forward, rolling my saber upward, and chopping to his neck.

第九式：旋轉坐盤刀
Posture 9: CIRCLING CHOP IN A SITTING TWISTED STANCE

說明
Explanation:
循上式，先原步不變，將高勢之刀反向下撩，使刀鋒向下朝，如「過渡式」
Continuing from the previous posture, with your stance not changing, the saber turns over with a low raising cut, causing the saber tip to be facing downward. See photo 9a:

再將左脚自後偸前以成坐盤步，刀則由背往後方圈去，圈至手盡為止，再由上反劈而落，如「第九圖定式」。
Then your left foot goes forward from behind with a stealth step to make a sitting twisted stance, the saber circling out from behind your back until your hands are reaching out fully, chopping downward from above. See photo 9b:

功用
Application:
彼以械向我下部搶入，我即反刀背掠去來械，再偸入半步轉下刀為上刀迎頭劈之，旋轉然後劈刀者，乃寓有招之即打之雙重作用，旋轉而坐盤其勢乃順，坐盤而斬之是取其速也。
The opponent’s weapon sneaks an attack to my lower body, so I turn over my saber, using its back to swipe aside his weapon, then make a stealth step to come a half step forward while arcing my saber upward to chop to his head. This circling chop contains the effect of being twice as heavy as a normal chop. Going into a sitting twisted stance while doing this improves the flow of the technique and also increases its speed.

第十式：纒繞斬倭顱
Posture 10: COILING AROUND, CUTTING OFF A JAPANESE HEAD

說明
Explanation:
循上式，原步不變，將刀往後貼於左肩，如「過渡式」
Continuing from the previous posture, with your stance not changing, send the saber behind you to be near your left shoulder. See photo 10a:

再循左轉，成一圈形步法，再上右脚以成右登山式，刀再由貼於肩部者向前斜斜劈去，如「第十圖定式」。
Then continue by spinning around to the left, making a complete circle with your stance, your right foot then going forward to make a right mountain-climbing stance as the saber chops out diagonally forward from your shoulder area. See photo 10b:

功用
Application:
纏繞者乃用資保護自身上部之刀法也，且可循此謀求對方之弱點，當發覺時更可籍此攻得彼之空隙也。
“Coiling” is a way to protect your own upper body which can then also follow through to reach a vulnerable area on the opponent, and so when you notice a gap in the midst of doing this technique, you can build upon this action in order to attack it.

第十一式：漏刀攔腰斬
Posture 11: WITHDRAWING SABER, SLASHING TO THE WAIST

說明
Explanation:
循上式，左右脚不變原來位置，祗將右脚一曲便可成為騎馬式，刀則由面前兜半圈形平刀殺過右後方，如「第十一圖定式」。
Continuing from the previous posture, with your feet not leaving their location, you only need to bend your right [left] leg to make a horse-riding stance, the saber going from in front of you, arcing a half circle to go out level, slashing to the right rear. See photo 11:

功用
Application:
彼擬以械來招迎我斬項之刀，我俟其貼近時迅即漏刀橫殺其腰部，此攔腰斬法為刀法中之難招者也，抑亦為棍怕中平，刀怕擱腰具有同等之威脅，如不善於解此者，莫不為所砍殺矣，致力於此者幸留意焉。
The opponent tries to use his weapon to intercept my saber heading to his neck, so I wait for him to press in close, then quickly withdraw my saber and slash across to his waist. Among the saber techniques, the slashing to the waist is one of the more difficult to defend against. A saber slashing to the waist is a threat equal to a staff [spear] attacking to the center. Those who fail to understand this will end up being cut to pieces. For those who dedicate themselves to this art, I hope you will give this point attention.

第十二式：竄跳迎頭砍
Posture 12: EVASIVE HOP, CLEAVING STRAIGHT AHEAD

說明
Explanation:
循上式，先提右脚，再將刀往後提起，如「過渡式」
Continuing from the previous posture, first lift your right foot, lifting the saber behind you. See photo 12a:

再乘提步之勢跳往後西方約一步之遠仍為右登山式，刀自上方向前面正中砍落，如「第十二圖定式。
Then go along with the momentum from lifting your foot by hopping back, retreating about a full stride to the west, and again make a right mountain-climbing stance as the saber cleaves downward directly in front of you from above. See photo 12b:

功用
Application:
彼架去我攔腰法之後，隨即向我下路點進，我乃提步閃之，竄跳返身而用刀砍落其來械也。
After the opponent blocks away my slash to his waist, he immediately stabs forward to my lower body, so I lift my foot to evade it and hop away, then turn back toward him using my saber to cleave downward to his incoming weapon.

第十三式：竄跳迎頭砍
Posture 13: EVASIVE HOP, CLEAVING STRAIGHT AHEAD

說明
Explanation:
循上式先提右脚，再將刀往後提起，如「過渡式」
Continuing from the previous posture, first lift your right foot, lifting the saber behind you. See photo 13a:

再乘提步之勢跳往後，西方約一步之遠仍為右登山式，刀自上方向前面正中砍落，如「第十三圖定式」。
Then go along with the momentum from lifting your foot by jumping back, retreating about a full stride to the west, and again make a right mountain-climbing stance as the saber cleaves downward directly in front of you from above. See photo 13b:

功用
Application:
彼架去我攔腰法之後，隨即向我下路點進，我乃提步閃之，竄跳返身而用刀砍落其來械也。
After the opponent blocks away my slash to his waist, he immediately stabs forward to my lower body, so I lift my foot to evade it and hop away, then turn back toward him using my saber to cleave downward to his incoming weapon.

第十四式：斜步舉刀式
Posture 14: DIAGONAL STEP, RAISING THE SABER

說明
Explanation:
循上式，右脚自東方轉過南方以成右跨虎步，刀亦由東隨步轉南，自下向上挑起，如「十四圖定式」。
Continuing from the previous posture, your right foot arcs across to the south from the east to make a right sitting-tiger stance, the saber at the same time arcing to the south from the east and carrying upward from below. See photo 14:

功用
Application:
當我連續作竄跳式時彼忽走我斜右方，以長械從頂殺下，我立即以挑刀作分式穿之，由正面相對而轉為斜方攻擊，若無穩捷之法應敵當易陷於危殆之境，步隨刀轉，使對方無隙可乘，若刀隨步轉則予敵以空間之便矣。
When I have not yet completed the technique continuing from the evasive hop, if the opponent suddenly evades to my right and is using a long weapon to smash down onto my head, I immediately use a carrying action to send it off to the side, piercing through his line of attack, turning a direct attack into an angled attack. Without both stability and agility, you will easily fall into a perilous situation. If your step is following your saber, it will prevent the opponent from having a gap to take advantage of, but if instead your saber is following your step, you will be giving him an opening to exploit.

第十五式：蹤步斬倭顱
Posture 15: LEAPING STEP, CUTTING OFF A JAPANESE HEAD

說明
Explanation:
循上式，先提左後脚，刀用背撥歸後方，如「過渡式」，
Continuing from the previous posture, first lift up your left foot behind you while using the back of the saber to deflect to the rear. See photo 15a:

再蹤身直跳往正南方，約有一步之遙乃再成右登山步，自斜劈前上方，如「第十五圖定式」。
Then your body leaps forward about a full stride to the south to again make a right mountain-climbing stance, the saber going upward and chopping diagonally forward. See photo 15b:

功用
Application:
彼以低樁沉械法向我膝部點落，我即以往後拖刀法消去來勢，再食其上路空虛之勢，用躍進法反刀向上再劈彼項部焉。
The opponent gets into a low stance, sinking his weapon, and stabs downward to my knee, so I send my saber to the rear with a dragging action to dispel his incoming force, then take advantage of the opening to his upper body by leaping forward, rolling my saber upward, and chopping to his neck.

第十六式：旋轉往上挑
Posture 16: TURNING OVER TO CARRY UPWARD

說明
Explanation:
循上式，先將原步不變，祗將刀反向後舉，鋒向後方如「過渡式」
Continuing from the previous posture, with your stance not changing, first only send the saber raising to the rear, the tip pointing toward the rear. See photo 16a:

再將左脚自後方偸前以成坐盤步，刀由後上方轉盡歸後，再從下逆劏上，至平為止如「第十六圖定式」。
Then your left foot goes forward from behind with a stealth step to make a sitting twisted stance, the saber going farther back and then going upward from below with a reverse slicing action, stopping when level. See photo 16b:

功用
Application:
彼欲以械來攔我劈項之勢，我即轉為反手逆劏直撩其襠下，逆劏者亦為刀法中之毒着，若非事先予以逆劏之便利，彼當不易以施展矣。
The opponent wants to send in his weapon to block my chop to his neck, so I turn over my hand and do a reverse slicing cut, raising to his crotch. “Reverse slicing” is one of the crueler techniques in the saber art, and unless you are set up with a good opportunity to do this, an opponent will not easily let you get away with it.

第十七式：反身坐盤刀
Posture 17: TURNING AROUND TO CHOP IN A SITTING TWISTED STANCE

說明
Explanation:
循上式，原步往後北方一擰仍成坐盤步，刀由逆劏而隨步劈過北方，如「第十七圖定式」。
Continuing from the previous posture, twist your stance around to the north to make another sitting twisted stance, the saber going along with this movement by chopping to the north. See photo 17:

功用
Application:
彼乘我方注意於前南方之時，突自我後擊進，我為迅速其勢起見，亦不俟轉身易勢而步隨刀轉迎頭殺落，斯乃迅雷不及掩耳之法也。抑亦使彼難覓防禦對策，而為我所乘，用械者貴能神速，於此益證斯言不繆矣。
An opponent takes advantage of the moment that my attention is toward the south by suddenly advancing to attack me from behind. Quickly noticing this, I do not wait until I have turned around to change to a new posture, but instead let my feet follow along with my saber as I spin into a downward slash to his head. This is a situation of “the thunderclap gives no chance to cover one’s ears”, causing him to have difficulty finding a way to defend against it and giving me opportunity to follow up with another attack. Those who wield weapons emphasize being able to move with amazing speed, thus validating that these words are not exaggerations.

第十八：式纒繞大勢轉
Posture 18: COILING AROUND IN A LARGE CIRCLE

說明
Explanation:
循上式，原步不變，刀先轉過左方貼於肘肩之間如「過渡式」
Continuing from the previous posture, with your stance not changing, the saber first goes across to the left to come near the area between your elbow and shoulder. See photo 18a:

再循左方轉動，全身抽起，當凌空時即轉為騎馬式，刀從左方伸出而平劈往東方，「如第十八圖定式」。
Then spin around to the left with your whole body leaping into the air, and make a horse-riding stance, the saber chopping across to the left to reach toward the east. See photo 18b:

功用
Application:
當多數敵人圍繞我四面八方時，我先將刀貼身者是先求自護，全身凌空抽起而更以橫刀劈殺者是對包圍者施行反擊也。
When there are many opponents encircling me, I first bring my saber close to my body to shield myself, then leap into the air while chopping across to counterattack my surrounding attackers.

第十九式：纒繞大轉勢
Posture 19: COILING AROUND IN A LARGE CIRCLE

說明
Explanation:
循上式，先將刀由前轉後貼於左肩部，如「過渡式」
Continuing from the previous posture, first send the saber arcing behind you to be near your left shoulder. See photo 19a:

再凌空抽起全身由面對北方者，轉而面對南方，仍為騎馬式，刀隨身轉，伸前撇出，如「第十九圖定式」。
Then jump into the air, your body turning from facing to the north to be facing to the south, again making a horse-riding stance, the saber going along with the turning of your body by swinging out forward. See photo 19b:

功用
Application:
當多數敵人圍繞我四面八方時，我先將刀貼身者是先求自護，全身凌空抽起而更以橫刀劈殺者是對包圍者施行反擊也，與上定具有左右前後，互相連繫之作用者也。
When there are many opponents encircling me, I first bring my saber close to my body to shield myself, then leap into the air while chopping across to counterattack my surrounding attackers. This posture links with the previous posture, and you thereby cover all directions – left and right, front and back.

第二十式：撤步迎頭砍
Posture 20: WITHDRAWING STEP, CHOPPING STRAIGHT AHEAD

說明
Explanation:
循上式，左脚從後撤退一步以成右登山式，刀由平撇轉而往後東方，自上直劈而落，如「第二十圖定式」。
Continuing from the previous posture, your left foot retreats a step to make a right mountain-climbing stance as your saber arcs behind you to the east, chopping down from above. See photo 20:

功用
Application:
彼架去我攔腰法之後，隨即向我中下路點進，我乃退步躱之，竄跳返身而用刀砍落其來械也。
After the opponent blocks away my slash to his waist, he immediately stabs forward to my middle or lower body, so I retreat a step to evade it and hop away, then turn back toward him using my saber to cleave downward to his incoming weapon.

第二十一式：挑刀蹤步劈
Posture 21: CARRYING SABER, LEAP & CHOP

說明
Explanation:
循上式，先提起左後脚，刀微微向上朝起，如「過渡式」，
Continuing from the previous posture, first lift up your left foot behind you, the saber slightly lifting to be pointing upward. See photo 21a:

再蹤身跳前約有一步，刀則自上直砍而落，如「第二十一圖定式」。
Then your body leaps forward about a full stride [to again make a right mountain-climbing stance], the saber cleaving downward from above. See photo 21b:

功用
Application:
彼械迎頭打我，我即用過渡式之刀往上向後挑開來械進而順勢直劈其顱，一挑一劈其勢至順，而用力亦易，且在躍進中其砍殺之銳有如大江之水順流而下，縱欲架攔亦為勢所不許矣。
The opponent’s weapon strikes straight at me, so I send my saber upward and to the rear to carry aside his weapon, then advance and chop straight to his head. With this technique of carrying continuing into chopping, it is already easy to express power. Add to that the leaping advance and the movement becomes like the downstream surge of water in a great river. He will want to block, but the nature of this technique will not let him.

第二十二式：挑刀蹤步劈
Posture 22: CARRYING SABER, LEAP & CHOP

說明
Explanation:
循上式，先提起左後脚，刀微微向後朝起，如「過渡式，
Continuing from the previous posture, first lift up your left foot behind you, the saber slightly lifting to be pointing upward. See photo 22a:

再蹤身跳前約有一步之遙，仍為右登山步，刀則自上直砍而落，如「第二十一圖定式」。
Then your body leaps forward about a full stride to again make a right mountain-climbing stance, the saber cleaving downward from above. See photo 22b:

功用
Application:
彼械迎頭打我，我即用過渡式之刀往上向後掛開來械，再乘躍進之勢，直劈其顱，一挑一劈其勢至順，而發力亦易，且在躍進中其砍殺之銳，有如大江之水順流而下，縱欲架攔亦為勢所不許矣，其法與上式為相連者。
The opponent’s weapon strikes straight at me, so I send my saber upward and to the rear to hang aside his weapon, then leap forward and chop straight to his head. With this technique of carrying continuing into chopping, it is already easy to express power. Add to that the leaping advance and the movement becomes like the downstream surge of water in a great river. He will want block, but the nature of this technique will not let him. (This posture and the previous posture are linked together as a single flow.)

第二十三式：跨虎橫撥刀
Posture 23: SITTING-TIGER STANCE, DEFLECTING ACROSS

說明
Explanation:
循上式，將前脚拉起以成右跨虎步，刀則橫撥而歸向北方，如「二十三圖定式」。
Continuing from the previous posture, pull in your front foot to make a right sitting-tiger stance, the saber deflecting across inward to the north. See photo 23:

功用
Application:
彼漏過吾械，即自我左方攻入，我先化登山為跨虎者是求遠離也，再以刀撥歸左方者則是將來械消去也。來械旣已消去，而吾所感受之威脅亦除，趁其勢，而順其械，使我有從容展開有利之攻擊矣。
The opponent evades my weapon and then attacks from my left, so I switch to a sitting-tiger stance to create some distance and use my saber to deflect inward to the left, sending away his weapon. Once I feel this threat has been removed, I could take advantage of the momentum and move further along with his weapon, thereby giving myself both more room to maneuver in the next moment and better targets to attack.

第二十四式：反刀斬倭顱
Posture 24: REVERSE-SABER CUTTING OFF A JAPANESE HEAD

說明
Explanation:
循上式，原步不變，先將刀向頭頂橫攔，如「過渡式」
Continuing from the previous posture, with your stance not changing, first send the saber blocking across toward your own head. See photo 24a:

再右前脚進左後脚以成左登山式，刀自頭上橫過左後方再轉過右前方平殺而出，刀鋒平過南方，如「第二十四圖定式』。
Then your right foot advances, followed by your left foot, making a left mountain-climbing stance, as the saber goes over your head across to the left rear and then arcs across with a slash to the forward right, the saber tip level as it passes through toward the south. See photo 24b:

功用
Application:
彼械為我所撥，乃轉過我右後方攻來，我先以刀橫掠之，再轉馬易勢，反刀橫劈其項部焉。
Once I have deflected the opponent’s weapon, he shifts around to attack from my right rear, so I first send my saber across to swipe it aside, then switch my stance and roll my saber over to chop across to his neck.

第二十五式：纒繞攔腰斬
Posture 25: COILING AROUND, SLASHING TO THE WAIST

說明
Explanation:
循上式，先進右脚以成騎馬式，刀貼於背部，然後隨步轉前，再向前平殺而出，如「第二十五圖定式」。
Continuing from the previous posture, your right foot advances to make a horse-riding stance, the saber going [to the left,] close to your back, and then going along with your step by arcing forward with a level slashing. See photo 25:

功用
Application:
彼坐馬側首躱避我刀，我即進馬，刀自背後伸前攔腰斬之。或多人圍繞吾於垓心，我乃四面受敵矣，若不以先纏繞本身，勢必為衆所乘，我先求能掩護全身，然後全身旋轉，覓機突圍，斯為置諸於死後然後求生之法也。
The opponent lowers his stance and ducks his head away in order to evade my saber, so I advance and reach out my saber from behind my back with a slash to his waist. Or suppose there are many opponents encircling me in the midst of battle and I am exposed to attack from all sides. Unless I first coil around my body, they will all surge in upon me. So I first seek to be able to shield my whole body, and then I would be able spin around looking for a chance to break out of their encirclement. Such a situation is called “death is here and life is over there”.

第二十六式：斜步舉刀式
Posture 26: DIAGONAL STEP, RAISING THE SABER

說明
Explanation:
上式，先將右前脚移往正北方以成右跨虎之勢，刀從下向北舉起，如「第二十六圖定式」。
Continuing from the previous posture, first your right foot shifts to the north to make a right sitting-tiger stance, the saber raising toward the north from below. See photo 26:

功用
Application:
當我連續作纏繞法時，彼忽走我斜左方，以長械從頂殺下，我立即以挑刀作分勢穿之，由正面相對而轉為斜方攻擊，若無穩捷之法應敵當易陷於危殆之境，步隨刀轉，使對方無隙可乘，若刀隨步轉則予敵以空間之便矣。
When I have not yet completed the technique continuing from coiling the saber, if the opponent suddenly evades to my left and is using a long weapon to smash down onto my head, I immediately use a carrying action to send it off to the side, piercing through his line of attack, turning a direct attack into an angled attack. Without both stability and agility, you will easily fall into a perilous situation. If your step is following your saber, it will prevent the opponent from having a gap to take advantage of, but if instead your saber is following your step, you will be giving him an opening to exploit.

第二十七式　跨步斬倭顱
Posture 27: LEAPING STEP, CUTTING OFF A JAPANESE HEAD

說明
Explanation:
循上式，先提起左後脚，刀背往後拖返，如「過渡式」
Continuing from the previous posture, first lift up your left foot behind you while using the back of the saber to drag to the rear. See photo 27a:

再蹤身直往以成右登山式，刀斜向前左方劈去，如「第二十七圖定式」。
Then your body leaps to the [north] to make a right mountain-climbing stance, the saber going diagonally forward with a chop to the left. See photo 27b:

功用
Application:
彼以低樁沉械法向我膝部點落，我即以往後拖刀法消去來勢，再食其上路空虛之勢，用躍進法反刀向上再劈彼項部焉。
The opponent gets into a low stance, sinking his weapon, and stabs downward to my knee, so I send my saber to the rear with a dragging action to dispel his incoming force, then take advantage of the opening to his upper body by leaping forward, rolling my saber upward, and chopping to his neck.

第二十八式：纒繞大轉勢
Posture 28: COILING AROUND IN A LARGE CIRCLE

說明
Explanation:
循上式，先原步不變，將刀橫過左方，如「過渡式」
Continuing from the previous posture, with your stance not changing, first the saber goes across to the left. See photo 28a:

再將左脚自後方倒進一步，以成面北背南之騎馬式，刀自背後劈向北方，如「二十八圖定式」。
Then your left foot shifts from behind you [and your right foot] advances a step to make a north-facing horse-riding stance, the saber chopping to the north [east] from behind your back. See photo 28b:

功用
Application:
當多數人圍繞我四面八方時，我先將刀貼身者是先求自護，全身凌空抽起而更以橫刀劈殺者是對包圍者施行反擊也。
When there are many opponents encircling me, I first bring my saber close to my body to shield myself, then leap into the air while chopping across to counterattack my surrounding attackers.

第二十九式：纒繞大轉勢
Posture 29: COILING AROUND IN A LARGE CIRCLE

說明
Explanation:
循上式，原步不變，先將刀橫過過左肩部，如「過渡式」
Continuing from the previous posture, with your stance not changing, first send your saber across, passing your left shoulder. See photo 29a:

再進右脚往西方，再成騎馬式，刀自背後伸前平殺往西方，如「二十九圖定式」。
Then your right foot advances to the west to make another horse-riding stance as your saber goes from behind you and extends forward with a level slash to the west. See photo 29b:

功用
Application:
當多數敵人圍繞我四面八方時，我先將刀貼身者是先求自護，全身凌空抽起而更以橫劈殺者是對包圍者施行反擊，與上式是具有左右前後，互相連繫之作用者也。
When there are many opponents encircling me, I first bring my saber close to my body to shield myself, then leap into the air while chopping across to counterattack my surrounding attackers. This posture links with the previous posture, and you thereby cover all directions – left and right, front and back.

第三十式：撤步迎頭砍
Posture 30: WITHDRAWING STEP, CHOPPING STRAIGHT AHEAD

說明
Explanation:
循上式，右脚從後方撤退一步，以成登山式，刀則順勢，劈落東方，如「第三十圖定式」。
Continuing from the previous posture, your right [left] foot retreats a step to make a mountain-climbing stance, the saber going along with the movement by chopping down to the east. See photo 30:

功用
Application:
彼架去我攔腰法之後，隨即向我下路點進，我乃提步閃之，而用刀砍落其來械也。
After the opponent blocks away my slash to his waist, he immediately stabs forward to my lower body, so I lift my foot to evade it and use my saber to cleave downward to his incoming weapon.

第三十一式：四平舉刀式
Posture 31: FOUR-LEVEL POSTURE, RAISING THE SABER

說明
Explanation:
循上式，將右脚拉後，以成右跨虎步，同時將刀更向上朝起，如「第三十一圖定式」。
Continuing from the previous posture, your right foot pulls back, making a right sitting-tiger stance, as the saber lifts to be pointing upward. See photo 31:

功用
Application:
彼以長械如槍棍之類迎頭殺落，我即雙手舉刀向上一挑，斯乃中心之刀法，使來械滑落左右，來勢雖兇猛異常，至此亦落空矣，且可藉其落空而予以反擊，是彼造成有利之機會與我，非强而可行也，知乎此方足以言用械之奧妙也。
An opponent uses a long weapon such as a spear or staff to smash down onto my head, so I use both hands to raise the saber upward with a carrying action, which is a core saber method, causing his weapon to slide off to either side. Even if his incoming force is extremely fierce, this technique will make it land on nothing, giving me the chance to counterattack. Thus because his action ends up causing me to have the advantage, I can act without having to struggle. From understanding just this one technique, you will know the profound usefulness of this weapon.

第三十二式：收刀四平式
Posture 32: WITHDRAWING THE SABER, FOUR-LEVEL POSTURE

說明
Explanation:
循上式，將右跨虎脚拍齊於左脚以成立正之勢，左手先離刀柄，易（虎口）向上者為向下，右手繼離開刀柄，而以左手替代之，再使刀貼於身傍垂下，右手化為掌，由下圈上，橫攔於頂上，如「第三二十圖定式」。
Continuing from the previous posture, your right foot stomps down next to your left foot, making a posture of standing at attention. Your left hand first lets go of the saber handle to switch its tiger’s mouth from facing upward to be facing downward, then your right hand lets go of the saber handle as your left hand takes its place. Then send the saber near the side of your body, hanging down, your right hand changing to a palm and circling upward from below to block higher than your head with the hand sideways. See photo 32:

至此則全刀已完，如是屬於表演者則將右手垂下，使左右手皆垂下，然後鞠躬為禮，便算完成一切矣。
This posture completes the whole set. If you are doing the set as a performance, continue by lowering your right hand so that both hands are hanging down and then bow ceremoniously, thereby bringing the set to a full conclusion.

– – –

[Included below is a related piece from Huang’s Notes on the Mantis Boxing Art (1949).]

漫談大刀隊
ON THE LARGE SABER UNITS

古式武器而見於近代戰場者，始於廿九軍宋哲元將軍，時宋部駐與古北口於日敵作殊死戰，宋鑒於敵强我弱，難得均衡之勢，思一顯古代雄風以挫强敵，乃廣徵名師担任授以特製之大刀，準備旣妥於雪夜摸進敵營，矮奴不虞有此竟被殺戳殆盡，嗣此中華武術震驚中外，淞滬戰起蔣蔡又仿之致用，頗奏膺功，日敵於衝鋒陷陣之間，一見刀光氣燄為奪，初則以鋼軟甲護頸部，繼則以東洋劍術相抗衡，然東洋雖以劍術自鳴為當代之雄，但與刀相抗亦無便宜之佔，蓋刀短而厚利於貼身相搏之際，劍長而薄，肉搏之間，頗嫌其不適於施用，且刀劍相碰長薄者當非短厚之實用，於是東洋自誇武士道之英雄，亦向吾中華武術俯首稱臣矣，自經此役之後，至抗戰軍興，中國軍隊多聘武術敎練担任訓練大刀之術，一則可作强身之運動，再則人負一刀於生死危難之俄頃又多一武器護身，時李白主桂省軍事乃廣徵名師負此責任，先由王軍長贊斌聘得同門學兄林伯叟、潘洪昌、于樂江、鄒喜功等，繼由王於李白前推荐羅老師出任總敎練，羅師怙靜成性弗願膺此，但林潘于鄒等以急於需用大刀術，乃懇請羅師傳授，羅師曰前人本無此術遺授，但淞滬之戰，余迫於急用，乃將斬馬刀之古法，在一夜之間，編成今之大刀術，余今亦以此授汝等而已，同時精武前輩盧君煒昌倡議，集合廣州各武師編大刀術一套，取名聯合大刀術，以余觀點而論聯合大刀頗嫌其繁複，難練，羅師所編出自一人心思，參以古法，精純而簡，全取實用法則，頗合訓練於軍人所需，時南洋抗敵義勇救國團歸國服役，道經香島特邀請羅師演解此術，後竟延期歸國，趕速學習斯法，計祗一週便告成功，該團臨別贈羅師錦旗一面，聊酬義務辛勞之意，近世科學昌明一顆之彈動輒可致數十萬人之死命，吾人生斯亂世寧不可怕哉。
The sight of ancient kinds of weapons being used on modern battlefields began with General Song Zheyuan of the 29th Corps [during the Defense of the Great Wall, Jan–May, 1933]. Song’s troops were positioned at the Gubeikou Pass [Xifengkou Pass], where they resisted the Japanese and were resolved to fight to the last man.
　　Song recognized that the enemy was strong and our forces were weak, and that it would be hard to fix the balance. After contemplating the problem, he realized that the old-fashioned idea of using a strong wind to defeat a powerful enemy was the way ahead. He then sought widely for famous masters to give instruction in the use of specially manufactured large sabers. Thus prepared, his troops crept into enemy encampments on a snowy night [Mar 11]. Those Japs had never anticipated such a situation and were almost wiped out. Because of this incident, Chinese martial arts astonished the nation and the world.
　　In the Battle of Shanghai [Aug–Nov, 1937], Jiang Jieshi [Chiang Kai-shek] and Cai Bingyan imitated this strategy to great effect. When their troops charged the Japanese, just the sight of the flashing blades and the fury that swung them demoralized the enemy. Though at first the fortitude of the enemy troops softened and they hid their heads, they then wielded their Japanese swords to contend against the sabers. But although the Japanese had proclaimed their sword art to be the best of its time, they could no longer so easily maintain that position when opposing these sabers. This is because our sabers are short and thick, ideal for fighting at close quarters, whereas their swords are long and thin, not as suitable for such a tight range. When sabers and swords clash, long and thin is not as practical as short and thick. Therefore Japan’s boasting about its heroic Bushido switched to bowing in submission to our Chinese martial arts.
　　With this battle done, the War had begun [1937–1945], and subsequently the Chinese army often employed martial arts instructors to train the troops in large saber techniques. For one thing, it was an exercise for strengthening the body. For another, a man who carried a saber on his back into perilous situations had a ready means of defending himself. The military in Guangxi Province was at that time presided over by Li Zongren and Bai Chongxi, who sought extensively for teachers to take on this duty. First the corps commander Wang Zanbin engaged his elder classmates Lin Bosou, Pan Hongchang, Yu Liaojiang, and Zou Xigong, and then he recommended to Li and Bai that Master Luo take the post of chief instructor.
　　Luo stayed quiet when it was offered to him, instinctively having no desire for such an honor. However, Lin, Pan, Yu, and Zou were anxious about the necessity for large saber techniques, and so they ardently requested of Master Luo that he give instruction. Luo then said: “Previous generations did not teach this art. But after the Battle of Shanghai, I see there is an urgent need.” He then took the ancient horse-slashing saber methods and in the course of a single night created this large saber set that I now teach to you all.
　　At the same time, Jingwu elder Lu Weichang proposed gathering various martial arts masters of Guangzhou to make a set of large saber techniques called “United Large Saber Techniques”. In my opinion, that set is too complicated and difficult to train, whereas what Luo made, a set built from the ideas of just one person drawing from ancient methods, is more refined and simple, the whole thing emphasizing practical methods, exactly what is needed for training soldiers.
　　Also at that time, the South Seas Resistance Volunteers of the “Rescue the Nation” Corps were returning to the mainland to enlist in the army. When passing through Hong Kong, they specially invited Luo to demonstrate this set. After seeing it, they decided to delay their return in order to quickly learn these techniques. In took just one week for them to absorb the training, and then before leaving they presented Luo with a banner to express thanks for his service and hard work, which said: “In our modern scientific age, little bitty bullets can send hundreds of thousands of men to their deaths. We live in troubled times, but we shall not be afraid.”

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[For further information on the large saber, see the 1933 manuals of Jin Enzhong and Yin Yuzhang.]

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THE TAIJI MANUAL OF LONG ZIXIANG Posted on March 30, 2018 by Paul Brennan – 太極拳學 A STUDY OF TAIJI BOXING 龍子祥 by Long Zixiang [published Jan, 1952] [translation by Paul Brennan, March, 2018] – 龍子祥先生著 by Long Zixiang:

 

太極拳學 A Study of Taiji Boxing 謝伯昌題 – calligraphy by Xie Bochang

Sorgente: THE TAIJI MANUAL OF LONG ZIXIANG | Brennan Translation

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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.

–

–

–

–

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]

–

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

–

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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虎尾三節棍
TIGER TAIL THREE-SECTION STAFF
黃漢勛編著
by Huang Hanxun [Wong Honfan]
羅光玉傳授
as taught by Luo Guangyu

[translation by Paul Brennan, Dec, 2017]

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虎尾三節棍
Tiger Tail Three-Section Staff
黃漢勛自署
– calligraphy by Huang Hanxun

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黃序
PREFACE BY HUANG XIANG

余性好動，少時嘗習技於南華體育會，使孱弱之軀得以强健，及羅師光玉南來，深慕師名武技，乃投其門下習螳螂拳技凡數載，嗣以職務闗係未克再求深造，已而太平洋戰起，羅師北歸，余亦以生活驅逼而返國內，及勝利後復員，始知羅師於民國卅三年壽終滬寓，余悲悼之餘對螳螂拳術仍夢寐難忘，時欲再求研練也。余深知同學漢勛宗弟追隨羅師最久，盡傳衣砵，乃决隨其習技執弟子禮，今已經年獲益良多，宗弟不祗拳技深湛，且具豐富之理論，著述皆為海內外同道所愛讀者，計十年間已出版至十餘種之多，今宗弟具莫大魄力將螳螂拳技發揚光大，羅師有知當含笑九泉矣。近又以羅師生平名技「三節棍」刋行問世，索序於余，乃舉其槪如上述云爾。
番禺黃翔
I love exercise. When I was young, I trained at the South China Athletic Association, turning my frail and weak body into a strong and healthy one. Then Master Luo Guangyu came south [to Hong Kong]. Greatly admiring his famous martial skill, I joined his school and learned Mantis Boxing from him for several years, but my duties prevented me from pursuing more advanced material with him. Then the War in the Pacific started and Luo returned north. I headed off as well and risked my life to drive out the enemy, but upon being demobbed after victory had been won, I found out that Luo had died in Shanghai in 1944. In addition to mourning him, I could not stop thinking about his Mantis boxing art, and I wanted to start training again.
　　I knew well that among my fellow students it was Huang Hanxun who had learned from Luo the longest and had been taught everything, so I decided to regard him as my teacher and have now been learning from him for many years. Not only is his boxing skill very deep, he also has a rich understanding of theory. His books have all been well-liked by martial artists throughout the nation and around the world, more than ten having been published so far within the last decade. Since he is filled with resolve to carry forward the skills of Mantis Boxing, Luo can rest content. Recently he has added Luo’s famous three-section staff set to the list of publications. He asked to me write a preface for it, and thus I have supplied these general comments.
　　- Huang Xiang of Panyu County [district of Guangzhou, in Guangdong]

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自序
AUTHOR’S PREFACE

三節棍為硬中帶輭之武器，抑亦長中有短之械也，據説是由宋太祖趙匡胤所發明，初名「蟠龍棍」者卽三節棍之原名也。今日武林多以之作「串子」之運用，作獨練單打者少之又少矣。曩自羅師挾技南來後人莫不知其精螳螂拳，羅漢功，鐵砂掌外更以「虎尾三節棍」一技為譽滿武壇，羅師嘗於一次表演中連斷三枝棍仍未演畢者是知其造詣為如何矣，因畧介如上，俾知其槪焉。
黃漢勛于丙申仲夏上浣佳日
The three-section staff is a weapon that has the characteristic of hardness leading to softness, and of being a long-range weapon that also contains short-range techniques. It is said to have been invented by Zhao Kuangyin, founding emperor of the Song Dynasty, and was originally called a “coiling dragon” staff. In martial arts circles nowadays, it is often considered to be a “string of beads” exercise [i.e. merely a means of passing the time and thus not really relevant training], and so there are very few who practice it. When Master Luo came south, everyone knew of his skill with Mantis Boxing, Luohan exercises, and his iron palm ability. His skill with the “tiger tail” three-section staff was also praised in the martial arts community, and once while he was performing with it, everyone realized the high level he had achieved long before he had even finished the set. These are just a few words of introduction to give a very general idea.
　　- Huang Hanxun, a fine day in the second month of summer, 1956

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第一式　持棍中平式
Posture 1: HOLDING THE MIDDLE OF THE STAFF HORIZONTALLY

說明：
Explanation:
我先擇定西方作起式，雙脚合攏站定，两手分持棍之兩端近節處，棍端向下微斜，中段緊靠腹部，目向南注視，右西，左東，背北，面南，為預備式，如（一）『定式圖』
First position yourself in the western area of the practice space and make the beginning posture, feet standing together, hands spread apart and holding the two end sections, which are pointing slightly diagonally downward, the middle section against your belly. Your gaze is to the south. The west is to your right, east to your left. Your back is toward the north, your face toward the south. This is the preparation posture. See photo 1:

功用：
Application:
棍尚未展開，故無功用可言。
In this posture, you have not yet extended the staff, and thus there is no application to speak of.

第二式　跨虎低攔式
Posture 2: SITTING TIGER, DOWNWARD BLOCK

說明：
Explanation:
先伸出右脚作虛式，同時將棍向左右一分以成一直綫形如「過渡式甲圖」。
First your right foot reaches out, making an empty stance, the staff at the same time spreading to the sides to make a line. See photo 2a:

再出左脚以成跨虎步，两棍向當中一交，交叠中以左下右上叉點朝下為合，如『定式圖』。
Then your left foot goes out, making a sitting-tiger stance, as the ends of the staff cross in front of you, pointing downward with the left section underneath and the right section on top. See photo 2b:

功用：
Application:
彼以長械如槍棍之類，自我下路刺進，我即用交叉法往下攔之。
An opponent uses a long weapon, such as a spear or staff, to stab to my lower body, so I use an action of crossing the ends to block it downward.

第三式　背負蛟龍式
Posture 3: CARRYING THE FLOOD DRAGON ON THE BACK

說明：
Explanation:
循上式，後脚拍前再成立正式，兩手同時一轉使棍之中段向下，如「過渡式甲圖」。
Continuing from the previous posture, your rear foot stomps forward and you stand straight, your hands at the same time rotating to send the middle section of the staff downward. See photo 3a:

再將右脚向西移開，棍亦向西擺去，如「過渡式乙圖」。
Then your right foot steps out to the west, the staff also swinging out to the west. See photo 3b:

再拉起左脚以後跨虎之勢，棍由右西方再兜向左東方成一轉，然後再返囘西後方，向東注視如「定式圖」。
Then [turn around rightward and] pull in and lift your left foot, making a sitting-tiger stance, the staff drawing a circle from the west at your right toward the east at your left and then returning to the west behind you. Your gaze is to the east. See photo 3c:

功用：
Application:
彼以長械自我中上路刺來，我翻棍向上，復使之轉動，來械必為我消去無疑矣。
An opponent uses a long weapon to stab to my upper body, so I send the staff upward in an arc that is sure to send away his incoming weapon.

第四式　掛槍纏繞式
Posture 4: DEFLECTING A SPEAR WITH A COILING CIRCLE

說明：
Explanation:
先將左脚移開，棍仍照原不動，如「過渡式甲圖」
First your left foot steps out, the staff not yet moving from its position. See photo 4a [5b]:

再自面前偸進右脚，棍由後掠過前左方，如「過渡式乙圖」。
Then your right foot advances with a stealth step, the staff sweeping across to the forward left. See photo 4b:

再左轉移以成右跨虎步，棍亦兜一圈，以轉於左方，如「定式圖」。
Then shift to the left and make a right sitting-tiger stance, the staff drawing a circle to the left. See photo 4c:

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

第五式　掛槍纏繞式
Posture 5: DEFLECTING A SPEAR WITH A COILING CIRCLE

說明：
Explanation:
循上式，先將右脚移開，棍自後向前撇出，如「過渡式甲圖」。
Continuing from the previous posture, first your right foot steps out, the staff swinging out forward from behind you. See photo 5a:

再移開左脚以成如虛步，棍已兜一圈易右手為上，左手為下矣，如「過渡式乙圖」。
Then your left foot steps out, as if to make an empty stance, the staff drawing a circle that switches your right hand to being above, left hand below. See photo 5b [4a]:

再拉起左脚以成左跨虎步，棍收於右後下，如「定式圖」
Then pull in and lift your left foot, making a left sitting-tiger stance, the staff now hanging downward to the right rear. See photo 5c:

功用：
Application:
與前兩式大致相同。
Mostly the same idea as in the previous two postures.

第六式　魚翁撒網式
Posture 6: OLD FISHERMAN CASTS HIS NET

說明：
Explanation:
循上式，放下左脚，進前右脚成虛式，棍由右後轉過左下方，如「過渡式甲圖」。
Continuing from the previous posture, your left foot comes down and your right foot advances to make an empty stance, the staff arcing from the right rear to the lower left. See photo 6a:

再將左脚由後偸過東方以成坐盤式，同時右手移握棍之端末，棍由後西方極力朝前東方一殺而出，右掌則反攔於頭上，如『定式圖』。
Then your left foot does a stealth step to the east from the rear, making a sitting-twisted stance, as your right hand shifts to grab the end of the staff, the staff going from the west behind you to forcefully smash forward to the east, your right [left] palm turning over to guard above your head. See photo 6b:

功用：
Application:
彼為我連續消去刺來之數槍，我覓得空隙乃乘其畧一緩慢，即以全棍放盡之勢，全力殺擊之。
Having continuously deflected away the opponent’s stabs, I notice a gap and take advantage of his moment of slightly slowing down by using the whole staff to do a smashing attack.

第七式　囘身劈槍式
Posture 7: TURNING AROUND, CHOPPING AWAY A SPEAR

說明：
Explanation:
循上式，先原步不變，以左手先握右手所握之處，使右手順落握棍之中段，如「過渡式甲圖」。
Continuing from the previous posture, with your feet staying where they are, your left hand first takes over your right hand’s grip, and your right hand slips down to grab the middle section of the staff. See photo 7a:

再先退右脚，再退左脚，以成右登山步，棍由東方經過頭頂殺落西方，如『定式圖』。
Your right foot retreats, then your left foot, and you make a right mountain-climbing stance, the staff passing over your head from the east and smashing down to the west. See photo 7b:

功用：
Application:
彼繞過我後方，擬以槍自我中下路刺來，我即疾退兩步，以減其洶洶之勢，再運棍劈之使其不能逞也。
The opponent passes around behind me and tries to stab his spear to my middle or lower body, so I quickly retreat with each foot to escape from danger, then chop with the staff to keep him from being able to get to me.

第八式　偷步斜打式
Posture 8: STEALTH STEP, STRIKE DIAGONALLY

說明：
Explanation:
循上式，右脚由面前偸過東方，棍隨步轉移拖過東方，如「過渡式甲圖」。
Continuing from the previous posture, your right foot goes from in front of you and does a stealth step to the east, the staff going along with the step by dragging across in an arc to the east. See photo 8a:

再原步不變，運棍由東經面前殺向西方，如『定式圖』。
With your feet staying where they are, swing the staff from the east, passing in front of you and smashing to the west. See photo 8b:

功用：
Application:
彼漏過我上式之劈殺，隨即進來一槍，我先偸步讓之，更以棍拖來槍，再乘一拖一讓之勢，揮棍殺擊之。
Dodging my smashing chop from the previous posture, the opponent then immediately stabs again, so I first do a stealth step to evade it while using the staff to drag his spear aside, then take advantage of the moment by swinging the staff at him with a smashing strike.

第九式　轉身小劈式
Posture 9: TURNING-BODY LESSER CHOP

說明：
Explanation:
循上式，由左轉身再退左脚以成右登山式，棍隨身轉復劈於西方，如『定式圖』。
Continuing from the previous posture, turn your body to the left and retreat your left foot, making a mountain-climbing stance, the staff going along with the turning of your body and then chopping to the west. See photo 9:

功用：
Application:
與第七式畧同。
Same as in Posture 7.

第十式　走跳右劈式
Posture 10: RUNNING HOP, RIGHT CHOP

說明：
Explanation:
全身以蹤跳方式躍進前西方以成右七星式，當躍進時將棍端盡力抽擊過右方，如『定式圖』
Your body hops forward to the west, making a right big-dipper stance, and you send the staff in a forceful whipping strike across to the right side. See photo 10:

功用：
Application:
彼以我上式劈殺之太兇勇，乃思退步躱閃，我不俟其撤退即躍進橫抽之。
The opponent finds my chop from the previous posture to be too ferocious, so he wishes to retreat and evade, but once he backs off, I hop forward and whip my staff across.

第十一式　走跳左劈式
Posture 11: RUNNING HOP, LEFT CHOP

說明：
Explanation:
循上式，原步全身再向西前方躍進一步，將抽向右方之棍反抽過左方，如（一）『定式圖』。
Continuing from the previous posture, your body again hops forward to the west to be in the same stance and you send the staff whipping across to the left side. See photo 11:

功用：
Application:
與上式大致相同，惟連續左右進擊之法為可取也。
Mostly the same as in the previous posture, just continuing the technique to perform it on both sides.

第十二式　馬勢迴攔式
Posture 12: HORSE-RIDING STANCE, TURNING BLOCK

說明：
Explanation:
循上式，先放平右脚，再進左脚於西方即成面南之騎馬式矣，棍則隨身轉動而抽東右方使成攔截之勢，如『定式圖』
Continuing from the previous posture, first your right foot comes down fully, then your left foot advances to make a south-facing [north-facing] horse-riding stance, the staff going along with the turning of your body by whipping to the right with a blocking action to the east. See photo 12:

功用：
Application:
此是提防自後突擊，或彼繞我右方而走之寓攻於守之法也
This is a method of defending against a sudden attack behind me, or of defending against the same opponent if he has circled around to my right to attack me.

第十三式　七星反抽式
Posture 13: BIG-DIPPER STANCE, WHIPPING BACK AND FORTH

說明：
Explanation:
循上式，先將右脚自面前偸過西方，棍亦隨步轉過西左方，如「過渡式甲圖」。
Continuing from the previous posture, first your right foot does a stealth step in front of you to the west, the staff going along with the step by arcing leftward across to the west. See photo 13a:

再開左脚蹺起右脚即成可北之右七星步矣，棍亦在轉步之間，由左西方繞一圈力殺過右東方，如『定式圖』。
Then your left foot steps out and your right toes lift up, making a north-pointing big-dipper stance, the staff going along with the step by smashing across with a forceful rightward arc to the east. See photo 13b:

功用：
Application:
斯是偏身側馬之打法，亦是似進似退，亦攻亦守之法，連「十四」「十五」三式為連環。
This is a method of attacking while evading with my body and sidestepping, a means of seeming to advance and retreat at the same time, or of seeming to attack and defend at the same time. Together with Postures 14 and 15, these three postures form a continuous technique.

第十四式　七星反抽式
Posture 14: BIG-DIPPER STANCE, WHIPPING BACK AND FORTH

說明：
Explanation:
與十三式同
Same as in Posture 13. [See photos 14a and b:]

功用：
Application:
與十三式同
Same as in Posture 13.

第十五式　七星反抽式
Posture 15: BIG-DIPPER STANCE, WHIPPING BACK AND FORTH

說明：
Explanation:
與十三式同
Same as in Posture 13. [See photos 15a and b:]

功用：
Application:
與十三式同
Same as in Posture 13.

第十六式　馬勢迴攔式
Posture 16: HORSE-RIDING STANCE, TURNING BLOCK

說明：
Explanation:
循上式，將右七星步之脚自向北繞過向西以成騎馬式，棍亦隨身轉過向西之偏南方殺下至企直為止，如『定式圖』
Continuing from the previous posture, your right big-dipper stance twists around to the west and you make a horse-riding stance, the staff going along with the turning of your body by smashing downward to the west and slightly toward the south, finishing with the end section vertical. See photo 16:

功用：
Application:
彼繞過我西後方施以突擊或另一敵自我後突入，我即變步易勢以迎攔之。
The opponent circles around behind me to the west to suddenly attack me, or another opponent suddenly attacks behind me, so I change my stance to face him and block it.

第十七式　撤步蓋頂式
Posture 17: WITHDRAWING STEP, COVERING ABOVE

說明：
Explanation:
循上式，左右不變原來本來位置，祗易馬式作登山式耳，棍亦隨步向東直撇而出，如「過渡式甲圖」。
Continuing from the previous posture, your feet stay where they are and your position does not change, except that you switch from a horse-riding stance to a mountain-climbing stance, the staff going along with the stance change by swinging out to the east. See photo 17a:

再將右脚自前偸進東方，棍從左兜一圈易前作後如「過渡式乙圖」。
Then your right foot does a stealth step in front of you to the east, the staff drawing a circle from the left and going behind you. See photo 17b:

步向左轉以成右跨虎步，棍由後撇前下方，如『定式圖』
Your body turns to the left and you make a right sitting-tiger stance, the staff swinging forward and downward. See photo 17c:

功用：
Application:
彼集多械紛紛向我上路擊來，我即用轉勢橫掃法迎擊之。
Several armed opponents attack my upper body in succession, so I use a method of sweeping across to strike them away.

第十八式　撤勢蓋頂式
Posture 18: WITHDRAWING, COVERING ABOVE

說明：
Explanation:
循上式，先將右前脚向東移開以成右登山式，棍亦向前東方撇去，如「過渡式甲圖」。
Continuing from the previous posture, first your right foot steps out to the east and you make a right mountain-climbing stance, the staff swinging out forward to the east. See photo 18a:

再將右脚向後西方撤退一步，再以左脚由前偸步西方，棍循右後方兜一大圈然後再成如「過渡式乙圖」。
Then your right foot retreats a step to the west and your left foot does a stealth step to the west in front of you, the staff continuing to the right rear, drawing a large circle that takes it forward again. See photo 18b:

再將右脚開向後西方以成左跨虎步，棍亦由前拖歸後下方，如『定式圖』。
Then your right foot steps back to the west and you make a sitting-tiger stance, the staff dragging across to the rear and downward. See photo 18c:

功用：
Application:
與上式大致相同，祗左右之別耳。
Mostly the same as in the previous posture, only with left and right reversed.

第十九式　坐盤倒劈式
Posture 19: SITTING TWISTED, CHOPPING BEHIND

說明：
Explanation:
循上式，先放平左脚，偸前右脚，棍全未動，如「過渡式甲圖」。
Continuing from the previous posture, first your left foot comes down fully, then your right foot does a stealth step in front of you, the staff not yet moving. See photo 19a:

左脚自後偸前，棍由南後方拖過北後方，如「過渡式乙圖」。
Your left foot does a stealth step behind you, the staff dragging across from behind you, to the south, to the north, and behind you again. See photo 19b:

再全身一坐以成坐艦之勢，棍自西方殺過東前方，如『定式圖』。
Then your whole body sits into a sitting-twisted stance, the staff going from the west and smashing forward to the east. See photo 19c:

功用：
Application:
彼械擬從我左側刺來，我先拖去之，再跟棍直殺其顱。
An opponent tries to stab to my left side, so I first drag his weapon aside, then follow by smashing to his head.

第二十式　登山迎劈式
Posture 20: CLIMBING THE MOUNTAIN, GREETING WITH A CHOP

說明：
Explanation:
循上式，全身循左轉即易面對北方為面對南方，棍亦隨身而轉，如「過渡式甲圖」。
Continuing from the previous posture, your body continues to turn to the left until it has gone from facing to the north