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