Taizu Cannon Boxing Set _ Brennan Translation

Brennan Translation

TAIZU CANNON BOXING SET Posted on November 23, 2013

說

FROM THE BOXING METHODS OF THE ZHAO SCHOOL: ILLUSTRATED CANNON BOXING SET by Wu Zhiqing [published by

Great East Bookstore, July, 1931]

[translation by Paul Brennan, Nov, 2013] -

吳志青编

趙門拳法炮拳圖說 From the Boxing Methods of the Zhao School: Illustrated Cannon Boxing Set by Wu Zhiqing

馬公愚題 - calligraphy by Ma Gongyu -

編者吳志靑先生 Portrait of the author, Wu Zhiqing -

褚序 PREFACE BY CHU MINYI

國術一道。大別之可分為武當少林兩派。卽俗所稱內工與外工是。此兩派之源流雖有不同。然其主旨在於强身健體則一。是故吾人要當無所偏倚。一例提倡。夫門戶之見。入主出奴。為學術發展之最大障礙。不幸國術界同仁多有以此相標榜者。坐是鮮有進步。其尤甚者。則固陋成性。珍閟自守。不標榜者。坐是鮮有進步。其尤甚者。則固陋成性。珍閟自守。不願出其所學。輕易傳人。坐是雖願出其所學。輕易傳人。坐是雖有有絕技。每經失傳。可慨孰甚。嘗考國術產生歷數千年。而其道不惟不能日生歷數千年。而其道不惟不能日事發皇。甚有日卽衰微之勢。斯何事發皇。甚有日卽衰微之勢。斯何故也。蓋昔日閉關時代。重文輕故也。蓋昔日閉關時代。重文輕武。崇尚文治而以技擊為小道。不獨為士夫所不屑講求。卽一般民衆武。崇尚文治而以技擊為小道。不獨為士夫所不屑講求。卽一般民衆。亦不以尚武為然。而以武夫為可。亦不以尚武為然。而以武夫為可鄙。以文弱為可鄙。以文弱為可喜。職斯之故。民族乃日趨於衰弱。國術之產生。雖經過悠久之歲月。而其道因之未能發皇光大也。不寧惟是。國術既不為社會所重視。則非有特殊習性者流。無能學習。何也。無公開不為社會所重視。則非有特殊習性者流。無能學習。何也。無公開練習之場所。雖有志學習而莫從問津練習之場所。雖有志學習而莫從問津也。故有所謂草也。故有所謂草野之民。身懷絕技。伏處山中。深居簡出。有志學者。必往求之。師生授受。絕端祕密。蓋不獨不求其普及。且惟恐其普及。若是者何也。環境使然也。於是學成一技之長。遂能橫行無阻及。若是者何也。環境使然也。於是學成一技之長。遂能橫行無阻。上焉者成為豪俠義士。下焉者。上焉者成為豪俠義士。下焉者則流為盜匪土霸。而則流為盜匪土霸。而國術乃益為世詬病。此觀於野史小說所載。不盡無稽。誰為為之。謂非社會習俗有以使然耶。雖然。在昔閉關時代。重文輕武。猶能苟安生存。今則世界門戶洞開。人羣競爭日烈。優勝劣敗。强吞弱肉。生存之道。全在民族自決。能否躋於强盛。民族之盛衰。純視乎其全盛。民族之盛衰。純視乎其全民健全與否。欲使全民臻於健全。民健全與否。欲使全民臻於健全。首宜講究體育。國術為我國固有之瓌首宜講究體育。國術為我國固有之瓌寶。實為體育之寶。實為體育之

上乘。以視西洋體操與各種運動之時間與金錢兩不經濟者。迥乎不同。上乘。以視西洋體操與各種運動之時間與金錢兩不經濟者。迥乎不同。倘能力加提倡。非不可以普及。倘能力加提倡。非不可以普及。自前自前歲中央有國術館之設立。樹之風聲。邇來時移勢轉。風氣一變。國術之價値。術館之設立。樹之風聲。邇來時移勢轉。風氣一變。國術之價値。已漸為人重視。各地國術團體。已漸為人重視。各地國術團體。先後成立。熱心運動。先後成立。熱心運動。公開提倡。隨時隨地。均能練習。不可謂非剝極復來之機。民族强盛之兆也。雖然。國術源流旣長。派別又多。其中精粗美惡。自必瑕瑜互見。抉擇得宜。截短補長。取精用宏。是在習美惡。自必瑕瑜互見。抉擇得宜。截短補長。取精用宏。是在習者。惟各種國術。欲一一習之。者。惟各種國術。欲一一習之。則苦為精力時間所不許。則苦為精力時間所不許。而欲求之載籍。則關於此類之紀述甚鮮。是誠令後學有望洋興嘆之憾。而欲求之載籍。則關於此類之紀述甚鮮。是誠令後學有望洋興嘆之憾。不寧惟是。國術之所以易於失傳。不寧惟是。國術之所以易於失傳。最大原因。卽最大原因。卽由於昔日無有紀載。昭示後人。是故無系統無組織。欲求發皇光大。由於昔日無有紀載。昭示後人。是故無系統無組織。欲求發皇光大。戛戛乎難矣。且當時習藝之方法。戛戛乎難矣。且當時習藝之方法。多恃口講與指多恃口講與指畫。曾無著述足資參考。足使人手一編。無師自通者。此亦未能普畫。曾無著述足資參考。足使人手一編。無師自通者。此亦未能普及之一原因也。迺者大東書局沈駿聲及之一原因也。迺者大東書局沈駿聲君有鑒於此。特君有鑒於此。特發宏願。徵求國術館及海內國術專家。對於我國固有之各種武技國術專家。對於我國固有之各種武技。各本家傳。各紓心得。從事著。各本家傳。各紓心得。從事著述。一一梓以行世。彙述。一一梓以行世。彙為大觀。而問序於余。余為素主提倡國術者。茲事與余夙昔之主張不為大觀。而問序於余。余為素主提倡國術者。茲事與余夙昔之主張不謀而合。是安可以無言。爰略書其謀而合。是安可以無言。爰略書其所見。弁諸簡端所見。弁諸簡端焉。褚民宜 Chinese martial arts can be roughly classified into two branches: Wudang and Shaolin, commonly known as internal training and external training. Although they are different in origin and development, their aim of bringing strength and health to the body is the same. Therefore we should not be biased toward one or the other, but should instead advocate both. Sectarianism is the biggest hindrance to learning and development, and it is unfortunate that colleagues within the martial arts world will often use it to try and one-up each other, which rarely leads to progress. But worst of all are the naive and stubborn who keep their treasure for themselves and are not willing to reveal what they have learned nor freely teach it to others. Although they may have an amazing skill, every bit of it will be lost forever unless they can be generous enough to share what they have. Looking through the long history of Chinese martial arts, they have not only had the pattern of being continually unable to flourish, but have actually been in a situation of co ntinually increasing decline. What is the reason for this? During the isolationism of former days, literary pursuits were ennobled and martial pursuits were trivialized. There was reverence for the intelligentsia whereas martial arts were considered to be of a lesser path. It was not just that scholars viewed them with disdain, the common people did as well. With no esteem for martiality, warriors were looked down upon and instead there was a fondness for frail scholars. Because of this, our people have become more feeble with each passing day. Because it has taken such a long time for martial arts to take shape, they have not been able to flourish flourish as much as they should have. Not only this, but martial arts organizations were simply not considered of value, and thus there was no spread of their particular characteristics and people were unable to learn. This is simply because without public practice facilities, then even if there was a will to learn, there was no place to go for guidance. As a result, when those rustic people possessed of skill went to the mountains to live in seclusion, those who wished to learn had to go there to seek it from them in a secret teacher-student relationship. Not only did such teachers not seek to popularize it, they even fear it being popularized. Why should this be? be? Because once a student had completed his study, he was then able to do with it whatever he wanted. The best of them became righteous heroes, but the worst of them became bullying bandits, resulting in martial arts becoming even more reviled by the public. This is the view in those apocryphal histories within published novels, and is not entirely without foundation. Who would behave like this? And can it not be said that society was to blame? Well,

no, because although it was the case that during the isolationism of former days in which literary pursuits were ennobled and martial pursuits were trivialized, people were still able to find ease in life. Nowadays the factions of the world have opened their doors to each other with the result that competition among the common crowd is fierce. The way of survival is that the superior succeed succeed and the inferior perish, the stronger animals devouring the weaker. It is entirely a matter of national determination as to whether we will ascend to become one of the strong and prosperous nations. Our rise or fall as a nation is simply a matter of whether or not we strengthen the people as a whole. To achieve this, we must first of all pay particular attention to physical education. Martial arts are the special treasure of our nation, truly the highest form of physical education, and they are a far more economical use of our time and money than exercises such as Western calisthenics. If we encourage capacity to engage in martial arts, then it will not be that they cannot be popularized. In recent years, the Central Martial Arts Institute has been established [Mar, 1928] and “the wind in the trees is being heard” [i.e. the news of it is spreading]. Also in recent times, there has been a shift in power [from empire to republic – 1911] and the general mood is one of change. The value of martial arts is gradually being taken seriously by people, and local martial arts organizations are being established one after another. There is an enthusiasm for exercise, a public advocation for it of “any time, any place, anybody”. It can no longer be said there is no restoration underway, no sign of national empowerment and prosperity. Since the history of martial arts is long and the number of styles is many, they inevitably have their strengths and weakness, good points and bad points. Choosing which is suitable is a matter of taking the strengths of a system to fix the weaknesses of oneself, and so to select the best entirely depends on the practitioner. If you wish to learn each of these arts, you will never be able to put in enough effort or time. If you wish to learn from books, chances are that a book about the particular style you have chosen is very hard to come by. These things have led to some frustration and disillusionment for new generations of students, not to mention that Chinese martial arts have been so easily lost anyway. The main reason for this is because long ago nothing of them was written down to leave clear records for future generations. This leaves us with no organized systems, making our work to carry them thrivingly forward extraordinarily difficult. Furthermore, learning these skills in those days usually depended on oral instruction and reference to drawings, and so there is insufficient written material to consult for those who are making books on the subject. For those who are learning on their own, this is yet another factor holding back the spread of these arts. In view of this, Shen Junsheng of the Great East Bookstore Bookstore has expressed grand aspirations, soliciting help from the martial arts institutes and the nation’s martial arts experts regarding our nation’s many native martial skills so that each school’s traditions and each expert’s learning gets recorded one after another for posterity, a magnificent collection to behold. He requested a preface of me as I am a habitual advocate of martial arts. Since I am constantly upholding the same views on the subject, how could I have nothing to say about it? Hence this sketch of my opinion, here presented in brief. – Chu Minyi -

自序 AUTHOR’S PREFACE

世界無新物特本諸質各盡其發明製造之能事而已世界亦無新理特本諸文化各世界無新物特本諸質各盡其發明製造之能事而已世界亦無新理特本諸文化各盡其尋繹推演之心力而已一代之技能有盡其尋繹推演之心力而已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或不適用於今世歐美之技能一代之應用一國之技能有一國之特性古代之技能或不適用於今世歐美之技能亦未竟適用於中國其環境不同思想各異亦未竟適用於中國其環境不同思想各異故也革命以還凡百建設將國家頹廢之事次第興舉之惟武術尚付缺如誠憾事也志靑前忝列中央國術館編審處處長曾編纂查拳七星劍雙人潭腿六路短拳彈腿科學化的國術等書問世以期達强種救國之目的但欲普及運動非擴大宣傳不為功依照我國民族之特性及歷史與環境之背景苟欲達到强種救國之途將藉重西洋之體操乎抑恢復固有之國術乎詳加硏究不問可知雖然處今科學昌明之二十世紀非講實用不能圖存乃國術之所以日見不問可知雖然處今科學昌明之二十世紀非講實用不能圖存乃國術之所以日見式微者其弊在缺乏尋繹推演之心力墨守式微者其弊在缺乏尋繹推演之心力墨守成法不知改進故也幸海內明達之士有鑒於此竭力提倡各家各派風起雲湧各展所長莫衷一是一派以舊式擺擂比武名曰國術考試為提倡祇見其蠻橫打未見其以拳理而取勝足見目下之國術離經叛道國術考試為提倡祇見其蠻橫打未見其以拳理而取勝足見目下之國術離經叛道與古之拳術相差有不知幾許程途尚遑論與古之拳術相差有不知幾許程途尚遑論其進化哉一派以玄理號召於時惜乎不能將整個國術加以共同提倡斯為缺憾一其進化哉一派以玄理號召於時惜乎不能將整個國術加以共同提倡斯為缺憾一派以生活為前提不惜人格自行墮落雖練派以生活為前提不惜人格自行墮落雖練得一身銅筋鐵骨祇取得供人玩笑解嘲其埋沒英雄孰甚于此可悲也夫以上所舉之錯誤希國術同志起而共同糾正俾國術循序漸進斯為國術前途放一偉大光明豈不懿歟惟本書之編輯意義一不背乎古訓二不違現代教育原理三能促進科學化教育團惟本書之編輯意義一不背乎古訓二不違現代教育原理三能促進科學化教育團體化四闡明用法解釋意義俾切於實用為體化四闡明用法解釋意義俾切於實用為本旨此書每式附以術名用法說明術解圖畫式定名詞法釋應用圖明動作說解意義順次推進以圖適合世界之潮流作硏究之借鏡鍛我體魄强我國魂志靑不才有厚望焉中華民國十九年四月古歙吳志淸序於海上尚武樓

A world without new things has reached its material limit in its ability for invention and manufacture. A world without new ideas has reached its cultural limit in its endeavor to discover and understand. The skills of an era are of use to that era. The skills of a nation have the characteristics of that nation. Ancient skills are not suitable for use in the modern world. Western skills are not compatible for use in China. Different environments, different idealogies. Since the Revolution, rebuilding has sent the nation into a dispirited state, in one way after another, and our martial arts are still deficient, which is truly a matter for regret. I have somehow become the head of the Central Martial Arts Institute’s editing department, and I myself have published books such as Cha Boxing, Big Dipper Sword , Two-Person Tantui , Six-Line Short Boxing, A Scientific Approach to Martial Arts, and others, in the hopes of strengthening the people and saving the nation. If we wish to popularize such exercises, we will have no effect unless we increasingly publish them. In the context of our national identity, history, and environment, if we wish to get on the path toward strengthening the people and saving the nation, should we enlist the help of Western calisthenics or should we restore our native martial arts? With some careful scrutiny, we can know the answer without asking the question. Since we are now in the gloriously scientific twentieth century, a thing cannot survive if it does not address practical function, and this is the reason for the declining of our martial arts. The fault lies in the lack of endeavor to discover and understand, in conservatively following es tablished methods rather than being aware o f improvements. Fortunately there are enlightened gentlemen in the nation who for this reason have done their utmost to encourage the various schools and styles to surge forth, each expressing its strengths without any declaring it is best, so that the old styles could be organized into a martial competition known as the Martial Arts Examinations [which took place in Oct, 1928]. It encouraged only display of one’s prowess within the randomness of fighting rather than the debating of one’s martial theory to score points over another. It served to show that between updated martial arts and the old systems, we do not know the extent of the differences, much less how they have evolved. But what a pity it is when a style relies on obscure theory and makes appeals to the past. This is a flaw, for it can do nothing to promote martial arts as a whole. And on the other hand, when a style simply uses real life as its premise, this does not prevent one’s character from degenerating, for although one trains to toughen sinews and bones, one can only make jokes about the style in answer to criticism, burying its heroic quality, which is even worse. Such lamentable situations. If I have made any error in what I have said above, I hope that my martial arts comrades will be roused to make corrections so that martial arts may keep advancing. This would give a great brightening to the prospects of these arts. How admirable that would be. My goals in making this book are: 1. to neither turn away from ancient teachings, 2. nor to violate modern teaching principles, 3. to be able to encourage a more scientific approach in educational organizations, 4. to explain specific application in order for this to be of practical use. In this book, included with each posture is the name of the technique, its function, a description of the movement, and an explanation of the technique. With a posture’s name, function, movement, and significance explained, you can proceed step by step until you have become an example fit for others to learn by. The current trend is to engage in such a study of the experience of others in order to build up our bodies and strengthen our national spirit. I am not talented, but I do have great hopes. – written by Wu Zhiqing of Guxi [in Anhui] at the Shanghai “Esteeming the Martial” School, April 1930 -

凡例 GENERAL COMMENTS

一此編取材於長拳之炮拳為我師于振聲所口授分為二章第一章緒論國術各項硏究第二章單練圖說 - For this book, I have selected the Cannon Boxing set from the Long Boxing system taught to me by my teacher Yu Zhensheng. It is divided into two chapters: Chapter One is an introduction to martial arts which analyzes various aspects, while Chapter Two is a photog raphic guide to the solo practice.

一此編依教育程序一章分五節每節分四段每段分四式每式附以術名用法圖說術解式定名詞法釋應用圖明動作說解意義使學者一目了然易於練習 - This book complies with the teaching procedure of a chapter being divided into five parts, each part divided into four sections, each section divided into four postures. [The book emulates the principle, but its actual structure is Chapter One being divided into six parts, th en Chapter Two being divided into five parts: part 1 – positioning chart and attention stance, part 2 – four sections of the set (1-4), part 3 – four sections (5-8), part 4 – five sections (9-13), part 5 – five sections (14-18), each section comprising four postures.] Included with each posture is the name of the technique, its function, a description of the movement, and an explanation of the

technique. With a posture’s name, function, movement, and significance explained, this enables you to understand at a glance and practice easily.

一此編教授團體可參照軍事法行之 - Since this book is for teaching whole groups at a time, you may refer to military methods of drilling.

一此編各式有口令原為初學者便利起見習熟後可删繁就簡一氣呼成以不違古人定法及近代教育程序為原則 - In this book, there is a command for each posture so that beginners may feel easily motivated from the start. After they are familiar with the movements, the simple counting may be done away with and it can flow without pauses. So as to not violate the principles of our forefathers and yet teach with a modern procedure, there is this way of doing it.

一此編假定行拳方位為初學便於記憶而設練熟後則不拘方向 - This book assumes practice facing certain directions so that beginners can easily memorize and establish themselves in it. After drilling it until it is familiar, you can face any direction.

一此編謌譜為自昔所傳讀其語句多費索解但因遵原著仍舊照錄以免失眞另著新謌訣以期納於實用附錄於次 - This book has a list of lyrics for the set which has been passed down from long ago. Its phrases are to be recited over and over in order to get at its meaning. Although we should comply with the writings of the original author in order to avoid losing touch with the authentic version, another author has nevertheless come up with a new set of verse to further represent the practical applications, and this is included following the old lyrics.

一此編所定術名或因便於句讀或切於實用要或想像形式以定之考之我國武術名詞各家各派分岐不同或各套動作同而名詞異此為深中祕密之害實武術界一大缺點也 - This book settles upon posture names which are convenient for study, correspond to the essentials of the applications, and suit the shapings of the postures. In studying our nation’s martial arts, we find differences in terminology between schools and styles, or that the movements of their sets may be the same but the names are different [or vice versa]. This is one of the harms of keeping things secret and is truly one of the greater shortcomings in the martial arts world.

一此編為志靑歷年教授經驗之本茲加以整理付刊以供愛好國術同志之參考 - This book is based upon some of my teaching experience over the years. I have put it together for publication in order to supply my fellow martial arts enthusiasts with reference material.

一此編挂漏之處在所不免尚希國術同志加以指正 - Some degree of incompleteness in this book is inevitable, and so I hope my martial arts comrades will correct me. -

趙門拳法炮拳圖說目次 CONTENTS

編者小影 Portrait of the author

自序 Author’s Preface

凡例 General Comments

第一章緒論 Chapter One: Introduction

第一節宗派起源之硏究 Part 1: Examining the Origin of the Schools

第二節宗派異同之硏究 Part 2: Examining the Differences Between the Schools

第三節長短拳界說之硏究 Part 3: Examining the Categories of Long Boxing and Short Boxing

第四節自然界不同之硏究 Part 4: Examining Differences Brought on by Nature

第五節原著歌譜 Part 5: Original Song

第六節新著歌訣 Part 6: New Song

第二章圖說

Chapter Two: Illustrated Set

第一節行拳方位圖說 Part 1: Positioning Chart for the Boxing Set

第二節歌訣 Part 2: Song [for Sections 1-4]

第一段術名用法術解 Section 1 (name of the technique / function / remarks on the t echnique):

第一式上步衝為開始起手法此式為拳術開始之手法亦為活動筋骨之預備運動所以不激不緩有自然之趨勢也又無半點强勉之動作深得衞生之要領也 Posture 1: STEP FORWARD WITH THRUSTING PUNCHES / This is for beginning the movements. / This posture is the opening technique in this boxing set, and it also readies your body for exercise. The movement therefore is neither fierce nor slow, but natural. By never forcing the movements, you will deeply obtain the essentials of health.

第二式抱肘式為預備行拳法此式為準備行拳之法俾進退攻守之時有所準備而免貽誤之虞 Posture 2: WRAPPING ELBOWS / This is preparation for performing the set of boxing techniques. / This is for preparing you to go through the set, so that while you advance and retreat, attack and defend, you will be able to avoid anxiety over making mistakes.

第三式左撩掌為擒撩法此式為引敵之手卽招架之法也 Posture 3: LEFT RAISING PALM / This is for catching by raising up. / This is a method of drawing in the opponent’s hand to parry it away.

第四式上步衝拳為攻擊之法此式以掌招架以拳衝之擊敵之胸部惟出拳時肩部及胳膊各部肌肉須放鬆俟中的時一用勁不中則不發所謂寸勁是也 Posture 4: LEFT STEP FORWARD, THRUST PUNCH / This is for attacking with a strike. / Use a palm to parry while using a fist to strike the opponent’s chest. When punching, both your shoulder and arm must be relaxed. When aimed at the target, exerting yourself will only bring you off target and leave with nothing to shoot at. This is why it is called “inch force” [i.e. just the right measure of strength].

第二段術名用法術解 Section 2 (name of the technique / function / remarks on the technique):

第五式退步撩掌為左守右攻法此式以左掌撩敵下部謂之撩陰掌武術之動作以手眼身步法聯合而運用以期克奏防身制敵之效用 Posture 5: RETREAT, RAISING PALM / This is for defending with one side and attacking with the other. / Use your left palm in a raising action to the opponent’s lower body. T hus it is called “raising palm to the groin”. The movements of this technique coordinate the actions of hand, eye, body, and step in order to achieve the effects of both defending yourself and subduing the opponent.

第六式閃拳為敵所攻避實待機之法此式設敵向我進攻閃則避其鋒蓄勢以相待乘機以進擊 Posture 6: SWIPING FIST / This is for avoiding the brunt of the opponent’s attack to await an opportunity. / If the opponent attacks me, I evade his sharpest point, storing energy as I await an opportunity to counter.

第七式斷肘衝拳為虛攔實擊之法此式設敵我中部用左肘攔截則右拳乘虛擊敵心房 Posture 7: INTERCEPTING ELBOW, THRUST PUNCH / This is a method of “fake block, real strike”. / If the opponent attacks me at middle height, I use my left elbow to block it, then use my right fist to take advantage of the opportunity with a strike to his heart.

第八式扎拳踢腿為應敵還擊法此式為敵乘我出拳蹈隙而進擊我右脇卽翻腕下扎以禦之乘機踢腿以擊之 Posture 8: BINDING FIST, SNAPPING KICK / This is for dealing with the opponent and returning a strike. / The opponent takes advantage of the gap that appeared because of my punching, attacking my right ribs, so I turn over my wrist, binding in downward to defend against him, and take advantage of the opportunity to attack him with a kick.

第三段術名用法術解 Section 3 (name of the technique / function / remarks on the technique):

第九式右衝拳為轉變方位法此式為行拳更變方位使敵莫測其方略兵法所謂出其不意攻其無備之意也 Posture 9: RIGHT THRUST PUNCH / This is for changing position. / This is for changing position while fighting,

causing the opponent to be unable to detect your strategy. The intention is that of taking him by surprise, attacking him where he is unprepared.

第十式左衝拳為囘身追擊法此式為測敵之虛實以備應時之策 Posture 10: LEFT THRUST PUNCH / This is for of turning around and striking. / I observe an opponent’s feints versus real tactics and get ready for the moment to respond.

第十一式左擒右封為擒拿鎖扣法此式設敵伸手擊來我以左手擒之卽換右手鎖住使其陷入重圍我再出左手擊其要害 Posture 11: LEFT CAPTURING, RIGHT SEALING / This is for capturing and locking. / If the opponent extends a hand to strike, I use my left hand to capture it, then switch to locking him up with my right arm to make him trapped, after which I will send out my left hand to strike a vital area.

第十二式左衝拳為乘機蹈懈攻擊法此式承上式之封則乘機進擊敵之中部 Posture 12: LEFT THRUST PUNCH / This is for taking advantage of a moment of the opponent’s inattentiveness to attack him. / Continuing from the previous technique’s sealing, I take advantage of the opportunity to advance with a strike to the middle of the opponent’s body.

第四段術名用法術解 Section 4 (name of the technique / function / remarks on the technique):

第十三式右衝拳承上式進擊為連環攻擊法此式連續上式為連珠式之衝拳惟出拳須迅速不可遲疑則能收連珠之效矣 Posture 13: RIGHT THRUST PUNCH / This is for continuing from the previous posture’s advancing strike by turning it into an attack of continuous strikes. / This technique continues from the previous technique, making a continuous succession of thrust punches. However, to be able to achieve this effect, it is necessary for the punches to come out one after the other rapidly and without hesitation.

第十四式十字拳為迴環擊敵法此式譬如為敵四面包圍以縱身騰躍飛拳迴環圈打使其無所施其技我則視其弱而攻之 Posture 14: CROSS-SHAPED PUNCHES / This is for turning around to strike an opponent. / If there are opponents surrounding me, I leap up, flinging my fists upward in an inward circle to prevent their techniques from getting to me, then I spot their weak points and attack.

第十五式閃拳為誘敵深入法此式閃拳為避敵截擊故以閃讓過敵銳俟其深入以老其氣然後觀其舉動乘勢以破之 Posture 15: SWIPING FIST / This is for luring the opponent in deep. / The swiping fist is used to prevent the opponent’s attack by intercepting his strike, thereby keeping away his sharpest point. I wait until he has come in too far and his power is spent, then when I see the moment to act, I will take advantage of the situation and smash him.

第十六式斷肘衝拳為攻守同施之法此式乘敵擊來我以肘斷截殺其勢卽出右拳直攻其心使其無暇囘顧卽勝算自我操之矣 Posture 16: INTERCEPTING ELBOW, THRUST PUNCH / This is for executing both defense and attack in the same action. / I take advantage of the opponent’s attack by using my elbow to cut away his technique and sending out my right fist in a direct attack to his heart, giving him no time to assess what is happening, rendering me the one carrying out the winning strategy.

第三節歌訣 Part 3: Song [for Sections 5-8]

第五段術名用法術解 Section 5 (name of the technique / function / remarks on the technique):

第十七式扎拳踢腿為攻禦兼施互用法此式扎拳以禦敵起腿以擊之惟腿之用法當遵明拳暗擊之意旨不是機械動作須活潑富有彈性使其不防而用之方為合法否則必受敵制學者愼之愼之 Posture 17: BINDING FIST, SNAPPING KICK / This is for simultaneous attack and defense. / The binding fist is for defending against the opponent and the kicking leg is for striking him. However, the use of the kick should comply with the intention of “visible punch, invisible kick”, and not just be a mechanical movement. It must be lively and very springy, catching him off guard, and then the use of it will be appropriate, otherwise you will surely be under his control. Be very careful of this.

第十八式右穿掌為追擊應敵法此式設敵佯退我則緊步追擊出掌試敵情然後觀其動靜再定方策以制之 Posture 18: RIGHT THREADING PALM / This is for dealing with the opponent by chasing and striking. / If the opponent pretends to retreat, I then step rapidly, chasing him with a palm strike to see what he will do. Once I

observe his actions, I then settle upon the strategy that will give me control over him.

第十九式左穿掌為連環應戰之法此式設敵仍襲故智佯退則我亦以引手探之惟須步步緊隨其後非俟其自身變化我緊逼其身使其無所逃遁而後已 Posture 19: LEFT THREADING PALM / This is for continuing to press the attack. / If the opponent again tries to take me by surprise by feigning retreat, I again extend a hand, but I must be walking in to follow him back. Rather than wait for how he will adjust, I crowd his body to give him nowhere to escape to.

第二十式跥步穿掌為轉變策略應敵法其式設敵被我所獲速卽轉身乘勢鎖住敵手往下猛墜迅卽提腿跥其脚面以創之 Posture 20: STOMPING STEP, THREADING PALM / This is for dealing with an opponent by changing strategy. / Having captured the opponent, I suddenly turn around, taking advantage of the situation by locking up his hand and fiercely dropping down, lifting my leg and stomping the top of his foot.

第六段術名用法術解 Section 6 (name of the technique / function / remarks on the technique):

第二十一式起腿雙披為上禦下攻互用法此式設敵由上蓋下我則以雙手向上披開乘機進腿以其攻下部此為起腿雙披之法則也然則用不得法易受敵制學者注意之 Posture 21: LIFTING KICK, DOUBLE SPREADING / This is for defending above while attacking below. / If an opponent covers himself downward, I then send my hands upward and spread them apart, taking advantage of the opportunity to send a kick to his lower body. This is the correct way to use this technique, but if you try to apply it before you have the knack of it, you will end up under the opponent’s control. Take note of this point.

第二十二式雙抱腿為追擊逐敵法此式設敵騰步引退我則搶步追擊雙手由前抄起急起彈腿以攻其腹此式以搶步追躡敵蹤為體恰到其間巧施腿擊不落窠臼為用 Posture 22: DOUBLE CANNON KICK / This is for offensive pursuit. / If the opponent jumps away, I chase him and attack, my hands capturing in front while I suddenly attack his belly with snapping kicks. The substance of this technique of pursuit comes down to the craftiness and surprise of the kicking attack.

第二十三式右掌為下絆上擊法此式以右腿落地時卽勾絆敵脚加以右掌向前推之使其重心離開本位則收致勝之功 Posture 23: RIGHT PALM STRIKE / This is for tripping below and striking above. / When my right foot comes down, it hooks around and trips up the opponent’s leg. By adding my right palm pushing forward, he is made to lose his balance, and thus I am victorious.

第二十四式左掌為連環掌法此式與上式成連環二掌為一擊不中再擊而成兩掌伸縮須迅捷自如不可遲鈍勝敗定於頃刻豈可忽乎 Posture 24: LEFT PALM STRIKE / This is for continuous palm striking. / This technique connects with the previous technique: if one strike misses, the next strike will succeed. As the palms extend and recoil, they must be rapid and unhindered, no hesitation at all. Its success or failure depends upon its quality of instantaneousness: “How did you do that so fast?”

第七段術名用法術解 Section 7 (name of the t echnique / function / remarks on the technique):

第二十五式右掌為連環三掌法此式一擊而再擊至於三擊者使敵莫明我之所以是謂之術也 Posture 25: RIGHT PALM STRIKE / This continues the palm strikes with a third strike. / This technique of a single attack continues into a third strike, causing the opponent to not understand what I am doing, which is why it is called skill.

第二十六式轉身架打為變更方位法此式設敵由我後側襲擊上部轉身以臂上架左拳隨架之機向敵心房擊出轉動時手眼身法步須聯合一致始能奏功 Posture 26: TURN AROUND, PROP & HIT / This is for changing direction. / If an opponent suddenly attacks my upper body from behind, I turn around and use my [left] arm to prop it up, my left [right] fist taking advantage of the opportunity in that moment to strike to his heart. Hand, eye, body, and step must be coordinated, arriving in unison, in order for this to be at all successful.

第二十七式壓掌栽拳為防禦兼攻並用法此式乘機擊我脇部迅卽以掌壓之復出右拳下栽其腹套步以逼其身使其較少活動機會然後處置之 Posture 27: PRESSING PALM, PLANTING PUNCH / This is for simultaneous attack and defense. / The opponent takes advantage of an opportunity to strike to my ribs, so I quickly use my [left] palm to press it down, then send my right fist downward with a planting punch to his belly, stepping in to crowd him and render him less maneuverable, making opportunity mine.

第二十八式雙披套步為防禦下部被人攻擊法

此式設敵攻我頂以雙披手禦之復套步鞏固下部並蓄勢以備反攻之法 Posture 28: DOUBLE SPREADING, SHEATHING STEP / This is for preventing your lower body from being attacked. / If the opponent attacks my head, I use double spreading hands to defend against it, then do a sheathing step to reinforce my lower body, storing power with which to prepare my counterattack [in the following technique].

第八段術名用法術解 Section 8 (name of the technique / function / remarks on the technique):

第二十九式十字腿為乘機攻其側面法此式為敵一再相逼以兩臂撐開招架來手乘機起腿踹其腰脇法 Posture 29: CROSS-SHAPED KICK / This is for taking advantage of an opportunity to attack the opponent from the side. / Closing on the opponent, I use both arms to brace open and parry away his incoming hands, taking advantage of the opportunity to do a side kick to his waist or ribs.

第三十式抱肘踢腿為連續腿擊法此式為一擊不中迅將其來手擒住向懷中帶卽起右腿踢其下部撩取其陰以克之 Posture 30: WRAPPING ELBOWS, SNAPPING KICK / This is for continuing the kicking attack. / If my last kick misses, I quickly capture the opponent’s hand and draw it in toward my chest while kicking with my right leg to his lower body, overcoming him by raising my foot to catch his groin.

第三十一式右掌為設敵因上法失其中心支點我乘勢以摧之此式為乘機順勢因恐敵不卽倒摧之以掌助其速倒之法惟出掌須與足相應否則無效 Posture 31: RIGHT PALM STRIKE / This is for taking advantage of an opportunity to destroy the opponent if he loses his balance because o f the previous technique. / Continuing from the previous technique, if I feel the opponent is not toppling dramatically enough, I use a palm strike to help send him away quicker. Although there is a palm strike, it must be coordinated with the step for it to be effective.

第三十二式左掌為左右連環掌摧法此式出右掌繼以左掌設敵被我擊出重心而未倒之時尚能掙扎乘此時機一摧而再摧使其傾倒而後已 Posture 32: LEFT PALM STRIKE / This is for turning the attack into continuous palm strikes, right then left. / The purpose of the left palm strike following upon the right palm strike is that if the opponent has not yet toppled and is still capable of struggling, I now add another and more decisive strike to make him finally fall.

第四節歌訣 Part 4: Song [for Sections 9-13]

第九段術名用法術解 Section 9 (name of the technique / function / remarks on the technique):

第三十三式右擒左劈以反擒劈掌為應敵之法此式設敵由後襲我卽以迴身反擒其手復用劈打之法使其迅雷不及掩耳以制其命但是迴身後轉須腰腿活潑而有彈性然後旋轉自如始能收應敵之効 Posture 33: RIGHT CAPTURING, LEFT CHOPPING / This is for dealing with an opponent by capturing and chopping. / If an opponent attacks me from behind, I turn around, capture his hand, then strike him with a chop, too suddenly for him to deal with, and thereby gain control over his fate. However, when turning around, the hips must be nimble and springy for the turn to be done smoothly and for the technique to be at all effective.

第三十四式縱身套步為雙擒克敵法此式設敵抽身反攻我則以縱身套步以殺其勢以手擒其臂使其困於我勢力之下而後已 Posture 34: LEAP, SHEATHING STEP / This is for overcoming an opponent by capturing with both hands. / If the opponent withdraws his body to then counterattack, I leap into a sheathing step to destroy his technique, my hands capturing his arm, making it too difficult for him to get away from the force of my technique.

第三十五式起腿為乘敵爭脫羈縛起腿法此式敵欲乘機脫險我則順其勢以腿擊其中部 Posture 35: LIFTING KICK / This is for restraining the opponent and kicking him while he tries to escape. / The opponent wishes to escape, so I go along with his energy by kicking to the middle of his body.

第三十六式右雙推為敵衆我寡左右分推以求出路法此式為排除羣衆或承上式敵未卽倒以此助之 Posture 36: DOUBLE-HAND PUSH TO THE RIGHT / This [with the following two techniques] is for pushing in all directions to create a way out from a group of surrounding opponents. / This technique gets rid of a whole group. Or to continue from the previous technique, it helps topple the opponent if he has not yet fallen.

第十段術名用法術解 Section 10 (name of the technique / function / remarks on the t echnique):

第三十七式左雙推為連續上式雙推有互相呼應作用此式為驅逐羣敵左右逢源惟推掌兩臂須有伸縮自如餘地度之不中則不發發則必中方不受制於人

Posture 37: DOUBLE-HAND PUSH TO THE LEFT / This is for continuing from the previous technique by echoing the double-hand push. / This technique is for dealing with a crowd of surrounding opponents. However, when pushing with your palms, your arms must have a capacity to extend and contract in order to give you a degree of leeway. If you are not on target, do not issue. When you issue, you must be on target to keep from being controlled by your opponents.

第三十八式右雙推為連貫上二式連珠擊敵法此式為被敵四方包圍以此連珠式一推而再推繼以三推攻開三路以備展佈作戰之法 Posture 38: DOUBLE-HAND PUSH TO THE RIGHT / This is for building upon the previous two techniques to make a continuous attack against opponents. / This technique is for when you are surrounded by opponents on all sides, continuing as push followed by push for a total of three pushing attacks, opening up three pathways along which you can fight.

第三十九式撤步挂拳為敵乘勢攻我卽用撤步挂拳以避之此式為禦敵閃身以避之挂肘以抗之察其來勢乘機待取法 Posture 39: WITHDRAWING STEP, HANGING PUNCH / This is for when an opponent takes advantage of an opportunity to attack, at which point I retreat and put out a hanging punch to prevent it. / I defend against an opponent by evading my body to prevent his attack, hanging up my elbow to resist it and thereby get a better observation of what is coming, then await the opportunity to counter.

第四十式上步右挑拳為衝鋒破敵法此式為衝鋒前進右臂挑敵來拳步隨身進勢如熊膀之挺進以身挨進逼近敵身使其失却攻守本能然後策劃制勝之法 Posture 40: STEP FORWARD, RIGHT CARRYING PUNCH / This is for sharply thrusting through to destroy the opponent. / This is for charging in, my right arm carrying away the opponent’s incoming fist, then advancing with my body and step like a bear’s arm pressing forward. My body pressing in close toward his, he is made to lose his will for attack or defense, leaving me with the successful tactic.

第十一段術名用法術解 Section 11 (name of the technique / function / remarks on the technique):

第四十一式上步左挑拳為連上式勇往前衝以逼敵此式連環勇猛進逼敵人有氣吞河嶽之勢使敵不敢正眼視我以奪其魄 Posture 41: STEP FORWARD, LEFT CARRYING PUNCH / This is for continuing the previous technique’s bold advance upon the opponent. / This continues my fierce advance pressing in toward the opponent. I absorb the power of rivers and mountains [smashing him aside with an avalanche, washing him away with a flash flood], making him not dare to even look me in the eye and contend against my aggressive spirit.

第四十二式右掌為再連上法逼近敵身出掌以擊之此式逼近敵身出其不意出掌擊其中部以足絆其腳跟使敵失其重心 Posture 42: RIGHT PALM STRIKE / This is for continuing to press in against the opponent, this time with a palm strike. / This continues from the previous technique’s forward pressure, taking the opponent by surprise with a palm strike to the middle of his body while tripping up his footing with my step, causing him to lose his balance.

第四十三式退步穿掌為更換方向轉變法此式以掌應敵囘身撤步以迎敵為轉變戰略之要法按轉變為技術上最要工夫卽注意腰胯之靈活腰胯靈活則身輕而步穩無論上下前後來攻均有應付裕如之暇否則有顧此失彼之虞 Posture 43: RETREAT, THREADING PALM / This is for switching things up. / In this technique, I use a palm to respond to the opponent while turning my body and retreating a step, engaging the enemy with a change of strategy. Transforming from one technique to another is the most important skill. Pay attention to the nimbleness of your hips. If your hips are nimble, your body will be lively and your step stable. No matter what direction attacks comes from – above, below, front, rear, left, right – you will thus give yourself time to deal with them rather than be in the predicament of having too much to do at once.

第四十四式穿掌應面腿為轉身勾挂乘機使腿法此式為勾摟挂掌使用應面腿拳術之練習有形擊形無形擊影腦海之中須印一假想敵然術之所致不全在力勝實在智勝 Posture 44: THREADING PALM, KICK TO THE FACE / This is for turning around with hooking and hanging, taking advantage of the opportunity to perform a kicking maneuver. / This technique hooks and pulls in while hanging up a palm, then kicks to the opponent’s face. In the practice of boxing arts, there is shape striking shape, not shape striking shadow. Within your mind, there has to be an imagined opponent. Skillful victory is not really about success through sinew, but is actually a matter of winning through wisdom.

第十二段術名用法術解 Section 12 (name of the t echnique / function / remarks on the technique):

第四十五式飛手撩掌似撥雲見日之形為禦敵乘隙進取法此式以右手撥左手撩閃身讓開正面使敵利於逼近我則順勢以擒之 Posture 45: FLYING HAND, RAISING PALM / This is a method of “spreading the clouds to see the sun” –

defending against the opponent by taking advantage of a gap through which to attack. / As I use my right hand to deflect and left hand to raise up, my body turns sideways to leave room in front, inducing the opponent to approach me so I can then seize the opportunity to capture him [in the following technique].

第四十六式左擒右劈為前擒後劈法此式承上式左撩開卽反擒其手而右撥卽握拳由上下劈以虛變實之法也 Posture 46: LEFT CAPTURING, RIGHT CHOPPING / This is for capturing with the front hand and chopping with the rear hand. / Continuing from the previous technique, your left raising palm now captures the opponent’s hand and your right deflecting palm now comes downward as a backfist, a fake technique switching to a real technique.

第四十七式踢腿為乘上勢用彈腿擊敵法此式上法旣擒且劈而敵以閃身格拒我則乘機以腿取其下部法 Posture 47: SNAPPING KICK / This is for continuing from the previous technique by attacking the opponent with a snapping kick. / Continuing from the previous technique of capture and chop, if the opponent dodges or blocks, I then take advantage of the opportunity to kick to his lower body.

第四十八式衝拳撩掌為衝擊敵人法此式為衝東擊西之法惟迴身轉變身隨法轉眼視八方監視敵方舉動不可須臾忽略則拳法思過半矣 Posture 48: THRUST PUNCH, RAISING PALM / This is for striking the opponent with a thrust punch… / This technique is a feint [“Shout to the east, but strike to the west.”]. However, when turning around, your body must go along with your eyes as they observe for opponents wherever they may be moving. You must never ignore opponents for an instant, and thereby your boxing art will already be halfway realized.

第十三段術名用法術解 Section 13 (name of the technique / function / remarks on the technique):

第四十九式反擒插拳為擒拿封閉法此式與上式連貫使用左掌撩時迅卽翻腕反擒敵手卽出右臂以拳下插挾其臂卽封其身復以足跥其腳以收實効 Posture 49: CATCHING, INSERTION PUNCH / This is for catching an opponent and sealing him off. / This continues from the previous technique. Once I have raised my left palm, I quickly turn my wrist to catch the opponent’s hand, then my right arm comes out with a downward punch to embrace his arm, which seals off his body, though the major effect is achieved by stomping on his foot.

第五十式轉身反擒為迴身擒拿法此式為下式之蓄勢亦是連貫一氣非為二式因便利教授團體計晰分為二學者諒之 Posture 50: TURN AROUND, CAPTURE / This is for turning around and capturing. / This technique stores up power for the next, and they are really one continuous energy rather than two techniques. Understand that they are divided into two simply to make it easier to teach when guiding a group.

第五十一式右衝拳為承上式擒拿卽吐拳以攻之此式為實出虛歸以備下式之起勢俾習練者常得轉變之機會並習虛實奇正之應用敵以奇來我以正對使敵莫測我虛實則致勝之權自我操否則拘迂成法則術之用窮矣 Posture 51: RIGHT THRUST PUNCH / This is for continuing from the previous capturing technique by attacking with a punch. / This technique is a matter of a real technique [the following finger jab] coming from a feint [this punch], a preparation for the next posture. This enables you in your training to constantly grasp the changes of opportunity, and train for the using of fake and real techniques, straightforward and surprise techniques. When an opponent attacks in an unorthodox way, I respond in a straightforward way [in order to take him by surprise]. This renders the opponent unable to figure out whether my responses are going to be feints or real, putting me successfully in charge of the situation. If you get stuck in fixed methods, the applicability of the art will be limited.

第五十二式轉身插掌為迴身反插法此式蓋擊西者虛也應東者實也擊拳為正出掌為奇此為拳術變化之法也 Posture 52: TURN AROUND, INSERTING PALM / This is for turning around and jabbing. / The strike to the west was a feint, the real technique being the response to the east. The punch is straightforward while the palm strike is a surprise. This is the way of change in boxing arts.

第五節歌訣 Part 5: Song [for Sections 14-18]

第十四段術名用法術解 Section 14 (name of the technique / function / remarks on the technique):

第五十三式套步撲腿為迴轉劈打法此式步步為營節節進逼以套步偷過敵後復以旋轉實行劈打之法然而轉身猶如撥草之蛇迴環似旋風起舞瞬息變化百出使敵目眯五色不為我制者幾希 Posture 53: SHEATHING STEP, FLATTENED LEG / This is for turning around and chopping. / With every step, I am steadily advancing. With my sheathing step, I am stealing ground to get behind the opponent, then when I spin to do a chop, I turn around like a snake slithering through the grass, spinning like the wind, dancing with a

display of so much transformation that he is too overwhelmed to do anything to me.

第五十四式右衝拳承上式乘隙進擊法此式乘上式以實為虛以奇為正所以出右拳擊之術之正也 Posture 54: RIGHT THRUST PUNCH / This is for continuing from the previous technique by taking advantage of an opening for attack. / Continuing from the previous action, switch from a feinting maneuver to a real technique, taking him by surprise with straightforwardness as you strike with your right fist, a very straightforward technique.

第五十五式套步抽拳為歛身觀變法此式為坐以觀變待機而動以靜制動之法也 Posture 55: SHEATHING STEP, WITHDRAWING FIST / This is for gathering yourself in to await developments. / This technique is one of sitting down to observe developments, of awaiting the opportunity to act, of overcoming movement with stillness.

第五十六式撲腿披掌為迴身披打法此式為上架下轉囘身披打此所謂以奇生正之法術也然而習長拳者以騰竄閃轉四字為取勝却敵之法學者三注意焉 Posture 56: FLATTENED LEG, CHOPPING PALM / This is for turning around to spread and hit. / Having propped up, I turn around underneath, then spread and hit. This is the skill of using a surprise technique [the spin] to generate a straightforward one [the chop]. Long Boxing practitioners win by way of four terms: “leap” to “avoid”, “turn” to “evade”. Repeatedly give them attention.

第十五段術名用法術解 Section 15 (name of the technique / function / remarks on the technique):

第五十七式雙風貫耳為攻人上部如其往下避則縱腿以取其中觀察敵情變化之法也此式先以腿取敵中部次以拳擊其上部蓋騰空躍腿可以奇取不可用以正出奇者出奇致勝之謂也 Posture 57: DOUBLE WINDS THROUGH THE EARS / This is for attacking an opponent’s upper body by way of kicking to the middle of his body when he evades below and then capitalizing on the adjustment he makes to it. / First I kick to the middle of the opponent’s body, then punch to his upper body. Surprising him with a jumping kick, there is nothing he can do, and then the straightforward technique follows upon it, victory brought about through the surprise. [i.e. This punch to the head works because of the distracting kick.]

第五十八式丁心肘為逼近敵身閃肘以避敵蓄勢以攻之此式設敵抗過上法而反被他黏住不能脫身我迅將小臂折囘以避之蓄勢以待之 Posture 58: ELBOW TO THE HEART / This is an evasive elbow maneuver for when an opponent’s body is getting too close, which also stores up power to attack him. / If the opponent resists against the previous technique and I am unable to escape from him sticking to me, I bend in my forearm to inhibit him and store up power for what happens next.

第五十九式按手劈蓋承上法解脫敵手順勢劈打法此式承上式敵以掌抵住我肘我卽下按則順勢劈其面門以克之惟身之吞吐關係技術匪細吞能不動樁法閃過任何重大攻擊吐法亦然無論何種部位祇要將身勝過多少拳腳而有餘誓如擊人拳離敵尚差粒許將身一挺則中矣否則虛發也 Posture 59: PUSH DOWN, BACK-HANDED SLAP / T his is for continuing from t he previous technique of escaping from the opponent to now take advantage of the opportunity to strike him with a back-handed slap. / Continuing from the previous technique, if the opponent uses a palm to resist against my elbow, I overcome him by pushing down and seizing the opportunity to give him a back-handed slap to the face. The skillfulness of your body’s sucking back and shooting out is no trifling thing, for by withdrawing you will be able to dodge without having to leave your ground, no matter how severe his attack and regardless of your position, and you then need only shoot your body forward and you will have more than enough for an assortment of punches and kicks. By knocking away the opponent’s attack so he leans in slightly, you will hit the target, but otherwise it will be in vain.

第六十式應掌腿承上二式而成上中下三部連環攻擊法此式為上式不中連續以腿掌同施攻其上中二部使其有應接不暇之勢必為我侵而後已 Posture 60: RESPONDING WITH BOTH PALM & LEG / This is for continuing from the previous two techniques by continuing the attack upon his upper body to now attack his middle and lower body. / If I miss with the previous technique, I continue by executing both a kick and a palm strike, simultaneously attacking him above [below] and in the middle, causing him to have too much to deal with at once, ensuring that I will get a way through.

第十六段術名用法術解 Section 16 (name of the technique / function / remarks on the technique):

第六十一式右掌承上法之腿復以撐絆取敵法此式以上式敵已被我擊中而未跌此法以脚絆敵以掌撐之使其速倒之法也 Posture 61: RIGHT PALM STRIKE / This is for continuing from the previous kicking technique by using a bracing and tripping method to defeat the opponent. / If the opponent has yet not been fallen after being struck by me, I

trip him up with my step while bracing against him with a palm, causing him to quickly fall away.

第六十二式穿掌為起合轉變之法此式以左掌穿右掌為轉變承起之法 Posture 62: THREADING PALM / This is for changing in accordance with the previous technique. / I continue from threading with my right palm by changing to my left palm.

第六十三式撩掌為變更方向準備追擊法此式轉變方向為追擊之準備又為觀察敵情以此為守勢待機進行之法也 Posture 63: RAISING PALM / This is for changing direction and preparing a pursuing strike. / This change of direction is a preparation to chase an opponent, and is also for me to observe his mind, thus I adopt this defensive stance and wait for the moment to advance.

第六十四式應手掌為追擊引敵之法此式設敵節節退卻我則步步追隨敵緊走則緊追慢走則慢趕以掌引之試探其反攻態度以備攻擊之方策 Posture 64: RESPONDING WITH A PALM / This is for pursuing an opponent while drawing in to strike. / If the opponent steadily steps away, I steadily follow. If he retreats urgently, I chase him urgently, and if he retreats leisurely, I chase him leisurely. The strategy of drawing in my palm is to see if he will counterattack and also to prepare to strike.

第十七段術名用法術解 Section 17 (name of the technique / function / remarks on the technique):

第六十五式引左掌連上式連貫追擊法此式連上式一貫動作兩腳交互向前跟擠時全身與步法取自然之姿勢不可顯有呆滯狀態則與五合三摧之理相符矣 Posture 65: DRAWING OUT THE LEFT PALM / This is for continuing to pursue the opponent. / This technique is linked to the movement of the previous technique. As your feet alternate advancing and following in order to crowd the opponent, your body and step should strive for naturalness and must not manifest any sluggishness, thereby conforming to the principle of whole-bodied coordination.

第六十六式翻身飛雲為翻身反披法此式為翻身脫險復以右掌順勢披打法 Posture 66: TURN AROUND, SEND UP CLOUDS / This is for turning around and spreading. / I turn my body to escape a threat, taking advantage of the opportunity to also split through with my right palm.

第六十七式穿掌為左攔右挂法此式承上式復以攔截繞挂以防之為有備無患之法也 Posture 67: THREADING PALM / This is for blocking down with the left hand and hanging up with the right. / Continuing from the previous technique, I then intercept while coiling around to hang a palm up, guarding against his attack to be prepared against all harm.

第六十八式十字拳為開門迎敵法此式一為開門迎敵二為休止式之準備 Posture 68: CROSS-SHAPED PALM STRIKES / This is for opening the door to face an opponent. / This technique is firstly to open the door to face the opponent, secondly to prepare for the end of the exercise.

第十八段術名用法術解 Section 18 (name of the technique / function / remarks on the technique):

第六十九式十字手為雙擒法此式為休止式結束上項繁劇工作使全身血脈運用漸漸恢復原狀以免劇烈運動後頓然停止關係衞生上所受影響匪細凡拳術開始與終局均係由簡入繁俾心身有所準備而終局亦是由劇烈漸入和平使心身易於恢復疲勞是也 Posture 69: CROSSED HANDS / This is for capturing with both hands. / This posture draws the set to a close, reining in the work you have put into all the previous postures, causing the blood circulation throughout your body to gradually resume its original condition by bringing the set to a halt before it turns into strenuous exercise. The influence of this upon your health is not small. Boxing sets usually go from beginning to end by going from simplicity to complexity as a way to build you up in mind and body. Concluding the set then takes your strenuousness to mildness so that your mind and body will easily recover from the fatigue.

第七十式抹掌連續上式雙擒法此式為休止式之調和動作亦為休止式之餘勇也 Posture 70: WIPING PALM / This is for continuing from the previous technique of capturing with both hands. / This posture brings the set to an end, harmonizing the movements, and is a final display of bravado.

第七十一式退步雙拳為終局休止式此式為終局運動四肢筋肉使心臟血運部漸弛恢復常度之法也 Posture 71: RETREAT WITH DOUBLE PUNCHES / This is for bringing the set to a conclusion. / This posture concludes the exercise for your limbs and muscles, causing your heartbeat and blood circulation to relax and resume their normal working condition.

第七十二式抱肘為還原法此式演完兩手下垂還立正姿勢 Posture 72: WRAPPING ELBOWS / This is for returning to your original state. Upon completing this posture, your hands hang down, returning you to standing at attention. -

趙門拳法炮拳圖說 From the Boxing Methods of the Zhao School: Illustrated Cannon Boxing Set -

第一章緒論 CHAPTER ONE: INTRODUCTION

第一節宗派起源之硏究 Part 1: Examining the Origin of the Schools 粵稽武術歷史之考據。自六朝以前。無宗派之可言。有之。始於梁僧達摩之少林拳。宋太祖之趙家拳。宋末岳武穆之岳

家拳。武當山道士張三丰之太極拳。或見之史乘。或聞之傳說。後人遂有門戶之分。迄至今日。標奇競異之風日張。共信互勉之力不振。以致有偉大價値之國術。故步自封。一蹶不振。處今日之科學進化時代。不進則退。決難自存。引總理民族主義之昭示。統計吾國人口日趨減少之生殖率。觀察萎靡頹廢之國民性。則固有武術與民族前途之關係。可不言而喻。民十六年。國民政府奠都南京。翌年。創中央國術館。以謀國術教育之普遍。董其事者為張公之江。全國國術專家。聞風而來。行見共同硏究。破除宗派。歸於一本。然欲知宗派之所由來。分歧應如何歸納。殊非整箇的理論不為功。志靑不敏。茲以硏究所得。由整箇而層次分化。由分化而分派別。由派別而各佔一勢力圈之原因。歸納一本。而成混合整箇之國術。特圖以明之。 When we examine the written record of martial arts history, there are no martial systems to s peak of prior to the Six Dynasties [222-589]. They begin in the Liang Dynasty [502-577] with the Buddhist monk Damo’s Shaolin Boxing. Then in the Song Dynasty [960-1279], there appeared Taizu’s Zhao school of boxing. [Taizu means “great ancestor”, i.e. the founder or first emperor of a dynasty. The first emperor of the Song Dynasty was Zhao Kuangyin. The founder of any dynasty can be called Taizu, but he in particular is honored as the founder of a famous martial arts system, and so Taizu in relation to martial arts refers specifically to him. Nowadays the Zhao school of boxing, or Zhaojia Quan / Zhaomen Quan, is more commonly known as Taizu Quan.] Also in the Song Dynasty appeared the Yue school of boxing from Yue Fei, as well as Taiji Boxing from the Wudang Daoist Zhang Sanfeng. Such is the account that can be read in chronicles or heard through oral traditions, but subsequent generations further divided the schools into the styles we have today. The fashion of striving to be the most unique increased and the force of sincerely encouraging each other faded, with the result that our mighty and valuable martial arts systems have slipped into complacency and fragility. In our modern era of scientific advancement, to not move ahead means to fall behind until it is too hard to survive, which induced Sun Yat-sen to publicly declare: “The statistics show that our nation’s population is decreasing in birthrate with each passing day. Examine how listless and dispirited our national character is, and it goes without saying how important martial arts are to the future of our national identity.” In 1927, the government established Nanjing as the national capital, and then founded the Central Martial Arts Institute there the following year as a scheme for widespread martial arts instruction. Zhang Zhijiang was appointed director of the project. Martial arts experts from all over the country heard about it and flocked in to conduct mutual research, doing away with factional attitudes of style and returning to the essential source. If we wish to know how the various styles came to be and how they should be summed up, it will not really work without the principles of Chinese martial arts as a whole. Th ough I am not very bright, I have at least learned this from my studies: Chinese martial arts as a whole diverged into distinct schools, which further diverged into a variety of styles, each of which then settled into their own boxes of reasoning, and by returning them to their essence, they again become mixed into the whole of Chinese martial arts. This is expressed in drawings 1 and 2:

整個 as a whole:

國術 Chinese martial arts -

層次分化 levels of divergence:

少林 From Shaolin

趙門 came the Zhao school,

岳門 from which came the Yue school,

武當 from which came Wudang.

武術之有統系。自少林五拳始。至宋太祖以後。一變而為查滑洪炮彈腿心意六合各門長拳。至岳武穆創雙推手及形意聯成等拳法。遞演至明初張三丰之太極拳。參觀第二圖。知層次之分化。由少林而趙門。由趙門而岳門。由岳門而武當各宗派。推究原因。均係一系所出。因空間時間之關係。愈演愈精。日趨日繁。又因擴大愈廣。則支出愈多。因天時地理生理環境不同。所取材料與方法各異。(不同點下篇敍述) 各派在國術整箇內。雖各佔一勢力圈。然不能離母而自生。觀上圖便明。 Systems of Chinese martial arts began with Shaolin’s Five Animals. Since the Taizu system of the Song Dynasty, development produced Cha Boxing, Hua Boxing, Hong Boxing, Cannon Boxing, Tantui, Mind-Intent Six Unions, and various schools of Long Boxing. From Yue Fei was created the double pushing hands exercises and the interconnected exercises of Xingyi. This was passed down and refined until the early Ming Dynasty and Zhang Sanfeng’s Taiji Boxing. Notice its place in drawing 2. We know the sequence of divergence for the various schools – from Shaolin to Zhao, from Zhao to Yue, from Yue to Wudang – but as for the reason for it, it all comes down to a single process, a simple matter of time and space: the more the arts were practiced, the more they were refined, day after countless day, and the more widely they were spread, the more they branched off. Due to differences of climate, terrain, physique, and circumstances, each of these arts selected different contents and methods. (Some of their different qualities are presented further below.) Although each school within the whole of Chinese martial arts occupies its own sphere of influence, they are unable to depart from their source and exist on their own. This is expressed in drawing 3:

其他少林宗趙門 other branches < Shaolin > Zhao school

國術 Chinese martial arts

其他武當宗岳門

other branches < Wudang > Yue school

混合各宗派。化散為整之國術。觀第四圖自明。 Each of the schools are merged together, but are distributed to form Chinese martial arts as a whole. This is expressed in drawing 4:

少林 Shaolin

岳門趙門 Yue school

Zhao school

武當 Wudang

第二節宗派異同之硏究 Part 2: Examining the Differences Between the Schools

學者謂伏羲造八卦。為中國一切文化之起源。故太極生兩儀四象。盡人皆知。迨後道教之說興。而號稱養性修眞之士。不能得八卦之神髓。而純盜虛聲。附會傳述哲理。乃變為神話。謬解陰陽。竊謂自中古時期以迄近代之民族性。幾盡為傳統的道教思想所籠罩。(考證不能詳述)卽以武術言。如坐功如丹田……。皆道家之術語。方士之傳說。習斯術者。以為精硏。可以長生不死。羽化登仙。語涉荒誕。無所稽考。至分為宗派。其崛著者有二。卽少林武當二宗。少林宗則自謂外鍊筋骨。內修丹田。極其至也。由動而生靜。亦剛亦柔。武當宗。則自謂內鍊丹田氣。外演為拳式。極其至也。由靜而化動。亦柔亦剛。推其原理。雖分析動靜先後。剛柔內外之不同。而最後之收效則一。丹田之傳說亦同。若强分為不同之二派。則動靜前後。試思無動。何以有靜。無靜何以有動。自無絕對之動靜。至剛柔內外。則少林宗。外剛而內柔。武當宗。外柔內剛。逮技成後。均能剛能柔。剛柔合一。卽無剛無柔。總之。剛柔動靜。皆有連環性相對性的眞理。旨趣本無不同。更何以言宗派。如第五圖。剛柔之相互表裏。不能分離。以太極圖證之。 Students say that Fuxi created the eight trigrams and that it was the basis of all Chinese culture. Therefore everyone knows that the “Grand Polarity gave rise to the two polarities, and the two polarities gave rise to the four manifestations.” Eventually the teachings of Daoism prospered, and priests claimed to be nourishing their natures and cultivating truth. But they were unable to grasp the essence of the eight trigrams, and so by way of clever misappropriations and superficial wordings, strained interpretations of philosophy turned into mythology and absurd explanations about Nature. In my opinion, from about middle antiquity until recent times, our national character had been completely wrapped up in conventional Daoist thought (although I am unable to prove this in detail), so much so that when we talk in martial arts of things such as “seated meditation” or the “elixir field”, these are examples of terminolog y from the Daoist arts and elixirist traditions. Those who practice such arts study intensively to be able to bring about longevity and the deathless death of ascending to the land of the immortals – nonsensical gibberish. Although there is no verification for why there is division into schools, there are two that rise above the rest: the two traditions of Shaolin and Wudang. Shaolin says of itself: externally it trains the sinews and bones and internally it cultivates the elixir field – this is what it all comes down to. Generating stillness from movement, it has hardness and it has s oftness. Wudang says of itself: internally it refines the energy of the elixir field and externally it performs the boxing postures – this is what it all comes down to. Generating movement from stillness, it has softness and it has hardness. As for their principles, although we may analyze the prioritizing of movement or stillness, or the differences between hardness and softness, internal and external, ultimately the result is the same! And so too for the elixirist traditions. If we force a distinction between the two schools, then either movement or stillness will come before or after. But think about it. If there was no movement, how could there be stillness? And if there was no stillness, how could there be movement? There is naturally no absolute of movement or stillness, nor of hardness or softness, internalness or externalness. Thus the Shaolin tradition is outwardly hard and inwardly soft, whereas the Wudang tradition is outwardly soft

and inwardly hard. But once skill is achieved in either, one can be either hard or soft, for hardness and softness have merged into one, meaning there is neither hardness nor softness. In short, hardness and softness, movement and stillness, all have the principle of being interconnected with each other. Since there is essentially no difference in their goals, how then can we describe them as distinct schools? Hard and soft are the inside and outside of each other, and cannot be separated, as demonstrated here by the Taiji symbol – see drawing 5:

剛 hard

柔 soft

更有言者。少林宗為剛性屬陽。武當宗柔性屬陰。為不同點。質之俗諺有云。獨陰不生。獨陽不長。陰陽一體。為宇宙間不磨之眞理。亦可徵武當與少林之並行不悖。如第六圖。陽極則陰生。日沒則月出。萬物一理。循環定例。亦以太極圖證之。 Furthermore, there are those who say that the Shaolin tradition is hard and active while the Wudang tradition is soft and passive, that they have a different emphasis. Relevant to this point is this common saying [derived from the writings of Cheng Yunsheng]: “Alone, the passive cannot be born. Alone, the active cannot grow. [Therefore the sky and ground have paired them into passive/active.]” Passive and active ar e an integrated whole, and this is an irremovable truth of the universe, and this can be held up as evidence that Wudang and Shaolin are not mutually exclusive. When the active aspect reaches its peak, the passive aspect is generated, in the same way as the sun going down followed by the moon coming out. For all things, there is a single principle of cycling unchangeably, again as demonstrated by the Taiji symbol – see drawing 6:

陽 active

陰 passive

至國術家。古有外家內家之稱。質言之。卽道士(內家)僧人(外家)自定之分野。非以示武術之鴻溝。如國術家自定之術語。謂內鍊一口氣者為內功。外鍊筋骨皮者為外功。强為劃分。尤屬可笑。試思凡任何宗派。皆云內鍊丹田。外鍊筋骨。原理仍為應生理需要。而硏究之技術。惟參有傳統的道教思想者。自命玄妙。矜奇炫異。故神其說。而强分內外耳。 Martial arts experts used to bluntly describe the distinction between internal and external schools by drawing the division as “Daoist priests (internal) and Buddhist monks (external)” rather than any meaningful distinction between the arts themselves. When martial artists talk from the standpoint of these arts, they sa y internal training is a matter of the breath, and consider that to be the internal skill, while external training is a matter of sinew, bone, and skin, and consider that to be the external skill. To push for such a distinction is silly. Whatever scho ol you may have in mind, they all discuss the internal training of the elixir field and the external training of sinews and bones. The principle remains that of responding to physiological requirements and studying martial skills. It is only those who are obsessed with a traditional Daoist mentality, those who parade themselves as being ever so mysterious simply so they can show off how weird they are, that are the ones who therefore talk of spirituality and push for a division between internal and external.

第三節長短拳界說之硏究 Part 3: Examining the Categories of Long Boxing and Short Boxing

編拳譜與作文同。文章必有起承轉合。始成篇法。又必集字以成句。集句以成章。國術亦然。如大小洪拳查拳六合太極等。均係成套成路之拳。似文章之整篇。又如彈腿形意等。似文章之集字集句之意義。所以長拳鍊章法。短拳習應用。而且長拳每依局勢行拳。假設四方八面。儼若有敵襲擊窺隙之勢。據情演成一套之拳路。以應四方八面之敵。亦卽文法中之起承轉合之法也。觀第七圖自明。 Charting the boxing arts is like outlining an essay. An essay must have its four sections of introduction, development, transition, and conclusion, and then one can begin the process of writing it, in which there is then the gathering up of words to make sentences and the collecting of sentences to form paragraphs. We could look at Chinese martial arts in the same kind of way. For example, Large Hong Boxing, Small Hong Boxing, Cha Boxing, Six Unions, or Taiji, each a kind of boxing that has complete practice routines, can be thought of as the outlining of the essay. Arts such as Tantui or Xingyi [both of which emphasize the practice of individual techniques rather than full practice sets], can be thought of as the accumulating of words and sentences. In this way, the Long Boxing arts train general structure, while Short Boxing arts train specific function. Furthermore, those Long Boxing arts each move around according to the situation, addressing each of the compass points as though spotting opponents about to make surprise attacks, the movement of the performance routine developing according to certain circumstances in order to respond to opponents all around, as in the intro, development, transition, and conclusion of essay composition. [Tantui and Xingyi exercises on the other hand tend to move more along straight lines rather than addressing every surrounding angle.] This is expressed in drawing 7:

F C E

己丙戊 B乙

甲 A

辛丁庚 H D G

此為四方八面之圖。以甲乙丙丁戊己庚辛八字。假定四方八面。長拳開始。由何方起。仍歸何方止。又須各方無漏遺之處。方稱整套武術。使僅練習一方或一面。均是不成章法之拳。在所不取。短拳之意義。為單練一種手眼身法步。左右習練。成聯珠貫串。而為應用之手法。所謂短拳是也。 This diagram of the compass points is represented by A, B, C, D, E, F, G, and H. One of the Long Boxing sets could begin and return to any of these points, but only as long as none of the directions is left ignored is it then to be deemed a full demonstration of martial arts. Practicing only one direction would make an incompletely structured boxing set and would not be favored. The significance of the Short Boxing arts is then in the specific training of the various methods for hand, eye, body, and step, the training of both left and right, and the linking up of all the parts to make applicable technique. [This indicates that to add them to our view of drawing 7, we could perhaps think of the Short Boxing arts as representing the dots of the dotted lines.]

第四節自然界不同點之硏究 Part 4: Examining Differences Brought on by Nature

氣候北寒南暖。體質因之而變異。採取鍛鍊體魄方法。亦因之而異。氣候旣異。生理上為化學作用。南人智慧巧。體短而弱。北人性戇直而體强。此為地理與天時之關係。鍛鍊方法。亦因之而殊。然其取材料則一。南北均係少林武當二宗之嫡系。當時所傳授者。因人而施教。不拘一格。迄今年長月久。不解其所以然。遂演成今日現狀。按南北之拳術。對技擊上。各有專長。無分軒輊。對於生理上。稍有區別。南拳主守。多用縮小本身之法。防衞固周密。攻擊稍欠弱。而肌肉緊張。則受拘攣之影響。故功深者。多面黃肌瘦。北拳主攻。開展活潑。筋肉鬆軟伸長。肌體易於發育。故成功者。多魁梧奇偉。茲將不同之點。列表比較如下圖。〔南北派不同比較表〕 The climate is colder in the north and warmer in the south, and there is variation of physique as a consequence, as well as a difference in which methods are selected for developing physique. Different climates produce different chemical activity in bodies. Southerners are wise and tactful, and their bodies are shor ter and weaker.

Northerners on the other hand are blunt, and their bodies are strong. This is because of the terrain and the weather. Their training methods are thus different, and yet the material they select from is the same. North and south both draw from Shaolin and Wudang. When these traditions were being passed down, teachers did not stick to one or the other, and it is still not known why they have developed into their present form. As to combat using the northern or southern boxing arts, each has it specialty and they are well-matched, and they are slightly distinct in terms of physiology. The southern arts emphasize defense, usually employing a posture of shrinking the body in. Their defense is solid and meticulous, but they are slightly lacking in offense. Their muscles are tensed up as though seized in spasms, meaning that the most skilled tend to look worn out and emaciated. The northern arts emphasize attack. They are spread open and lively, the muscles loose and extended, thereby easily nurturing the body, meaning that the most skilled tend to be tall and imposing. Some of the differences between north and south are presented in the table below:

別項 / 不同點南北 examples of differences between south / north:

氣候溫暖寒冷 climate – warm / cold

地理山水平原 terrain – mountains & rivers / plains

性格機巧爽直 temperament – tactful / frank

思想進展保守 mentality – progressive / conservative

體質柔弱壯健 physique – delicate / robust

食料

稻

麥

diet – rice / wheat

交通舟楫車馬 transportation – boat / cart & horse

按上表各項不同。體魄思想因之而變異。健身自衞之方法。亦因之而異。於是以應生理之要求。而作自衞之抵抗。此亦南北派不同之原理也。 In the table of differences above, there is variation in physique, mentality, etc. Their methods of health and self-defense also became different in response to physiological demands and the pressures to defend themselves. This is the theory of distinctiveness between northern and southern schools.

結論 In conclusion:

統觀以上之硏究所得。或因其所需要不同。或求適應環境而異。然其宗旨。均係健身自衞。所以宗派本出一源。門戶係出一家。皆有連環性之關係。無軒輊之可言。本此硏究所得。以求適於新時代科學的國術。則不難矣。 From the above can be s een that they have different needs, adapting to different environments and different circumstances, and yet their goals are the same: health and self-defense. Therefore the branches stem from a single source, the various styles deriving from a single family, all in an interconnected relationship, and none can be said to be inferior or superior. Based on this, finding suitable martial arts to fit into our modern scientific era

should not be difficult.

第五節原譜 Part 5: Original Song

英雄炮振前鐸尊一溜順步賽路引似炮閃轉躍龍門趕手炮稱沙闖陣反山劈異力生擒鷂鷹三展入松林連環炮打式難存三路炮拳往前進十字拳鏖戰華山雙鳥奪食乾坤轉有人問拳眞名姓到當場喊一聲三路炮拳 The shock of the hero’s cannon makes the bells ring. Smooth stepping gains him a way in. He seems to fire his cannon then dodge out of the way with a leap through the dragon’s gate. The onslaught of his hands seems like a hurling of cannonballs at his opponent. Opposing the mountain to split it into mountains new, he overpowers and captures the opponent. He is like a sparrow hawk entering the pine fore st with a few flaps of its wings. The continuous cannon fire is hard to survive. The Three-Line Cannon Boxing keeps advancing. His cross-shape punches are a match for Mt. Hua. With “twin birds steal away food”, he reverses sky and ground. Some people will ask you if the boxing is really like a cannon. Immediately give a shout and let them feel the sound of the Three-Line Cannon Boxing.

附注 Note:

上錄之原譜。係古人口傳歌訣。按其語句頗難索解。錄出以存眞相。茲按實用之法。編著新歌訣如左。 The original version above is an ancient form of oral instruction. Its phrases are rather difficult to explain, yet it expresses truth. For the sake of the methods of application, I have made this new version below:

第六節新歌 Part 6: New Song

三路炮拳歌訣 THREE-LINE CANNON BOXING IN VERSE [There is no actual explanation in the book for the “three lines”. There is not even a meaningful mention of the term other than in Posture 38, which gives a hint that it could be used to express “three pathways” for fighting surrounding opponents. Is the theme of the set supposed to be a sense of cannons firing in three directions? This would also spotlight Postures 36-38 to be the central movements of the s et not only as numberings but also as the major techniques. More likely the “three lines” are simply intended to mean a breakdown of the set into three segments, in which case it would seem to most reasonably divide into the first as Postures 1-25, the second as Postures 26-48, and the third as Postures 49-72.]

上步雙拳將敵攻。隨身抱肘察西東。左撩上步衝拳進。退步撩陰跨虎雄。拳內拳衝拳復扎。拳分左右反擒封。左拳衝罷右拳發。十字閃拳斷肘衝。扎拳踢腿右拳穿。穿掌囘身跥法全。起腿雙披雙抱腿。先施右掌再三連。轉身架打搗心勢。壓掌栽拳披手還。十字腿來踢腿去。掌分左右步隨遷。劈掌反擒左右宜。縱身套步腿隨提。雙推先用右跟步。左右跟推效果奇。撤步挂拳防守法。拳挑左右步同移。掌分左右還穿掌。應面同時腿亦隨。飛手掌撩擒且劈。踢衝撩掌式金雞。先擒後插反擒轉。插掌衝拳最合機。撲腿衝拳拳復抽。身翻腿撲掌披遒。

雙風貫耳先施腿。丁肘攻心劈蓋頭。左腿起時雙掌出。並穿左掌右撩喉。掌分左右步隨擠。飛手翻身穿掌投。十字掌連抹掌手。雙拳抱肘勢停留。 [Postures 1-16:] Step forward, sending out both fists to atta ck the opponent. Wrap your elbows in toward your body and observe all around. Raise to the left, step forward sending out a thrust punch. Retreat, raising to his groin in a heroic tiger stance. A fist swipes, another thrusts out and then binds in. Punch right and left, then capture and seal. After a left thrust punch, the right fist shoots out. Perform cross-shaped punches, swiping fist, then intercepting elbow and thrust punch. [Postures 17-32:] Binding fist and snapping kick, then right threading palm. Left threading palm, then turn around and stomp down full. Lifting kick with double spreading, then double cannon kick. Execute triple palm strikes, starting with the rig ht. Turn around to prop and hit, attacking his heart. Press down for a planting punch, then hands spread apart t o return in front. Kick into a cross shape, then do a snapping kick. Palm strikes go out with left and right s teps to adapt to the situation. [Postures 33-52:] Capture and chop with right hand and left. Leap into a sheathing step, then a kick lifts up. Perform double-hand follow-step pushes, starting with the right. Pushing left and right, the effect is extraordinary. Retreat with a hanging punch to defend against his technique. Perform carrying punches, stepping the same on both sides. Send out a palm, then thread through with the other. Facing him, follow with a kick. Flying hand and raising palm, then capture and chop. Do a kick, a thrust punch, then a raising palm in a g olden rooster stance. First catch then insert, then turn around to capture. To do a jabbing palm, a thrusting punch creates the best opportunity. [Postures 53-72:] A leg flattens, a punch thrusts out and draws back in. Turning around, a leg flattens and a palm spreads forcefully. Double wind through the ears starts by delive ring a kick. Attack his heart with an elbow, then give a b ack-handed slap to his face. When the left leg kicks, a palm also shoots out. Palms then thread to the opponent’s throat, right then left. Palms then extend with steps, right then left, to press another opponent. Hands fly, turn around, and a threading palm is sent out. The crossed hands continue into the wiping palm. With double punches and wrapping elbows, the set comes to a rest. -

第二章炮拳圖說 CHAPTER TWO: ILLUSTRATED CANNON BOXING SET

第一節行拳方位圖說 Part 1: Positioning Chart for the Boxing Set 說明

Explanation:

初學拳術首須記淸行拳方位然後開始練習或複習時或自習時庶不致盲然無所措手足或偶遺忘視方向便於追憶所以初

學者首須識別方位例如假定之東西南北習熟後則不拘何方均可此路拳假定由東往行拳面北背南如第上圖 When starting to learn a boxing set, you should first of all mak e note of your orientation, then begin to practice. Thus when you are going through it on your own, you will not be at a loss as to where to put your hands and feet. If you by chance forget, just consider what direction you are facing and you will easily recall. Therefore in the beginning, you must be clear about “north”, “south”, “east”, and “west”, although after you have practiced the set to familiarity, you will no longer need such directions. For this particular set, you start in the “east”, facing “north” with “south” behind you. See the compass:

N

北 W 西東 E

南 S

立正式 STANDING AT ATTENTION 說明

Explanation of the posture:

兩足跟宜在一線上靠攏並齊兩足尖向外撇離開約六十度兩腿自然伸上體體重平置於腰上脊背伸直微向前傾兩肩宜平稍向後張兩臂自然下垂兩手貼於股際五指拼攏而微屈頭宜正頸宜直口宜閉由鼻呼吸兩眼向南平視 Your heels should be standing next to each other on the same line, toes swung out so y our feet are at about a sixty degree angle to each other. Your legs should be naturally straight. Your upper body should be balanced on top of your waist, your spine straightened, and slightly leaning forward. Your shoulders should be level and slightly spread away to the rear. Your arms should hang naturally, hands touching your thighs, fingers together and slightly bent. Your head should be upright, neck straight. Your mouth should be closed, breathing done through your nose. Your gaze is level to the south.

第二節歌訣 Part 2: Song [for Sections 1-4]

上步雙拳將敵攻隨身抱肘察西東左撩上步衝拳進退步撩陰跨虎雄拳閃拳衝拳復扎拳分左右反擒封左拳衝罷右拳發十字閃拳斷肘衝 Step forward, sending out both fists to atta ck the opponent. Wrap your elbows in toward your body and observe all around. Raise to the left, step forward sending out a thrust punch. Retreat, raising to his groin in a heroic tiger stance. A fist swipes, another thrusts out and then binds in. Punch right and left, then capture and seal. After a left thrust punch, the right fist shoots out. Perform cross-shaped punches, swiping fist, then intercepting elbow and thrust punch.

第一段口令一二三四 SECTION 1 (The command counts “1… 2… 3… 4…”):

第一式

Posture 1

術名 Name of the technique:

上步衝拳 STEP FORWARD WITH THRUSTING PUNCHES

用法 Function:

為開始起手法 This is for beginning the movements. 說明

Explanation of the movement:

聞令數一由立正上前三步兩脚靠攏立正同時兩手上提兩掌心向上兩手指端貼腰間由內向外各繞轉一周至胸前握拳相會拳眼相對身樁仍成立正式眼平視如第一圖 Hear the command of “One!” From standing at attention, take three steps forward [left, right, left] to stand with your feet together again as in standing at attention. At the same time, your hands lift up, palms upward, fingertips touching your waist, and they each go outward, making complete circles until in front of your chest, grasped into fists with the fist eyes facing each other. Your body is again standing as in the attention posture. Your gaze is level. See photo 1:

術解 Remarks on the technique:

此式為拳術開始之手法亦為活動筋骨之預備運動所以不激不緩自然如也又無半點勉强之動作深得衞生之要領也 This posture is the opening technique in this boxing set, and it also readies your body for exercise. The movement therefore is neither fierce nor slow, but natural. By never forcing the movements, you will deeply obtain the essentials of health.

第二式 Posture 2


抱肘式 WRAPPING ELBOWS

用法 Function:

為預備行拳法 This is preparation for performing the set of boxing techniques. 說明


聞令數二由上式兩拳翻衇膊向上卽向上收囘於腰間成抱肘式身樁仍不動眼平視如第二圖 “Two!” From the previous posture, your fists roll over so they have their pulse area facing upward and withdraw to your waist, making the posture of your elbows wrapping in. Your body’s p osture has still not changed. Your gaze is level. See photo 2:


此式為準備行拳之法俾進退攻守之時有所準備而免貽悞之虞 This is for preparing you to go through the set, so that while you advance and retreat, attack and defend, you will be able to avoid anxiety over making mistakes.

第三式 Posture 3


左撩掌 LEFT RAISING PALM

用法 Function:

為擒撩法 This is for catching by raising up. 說明


聞令數三由上式身法仍不動左拳變掌往下向西上撩掌指端向上手膀微彎眼視掌尖右手仍抱肘如第三圖 “Three!” From the previous posture, your stance still does not change. Your left fist becomes a palm, goes downward, to the west, and raises upward, the fingertips pointing up, arm slightly bent. Your gaze is to the fingertips. Your right arm keeps its elbow wrapped in. See photo 3:


此式為引敵之手卽招架之法也 This is a method of drawing in the opponent’s hand to parry it away.

第四式 Posture 4


上步衝拳 LEFT STEP FORWARD, THRUST PUNCH

用法 Function:

為攻擊之法 This is for attacking with a strike. 說明


聞令數四由上式左腳向西前上一步右腳卽跟進竝立同時右拳向西衝出虎口斜向上左拳卽護於右手脈膊旁身順拳稍向左轉眼平視西如第四圖 “Four!” From the previous posture, your left foot takes a step forward to the west and your right foot follows to stand next to it. At the same time, your right fist thrusts out to the west, tiger’s mouth diagonally upward, your left hand guarding beside your right arm’s pulse area, your body going along with the punch by slightly turning to the left. Your gaze is to the west. See photo 4:


此式以掌招架子拳衝之擊敵之胸部惟出拳時肩部及胳膊各部分肌肉須放鬆俟中的時一用勁不中不發所謂寸勁是也 Use a palm to parry while using a fist to strike the opponent’s chest. When punching, both your shoulder and arm must be relaxed. When aimed at the target, exerting yourself will only bring you off target and leave with nothing to shoot at. This is why it is called “inch force” [i.e. just the right measure of strength].

第二段口令一二三四 SECTION 2 (“1… 2… 3… 4…”):

第五式 Posture 5


退步撩掌 RETREAT, RAISING PALM

用法 Function:

為左守右攻法 This is for defending with one side and attacking with the other. 說明


聞令數一由上式右腳向東後退一步膝稍彎左腳帶收半步足尖點地成丁字跨虎式同時右拳變掌向上撩卽往後平展指端向上掌心向北左掌隨右撩掌卽向下往前撩指端向上臂稍彎左肘下墜對左膝頭左轉眼視左掌尖胸部展開腰胯下沉右實左虛如第五圖 “One!” From the previous posture, your right foot retreats a step to the east, the knee slightly bends, your left foot withdraws a half step, toes touching down, making a T-shape sitting tiger stance. At the s ame time, your right fist becomes a palm, raises upward, and extends to the rear until it is level, fingertips pointing upward, palm facing to the north, while your left palm goes downward, forward, and raises up, fingertips pointing upward, arm slightly bent. Your left elbow hangs down pointing to your left knee, which is turned outward to the left. Your gaze is to the fingertips of your left palm. Your chest is opened and your hips are sinking down. Your feet are right full, left empty. See photo 5:


此式以左掌撩敵下部謂之撩陰掌式術之動作以手眼身步法聯合而運用以期克奏防身制敵之效用 Use your left palm in a raising action to the opponent’s lower body. Thus it is called “raising palm to the groin”. The movements of this technique coordinate the actions of hand, eye, body, and step in order to achieve the effects of both defending yourself and subduing the op ponent.

第六式 Posture 6


閃拳 SWIPING FIST

用法 Function:

為敵所攻避實待機之法 This is for avoiding the brunt of the opponent’s attack to await an opportunity. 說明


聞令數二由上式身樁步法不動兩掌變拳左小臂卽閃開曲與大膊平同時腰胯稍左沉眼仍視西如第六圖 “Two!” From the previous posture, your body and feet do not move, but your left palm becomes a fist, the forearm evasively bending in until level with the upper arm. At the same time, your hips slightly sink. Your gaze is still to the west. See photo 6:


此式設敵向我進攻閃則避其鋒蓄勢以相待乘機以進擊 If the opponent attacks me, I evade his sharpest point, storing energy as I await an opportunity to counter.

第七式 Posture 7


斷肘衝拳 INTERCEPTING ELBOW, THRUST PUNCH

用法 Function:

為虛攔實擊之法 This is a method of “fake block, real strike”. 說明


聞令數三由上式左腳前進半步膝彎右腳伸直成左弓式同左手往左膝前下縱斷卽向後平舉拳與耳齊右掌卽握拳收囘由

腰間向西平衝拳與右乳平身樁成左拗步胸展腰直眼視西如第七圖 “Three!” From the previous posture, your left foot takes a half step forward, the knee bends, and your right leg straightens, making a left bow stance. At the same time, your left hand cuts downward in front of your left knee, then goes to the rear until the fist is at ear level, while your right hand grasps into a fist, gathering in beside your waist, then goes to the west with a thrust punch at chest level. Your body stands in a left crossed stance [i.e. left foot and right hand forward]. Your chest is opened up and your torso is upright. Your gaze is to the west. See photo 7:


此式設敵攻我中部用左肘攔截則右拳乘虛擊敵心房 If the opponent attacks me at middle height, I use my left elbow to block it, then use my right fist to take advantage of the opportunity with a strike to his heart.

第八式 Posture 8


扎拳踢腿 BINDING FIST, SNAPPING KICK

用法 Function:

為應敵還擊法 This is for dealing with the opponent and returning a strike. 說明


聞令數四由上式右拳翻腕下扎手向上大膊貼於右脇同時右脚提起向西踢左腳掌卽向右磨轉以順腿勢身向西南眼視西如第八圖 “Four!” From the previous posture, your right fist turns over so the wrist is downward and the hand is facing up, the upper arm touching your right ribs. At the same time, your right foot lifts and kicks to the west, the sole of your left foot twisting to the right [left]. Going along with the kick, your body faces to t he southwest. Your gaze is to the west. See photo 8:


此式為敵乘我出拳蹈隙而進擊我右脇卽翻腕下扎以禦之乘機踢腿以擊之

The opponent takes advantage of the gap that appeared because of my punching, attacking my right ribs, so I turn over my wrist, binding in downward to defend against him, and take advantage of the opportunity to attack him with a kick.

第三段口令一二三四 SECTION 3 (“1… 2… 3… 4…”):

第九式 Posture 9


右衝拳 RIGHT THRUST PUNCH

用法 Function:

為轉變方位法 This is for changing position. 說明

Description of the movement:

聞令數一由上式右腳落地直立左脚卽跟上靠攏小腿平屈大腿垂直脚尖向下同時右拳由腰間向西平衝左拳卽收囘於腰間抱肘身體面南眼視西胸展腰直如第九圖 “One!” From the previous posture, your right leg lowers and stands straight, and your left foot follows by closing in upward, the lower leg bending back to be parallel with the ground, upper leg hanging straight down, toes hanging down. At the same time, your right fist goes from your waist with a level thrust punch to the west, while your left fist gathers in to your waist, elbow wrapped in. Your body is squared to the south. Your gaze is to the west. Your chest is opened up and your torso is upright. See photo 9:


此式為行拳更變方位使敵莫測其方略兵法所謂出其不意攻其無備之意也 This is for changing position while fighting, causing the opponent to be unable to detect your strategy. The intention is that of taking him by surprise, attacking him where he is unprepared.

第十式 Posture 10


左衝拳 LEFT THRUST PUNCH

用法 Function:

為囘身追擊法 This is for turning around and striking. 說明


聞令數二由上式左腳向東出一步右腳卽趕上竝立足尖朝南同時左拳由腰間向東平衝右臂高舉虎口朝東身體向南眼視東胸展腰直如第十圖

“Two!” From the previous posture, your left foot takes a step out to the east, your right foot follows to stand next to it, toes pointing to the south. At the same time, your left fist goes from beside your waist with a level thrust punch to the east, your right arm raising high, the tiger’s mouth facing to the east. Your body is squared to the south, and your gaze is to the east. Your chest is opened up and your torso is upright. See photo 10:


此式為測敵之虛實以備應對之策 I observe an opponent’s feints versus real tactics and get ready for the moment to respond.

第十一式 Posture 11


左擒右封 LEFT CAPTURING, RIGHT SEALING

用法 Function:

為擒拿鎖扣法 This is for capturing and locking. 說明


聞令數三由上式身向左後轉右腳向東出一步兩膝下彎成騎馬式同時左拳變掌向東翻腕繞一周作擒拿勢屈指似虎爪式反擒敵手右臂卽由上向東下封肘鎖住敵手拳眼斜向上小臂斜斷於右腿外左掌卽護於右肩前腰直胸挺眼視東身朝北如第十一圖 “Three!” From the previous posture, your body turns to the left rear, your right foot takes a step out to the east, both knees bending to make a horse-riding posture. At the same time, your left fist becomes a palm, goes to the east, and makes a complete circle to the east that ends in a capturing technique, bending in the fingers to form a tiger’s claw, to capture the opponent’s hand, while your right arm comes downward to the east to lock in the opponent’s arm with your elbow, the fist eye diagonally upward, the forearm cutting diagonally to the outside of your right leg, your left palm guarding in front of your right shoulder. Your tor so is upright and your chest is sticking out. Your gaze is to the east, your body squared to the north. See photo 11:


此式設敵伸手擊來我以左手擒之卽換右手鎖住使其陷入重圍我再出左手擊其要害 If the opponent extends a hand to strike, I use my left hand to capture it, then switch to locking him up with my right arm to make him trapped, after which I will send out my left hand to strike a vital area.

第十二式 Posture 12


左衝拳 LEFT THRUST PUNCH

用法 Function:

為乘機蹈懈攻擊法 This is for taking advantage of a moment of the opponent’s inattentiveness to attack him. 說明


聞令數四由上式騎馬式卽變成右弓式同時左掌卽握拳向東平衝右拳卽收囘腰間抱肘身稍右轉胸部朝東眼仍視東成左拗步如第十二圖 “Four!” From the previous posture, your horse-riding stance changes to a right bow stance. At the same time, your left palm grasps into a fist and does a level thrust punch to the east, while your right fist withdraws to your waist, elbow wrapped in, your body slightly turning to the right. Your chest is squared to the east, your gaze is still to the east, and you are in a left [right] crossed stance [right foot and left hand forward]. See photo 12:


此式承上式之封則乘機進擊敵之中部 Continuing from the previous technique’s sealing, I take advantage of the opportunity to advance with a strike to the middle of the opponent’s body.

第四段口令一二三四 SECTION 4 (“1… 2… 3… 4…”):

第十三式 Posture 13



用法 Function:

為承上式進擊為連環攻擊法 This is for continuing from the previous posture’s advancing strike by turning it into an attack of continuous strikes. 說明


聞令數一由上式身樁不變左拳收囘腰間抱肘同時右拳卽向東衝出成順步右弓式眼仍視東如第十三圖 “One!” From the previous posture, your body does not change, but your left hand withdraws to your waist, elbow

wrapped in, while your right fist thrusts out to the east, making a straight-sta nce right bow stance [right foot and right hand forward]. Your gaze is still to the east. See photo 13:


此式連續上式為連珠式之衝拳惟出拳須迅速不可遲疑則能收連珠之效矣 This technique continues from the previous technique, making a continuous succession of thrust punches. However, to be able to achieve this effect, it is necessary for the punches to come out one after the other rapidly and without hesitation.

第十四式 Posture 14


十字拳 CROSS-SHAPED PUNCHES

用法 Function:

為迴環擊敵法 This is for turning around to strike an opponent. 說明


聞令數二由上式右腳提起左腳上縱騰身右向後轉右腳卽震地左腳向西出一步成左弓式同時兩臂飛起手仍握拳卽向胸前會合復向腰間帶囘卽分向東西衝出左拳略低與乳齊右拳稍高與耳平身順勢稍向左傾眼視西身朝北如第十四圖 “Two!” From the previous posture, your right foot lifts and your left foot goes up as your body leaps up and turns around to the right rear, your right foot coming down with a stomp, and your left foot takes a step out to the west, making a left bow stance. At the same time, your arms fly up, hands still as fists, then come together in front of your chest, draw in to your waist, and spread apart as thrust p unches to the east and west. Your left fist is slightly lower at chest level, right fist slightly higher at ear level. Your body goes along with the action by slightly leaning to the left. Your gaze is to the west, your body squared to the north. See photo 14:


此式譬如為敵四面包圍以縱身騰躍飛拳囘環圈打使其無所施其技我則視其弱點而攻之 If there are opponents surrounding me, I leap up, flinging my fists upward in an inward circle to prevent their

techniques from getting to me, then I spot their weak points and attack.

第十五式 Posture 15


閃拳 SWIPING FIST

用法 Function:

為誘敵深入法 This is for luring the opponent in deep. 說明


聞令數三由上式身樁步法不變左小臂屈囘與大膊平同時腰胯向左稍下沉以閃拳之能腰直胸挺眼視西如第十五圖 “Three!” From the previous posture, your body and step do not move, but your left forearm bends in to be level with your upper arm. At the same time, your hips slightly sink to the left [right] to drive the swipe. Your torso is upright and your chest is sticking out. Your gaze is to the west. See photo 15:


此式閃拳為避敵截擊故以閃讓過敵銳俟其深入以老其氣然後觀其舉動乘勢以破之 The swiping fist is used to prevent the opponent’s attack by intercepting his strike, thereby keeping away his sharpest point. I wait until he has come in too far and his power is spent, then when I see the moment to act, I will take advantage of the situation and smash him.

第十六式 Posture 16


斷肘衝拳 INTERCEPTING ELBOW, THRUST PUNCH

用法 Function:

為攻守同施之法 This is for executing both defense and attack in the same action. 說明


聞令數四由上式身樁不變仍左弓式左手往左膝前下斷卽由後上平舉拳與耳齊右拳卽收囘由腰間向西衝出拳與乳平身稍左轉成左拗步眼視西如第十六圖 “Four!” From the previous posture, you remain in a left bow stance as your left hand cuts downward in front of your left knee and goes upward to the rear until the fist is at ear level, while your right fist gathers in beside your waist and goes to the west with a thrust punch at chest level, your body slightly turning to the left. You are in a left crossed stance [left foot and right hand forward]. Your gaze is to the west. See photo 16:


此式乘敵擊來我以肘斷截殺其勢卽出右拳直攻其心使其無暇囘顧則勝算我自操之矣 I take advantage of the opponent’s attack by using my elbow to cut away his technique and sending out my right fist in a direct attack to his heart, giving him no time to assess what is happening, rendering me the one carrying out the winning strategy.

第三節歌訣 Part 3: Song [for Sections 5-8]

扎拳踢腿右拳穿穿掌囘身跥法全提起雙推雙抱腿先施右掌再三連轉身架打搗心勢壓掌栽拳披手還十字腿來踢腿去掌分左右步隨遷 Binding fist and snapping kick, then right threading palm. Left threading palm, then turn around and stomp down full. Lifting kick with double spreading, then double cannon kick. Execute triple palm strikes, starting with the rig ht. Turn around to prop and hit, attacking his heart. Press down for a planting punch, then hands spread apart t o return in front. Kick into a cross shape, then do a snapping kick. Palm strikes go out with left and right s teps to adapt to the situation.

第五段口令一二三四 SECTION 5 (“1… 2… 3… 4…”):

第十七式 Posture 17


扎拳踢腿 BINDING FIST, SNAPPING KICK

用法 Function:

為攻禦兼施互用法 This is for simultaneous attack and defense. 說明


聞令數一由上式右拳翻腕下扎手心向上大膊貼於左肋同時提起右腿向西平踢身略向左轉以順腿勢全身直立左臂仍舉眼視西如第十七圖 “One!” From the previous posture, your right fist turns over so the wrist is downward and the center of the hand is facing up, the upper arm touching your left [right] ribs. At the same time, your right leg lifts and does a level kick to the west. Going along with the kick, your body slightly turns to the left. Your whole body is standing upright, your left arm still raised. Your gaze is to the west. See photo 17:


此法扎拳以禦敵起腿以擊之惟腿之用法當遵明拳暗腿之意旨不是機械動作須活潑富有彈性使其不防而用之方為合法否則必受敵制學者愼之愼之 The binding fist is for defending against the opponent and the kicking leg is for striking him. However, the use of the kick should comply with the intention of “visible punch, invisible kick”, a nd not just be a mechanical movement. It must be lively and very springy, catching him off guard, and then the use of it will be appropriate, otherwise you will surely be under his control. Be very careful of this.

第十八式 Posture 18


右穿掌 RIGHT THREADING PALM

用法 Function:

為追擊應敵法 This is for dealing with the opponent by chasing and striking. 說明


聞令數二由上式右腿落地左腳擠上半步右腳再向西南出一步同時右拳變掌翻腕向內繞小圈卽向西南穿出全身順勢成開腳直立身向東南右臂不動眼視西南如第十九圖 “Two!” From the previous posture, your right leg comes down, your left foot crowds toward it with a half step forward, then your right foot takes a further step out to the southwest. At the same time, your right fist changes to a palm, the wrist turning over in a small inward-coiling circle, and threads out to the southwest. Your whole body goes along with the posture, making an open-step upright stance. Your body is squared to the southeast. Your right [left] arm has not moved. Your gaze is to the southwest. See photo 19 [18]:


此法設敵佯退我則緊步追擊出掌試探敵情然後觀其動靜再定方策以制之 If the opponent pretends to retreat, I then step rapidly, chasing him with a palm strike to see what he will do. Once I observe his actions, I then settle upon the strategy that will give me control over him.

第十九式 Posture 19


左穿掌

LEFT THREADING PALM

用法 Function:

為連環應戰之法 This is for continuing to press the attack. 說明


聞令數三由上式左脚向西南出一步右腳卽擠上半步左脚再向西南出一步同時左手收囘於懷中變掌沿左臂上向西南斜上穿出全身順勢開腳直立身向西北右掌貼於懷中指端均向上眼仍視西南如第十九圖 “Three!” From the previous posture, your left foot steps out to the southwest, your right foot goes forward a half step, and your left foot again steps out to the southwest. At the same time, your left fist gathers in toward your chest, changing to a palm, goes along the top of your left [right] arm, and threads diagonally upward to the southwest, your whole body going along with the technique by putting you in an open-step upright stance. Your body is squared to the northwest. Your right palm stays clo se to your chest, fingertips upward. Your gaze is still to the southwest. See photo 19:


此法設敵仍襲故智佯退則我亦以引手探之惟須步步緊隨其後非俟其自身變化我緊逼其身使其無所逃遁而後已 If the opponent again tries to take me by surprise by feigning retreat, I again extend a hand, but I must be walking in to follow him back. Rather than wait for how he will adjust, I crowd his body to give him nowhere to escape to.

第二十式 Posture 20


跥步穿掌 STOMPING STEP, THREADING PALM

用法 Function:

為轉變策略應敵法 This is for dealing with an opponent by changing strategy. 說明


聞令數四由上式右腳向西南出一步全身卽向左後轉左腳卽提起跥地腰胯下沈拼步蹲下同時右掌穿出卽由左上方繞轉一周左臂亦同時由左上下攔兩手腕相交叉手端向上與肩平乘身轉動下沈時卽向懷中下帶腰直胸挺正面向東北眼平視前方如第二十圖 “Four!” From the previous posture, your right foot steps out to the southwest, your whole body turning around to the left rear, your left foot lifts and stomps, your hips sinking, and you are squatting down with your feet together. At the same time, your right palm threads out and coils a full circle from the upper l eft while your left arm blocks downward from the upper left, your wrists crossed, fingertips upward at shoulder level, going along with your body’s sinking by pulling in downward in front of your chest. Your torso is upright and your ches t is sticking out. Your body is squared to the northeast, your gaze forward and level. See photo 20:


此式設敵被我所獲速卽轉身乘勢鎖住敵手往下猛墜迅卽提腿跥其腳面以創之 Having captured the opponent, I suddenly turn around, taking advantage of the situation by locking up his hand and fiercely dropping down, lifting my leg and stomping the top of his foot.

第六段口令一二三四 SECTION 6 (“1… 2… 3… 4…”):

第二十一式 Posture 21


起腿雙披 LIFTING KICK, DOUBLE SPREADING

用法 Function:

為上禦下攻互用法 This is for defending above while attacking below. 說明


聞令數一由上式左腳向東北出半步右腳卽起腿向前踢同時兩臂往上分開向左右披成半圜形身向東北眼向東北平視如第二十一圖 “One!” From the previous posture, your left foot takes a half step to the northeast and your right foot lifts and kicks forward. At the same time, your arms go upward and spread apart to the sides to form a semicircle. Your body is squared to the northeast, your gaze level to the northeast. See photo 21 :


此式設敵由上蓋下我則以雙手向上披開乘機進腿以攻其下部此為起腿雙披之法則也然則用不得法易受敵制學者注意之 If an opponent covers himself downward, I then send my hands upward and spread them apart, taking advantage of the opportunity to send a kick to his lower body. This is the correct way to use this technique, but if you try to apply it before you have the knack of it, you will end up under the opponent’s control. Take note of this point.

第二十二式 Posture 22


雙抱腿 DOUBLE CANNON KICK

用法 Function:

為追擊逐敵法 This is for offensive pursuit. 說明


聞令數二由上式兩臂形狀不變右腳落地向東北急行三大步左腳提右腳隨卽向上向東北彈出同時兩臂由上向前平舉卽向胸前收囘兩掌心相對指端斜向前方胸挺眼視東北如第二十二圖 “Two!” From the previous posture, with your arms not moving, your right foot comes down and you quickly take three large steps to the northeast [the first being your right foot coming down, then left, right], your left foot lifts, and your right foot immediately goes upward with a snapping kick to the northeast. At the same time [as the double kick], your arms go forward from above, raised level, then withdraw in front of your chest, palms facing each other, fingers diagonally forward. Your chest is sticking out, your gaze to the northeast. See photo 22:


此式設敵騰步引退我則搶步追擊雙手由前抄起急起彈腿以攻其腹此式以搶步追躡敵蹤為體恰到其間巧施腿擊不落窠臼為用 If the opponent jumps away, I chase him and attack, my hands capturing in front while I suddenly attack his belly with snapping kicks. The substance of this technique of pursuit comes down to the craftiness and surprise of the kicking attack.

第二十三式 Posture 23


右掌 RIGHT PALM STRIKE

用法 Function:

為下絆上擊法 This is for tripping below and striking above. 說明


聞令數三由上式右腳向東北落地膝彎左腳伸成右弓式同時右掌向東北斜下切左掌收囘腰間上體順勢稍向前傾視掌如第二十三圖 “Three!” From the previous posture, your right foot comes down to the northeast, the knee bends, and your left leg straightens, making a right bow stance. At the same time, your right palm slices diagonally downward to the northeast, your left palm withdrawing to your waist [as a fist according to the photo], and your upper body going along with the technique by slightly leaning forward. Your gaze is to your palm. See photo 23:


此式以右腿落地時卽勾絆敵腳加以右掌向前推之使其重心離開本位則收致勝之功 When my right foot comes down, it hooks around and trips up the opp onent’s leg. By adding my right palm pushing forward, he is made to lose his balance, and thus I am victorious.

第二十四式 Posture 24


左掌 LEFT PALM STRIKE

用法 Function:

為連環掌法 This is for continuous palm striking. 說明


聞令數四由上式樁步不變右掌收囘腰間同時向東北出左掌身稍左轉以順其勢指尖仰向前眼仍視掌如第二十四圖 “Four!” From the previous posture, your stance does not change, but your right palm withdraws to your waist while your left palm goes out to the northeast, fingertips forward, yo ur body going along with the technique by slightly turning to the left [right]. Your gaze is again to the palm. See photo 24:


此式與上式成連環二掌為一擊不中再擊而成兩掌伸縮須迅捷自如不可遲鈍勝敗定於頃刻豈可忽乎 This technique connects with the previous technique: if one strike misses, the next strike will succeed. As the palms extend and recoil, they must be rapid and unhindered, no hesitation at all. Its success or failure depends upon its quality of instantaneousness: “How did you do that so fast?”

第七段口令一二三四 SECTION 7 (“1… 2… 3… 4…”):

第二十五式 Posture 25



用法

Function:

為連環三掌法 This continues the palm strikes with a third strike. 說明


聞令數一由上式樁步仍不變左掌收囘腰間同時右掌復向東北切掌身順掌勢略向右轉眼仍視前如第二十五圖 “One!” From the previous posture, your stance does not change, but your left palm withdraws to your waist while your right palm again slices to the northeast, your body going along with the palm by turning slightly to the right [left]. Your gaze remains forward. See photo 25:


此式一擊而再擊至於三擊者使敵莫明我之所以是謂之術也 This technique of a single attack continues into a third strike, causing the opponent to not understand what I am doing, which is why it is called skill.

第二十六式 Posture 26


轉身架打 TURN AROUND, PROP & HIT

用法 Function:

此為變更方位法 This is for changing direction. 說明


聞令數二由上式身向左後轉正向西南兩腳仍在原位不變惟足尖轉移向西北而左膝彎右腳直成弓式同時左臂由下前上架右掌卽握拳向西南平衝卽成左拗步眼正視西南如第二十六圖 “Two!” From the previous posture, your body turns to the left rear to be squared to the southwest, your feet not changing their location but the toes turning to point to the northwest, your left knee bending, right leg straightening, making a bow stance. At the same time, your left arm goes forward from below, propping upward, as your right palm grasps into a fist and does a level thrust punch to the southwest. You are in a left crossed stance [left foot and right hand forward]. Your gaze is to the southwest. See photo 26:


此式設敵由我後側襲擊上部轉身以臂上架左拳隨架之機向敵心房擊出轉動時手眼身步法須聯合一致始能奏功 If an opponent suddenly attacks my upper body from behind, I turn around and use my [left] arm to prop it up, my left [right] fist taking advantage of the opportunity in that moment to strike to his heart. Hand, eye, body, and step must be coordinated, arriving in unison, in order for this to be at all successful.

第二十七式 Posture 27


壓掌栽拳 PRESSING PALM, PLANTING PUNCH

用法 Function:

為防禦兼攻並用法 This is for simultaneous attack and defense. 說明


聞令數三由上式右腳由左腳前向西南出一步成交叉式同時左掌由上下壓於腹前右拳卽收囘腰間經左臂上向西南下栽眼視拳如第二十七圖 “Three!” From the previous posture, your right foot steps out to the southwest in front of your left foot, making an overlapping stance. At the same time, your left palm presses down from above to be in front of your belly, your right fist withdrawing to your waist then going over your left arm to plant downward to the southwest. Your gaze is to your fist. See photo 27:


此式敵乘機擊我脇部迅卽以掌壓之復出右拳下栽其腹套步以逼其身使其較少活動機會然後處置之 The opponent takes advantage of an opportunity to strike to my ribs, so I quickly use my [left] palm to press it down, then send my right fist downward with a planting punch to his belly, stepping in to crowd him and render him less maneuverable, making opportunity mine.

第二十八式 Posture 28


雙披套步 DOUBLE SPREADING, SHEATHING STEP

用法 Function:

為防禦下部被人攻擊法 This is for preventing your lower body from being attacked. 說明


聞令數四由上式左腳向西南出一步右腳跟上套於右腳後交叉成坐式同時右拳變掌兩臂由前高舉分向左右雙披繞轉一

周兩掌會於腹前手心向上腰直胸挺眼視西南如第二十八圖 “Four!” From the previous posture, your left foot steps out to the southwest, your right foot follows with a sheathing step behind your right [left] foot so your legs are overlapping in a sitting stance. At the same time, your right fist becomes a palm, both arms raise high, spread apart to the sides, and circle fully so that they come together in front of your belly, palms upward. Your torso is upright and your chest is sticking out. Your gaze is to the southwest. See photo 28:


此式設敵攻我頂以雙披手禦之復套步鞏固下部並蓄勢以備反攻之法 If the opponent attacks my head, I use double spreading hands to defend against it, then do a sheathing step to reinforce my lower body, storing power with which to prepare my counterattack [in the following technique].

第八段口令一二三四 SECTION 8 (“1… 2… 3… 4…”):

第二十九式 Posture 29


十字腿 CROSS-SHAPED KICK

用法 Function:

為乘機攻其側面法 This is for taking advantage of an opportunity to attack the opponent from the side. 說明


聞令數一由上式身稍右傾左腳卽提起向左橫踹同時兩臂分向左右撑開如鳥之展翅右臂與左腳平舉左臂略高手指向前眼視西身向西北如第二十九圖 “One!” From the previous posture, your body slightly leans to the right as your left foot lifts and does a side kick to the left. At the same time, your arms spread apart to the sides, bracing open like a bird spreading its wings, your right arm raised to be level with your left foot, left arm slightly higher and with its fingers forward. Your gaze is to the west, your body squared to the northwest. See photo 29:

術解

Remarks on the technique:

此式為敵一再相逼以兩臂撑開招架來手乘機起腿踹其腰脇法 Closing on the opponent, I use both arms to brace open and parry away his incoming hands, taking advantage of the opportunity to do a side kick to his waist or ribs.

第三十式 Posture 30


抱肘踢腿 WRAPPING ELBOWS, SNAPPING KICK

用法 Function:

為連續腿擊法 This is for continuing the kicking attack. 說明


聞令數二由上式左腳落地卽提右腳轉身向西北踢同時兩掌握拳速卽收囘抱肘身正向南左腳直立胸展腰挺眼視西南如第三十圖 “Two!” From the previous posture, your left foot comes down, then your right foot lifts, your body turning to the northwest [southwest], and kicks. At the same time, your palms grasp into fists and quickly withdraw, elbows wrapping in. Your body is squared to the south [southwest]. Your left leg stands straight. Yo ur chest is opened up and your torso is upright. Your gaze is to the southwest. See photo 30:


此式為一擊不中迅將其來手擒住向懷中帶卽起右腿踢其下部撩取其陰以克之 If my last kick misses, I quickly capture the opponent’s hand and draw it in toward my chest while kicking with my right leg to his lower body, overcoming him by raising my foot to catch his groin.

第三十一式 Posture 31



用法 Function:

為設敵因上法失其中心支點我則乘機以摧之 This is for taking advantage of an opportunity to destroy the opponent if he loses his balance because of the previous technique. 說明


聞令數三由上式右腿向西北落地膝彎成右弓式同時右拳變掌由腰間向前撑出指端向上以掌緣擊敵臂稍彎身稍向前傾眼視掌如第三十一圖 “Three!” From the previous posture, your right leg comes down to the northwest [southwest] and the knee bends,

making a right bow stance. At the same time, your right fist becomes a palm, braces forward, fingers upward, striking the opponent with the palm edge, arm slightly bent. Your body slightly leans forward. Your gaze is to your palm. See photo 31:


此式為乘機順勢因恐敵不卽倒摧之以掌助其速倒之法雖出掌須與足相應否則無效 Continuing from the previous technique, if I feel the opponent is not toppling dramatically enough, I use a palm strike to help send him away quicker. Although there is a palm strike, it must be coordinated with the step for it to be effective.

第三十二式 Posture 32


左掌 LEFT PALM STRIKE

用法 Function:

為左右連環掌摧法 This is for turning the attack into continuous palm strikes, right then left. 說明


聞令數四由上式左腳向西南出一步膝彎成左弓式同時右拳收囘抱肘於腰間左拳卽變掌隨左步而出眼視掌身稍前傾如第三十二圖 “Four!” From the previous posture, your left foot steps out to the northwest and the knee bends, making a left bow stance. At the same time, your right fist [palm according to the photo] withdraws to your waist, elbow wrapped in, while your left fist becomes a palm and goes out with your left step. Yo ur gaze is to the palm. Your body slightly leans forward. See photo 32:


此式出右掌繼以左掌設敵被我擊出重心而未倒之時尚能掙扎乘此時機一摧而再摧使其傾倒而後已 The purpose of the left palm strike following upon the right palm strike is that if the opponent has not yet toppled and is still capable of struggling, I now add another and more decisive strike to make him finally fall.

第四節歌訣 Part 4: Song [for Sections 9-13]

劈掌反擒左右宜縱身套步腿隨提雙推先用右跟步左右跟推效果奇〔撤步挂拳防守法拳挑左右步同移〕掌分左右還穿掌應面同時腿亦隨飛手掌撩擒且劈踢衝撩掌式金雞先擒後插反擒轉插掌衝拳最合機 Capture and chop with right hand and left. Leap into a sheathing step, then a kick lifts up. Perform double-hand follow-step pushes, starting with the right. Pushing left and right, the effect is extraordinary. [Retreat with a hanging punch to defend against his technique. Perform carrying punches, stepping the same on both sides.] Send out a palm, then thread through with the other. Facing him, follow with a kick. Flying hand and raising palm, then capture and chop. Do a kick, a thrust punch, then a raising palm in a g olden rooster stance. First catch then insert, then turn around to capture. To do a jabbing palm, a thrusting punch creates the best opportunity.

第九段口令一二三四 SECTION 9 (“1… 2… 3… 4…”):

第三十三式 Posture 33


左擒左劈 LEFT [RIGHT] CAPTURING, LEFT CHOPPING

用法 Function:

以反擒劈掌為應敵之法 This is for dealing with an opponent by capturing and chopping. 說明


聞令數一由上式上體向右後轉右手由內往外繞一周作反擒狀卽握拳置於腰間同時提起向東北出一大步腿伸直撲下右腳下彎同時左掌由上下劈沿左腿至地掌心向東南全身重量支持於右腳上面向東北眼平視如第三十三圖

“One!” From the previous posture, your upper body turns around to the right rear, your right hand circling outward, performing a capturing maneuver, then grasps into a fist at your waist. At the same time, your left foot lifts and takes a large step to the northeast, the leg extending and flattening downward, your right leg bending and lowering, while your left palm chops down, parallel with your left leg, almost to the ground, the palm facing to the southeast. The weight of your body is on your right foot and is squared to the northeast. Your gaze is level. See photo 33:

術解

Remarks on the technique:

此式設敵由後襲我卽以迴身反擒其手復用劈打之法使其迅雷不及掩耳以制其命但是迴身後轉須腰腿活潑而有彈性然後旋轉自如始能收應敵之效 If an opponent attacks me from behind, I turn around, capture his hand, then strike him with a chop, too suddenly for him to deal with, and thereby gain control over his fate. However, when turning around, the hips must be nimble and springy for the turn to be done smoothly and for the technique to be at all effective.

第三十四式 Posture 34


縱身套步 LEAP, SHEATHING STEP

用法 Function:

為雙擒克敵法 This is for overcoming an opponent by capturing with both hands. 說明


聞令數二由上式右腳向東北出一步左腳同時縱身向後卽套入右腿後兩膝下彎如坐盤式同時左手由內外繞一周至臍下掌心向上指微屈右手由外向內繞一周至心房下掌心向下指微屈兩手心相印胸挺腰直頭右轉眼視東北身朝西北如第三十四圖 “Two!” From the previous posture, your right foot stepping out to the northeast, your body leaps, your left foot stepping through with a sheathing step behind your right foot, and both knees bend to make a sitting twisted stance. At the same time, your left [right] hand circles outward to be below your navel, palm upward, fingers slightly bent, as your right [left] hand circles inward to be below your solar plexus, palm downward, fingers slightly bent, the palms facing each other. Your chest is sticking out and your torso is upright. Your head is turned to the right, your gaze to the northeast [although turning to the left to gaze northwest in the photo], body squared to the northwest. See photo 34:


此式設敵抽身反攻我則以縱身套步以殺其勢以手擒其臂使其困於我勢力之下而後已 If the opponent withdraws his body to then counterattack, I leap into a sheathing step to destroy his technique, my hands capturing his arm, making it too difficult for him to get away from the force of my technique.

第三十五式 Posture 35


起腿 LIFTING KICK

用法 Function:

為乘敵爭脫羈縛起腿法 This is for restraining the opponent and kicking him while he tries to escape.

說明


聞令數三由上式左腳起立右腳卽起腿用腳尖向東北彈出兩掌仍不變動全身直立眼視東北如第三十五圖 “Three!” From the previous posture, your left leg stands straight as your right foot lifts and snaps out with a toe kick to the northeast, your palms still as before. Your whole body is standing straight. Your gaze is to the northeast. See photo 35:


此式欲乘機脫險我則順其勢以腿擊其中部 The opponent wishes to escape, so I go along with his energy by kicking to the middle of his body.

第三十六式 Posture 36


右雙推 DOUBLE-HAND PUSH TO THE RIGHT

用法 Function:

為敵衆我寡左右分推以求出路法 This [with the following two techniques] is for pushing in all directions to create a way out from a group of surrounding opponents. 說明


聞令數四由上式右腿落地左腳卽向東北跟上一步腳尖點地右膝彎成左寒雞式同時兩臂由懷中用掌向北雙推掌心向外兩臂左傾右斜身直胸挺眼視北如第三十六圖 “Four!” From the previous posture, your right foot comes down and your left foot does a follow step forward to the northeast, toes touching down, right knee bent, making a left shivering chicken stance. At the same time, your arms send out your palms pushing together to the north [northeast], the palms facing outward, your right arm somewhat more forward than your left. Your body is upright and your chest is sticking out. Your gaze is to the north [northeast]. See photo 36:


此式為排除羣衆或承上式敵未卽倒以此助之

This technique gets rid of a whole group. Or to continue from the previous technique, it helps topple the opponent if he has not yet fallen.

第十段口令一二三四 SECTION 10 (“1… 2… 3… 4…”):

第三十七式 Posture 37


左雙推 DOUBLE-HAND PUSH TO THE LEFT

用法 Function:

為連續上式雙推有互相呼應作用 This is for continuing from the previous technique by echoing the double-hand push. 說明


聞令數一由上式左腳向南出一步右腳卽跟上腳尖點地成右寒雞式同時兩掌收囘懷中卽向東南雙推兩臂右傾左斜掌心向外胸挺腰直眼視南如第三十七圖 “One!” From the previous posture, your left foot steps out to the south [southwest], your right foot follows, toes touching down, making a right shivering chicken stance. At the same time, your palms withdraw in front of your chest then push together to the southeast [southwest], your left arm somewhat more forward than your right, the palms facing outward. Your chest is sticking out and your torso is upright. Your gaze is to the south [southwest]. See photo 37:


此式為驅逐羣敵左右逢源惟推掌兩臂須有伸縮自如餘地度之不中則不發發則必中方不受制於人也 This technique is for dealing with a crowd of surrounding opponents. However, when pushing with your palms, your arms must have a capacity to extend and contract in order to give you a degree of leeway. If you are not on target, do not issue. When you issue, you must be on target to keep from being controlled by your opponents.

第三十八式 Posture 38


右雙推 DOUBLE-HAND PUSH TO THE RIGHT

用法 Function:

為連貫上二式連珠擊敵法 This is for building upon the previous two techniques to make a continuous attack against opponents. 說明


聞令數二由上式右腳向西北出一步左腳卽跟上腳尖點地成左寒雞式同時兩掌收囘於懷中卽向西北雙推兩臂右斜左傾掌心向外胸挺腰直眼視西北如第三十九圖

“Two!” From the previous posture, your right foot steps out to the northwest, your left foot follows, toes touching down, making a left shivering chicken stance. At the same time, your palms withdraw in front of your chest then push together to the northwest, your right arm somewhat more forward than your left, the palms facing outward. Your chest is sticking out and your torso is upright. Your gaze is to the northwest. See photo 39 [38] [The photo is unfortunately a repeat of 36 which shows the posture directed to the northeast. There should instead be a different photo showing the same posture turned ninety degrees to the left.]:


此式為被敵四方包圍以此連珠式一推而再推繼以三推攻開三路以備展佈作戰之法 This technique is for when you are surrounded by opponents on all sides, continuing as push followed by push for a total of three pushing attacks, opening up three pathways along which you can fight.

第三十九式 Posture 39


撤步挂拳 WITHDRAWING STEP, HANGING PUNCH

用法 Function:

為敵乘勢攻我卽用撤步挂拳以避之 This is for when an opponent takes advantage of an opportunity to attack, at which point I retreat and put out a hanging punch to prevent it. 說明


聞令數三由上式左腳向東南撤囘一步右腳卽跟左腳撤退脚尖點地成丁字跨虎式同時兩掌握拳左手卽向腰間帶囘抱肘右拳翻腕屈肘上挂拳與鼻齊肘下墜對右膝膝對足尖身順勢向西南頭右轉眼視西北胸展腰直如第三十九圖 “Three!” From the previous posture, your left foot withdraws a step to the southeast and your right follows your left foot’s retreat, toes touching down, making a T-shape sitting tiger stance. At the same time, your palms grasp into fists, your left hand drawing back to your waist, elbow wrapped in, while your right fist turns over so the wrist is upward and does a hanging punch [hanging in the sense of hanging something up rather than drooping down] to nose level, the elbow bent and pointing down to your right knee, in line with the toes. Your body goes along with the posture by squaring to the southwest, your head turned to the right, your gaze to the northwest. Your chest is opened up and your torso is upright. See photo 39:


此式為禦敵閃身以避之挂肘以抗之察其來勢乘機待取法 I defend against an opponent by evading my body to prevent his attack, hanging up my elbow to resist it and thereby get a better observation of what is coming, then await the opportunity to counter.

第四十式 Posture 40


上步右挑拳 STEP FORWARD, RIGHT CARRYING PUNCH

用法 Function:

為衝鋒破敵法 This is for sharply thrusting through to destroy the opponent. 說明


聞令數四由上式右脚向西北上一步彎膝成右弓式同時右拳向前上挑過頂左拳聞令數四由上式右脚向西北上一步彎膝成右弓式同時右拳向前上挑過頂左拳仍抱肘眼平視西北如第四十圖仍抱肘眼平視西北如第四十圖 “Four!” From the previous posture, your right foot steps forward to the northwest and the knee bends, making a right bow stance. At the same time, your right fist goes forward and upward with a carrying punch until higher than your headtop, your left fist still with its elbow wrapped back. Your gaze is to the northwest. See photo 40:


此式為衝鋒前進右臂挑敵來拳步隨身進勢如熊膀之挺進以身挨進逼近敵身使此式為衝鋒前進右臂挑敵來拳步隨身進勢如熊膀之挺進以身挨進逼近敵身使其失卻攻守本能然後策劃制勝之法其失卻攻守本能然後策劃制勝之法 This is for charging in, my right arm carrying away the opponent’s incoming fist, then advancing with my body and step like a bear’s arm pressing forward. My body pressing in close toward his, he is made to lose his will for attack or defense, leaving me with the successful tactic.

第十一段口令一二三四 SECTION 11 (“1… 2… 3… 4…”):

第四十一式 Posture 41


上步左挑拳 STEP FORWARD, LEFT CARRYING PUNCH

用法 Function:

為連上式勇往前衝以逼敵 This is for continuing the previous technique’s bold advance upon the opponent. 說明


聞令數一由上式右腳復往西北出一步膝成左弓式同時右拳收囘抱肘左拳卽由前上挑過頂身順拳勢左轉胸展腰直眼平視西北如第四十一圖

“One!” From the previous posture, your right foot steps out to the northwest and the knee bends, making a left bow stance. At the same time, your right fist withdraws, elbow wrapped in, and your left fist does a carrying punch forward and upward until higher than your headtop, your body going along with the technique by turning to the left [right]. Your chest is opened up and your torso is upright. Your gaze is to the northwest. See photo 41:


此式連環勇猛晉逼敵人有氣吞河嶽之勢使敵不敢正眼視我以奪以魄 This continues my fierce advance pressing in toward the opponent. I absorb the power of rivers and mountains [smashing him aside with an avalanche, washing him away with a flash flood], making him not dare to even look me in the eye and contend against my aggressive spirit.

第四十二式 Posture 42



用法 Function:

為再連上法逼近敵身出掌以擊之 This is for continuing to press in against the opponent, this time with a palm strike. 說明


聞令數二由上式右脚再向西北出一步絆敵足部膝彎成右弓式同時左拳收囘抱聞令數二由上式右脚再向西北出一步絆敵足部膝彎成右弓式同時左拳收囘抱肘右拳變掌向敵中部撑出身順手勢右轉肘右拳變掌向敵中部撑出身順手勢右轉眼仍視西北如第四十三圖 “Two!” From the previous posture, your right foot again steps out to the northwest, to trip up the opponent’s leg, and the knee bends, making a right bow stance. At the same time, your left fist withdraws, elbow wrapped in, and your right fist becomes a palm, bracing out to the middle of the opponent’s body, yo ur body going along with the technique by turning to the right [left]. Your gaze is to the northwest. See photo 43 [42]:


此式承上式逼近敵身出其不意出掌擊其中部以足絆其腳跟使敵失其重心 This continues from the previous technique’s forward pressure, taking the opponent by surprise with a palm strike

to the middle of his body while tripping up his footing with my step, causing him to lose his balance.

第四十三式 Posture 43


退步穿掌 RETREAT, THREADING PALM

用法 Function:

為更換方向轉變法 This is for switching things up. 說明


聞令數三由上式右腳後退一大步伸腿成左弓式同時左拳變掌經右掌上向西北穿出指端斜向上右掌卽收囘於左腋下掌心向下眼視掌如第四十三圖 “Three!” From the previous posture, your right foot retreats a large step and the leg straightens, making a left bow stance. At the same time, your left fist becomes a palm and threads out to the northwest over your right palm, fingers pointing diagonally upward, as your right palm withdraws below your left armpit, palm downward. Your gaze is to your [left] palm. See photo 43:


此式以掌應敵囘身撤步以迎敵為為轉變戰略之要法轉變為技術上最要之工夫此式以掌應敵囘身撤步以迎敵為為轉變戰略之要法轉變為技術上最要之工夫卽注意腰胯之靈活腰胯靈活則身輕而步卽注意腰胯之靈活腰胯靈活則身輕而步穩無論上下前後左右來攻均有應付裕如之暇否則有顧此失彼之弊 In this technique, I use a palm to respond to the opponent while turning my body and retreating a step, engaging the enemy with a change of strategy. Transforming from one technique to another is the most important skill. Pay attention to the nimbleness of your hips. If your hips are nimble, your body will be lively and your step stable. No matter what direction attacks comes from – above, below, front, rear, left, right – you will thus give yourself time to deal with them rather than be in the predicament of having too much to do at once.

第四十四式 Posture 44


穿掌應面腿 THREADING PALM, KICK TO THE FACE

用法 Function:

為轉身勾挂乘機使腿法 This is for turning around with hooking and hanging, taking advantage of the opportunity to perform a kicking maneuver. 說明


聞令數四由上式身向右後轉左腳卽東南出一大步右腳卽提起東南高踢同時左臂用掌由後上經額前繞一周下鈎至腰間同時右掌卽由腰間向上挂卽向下拍與右腳背相拍擊左腿直立膝微屈胸展腰挺身正面東南眼平視前方按此圖係右掌上挂右腿將踢時之形狀掌與腳面拍如第四十四圖虛線

“Four!” From the previous posture, your body turns to the right rear, your left foot takes a large step out to the southeast, and your right foot lifts and does a high kick to the southeast. At the same time, your left arm sends its palm from above in the rear, making a circle that passes in front of your forehead then hooking downward until beside your waist [grasped into a fist], while your right palm goes fro m beside your waist to hang upward then come down to slap the back of your right foot. Your left leg is standing straight but with the knee slightly bent. Your chest is opened up and your torso is upright. Your body is squared to the s outheast, your gaze forward and level. The photo shows the moment when the right palm is hanging up and the right leg is about to kick, palm about to slap the top of the foot. See photo 44:


此式為勾摟挂掌使用應面腿拳術之練習有形擊形無形擊影腦海之中須印一假想敵然術之取勝不全在力勝實在智勝 This technique hooks and pulls in while hanging up a palm, then kicks to the opponent’s face. In the practice of boxing arts, there is shape striking shape, not shap e striking shadow. Within your mind, there has to be an imagined opponent. Skillful victory is not really about success through sinew, but is actually a matter of winning through wisdom.

第十二段口令一二三四 SECTION 12 (“1… 2… 3… 4…”):

第四十五式 Posture 45


飛手撩掌 FLYING HAND, RAISING PALM

用法 Function:

似撥雲見日之形為禦敵乘隙進取法 This is a method of “spreading the clouds to see the sun” – defending against the opponent by taking advantage of a gap through which to attack. 說明


聞令數一由上式右腳向東南落左腳卽向前出半步腳尖點地兩膝屈成跨虎式同時右掌由前下往上飛起向右後平展指端與右耳平左掌卽由腰間經左胯外向前上撩掌指與肩尖齊肘下墜對左膝腰直胸展眼視掌面向東北如第四十五圖 “One!” From the previous posture, your right foot comes down to the southeast and your left foot then takes a half step forward, toes touching down, both knees bending, making a sitting tiger stance. At the same time, your right palm flies up from below in front and spreads away to the right rear, fingertips at ear level, while your left palm goes from your waist, passing along your hip, going forward and upward as a raising palm, fingers at shoulder level, elbow pointing downward toward your left knee. Your torso is upright and your chest is opened up. Your gaze is to your palm, body squared to the northeast. See photo 45:


此式以右手撥左手撩閃身讓開正面使敵利於逼近我則順勢以擒之 As I use my right hand to deflect and left hand to raise up, my body turns sideways to leave room in front, inducing the opponent to approach me so I can then seize the opportunity to capture him [in the following technique].

第四十六式 Posture 46


左擒右劈 LEFT CAPTURING, RIGHT CHOPPING

用法 Function:

為前擒後劈法 This is for capturing with the front hand and chopping with the rear hand. 說明


聞令數二由上式左腳向東南出半步膝彎成左弓式同時左掌翻腕反擒卽握拳於腰間右掌卽變拳由右後上向前劈拳心向上大膊貼於右脇成左拗步腰直胸挺眼視東南如第四十六圖 “Two!” From the previous posture, your left foot takes a half step to the southeast and the knee bends, making a left bow stance. At the same time, your left palm turns over so the wrist is upward, then captures and is grasped into a fist beside your waist, while your right palm becomes a fist and chops forward, the center of the fist facing upward, upper arm touching your right ribs. You are in a left crossed stance [left foot and right hand forward]. Your torso is upright and your chest is sticking out. Yo ur gaze is to the southeast. See photo 46:


此式承上式左撩開卽反擒其手而右撥卽握拳由下劈以虛變實之法也 Continuing from the previous technique, your left raising palm now captures the opponent’s hand and your right deflecting palm now comes downward as a backfist, a fake technique switching to a real technique.

第四十七式 Posture 47


踢腿 SNAPPING KICK

用法 Function:

為乘上勢用彈腿擊敵法 This is for continuing from the previous technique by attacking the opponent with a snapping kick. 說明


聞令數三由上式提右腿向東南平踢同時左腳伸直身略向左轉上體與兩臂不變身正向東頭右轉眼視東南如第四十七圖 “Three!” From the previous posture, your right foot lifts and does a level kick to the southeast, your left leg straightening, your body slightly turning to the left. Your upper body and arms have not moved. Your body is squared to the east, head turned to the right, your gaze to the southeast. See photo 47:


此式上法旣擒且劈而敵以閃身格拒我則乘機以腿取其下部法 Continuing from the previous technique of capture and chop, if the opponent dodges or blocks, I then take advantage of the opportunity to kick to his lower body.

第四十八式 Posture 48


衝拳撩掌 THRUST PUNCH, RAISING PALM

用法 Function:

為衝擊敵人法 This is for striking the opponent with a thrust punch… 說明


聞令數四由上式右腿向東落地直立左腿卽提起小腿垂直同時右拳向東南衝出眼視拳卽迴轉視西北同時左拳變掌由腰間下垂沿左腿外向前撩右拳卽收囘於腰間抱肘眼視西如第四十八圖 “Four!” From the previous posture, your right leg comes down to the east [southeast] and stands straight, your left leg lifts so the lower leg is hanging down, while your right fist thrusts out to the southeast. Your gaze is to your fist. Then turn around [to the left] to face to the northwest, your left fist becoming a palm and hanging down from beside your waist, moving along the outside of your left leg and raising forward [with your left leg also r aising], while your right fist withdraws to your waist, elbow wrapped in. Your gaze is to the west [northwest]. See photo 48:


此式為衝東擊西之法惟迴身轉變身隨法轉眼視八方監視敵方舉動不可須臾忽略則拳法思過半矣 This technique is a feint [“Shout to the east, but strike to the west.”]. However, when turning around, your body must go along with your eyes as they observe for opponents wherever they may be moving. You must never ignore opponents for an instant, and thereby your boxing art will already be halfway realized.

第十三段口令一二三四 SECTION 13 (“1… 2… 3… 4…”):

第四十九式 Posture 49


反擒插拳 CATCHING, INSERTION PUNCH

用法 Function:

為擒拿封閉法 This is for catching an opponent and sealing him off. 說明


聞令數一由上式左腳向西北撇落地足尖朝北同時滚身向左右腳跟上挨左腳之左旁跥地腿胯下沉兩膝彎成九十度腰直胸挺身向北眼視西同時右掌隨左脚發動時卽向內翻掌作擒拿勢右拳卽由腰間上沖與肩部平卽隨右腿下跥時一插左掌卽護於右肩前掌心向下小臂平屈於胸前如第四十九圖 “One!” From the previous posture, your left foot comes down to the northwest, toes swung out to point to the north [south], your body rolling to the left, and your right foot follows, stomping down beside your left foot, hips sinking down, both knees bent to make a ninety degree angle. Your torso is upright and your chest is sticking out. Your body is squared to the north [south], your gaze to the west. At the same time, your right [left] palm goes along with the initial movement of your left foot by turning inward with a catching action, while your right fist rushes upward until at shoulder level, then does an insertion punch when your right leg stomps downward, your left palm guarding in front of your right shoulder, palm downward, lower arm bent in, level in front of your chest. See photo 49:


此式與上式連貫使用左掌撩時迅卽翻腕反擒敵手卽出右臂以拳下插挾其臂卽轉其身復以足跥其脚以收實效 This continues from the previous technique. Once I have raised my left palm, I quickly turn my wrist to catch the opponent’s hand, then my right arm comes out with a downward punch to embrace his arm, which seals off his body, though the major effect is achieved by stomping on his foot.

第五十式 Posture 50


轉身反擒 TURN AROUND, CAPTURE

用法 Function:

為迴身擒拿法 This is for turning around and capturing. 說明


聞令數二由上式全身向左後旋轉左腳卽向西出一大步右膝彎成左反弓式同時左臂向左直伸插掌作欲擒勢指端朝西右拳卽收囘抱肘眼視西如第五十圖 “Two!” From the previous posture, your whole body spins around to the left rear, your left foot takes a large step out to the west, and your right knee bends, making a left reverse bow stance. At the same time, your left arm extends with an inserting palm in a manner of wanting to capture, fingertips pointing to the west, as your right fist withdraws, elbow wrapped in. Your gaze is to the west. See photo 50:


此式為下式之蓄勢亦是連貫一氣非為二式因便利教授團體計分析為二學者諒之 This technique stores up power for the next, and they are really one continuous energy rather than two techniques. Understand that they are divided into two simply to make it easier to teach when guiding a group.

第五十一式 Posture 51



用法 Function:

為承上式擒拿卽吐拳以攻之 This is for continuing from the previous capturing technique by attacking with a punch. 說明


聞令數三由上式左腿彎右腿伸直成左弓式同時左掌變拳收囘腰間抱肘右拳卽由腰間向西平衝成拗步胸挺腰直眼視西如第五十一圖 “Three!” From the previous posture, your left leg bends and your right leg straightens, making a left bow stance. At the same time, your left palm becomes a fist and withdraws to your waist, elbow wrap ped in, while your right fist does a level thrust punch to the west. You are in a crossed stance [left foot and right hand forward]. Your chest is sticking out and your torso is upright. Your gaze is to the west. See photo 51:


此式為實出虛歸以備下式之起勢俾習練者常得轉變之機會並習虛實奇正之應用敵以奇來我以正對使敵莫測我虛實則致勝之權自我操否則拘迂成法則術之用窮矣 This technique is a matter of a real technique [the following finger jab] coming from a feint [this punch], a preparation for the next posture. This enables you in your training to constantly grasp the changes of opportunity, and train for the using of fake and real techniques, straightforward a nd surprise techniques. When an opponent attacks in an unorthodox way, I respond in a straightforward way [in order to take him by surprise]. This renders the opponent unable to figure out whether my responses are going to be feints or real, putting me successfully in charge of the situation. If you get stuck in fixed methods, the applicability of the art will be limited.

第五十二式 Posture 52


轉身插掌 TURN AROUND, INSERTING PALM

用法 Function:

如迴身反插法 This is for turning ar ound and jabbing. 說明


聞令數四由上式兩脚不動左腿伸直右腿彎成右弓式同時右拳收囘變掌卽向東平插掌心向下左拳仍抱肘於腰間身卽順掌勢向右轉眼視東如第五十二圖 “Four!” From the previous posture, your feet stay where they are, but your left leg straightens and your right leg bends, making a right bow stance. At the same time, your right fist withdraws, becoming a palm which then does a level jab to the east, palm facing downward, your left fist remaining at your waist, elbow wrapped in. Your body goes along with the palm technique by turning to the right. Your gaze is to the east. See photo 52:


此式蓋擊西者虛也應東者實擊拳為正出掌為奇此為拳術變化之法也 The strike to the west was a feint, the real technique being the response to the east. The punch is straightforward while the palm strike is a surprise. This is the way of change in boxing arts.

第五節歌訣 Part 5: Song [for Sections 14-18]

撲腿衝拳拳復抽身翻腿撲掌披遒雙風貫耳先施腿丁肘攻心劈蓋頭左腿起時雙拳出並穿左掌右撩喉掌分左右步隨擠飛手翻身穿掌投十字拳連抹掌手雙拳抱肘勢停留 A leg flattens, a punch thrusts out and draws back in.

Turning around, a leg flattens and a palm spreads forcefully. Double wind through the ears starts by delive ring a kick. Attack his heart with an elbow, then give a b ack-handed slap to his face. When the left leg kicks, a palm also shoots out. Palms then thread to the opponent’s throat, right then left. Palms then extend with steps, right then left, to press another opponent. Hands fly, turn around, and a threading palm is sent out. The crossed hands continue into the wiping palm. With double punches and wrapping elbows, the set comes to a rest.

第十四段口令一二三四 SECTION 14 (“1… 2… 3… 4…”):

第五十三式 Posture 53


套步撲腿 SHEATHING STEP, FLATTENED LEG

用法 Function:

為迴轉劈打法 This is for turning around and chopping. 說明


聞令數一由上式左脚經過右脚前向東出一大步同時右脚卽由左脚後向東出半步兩脚成交叉式同時兩脚尖由右旋轉一周左脚復向東出一大步伸直撲腿右膝成左反弓式同時左拳變掌向東經右臂直穿出隨順身體右轉身再旋轉一周右掌隨勢向上復往懷中帶囘抱肘於腰間左臂伸直與左腿同時向東下劈掌臂與腿平腰直胸挺眼視東如第五十三圖 “One!” From the previous posture, your left foot passes in front of your right foot and takes a large step to the east, then your right foot takes a half step to the east behind your left foot, making an overlapping stance. The toes of both feet now spin around to the right and your left foot again takes a large step out to the east, the leg extends and flattens out, and your right knee bends to make a left reverse bow stance. At the same time, your left fist becomes a palm and threads out straight along your right arm, then goes along with your body as it spins around to the right, your right palm going along upward, then drawing back in front of your chest and beside your waist, elbow wrapped in, your left arm now extending with your left leg, chopping down to the east, arm parallel with the leg. Your torso is upright and your chest is sticking out. Your gaze is to the east. See photo 53:


此式步步為營節節進逼以套步偷過敵後復以旋轉實行劈打之法然而轉身猶如撥草之蛇迴環如旋風起舞瞬息變化百出使敵目眯五色不為我制者幾希 With every step, I am steadily advancing. With my sheathing step, I am stealing gro und to get behind the opponent, then when I spin to do a chop, I turn around like a snake slithering through the grass, spinning like the wind, dancing with a display of so much transformation that he is too overwhelmed to do anything to me.

第五十四式 Posture 54



用法 Function:

承上式乘隙進擊法 This is for continuing from the previous technique by taking advantage of an opening for attack. 說明


聞令數二由上式兩脚原地不動左膝彎右腿卽伸直成左弓式同時左掌收囘握拳抱肘於腰間右拳卽由腰間向東平衝成拗步眼視東如第五十四圖 “Two!” From the previous posture, your feet stay where they are, but your left knee bends and your right leg straightens, making a left bow stance. At the same time, your left palm withdraws, grasped into a fist at your waist, elbow wrapped in, while your right fist leaves your waist with a level thrust punch to the east. Yo u are in a [left] crossed stance [left foot and right hand forward]. Your gaze is to the east. See photo 54:


此式承上式以實為虛以奇為正所以出右拳擊之為術之正也 Continuing from the previous action, switch from a feinting maneuver to a real technique, taking him by surprise with straightforwardness as you strike with your right fist, a very straig htforward technique.

第五十五式 Posture 55


套步抽拳 SHEATHING STEP, WITHDRAWING FIST

用法 Function:

為斂身觀變法 This is for gathering yourself in to await developments. 說明


聞令數三由上式左脚撤囘套入右腿後與小腿成交叉形兩膝下彎成坐盤式同時左拳變掌承於右臂下右拳卽收囘腰間抱肘同時左掌由下經身前上托掌心向東上體盡力向左轉胸正向西方眼平視西胸挺腰直如第五十五圖 “Three!” From the previous posture, your left foot withdraws in a sheathing step behind your lower right leg, your legs overlapping, both knees bent, making a sitting twisted stance. At the same time, your left fist becomes a palm and goes along under your right arm as your right fist withdraws to your waist, elbow wrapped in, left palm passing in front of your body and propping upward, palm facing to the east [south], your upper body putting all its energy into turning to the left [right]. Your chest is squared to the west [south], your gaze level to the west. Your chest is sticking out and your torso is upright. See photo 55:


此式為坐以觀變待機而動以靜制動之法也 This technique is one of sitting down to observe developments, of awaiting the opportunity to act, of overcoming movement with stillness.

第五十六式 Posture 56


撲腿披掌 FLATTENED LEG, CHOPPING PALM

用法 Function:

為迴身披打法 This is for turning around to spread and hit. 說明


聞令數四由上式兩脚尖向左後轉左脚伸直卽向西出一大步撲腿左膝彎成左反弓式同時左掌由上往左後作反擒狀卽囘護右肩前右拳由腰間變掌由右後上向西下披全身支持於左脚上胸挺腰直頭仰眼視西如第五十六圖 “Four!” From the previous posture, your toes spin around to the left rear, your left [right] leg straightens, then takes a large step to the west and flattens out, your left knee bending, making a left reverse bow stance. At the same time, your left palm goes to the left rear in a capturing manner, then withdraws to guard in front of your right shoulder, while your right fist changes to a palm, goes upward, and chops downward to the west. Your body is supported on your left foot. Your chest is sticking out and your torso is upright. Your head is raised, your gaze to the west. See photo 56:


此式為上架下轉迴身披打此所謂以奇生正之法術也然而習長拳者以騰竄閃轉四字為取勝卻敵之法學者三注意焉 Having propped up, I turn around underneath, then spread and hit. This is the skill of using a surprise technique [the spin] to generate a straightforward one [the chop]. Long Boxing practitioners win by way of four terms: “leap” to “avoid”, “turn” to “evade”. Repeatedly give them attention.

第十五段口令一二三四 SECTION 15 (“1… 2… 3… 4…”):

第五十七式 Posture 57


雙風貫耳 DOUBLE WINDS THROUGH THE EARS

用法 Function:

為攻人上部如其往下避則縱腿以取其中觀察敵情隨機變化之法也 This is for attacking an opponent’s upper body by way of kicking to the middle of his body when he evades below and then capitalizing on the adjustment he makes to it. 說明


聞令數一由上式左腿提起未落之時右脚卽向上向西踢腿兩脚落地右膝彎左脚直成右弓式同時右手收囘握拳兩臂卽由左右向前合擊左掌護住右拳虎口均向上兩臂與肩平胸挺腰直眼視西如第五十七圖 “One!” From the previous posture, your left leg lifts up, and before it comes down, your right foot does a kick to the west. When your feet come down, your right knee bends and your left leg straightens, making a right bow stance. At the same time, your right hand withdraws, grasping into a fist, then your arms go forward from the sides, joining together with a strike, your left palm guarding at and touching the tiger’s mouth of your right fist, your arms raised up until at shoulder level. Your chest is sticking out and your torso is upright. Your gaze is to the west. See photo 57:


此式先以腿取敵中部次以拳擊其上部蓋騰空躍腿可以奇取不可用以正出奇者出奇制勝之謂也 First I kick to the middle of the opponent’s body, then punch to his upper body. Surprising him with a jumping kick, there is nothing he can do, and then the straightforward technique follows upon it, victory brought about through the surprise. [i.e. This punch to the head works because of the distracting kick.]

第五十八式 Posture 58


丁心肘 ELBOW TO THE HEART

用法 Function:

為逼近敵身閃肘以避敵蓄勢以攻之 This is an evasive elbow maneuver for when an opponent’s body is getting too close, which also stores up power to attack him. 說明


聞令數二由上式右腳伸直左膝彎成左反弓式右小臂向懷中折囘肘尖卽向西丁出左掌卽護住右臂肘上全身向左吞囘腰直胸挺眼平視向西如第五十八圖 “Two!” From the previous posture, your right leg straightens and your left knee bends, making a left reverse bow stance, your right arm folds in toward your chest, then the elbow strikes out to the west, your left palm guarding on top of your elbow, your body withdrawing to the left. Your torso is upright and your chest is sticking out. Your gaze is level to the west. See photo 58:


此式設敵抗過上法而反被他黏住不能脫身我迅將小臂折囘以避之蓄勢以待之 If the opponent resists against the previous technique and I am unable to escape from him sticking to me, I bend in my forearm to inhibit him and store up power for what happens next.

第五十九式 Posture 59


按手劈蓋 PUSH DOWN, BACK-HANDED SLAP

用法 Function:

承上法解脫敵手順勢劈打法 This is for continuing from the previous technique of escaping from the opponent to now take advantage of the opportunity to strike him with a back-handed slap. 說明


聞令數三由上式右腳彎左腳迅速伸直向前吐出左掌按住右肘尖右臂朝上翻轉手背卽向敵面門劈下左掌承於右膊下眼視西如第五十九圖 “Three!” From the previous posture, your right leg bends and your left leg quickly straightens to shoot you forward, your left palm touching your right elbow as your right arm turns over upward and chops downward to the opponent’s face with the back of the hand, your left palm moving along the underside of your right arm. Your gaze is to the west. See photo 59:


此式承上式敵以掌抵住我肘我卽下按順勢劈其面門以克之惟身之吞吐關係技術匪細吞能不動樁法閃過任何重大攻擊吐法亦然無論何種部位祗要將身一吐勝過多少拳腳而有餘譬如擊人拳離敵身尚差粒許將身一挺則中矣否則虛發耳 Continuing from the previous technique, if the opponent uses a palm to resist against my elbow, I overcome him by pushing down and seizing the opportunity to give him a back-handed slap to the face. The skillfulness of your body’s sucking back and shooting out is no trifling thing, for by withdrawing you will be able to dodge without having to leave your ground, no matter how severe his attack and regardless of your position, and you then need only shoot your body forward and you will have more than enough for an assortment of punches and kicks. By

knocking away the opponent’s attack so he leans in slightly, you will hit the target, but otherwise it will be in vain.

第六十式 Posture 60


應掌腿 RESPONDING WITH BOTH PALM & LEG

用法 Function:

承上二式而成上中下三部連環攻擊法 This is for continuing from the previous two techniques by continuing the attack upon his upper body to now attack his middle and lower body. 說明


聞令數四由上式右腳伸直左腳卽向西平踢身稍右轉同時左掌與腿同向西直伸右掌收囘護於懷中眼視西如第六十圖 “Four!” From the previous posture, your right leg straightens and your left foot does a level kick to the west, your body slightly turning to the right. At the same time, your left palm ext ends to the west parallel with your left leg, your right palm withdrawing to guard in front of your chest [withdrawing to the waist in the photo]. Your gaze is to the west. See photo 60:


此式為上式不中連續以腿掌同施攻其上中二部使其有應接不暇之勢必為我侵而後已 If I miss with the previous technique, I continue by executing both a kick and a palm strike, simultaneously attacking him above [below] and in the middle, causing him to have too much to deal with at once, ensuring that I will get a way through.

第十六段口令一二三四 SECTION 16 (“1… 2… 3… 4…”):

第六十一式 Posture 61



用法 Function:

承上法之腿復以撑絆取敵法 This is for continuing from the previous kicking technique by using a bracing and tripping method to defeat the opponent. 說明


聞令數一由上式左腿落地卽絆敵之左腳膝彎成左弓式同時出右掌撑敵之中部成左拗步左掌卽收囘於腰間眼西腰直胸挺如第六十一圖 “One!” From the previous posture, your right leg lowers to trip up the opponent’s left foot, the knee bending to

make a left bow stance. At the same time, your right palm braces to the middle of the opponent’s body, putting you in a left crossed stance [left foot and right hand forward], your left palm withdrawing to your waist. Your gaze is to the west. Your torso is upright and your chest is sticking out. See photo 61:


此式以上式敵已被我擊中而未跌此法以腳絆敵以掌撑之使其速倒之法也 If the opponent has yet not fallen after being struck by me, I trip him up with my step while bracing against him with a palm, causing him to quickly fall away.

第六十二式 Posture 62


穿掌 THREADING PALM

用法 Function:

為起合轉變之法 This is for changing in accordance with the previous technique. 說明


聞令數二由上式身樁不變左掌由腰間向右掌上穿出指端向上同時右掌變拳收囘腰間抱肘成左弓式胸展腰直眼視西如第六十二圖 “Two!” From the previous posture, your stance does not change, but your left palm threads out over your right palm, fingers upward, while your right palm becomes a fist and withdraws to your waist, elbow wrapped in. You are in a left bow stance. Your chest is opened up and your torso is upright. Your gaze is to the west. See photo 62:


此式以左掌穿右掌為轉變承起之法 I continue from threading with my right palm by changing to my left palm.

第六十三式 Posture 63

術名

Name of the technique:

撩掌 RAISING PALM

用法 Function:

為變更方向準備追擊法 This is for changing direction and preparing a pursuing strike. 說明


聞令數三由上式全身向右後轉面向東右脚收囘半步腳尖點成丁字形跨虎式同時右掌由腰間向下往前上撩復由右後上方往下經右腿外沿向上撩指尖與肩尖相對肘與膝左掌仍舉於左後方眼視東如第六十三圖 “Three!” From the previous posture, your body turns to the right rear to be squared to the east [north], your right foot withdraws a half step, toes touching down, making a T-shape sitting tiger stance. At the same time, your right palm goes downward, raises forward and upward, again goes downward to again raise upward passing along the outside of your right leg [i.e. your right hand makes a complete circle on your right side], fingers and shoulder pointing toward each other, elbow and knee pointing toward each other, your left hand remaining raised to the left rear. Your gaze is to the east. See photo 63:


此式轉變方向為追擊之準備又為觀察敵情以此為守勢待機進行之法也 This change of direction is a preparation to chase an opponent, and is also for me to observe his mind, thus I adopt this defensive stance and wait for the moment to advance.

第六十四式 Posture 64


應手掌 RESPONDING WITH A PALM

用法 Function:

為追擊引敵之法 This is for pursuing an opponent while drawing in to strike. 說明


聞令數四由上式右腳向東出一步左腳卽跟上半步右腳復上前一步同時右掌收囘懷中復向前出掌以應敵左掌仍平舉不動全身向南直立眼視東如第六十四圖 “Four!” From the previous posture, your right foot steps out to the east, your left foot follows forward a half step, and your right foot again takes a step forward. At the same time, your right palm withdraws in front of your chest, then goes out forward to meet the opponent, your left palm remaining raised and unmoving. Your body is squared to the south [north] and standing straight. Your gaze is to the east. See photo 64:


此式設敵節節退卻我則步步追隨敵緊走則緊追慢走則慢趕以掌引之試探其反攻態度以備攻擊之方策 If the opponent steadily steps away, I steadily follow. If he retreats urgently, I chase him urgently, and if he retreats leisurely, I chase him leisurely. The strategy of drawing in my palm is to see if he will counterattack and also to prepare to strike.

第十七段口令一二三四 SECTION 17 (“1… 2… 3… 4…”):

第六十五式 Posture 65


引左掌 DRAWING OUT THE LEFT PALM

用法 Function:

連上式連貫追擊法 This is for continuing to pursue the opponent. 說明


聞令數一由上式左腳向東出一步右腳卽跟上半步左腳復向前進一步同時左掌收囘於懷中全身向北直立眼視東如第六十五圖 “One!” From the previous posture, your left foot steps out to the east, your right follows forward a half step, and your left foot advances another step. At the same time, your left palm gathers in to be in front of your chest [while your right hand goes to your waist]. Your body is squared to the north [south] and standing straight. Your gaze is to the east. See photo 65:


此式連上式一貫動作兩腳交互向前跟擠時全身與步法取自然之姿勢不可顯有呆滯狀態則與五合三權之法相符矣 This technique is linked to the movement of the previous technique. As your feet alternate advancing and following in order to crowd the opponent, your body and step should strive for naturalness and must not manifest any sluggishness, thereby conforming to the principle of whole-bodied coordination.

第六十六式 Posture 66


翻身飛雲 TURN AROUND, SEND UP CLOUDS

用法 Function:

為翻身反披法 This is for turning around and spreading. 說明


聞令數二由上式兩腳原地向右後轉同時右腳向東出半步卽提右腿往下跥同時右臂隨身翻轉由上向右側平舉指尖向東掌心朝南左掌卽護於右肩前兩膝微屈腰直胸挺全身北向眼視東如第六十六圖 “Two!” From the previous posture, your feet stay in their location as you turn around to the right rear, your right foot going a half step to the east, lifting and stomping down. At the same time, your right arm goes along with the turning of your body by raising upward until level on the right side, fingers pointing to the east, palm facing to the south [north], your left palm guarding in front of your right shoulder. Your knees are slightly bent. Your torso is upright and your chest is sticking out. Your body is squared to the north, your gaze to the east. See photo 66:


此式為翻身脫險復以右掌順勢披打法 I turn my body to escape a threat, taking advantage of the opportunity to also split through with my right palm.

第六十七式 Posture 67


穿掌 THREADING PALM

用法 Function:

為左攔右挂法 This is for blocking down with the left hand and hanging up with the right. 說明


聞令數三由上式身樁不變右掌由側往下向懷中繞一周卽向東斜上穿掌同時左臂由左下外側向上繞一周至右肩前時兩掌一右穿一下按於肋旁全身卽直立身正向北眼平視如第六十八圖 “Three!” From the previous posture, your body stays the same, but your right palm coils a circle, going downward, in front of your chest, and threading diagonally upward to the east, while your left arm coils a circle, going outward to the lower left, upward, and ends up in front of your right shoulder, so that one palm threads to the right while the other pushes down beside your ribs. Your body is standing straight, squared to the north, your gaze level. See photo 68 [67]:


承上式復以攔截繞挂以防之為有備無患之法也 Continuing from the previous technique, I then intercept while coiling around to hang a palm up, guarding against his attack to be prepared against all harm.

第六十八式 Posture 68


十字掌 CROSS-SHAPED PALM STRIKES

用法 Function:

為開門迎敵法 This is for opening the door to face an opponent. 說明


聞令數四由上式左腳向西出一大步膝彎右腿伸直成左弓式同時右臂由上向右側平舉指端向上左掌卽由右肋前向西直撑開指端向上眼視左掌如第六十八圖 “Four!” From the previous posture, your left foot takes a large step to the west, the knee bends, and your right leg straightens, making a left bow stance. At the same time, your right arm goes to the right side until raised level, fingers upward, while your left palm spreads away to brace straight to the west, fingers upward. Your gaze is to your left palm. See photo 68:


此式一為開門迎敵二為休止式之預備 This technique is firstly to open the door to face the opponent, secondly to prepare for the end of the exercise.

第十八段口令一二三四 SECTION 18 (“1… 2… 3… 4…”):

第六十九式 Posture 69


十字手 CROSSED HANDS

用法 Function:

為雙擒法

This is for capturing with both hands. 說明


聞令數一由上式身樁不動右掌由右側往下繞半周向西與左掌脈膊相接指端均斜向上眼視西腰直胸挺如第六十九圖 “One!” From the previous posture, your stance does not change, but your right palm goes downward and coils a half circle to the west so that it and your left palm are crossing each other at the pulse area, fingers diagonally upward. Your gaze is to the west. Your torso is upright and your chest is sticking out. See photo 69:


此式為休止式結束上項繁劇工作使全身血運漸漸恢復原狀以免劇烈運動後頓然停止關於衞生上所受影響匪細凡拳術開始與終局均係由簡入繁俾心身有所準備而終局亦是由劇烈漸入和平使心身易於恢復疲勞是也 This posture draws the set to a close, reining in the work you have put into all the previous postures, causing the blood circulation throughout your body to gradually resume its original condition by bringing the set to a halt before it turns into strenuous exercise. The influence of this upon your health is not small. Boxing sets usually go from beginning to end by going from simplicity to complexity as a way to build you up in mind and body. Concluding the set then takes your strenuousness to mildness so that your mind and body will easily recover from the fatigue.

第七十式 Posture 70


抹掌 WIPING PALM

用法 Function:

連續上式雙擒法 This is for continuing from the previous technique of capturing with both hands. 說明


聞令數二由上式右膝彎左腳收囘向北伸出兩大腿拼攏左腿直腰腹後吞成虛式同時兩手翻腕向懷中帶左掌卽變拳抱肘於腰間右掌順左腿由懷中沿腿往下抹至腳背復向前向上高舉同時上體隨掌俯仰眼平視定式如第七十圖 “Two!” From the previous posture, your right knee bending, your left foot withdraws and goes out to the northeast. Your thighs are together, left leg straight, belly sucked back, making an empty stance. At the same time, your hands turn over their wrists and draw in toward your chest, your left palm then becomes a fist at your waist, elbow wrapped in, while your right palm goes downward, wiping along your left leg until to the back of the foot, your upper body going along the palm by leaning over, then goes forwa rd and raises up high. Your gaze is level and settled. See photo 70:


此式為休止式之調和動作亦為休止式之餘勇也 This posture brings the set to an end, harmonizing the movements, and is a final display of bravado.

第七十一式 Posture 71


退步雙拳 RETREAT WITH DOUBLE PUNCHES

用法 Function:

為終局休止式 This is for bringing the set to a conclusion. 說明


聞令數三由上式左腳向南退一步右腳卽跟退兩腳竝立同時左拳變掌向前伸右臂翻掌由前而下兩掌相會於胸前掌心向上卽由內分向左右經腰間復向前繞轉一周仍在胸前兩掌相碰時卽變拳兩虎口相對脈膊向下全身直立眼平視北如第七十一圖 “Three!” From the previous posture, your left foot retreats a step to the south and your right foot follows by retreating so that both feet are standing next to each other. At the same time, your left fist becomes a palm and extends forward while your right palm turns over coming downward so that both palms meet in front of your chest, palms facing upward. Then they spread apart to the sides, passing by your waist, and again go forward, making complete circles ending up again in front of your chest, and once your palms meet, they have become fists, tiger’s mouths facing each other, pulses facing downward. Your whole body stands straight, your gaze level to the north. See photo 71:


此式為終局運動四肢筋肉使心臟血運部漸弛工作恢復常度之法也 This posture concludes the exercise for your limbs and muscles, causing your heartbeat and blood circulation to relax and resume their normal w orking condition.

第七十二式 Posture 72


抱肘 WRAPPING ELBOWS

用法 Function:

Taizu Cannon Boxing Set _ Brennan Translation

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