太極拳譜啚説
A TAIJI BOXING HANDBOOK
施調梅
by Shi Diaomei
[published June, 1959]

[translation by Paul Brennan, March, 2019]

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一　總説
PART ONE: INTRODUCTION

或問：子曩言：「太極無法，動即是法，」並引易傳曰：「變動不居，周流六虛，上下無常，剛柔相易，不可為典要，唯變㪽適，」今子又作啚説，舉凡一臂之髙低，一步之大小，身向之正隅，莫不斤斤以繩墨相示，不與前義適相反耶？予曰：不然，無法者，乃不變之義，不變者：太極之「體」也，動者，變也，變者：太極之「用」也，法本無法，故始雖有法而終於無法，「不可為典要」者：不可抱泥於繩墨而不知變也，故曰：「唯變㪽適，」是以手之㪽指，足之㪽蹈，身之㪽向，必先合於繩墨而後繩墨可廢，㪽謂「由著熟而後懂勁，」著―繩墨也，懂勁―則可不拘繩墨矣，故曰：「變動不居，周流六虛，」無往而不從心㪽欲矣，是與前義並不相反而實相成，且太極拳之拳架，以節節貫串，刻刻變化為苐一義，故其動也，曲中求直，如環之無端，泯斷續之跡，其變也，由漸而微，如白雲之為蒼狗，斯須無變化之痕，是安得以繩墨可求耶？故是啚之作乃不得已為初學入門引路之需，閱是啚者，當如視空中飛鳥，水上作畫然，祇可以會於心，而不可泥於跡，則庶幾可得筌蹄之用而無刻舟求劍之誚矣。
然則著如何而能熟耶？曰：在初學，每學一勢，或一名式，必反覆繼續練習，至純熟而後再加一手或一式，如是雖全套名目數十式，亦不難式式皆綿密周到，貫串一氣也，㪽謂日計不足，月計有餘矣，若練完全套，每日兩遍，能使純熟，三遍能增功夫，若每日一遍，僅不忘而已。
至於換氣轉勁工夫：如攬雀尾一式，有掤捋擠按四法之勁，由上掤向前之勁，一換氣而變為下捋向後之勁，再換氣而變為前擠之勁，更換氣而變鬆化下按之勁，一式一勢，一開一合，交接之間，換式換勢，換勢換法，換法換意，由換意而換氣，由換氣而換勁，此種變換之中，內部之意氣運用，與外部之四肢開合，有密切關係，譜云：意氣須換得靈，乃有圓活之趣，又云：勁以曲蓄而有餘等，諸如此類，指示綦詳，學者務照譜中㪽示細心體驗，善自存養增長，但勿有絲毫做作，一切純任自然，則無氣喘身搖之病，迨至功夫漸純，手足日漸輕靈，腰腿日漸柔順，掌心足底日漸盈滿，精神充足，發聲洪亮，耐飢耐寒，耐勞耐久，皆可證驗得之。
專練拳架，是為築基，工夫之深淺，全視築基之是否合乎理法，此乃練體脩己之事也，既得其體，須兼達其用，始成名家，用―運用變化之謂，㪽謂體不離用，用不離體，一切學問藝術，莫不皆然，故練拳外，須兼學推手，更進而練散手，則拳術之能事畢矣，然而欲完成此一大段工夫，非有十年以上之勤習苦練，難望有成，是故學者如牛毛，成名者則代不數人，此無他，蓋堅忍有恆者，實不可多得耳。
Someone once asked me: “A previous master [Chen Weiming, in his 1925 manual] said: ‘Taiji has no techniques. Movement itself is the technique.’ The commentary section to the Book of Changes says: ‘Change does not stop, but circulates through the six hexagram lines. None of the lines stay the same above and below, solid and broken lines changing into each other. There can be no rules for change, for change itself is the only rule.’ You have now written a handbook, in which every placement of an arm is specified at a particular height, every footstep has a particular size, every posture has the torso facing toward a particular direction, everything governed by finicky guidelines. Doesn’t this contradict that statement from the Book of Changes?”
　　I answered: “Well, no. Having ‘no techniques’ is that unchanging principle of change. Although there is an unchanging quality to the postures, the training of the ‘foundation’, within movement there is change, and within change lies Taiji in application, the training of ‘function’. But techniques are the basis of ‘no techniques’. In other words, although in the beginning there are techniques, in the end there are no techniques. ‘There can be no rules for change’ means that you must not get mired in patterns of change instead of understanding change as a whole, ‘for change itself is the only rule’. Therefore whenever your hand points, your foot steps, or your torso turns, you have to start by adhering to guidelines, but then later those guidelines can be thrown away. It is said in the Taiji classics: ‘Once you have ingrained these techniques, you will gradually come to identify energies.’ By ‘techniques’ is meant the rules of how to perform the postures. But once you are ‘identifying energies’, you will no longer be constrained by those rules. In the same way that ‘change does not stop, but circulates through the six hexagram lines’, you will now be acting spontaneously in every action you make. This point also does not contradict the statement from the Book of Changes and indeed complements it perfectly. Furthermore, the primary principle in the Taiji boxing set is that the successive postures are continuously linking together, changing every moment. Therefore its movements, although they have the quality of ‘within curving, seek to be straightening’, are like an endless circle, no hint of interruption, and its changes gradually become more subtle, like the way white clouds can become ominously dark without giving any indication that there will be such a transformation.”
　　“How then are any guidelines to be found in such an exercise?”
　　“To start with, photos of the postures have been made. However, perusing the photos is rather like looking at snapshots of a bird flying through the sky or words drawn on top of water. They can merely leave impressions in the mind and are not quite the same as actual footprints in the mud that can be followed precisely, but they will nevertheless serve a means to help you approach your goal instead of putting you in the embarrassing situation of ‘making a mark on the boat to look for your sword’ [from Master Lü’s Spring & Autumn Annals, book 15, chapter 8 – in which a foolish man expected to find his sword that fell in the river by carving a mark on the boat at the spot it fell and then hopelessly looked for it according to that mark after the boat had moved on down the river].”
　　“But how can one develop skill?”
　　“In the beginning, a technique, or ‘posture’, must be practiced over and over again. Only once you have become skillful at that posture may you then add another one. Proceeding in this way through the entire set of dozens of postures, it will not be difficult to learn them all, one by one, meticulously and thoroughly, and then you will be able to link them together as a single flow. It is said [from Huainanzi, chapters 2 and 20]: ‘One day of planning will not get you enough to get by, but one month of planning will gain you more than you need.’ [This was originally written in Huainanzi as ‘year’ rather than ‘month’, making the point more strongly.] If you then practice the entire set two times every day, you will be able to gain some degree of skillfulness. If you practice it three times, your skill will be able to progress. But if you go through it only one time each day, you are only keeping yourself from forgetting the movements.”
　　As for the training of changing energy and switching techniques, take for example the posture of CATCH THE SPARROW BY THE TAIL, with its four techniques of ward-off, rollback, press, and push. Start from warding off upward and forward. With a change of the energy, switch to the technique of rolling back downward and to the rear. With another change of the energy, switch to pressing forward. With still another change of the energy, switch to loosening, neutralizing, and pushing downward.
　　Between every moment of opening and closing, there is a change of posture, of movement, of method, of idea. From a change of intention comes a change of energy, and from a change of intention comes a change of technique. Within these kinds of switchings, there is an intimate connection between the movement of intention and energy internally and the limbs opening and closing externally. It says in the Taiji classics: “Your mind must perform alternations nimbly, and then you will have the qualities of roundness and liveliness.” And also: “By storing power in crooked parts, it will be in abundant supply.”
　　Statements like these indicate a very detailed understanding. You should strive to imitate such meticulous awareness and become increasingly better at cultivating it in yourself. However, do not allow even the slightest artificiality in your actions, always operating from the purest naturalness, and then there will be no errors of being short of breath or your body wobbling. As your skill becomes more pure, your hands and feet will gradually become more nimble, your waist and legs will gradually become more flexible, the centers of your palms and the soles of your feet will gradually feel more full. You will have an abundant spirit and a resonant voice. You will become less sensitive to hunger, cold, hard work, and having to wait for things. All of these results will come true.
　　Focused practice of the boxing set is the building of a foundation. The depth of your skill is entirely dependent on whether or not your foundation has been built according to the principles of the art. This is a matter of training the body and cultivating the self. Once you have grasped the essence of the art, you will simultaneously achieve the function of it, and then you will be on your way to mastery. By “function” I mean applying techniques adaptively. It is said: “The foundation does not depart from the function. The function does not depart from the foundation.” This is true for all knowledge and all arts.
　　Therefore beyond practicing the boxing set, you must also learn pushing hands, and then to advance further, practice sparring, and thereby your training of the skills in the art will be complete. However, if you wish to accomplish this grand task, unless you put in at least a decade of hard work, it would be unreasonable to hope for success. For this reason alone, students are as common as hairs on an ox, but masters are very rare. Those with the will to persevere are thus very uncommon indeed.

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二　分啚別説：
PART TWO: EXPLANATIONS FOR EACH POSTURE

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坿全套拳式名目
NAMES OF THE POSTURES

1. 起式
BEGINNING POSTURE
2. 太極起勢
THE GRAND POLARITY BEGINS TO MOVE
3. 攬雀尾　掤捋擠按
CATCH THE SPARROW BY THE TAIL (WARD-OFF, ROLLBACK, PRESS, PUSH)
4. 單鞭
SINGLE WHIP
5. 提手上勢
LIFTING HANDS
6. 白鶴掠翅
WHITE CRANE SWEEPS OPEN ITS WINGS
7. 左摟膝拗步
LEFT BRUSH KNEE IN A CROSSED STANCE
8. 手抱琵琶
HOLDING THE LUTE
9. 左摟膝拗步
LEFT BRUSH KNEE IN A CROSSED STANCE
10. 右摟膝拗步
RIGHT BRUSH KNEE IN A CROSSED STANCE
11. 左摟膝拗步
LEFT BRUSH KNEE IN A CROSSED STANCE
12. 手抱琵琶
HOLDING THE LUTE
13. 左摟膝拗步
LEFT BRUSH KNEE IN A CROSSED STANCE
14. 上步搬攔捶
STEP FORWARD, PARRYING-BLOCK PUNCH
15. 上步截捶
STEP FORWARD, INTERCEPTING PUNCH
16. 如封似閉
SEALING SHUT
17. 轉身十字手
TURN, CROSSED HANDS
18. 抱虎歸山
CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN
19. 單鞭轉身
SINGLE WHIP FOR TURNING AROUND
20. 肘下捶
PUNCH UNDER THE ELBOW
21. 倒攆猴
RETREAT, DRIVING AWAY THE MONKEY
22. 斜飛勢
DIAGONAL FLYING POSTURE
23. 提手上勢
LIFTING HANDS
24. 白鶴掠翅
WHITE CRANE SWEEPS OPEN ITS WINGS
25. 左摟膝拗步
LEFT BRUSH KNEE IN A CROSSED STANCE
26. 海底針
NEEDLE UNDER THE SEA
27. 搧通背
FAN THROUGH THE BACK
28. 翻身撇身掌
TURN AROUND, TORSO-FLUNG PALM
29. 換步搬攔捶
SWITCHING STEP, PARRYING-BLOCK PUNCH
30. 上步截捶
STEP FORWARD, INTERCEPTING PUNCH
31. 上步攬雀尾
STEP FORWARD, CATCH THE SPARROW BY THE TAIL
32. 單鞭
SINGLE WHIP
33. 雲手
CLOUDING HANDS
34. 單鞭
SINGLE WHIP
35. 髙探馬
RISING UP AND REACHING OUT TO THE HORSE
36. 右分脚
KICK TO THE RIGHT SIDE
37. 髙探馬
RISING UP AND REACHING OUT TO THE HORSE
38. 左分脚
KICK TO THE LEFT SIDE
39. 轉身蹬腳
TURN AROUND, PRESSING KICK
40. 左摟膝拗步
LEFT BRUSH KNEE IN A CROSSED STANCE
41. 右摟膝拗步
RIGHT BRUSH KNEE IN A CROSSED STANCE
42. 進步栽捶
ADVANCE, PLANTING PUNCH
43. 翻身撇身捶
TURN AROUND, TORSO-FLUNG PUNCH
44. 上步截捶
STEP FORWARD, INTERCEPTING PUNCH
45. 轉身右起腳
TURN, RIGHT LIFTING KICK
46. 左打虎勢
LEFT FIGHTING-TIGER POSTURE
47. 右打虎勢
RIGHT FIGHTING-TIGER POSTURE
48. 右踢腳
RIGHT KICK
49. 雙峯貫耳
DOUBLE PEAKS THROUGH THE EARS
50. 左踢腳
LEFT KICK
51. 轉身右蹬腳
SPIN AROUND, RIGHT PRESSING KICK
52. 換步搬攔捶
SWITCHING STEP, PARRYING-BLOCK PUNCH
53. 上步截捶
STEP FORWARD, INTERCEPTING PUNCH
54. 如封似閉
SEALING SHUT
55. 轉身十字手　以上為上半套
TURN, CROSSED HANDS (This completes the first half of the set.)
56. 抱虎歸山
CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN
57. 橫單鞭
SIDEWAYS SINGLE WHIP
58. 野馬分鬃
WILD HORSE VEERS ITS MANE
59. 攬雀尾
CATCH THE SPARROW BY THE TAIL
60. 單鞭
SINGLE WHIP
61. 玉女穿梭
MAIDEN SENDS THE SHUTTLE THROUGH
62. 攬雀尾
CATCH THE SPARROW BY THE TAIL
63. 單鞭
SINGLE WHIP
64. 雲手
CLOUDING HANDS
65. 單鞭
SINGLE WHIP
66. 蛇身下勢
SNAKING BODY, LOWERING POSTURE
67. 金鷄獨立
GOLDEN ROOSTER STANDS ON ONE LEG
68. 倒攆猴
RETREAT, DRIVING AWAY THE MONKEY
69. 斜飛勢
DIAGONAL FLYING POSTURE
70. 提手上勢
LIFTING HANDS
71. 白鶴掠翅
WHITE CRANE SWEEPS OPEN ITS WINGS
72. 左摟膝拗步
LEFT BRUSH KNEE IN A CROSSED STANCE
73. 海底針
NEEDLE UNDER THE SEA
74. 搧通臂
FAN THROUGH THE ARMS
75. 翻身撇身掌
TURN AROUND, TORSO-FLUNG PALM
76. 換步搬攔捶
SWITCHING STEP, PARRYING-BLOCK PUNCH
77. 上步截捶
STEP FORWARD, INTERCEPTING PUNCH
78. 上步攬雀尾
STEP FORWARD, CATCH THE SPARROW BY THE TAIL
79. 單鞭
SINGLE WHIP
80. 雲手
CLOUDING HANDS
81. 單鞭
SINGLE WHIP
82. 髙探馬
RISING UP AND REACHING OUT TO THE HORSE
83. 十字手
CROSSED HANDS
84. 轉身十字腿
TURN AROUND, CROSSED-BODY KICK
85. 進步指襠捶
ADVANCE, PUNCH TO THE CROTCH
86. 上步搬攔捶
STEP FORWARD, PARRYING-BLOCK PUNCH
87. 上步截捶
STEP FORWARD, INTERCEPTING PUNCH
88. 上步如封似閉
STEP FORWARD, SEALING SHUT
89. 單鞭
SINGLE WHIP
90. 蛇身下勢
SNAKING BODY, LOWERING POSTURE
91. 上步七星
STEP FORWARD, BIG-DIPPER POSTURE
92. 退步跨虎
RETREAT, SITTING-TIGER POSTURE
93. 轉身擺蓮腿
SPIN AROUND, SWINGING LOTUS KICK
94. 彎弓射虎
BEND THE BOW, SHOOT THE TIGER
95. 換步搬攔捶
SWITCHING STEP, PARRYING-BLOCK PUNCH
96. 上步截捶
STEP FORWARD, INTERCEPTING PUNCH
97. 如封似閉
SEALING SHUT
98. 轉身十字手合太極　以上為下半套
TURN, CROSSED HANDS (also called THE GRAND POLARITY CEASES TO MOVE) (This completes the second half of the set.)
〔99. 歸還無極〕
[RETURNING TO NONPOLARITY]

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凡例
GENERAL COMMENTS [Part 1]

1.為説明便利，每式視動作之繁簡，或一式一啚或一式數啚。
In order to make any given posture easier to explain, attention has been given to its complexity or simplicity of movement. In this regard, one posture may have one photo while another may be represented by several.

2.凡啚則依其排列之順序編號，如一式數啚時，則在每啚之下，記（一）（二）等數字，以免淆亂。
The photos for a posture are always arranged in a numbered sequence. For instance, when a posture contains more than one movement, the photos for those movements will be presented as Part 1, Part 2, and so on, in order to prevent confusion.

3.凡動作有不能顯諸啚者，加詳其説明，以補啚之不足
Movements usually cannot be revealed through photos alone, and so detailed explanations are included to make up for this insufficiency.

4.各式中遇有名式重複者，如攬雀尾，單鞭等，則在説明中註出參看苐〇啚，或至苐〇啚。
Among the postures are many that are repeats, such as CATCH THE SPARROW BY THE TAIL or SINGLE WHIP. In such cases, the explanation will direct you back to photo such-and-such in order to review the image of the posture.

5.為使閱者便利，每頁中之啚说，務求配合，故字之大小，以字數之多寡為㝎，行數排列，雖有疏密，似見整齊，偶可免閱者前後翻閱之勞。
For your convenience, the photos on each page have been put alongside the appropriate text. Therefore there is a fixed size for the words and a fixed limit for how many can fit on a page. Although the lines are crowded, they seem to be tidily arranged, thereby saving you the trouble of having recheck your place among lines that precede and follow. [This comment was referring to the original handwritten text. Republished in 1963 as a typed edition, it was replaced with: “The names and numberings of each posture are indicated clearly below each photo for easy reference.”]

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[FIRST HALF OF THE SET]

練拳宜在室外，或林下空曠之處為佳，尤以清晨為最佳，晨曦初出，空氣新鮮，最為養生，若無天井庭院，室內亦可，惟宜開窻，以通空氣。
It is best to practice the set outdoors, perhaps under the trees, some spacious place. It is ideal to practice at dawn, for when the first rays of sun come out, the air is at its freshest, which is best for cultivating health. If you do not have any courtyard or patio space to use, it is acceptable to practice indoors, but you should open windows to let fresh air come through.

起式又名無極
[1] BEGINNING POSTURE (also called NONPOLARITY)

左啚為開始練拳前之姿態，故名起式，又名無極，尚未見動作之表現也。
This photo shows the posture you are in before starting to practice the boxing set, therefore it is called the “beginning posture”. It is also described as “nonpolarity” because there is not yet any display of movement. See photo 1:

面向東立（為説明便利，假㝎向東開始，學者為適合環境，隨擇一方均可），兩足開度，約與肩寬，斯時全身放鬆，下頦後收，後頸項上提，不須用力，故稱虛靈頂勁，沉肩垂臂，氣沉丹田，舌柱上顎，輕提肛門，目平視，神內斂，身心渾然無朕，故名無極。
Stand facing toward the east with your feet spread apart to about shoulder width. (To make all of these instructions consistent, it assumes that in this initial position you are oriented literally toward the east, even though you may be facing in another direction in the environment you are actually practicing in.) Your whole body is relaxed. Your chin is drawn back and the back of your neck lifts up, but this does not require any exertion, hence the phrase “forcelessly press up your headtop”. Sink your shoulders, drop your elbows, and sink energy to your elixir field. Touch your tongue to your upper palate and gently tuck in your tailbone. Your gaze is level, but spirit is gathered inward. Your body and mind are mixed together, no distinction between them, thus the name NONPOLARITY.

按
Note:
太極拳，本為道家㪽創，以吐納導引之術，翻之於拳術之中，成內外兼修之功，如能依法練習，裨益身心，其功甚偉，故學者勿謂「起式」之無足輕重而忽視之，夫頭直則脊立而氣能上達，沉肩則胸含而氣能下沉，柱舌，自無咬牙張口之弊，提肛，則小腹堅實而氣通尾閭，目注視，則心㝎，神內斂，則意寧，如是則全身中正安舒，故起式極為重要也，上述姿勢取㝎後，有泰山崩於前而目不瞬，猛虎躡於後而心不動之氣象為要，於是行深呼吸約三五次，然後開始接演下式。
Taiji Boxing was originally created by Daoists, working from their breathing and limbering arts [Tu’na, short for Tugunaxin (“expelling old air and taking in fresh” – from Zhuangzi, chapter 15), and Daoyin (“guiding [energy through the body’s channels]”)], turning them into a boxing art, one that trains the inside and outside simultaneously. If you can practice according to its principles, you will benefit both body and mind, and achieve a powerful skill. Therefore do not look upon the BEGINNING POSTURE as insignificant and neglect it [for it is a motionless position in which you can focus on postural principles without having to also think about how you are supposed to be moving]. Straighten your head, which will cause your spine to straighten and enable energy to rise up. Sink your shoulders, which will cause your chest to hollow and enable energy to sink down. Touch your tongue to your upper palate, which will prevent the error of gnashing your teeth together. Tuck in your tailbone, which will give your lower abdomen solidity and get energy to course through all the way to the end of your spine. Settle your gaze, which will stabilize your mind. Gather your spirit inward, which will calm your thoughts. In this way, your whole body will be balanced and comfortable, and this is why the BEGINNING POSTURE is so important. Once you are settled into this position, Mt. Tai could collapse in front of you and it would not even make you blink, or a fierce tiger could be creeping up behind you and your mind would remain undistracted. Take three to five deep breaths, then start performing the movements.

太極起勢（一）
[2.1] THE GRAND POLARITY BEGINS TO MOVE (Part 1)

此苐一式分二動，
The beginning of this posture is divided into two movements:
苐一動：由前「起式」先以兩臂用意不用力，徐徐上舉，漸與肩平而止，此時兩臂平伸，意在指梢，切忌僵硬，當兩臂徐舉時，胸腔亦漸漸擴張，於是輕微之吸息運動，應運而起，此乃欲罷不能而出於自然之勢，如苐二啚（一），惟上啚為便利觀察姿勢，與苐一啚方向，稍微移動，實仍向東也。
1. First your arms slowly rise up, using intention rather than exertion, until finishing extended forward at shoulder level. Intention goes to your fingertips, and you should at all costs avoid having any stiffness there. As your arms slowly rise, your chest will gradually expand, and thereby a slight inhalation is appropriate and will occur naturally and inevitably. See photo 2 (which shows the posture from a slightly different angle compared to photo 1 in order to make it easier to see, the posture actually still facing toward the east):

太極起勢（二）
[2.2] THE GRAND POLARITY BEGINS TO MOVE (Part 2)

苐二動：俟兩臂平舉至肩，即繼續徐徐屈腿下蹲，同時兩臂亦隨之微曲下按，上體重心落於兩腿之足心，髙低以各人腿力之強弱而㝎，總以上體保持中正，勿前傾後仰，虛靈頂勁，沉肩墜肘，含胸拔背，收尾閭，鬆腰胯，如上啚（二）
2. Once your arms have risen to shoulder level, your legs slowly bend and squat down as your arms slightly bend and push down, the weight settled onto both feet, the height depending on your own leg strength. Always keep your upper body upright so that you are leaning neither forward nor back, forcelessly press up your headtop, sink your shoulders and drop your elbows, hollow your chest and round your back, tuck in your tailbone, and loosen your hips. See photo 3 [which along with photo 2 was missing from the original book, and so the photos for these moments are from the 1963 edition]:

此時胸腔容積，亦隨之漸漸縮小，而呼息運動，於以引起，此皆出於自然者也，以下凡關於呼吸運動，略以（呼）或（吸）表示之，但學者亦不可拘泥，蓋因各人之呼吸長短深淺，基於先天之體質有異，深長之腹部呼吸，必須逐漸訓練而成，初學時萬不可勉強，先任其自然之呼吸，動作純熟後，自能配合也，此處略以示範而已。
前啚由無極而太極，此乃太極一動而分陰陽虛實之勢，
In this moment, your chest will gradually contract, initiating exhalation, which will happen naturally. From this point on, the breathing during the movements will be indicated by “inhalation” and “exhalation”. However, you must not obsess over it, because the length and depth of each person’s breath is different due to one’s inherent physique. Deep and long abdominal breathing must be trained gradually. Beginners must not force it. First allow yourself to breathe naturally, and then once you have become familiar with a movement, you will naturally be able to coordinate the breath with it. These couple of movements serve as a brief demonstration of this.
　　In the movements above, you have gone from a state of nonpolarity to a condition of grand polarity. With movement of the grand polarity, the passive and active aspects, i.e. emptiness and fullness, are now distinguishable.

太極起勢（三）
[2.3] THE GRAND POLARITY BEGINS TO MOVE (Part 3)

上啚（三），由東轉南之動作，先由前式之姿勢，以右足跟為軸，隨兩臂上下之開展，（吸）足尖徐徐轉而東南，踏實後，上體復繼續隨腰轉向南，（多轉四十五度者，意在紐轉腰部使之柔軟靈活也，太極拳以兩腰為主要之運動，故每動必先腰動），斯時右臂略向上作掤勢，手背略向外，臂微曲，成弧形，左臂隨腰轉漸下垂，眼視右掌指端，此時因腰右轉而身向南，重心亦漸移於右腿，左足漸虛，上體保持中正，如苐四啚。
(Inhaling)
Your right heel then pivots to point the toes toward the southeast, your arms spreading apart above and below, your waist turning to so that your torso is facing toward the south. (Most of the turnings are about forty-five degrees. The purpose of turning the waist is to increase suppleness and flexibility. Taiji Boxing uses the waist as the engine of movement, and therefore every movement has to start from the waist.) Your right arm is now going slightly upward, making the ward-off position, the back of the hand facing slightly outward, the arm slightly bent to make a rounded shape, and your left arm is gradually lowering. Your gaze is toward your right fingertips. As your waist turns to the right so that your torso is facing toward the south, the weight gradually shifts to your right leg, your left foot gradually emptying, your upper body staying upright. See photo 4:

太極起勢（四）
[2.4] THE GRAND POLARITY BEGINS TO MOVE (Part 4)

由身腰向右轉中，左臂既漸下垂，仍繼續隨腰轉至右脅下，乃提起左足向東跨一大步，足跟先著地，足尖向東南，與右足平行成川字步，此時體重仍在右腿上，如上啚（四）。
Your lowering left arm continues to go along with the rightward turning of your waist until below your right ribs, then your left foot takes a large step toward the east, the heel touching down, toes pointing toward the southeast, the foot standing parallel with your right foot, making a “river-character stance” [involving both feet standing on the outer lines of three parallel lines 川 with the middle line running between them], the weight still on your right leg. See photo 5:

按
Note:
自苐四啚以下至全套終了，皆效法太極陰陽變化之象，其動也整而圓，其變化也微而漸，故演式時舉動宜緩慢，勿急劇，宜勻整，勿斷續，其訣：在全身放鬆，以腰為樞紐，上下相隨，內外相合，貫串一氣，其象似圓，呼吸寓於一開一闔之中，虛實㝎於一進一退之間，上至頭，目，手，掌，下至胯，膝，足，趾，節節皆動，㪽謂一動無有不動也。
From photo 4 to the end of the set, always follow the example of the black and white parts of the yin/yang symbol alternating places. Their movements are orderly and round, their transformations subtle and gradual. Therefore your movement should be slow rather than sudden, consistent rather than punctuated. The keys to this are: relaxing your whole body, using your waist as the central pivot point, the upper body and lower coordinating with each other, the inside and out joined together, having a single flow throughout, and everything exhibiting roundness. Inhaling and exhaling lies in closing and opening. Emptiness and fullness lies in retreating and advancing. Above are your head, eyes, hands, and palms. Below are your hips, knees, feet, and soles. Every part is in motion, as it is said: “If one part moves, every part moves.”

太極起勢（五）
[2.5] THE GRAND POLARITY BEGINS TO MOVE (Part 5)

接上式俟左足踏實後，乃將體重漸移至左腿上，（呼）左臂隨上體移左時，漸翻掌向上更向左前方掤出，右臂則漸向西南方下伸作採勢，目注視右掌，如上啚（五）
(Exhaling)
Continuing from the previous posture, once your left foot comes down fully, the weight gradually shifts onto your left leg as your left arm goes to the left, the palm gradually turning over and rising up to ward away toward the forward left, your right arm gradually extending downward to make the plucking position. Your gaze is toward your right palm. See photo 6 [side view]:

此式右掌心下覆者為陰掌，左掌心仰上者為陽掌，左腿屈曲為實，右足伸直者為虛，手分陰陽，足分虛實，皆出於自然之勢，初學宜分清楚。
至此太極起勢一式已終，此式為全套各勢之始基，一切拳架要領，均備於此，如兩臂則運動如抽絲，舉足則邁步如貓行，乃至虛實變換，開合呼吸，中㝎顧盼等，無不具有，故必須此式練熟，再接練下式。
In this posture, your palm is covering downward, making a “passive” palm, and your left palm is facing upward, making an “active” palm. Your left leg is bent, making it “full”, and your right leg is straight, making it “empty”. The hands dividing into facing upward and facing downward, and the feet dividing into empty and full are all things that come from a naturalness of posture. Beginners have to distinguish them clearly.
　　This movement completes the posture of THE GRAND POLARITY STARTS TO MOVE, and with it begins the entire set. The standards for all of the postures are prepared by this one. (When you move your arms, “move energy as if drawing silk”. When you raise a foot, “step like a cat”. Emptiness and fullness alternate, opening and closing is coordinated with the breath, stay centered and stable as you look around, and so on.) Therefore you must become skillful at this posture in order to then continue on to the rest.

用法舉例：
Example application:
設如敵從前方以右拳擊我，我隨手轉腰以右臂上掤以待其變，或即用掤勁擊出之。
If an opponent in front of me uses his right fist to strike me, I turn my waist and use my right arm to ward off upward in readiness for whatever he do next, or I use my ward-off to strike him.

攬雀尾（一）
[3.1] CATCH THE SPARROW BY THE TAIL (Part 1)

苐七啚，乃攬雀尾一式之開始，隨即將腰徐向左轉，（吸）目視左手背，左手本陽掌，此際亦逐漸轉為陰掌，右臂隨腰轉至右脅下，漸轉成陽掌，與左掌上下相向若捧球狀。如上啚（一）。
(Inhaling)
Your waist slowly turns to the left, your gaze going toward the back of your left hand as your left hand turns over to become a downward-facing palm and your right arm goes along with the turning of your waist to be placed below your left ribs, the hand gradually turning over to become an upward-facing palm, your palms facing each other above and below. See photo 7 (which shows [from a side view] the starting position for the CATCH THE SPARROW sequence of movements):

此攬雀尾一式，中含掤，捋，擠，按，四正之基本手法，為十三勢中最主要之手法，一切變化皆由此而出，㪽謂兩儀生四象，四象生八卦者也，亦最難練，故全套以此式為最多。
CATCH THE SPARROW contains the four fundamental techniques of ward-off, rollback, press, and push. These are the most important techniques within the thirteen dynamics, all of the variations coming from these four. It is said [in the commentary section to the Book of Changes]: “The dual aspects [passive and active] generate the four manifestations, and the four manifestations generate the eight trigrams.” [i.e. The other four hand techniques within the thirteen dynamics are seen as variations based on warding off, rolling back, pressing, and pushing (plucking being a variation of pushing, rending being a variation of rolling back, elbowing and bumping being variations of pressing).] Because these techniques are so difficult to train, CATCH THE SPARROW is one of the most common postures in the set [appearing five times, the most common posture being SINGLE WHIP, which appears eleven times].

攬雀尾（二）
[3.2] CATCH THE SPARROW BY THE TAIL (Part 2)

接上勢跨右足向西南角前邁一步，（呼）上體俟右足跨出後，以身手步一致之動作，將體重漸移至右腿上，兩臂亦隨身向前，右臂由下而上而前，左掌隨之，約與右腕取齊，迨右臂與右腿同在一垂直面時，則成右前實左後虛之弓箭步而為掤勢，如上啚（二）。
(Exhaling)
Continuing from the previous posture, your right foot advances a step toward the southwest corner, then the weight shifts onto your right leg, your arms going forward along with your torso, your right arm going forward and upward from below, your left palm following next to your right wrist. Once your right arm and right leg are vertically aligned with each other, you are in a bow & arrow stance with your right foot full in front, left foot full behind. This is the ward-off position. See photo 8:

用法舉例：
Example application:
敵向我前胸擊來，我先側身化去其勁，乃舉右臂進右步，掤其臂擊出之，此時掤勢，若帶粘連之勁，可逼使敵成背勢，更易得機得勢，若敵欲思引化，我隨即以左掌拊右前臂斜擠之。
An opponent strikes toward my chest, so I first turn my torso sideways to neutralize his power, then raise my right arm as I advance with my right foot, warding off to strike his arm away. This ward-off technique seems to give rise to a sticky energy, which can compel him to back off, making it that much easier for me to gain the superior timing and position. If he then tries to draw me in and neutralize my ward-off, I will then put my left palm on my right forearm and diagonally press him away.

攬雀尾（三）
[3.3] CATCH THE SPARROW BY THE TAIL (Part 3)

掤後左掌復隨腰右轉時向前按出，右掌隨其勢由上繞一小圈，（吸）斯時兩掌陽者變陰，陰者變陽，而成捋勢之開始，如上啚（三）。
(Inhaling)
After warding off, your waist turns to the right, your left palm pushing out forward, your right palm arcing upward and drawing a small circle, your hands now switching to right hand facing downward, left hand facing upward. This is the beginning of the rollback position. See photo 9:

用法舉例：
Example application:
敵若受我掤其右臂時，設其身已陷於背勢時，我即用左掌按其右肩推出之。
If the opponent’s body is already trapped into backing off, I then use my left palm to push on his right shoulder and send him away.

注意：
Note:
凡用掤，捋，擠，按等勢時，皆須鬆腰胯，以沾連黏隨不丟頂之勁，完整一氣行之，故練習時，手法，身法，步法，皆須一致，氣沉丹田，乃能得機得勢，學者宜三致意焉。
Whenever you apply ward-off, rollback, press, or push, they each require loosening the hips, use the energy of “stick, connect, adhere, and follow, neither coming away nor crashing in”, and are performed as a single flow. Therefore when practicing, the hand techniques, torso movement, and footwork have to be performed in unison, and energy should be sinking to your elixir field, and then you will be able to be in the right place at the right time. Give frequent attention to this point.

攬雀尾（四）
[3.4] CATCH THE SPARROW BY THE TAIL (Part 4)

兩掌變為左陽右陰後，隨身向後捋，鬆腰胯向下沉，略取向左斜捋之勢，（呼）斯時上體漸移坐左腿而虛右足，如上啚（四），目視右手掌，直至下式兩臂舉平，始向前看。
(Exhaling)
Once your palms have turned over so your left palm is facing upward and your right palm is facing downward, they go along with your torso by rolling back diagonally to the left, your hips loosening and sinking down, your torso gradually sitting onto your left leg, your right foot emptying. Your gaze is toward your right palm until in the following posture when your arms raise up until level, whereupon your gaze will be forward. See photo 10:

用法舉例：
Example application:
我以左手沾住敵之左腕，隨即以右臂貼其外肘部，坐身向後向外捋之，斯時敵被我捋，必失其中心，為我㪽制，若敵欲抽身引退，則我乘勢撅其左臂，或我右臂一轉摺疊，兩掌相合，隨身向前，被我斜擠出矣。
Using my left hand to stick to the opponent’s left wrist and using my right forearm to stick to the outside of his elbow, I sit back and do a rollback outward. Once he has been rolled back by me, he is sure to lose his balance and be under my control. If he tries to withdraw his body in order to get away, I take advantage of this action [which causes his arm to straighten] by breaking his arm. Or I can fold my right arm over his arm, close my palms toward each other, and send my torso forward so that he gets pressed out.

攬雀尾（五）
[3.5] CATCH THE SPARROW BY THE TAIL (Part 5)

上式捋後，上體重心不動兩臂隨腰左轉，然後由下而上，漸與肩平，（吸）乃以左掌拊於右肘內部，如苐十一啚（五）。
(Inhaling)
Without shifting your weight, your waist turns to the left rear, your arms going along with it by gradually going upward from below until at shoulder level, your left palm then touching the inside of your right forearm. See photo 11:

攬雀尾（六）
[3.6] CATCH THE SPARROW BY THE TAIL (Part 6)

然後重心仍在左足，以左足為軸，轉身向西南角，同時右臂橫轉成擠勢，如苐十二啚（六）。
With the weight still on your left leg, pivot on top of the leg, your torso turning to be facing toward the southwest corner as your right arm arcs across to make the press position. See photo 12:

身向右轉時，上體須中正，且須含胸沉肩，鬆腰坐胯，蓄勁待機，以備作前擠之勢，目仍視前方。
When your torso turns to the right, your upper body has to be upright, and you have to hollow your chest, sink your shoulders, loosen your waist, and settle your hips. Store power and await opportunity in readiness to press forward. Your gaze is again forward.

攬雀尾（七）
[3.7] CATCH THE SPARROW BY THE TAIL (Part 7)

接上勢轉正後，乃向前正擠，斯時兩足右實左虛，如上啚（七）
Continuing from the previous posture, after turning toward the rear, press toward the front, your feet becoming right foot full, left foot empty. See photo 13:

用法舉例：
Example application:
設敵捋我右臂時，我乃轉腰鬆胯，隨借其勢向敵擠去。
If the opponent rolls back my right arm, I turn my waist and loosen my hips, borrowing his force, and then press it out toward him.

攬雀尾（八）
[3.8] CATCH THE SPARROW BY THE TAIL (Part 8)

擠後，兩前臂向前展開，如上啚（八）。
After pressing, your forearms continue forward, spreading apart. See photo 14:

攬雀尾（九）
[3.9] CATCH THE SPARROW BY THE TAIL (Part 9)

隨將兩臂向上虛提，（吸）如苐十五啚（九）。
(Inhaling)
Your arms then empty and lift up. See photo 15:

用法舉例：
Example application:
設我欲按敵，敵臂掤力甚大，我乃虛提以化之，惟盤架子，係屬練體工夫，務使各部關節，鬆開靈活，肩部尤屬重要，故此式宜儘量向上舉，但上體仍宜中正，腹部不可凸出，在應用時，祇須向後鬆化即可。
If I try to push the opponent but he wards off my arm very powerfully, I then empty and lift up in order to neutralize it. Because the practice of the boxing set has to do with training the body, and thus every part and every joint should be loosened and livened, especially the shoulders, this posture should therefore be raised all the way up. However, your upper body should nevertheless remain upright rather than bending back and causing your belly to extend forward. When applying this technique, you only have to sit back and loosen in order to neutralize.

攬雀尾（十）
[3.10] CATCH THE SPARROW BY THE TAIL (Part 10)

提後，即鬆腰坐胯，兩臂同時下收，兩掌向前平按，（呼）如下啚（十）。
(Exhaling)
After lifting, loosen your waist and settle your hips as your arms withdraw downward and your palms push forward and level. See photo 16:

説明：
Note:
此一往復運動，亦名如封似閉，攬雀尾式至此已終，此式為太極拳最重要之基本四勢，全身內外工夫，皆在此式築成基礎，詳閱上卷打手歌解。
This back and forth action, also called SEALING SHUT [as it is called in Posture 16], ends the CATCH THE SPARROW posture. This posture is comprised of the four most fundamental techniques in Taiji Boxing. They train the whole body, inside and out, and form the basis upon which this posture is constructed. Examine the Playing Hands Song [which expresses the importance of the four techniques with the statement that “ward-off, rollback, press, and push must be taken seriously”].

單鞭（一）
[4.1] SINGLE WHIP (Part 1)

上苐十七啚為單鞭式之開始，接上式按後，隨將上體漸向後足左腿坐實，鬆腰胯，如上啚（一），（吸）
(Inhaling)
Continuing from the “push” posture, your torso gradually sits back, sitting onto your left leg, the hip loosening. See photo 17 (which shows the beginning of the SINGLE WHIP posture):

單鞭（二）
[4.2] SINGLE WHIP (Part 2)

同時兩臂隨後退平伸，然後右足尖翹起，隨腰向左轉至正北，目視左手背，（呼）如上啚（二）
(Exhaling)
Then your arms go across to the rear as you waist turns to the left, your right foot going along with the turn to point its toes toward the north. Your gaze is toward the back of your left hand. See photo 18:

單鞭（三）
[4.3] SINGLE WHIP (Part 3)

此時右足尖儘量轉足踏實，乃將上體再漸移坐於右胯上，轉腰向右，目視右腕背，右掌漸移至胸前成吊手，左臂亦隨身轉漸下垂，如左啚（三）。
Your right foot turns inward as far as it can and your torso gradually sits onto your right hip, your waist turning to the right, your gaze going toward the back of your right wrist as the palm gradually shifts in front of your chest, becoming a hanging hand, your left arm at the same time gradually lowering. See photo 19:

單鞭（四）
[4.4] SINGLE WHIP (Part 4)

再繼續隨腰轉至西南角，乃舒右肩，伸平右臂，（吸）左臂隨身轉時漸下垂劃一大圓圈至右肩旁，翻掌手指向上，掌心向內，目視指尖，曲前臂，如下啚（四）。
(Inhaling)
Then your waist turns toward the southwest, your right shoulder loosening, the arm extending level, as your left arm gradually lowers and draws a large arc that brings it beside your right shoulder, the palm turning over to be facing inward, the fingers pointing upward. Your gaze is toward the fingertips. See photo 20 [side view]:

按
Note:
吊手之用法：在推手時，或即以此手撥敵臂之用，手腕與手指，亦可用以擊人也，至此處藉以鍛練腕指之柔軟靈活耳。
On the function of the hanging hand: during pushing hands, this hand is used for deflecting an opponent’s arm. Or both the wrist and fingers can be used to strike him. This posture is good for training the suppleness and flexibility of the wrist and fingers.

單鞭（五）
[4.5] SINGLE WHIP (Part 5)

提左足收至右足旁，足尖點地，身與左臂隨腰與足尖，轉向正北，（呼）如上啚（五）。
(Exhaling)
Your left foot lifts and withdraws next to your right foot, toes touching down, as your torso and left forearm turn toward the north, where your left toes are now pointing. See photo 21:

單鞭（六）
[4.6] SINGLE WHIP (Part 6)

乃鬆腰胯，（小吸）
(Small inhalation) Loosen your hips.
將左足向左前方邁一大步，（呼）左掌亦漸轉向外隨腰腿向前作按勢，如上啚（六）。
(Exhaling)
Your left foot takes a large step toward the forward left, your left palm gradually turning outward and then going along with your waist and legs to push forward. See photo 22:

用法舉例：
Example application:
我用右吊手將敵臂撥開後，左後方又有敵擊來，乃轉身跨步用左掌按之，
After I use my hanging hand to deflect the opponent’s arm, another opponent comes to attack me from the left rear, so I turn around, step put, and use my left palm to push him.

動作説明：
Notes:
1.凡跨步前進，須將足跟先著地，後退以足尖先點地為原則。
The standard for footwork is: when you are stepping forward, the heel touches down first, and when retreating, the toes touch down first.
2.不論進步退步，必先將重心㪽在之足中㝎，故須坐胯，以免牽動重心，如此：則一步之長度，自有一㝎矣。
Regardless of advancing or retreating, you must first shift your weight stably onto the supporting leg. Therefore you have to settle your hips in order to keep the step from drawing off your center of balance. In this way, there will naturally be a limit to the length of the step.
3.不論進步退步，前後兩足不可同在一直線上，亦不宜過狹，仍宜保持肩幅，庶上體得以中正安舒。
Regardless of advancing or retreating, your feet should not be standing along the same line front and back, nor cross the line, but should instead maintain a positioning of shoulder width. Also, your upper body should stay upright and at ease.
4.凡作弓箭步，後腿宜直，前腿膝蓋不宜過足尖。
When making the bow & arrow stance, your rear leg should straighten, but your front knee should not go beyond the toes.
5.手掌前按時，以肘不過膝為度。
When your palm pushes forward, the elbow should not go past the knee.
6.無論平馬，弓箭，懸脚，兩胯皆須鬆下，上體保持中正。
Whether you are in a horse stance, bow & arrow stance, or empty stance, your hips always have to loosen downward and your upper body has to stay upright.

提手上勢（一）
[5.1] LIFTING HANDS (Part 1)

由前式將上體徐退移至右腿上，同時兩臂前後平伸，（吸）
(Inhaling)
Continuing from the previous posture, your torso slowly shifts back onto your right leg, as your arms extend front and rear until level.
復轉腰將身轉向東南方，（呼）目視左臂隨身轉，斯時右手亦舒掌，轉身時右臂鬆肩徐向左移，迨身轉㝎時，左右兩臂相距正與肩幅等齊，左足尖當身右轉時，即翹起同轉至東南方著地，如上啚（一）。
(Exhaling)
Then your torso turns toward the southeast, your gaze following your left forearm as it goes along with the turning of your torso, your right hand likewise opening up to become a palm, the shoulder loosening, the arm shifting across to the left so that your hands are shoulder width apart by the time your torso has finished turning, your left foot also turning to the right along with your torso so that the toes are now pointing toward the southeast. See photo 23:

提手上勢（二）
[5.2] LIFTING HANDS (Part 2)

斯時上體重心尚在右腿，乃將重心隨身漸向後移至左腿上，同時兩臂亦徐向左右張開，（吸）
(Inhaling)
Then the weight gradually shifts onto your left leg, as your arms slowly spread apart to the sides.
及重心落於左腿上時，同時兩臂向胸前合抱，目視前方，（呼）右足當兩手相合時隨移於左足前，足跟著地，如上啚（二）。
(Exhaling)
As the weight finishes shifting back, your arms close toward each other in front of your chest, your gaze forward, and your right foot slightly shifts back in front of your left foot, the heel touching down. See photo 24:

此時姿勢，目前視，虛靈頂勁，沉肩墜肘，右掌與眉同髙，左掌與右腕相齊，含胸拔背，收尾閭，鬆腰胯，上體中正，勿前傾。
In this posture, your gaze is forward. Forcelessly press up your headtop. Sink your shoulders and drop your elbows. Your right palm is at eyebrow height, your left palm level with your right wrist. Hollow your chest and round your back. Tuck in your tailbone and loosen your hips. Your upper body is upright, not leaning forward.

用法舉例：
Example application:
敵以左臂伸拳擊我右脅，我隨轉身含胸坐左胯，以左掌接其腕，而以右臂沾敵之肘，兩臂用合勁而撅之。
An opponent sends out his left fist to punch to my right ribs, so I turn my torso, sit onto my left hip, and hollow my chest as I use my left palm to connect to his wrist and use my right forearm to stick to his elbow, my arms then employing a closing action to break his arm.

白鶴掠翅（一）
[6.1] WHITE CRANE SWEEPS OPEN ITS WINGS (Part 1)

接前式先以兩臂向左下方作捋勢，以右掌護襠，（左陽右陰）（吸）
(Inhaling)
Continuing from the previous posture, first your arms do a rollback to the lower left (left palm facing upward, right palm facing downward) and then your right palm is shielding your crotch.
提右足向東邁半步，足尖向北，隨以左掌拊於右肘內部，以右肩臂及右腿用腰腿勁向東取靠勢，面隨向東，目視東上方，右實左虛，（呼）如上啚（一）。
(Exhaling)
Your right foot lifts and goes a half step toward the east, the toes pointing toward the north, then with your left palm touching the inside of your right elbow, use power from your waist and legs to send your right shoulder and right thigh into a bumping action toward the east. You are facing toward the east, your gaze slightly upward. Your feet are right foot full, left foot empty. See photo 25:

用法舉例：
Example application:
敵下按我左前臂，我鬆腰坐胯，向左下方捋敵之左臂，隨即上步順其勢靠之，或敵採我右臂，我隨勢上步靠之，惟靠時面須向敵，右足上步時，有時亦可取掃腿勢，惟須鬆左胯下坐方可。
If the opponent pushes down my left forearm, I loosen my waist, settle my hips, and roll back his left arm downward to the left, then I step forward to take advantage of the opportunity to bump him. Or if he plucks my right arm, I go along with the momentum by stepping forward to bump him. When bumping, it is necessary to face the opponent. As your right foot steps in, sometimes you can also sweep out his leg, but you must loosen your left hip and sit downward in order for this to work.

白鶴掠翅（二）
[6.2] WHITE CRANE SWEEPS OPEN ITS WINGS (Part 2)

然後左掌沾右臂由下而前向上一提，（吸）乘勢身腰轉正，同時左足移至右足前，足尖點地。右掌順勢由下轉成陽掌，掌尖向左若托物狀，而與左掌上下相對，如上啚（二）
(Inhaling)
Then your left palm goes downward, forward, and lifts up as your torso turns to be facing squarely [toward the north], and your left foot shifts in front of your right foot, toes touching down, your right palm arcing from below to become an upward-facing palm, fingertips pointing toward the left, as though carrying an object, your palms facing each other above and below. See photo 26:

用法舉例：
Example application:
我靠敵而敵轉身按我，或以足踢我，我乃以左掌上掤，右掌自下接其臂，或自下接其足，左掌覆於右掌之上，以待其變。
When I bump into the opponent, if he turns his body and pushes me, or uses a foot to kick me, I then use my left palm to ward off upward and my right palm to connect to his arm (or foot) from below, my left palm now covering over my right palm, in readiness for whatever he will do next.

白鶴掠翅（三）
[6.3] WHITE CRANE SWEEPS OPEN ITS WINGS (Part 3)

接上式隨即提腰上升，同時右臂自外左臂自內，隨升腰之勢，各向左右上下分開如掠翅狀，目前視，（呼）如上啚（三）（此啚為便閱者，方向略變，實仍向北。）
(Exhaling)
Continuing from the previous posture, your waist lifts up as your arms spread apart like a bird sweeping open its wings, your right arm moving on the outside, left arm on the inside, your left arm moving toward the lower left, right arm moving toward the upper right. Your gaze is forward. See photo 27 (which shows a view from the side to make it easier to see, the posture actually still facing toward the north):

摟膝拗步（一）
[7.1] BRUSH KNEE IN A CROSSED STANCE (Part 1)

然後目視右掌翻下，左掌亦翻上，（吸）
(Inhaling)
Then your gaze goes toward your right palm as it turns over to be facing downward, your left palm at the same time turning over to be facing upward.
兩臂隨身向右轉，上體保持中正，當右轉時，右臂漸轉向下（呼）左臂由下漸向上，如苐二十八啚（一）
(Exhaling)
Then your torso turns to the right, your upper body staying upright, as your right arm gradually lowers and your left arm gradually rises up from below. See photo 28:

摟膝拗步（二）
[7.2] BRUSH KNEE IN A CROSSED STANCE (Part 2)

接摟膝拗步式之開始，鬆腰坐胯，至身轉向正東時，左手亦漸下而橫屈，如左啚（二）
Loosen your waist, settle your hips, and turn your torso toward the east as your left arm gradually bends across [and your right extends behind]. See photo 29:

摟膝拗步（三）
[7.3] BRUSH KNEE IN A CROSSED STANCE (Part 3)

及身下坐時，右掌隨翻為陽掌，（吸）斯時徐提左足，與兩臂同時動作，向左前方邁一大步，右臂由下向上繞一大圈，至掌指將及耳際時，左足跟亦著地，如左下啚（三）
(Inhaling)
Once your torso sits back, your right hand turns over to become an upward-facing palm and draws a large arc upward from below, which brings the fingers near your [right] ear, as your left foot lifts and takes a large step toward the forward left, the heel touching down. See photo 30:

摟膝拗步（四）
[7.4] BRUSH KNEE IN A CROSSED STANCE (Part 4)

同時左手下按摟左膝，（呼）右掌從耳際隨身向前按出如下啚（四）。
(Exhaling)
Then your left hand pushes down, brushing past your left knee, as your torso goes forward and your right hand pushes out and your [right] ear. See photo 31:

斯時兩腿為左實右虛之弓箭步，左手大指邊緣拊著於左大腿旁，面向正北，上體中正，勿前傾，右胯下鬆，腿宜伸直，此式由腳而腿而腰以及左右兩臂動作均須一致，㪽謂「完整一氣」為要。
Your legs are now making a bow stance with your left foot full, right foot empty. The edge of your left thumb is touching the side of your left thigh. You are facing toward the north. Your upper body is upright and should not be leaning. Your right hip loosens downward and the leg should straighten, expressing the quality of “from foot through leg through waist”. The movements of your arms have to be in unison, fulfilling the requirement of having “a single flow throughout”.

手抱琵琶
[8] HOLDING THE LUTE

由前式按出後，右臂續向前平伸，右足偷進半步，隨用提勁，（吸）
(Inhaling)
After pushing out, your right arm extends forward and level as your right foot sneaks forward a half step using a lifting energy.
將身隨退坐右腿上，同時左臂與左足隨勢提起，左足跟著地，（呼）兩臂相對如上啚，面向正北。
(Exhaling)
Then your torso sits back onto your right leg and your left arm and left foot lift in unison, the heel touching, your arms [palms] aligned toward each other. You are facing toward the north. See photo 32:

左臂略伸前，指尖約與眉齊，右臂略後收，指尖與左腕同髙，與提手上勢之式，恰相反，用法與注意各點，皆與提手上勢同，可參照，此不再贅
Your left arm is slightly extended forward, fingertips at about eyebrow level, your right arm slightly withdrawn to the rear, fingertips at the height of your left wrist. You are basically in the LIFTING HANDS posture on the other side, and so the application and points for attention are the same as for that posture [Posture 5].

左摟膝拗步（一）
[9.1] LEFT BRUSH KNEE IN A CROSSED STANCE (Part 1)

由前式續接左摟膝拗步時，動作已如前説明，並參看本啚（即苐三十三啚）轉變之姿勢
Continue from the previous posture into another LEFT BRUSH KNEE, the movement starting the same as before [photo 29]. See photos 33:

左摟膝拗步（二）
[9.2] LEFT BRUSH KNEE IN A CROSSED STANCE (Part 2)

及苐卅四啚右臂從耳際按出之姿勢。
Your right arm raises by your ear in readiness to push out [the same way as in photo 30]. See photo 34:

左摟膝拗步（三）
[9.3] LEFT BRUSH KNEE IN A CROSSED STANCE (Part 3)

苐卅五啚為按出後之姿勢，與苐卅一啚無異
Your right hand pushes out, the same way as in photo 31. See photo 35:

右摟膝拗步（一）
[10.1] RIGHT BRUSH KNEE IN A CROSSED STANCE (Part 1)

由上式續演後，更複演左右兩式摟膝拗步，上啚即右摟膝拗步也，由上式右掌按出後，右臂略向前伸，左臂同時向後揚，同時左足尖向外（左）移，順勢向左轉腰，（吸）斯時右足跟提起，上體穩㝎於右腿上，右臂隨身轉至左脅下，左臂翻掌向後上舉，如上啚（一）。
(Inhaling)
Now repeat the posture on the other side. Once your right palm has pushed out, the arm extends slightly farther forward as your left arm raises to the rear, your left toes turning outward, your waist turning to the left, your right heel lifting, your torso settling onto your right [left] leg, and your right arm goes along with the turning of your torso to end up below your left ribs, your left palm turning over to be facing upward. See photo 36:

右摟膝拗步（二）
[10.2] RIGHT BRUSH KNEE IN A CROSSED STANCE (Part 2)

跨右足向右前方邁一大步，同時右手摟膝，左掌從耳際隨身向前按出，（呼）與前式之左摟膝拗步同一要領，總要上下一致，完整一氣也，兩足右實左虛，如上啚（二）。
(Exhaling)
Your right foot takes a large step toward the forward right and your right hand brushes past the knee, your torso going forward, your left palm passing your ear and pushing out. Same as with the LEFT BRUSH KNEE, your upper body and lower body should function in unison, creating the effect of a single flow throughout. Your feet are right foot full, left foot empty. See photo 37:

左摟膝拗步
[11] LEFT BRUSH KNEE IN A CROSSED STANCE

由此式轉左摟膝拗步時，再將左臂略向前伸，右臂同時向後揚，右足尖向外（右）移，順勢向右轉腰，（吸）左臂隨身轉至右脅下，右臂翻掌向後上舉，同苐卄九啚，跨左足向左前方邁一大步，
(Inhaling)
Now perform it on the left side again. Your left arm extends slightly farther forward as your left arm raises to the rear, your right toes turning outward, your waist turning to the right, and your left arm goes along with the turning of your torso to end up below your right ribs, your right palm turning over to be facing upward to the rear, the same as in photo 29, and then your left foot takes a large step toward the forward left [the same as in photo 30].
左手摟膝，右掌從耳際隨身向前按出，（呼）參看苐卅啚，及苐卅一啚。
(Exhaling)
Then your left hand brushes past your [left] knee as your torso goes forward, your right palm pushing out from beside your ear, the same as in photos 30 and 31.

用法舉例：
Example application:
不論左右，用法均同，當我欲向前跨步時，遇敵擊我前膝，或以足踢我前腿時，我即以左（右）手摟膝而掤去之，順勢以右（左）掌按擊其胸部，惟左右兩臂須密切相隨，否則，機勢全失矣。
The application of this technique is the same on either side. If the opponent attacks my front knee or kicks to my front thigh, I send my left (or right) hand brushing past my knee to ward away his attack, then use my right (or left) palm to do a pushing strike to his chest. My arms have to work in tight coordination, otherwise I will lose both the opportunity and the position.

下接手抱琵琶，如苐卅二啚。
Then continue into [12] HOLDING THE LUTE, same as in photo 32.

復續演左摟膝拗步，如苐卅三四五啚，均見前不贅。
Then continue into [13] LEFT BRUSH KNEE IN A CROSSED STANCE, same as in photos 33–35.

上步搬攔捶（一）
[14.1] STEP FORWARD, PARRYING-BLOCK PUNCH (Part 1)

接演上步搬攔捶時，先如右摟膝拗步時前動作之姿勢同，惟右臂隨身轉至左胯旁，右掌握拳，覆於胯邊，（吸）左臂翻掌向後平舉至肩，再將左前臂上舉以左掌覆於左耳際，同時提右足向右前方（正北）邁一大步，如上啚（一）。
(Inhaling)
This postures starts with the same movement as the beginning of RIGHT BRUSH KNEE [i.e. photo 36], except that in this case as your right arm goes along with the turning of your torso to end up beside your left hip, the palm grasps into a fist and covers the hip, your left palm still turning over and raising up to shoulder level behind you. Then your left forearm raises up for the left palm to cover your left ear as your right foot lifts and takes a large step toward the forward right (i.e. toward the north). See photo 38:

上步搬攔捶（二）
[14.2] STEP FORWARD, PARRYING-BLOCK PUNCH (Part 2)

右臂隨身體重心轉移至右腿上時，翻拳轉腰向右搬攔，拳心向上，右肘輕拊右脅旁，左臂同時沉肩墜肘，左掌隨腰轉之勢從耳際向前作側擊之勢，掌緣向前，掌心向右，（呼）左肩向前下沉，面向正北，上體保持中正，目視左掌指尖，如左啚（二）。
(Exhaling)
As the weight shifts onto your right leg, your right arm rolls the fist over with the turning of your waist and does a parrying block to the right, the center of the fist facing upward, your right elbow lightly pressing against your right ribs, and your left palm at the same time, shoulder sinking, elbow dropping, goes along with the turning of your waist by going from your ear and striking forward with the palm sideways, the edge of the palm facing forward, the center of the palm facing toward the right, the left shoulder sinking down forward. You are facing toward the north, your torso staying centered. Your gaze is toward your left fingertips. See photo 39:

上步截捶
[15] STEP FORWARD, INTERCEPTING PUNCH

接演下式，先將左臂徐向前伸，上體微向右轉，（吸）
(Inhaling)
First your left arm slowly extends forward as your torso turns to the right.
鬆腰胯，提左足向左前方邁一大步，右拳隨身前進擊出，（呼）拳心向左，面向正北，目視右拳，上體中正，弓箭步，左實右虛，如左啚。
(Exhaling)
Then your hips loosen, your left foot lifts and takes a large step toward the forward left, and your right fist goes along with your advancing torso by striking out forward, the center of the fist facing toward the left. You are facing toward the north, your gaze toward your right fist, your upper body upright. You are in a bow & arrow stance, your left foot full, right foot empty. See photo 40:

用法舉例：
Example application [for Postures 14 and 15]:
設敵由左方以左拳擊我，我側身向左避之，繼復以右拳直攻我前胸，我即右手握拳，轉身搬攔其右臂，壓其右腕，而以左掌擊其右肩，敵若換步欲變其勢，我乃以左掌沾敵，急進左步，以右拳截擊之，截者：切近其身以擊之之謂，我須順勢則可。
If the opponent uses his left fist to strike me on my left side, I turn my torso sideways to evade on the left. If he then uses his right fist to attack straight to my chest, I immediately send my right hand, grasping into a fist, to block aside his right arm and press down his right wrist, then use my left palm to strike to his right shoulder. If he switches his feet to try to change his position, I then use my left palm to stick to him as I quickly advance my left foot and use my right fist to strike him with an intercepting punch. By “intercept” is meant that you get close to his body to strike him. You have to seize the opportunity in order for this to work.

如封似閉（一）
[16.1] SEALING SHUT (Part 1)

由前式右掌擊出後，拳變為掌，掌心向上，隨腰向左平繞，如上啚（一），（吸）
(Inhaling)
After your right fist strikes out, the fist becomes a palm, the palm facing upward, and goes along with your waist by arcing across to the left. See photo 41:

如封似閉（二）
[16.2] SEALING SHUT (Part 2)

同時身向後坐，含胸，（呼）兩臂隨身後坐時，兩掌漸開，兩肘收至胸前，如左上啚（二）。
(Exhaling)
Then your torso sits back, your chest hollowing, as your palms gradually spread apart, your elbows withdrawing in front of your chest. See photo 42:

如封似閉（三）
[16.3] SEALING SHUT (Part 3)

兩前臂向上隨腰左轉，（吸）如左啚（三）。
(Inhaling)
Your forearms rise up as your waist turns to the left [right]. See photo 43:

如封似閉（四）
[16.4] SEALING SHUT (Part 4)

轉後，含胸拔背，鬆腰胯，作蓄勁之勢，如左下啚（四）。
After turning, hollow your chest, round your back, and loosen your hips, making a posture of storing power. See photo 44:

如封似閉（五）
[16.5] SEALING SHUT (Part 5)

乃以腰腿一致之勁，向前按，如下啚（五）。
[Exhaling]
Then driven by power from your hips, push forward. See photo 45.1:

用法舉例：
Example application:
我以右拳擊敵，設敵以左掌握我腕，我隨即以摺疊之勢，變拳為掌，向左繞化，以移其勁，同時左掌由右臂下接握其腕，更轉身掤開，若敵乘勢擠我，我即提臂轉身，向前按之。
When I use my right fist to punch the opponent, if he uses his left hand to grab my wrist, I then use an action of folding in, my fist becoming a palm and arcing to the left, in order to divert his strength. Then my left palm goes from below my right arm to connect to and grab his wrist as I turn my torso [to the right], thereby warding away his arm. If he takes advantage of this opportunity to use a pressing action against me, I then lift my arms, turn my torso [to the left], and push forward.

轉身十字手（一）
[17.1] TURN, CROSSED HANDS (Part 1)

由前式兩臂逐漸上提，同時上體隨勢向後坐，（吸）如上啚（一）
(Inhaling)
Your arms gradually lift up, your torso sitting back. See photo 45.2:

轉身十字手（二）
[17.2] TURN, CROSSED HANDS (Part 2)

乃將身向右轉，左足尖亦隨腰轉向正東，兩臂隨上體徐移至左足時，各向左向分開，如上左啚（二）。
Then your torso turns to the right, the toes of your left foot going along with your waist by turning to point toward the east, and your torso slowly shifts onto your left leg as your arms spread apart to the sides. See photo 46:

轉身十字手（三）
[17.3] TURN, CROSSED HANDS (Part 3)

上體復逐漸下蹲同時兩臂亦逐漸下按，（呼）如下啚（三）。
(Exhaling)
Your torso then gradually squats down, your arms gradually pushing down. See photo 47:

轉身十字手（四）
[17.4] TURN, CROSSED HANDS (Part 4)

繼續再向內抱，乃收右足，（吸）與左足相距約與肩寬，兩足尖向前，成川字椿，
(Inhaling)
Your arms then continue by wrapping inward as your right foot withdraws so that your feet are about shoulder width apart, the toes of both feet pointing forward, making a river-character stance.
收尾閭，上體中正含胸，同時兩臂相交如斜十字，（呼）此時面向正東，兩掌向內，目向前平視，如左下啚（四）。
(Exhaling)
Tuck in your tailbone, center your torso, and hollow chest as your arms cross to make an X shape. You are now facing toward the east, your palms facing inward, your gaze forward and level. See photo 48:

以上為苐一段，約占全套四分之一，為初學練習拳架最著重之一段，必須練習純熟，再進入二段
All of the postures up to this point make up the first section of the set. The whole set could be considered to have about four sections [though apart from this posture finishing the first section and the first repeat of the same posture (Posture 55) finishing the first half (and therefore second section), there is no specific indication given as to where the third section finishes]. This is the most important section for beginners. You must practice it until you are solidly familiar with it before moving on to the next section.

抱虎歸山（一）
[18.1] CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN (Part 1)

由前式成十字手後，即將左足尖向右轉約六十度，同時左臂向左下開，右臂徐向上提，（吸）上體亦隨移至左腿上，如上啚（一）。
(Inhaling)
Your left toes turn to the right about sixty degrees as your left arm spreads away downward to the left and your right arm slowly lifts up, your torso shifting over to your left leg. See photo 49:

抱虎歸山（二）（三）
[18.2 and 18.3] CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN (Parts 2 and 3)

右足向西南方邁一大步，（呼）
(Exhaling)
Your right foot then takes a large step toward the southwest.
右掌同時自胸前下摟右膝左掌翻掌向後上舉如左啚（二）（三），（吸）
(Inhaling)
Your right palm then goes from in front of your chest, lowering to brush past your right knee, and your left palm raises up to the rear, the palm turning over. See photos 50 and 51:

抱虎歸山（四）
[18.4] CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN (Part 4)

乃復從左耳際按出，動作與右摟膝拗步同，（呼）惟方向彼正此斜耳，如下啚（四）。
(Exhaling)
Your left palm then goes past your left ear and pushes out, the movement similar to RIGHT BRUSH KNEE, except toward a diagonal direction rather than a straight one. See photo 52:

抱虎歸山（五）
[18.5] CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN (Part 5)

左手續向前伸平，右臂向後平舉，兩臂舉與肩平，（吸）如左下啚（五）。
(Inhaling)
Your left hand then continues to extend forward as your right arm extends to the rear, your arms raising to shoulder level. See photo 53:

抱虎歸山（六）
[18.6] CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN (Part 6)

同時前後兩掌各翻為陽掌，右臂俟翻掌後上舉至耳際，如上啚（六），（呼）
(Exhaling)
Then your palms turn over in unison to be facing upward and your right arm raises up to bring its palm near your [right] ear. See photo 54:

乃成如攬雀尾之捋勢，參看苐十啚―苐十六各啚。
Then perform the rollback from CATCH THE SPARROW [as well as the press and push], same as in photos 10–16.

單鞭轉身
[19] SINGLE WHIP FOR TURNING AROUND

由前式轉單鞭勢，其動作在苐十七啚以下至十九啚等已説明，惟右掌向右平轉時不作吊手，左臂向左掤開時掌心向上，兩臂展開，略與肩平，同時左足以足尖點地將足跟內轉，（吸）身亦同時坐胯轉腰，由西南角漸轉向東北角，兩臂各轉至約四十五度，此時體重在右腿，全身放鬆，目平視前方，如上（一）（二）（三）（四）各啚
(Inhaling)
Continuing into SINGLE WHIP, the movements the same as in the explanations for 17–19, except in this case when your right palm arcs across to the right, it does not make a hanging hand and when your left arm wards away to the left, the palm is facing upward, your arms spreading apart at about shoulder level, your left foot is touching down with the toes, the heel turned inward, and your waist turns from the southwest corner toward the northeast corner, your arms arcing until fifty-five degrees relative to the corner [i.e. your left arm pointing toward the north, right arm pointing toward the east], the weight staying on your right leg, your whole body loosening. Your gaze is forward and level. See photos 55–58:

肘下捶（一）
[20.1] PUNCH UNDER THE ELBOW (Part 1)

由前式轉身後，隨將體重漸移於左腿上，（呼）
(Exhaling)
After your torso has turned, the weight shifts onto your left leg.
於是以腰腿勁，鬆腰胯將右足向東橫掃一步，（吸）足尖向北，身亦隨足向北，如上啚（一）。
(Inhaling)
Then driven by power from your waist and legs, and the loosening of your hips, your right foot does a sweeping step across toward the east, the toes pointing toward the north, your torso also facing toward the north. See photo 59:

肘下捶（二）
[20.2] PUNCH UNDER THE ELBOW (Part 2)

於是再將體重移右足時，右掌握拳，右前臂平橫於胸前，（呼）
(Exhaling)
Then weight shifts onto your right foot as your right palm grasps into a fist and your right forearm goes across in front of your chest.
同時左臂繼續向左後方而下，復向上，（吸）
(Inhaling)
Your left arm continues toward the left rear, downward, and then upward.
再從左脅內繞出而將左肘立於右拳上，（呼）如左下啚（二）目視前方，左足隨左掌繞出時，移至右足之左前方，足跟著地，足尖翹起。
(Exhaling)
Your left arm arcs out from the inside, moving along your left ribs, until the elbow is placed right above your right fist, your left foot at the same time shifting toward the forward left of your right foot, the heel touching down, toes raised. Your gaze is forward. See photo 60:

用法舉例：
Example application:
設敵向我身後襲來，我即以左臂轉身掤敵，敵復擊我胸部，我乃挫腰移坐右腿上，隨橫右臂護胸，而以左臂掤去敵臂，復從左脅內穿出，以掌挒敵顏面部，或以左掌佯擊其面，而以右拳捶其腹，更可用左足踢其下部，要之：此勢全仗身法轉變輕靈，手足上下一致，則左右前後，皆可應敵。
If an opponent suddenly attacks me from behind, I turn around using my left arm to ward him off. If he then strikes to my chest, I bend in at the waist and sit onto my right leg, bringing my right arm across to protect my chest while using my left arm to ward away his arm, then send my left palm threading out from my left ribs to do a rending strike to his face. Or I use my left palm to feint a strike to his face and then use my fist to punch to his belly, and I can also use my left foot to kick to his lower body. Be aware that this technique entirely depends on your torso turning nimbly and your hands and feet working in unison, and thereby you will be able to deal with opponents from any direction.

倒攆猴（一）
[21.1] RETREAT, DRIVING AWAY THE MONKEY (Part 1)

由前式轉演為倒攆猴時，先將左臂覆掌平伸，右拳舒開，掌心向上，曲臂後收，右肘微貼於右脅旁，坐身鬆腰，左足尖亦平覆於地面，如上啚（一），此乃倒攆猴開始前之姿勢也。
First your left arm extends until the palm is level and facing downward, your right fist opening and turning so the palm is facing upward, your bent right arm withdrawing to the rear until the elbow is gently touching beside your right ribs, your torso settling, your hips loosening, your left toes coming down to the ground. This is the beginning posture of RETREAT, DRIVING AWAY THE MONKEY. See photo 61:

倒攆猴（二）
[21.2] RETREAT, DRIVING AWAY THE MONKEY (Part 2)

然後右臂漸下垂後揚，徐繞一大圈，而以右掌上覆於耳際，（吸）如上左啚（二），左足與右臂下垂向後繞同時，輕提向後邁步，足尖先著地，目視左掌漸向上翻為陽掌。
(Inhaling)
Then your right arm gradually hangs down and rises up to the rear, slowly arcing through a large circle until the palm is covering your [right] ear, as your left foot lightly lifts and steps back, the toes touching down first, and your left palm gradually turns over to be facing upward. Your gaze is toward your left palm. See photo 62:

倒攆猴（三）
[21.3] RETREAT, DRIVING AWAY THE MONKEY (Part 3)

身乃漸移至左足上，同時右掌從右耳際向前墜肘伸出，左臂亦同時後收至左脅下，（呼）此時鬆腰胯，拔背含胸，目視前方，如左下啚（三）
(Exhaling)
Your torso gradually shifts onto your left leg as your right palm reaches out from beside your right ear, the elbow dropping down, and your left arm withdraws until below your left ribs, your hips loosening, your back rounding, your chest hollowing. Your gaze is forward. See photo 63:

説明：
Note:
此乃退左足伸右掌之倒攆猴，繼又退右足伸左掌之倒攆猴，而成為左右二勢，苐一段中之左右摟膝拗步，乃練習前進之步法，此為練習後退之步法也。
This moment shows the left foot retreating, right palm extending. Continue into the right foot retreating, left palm extending, thus performing the posture on both sides. With the LEFT & RIGHT BRUSH KNEE, you are practicing advancing footwork. With this posture, you are practicing retreating footwork.

倒攆猴（四）（五）
[21.4 & 21.5] RETREAT, DRIVING AWAY THE MONKEY (Parts 4 & 5)

接前式提右足向後邁步，悉照前述要領而作同樣之動作，惟左右相反耳，如上啚（四）（五）。
Then your right foot lifts and steps back and you perform the same movements as before [photos 62 and 63], except on the opposite side. See photos 64 and 65:

如是左右周而復始，二次，四次，六次，任學者自決，乃接下式，此式動作須頂勁虛懸，沉肩墜肘，含胸拔背，鬆腰坐胯，尾閭後收，上體中正為要，再此式多練，能使全身各部關節，鬆開柔軟，故全套之中，此式亦重複一次，可知其意在使學者多加練習之機會耳。
Repeat these movements so that you have performed on both sides two times, four times, or six times, up to you, and then continue into the next posture. As you practice these movements, it is essential that you suspend your headtop, sink your shoulders and drop your elbows, hollow your chest and round your back, loosen your waist and settle your hips, tuck in your tailbone, and keep your upper body upright. Practicing these movements often can cause your whole body, in every part and every joint, to become more loosened and supple, and therefore the reason this posture gets repeated later in the set is to give you more opportunities to practice it.

用法説明：
Application explanation:
此乃以退為進亦守亦攻之勢，前足為虛，可以踢擊，兩臂互為屈伸，兩掌互變陰陽，輕靈圓活，隨時有應變擊敵之機會也。
This is a technique of using retreat as advance, and defense as attack. Your empty foot in front can attack with a kick. Your arms are: one bent, one extended. Your palms are: one facing downward, one facing upward. Be nimble and lively, responding according to the situation, attacking the opponent when the opportunity comes.

斜飛勢（一）
[22.1] DIAGONAL FLYING POSTURE (Part 1)

前式正四反或六反後，乃接下式之斜飛勢，隨將左足向左後方（向西）邁一大步，（吸）上體重心仍寄於左足，同時左臂翻掌隨身向東轉，右掌虛覆於左臂上如下啚（一）
After four or six retreats, your left foot takes a large step toward the left rear (i.e. toward the west [southwest]), the weight staying on your left [right] foot, as your torso turns toward the east and your left palm turns over, your right palm emptying and covering over your left arm. See photo 66:

用法舉例：
Example application:
設敵向我右側面擊我，我隨轉身以左掌仰握其腕，以右掌緣擊其頸項部，或坐身捋其臂，其變化甚多，此不過略舉一例耳。
If an opponent attacks from my right side, I use my left hand to grab his wrist as I turn my torso and then use the edge of my right palm to strike to his neck. Or I sit back and do a rollback to his arm. There are numerous variations and this is just one example.

斜飛勢（二）
[22.2] DIAGONAL FLYING POSTURE (Part 2)

接上式鬆腰胯作左捋勢，（呼）如上啚（二），（呼）
(Exhaling)
Your hips loosen and you do a rollback to the left. See photo 67:

斜飛勢（三）
[22.3] DIAGONAL FLYING POSTURE (Part 3)

復轉腰將兩臂左上右下交覆如十字，如左上啚（三）（吸）
(Inhaling)
Then your waist turns [to the left] as your arms cross to make an X shape with your left arm on top, right arm underneath. See photo 68:

斜飛勢（四）
[22.4] DIAGONAL FLYING POSTURE (Part 4)

乃鬆腰胯，提右足向東南角邁一大步，兩臂同時隨身向前斜開，目視前方，（呼）如左下啚（四）
(Exhaling)
Your hips loosen, your right foot lifts and takes a large step toward the southeast corner, and your arms spread apart diagonally as your torso advances. Your gaze is forward. See photo 69:

説明：
Note:
上二啚身向本應向東，為觀察全身姿勢便利起見，方向略偏向東南。
In photos 68 and 69, the torso ought to be facing more toward the east, but in order to make the whole posture easier to see, it is shown facing more toward the southeast.

用法舉例：
Example application:
設我捋敵，敵將乘勢靠我，我鬆腰以挫其勢，隨即以腰腿完整一氣之勁，以兩臂張開以挒之。
If I roll back the opponent and he then takes advantage of the momentum to bump me, I loosen my waist in order to upset his force and then use integrated power from my waist and legs to spread my arms with a rending technique.

由上式斜飛勢接演提手上勢，參看苐二十三啚及苐二十四啚，將左足偷進半步，身腰轉正向東南角，而成苐二十三啚之（一）乃如前述要領而成苐二十四啚之（二）。
Then continue into [23] LIFTING HANDS, same as in photos 23 and 24, except in this case your left foot sneaks forward a half step as your torso turns toward the southeast corner.

由提手上勢轉為白鶴掠翅，又轉為摟膝拗步等，動作及説明，均參看苐二十五，二十六，二十七，二十八，二十九，卅，卅一，各啚，及其説明，茲不贅述。
Then switch to [24] WHITE CRANE SWEEPS OPEN ITS WINGS, and then to [25] BRUSH KNEE IN A CROSSED STANCE, same as in photos 25–31.

海底針
[26] NEEDLE UNDER THE SEA

由左摟膝拗步接演海底針，右臂平伸，略向上提（吸）同時隨提右足偷進半步，
(Inhaling)
Your right arm, still extended and level, slightly lifts as your right foot sneaks forward a half step.
身隨勢體重落於右腿上，收左足點地，鬆腰胯，作下踞勢，（呼）同時右臂隨勢提近胸前，側掌向下前方推送，左掌覆於右腕以助其勢，如下右啚。
(Exhaling)
Then the weight goes onto your right leg, your left foot withdraws, toes touching down, and your hips loosen and you squat down, your right arm at the same time lifting and drawing near your chest, the palm turning sideways, and pushing downward and forward, your left palm covering your right wrist to add power. See photo 70:

搧通臂
[27] FAN THROUGH THE ARMS

接下式：隨用腰腿勁將右臂提起，（吸）
(Inhaling)
Continuing from the previous posture, use power from your hips to lift your right arm.
同時伸左足向左前方邁一大步，兩臂與身隨腰腿向前之勢，右臂橫前臂上掤，左臂沉肩墜肘以側掌向前擊出，（呼）如下左啚。
(Exhaling)
Then your left foot takes a large step toward the forward left and your arms go along with the forward momentum of your torso and hips, your right arm warding off upward to be crosswise in front of you, your left arm sinking its shoulder, dropping its elbow, and striking out forward with the palm sideways. See photo 71:

用法舉例：
Example application [for Postures 26 and 27]:
設敵握我右腕，我順勢向前一鬆，隨即以腰腿勁提囘向下推送，此時若敵足跟被我掀起，必將向後反跌，若向前仆，正好起左足踢之，敵若見機鬆勁後退，我即乘勢反掤其臂提上，隨以左掌擊其胸脅部。此二式用法，可以接續相連而用，故舉例亦並舉之耳。
If the opponent grabs my right wrist [when I perform the BRUSH KNEE technique], I seize the opportunity by loosening forward and then using power from my hips to lift, withdraw, and push down. If this causes his heels to lift, I will then send him toppling backward, or if he is instead falling forward, I am in a perfect position to lift my left foot to kick him. If he sees a chance to loosen and retreat, I take advantage of his momentum by warding off to lift his arm up and using my left palm to strike to his chest or ribs. This and the previous posture can be connected into a single technique, and therefore this application explanation addresses both of them together.

翻身撇身掌（一）
[28.1] TURN AROUND, TORSO-FLUNG PALM (Part 1)

由前式轉演此式時，先將上體移至右腿上，同時右掌覆額護頂，（吸）
(Inhaling)
First your torso shifts onto your right leg, your right palm covering your headtop.
上體與左足尖隨腰向右後方，再轉身後坐，鬆腰胯，收尾閭，左臂收至胸前，左掌藏於右臂下，（呼）上體中正如上啚（一）。
(Exhaling)
Then your waist turns to the right rear, your left toes turning [inward], and your torso sits back [onto your left leg], your hips loosening, your tailbone tucking in, as your left arm withdraws in front of your chest, the palm hidden underneath your right arm. Your upper body is upright. See photo 72:

翻身撇身掌（二）
[28.2] TURN AROUND, TORSO-FLUNG PALM (Part 2)

乃提右足向右前方邁一大步，（吸）
(Inhaling)
Your right foot lifts and takes a large step toward the forward right.
左右臂隨身以腰腿勁向前進時，右臂並掌由頂而下而前收至右脅旁，（呼）左掌同時隨勢轉掌向前擊出，此時身轉正北，目視前方，如左啚（二）
(Exhaling)
Driven by power from your waist and legs, your torso advances, your arms going along with it, your right palm going downward and forward from your headtop, and then withdrawing to be beside your right ribs, your left palm at the same time turning [outward] and striking out forward. Your torso is now facing toward the north, your gaze forward. See photo 73:

用法舉例：
Example application:
設我正以搧通臂勢擊退前面之敵，而背後又有敵擊來，我乃急坐胯翻身挫腰以避其拳擊，隨即移步以右掌（或拳）直擊其頂，或接其腕，或壓其臂，或翻掌握其腕，而以左掌側擊之，或伸接敵腕而捋之，全憑當時情勢應變之，固無一㝎之用法也，舉一反三是在學者之善自揣摩，然其要訣：必先將各式貫串熟練，身手步三法一致，周身輕靈，自然應敵變化無往不宜矣。
又此式演練至純熟後，可將上體不必移動，隨即坐胯翻身，轉腰邁步，可也，蓋此勢用法，貴在輕靈敏捷，演練時，宜體斯意，但不可因坐胯而上體前仆，未跨步而臂已先下，此宜注意。
While I am using FAN THROUGH THE ARMS to strike the retreating opponent in front of me, if another opponent then attacks me from behind, I quickly settle my hips, turn my torso around, and bend in at the waist in order to evade his punch, then I shift forward and use my right palm (or fist) to strike to his headtop, or connect to his wrist, or press down his arm, or turn my palm over to grab his wrist, and then use my left palm to strike him with the edge of the palm, or reach out to connect to his wrist and do a rollback. Each of these options is entirely a matter of adapting to the situation, for there is not really any fixed method. Being able to turn one technique into many variations comes down to how well you able to contemplate these things. The key is to first practice every posture to the point of skillfulness, developing good coordination between torso, hands, and feet, making your whole body nimble, and then naturally you will be able to adapt to the opponent in ways in which everything you do will be right.
　　Furthermore, once you are able to perform this posture skillfully, you will no longer need to start by shifting back [onto your right leg] and can instead immediately settle your hips and turn around [while still weighted on your left leg], going right away from turning your waist into stepping out [with your right foot]. Doing the technique in this way emphasizes that the movement be nimble and quick. When practicing, you should embody this idea [thereby living up to the quality indicated in the posture name of your palm being flung out from your torso], but you must not let the settling of your hips cause your upper body to lean forward, nor let your [right] arm come down before you have even stepped out. This point should be given attention.

換步搬攔捶（一）
[29.1] SWITCHING STEP, PARRYING-BLOCK PUNCH (Part 1)

由前式轉此式時，先將兩掌逐漸翻換陰陽，（吸）參看前苐九啚，右臂漸向前平伸，左臂漸收至左脅旁，
(Inhaling)
First your palms gradually turn over so your right palm is facing downward, left palm facing upward, your right arm gradually extending forward and level, your left arm gradually withdrawing to be beside your left ribs, similar to photo 9.
身後坐而作向下之捋勢，（呼）如上啚（一）。
(Exhaling)
Then your torso sits back as you do a rollback downward. See photo 74:

換步搬攔捶（二）
[29.2] SWITCHING STEP, PARRYING-BLOCK PUNCH (Part 2)

然後向左轉腰右臂漸至左胯旁握拳，左臂後揚平舉至肩，如上左啚（二）（吸）。
(Inhaling)
Then your waist turns to the left, your right arm gradually going beside your right [left] hip, the hand grasping into a fist, your left arm raising to the rear until at shoulder level. See photo 75:

換步搬攔捶（三）
[29.3] SWITCHING STEP, PARRYING-BLOCK PUNCH (Part 3)

乃提右足換步向前半步踏實，足尖略向右，兩臂及上體隨腰向右轉之勢，左臂上揚，左掌從耳際與右拳搬攔同時向前側掌擊出，（呼）目視前方，如左下啚（三）。
(Exhaling)
Then your right foot lifts and does a “switching step” [i.e. stepping forward with the toes turned outward in readiness for the other foot to step], coming down a half step forward, the toes pointing slightly toward the right, your waist turning to the right, your left arm raising up, the palm passing your ear while your right fist does a parrying block, and then striking out forward with the edge of the palm. Your gaze is forward. See photo 76:

用法舉例：
Example application:
設如由前勢撇身掌擊出後，敵出左臂掤我，我乃以左掌接其腕而捋之，敵抽左臂而以右拳擊我前胸，我側身化去其勁，隨即右掌握拳，抽右足換步以腰腿勁向右搬攔，壓其右前臂，而以左掌擊其右肩，敵若抽步後化，我乃上步截捶。
After my torso-flung palm strike goes out, if the opponent sends out his left arm to ward me off, I then use my left palm to connect to his wrist and roll him back. If he withdraws his left arm and uses his right fist to strike to my chest, I turn my torso sideways [rightward] to neutralize his power, my right palm grasping into a fist, my right foot pulling back and doing a switching step, as I use power from my waist and legs to do a parrying block to the right, pressing down his right forearm, and use my left palm to strike to his right shoulder. If he steps back to neutralize this, I will then step forward and catch him with an intercepting punch.

上步截捶
[30] STEP FORWARD, INTERCEPTING PUNCH

左掌繼續前伸，鬆腰胯上左步，轉拳向前擊出，則為上步截捶，參看前苐四十啚。
Your left palm continues to extend forward, your hips loosen, and your left foot steps forward, then your fist rotates as it strikes out forward, thereby performing STEP FORWARD, INTERCEPTING PUNCH, same as in photo 40 [except facing in the opposite direction].

上步攬雀尾
[31] STEP FORWARD, CATCH THE SPARROW BY THE TAIL

如上啚向左轉腰，右拳舒開成掌，（吸）隨腰轉至左脅下。
(Inhaling)
Your waist turns to the left, your right fist opening to become a palm and going along with the turn of your waist to be placed below your left ribs. See photo 77:

即成上步攬雀尾之姿態，餘參看苐八啚乃至苐十六啚。
Then perform the rest of CATCH THE SPARROW, same as in photos 8–16.

接單鞭，參看苐十七啚乃至苐二十二啚。
Then continue into [32] SINGLE WHIP, same as in photos 17–22.

雲手（一）
[33.1] CLOUDING HANDS (Part 1)

由單鞭轉為雲手，先將上體移坐右腿上，同時兩臂伸平，右吊手舒為掌，皆覆掌平腕，如苐七十八上啚。
(Inhaling)
First your torso sits onto your right leg, your arms extending level, your right hooking hand opening to become a palm, both palms facing downward, the wrists level. See photo 78.1:

雲手（二）
[33.2] CLOUDING HANDS (Part 2)

然後身向東轉，左足尖隨身同時轉向正東，左臂亦漸下垂，（吸）
(Inhaling)
Then your torso turns toward the east, your left toes also turning to point toward the east, your left arm gradually lowering.
迨上體俟左足尖轉㝎後，乃漸移坐左腿上，左臂亦漸由下而上轉至面前，掌心向內，掌指與眉同髙，（呼）臂微屈成鈍角，右臂隨身移左時亦漸下垂，目視左掌指，如苐七十八下啚（一）
(Exhaling)
Then gradually sit onto your left leg, your left arm gradually arcing upward from below until in front of your face, palm facing inward, fingers at shoulder height, arm slightly bent to make an obtuse angle, your right arm gradually lowering. Your gaze is toward your left fingers. See photo 78.2:

雲手（三）
[33.3] CLOUDING HANDS (Part 3)

重心落左足心後，繼續向左轉至左後方約四十五度，（吸）如右下啚（二）。
(Inhaling)
Once the weight has lowered onto your left foot, continue to turn to the left until you have turned about forty-five degrees toward the left rear. See photo 79:

雲手（四）
[33.4] CLOUDING HANDS (Part 4)

左臂漸舒直平肩，掌亦覆成陰掌，右掌同時由右而下而左繞一圓圈， 與左臂上下相映， 如左下啚（三）
Your left arm gradually extends at shoulder level, the palm turning over to be facing downward, your right palm arcing from the right, downward, and to the left, your arms performing the opposite of each other above and below. See photo 80:

此時全身須放鬆，目隨兩手左右顧盼，下頦後收，當腰左右轉時為開，兩足一左開一右攏時為合，合則須含胸鬆腰胯。
During this posture, your whole body must loosen. Your gaze follows your hands to the left and right, your chin drawn back. The turning of your waist to the left and right has a quality of opening. Your left foot does an opening step, then your right foot does a closing step. When doing the closing step, you must hollow your chest and loosen your hips.

雲手（五）
[33.5] CLOUDING HANDS (Part 5)

如前啚（三）轉至左後方四十五度後，即提右足靠攏半步，與左足並齊，約隔一足掌，上體重心漸由左而移右，右臂亦漸從左脇翻掌當胸，指尖髙與眉齊，（吸）掌與胸之距離，與前式之左掌同，約成鈍角，如上啚（四）。
(Inhaling)
Your right foot now lifts and steps a half step to stand next to your left foot, with about the width of a sole between them, and the weight gradually shifts to the right, your right arm gradually going from your left ribs, the palm turning to be facing toward your chest, until the fingertips are at eyebrow level, the palm the same distance in front of you as your left palm was before [photo 78.2], the arm making an obtuse angle. See photo 81:

雲手（六）
[33.6] CLOUDING HANDS (Part 6)

乃繼續隨身向右旋轉至右後方約四十五度，右臂又舒直平肩而漸欲下墜時，（呼）左掌已由下而上而右繞向右肩之前，如左啚（五）。
(Exhaling)
Your torso continues to turn to the right until it has turned about forty-five degrees toward the right rear as your right arm extends at shoulder level and gradually starts lowering, your left palm arcing to the right, going upward from below, until in front of your right shoulder. See photo 82:

雲手（七）
[33.7] CLOUDING HANDS (Part 7)

於是再繼續邁左足向左開一大步，如前七十八啚之動作，如是周而復始，一左一右約各演四次或六次，再轉成單鞭勢，
Then your left foot again takes a large step to the left, the movement the same as in photo 78.2. Repeat these movements until you have clouded to the left and right four times or as many as six times, then switch to SINGLE WHIP.

説明：
Note:
前式之拗步為向前直進，倒攆猴為向後直退，此式之雲手為左右之橫進，學者往往不明其用途何在，或視為此式不過使腰肢活動而已，殊不知此左右雲手一式，實含藏全套各勢之變化，未可以等閑忽之也，然練習合法，亦頗不易，必須虛靈頂勁，沉肩墜肘，含胸拔背，鬆腰坐胯，尾閭中正，氣沉丹田，提足移步，須如猫行之輕靈柔軟，兩臂之左右上下旋轉，亦復如抽絲之綿連不斷，呼吸寓乎開合之中，全神貫乎兩掌之上，方為合法，故全套中如攬雀尾，單鞭，拗步，搬攔捶，倒攆猴，雲手等，皆數數重複者，實具有深意也。
BRUSH KNEE IN A CROSSED STANCE advances and DRIVING AWAY THE MONKEY retreats, but CLOUDING HANDS steps sideways. Students frequently do not understand the point of this, or they think of this posture as just an exercise for livening the waist, little realizing that CLOUDING HANDS actually contains the keys to transforming through all the postures in the set, and thus cannot be casually dismissed. But practicing it in accordance with the principles is truly not easy. You have to forcelessly press up your headtop, sink your shoulders and drop your elbows, hollow your chest and round your back, loosen your waist and settle your hips, center your tailbone, and sink energy to your elixir field. When lifting a foot and shifting a step, it has to be like the lightness and litheness of a cat. When your arms circle left and right, up and down, it has to be like the continuousness of drawing silk. Within the opening and closing of your breath, your entire spirit has to course through to your hands. Fulfilling these requirements, you will then be conforming to the principles. There are postures that are repeated several times throughout the set, such as CATCH THE SPARROW, SINGLE WHIP, BRUSH KNEE, PARRYING-BLOCK PUNCH, DRIVING AWAY THE MONKEY, and CLOUDING HANDS, because they express such profound ideas.

用法：
Application:
云何此式包涵太極拳十三勢之用法耶？蓋由守勢而言：身則立於一線或一點上，而腰則右而左，左而右，旋轉幾達二百七十度之勢，中㝎一勢旣立，則五行之勢具矣，由攻勢而言：手手皆可化為掤等八法八方之變化，不論敵從何方來，用何拳勢，皆不難應付裕如，故此式能守能攻，亦守亦攻，㪽謂攻即是守，守即是攻之架式也，此余多年揣摩㪽自得之處，不敢自秘，公諸同好，望讀者深思而研習之，自能獲致得心應手之妙，諺云：熟能生巧，斯言可信也。
Which of the thirteen dynamics does CLOUDING HANDS contain? In terms of defense, the body stands along a single line or at a single point, but the waist goes from right to left or from left to right, turning almost two hundred seventy degrees. Among the five kinds of stepping actions of advance, retreat, left, right, and staying in the center, this is an example of the center. In terms of attack, the movement of either hand can turn into a ward-off, or any of the other eight techniques, and can be used against opponents coming from any direction, dealing with them with no difficulty at all. Therefore this posture can be used to defend or attack or both, as it is said: “To attack is to defend. To defend is to attack.” This is something I have learned through many years of pondering the art. I would not presume to keep such ideas to myself and am instead sharing them with all those who are interested. I hope you will deeply ponder and try them for yourself, for you will then naturally be able to achieve the marvelous ability of doing with your hands exactly what is in your mind. There is a saying: “Skill comes with practice.” True words indeed.

單鞭
[34] SINGLE WHIP

成單鞭時，俟右臂已轉至右後方，右掌隨臂向上繞一小圓圈而成吊手，同時轉右足尖向東北角，鬆腰胯，虛左足，向左旋轉至正北，乃提左足向左前方邁一大步參看苐二十一二啚之説明。
To get into this posture, when your right arm arcs to the right rear, the palm then does a small circle to make a hanging hand as your right toes turn toward the northeast corner, your hips loosening, your left foot emptying, your torso turning toward the north, and then your left foot lifts and takes a large step toward the forward left. It is the same as in photos 21 and 22.

髙探馬
[35] RISING UP AND REACHING OUT TO THE HORSE

由單鞭以腰腿提勁蓄勢將身提坐於右腿上，同時左足隨勢收至右足前，足尖點地，（吸）右手舒掌從右繞至前胸，左掌翻上曲肘下垂，亦略收近胸前，右掌覆於左腕之上，目視前方，如上啚。
(Inhaling)
Continuing from SINGLE WHIP, use power from your hips to rise up, storing power by sitting back onto your right leg, your left foot going along with the movement by withdrawing in front of your right foot, toes touching down, as your right hand loosens into a palm and arcs through on your right side to be in front of your chest, your left palm turning over to be facing upward and slightly withdrawing in front of your chest, the elbow bending and hanging down, your right palm covering over your left wrist. Your gaze is forward. See photo 83:

用法舉例：
Example application:
設我以單鞭式之左掌按敵，而敵出左掌反握我腕，我即以摺疊法提左臂收至胸前，而以右掌挒其右頰，或用右掌沾其肘而撅之，或以白蛇吐信手法，以腰腿勁，騰步上前，右掌伸指直刺其咽喉。
If I use the SINGLE WHIP posture to push the opponent with my left palm and he then sends out his left hand to grab my wrist, I will then use a folding method to lift my left arm and withdraw it in front of my chest while using my right palm to do a rending action to the right side of his jaw, or I will use my right palm to stick to his elbow and break it, or use the technique of WHITE SNAKE FLICKS OUT ITS TONGUE [Posture 83], in which I use power from my hips to suddenly step forward while sending my right [left] palm to do a finger jab to his throat.

右分脚（一）
[36.1] KICK TO THE RIGHT SIDE (Part 1)

接前式先以右掌向前平伸，（呼）伸至左掌指前，
(Exhaling)
First your right palm reaches forward and level, extending until in front of your left fingers.
右臂隨身腰向左繞一小圈，再由左而右，左臂逐漸上掤，（吸）
(Inhaling)
Your right arm goes along with the movement of your torso by drawing a small arc to the left and then going from left to right, your left arm gradually warding off upward.
右臂由胸前向外繞至右後方成下採勢，（呼）隨將左足向左前方邁一大步，如上啚（一），目視右掌。
(Exhaling)
Your right arm arcs outward from in front of your chest, doing a rollback downward toward the right rear, as your left foot takes a large step toward the forward left [and the weight shifts onto it]. Your gaze is toward your right palm. See photo 84:

右分脚（二）
[36.2] KICK TO THE RIGHT SIDE (Part 2)

兩臂逐漸隨身向左移轉時交叉合抱，右手在內，收右足，足尖點地，目隨身再轉右前方注視，如上左啚（二）（吸）
(Inhaling)
Your torso turns to the left, your arms crossing with an action of embracing, your right palm on the inside, as your right foot withdraws, toes touching down. Your gaze goes along with the turning of your torso to look toward the forward right. See photo 85:

右分脚（三）
[36.3] KICK TO THE RIGHT SIDE (Part 3)

提右足，向右前方平踢，（呼）同時兩臂亦向前後平開助勢，身向東北，目視右前方，此分腳，又名翅腳，如下啚（三）
(Exhaling)
Your right foot lifts and does a level kick toward the forward right [i.e. toward the northeast corner] as your arms spread apart evenly to the front and rear to assist the power. Your torso is facing toward the northeast, your gaze toward the forward right. This technique of kicking to the side is also called a “winging kick”. See photo 86:

左分脚（一）
[37] KICK TO THE LEFT SIDE (Part 1) [RISING UP AND REACHING OUT TO THE HORSE]

接前式隨收右腳向左足前點地，成髙探馬勢，（吸）右掌轉成陽掌，左掌覆於右腕之上，
(Inhaling)
Continuing from the previous posture, your right foot withdraws in front of your left foot, the toes touching down, making the posture of REACHING OUT TO THE HORSE [the same as in photo 83 (except on the other side)], your right palm turning over to be facing upward, your left palm covering over your right wrist.
再前伸（呼）
(Exhaling)
Then your left palm extends forward.
由右而左，兩臂分開，右臂上掤，（吸）左臂隨身轉至左後方，目視左掌，如上啚（一）
(Inhaling)
Then your left palm goes from right to left, your arms spreading apart, your right arm warding off upward, your left arm going along with the turning of your torso toward the left rear. Your gaze is toward your left palm. See photo 87:

左分脚（二）
[38.1] KICK TO THE LEFT SIDE (Part 2)

乃跨右足向右前方邁一大步，（呼）兩臂右掤左採，隨腰由左而右轉至右前方，收左足向左前方點地，同時兩臂相交合抱，左掌在內，身轉左斜方，目隨視左前方，如左啚（二）
(Exhaling)
Then your right foot takes a large step toward the forward right, your torso turning from left to right until facing toward the forward right, your arms going along with your waist, your right arm warding off, your left arm plucking, and your left foot withdraws toward the forward left, toes touching down, your arms crossing with an action of embracing, your left palm on the inside, as your torso turns toward the left corner. Your gaze goes toward the forward left. See photo 88:

左分脚（三）
[38.2] KICK TO THE LEFT SIDE (Part 3)

乃提左足，（吸）
(Inhaling)
Then your left foot lifts.
向左前方（即西北角）平踢，兩臂同時向前後分開，（呼）目視左前方，如下啚（三）
(Exhaling)
Do a level kick toward the forward left (i.e. the northwest corner), your arms spreading apart to the front and rear. Your gaze is toward the forward left. See photo 89:

凡踢腳，兩目均須注視足㪽踢之方向，兩臂在前者，與㪽踢起之足成直線，在後者，與前臂成直線。
Whenever you kick, your gaze has to be toward the direction that your foot is kicking. Your front arm is vertically in line with your kicking leg, and your rear arm is vertically [horizontally] in line with your front arm.

轉身蹬腳
[39] TURN AROUND, PRESSING KICK

接前式左足平踢後，乃收左足提腿，以右足跟著地為軸，翹起足尖，鬆腰將身由左向後轉，（吸）同時兩臂相交收於胸前，時身已轉向正南，
(Inhaling)
After your left foot does a level kick, it withdraws with the leg still lifted, and then using your right heel as a pivot, toes rising, loosen your waist and turn around to the left rear, your arms withdrawing to be crossed in front of your chest. Your torso is now facing toward the south.
乃隨提左腿向正南蹬腳，同時兩臂由頭頂上向前後分開，以助其勢，（呼）如上（一）（二）兩啚。
(Exhaling)
Then lift your left leg and do a pressing kick toward the south, your arms spreading apart to the front and rear from above your head to assist the power. See photos 90 and 91:

用法説明：
Application explanation:
翅腳者，分向左右平踢也，其用法以足背踢人之身，或其㪽執器械之手腕，以其足背面積較大，易於踢中也，蹬腳：乃敵人已迫近我身，遇困不得不發，乃以足跟蹬其胸腹部，已解困厄，然敵若被踢中，則受重傷故極宜慎重，再用腳須輕鬆靈活，勿動搖上體，勿聳肩用力，純以意氣送出內勁為要。
The “winging kick” is a level kick to the left or right side which uses the top of the foot to kick to an opponent’s body or to strike to his wrist to make him drop a weapon. Because the top of the foot is a larger surface, it is easier to hit the target area. The “pressing kick” is for when an opponent is already getting too close and there is no choice but to deal with the threat immediately, and so the heel is used to press to his chest or belly in order to dispel the danger. Because a person is liable to get injured by this kick, it is necessary to be very careful when applying it. When kicking, it is necessary to be loose and flexible, but your upper body should not wobble, your shoulders should not rise up and become stiff, and it is essential to use intention in order to express internal power.

左摟膝拗步
[40] LEFT BRUSH KNEE IN A CROSSED STANCE

蹬腳後，乃轉身坐胯，右臂先從上而下，左臂隨之，轉為左摟膝拗步，參看苐二十八啚乃至苐卅一啚。
After the pressing kick, turn your torso [to the right] and settle your hips, your right arm first going downward from above, then your left arm as you turn [to the left] and perform LEFT BRUSH KNEE, same as in photos 28–31 [except facing in the direction].

再轉右摟膝拗步，參看苐三十六七啚。
Then switch to [41] RIGHT BRUSH KNEE IN A CROSSED STANCE, same as in photos 36 and 37 [except facing in the opposite direction].

摟膝栽捶
[42] BRUSH KNEE, PLANTING PUNCH

左右拗步後，接上啚之栽捶，先以左掌向前略伸，接（吸）一面向右轉腰，右臂隨腰由右向後轉至右胯膝邊握拳，
(Inhaling)
First your left palm slightly extends forward while your waist turns to the right, your right arm going along with your waist by arcing to the rear until beside your right knee, the hand grasping into a fist.
隨坐胯提左足向左前方邁一大步，同時左手摟膝，右拳以腰胯勁隨身前進而從右脅出拳向前向下擊出，（呼）栽 者：出拳如栽地上之意，如上右啚，目注右拳。
(Exhaling)
Then your hips settle, your left foot lifts and takes a large step toward the forward left, your left hand brushes past your [left] knee, and your right fist, driven by power from your waist and hips, and going along with the advancing of your torso, punches from your right ribs to strike out forward and downward. “Planting” means your fist goes out as though planting something in the ground. Your gaze is toward your right fist. See photo 92:

用法舉例：
Application:
設敵向我腿部擊來，我以左臂向下掤開，隨上步以右拳擊其膝蓋。
If an opponent attacks my leg, I use my left arm to ward away his attack, then step forward and use my right fist to strike to his knee.

翻身撇身捶
[43] TURN AROUND, TORSO-FLUNG PUNCH

栽捶後，接翻身撇身捶，重心在右足不動，但轉足尖，翻身向後轉，動作與前撇身掌相同，惟彼掌此拳耳，（吸）如上左啚，並參看苐卅九啚，此時身已轉向正北。
(Inhaling)
After the planting punch, turn around with the weight staying on your right [left] foot but with the toes turning [inward]. The movement is the same as in TORSO-FLUNG PALM [Posture 28], but in this case using a fist instead of a palm, and with your torso facing toward the north [instead of the south]. See photo 93 (after which the movement will be like photo 39 [from PARRYING-BLOCK PUNCH]):

再接上步截捶，參看苐四十啚。
Then continue into [44] STEP FORWARD, INTERCEPTING PUNCH, same as in photo 40.

用法已詳撇身掌，不贅，惟轉動上宜注意者：上體須中正，鬆腰胯，進擊時須與腰腿一致，上下相隨為要。
The application [for Postures 43 and 44] is the same as for TORSO-FLUNG PALM [Posture 28] and so does need to be repeated here, however attention should be given to these points:
– When turning around, keep your upper body upright and loosen your hips.
– When punching forward, it has to be done in unison with your hips, for there has to be coordination between your upper body and lower body.

轉身右起腳（一）
[45.1] TURN, RIGHT LIFTING KICK (Part 1)

由前式鬆腰坐胯，將左足尖隨身左轉向正西，（吸）如上啚（一）。
(Inhaling)
Your waist loosens, your hips settle, and your torso turns to the left, your left toes turning [outward]. See photo 94:

轉身右起腳（二）
[45.2] TURN, RIGHT LIFTING KICK (Part 2)

轉正後，兩臂相交合抱，提右足向右方點地，如上左啚（二）（呼）
(Exhaling)
After turning toward the rear, your arms cross with an embracing action as your right foot lifts and touches down to the right. See photo 95:

轉身右起腳（三）
[45.3] TURN, RIGHT LIFTING KICK (Part 3)

然後上體不動，頭轉向北，目注正北前面，（吸）
(Inhaling)
With your upper body not moving, your head turns toward the north, your gaze now straight ahead toward the north.
乃起右腳向目㪽注視之方向，向上飛踢，（呼）如右啚（三）
(Exhaling)
Your right foot lifts and flies upward with a kick toward the same direction as your gaze. See photo 96:

左打虎勢（一）
[46.1] LEFT FIGHTING-TIGER POSTURE (Part 1)

踢後隨將右足收囘踏於左足㪽站之處，而左足在右足下踏之際，急抽足向左移讓，（吸）於右腳下踏時，兩臂均齊向右前方作下採或下捋之勢，目視右掌，如下啚（一）。
(Inhaling)
After the kick, your right foot withdraws, stepping down where your left foot was as your left foot quickly vacates its spot and draws back, your arms at the same time plucking or rolling back downward together. Your gaze is toward your right palm. See photo 97:

左打虎勢（二）
[46.2] LEFT FIGHTING-TIGER POSTURE (Part 2)

接上式左足隨即向南邁一大步，（呼）足尖向西，兩臂隨身向左移轉時，由下而左向南平舉，斯時兩掌漸轉為陽掌，左臂約與肩平，右臂橫於腹前，目視右掌，如上右啚（二）。
(Exhaling)
Continuing from the previous posture, your left foot promptly takes a large step toward the south, toes pointing toward the west, and your arms go along with leftward turn of your torso by going upward from below toward the south, your palms gradually turning over to be facing upward, your left arm at about shoulder level, your right arm going across in front of your belly. Your gaze is toward your right [left] palm. See photo 98:

左打虎勢（三）
[46.3] LEFT FIGHTING-TIGER POSTURE (Part 3)

然後兩掌同時握拳，（吸）
(Inhaling)
Your hands grasp into fists.
上體轉向正西，同時向拳翻上，位於額前，右拳翻向下，置於左胯上，坐左胯而成左打虎勢，目前視，如上左啚（三），（呼）
(Exhaling)
Your torso turns to be facing toward the west, your [left] fist arcing upward to be placed in front of your forehead, your right fist arcing downward to be placed in front of your left hip, as you sit onto your left hip, making the fighting-tiger posture on the left side. Your gaze is forward. See photo 99:

右打虎勢（一）
[47.1] RIGHT FIGHTING-TIGER POSTURE (Part 1)

乃轉左足尖向北，右足隨身向東前方邁一大步，（吸）足尖向北，
(Inhaling)
Your left toes turn toward the north and your right foot takes a large step forward toward the east, the toes pointing toward the north.
兩臂隨身右移時，由下而右向東平舉，如下右啚（一），（呼）
(Exhaling)
Then your torso shifts to the right, your arms at the same time going to the right from below and raising toward the east until level. See photo 100:

右打虎勢（二）
[47.2] RIGHT FIGHTING-TIGER POSTURE (Part 2)

再握拳隨身轉向北，（吸）
(Inhaling)
Your hands grasp into fists and go along with your torso as it turns to be facing toward the north.
右拳翻上，左拳翻下，而成右打虎勢，目視前方，（呼）如下左啚（二）。
(Exhaling)
Your right fist arcs upward as your left fist arcs downward making the fighting-tiger posture on the right side. Your gaze is forward. See photo 101:

用法舉例：
Example application:
此二勢皆先抽身化敵之側擊，敵若跟進靠我，我乃以左（右）拳擊其肩背，而以右（左）拳在下護襠。
In both of these postures, I first withdraw my torso to neutralize an opponent’s attack away to my side, and if he follows me by coming forward to bump me, I then use my left (or right) fist to strike to the back of his shoulder while sending my right (or left) fist below to shield my crotch.

右踢腳（一）
[48.1] RIGHT KICK (Part 1)

由上式左足尖與上體隨腰轉向東北，（吸）同時兩臂隨身向東北平舉，目前視，如上右啚（一）。
(Inhaling)
Your left toes go along with the turning of your waist to be pointing toward the northeast, your arms at the same time going along with your torso by raising level toward the northeast. Your gaze is forward. See photo 102:

右踢腳（二）
[48.2] RIGHT KICK (Part 2)

然後鬆腰胯向後坐，兩臂隨身向左右分開，左足中㝎後，兩臂由下繞一圈相交於胸前，（呼）同時右足收至左足前，足尖點地，如上左啚（二）。
(Exhaling)
Then loosen your waist and hips and sit back, your arms going along with your torso by spreading apart to the sides, your left foot staying where it is, your arms each arcing in a circle from below to be crossed in front of your chest, your right foot at the same time withdrawing in front of your left foot, toes touching down. See photo 103:

右踢腳（三）
[48.3] RIGHT KICK (Part 3)

然後兩臂與右腿同時上提，（吸）
(Inhaling)
Your arms and your right leg lift up.
足尖向上，向東北方上踢，兩臂亦同時向前後分開，（呼）目視右足尖，如下右啚（三）。
(Exhaling)
Then your right foot kicks upward toward the northeast, the toes pointing upward, your arms at the same time spreading apart to the front and rear. Your gaze is toward your right toes. See photo 104:

用法舉例：
Example application:
設我以右打虎勢時，敵向我右側來擊，我轉身引敵近身，隨起右足踢其下頦部右掌可擊其頂。
While I use RIGHT FIGHTING-TIGER POSTURE, if an opponent attacks from my right side, I turn [sit back] to draw him nearer, then raise my right foot to kick to his chin, and my right palm can also be striking to his headtop.

雙風貫耳（一）
[49.1] DOUBLE WINDS THROUGH THE EARS (Part 1)

下左啚乃轉變雙風貫耳前之姿態，由上式踢後，隨收右足當胸，兩臂亦同時收至胸前，覆掌作按勢，（吸）目視敵方（即東北方），如下左啚（一）。
(Inhaling)
After RIGHT KICK, withdraw your right leg toward your chest, your arms at the same time gathering in until in front of your chest, the palms facing downward to make a posture of pushing down. Your gaze is toward the opponent (i.e. toward the northwest). See photo 105:

雙風貫耳（二）
[49.2] DOUBLE WINDS THROUGH THE EARS (Part 2)

接上式兩臂翻掌由右腿兩旁分開向下，（呼）目仍視前方，如上右啚（二）。
(Exhaling)
Continuing from the previous posture, your arms spread apart to the sides of your right leg, the palms turning over. Your gaze is still forward. See photo 106:

用法：
Application:
設我起右腳踢敵時，敵接握我足，我鬆腰收足，以兩臂下按以膝蓋叩其下頦，或以兩臂向下掤開其臂，隨勢上步作左啚雙風貫耳勢，以擊其兩太陽穴。
When I lift up my right leg and kick to the opponent, if he grabs my right foot, I loosen my waist, withdraw my foot, use my arms to push down, and use my knee to knock against his chin. Or I send my arms downward to ward away his arm, then step forward into the technique of DOUBLE WINDS THROUGH THE EARS (photo 107 below) in order to strike to his temples.

雙風貫耳（三）
[49.3] DOUBLE WINDS THROUGH THE EARS (Part 3)

左啚（三）接上式兩臂下掤後，隨將右足向前上步，上體隨勢向右足推進兩臂由後繞至前方，（吸）
(Inhaling)
After your arms ward off downward, your right steps forward, your torso goes forward, and your arms arc forward from the rear.
握拳以反擊之，（呼）
(Exhaling)
Then your hands grasp into fists and strike with the fists twisted inward. See photo 107:

左踢腳（一）
[50.1] LEFT KICK (Part 1)

接左踢腳時，先將身後坐，同時兩臂向下分開，（吸）如下右啚（一）
(Inhale)
First your torso sits back, your arms spreading apart and lowering. See photo 108:

左踢腳（二）
[50.2] LEFT KICK (Part 2)

再將兩臂繞向胸前，交叉成十字，（呼）身轉向西北角鬆腰胯，同時體重移於右足，左足上步置於右足前，足尖點地，目視西北方，作左踢腳之準備，如下左啚（二）。
(Exhaling)
Then your arms arc upward to be in front of your chest, crossing to make an X shape, as your torso turns toward the northwest corner, your hips loosening, the weight shifting to your right foot, and your left foot steps forward to be placed in front of your right foot, toes touching down. Your gaze is toward the northwest. You are now in a position prepared for your left foot to do a kick. See photo 109:

左踢腳（三）
[50.3] LEFT KICK (Part 3)

由上式提左足（吸）
(Inhaling)
Continuing from the previous posture, your left foot lifts.
向左前方上踢，（呼）兩臂隨從頂上向前後分開，目視左足尖，如上右啚（三）。
(Exhaling)
Your foot then kicks out upward toward the forward left as your arms go above your headtop and spread apart to the front and rear. Your gaze is toward your left toes. See photo 110:

用法舉例：
Example application:
我左前方猝遇敵襲，不及轉他勢，隨轉身起左足踢之。
An opponent suddenly attacks from the forward left and it is too late to divert his force, so I simply turn my torso, lift my left foot, and kick him.

轉身右蹬腳（一）
[51.1] SPIN AROUND, RIGHT PRESSING KICK (Part 1)

踢後，以右足尖為軸心，左足踢後收腿懸起勿著地，（吸）如上左啚（一）。
(Inhaling)
After kicking, your left foot withdraws, but the leg remains lifted, the foot not yet coming down to the ground. See photo 111:

轉身右蹬腳（二）
[51.2] SPIN AROUND, RIGHT PRESSING KICK (Part 2)

乃從右掃轉至右足後踵旁著地，同時以兩足尖為軸，轉身向正北，上體隨落於左腿上，（呼）如下右啚（二）。
(Exhaling)
Then [using your right toes as a pivot,] your left foot sweeps across to the right, coming down behind and beside your right heel, and then pivoting on the toes of both feet, you continue to turn all the way around until your torso is squared toward the north, your torso settling onto your left leg. See photo 112:

轉身右蹬腳（三）
[51.3] SPIN AROUND, RIGHT PRESSING KICK (Part 3)

隨起右足（吸）
(Inhaling)
Then your right foot lifts.
向正北以足跟向前蹬出，（呼）如下左啚（三）。
(Exhaling)
Your foot then goes out toward the north, using the heel to press out forward. See photo 113:

用法舉例：
Example application:
此乃轉身避勢以誘敵也，敵若追進，乃起右足向其胸腹部蹬之，此腿凶險，故不遇困厄不發也。
This is a technique of turning around to evade the opponent’s force in order to lure him in. If he chases forward, I then lift my right foot and do a pressing kick to his chest or belly. As this is a dangerous kicking maneuver, it should not be used unless it is an emergency.

換步搬攔捶（一）
[52.1] SWITCHING STEP, PARRYING-BLOCK PUNCH (Part 1)

由前式蹬腳後，即轉腰向左，（吸）以作換步搬攔捶之前動作，説明已見前，如上右啚（一），
(Inhaling)
Continuing from the pressing kick, your waist turns to the left, and you will perform the movements of SWITCHING STEP, PARRYING-BLOCK PUNCH, same as before [photos 74–76 (except in the opposite direction)]. See photo 114:

換步搬攔捶（二）
[52.2] SWITCHING STEP, PARRYING-BLOCK PUNCH (Part 2)

落步後之姿勢，（呼）如上左啚（二）。
(Exhaling)
Your [right] foot comes down [toes turned outward]. See photo 115:

又接上步截捶，如下右啚。
Then continue into [53] STEP FORWARD, INTERCEPTING PUNCH. See photo 116:

再接如封似閉，並轉身十字手，參看苐四十一啚至苐四十八啚。
Then continue into [54] SEALING SHUT and [55] TURN, CROSSED HANDS, same as in photos 41–48.

–

[GENERAL COMMENTS – Part 2]

至此上半套之架子已終結，惟尚須補充説明者，有數點如下：
This concludes the first half of the set, but there are still several things that need to pointed out:

為便於閱者，安排啚片，頗有斟酌，因此篇幅有㪽限制，説明有欠詳盡，但略於此者，必詳於彼，此在閱者善自會通耳，此其一。
1. To make this text easier to comprehend, a great many photos have been produced, but due to consequent limitations of space on pages that include photos, the explanations are sometimes not as comprehensively detailed as they ought to be. Wherever a gap of information appears, it will have to filled in another way, i.e. by the quality of your own understanding.

內功寓於呼吸開合之中，而呼吸亦極難點明恰當，此其二。
2. Internal training lies in the opening and closing actions involved with breathing. However, it is very difficult to isolate the precise moments that you should be inhaling or exhaling.

眼神為內外之媒介，凡手足之㪽到，目必須隨之而注視，此左顧右盼之㪽以在十三勢中也，然在啚説中，説或有未及者，觀啚則明，此其三。
3. Your gaze is a vehicle between the inside and outside. Wherever your hands or feet go, your gaze must follow. This is the “look left and right” [of the “advance, retreat, left, right, center”] within the Thirteen Dynamics. Where you are to be looking is sometimes not mentioned in the explanations, but will be made clear by examining the photos.

凡上體㪽載之處為實，此實必彼虛，虛方之腿必須伸直，實方之腿，乃成中㝎，此或有未及説明者，此其四。
4. The torso is always carried on top of the full leg. One leg being full necessitates that the other be empty. The empty leg has to straighten and the full leg [i.e. the bent leg] thus becomes stable. This is a point that sometimes gets ignored.

四肢任何轉動，頂勁須恆常保持，尾閭亦須中正，在取任何姿勢時，皆宜注意者，此其五。
5. However your limbs happen to be moving, your headtop must maintain uprightness and your tailbone has to be centered. Whatever the posture, these things always have to be given attention.

由前一式接轉為後一式時，速度宜匀，不可忽徐忽疾，尤須貫串，不可忽斷忽續，此皆啚説上㪽不能一一表達者，此其六。
6. When transitioning from one posture to another, the speed has to be uniform and must not suddenly slow down or suddenly speed up. There especially has to be continuity between them, and so you must not suddenly pause and suddenly start up again. These are qualities that are impossible to express in photos.

踢腿出拳，皆宜用意不用力者，此學者往往不能做到，而啚説皆難表達，特為補説，此其七。
7. When kicking or punching, you should always use intention rather than exertion. Students are frequently unable to achieve this, but it is always difficult to convey through photos, and so it has to specifically pointed out with supplementary comments such as this one.

上半套為下半套之基礎，上半套未練至純熟，不可接練下半套，此其八。
8. The first half of the set is the foundation for the second half of the set. If you have not yet practiced the first half to the point of skillfulness, you must not yet continue into practicing the second half.

–

[SECOND HALF OF THE SET]

下半套亦從抱虎歸山開始，動作與苐四十九啚至苐五十四啚及苐十啚至苐十六啚同，
The second half of the set commences with [56] CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN. The movements are the same as in photos 49–54 and 10–16.

橫單鞭
[57] SIDEWAYS SINGLE WHIP

再接橫單鞭，動作與苐十七啚至苐二十二啚同，惟不向北而向東耳，故以橫字別之。如上右啚。
Then continue into a sideways SINGLE WHIP, the movements the same as in photos 17–22, except in this case facing toward the east instead of toward the north, hence the distinction of “sideways”. See photo 117:

野馬分鬃（一）
[58.1] WILD HORSE VEERS ITS MANE (part 1)

由前式轉野馬分鬃時，先由單鞭式將身退移至右腿上，同時兩臂鬆開伸平為陰掌，（吸），如上左啚（一）。
(Inhaling)
Continuing from the SINGLE WHIP, your torso shifts back onto your right leg, your arms extending, your hands flattening out into downward-facing palms. See photo 118:

野馬分鬃（二）
[58.2] WILD HORSE VEERS ITS MANE (part 2)

然後身隨腰右轉，同時移左足尖向正南，（呼）
(Exhaling)
Your waist turns to the right, your toes shifting [inward] to point toward the south.
兩臂繼續隨身平轉至正西，（吸）如下右啚（二）。
(Inhaling)
Your arms continue from the turning of your waist by arcing across toward the west. See photo 119:

野馬分鬃（三）
[58.3] WILD HORSE VEERS ITS MANE (part 3)

復將身後移，重心落於左腿上，（呼）兩臂下捋隨腰左轉，右臂逐漸下垂轉至左胯旁，翻掌置於左前臂下，同時左掌亦轉為陰掌，上下兩臂相交
(Exhaling)
Then your torso shifts back, the weight settling onto your left leg, your waist turning to the left, your arms doing a rollback downward, your right arm gradually lowering and arcing across until beside your left hip, the palm turning over [to be facing upward] and getting placed below your left forearm, your left palm at the same time turning over to be facing downward, your forearms crossing above and below [left arm on top, right arm underneath].
如下左啚，斯時身向東南角，坐胯鬆腰，目注右掌，有蓄勢待發之意，上體保持中正，虛懸頂勁，（吸）
(Inhaling)
With your torso facing toward the southeast corner, your hips settle, your waist loosens, and you have an intention of storing power and waiting to issue. Your upper body should stay upright and your headtop should be suspended. Your gaze is toward your right palm. See photo 120:

野馬分鬃（四）
[58.4] WILD HORSE VEERS ITS MANE (part 4)

由前式姿勢取㝎後，乃提右足向西南角邁一大步，足尖向南，（前吸至此）
(Continuing to inhale)
Once you have settled into the previous posture, your right foot lifts and takes a large step toward the southwest corner, the toes pointing toward the south.
然後以腰腿勁（起呼）將上體向右移，重心落於右腿上，身向正南，兩臂隨身作搓球勢，以左右分勁之勢向左右分開，約向南各取四十五度，如上右啚（四）（呼至此）
(Exhaling)
Then driven by power from your waist and legs, your torso shifts to the right, the weight going onto your right leg, your torso turning to be facing toward the south, your arms appearing to be rotating a ball and spreading apart to the left and right at about a forty-five degree angle relative to the south [i.e. your right arm pointing toward the southwest, left arm pointing toward the southeast]. See photo 121:

野馬分鬃（五）
[58.5] WILD HORSE VEERS ITS MANE (part 5)

復鬆腰向右轉，兩臂隨轉至右，（吸）
(Inhaling)
Then your waist loosens and turns to the right, your arms going along with the turn.
以右臂在上為陰掌，左臂在下為陽掌，如前交臂作交叉勢，（呼）如上左啚（五）。
(Exhaling)
Your arms cross as before, your right arm on top with a downward-facing palm, your left arm underneath with an upward-facing palm, See photo 122:

野馬分鬃（六）
[58.6] WILD HORSE VEERS ITS MANE (part 6)

又再坐胯提左足（吸）向東南角邁一大步，足尖向南，
(Inhaling)
Then with your hips settling, your left lifts and takes a large step toward the southeast, the toes pointing toward the south.
然後如前以腰腿勁（呼）將上體移向左，重心落於左足上，同時身隨腰轉向正南，兩臂亦同前作搓球勢隨身推進，以左右分勁之勢向左右分開，而成苐二式，如下啚（六）。
(Exhaling)
Then driven by power from your waist and legs as before [photo 121], your torso shifts to the left, the weight going onto your left leg, your torso turning to be facing toward the south, your arms again appearing to be rotating a ball and spreading apart to the left and right. See photo 123:

如是往復左右各二次，共為四次。
Go back and forth in this way, performing the posture on each side twice, for a total of four times.

用法舉例：
Example application:
分勁乃一掤一採，一左一右，亦攻亦守，隨時皆可應敵之來襲而變化之，故練習時，須轉動輕靈，氣勢騰挪，全身靈活為要。
The actions of this technique divide into: one hand warding off, one hand plucking. One hand is going to the left while the other is going to the right, one hand attacking while the other is defending. At any time, you should be able to respond to an opponent’s attack and adapt to it. Therefore when practicing this technique, you should switch sides nimbly, your energy switching efficiently from one action to another, your whole body lively.

由前式演至最末一次時，乃將右臂上掤而接上步攬雀尾及單鞭式，動作均如前説明，並參看苐七啚至苐二十二啚。
Continuing from the previous posture, after performing the technique for final time [on the left side], send your right arm warding off upward and continue into [59] STEP FORWARD, CATCH THE SPARROW BY THE TAIL, same as in photos 7–16, followed by [60] SINGLE WHIP, same as in photos 17–22.

玉女穿梭（一）
[61.1] MAIDEN SENDS THE SHUTTLE THROUGH (Part 1)

再接演玉女穿梭時，先將身後移，重心落於右腿上，（吸）同時兩掌平舒為陰掌，如上右啚（一）。
(Inhaling)
First your torso shifts back, the weight settling onto your right leg, as your hands loosen and flatten out into downward-facing palms. See photo 124:

玉女穿梭（二）
[61.2] MAIDEN SENDS THE SHUTTLE THROUGH (Part 2)

目視左掌，兩臂及左足尖隨身向右轉至正西，（呼）後，復將身隨胯坐於左腿上，同時兩臂作捋式，至體重移至左腿時，右臂下垂至左胯旁，左掌即拊於右肘內部，如上左啚（二）
(Exhaling)
With your gaze toward your left palm, your arms and left toes go along with your torso as it turns to the right to be facing toward the west. Then your torso sits onto your left leg as your arms perform a rollback, and once the weight has shifted to your left leg, [your torso turns to the left,] your right arm lowering until beside your left thigh, your left palm touching the inside of your right forearm. See photo 125:

玉女穿梭（三）
[61.3] MAIDEN SENDS THE SHUTTLE THROUGH (Part 3)

乃提右足（吸）向西南角邁一大步，
(Inhaling)
Then your right foot lifts and takes a large step toward the southwest corner.
隨轉腰以腰胯勁將上體向右前方推進，右臂隨勢上掤，（呼）掌心上翻，同時左掌，從右前臂下穿出前按，目視左掌，按出時，須沉肩墜肘拔背為要，如下啚（三）
(Exhaling)
Then your waist turns and you use power from your hips to send your torso advancing toward the forward right, your right arm warding off upward, the palm turning over to be facing upward, as your left palm threads out from below your right forearm, pushing forward. Your gaze is toward your left palm. When pushing out, you have to sink your shoulders, drop your elbows, and hollow your chest. See photo 126:

用法舉例：
Example application:
設敵從我左後方擊來，我隨即向後鬆胯以化之，隨轉身進步，以右臂上掤敵臂，而以左掌穿出按其胸脇部，或其肩部，手心上翻者，便於接握其腕而以左掌拊其肘部以採之或撅之均可耳。
If an opponent comes to attack me from the left rear, I go to the rear, loosening my hips in order to neutralize it, then turn around and advance, sending my right arm upward to ward off his arm and sending my left palm out to push his chest, ribs, or shoulder. I could then use my right palm to grab his wrist and my left palm to control his elbow in order to pluck his arm down or even break it.

玉女穿梭（四）
[61.4] MAIDEN SENDS THE SHUTTLE THROUGH (Part 4)

由前式坐胯轉腰，重心不動，（吸）兩臂隨腰由上而左轉向東北角，如上右啚（四）。
(Inhaling)
Continuing from the previous posture, settle your hips and turn your waist [to the left], without shifting the weight, as your arms arc to the left from above, going toward the northeast corner. See photo 127:

玉女穿梭（五）
[61.5] MAIDEN SENDS THE SHUTTLE THROUGH (Part 5)

兩臂復隨腰向右作捋勢，（呼）捋至胸前，兩臂下垂，再隨腰向右轉至西南角，左臂垂至右胯旁，右掌拊於左肘內部，如上左啚（五）。
(Exhaling)
Then your waist turns to the right as you perform a rollback in front of your chest, your arms lowering as your waist continues turning toward the southwest corner, your left arm lowering until beside your right thigh, your right palm touching the inside of your left forearm. See photo 128:

玉女穿梭（六）
[61.6] MAIDEN SENDS THE SHUTTLE THROUGH (Part 6)

乃提左足（吸）向東南角邁一大步，
(Inhaling)
Then your left foot lifts and takes a large step toward the southeast corner.
左臂上掤，（呼）翻掌向上，右臂從左前臂下穿出前按，要領同前，如左中啚（六）。
(Exhaling)
Your left arm wards off upward, the palm turning over to be facing upward, as your right arm [palm] threads out from below your left forearm, pushing forward. The rest of the requirements are the same as before [for photo 126]. See photo 129:

玉女穿梭（七）
[61.7] MAIDEN SENDS THE SHUTTLE THROUGH (Part 7)

然後將身徐向後移（吸）重心落於右腿上，同時兩臂分展作捋勢，左臂漸伸，右臂漸屈，繼續向右轉腰，左臂漸下垂，右臂漸上舉，左足尖亦同時隨身向右轉至正南方，
(Inhaling)
Then your torso slowly shifts back, the weight going onto your right leg, as your arms make the rollback position, your left arm gradually straightening, your right arm gradually bending, and the movement continues with your waist turning to the right, your left arm gradually lowering, your right arm gradually raising, your left foot turning along with your torso to point its toes toward the south.
又將身徐徐囘坐於左腿上，（呼）同時兩掌翻轉陽者為陰，陰者為陽，復作捋勢，如左下啚（七）
(Exhaling)
Then your torso slowly withdraws, sitting onto your left leg, as your palms turn over so that your right palm is now facing downward and your left palm is now facing downward, making the rollback position. See photo 130:

玉女穿梭（八）
[61.8] MAIDEN SENDS THE SHUTTLE THROUGH (Part 8)

由前式繼續隨腰由左下捋，並向後轉身，以右臂置於左腿旁，左掌拊於右肱部，如上右啚（八）。
Continuing from the previous posture, do a rollback downward to the left as your torso turns to the rear, and your right arm is placed beside your left thigh, your left palm touching your right forearm. See photo 131:

玉女穿梭（九）
[61.9] MAIDEN SENDS THE SHUTTLE THROUGH (Part 9)

乃提右足向西南方邁一大步，（吸）
(Inhaling)
Then your right foot lifts and takes a large step toward the southwest [northeast] corner.
同時轉身右臂上掤，左臂隨身推進時從右前臂下穿出，（呼）目視前方，如上左啚（九）。
(Exhaling)
Then your torso turns around and your right arm wards off upward as your torso advances, your left arm [palm] threading out from below your forearm. Your gaze is forward. See photo 132:

玉女穿梭（十一）
[61.10] MAIDEN SENDS THE SHUTTLE THROUGH (Part 10)

再如前坐胯轉腰，如前苐一二七啚至苐一二九啚之要領向東南方轉身邁步，以右掌從左前臂下穿出，如中左啚（十）。
Your hips settle, your waist turns, and you perform the same movements as in photos 127 and 128, except this time your torso is facing toward the southeast [northwest] and you step out, your right palm threading out from below your left forearm. See photo 133:

玉女穿梭（十二）
[61.11] MAIDEN SENDS THE SHUTTLE THROUGH (Part 11)

再身復向右腿後坐，如前作捋勢，復囘坐左腿上同前苐一三〇啚至苐一三一啚之動作，惟轉身向正南耳，如下左啚（十一）。
Your torso again sits back onto your right leg as you perform a rollback, then sit back onto your left leg and you perform the same movements as in photos 130 and 131, except this time your torso is facing toward the south [and then you step out, your left palm threading out from below your right forearm]. See photo 134:

玉女穿梭，用法説明：
Application explanation:
此式為對前後左右各方禦敵之用，皆為一手掤，一手按之式，然掤之中，可變為擠，按之中可變為採，亦可變捋，轉腰之身法，可變為靠，而挒與肘，亦含在其中，至步法，皆為四隅步法，故此式之轉身舉步，須輕靈活潑，則變化可層出不窮，太極拳全套步法，正隅皆備，摟膝拗步為進步，倒攆猴為退步，皆四正之步法，攬雀尾，斜飛勢等，則為四隅之步法，舉一以反三，則其餘之步法皆可推而知之，惟雲手則為橫步，單鞭轉身變肘下捶，提手上勢變掠翅之間，㪽移之步，則隅而變正，搧通臂轉撇手掌，栽捶轉撇身捶，皆為正而變隅，僅就步法而言，已屬變動不居，況身法與手法乎哉！然步法乃動中主靜之要法，故必先㝎步，而後上中下三盤，可求一致，㪽謂靜中觸動動能靜，因敵變化示神奇也，至轉身蹬腳之換步，搬攔捶之換步，攬雀尾，手抱琵琶等後足之進小步，皆名為偷步，此即因敵變化而示神奇之步也。
MAIDEN SEND THE SHUTTLE THROUGH is for fending off opponents in front and behind, to the left and right, always using one hand to ward off and the other hand to push. However, warding off can be changed to pressing, pushing can be changed to plucking or rolling back, turning the waist can be changed to bumping, and rending contains the potential for elbowing. As for its footwork, it steps always toward the four corners, therefore the turning of the torso and the raising of the foot have to be nimble and lively in order to switch to another direction and another and another.
　　Footwork throughout the Taiji boxing set steps toward both the cardinal directions and the corners. BRUSH KNEE advances and DRIVING AWAY THE MONKEY retreats, both examples of stepping toward cardinal directions, but CATCH THE SPARROW and DIAGONAL FLYING step to corners. Inferring from these examples, the rest of the footwork can be understood. CLOUDING HANDS is performed with sideways stepping. When SINGLE WHIP FOR TURNING AROUND switches to PUNCH UNDER THE ELBOW, or LIFTING HANDS switches to WHITE CRANE SWEEPS OPEN ITS WINGS, there is a shifting step that takes you from facing a corner direction to facing a cardinal direction. When FAN THROUGH THE ARMS switches to TORSO-FLUNG PALM, or PLANTING PUNCH switches to TORSO-FLUNG PUNCH, the step takes you from facing a cardinal direction to facing a corner direction.
　　Footwork has to do with changing position, even more so when involving the actions of the torso and hands. Stepping requires a quality of stillness within motion, and thus you must first be standing stably in order to then have above, between, and below functioning in unison. It is said: “In stillness, movement stirs, and then in moving, seem yet to be in stillness, for the magic lies in making adjustments based on being receptive to the opponent.” The switching step after TURN, PRESSING KICK [SPIN AROUND, RIGHT PRESSING KICK] going into PARRYING-BLOCK PUNCH, or postures such as CATCH THE SPARROW or HOLDING THE LUTE, in which the rear foot sneaks forward a half step, are each examples of footwork that adjusts according to the opponent’s changes and seems “magical”.

攬雀尾
[62] CATCH THE SPARROW BY THE TAIL

上體再囘坐左腿上，兩臂同時向左作捋勢，而變為攬雀尾之擠按各式。
Your torso then sits back onto your left leg as your arms do a rollback to the left, and then you perform the press and push of CATCH THE SPARROW, the same as before [photos 10–16].

再轉成單鞭式，一切動作要領均見前。
Then switch to [63] SINGLE WHIP, the movements the same as before [photos 17–22].

雲手
[64] CLOUDING HANDS [small frame]

由單鞭再轉成雲手，本亦同前，為使腰胯多加鍛練，改如後式！由單鞭轉成雲手之動作要領，如前説明，惟兩手上下如捧球然，此式宜注意者五點：1.頂勁2.含胸3.鬆腰4.坐胯5.尾閭中正。如上左右（一）（二）兩啚。
Continue from SINGLE WHIP into CLOUDING HANDS, this time emphasizing the training of the hips, hence the adjustment of the posture on this occasion [which reduces the size of the hand movement, consequently magnifying the hip movement]. The movements are the same as before [Posture 33], but in this case your hands are positioned above and below are as though they are carrying a ball. For this posture, attention should given to five points: 1. press up your headtop, 2. hollow your chest, 3. loosen your waist, 4. settle your hips, 5. center your tailbone. See photo 135 and 136:

由雲手再轉單鞭時，動作要領，亦同前説明，
Continue from CLOUDING HANDS, switch to [65] SINGLE WHIP, the movement requirements still the same as before [Posture 34].

蛇身下勢
[66] SNAKING BODY, LOWERING POSTURE

由單鞭轉蛇身下勢時，先將身後坐於右腿上，坐胯蹲身左臂隨身下垂近地，如中左啚。
Then from SINGLE WHIP, switch to SNAKING BODY, LOWERING POSTURE. First your torso sits back onto your right leg, then your hips settle and your torso squats down, your left arm going along with your torso to hang down near the ground. See photo 137:

金鷄獨立（一）
[67.1] GOLDEN ROOSTER STANDS ON ONE LEG (Part 1)

乃將上體漸由下而移於前腿（左腿），左臂同時繞出左足背，右臂隨身下勢時，漸靠近右腿，及左臂由下繞出時，右腿亦漸伸直，然後將身提起，此時右臂貼於右腿旁，如下左啚（一）。
Then your torso gradually rises up from below, shifting to your [bending] front leg (i.e. left leg), your left arm at the same time arcing out along the back of your left foot, your right arm going along with the movement of your torso by gradually coming nearer to your right leg. As your left arm arcs out from below, your right leg gradually straightens, your torso also straightening, your right arm now next to your right thigh. See photo 138:

金鷄獨立（二）
[67.2] GOLDEN ROOSTER STANDS ON ONE LEG (Part 2)

乃以左腿為支點，將身起立，左臂隨貼於左腿旁，右肘貼著右膝，目前視，如下右啚（二）。
Then using your left leg as a support, your torso rises up [and your right knee lifts], your left arm going close beside your left thigh, your right elbow touching your right knee. Your gaze is forward. See photo 139:

金鷄獨立（三）
[67.3] GOLDEN ROOSTER STANDS ON ONE LEG (Part 3)

再右肘黏貼右膝隨身蹲下，及接近地面時，右足伸向右前方踏實，然後將身向前推進，上體復如前提起，右掌仍貼著右腿，左臂下垂貼於左腿旁，如右啚（三）。
Then your right elbow and right knee go along with your torso as it lowers, your right foot stepping out toward the forward right, then your torso advances, your upper body straightening up as before [in photo 138], your right palm touching your right leg, your left arm hanging down next to your left leg. See photo 140:

金鷄獨立（四）
[67.4] GOLDEN ROOSTER STANDS ON ONE LEG (Part 4)

復以右足為支點，將身起立，左臂與左腿亦同前要領相貼而起，如上左啚（四）。
Then using your right leg as a support, your torso rises up, your left arm and left leg lifting together and touching, everything the same as before on the other side [photo 139]. See photo 141:

倒攆猴
[68] RETREAT, DRIVING AWAY THE MONKEY

如是左右各作一次後，轉為倒攆猴時，右臂即由右上提轉一小圈至耳際，同時右腿作下挫勢，左足向後邁步而成倒攆猴，右腿後退時，左臂亦由左上提至耳際，其餘兩臂交互屈伸，兩足交互後退等之要領同前，
After performing GOLDEN ROOSTER once on each side, switch to DRIVING AWAY THE MONKEY. Your right arm goes to the right and lifts up, drawing a small arc that brings it near your [right] ear as your right leg bends downward, and your left steps back and you perform DRIVING AWAY THE MONKEY [on the right side]. Then when your right foot retreats, your left arm goes to the left and upward, lifting until near your [left] ear. The rest of the actions of the arms taking turns bending and extending, and the feet taking turns retreating, are the same as before [Posture 21].

以下依次續演至單鞭，均同前，不另再加説明矣。
[69–79] Then perform the rest of the postures that followed Posture 21 all the way up to SINGLE WHIP, all the same as before. [i.e. Repeat Postures 22–32, from DIAGONAL FLYING to SINGLE WHIP.]

由前接演至單鞭
Then continue into [79] SINGLE WHIP [same as in photos 17–22].

雲手（一）
[80.1] CLOUDING HANDS [large frame] (Part 1)

後，續演雲手時，其初步動作要領同前，如上啚（一）。
To continue into CLOUDING HANDS, the first movement is the same as before [photo 78.1]. See photo 142 [similar to photo 78.2]:

雲手（二）
[80.2] CLOUDING HANDS [large frame] (Part 2)

至重心移至左腿時，則左臂儘量上升，如上啚（二）。
Then the weight shifts to your left leg, your left arm extending all the way up. See photo 143:

雲手（三）
[80.3] CLOUDING HANDS [large frame] (Part 3)

轉至左後方約四十五度時，左臂將下，右臂將上，右腿將靠攏時，如中啚（三）。
Turn to the left rear about forty-five degrees, your left arm lowering, your right arm rising, and then your right leg will draw in. See photo 144:

雲手（四）
[80.4] CLOUDING HANDS [large frame] (Part 4)

至轉正時，又將右臂儘量上舉，如中啚（四）。
Turn forward again, your right arm now rising up as far as it can. See photo 145:

雲手（五）
[80.5] CLOUDING HANDS [large frame] (Part 5)

再轉至右後方約四十五度時，右臂將下，左臂將上，左足將向左橫跨步時，如下啚（五）。
Then turn to the right rear about forty-five degrees, your right arm lowering, your left arm rising, and then your left foot will step out sideways to the left. See photo 146:

如是同前四反後，轉單鞭時，亦如下啚（五）之姿勢，將右臂轉掌成吊手即成單鞭之初步動作矣，此式運動之效用，在使全身經絡關節舒伸，內臟亦因上下轉動而動，由技術言，此手為後掤也。
After performing these movements another four times, you will then switch to SINGLE WHIP. Continuing from photo 146, your right palm will become a hooking hand, thereby making the first movement of SINGLE WHIP [which in this case in the same as in photo 20]. The effect of the “clouding hands” exercise is that it causes the pathways and joints of the whole body to opened up and for the internal organs to be invigorated. In terms of technique, this is an action of warding off to the rear.

由前式轉單鞭後，接演髙探馬，如前苐八十五啚。
After continue into [81] SINGLE WHIP [same as in photos 20–21], then perform [82] RISING UP AND REACHING OUT TO THE HORSE, same as in photo 83.

十字手（又名白蛇吐信）
[83] CROSSED HANDS (also called WHITE SNAKES FLICKS OUT ITS TONGUE)

上式由髙探馬將身腰再向後鬆，使左掌從右掌背上穿出，平伸向前直刺，同時左足隨勢向前邁一大步，右掌橫於左臂下，目前視。如上右啚。
Continuing from the previous posture, your torso goes back further, loosening, as you send your left palm threading out over the back of your right palm. Then your left palm jabs out straight ahead as your left foot takes a large step forward, your right palm being positioned crosswise below your left arm. Your gaze is forward. See photo 147:

用法舉例：
Example application:
設敵以拳當胸擊我，我即坐身含胸，隨以右掌握其腕，以左掌繞出直刺其喉部。
If the opponent uses a fist to strike to my chest, I then sit back, hollowing my chest, while using my right palm to grab his wrist, and send my left palm coiling over my right hand and jabbing out straight to his throat.

翻身十字腿（一）
[84.1] TURN AROUND, CROSSED-BODY KICK (Part 1)

接前式以左足跟及右足尖，同時由右向後轉，重心置於左腿上，坐胯鬆腰，如上左啚（一）。
Continuing from the previous posture, pivot on your left heel and right toes as you turn around to the right rear, the weight shifting onto your left leg, your hips settling, your waist loosening. See photo 148:

翻身十字腿（二）
[84.2] TURN AROUND, CROSSED-BODY KICK (Part 2)

隨舉右腿向前平踢，左掌下覆，右臂展向右方平開，目視足尖，如下啚（二）。
Then your right leg lifts and does a level kick forward, your left palm touching it, your right arm spreading away level toward the right. Your gaze is toward the toes. See photo 149:

用法舉例：
Example application:
設我背後遇敵擊我，隨坐胯翻身，急起右足踢其胸部，更以右臂展開，作下一步之準備。
If an opponent attacks me from behind, I settle my hips and turn around, then quickly lift my right foot and kick to his chest, spreading my right arm away in preparation for the technique that follows.

後半套説明中，有未及呼吸者，因前半套已略言其概，惟呼吸寓於開闔之中，極為自然，絕不可拘泥，泥則有害無益，故進入後半套後，擬由學者自行體會而試行之，且不可拘泥前半套之説，發生窒礙為要。再注目一節，極為重要，但説中未及者，則觀啚亦可得其顧盼之意焉
[Note:]
Within the explanations for the second half of the set, there have not been as many indications about how to breathe during the movements. This is because the first half sufficiently gives the general idea. Within the actions of closing and opening, it is very natural to correspondingly inhale and exhale, but you must never become strict about the precise pattern of breathing, or the exercise will do more harm than good. Therefore as you entered into the second half, my plan was for you to work it out yourself based on your experience so far rather than continuing to follow specific breathing cues as were given in the first half, the overuse of which would only lead to your breath hindering you.
　　It is also very important to know where to look, but this also has not been specified as consistently as before. Examining the photos should tell you all you need to know about where you should be looking in each posture.

上步指襠捶
[85] STEP FORWARD, PUNCH TO THE CROTCH

由前式踢後，右足隨向右前方下步，同时轉腰坐胯，提左足向左前方邁一大步，目視右臂從右後方繞至右胯下握拳，左手摟膝，隨身將右拳向前擊出，拳名指襠，故拳須平出，如上右啚（一）及上左啚（二）。
After kicking, your right foot steps down toward the forward right, your waist turning, your hips settling. Then your left foot lifts and takes a large step toward the forward left, your gaze going toward your right arm, which then arcs from the right rear until below your right hip, the hand grasping into a fist, as your left hand brushes past your left knee, and the movement of your torso sends your right fist punching out forward. Because the punch is called “to the crotch”, it should therefore go out [at crotch] level. See photos 150 and 151:

由前式轉搬攔捶，如前半套苐卅八啚及苐卅九啚㪽説之要領。
Continue into [86] PARRYING-BLOCK PUNCH, same as in photos 38 and 39 [except in the other direction].
再接上步截捶，如前苐四十啚㪽説之要領。
Then continue into [87] STEP FORWARD, INTERCEPTING PUNCH, same as in photo 40 [except in the other direction].

上步如封似閉（一）
[88.1] STEP FORWARD, SEALING SHUT (Part 1)

接演上步如封似閉時，先以右拳舒開覆掌，向左平繞於左掌之上，同時提起右足，轉腰向右，（即西南角）如中左啚（一）。
First your right fist opens to become a downward-facing palm and arcs across to the left to be over your left palm [the palms spreading according to the photo] as your right foot lifts and your waist turns to the right (i.e. toward the southwest). See photo 152:

上步如封似閉（二）
[88.2] STEP FORWARD, SEALING SHUT (Part 2)

復將兩臂平開，右足向前方踏實，以腰胯勁向前按，再鬆肩提臂，復將身後坐，復向前按出，如下啚（二）。
Then your arms spread apart, your right foot comes down forward, and you push forward using power from your hips. Then your shoulders sink, your forearms lift, your torso again sits back, and then you again push out forward. See photo 153:

用法：
Application:
同前半套苐四十一啚説明，惟彼則翻為陽掌，此則覆為陰掌耳。
Same as for photo 41 [45.1], except in that case involving upward-facing palms, whereas in this case it involves downward-facing palms.

由前式如封似閉轉為單鞭，由單鞭轉為蛇身下勢，皆同前。
Continuing from SEALING SHUT, switch to [89] SINGLE WHIP, and then from SINGLE WHIP, switch to [90] SNAKING BODY, LOWERING POSTURE, all the same as before [photos 17–22 and photo 137].

上步七星（一）
[91.1] STEP FORWARD, BIG-DIPPER POSTURE (Part 1)

下勢後，右臂隨勢握拳置於右胯旁，及右足前出點步時，右拳如海底針勢向下前方擊出，同時左掌拊貼於右前臂，如上右啚（一）。
After the LOWERING POSTURE, your right arm continues by making a fist which is placed beside your right hip, and as your right foot goes forward into a pointing stance, your right fist strikes out forward and downward, similar to NEEDLE UNDER THE SEA, your left palm touching your left forearm. See photo 154:

上步七星（二）
[91.2] STEP FORWARD, BIG-DIPPER POSTURE (Part 2)

然後右拳左掌，交叉如十字上舉，如上左啚（二）。
Then your right fist crosses with your left palm, similar to the CROSSED HANDS posture. See photo 155:

退步跨虎
[92] RETREAT, SITTING-TIGER POSTURE

乃將右足向後跨一大步，兩臂隨身後坐時，逐漸向左右分開，掌心向外，兩臂微曲成弧形，左足隨收半步，足尖點地，如中左啚。
Then your right foot takes a large step to the rear and your torso sits back, your arms gradually spreading apart to the sides, palms facing outward, the arms slightly bent to make rounded shapes, your left foot going along with the movement by withdrawing a half step, toes touching down. See photo 156:

轉身擺蓮腿（一）
[93.1] SPIN AROUND, SWINGING LOTUS KICK (Part 1)

由左足點地之勢，左足向右掃轉，身亦隨轉，兩臂在右轉中順勢收至胸前，及左足轉至左後方（即西北角）時，將足落步踏實，兩足相距約一步，上體隨坐左腿上，同時左臂上舉橫於額前，右臂當胸舒掌豎立，掌心向內，目視正北，如下左啚。
Your left foot then sweeps across to the right and your body spins around, your arms going along with the momentum of the right turn by withdrawing in front of your chest. Once your left foot has arced around to the left rear (i.e. toward the northwest), it steps down fully, your feet about a full step apart, and your torso sits onto your left leg, your left arm raising, the palm placed sideways in front of your forehead, your right arm extending in front of your chest, the palm standing vertically and facing inward. Your gaze is toward the north. See photo 157:

轉身擺蓮腿（二）
[93.2] SPIN AROUND, SWINGING LOTUS KICK (Part 2)

隨即再轉腰向左後方，兩臂隨上舉。
Then your waist turns to the left rear, your arms rising up. See photo 158:

轉身擺蓮腿（三）
[93.3] SPIN AROUND, SWINGING LOTUS KICK (Part 3)

由左而下繞一大圈，再轉至前面右前方，此時右足亦提起向左騰起，如上右左兩啚（二）（三）。
Your arms arc downward from the left, drawing a large circle, until arriving at the forward right as your right foot rises up toward the left. See photo 159:

轉身擺蓮腿（四）
[93.4] SPIN AROUND, SWINGING LOTUS KICK (Part 4)

乃以右足向上向右橫掃，兩掌則同時由右向左至胸前時，右足與兩掌先後相遇於正面，而成擺蓮腿之勢如中左啚（四）
Then your right foot sweeps across upward and to the right as your hands go from right to left until in front of your chest, your hands meeting the top of your foot in succession. This moment completes the swinging lotus kick. See photo 160:

彎弓射虎（一）
[94.1] BEND THE BOW, SHOOT THE TIGER (Part 1)

右足掃出後，隨向右前方（即東北角）邁一步，同時兩臂亦由下而上轉至右前方挒出，如下左啚（一）。
After your right foot sweeps out, it steps down toward the forward right (i.e. toward the northeast corner) as your arms come upward from below and arc toward the forward right with a rending action. See photo 161:

彎弓射虎（二）
[94.2] BEND THE BOW, SHOOT THE TIGER (Part 2)

再向右轉腰，兩臂亦同時隨腰轉至右後方，如下右啚（二）。
Then your waist turns to the right, your arms going along with your waist by arcing toward the right rear. See photo 162:

彎弓射虎（三）
[94.3] BEND THE BOW, SHOOT THE TIGER (Part 3)

接前苐一五五啚之勢，隨將兩掌上翻握拳向正北擊出，右掌心向右，左掌心向左，左肩向正北，右肩須下沉勿聲，目視前方，兩足右實左虛，如上右啚（三）。
Then your palms arc upward, grasping into fists, and strike out toward the north, the center of your right hand facing toward the right, the center of your left hand facing toward the left, your left shoulder pointing toward the north. Your right shoulder has to be sinking down and should not be rising. Your gaze is forward. Your feet are right foot full, left foot empty. See photo 163:

換步搬攔捶（一）
[95.1] SWITCHING STEP, PARRYING-BLOCK PUNCH (Part 1)

再轉為換步搬攔捶時，先將身後坐左腿上，兩臂隨勢向左下鬆，兩拳舒開成掌，如上左啚（一）。
First your torso sits back onto your left leg, your arms going along with its momentum by loosening downward to the left, your fists opening to become palms. See photo 164:

換步搬攔捶（二）
[95.2] SWITCHING STEP, PARRYING-BLOCK PUNCH (Part 2)

復提右足，右掌轉腰左轉握拳，左掌翻至耳際，如中左啚（二）。
Then your right foot lifts as your right palm arcs to the left side of your waist, grasping into a fist, and your left palm arcs toward your [left] ear. See photo 165:

其餘動作要領同前。
The rest of the movements are the same as before [photos 115 and 116].

再接上步截捶，又接如封似閉，轉身十字手，皆如前半套同，如下右啚。乃十字手為全套之終結，故十字手又稱合太極。
Then continue into [96] STEP FORWARD, INTERCEPTING PUNCH, then [97] SEALING SHUT, and then [98] TURN, CROSSED HANDS, all the same as before [photos 40–48]. The CROSSED HANDS posture is conclusion of the whole set, and therefore it is also called THE GRAND POLARITY CEASES TO MOVE. See photo 166:

歸還無極
[99] RETURNING TO NONPOLARITY

然後兩掌隨身起立後，覆掌下垂，如開始時之預備式，故稱歸還無極，如下左啚。
Then your palms hang down as your body rises up. This restores you to the position you were in when in the opening posture, and thus it is called “returning to nonpolarity”. See photo 167:

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[FOOTWORK DIAGRAMS]

啚例 Map legend:
左 left foot [white]
右 right foot [black]
腳尖 toes
腳跟 heel
由某步至某步 arrows indicating movement from one posture into another

E
東
N 北 南 S
西
W

拳名及次序説明 The posture names in sequence [and the numbers on which they step]:
1. 2. 太極起勢 THE GRAND POLARITY BEGINS TO MOVE
約與肩幅又二分之一　約與本人兩肩之寬度 (Both 1 and 2 positions are about shoulder width apart.)
3. 攬雀尾 CATCH THE SPARROW BY THE TAIL
4. 單鞭 SINGLE WHIP
5. 提手上勢 LIFTING HANDS
6. 白鶴掠翅 WHITE CRANE SWEEPS OPEN ITS WINGS
7. 左摟膝拗步 LEFT BRUSH KNEE IN A CROSSED STANCE
8. 手抱琵琶 HOLDING THE LUTE
9. 左摟膝拗步 LEFT BRUSH KNEE IN A CROSSED STANCE
10. 右摟膝拗步 RIGHT BRUSH KNEE IN A CROSSED STANCE
11. 左摟膝拗步 LEFT BRUSH KNEE IN A CROSSED STANCE
12. 手抱琵琶 HOLDING THE LUTE
13. 左摟膝拗步 LEFT BRUSH KNEE IN A CROSSED STANCE
14. 上步搬攔捶 STEP FORWARD, PARRYING-BLOCK PUNCH
15. 上步截捶 STEP FORWARD, INTERCEPTING PUNCH
16. 轉身十字手 TURN, CROSSED HANDS
附註：15與16之間有如封似閉一式以其在原位並未動步故未列入 (SEALING SHUT takes place at 15 and 16 because it stays in one place.)

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1. 即前圖16 (step 16 from the previous diagram)
2. 抱虎歸山 CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN
3. 單鞭轉身 SINGLE WHIP
4. 肘下捶 PUNCH UNDER THE ELBOW
5. 倒攆猴 RETREAT, DRIVING AWAY THE MONKEY
6. 7. 8. 同 5. (DRIVING AWAY THE MONKEY continued)
9. 斜飛勢 DIAGONAL FLYING POSTURE
10. 提手上勢 LIFTING HANDS
11. 白鶴掠翅 WHITE CRANE SWEEPS OPEN ITS WINGS
12. 左摟膝拗步 LEFT BRUSH KNEE IN A CROSSED STANCE
13. 海底針 NEEDLE UNDER THE SEA
14. 搧通臂 FAN THROUGH THE ARMS
15. 翻身撇身掌 TURN AROUND, TORSO-FLUNG PUNCH
16. 換步搬攔捶 SWITCHING STEP, PARRYING-BLOCK PUNCH
17. 上步截捶 STEP FORWARD, INTERCEPTING PUNCH
18. 上步攬雀尾 STEP FORWARD, CATCH THE SPARROW BY THE TAIL

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1. 即前 18. (step 18 from the previous diagram)
2. 單鞭 SINGLE WHIP
3. 4. 5. 6. 7. 8. 9. 10. 左右雲手 CLOUDING HANDS
11. 單鞭 SINGLE WHIP
12. 高探馬 RISING UP AND REACHING OUT TO THE HORSE
13. 右分脚 RIGHT KICK TO THE SIDE
14. 左分脚 LEFT KICK TO THE SIDE
15. 轉身蹬腳 TURN AROUND, PRESSING KICK

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1. 即前圖15 (step 15 from the previous diagram)
2. 3. 左右摟膝拗步 LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
4. 摟膝截捶 BRUSH KNEE, INTERCEPTING [PLANTING] PUNCH
5. 翻身撇身捶 TURN AROUND, TORSO-FLUNG PUNCH
6. 上步截捶 STEP FORWARD, INTERCEPTING PUNCH
7. 轉身右起腳 TURN, RIGHT LIFTING KICK

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7. 接前圖7 (step 7 from the previous diagram)
8. 9. 左右打虎勢 LEFT & RIGHT FIGHTING-TIGER POSTURE
10. 11. 右踢腳 RIGHT KICK
12. 雙峯貫耳 DOUBLE PEAKS THROUGH THE EARS
13. 左踢腳 LEFT KICK

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14. 轉身右蹬腳 SPIN AROUND, RIGHT PRESSING KICK
15. 換步搬攔捶 SWITCHING STEP, PARRYING-BLOCK PUNCH
16. 上步截捶 STEP FORWARD, INTERCEPTING PUNCH

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16. 與 17. 之間如封似閉 SEALING SHUT
18. 抱虎歸山 CAPTURE THE TIGER TO SEND IT BACK TO ITS MOUNTAIN
19. 橫單鞭 SIDEWAYS SINGLE WHIP
20. 21. 22. 23. 左右野馬分鬃 WILD HORSE VEERS ITS MANE
24. 攬雀尾 CATCH THE SPARROW BY THE TAIL
25. 單鞭 SINGLE WHIP

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1. 即前圖子 25. 單鞭 (step 25 from the previous diagram)
2. 3. 4. 5. 6. 玉女穿梭 MAIDEN SENDS THE SHUTTLE THROUGH
7. 單鞭 SINGLE WHIP
以下無③圖之3乃至11全同不另繪 (3–11 from diagram 3 are repeated and therefore are not redrawn here.)
8. 蛇身下勢 SNAKING BODY, LOWERING POSTURE
9. 右金鷄獨立 RIGHT GOLDEN ROOSTER STANDS ON ONE LEG
10. 左金鷄獨立 LEFT GOLDEN ROOSTER STANDS ON ONE LEG
11. 左右倒攆猴 LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
以下與②圖5乃至18完全相同及③2乃至12亦完全相同均不另繪 (5–18 from diagram 2 and 2–12 from diagram 3 are repeated and therefore are not redrawn here.)

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1. 高探馬 RISING UP AND REACHING OUT TO THE HORSE
2. 十字手 CROSSED HANDS
3. 轉身十字腿 TURN AROUND, CROSSED-BODY KICK
4. 指襠捶 ADVANCE, PUNCH TO THE CROTCH
5. 上步搬攔捶 STEP FORWARD, PARRYING-BLOCK PUNCH
6. 上步截捶 STEP FORWARD, INTERCEPTING PUNCH
7. 上步如封似閉 STEP FORWARD, SEALING SHUT
8. 單鞭 SINGLE WHIP

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1. 單鞭接 SINGLE WHIP ⑨圖 8 (step 8 from the previous diagram)
2. 蛇身下勢 SNAKING BODY, LOWERING POSTURE
3. 上步七星 STEP FORWARD, BIG-DIPPER POSTURE
4. 退步跨虎 RETREAT, SITTING-TIGER POSTURE
5. 轉身擺蓮腿 SPIN AROUND, SWINGING LOTUS KICK
6. 彎弓射虎 BEND THE BOW, SHOOT THE TIGER
7. 換步搬攔捶 SWITCHING STEP, PARRYING-BLOCK PUNCH
8. 上步截捶 STEP FORWARD, INTERCEPTING PUNCH
9. 如封似閉 SEALING SHUT
10. 轉身十字手合太極 TURN, CROSSED HANDS (THE GRAND POLARITY CEASES TO MOVE)

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