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科學化的國術
SCIENTIFIC MARTIAL ARTS
吳志青
by Wu Zhiqing
[originally published as 應用武術中國新體操 Using Martial Arts to Make China’s New Calisthenics in 1919/1920, (known more commonly as just 中國新體操 China’s New Calisthenics), then published in serialized form in 武術 Martial Arts Magazine as 應用科學之國術 Applying Science to Martial Arts, 1921, and finalized in book form during 1921 as 科學化的國術 Scientific Martial Arts]

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體育良師
Physical education is an excellent teacher indeed.
王正廷題
– calligraphy by Wang Zhengting

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志氣精神
On willpower, energy, essence, spirit:
三軍不可奪者志也
To be unconquerable even by armies – that is what it means to have willpower.
百折而不撓者氣也
To be sent down many detours and yet never be frustrated – that is what it means to have energy.
專一而不雜者精也
To be focused on one thing and not distracted by many – that is what it means to have essence.
聖而不可知者神也
“To have wisdom beyond the comprehension of others – that is what it means to have spirit.” [Mengzi, chapter 7b]
閩侯林傳甲敬題
– calligraphy by Lin Chuanjin of Minhou County

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沈序
PREFACE BY SHEN ENFU

東方數千年號稱古文明一大國如吾中華者，當然有甚多之國粹流傳於世間，而供教育者研究之資料也。雖然，東方國性，向多趨重貴族式，而罕為平民式者。其所謂文明事業，大抵依帝王士大夫為隆替；而閭巷田野間，農工商等之社會習尚，十九皆湮滅不傳。予甚感焉！繼而思吾國國粹，蓋偏重於文科藝術之研究，以其迫於貴族式也。若乎武術藝術。與平民社會諸藝術，均鮮列於國粹之價値矣。間嘗稽我國史，武派雖不少奇才異能；而但詳俠義，武術則略也。武科雖不少豐功偉績；而但著兵法，武術則缺也。若是乎中國果無武術之國粹乎？曰，否，否，蓋有之。則在江湖獻藝者之手技，或方外僧侶等之口授；若欲求諸學校教育，專科研究，以普及於平民智識者，闃然未之前聞。夫世間無論何事，皆自有其條理，皆可為藝術；為藝術，皆可成學科，而有其教材。况乎吾國武術，自有精義原理良法妙用存乎其中，卓然為我東方古文明國一大國粹。雖少專書傳世，然自有能之者學習而傳之。日本有柔術專家，蔚成武士道。歐洲古時有武士教育，今尤多技擊家。列强之名，有由來矣。今我國正患文弱，倘有武術家起而振奮之，寧非急務乎？吳君志靑，毅然倡設武術會；更本其夙所練習之武術智能，著為武術新教材。今付刊以廣供各學校之傳習，他日於普通體育科外，新樹一幟，斯已美矣！矧其裨益於平民教育，尤切實用歟？爰弁數語，以告武術學者。
新紀元之十年四月沈恩孚
For thousands of years, the “great civilization of the East” was our China. It has of course had a rich cultural influence upon the world and supplied educators with much to research. However, it is characteristic of our eastern nation to have typically emphasized things that happened to aristocrats and rarely to ordinary people, feeling that the history of a culture generally comes down to the rise and fall of emperors, kings, and generals. As for society at large in the lanes and fields, the experiences of farmers, laborers, and merchants have mostly been tossed aside, a loss which I deeply feel. When I think about our nation’s culture, I see that it has laid particular stress upon the study of literature and art precisely because it has been so obsessed with the nobility. Martial arts or any of the other skills of the common people have rarely been considered worthy of being classified among the essential aspects of our culture.
　　Examining into our nation’s history, although martial arts schools have many tales of people with astounding abilities, there is information about the heroes themselves but a lack of information about the actual skills they possessed, and likewise, although our military histories have many records of great achievements, there is information about the strategies used but a lack of information about the actual skills that the soldiers used to carry them out. Are martial arts therefore absent from China’s cultural essence? No, not at all. They are to be found in the exhibitions of itinerant performers or the teachings of mystical monks. But the hope that they might be made a part of educational curricula and become a field of study, the idea of spreading them until they are common knowledge among the people, is something that is previously unheard of.
　　Whatever people do, they develop a way of doing it, and thus it can become a craft. Once something is a craft, it can be turned into a course of study. And once something is made into a course of study, it will have its textbooks. This should be especially true for our nation’s martial arts, since they contain refined principles and sophisticated methods. They are an outstanding and grand feature of our ancient civilization. Although there are not many specialized books that have been passed down, there are nevertheless still capable people to pass on these teachings. Japan has its Judo masters to spread their culture of Bushido. Europe in the middle ages had its knights to set an example and now in modern times has its many skillful boxers. These are reasons why the great powers are considered “great”. Our nation is now in a state of anxiety and weakness. Is there not an urgent need for our martial arts masters to get up and inspire us?
　　Wu Zhiqing, determined to promote these arts, established the Martial Arts Association and has been using the knowledge he has accumulated on the subject to produce new teaching materials, such as this book which is soon to be published and then widely supplied to various educational institutions. Someday it will have spread beyond schools of physical education and stand as a proud banner for us all, for it can also serve as a very practical means of educating the masses as a whole. Therefore I have written these few words to tell martial arts students about it.
　　- Shen Enfu, April, 1921

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林序
PREFACE BY LIN CHUANJIA

健全之精神，栖於健全之身體，身體不健，則精神昏惰，陷於醉生夢死，而不自知。中國自甲午一敗，睡獅始覺。余以化學生求試武備學堂。因身材短小，目力短視，不獲選。然丙申刱時務學堂，以幼學操身為體操教科，佐以中國易筋經。二十年來，南行不避煙瘴，北行不避冰霜，周遊十五省區，實賴此有用之身，精神不減也。黑龍江為尚武之地，愚夫婦十年教訓；今畢業生之武術，亦見稱於精武體育會，如劉生鳳池是也。然未若郭生濬黃，日馳馬八百里，挾五經以傳孔教於庫倫，尤勇敢也。嗟乎！南强北勝，海內紛紜。平心論之，滿蒙土厚水深，勢不可當，兵皆可用；成吉思汗征歐之偉烈，亦我五大民族之光也。願吳子鼓吹東南文明之學子，毅然自强，自此書始。並養精蓄銳，建設新事業。則體育之用於實業道德甚多，非僅以尚武耀兵也。不戢自焚，古有明訓。武裝和平，人皆可用。吾其師美利堅乎！
閩侯林傳甲謹序
A strong mind dwells in a strong body. When the body is not fit, the mind is not really awake. One slips into a befuddled lifestyle and loses self-awareness. Since our defeat in 1894 [1st Sino-Japanese War], our “sleeping tiger” of a nation began to stir, so I decided to join a military academy. But because my body is too small and I am too nearsighted, I was not accepted. In 1896, I instead established one of the Modernization Schools, where one thing that we taught to the children was physical education based on the Yijinjing exercises. For the last twenty years, I have not been able to avoid the suffocating humidity when traveling in the south or the biting frost when traveling in the north, and so while journeying through fifteen provinces [in his work as an educator, geographer, and historiographer], I have relied on such exercises to stay healthy and keep my mind sharp.
　　Heilongjiang is a place that still has respect for the martial quality. I taught there with my wife for ten years. I have recently graduated in a martial arts course at the famous Jingwu Athletic Association. However, I am more like a steadfast Liu Fengchi than a superhuman Guo Junhuang, who galloped his horse hundreds of miles in a day, as I carried the Five Classics [Book of Poems, Book of History, Book of Rites, Book of Changes, Spring & Autumn Annals] under my arm to pass on Confucian teachings in places like Ulaanbaatar, which takes a peculiar courage indeed.
　　The south struggled, but the north conquered, and everything in between is now a mix of cultures. Calmly put, Manchuria and Mongolia are vast territories that contain unstoppable peoples, soldiers always ready to fight. Such peoples enabled Genghis Khan’s conquests to spread all the way into Europe and are now the glory of our “five great ethnicities” [in top-down order on the Republican-era five-colored flag representing the five ethnic groups in China: Han Chinese (red), Manchus (yellow), Mongols (blue), Hui or Chinese Muslims (white), and Tibetans (black)].
　　I hope that Wu’s preachings will get students of southeastern Chinese culture to resolve upon self-strengthening, which starts with books like this. Build up your energy for the new tasks that lie ahead. Physical education has a great many uses in industry and ethics, and is not just for the military. Ancient lessons have taught us: “If you do not learn to control yourself, you will destroy yourself.” [paraphrasing from Zuo’s Commentary to the Spring & Autumn Annals, 4th year of Duke Yin: “An army is like fire. If it is not restrained, it will incinerate itself.”] But to be prepared for war during peacetime is better for everyone, as the Americans have shown us.
　　- sincerely written by Lin Chuanjia of Minhou County [in Fujian] [This preface is undated, but it was obviously written around the same time as the surrounding prefaces since Lin died in Jan, 1922.]

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謝序
PREFACE BY XIE QIANGGONG

今之世界，科學世界也，科學之於世界，猶腦筋之於人身。無腦筋，則人身無精神；無科學，則世界無文明。故今日莊嚴燦爛之世界之新文明，實則精密佳妙之科學之現象也，科學之部類，無分乎文武，今世陋俗，執有文學無武學之說，是謬見也。夫立國大地，文武不可偏廢。故所謂武術，亦新文明之一種原素也；亦可曰一種科學也，豈徒以技藝名之乎？且卽為技藝，亦豈可無科學之原理原則乎？我中華為世界有名之古文明國，在昔帝王時代，開國創業，競尚武功。斯時講武術者，因帝王習尚，播為世界風俗；而武術家輩出，武術書紛陳，是科不無進步。迨乎國家承平，修文偃武，民風日趨文弱；不數十年，武術界不絕如縷，廢弛不復講求。蓋社會之智識，純隨帝王嗜好為轉移，數千年如出一轍，良可慨歎！歐洲當中古封建時代，諸王侯各養武士，尚技勇，武術因之日精。其後封建廢而武士屛棄，武術漸衰，中外蓋有同慨！雖然，我國之武術，遺傳於後世，而得為寶貴之一種國粹者，蓋亦不少，日本得我緒餘，別成一種武士道。維新以後，參加科學之精意，遂以技擊為戰勝强俄之特別利器，亦可謂殊榮矣！返觀吾國武術，雖有南北少林武當等派，然而有保守，無進步，不能利用之以增國防之色彩；此其故何也？蓋無專科研究之組織，卽不可合於科學之方法。是故徒事拘墟，而不能普及發展耳，吳君志靑，首創武術會於海上，成立僅及年餘，會員日增；分會且推及於閩粵南洋，遠及法國等處；前途蓋有無窮之希望焉。吳君於武術專門研究有年，其言曰：武術蓋與科學有密切之關係者也。居今日而謀救國，武術實為要圖。然苟不依科學之方式，以改良推廣之，則永無進化之日。其研究武術之大略：（一）須按生理學之義理，而不背衞生之要旨。（二）從心理上研究，求學者之智識如何精確，意志如何高尚，感情如何活潑輔以音樂，助學者之興趣。（三）須合於教育上之程序，而養成是科人才，謀普及於平民社會。（四）練習各種動作，須合實用，如交際上跳舞諸有規則之優美運動；以期改良社會粗野之習慣，而以體育輔佐德育精神，養成完全高尚之人格。綜上四者，以立武術研究之要旨；謂之武術科學可也，謂之科學武術亦可也。夫如是，是科之價値，庶幾可增高於今日競存之世界矣。今吳君又以其所研究貢獻於世而按生理之構成，與體育之原理，心理之關係，教育之順序，以編成各種柔軟體操，分之，則為精練優勝之各種新式技能；合之，則連成一貫之實用手法；狹之，則交際社會，為活潑優美之舞蹈；廣之，則捍衞國家，為出奇制勝之利器。嗟乎！中國武士道，曷嘗非新文化運動之一種乎？世有倡武術救國者，須知仍是科學救國而已。故惟有科學之武術，始足稱武術；亦始足發揮光大科學之效用也。今吳君將以斯編付刊，廣供各界之傳習。爰序其要略於簡端。
中華民國開國十年四月强公謝燮
The modern world is a scientific world. Science in the world is like the brain in the body. Without a brain, the body would have no mind. Without science, the world would not have a civilization. The majestic and magnificent world of modern civilization is indeed built upon precise and ingenious use of scientific phenomena. However, science does not categorize things into “civil” or “martial”. It is ordinary people who cling to dubious notions of civil knowledge versus martial knowledge. Because founding a nation over such a huge territory cannot be achieved by relying on either the civil or martial quality on its own, martial arts have to be equally considered to be an element of modern civilization. Martial arts can also be considered to be a science and not merely an “art”. How indeed can any skill not involve scientific principles?
　　Our Chinese nation is famous throughout the world for its ancient civilization. In the days of emperors and kings, the pioneering work of founding a state was still a military endeavor. At such a time, martial arts practitioners were favored by rulers and this had an influence on the culture of the society. More martial arts experts emerged and more martial arts texts appeared, and so the science progressed. But when the nation was at peace, it turned to civil matters and abandoned military concerns, and then its people increasingly weakened. After just a few decades, the martial arts community was reduced to a precarious existence, on the edge on being forgotten. For thousands of years, our society’s customs and knowledge shifted according to the whims of its rulers, something that gives us cause to sigh with regret.
　　Similarly, the nobles of Europe in the Middle Ages all supported knights and had respect for skillful warriors, and so their martial arts became more and more refined. When feudalism later ended, the knights disappeared with it, and the martial culture of Europe gradually declined. Thus both China and foreign nations face the same sense of having lost something.
　　However, our nation’s martial arts were passed down to future generations and treated like cultural heirlooms. (Because there were so many, Japan took from the surplus of our martial arts to create their Bushido. After embarking on their period of modernization, they added scientific knowledge to their arsenal and then used their skills to defeat Russia, even with all her specialized weapons, surely a glorious achievement.) Looking over our nation’s martial arts, although styles classified as “northern” or “southern”, “Shaolin” or “Wudang”, have been preserved, they have not progressed. They therefore cannot be used to add to our national defense. Why? Because unless they are organized into a specialized system of study, they will not conform to a scientific methodology. If we are narrow-mindedly fixated on one style or another, our martial arts as a whole cannot be popularized and further developed.
　　Wu Zhiqing founded the Martial Arts Association in Shanghai, just over a year ago, but its membership has since increased to such an extent that branch schools have spread south into Fujian and Guangdong, and even as far away as France. Its future has limitless prospects. Wu has made a specialized study of martial arts for many years and asserts that martial arts are intimately related to science. “The plan is to rescue the nation, and martial arts are the key to that plan. But if we do not rely on scientific means to improve and popularize these arts, we will never make any progress toward that goal.” His general plan for the studying of martial arts runs thus:
　　1. It has to be in accordance with physiological principles and not go against the requirements of health.
　　2. It should follow a psychological approach, seeking for the student’s knowledge to be accurate, ambitions to be noble, and emotional state to be lively. A musical rhythm can also be used as a means to help the student feel more engaged in the exercise.
　　3. It has to be structured in a pedagogical sequence, in order to best cultivate the talents of individuals and be spread more efficiently to the rest of society.
　　4. The training has to have a similar function to the rules of graceful dance, that of reforming the cruder habits of society, of boosting one’s moral instinct and elevating one’s character.
　　Equipped with these four points to ground martial arts research, it can be called “martial arts science” or “scientific martial arts”. In this way, it is a valuable branch of study that can give us an edge in this modern competitive world. Wu is now offering what he has learned to the world, using principles of physiology and sports training, a psychological approach, and a pedagogical structure to make a series of calisthenic exercises. Any one of these exercises is a simple yet superior means of developing skill. When combined, they are a continuous series of practical hand techniques. Looked at with a narrow view, it serves as a lively and graceful dance which facilitates social interaction. Looked at with a broader view, it is a cunning weapon for defending the nation. Here then is Chinese Bushido. How could exercises like these not be a feature of our New Culture Movement?
　　Those who promote martial arts to rescue the nation have to understand that they also need science in order to rescue the nation. Therefore it is the more scientific martial arts that deserve to be considered the real martial arts, and they are also the ones that reveal the wonderful effectiveness of science. Wu is about to send this book to the printers in order to spread the knowledge it contains to a wide audience. Thus I have written this preface to supply a brief overview.
　　- written by Xie Qianggong, April, 1921

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唐序
PREFACE BY TANG XINYU

世界無新物，特本諸原質，各盡發明製造之能事而已；世界無新理，特本諸自然，各盡尋繹推演之心力而已，故一代之技能，有一代之應用；一國之技能，有一國之特性；古代之技能，不必適用於今界；歐美之技能，未必適用於中國；因環境之不同，而思想之各異也，吾於體操亦然，德日之體操，重强健身體而適用於軍事；英美則重訓練精神而適用於生活，雖其方法應用各有不同，要皆本諸其固有之活動，適應各自之環境，以發揮其特性而已，不知者妄行採取，徒為削足適屨之謀，未見截長補短之效，尤有復古者流，斤斤為國粹之保存，而昧於時代環境與思想之變遷，是皆不能盡發明製造之能事，與尋繹推演之心力者也。
吾國民固自有其技能，特時代應用之不同，未免相形見絀耳，吾國又固有其特性，特訓練之法不良，故未足以發展耳，試放眼觀察現代之環境，旣不應具黷武雄心，如德日之專重軍備；又不可泰然自處，如英美之偏重生活，則吾國現代所取之體育方針，應折衷此二者，已無疑矣。吾國固有之技能為何？武術是也。固有之特性為何？仁義是也。之二者，如能加以變通採為體育之方法與目的，更善事應用訓練，以應付現代之環境，必能折衷德日英美之間，而吾國民有卓立之地位也。
吾友吳君。素精武術，尤明體育之眞義；故本其平日所學，參以教授心得。以中國固有之武術為原質，加以科學方法之製造，發明一體育上之新物品，命其名曰「應用武術中國新體操」今更名「科學化的國術」旣成此册，索序於余；余細玩其編列之次序，與應用之方法，深合生理學心理學及教育學之原理，旣足增進健康，又能引起興趣，更能養成各善良之性質，是誠體育研究之菁華，尤預備應付環境之良術也，謹弁數言，質之識者以為何如？
中華民國十年四月唐新雨
There is really nothing new in the world, everything being built from fundamental elements, and thus inventions come simply from skillfully putting those elements together. There are also really no new truths in the world, everything being derived from fundamental principles of nature, and thus insights emerge simply through persistently applying powers of deduction. And therefore the skills of a particular era will serve the needs of that era and the skills of a particular nation will be characteristic to that nation.
　　Ancient skills are not necessarily suitable for the modern world. European and American skills are not necessarily suitable for China. Different circumstances bring different ideas. The same is true for our forms of exercise. German and Japanese calisthenics emphasize strengthening the body for military use, whereas British and American calisthenics emphasize boosting the spirit to make better workers. Although their methods serve different purposes, they are each based on their nation’s innate patterns of exercise, suitable for each nation’s particular circumstances, and express the character of that nation.
　　Ignorant people choose any form of exercise, giving no thought to whether it is appropriate. They are following a strategy of “whittling the foot to fit the shoe”, not noticing the effects of trying to bring equality to one’s shortcomings by way of reducing one’s strengths. And then there are those who seek to return to the past in every little detail in order to preserve our national culture. They fail to understand that circumstances and ideas change over time. In both cases, such people lack skills of invention and powers of deduction.
　　Our nation’s people have an innate skill, which is not as good as it used to be even though its use has varied from one era to another. Our nation’s people also have an innate character, which will not get developed if the training is not right. Looking at the wider view of our situation in modern times, we should not be too militaristic, like Germany and Japan focusing on training their armies, but we should also not be too sanguine, like Britain and America putting their attention simply on the people being able to make their livelihood. The guiding principle of the physical education we choose for our nation should undoubtedly be somewhere between the two.
　　What is our nation’s innate skill? Our martial arts. What is our nation’s innate character? Benevolence and righteousness. If we can take our innate skill and our innate character and adapt them for modern times, then we can pick the right methods of physical education most suitable for our goals, and by adding in the best forms of training, we will able to respond to our present situation. We have to get the right mix of the emphasis of Germany and Japan with the emphasis of Britain and America [i.e. training for both fighting and health], and then our nation will be able to stand tall in the world.
　　My colleague Wu is an expert at martial arts, and particularly understands the true significance of physical education. Therefore based on what he has learned from his own training and what he has discovered through teaching it, he has taken China’s native martial arts and added scientific methods to create a new form of physical education, which he put into a book called Using Martial Arts to Make China’s New Calisthenics, the title recently changed to Scientific Martial Arts. Once the manuscript was completed, he asked me for a preface.
　　I have carefully gone through his arrangement of exercises and methods of applying them, and have found that they strongly conform to principles of physiology, psychology, and pedagogy. They are more than adequate for increasing health, and can enhance one’s sense of enjoyment, as well as cultivate good character. It is truly the height of physical education studies and is an especially good means for preparing us to deal with whatever situations might arise. I sincerely offer these few words, though I am sure that more knowledgeable people can put it better than I have.
　　- Tang Xinyu, April, 1921

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蔡序
PREFACE BY CAI JUEZAI

我國武術，歷久不敗，蓋有哲理存乎其間，非精於斯道者，實難洞悉之也。其後派別旣夥，眞傳漸失，所以然者，一則挾技橫行，致遭社會唾棄；一則智識譾陋，不知其所以然，而失其眞；良可惜已。歙縣吳君志靑余同學也，研究武術十有餘稔，教授之暇，輒自練習，其好學不倦之心，令人肅然起敬，民國八年，吳君集合同志，刱辦中華武術會於滬南，不期年而會員已達千餘人之多，深受社會信用，乃者出其所學，著成一籍，題曰「應用武術中國新體操」今更名「科學化的國術」。改進武術，意在普及，一般學校社會咸可採用練習，謂為健身法可；謂為延生術亦無不可，造福人羣，實非淺鮮，武術前途，有曙光矣！謹為序。
中華民國十年四月蔡倔哉
Our nation’s martial arts have never been outclassed, and this is because they are imbued with philosophical principles. Without fully mastering an art, it is truly difficult to understand it thoroughly. As systems later diverged into styles, authentic teachings were lost. This is on one hand because practitioners who misused their skills were expelled from society, and on the other hand because practitioners who had an incomplete knowledge of the art did not have a thorough understanding of how it worked and so were not able to pass on the true teachings. This is truly a pity.
　　My fellow student Wu Zhiqing of She County [in Anhui] has studied martial arts for more than ten years. In teaching and training, his tireless love of learning has earned him great respect from people. In 1919, Wu gathered together his comrades to establish the Chinese Martial Arts Association in the southern part of Shanghai. After not even a year had gone by, membership had already risen to more than a thousand people.
　　Having garnered such deep regard from society, he in return has drawn from his learning to write a book which he originally titled Using Martial Arts to Make China’s New Calisthenics, the title now changed to Scientific Martial Arts. He wishes to make martial arts easier to popularize, something that can be practiced in ordinary schools. These arts can also be thought of as both a method of fitness and a means of longevity, and so the benefit this would bring to people would by no means be insignificant. Because this gives us real hope for the future of martial arts, I sincerely write this preface.
　　- Cai Juezai, April, 1921

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凡例
GENERAL COMMENTS

一本書以普及體育為主旨，故取材極簡，期合實用而便練習，編者曾實驗於上海女靑年會體育師範民立中學江蘇省立第二師範上海縣立一高養正潮惠和安第二師範附屬育材等學校，及江蘇省教育會體育研究會曁中華武術會等處，已獲良好效果。
– The purpose of this book is to popularize physical education, and therefore I have selected material that is extremely straightforward and which is both practical and easy to practice. I have experimented with this material in the Shanghai YWCA Teacher-Training School, the Establish-the-People High School, the Jiangsu 2nd Teacher-Training School, Shanghai County 1st College, Municipal Uniformed Elementary School, Spreading Benevolence Elementary School, Harmony & Peace Elementary School, 2nd Teacher-Training Attached School, and the Raising Talent Elementary School, as well as the Jiangsu Educational Association, the Physical Education Research Association, and of course the Chinese Martial Arts Association, and have in each case obtained excellent results.

一本書採取各家國術菁華依據生理學心理學教育學等之原理，變成動作，雖不敢謂完善，然按諸科學尚無背謬，故定名曰科學化的國術。
– For this book, I have selected from the best exercises from various styles of Chinese martial arts and adjusted the movements in accordance with principles of physiology, psychology, and pedagogy. I would not dare to claim that these exercises are perfect, but they are all on the side of the realistic rather than the absurd, which is why I have called the book Scientific Martial Arts.

一本書適合高小及普通師範學校教材；卽個人家庭，能依法練習，可免腦肺胃腸等病，而入於健康之域。
– The material in this book is suitable for use in high schools and teacher-training schools. People in individual households can also use it to practice, and thereby become free of ailments of the brain, lungs, intestines, and so on, and enter into a state of better health.

一本書除詳細說明外，附以銅板製成各種姿勢圖；俾學者按圖練習，一目暸然，無困難扞格之弊。
– Beyond the detailed explanations, there are also photos of each posture in order for you to more clearly understand how to practice these exercises, free from any frustrating confusion.

一本書分上中下三編：以第一部為上編，第二第三部為中編，以第四部為下編，除上編先行付梓外，中下三編正在實驗中，一得圓滿效果，當續出版，
– The plan is to divide this material into four parts over three volumes, part one in the first, parts two and three in the second, and part four in the third. Apart from this first volume being ready to go to the printers, the later volumes still need work. Once I am fully satisfied with the results, they will then be published. [The later volumes were apparently never produced, perhaps indicating that Wu had ended up unsatisfied with them after all, or possibly the interruption of such work due to his several years of military service during the 1920s drained the momentum for this particular project. Whatever the case, part one was considered important enough on its own to be republished in 1930.]

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緒論
INTRODUCTION

人類進化，有天演之公式：合則生存；否則敗亡耳。我中華立國四千餘年，其間他國之滅國亡種者，不知凡幾；而我國卒未至於淪胥者，要必有足以自存之道焉，自存之道何在？蓋一則以文化之燦爛，一則以武事之發揚，而近者文化方有日新之機，武事則如江河日下；至可慨已！志靑不揣譾陋，前創辦中華武術會於滬上。藉謀集合同志，研究國粹，以期保存與發展焉。尤有感者，今昔時勢不同，現為文化進步，科學劇戰時代，故國術一道，脫不以科學方法，從而改進，勢難邀社會之信用，必致完全失傳，而國運亦將受其影響矣。茲將國術與生理心理教育等之關係，分述如下：
Mankind developed according to the laws of evolution. Conforming to those laws brought survival and defying those laws brought death. Our Chinese nation was founded more than four thousand years ago. Within that time, so many nations have perished, their people vanquished, that I cannot even place a number to it. But our nation has not disappeared because we have had sufficient means of self-preservation. And what are these means? The magnificence of our culture and the development of our military. But alas, in modern times our culture has been affected by so many new inventions and our military has slipped into constant decline.
　　Despite my shallow abilities, I founded the Chinese Martial Arts Association in Shanghai in order to gather my comrades and do research into our cultural essence, hoping to preserve these arts and develop them further. I strongly feel that our modern situation is not the same as it was in earlier times. We are now in an era of cultural progress and scientific competition. Martial arts training has failed to make use of a scientific approach and yet can be greatly improved by it. Although it may be difficult to convince society of this, the outcome could otherwise be that these arts will end up being lost altogether, and that would have a terrible effect on the future of our nation.
　　I will now touch upon how physiology, psychology, and pedagogy are relevant to martial arts, addressing each of these things below:

（一）國術與生理之關係
1. The Relationship Between Martial Arts & Physiology:

人皆欲享幸福者，天性然也。然一切幸福，皆本於身體生活之健全，凡人不求幸福則已；苟欲求之，不可不依據生理學，力圖身體生活之健全，明矣，語云：「戶樞不蠧；流水不腐」；人生於世，自當及時運動，運動之於人身，其重要與衣食住等，衣食住一日不可少，而運動亦一日不可缺也。蓋人生職業之興敗，當視精神與體力之何如為比例差，而精神之所以能充分，體力之所以能健强者；皆由鍛鍊而得，故吾人一日內，除經營職業外，當有一定之時間，修養其身體與精神；以為職業上之補助，且於經濟上亦有極大關係，蓋體力强健，精神充足，旣無疾病之苦痛，又無醫藥之消費；職業昌隆，經濟裕如，誠為人生無上之幸福也已。
Everyone seeks happiness. This is only natural. But every kind of happiness is rooted in the health of the body. If you do not seek happiness, then never mind. But if you do seek it, it is entirely dependent on physiology, and so clearly it is a matter of striving for physical health. A saying goes [from Master Lü’s Spring & Autumn Annals, book 3, chapter 2]: “Running water never goes stale and a door that gets used does not get rusty hinges.” One’s life naturally requires exercise. Exercising the body is just as important as being clothed and fed. One cannot go without clothes and food for a single day, and one also cannot go without exercise for a single day.
　　To be successful in one’s career equally requires a good attitude and physical stamina. Both a full spirit and a strong body will be obtained through exercise. Therefore within a given day, beyond just going to work, there has to be time set aside to cultivate body and spirit. This will not only make you even better at performing your job, it will thereby also have a huge effect on your financial situation. This is because with a healthy body and full spirit, you will not suffer from any illness, and thus you will not need to buy any medicines. Therefore you will prosper at work and save money at home. Surely there is no higher happiness in life.

（二）國術與心理之關係
2. The Relationship Between Martial Arts & Psychology:

武術者，體育上之一種實用運動也。蓋運動之事，如祇有學理之價値，而無應用之價値，對於心理上，朝於斯，夕於斯，漸致厭倦不樂，必難得美滿之效果，又豈非一大缺憾乎？故國術除求衞生外，尚有防禦危侮之意，存乎其中，卽如體操中之足球籃球等運動，亦另有一種競勝心理，使人不厭反復練習，以達所爭目的而後已也，編者歷年教授體操，為欲防學者厭倦之心，每次必變動教材，色色翻新；非然者，卽不能使人增加興趣，樂於學習也。若教之以國術，亦有不熟不止之勢，其所以不厭倦者，以其能達他種應用之目的；天下惟有實用者，為能得人心理上之欣羨，此其關係視僅求衞生者為何如乎？是故國術運動為一種實用之體育，亦卽一種實用之心理也。
Martial arts are a very practical form of physical exercise. If an exercise only has value in principle and not in reality, your attitude toward it with each passing day and night will change, gradually finding it to be tedious and uninteresting, and it will be difficult to get any enjoyment out of it. Is this not an enormous flaw? Beyond bringing health, martial arts are also intended for self-defense. Sports such as soccer or basketball have a competitive mentality, which causes people to never tire of repetitive practice because they are working toward winning games.
　　Throughout my years of experience of teaching exercise, I have tried to find ways to prevent students from getting bored, and so every time I teach a lesson I make adjustments to the material, bringing some variety, keeping it fresh. If I do not do this, I cannot get the students to increase their interest and find pleasure in what they are learning. In the case of teaching martial arts, the training has a quality of never being finished. The reason it does not become boring is because it is working toward a goal. When something has real-world application, it is easy for people to admire it. Would people feel this way if it was only for health? Therefore martial arts are a practical form of physical education and appeals to our sense of wanting things to be useful.

（三）國術與教育之關係
3. The Relationship Between Martial Arts & Pedagogy:

吾人吸收智識，必得有腦力，精神，體力三者，然三者之中，而尤以體力為要；蓋精神腦力，悉由鍛鍊而得也，人類以共同為生活，智識單簡，尚可謀生；體力不健，自絕生存之道也，故鍛鍊體軀，實為教育上之大助。夫國術以拳術為主，拳術為我國獨有之國技，運動平均，少長咸宜，非其他之體操法可同日語也。旣能鍛鍊體軀，又能活潑精神；且合實用，小則防身，大則保國，為個人團體之保障，戰鬭時短兵相接，非熟於斯道者，決難取勝。故武術所以練習手眼身步法，運用心身之聯合，發揮個性之本能，養成耐勞判斷注意有恆諸德性，增進記憶力，助長其天良之義勇，負互助之責任，為教育上之重要關鍵，為人類生活上之必修科學。
To absorb knowledge, we need to have three things: intelligence, spirit, and health. But among these three things, health is the most important. Spirit and intelligence can thereafter be obtained through training. Human beings make a living as a group, and so even a simple level of knowledge is enough to make a living [because gaps in knowledge are compensated for by others in the group specializing in and carrying out other necessary tasks]. But if you do not keep your body healthy, you are cutting yourself off from this means of surviving [by being unable to serve a useful role that contributes to the group]. Therefore training the body is of the greatest help in teaching students.
　　Our martial arts emphasize boxing arts. Our boxing arts are our nation’s special skill. They exercise the whole body evenly and are thus suitable for young and old alike. No other methods of exercise deserve to spoken of in the same breath. These arts can train your body and liven your spirit. They also have a dual function: on the small scale, they can defend the body, and on the large scale, they can protect the nation. They serve to safeguard both the individual and the group. To engage in close-quarter combat without skill in these arts would make victory very hard to achieve.
　　Martial arts therefore train methods of hand, eye, body, and step. They work both mind and body in tandem, and develop one’s natural instincts. They cultivate the qualities of hard work, determination, focus, and perseverance, as well as enhance memory and help build one’s sense of morality and duty. All of these qualities are keys to education and are things that human beings need to learn in order to survive.

志靑不敏，謹就上述數種關係，本吾國固有之國粹及數載施教實驗所得，編成「應用武術中國新體操」今復與△△商榷改良修正，更名曰「科學化的國術」，所謂科學化的國術者，卽以科學方法，改進國術，使合乎生理心理，教育諸原則，以期切合於實用，而易普及之謂也。凡分四部，合之則成一套國粹之武術；析之則為實用之手法；因之則為出奇制勝之技能，變之則為活潑優美一種舞蹈之動作；若更和以音樂，則心身修養；裨益不尠，惟謬誤之處，在所不免；尚祈海內同志，進而教之。
I am not highly intelligent, but I have written the above explanations with sincerity. Based on our nation’s innate cultural essence and what I have discovered through the course of teaching it for several years, I have written Using Martial Arts to Make China’s New Calisthenics, but after some discussion, I have decided to change it to Scientific Martial Arts, which instead means to use scientific methods to improve our martial arts, to get them to better conform to principles of physiology, psychology, and pedagogy in hopes of making them more practical and easier to popularize.
　　This material is to be divided into four parts: [part 1] a combined set of martial arts exercises [the subject of this book], [part 2] an analysis of the functions of the hand techniques, [part 3] explanations for using these skills to ingeniously defeat opponents, [part 4] adjusting the exercises into a more lively and graceful dance-like series of movements by the addition of using musical instruments to create a metronome effect for them, thereby cultivating both mind and body simultaneously. [Parts 2–4 unfortunately exist in concept only. We can speculate that the reasons for this might have been that the first part was probably all that was needed to popularize these exercises among educational institutions, that parts two and three might have been of interest only to martial enthusiasts, and part four was perhaps unnecessarily eclectic.] The benefits of these exercises will not be meager, but inevitably I have made some errors. I hope my comrades throughout the nation will come forward and instruct me.

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科學化的國術
SCIENTIFIC MARTIAL ARTS

第一部
PART ONE

第一節　四肢運動（兼有腰部之動作）
Section 1: AN EXERCISE FOR THE FOUR LIMBS (which also works the waist area)

種類
Type of exercise:
行進四肢與轉體之動作。
This is a method of advancing involving movements of all of the limbs and turning around.
術名
Name of the technique:
閃轉用掌循行進退。
SUDDENLY TURNING AROUND WIELDING PALMS WHILE ADVANCING & RETREATING
實用要訣
Keys to the exercise:
要旨係練習手眼身步法。為前後受敵衝前閃後掩護之基礎。由衝打掛護步隨身進。可以脫險謂之閃。由閃而欲制勝於人。必須復轉而實用打劈之術。轉則務將全身掩護。旋轉神速。始能盡閃轉之妙。此為脫險出奇制勝。相機因應之要法也。
The main idea is to train methods of hand, eye, body, and step. This is basically a scenario of dealing with opponents attacking in front and behind, of striking at the one in front of you and then dodging around behind the other. After striking to one [photo 2], carry upward and use a covering step to advance toward the other [photos 3–5], and then you will be able to dodge around the danger presented by him [photo 6]. Once you are dodging, if you want to take control and subdue this opponent, you must then turn around and attack him with a chop [photos 7 & 8]. When turning, you have to shield your whole body by turning very quickly, and thus you will be dodging more effectively. This is an example of avoiding danger and defeating an opponent with an unexpected maneuver, a crucial principle in dealing with such situations.

實習動作
Practice method:
左式預備圖
Preparation posture on the left side:
立正抱肘式。眼平視。胸挺起。腰直。腿倂。兩腳約距離六十度。兩拳置於腰間。兩肘向後。如上圖。
Stand at attention with your elbows wrapped back, your gaze level. Your chest is sticking out, your torso upright. Your legs are together, your feet spread to make a sixty degree angle. Your fists are placed at your waist, your elbows pointing behind. See photo 1.1a:

一、左拳變掌。由腰間向上經額前往右肩前下按至右腋。眼平視如第一圖。
1. Your left fist becomes a palm, rises from your waist, passes in front of your forehead, goes in front of your right shoulder, and pushes down until in front of your right armpit. Your gaze is level. See photo 1.1b:

二、是時右拳卽變掌。由右腋下經左掌上穿出。向右伸直。手指向上。五指倂齊。掌邊向右。左掌貼右肩。掌心向內。掌形似柳葉。名曰柳葉掌。眼視右掌。身體順勢稍右轉。同時卽伸左腿。右膝曲為九十度。全身重量坐於右腿上。如第二圖。
2. Then your right fist becomes a palm and goes from your right armpit, threading out over your left palm, and extending to the right, the fingers pointing upward, fingers together, the palm edge facing to the right, your left palm near your right shoulder with the center of the hand facing inward. Each palm is making a shape like a willow leaf, and thus it is called a “willow leaf” palm. Your gaze is toward your right palm. Your torso goes along with the movement by turning slightly to the right and your left leg extends [to the left], your right knee bending to make a ninety degree angle, the weight sitting onto your right leg. See photo 1.2:

三、左掌由右肩向左伸直。指端向下。掌背近左腿。身稍左轉。眼視左掌。如第三圖。
3. Your left palm goes from your right shoulder and extends to the left, the fingers pointing downward, the back of the palm near your left leg, as your torso slightly turns to the left. Your gaze is toward your left palm. See photo 1.3:

四、是時左掌沿腿上挑。卽彎左腿伸右腿。左腰亦卽同時伸縮。身體順勢稍左轉。左掌指端與鼻齊。右掌指端與頭頂齊。兩肘內扣。眼視左掌。兩臂形似扁擔。名曰扁擔式柳葉掌。如第四圖。
4. Your left palm passes along your [left] leg and carries upward as your left leg bends and your right leg straightens, the left side of your waist stretching, and your torso goes along with the movement by turning slightly to the left. Your left fingertips are at nose level, your right fingertips at headtop level, and your elbows are covering inward. Your gaze is toward your left palm. Your arms look as though they are carrying a shoulder pole, and thus this posture is described as “carrying a pole with willow-leaf palms”. See photo 1.4:

五、左掌上衝。右掌下掛。同時右腿隨右臂前上一步。身體順右腿猛閃向前。右腳趾點地成丁式。眼平視。如第五圖。
5. Your left palm thrusts upward as your right palm hangs downward. At the same time, your right leg goes along with your right arm by stepping forward, your body correspondingly going suddenly forward, your right toes touching the ground, making a T-shaped stance. Your gaze is level. See photo 1.5:

六、同時身體由左後轉。是時右腳再向前一大步。右腿下彎。左腳伸直。身體順右腿閃向左。同時左掌後劈。右掌前挑。眼視左掌。如第六圖。
6. Then your torso turns to the left rear as your right foot takes a large step forward, the leg bending, your left leg straightening, your torso lining up with your right leg as you dodge your left side away. At the same time, your left palm chops to the rear, your right palm carrying in front. Your gaze is toward your left palm. See photo 1.6:

七、是時身體左轉。腹部內收。左腳收囘半步。與右腿倂齊。成左虛式。同時右臂內轉。眼平視。如第七圖。
7. Then your body turns to the left, your belly drawing back, as your left foot withdraws a half step [your right pivoting inward] for the thigh to pull in next to your right thigh, making a left empty stance, and your right arm at the same time arcs inward. Your gaze is level. See photo 1.7:

八、左腳向右腳後方。退後一大步。右腳下彎。左腳伸直。成右弓式。同時左掌下掛。復上挑。右掌上衝。復下劈。兩臂成弧形。眼視右掌。如第八圖。
8. Then your left foot retreats a large step behind your right foot, your right leg bending, your left leg straightening, making a right bow stance. At the same time, your left palm hangs down and then carries upward as your right palm thrusts up and then chops down, your arms making a curved shape. Your gaze is toward your right palm. See photo 1.8:

停立正。成抱肘式。
Then finish by standing at attention [withdrawing your right foot] and making the wrapped-elbows position.
右式預備圖
Preparation posture on the right side:
立正抱肘式。眼平視。胸挺起。腰直。腿倂。兩腳約距離六十度。兩拳置於腰間。兩肘向後。如上圖。
Stand at attention with your elbows wrapped back, your gaze level. Your chest is sticking out, your torso upright. Your legs are together, your feet spread to make a sixty degree angle. Your fists are placed at your waist, your elbows pointing behind. See photo 1.9a:

一、右拳變掌。由腰間向上經額前往右肩前下按至左腋。眼平視。如第一圖。
1. Your right fist becomes a palm, rises from your waist, passes in front of your forehead, goes in front of your right [left] shoulder, and pushes down until in front of your left armpit. Your gaze is level. See photo 1.9b:

二、是時左拳卽變掌。由左腋下經右掌上穿出。向左伸直。手指向上。五指倂齊。掌邊向左。右掌貼左肩。掌心向內。掌形似柳葉。名曰柳葉掌。眼視左掌。身體順勢稍左轉。同時卽伸右腿。左膝曲為九十度。全身重量坐於右腿上。如第二圖。
2. Then your left fist becomes a palm and goes from your left armpit, threading out over your right palm, and extending to the left, the fingers pointing upward, fingers together, the palm edge facing to the left, your right palm near your left shoulder with the center of the hand facing inward. Each palm is making a shape like a willow leaf, and thus it is called a “willow leaf” palm. Your gaze is toward your left palm. Your torso goes along with the movement by turning slightly to the left and your right leg extends [to the right], your left knee bending to make a ninety degree angle, the weight sitting onto your right [left] leg. See photo 1.10:

三、右掌由左肩向右伸直。指端向下。掌背近腿。身稍右轉。眼視右掌。如第三圖。
3. Your right palm goes from your left shoulder and extends to the right, the fingers pointing downward, the back of the palm near your [right] leg, as your torso slightly turns to the right. Your gaze is toward your right palm. See photo 1.11:

四、是時右掌沿腿上挑。卽彎右腿。伸左腿。右腰亦卽同時伸縮。身體順勢稍右轉。右掌尖與鼻齊。左掌尖與頭頂齊。兩肘內扣。眼視右掌。兩臂形似扁擔。名曰扁擔式柳葉掌。如第四圖。
4. Your right palm passes along your [right] leg and carries upward as your right leg bends and your left leg straightens, the right side of your waist stretching, and your torso goes along with the movement by turning slightly to the right. Your right fingertips are at nose level, your left fingertips at headtop level, and your elbows are covering inward. Your gaze is toward your right palm. Your arms look as though they are carrying a shoulder pole, and thus this posture is described as “carrying a pole with willow-leaf palms”. See photo 1.12:

五、右掌上衝。左掌下掛。同時左腿隨左臂前上一步。身體順左腿猛閃向前。左腳趾點地成丁式。眼平視。如第五圖。
5. Your right palm thrusts upward as your left palm hangs downward. At the same time, your left leg goes along with your left arm by stepping forward, your body correspondingly going suddenly forward, your left toes touching the ground, making a T-shaped stance. Your gaze is level. See photo 1.13:

六、同時身體由右後轉。是時右腳再向前一大步。左腿下彎。右腳伸直。同時右掌後劈。左掌前挑。眼視右掌。如第六圖。
6. Then your torso turns to the right rear as your right [left] foot takes a large step forward, the leg bending, your right leg straightening. At the same time, your right palm chops to the rear, your left palm carrying in front. Your gaze is toward your right palm. See photo 1.14:

七、是時身體右轉。腹部內收。右腳收囘半步。與左腿倂齊。成右虛式。同時左臂內轉。眼平視。如第七圖。
7. Then your body turns to the right, your belly drawing back, as your right foot withdraws a half step [your left pivoting inward] for the thigh to pull in next to your left thigh, making a right empty stance, and your left arm at the same time arcs inward. Your gaze is level. See photo 1.15:

八、右腳向左腳後方退後一大步。左腳下彎。右腳伸直。成左弓式。同時右掌下掛。後上挑。左掌上衝。復下劈。兩臂成弧形。眼視左掌。如第八圖。
8. Then your right foot retreats a large step behind your left foot, your left leg bending, your right leg straightening, making a left bow stance. At the same time, your right palm hangs down and then carries upward as your left palm thrusts up and then chops down, your arms making a curved shape. Your gaze is toward your left palm. See photo 1.16 [again followed by withdrawing into standing at attention and making the wrapped-elbows position]:

生理上之關係
Physiological aspect:
閃轉用掌。循行進退。此為四肢之動作。又為腰部之運動。蓋此節縮小柔軟。活動四肢。流通氣血。舒展筋骨。為開始運動之準備。亦為講究生理之主要部分。並將各主要肌肉功用分析如左。
To suddenly turn around wielding palms while advancing and retreating is an exercise for the four limbs which also works the waist area. This exercise reduces excessive softness, livens the limbs, circulates energy and blood and stretches the sinews and bones. To get ready for the exercise, attention should be given to the major parts of the body that are involved in it. Listed below are the main muscles that are being worked:

一、以下各肌肉之名詞。悉據科學名詞審查會所定者。閃轉用掌。卽兩臂左右展開。及臂向內轉與向外轉等動作。
(Used below are names for specific muscles based on the verified proper scientific terminology.) 1. Suddenly turning around wielding palms involves the arms spreading to the left and right, as well as the arms making arcs inward and outward.
甲、兩臂左右展開。主要肌肉。
A. Spreading the arms to the left and right works these muscles:
岡上　三角　斜方三分之一等肌肉
supraspinatus, deltoids, lower trapezius.
乙、臂向內轉。主要肌肉。
B. Arcing the arm inward works these muscles:
背闊　大圓　胸大　三角　肩胛下等肌肉
latissimus dorsi, teres major, pectoralis major, deltoids, subscapularis.
丙、臂向外轉。主要肌肉。
C. Arcing the arm outward works these muscles:
岡下　三角　小圓等肌肉
infraspinatus, deltoids, teres minor.

二、循行進退。卽大腿內轉與外轉。並屈小腿與伸小腿等動作。
2. Advancing and retreating involves rotating the upper leg inward and outward, as well as bending and straightening the lower leg.
甲、大腿內轉。主要肌肉。
A. Turning the upper leg inward works these muscles:
闊筋模張　臀小　臀中　腰大等肌肉
tensor fasciae latae, gluteus minimus, gluteus medius, psoas major.
乙、大腿外轉。主要肌肉。
B. Turning the upper leg outward works these muscles:
外閉孔　臂大　縫匠　恥骨等肌肉
external obturator muscle, gluteus maximus, sartorius, pectineus.
丙、屈小腿。主要肌肉。
C. Bending the lower leg works these muscles:
縫匠　股薄　半腱　半模　股二頭　腓腸淺　蹠膕等肌肉
sartorius, gracilis, semitendinosus, semimembranosus, biceps femoris, gastrocnemius, popliteus.
丁、伸小腿。主要肌肉。
D. Extending the lower leg works these muscles:
股四頭　股直　股內側　股外側　股中間等肌肉
Quadriceps (rectus femoris, vastus lateralis, vastus medialis, vastus intermedius).

心理上之關係
Psychological aspect:
此節動作。行如撥草之蛇。轉如閃電之急。一舉一動。儼有勁敵在前。得心應手之妙。
In this exercise, the stepping is like a snake slithering through the grass and the turning is like a flash of lightning. With every movement, imagine there is a formidable opponent in front of you, and then you will perform it skillfully.

教育上之關係
Pedagogical aspect:
此節專練習手眼身法步。運用神經之連合。發揮奮鬭之本能。養成耐勞自信判斷敏捷勇敢自主有恆諸德性。此為武術之技能。而深合教育上之訓練。
This exercise focuses on training methods of hand, eye, body, and step. It trains coordination of the nervous system and thus develops one’s fighting instincts. It cultivates the virtuous qualities of hard work, self-confidence, judgment, quick wits, courage, initiative, and perseverance. These skills in martial arts strongly conform to skills needed in teaching.

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第二節　改正運動（兼有軀幹之動作）
Section 2: AN EXERCISE OF REALIGNING (which also works the torso)

種類
Type of exercise:
俯仰伸縮。上呼下吸。
Lean forward and back, extending and retracting, exhaling when the hands are above, inhaling when the hands are below.
術名
Name of the technique:
十字佩虹鴛鴦手。
CROSSED HANDS SPREADING A RAINBOW, MANDARIN DUCK HANDS
實用要訣
Keys to the exercise:
來無形。去無蹤。（卽鈎摟挂打巧妙之形容詞也）按此六字巧妙之法。不在文字上空求。在學者熟練精通。當得此中三昧。
“Enter invisibly and then exit without a trace.” (This describes the actions of hooking and dragging, carrying and striking.) These words refer to a level of skillfulness and are not some just airy poetry. Once you have mastered these movements, you will awaken to the meaning.

實習動作
Practice method:
預備
Preparation posture:
開立抱肘。兩腳距離等於兩肩闊。眼前視。腰直。挺胸。
From standing at attention with your elbows wrapped back, your feet spread apart to shoulder width. Your gaze is forward, your torso is upright, and your chest is sticking out.

一、上體半面向左轉。兩腿下彎成騎馬式。同時兩拳變掌。交叉成十字形。上體稍向右轉。兩掌至膝前。卽變鈎向左右摟開。而膝前須前後相對。眼視前。挺胸。直腰。兩鈎與肩成垂直線。兩手交叉成十字形。名曰十字手。如第一第二圖。
1. Your upper body turns halfway to the left and your legs bend to make a horse-riding stance [left empty stance] as your fists become palms and cross to make an X shape in front of your knees, your upper body turning to the right [left]. Then your palms become hooks and drag apart to the sides to be in line with your knees. Your gaze is forward. Your chest is sticking out and your torso is upright. Your arms from shoulders to hands are hanging down and making vertical lines. Because of your palms crossing, this technique is called CROSSED HANDS. See photos 2.1 and 2.2:

二、兩鈎變掌。交叉成十字形。兩肘近肋。上體卽向後仰。右腳稍伸。左腳稍彎。同時兩掌向左右分開。肘仍貼於肋。掌心向前。手指稍曲分開。形似荷葉。名曰荷葉掌。兩掌位於兩肩之前。腹部收緊。胸挺起。眼前視。名曰十字佩虹式。如第三第四圖。
2. Your hooks become palms and cross to make an X shape, your elbows staying near your ribs, your upper body leaning back, your right [left] leg slightly straightening, left leg [right] slightly bending. Then your palms spread apart to the sides, your elbows still staying near your ribs, the centers of the hands facing forward, fingers slightly bent and spread apart. The shape is like lotus leaves, and so they are called “lotus leaf” palms. Your palms are positioned in front of your shoulders. Your belly is drawn back and your chest is sticking out. Your gaze is forward. This technique is called CROSSED HANDS SPREADING A RAINBOW. See photos 2.3 and 2.4:

三、鬆肩。兩掌向前直撲。同時左腿伸直。成右弓左箭步。或馬式亦可。惟兩臂平行。指尖與肩尖成半弧形。手指向上分開。用掌底使勁。形似嬰兒撲乳。名曰嬰兒撲乳式。
3. Your shoulders loosen and your palms pounce forward as your left [foot steps out and your right] leg straightens, making a stance of right [left] leg a bow, left [right] leg an arrow, though it can also done in a horse-riding stance. Your arms are level and form semicircles from shoulder to fingertips, the fingers pointing upward and spread apart, power expressing at the heels of the palms. This technique looks like an infant reaching out to be breast-fed, and so it is called INFANT GRABS AT ITS MOTHER’S BREASTS. See photo 2.5:

循環連續六次。再換左向後轉。練左式。如第五圖。
Perform this series of movements six times, then turn around to the left [right] and practice it on the other side.

四、兩掌交叉成十字形。上體向前俯。兩掌至膝前。卽變鈎向左右摟開。同時左膝仍曲成騎馬式。眼前視。挺胸。直腰。兩手交叉成十字名曰十字手。與第一二圖同。圖從略。
4. [Your feet pivot to the left (right) to point their toes behind you,] your legs bending to again make a horse-riding stance [right empty stance] as your palms cross to make an X shape in front of your knees, your upper body leaning forward [while turning around to the right], Then your palms become hooks and drag apart to the sides. Your gaze is forward. Your chest is sticking out and your torso is upright. Because of your palms crossing, this technique is called CROSSED HANDS. This is the same technique as in photos 2.1 and 2.2. See photos 2.6 and 2.7:

五、兩足尖向左後轉。左膝稍曲。右膝彎。同時兩鈎變掌。交叉成十字形。兩肘貼肋。上體向後仰。交叉。兩掌卽向左右分開。肘仍貼於肋。掌心向前。五指稍曲。分開。形似荷葉。名曰荷葉掌。兩掌位於兩肩之前。腹部收緊。胸挺起。眼前視。名曰十字佩虹式。如第六第七圖。
Your hooks become palms and cross to make an X shape, your elbows staying near your ribs, your upper body leaning back. Then your palms spread apart to the sides, your elbows still staying near your ribs, the centers of the hands facing forward, fingers slightly bent and spread apart. The shape is like lotus leaves, and so they are called “lotus leaf” palms. Your palms are positioned in front of your shoulders. Your belly is drawn back and your chest is sticking out. Your gaze is forward. This technique is called CROSSED HANDS SPREADING A RAINBOW. See photos 2.6 and 2.7 [2.8 and 2.9]:

六、鬆肩。兩掌向前直撲。同時右腿伸直左弓右箭步。或馬式亦可。兩臂平行。指尖與肩尖成半弧形。手指向上分開。五指用掌底使勁。形似嬰兒撲乳。名曰嬰兒撲乳式。如第八圖。
6. Your shoulders loosen and your palms pounce forward as your right [foot steps out and your left] leg straightens, making a stance of left [right] leg a bow, right [left] leg an arrow, though it can also done in a horse-riding stance. Your arms are level and form semicircles from shoulder to fingertips, the fingers pointing upward and spread apart, power expressing at the heels of the palms. This technique looks like an infant reaching out to be breast-fed, and so it is called INFANT GRABS AT ITS MOTHER’S BREASTS. See photo 2.8 [2.10]:

再演十字手。如第九第十圖。
Then perform CROSSED HANDS again, the same as in photos 9 and 10 [6 and 7].

如是循環連續演習六次。再向右後轉。演習六次。又向左。卽名曰左右連環式。
Perform this series of movements six times, then turn around and practice it on the other side another six times. This whole exercise is called CONTINUOUS MOVEMENT ON BOTH SIDES.

生理上之關係
Physiological aspect:
上呼下吸者。所以擴張胸廓。增進肺量。使橫膈膜充分運動。前俯後仰者。所以伸縮腹壁筋。以助長消化力。且兼有改正動作。使胸襟舒暢。脊柱無偏倚之弊。並將各主要肌肉功用分析如左。
Exhale when your hands are above. Inhale when your hands are below. This expands your rib cage, increasing lung capacity, and exercising your diaphragm. Leaning forward and back causes your abdominal wall to stretch and contract, encouraging digestion. This also serves as a corrective moment, the expanding of your chest discouraging your spine from curving into improper angles. Listed below are the main muscles that are being worked:

一、下俯上仰。卽脊梁前彎。與伸脊梁之動作。
1. Leaning forward and back involves the spine curving and straightening.
甲、脊梁前彎。主要肌肉。
A. The spine bending forward works these muscles:
項最長　頭最長　前斜角　腰直　腸內斜　腹外斜　腹橫等肌肉
longissimus cervicis, longissimus capitis, scalenus anterior, dorsal erector muscle, internal oblique muscle, external oblique muscle, transverse abdominis.
乙、伸脊梁。主要肌肉。
B. The spine straightening works these muscles:
下後鋸　頭夾　項半棘　背半棘　斜方等肌肉
serratus posterior inferior, splenius capitis, semispinalis cervicis, semispinalis thoracis, trapezius.

二、轉體向左右。卽轉脊梁之動作。
2. Your body turning to the left and right involves rotation in the spine.
甲、轉脊梁。主要肌肉。
A. Rotation in the spine works these muscles:
腹內斜　腹外斜　項半棘　背半棘等肌肉
internal oblique muscle, external oblique muscle, semispinalis cervicis, semispinalis thoracis.

心理上之關係
Psychological aspect:
此節動作。形態甚為美觀。並簡而易學。無論少長咸宜。練熟後。手法身法步法。自有生龍活虎之態。如此人安得不樂於學習乎。
This exercise looks very artistic, and yet it is also simple and easy to learn, as well as suitable for young and old alike. Once you have practiced it to a level of skillfulness, these actions of your hands, body, and feet will be full of vitality. This being the case, how could anyone not enjoy learning it?

教育上之關係
Pedagogical aspect:
此節運動。非但鍛練體魄。活潑精神。而且有衞身抗敵之術。可為個人團體之保障。此頗合於現代教育上之需要。
This exercise not only toughens the body and livens the spirit, it is also useful for defending oneself against opponents. Since it can help ensure the safety of individuals within the group, it thus strongly aligns with the requirements of what should be taught in the modern age.

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第三節　上肢運動
Section 3: AN EXERCISE FOR THE UPPER BODY

種類
Type of exercise:
原地運用掌肘指腕之伸縮。
Standing in place, you work the flexibility of your palms, elbows, fingers, and wrists.
術名
Name of the technique:
五花礮
EXPLOSIVE FLOURISHES
實用要訣
Keys to the exercise:
此節有伸捰刁拏鎖扣勾掛擒打。分合連環。各動作。各盡其手法之妙用。為應敵還敵之巧具。其出奇制勝之能。洵為武術之要訣也。
This exercise contains the elements of reaching out to catch, drawing in to seize, locking up, hanging aside, and capturing to strike. The movements are a continuous extending and withdrawing, and are entirely a matter of using subtle hand techniques to skillfully defend against and counterattack an opponent. The ability to defeat your opponent by using unexpected maneuvers is a hallmark of martial arts.

實習動作
Practice method:
預備
Preparation posture:
由立正抱肘。兩腳離開。與兩肩成垂直線。兩腿下彎。為四十五度。成半馬式。
From standing at attention, elbows wrapped back, your feet spread apart to shoulder width and your legs bend forty-five degrees to make a half horse-riding stance.

一、右拳變掌。向前斜下伸。指端向前。掌緣切地。掌底對小腹。距離約七寸許。臂膊伸直。肘內扣。腰直。胸挺。眼前視。出掌如切物。名曰切掌。如第一圖。
1. Your right fist becomes a palm and extends forward and diagonally downward, the fingertips pointing forward, the edge of the palm slicing toward the ground, the heel of the palm in line with and about three quarters of a foot away from your lower abdomen, with the arm straightening but the elbow covering inward. Your torso is upright, your chest sticking out, your gaze forward. The palm goes out as though it is slicing through an object, and thus it is called a “slicing palm”. See photo 3.1:

二、右掌上掛。同時大膊貼肋。屈肘內扣。手掌上掛。翻手腕向後。手心向前。掌卽右刁。虎口向上。手背近肩。約四寸許。先掛後刁。名曰掛掌。如第二圖。
2. Your right palm carries upward, the upper arm staying near your ribs, the elbow bending and covering inward. As the palm goes upward, the wrist turns outward so the center of the hand is facing forward. The palm then hooks to the right, the tiger’s mouth facing upward, the back of the hand a few inches away from the shoulder. First carry, then hook. This technique is called a “hanging palm”. See photo 3.2:

三、右掌斜向前伸。運掌底擊敵。右肩順手勢鬆開。腰稍轉向左。指端對鼻尖。手肘內扣。掌似荷葉。名曰荷葉掌。如第三圖。
3. Your right hand extends diagonally forward, sending the heel of the palm to strike an opponent. Your right shoulder loosens and extends along with the movement of the hand, and your torso slightly turns to the left. The fingertips are at nose level, the elbow covering inward. The palm is making a lotus-leaf shape, and thus is called a “lotus-leaf palm”. See photo 3.3:

四、右臂由前下斫。至大腿後方。同時掌卽變鈎。摟至臀後。手肘稍曲。上挑下摟。均須迅速活潑。而有精神。眼前平視。胸挺。腰直。以上四動。均半馬式。左拳仍抱肘。式如第四圖。
4. Your right arm then chops downward and goes past your [right] thigh, the palm becoming a hook, after which it will drag back until behind the buttock, the elbow slightly bent. The actions of carrying upward and then dragging downward have to be quick, lively, and spirited. Your gaze is forward and level. Your chest is sticking out and your torso is upright. These four movements are all performed in a half horse-riding stance. Your left fist remains in a wrapped-elbow position. See photo 3.4:

五、左拳變掌。向前斜下伸。指端向前。掌緣切地。掌底對小腹。距離約七寸許。臂膊伸直。肘內扣。腰直。胸挺。眼前視。出掌如切物。名曰切掌。如第五圖。
5. [Your right hand returns to your waist, then] your left fist becomes a palm and extends forward and diagonally downward, the fingertips pointing forward, the edge of the palm slicing toward the ground, the heel of the palm in line with and about three quarters of a foot away from your lower abdomen, with the arm straightening but the elbow covering inward. Your torso is upright, your chest sticking out, your gaze forward. The palm goes out as though it is slicing through an object, and thus it is called a “slicing palm”. See photo 3.5:

六、左掌上挑。同時大膊貼肋。屈肘內扣。手掌上掛。翻手腕向後。手心向前。掌卽左刁。虎口向上。手背近肩。約四寸許。先掛後刁。名曰掛掌。如第六圖。
6. Your left palm carries upward, the upper arm staying near your ribs, the elbow bending and covering inward. As the palm goes upward, the wrist turns outward so the center of the hand is facing forward. The palm then hooks to the left, the tiger’s mouth facing upward, the back of the hand a few inches away from the shoulder. First carry, then hook. This technique is called a “hanging palm”. See photo 3.6:

七、左掌斜向前伸。運掌底擊敵。左肩順手勢鬆開。腰稍轉向右。指對鼻尖。手肘內扣。掌似荷棄。名曰荷葉掌。如第七圖。
7. Your left hand extends diagonally forward, sending the heel of the palm to strike an opponent. Your left shoulder loosens and extends along with the movement of the hand, and your torso slightly turns to the right. The fingertips are at nose level, the elbow covering inward. The palm is making a lotus-leaf shape, and thus is called a “lotus-leaf palm”. See photo 3.7:

八、左臂由前下斫。至大腿後方。同時掌卽變鈎。摟至臀後。手腕稍曲。上挑下摟。均須迅速活潑。而有精神。眼前平視。胸挺腰直。以上四動。均半馬式。右手仍鈎於臀後。如第八圖。
8. Your left arm then chops downward and goes past your [left] thigh, the palm becoming a hook, after which it will drag back until behind the buttock, the elbow slightly bent. The actions of carrying upward and then dragging downward have to be quick, lively, and spirited. Your gaze is forward and level. Your chest is sticking out and your torso is upright. These four movements are all performed in a half horse-riding stance. Your right hand remains as a hook behind you [remains in a wrapped-elbow position according to the photos]. See photo 3.8:

生理上之關係
Physiological aspect:
此節練習兩臂大小諸肌與腱。各盡其伸縮翻轉之能。實為運動上肢之良好動作也。此項動作之複雜。按運動生理上之次序。『應列在運動次序三分之一』故列於第三節。當為腦系部間接之運動。誠為生理衞生必要之動作也。並將各主要肌肉功用分析如左。
This exercise trains the major and minor arm muscles. Its actions of extending, withdrawing, and arcing are indeed excellent movements for working the upper arm. This rather complex series of movements is in accordance with the method of arranging exercises for the best physiological effects: “A third of the exercises should be complex.” Therefore this exercise is placed third out of the first three. Due to its complexity, it is indirectly an exercise for the brain. It is also an indispensable exercise for promoting health. Listed below are the main muscles that are being worked:

掌肘指腕之伸縮卽髆骨向前。髆骨向下。髆骨向後。屈小臂與伸小臂。及掌向外。各動作。
These actions of extending and withdrawing the palm, elbow, fingers, and wrist involve a variety of movements including the shoulder blade moving forward, downward, and back, the forearm bending and extending, and the palm going outward.
甲、髆骨向前。主要肌肉。
A. The shoulder blade going forward works these muscles:
前鋸　胸大　胸小等肌肉
serratus anterior, pectoralis major, pectoralis minor.
乙、髆骨向下。主要肌肉。
B. The shoulder blade going downward works these muscles:
斜方　胸小　背闊　胸大等肌肉
trapezius, pectoralis minor, latissimus dorsi, pectoralis major.
丙、髆骨向後。主要肌肉。
C. The shoulder blade going back works these muscles:
腰方　背闊　大菱等肌肉
quadratus lumborum, latissimus dorsi, rhomboid major.
丁、屈小臂。主要肌肉。
D. Bending the forearm works these muscles:
肱雙頭　肱前　旋前圓　手與指之伸　手之伸等肌肉
biceps brachii, brachialis, pronator teres, hand & finger extensors.
戊、伸小臂。主要肌肉。
E. Extending the forearm works these muscles:
肱三頭　肱前　手與指之伸等肌肉
triceps brachii, brachialis, hand & finger extensors.
己、掌內外。主要肌肉。
F. The palm going outward works these muscles:
掌長　撓側伸腕短　尺側伸腕等肌肉
palmaris longus, extensor carpi radialis brevis, extensor carpi ulnaris.

心理上之關係
Psychological aspect:
此節動作。練習眼明手快之技能。凡動作之遲速。以思索力之敏鈍為轉移。練習此種運動。當有比較之姓質。而生競爭之心。則收心理上之功用大矣。
This exercise trains guickness of eyes and hands. Whatever the speed of your movement, focus on switching nimbly from one movement to another. Practicing this kind of exercise will help to build a more ambitious nature and develop a more competitive mindset, and therefore it is a very useful psychological tool.

教育上之關係
Pedagogical aspect:
此節運動。練習心靈手敏。以之為學。必日進於高明之域。以之接物。有隨機應變之方。對於智育關係綦重。
This exercise trains agility of both mind and hand. To become educated, you have to constantly increase your range of qualifications, because to deal with the world, you have to have the means to adapt to situations. Such an exercise is thus extremely helpful for one’s intellectual development.

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第四節　腰胯運動（兼全身之動作）
Section 4: AN EXERCISE FOR THE WAIST & HIPS (as well as the whole body)

種類
Type of exercise:
原地彈機活步。左右閃轉踹踢。
This is a method of staying where you are and performing a “snapping step”, as well as suddenly turning to the side and sending out a kick.
術名
Name of the technique:
雙稱十字腿。
CROSS-SHAPED KICK
實用要訣
Keys to the exercise:
武術致勝。多在進退。且進退之要。必須腰腿一致。以拳腳之動作為轉移。所行之動作貴速。以不誤拳腳致勝之機為合法。此節拳腳。務須全體一致。其發拳腳須有抨簧之靈。始收致勝之効也。
Victory through martial arts often comes down to advancing and retreating. To advance and retreat effectively, your waist and hips have to function as a single unit. The movements of your fists and feet should be quick but should not be mis-timed. For this exercise, your hands and feet have to work together. Your punches and kicks must shoot out with the nimbleness of mechanical springs, and then you will be able to achieve victory.

實習動作
Practice method:
預備
Preparation posture:
立正抱肘。式面向南。
Stand at attention, elbows wrapped back, facing toward the south.
一、左腳向東北出一步。同時兩拳變掌。由西南上角成陰陽和合掌。猛向東北拏扎。左手拏至腰間。仍抱肘式。右掌變拳。西南上角往下打。手心向上。右大膊貼於肋。成左弓式。面向東。此種動作。名曰前拏手。與後扎手。如第一圖。
1. Your left foot takes a step out to the northeast as your fists become palms, which come together as prayer palms pointing toward the southwest and then fiercely jabbing toward the northeast. Then your left hand [again becoming a fist] pulls back to your waist, returning to the wrapped-elbow position, as your right palm becomes a fist and strikes toward the southwest, the center of the hand facing upward, the upper arm staying near your ribs. You are in a left bow stance, your torso facing toward the east. This technique is called GRABBING & JABBING. See photo 4.1:

二、左拳由腰間直向東北上角衝出。與鼻平。同時右扎。拳收囘。置於腰間。仍抱肘式。此動作名曰應面拳。如第二圖。
2. Your left fist thrusts upward to the northeast until at nose level, your right fist at the same time withdrawing to be placed at your waist, again making a wrapped-elbow position. This movement is called “punch to the face”. See photo 4.2:

三、右拳向東斜下衝出。與心房齊。同時左拳上挑。面向東。腰直。胸挺。眼前視。此動作名曰黑虎搗心式。如第三圖。
3. Your right fist thrusts out diagonally toward the east to be at solar plexus level as your left fist carries upward. You are facing toward the east. Your torso is upright and your chest is sticking out. Your gaze is forward. This technique is called BLACK TIGER GOES FOR THE HEART. See photo 4.3:

四、雙拳變掌。左掌向上。與右掌交叉。在頂前。手心向外。同時轉體向左閃。眼前視。挺胸。直腰。此動作名曰過頂式。如第四圖。
4. Your fists become palms and cross in front of your headtop [chest according to the photo], left palm on top, the palms facing outward, as your torso turns to the left. Your gaze is forward. Your chest is sticking out and your torso is upright. This technique is called PASSING OVER THE HEADTOP. See photo 4.4:

五、兩掌左右下落。合於懷前相切。卽提起右腿。腰直。胸挺。眼平視。此動作名曰懷中抱月式。如第五圖。
5. Your palms lower to the sides and then come together in front of your chest as your right leg lifts. Your torso is upright and your chest is sticking out. Your gaze is level. This technique is called EMBRACING THE MOON. See photo 4.5:

六、雙掌向東西撐開。左掌與頭頂平。右掌與肩平。同時右腿向東排出。腿伸直。成九十度直角。全身向左閃。眼視東。名曰雙稱腿。如第六圖。
6. Your palms brace away toward the east and west, your left palm at headtop level, your right palm at shoulder level, as your right leg kicks out to the east, your legs straightening and making a ninety degree angle, your torso turning to the left. Your gaze is toward the east. This technique is called KICK WITH BOTH PALMS BRACING. See photo 4.6 [missing from the book, but we can fill the gap by reversing photo 4.12]:

七、承上右腿排出。右腳尚未落地時。左腿彈起向後退。右腳卽落於左腳所立之部位。此謂為彈機活步。同時右掌卽向東南拏至腰間。成抱肘式。左掌卽握拳向東下扎。左膊貼肋。手心向上。如第七圖。
7. Continuing from your right leg kicking out, before your right foot has fully come down, your left foot suddenly retreats, and then your right foot comes down next to your left foot. This action is called a “snapping step”. At the same time, your right hand [again becoming a fist] pulls back toward the southeast to make the wrapped-elbow position at your waist, and then your left palm grasps into a fist and strikes toward the east, the upper arm staying near your ribs, the center of the hand facing upward. See photo 4.7:

八、右拳由腰間直向東北上角衝出。與鼻平。同時左扎。拳收囘置於腰間。仍抱肘式。此動作名曰應面拳。如第八圖。
8. Your right fist thrusts upward to the northeast until at nose level, your left fist at the same time withdrawing to be placed at your waist, again making a wrapped-elbow position. This movement is called “punch to the face”. See photo 4.8:

九、左拳向東斜下衝出。與心房齊。同時右拳上挑。面向東。腰直。胸挺。眼視前。此動作名曰黑虎搗心式。如第九圖。
9. Your left fist thrusts out diagonally toward the east to be at solar plexus level as your right fist carries upward. You are facing to the east. Your torso is upright and your chest is sticking out. Your gaze is forward. This technique is called BLACK TIGER GOES FOR THE HEART. See photo 4.9:

十、雙拳變掌。右掌向上。與左掌交叉在頂前。手心向外。同時轉體向右閃。眼視前。挺胸。直腰。此動作名曰過頂式。如第十圖。
10. Your fists become palms and cross in front of your headtop [chest according to the photo], right palm on top, the palms facing outward, as your torso turns to the right. Your gaze is forward. Your chest is sticking out and your torso is upright. This technique is called PASSING OVER THE HEADTOP. See photo 4.10:

十一、兩掌左右下落。合於懷前相切。卽提起右腿。腰直。挺胸。眼平視。此動作名曰懷中抱月式。如第十一圖。
11. Your palms lower to the sides and then come together in front of your chest as your right [left] leg lifts. Your torso is upright and your chest is sticking out. Your gaze is level. This technique is called EMBRACING THE MOON. See photo 4.11:

十二、雙掌向東西撐開。右掌與頭頂平。左掌與肩平。同時左腿向東排出。腿伸直。成九十度直角。向右閃。眼視東。名曰雙稱腿。如第十二圖。
12. Your palms brace away toward the east and west, your right palm at headtop level, your left palm at shoulder level, as your left leg kicks out to the east, your legs straightening and making a ninety degree angle, your torso turning to the right. Your gaze is toward the east. This technique is called KICK WITH BOTH PALMS BRACING. See photo 4.12:

生理上之關係
Physiological aspect:
此節為彈機活步之動作。能振動內臟。激刺腸胃。且能助增消化力。促進血液循環。使各關節之腱增强彈力性。並將各主要肌肉之功用。分析如左。
This exercise involves a “snapping step”, which gives a shake to the internal organs, particularly stimulating the stomach and intestines, thereby aiding digestion. It also promotes better blood circulation and enhances the elasticity of the tendons in the joints. Listed below are the main muscles that are being worked:

一、前後手拏扎。卽兩臂下垂與屈伸小臂之動作。
1. The hands pulling back and jabbing forward involves the arms being pulled down, as well as the forearm bending and extending.
甲、兩臂下垂。主要肌肉。
A. Pulling the arms down works these muscles:
背闊　大圓　斜方下三分之一　胸大等肌肉
latissimus dorsi, teres major, lower trapezius, pectoralis major.
乙、屈小臂。主要肌肉。
B. Bending the forearm works these muscles:
肱二頭　肱前　肱前　前旋圓等肌肉
biceps brachii, brachialis, pronator teres.
兩臂上伸下伸。卽伸小臂。丙、伸小臂。主要肌肉。
C. Extending the forearm works these muscles:
肱三頭　胸大　橈側伸腕短　尺側伸腕等肌肉
triceps brachii, pectoralis major, extensor carpi ulnaris.

提腿舉腿側排。卽大腿前舉。及左右展開之動作。二、左右閃轉踹踢。卽大腿前舉。及左右展開之動作。
2. Suddenly turning and kicking to the side involves the upper leg raising in front and then the leg extending to the side.
甲、大腿前舉。及左右展開。主要肌肉。
A. Raising the upper leg and extending to the side works these muscles:
梨狀　內閉　孖上孖下　縫匠　闊筋膜張等肌肉。
piriformis, internal obturator, superior gemellus, inferior gemellus, sartorius, tensor fasciae latae.

心理上與教育上之關係。
Psychological & pedagogical aspects:
俱見前節。
Same as in the previous exercise.

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第五節　快速運動（兼有彈機跳躍之動作）
Section 5: AN EXERCISE FOR QUICKNESS (as well as explosiveness and jumping)
種類
Type of exercise:
彈機躍進快速之運動。
This is an exercise for developing ability for explosiveness and jumping.
術名
Name of the technique:
百步花。
TRAMPLING FLOWERS
實用祕法
Keys to the exercise:
要旨。練習身體輕捷。手腳靈便。為運用閃轉進步之妙法。及登高涉遠諸動作。有絕大之關係。常練能使手腳敏捷。進能取。退能守。行如飛。快如風。制勝於十步之外。此為武術之要法也。
The main idea is to train agility in the body and nimbleness in the hands and feet. It is an excellent exercise for improving dodging, turning, and advancing, and most of all for moving over large distances. Constant practice of it will make your hands and feet quick, so that you will be able to attack when you advance and defend when you retreat. Move as though flying, fast as wind. You should be able to rush in and subdue an opponent even when he is more than ten paces away. This is an important martial arts principle.

實習方法
Practice method:
預備動作
Preparation posture:
立正抱肘
Stand at attention, elbows wrapped back:
眼前視。挺胸。直腰。兩腳踵靠攏。腳尖分開。距離九十度。兩掌握拳。曲兩肘為九十度。兩拳置於腰間。肘尖向後。
Your gaze is forward, chest sticking out, your torso upright. Your heels are together, toes spread apart to make a ninety degree angle. Your hands grasp into fists and your arms bend into ninety degree angles as your fists are placed at your waist, elbows pointing behind you.

一、撩左掌。出左步。
1. Raise your left palm, stepping out with your left foot:
左拳變掌。伸直。由胯外向上撩。肘尖裏扣。成柳葉掌。同時左腳向前出一步。腳尖點地。腿曲成一百八十度四分之一。右拳仍抱肘。右腿稍曲。欲得姿勢準確。則掌尖與肩尖齊。成半弧形。鼻尖與肩尖對齊。肘與膝蓋腳尖對齊。前肘與後肘對齊。前膝與後膝對齊。名曰五齊。形似月斧。名曰闊斧式。如第一圖。
Your left fist becomes a palm and stands straight, raising upward from your [left] hip as a willow-leaf palm, the elbow covering inward. At the same time, your left foot steps forward, the toes touching down, the leg bent to a forty-five degree angle, your right fist remaining in a wrapped-elbow position, your right leg slightly bent. To get the posture to be precise, the fingertips of your palm should be at shoulder level, the arm making a half circle, and the shoulder should be pulled forward enough to be in line with your nose, the elbow should be in line with the knee and toes [of your front leg], your front elbow should be in line with your rear elbow, and your front knee should be in line with your rear knee. These are called the “five alignments”. The shape [of your front arm] is like a crescent-moon ax, or what is called a “broad ax”. See photo 5.1:

二、伸右腿。
2. Extend your right leg:
提右腿。曲膝。至九十度。向前伸。足尖斜向上。足踵用勁。向前排出。同時卽落地。名曰排腳式。如第二圖。
Your right leg lifts with the knee bent to make a ninety degree angle, then extends forward with the toes pointing diagonally upward, pushing out forward with power expressing at the heel, then immediately comes down. This technique is called a “crushing kick”. See photo 5.2:

三、右腳落於左腳前。卽提左腿。曲為九十度。腳尖向上。腳底稍向前。同時左掌由前向後。囘至腰間下擺。右拳變掌。伸直。由右胯外上撩。成柳葉掌。指尖對肩尖。肘尖裏扣。指尖至肩尖成半弧形。肘尖對腳尖。前膝對後膝。惟右腳落地時。用彈力。臨空搶步而進。卽向前搶一步。名曰右搶步腿。如第三圖。
3. Your right foot comes down in front of your left foot and then your left leg lifts forward, the knee bending to make a ninety degree angle, the toes lifted so that the sole of the foot is facing slightly forward. At the same time, your left palm swings downward and to the rear, withdrawing to your waist, while your right fist becomes a palm and stands straight, raising upward from your right hip as a willow-leaf palm, the fingertips at shoulder level, the elbow covering inward. The arm is making a half circle, the elbow is in line with your [left] toes, and your front knee is in a line with your rear knee [hip]. When your left foot comes down, it does so with a snapping energy, advancing as though walking on a tightrope, going forward with a “scraping step” [which is another way of describing the crushing kick]. This technique is called a “right scraping kick”. See photo 5.3:

四、左腳卽向前落地。卽提右腿向前曲膝。為九十度。足尖向上。腳底稍向前。同時右臂由前向後。囘至腰間。下擺。左掌上挑。成柳葉掌。指尖對肩尖。肘尖裏扣。惟左腳落下。用彈力卽向前搶一步。名曰左搶步腿。如此循環。搶腿演進。但前進時。兩臂前後擺動。順勢臨空搶步而進。左右連續運動。欲停則左腳搶步時。停於右腳上。卽向成闊斧式。如第四圖。
4. Your left foot comes down in front and then your left leg lifts forward, the knee bending to make a ninety degree angle, the toes lifted so that the sole of the foot is facing slightly forward. At the same time, your right arm swings downward and to the rear, withdrawing to your waist, while your left palm carries upward as a willow-leaf palm, the fingertips at shoulder level, the elbow covering inward. When your left foot comes down, it does so with a snapping energy, going forward with a scraping step. This technique is called a “left scraping kick”. Continue in this way over and over, advancing with scraping kicks. While you advance as though walking on a tightrope, your arms swing forward and back. It is a continuous movement on both sides. If you want to stop, then when your left foot goes out with a scraping step, your right leg steps forward [into an empty stance] and you halt in the broad-ax posture [on the other side]. See photo 5.4:

生理上之關係
Physiological aspect:
左右交互。提腿搶步前進。所以使胯骨關節敏活舒暢。幷能振盪腸胃。旣助消化。亦可免便祕等症。並將各主要肌肉之功用。分析如左。
Both sides are worked equally as you lift each leg and advance with scraping steps, which livens the hips joints. This exercise can also stimulate the intestines and stomach, thereby aiding digestion, and can prevent constipation. Listed below are the main muscles that are being worked:

一、手前挑後擺。卽臂前舉與下垂之動作。
1. For the movements of the hand carrying forward and hanging down to swing behind:
甲、兩臂前舉。主要肌肉。
A. Raising the arm forward works these muscles:
三角　喙突肱　胸大　肱二頭等肌肉
deltoids, coracobrachialis, pectoralis major, biceps brachii.
乙、兩臂下垂。主要肌肉。
B. Lowering the arm behind works these muscles:
背闊　大圓　斜方下三分之一　胸大等肌肉　舉大腿　伸小腿
latissimus dorsi, teres major, lower trapezius, pectoralis major.

二、舉大腿與伸小腿之動作。
2. For the movements of raising the upper leg and extending the lower leg:
甲、舉大腿。主要肌肉。
A. Raising the upper leg works these muscles:
縫匠　闊筋膜張　恥骨　A股直等肌肉
sartorius, tensor fasciae latae, pectineus, rectus femoris.
乙、伸小腿。主要肌肉。
B. Extending the lower leg works these muscles:
股四頭　A股直　B股外　C股內　D股中等肌肉
Quadriceps (rectus femoris, vastus lateralis, vastus medialis, vastus intermedius).

心理上之關係
Psychological aspect:
此節練習手腳輕捷靈敏。為自然跳躍之動作。當為少長咸宜之運動也。而於此種動作。又便易於學習。興趣亦濃。並能增人勇敢進取之心。關乎心理上。確有莫大之關係也。
This exercise trains nimbleness in the hands and feet, and promotes naturalness in jumping. Suitable for young and old alike, this is an exercise that is easy to learn and very enjoyable. It can also help increase a person’s fortitude, and so it is of great psychological relevance.

教育上之關係
Pedagogical aspect:
此節動作。可以發展敏速判斷決斷勇敢膽量啓發機警各優良之本性。而於教育上最有關係。要在教者之善用利導耳。
This exercise can develop quick wits, judgment, decisiveness, courage, boldness, awareness, and vigilance. These are excellent qualities to have, are especially relevant when it comes to teaching, and are indeed necessary for teachers to be able give good guidance.

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第六節　舒緩運動（卽調和之動作）
Section 6: AN EXERCISE FOR SLOWNESS (i.e. a harmonizing movement)
種類
Type of exercise:
原地運用指腕及臂之擺動。幷轉動軀幹及腿之伸縮。
Standing in one place, your fingers, wrists, and forearms sway back and forth. The torso also twists and the legs are correspondingly extending and bending along with it.
術名
Name of the technique:
翻江搗海。
DIVERTING THE RIVER AND TURNING BACK THE SEA
實用要訣
Keys to the exercise:
要旨。係練吞吐連環之法。為擒拏鎖扣之用。欲研究武術之眞諦。以此為入門之要訣也。
The gist of the exercise is the practice of continuously inhaling and exhaling during these actions of seizing and locking. If you want to study the true essence of martial arts, this [coordinating of breath with movement] is a fundamental principle.

實習方法
Practice method:
預備
Preparation posture:
由立正抱肘。兩腳離開。與兩肩成垂直線。兩腿下彎為四十五度。成半馬式。
From standing at attention, elbows wrapped back, your feet spread apart to shoulder width and your legs bend forty-five degrees to make a half horse-riding stance.
一、兩拳變掌。向左側邏。右掌心向上。左掌心向下。同時軀幹順手勢向左轉。眼視兩掌。左臂平曲於胸前。右肘近貼於肋。小臂平屈於心前。兩手大拇指與四指成鉗形。兩手心上下相應。距離約七八寸許。如第一圖。
1. Your fists become palms and swing out to the left with your right palm facing upward and left palm facing downward, your torso going along with your hands by twisting to the left. Your gaze is toward your hands. Your left arm is horizontal and bent, the forearm in front of your chest, and your right elbow is near your [right] ribs, the arm bent, the forearm horizontal in front of your solar plexus. The thumb and fingers of each hand are making a slight claw shape. The palms are facing each other above and below, about three quarters of a foot apart. See photo 6.1:

二、兩掌卽翻轉。而臂則上下互換位置。右臂平曲於胸前。左肘近貼於肋。小臂平屈於心前。兩手手指仍成鉗形。兩手心仍上下相應。距離約七八寸許。
2. Then your palms rotate as your arms switch their positions above and below. Your right arm is horizontal and bent, the forearm in front of your chest, and your left elbow is near your [left] ribs, the arm bent, the forearm horizontal in front of your solar plexus. The thumb and fingers of each hand are making a slight claw shape. The palms facing each other above and below, about three quarters of a foot apart. See photo 6.2:

兩手擒拏平行。緩緩向右。軀幹順勢亦右轉。如第二第三圖。
Your hands in this seizing position move slowly across to the right, your torso going along with your hands by twisting to the right. See photo 6.3:

三、兩掌再翻轉。而臂則又上下互換位置。右肘貼肋。小臂平屈於心前。左臂平曲於胸前。兩手手指仍成鉗形。卽緩緩向左。
3. Then your palms rotate as your arms switch their positions above and below. Your right elbow is near your [right] ribs, the arm bent, the forearm horizontal in front of your solar plexus, and your left arm is horizontal and bent, the forearm in front of your chest. The thumb and fingers of each hand are making a slight claw shape. See photo 6.4 (after which your hands will again go slowly across to the left):

如斯反復來去兩手手指如撕綿狀。則得手指功夫更大。而兩臂不可拘緊使勁。腰隨身擺。自如來往。吞淸吐濁。自有妙處生。如第四圖。
Repeatedly go back and forth in this way, with your fingers seeming to be ripping silk, which will increase skill in the fingers, but your arms should not be exerting strength. With your waist going along with the movement, your torso swaying, you will go back and forth smoothly. By drawing in clean air [inhaling as the hands rotate] and expelling stale air [exhaling as the hands go across], you will get the knack of it.

生理上之關係
Physiological aspect:
此節為調劑快速運動。使心臟漸漸平復。為生理上必然之次序。
This is an exercise of regulating speed of movement, causing the heartbeat to gradually calm down, which will lead to further physiological benefits.

心理上之關係（同前節）
Psychological aspect:
此節動作。從容以和。優游自得。有心曠神怡之妙。
Same as in the previous exercise [in that it increases fortitude]. This movement is also calm and harmonious, leisurely and contented, wonderfully carefree.

教育上之關係
Pedagogical aspect:
此節動作。可以養成鎭定。涵養。堅忍。謀略。耐勞。自主等。各優良之德性。為教育上所必需。亦視教者之善導耳。
This movement can cultivate calmness and restraint, perseverance and planning, hard work and initiative, all good qualities essential for teaching, and which show the teacher to be a good leader.

–

第七節　呼吸運動
Section 7: A BREATHING EXERCISE

種類
Type of exercise:
兩臂翻轉伸縮。助肺部吸淸吐濁。為呼吸之運動。
The arms rotate back and forth, and extend and retract, to assist the lungs at drawing in clean air and expelling stale air. This is an exercise of inhaling and exhaling.
術名
Name of the technique:
一元復始。
RETURNING TO A PRIMORDIAL STATE
實用要訣
Keys to the exercise:
此節要旨。為練習活動兩臂筋骨。使肺擴張。運氣貫於丹田。為國術練氣之要訣也。
The main idea in this exercise is to use the working of the arm muscles to get the lungs to expand and energy to course through to the elixir field. This is a key to energy training in martial arts. [This may seem contrary to the usual idea of relaxing muscles to let energy flow through.]

實習方法
Practice method:
預備
Preparation posture:
開立抱肘式。（開立卽兩腳分開。距離大小。則與兩肩成垂直線為度。）
From standing at attention with your elbows wrapped back, your feet spread apart to about shoulder width.
一、由開立抱肘。兩臂向左右撐開為一呼氣。而兩手心須向左右。指端向上。十指乍開。則脈絡伸張。而氣血則易貫通。然後兩臂緩緩向後翻轉。至掌心向上。為一度吸氣。兩臂復又緩緩向前翻轉。為一度呼氣。如斯反復六次。惟運動兩臂。務必用力。向左右撐開。則收效更大。證之尺骨橈骨肩胛骨諸經絡肌肉非常酸楚。可以知運用筋骨之功矣。如第一圖。
1. From the feet-apart wrapped-elbows position, your arms brace away to the sides as you exhale, your palms facing to the sides, fingertips pointing upward, fingers spread open. This stretches the arteries and veins so that energy and blood can more easily flow through. Then your arms slowly rotate toward the rear until the palms are facing upward as you inhale. Then your arms slowly rotate forward again [to return to the position of bracing outward with the palms facing to the sides] as you exhale. Do these rotations back and forth six times. For the movement of the arms, you should be exerting strength as you brace away to the sides in order to receive greater benefit. You will be able to tell from the sense of soreness in the energy channels and muscles around the ulna, radius, and scapula that this is also an exercise for developing strength. See photo 7.1:

二、承上兩臂左右撐開。緩緩向內收縮於兩肋旁。然後復向下緩緩垂直。指端向前。又緩曲十指為拳。如是則告終止矣。如第二圖。
2. Continuing from the previous posture, your arms slowly retract inward to be beside your ribs [as you inhale], then slowly go downward to hang straight with the fingers pointing forward [as you exhale], the fingers then slowly curling in to form fists [returning to the wrapped-elbows position]. This concludes the exercises. See photo 7.2:

生理上之關係
Physiological aspect:
此節動作。有呼出炭氣吸收養氣之功用。人生之需養氣。較飲食為尤要。故呼吸關於生理甚大。
The function of this exercise is purely to exhale carbon dioxide and inhale oxygen. Human beings require oxygen even more than food and water, therefore breathing has enormous physiological relevance.

心理上之關係
Psychological aspect:
孟子曰。氣體之充也。故久練呼吸。則氣充滿乎四體。而有心雄萬夫之槪。
Mengzi said [Mengzi, chapter 2a]: “[The mind leads the energy,] the energy fills the body.” After long-term breath training, energy fills the four limbs and you will have the heart of ten-thousand heroes.

教育上之關係
Pedagogical aspect:
研究學業。全在精神貫注。然氣不足。則精神從何而有。所以練習呼吸。氣足神完。而後可藥學者萎靡不振之病。
Studying is an entirely mental occupation. But if you have no energy, how would your mind be able to function? Through training the breath, your energy will be sufficient to get your mind fully switched on, and thus you will be able to cure lethargy for learning.

– – –

[This book was later reprinted by 大東書局 Great East Bookstore in Nov, 1930, expanded by an additional preface and a postscript, which are included below.]

–

再版科學化的國術弁言
PREFACE TO THE REPRINTED EDITION

三民主義之下革命軍統一華夏奠都南京百廢俱興昔軍閥政府素不注意之武術今迺一躍而為黨國要人所重視中央設立國術館各省市設分館上年首都舉行國術考試盛極一時今秋浙省亦有全國國術遊藝會之舉追憶八年前海上舉行第五屆遠東運動大會參加會員為中日菲三國健兒運動種類大都為田徑賽和球類而我國固有之體育則付缺如靑竊以為恥每思有以發揚之得一吐氣於碧眼黃髯之前是年適舉為江蘇省教育會體育研究會會長並主持中華武術會於是職責所在義無反顧遂挺身向遠東運動會籌備處交涉請求加入以表我國固有之武術以振我國尚武之精神該會主幹為美人葛雷博士初不允所請且謂貴國武術旣乏教育之價値又不合生理之需要如果加入恐為會衆所不取靑聞之不服再三與之辯難始由麥克樂先生從中斡旋且力贊靑所研究之武術切合科學並請予以機會參加始獲葛雷允許及後省教育會開會議決又推靑主持選擇教材加入大會表演並由縣教育局通令各校預備研究靑卽將固有之武術按教育之原理依生理之次序心理之要求技術之實用編輯而成按程授課不期月而成效大著茲將當時預會及大會時各界贊許之評論分別摘錄於后
The Revolutionary Army, fighting for “The Three Principles of the People”, unified China, established Nanjing as the capital, and carried out countless tasks that had been neglected. When the warlords governed, they typically paid no attention to martial arts. But now that we have made the leap to a proper party-run state, those in power take martial arts seriously. They have established the Central Martial Arts Institute, as well as branch schools in every province and city. Last year, the National Martial Arts Tournament was held in the capital and caused quite a sensation. This autumn, another national martial arts competition will be held in Zhejiang.
　　I remember that eight years ago the 5th Far Eastern Championship Games was held in Shanghai [May 30–June 4, 1921]. The participating athletes were from the three nations of China, Japan, and the Philippines [as well as a few competitors representing India, Thailand, and Malaysia]. The events were mostly track-and-field games and ball sports, in which it became clear that our nation was abysmally lacking in physical education. I found the performance of our countrymen humiliating, and every time I thought about it, I sighed that I was getting more inspiration from the example set by blond blue-eyed Westerners.
　　This year, I was chosen to be the president of the Jiangsu Educational Association’s Physical Education Research Department, while also presiding over the Chinese Martial Arts Association. I therefore felt it my duty to seek justice for our previous failure, and so I stood tall and walked into the preparatory office for the next Far Eastern Championship Games, where I asked for permission to give an exhibition at the Games to demonstrate our nation’s native martial arts and rouse our nation’s martial spirit.
　　I met with an American, Dr. John Henry Gray, who at first would not give his consent, saying: “Your country’s martial arts lack any value as real physical education. They don’t even conform to physiological requirements. If you gave a demo, I doubt the participants and spectators would want to watch it.” I heard this but refused to accept it and debated the point with him over and over. Then his colleague C. H. McCloy came in and acted as an intermediary. He strongly commended my research on making our martial arts more scientific and asked that I be given the opportunity to put on the demonstration. It was this that gained Gray’s consent.
　　The Educational Association later held a meeting in which they formally passed a resolution on the matter, and they also promoted me to presiding over the selecting of teaching materials. We held our exhibition at the Games. And then the County Bureau of Education circulated orders to all the schools to get ready to study martial arts! I subsequently presented our native martial arts to them in accordance with pedagogical principles, physiological processes, psychological requirements, and practical skills. I also wrote this book based on the lessons I had given, which quickly became considered a very relevant work.
　　Included below are some extracts of laudatory discussion from various circles about our exhibition at the Games:

錄上海新申時各報　民十年五月七日
From the Shanghai Evening News (May 7, 1921):

中華武術會總幹事吳志靑君近編中國式新體操昨晚七時在一品香宴請各界商榷到者如遠東運動會主幹葛雷博士體育家郝伯陽武術家馬子貞紳商王一亭葉惠鈞教育家蘇穎傑沈恩孚報界邵力子戈公振謝介子謝强公女體育家郝映靑柏克菲女士等中西人士四十餘人席間由吳君表演並說明十餘年研究體育武術近按生理上心理上教育上之程序著成「中國新體操」今改「科學化的國術」曾親赴各高小學校教練已略睹成效現加入遠東運動會先於明日（八日）午後一時召集各學校學生假公共體育場會操第茲事體大深恐隕越貽譏因此敬請諸君光臨面請指示尚望諸君不吝賜教並加以提倡云云次葛雷博士演說體育之成功歸根於技術熱心精神三者今吳君蓋得之矣鄙人甚欲知中國人究合於何種體操云次邵力子先生演說深贊吳君以科學整理中國學問郝伯陽先生演說保存國粹從技術公開始柏克菲女士演說中國婦女必須與男女同一健康吳君在本校教授多年此種教材不但限於男子女子亦適用云九時許攝影而散
Secretary-general of the Chinese Martial Arts Association, Wu Zhiqing, author of China’s New Calisthenics, last night at 7pm gave a banquet to entertain a wide range of guests, such as: Dr. John Henry Gray, who is the organizer of the Far Eastern Championship Games, the physical education expert Hao Boyang, martial arts master Ma Zizhen, businessmen Wang Yiting and Ye Huijun, educators Su Yingjie and Shen Enfu, journalists Shao Lizi, Ge Gongzhen, Xie Jiezi, and Xie Qianggong, women’s physical education experts Ms. Hao Yingqing and Ms. Bai Kefei, and so on, altogether more than forty people, both Chinese and Westerners.
　　In the middle of the banquet, Wu gave a demonstration. He then also discussed his more than ten years of research into martial arts and his physiology-psychology-pedagogy approach. He has recently changed the title of his book China’s New Calisthenics to Scientific Martial Arts. He has also personally taught this material in all levels of schools, which has visibly produced results, and it is now going to be a feature in the Far Eastern Championship Games.
　　Starting at 1pm tomorrow (May 8), students from various schools will gather together at the public sports stadium to drill the exercises as a large group. Wu is taking this matter very seriously, fearing that if such an exhibition fails, Chinese martial arts may face a future of ridicule. Because of this, he has invited all of these distinguished guests to come and personally view a rehearsal demonstration of the exhibition for the Games. He nevertheless hopes that everyone present will not hold back any criticism in addition to merely giving encouragement.
　　Dr. Gray then delivered a speech about the triumphs of physical education, and said: “It all comes down to the three qualities of skill, dedication, and spirit. Wu is the embodiment all of these things. I very much look forward to seeing how the education of the Chinese people is preparing them for all types of athletic activity.”
　　Then Shao Lizi gave a speech strongly commending Wu’s use of science to improve this field of Chinese learning, Hao Boyang gave a speech about preserving China’s cultural essence by spreading such skills to the public, and Ms. Bai Kefei gave a speech about how Chinese women need to be just as healthy as the men, saying: “Wu has been teaching in our school for several years now that this material is not only for men, but should also be learned by women.”
　　At about 9pm, some photographs were taken and then the guests went home.

摘錄上海新申時各報評論　民十年五月九日
A couple of reviews of the event in the Shanghai Evening News (May 9, 1921):

大南門中華路民立中學於昨日午後一時假西門外公共體育場舉行春季運動會中外來賓共約八千餘人由該校校長蘇穎傑君與職教員及學生殷殷招待會中秩序甚佳並有童子軍在場照料會中有參與此次遠東運動會之六小學校縣立一高二師附屬和安養正育材潮惠會操該校教員吳志靑君編著「應用武術中國新體操」今改「科學化的國術」最為引人注目均精美可觀至六時始盡歡而散
[1] Yesterday at 1pm, the Establish-the-People High School, near the South Gate on Cathay Road, took over the public sports stadium just outside the West Gate to hold a special kind of springtime sports meet. There were altogether more than eight thousand people there to see it, both Chinese and foreign. Receiving all these guests were Principal Su Yingjie, the teachers from the school, and the students. The gathering was very organized, maybe because the Boy Scouts were also there to help out.
　　The reason for the gathering is that students from six schools (Shanghai County 1st College’s 2nd Teacher-Training Attached School, Harmony & Peace Elementary School, Municipal Uniformed Elementary School, Raising Talent Elementary School, and Spreading Benevolence Elementary School) are getting ready to demonstrate a large-scale drill exercise within this year’s Far Eastern Championship Games.
　　Thanks to instructor Wu Zhiqing, who authored Using Martial Arts to Make China’s New Calisthenics, recently re-titled as Scientific Martial Arts, this exhibition of exercise will be a spectacle that is definitely worth seeing. By 6pm, the performing students were finally exhausted trying to get everything perfect for the event and it was time to go home.

參加遠東運動會的體操與疊羅漢節目為萬里長城崑崙山脈十大名山賓塔等及歡呼六項此項運動為中華武術會吳志靑君所編稱為「中國新體操」今改「科學化的國術」今日表演卽為此屆參與遠東運動會之預備也制服一律白色背心短袴黑襪胸前懸徑六七寸國徽一方先是各校學生排列場外導以國旗軍樂入場環行一週然後排一橫隊再分六小隊由教者指示表演每節作完間以歡呼聲浪齊一此次所演僅為第一第七兩節每一節完掌聲雷動其中以崑崙山寶塔二節為尤佳而學生動作活潑參觀者無不嘖嘖稱賞
[2] The exhibition group for the Far Eastern Championship Games has just performed group formations of “The Great Wall”, “Kunlun Mountains”, “Ten Famous Mountains”, “The Pagoda”, and so on, earning them six swells of applause.
　　This exercise event is headed by Wu Zhiqing of the Chinese Martial Arts Association, who authored China’s New Calisthenics, lately re-titled Scientific Martial Arts. Their performance today is a rehearsal for the Far Eastern Championship Games. They were all dressed in white tank-tops and shorts, black socks, and each holding the national emblem several inches in front of their chests.
　　All the students were first arranged into their positions outside the stadium, then were led into the stadium by national flags and military band music. They made a full circuit of the field then lined up into rows, divided into six teams, and each team performed under the directions of an instructor. With the finish of each part of the demonstration came a surge of cheers.
　　On this occasion, only the first and seventh exercises were demonstrated, but they both produced thunderous applause. Among the exercises displayed, the group formations of “Kunlun Mountains” and “The Pagoda” were especially impressive. The movements of the students were very lively and the spectators all hollered their admiration.

遠東運動會會務日報詳記中國武術遊藝盛况
A couple reports on the Chinese Martial Arts Exhibition from the Far Eastern Championship Games Bulletin:

第五次遠東運動大會民十年六月四日午後二時半表演中國武術遊藝評「眞可謂為國增光了」
一、入場 午後二時半中華武術會會員和養正等學校學生約五百人由司令吳志靑君導入場內先環行一週然後列一橫隊前列軍樂高唱國歌音韻悠揚全場肅然
二、服裝 武術會會員全著技擊用特製衣服養正等學校學生全體白帽白背心短袴和黑鞋黑襪手中各執國旗一面背心前面亦各縫國旗一方每一動作時光耀眩色極為悅目
三、節目 所演各種遊藝可分三項（甲）中國新體操因為時間的關係祇演第一部第一和第七兩節（乙）疊羅漢（1）萬里長城（2）崑崙山脈（3）駱駝峯（4）名山（5）寶塔（丙）拳術單演如洪拳六合拳六合棍單刀查槍雙掌入門雙演如三把腰雙頭槍查拳月牙鏟雙劈單刀等甲乙兩項係養正等學校學生表演的丙項係武術會會員表演的
四、歡呼 入場後出場前和表演的時候常有歡呼聲音齊一很能振起他們自身和觀者的精神他們的歡呼共分有六種他們的表演極博中外人士的贊美因為他精神活潑操練的嫺熟和動作的整齊在在可令人稱贊他們在很多外國人的面前將本國國粹盡力表現出來使外人可以知道我國固有武術的眞價値眞可謂「為國增光了」現在東西洋人很重視我國的拳術還望國人要羣起來保存才好呢再吳志靑君所編的中國新體操是參用心理學和教育學生理學作根據的很有採作學校教材的價値也望國人提倡起來啊
同日海上各目報評「眞不愧稱中國新體操」
[1] As part of the 5th Far Eastern Championship Games, the Chinese Martial Arts Exhibition was held at 2:30pm on June 4, 1921 [final day of the Games, apparently serving as a kind of closing ceremony], and was praised thus: “It can truly be said that this brings glory to the nation!”
　　1. The Entrance:
　　At 2:30pm, the members of the Chinese Martial Arts Association and about five hundred uniformed school students entered the stadium, led by Wu Zhiqing. They first made a full circuit of the space, then lined up into rows and proudly sang the national anthem, a melodious sound that made the entire audience feel a sense of solemnity.
　　2. The Uniforms:
　　Members of the Martial Arts Association all wore specially made clothes for performing martial arts, but the bodies of the school students were uniformed in this way: white caps, white tank-tops and shorts, black shoes and socks. They each carried in their hands the national flag and wore the flag also as a design sewn onto the front of their shirts. With every movement, there was a dazzling display of color [since the flag at the time was the five-color flag] that was extremely pleasing to the eye.
　　3. The Program:
　　The exhibition was divided into three parts:
　　A. China’s New Calisthenics: In the interest of time, they performed only the first and seventh exercises.
　　B. They performed these group formations: 1. “The Great Wall”, 2. “Kunlun Mountains”, 3. “The Camel’s Hump”, 4. “Famous Mountains”, 5. “The Pagoda”.
　　C. They performed solo demonstrations of martial art sets, such as: Hong Boxing, Liuhe Boxing, Liuhe Staff, Single Saber, Cha Spear, Double Palms Through the Door, and so on. And two-person sets, such as: Waist-Grappling, Double-Headed Spears, Chaquan, Crescent-Moon Shovels, Double Choppers, Single Sabers, and so on.
　　Parts A and B were performed by groups of uniformed school students in unison. Part C was performed individually by members of the Martial Arts Association.
　　4. The Applause:
　　In the time between the performers entering the stadium and leaving it, there was continuous cheering, which inspired ever greater spirit from the performers and still greater cheers from the spectators, the cheers swelling to a peak six times. The performance was highly praised by both Chinese and foreigners, because everything was done with such lively spirit, skillful execution, and exquisite orderliness of movement.
　　The performers stood before a great many foreigners and did their utmost to show the cultural essence of our nation, making those foreigners aware of the value of our nation’s native martial arts. Truly it can be said that “this has brought glory to the nation”. Now people from both the East and the West will take our boxing arts seriously and it is to be hoped that our countrymen will at last rally together to preserve them.
　　China’s New Calisthenics, which Wu Zhiqing wrote in accordance with psychology, pedagogy, and physiology, has become highly valued as a textbook in schools. Our countrymen should encourage everyone else to read it too.
　　On the very same day, various Shanghai newspapers judged it as “truly worthy of being called ‘China’s New Calisthenics’”.

昨日本埠南市中華武術會發起集合二師附屬縣立一高市立養正和安育材潮惠各小學校操練中國新體操由總教練吳志靑君指揮前導國旗會旗列隊遊行一週然後入場學生襟前各佩國徽一面服裝淸潔步伐整齊咸具活潑之精神其操練之程序
一、唱國歌抑揚頓挫英氣勃勃有不可一世之槪
二、演中國新體操今改「科學化的國術」動作美滿精神充足中外觀者無不同聲贊揚謂「眞不愧中國新體操」是時編者分送說明書內容分生理心理教育與實用要訣及疊羅漢之釋名與圖畫印刷精良受者頗為寶貴
三、歡呼聲音齊一頗能振起觀者和自身之精神
四、表演疊羅漢（甲）萬里長城（乙）崑崙山脈（丙）駱駝峯（丁）名山（戊）寶塔每演一節無不掌聲如雷深得觀衆之贊許體育家及各界之術會之武術刀光劍影虎鬭龍爭對練各種技藝之精妙間不容髮咸歎觀止其間有八十老翁何玉山與于振聲之三把腰楊奉眞吳志靑之對打四路查拳羅叔靑韓凌森之月牙鏟尤其特長倍增精采此次表演足為遠東運動會生色而為武術增光亦不少也
[2] Yesterday at this stadium in the southern part of the city, the Chinese Martial Arts Association sponsored a gathering of schools including Shanghai County 1st College’s 2nd Teacher-Training Attached School, Municipal Uniformed Elementary School, Harmony & Peace Elementary School, Raising Talent Elementary School, and Spreading Benevolence Elementary School to drill “China’s New Calisthenics”. Led by head coach Wu Zhiqing and each carrying the national flag and the banner for the Games, they arranged themselves into lines and entered the stadium. The front of their shirts was adorned with the national emblem, their clothes wore spotlessly clean, they marched in perfect order, and they all possessed a lively spirit. The performed their demonstration in this sequence:
　　1. When they sang the national anthem, they filled it with heroic spirit, a rendition better than any of this generation so far.
　　2. They then performed “China’s New Calisthenics”, or what is lately called “Scientific Martial Arts”. The movements were harmonious and full of spirit. It was unanimously praised by Chinese and foreign spectators alike declaring it “truly worthy of being called ‘China’s New Calisthenics’”. The author of the material divides the explanations in his book into perspectives from physiology, psychology, pedagogy, and the keys to each exercise.
　　3. They also performed a series of group formations which led to the snapping of some spectacular photographs that are sure to be treasured. They performed these group formations: A. “The Great Wall”, B. “Kunlun Mountains”, C. “The Camel’s Hump”, D. “Famous Mountains”, E. “The Pagoda”.
　　4. The cheers were a constant sound, which inspired still greater cheers from the spectators and ever greater spirit from the performers. Every part of the performance was met with thunderous applause and received the heartfelt praise of the spectators.
　　These experts of physical education and a wide variety of skills also came together to show martial skill in the form of the flashing of sword versus saber, the struggle of dragon versus tiger, a variety of two-person sets so skillfully executed that spectators gasped at how narrowly the performers were missing each other. Among the most impressive were eighty-year old He Yushan & Yu Zhensheng’s demonstration of Waist-Grappling, Yang Fengzhen & Wu Zhiqing’s two-person 4th Set of Chaquan, Luo Shuqing & Han Lingsen’s sparring with Crescent-Moon Shovels, which were all spectacular.
　　This exhibition at the Far Eastern Championship Games is very significant indeed and brings enormous prestige to martial arts.

統觀上述可見各界對本編表演之成績咸加推許則本編之價値亦可想而知
民國十八年秋九月吳志靑再誌
It is clear from the writings above that our exhibition achieved great success and received wide appreciation, which indicates that this book also seems to have some value.
　　- written by Wu Zhiqing, Sep, 1929

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跋
POSTSCRIPT

吾國重文輕武。國術式微久矣。其間有習之者。或為方外僧侶。或屬江湖賣藝。所傳口訣。不偏於玄。卽失之陋。後世不察。反從而變本加厲。學者惑焉。余久欲以科學方法整理之而未見諸事實。今吳志靑先生以所著中國新體操見示。並囑為校閱。余觀其書。係按諸生理心理教育諸原理所編。與余所主張之科學者脗合。可謂國術傑作也。更名科學化的國術。洵無愧。且科學國術者。非推翻吾國固有國術而創造之謂也。如書中言上肢運動。卽少林十八法中朝天直舉排出運掌之意。軀幹運動。卽少林十八法中黑虎伸腰腿力跌蕩之意。快速運動。卽少林中吞吐浮沉迅如風電之意。舒緩運動。卽太極專氣致柔之意。閃轉用掌循行進退。卽八卦中靑龍轉身之意。呼吸運動。卽少林慧猛師所傳呼吸術。與河南派丹田提氣術西江派提桶子勁之意。以及言鴛鴦鯉魚鷂子等名稱者。亦無非華佗氏五禽戲。與少林五拳岳氏十二形之意。是皆本諸吾國固有之國術述而不作也。然則所謂科學化的國術者。惟用科學方法。改良國術。以期合於實用耳。故茲書出。固不可遽謂有强身强種强國之效。而補偏救弊。為國術界大放光明。此則余敢斷言者也。
中華民國十七年十二月廣濟呂光華書於中央國術館
Because our nation has had reverence for literary pursuits and looked down upon martial affairs, our martial arts have long been in decline. Among practitioners, whether they were mystical monks or wandering performers, the instructional poems were originally not very obscure, but then they gradually lost their simplicity [due to pressure to appear more scholarly]. Later generations were not paying attention to this effect and so the process dramatically increased until students are now utterly confused by the teachings that have been passed down.
　　I had long hoped for scientific methods to be used to bring these arts back down to earth, but had not yet seen it put into practice until Wu Zhiqing wrote China’s New Calisthenics, which demonstrates exactly this, and he urged me to give it a readthrough. I have since read through his book and have found that his notes on physiological, psychological, and pedagogical principles fit well with the more scientific presentation I have been advocating for, and I therefore feel I can declare it to be a martial arts masterpiece. His changing of the title to Scientific Martial Arts also seems entirely justified.
　　Making our martial arts scientific does not mean discarding our nation’s native martial arts and creating new ones in their place. Within this book, there is an exercise for the upper limbs [section 3] which is like the actions of “lifting to the sky” and then “pushing out with the palm” from Shaolin’s Eighteen Techniques; an exercise for the torso [section 2] which is like the actions of “black tiger stretches its back” and “using leg strength to knock down an opponent”, also from the Eighteen Techniques; an exercise for quickness [section 5] which is like the Shaolin principles of “absorb and send back, float and sink” and “be fast as wind and lightning”; a slow exercise [section 6] which implies the Taiji principle [from the Daodejing, chapter 10] of “focus on your breath and achieve softness” [and also resembles Taiji’s “clouding hands” movement]; an exercise of “suddenly turning around wielding palms while advancing and retreating” [section 1], which is similar to the Bagua technique of “blue dragon turns its body”; and a breathing exercise [section 7] that is reminiscent of the breathing arts passed down from Shaolin master Hui Meng, as well as the techniques of rousing energy in the elixir field found in styles in Henan and the exercises of “bucket-lifting power” found in styles in the Xi River area. There are also techniques involving “ducks” [section 2], “carps” [section 6], “hawks” [section 1], and so on, which are the same kind of thing as Hua Tuo’s Five Animal Frolics, Shaolin’s Five-Animal Boxing, or the Yue School’s Twelve Animals.
　　These are all based on our nation’s native martial arts rather than creating something from scratch. The act of “making our martial arts more scientific” means using scientific methods to improve our martial arts with the intention of making them more practical. Therefore when this new edition of the book comes out, although it of course will not have the immediate effects of strengthening the body, strengthening the masses, and strengthening the nation, it will nevertheless rectify many errors, and so I dare to predict that the martial arts community will sing its praises loudly.
　　- written by Lü Guanghua of Guangji, at the Central Martial Arts Institute, Dec, 1928

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燕青單刀
YAN QING’S SINGLE SABER
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
攝影者：譚以禮
postures photographed by Tan Yili
校對者：黃子英
text proofread by Huang Ziying
[published 33rd year of the cycle, 6th month, 1st day (Jul 8, 1956)]

[translation by Paul Brennan, Dec, 2018]

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㷼青單刀
Yan Qing’s Single Saber
黃漢勋自署
– calligraphy by Huang Hanxun

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燕青单刀形勢圖
Map for the postures in the set:

图例：凢由東至西。或由西返東之直線形。皆以同一線為凖。其分線繪图者。不外為利便絵圖耳。
The postures will travel from east to west, then come back from west to east [and then once more from east to west and west to east], both ways in a straight line. These lines are drawn simply for convenience.

S
南
E   東  +  西  W
北
N

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試刀小言
A FEW WORDS ON EXAMINING THE SABER

古俠士與武林先哲嘗以得寶刀寶劍為榮，其得寶也必先看之，試之，以攷其實，精武前輩，盍煒昌先生嘗贈余以試劍圖乙幀，盧君致力武道四十年其神彩至為活現，余以此刀祗得五十五圖，因補撕此圖以凑合篇幅耳，若云以先哲前賢自視，能勿愧煞乎！抑亦能毋有東施效顰之嫌歟。
Ancient warriors and wise men within the martial arts community considered it an honor to receive a “precious saber” or a “precious sword”. But to test whether it was really a precious blade, they first had to examine it [by drawing it from its scabbard, as in the photo]. Jingwu elder Lu Weichang once gave me a photo of himself examining a sword. He devoted himself to martial ways for forty years and his passion for it was visible. Although this saber set in this book contains only fifty-five postures, it may seem that the addition of this one photo makes the book too long. If it makes you think that I consider myself to be on a par with previous masters like Lu, shame on you. Do not imagine for an instant that I am trying to make some pathetic attempt to imitate that great man.

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自序
AUTHOR’S PREFACE

單刀一械為步戰中慣用武器之一，其法乃脫胎於大刀而大盛於宋明及亡淸，宋末水滸傳中之浪子燕靑即以單刀法見稱於世矣，其後王五亦以單刀著譽武林，「人或以大刀王五稱之。」余則以為王所用刀畧大而已，並非為大砍刀之大刀也，燕靑單刀僅傳五十五刀法，中有重式者，除外則半耳！單刀有十法，即劈，軋，抅，掛，削，拍，挑，撩，搜，撈，也。漢雖曾一個時期致力於此，祗惜二十年來，就食四方是以致技術生疏退板，且以個人精神魄力去應需求不同之習技者，是難得專心致意於某一技之機會，茲僅拾遺法於萬一用以列諸於冊，雖未能揚前人之美妙，但尤勝乎昧昧於心而藏諸黃土之為計也，但願人人以發揚國粹自任，使具有民族性之技術千古不替，是所厚幸焉。黃漢勛於丙申端午東方國術部
The single saber is a weapon that has been commonly used by infantry. Its techniques emerge from the large saber art and it flourished through the dynasties of Song, Ming, and right up until the end of the Qing. In the late Song Dynasty novel The Water Margin, the character of “The Wanderer” Yan Qing was well-known for his single saber skills. Later on [late 19th century], Wang Wu [Wang Zhengyi] also become famous in martial arts circles for his use of the single saber, and was sometimes known as “Large Saber Wang Wu”. I use a slightly larger saber than Wang did, and so it is not the “large cleaving saber” type of large saber. Yan Qing’s Single Saber is a set that contains only fifty-five postures, and half of them are repeats. The single saber art has ten techniques: chopping, rolling, hooking, hanging, slicing, patting, carrying, raising, searching, and scooping.
　　Although I at one time devoted myself to this set, that was twenty years ago, and I have since had my attention pulled in so many directions that my saber skill has rusted. Because the task I have dedicated myself to requires the training of many different abilities, it is difficult to get the chance to focus all of my attention on a single skill. This set that I have picked to be in this series of books is just one tiny sample from all that I have inherited. Although I cannot do justice to the brilliance of previous generations, I at least seek to overcome ignorance and reveal what might otherwise become buried away. I only wish for everyone to take it upon themselves to carry on our national culture and keep our nation’s arts from ever being replaced. This is my sincere hope.
　　- written by Huang Hanxun at the Far East Martial Arts Headquarters, 33rd year of the cycle, Dragon Boat Festival [which takes place on the 5th day of the 5th lunar month, hence June 13, 1956]

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第一式　出步中平式
Posture 1: IN READINESS TO STEP OUT, STANDING STABLY

說明：
Explanation:
假定此刀擇定東方作起點者應背南，面北，右東，左西而立，注視西方，左手捧刀，刀沿臂緊貼，刀以不逾頭而與耳齊為合度右手掌貼身，垂下，如「定式圖」
Stand in the eastern part of the practice space to begin this set, with the south behind you, the north in front of you, the east to your right, the west to your left. Your gaze is to the west. Your left hand is holding the saber, the [back of the] saber touching along [the top of] the arm. The saber should not extend past your head and should instead be at ear level. Your right palm is hanging down near your body [thigh]. See photo 1:

功用：
Application:
刀勢尚未展開，故無功用可言。
In this posture, you have not yet reached out with the saber, and thus there is no application to speak of.

第二式　抱刀上步式
Posture 2: HOLDING THE SABER, STEP FORWARD

說明：
Explanation:
沿上式，先出右脚，右掌與刀向前直出，目向前視，如「過後式」甲，
Continuing from the previous posture, first your right foot goes out as your right palm and the saber go straight out forward. Your gaze is forward. See photo 2a:

再進左脚以成左跨虎步，右掌化作刁手與刀齊往後收，逾後逾佳，目注西而視，如『定式圖』
Then your left foot advances to make a left sitting-tiger stance as your right hand becomes a hooking hand and withdraws behind you in unison with the saber. The farther they reach back, the better. Your gaze is toward the west. See photo 2b:

功用：
Application:
刀尚未交於右手，故仍為開式之勢，尚無實用可言。
As the saber has not yet been switched to your right hand, this is still an opening posture, and thus there is still not really any application to speak of.

第三式　斜步四平式
Posture 3: DIAGONAL STEP, FOUR-LEVEL POSTURE

說明：
Explanation:
循上式，先拉起左脚，復進前右脚，以成立正之勢，右手復化為掌與刀同時向西方舉出，如「過渡式甲圖」
Continuing from the previous posture, first your left foot lifts, then your right foot advances to stand next to it, making a posture of standing at attention, as your right hand changes back to a palm and goes out to the west together with the saber. See photo 3a:

再退右脚拉左脚以成向正西方之跨虎步，右掌自左腋下出而向上，刀往後斜拖，如『定式圖』。
Then your right foot retreats and your left foot pulls back to make a sitting-tiger stance facing toward the west as your right palm goes out upward from below your left armpit, the saber pulling back until it is diagonal behind you. See photo 3b:

功用：
Application:
此式雖然於刀尚無致用之處，但相傳江湖上之鑣囊乃懸於腋下者，因此右手返至腋內者即取鑣之意，復向上揚者，亦即投擲之暗示也，今之用鑣者少，因是而祗是象徵而已。
In this posture, the saber still has no practical function, but according to tradition, wandering entertainers had a dart pocketed below the armpit, thus the right hand goes toward the armpit with a sense of taking out the dart and then raises upward to represent throwing this hidden weapon. Those who use such darts are very rare nowadays, and thus this is simply a symbolic gesture.

第四式　竄跳出身式
Posture 4: LEAPING UP AND SENDING OUT YOUR BODY

說明：
Explanation:
循上式，刀不動，右掌化拳自腰部與左脚向西前方齊出如「過渡式甲圖「。
Continuing from the previous posture, the saber does not change its position as your right palm becomes a fist and punches out from your waist, your left foot kicking out at the same time, both going out toward the west in unison. See photo 4a:

再跳起以右掌拍落右膝部，刀畧向前伸，如「過渡式乙圖」。
Then hop up, using your right palm to slap down against your right knee area, the saber slightly reaching forward. See photo 4b:

落右脚以成扑腿之勢，右掌變拳收腰，刀則轉至胸前，如「過渡丙式圖」。
Your right leg comes down [and your left leg extends forward] to make a reaching-leg stance as your right palm becomes a fist and withdraws to your waist, the saber arcing until in front of your chest. See photo 4c:

再起過左腰後，右拳自腰部衝出，如『定式圖』。
Then rise up, the saber passing the left side of your waist and going behind you as your right fist thrusts out from your waist. See photo 4d:

功用：
Application:
此蹤跳出身者是與敵求接近之意也，我先以拳腿攻之，再用扑腿法剷之，彼欲跳起卸避，我則轉馬用捶直統之也。
This technique of leaping up and sending my body out is for dissuading an opponent who wants to approach me. I first use a technique of fist and foot attacking simultaneously, then use a reaching-leg stance to shovel underneath him. He will thus want to jump away to evade me, so I switch my stance and send a thrust punch straight at him.

第五式　扑腿推刀式
Posture 5: REACHING-LEG STANCE, PUSHING THE SABER

說明：
Explanation:
循上式，左右脚不變原來位置，祗再由左登山步往後轉為扑腿耳！刀自後繞過面前，右拳變掌隨刀而轉如「過渡式甲圖」。
Continuing from the previous posture, your feet stay in their location and you simply shift back to the rear, going from a left mountain-climbing stance to a reaching-leg stance [the photo showing more of a right mountain-climbing], the saber going from behind you, passing in front of you, [and arcing to the right,] your right fist becoming a palm and arcing along with the saber. See photo 5a:

再由左手將刀交於右手，復轉馬為左登山步，右刀平推與左上掌齊出，如『定式圖』。
Then your left hand sends the saber into your right hand and you switch back to a left mountain-climbing stance as your right hand pushes out the saber, the blade horizontal, your left hand going out at the same time. See photo 5b:

功用：
Application:
我已將刀交於右手，即是凖備作戰之暗示也，彼即自我頂上殺來一棍或一槍，我乃用左掌朝上迎之，右刀向其中部推出，使彼不及收械迎禦也。
Once I have switched the saber into my right hand, this means I am ready for combat. An opponent uses a staff or spear to smash onto my headtop, so I send my left palm upward to block it while my right hand sends my saber pushing outward to his middle area, leaving him unable to withdraw his weapon in time to defend against it.

第六式　拉刀收步式
Posture 6: PULLING THE SABER, GATHERING STEP

說明：
Explanation:
循上式，原步不變，左掌向前，右刀自前經過面前拉向背部，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, your left palm goes forward as your right hand pulls the saber across from in front of you to be behind you. See photo 6a:

再以右後脚跟前如跨虎步形狀，刀循背部沿左臂直落止於腕上，左掌化刁手往後抅去，如『定式圖』。
Then your right foot follows forward to almost make a sitting-tiger stance as the saber passes through behind you and lowers along your left arm until above the wrist, your left palm becoming a hooking hand and hooking away to the rear. See photo 6b:

功用：
Application:
彼擬用長械迫我，我先用左手刁去來械，復以右刀自上而下，以資掩護，亦可作劈擊來械之用也。
An opponent using a long weapon tries to attack me, so I first use my left hand to hook it aside, then send my saber downward from above as a means of shielding myself, or I can also use this action to chop away his weapon.

第七式　竄跳囘身式
Posture 7: SCURRYING AWAY WITH THE BODY TURNED

說明：
Explanation:
循上式，先將右脚開往東方如登山步，刀與左刁手畧掠開，目注視西後方，如「過渡式圖」。
Continuing from the previous posture, first your right foot steps out toward the east as though to make a mountain-climbing stance, the saber and your left hooking hand slightly sweeping aside. Your gaze is behind you toward the west. See photo 7a:

再原式不變疾跳過西後方，如『定式圖』。
Then while maintaining this position, suddenly hop back [twice] to the west [east]. See photos 7b and 7c:

功用：
Application:
不論已否扣得來械，我皆向後撤退，以便靜觀其變，俟機出擊是也。
Regardless of whether or not I have succeeded in drawing aside the opponent’s weapon, I retreat to watch for what he will do next and wait for the opportunity to attack.

第八式　拉刀藏刀式
Posture 8: PULLING THE SABER INTO A STORING POSITION

說明：
Explanation:
循上式，刀與手不變，先進左脚，如「過渡式甲圖」。
Continuing from the previous posture, with the saber and your left hand not changing their position, first your left foot advances. See photo 8a:

再轉右東而反向西方提起右脚，左刁手仍抅後，刀則沿右膝部殺落，如「過渡式乙圖」。
Then turn around to the right to go from facing toward the east to be facing toward the west as your right foot lifts, your left hand still hooking behind, and the saber smashes down beside your right knee. See photo 8b:

左手與步不變，刀循前下方繞過背部，右手直舉，如「過渡式丙圖」。
With your left hand and legs not changing their position, the saber follows through forward and downward and arcs behind your back, your right arm rising until vertical. See photo 8c:

乘提右脚之便蹤身一跳，以成左跨虎之勢，刀則轉過左肩斜向前落，落時左手須由胸前化掌穿出為合如『定式圖』。
Going along with the lifting of your right leg, your body hops into a left sitting-tiger stance as the saber arcs past your left shoulder and lowers diagonally in front of you, your left hand becoming a palm and shooting out forward from in front of your chest at the same moment that the saber lowers. See photo 8d:

功用：
Application:
此式合卸步，提腿，蹤跳，攔刀，撇刀，拉刀等為一式，若善於運用則合攻守於一矣。
This posture combines a withdrawing step, lifting leg, hop, and the saber actions of blocking, swinging, and pulling into a single technique. If you are good at applying it, then defense and offense will be combined into a single action.

第九式　出步劈刀式
Posture 9: STEP OUT, CHOPPING

說明：
Explanation:
循上式，出右脚以成右登山步，刀自後向前劈去，再轉歸左方，左手則貼腕助之，如『定式圖』。
Continuing from the previous posture, your right foot goes out to make a right mountain-climbing stance as the saber chops out forward from the rear and follows through by arcing across to the left, your left hand touching your [right] wrist to assist. See photo 9:

功用：
Application:
彼械直刺我中門，我即用橫刀殺消之。
The opponent’s weapon stabs to my middle area, so I send my saber across to smash it away.

第十式　跟步軋刀式
Posture 10: FOLLOWING STEP, ROLLING THE SABER

說明：
Explanation:
循上式，左右脚不變，祗向一標，以成騎馬式，刀與掌同時向前後一分，如『定式圖』。
Continuing from the previous posture, your feet maintain their position and you simply dart forward to make a horse-riding stance, the saber and palm spreading apart forward and back. See photo 10:

功用：
Application:
彼械為我刀殺去，或為彼漏去，我皆復跟步進馬順刀劈之，斯為刀法之正着，抑亦與上式有連貫之作用也。
The opponent’s weapon has been smashed aside by my saber, or he has retreated, so I follow him by advancing into a horse-riding stance with my saber chopping out. This is a direct saber action and follows on from the previous posture to form a continuous technique.

第十一式　抱頭攔刀式
Posture 11: WRAPPING AROUND THE HEAD, SLASHING

說明：
Explanation:
循上式，先提左後脚，刀自前轉後斜掛左肩之上，如「過渡式甲圖」。
Continuing from the previous posture, first lift your left foot as the saber arcs to the rear to hang diagonally over your left shoulder. See photo 11a:

再以站地之脚，循左方移動，轉後反以後刀作前，如「過渡式乙圖」。
Then pivot to the left on your standing foot to bring the saber from the rear to the front. See photo 11b:

再落右脚以成左登山式，刀由背後繞過再橫轉於前，如『定式圖』。
Then your right [left] foot comes down to make a left mountain-climbing stance as the saber passes behind your back and arcs across in front of you. See photo 11c:

功用：
Application:
彼繞過我背後實施襲擊，我即以刀掩護隨之而轉動，經一迎後再用橫刀法砍殺之。
The opponent slips around behind me to make a surprise attack, so I use my saber to shield myself as I pivot around to face him and then slash across at him.

第十二式　拉刀收步式
Posture 12: PULLING THE SABER, GATHERING STEP

說明：
Explanation:
循上式，原步不變，左掌向前，右刀自前經過面前拉向背部，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, your left palm goes forward as your right hand pulls the saber across from in front of you to be behind you. See photo 12a:

再以右後脚跟前如跨虎步形狀，刀循背部沿左臂直落止於腕上，左掌化刁手往後抅去，如『定式圖』。
Then your right foot follows forward to almost make a sitting-tiger stance as the saber passes through behind you and lowers along your left arm until above the wrist, your left palm becoming a hooking hand and hooking away to the rear. See photo 12b:

功用：
Application:
彼擬用長械迫我，我先用左手刁去來械，復以右刀自上而下，以資掩護，亦可作劈擊來械之用也。
An opponent using a long weapon tries to attack me, so I first use my left hand to hook it aside, then send my saber downward from above as a means of shielding myself, or I can also use this action to chop away his weapon.

第十三式　竄跳囘身式
Posture 13: SCURRYING AWAY WITH THE BODY TURNED

說明：
Explanation:
循上式，先將右脚開往東方如登山步，刀與左刁手畧掠開，目注視西後方，如「過渡式圖」。
Continuing from the previous posture, first your right foot steps out toward the east as though to make a mountain-climbing stance, the saber and your left hooking hand slightly sweeping aside. Your gaze is behind you toward the west. See photo 13a:

再原式不變疾跳過西後方，如『定式圖』。
Then while maintaining this position, suddenly hop back [twice] to the west [east]. See photos 13b and 13c:

功用：
Application:
不論已否扣得來械，我皆向後撤退，以便靜觀其變，俟機出擊是也。
Regardless of whether or not I have succeeded in drawing aside the opponent’s weapon, I retreat to watch for what he will do next and wait for the opportunity to attack.

第十四式　拉刀藏刀式
Posture 14: PULLING THE SABER INTO A STORING POSITION

說明：
Explanation:
循上式，刀與手不變，先進左脚，如「過渡式甲圖」。
Continuing from the previous posture, with the saber and your left hand not changing their position, first your left foot advances. See photo 14a:

再轉右東而反向西方提起右脚，左刁手仍抅後，刀則沿右膝部殺落，如「過渡式乙圖」。
Then turn around to the right to go from facing toward the east to be facing toward the west as your right foot lifts, your left hand still hooking behind, and the saber smashes down beside your right knee. See photo 14b:

左手與步不變，刀循前下方繞過背部，右手直舉，如「過渡式丙圖」。
With your left hand and legs not changing their position, the saber follows through forward and downward and arcs behind your back, your right arm rising until vertical. See photo 14c:

乘提右脚之便蹤身一跳，以成左跨虎之勢，刀則轉過左肩斜向前落，落時左手須由胸前化掌穿出為合如『定式圖』。
Going along with the lifting of your right leg, your body hops into a left sitting-tiger stance as the saber arcs past your left shoulder and lowers diagonally in front of you, your left hand becoming a palm and shooting out forward from in front of your chest at the same moment that the saber lowers. See photo 14d:

功用：
Application:
此式合卸步，提腿，蹤跳，攔刀，撇刀，拉刀等為一式，若善於運用則合攻守於一矣。
This posture combines a withdrawing step, lifting leg, hop, and the saber actions of blocking, swinging, and pulling into a single technique. If you are good at applying it, then defense and offense will be combined into a single action.

第十五式　拉刀坐盤式
Posture 15: PULLING THE SABER, SITTING TWISTED STANCE

說明：
Explanation:
循上式，出右脚以成右登山式，刀自後向前劈，如「過渡式甲圖」。
Continuing from the previous posture, your right foot steps out to make a right mountain-climbing stance as the saber chops forward from behind. See photo 15a:

再原步不變將刀拉過右後方，左掌仍貼右腕，如「過渡式乙圖」。
Then with your stance not changing, pull the saber through to the right rear, your left palm staying at your right wrist. See photo 15b:

再蹤身一跳，以成坐盤之勢，刀自右肩過左肩，沿左臂直落，左手化成刁手，以襯托刀背，如『定式圖』。
Then your body hops into a sitting twisted stance [i.e. your left foot going forward, then your right foot doing a stealth step behind it] as the saber goes past your right shoulder to your left shoulder and lowers along your left arm, your left hand becoming a hooking hand, the arm propping up the back of the saber. See photo 15c:

功用：
Application:
我旣已劈消來械，再進而坐盤以刀攔砍之。
Having chopped away an incoming weapon, I then advance into a sitting twisted stance while slashing with my saber.

第十六式　拉刀藏刀式
Posture 16: PULLING THE SABER INTO A STORING POSITION

說明：
Explanation:
循坐盤步向右轉，刀掠起至肩齊為止，如「過渡式甲圖」。
Continue from the sitting twisted stance by turning around to the right as the saber sweeps across and rises to shoulder level. See photo 16a:

再全身躍起變成向南之左跨虎步，刀自右肩轉過左肩，沿左臂之上削出，左掌則自刀背穿出，如『定式圖』。
Then your body hops into a left sitting-tiger stance facing toward the south as the saber arcs past your right shoulder to your left shoulder and then slices out over your left arm, your left palm shooting out from the back of the saber. See photo 16b:

功用：
Application:
與第八，第十四等式同，祗差方向耳。
Same as in Postures 8 and 14, except that the orientation is different.

第十七式　抱頭攔刀式
Posture 17: WRAPPING AROUND THE HEAD, SLASHING

說明：
Explanation:
循上式，先提左脚，刀向額上舉起，左掌貼腕，如「過渡式甲圖」。
Continuing from the previous posture, first lift your left foot as you lift the saber toward your forehead, your left palm touching your [right] wrist. See photo 17a:

再落下左脚，以成左登山式，刀由背後轉而過於面前，橫殺而出，如『定式圖』。
Then your left foot comes down to make a left mountain-climbing stance as the saber arcs around behind your back and goes out in front of you, smashing across. See photo 17b:

功用：
Application:
與第十一式同，祗方向之異耳。
Same as in Posture 11, except that the orientation is different.

第十八式　囘身掠翅式
Posture 18: TURN AROUND, SPREADING WINGS

說明：
Explanation:
循上式，步由左登山向後轉為右登山式，刀與手皆由後轉前向左右掠開，手與刀俱平正為合，如『定式圖』
Continuing from the previous posture, pivot to the rear to switch from a left mountain-climbing stance to a right mountain-climbing stance while the saber and your left hand arc forward from behind and spread open to the sides. The hand and saber should be spread equally. See photo 18:

功用：
Application:
彼械自我後進擊，我為求迅予抵禦計，乃原步化後作前，同時以手與刀左右分之。
An opponent’s weapon attacks me from behind, so I seek to quickly defend against it by staying where I am and changing the rear into the front while spreading to the sides with my left hand and my saber.

第十九式　順步軋刀式
Posture 19: SLIDING STEP, ROLLING THE SABER

說明：
Explanation:
循上式，先拉起右脚如跨虎步之狀，刀往後拖去，如「過渡式用圖」。
Continuing from the previous posture, first pull back your right foot, almost making a sitting-tiger stance as the saber pulls to the rear. See photo 19a:

復借拉步而往前標去，以成右登山步，刀自後反刀鋒向上軋出，如『定式圖』。
Then make use of the reversal of momentum of the foot pulling back to dart forward into a right mountain-climbing stance as the saber goes out from the rear, rolling over so the edge is turned upward. See photo 19b:

功用：
Application:
我先拖歸後者是卸其勢，再軋出則是順而反撩之法也。
I first pull to the rear with a withdrawing action, then send out the saber rolling over into a raising action.

第二十式　囘身劈刀式
Posture 20: TURNING THE BODY, CHOP

說明：
Explanation:
循上式，原步原刀不變，祗左手以刁手法往後刁去，如「過渡式甲圖」。
Continuing from the previous posture, your stance and the position of the saber do not change as your left hand becomes a hooking hand and hooks away to the rear. See photo 20a:

再原步轉歸後方以成左登山式，刀自後反身由上劈落，左手化掌力托之，如『定式圖』。
Then your feet turn to the rear while staying in their location, making a left mountain-climbing stance, as the saber goes from behind you and chops down from above, your left hand changing to a palm and forcefully propping it up [i.e. slapping against your right wrist]. See photo 20b:

功用：
Application:
彼自我後劈來一械，我先以刁手斜刁之，再囘身用劈殺法迎頭砍之。
An opponent’s weapon chops at me from behind, so I first use a hooking hand to diagonally hook it aside, then turn my body and chop to his head.

第二十一式　撩刀提劈式
Posture 21: RAISING CUT, LIFTING INTO A CHOP

說明：
Explanation:
循上式，原步仍未變，祗身畧轉過右後方，刀亦隨身轉上為下，如「過渡式甲圖」。
Continuing from the previous posture, your stance does not change, but your body slightly turns to the right rear, the saber going along with your body by arcing downward from above. See photo 21a:

再踏右脚，進左脚以成騎馬式，刀隨步轉而歸後，左掌以揷掌法撑出且注以目，如『定式圖』。
Then your right foot stomps and your left foot advances to make a horse-riding stance as the saber arcs to the rear, your left hand going out as a charging palm, your gaze following it. See photo 21b:

功用：
Application:
彼械擬向我膝部點來，我先用下撩之法，再轉馬迎胸以掌揷進焉。
An opponent [from behind] tries to use his weapon to do a tapping attack to my [right] knee, so I first send a raising action against it from below, then switch to a horse-riding stance and attack with a charging palm to his chest.

第二十二式　上步軋刀式
Posture 22: STEP FORWARD, ROLLING THE SABER

說明：
Explanation:
循上式，進右脚以成右登山式，刀自後下方直向前上撩出，如『定式圖』。
Continuing from the previous posture, your right foot advances to make a right mountain-climbing stance as the saber goes from the rear, downward, forward, and upward to go out with a raising action. See photo 22:

功用：
Application:
與第十九式同。
Same as in Posture 19.

第二十三式　掛刀蓋刀式
Posture 23: HANGING & COVERING

說明：
Explanation:
循上式，先提右前脚，刀往後收，如「過渡式甲圖」。
Continuing from the previous posture, first your right foot lifts as the saber withdraws. See photo 23a:

再乘提步之便全身躍起，落下時乃成左跨虎步，刀轉成橫壓而下，左手按於刀背之上，如『定式圖』。
Then go along with the momentum of the leg lifting by hopping [forward] and coming down into a left sitting-tiger stance as the saber arcs across and presses down, your left hand pushing on the back of the saber. See photo 23b:

功用：
Application:
彼械自我下刺來，我先以刀背掛去之，再乘躍進時更以刀橫壓之。
The opponent’s weapon stabs to my lower area, so I first use the back of my saber to hang it aside, then hop forward and press down with my saber placed sideways.

第二十四式　踏步攔腰式
Posture 24: STOMP, SLASH TO THE WAIST

說明：
Explanation:
循上式，先放下前脚，手與刀同時向頭上舉起，如「過渡式甲圖」。
Continuing from the previous posture, first put your front foot down as your left hand and the saber lift above your head. See photo 24a:

再踏後脚，進前脚以成左登山式，刀自左方轉過背後，再向前橫殺去，如『定式圖』。
Then your rear foot stomps and your front foot advances to make a left mountain-climbing stance as the saber arcs from the left, passing behind your back, and smashes across in front of you. See photo 24b:

功用：
Application:
與十一式，十七式等同。
Same as in Postures 11 and 17.

第二十五式　拉刀收步式
Posture 25: PULLING THE SABER, GATHERING STEP

說明：
Explanation:
循上左，原步不變，左掌向前，右刀自前經過面前拉向背部，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, your left palm goes forward as your right hand pulls the saber across from in front of you to be behind you. See photo 25a:

再以右後脚跟前如跨虎步形狀，刀循背部沿左臂直落止於腕上，左掌化刁手往後抅去，如「定式圖」。
Then your right foot follows forward to almost make a sitting-tiger stance as the saber passes through behind you and lowers along your left arm until above the wrist, your left palm becoming a hooking hand and hooking away to the rear. See photo 25b:

功用：
Application:
彼擬用長械迫我，我先用左手刁去來械，復以右刀自上而下，以資掩護，亦可作劈擊來械之用也。
An opponent using a long weapon tries to attack me, so I first use my left hand to hook it aside, then send my saber downward from above as a means of shielding myself, or I can also use this action to chop away his weapon.

第二十六式　竄跳囘身式
Posture 26: SCURRYING AWAY WITH THE BODY TURNED

說明：
Explanation:
循上式，先將右脚開往東方如登山步，刀與左刁手畧掠開，目注視西後方，如「過渡式圖」。
Continuing from the previous posture, first your right foot steps out toward the east as though to make a mountain-climbing stance, the saber and your left hooking hand slightly sweeping aside. Your gaze is behind you toward the west. See photo 26a:

再原式不變疾跳過西後方，如「定式圖」。
Then while maintaining this position, suddenly hop back [twice] to the west [east]. See photos 26b and 26c:

功用：
Application:
不論已否扣得來械，我皆向後撤退，以便靜觀其變，俟機出擊是也。
Regardless of whether or not I have succeeded in drawing aside the opponent’s weapon, I retreat to watch for what he will do next and wait for the opportunity to attack.

第二十七式　拉刀坐盤式
Posture 27: PULLING THE SABER, SITTING TWISTED STANCE

說明：
Explanation:
循上式，原步不變，刀自左方拉過右方，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, pull the saber across from left to right. See photo 27a:

再全身躍起以成坐盤步，刀自右肩轉過左肩，再沿左臂直落，左刁手托於刀背之中段，如『定式圖』。
Then your body hops into a sitting twisted stance [i.e. your left foot going forward, then your right foot doing a stealth step behind it] as the saber arcs past your right shoulder to your left shoulder and lowers along your left arm, your left hand becoming a hooking hand, the arm propping up the middle section of the back of the saber. See photo 27b:

功用：
Application:
當我正自前方撤退之時，迎面忽來另一敵人，於是我乃以拉刀坐盤法以抑制之。
While retreating away from one opponent, I am suddenly faced with another, so I use this technique of pulling my saber while going into a sitting twisted stance in order to control him.

第二十八式　獻刀藏刀式
Posture 28: SHOWING AND THEN HIDING THE SABER

說明：
Explanation:
循上式，原步不變，祗高起偸步式，手與刀俱掠起，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, rise up high in your stealth-step position as your left hand and the saber spread apart and rise up. See photo 28a:

再右後脚抽出，繞過面前，刀則攔於左上方，如「過渡式乙圖」。
Then your right foot draws out from behind and arcs around in front of you as the saber blocks to the upper left. See photo 28b:

再乘提右脚之勢跳往左方，再成為狀類左登山式之右吞塌式，刀自背繞過面前，復收於左腰腋之間，目向後注視，如『定式圖』。
Then take advantage of the momentum of your right foot lifting by hopping to the left to make a right absorb & sink stance, similar to a left mountain-climbing stance [except that you are looking to the rear], as the saber arcs around past your back and in front of you to withdraw to the area between your left armpit and your waist. Your gaze is behind you. See photo 28c:

功用：
Application:
彼械擬自我斜方攻來，我即轉身易步用提與攔劈之方式抵禦之。
An opponent’s weapon tries to attack me from an angle, so I turn to face him while shifting my stance, using a technique of lifting and slashing to defend against it.

第二十九式　拉刀藏刀式
Posture 29: PULLING THE SABER INTO A STORING POSITION

說明：
Explanation:
循上式，刀與手不變，先進左脚，如「過渡式甲圖」。
Continuing from the previous posture, with the saber and your left hand not changing their position, first your left foot advances. See photo 29a:

再轉右東而反向西方提起右脚，左刁手仍抅後，刀則沿右膝部殺落，如「過渡式乙圖」。
Then turn around to the right to go from facing toward the east to be facing toward the west as your right foot lifts, your left hand still hooking behind, and the saber smashes down beside your right knee. See photo 29b:

左手與步不讓，刀循前下方繞過背部，右手直舉，如「過渡式丙圖」。
With your left hand and legs not changing their position, the saber follows through forward and downward and arcs behind your back, your right arm rising until vertical. See photo 29c:

乘提右脚之便蹤身一跳，以成左跨虎之勢，刀則轉過左左肩斜向前落，落時左手須由胸前化掌穿出為合如「定式圖」
Going along with the lifting of your right leg, your body hops into a left sitting-tiger stance as the saber arcs past your left shoulder and lowers diagonally in front of you, your left hand becoming a palm and shooting out forward from in front of your chest at the same moment that the saber lowers. See photo 29d:

功用：
Application:
此式合卸步，提腿，蹤跳，攔刀，撇刀，拉刀等為一式，若善於運用則合攻守於一矣。
This posture combines a withdrawing step, lifting leg, hop, and the saber actions of blocking, swinging, and pulling into a single technique. If you are good at applying it, then defense and offense will be combined into a single action.

第三十式　劈刀軋刀式
Posture 30: CHOPPING & ROLLING

說明：
Explanation:
循上式，先出右脚以成右登山步，刀自後劈出，如「過渡式甲圖」。
Continuing from the previous posture, your right foot goes out to make a right mountain-climbing stance as the saber chops out from the rear. See photo 30a:

再轉步為騎馬式，刀自面前斜方向直綫劈出，如『定式圖』。
Then switch to a horse-riding stance as the saber moves diagonally from in front of you to chop out straight ahead. See photo 30b:

功用：
Application:
介乎第九第十式之間，抑亦為聯合之法也。
Same as in Postures 9 and 10, combined into a single technique.

第三十一式　掛刀掛劍式
Posture 31: HANGING THE SABER TO HANG ASIDE A SWORD

說明：
Explanation:
循上式，先提右脚，刀往左後方平收，如「過渡式甲圖」。
Continuing from the previous posture, first your right foot lifts as the saber withdraws across to the left rear. See photo 31a:

步仍不變，刀由後轉前，反刀鋒為向上，如「過渡式乙圖」。
With your stance not changing, the saber arcs forward from the rear, turning over so the edge is facing upward. See photo 31b:

然後向前跳去，以成坐盤之勢，刀由上橫殺而落，左掌按於刀背之上，如『定式』。
Then you hop out forward to make a sitting twisted stance as the saber smashes down from above with the blade going across, your left hand pushing on the back of the saber. See photo 31c:

功用：
Application:
我提步收刀者，是將來刀掛開，再反出者亦為掛刀之一法，再進馬坐盤橫壓刀者，則是蓋去來劍之法。
When I lift a leg and withdraw my saber, this is a means of hanging aside an incoming weapon. When I then turn the saber over, this is also a method of hanging. When I then advance into sitting twisted while pressing my saber across, this is a method of covering an incoming sword.

第三十二式　囘身劈刀式
Posture 32: TURNING THE BODY, CHOP

說明：
Explanation:
循上式，退右脚以成騎馬式，刀隨而平殺過後方，如「定式圖」。
Continuing from the previous posture, your right foot retreats to make a horse-riding stance as the saber smashes across to the rear. See photo 32:

功用：
Application:
與廿一式圖同。
Same as in Posture 21.

第三十三式　上步軋刀式
Posture 33: STEP FORWARD, ROLLING THE SABER

說明：
Explanation:
循上式，進右脚以成右登山式，刀自後下方直向前上撩出，如「定式圖」。
Continuing from the previous posture, your right foot advances to make a right mountain-climbing stance as the saber goes from the rear, downward, forward, and upward to go out with a raising action. See photo 33:

功用：
Application:
與二十二式同。
Same as in Posture 22.

第三十四式　踏步劈刀式
Posture 34: STOMPING STEP, CHOPPING

說明：
Explanation:
循上式原步不動，刀向後斜收，左手向前刁去，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, the saber withdraws diagonally to the rear while your left hand goes forward, hooking away. See photo 34a:

再踏右脚，進左脚以成左登山式，左刁手拉歸後，而刀則向前直劈去，如「定式圖」。
Then your right foot stomps and your left foot advances to make a left mountain-climbing stance as your left hooking hand pulls back behind you and the saber chops out forward with the blade standing straight up. See photo 34b:

功用：
Application:
彼欲以械擊我頭部，我先以左手刁去之，再乘踏步進馬，以直劈刀兜頭劈之。
The opponent tries to use his weapon to strike to my head, so I first use my left hand to hook it away, then stomp and advance while using my saber to chop to his face.

第三十伍式　扑刀推刀式
Posture 35: REACHING-LEG STANCE, PUSHING THE SABER

說明：
Explanation:
循上式，左右脚不變原來位置，祗由登山式往後扑成扑腿法耳！刀亦隨步而下，左掌刀托於右腕之內，如「過渡式甲圖」。
Continuing from the previous posture, your feet stay in their location and you simply shift back to the rear, going from a mountain-climbing stance to a reaching-leg stance, the saber going along with this stance change by coming down, your left hand propping up at the inside of your right wrist. See photo 35a:

再提起右脚，左掌移開以托刀背，刀斜舉向外，如『定式圖』。
Then your right foot lifts and your left hand shifts away to prop up the back of the saber as the saber goes outward, raising diagonally. See photo 35b:

功用：
Application:
彼械迎頭劈落，我先扑腿以卸其勢，復跟刀推出逼之。
The opponent’s weapon chops down toward my head, so I first go into a reaching-leg stance in order to withdraw away from it, then I follow this by pushing out with the saber to crowd him.

第三十六式　提步劈刀式
Posture 36: CHOPPING WITH A LEG LIFTED

〔說明：〕
[Explanation:]
循上式，以小跳換步法，使右脚着地而起左脚，刀自前往後直劈，左掌橫遮於頭上，如『定式圖』。
Continuing from the previous posture, do a small hop to switch feet, bringing your right foot down and lifting your left foot, as the saber chops from the front to the rear, your left palm blocking across above your head. See photo 36:

功用：
Application:
我逼彼走過後方或另一人自後攻來，我不俟其逼近即先以刀兜頭劈之。
I crowd the opponent as he passes around behind me, or another opponent attacks from behind, so without waiting for him to get close, I pre-empt him by chopping to his head.

第三十七式　迎門刺劍式
Posture 37: STABBING STRAIGHT AHEAD LIKE A SWORD

說明：
Explanation:
循上式，先左脚落地，刀斜掛於前，如「過渡式甲圖」
Continuing from the previous posture, first your left foot comes down and the saber hangs diagonally in front of you. See photo 37a:

再原刀不動，右脚進前，如「過渡式乙圖」。
Then with the saber maintaining its position, your right foot advances. See photo 37b:

左脚自後進前以成坐盤步，刀則緊收於胸腹之間，如「過渡式丙圖」。
Your left foot advances behind you [i.e. does a stealth step] to make a sitting twisted stance as the saber withdraws until between your chest and belly. See photo 37c:

再原步不變，刀自胸前直流而出，掌則橫掠於上，如『定式圖』。
With your stance not changing, the saber flows straight out from in front of your chest, as your left palm spreads away upward to the side. See photo 37d [same position as in photo 4b of Sundial Sword, except with the edge turned upward]:

功用：
Application:
分圖多，是因易於學習耳！其用時合數動作於一。實集，挑，迎，封，閉，刺於其中矣。
This technique is divided into so many photos just to make it easier for you to follow. It contains several aspects in application – such as gathering, carrying, blocking, sealing, and stabbing – but is really just a single technique.

第三十八式　跟馬三刀式
Posture 38: FOLLOWING STEPS WITH THREE SABER ACTIONS [the third occurring in the following posture]

說明：
Explanation:
循上式，先提起左脚，繼而伸直右手以舉直刀，如「過渡式甲圖」。
Continuing from the previous posture, first lift your left foot as your right hand raises the saber. See photo 38a:

再原步不變，刀由右繞過背部，再經胸前而復返於下，左掌則抺刀背而出，如「過渡式乙圖」。
Then with your stance not changing, the saber arcs from the right, going around your back, passes in front of your chest, and then goes back downward as your left palm goes out wiping along the back of the saber. See photo 38b:

再落左脚換提右脚，復將刀拉起，如「過渡式丙圖」
Then your left foot comes down and you switch to lifting your right foot as you again pull the saber up. See photo 38c:

再原步不動，刀再循背部拉前，後歸於後下方，左掌穿出至直，如『定式圖』。
Then with your stance not changing, the saber again goes around your back, is pulled in front of you, and returns downward to the rear as your left palm shoots out. See photo 38d:

功用：
Application:
提步攔刀實對中下路之攻勢為有效之遏止方法，左右相轉者乃使知左右合一之方式而已。
Lifting a leg and slashing with the saber is a very effective method of dealing with an attack to the middle or lower area. Switching my legs allows me to feel more confident that I am protecting myself on both sides.

第三十九式　扑腿扑刀式
Posture 39: REACHING-LEG STANCE, POUNCING SABER

說明：
Explanation:
循上式，先原步不動，再次將刀舉起，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, again lift up the saber. See photo 39a:

然後以小跳方式向前落下以成扑腿勢，刀亦隨步繞過背部再轉於前落下，左掌直出，如『定式圖』。
Then do a little hop forward and dropping down to make a reaching-leg stance as the saber arcs past your back, forward, and downward, your left palm going straight out. See photo 39b:

功用：
Application:
彼以下三路搶進，我即落馬用刀封閉之。
The opponent uses his spear to attack my lower area for the third time, so I drop my stance and use my saber to seal off his weapon.

第四十式　囘身削櫈式
Posture 40: TURN AROUND, SLICE THROUGH A STOOL

說明：
Explanation:
循上式，先將左脚拉起以成類於登山勢，刀乃隨之起至頭上，如「過渡式甲圖」。
Continuing from the previous posture, first your left foot pulls back and you rise to almost make a mountain-climbing stance, the saber going along with this action by rising above your head. See photo 40a:

再起右後脚，使全身向左轉過後方，如「過渡式乙圖」。
Then your right foot lifts and you pivot your whole body to the left until facing to the rear. See photo 40b:

落右脚以成騎馬式，刀繞過背後復轉平殺而出，左掌倚右肩之上，如『定式圖』。
Your right foot comes down to make a horse-riding stance as the saber arcs around behind you and smashes across [to the left], your left palm going over your right shoulder. See photo 40c:

功用：
Application:
此削櫈法乃專砍殺步馬為主旨對方欲自我後擊入，我乃採此以砍其足也。
The main purpose of this action of “slicing through a stool” is to destroy an opponent’s stance. An opponent is about to attack me from behind, so I make use of this technique to slash at his leg.

第四十一式　扑腿扑刀式
Posture 41: REACHING-LEG STANCE, POUNCING SABER

說明：
Explanation:
循上式，先原步不動，再次將刀舉起，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, again lift up the saber. See photo 41a:

然後以小跳方式向前落下以成扑腿勢，刀亦隨步繞過背都再轉於前落下，左掌直出，如『定式圖』。
Then do a little hop forward and dropping down to make a reaching-leg stance as the saber arcs past your back, forward, and downward, your left palm going straight out. See photo 41b:

功用：
Application:
彼以下三路搶進，我即落馬用刀封閉之。
The opponent again uses his spear to attack my lower area, so I again drop my stance and use my saber to seal off his weapon.

第四十二式　上步攔腰式
Posture 42: STEP FORWARD, SLASH TO THE WAIST

說明：
Explanation:
循上式，先起左脚以成如登山之勢，將刀橫架而起，如「過渡式甲圖」。
Continuing from the previous posture, first your left leg rises to almost make a mountain-climbing stance as you send the saber upward and blocking across. See photo 42a:

再進右脚轉身乃成成左登山式，刀自背後橫過而前，如『定式圖」。
Then your right foot advances and your body turns around to make a left mountain-climbing stance as the saber passes behind your back and goes across in front of you. See photo 42b:

功用：
Application:
與十七、二十四等同。
Same as in Postures 17 and 24.

第四十三式　拉刀收步式
Posture 43: PULLING THE SABER, GATHERING STEP

說明：
Explanation:
循上左，原步不變，左掌向前，右刀目前經過面前拉向背部，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, your left palm goes forward as your right hand pulls the saber across from in front of you to be behind you. See photo 43a:

再以右後脚跟前如跨虎步形狀，刀循背部沿左臂直落止於腕上，左掌化刁手往後抅去，如「定式圖」。
Then your right foot follows forward to almost make a sitting-tiger stance as the saber passes through behind you and lowers along your left arm until above the wrist, your left palm becoming a hooking hand and hooking away to the rear. See photo 43b:

功用：
Application:
彼擬用長械迫我，我先用左手刁去來械，復以右刀自上而下，以資掩護，亦可作劈擊來械之用也。
An opponent using a long weapon tries to attack me, so I first use my left hand to hook it aside, then send my saber downward from above as a means of shielding myself, or I can also use this action to chop away his weapon.

第四十四式　竄跳囘身式
Posture 44: SCURRYING AWAY WITH THE BODY TURNED

說明：
Explanation:
循上式，先將右脚開往東方如登山步，刀與左刁手畧掠開，目注視西後方，如「過渡式圖」。
Continuing from the previous posture, first your right foot steps out toward the east as though to make a mountain-climbing stance, the saber and your left hooking hand slightly sweeping aside. Your gaze is behind you toward the west. See photo 44a:

再原式不變疾跳過西後方，如「定式圖」。
Then while maintaining this position, suddenly hop back [twice] to the west [east]. See photos 44b and 44c:

功用：
Application:
不論已否扣得來械，我皆向後撤退，以便靜觀其變，俟機出擊是也。
Regardless of whether or not I have succeeded in drawing aside the opponent’s weapon, I retreat to watch for what he will do next and wait for the opportunity to attack.

第四十五式　拉刀藏刀式
Posture 45: PULLING THE SABER INTO A STORING POSITION

說明：
Explanation:
循上式，刀與手不變，先進左脚，如「過渡式甲圖」。
Continuing from the previous posture, with the saber and your left hand not changing their position, first your left foot advances. See photo 45a:

再轉右東而反向西方提起右脚，左刁手仍抅後，刀則沿右膝部殺落，如「過渡式乙圖」。
Then turn around to the right to go from facing toward the east to be facing toward the west as your right foot lifts, your left hand still hooking behind, and the saber smashes down beside your right knee. See photo 45b:

左手與步不讓，刀循前下方繞過背部，右手直舉，如「過渡式丙圖」。
With your left hand and legs not changing their position, the saber follows through forward and downward and arcs behind your back, your right arm rising until vertical. See photo 45c:

乘提右脚之便蹤身一跳，以成左跨虎之勢，刀則轉過左左肩斜向前落，落時左手須由胸前化掌穿出為合如「定式圖」
Going along with the lifting of your right leg, your body hops into a left sitting-tiger stance as the saber arcs past your left shoulder and lowers diagonally in front of you, your left hand becoming a palm and shooting out forward from in front of your chest at the same moment that the saber lowers. See photo 45d:

功用：
Application:
此式合卸步，提腿，蹤跳，攔刀，撇刀，拉刀等為一式，若善於運用則合攻守於一矣。
This posture combines a withdrawing step, lifting leg, hop, and the saber actions of blocking, swinging, and pulling into a single technique. If you are good at applying it, then defense and offense will be combined into a single action.

第四十六式　拉刀坐盤式
Posture 46: PULLING THE SABER, SITTING TWISTED STANCE

說明：
Explanation:
循上左，出右脚以成右登山式，刀自後向前劈，如「過渡式甲圖」。
Continuing from the previous posture, your right foot steps out to make a right mountain-climbing stance as the saber chops forward from behind. See photo 46a:

再原步不變將刀拉過右後方，左掌仍貼右腕如「過渡式乙圖」。
Then with your stance not changing, pull the saber through to the right rear, your left palm staying at your right wrist. See photo 46b:

再蹤身一跳，以成坐盤之勢，刀自右肩過左肩，沿左臂直落，左手化成刁手，以襯托刀背，如「定式圖」。
Then your body hops into a sitting twisted stance [i.e. your left foot going forward, then your right foot doing a stealth step behind it] as the saber goes past your right shoulder to your left shoulder and lowers along your left arm, your left hand becoming a hooking hand, the arm propping up the back of the saber. See photo 46c:

功用：
Application:
我旣已劈消來械，再進而坐盤以刀攔砍之。
Having chopped away an incoming weapon, I then advance into a sitting twisted stance while slashing with my saber.

第四十七式　中門攔刀式
Posture 47: SLASHING AROUND THE MIDDLE

說明：
Explanation:
循上式，由右轉以成為登山之狀，刀則隨身而轉，如「過渡式甲圖」。
Continuing from the previous posture, pivot around to the right to almost make a mountain-climbing stance, the saber arcing along with the turning of your body. See photo 47a:

再將左脚自右脚之前偸過右前方，刀則撇上，如「過渡式乙圖」。
Then your left foot does a stealth step forward to the right, passing in front of your right foot, as the saber swings upward. See photo 47b:

再將右脚移往右方，刀則由背部繞過左肩之上，如「過渡式丙圖」。
Then your right foot shifts to the right as the saber arcs around your back to be over your left shoulder. See photo 47c:

再拉起右脚以成左跨虎步，刀再往右上方掠起，如「定式圖」。
Then pull back your right [left] foot to make a left sitting-tiger stance as the saber sweeps upward to the right. See photo 47d:

功用：
Application:
此是專破上門攻來之械，繞行數步者是趨避之法也。
This technique focuses on ruining the attack of incoming weapon to my upper area. The arcing steps are a method of evading.

第四十八式　左門攔刀式
Posture 48: SLASHING TO THE LEFT

說明：
Explanation:
循上式，先將左脚往左方移開以成如登山之勢，刀自上劈落以交於前，如「過渡式甲圖」。
Continuing from the previous posture, first your left foot shifts out to the left to almost make a mountain-climbing stance as the saber chops downward from above to go across in front of you. See photo 48a:

再進右脚，刀向上畧舉高，如「過渡式乙圖」。
Then your right foot advances as the saber slightly rises up. See photo 48b:

再進左脚，刀循左肩經背部繞過右肩之上，如「過渡式丙圖」。
Then your left foot advances as the saber arcs from your left shoulder around your back and over your right shoulder. See photo 48c:

再進右脚以成右跨虎步，刀自右肩劈過左腰之下，如「定式圖」。
Then your right foot advances to make a right sitting-tiger stance as the saber chops downward from your right shoulder past the left side of your waist. See photo 48d:

功用：
Application:
與四十七式同祗方向之異耳。
Same as in Posture 47, except going in the opposite direction.

第四十九式　右門攔刀式
Posture 49: SLASHING TO THE RIGHT

說明：
Explanation:
循上式，右脚先向右移動，刀由下而掠高於右，如「過渡式甲圖」。
Continuing from the previous posture, first your right foot shifts to the right as the saber sweeps upward to the right from below. See photo 49a:

再過左脚於前方，刀自右繞過背部而復轉於前，如「過渡式乙圖」。
Then your left foot goes forward as the saber again arcs from the right to go around your back and in front of you. See photo 49b:

再進右脚，刀由上而落，如「過渡式丙圖」。
Then your right foot advances as the saber lowers from above. See photo 49c:

左脚再斜步進前以成跨虎之勢，刀由下復上以成刀與步之斜式，如「定式圖」。
Then your left foot advances diagonally to make a sitting-tiger stance as the saber again goes upward from below so that both the saber and the stance are in diagonal positions. See photo 49d:

功用：
Application:
與四十七、四十八同，祗斜正及方向之別耳。
Same as in Postures 47 and 48, except going diagonally in a different direction.

第五十式　上步攔腰式
Posture 50: STEP FORWARD, SLASH TO THE WAIST

說明：
Explanation:
循上式，先起左脚以成如登山之勢，將刀橫架而起，如「過渡式甲圖」。
Continuing from the previous posture, first your left leg rises to almost make a mountain-climbing stance as you send the saber upward and blocking across. See photo 50a:

再進右脚轉身乃成成左登山式，刀自背後橫過而前，如『定式圖」。
Then your right foot advances and your body turns around to make a left mountain-climbing stance as the saber passes behind your back and goes across in front of you. See photo 50b:

功用：
Application:
與十七、二十四等同。
Same as in Postures 17 and 24.

第五十一式　拉刀收步式
Posture 51: PULLING THE SABER, GATHERING STEP

說明：
Explanation:
循上左，原步不變，左掌向前，右刀目前經過面前拉向背部，如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, your left palm goes forward as your right hand pulls the saber across from in front of you to be behind you. See photo 51a:

再以右後脚跟前如跨虎步形狀，刀循背部沿左臂直落止於腕上，左掌化刁手往後抅去，如「定式圖」。
Then your right foot follows forward to almost make a sitting-tiger stance as the saber passes through behind you and lowers along your left arm until above the wrist, your left palm becoming a hooking hand and hooking away to the rear. See photo 51b:

功用：
Application:
彼擬用長械迫我，我先用左手刁去來械，復以右刀自上而下，以資掩護，亦可作劈擊來械之用也。
An opponent using a long weapon tries to attack me, so I first use my left hand to hook it aside, then send my saber downward from above as a means of shielding myself, or I can also use this action to chop away his weapon.

第五十二式　竄跳囘身式
Posture 52: SCURRYING AWAY WITH THE BODY TURNED

說明：
Explanation:
循上式，先將右脚開往東方如登山步，刀與左刁手畧掠開，目注視西後方，如「過渡式圖」。
Continuing from the previous posture, first your right foot steps out toward the east as though to make a mountain-climbing stance, the saber and your left hooking hand slightly sweeping aside. Your gaze is behind you toward the west. See photo 52a:

再原式不變疾跳過西後方，如「定式圖」。
Then while maintaining this position, suddenly hop back [twice] to the west [east]. See photos 52b and 52c:

功用：
Application:
不論已否扣得來械，我皆向後撤退，以便靜觀其變，俟機出擊是也。
Regardless of whether or not I have succeeded in drawing aside the opponent’s weapon, I retreat to watch for what he will do next and wait for the opportunity to attack.

第五十三式　拉刀藏刀式
Posture 53: PULLING THE SABER INTO A STORING POSITION

說明：
Explanation:
循上式，刀與手不變，先進左脚，如「過渡式甲圖」。
Continuing from the previous posture, with the saber and your left hand not changing their position, first your left foot advances. See photo 53a:

再轉右東而反向西方提起右脚，左刁手仍抅後，刀則沿右膝部殺落，如「過渡式乙圖」。
Then turn around to the right to go from facing toward the east to be facing toward the west as your right foot lifts, your left hand still hooking behind, and the saber smashes down beside your right knee. See photo 53b:

左手與步不讓，刀循前下方繞過背部，右手直舉，如「過渡式丙圖」。
With your left hand and legs not changing their position, the saber follows through forward and downward and arcs behind your back, your right arm rising until vertical. See photo 53c:

乘提右脚之便蹤身一跳，以成左跨虎之勢，刀則轉過左左肩斜向前落，落時左手須由胸前化掌穿出為合如「定式圖」
Going along with the lifting of your right leg, your body hops into a left sitting-tiger stance as the saber arcs past your left shoulder and lowers diagonally in front of you, your left hand becoming a palm and shooting out forward from in front of your chest at the same moment that the saber lowers. See photo 53d:

功用：
Application:
此式合卸步，提腿，蹤跳，攔刀，撇刀，拉刀等為一式，若善於運用則合攻守於一矣。
This posture combines a withdrawing step, lifting leg, hop, and the saber actions of blocking, swinging, and pulling into a single technique. If you are good at applying it, then defense and offense will be combined into a single action.

第五十四式　踏步劈刀式
Posture 54: STOMPING STEP, CHOPPING

說明：
Explanation:
循上式，右後脚用力踏地求與前左脚相貼，再以左掌加於右腕內齊向上舉起，如「過式渡甲圖」。
Continuing from the previous posture, your right foot forcefully stomps the ground right in front of your left foot as your right hand raises up, your left palm going to the inside of your right wrist. See photo 54a:

再開進左脚以成左登山式，刀自背後直砍而出，左掌則橫架於頂如「定式圖」。
Then your left foot advances to make a left mountain-climbing stance as the saber chops out from behind you, your left palm blocking across above your head. See photo 54b:

功用：
Application:
來械直向我面部刺來，我先以刀橫去之，再乘勢以直劈法還擊彼面部焉。
An incoming weapon is stabbing to my head, so I first use my saber to send it aside, then follow through with the motion by doing a chop straight ahead to counterattack to the opponent’s face.

第五十五式　拉刀四平式
Posture 55: PULLING THE SABER, FOUR-LEVEL POSTURE

說明：
Explanation:
循上式，先提右脚，刀沿脚傍撇下，左掌仍不動，如「過渡式甲圖」。
Continuing from the previous posture, first your right foot lifts as the saber swings downward beside the foot, your left palm not moving. See photo 55a:

再原步不動，刀從下轉上以加於左臂之上，如「過渡式乙圖」。
Then with your stance not changing, the saber arcs upward from below to go on top of your left arm. See photo 55b:

再原步不動，左手捧囘原刀，左掌向大腿處拍落，如「過渡式丙圖」。
Then with your stance still not changing, your left hand holds the saber as it did at the beginning and your left [right] palm comes down, slapping your [right] thigh. See photo 55c:

再退提起之脚以成左跨虎步，右掌轉而向上橫架於頭頂，左手刀向後斜拖，如「定式圖」。
Then your lifted leg retreats to make a left sitting-tiger stance as your right palm arcs upward to block across above your headtop, your left hand pulling back the saber until it is diagonal behind you. See photo 55d:

斯為收式之刀法，全刀五十五式至此已還復本來面目。
This is the closing posture of the saber set, bringing you back to your original position and facing the same direction as before.

– – –

[Included below is a related piece from Huang’s Notes on the Mantis Boxing Art (1951).]

單刀搜秘
SECRETS OF THE SINGLE SABER

昔者武壇多譽先師全才，蓋先師當日除擅拳法、鐵砂掌外，各種武器靡不精研，尤以單刀一類有所獨到，唯不趨尚時髦、討好觀衆，雜以滾地等動作，謹守武術界之尊嚴，余習藝時曾蒙以十法見示，十法者劈、軋、抅、掛、削、拍、挑、撩、搜、撈是也。考刀術為各種武器中之最繁雜之一，唐以前用刀者俱為長桿子之大砍刀（即俗稱之大關刀），此名之由來，實因武聖用刀且姓關之故，至宋室中葉，水滸英雄武松與浪子燕靑俱以步戰馳譽，前者固以行者棒號稱天下莫敵，後者却以單刀得名，故至今有燕靑單刀之技傳於世。
大砍刀、單刀、斬馬刀之外尚有雙刀，世人不察每以雙刀比單為難，其實雙刀之為用，祗兩手平均、步法靈活便可運用自如，其法甚簡單而已。
單刀看手一語，為單刀之心法，亦為單刀中之至難安置之處，試觀夫稍懂一、二者常自詡為精於單刀法，然其演習時又常常刀與手脫節，全不注重刀與手之配合，其能謂之於精乎，即為舞台上當生旦對答之時正在悠揚悅耳之表情與動作同時演出，使觀衆全神灌注，當斯時也甚少人注視其背後所飾演之童僕之形狀，若空無所握之左手即等於童僕耳，若不有所動作便形同虛設，更且陷於本身痲痺之狀，若說實用更無所扶襯相托矣。
練刀之法除刀與手互相動作毋使一方有所停滯之外，尚須刀與身貼，步隨勢移方為刀之正法，刀如猛虎一語實形容其勢雄猛之處，又曰拼命用單刀之說，凡以單刀臨陣應敵者苟存恐懼之心，無不為敵所敗，蓋單刀為短兵刃，若與長兵械相接，其勢固拙，瑟縮不前者必為長械所乘無疑，但立拼命之心長者為我所接，則我一躍而前，長短之勢有所平合，勝敗之機互握半數，若更因勢利導，緊握時機，敵為我乘，則其敗立判矣，今之練刀者苟能髓味斯旨，距成功之域近矣。
Master Luo’s versatility was often praised in martial arts circles. Beyond his mastery of boxing methods and iron palm skills, he had intensively studied various kinds of weapons, becoming uniquely adept at the single saber in particular. But as he did not care about what was popular or what would impress an audience, he did not mix in tricks like rolling around on the ground, concerned only with preserving the dignity of the martial arts world. When I learned this art, it was presented to me as being comprised of ten techniques: chopping, rolling, hooking, hanging, slicing, patting, carrying, raising, searching, and scooping.
　　Examining the saber arts shows it to be one of the most varied of the many weapons. Prior to the Tang Dynasty, the “sabers” used were all long-pole large cleaving sabers, what is commonly called the large “Guan Saber”, so named because it was used by the martial sage Guan Yu. During the middle period of the Song Dynasty, “The Pilgrim” Wu Song and “The Wanderer” Yan Qing, heroic characters from The Water Margin, both became famous for their martial deeds. The former used a staff, with which he was considered to be invincible, while the latter became known for his use of the single saber, after which is named the “Yan Qing’s Single Saber” set that has been passed down to us to this day. Beyond the large cleaving saber, single saber, and horse-slashing saber, there is also the double sabers. Most people do not scrutinize and simply assume that the double sabers are more difficult than the single saber. Using the double sabers is actually only a matter of both hands working evenly and the feet stepping nimbly, and then you will be able to wield them smoothly. Its techniques are really very simple.
　　There is a saying: “With the single saber, be mindful of your other hand.” This is a core principle of the single saber, as well as the most difficult aspect of it. Observe someone who understands the art very little and yet often brags that he is an expert at the single saber. When he performs, his saber and left hand constantly lose coordination between each other, and he never pays attention to having cooperation between them. How could he be considered an expert? When a dancer on a stage begins to sing, and her sweet singing is performed in tandem with her movements, the audience becomes rapt with attention. In that moment, very few people would notice the stagehands in the background. If the saber practitioner’s left hand is so uninvolved that it becomes like one of those invisible stagehands, or if it is moving with so little purpose that it almost turns into some paralyzed appendage, then it will seem to be of no real use at all.
　　When practicing the saber methods, beyond the saber and hand coordinating with each other rather than either of them becoming sluggish, the saber has to move close to the body, and the step has to shift along with the movement in order for the saber’s techniques to be precise. This saying expresses well the required quality of fearsomeness: “The saber is like a fierce tiger.” There is also this saying: “Defy death as you wield the single saber.” Whenever you use the single saber to battle against opponents, if there is fear in your heart, you will always be defeated. Because the single saber is a short weapon, if my saber connects with a long weapon, I would of course be in an awkward position. If I am then too timid to go forward, his long weapon is certain to have the advantage, but if instead I have a mentality of defying death, his long weapon will then be under my control. Therefore I charge in, leveling the odds between long and short, grasping the decisive moment between victory and defeat. Treating half a chance as more than half, I act in accordance with the situation, seize the opportunity, and take advantage of the opponent’s position, and thus his defeat becomes a more likely outcome than mine. If you modern saber practitioners can deeply think upon this point, you will be much closer to success.

–

–

–

–

捷拳圖說
A HANDBOOK FOR NIMBLENESS BOXING
傅秀山
by Fu Xiushan
[1930]

[translation by Paul Brennan, Oct, 2018]

–

傅秀山編
by Fu Xiushan:
捷拳圖說
A Handbook for Nimbleness Boxing
馬公愚題
– calligraphy by Ma Gongyu

–

國術真魂
The true soul of martial arts!
李景林題
– calligraphy by Li Jinglin

–

禹城傅秀山著述
by Fu Xiushan of Yucheng:
㨗拳
Nimbleness Boxing
于右任
– [calligraphy by] Yu Youren

–

國技導師
Martial arts leadership!
陳嘉祐題
– calligraphy by Chen Jiayou

–

發揚國光
Promoting our national glory!
許世英題
中華民國十八年雙十節
– calligraphy by Xu Shiying, National Day, Oct 10, 1929

–

秀山先生属題
for Xiushan:
技進乎道
“Skill brings us closer to the Way.”
楚之熙
– calligraphy by Chu Zhixi

–

神乎斯技
How wondrous this art is!
明州朱霞天題
– calligraphy by Zhu Xiatian of Mingzhou [old name for Ningbo]

–

傅秀山先生小影
Portrait of Fu Xiushan:

–

序
PREFACE

我中華國於亞洲。具五千年之歷史文化。本宜强逾歐美。稱雄寰宇也。然今日竟淪於次殖民地地位。可勝痛哉。溯本窮源。雖由科學幼稚。工商不振。教育不能普及。內亂未克敉平。而構成此內政失修外侮日亟之局勢。然全民衆忽視體育。沿襲重文輕武之惡習。而養成今日萎靡不振奄奄垂斃之多數病夫。實為我中華民族衰老之絕大原因也。我國上古。本重體育。如干戈弓矢之屬。撲擊拳勇之技。無不家喻戶曉。降至近世。火器發明。拳術遂廢棄湮沒而無聞。殊不知國術之為用。可使弱者强。夭者壽。病者痊。頽唐萎靡者。可使剛毅果敢。其直接間接影響於社會國家。不亦深且鉅哉。禹城傅秀山先生。國術專家也。本其健身强國之旨。研究國術。歷數十年如一日。其武藝之精通。技術之超卓。早已蜚聲全國。無待贅言。尤能力事提倡。誨人不倦。茲本生平研究之心得。歷經名師之指導。編纂是書。個中祕訣。闡發無餘。盡道人所不能道。生龍活虎。蹤躍奔騰。種種精奧。一一筆而出之。掃盡前人不公開之惡習。書成之日。行見紙貴洛陽。爭覩為快。其有裨國術前途。寧有涯涘耶。
中華民國十八年十二月三十日山左諶祖安序於上海國術比賽大會
Our Chinese nation has tallied up five thousand years of history and culture in Asia. This greatly exceeds Europe and America, and yet they are considered to be dominant over the whole world whereas we are nowadays relegated to the position of an inferior people. This is truly unbearable. Tracing back to the source of this problem, our scientific understanding is at a childish level, and thus industry has not grown, education has not spread, and we continue to have unquellable domestic strife, putting us in our situation of both internal disorder and external threat from Japan. And yet the masses ignore physical education, carrying on the old evil of valuing only intellectual pursuits and trivializing martial affairs, thereby generating our current state of being countless lethargic feeble “sick men”. Surely this is the cause of the frailty of the Chinese people.
　　Our nation in ancient times emphasized physical education involving weapons and archery, wrestling and boxing, and these were things known in every household. But with the invention of firearms in modern times, martial arts were abandoned, and so they disappeared from view and ceased to be spoken of. Little do people realize the usefulness of martial arts, capable of making the weak strong, of giving long life to those who would have died young, of helping those with illness recover, of turning the listless and dispirited into the resolute and courageous. This could have both a direct and indirect influence upon our society that can be profound and enormous.
　　Fu Xiushan of Yucheng [in Shandong] is an expert in martial arts, intent on using physical fitness as a means of strengthening the nation. He has studied martial arts consistently for decades, and his incredible skill has long since made him famous throughout the nation. It goes without saying that he is uniquely capable of promoting these arts. A tireless instructor, he has now taken what he has learned throughout his life, all that he has learned from his teachers, and compiled it into a book. All of the special terminology within is fully explained, revealing even what experts would claim cannot be described in words. With the liveliness of a dragon and the vigor of a tiger, he leaps and dashes through all sorts of exquisite techniques, which he has written down one after another, sweeping aside the vice of earlier generations of not sharing information. Once this book comes out, it will be popular and sought-after. Its potential benefit for the future of our martial arts is limitless.
　　- written by Chen Zu’an of Shanzuo [i.e. Shandong] at the Shanghai Martial Arts Tournament, Dec 30, 1929

–

自序
AUTHOR’S PREFACE

蓋聞有大志者。而後可以負大任就大事。然尤須有大精神大魄力濟之而後可。苟有志焉。而神如風燭。力難縛雞。惡乎其可也。孟子曰。故天將降大任於是人也。必先苦其心志。勞其筋骨。餓其體膚。空乏其身。行拂亂其所為。所以動心忍性。增益其所不能。是孟子之重視心性與體魄可知。心性之磨鍊。或由學問。或由境遇。至於磨鍊體魄。舍國技莫屬。何則。蓋運動之術雖多。而能益內利外。用剛濟柔。有百利而無一弊。則惟國技耳。世之君子。鑒於國病民弱。起而倡之。良有以也。山也不肖。幼而瘠弱。且又善病。或勸山習國技以壯身。韙之。迺從劉師希嶽練習梅花拳有年。漸識其味。及劉師不祿。山又負笈遍遊各地。幸於濟垣。獲見韓愧生先生之捷拳。剛中寓柔。柔中寓剛。適合生理。有益心身。得蒙傳授。雖未洞澈其中玄奧。然從事以來。未受病魔之苦。豈非斯術所賜歟。客秋海上中華國技學會。有國技報出刊。山適主教席於松之武術會。因而函索拙稿。然山不文。安敢操觚著述。不過將師之所遺口訣五要。動作理法。錄以付諸棗梨。並附以圖說。編輯成册。聊作野人獻芹。以襄有志君子。為磨鍊體魄之一助。更希海內名達。不棄鄙陋。有以教正之。則幸甚矣。
I have heard that ambitious people can do anything, but what is really needed is great spirit and boldness in order to be able to succeed. If you have ambition but your spirit wanes, you will hardly have enough strength to tie up a chicken. How then could you succeed at anything? Mengzi said [Mengzi, chapter 6b]: “When Nature bestows responsibility on a person, it first tests his willpower, works his body, starves him, makes him destitute, and ruins whatever he tries to do, thereby activating his mind and building his endurance, making him able where he used to unable.”
　　Mengzi obviously attached importance to both one’s mental and physical condition. Mental training comes sometimes from learning, sometimes from experience. As for physical training, how can it be done without martial arts? There are many exercise arts, but these can benefit you both internally and externally, using both hardness and softness. They have countless advantages and not one drawback. That is why they are deemed our “national arts”. Seeing that our nation is ill, our people weak, wise gentlemen have started to promote these arts as a good means of dealing with the problem.
　　I was a sickly child, often very ill, and so I was advised to practice martial arts in order to build up my body. This was good advice indeed. I learned Plum Blossom Boxing from Liu Xiyue for several years, gradually coming to understand its special flavor. But then Liu passed away, and so I left home to learn elsewhere, traveling many places, until I was lucky enough to discover Han Kuisheng’s Nimbleness Boxing. It has softness within hardness, hardness within softness. It conforms to physiological principles, benefitting both mind and body. I have still not yet penetrated all of its mysteries, but ever since I started practicing it, I have never suffered from any illness. Therefore how could this art not a blessing?
　　While visiting the Shanghai Chinese Martial Arts Association, where they publish a martial arts newspaper, they recommended me for a teaching position at the Song River Martial Arts Association, which then requested that I send them a manuscript about this material. Since I am not a highly literate person, how could I presume to not only write about what I learned from my teacher, his twelve terms, five requirements, and movement principles, but also publish it all, including photographs of myself performing the postures, in an actual book? I am just a country bumpkin and this is just my meager contribution, intended to give some aid to ambitious gentlemen in the training of their bodies. I hope this art will become respected throughout the nation and not be dismissed as something shallow, but if anyone has any criticisms of this book, I would be very happy to receive them.

–

捷拳圖說目錄
CONTENTS

捷拳之要旨
Essentials of Nimbleness Boxing
　十二字訣
　Twelve Key Terms
　五要
　Five Requirements
　論指
　On the Use of the Fingers
　論拳
　On the Use of the Fists [Palms]
　論捶
　On the Use of the Fists
　〔論腿〕
　[On the Use of the Legs]
　總訣
　General Principles
　節目歌訣
　Mnemonic Verse for Each Posture
捷拳之表演
Performance of Nimbleness Boxing
　第一式　立正
　Posture 1: STANDING AT ATTENTION
　第二式　預備
　Posture 2: PREPARATION
　第三式　順風領衣
　Posture 3: WIND TUGS THE JACKET
　第四式　順手推舟
　Posture 4: GOING WITH THE CURRENT TO PUSH THE BOAT
　第五式　靈獼護腦
　Posture 5: CLEVER MACAQUE COVERS ITS HEAD
　第六式　蜻蜓點水
　Posture 6: DRAGONFLY SKIMS THE WATER
　第七式　葉底藏花
　Posture 7: FLOWER HIDDEN UNDER THE LEAF
　第八式　出爪亮翅
　Posture 8: SENDING OUT CLAWS, SPREADING WINGS
　第九式　摟膝拗步
　Posture 9: BRUSH KNEE IN A CROSSED STANCE
　第十式　黑虎掏心
　Posture 10: BLACK TIGER STEALS THE HEART
　第十一式　跨虎登山
　Posture 11: STALKING TIGER CLIMBS THE MOUNTAIN
　第十二式　魁星奪斗
　Posture 12: KUIXING SEIZES THE BIG DIPPER
　第十三式　葉底藏花
　Posture 13: FLOWER HIDDEN UNDER THE LEAF
　第十四式　金龍合口
　Posture 14: GOLDEN DRAGON CLOSES ITS MOUTH
　第十五式　彩鳳囘頭
　Posture 15: COLORFUL PHOENIX TURNS ITS HEAD
　第十六式　玉女穿梭
　Posture 16: MAIDEN SENDS THE SHUTTLE THROUGH
　第十七式　燕子穿簾
　Posture 17: SWALLOW FLIES THROUGH THE CURTAIN
　第十八式　懷中抱玉
　Posture 18: HOARDING THE JADE
　第十九式　推窗望月
　Posture 19: PUSH OPEN THE WINDOW TO GAZE AT THE MOON
　第二十式　摘星換斗
　Posture 20: PLUCK THE STARS TO ROTATE THE BIG DIPPER
　第二十一式　收爪斂鋒
　Posture 21: RETRACTING SHARP CLAWS
　第二十二式　分掌横跺
　Posture 22: SPREADING PALMS, SIDE KICK
　第二十三式　英雄獨立
　Posture 23: HERO STANDS ON ONE LEG
　第二十四式　迎門正跺
　Posture 24: KICKING STRAIGHT AHEAD
　第二十五式　魁星奪斗
　Posture 25: KUIXING SEIZES THE BIG DIPPER
　第二十六式　葉底藏花
　Posture 26: FLOWER HIDDEN UNDER THE LEAF
　第二十七式　金龍合口
　Posture 27: GOLDEN DRAGON CLOSES ITS MOUTH
　第二十八式　彩鳳囘頭
　Posture 28: COLORFUL PHOENIX TURNS ITS HEAD
　第二十九式　靈獼護腦
　Posture 29: CLEVER MACAQUE COVERS ITS HEAD
　第三十式　柳線垂金
　Posture 30: GOLD HANGING FROM THE WILLOW BRANCHES
　第三十一式　藤蘿掛壁
　Posture 31: VINE CREEPS UP THE WALL
　第三十二式　進步指南
　Posture 32: ADVANCE, POINTING-COMPASS POSTURE
　第三十三式　丹鳳朝陽
　Posture 33: PHOENIX LANDS ATOP THE SUNNY SLOPE
　第三十四式　風擺荷葉
　Posture 34: WIND SWEEPS THE LOTUS LEAVES
　第三十五式　順風擺柳
　Posture 35: WIND SWAYS THE WILLOW
　第三十六式　單鞭
　Posture 36: SINGLE WHIP
　第三十七式　單擄手
　Posture 37: SINGLE PULLING HAND
　第三十八式　彩鳳囘頭
　Posture 38: COLORFUL PHOENIX TURNS ITS HEAD
　第三十九式　黑虎掏心
　Posture 39: BLACK TIGER STEALS THE HEART
　第四十式　前進踢打
　Posture 40: ADVANCE, KICK & HIT
　第四十一式　左前進踢打
　Posture 41: LEFT ADVANCE, KICK & HIT
　第四十二式　迎門正跺
　Posture 42: KICKING STRAIGHT AHEAD
　第四十三式　魁星奪斗
　Posture 43: KUIXING SEIZES THE BIG DIPPER
　第四十四式　葉底藏花
　Posture 44: FLOWER HIDDEN UNDER THE LEAF
　第四十五式　金龍合口
　Posture 45: GOLDEN DRAGON CLOSES ITS MOUTH
　第四十六式　彩鳳囘頭
　Posture 46: COLORFUL PHOENIX TURNS ITS HEAD
　第四十七式　靈獼護腦
　Posture 47: CLEVER MACAQUE COVERS ITS HEAD
　第四十八式　渾元一氣
　Posture 48: RETURNING TO YOUR ORIGINAL STATE

–

捷拳圖說
A HANDBOOK FOR NIMBLENESS BOXING

–

捷拳之要旨
ESSENTIALS OF NIMBLENESS BOXING

梅花捷拳。以劈、挑、閃、衝、斜、五式為基本。以上中下三盤為捷法。捷者何。敏之謂也。拳曰捷。猶路之有捷徑也。捷拳之用。貴巧不貴力。乘敵之隙而動。所謂出其不意攻其無備也。遠則用手足。近則使肘膝。身體靈活。動作敏捷。如能精達此意。則敵雖有賁育之勇。亦無所施其技矣。是故拳之所以貴乎捷。而捷拳之命名。及其致用之功。槪可見焉。
The basics of Plum Blossom Nimbleness Boxing are the five qualities of chopping downward, carrying upward, rushing in, thrusting forward, and using angles, and its nimbleness lies in the three areas of the body: upper, middle, lower. Why “nimble”? Because of its agility. This boxing set is described as having nimbleness because it seems to seek shortcuts.
　　In application, it values skillfulness more than strength, taking advantage of the opponent’s gaps. As it is said [Art of War, chapter 7]: “Appear where he does not expect. Attack where he is not prepared.” At long range, use hands and feet. At short range, use elbows and knees. The body is lively and the movement is nimble. If you can master these ideas, then even though your opponent may have great courage, he will have no way to use his skills. Therefore the reason this boxing art values nimbleness, and why its name is Nimbleness Boxing, clearly has to do with its practical function.

–

十二字訣
TWELVE KEY TERMS

點　按　伸　縮　奇　正　弔　擄　速　巧　活　合
The key terms are: focus and pressure, expanding and contracting, direct and indirect, hanging and pulling, quickness and skillfulness, liveliness and unification.
解曰
They are explained below:

點者。以重力聚於一點也。夫重力聚於一點。其力較散漫者為大而速。譬如鐵錘。愈重則其速力愈滯。刃鋒愈利。則其速力愈疾。所謂能受一拳。不能受一掌。能受一掌。不能受一指之精意也。
[1] FOCUS: concentrating a heavy force upon a single point. If it is not concentrated upon a single point, it will be scattered over a general area. It should be a large force, but also have an element of speed. Take for example an iron mace. The heavier it is, the slower it is swung. But the sharper its spikes, the faster it will pierce through. It is said: “If he can handle a punch, then I will slice with the edge of my palm. If he can handle my palm, then I will stab with my fingertip.” This is exactly the idea.

按者。當我手未及敵人之身也。視之若無力然。及至其身也。猛力一按。使其氣虛而內傷也。
[2] PRESSURE: Before my hands reach the opponent’s body, I seem to have no power, but then in the moment that I get to his body, I press into him with sudden force, knocking the wind out of him and injuring him internally.

伸者。舒也。張而大之。引伸而使之長也。
[3] EXPANDING: to stretch out until there is a feeling of reaching far, extending your body so that there is a sense of lengthening.

縮者。斂也。充而實之。聚氣以斂神也。
[4] CONTRACTING: to gather in until there is a fullness and solidity, gathering energy in order to accumulate spirit.

奇者。側也。正者正也。善技擊者。不出奇正。奇正相生。變化無窮。或指前而打後。或指左而打右。或指上而打下。虛實相乘。剛柔互用。端倪莫測也。
[5] INDIRECT: going from the side.
[6] DIRECT: going straight ahead.
An expert at fighting does not use only either direct or indirect techniques, for the direct and indirect give rise to each other, alternating without limit. Indicate you are going forward, then attack to the rear. Indicate you are going to the left, then attack to the right. Indicate you are going upward, then attack downward. Making use of both emptiness and fullness, of both hardness and softness, your actions will be impossible to predict.

弔擄者。沉潛之勢也。先賢謂沉機以觀變。潛心以觀理。窮理以接物。拳術之弔擄手。乃順敵手之來。我乃以手弔之擄之。故能乘敵人之勢以應之。敵之來勢愈猛。其仆也愈快。其跌也愈遠矣。
[7 & 8] HANGING & PULLING: a sinking action. A piece of ancient wisdom says: “Submerge yourself in situations in order to see how they change, concentrate your mind in order to notice principles, and then delve into the principles in order to deal with the world.” As for the boxing arts technique of “hanging and pulling”, I go along with the opponent’s attack, then use my hand to hang over it and pull on it. I am therefore able to respond to his attack by taking advantage of his incoming force. The fiercer his attack, the faster and farther he will fall.

速者。神速也。能於敵手未到之際。我手已先着其身。我手之去。不見其去而已去。我手之來。未見其來而已來。敵雖欲格拒。已不及矣。
[9] QUICKNESS: amazing speed. With this ability, before the opponent’s hand has reached me, my hand has already hit his body. When my hand goes out, he does not see it go out and it has already arrived. When my hand comes back, he does not see it come back and it has already returned. No matter how he tries to block my attacks, it is always too late.

巧者。引進落空。空而未現。現而不見。使敵攻無所攻。守無所守。擊其要而避其勁。擊其虛而避其實。擊其微而避其顯。故云。四兩撥千斤。誠非虛語也。
[10] SKILLFULNESS: drawing the opponent in to land on nothing. Where I disappear, he does not noticed I have disappeared. Where I appear, he does not noticed I have appeared. I cause him to attack where there is nothing to attack, and defend where there is nothing to be defended against. I strike where he is vulnerable and avoid him where he is strong. I strike where he is empty and avoid him where he is full. I strike where he is not paying attention and avoid him where he is focused. Thus it is said: “Four ounces deflects a thousand pounds.” This is not just an empty phrase.

活者。心機靈敏。動作活潑。勢若常山之蛇。擊首則尾應。擊尾則首應。擊其中則尾首俱應。能攻能守。非活而何。
[11] LIVELINESS: Your mind is nimble and your movement is lively. This is like the “Mt. Chang Snake” battle formation [Art of War, chapter 11]: “Strike its head, its tail responds. Strike its tail, its head responds. Strike its middle, its head and tail respond together.” In this way, you are able to both attack and defend. But without liveliness, you would not be able to do this.

合者。內而精氣與神。外而手、眼、身、法、步。使其表裏相應。上下相隨。剛柔相濟。動靜有節。虛實互用。則豁然貫通。乃稱合焉。
[12] UNIFICATION: Internally you have essence, energy, and spirit. Externally you have your hands, eyes, body, techniques, and steps. There should be coordination between inside and out, upper body and lower. There should be cooperation between hardness and softness, movement and stillness, emptiness and fullness. One day these things will suddenly all fall into place, and then you can be said to be in unified state.

–

五要
FIVE REQUIREMENTS

一眼明
1. CLEAR GAZE

善擊技者。眼必明。不然。受制於人。何能克敵。如取守勢。未明敵之來勢。或欲攻擊。未明敵之虛實。貿然擊去。雖快雖硬。鮮能命中。則勞神耗力。其能久持乎。故云。未交手前。必先審察。審察已明。乘虛而入。出其不意。攻其無備。則事半而功倍。可謂眼明之證矣。
To be good at fighting, you have to have a clear gaze. If not, you will be under the opponent’s control, and then how would you be able to defeat him? If you adopt a defensive position without clearly seeing what the opponent’s attack is, or if you try to attack without clearly seeing where the opponent is vulnerable, you will be lashing out in haste, and even if your strikes are fast and hard, you would rarely be able to hit the target. In this way, you would just end up wasting your energy and not be able to fight for very long. Therefore it is said: “Before making contact with your hands, you must observe the opponent. Having studied him, then take advantage of his gaps. ‘Appear where he does not expect. Attack where he is not prepared.’” You will thereby be able to do half the work and get twice the effect. This demonstrates the value of a clear gaze.

二手快
2. QUICK HANDS

手滯而露。其力雖大而易避。手快而隱。其力雖小亦難防。設如我與敵人同時發手。我手尚在進行之線。敵手業已先臨。雖欲避之。已無及矣。拳譜云。以快打慢。此之謂也。
If your hands are slow and obvious, then even if your techniques are more powerful, they will be easy to evade. If your hands are quick and subtle, then even if your techniques are less powerful, they will be difficult to defend against. For example, an opponent and I shoot out our hands at the same time, but my hand is still on its way by the time his has already arrived, and so even if I tried to evade it, I would be too late. It is said in boxing classics: “Use quickness to attack slowness.” This is the idea.

三心沉
3. CALM MIND

應敵之際。切忌心慌。心慌則意亂。意亂則手足失措。攻守失當。故習拳者。當先治心。治心之道無他。沉着而已。不以危急而色變。不為强敵而心驚。其庶幾乎。
When dealing with an opponent, you must by all means avoid getting mentally flustered. If your mind is flustered, your intention will be in disorder. If your intention is in disorder, then your hands and feet will be in disarray and every action of attack or defense you make will be inappropriate. Therefore you first have to control your mind, and the method of gaining this control is nothing more than being calm. As long as you do not treat the situation as a desperate emergency and lose your composure, nor consider the opponent to be too powerful and become afraid of him, then you will be halfway there.

四步穩
4. STEADY STEPS

進步須近敵身。手到身隨。方能得勁。動如虎豹。靜如山邱。出入要有方位。進退令其莫測。欲進也故示之以退。欲退也故示之以進。故學者對於步位。須加意焉。
When advancing, you must get close to the opponent’s body. As your hands arrive, your body follows. That way you will be able to express power. “In movement, be like a tiger. In stillness, be like a mountain.” As you move back and forth, you will be moving in definite directions, but make your advancing and retreating impossible to read. When you want to advance, show that you are about to retreat, and when you want to retreat, show that you are about to advance. Therefore you have to give extra attention to your stepping.

五膽壯
5. COURAGE

技擊尚膽壯。膽壯則氣勇。邁步猱進。敵勁雖强。期在必摧。乘機而退。退而不亂。是乃膽壯之效用也。孟子謂孟施舍之勇。視不勝猶勝也。言其有大無畏之精神也。是以手、眼、步、心、膽、五者俱備。然後能言技擊。然勝而不驕。退而不亂。非膽壯而心細者。其孰能之。
Fighting demands courage. With courage, your spirit will be bold. You will advance with determined steps, and then even if your opponent is powerful, he is sure to be destroyed. Or if retreat is called for, you will retreat without falling into disorder. Both of these situations show the effectiveness of courage. Mengzi said [Mengzi, chapter 2a]: “The courage of Meng Shishe was to see winning and losing as the same thing.” These words describe someone with a fearless spirit. Once all five of these qualities are prepared – eyes, hands, steps, mind, guts – then you will be ready to discuss fighting. However, to win without becoming arrogant and to retreat without falling apart – these things cannot be achieved without being mindful about courage.

–

論指
ON THE USE OF THE FINGERS

指力雖微。功效甚偉。指有勾、摟、擒、拿、之性。使之輕則輕。使之重則重。緩則緩。速則速。邇則邇。遠則遠。何其靈也。使作準繩。可法可則。指雖剛而腕似棉。是其巧也。蓋力之所至。氣之所使也。學者當目在於斯。心在於斯。一身之精氣神俱注於斯。日積月累。使之力達於指。則不期然而然。莫之致而至矣。
Although the strength of the fingers is slight, their effectiveness is great. Fingers can hook, pull, seize, and grab. They can act with lightness or heaviness, slowness or quickness, be near or far. Such is their marvelous dexterity. From these criteria, certain standards form. Although the fingers may use hardness, the key is that the wrist stays supple. Then wherever strength arrives, energy will be activated. You should focus on this point, think about it, concentrate the essence, energy, and spirit of your whole body upon it, and then after practicing for a long time, strength will manifest in the fingers unexpectedly and without any forcing of it to happen.

論掌
ON THE USE OF THE PALMS

掌用翻轉之力。翻轉卽陰陽。陰陽宗一氣。氣有淸濁之別。掌有陰陽之變。惟須練習純熟。方能旋轉如意。果能專心致志。則全身之力。可運於掌矣。
The palm uses rotational power, meaning the alternation between passive and active, the two aspects functioning together. Energy divides into “clear energy” and “murky energy” as the palm alternates between the passive and active aspects

. But you have to practice to the point of skillfulness to be able to switch them efficiently. If you can focus your mind entirely, then the power of the whole body can be sent to the palm.

論捶
ON THE USE OF THE FISTS

拳有剛柔並進之性。或曰。非柔不活。非活不快。非快不取。又曰。至剛不破。非剛不克。然此皆為偏倚之談。何若拳似流星、肱似繩、剛中含柔、柔以摧剛、剛柔相濟、為用之得當也。
Punches should use both hardness and softness. It has been said: “Without softness, it will have no liveliness. Without liveliness, it will have no quickness. Without quickness, it will not reach the target.” It has also been said: “With too much hardness, it will do no damage. Not enough hardness, it will not arrive at all.” But these might be somewhat narrow statements, so try this one: “The fist is like a meteor, the arm like a rope.” Hardness contains softness, for softness is what is used to deliver hardness. Thus hardness and softness have to complement each other in order for techniques to be carried out properly.

論腿
ON THE USE OF THE LEGS

腿有升、降、進、退、踢、蹬、掃、截、勾、翦、蹅、跥、之分。為拳術中必要之具。蓋腿長於手。而力尤過之。然或用之不當。間有為害者。故學者於斯。當自權其功力。而後用之可也。
Legs actions are divided into: rising and lowering, advancing and retreating, toe kicks and heel kicks, sweeping and blocking, hooking and scything, stepping and stomping, These are all essentials within the art. Because the leg is longer than the arm, its power is much greater, but if it is used improperly [i.e. at the incorrect range, either too far or too close], you will only end up getting hurt. Therefore your use of your legs depends entirely on skill in order for it to be effective.

總訣
GENERAL PRINCIPLES

平心靜氣。無思無慮。舌抵上腭。氣沉丹田。
Balance your mind and calm your energy, no thoughts, no worries. With your tongue touching your upper palate, energy sinks to your elixir field.

–

捷拳之表演　節目歌訣
PERFORMANCE OF NIMBLENESS BOXING
(including a mnemonic verse for each posture [except Postures 1, 31, and 37])

第一式　立正
Posture 1: STANDING AT ATTENTION

身體立正。頭向上頂。如頂物然。二目平視。口微閉。舌抵上腭。氣貫丹田。兩手鬆攏下垂。兩足尖離開六十度。
Your body stands straight, head upright as though supporting an object on your head, your gaze level. Your mouth is closed, your tongue touching your upper palate. Energy is coursing through to your elixir field, your hands relaxed and hanging down. Your feet are spread apart at the toes by about sixty degrees. See photo 1:

取靜默從容之態度。除去一切雜念。自然心靜氣淸矣。達摩祖師謂人生感於情慾。一落有形之身。臟腑肢骸。悉為滓穢所染。必洗滌淨盡。無絲毫之障礙。方可步超凡入聖之門。故習拳者。不由此。則進道無機矣。是卽先賢所謂靜而安。安而慮。慮而後能得者也。
Seek a state of quiet calm, getting rid of all distracting thoughts, and then naturally your mind will be at ease and your energy will be clear. The founder Damo said: “Human beings feel desires, because we have material bodies. Our organs, limbs, and bones are stained by corruption and have to be thoroughly cleansed. Once there is not the slightest hindrance, then you will be able to transcend the world.” If practitioners of boxing arts do not work from this principle, there will be no way to progress. Therefore an ancient sage said [from the “Da Xue”, chapter 42 of the Book of Rites]: “With calm, there is peace. With peace, there is mindfulness. With mindfulness, the objective will be achieved.”

第二式　預備
Posture 2: PREPARATION

預備捷拳頸直伸。鬆肩垂手足踵匀。身從左扭腿微曲。雙手持拳與腰均。
In the PREPARATION posture of Nimbleness Boxing, your neck is straight,
shoulders loose, hands hanging, heels together.
Then your body twists to the left, your legs slightly bending,
your hands grasping into fists and shifting up to waist level.

第二式開始動作。身稍下沉而左轉。兩腿微屈。（足不動）
This posture is the initiating of movement. Your body slightly sinks and turns to the left, both legs slightly bending (your feet not leaving their location). See photo 2a:

兩手握拳上提。附於腰間。手心向內。兩目亦隨左轉平視。
Then your hands become fists and lift up to your waist, the centers of the hands facing inward, your gaze going along with the leftward turn, looking level. See photo 2b:

為靜中求動。前言靜乃淸其內。此言動乃堅其體。體堅則精神亦充足矣。達摩祖師謂人之一身。內而精氣與神。外而筋骨與肉。所組織而成者也。然使之周身靈活。手足翕張。伸縮裕如者。精氣神也。卽如天地生物。亦莫不隨陰陽之氣而生焉。况於人生乎。且夫精氣神。乃無形之物也。筋骨肉乃有形之身也。此法必先練有形者。為無形之佐。練無形者。為有形之輔。是一而二二而一者也。
若專練無形。而棄有形則不可。專練有形。而棄無形則更不可。所以有形之身。必得無形之氣相和而不違。乃成不壞之體。設學者不明此義。不特不得捷拳之要妙。而且徒費時日。虛耗工夫。深望學者悉心體驗之。
Seek movement within a state of stillness. Stillness purifies you internally, then movement strengthens the body. With a strong body, spirit will be abundant. Damo said: “Internally there is essence, energy, and spirit. Externally there is sinew, bone, and muscle. Work both of these aspects together and you will be complete.” This will naturally cause the whole body to move with nimbleness, the hands and feet effortlessly performing opening and closing, extending and retracting.
　　Essence, energy, and spirit are the equivalent of the sky, the ground, and living things. All things are created by the workings of the passive and active aspects, even more so in the case of human beings. But essence, energy, and spirit are intangible things, whereas sinew, bone, and muscle are tangible. To practice this art, you must first train the tangible as an aid to the intangible, and then train the intangible as an aid to the tangible, a process of starting from one to get to two, and then working from two to get back to one.
　　You will not get anywhere if you focus on training the intangible and ignore the tangible, and especially if you focus on training the tangible and ignore the intangible. Therefore the tangible body must be merged with the intangible energy and never separated, and then you will develop an unsullied skill. If you fail to understand this principle, not only will you fail to obtain the marvels of Nimbleness Boxing, you will also simply be wasting your time and effort. Therefore I sincerely hope that you will practice with the utmost mindfulness.

第三式　順風領衣
Posture 3: WIND TUGS THE JACKET

順風衣領古人傳。弔手纏腕步當先。二目注看前敵勢。靜而制動莫遲延。
WIND TUGS THE JACKET is a technique passed down since ancient times,
using a hanging hand, curling wrist, and forward step.
Your gaze goes forward toward the opponent.
Use a quality of stillness to control his movement, but do it without delay.

接前式右足跨進一步。同時左手手心向下。由腰際前。猛向後拎。（為弔手）肘尖況下。微有下沉之意。手腕用勁。身微下蹲而後挺。以助其力。右手握拳。手心向上。置於腰際。與腰帶齊。右足尖向外撇。左足跟提起。身體半面向左。目注前手。
Continuing from the previous posture, your right foot advances a step as your left hand goes from in front of your waist and fiercely carries to the rear, the center of the hand facing downward (making a hanging hand), the elbow hanging down with a slight intention of sinking, power expressing at the wrist. Your body is slightly squatting down and leaning back to assist the power, your right fist still placed at your waist, the center of the hand facing upward. Your right toes are swung outward, your left heel lifted. Your body is turned halfway to the left, your gaze toward your front hand. See photo 3:

第四式　順手推舟
Posture 4: GOING WITH THE CURRENT TO PUSH THE BOAT

順手推舟要順肩。進身撒手腿微拳。鬆肩墜肘腕增力。側體攻心取敵便。
GOING WITH THE CURRENT TO PUSH THE BOAT involves going along with the shoulder
as you advance and shoot out your right hand, your legs slightly bending.
Loosen the shoulder, drop the elbow, and increase strength at the wrist.
Angling your body sideways, attack to the solar plexus, seeking the opponent where he is vulnerable.

接前式左手翻轉收囘。微有下沉之意。置於腰際。手心向上。此時左足往前跨進一步。右手猛向前推。手掌用勁。手指向上。手心向左。鬆肩墜肘。身體向左。右膝蓋頂於左腿彎。左足尖向外撒。右足跟提起。兩腿微彎。目注右手中指尖。
Continuing from the previous posture, your left hand turns over and withdraws with a slight intention of sinking and is placed at your waist, the palm facing upward, your left foot at the same time advancing a step as your right hand fiercely pushes forward, power expressing at the palm, the fingers pointing upward, the palm facing to the left, with the shoulder loosened, the elbow hanging. Your torso is facing toward the left, your right knee touching the back of your left knee, the toes of your left foot swung outward, your right heel lifted, both legs slightly bent. Your gaze is toward the tip of the middle finger of your right hand. See photo 4:

第五式　靈獼護腦
Posture 5: CLEVER MACAQUE COVERS ITS HEAD

靈獮護腦右手托。左手握拳搥海穴。側面馬襠稱步弓。勝過弓蹬更便捷。
In CLEVER MACAQUE COVERS ITS HEAD, your right hand props up
as your left hand grasps into a fist and punches to the opponent’s sea of energy [i.e. lower abdomen, though the photo seems to be punching higher].
Your body is turned sideways, making a horse-riding stance in a deep lunge.
The more your legs bend, the more nimble the posture.

接前式右手向外翻轉。由頂上抽囘。胳膊微彎。手心向上。用托勁。手背離頭頂約二寸許。同時左拳由腰間翻轉前射。用衝勁。手心向右。大指上節頂於中指上節根。使中指中節突出。五指扣緊。鬆肩墜肘。挺腕。腰隨右猛轉。兩足尖稍向前。身體向右。目注左拳之上節。
Continuing from the previous posture, your right hand turns over outward and withdraws over your head, the arm slightly bending, the palm facing upward, using a propping energy, the back of the hand about a quarter of a foot away from your headtop. At the same time, your left fist shoots forward from your waist, the fist rotating, using a thrusting energy, the center of the hand facing to the right, the top joint of the thumb pressing the top knuckle of the middle finger, causing the mid-knuckle of the middle finger to stick out, all five fingers squeezing tightly, with the shoulder loosened, the elbow hanging, the wrist straightening. Your waist correspondingly turns to the right [with your left foot also shifting forward], the toes of both feet pointing slightly forward. Your torso is facing toward the right, your gaze toward the top knuckle of your left fist. See photo 5:

第六式　蜻蜓點水
Posture 6: DRAGONFLY SKIMS THE WATER

蜻蜓點水要神速。熟能生巧工夫足。專攻敵人要害中。不必跳躍多勞碌。
DRAGONFLY SKIMS THE WATER should be performed with amazing speed,
an ability that will come with practice.
Focus on attacking the opponent at his vulnerable areas
instead of leaping so much that you only wear yourself out.

接前式左足微向前進。足尖向前。右足向前跟步。右足跟靠於左足跟之右後方。約二寸許。同時右手五指收攏。（不可加緊）再極力向前撒。如投物然。手心向右下方。中指用勁。鬆肩。墜肘。挺腕。同時左拳變掌。抽囘貼於右胳膊彎。兩腿微屈。胸部微向後吸。身體向前。目注右手中指尖。
Continuing from the previous posture, your left foot slightly advances, the toes pointing forward, and your right foot does a following step until your right heel is about a quarter of a foot away from your left heel. At the same time, the fingers of your right hand curl in (though not tightly) and then forcefully release forward as though throwing an object, the palm facing downward to the right [left], power expressing at the middle finger, with the shoulder loosening, elbow hanging, wrist straightening, while your left fist becomes a palm and withdraws near your right elbow. Your legs are slightly bent, your chest slightly sucked in, your torso facing forward, your gaze toward the tip of the middle finger of your right hand. See photo 6:

第七式　葉底藏花
Posture 7: FLOWER HIDDEN UNDER THE LEAF

葉底藏花退中守。陰陽相合變化有。胸前出手便利多。或左或右攻卽誘。
FLOWER HIDDEN UNDER THE LEAF retreats defensively,
then the passive and active aspects switch roles.
Send out your hand from in front of your chest with great ease.
Whether performing the technique on the left or right, attacking is a matter of luring the opponent in.

接前式上身不動。退後三步。先退右足。次退左足。再退右足。及右足着地時。將身子往下猛蹲。左手變拳。沿右手腕下向前衝出。鬆肩。墜肘。挺腕。拳握緊。仍將中指突出。拳尖用勁。右手貼附於右胳膊彎。手指朝上。步法用弓蹬步。身體半面向右。目注左拳之上端。
Continuing from the previous posture, with your upper body maintaining its position, retreat three steps – right, left, right – and when your right foot comes down, your body suddenly squats down and your left hand, becoming a fist, thrusts out forward along the underside of your right wrist, the shoulder loosening, elbow hanging, wrist straightening, fist gripping tightly, with [the mid-knuckle of] the middle finger again sticking out, power expressing at the knuckles, your right hand going near your right [left] elbow, fingers pointing upward. You are in a bow stance, your torso facing halfway to the right, your gaze toward the top knuckle of your left fist. See photo 7:

第八式　出爪亮翅
Posture 8: SENDING OUT CLAWS, SPREADING WINGS

出爪高張手拓弦。身成十字左尖前。手心向上為陽掌。中指挑匀要對肩。
In SENDING OUT CLAWS, SPREADING WINGS, your hands seem to slide along a string,
your body making a cross shape with your left toes forward.
Your palms are facing upward, making active palms,
your middle fingers carrying equally, aligned with your shoulders.

接前式左足往後收囘。離右足脛二三寸許。足跟提起。足尖點地。兩腿微彎。左手同時往後摟。手指向下。（目隨視摟手）腕肘俱彎。左足再向右前方斜進半步。仍足尖點地。同時右手向前伸。左手向後伸。如撇物之狀。兩手中指用勁。手心向上。與肩平。腰向左擰勁。目注右手中指。
Continuing from the previous posture, your left foot withdraws to be about a quarter of a foot away from your right ankle, the heel lifted, toes touching down, both legs slightly bent, your left hand at the same time pulling back, the palm facing downward (your gaze following it), the wrist and elbow bending. Then your left foot diagonally advances a half step to the forward right, again touching down with the toes, as your right hand extends forward and your left hand extends behind, as though flinging away objects, power expressing through the middle fingers, the palms facing upward at shoulder level, your waist twisting to the left. Your gaze is toward the middle finger of your right hand. See photo 8:

第九式　摟膝拗步
Posture 9: BRUSH KNEE IN A CROSSED STANCE

摟膝拗行手足擡。向前右足左還摧。躋襠反尾步虛實。右手勾摟左手推。
In BRUSH KNEE IN A CROSSED STANCE, your right hand and right foot lift,
then your right foot goes forward as your left hand smashes.
Your stance is twisted so your opposite foot is forward
as your right hand hooks back and your left hand pushes out.

接前式右手向左後掛。（目隨視掛手）手指向上與左肩齊。手心向左。左手同時向下翻轉變為鈎手。手指向上。微停。
Continuing from the previous posture, your right hand is placed to the left rear (your gaze following it), the fingers pointing upward at shoulder level, the palm facing to the left, your left hand at the same time going downward, turning over to become a hooking hand, the fingers pointing upward. There is a slight pause in this position. See photo 9a [reverse view]:

次將右腿提起。右手由左膝前。向下向後摟。（摟手同前）右足卽前進一步。足尖點地。左手隨從左脇之前翻轉前推。手心向右。手指向上與肩平。手掌用勁。目注左手食指尖。
Then your right leg lifts, your right hand pulls downward to the rear from in front of your left [right] knee as your right foot advances a step, the toes touching down, and your left hand goes along the front of your left ribs, turns over, and pushes forward, the palm facing to the right, the fingers pointing upward at shoulder level, power being expressed at the palm. Your gaze is toward the tip of the forefinger of your left hand. See photo 9b [reverse view]:

第十式　黑虎掏心
Posture 10: BLACK TIGER STEALS THE HEART

黑虎掏心出手長。三尖相對始為良。一前一後攻兼守。十字擰身扣緊襠。
In BLACK TIGER STEALS THE HEART, you reach out your hand far.
The three structure points [nose, fist, forward toes] have to be aligned with each other.
One hand goes forward as the other pulls back, performing attack and defense simultaneously.
Twist your body across, closing your crotch.

接前式左足向左前方移動。距離隨人之身體。以不費力為宜。左手先向右掛。（同前）次卽向前向左往後擄。（歸抱肘式）再右手變拳。向前衝。左腿下彎。右腿向後蹬直。（為弓蹬步）兩足往下蹬勁。兩膝往裏扣勁。擠襠、反尾、擰腰、順肩、墜肘、挺腕。右拳向前伸勁。左膀往後擺勁。右拳與左右肩成一平直線。目注右拳大指根節。
Continuing from the previous posture, your left foot steps forward to close the distance to the opponent’s body, keeping you from wasting energy trying to reach it with just your hands, as your left hand is first placed upward to the right (as your right hand was before), then goes forward and pulls toward the left rear (to return to the wrapping-elbow posture). At the same time, your right hand becomes a fist and thrusts forward as your left leg bends and your right leg straightens behind (making a bow stance), both feet having an energy of pressing downward, both knees having an energy of covering inward. With your crotch squeezing, your tailbone tucking in, your waist twisting, the shoulder stretching, the elbow hanging, and the wrist straightening, your right fist extends forward, your left arm having an energy of swinging toward the rear, your right fist making a level line with your shoulders. Your gaze is toward the large knuckle of your right fist. See photo 10:

第十一式　跨虎登山
Posture 11: STALKING TIGER CLIMBS THE MOUNTAIN

登山跨虎敵難容。左手架遮右足從。蹲胯方能足抓地。敵人相望欲逃蹤。
STALKING TIGER CLIMBS THE MOUNTAIN is hard for the opponent to endure.
Your left hand blocks up as your right foot is unleashed.
By squatting down your hips, your left foot roots into the ground.
When the opponent sees this posture, he will want to flee.

接前式右手抽囘歸抱肘式。左拳變掌由胸口前向上翻。胳膊微彎。手心向上。手指向右。手背相離頭頂寸許。手腕向上向外翻勁。同時右腿向前蹬。足尖向右上方。足跟用勁。足掌向前仰。所蹬之足高不過膝。目注右足。
Continuing from the previous posture, your right hand withdraws, returning to a wrapping-elbow position, as your left fist becomes a palm and goes upward from in front of your chest, turning over so the palm is facing upward, the arm slightly bent, the fingers pointing to the right, the back of the hand about an inch away from your headtop, the wrist having an energy of turning upward and outward. At the same time, your right foot presses forward, the toes pointing toward the upper right, power expressed at the heel, the sole of the foot stretching back. The kick is no higher than knee level, your gaze toward your right foot. See photo 11:

第十二式　魁星奪斗
Posture 12: KUIXING SEIZES THE BIG DIPPER

魁星奪斗手相連。左右無差身莫偏。左足跟前丁字步。附於右肘左當先。
In KUIXING SEIZES THE BIG DIPPER, your hands move in coordination,
left and right properly placed, and your body should not be leaning.
Your left foot follows forward to make T stance [i.e. its toes touching down].
To touch your right elbow, your left hand has to come forward.

接前式右足落地時。極力向前邁。左足向前跟。足尖點地。右拳向前衝。鬆肩。墜肘。挺腕。手心向左。拳與肩平。同時左手向下壓。手指向上。附於右胳膊彎。目注右拳食指中節根。
Continuing from the previous posture, your right foot comes down with a strong step forward, then your left foot comes forward with a following step, the toes touching down and pointing toward the front heel. At the same time, your right fist thrusts forward, the shoulder loosening, the elbow hanging, the wrist straightening, the center of the hand facing to the left at shoulder level, as your left hand presses down, fingers pointing upward near your right elbow. Your gaze is toward the mid-knuckle of the forefinger of your right fist. See photo 12:

第十三式　葉底藏花
Posture 13: FLOWER HIDDEN UNDER THE LEAF
第十三式葉底藏花。同前見第七式。
(same as Posture 7 [except in this case making only two retreating steps: left, then right])

第十四式　金龍合口
Posture 14: GOLDEN DRAGON CLOSES ITS MOUTH

金龍合口手毋高。防敵良機使莫逃。掌合陰陽從後帶。手停胯下稍沉腰。
In GOLDEN DRAGON CLOSES ITS MOUTH, your hands should not be high.
Its purpose is to prevent the opponent from taking the opportunity to escape.
With your palms facing each other, drag to the rear,
stopping below your hips, your waist slightly sinking.

接前式雙手向後向下擄。如拉物然。左手拉至左胯之下停住。手心向外。右手拉至右膝之下停住。手心向內。兩胳膊微彎。同時左足往後撤半步。足尖點地。兩腿微彎。兩膝蓋向左前方。右胯微向下沉。兩手向後抽勁。並有下按之意。身體向右。目注兩手之間。
Continuing from the previous posture, your hands pull down to the rear as though pulling an object, your left hand pulling until below your left hip, the palm facing outward, your right hand pulling until below your right knee [hip], the palm facing inward, both arms slightly bent. At the same time, your left foot withdraws a half step, the toes touching down, both legs slightly bent, both knees pointing toward the forward left [forward right], your right knee slightly sinking. As your hands pull back, they also have an intention of pushing down. Your torso is facing toward the right, your gaze toward the space between your hands. See photo 14:

第十五式　彩鳳囘頭
Posture 15: COLORFUL PHOENIX TURNS ITS HEAD

彩鳳囘頭快翻身。轉身進步莫因循。步虛制敵進兼退。左短右長備敵掄。
COLORFUL PHOENIX TURNS ITS HEAD involves quickly turning around,
turning your body as you advance, and without any hesitation.
Your step empties to control the opponent [behind you], turning an advancing action into a retreat.
Your left hand is at short range, right hand at long range, swinging out to guard against him.

接前式左足前進一步。右足再進一步。同時左手手腕向外擰。手心向前。由腹部向上畫。畫至目前往後擄。左足退後一步。此時身體成一大轉身式。右手亦隨著轉身。上下畫一圓圈。惟左手用擄勁。右手畫至上方變拳。往下劈勁。手心向左上方。左手附於右胳膊彎。兩腿微彎。右足尖點地。身體向左。目注右拳大指。
Continuing from the previous posture, your left foot advances a step and then your right foot advances a step, your left wrist at the same time twisting outward so the palm is facing forward, the hand arcing upward from your belly until in front of your eyes, then pulling to the rear as your left foot retreats a step while your body makes a large turn. Your right hand goes along with this turn by drawing a circle, upward and then downward. While your left hand pulls, your right hand becomes a fist once at the top of the circle and then chops downward [until at shoulder level], the center of the hand facing upward to the left, your left hand going close to your right elbow. Both legs are slightly bent, your right toes touching down. Your torso is facing toward the left, your gaze toward the thumb of your right fist. See photo 15:

第十六式　玉女穿梭
Posture 16: MAIDEN SENDS THE SHUTTLE THROUGH

玉女穿梭手左挪。發將雙手在腰窩。手心向外格推式。由此閃身敵奈何。
MAIDEN SENDS THE SHUTTLE THROUGH involves reorienting to the left
as you bring your hands back toward your waist,
then pushing out with the palms facing outward.
How can the opponent deal with this sudden maneuver?

接前式左足向前方斜進一大步。右足向前跟步。右足尖離左足跟二寸許。同時右手收囘。手心向上。右掌與小指貼於心口之前。左手向上架。指尖向右。手心向上。胳膊彎如弧形。右手同時向前推。手指向上。與喉齊。手心向外。掌根用勁。身體向前。目注右手中指尖。
Continuing from the previous posture, your left foot advances diagonally forward with a large step and your right foot goes forward with a following step so that your right toes are about a quarter of a foot away from your left heel. At the same time, your hands withdraw, the palms facing upward, the little fingers touching your solar plexus area, and then your left hand props upward, the fingers pointing to the right, the palm facing upward, the arm bending to make a semicircle shape, as your right hand pushes forward, the fingers pointing upward at throat level, the palm facing outward, power expressing at the heel of the palm. Your torso is facing forward, your gaze toward the tip of the middle finger of your right hand. See photo 16 [reverse view]:

第十七式　燕子穿簾
Posture 17: SWALLOW FLIES THROUGH THE CURTAIN

燕子穿簾步莫淹。掌須反背敵難拈。展開雙手猶張翅。似虎離山下嶺巓。
In SWALLOW FLIES THROUGH THE CURTAIN, your steps have no delay.
Your palms have to turn over to make it difficult for the opponent to grab.
Then spread open with both hands as though spreading wings.
It should seem as though a tiger has left its mountain den and is prowling the summit.

接前式右足向右閃進一步。左足亦向右跟步。進至右足脛骨前。足尖點地。左手手掌向右向下壓。掌貼於右腋。同時右手貼近左手內腕。向右向上穿出。兩手手心俱向上。再將左足向前方進半步。足尖點地。左手同時向左前方伸去。與肩平。兩腿微彎。身體半面向右。目注右手小指。
Continuing from the previous posture, your right foot advances a sudden step to the right, your left foot also going to the right with a following step, advancing in front of your right ankle, the toes touching down, as your left palm presses downward to the right until near your right armpit. At the same time, your right hand threads out upward to the right along the inside of your left wrist, both palms now facing upward, and then as your left foot continues forward a further half step, the toes touching down, your left hand extends forward to the left at shoulder level [the photo showing the left foot going forward but the left hand not yet extending]. Your legs are slightly bent, your torso facing halfway to the right, your gaze toward the little finger of your right hand. See photo 17 [reverse view]:

第十八式　懷中抱玉
Posture 18: HOARDING THE JADE

懷中抱玉貴蓄勢。手置胸前善開閉。量敵而進出手先。知己知彼不失利。
HOARDING THE JADE is a posture for storing power.
Your hands are placed in front of your chest, one opening, the other closing.
Get the measure of the opponent and advance, sending out your hands.
Knowing both self and opponent, you will not lose.

接前式左足向左前方進一大步。兩手往下鬆垂。右足向前跟進一步。足尖點地。兩手向上向後掛。右手虎口與心口齊。左手微高。位於右手之前。左手大指離右手小指寸餘。左腿向下弓。右腿向下彎。右膝蓋緊抵左腿彎。左足尖與左膝蓋成一垂直線。身體向前。目注右手虎口。
Continuing from the previous posture, your left foot advances to the forward left with a large step as your hands hang down, then your right foot goes forward with a following step, the toes touching down, as your hands go upward and hang aside to the rear [right rear], the tiger’s mouth of your right hand at solar plexus level, your left hand slightly higher and placed forward of your right hand, your left thumb just over an inch away from your right little finger. Your legs are bent with your right knee touching the back of your left knee, your left toes and left knee making a vertical line. Your torso is facing forward, your gaze toward the tiger’s mouth of your right hand. See photo 18 [reverse view]:

第十九式　推窗望月
Posture 19: PUSH OPEN THE WINDOW TO GAZE AT THE MOON

推窗望月腿雙彎。左手當心易格攔。右手單推掌向外。目觀前手指頭端。
In PUSH OPEN THE WINDOW TO GAZE AT THE MOON, both legs are bent.
Your left hand is at your solar plexus to make it easy to block an attack.
Your right hand pushes out on its own, the palm facing outward.
Your gaze is toward the fingertips of your front hand.

接前式左足向前進一大步。右足向前跟步。足尖點地。右膝抵住左腿彎。身體向前。目注前手虎口。右手向前推。掌根用勁。左手微向下壓。兩手手指俱向上。手心俱向前。左手置於心口前。
Continuing from the previous posture, your left [right] foot goes forward with a large step and your right [left] foot goes forward with a following step, the toes touching down, your right [left] knee touching the back of your left [right] knee. At the same time, your right hand pushes forward, power expressing at the heel of the palm, with your left hand slightly pressing downward, the fingers of both hands pointing upward, the palms facing forward, your left hand placed in front of your solar plexus. Your torso is facing forward, your gaze toward the tiger’s mouth [fingertips] of your front hand. See photo 19 [reverse view]:

第二十式　摘星換斗
Posture 20: PLUCK THE STARS TO ROTATE THE BIG DIPPER

摘星換斗若何為。右足先提手目隨。左手勾摟從上剔。右宜摟膝足踵支。
How is PLUCK THE STARS TO ROTATE THE BIG DIPPER to be performed?
First your right foot lifts, your hands and eyes following
as your left hand hooks backs, rising upward.
Then your right hand pulls past your right knee and the heel presses the leg straight.

接前式右手往裏拓。手心向上。朝着左腮向後掛。（此時右足落地）左足高提。左手沿右手手背向上撩。亦往後摟。摟時二目隨著手向後看。（抅子手）左手衝左上方。微停。
Continuing from the previous posture, your right hand rubs inward, the palm facing upward, and goes toward your left cheek to be placed to the rear (as your right [left] foot comes down fully), your left [right] foot lifting. Your left hand is raising along the back of your right hand and then pulling to the rear, your gaze following your hand (which makes a hooking hand) as the hand thrusts upward to the left. There is a slight pause in this position. See photo 20:

再左足落地。右足提起。（目視右手）從右膝前往後摟。（成勾手）手指向下。此時右足向前落地。左手向裏反轉下落。手心向上。從右脇貼着心口向前推。手心向右。手指向上。掌緣用勁。左手與肩平。右手微高。身成十字形。右腿向後蹬直。目注右手食指。
Then your left [right] foot comes down so that your right [left] foot can lift, your gaze following your right hand as it pulls to the rear past your right knee (making a hooking hand), the fingers pointing downward. At the same time, your right [left] foot comes down forward as your left hand arcs inward and downward, the palm facing upward, the hand touching your right ribs and then pushing out forward from your solar plexus, the palm facing to the right, the fingers pointing upward, power expressed at the edge of the palm, the hand at shoulder level, your right hand slightly higher, your body making a cross shape with your right leg straightened behind. Your gaze is now toward the forefinger of your right [left] hand. [Although there was originally no photo supplied for this second part of the posture, it would be similar to photo 36, but with the left hand as a palm and the right hand as a hook instead of fists.]

第二十一式　收爪斂鋒
Posture 21: RETRACTING SHARP CLAWS

斂鋒收爪勢收查。左手後摟左脚挑。非但防來左面敵。同迎左右乃為超。
RETRACTING SHARP CLAWS is a posture for gathering in and assessing the situation.
Your left hand pulls to the rear as your left foot draws in.
This technique is not only for defending against an attack to your left,
for it could be applied on either side.

接前式左足向前進一步。進至右足脛骨。足尖點地。右足前進時。身體稍向右轉。又往下蹲。同時左手向後摟。（成勾手）手心向上。同時右手往上挑。挑至左肩手指與肩齊。手心向左。大指與食指貼於胸部。目注右手指尖。
Continuing from the previous posture, your left foot comes forward a step to be beside your right ankle, the toes touching down, your torso turning slightly to the right and squatting down. At the same time, your left hand pulls to the rear (making a hooking hand), the center of the hand facing upward, as your right hand carries upward until in front of your left shoulder, the fingers at shoulder level, the palm facing to the left, the thumb and forefinger near your chest. Your gaze is toward the fingertips of your right hand. See photo 21:

第二十二式　分掌横跥
Posture 22: SPREADING PALMS, SIDE KICK

分掌横跥腿挺直。手足齊發方為劇。若非鍛鍊功夫深。重點焉能貫一足。
In SPREADING PALMS, SIDE KICK, your legs straighten.
With your hands and foot expressing in unison, it is a dramatic technique.
But if you do not practice to the point that your skill is deep,
how will you be able to focus power through your foot?

接前式兩手向心口前合攏。作交叉形。兩手手心向上。右手腕壓住左手腕。目視兩手之中間。次將左腿高提。向左横跥。足指向右後仰。足跟用勁。同時左右手向左右平分。（與肩平）手指俱向前。掌緣用勁。兩腿挺直。目注左足。
Continuing from the previous posture, your hands come together, crossing in front of your solar plexus, the palms facing upward, your right wrist pressing down on your left wrist, your gaze going toward the space between your hands. Then your left leg lifts and does a side kick to the left, the toes pointing toward the right rear, power expressing at the heel, your hands at the same time spreading apart to the left and right (at shoulder level), the fingers pointing forward, power expressing at the edges of the palms, both legs straightening. Your gaze is toward your left foot. See photo 22:

第二十三式　英雄獨立
Posture 23: HERO STANDS ON ONE LEG

獨立英雄先轉身。高低雙掌互通神。勢如敗式非眞敗。誘敵之機是好因。
HERO STANDS ON ONE LEG involves first turning around.
Your palms extend in unison, one high, one low.
This is a posture of appearing to be defeated, but you are not actually in a position of defeat.
Lure the opponent in to try something, and then make use of it.

接前式左足縮囘。兩手仍歸交叉形。身體猛向右向後轉。左足猛向下跥地。右足提起。前進半步。足尖點地。左手從胸前向上托。胳膊彎如半月形。手背離頭頂寸許。手指向右。手心向上。左手往下劈。手掌用勁。手指向右下方。離右膝蓋二寸許。兩膝蓋往裏合。兩腿微彎。身體向右。目視右前方。
Continuing from the previous posture, your left foot retracts, your hands returning to being crossed, and your body suddenly turns to the right rear, your left foot fiercely stomping the ground. Then your right foot lifts and advances a half step, the toes touching down, as your left hand props up from in front of your chest, the arm bent to make a crescent moon shape, the back of the hand a few inches away from your headtop, the fingers pointing to the right, the palm facing upward, and your left [right] hand chops downward, power expressing at the palm, the fingers pointing downward about a quarter of a foot away from your right knee. Both knees are closing inward, both legs slightly bent. Your torso is facing toward the right [left], your gaze forward to the right. See photo 23:

第二十四式　迎門正跥
Posture 24: KICKING STRAIGHT AHEAD

迎門正跥用挑手。進步跥腿敵難走。上虛下實方合宜。虛虛實實變化有。
KICKING STRAIGHT AHEAD involves an action of the right hand carrying,
and then when you advance with a pressing kick, it is difficult for the opponent to get away from.
Using a feint above to complement a real technique below will make it work.
Fake techniques should be varied among real techniques.

接前式右足全足蹬地。左足前進一步。右手向上挑。亦往後摕。歸抱肘式。同時左手向下劈。劈至心口前變為拳。向前平出。手心向右。同時右足向前蹬。足尖向上。足指向後仰。足跟用勁。兩腿挺直。身子不可偏斜。亦不可俯仰。微向後坐。身體向前。目注左拳之大指。
Continuing from the previous posture, your right foot comes down fully and your left foot advances a step as your right hand carries upward. Your right hand then pulls back, returning to a wrapping-elbow position, as your left hand chops down forward until at solar plexus level, the hand becoming a fist, the center of the hand facing to the right. At the same time, your right foot presses forward, the toes pointing upward and stretching back, power expressing at the heel, both legs straightening. Your body must not be leaning forward or back, or to either side, just slightly sitting back. Your torso is facing forward, your gaze toward the thumb of your left fist. See photo 24:

第二十五式　魁星奪斗。同十二式。
Posture 25: KUIXING SEIZES THE BIG DIPPER (same as Posture 12) [reverse view]

第二十六式　葉底藏花。同第七式。
Posture 26: FLOWER HIDDEN UNDER THE LEAF (same as Posture 7) [reverse view]

第二十七式　金龍合口。同十四式。
Posture 27: GOLDEN DRAGON CLOSES ITS MOUTH (same as Posture 14) [reverse view]

第二十八式　彩鳳囘頭。同十五式。
Posture 28: COLORFUL PHOENIX TURNS ITS HEAD (same as Posture 15) [reverse view]

第二十九式　靈獼護腦。同第五式。
Posture 29: CLEVER MACAQUE COVERS ITS HEAD (same as Posture 5)

第三十式　柳線垂金
Posture 30: GOLD HANGING FROM THE WILLOW BRANCHES

柳線垂金向後轉。左掤右摟面沖前。後將右足磨齊步。左足隨教外撇邊。
GOLD HANGING FROM THE WILLOW BRANCHES involves turning around to the rear.
Prop up with your left hand and pull back with your right hand to deal with an incoming attack.
Your right foot slides straight back
and your left foot is correspondingly turned outward.

接前式身體向右轉。右足向後退一步。同時左手由胸前向上架。胳膊微彎。手心向上。右手向下向後摟。左腿下彎。足尖向外撇。右腿挺直。足尖點地。足跟起。目注左手手背。
Continuing from the previous posture, your body turns to the right, your right foot retreating a step. At the same time, your left hand props upward from in front of your chest, the arm slightly bent, the palm facing upward, as your right hand pulls downward to the rear. Your left leg is bent, the toes swung outward, and your right leg is straightened, the toes touching down, heel lifted. Your gaze is toward the back of your left hand. See photo 30:

第三十一式　藤蘿掛壁
Posture 31: VINE CREEPS UP THE WALL [no verse]

接前式左腿向後退一步。右腿下彎。左腿蹬直。足尖衝前。同時右手經胸部之前向上架。（架手與前同）左手往下壓。壓至與臍相齊停住。左手手心向下。手指向右。二目向前平視。
Continuing from the previous posture, your left leg retreats a step and your right leg bends, your left leg straightening, the toes [of both feet] pointing forward. At the same time, your right hand props upward, passing in front of your chest (same kind of propping action as in the previous posture), as your left hand presses downward until level with your navel, the palm facing downward, fingers pointing to the right. Your gaze is forward and level. See photo 31:

第三十二式　進步指南
Posture 32: ADVANCE, POINTING-COMPASS POSTURE

指南進步轉身衝。右足前騰速似風。拳術多宜此等式。身成側面少遭攻。
ADVANCE, POINTING-COMPASS POSTURE involves turning around and thrusting out,
your right foot also shooting out forward as quick as the wind.
Boxing arts often use this kind of posture,
the body turned sideways to reduce one’s own potential to be a target.

接前式身體向左向後轉。（轉身時）左足尖蹻起。足跟碾勁。同時左手手心向下。往前擄。右手往下沉。卽變為拳。由右脅貼於左手上方往前衝。手心向左。在右拳衝時。右足前進半步。足尖點地。左手附於胳膊彎。兩腿微彎。身體向左。目注右拳食指中節。
Continuing from the previous posture, your body turns around to the left rear with your left toes lifting and the heel having an energy of grinding the ground [i.e. the foot pivoting on the heel]. At the same time, your left hand pulls forward, the palm facing downward, and your right hand sinks down, becoming a fist, then thrusts forward from your right ribs over your left hand, the center of the hand facing to the left. As your right fist thrusts out, your right foot advances a half step, the toes touching down, both legs slightly bending, your left hand going near your right elbow. Your torso is facing toward the left, your gaze toward the mid-knuckle of the forefinger of your right fist. See photo 32 [reverse view]:

第三十三式　丹鳳朝陽
Posture 33: PHOENIX LANDS ATOP THE SUNNY SLOPE

丹鳳朝陽右足彈。雙雙挑劈掌相連。弓蹬半步身須正。步穩氣沉自占先
PHOENIX LANDS ATOP THE SUNNY SLOPE involves your right foot springing out.
Your hands perform carrying and chopping, the palms working in unison.
When going a half step back into a bow stance, your torso has to be facing squarely forward,
and so your stance being stable and your energy sinking are naturally given priority.

接前式右拳變掌。向右耳後方掛。左手向前推。左足提起。右足隨向前踢。將腿挺直。足尖用勁。式不停。將右足向左足之後撤一步。左腿下彎。右腿蹬直。同時右手向前向下劈。左手附於右胳膊彎。右手手心向左。手指向前。掌緣用勁。目注右手大指。
Continuing from the previous posture, your right fist becomes a palm and is hung behind your right ear, your left hand pushing forward, as your left foot lifts and your right foot kicks forward [with a hop], the leg straightening, power expressing at the toes. The posture does not pause in this position, your right foot retreating a step behind your left foot, and your left leg bends, your right leg straightening, as your right hand goes forward and chops downward, your left hand going near your right elbow, your right palm facing to the left, the fingers pointing forward, power expressing at the edge of the palm. Your gaze is toward your right thumb. See photo 33:

第三十四式　風擺荷葉
Posture 34: WIND SWEEPS THE LOTUS LEAVES

風擺荷葉手托護。右步倒叉向後顧。那怕敵從四面來。聲東擊西敵難做。
In WIND SWEEPS THE LOTUS LEAVES, your left hand props up to guard your head
and your right foot crosses behind your left foot so that you are now looking to the rear.
Why worry about an opponent attacking from any direction?
By “threatening to the east but striking to the west”, you will make it hard for him to do anything.

接前式右足向左後方倒叉一步。足尖點地。右膝蓋抵住左腿彎。兩腿下彎。身體往下沉。同時右手向下垂。又往右往後拉。再往上托。胳膊彎曲。手指向左。手心向上。同時左手向左平出。手心向上。手指向左。手與肩平。身體向左。目注左手。
Continuing from the previous posture, your right foot does a crossing step to the left rear, the toes touching down, your right knee touching the back of your left knee, both legs bending, your body sinking down. At the same time, your right hand drops down, pulling to the right rear, then props up, the arm bent, the fingers pointing to the left, the palm facing upward, as your left hand goes out to the left, the palm facing upward, the fingers pointing to the left, the hand at shoulder level. Your torso is facing toward the left, your gaze toward your left hand. See photo 34:

第三十五式　順風擺柳
Posture 35: WIND SWAYS THE WILLOW

順風擺柳弔擄勢。我力無能借敵施。柔以致剛能變化。拳精尤貴快攻遲。
WIND SWAYS THE WILLOW is an example of “hanging & pulling”.
It is for when you are not in a position to borrow the opponent’s force.
Use softness in order to be able to switch back to hardness.
Boxing masters put great emphasis on using quickness to attack where there is slowness.

接前式左足向左前方進半步。足尖點地。足跟向後。兩腿微彎。同時左手向右向後擄。手與臍齊停住。同時右手向後向下按。按至心口之左方。與心口平。手心向下。雙手五指分開。手指相印。兩肩向外開勁。兩肘向內抖勁。身體向右。目注右手指尖。
Continuing from the previous posture, your left foot advances a half step to the forward left [to be next to your right foot], the toes touching down, heel lifted, both legs slightly bent. At the same time, your left hand pulls to the right rear until level with your navel as your right hand pushes downward to the rear until level with and to the left of your solar plexus, the palm facing downward. The fingers of both hands are aligned with each other and are spread apart. Your shoulders have an energy of opening outward, but your elbows have an energy of squeezing inward. Your torso is facing toward the right, your gaze toward your right fingertips. See photo 35:

第三十六式　單鞭
Posture 36: SINGLE WHIP

單鞭順式一條線。右腿直蹬左腿彎。兩手握拳平正直。足踵實地穩如山。
SINGLE WHIP is in a straight stance [same hand and foot forward] and forms a line [with the arms].
Your right leg presses straight, your left leg bending.
Your hands grasp into fists and go straight out until level.
Your heels are solidly on the ground, your stance stable as a mountain.

接前式右手向裏。左手向下壓。兩手變拳。右手向右向後衝。左手向左向前衝。兩拳與肩平。同時左足前進半步。左腿下彎。右腿蹬直。兩手與兩腿上下成一垂直線。身體挺直。目注左手大指節根。
Continuing from the previous posture, your right [left] hand goes inward as your left [right] hand presses downward, both hands becoming fists, and then your right hand thrusts out behind you to the right as your left hand thrusts out forward to the left, both fists at shoulder level. At the same time, your left foot advances a half step and the leg bends, your right leg straightening. There is vertical line from each hand to its respective foot, and your body is upright. Your gaze is toward the large knuckle of the thumb of your left hand. See photo 36:

第三十七式　單擄手
Posture 37: SINGLE PULLING HAND [no verse]

接前式左手向下向後擄。右手不動。（擄手）與金龍合口相同。步法亦同。惟彼是雙手擄。此用單手擄耳。
Continuing from the previous posture, your left hand pulls downward to the rear, your right hand maintaining its position. The pulling hand technique is the same as in GOLDEN DRAGON CLOSES ITS MOUTH [Posture 14], and the footwork is also the same, but in that case it is an action of double pulling hands and is here only a single hand pulling. See photo 37:

第三十八式　彩鳳囘頭。同十五式。
Posture 38: COLORFUL PHOENIX TURNS ITS HEAD (same as Posture 15)

第三十九式　黑虎掏心。同第十式。
Posture 39: BLACK TIGER STEALS THE HEART (same as Posture 10) [reverse view]

第四十式　前進踢打
Posture 40: ADVANCE, KICK & HIT

進前踢打兩邊同。手足齊到方始攻。莫道簡單程式易。無窮奧妙在其中。
ADVANCE, KICK & HIT involves both sides working in unison,
hand and foot attacking together.
The technique seems simple, the posture easy,
and yet it is limitlessly profound.

接前式右手向後拉。歸抱肘式。右手向前平出。指尖衝前。手心向右。同時左腿向前踢。足尖用勁。兩腿挺直。兩胯向裏合住勁。右足向下蹬住勁。身體向前。目注左足足尖。
Continuing from the previous posture, your right hand pulls back, returning to a wrapping-elbow posture, then its fingers thrust out forward, the hand level, the palm facing to the right. At the same time, your left leg kicks forward, power expressing at the toes, both legs straightening, the thighs closing inward, and your right foot has an energy of pressing downward. Your torso is facing forward, your gaze toward your left toes. See photo 40 [reverse view]:

第四十一式　左前進踢打。同四十式。
Posture 41: LEFT ADVANCE, KICK & HIT (same as Posture 40 [except with left and right reversed]) [There was originally no photo included here, but the posture can easily be shown by flipping the previous photo.]

第四十二式　迎門正跥。同二十四式。
Posture 42: KICKING STRAIGHT AHEAD (same as Posture 24)

第四十三式　魁星奪斗。同十二式。
Posture 43: KUIXING SEIZES THE BIG DIPPER (same as Posture 12) [reverse view]

第四十四式　葉底藏花。同第七式。
Posture 44: FLOWER HIDDEN UNDER THE LEAF (same as Posture 7 [but with only two retreating steps: left, then right]) [reverse view]

第四十五式　金龍合口。同十四式。
Posture 45: GOLDEN DRAGON CLOSES ITS MOUTH (same as Posture 14) [reverse view]

第四十六式　彩鳳囘頭。同十五式。
Posture 46: COLORFUL PHOENIX TURNS ITS HEAD (same as Posture 15) [reverse view]

第四十七式　靈獼護腦。同第五式。
Posture 47: CLEVER MACAQUE COVERS ITS HEAD (same as Posture 5)

第四十八式　渾元一氣
Posture 48: RETURNING TO YOUR ORIGINAL STATE

渾元一氣卽空提。雙手持拳心與齊。氣守中和能得法。自然入化到神奇。
In RETURNING TO YOUR ORIGINAL STATE, let go of the situation and rise up,
your hands as fists shifting to be level with your solar plexus.
By keeping your energy balanced, you will be able to obtain the art.
You will naturally transform yourself and achieve a magical skill.

接前式左右足向後各退半步。兩脚靠攏。兩腿微彎。左手變拳。右手握拳。抱於臍前。
Continuing from the previous posture, your feet each retreat a half step [left then right] to stand next to each other, your legs slightly bent, as your left [right] hand becomes fist and, together with your right [left] fist, is placed in front of your navel [solar plexus]. See photo 48:

再兩手下垂。歸立正式。
Then your hands hang down and you return to the posture of STANDING AT ATTENTION.

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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]

–

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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