紫元按：《形意拳基本行功秘法》，著者高降衡先生。此书成书于民国二十四年（1935年）。高先生之师贾大俊先生与形意拳师李洛能则是同门师兄弟，都是郭维翰门下的。高降衡则与“半步崩拳”的郭云深为同一辈分。

在荒唐低劣的伪《六合拳序》中（出自光绪21年前后太谷形意门车毅斋、宋世荣之处），伪戴龙邦称马学礼为“马公”，显 然是以晚辈的口吻。原因是古人学艺时不敢乱问具体传承，除非老师告知。而车毅斋从买状图处听说了马学礼从姬龙峰处偷艺、后得授艺（可见买状图也不清楚马学 礼出生时，姬氏早已经去世，马氏的老师是“河南府李”，师爷是“南山郑氏”，上面隔两代后才是祖师姬龙峰），于是造出一个马学礼的师兄弟“曹继武”来，可见伪序制作者本来只想让曹继武与马学礼平起平坐的。

可是到了后来又看到经改编落款后的、有清雍正13年正月新安王自诚父子落款的“六合十大要论序”（是从 清雍正11年3月“河南府李”的原“六合十大要论序”改编的落款），想想不对，于是又把马学礼降一辈，索性去掉王自诚父子，换上曹继武，不仅把“六合十大要论序”剽窃成曹继武的作品，同时也把马学礼、戴龙邦都列成曹继武的弟子，这就是最早的、即光绪21年的“曹继武六合十大要论”的诞生！（见光绪21年车毅斋师兄弟李广亨在太谷抄录的《心意精义》）

但是，太谷伪《六合拳序》已经流传出去（见车氏徒孙刘俭收藏的太谷形意门的《六合拳经》），于是马学礼与戴龙邦在光绪21年就有了一个是”师伯与师侄的关系“，一个是”师兄弟的关系“的混乱说法。事实上，车氏等既不知马学礼到姬龙峰之间的几代传承表，也不知马学礼到李祯之间的传承表（马 学礼--张志诚---李祯），而在最终决定炮制伪《六合拳序》前的几十年中，车、宋不仅被其师李洛能告知是河南鲁山南门外李祯传戴龙邦父子心意六合拳的， 车、宋本人也是这么告诉自己弟子的，这就是为什么无论是山西还是河北形意传人中从民国初以来始终存在有李祯传戴氏父子的说法并记录在出版的形意拳书中。

也由于不清楚马学礼到李祯之间的传承表，于是不少把马学礼与李祯列为”师兄弟“，而既然伪“曹继武六合十大要论”中把马学礼与戴龙邦列为” 师兄弟“，所以也就有人想当然地把马学礼、李祯、戴龙邦并列在一辈中，甚至把马、李也都列成是曹继武门下的师兄弟，或者索性把马、李、戴都列曹继武门下的师兄弟了。

按照太谷伪序的说法，是姬龙峰--曹继武--传戴龙邦，戴龙邦成了姬氏的徒孙。那么真正的马学礼、李祯的传承是:姬龙峰--南山郑氏--河南府 李--马学礼--张志诚--李祯。。。也就是说伪序中的戴龙邦成了马学礼的师叔，是李祯的曾祖辈的人物。戴龙邦的儿子戴二闾成了李祯师爷辈的人物。。。于 是滑稽的事就越加出现了：一百三、四十余岁的戴龙邦化”三百两白银“请曾孙辈的李祯传自己及儿子心意六合拳，曾祖辈、师爷辈的戴氏父子不顾一百三十余岁及 一百岁出头，重新回炉，再造心意六合拳。。。奇迹！

对这种极荒唐、极混乱的传承、辈份与伪造，在山西祁县的真正心意六合拳传人忍无可忍。

首先是买状图一支的传人祁县范氏在太原国术社作书指明戴氏父子是李祯所传，而自己祖上是买状图所传，李祯与买状图是亲戚关系，向伪造者表明自己是知根知底的；

其次，本来隐忍的戴魁见范氏这么说，一方面惟恐被范氏及国术界误认为是戴家在伪造师承等，一方面也为了揭露造假者，于是让其早期弟子之一的郭映田记录下戴魁 口述的《心意拳术学》，其中列出传承表（溯源）、并作”六合心意拳序“，以表明与伪《六合拳序》的不同，当然拳谱其余整个内容绝大部分也不同。

因此，范、 戴二人直接拿出真正传承表来驳斥伪 《六合拳序》。

而祁县另一位心意拳传人高降衡则以恶搞的方式来驳斥伪序：伪序说是岳飞创心意六合拳并留谱，高氏则说是周侗；伪序说姬龙峰得谱，并据谱重新 创出拳，高氏则把姬氏彻底切除，提也不提；伪序把马学礼与戴龙邦牵扯成师伯师侄关系，没有提到李祯，高氏则把马学礼与戴龙邦在拳学传承上一刀切开，取而代 之是马学礼与李祯是师兄弟，把李祯拉进来；伪序说曹继武是戴龙邦的师父，高氏则把曹继武从戴龙邦处切除，明确表明曹氏与戴氏没有任何关系，高把曹氏说成是马学礼、李祯的师父；伪序说戴氏的心意拳是乾隆初学自曹继武，而高氏则说戴氏心意拳是一百几十年后的道光18年及21年分别来自李祯与”牛氏“，与曹氏没有半点关系（高氏的老师是生于1875年左右的贾大俊，贾的老师是生于1820 年前后的郭维翰，郭维翰与戴二闾一起向李祯学艺，仅此一点，我们可以一目了然戴氏乾隆初学艺是何等的伪劣）。。。

高氏这种黑色幽默化地恶搞伪《六合拳 序》，与前述的范、戴二位心意拳传人的方式风格显然不同。

而山西国术促进会的刊物《国术体育旬刊》也连续刊文来驳斥伪序。

太原形意门人还在上世纪八十年代处整理出的”李洛能遗著“中也猛扇太谷伪造者的耳光，李氏遗著中居然也没有半点曹继武的影子！

练“心意拳”的高降衡为什么把自己的著述称为“形意拳”？这与“心意六 合拳”安大庆的弟子宝鼎把自己的著述称为“形意拳”是一个道理，那就是：上世纪三十年代形意拳书藉已经出版了多本，心意拳（心意六合拳）书籍一本也没有出 版，而李洛能传弟子时也是说是心意拳，但因山西、河北人的发音问题，李洛能在河北的传人就以为是形意拳，而孙禄堂、李剑秋等又率先以“形意拳”之名出版书 籍，其他形意拳传人也纷纷出版书籍，本来在太谷李洛能的弟子还是称“心意拳”的，如车的碑文，李广亨收藏的拳谱《心意精义》等等，但后来也受了出版物的影 响，在出版书籍时也改称“形意拳”。当然也有坚持太谷最原始称呼的如上世纪末李复祯的传人太原的张友林其出版的书名依然是“心意拳”，而宝鼎、高降衡也是 受大量形意拳出版物的影响，误以为“形意拳”的名堂是正确的，于是在他们出版的书名上也改成形意拳。

该书师承表中，高降衡把曹继武列为马学礼、李祯的老师，却未列为戴龙邦的老师，把马学礼、李祯并列在一个辈份中，把李祯列为戴龙邦子文量（大闾）、文薰 （二闾）及妻侄郭维汉的老师，又把戴龙邦列在大闾、文薰二闾、郭维汉及李洛能之上。这说明高降衡对河南心意六合拳传承中马学礼是李祯的师爷的情况不了解， 所以把他们列为平辈。

而从高的自序中可知，高熟悉伪文《六合拳序》，被伪文搞晕了：一方面他的老师贾大俊告诉他戴家的心意拳来自李祯，但伪《六合拳序》中说来自岳飞，并由曹继武传给了戴龙邦，戴龙邦当然传给了自己的儿子们。怎么办？

于是他采取了一个折中的，又十分滑稽的方法来写传承表，与他自序文相呼应：

首先以周侗传岳飞，岳飞是继承人，来表示与伪《六合拳序》中的岳飞是创始人的说法不同。而把岳飞的部将牛皋说成是闻周侗传岳飞心意拳的大名而去拜岳飞为师 的（高降衡对“宋史”“岳传”中的人名如把周侗写成周通，及人物情况一概稀里糊涂），于是自编了一个牛皋的后代“牛希贤”，来说明经过六、七百年，周侗传 岳飞的心意拳没有断过，比仅凭得了一本拳谱自悟出来的姬际可强多了，于是把姬际可也给“宰”了，提也不提，也表示与伪《六合拳序》中姬际可得谱创拳的说法 不同。编造出一个“牛希贤”来，如同编造周侗发明心意拳，也是高降衡用来否定伪《六合拳序》中姬际可谱创拳的说法的。但是上世纪三十年代戴奎的拳谱中只有 教戴家螳螂拳的金世魁及教戴家心意拳的李祯，可见“牛希贤”、“曹继武”并不存在，如果存在，戴奎既然记录了金世魁、李祯，绝无不记录“牛希贤”、“曹继 武”的道理！因为如果真实存在“牛希贤”、“曹继武”传戴家拳艺，戴奎记载之，戴家的心意拳岂不更能显贵？！可笑的是，高降衡编造“牛希贤”六十多年后， 祁县曹继植更加发挥起来了，编造了一个“牛希贤”的先人与戴龙邦的先祖戴伯苗的交往，把正儿八经的戴家的心意拳传承搞成娱乐化。

其次，高降衡把伪《六合拳序》中的曹继武列为马学礼、李祯的老师，而不列为戴龙邦的老师。如果高降衡对马学礼、李祯的辈份关系清楚的话，那么他这么列表， 是在故意扇伪《六合拳序》的耳光。如果高降衡对马学礼、李祯的辈份关系不清楚而这么列表的话，是在表示对《六合拳序》的半否定，即：高的老师贾大俊告诉他 戴家的拳是李祯传的，不是什么曹继武传的，所以不能按照《六合拳序》中“曹继武传戴龙邦”那么列，为了避免矛盾，戴龙邦上面索性不列谁是老师，把曹继武则 列为马学礼的老师，显得滑稽可爱。

再者，从高降衡的自序中的“学礼与戴龙邦交索笃。邦祁县小韩村人，善技击，广交游，时开广盛店（河南十家店），故以武拳谱授之，时乾隆末年也。迨道光十八 年，龙邦子文量（大闾）、文薰（二闾）及妻侄郭维汉皆至十家店邦执旅店业，兼讲学武艺（俗传李政曾为三人之教师）。道光二十一年间，有陕西牛希贤者来店就 食。贤固牛之后，而精通斯拳者也。”也可知，高对戴氏家谱、人物姓名的真正写法，所处年代，一概无知。其高文中“道光十八年、道光二十一年”又似在故意重 扇《六合拳序》耳光子，因为从“乾隆十五年戴龙邦作序”到“道光十八年、道光二十一年”戴龙邦还在请老师给儿子们授拳，脑筋正常之人是绝对认为在搞笑的。事实上1841年所谓“因替牛希贤修建住宅而感动牛希贤前来传授戴氏父子”，是高衡降张冠李戴了，戴隆邦是非常有心机的人，见李祯不愿轻传，数年后暗暗花了三百两白银替李祯改建住宅，李祯一日返回家乡竟然不识自家房屋，询问后因感动再赴社旗，戴氏父子始得真传。而光绪21`年出自太谷形意门车、宋的《六合拳序》，居然说戴龙（隆）邦生于康熙52年（1713年），被提前了近80年（戴隆邦为明初戴氏19世孙，如此，戴氏前18代祖宗就平均活了不足18岁，大部分都夭折。而道光21年即1841年，一百二十八岁的戴隆邦居然为儿子们请老师学武）。车的徒孙太谷吴殿 科先生在《戴龙邦先生传略》一文中说“戴龙邦卒于嘉庆七年（1802年），终年九十岁。”也 即戴龙邦死了几十年后，又复活（或者按照阿胡的Q想，是诈死）再请李祯传儿子们，而且复活后过了几十年又传1809年出生、37岁即1846年才开始学 艺、学了10年，即1856年才毕业的李洛能（按车氏自家记载：清咸丰六年即1856年，李洛能先生正式收车二即车毅斋为徒，精通文笔的孟勃如将李洛能取 名为李飞羽、字能然，将女婿‘车二’取名为车永宏、字毅斋。从此，李洛能先生将戴氏‘心意拳’悉心传授与车毅斋），并且复活后一百四、五十岁时还参加抗捻 匪、太平天国军之战。复活后的戴龙邦感觉自己老师曹继武徒有虚名，当年教他的心意六合拳屁用也没有，是个大骗子，骗了自己的钱财与光阴。。。所以情愿让儿 子拜自己曾孙辈的李祯为师再学，自己也跟着想，真是不耻下问啊！。。。而那时真实的1、790年出生的戴隆邦的还没有成亲，十来岁就夭折了，更勿论有子嗣 了！



高氏自序中其他谬误不少，紫元只以深色表示出，不再具体指出。


附：《形意拳基本行功秘法》

序

国术一道，由来已久。虽代有名流，然其教多属口传，且尝授艺不授意，攻斯术者，若无专书以考，每抱向隅之叹！近夫国民精神蒌糜不振，西人称为东亚病夫！先 知觉者，为保存国粹，复兴民族计，感武术之需要，诚教国之药石，于是竭尽其力，以倡导之。向不轻视于人之拳谱精义，亦多见诸著述，公示于人耳。余友高君殿 卿，酷好斯道，精天形意拳，每工作之暇，必同二三知己，悉心研究，偶然兴高采烈，通宵达旦，未见有情容。乙亥之春，君将其所学编定成书，定名为《形意拳基 本行功秘法》。其练法，必先从基本着手，首站丹田次练六合，使丹田之气灵活无滞，再将心神意气，手眼身法步，贯注一气，不有空隙，则内外六合成功。其次本 五行相生、相克之道，以究劈钻崩炮横五拳，精而后再习，形象暨各种器具，务要仲缩自如，纵联敏捷，一发而人不及避，且此拳势虽单纯，不若花着可以悦人耳 目，然一拳精，而后习以他拳，不令学者有贪多不确之弊，亦斯拳之所长也，若能彼此基础练法纯功习练，左右互易，进退连环。须由熟而求精，尤以实用为贵，如 此沿可适其极也。是年，余流学并院，适君长院会计，时欲将其手著问世，询诸余志，余以此拳诚有裨益于社会，然个人于此道向无研究，可谓寡闻浅见，故不敢忘 言，就管见所及，而弃于书站，聊作介绍可耳。

中华民国二十四年夏 古陶李乡亭敬叙于太原并州学院

自序

余幼时最喜运动，读书之暇，尝习国术以自娱，然以派别悬殊，无所适从。十五岁时，有乡人贾翁大俊者，好道貌岸然学，精形意拳，声望素著，远近闻名，余仰其 道，以师事之，赖翁耳提面命，历十数寒暑，而行功未敢可断，其所讲之理论及应用，至理名言，所谓集思广益，精通艺术者也。其后游学苏州，得遇长隆镖局左炳兴君（晋文水人），时蒙君指导之，余于是益信国术之精奥玄妙，绝非旦夕可立待而成，是以益不敢自信，而愈觉不足。乙 亥之春游并门，正值本省盛倡国术之际，务以发扬武德，健身强国为目的，各地各流，一时云集，诚可谓武术中兴，千载佳会，硕宿高隐，献艺社会，绝不敢饶舌以 误世，然慨世之国术名家，偶有心得，必珍藏之陋习相演，今古皆然，而衣钵于是失真传焉。余有感于斯，就余师所传之形意拳基本行功之方法，及各路姿势之原 意，和盘托出，间有参以已意者，亦为实际上所应有，断乎不度察也。愿作初学者入门之途径，及研究期巡者之一参考书可耳。何受海内外方家以指正，实所企章。

第一编

第一章 绪言

形意拳之基础功夫，在乎锻炼丹田六合以及五行十二形各式。得其全者可以祛病延年，安**民；得其一总者，亦可壮胆、涨力、护体、击敌，效用至广也。然而抄 袭相传，残缺难全，置丹田而不论者有之，弃六合而不究者有之，欲成大道，不亦难乎？余不揣浅陋，就吾师所传原势，绘图著说，并将用气、周天、得真等秘法， 以及斯拳之各要诀付印问世。通斯拳者固可作为参考，而初学者亦可藉以升堂入室矣。

第二章 溯源

形意拳相传为宋人周通所发明，武穆得其传者，仅岳武穆一人。武穆名飞，字鹏举，河南洛阳人。父早亡，事母至孝，少负节气，足智多谋，自得周 翁拳法，便殷勤行持。陕西牛皋闻名往访，至则周翁已死，遂与武穆为莫逆至交，尽得斯拳之奥妙。后金兵侵境，武穆等大破之，于是诚震遐迩。世常言：撼山易， 撼岳家军难，可见其武功为如何矣！异乎金元数代，鲜究斯技，以至几迭流传。降及明末清初，薄州姬隆风访师终南，得武拳谱，归而依法精练，斯拳乃得重兴，后传继武。继武苦学十二载，功方成，康臣癸酉。联甲三元，钦全为陕西大远总都督。后告归籍，传河南马学礼。学礼与戴龙邦交索笃。邦祁县小韩村人，善技击，广交游，时开广盛店（河南十家店），故以武拳谱授之，时乾隆末年也。迨道光十八年，龙邦子文量（大闾）、文薰（二闾）及妻侄郭维汉皆至十家店邦执旅店业，兼讲学武艺（俗传李政曾为三人之教师）。道光二十一年间，有陕西牛希贤者来 店就食。贤固牛之后，而精通斯拳者也。闻龙邦好友尚义，故来访究竟，而邦不知也。后以贤之举动异于常人，卒为龙邦所发觉。贤被洁无奈，乃俱道所以。文量、 文薰、维汉等三人自此遂以师礼事之。某夕，雷声叠作，大雨倾盆，贤忽仰天而叹，良久不语，时家屋残败，适逢大雨，想已倾圯矣，故不乐。文量等交相劝慰，并 杂以他言，后亦渐安。嘉宾数日天晴，文量等达龙邦之意，暗差店伙携款人陕，代贤大兴土木，历一载有半，屣方成。隔数年，贤思归，龙邦父子留之不听，及还其 庄，见屋已变，心怪之，而不敢虐人，询著邻人，始知颇末，于是大为感动，据有间，复至广盛店，尽传奇所知。阙后李洛能摹技往访，至则希贤已就术矣。文量等 以其远道访师，行端情诚，遂与之相友善，于是四人日究斯技，行功弗辍。

咸丰间，捻匪作乱，清帝派兵征伐，随之就禽，四人皆有功焉，龙以文薰为最，故匪平之后，赦赐黄马褂以表其功，光绪初，文量等以年老归里，戴五昌、戴梁栋、朱氏、温老六、贾大俊因得其传，余事贾翁有年，聆其述传如此。

附识：1.迄今流传各地者，因为祥确，故从略。2.文薰即二闾，世以龙邦为二闾，误矣。盖乃二闾之父也。

泰国白庙另建厕所 供非中国旅客使用(图)

太極法說
EXPLAINING TAIJI PRINCIPLES
[translation by Paul Brennan, Sep, 2013]

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[On the front cover, there are two titles for the manuscript and five personal stamps:]

太極法說〔吳愛仁堂〕
Explaining Taiji Principles (below which is placed a Wu Airen “property of” stamp)
吳鑑泉〔吳鑑泉章〕
Wu Jianquan [signature] (with his stamp)
吳氏家傳太極拳体用全書〔吳公藻〕
Complete Book of Wu Style Taiji Boxing Theory & Practice (with Wu Gongzao’s stamp)
黎鐸珍藏 1948〔黎鐸之印〕〔黎鐸〕
“For Li Duo to Cherish” [in Wu Gongzao’s handwriting] (with Li Duo’s stamp, below which is “1948” written over a different Li Duo stamp)

[As to Li’s role, I was contacted by YL Yip, son of a disciple of Wu Gongyi, who has this to say: “Mr. Li was a disciple of the Wu family and a rich man living in Macao. In 1940s, the Wu family in Hong Kong was so poor that they gave this book to Li for a big sum of money. Thus you can see his stamp of collection, which is a ritual of all Chinese book lovers and collectors. In 1979, when Wu Gongzao was released from prison and came to Hong Kong, Li returned the book free of charge. When Gongzao got hold of the book, tears rushed out of his eyes and his hands shook.”]

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[On the inside of the back cover is:]

〔吳公藻印〕
(a different Wu Gongzao stamp)

[The personal stamps appear also upon three other pages of the manuscript. On the first page of the contents and last page of the main text are the Wu Jianquan stamp, followed by the Wu Gongzao stamp, then both Li Duo stamps. The Wu Airen stamp appears below the other stamps on the first contents page, but is crowded out by the spacing of the stamps on the last page of the main text and so is placed on its own on the first page of the main text.]

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[On the inside of the front cover is this small introduction:]

此書乃先祖吳全佑府君拜門後由斑侯先師所授是於端芳親王府內抄本在我家已一百多年公藻在童年時即保存到如今
吳公藻識
After my grandfather Wu Quanyou became a formal disciple, Yang Banhou gave him this manual. It is a handwritten manuscript that was made in Duan Fang’s royal mansion. It has been in our family for over a hundred years. I have preserved it up to now since my childhood.
     – comment by Wu Gongzao

[This Yang family manuscript exists in two versions, placed side by side below. The pages on the left are the version owned by the Wu family, first shared publicly in its entirety in 1985, and the black & white photocopies on the right are of the version owned by the Yang family itself, first shared publicly in 1993. (Only the Wu family’s version is titled and has a cover, intro, and personal stamps.)
     To date these documents, all we really have to go on is Wu Gongzao’s comment of “more than a hundred years”. But when did he scribble his introductory note? The Wu family’s document was included as an extra section for a 1985 reprint of a Taiji manual Wu Gongzao had published in 1935, but Wu Gongzao had died in 1983, leaving the reprint to be published posthumously. Going by Jin Yong’s postscript to the reprint – dated Jan, 1980 – we are probably safe in assuming the reprint version of the book was already in preparation in 1979 and that Wu Gongzao’s introductory note was made around that time. And if we then assume Wu Gongzao was being accurate when he said “more than a hundred years”, the manuscript would be from no later than 1878. Yang Luchan, Wu Quanyou’s first teacher, passed away in 1872. The manuscript probably cannot be from any earlier than that or Wu Gongzao would more likely have been told that Yang Luchan was to be credited as well as Yang Banhou. It is even possible that the loss of Yang Luchan may itself have served as a motivator for preserving Yang family teachings and that his passing pushed the manuscript into being. Making a simple compromise between the two dates of 1872 and 1878, I will provisionally guess that the manuscript is from the thereabouts of 1875.
     One version was evidently copied from the other. This is demonstrated by the fact that there are some idiosyncrasies of text that are irrationally preserved. For instance, the title for section 13 in the contents uses 体, whereas the title for 13 in the body of the text uses the full version of the character: 體. All other occasions of 體 are written as the variant version 軆, except for one peculiar instance near the end of 13’s text, where 體 is used instead of 軆. This situation is identical in both documents. A more mindful act of re-rendering the text would simply put the more consistent 軆 in the places where 体 and 體 were being used in the original document, but what appears instead is the loyalty to words rather than text that is the hallmark of mere expedient copying. This indicates the process of copying the text was not done slowly and editorially in order to make a tidier version of the manuscript, but was instead the act of quickly copying words from one set of paper to another simply for the sake of making a copy, resulting in what is actually a sloppier version of the manuscript.
     As can be seen from examining both versions, they are clearly by the same hand, and so were probably not made very far apart in time. In which case, how close in time could they be? Taking up a pen and copying the text into a notebook myself, I found that to maintain a decent balance between efficiency and legibility, I averaged about twenty minutes to copy out a page of the manuscript. A more skilled calligrapher ought to be able to do it in about half the time, but a half dozen pages per hour still adds up to a full day’s work. I think it is doubtful these two documents were produced on the same day, but it is possible that one was copied from the other the very day after the first was completed.
     Even if they really happened to be made only a day apart, we can still reasonably conclude which of the two is the earlier document. When going through the process of simply copying out words, it is unusual to add words but very natural to accidentally leave a few words out. There are more occasions of words appearing in the Wu document being left out in the Yang document than the reverse. A less mindful process of copying out words also tends to generate more incorrect words than is the case with the thoughtful writing of an original document. Again the Yang document has more mistaken words than the Wu document. Both of these things indicate the Yang document was most likely copied from the Wu document, which would make the Wu document the earlier of the two. (*I have included a list of the textual variations further below.) It remains open to speculation as to why the Wu family should have the earlier version and the Yang family possess only a copy, and whether there were still earlier versions than the Wu version, or whether there were any further copies made in between the Wu and Yang versions and after.
     Since it appears to be the authoritative draft of the two, my typed transcription of the Chinese text below is entirely from the Wu document. The punctuation indicators appearing in the Yang family’s copy are absent from the Wu family’s version and so must have been added by a later hand, possibly a great deal later, and therefore in the interests of authenticity I have not included them in the transcription.]

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目錄
CONTENTS

八門五步
[1] The Eight Gates & Five Steps
八門五步用功法
[2] On the Training Method for the Eight Gates & Five Steps
固有分明法
[3] Our Innate Ability to Distinguish
粘黏連隨
[4] Stick, Adhere, Connect, and Follow
頂匾丢抗
[5] Crashing In, Collapsing, Coming Away, and Resistance
對待無病
[6] Fighting Without Mistakes
對待用功法守中土
[7] Practicing Maintaining the Central Ground in Fighting
身形腰頂
[8] The Body’s Posture – The Waist & Headtop
太極圈
[9] Taiji’s Circling
太極進退不已功
[10] Taiji’s Skill of Advancing & Retreating Ceaselessly
太極上下名天地
[11] Taiji’s Above & Below, or “Sky & Ground”
太極人盤八字功
[12] Taiji’s Eight Techniques in the Realm of Mankind
太極体用解
[13] Taiji’s Substance & Application
太極文武解
[14] Taiji’s Civil & Martial Qualities
太極懂勁解
[15] Taiji’s Identifying of Energies
八五十三勢長拳解
[16] On the Thirteen Dynamics Long Boxing Set
太極陰陽顛倒解
[17] Taiji’s Inversion of the Passive & Active Aspects
人身太極解
[18] The Taiji-ness of the Human Body
太極分文武三成解
[19] Taiji’s Separation of the Civil & Martial Qualities into Three Accomplishments
太極下乘武事解
[20] Taiji’s Lesser Accomplishment – Its Martial Quality
太極正功解
[21] Correctness of Skill in Taiji
太極輕重浮沉解
[22] Taiji’s Lightness & Heaviness, Floating & Sinking
太極四隅解
[23] Taiji’s Four Secondary Techniques
太極平凖腰頂解
[24] The Proper Alignment of Waist & Headtop in Taiji
太極四時五氣解圖
[25] A Taiji Map of the Four Seasons & Five Energies
太極血氣根本解
[26] The Essence of Blood & Energy in Taiji
太極力氣解
[27] Strength & Energy in Taiji
太極尺寸分毫解
[28] Taiji’s Reducing Measurements
太極膜脉筋穴解
[29] Vessels, Channels, Sinews, and Acupoints in Taiji
太極字字解
[30] Some of the Terms in Taiji
太極節拿抓閉尺寸分毫解
[31] Taiji’s Reducing of Measurements in the Context of Controlling, Seizing, Capturing, or Sealing
太極補助氣力解
[32] Taiji’s Boosting or Dissipating Energy & Strength
共三十二目
(Thirty-Two Sections in Total)

[Supplementary Texts:
太極空結挫揉論
(i) Taiji’s Emptying, Tying Up, Filing, and Kneading
懂勁先後論
(ii) Before Identifying Energies and After
尺寸分毫在懂勁後論
(iii) Reducing Measurements After Identifying Energies
太極指掌捶手解
(iv) The Fingers, Palm, Fist, and Hand in Taiji
口授穴之存亡論
(v) On Personal Instruction in the Acupoints that Save or Kill
張三丰承留
(vi) What Zhang Sanfeng Inherited
口授張三豐老師之言
(vii) The Teachings of Zhang Sanfeng
張三豐以武事得道論
(viii) Zhang Sanfeng on Using Martial Arts to Achieve the Way]

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八門五步
[1] THE EIGHT GATES & FIVE STEPS

方位　八門
position / gate:
掤　南　坎
warding off – S / ☵
捋　西　離
rolling back – W / ☲
擠　東　兑
pressing – E / ☱
按　北　震
pushing – N / ☳
採　西北　巽
plucking – NW / ☴
挒　東南　乾
rending – SE / ☰
肘　東北　坤
elbowing – NE / ☷
靠　西南　艮
bumping – SW / ☶
方位八門乃為陰陽顛倒之理周而復始隨其所行也總之四正四隅不可不知矣夫掤捋擠按是四正之手採挒肘靠是四隅之手合隅正之手得門位之卦以身分步五行在意支撑八面五行者進步火退步水左顧木右聁金定之方中土也夫進退為水火之步顧聁為金木之步以中土為樞機之軸懷藏八卦脚跐五行手步八五其数十三出於自然十三勢也名之曰八門五步
The positions of the eight gates are based on the principle of the passive and active aspects inverting each other, cycling round and round, following each other in their process. All of the four primary techniques [corresponding to the cardinal directions] and four secondary techniques [corresponding to the corner directions] must be understood. Warding off, rolling back, pressing, and pushing are the four primary techniques. Plucking, rending, elbowing, and bumping are the four secondary techniques. The combining of these cardinals and corners thus positions the trigrams.
     The body makes its steps according to the five elements, bracing in all directions. The five elements are: advance (fire), retreat (water), step to the left (wood), step to the right (metal), and stay in the center (earth). Advancing and retreating are the steppings of water and fire, left and right are the steppings of metal and wood, and the central earth is the axis for all of them.
     Embrace the eight trigrams as you step through the five elements. Techniques plus steps equals eight plus five, amounting to thirteen, naturally expressed as the Thirteen Dynamics, known as the Eight Gates & Five Steps.

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八門五步用功法
[2] ON THE TRAINING METHOD FOR THE EIGHT GATES & FIVE STEPS

八卦五行是人生成固有之良必先明知覺運動四字之本由知覺運動得之後而后方能懂勁由懂勁後自能接及神明然用功之初要知知覺運動雖固有之良亦甚難淂之於我也
The eight trigrams and five elements are innate within us. You must first understand that they are based in these four terms: perception, realization, activation, action. [These four terms amount to “moving with awareness”. This is a breakdown of four words – 知, 覺, 運, 動 – which would typically, and especially so for modern Chinese speakers, only be considered as two terms: 知覺 and 運動. To break movement (運動) and awareness (知覺) into their component parts results in: moving = the activation (運) of movement + the act (動) of moving, and awareness = the perception (覺) that something is + the realization (知) of what it is. In short, moving with awareness. This idea is further elaborated upon in the next section, where the purpose of breaking down the two terms into four becomes more clear.]
     Once you have achieved moving with awareness, then you will be able to identify energies.
Once you can identify energies, then you will be able to be miraculous. But in the beginning of training, you should understand moving with awareness. Although it is innate, it is nevertheless hard to achieve within oneself.

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固有分明法
[3] OUR INNATE ABILITY TO DISTINGUISH

蓋人降生之初目能視耳能聼鼻能聞口能食顏色聲音香臭五味皆天然知覺固有之良其手舞足蹈於四肢之能皆天然運動之良思及此是人熟無因人性近習逺失迷固有要想還我固有非乃武無以尋運動之根由非乃文無以淂知覺之本原是乃運動而知覺也夫運而知動而知不運不覺不動不知運極則為動覺盛則為知動知者易運覺者難先求自己知覺運動淂之於身自能知人要先求知人恐失於自己不可不知此理也夫而後懂勁然也
From birth, our eyes can see, ears can hear, nose can smell, mouth can taste. Sights and sounds, smells and tastes – all innate senses. Dance of hands, prance of feet – the abilities of our limbs are all innate forms of movement. Pondering upon this, we find it is our random experience – “Our natures make us the same, but our experiences make us unique.” [Lun Yu, 17.2] – that makes us lose touch with what is innate. If we want to return to our innate qualities, there will be no martial aspect unless we seek the source of movement, and there will be no civil aspect unless we grasp the basis of awareness. With these things, then there will be moving with awareness.
     If there is activation and perception, there will be action and realization. If there is no activation or perception, there will be no action or realization. When activation is at its height, action is initiated. When perception is fully lucid, there is realization. Action and realization are the easy part. Activation and perception are tricky.
     First strive to move with awareness for yourself, grasping it within your own body, then naturally you will be able to spot it in the opponent. If on the other hand you try to find it in opponents first, you will probably never find it in yourself. You have to be able to understand this concept in order to be able to identify energies.

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粘黏連隨
[4] STICK, ADHERE, CONNECT, AND FOLLOW

粘者提上拔髙之謂也
黏者留戀繾綣之謂也
連者舍己無離之謂也
隨者彼走此應之謂也
要知人之知覺運動非明粘黏連隨不可斯粘黏連隨之功夫亦甚細矣
Sticking means to lift up high.
Adhering means to stay and be attached.
Connecting means to let go of yourself and not separate from the opponent.
Following means to follow him wherever he goes.
If you want to move with awareness and yet you do not understand sticking, adhering, connecting, and following, it will be beyond your reach, for it is a very subtle skill.

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頂匾丢抗
[5] CRASHING IN, COLLAPSING, COMING AWAY, AND RESISTANCE

頂者出頭之謂也
匾者不及之謂也
丢者離開之謂也
抗者太過之謂也
要知于此四字之病不但粘黏連隨斷不明知覺運動也初學對手不可不知也更不可不去此病所難者粘黏連隨而不許頂匾丢抗是所不易矣
Crashing in means sticking your head out.
Collapsing means not enough pressure.
Coming away means separating.
Resistance means too much pressure.
You should understand that these four mistakes will not merely interfere with sticking, adhering, connecting, and following, but will also prevent you from moving with awareness. When beginning to work with a partner, you must understand and especially prevent these errors. The difficulty in sticking, adhering, connecting, and following is in not allowing yourself to crash in, collapse, come away, or resist. This is not at all easy.

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對待無病
[6] FIGHTING WITHOUT MISTAKES

頂匾丢抗失於對待也所以為之病者既失粘黏連隨何以獲知覺運動既不知己焉能知人所謂對待者不以頂匾丢抗相對於人也要以粘黏連隨等待於人也能如是不但無對待之病知覺運動自然淂矣可以進於懂勁之功矣
Crashing in, collapsing, coming away, and resistance will lose in a fight, and so they are called mistakes. If you neglect sticking, adhering, connecting, and following, you will not be able to achieve moving with awareness. And if you are not aware of yourself, how will you be able to know your opponent? Therefore when fighting, do not use crashing in, collapsing, coming away, or resistance, thereby opposing the opponent, instead use sticking, adhering, connecting, and following, thereby awaiting the opponent. If you can do it in this way, then not only will you be without mistakes, but moving with awareness will be automatically accomplished, and you can then progress to the skill of identifying energies.

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對待用功法守中土　俗名站橦
[7] PRACTICING MAINTAINING THE CENTRAL GROUND IN FIGHTING (COMMONLY CALLED STANDING LIKE A POST)

定之方中足有根先明四正進退身掤捋擠按自四手須費功夫淂其真身形腰頂皆可以粘黏連隨意氣均運動知覺來相應神是君位骨肉臣分明火候七十二天然乃武並乃文
When standing centered, your feet should be rooted.
Start by understanding the four primary techniques, then advancing and retreating.
The four techniques are ward-off, rollback, press, and push.
You have to do a lot of work to get them to be real.
For the body posture, your waist and headtop should both be correct.
When sticking, adhering, connecting, and following, your intention and energy are to be uniform throughout.
Movement and awareness respond to each other.
Mind is sovereign and body is subject.
When you get the degree just right,
you will naturally have both the civil quality and the martial. [i.e. If the “degree” is not right, there is “overcooking” or “undercooking”, in which case too civil would be undercooked and too martial would be overcooked.]

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身形腰頂
[8] THE BODY’S POSTURE – THE WAIST & HEADTOP

身形腰頂豈可無缺一何必費工夫腰頂窮硏生不已身形順我自伸舒舍此真理終何極十年数載亦糊塗
For your body’s posture, how could your waist and headtop be ignored?
Neglecting either, all your work would be in vain.
Waist and headtop are to be exhaustively studied for your whole life.
When your body’s posture is natural, it will naturally be loosened and comfortable.
If you dismiss this truth, how will you end up
but that after ten years you will still be confused?

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太極圈
[9] TAIJI’S CIRCLING [as in the circles of the pushing hands exercise]

退圈容易進圈難不離腰頂後與前所難中土不離位退易進難仔細硏此為動功非站定倚身進退並比肩能如水磨摧急緩雲龍風虎象周旋要用天盤從此覔久而久之出天然
Circling while retreating is easy, but circling while advancing is difficult,
so do not get sloppy with your waist and headtop when going forward or back.
It is hard to stay in the central position,
so the ease of retreat and difficulty of advance are to be carefully studied.
As this is a matter of movement rather than stance,
stay close to the opponent while advancing or retreating.
Circling can be like a watermill as it speeds up or slows down,
or like the dragon-like clouds or tiger-like winds winding all around.
If you use the sky as a model to help you seek this,
then after a long time it will be expressed instinctively.

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太極進退不已功
[10] TAIJI’S SKILL OF ADVANCING & RETREATING CEASELESSLY

掤進捋退自然理陰陽水火相既濟先知四手淂來真採挒肘靠方可許四隅從此演出來十三勢架永無已所以因之名長拳任君開展與收歛千萬不可離太極
It is natural to ward off while advancing and roll back while retreating,
since passive and active, like water and fire, exchange roles with each other.
First understand the four primary techniques and get them to be authentic,
then you may move on to plucking, rending, elbowing, and bumping,
performing the four secondary techniques on the basis of the primary.
Then there is the Thirteen Postures solo set, which goes on and on ceaselessly,
and hence is called Long Boxing. [“It is like a long river flowing into the wide ocean…”]
You may spread out and gather in as you will,
but by no means allow yourself to stray from the taiji concept.

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太極上下名天地
[11] TAIJI’S ABOVE & BELOW, OR “SKY & GROUND”

四手上下分天地採挒肘靠由有去採天靠地相應求何患上下不既濟若使挒肘習逺離迷了乾坤遺歎惜此説亦明天地盤進用肘挒歸人字
Four techniques divide into above and below, sky and ground:
plucking, rending, elbowing, and bumping each having their source [pluck & rend based in sky, elbow & bump based in ground].
When plucking and bumping are coordinated with each other,
there is no worry of above and below coming out of joint.
But if rending and elbowing are not coordinated with each other,
you will lose the relationship between sky and ground and be left with only sighs of regret.
As this explanation is clearly about the realms of sky and ground,
when advancing using elbowing or rending, return to the condition of mankind [i.e. the proper range, the balanced position, man being the middle zone between sky and ground].

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太極人盤八字歌
[12] TAIJI’S EIGHT TECHNIQUES IN THE REALM OF MANKIND

八卦正隅八字歌十三之数不幾何幾何若是無平凖丢了腰頂氣歎哦不断要言只兩字君臣骨肉細琢磨功夫內外均不断對待数兒豈錯他
對待於人出自然由茲往復於地天但求舍己無深病上下進退永連綿
This eight technique song concerns the eight trigrams with its four primary and four secondary techniques.
A mere thirteen dynamics is not a lot.
But however many there might be, if their standard is not maintained
and if the position of your waist and headtop is misplaced, you will end up sighing with woe.
     The key to their being no division lies in but two words:
the “sovereign” and “subject” roles of the mind and body – ponder them carefully.
Your skill should have no division between internal and external,
and then there will be not any mistakes however many contenders you fight.
     What comes out of you during a fight should be natural,
coming from such interactions as between the realms of ground and sky.
When you no longer have a problem with letting go of yourself,
there will never be hesitation as you go upward or downward, forward or back.

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太極體用解
[13] TAIJI’S SUBSTANCE & APPLICATION

理為精氣神之軆精氣神為身之軆身為心之用勁力為身之用心身有一定之主宰者理也精氣神有一定之主宰者意誠也誠者天道誠之者人道俱不外意念須臾之間要知天人同軆之理自淂日月流行之氣其氣意之流行精神自隱微乎理矣夫而后言乃武乃文乃聖乃神則淂矣若特以武事論之於心身用之於勁力仍歸於道之本也故不得獨以末技云爾
勁由於筋力由於骨如以持物論之有力能執数百斤是骨節皮毛之外操也故有硬力如以全軆之有勁似不能持幾斤是精氣之內壯也雖然若是功成後猶有妙出於硬力者修身體育之道有然也
Principle is the substance of essence, energy, and spirit. Essence, energy, and spirit are the substance of the body. Body is mind applied. Power is the applying of body. Mind and body have a specific controller: principle. Essence, energy, and spirit also have a specific controller: heartfelt sincerity. Sincerity is the way of nature and to be sincere is the way of mankind, and neither of these ways leaves the mind for an instant.
     If you understand the principle that nature and mankind are of the same substance, you will naturally grasp the solar and lunar [i.e. active and passive] flow of energy, that the energy is the flow of intention, and that spirit lies naturally hidden within principle. Then you will obtain the martial and civil aspects, and the qualities of wisdom and spirituality. In order to make use of martial arts as a means to discuss mind and body or to develop power and strength, keep it based in the Way, for this art is not only for developing skill.
     Power comes from the sinews. Strength comes from the bones. Looking at it purely physically, one who has great strength is able to carry many hundreds of pounds, but this is an externally showy action of bones and joints, a stiff strength. If on the other hand the power of your whole body is used, it may appear you are unable to lift hardly any weight at all, yet there is an internal robustness of essence and energy, and once you have achieved skill, you will seem to have something more wonderful than one who has the stiff sort of strength. Thus runs the method of physical training for self-cultivation.

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太極文武解
[14] TAIJI’S CIVIL & MARTIAL QUALITIES

文者軆也武者用也文功在武用於精氣神也為之軆育武功得文軆於心身也為之武事夫文武尤有火候之謂在放卷得其時中軆育之本也文武使於對待之際在蓄發當其可者武事之根也故云武事文為柔軟軆操也精氣神之筋勁武事武用剛硬武事也心身之骨力也文無武之豫備為之有軆無用武無文之侶伴為之有用無軆如獨木難支孤掌不嚮不惟軆育武事之功事事諸如此理也文者內理也武者外数也有外数無文理必為血氣之勇失於本來面目欺敵必敗爾有文理無外数徒思安静之學未知用的採戰差微則亡耳自用於人文武二字之解豈可不解哉
The civil quality is the substance. The martial quality is the application. The civil training within the martial application is a matter of the essence, energy, and spirit. It is the physical cultivation. The martial training of the civil substance is a matter of mind and body. It is the martial reality. The civil and martial qualities in the training process are a matter of when to coil and when to release. This is the basis of physical cultivation. The civil and martial qualities in a fighting situation are a matter of when best to store and when best to issue. This is the foundation of martial reality.
     It is said that a dose of civil in the martial makes it a softened physical exercise, the sinewy power of essence, energy, and spirit, while adding more martial to the martial would make it a hardened fighting drill, a solid effort of mind and body. The civil quality without the martial quality at the ready would be just application without substance. The martial quality without the civil quality in tandem would be substance without application. Since one piece of wood will not support a whole building, and since you cannot clap your hands with just one hand, this is not just a matter of health and fighting, but is a principle that applies to everything.
     The civil quality is the inner principle. The martial quality is the outward skill. Those who have the outward skill but lack the civil principle will be consumed by reckless glory. Discarding the original purpose of the art, they will try to overpower opponents and inevitably lose. Those on the other hand who have the civil principle but lack the outward skill will be distracted by meditative expectation. They will have no idea what to do in a fight, and they will be destroyed the moment it turns chaotic. To apply this art upon an opponent, you must understand both the civil and martial qualities.

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太極懂勁解
[15] TAIJI’S IDENTIFYING OF ENERGIES

自己懂勁接及神明為之文成而后採戰身中之陰七十有二無時不然陽得其陰水火既濟乾坤交泰性命葆真矣於人懂勁視聼之際遇而變化自得曲誠之妙形著明於不勞運動覺知也功至此可為攸往咸宜無須有心之運用耳
Once you are identifying your own energies, you will be working your way toward something miraculous. Succeed at the civil aspect and then delve into the martial. There are at all times in the body seventy-two channels for passive energy [as well as seventy-two channels for active energy]. When the active aspect is balanced by the passive, water and fire are in a state of mutual benefit, skyness and groundness are at peace with each other, and the genuineness of one’s life essence is preserved.
     Once you are identifying the opponent’s energies, in a state of seeing them and hearing them, you are adapting to everything you encounter, and will naturally obtain the subtlety of falseness and trueness [i.e. the manipulating of emptiness and fullness]. The postures will be performed with effortless precision and your movements will be conducted with awareness. Once at this degree of skill, everything you do will be appropriate and you will not have to put thought into what you are doing.

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八五十三勢長拳解
[16] ON THE THIRTEEN DYNAMICS LONG BOXING SET

自己用功一勢一式用成之後合之為長滔滔不断周而復始所以名長拳也萬不得有一定之架子恐日久入於滑拳也又恐入於硬拳也决不可失其綿軟周身往復精神意氣之本用久自然貫通無往不至何堅不推也於人對待四手當先亦自八門五步而來跕四手四手碾磨進退四手中四手上下四手三才四手由下乘長拳四手起大開大展煉至緊凑屈伸自由之功則升之中上成矣
In your own training of each posture, once you have learned them all, they are joined together to make a long routine, flowing on and on without interruption, one posture after another, and thus it is called Long Boxing. It is crucial for the set of postures to be performed consistently, otherwise it may after a while turn instead into either “slippery boxing” or “stiff boxing”. You assuredly must not lose your pliability, and the movement of your whole body should be grounded upon mind and spirit. After practicing over a long period of time, you will naturally have a breakthrough and attain everything you have been working toward, and nothing will be strong enough to stand up against you.
     When working with a partner, the four techniques of ward-off, rollback, press, and push are the first of the thirteen dynamics to work on. Stand in one place and do the four techniques rolling in circles, then do them advancing and retreating, doing them at a middle height. Then do them higher and lower as well, practicing at all three heights. Starting with the basics, work your way through the solo set. Then begin working with the four techniques, larger gross movements at first, then focusing on the finer details until the skill of extending and contracting is fluent, and you will have ascended through the midway of attainment, and then will continue to the top.

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太極陰陽顛倒解
[17] TAIJI’S INVERSION OF THE PASSIVE & ACTIVE ASPECTS

陽乾天日火離放出發對開臣肉用氣身武立命方呼上進隅
陰坤地月水坎卷入蓄待合君骨軆理心文盡性圓吸下退正
Examples of the active / passive:
☰ / ☷
sky / ground
sun / moon
fire / water
☲ / ☵
releasing / coiling
exiting / entering
issuing / storing
offense / defense
opening / closing
subject / sovereign
muscle / bone
the practice / the theory
the energy / the principle
body / mind
martial / civil
dedicated to / absorbed in
square / round
exhale / inhale
up / down
advance / retreat
oblique / direct
盖顛倒之理水火二字詳之則可明如火炎上水潤下者水能使火在下而用水在上則為顛倒然非有法治之則不得矣辟如水入鼎內而治火之上鼎中之水得火以然之不但水不能下潤藉火氣水必有温時火雖炎上得鼎以隔之是為有極之地不使炎上炎火無止息亦不使潤下之水永渗漏此所為水火既濟之理也顛倒之理也若使任其火炎上來潤下必至火水必分為二則為火水未濟也故云分而為二合之為一之理也故云一而二二而一總斯理為三天地人也明此陰陽顛倒之理則可與言道知道不可須臾離則可與言人能以人弘道知道不逺人則可與言天地同軆上天下地人在其中矣苟能参天察地與日月合其明與五岳四凟華朽與四時之錯行與草木並枯榮明鬼神之吉凶知人事興衰則可言乾坤為一大天地人為一小天地也夫如人之身心致知格物於天地之知能則可言人之良知良能若思不失固有其功用浩然正氣直養無害悠久無疆矣所謂人身生成一小天地者天也性也地也命也人也虛靈也神也若不明之者烏能配天地為三乎然非盡性立命窮神達化之功胡為乎來哉
The inversion principle can be explained with water and fire. Left to their own devices, fire rises and water sinks, but if water is placed above fire then they are in an inverted state. Of course, if not done properly there would be no inverted state, [just a fire put out and some water made into steam,] and so it has to be a situation of water being put in a pot which is then positioned over a fire. When the water in the pot receives the fire’s heat, not only will it not be able to sink away, it will also absorb the fire’s heat and inevitably become warm, and although the fire is rising to the pot, it is stopped there and goes no further. By not allowing the fire to rise freely or the water to sink away, this is water and fire as in After Completion [hexagram 63 – made of water ☵ on top of fire ☲], and is the principle of inversion. If the fire is allowed to rise freely and the water to sink away, the result will of course be that the water and fire will go their separate ways as two entities, and this is water and fire as in Before Completion [hexagram 64 – made of fire ☲ on top of water ☵]. So goes the principle that in separating they become two and in joining they become one, and thus it is said that one becomes two, then two becomes one, which totals three, namely sky, ground, and mankind.
     Once you understand this principle of passive and active inverting, then the Way can be discussed. Once you understand that the Way cannot be departed from for a moment, then human beings can be discussed, and it is through human beings that the Way can be glorified. Once you understand that the Way is not far away from human beings, then the universe can be discussed. It is all one entity of sky above, ground below, and mankind in the middle. If you can examine the world, and be one with the shine of the sun and moon, with the grandeur and erosion of the landscape, with the wax and wane of the seasons, with the growth and decay of plants, and come to terms with the favors and frownings of spirits, and understand the rising and declining of human affairs, then can be discussed the larger universe of skyness and groundness, and the smaller universe that is a human being.
     To understand the human body and mind, study the awareness and abilities of things in Nature. Then the human awareness and abilities that come from Nature can be discussed. If you do not forget your innate talents, nor your noble energy, constantly nurturing it and never harming it, you will survive indefinitely. And so it is said that a human being is a small universe. The sky represents your nature, the ground represents your life, and your naturalness represents your spirit. If you do not understand this, how will you be a blending of sky and ground to make a third? Unless you express your nature and sustain your life, the work of spiritual enlightenment and transformation has nothing to build on and cannot come to fruition.

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人身太極解
[18] THE TAIJI-NESS OF THE HUMAN BODY

人之周身心為一身之主宰主宰太極也二目為日月即兩儀也頭像天足像地人中之人及中腕合之為三才也四肢四象也腎水心火肝木肺金脾土皆属陰膀光水小腸火胆木大腸金胃土皆陽也茲為內也顱丁火地閣承漿水左耳金右耳木兩命門也茲為外也神出於心目眼為心之苗精出於腎脑腎為精之本氣出於肺胆氣為肺之原視思明心動神流也聼思聰脑動腎滑也鼻之息香臭口之呼吸出入水醎木酸土辣火苦金甜及言語聲音木亮火焦金潤土塕水漂鼻息口吸呼之味皆氣之往來肺之門戶肝胆巽震之風雷發之聲音出入五味此言口目鼻舌神意使之六合以破六慾也此內也手足肩膝肘胯亦使六合以正六道也此外也眼耳鼻口大小便肚臍外七竅也喜怒憂思悲恐驚內七情也七情皆以心為主喜心怒肝憂脾悲肺恐腎驚胆思小腸怕膀胱愁胃慮大腸此內也夫離南正午火心經坎北正子水腎經震東正卯木肝經兑西正酉金肺經乾西北隅金大腸化水坤西南隅土脾化土巽東南隅胆木化土艮東北隅胃土化火此內八卦也外八卦者二四為肩六八為足上九下一左三右七也坎一坤二震三巽四中五乾六兑七艮八離九此九宮也內九宮亦如此表裏者乙肝左肋化金通肺甲胆化土通脾丁心化木中胆通肝丙小腸化水通腎已脾化土通胃戊胃化火通心後背前胷山澤通氣辛肺右肋化水通腎庚大腸化金通肺癸腎下部化火通心壬膀胱化木通肝此十天干之內外也十二地支亦如此之內外也明斯理則可與言修身之道矣
The heart is in charge of the whole body, the body’s taiji [the body’s “grand polarity”, the body’s “1”].
     [2] The eyes are the solar and lunar aspects, the “two polarities”.
     [3] The head represents the sky and the feet represent the ground. The Renzhong acupoint [between lip and nose] represents mankind, along with the Zhongwan acupoint [solar plexus]. The three combined are the “three substances”.
     [4] The four limbs are the “four manifestations”.
     [5] The passive [or more solid organ] correspondences [to the five elements] within the body are: kidneys – water, heart – fire, liver – wood, lungs – metal, spleen – earth. The active [or more bag-like organ] correspondences within the body are: bladder – water, small intestine – fire, gallbladder – wood, large intestine – metal, stomach – earth. The external correspondences are: headtop – fire, jowls and Chengjiang acupoint [below the lower lip] – water, left ear – metal, right ear – wood, both sides of the “life gate” [earth]. Spirit is expressed from the heart. The eyes are the sprouts of the heart [similar to “windows to the soul”]. Essence is expressed from the kidneys. The brain and kidneys are the source of the essence. Energy is expressed from the lungs. The gallbladder energy has its source in the lungs. When the eyes see clearly, the actions of the heart make the spirit flow. When the ears hear clearly, the actions of the brain make the kidneys smooth. As breath goes in and out, what is perceived by the senses of smell and taste are: salty – water, sour – wood, spice [sweet] – earth, bitter – fire, sweet [spice] – metal. And the sounds they produce are: clear – wood, fire – hoarse, congested – metal, breathy – earth, distracted – water. The scent and taste of the air as the lungs pump it in and out, and as the wind (☴) and thunder (☳) of liver and gallbladder produce the five manners of voice, comes and goes as the five fragrances/flavors.
     [6] Mouth, eye, nose, tongue, spirit, and intent make the six internal unions by which the six desires will be overcome. Hand, foot, shoulder, knee, elbow, and hip make the six external unions by which the six paths [front, back, left, right, up, down] will be straightened [i.e. moved toward efficiently].
     [7] The seven external apertures are: eye, ear, nose, mouth, anus, urethra, navel. The seven internal emotions, which are governed by the heart, are: joy, rage, worry, obsessiveness, grief, fear, shock. Inside, joy is in the heart, rage is in the liver, worry is in the spleen, grief is in the lungs, fear is in the kidneys, shock is in the gallbladder, obsessiveness is in the small intestine, terror is in the bladder, anxiety is in the stomach, and pensiveness is in the large intestine.
     [8] The internal qualities of the eight trigrams:

☴☲☷
☳    ☱
☶☵☰

☲: S / Wu [noon] / fire / heart meridian
☵: N / Zi [midnight] / water / kidney meridian
☳: E / Mao [dawn] / wood / liver meridian
☱: W / You [sunset] / metal / lung meridian
☰: NW / metal / large intestine / transforming of water
☷: SW / earth / spleen / transforming of earth
☴: SE / wood / gallbladder / transforming of earth
☶: NE / earth / stomach / transforming of fire
     [9] Externally, ☵ is 1, ☷ is 2, ☳ is 3, ☴ is 4, the center is 5, ☰ is 6, ☱ is 7, ☶ is 8, and ☲ is 9. 2 and 4 are the shoulders, 6 and 8 are the feet, at the top is 9, at the bottom is 1, on the left is 3, on the right is 7 [producing a “magic square” in which every line of three numbers – horizontal, vertical, diagonal – adds up to the same number]:

4  9  2
3  5  7
8  1  6

These are the “nine palaces” [eight trigrams plus the center]. The internal quality of the nine palaces is the same.
     [10] The inner and outer [alignment with the ten Celestial Stems (the names of the days of the ancient ten-day week, a poetic microcosm of the agricultural process: 甲 Jia – “Seed”, 乙 Yi – “Sprout”, 丙 Bing – “Shoot”, 丁 Ding – “Ear”, 戊 Wu – “Sickle”, 己 Ji – “Bundle”, 庚 Geng – “Pestle”, 辛 Xin – “Sack”, 壬 Ren – “Haul”, 癸 Gui – “Store”. The pulse of the days is: active, passive, active, passive, the odd-numbered active days intended as being more work-oriented days and the even-numbered passive days intended as being more rest-oriented days. The order is twisted below because the pairings are presented passive/active rather than active/passive.)] runs thus:
Yi: liver and left ribs / transformed by the metal of the lungs
Jia: gallbladder / transforms the earth of the spleen
Ding: heart / transformed by the wood of the gallbladder and liver
Bing: small intestine / transforms the water of the kidneys
Ji: spleen / transformed by the earth of the stomach
Wu: stomach / transforms the fire of the heart, energy coursing through the mountain and valley of back and chest
Xin: lungs and right ribs / transformed by the water of the kidneys
Geng: large intestine / transforms the metal of the lungs
Gui: kidneys and lower body / transformed by the fire of the heart
Ren: bladder / transforms the wood of the liver
These are the internal and external qualities of the ten Celestial Stems.
     The twelve Terrestrial Branches also have internal and external qualities [which for some reason are not delved into here. The Terrestrial Branches are the names of the ancient “hours” of the day: 子 Zi (11pm-1am – “Conception” – picture of a baby, representing also the new day beginning at midnight), 丑 Chou (1am-3am – “Curled Up” – in sleep), 寅 Yin (3am-5am – “Contortion” – curled up further in sleep), 卯 Mao (5am-7am – “Shutters Opening” – i.e. dawn), 辰 Chen (7am-9am – “Slight Bowing” – looking down away from the sun above the horizon), 巳 Si (9am-11am – “Deep Bowing” – slouching over in response to rising sun), 午 Wu (11am-1pm – “Oppression” – sun directly above), 未 Wei (1pm-3pm – “Short Shadow” – shadow finally moving off center), 申 Shen (3pm-5pm – “Long Shadow”), 酉 You (5pm-7pm – “Wine Withdrawn” – the wine going back into the bottle, i.e. sunset), 戌 Xu (7pm-9pm – “Depression” – woundingly missing the daylight), 亥 Hai (9pm-11pm – “Bliss” – picture of a man and woman in bed together). As a further side note, since the Celestial Stems describe an agricultural process and the Terrestrial Branches are based on the progress of the sun through the sky, the 天干地支 Celestial Stems and Terrestrial Branches probably should have been called the 地干天支 Terrestrial Stems and Celestial Branches.]
     Once you are clear about this theory [that there is a taiji quality of passives and actives inherent in the body], you will then be able to talk of the methods of self-cultivation.

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太極分文武三成解
[19] TAIJI’S SEPARATION OF THE CIVIL & MARTIAL QUALITIES INTO THREE ACCOMPLISHMENTS

蓋言道者非自修身無由得成也然又分為三乘之修法乘者成也上乘即大成也下乘即小成也中乘即誠之者成也法分三修成功一也文修於內武修於外軆育內也武事外也其修法內外表裏成功集大成即上乘也由軆育之文而得武事之武或由武事之武而得軆育之文即中乘也然獨知軆育不入武事而成者或專武事不為軆育而成者即小成也
As far as the Way goes, without cultivating the self, there is no source from which to obtain it. It is separated into three vehicles for cultivation, “vehicle” meaning accomplishment. The greater vehicle takes you all the way to the top. The lesser vehicle gets you at least to the bottom. The middle vehicle is to succeed via sincerity. The methods are separated into three kinds of cultivation, but are working towards the same accomplishment.
     Cultivation of the civil quality is internal. Cultivation of the martial quality is external. Physical training is internal. Martial affairs are external. When the cultivation methods, both internal and external, surface and interior, are merged and achieved together, this is a grand accomplishment, the top.
     When one obtains the martial quality by way of the civil training or obtains the civil quality by way of the martial training, this is the middle.
     When one knows only the civil training but knows nothing of the martial part of it or focuses on only the martial part of it but does not do the civil training, this is the bottom.

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太極下乘武事解
[20] TAIJI’S LESSER ACCOMPLISHMENT – ITS MARTIAL QUALITY

太極之武事外操柔軟內含堅剛而求柔軟柔軟之於外久而久之自得內之堅剛非有心之堅剛寔有心之柔軟也所難者內要含蓄堅剛而不施外終柔軟而迎敵以柔軟而應堅剛使堅剛盡化無有矣其功何以得乎要非粘黏連隨已成自得運動知覺方為懂勁而后神而明之化境極矣夫四兩撥千斤之妙功不及化境將何以能是所謂懂粘運得其視聼輕靈之巧耳
Taiji’s martial quality is to be outwardly soft while inwardly hard, always seeking softness. By being outwardly soft over a longer and longer period, you will naturally obtain inner hardness, so long as your mind is focused on the softness rather than the hardness. The difficulty lies in containing hardness within and not letting it expose itself, outwardly only engaging the opponent with softness. By using softness to respond to hardness, his hardness is made to dissipate until it is spent.
     How is such a skill to be obtained? Once your sticking, adhering, connecting, and following are complete, you will naturally have achieved moving with awareness, and from there you will move on to identifying energies, then gain a miraculous understanding, and ultimately you will have been transformed.
     As for the subtlety of four ounces moving a thousand pounds – how could you have such an ability if your skill has not reached a transformative state? Thus it is said that you are to recognize when you are connected to the opponent, and thereby obtain the art of keenly observing and listening.

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太極正功解
[21] CORRECTNESS OF SKILL IN TAIJI

太極者元也無論內外上下左右不離此元元也太極者方也無論內外上下左右不離此方也元之出入方之進退隨方就元之往來也方為開展元為緊凑方元規矩之至其就能出此以外哉如此得心應手仰髙鑽堅神乎其神見隱顕微明而且明生生不已欲罷不能
Taiji is round, never abandoning its roundness whether going in or out, up or down, left or right. And Taiji is square, never abandoning its squareness whether going in or out, up or down, left or right. As you roundly exit and enter, or squarely advance and retreat, follow squareness with roundness, and vice versa. Squareness has to do with expanding, roundness with contracting. [Squareness means a directional focus along which you can express your power. Roundness means an all-around buoyancy with which you can receive and neutralize the opponent’s power.]
     The main rule is that you be squared and rounded. After all, could there be anything beyond these things? By means of this you will become proficient at the skill. But “gazing up, it grows higher, and drilling in, it gets harder…” [i.e. there is always more to it], so magical it is. When you look upon it at last, it hides again, revealing there is yet more subtlety to it, illumination upon illumination. It generates new features infinitely, rendering you “unable to quit even if there were the desire to do so.” [Lun Yu, 9.11]

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太極輕重浮沉解
[22] TAIJI’S LIGHTNESS & HEAVINESS, FLOATING & SINKING

雙重為病干於填寔與沉不同也雙沉不為病自爾騰虛與重不易也雙浮為病祗如漂渺與輕不例也雙輕不為病天然清靈與浮不等也半輕半重不為病偏輕偏重為病半者半有著落也所以不為病偏者偏無著落也所以為病偏無著落必失方圓半有著落豈出方圓半浮半沉為病失於不及也偏浮偏沉失於太過也半重偏滯而不正也半輕偏輕靈而不圓也半沉偏沉虛而不正也半浮偏浮茫而不圓也夫雙輕不近於浮則為輕靈雙沉不近於重則為離虛故曰上手輕重半有著落則為平手除除此三者之外皆為病手蓋內之虛靈不昧能致於外氣之清明流行乎肢軆也若不窮硏輕重浮沉之手徒勞掘井不及泉之歎耳然有方圓四正之手表裏精粗無不到則已極大成又何云四隅出方圓矣所謂方而圓圓而方超乎象外得其寰中之上手也
- [1a] Both sides fully heavy [“double pressure”] is wrong. It is too full. It is different from sinking.
- [1b] Both sides fully sinking is okay. It has to do with being ready to move. It is different from heaviness.
- [1c] Both sides fully floating [“double vacuum”] is wrong. It is too empty. It is different from lightness.
- [1d] Both sides fully light is okay. It has to do with natural nimbleness. It is different from floating.
- [2a] One side under-light and one side under-heavy is okay. To underdo means one side is stable. Therefore it is okay. Since to underdo is stable, it will not lose squareness and roundness.
- [2b] One side over-light and one side over-heavy is wrong. To overdo means neither side is stable. Therefore it is wrong. Since to overdo is unstable, it will lose squareness and roundness.
- [2c] One side under-floating and one side under-sinking is wrong, for it is not enough.
- [2d] One side over-floating and one side over-sinking [is wrong, for it] is too much.
- [3a] One side under-heavy and one side over-heavy, you will be not only sluggish but also unsquared.
- [3b] One side under-light and one side over-light, you will still be nimble but you will be unrounded.
- [3c] One side under-sinking and one side over-sinking, you will still be balanced but you will be unsquared.
- [3d] One side under-floating and one side over-floating, you will be not only scattered but also unrounded.
     Both sides fully light [1d] is not a matter of floating, and thus it is nimbleness. Both sides fully sinking [1b] is not a matter of heaviness, and thus it is alertness. Thus it is said: “The best technique is both light and heavy [2a], half and half, thus you will have a balanced technique.” Anything beyond these three [1b, 1d, 2a] would be wrong.
     When your inner naturalness is not obscured, it can be sent outward as purified energy, flowing into your limbs. If you do not exhaustively study these aspects of technique – lightness, heaviness, floating, sinking – it would be like digging a dry well. But if you possess squareness and roundness, then warding off, rolling back, pressing, and pushing will all be there inside and out down to their smallest detail, and you will have attained a great achievement, and then plucking, rending, elbowing, and bumping will also be squared and rounded. And so it is said: “Square but round, round but square.” Going beyond the shape [squareness OR roundness] takes you to the highest level [squareness AND roundness].

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太極四隅解
[23] TAIJI’S FOUR SECONDARY TECHNIQUES

四正即四方也所謂掤捋擠按也初不知方能使圓方圓復始之理無已焉能出隅之手矣緣人外之肢軆內之神氣弗缉輕靈方圓四正之功始出輕重浮沉之病則有隅矣辟如半重偏重滯而不正自然為採挒肘靠之隅手或雙重填寔亦出隅手也病多之手不得已以隅手扶之而歸圓中方正之手雖然至底者肘靠亦及此以補其所以云爾春後功夫能致上乘者亦須獲採挒而仍歸大中至正矣是四隅之所用者因失軆而補缺云云
The four primary techniques, aligned with the four cardinal compass points, are ward-off, rollback, press, and push. In the beginning, there will be a lack of understanding of the principle that squareness can lead to roundness and that they may alternate. Thus ability will emerge in the four secondary techniques of pluck, rend, elbow, and bump. Due to your outer limbs and inner spirit not maintaining nimbleness of squareness/roundness in the primary techniques, the mistakes of lightness, heaviness, floating, or sinking will start to manifest, and with them the secondary techniques.
     For example [3a]: “One side under-heavy and one side over-heavy, you will be not only sluggish but also unsquared.” This situation will naturally lead to the secondary techniques. Or [1a]: “Both sides fully heavy… is too full.” Again the secondaries will emerge. If your technique has many flaws, you will be compelled to use the secondary techniques to make up for them in order to regain a roundness that is centered and a squareness that is squared. Even a beginner can achieve this with the techniques of elbow or bump. But one whose skill has risen to a higher level still has to maintain the techniques of pluck and rend to regain a position that is centered and squared. Therefore the purpose of the four secondary techniques is to troubleshoot the mistakes you make in those moments when your technique is performed contrary to the theory.

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太極平凖腰頂解
[24] THE PROPER ALIGNMENT OF WAIST & HEADTOP IN TAIJI

頂如凖故云頂頭懸也兩手即平左右之盤也腰即平之根株也立如平凖所謂輕重浮沉分厘絲毫則偏顯然矣有凖頂頭懸腰之根下株尾閭至囟門也上下一条線全憑兩平轉變换取分毫尺寸自己辨車輪兩命門一纛搖又轉心令氣旗使自然隨我便滿身輕利者金剛羅漢煉對待有往來是早或是晚合則放發云不必凌霄箭涵養有多少一氣哈而逺口授須秘傅開門見中天
Your head is like a centered pole, as in “your headtop is suspended”, and with your hands making the trays to each side, your waist being the platform base, you are “standing like a scale”. Whether you receive the slightest bit of lightness or heaviness, floating or sinking, the tipping of the trays to either side will reveal all to you. With your headtop suspended and waist rooted below, you are connected from tailbone to skullbone.
     Standing in a vertical line,
all depends on a horizontal rotation.
My adaptations can catch the smallest change,
and I can distinguish all measurements.
     Rotating my waist,
the great flag is waved.
My mind sends the command, the energy carries the directing banners,
and I naturally move with facility.
     My whole body is activated
like a toughened arhat warrior.
In fighting,
one will be either early or late.
     Joining with the opponent, I send him away,
but it is not necessary for me to try to launch him into the stratosphere.
With an amount of power contained,
I need only express a “ha!” and he goes far enough.
But this is something that must be taught personally
in order for the door to be opened and the view to be seen.

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太極四時五氣解圖
[25] A TAIJI MAP OF THE FOUR SEASONS & FIVE ENERGIES [meaning the five elements]

夏
火
呵
南
春木噓東 ☯ 西呬金秋
北
吹
水
冬

呼吸
土
中央

S: summer / fire / “he” [scolding]

E: spring / wood / “xu” [shushing]          (taiji)          W: autumn / metal / “xi” [sighing]

N: winter / water / “chui” [boasting]

Center: earth / “hu-xi” [breathing]

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太極血氣根本解
[26] THE ESSENCE OF BLOOD & ENERGY IN TAIJI

血為營氣為衛血流行於肉膜胳氣流行於骨筋脉筋甲為骨之餘髮毛為血之餘血旺則髮毛盛氣足則筋甲壯故血氣之勇力出於骨皮毛之外壯氣血之軆用出於肉筋甲之內壯氣以血之盈虛血以氣之消長消長盈虛周而復始終身用之不能盡者矣
Blood is for nourishment. Energy is for defense. Blood flows through muscles, tissues, and limbs. Energy flows through bones, sinews, and vessels. Healthy sinews and nails are a sign of healthy bone. Healthy scalp hair and body hair is a sign of healthy blood. When the blood is vigorous, the scalp and body hair is lush. When the energy is full, the sinews and nails are robust.
     Thus the boldness and strength of the blood and energy when the blood is emphasized manifests outwardly in the robustness of the bones, skin, and hair, while the form and function of the energy and blood when the energy is emphasized manifests inwardly in the robustness of the muscles, sinews, and nails. The energy relies on the blood’s burgeoning or depleting. The blood relies on the energy’s decreasing or increasing. Decreasing then increasing, burgeoning then depleting, the cycle goes on endlessly. Make use of this your whole life and you will never be worn out.

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太極力氣解
[27] STRENGTH & ENERGY IN TAIJI

氣走於膜胳筋脉力出於血肉皮骨故有力者皆外壯於皮骨形也有氣者是內壯於筋脉象也氣血功於內壯血氣功於外壯要之明於氣血二字之功能自知力氣之由來矣知氣力之所以然自能用力行氣之分別行氣於筋脉用力於皮骨大不相侔也
Energy courses through the tissues, limbs, sinews, and vessels. Strength emerges from the blood, muscles, skin, and bones. Therefore a strong person has an outer robustness to their skin and bones, a matter of posture, while an energized person has an inner robustness to their sinews and vessels, a matter of presence. Training the energy and blood with emphasis on the energy will empower the internal. Training the blood and energy with emphasis on the blood will enhance the external.
     If you awaken to the functions of these two things, both the energy and the blood, you will naturally come to understand the basis of strength and energy. Understanding what strength and energy are all about, you will naturally be able to distinguish between the using of strength and the moving of energy: the moving of energy will be felt in your sinews and vessels, while the using of strength will be felt in your skin and bones – extremely different things indeed.

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太極尺寸分毫解
[28] TAIJI’S REDUCING MEASUREMENTS

功夫先煉開展後煉緊凑開展成而得之纔講緊凑緊凑得成纔講尺寸分毫由尺住之功成而后能寸住分住毫住此所謂尺寸分毫之理也明矣然尺必十寸寸必十分分必十毫其数在焉故云對待者数也知其数則能得尺寸分毫也要知其数非秘授而能量之者哉
Work first at training gross movements, then finer details. When the gross movements are obtained, then the finer movements can be talked of. When the finer movements are obtained, then measures of a foot and below can be talked of. When your skill has progressed to the level of a foot, then you can progress to the level of an inch, then to a tenth of an inch, then to the width of a hair. This is what is meant by the principle of reducing measurements.
     A foot has ten “inches”. An inch has ten tenths. A tenth has ten hairs. These are the measurements. It was long ago said: “Fighting is a matter of measuring.” Understanding the measurements, you can achieve the reducing of measurements. But if you want to understand the measuring, you will not be able to without the deeper teachings.

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太極膜脉筋穴解
[29] VESSELS, CHANNELS, SINEWS, AND ACUPOINTS IN TAIJI

節膜拿脉抓筋閉穴此四功由尺寸分毫得之後而求之膜若節之血不周流脉若拿之氣難行走筋若抓之身無主地穴若閉之神昏氣暗抓膜節之半死申脉拿之似亡单筋抓之勁断死穴閉之無生搃之氣血精神若無身何有主也如能節拿抓閉之功非得點傳不可
Controlling his vessels, seizing his channels, capturing his sinews, and sealing his acupoints – these four skills are to be worked toward after you are able to measure down from the level of a foot to the level of an inch, then to a tenth of an inch, then to the width of a hair. When his vessels are controlled, his blood will not circulate. When his channels are seized, his energy will not move. When his sinews are captured, his body will have no control. When his acupoints are sealed, he will lose consciousness.
     By controlling certain vessels, he will seem half dead. By seizing certain channels, he will seem fully dead. By capturing certain sinews, his power will be cut off. By sealing the lethal acupoints, he will not survive. Basically, if he is without energy, blood, or spirit, how will he have any control over his body? However, even if you have ability in the skills of control, seize, capture, and seal, these particular effects will not work without specific instruction in them.

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太極字字解
[30] SOME OF THE TERMS IN TAIJI

挫柔捶打於己於人按摩推拿於己人開合升降於己人此十二字皆用手也屈伸動静於己人起落急緩於己人閃還撩了於己人此十二字於己氣也於人手也轉换進退於己身人步也顧盼前後於己目也人手也即瞻前眇後左顧右盼也此八字闗乎神矣断接俯仰此四字闗乎意勁也接闗乎神氣也俯仰闗乎手足也勁断意不断意断神可接勁意神俱断則俯仰矣手足無著落耳俯為一叩仰為一反而已矣不使叩反非断而復接不可對待之字以俯仰為重時刻在心身手足不使断之無接則不能俯仰也求其断接之能非見隱顕微不可隱微似断而未断見顯似接而未接接接断断断断接接其意心身軆神氣極於隱顯又何慮不粘黏連隨哉
Applying to either yourself or the opponent: file, knead, punch, strike, push down, rub in, push out, seize, spread, merge, ascend, descend. These twelve terms are all techniques.
     Applying to either yourself or the opponent: bending, extending, movement, stillness, rising, falling, quick, leisurely, evade, counter, incite, conclude. These twelve terms apply to your own energy in relation to the opponent’s techniques.
     Applying to your own body in relation to the opponent’s stepping: turn, switch, advance, retreat. Applying to your own gaze in relation to the opponent’s techniques: look left, look right, look forward, look behind. These eight terms have to do with your spirit.
     These four terms have to with intention and power: disconnecting, connecting, bowing forward, yawning backward. Disconnecting and connecting have to do with your spirit and energy. Bowing forward and yawning back have to do with your hands and feet. The power may disconnect, but the intention does not. If the intention disconnects, the spirit can stay connected. If the power, intention, and spirit disconnect together, there will be bowing forward or yawning back, your hands and feet not touching or landing where they would have. To bow forward is to end up cracking your head. To yawn backward is to end up toppling over. To keep yourself from cracking your head or toppling over, you must disconnect then reconnect. Bowing forward and yawning backward are important things to consider in fighting. At no moment allow there to be in mind, body, hand, or foot a disconnection without reconnecting, and then you will prevent bowing forward or yawning back.
     Seeking for the skills of disconnecting and connecting will not work without seeing what is concealed and revealing what is subtle. With concealment and subtlety, it is like you have disconnected but not disconnected. With seeing and revealing, it is like you have connected but not connected. By connecting and disconnecting, disconnecting and connecting, in mind, body, and spirit, you will ultimately be concealing and revealing, and then you will have no worry that you are not sticking, adhering, connecting, and following.

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太極節拿抓閉尺寸分毫辨
[31] TAIJI’S REDUCING OF MEASUREMENTS IN THE CONTEXT OF CONTROLLING, SEIZING, CAPTURING, OR SEALING

對待之功既得尺寸分毫於手則可量之矣然不論節拿抓閉之手易若節膜拿脉抓筋閉穴則難非自尺寸分毫量之不可得也節不量由按而得膜拿不量由摩而得脉抓不量由推而得拿閉非量而不能得穴由尺盈而縮之寸分毫也此四者雖有髙授然非自己功夫久者無能貫通焉
When in your fighting skill you have obtained the sense of a foot, an inch, a tenth of an inch, and the width of a hair, you can then estimate the opponent. Regardless of any ease you may have with the techniques of controlling, seizing, capturing, and sealing, in order to control his vessels, seize his channels, capture his sinews, and seal his acupoints, you must make estimations of a foot, an inch, a tenth of an inch, and the width of a hair.
     To control without estimation, his vessels can be obtained through pushing down. To seize without estimation, his channels can be obtained through rubbing in. To capture without estimation, his sinews can be obtained through pushing out. But as for sealing, without estimation his acupoints cannot be reached, because [to get to his acupoints] you have to work your way down from the level of a foot to the level of an inch, then to a tenth of an inch, then to the width of a hair. For these four skills, even if you receive instruction from an expert, you will not be able to master them unless you personally put a lot of work into them over a long period.

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太極補瀉氣力解
[32] TAIJI’S BOOSTING OR DISSIPATING ENERGY & STRENGTH

補瀉氣力於自己難補瀉氣力於人亦難補自己者知覺功虧則補運動功過則瀉所以求諸己不易也補於人者氣過則補之力過則瀉之此勝彼敗所由然也氣過或瀉力過或補其理雖一然其有詳夫過補為之過上加過遇瀉為之緩他不及他必更過仍加過也補氣瀉力於人之法均為加過於人矣補氣名曰結氣法瀉力名曰空力法
There is difficulty in boosting or dissipating your own energy and strength. There is also difficulty in boosting or dissipating the energy and strength of the opponent. When your awareness is insufficient, boost [your energy]. When your movement is overdone, dissipate [your strength]. These are things that are not easy matters when it comes to yourself.
     When the opponent has too much energy, boost it. When he has too much strength, dissipate it. By this means, you will win and he will lose. Or you may when he has too much energy, dissipate it, or when he has too much strength, boost it. The principle is the same in either case, and yet to elaborate further: if he has too much [of either], add more so that he is overdoing, or if he has too little [of either], dissipate it further so that in his insufficiency he adds more and again ends up overdoing. Both boosting his energy and dissipating his strength induce him to overdo it. Boosting his energy is called the method of “tying up his energy”. Dissipating his strength is called the method of “emptying his strength”.

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[SUPPLEMENTARY TEXTS]

太極空結挫揉論
[i] TAIJI’S EMPTYING, TYING UP, FILING, AND KNEADING

有挫空挫結有揉空柔結之辨挫空者則力隅矣挫結者則氣断矣揉空者則力分矣揉結者則氣隅矣若結柔挫則氣力反空揉挫則力氣敗結挫揉則力盛於氣力在氣上矣空挫揉則氣盛於力氣過力不及矣挫結揉揉結挫皆氣閉於力矣挫空揉揉空挫皆力鑿於氣矣總之挫結揉空之法亦必由尺寸分毫量能如是也不然無地之挫揉平虛之靈結亦何由而致於哉
To empty or tie up by way of filing is different from emptying or tying up by way of kneading. Emptying by way of filing, the opponent’s strength is boxed in. Tying up by way of filing, his energy is interrupted. Emptying by way of kneading, his strength is spread out. Tying up by way of kneading, his energy is boxed in.
     If you apply the tying & kneading filing, then his energy and strength will be reversed. If you apply the emptying & kneading filing, then his energy and strength will fail. If you apply the tying & filing kneading, his strength will build up from his energy until his strength is greater than his energy. If you apply the emptying & filing kneading, his energy will build up from his strength, making his energy overloaded and his strength insufficient.
     The filing & tying kneading and the kneading & tying filing will both result in his energy getting sealed off by his strength. The filing & emptying kneading and the kneading & emptying filing will both result in his strength being chiseled away by his energy. Basically, methods such as tying up by way of filing or emptying by way of kneading all require that you work your way down from measurements of a foot, to an inch, to a tenth of an inch, to the width of a hair. If not, there will be no occasion of filing or kneading and a flattened out void for emptying or tying, for they will not be gotten from anywhere.

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懂勁先後論
[ii] BEFORE IDENTIFYING ENERGIES AND AFTER

夫未懂勁之先長出頂匾丢抗之病既懂勁之後恐出断接俯仰之病然未懂勁故然病亦出勁既懂何以出病乎緣勁似懂未懂之際正在兩可断接無凖矣故出病神明及猶不及俯仰無著矣亦出病若不出断接俯仰之病非真懂勁弗能不出也胡為真懂因視聼無由未得其確也知瞻眇顏盼之視覺起落緩急之聼知閃還撩了之運覺轉换進退之動則為真懂勁則能接及神明及神明自攸往有由矣有由者由於懂勁自淂屈伸動静之妙有屈伸動静之妙開合升降又有由矣由屈伸動静見入則開遇出則合看來則詳就去則升夫而後纔為真及神明也明也岂可日後不慎行坐臥走飲食溺溷之功是所為及中成大成也哉
Before you are identifying energies, you will typically be making the mistakes of crashing in, collapsing, coming away, and resistance. Once you are identifying energies, you will perhaps still make the mistakes of disconnecting, connecting, bowing forward, and yawning back. Before you are indentifying energies, it is natural to be making mistakes, but even after you are identifying energies, there are reasons as to why there are still mistakes to be made. When in that vague zone of almost but not quite indentifying energies, there is a lack of precision in disconnecting and connecting, hence there will be mistakes. And then when almost but not quite at the level of the miraculous, bowing forward and yawning back may still not be entirely under control, again resulting in mistakes.
     As long as you are not making the mistakes of disconnecting, connecting, bowing forward, or yawning back, you are doing it right, for if your identifying of energies is not genuine, you would not able to prevent such mistakes. What does it mean for it to be genuine? Simply that a sensory foundation must be laid to build it up into a reality. Be aware through observing: there is looking forward, looking behind, looking left, looking right. Be aware through listening: there is rising, falling, quickness, leisure. Be aware through feeling: there is evading, countering, inciting, concluding. Be aware through acting: there is turning, switching, advancing, retreating. In this way, your identifying of energies will be genuine.
     You will then be able to reach the level of the miraculous, and this is because there is a foundation, the foundation being the identifying of energies. The subtleties of bending, extending, movement, and stillness are automatically built upon that foundation. Then spreading, merging, ascending, and descending are in turn built upon bending, extending, movement, and stillness. By way of bending and extending, movement and stillness, spread his attack aside when you see him enter, then merge with him as he tries to exit. Descend when you see his attack come in, then ascend as he withdraws.
     Once your genuineness in identifying energies reaches all the way to the point of the miraculous, at such a level you will thereafter be mindful in every activity – whether it be walking, sitting, lying down, running, eating, drinking, or even going to the bathroom. By this means, your achievement will go from middling to great.

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尺寸分毫在懂勁後論
[iii] REDUCING MEASUREMENTS AFTER IDENTIFYING ENERGIES

在懂勁先求尺寸分毫為之小成不過末技武事而已所謂能尺於人者非先懂勁也如懂勁後神而明之自然能量尺寸尺寸能量纔能節拿抓閉矣知膜脉筋穴之理要必明存亡之手知存亡之手要必明生死之穴其穴之数安可不知乎知生死之穴数烏可不明閉而不生乎烏可不明閉而無生乎是所謂二字之存亡一閉之而已盡矣
If you strive for the reducing of measurements before identifying energies, yours will amount to a small achievement and be but a smattering of martial skill. You will not be able to estimate the opponent even at the level of a foot before you are identifying energies. After you have achieved identifying energies, you will have a miraculous understanding, and you will automatically have the ability to reduce measurements. From there you will then be able to control, seize, capture, and seal.
     To understand the theory of vessels, channels, sinews, and acupoints, it is necessary to be clear about which techniques will save or kill. To understand the techniques that will save or kill, it is necessary to be clear about the acupoints for life and death. In the acupoint art, how could you go without knowing them [seeing as not knowing them might result in killing someone by mistake]? To know how to activate the life and death acupoints, it is necessary to be clear about the technique of sealing. Sealing is what determines both life and death.

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太極指掌捶手解
[iv] THE FINGERS, PALM, FIST, AND HAND IN TAIJI

自指下之腕上裏者為掌五指之首為之手五指皆為指五指權裏其背為捶如其用者按推掌也拿揉抓閉俱用指也挫摩手也打捶也夫捶有搬攔有指襠有肘底有撇身四捶之外有覆捶掌有搂膝有换轉有单鞭有通背四掌之外有串掌手有雲手有提手拿有十字手四手之外有反手指有屈指有伸指揑指閉指四指之外有量指又名尺寸指又名覔穴指然指有五指有五指之用首指為手仍為指故又名手指其一用之為旋指旋手其二用之為根指根手其三用之為弓指弓手其四用之為中合手指四手指之外為獨指獨手也食指為卞指為劍指為佐指為粘指中正為心指為合指為鈎指為抹指無名指為全指為環指為代指為扣指小指為幫指補指媚指掛指若此之名知之易而用之難淂口訣秘法亦不易為也其次有如對掌推山掌射雁掌晾翅掌似閉指抝步指湾弓指穿梭指探馬手湾弓手抱虎手玉女手跨虎手通山捶葉下捶背反捶勢分捶捲挫捶再其次步隨身换不出五行則無失錯矣因其粘連黏隨之理舍己從人身隨步自换只要無五行之舛錯身形脚勢出於自然又何慮些須之病也
The “palm” is the area of the hand below the fingers and above the wrist. The “hand” refers to the whole thing up to the fingertips. A “finger” refers to any of the five fingers. A “fist” is when the five fingers are clasped inward to emphasize the back of the hand. Palm techniques are matters of pushing down and pushing out. Finger techniques are matters of seizing, kneading, capturing, and sealing. Hand techniques are matters of filing and rubbing. Fist techniques are matters of striking.
     Fist techniques: Parry & Block, Punch to the Crotch, Under the Elbow, Torso-Flung Punch, and beyond these four there is also the Overturned Punch. Palm techniques: Brush the Knee, Exchanging Palms, Single Whip, Through the Back, and beyond these four there is also the Threading Palm. Hand techniques: Clouding Hands, Raising Hand, Seizing Hand, Crossed Hands, and beyond these four there is also the Reversing Hand. Finger techniques: bending, extending, pinching, sealing, and beyond these four there is also estimating, which is also called “reducing measurements” or “seeking acupoints”. The five fingers also have five-fingered functions, operating as a whole hand as well as individual fingers, and so these can be termed as either hand or finger techniques: corkscrewing, planting, curling, or closing inward, and beyond these four hand/finger techniques, there is also “standing alone”.
     The forefinger is the impatient finger, sword finger, assisting finger, or sticking finger. The middle finger is the central finger, closing finger, hooking finger, or smearing finger. The ring finger is the completing finger, surrounding finger, exchanging finger, or covering finger. The little finger is the helping finger, healing finger, enticing finger, or hanging finger. Though the names of these techniques are easy to comprehend, they are difficult to apply, even with personal instruction in the deeper methods.
     Supplementary palm techniques: Palms Facing Each Other, Push the Mountain, Shoot the Goose, Spreading Wings. Supplementary finger techniques: Sealing Shut, Jab in a Crossed Stance, Bending the Bow, Working the Shuttles. Supplementary hand techniques: Reaching Out to the Horse, Bending the Bow, Capturing the Tiger, Maiden’s Hands, Sitting Tiger Hands. Supplementary fist techniques: Punch Through the Mountain, Punch Under the Leaf, Turning Behind Punch, Momentum-Splitting Punch, Wrap & File Punch.
     A further supplementary layer is that your steps are to go along with your body’s changes and are never to perform a step unassociated with the five elements, and thus you will be free from making mistakes. Because of the principle of sticking, connecting, adhering, and following, as well as letting go of yourself to follow the opponent, your body in turn will go along with your stepping, and as long as you remain true to the five elements, there will be such a naturalness to your posture and steps that it will not matter even if you do make some mistakes here and there.

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口授穴之存亡論
[v] ON PERSONAL INSTRUCTION IN THE ACUPOINTS THAT SAVE OR KILL

穴有存亡之穴要非口授不可何也一因其難學二因其闗乎存亡三因其人纔能傳第一不授不忠不孝之人第二不傳根底不好之人第三不授心術不正之人第四不傳鹵莽滅裂之人第五不傳授目中無人之人第六不傳知禮無恩之人第七不授反復無長之人第八不傳得易失易之人此須知八不傳匪人更不待言矣如其可以傳再口授之秘訣傳忠孝知恩者心氣和平者守道不失者真以為師者始終如一者此五者果其有始有終不變如一方可將全軆大用之功授之於徒也明矣於前於後代代相継皆如是之所傳也噫抑亦知武事中烏有匪人哉
There are acupoints that save and acupoints that kill. They cannot be learned without personal instruction. Here are three reasons why: because of how difficult they are to learn, the fact that they are a matter of life and death, and the degree of a person’s talent. There are eight kinds of people not to be taught:
     1. the disloyal and unfilial,
     2. those who are fundamentally unkind,
     3. those with crooked intentions,
     4. those who are rude and reckless,
     5. those who think themselves superior to others,
     6. those who care more about rules than they do about people,
     7. those who are fickle,
     8. those who will have an easy time picking it up and then just as easily discard it.
     It must be understood that these eight people are not to be taught. Criminals of course do not deserve to be considered at all. As for those who may be taught, they are eligible to be given personal instruction in its secrets. There are five kinds who may be taught:
     [1] those who are loyal, filial, and gracious,
     [2] those with a mild temperament,
     [3] those who will hold to the method and not discard it,
     [4] those who will be true to the teacher,
     [5] those who will complete the study as ardent as when they started.
     These types will be resolved to complete the study without having doubts and can be shown the whole thing, and what will be given to the pupil is illumination. It goes from those who already know it to those who will know it, the torch being passed down through generations, always by this process. But what a shame it is that of those who know martial arts, some turn out to be criminals.

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張三丰承留
[vi] WHAT ZHANG SANFENG INHERITED

天地即乾坤伏羲為人祖畫卦道有名堯舜十六母微危允厥中精一及孔孟神化性命功七二乃文武授之至予來字著宣平許延年藥在身元善從復始虛靈能德明理令氣形具萬載咏長春心兮誠真跡三教無兩家統言皆太極浩然塞而冲方正千年立継往聖永綿開來學常續水火濟既焉願至戌畢字
“The sky and the ground made the world.
Fu Xi was the progenitor of mankind.
He drew the trigrams and declared the Way
for Emperor Yao and Emperor Shun, and for sixteen generations on.
The most mysterious of pinnacles have consented access
to the most dedicated, such as Confucius and Mengzi.
The skill of spirit transmuting the life-force
went down through seventy-two sages to King Wen and King Wu.
     “Instruction has come to me
by way of the writings of Xu Xuanping.
The medicine to bring about longevity lies within ourselves,
in the perfection of our original state being revived. [Basically, live every day as though it’s your first, a lesson that could have been learned from pretty much any Daoist poet.]
Your natural self can empower and enlighten.
The truth when expressed can fulfill you in spirit and body.
With countless repetitions, chant of lengthening the springtime.
Heartfelt sincerity will have a real effect.
     “The three doctrines [Confucianism, Daoism, Buddhism] are not different schools,
for all that each of them discuss is a matter of the Grand Polarity
which runs through everything,
centered and everlasting.
The ancient wisdom is always with us,
constantly inspiring new students to learn.
When water and fire cooperate [as in hexagram 63 – water above, fire below, leading to a heated cooking pot, as opposed to hexagram 64 – fire above, water below, an absence of interaction which produces nothing],
our goals are able to come to fruition.” [The metaphor in this last statement is that ancient knowledge is the fire and the act of learning from it is the water being brought to a boil.]

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口授張三丰老師之言
[vii] THE TEACHINGS OF ZHANG SANFENG

予知三教歸一之理皆性命學也皆以心為身之主也保全心身永有精氣神也有精氣神纔能文思安安武備動動安安動動乃文乃武大而化之者聖神也先覺者淂其寰中超乎象外矣後學者以效先覺之所知能其知能雖人固有之知能然非效之不可淂也夫人之知能天然文武目視耳聼天然文也手舞足蹈天然武也孰非固有也明矣前輩大成文武聖神授人以軆育修身進之不以武事修身傳之至予淂之手舞足蹈之採戰借其身之陰以補助身之陽身之陽男也身之陰女也然皆於身中矣男之身祗一陽男全軆皆陰女以一陽採戰全軆之陰女故云一陽復始斯身之陰女不獨七二以一姹女配嬰兒之名變化千萬姹女採戰之可也亦安有男女後天之身以補之者所謂自身之天地以扶助之是為陰陽採戰也如此者是男子之身皆属陰而採自身之陰戰己身之女不如兩男之陰陽對待修身速也予及此傳於武事然不可以末技視依然軆育之學修身之道性命之功聖神之境也今夫兩男之對待採戰於己身之採戰其理不二己身亦遇對待之数則為採戰也是為汞鉛也於人對戰坎離之陰陽兑震陽戰陰也為之四正乾坤之陰陽艮巽陰採陽也為之四隅此八卦也為之八門身足位列中土進步之陽以戰之退步之陰以採之左顧之陽以採之右盼之陰以戰之此五行也為之五步共為八門五步也夫如是予授之爾終身用之不能盡之矣又至予淂武継武必當以武事傳之而修身也修身入首無論武事文為成功一也三教三乘之原不出一太極願後學以易理格致於身中留於後世也可
“I understand the idea that the three doctrines are basically the same: they are each a study of life, each take the mind to be controller of the body, and are purposed to maintain mind and body, to bring longevity to essence, energy, and spirit. With essence, energy, and spirit, we can be calmly civil and boldly martial. Calm and bold, civil and martial – as these things are expanded and have a transformative effect, there will come wisdom and spirituality. The earliest discoverers of this found their way into truth and then took it to another level. Later students then imitate what they did in order to achieve their awareness. Such awareness is innate in everyone, but to get at what they were doing, it is nevertheless necessary to follow in their footsteps. Civil and martial are inherent to human ability. The seeing of eyes and hearing of ears are inherently civil while the dancing of hands and prancing of feet are inherently martial, and so both aspects are clearly inherent. Having achieved the layers of civil, martial, wisdom, and spirituality, the forefathers advanced the teaching of self-cultivation by way of physical training, though not by way of martial arts.
     “When the teachings reached me, I grasped the receive/oppose [counterbalancing] nature of the dancing prancing, in which the passive aspect of the other person’s body is borrowed to build up the active aspect in one’s own. The active aspect is the masculine quality. The passive aspect is the feminine quality. The body has both qualities. While the maleness is active and the femaleness is passive, the femaleness receives the active aspect to counter her own passive aspect [as the maleness receives the passive aspect to counter his own active aspect]. Thereby the active [or passive] returns to its initial state [of being in balance with the other]. The passive feminine aspect within the body means more than a young woman being developed enough to become pregnant. There are countless ways in which a woman may enact counterbalancing, and this is not about the bodies of men and women being somehow corrected. It is said that taking advantage of the skyness and groundness in one’s own body is what makes the counterbalancing of the passive and active aspects. This means that a man may make use of the passive aspect of his masculine side as a way to counter his own feminine quality. [However, this work of balancing the masculine and feminine qualities within oneself] is not as efficient as the self-cultivation of two partners making use of their masculine quality to work at balancing their passive and active aspects [through the constant exchanging of passive and active roles during the pushing hands exercises].
     “Seeing as I have placed these teachings into a martial context, martial arts must not be viewed as something trivial, but as a part of physical education, a method of self-cultivation, a practice of life-enhancement, a category of wisdom and spirituality. The work of counterbalancing between two partners is no different in principle from the counterbalancing within your own body, but when working with a partner, it is like counterbalancing between mercury and lead. [In the context of two partners pushing hands, the role of the attacker is solid and heavy, like lead, while the defender is fluid and yielding, like mercury.] When fighting, the four primary techniques are a matter of active opposing passive, while the four secondary techniques are a matter of passive receiving active. The eight trigrams supply the eight techniques. The body and feet stand centered. To advance is to oppose actively. To retreat is to receive passively. To step to the left is to receive actively. To step to the right is to oppose passively. The five elements supply the five steps. Combined, they are the eight techniques and five steps.
     “These teachings of mine you may make use of for your entire life and yet never be able to use them up. What I have gained and am passing down is to be taught as a martial art of self-cultivation. As to the method of cultivating the self, it does not matter if it is approached by martial or civil means, for the achievement is the same. The three doctrines, at any of the three levels [greater, middle, lesser], are all inescapably based in the concept of the grand polarity. I wish for the next generation of students to examine the theory in the Book of Changes within themselves and that it be continued by succeeding generations. That would be a good thing.”

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張三丰以武事得道論
[viii] ZHANG SANFENG ON USING MARTIAL ARTS TO ACHIEVE THE WAY

蓋未有天地先有理理為氣之陰陽主宰主宰理以有天地道在其中陰陽氣道之流行則為對待對待者陰陽也数也一陰一陽之為道道無名天地始道有名萬物母未有天地之前無極也無名也既有天地之後有極也有名也然前天地者曰理後天地者曰母是乃理化先天陰陽氣数母生後天胎卵濕化位天地育萬育道中和然也故乾坤為大父母先天也爹娘為小父母後天也得陰陽先後天之氣以降生身則為人之初也夫人身之來者得大父母之命性賦理得小父母之精血形骸合先後天之身命我得而成人也以配天地為三才安可失性之本哉然能率性則本不失既不失本來面目又安可失身軆之去處哉夫欲尋去處先知來處來有門去有路良有以也然有何以之以之固有之知能無論知愚賢否固有知能皆可以之進道既能修道可知來處之源必能去處之委來源去委既知能必明身不修故曰自天子至於庶人壹是皆以修身為本夫修身以何以之良知良能視目聼耳曰聰日明手舞足蹈乃武乃文致知格物意誠心正心為一身之主正意誠心以足蹈五行手舞八卦手足為之四象用之殊途良能還原目視三合耳聼六道目耳亦是四形軆之一表良知歸本耳目手足分而為二皆為兩儀合之為一共為太極此由外歛入之於內亦自內發出之於外也能如是表裏精粗無不到豁然貫通希賢希聖之功自臻於曰睿曰智乃聖乃神所謂盡性立命窮神達化在茲矣然天道人道一誠而已矣
“Before there was the universe, there was the principle which governs the passive and active energies. This governing principle by which the universe exists is the core of the Way, and the way these energies flow is in the manner of complementary opposites. For passive and active to oppose and yet complement each other is a mathematical principle: to be [zeroed out in a half-and-half state of] one part passive and one part active is the Way. ‘The Way that cannot be described is the origin of the universe itself. The Way that can be described is the source of all things within the universe. [Daodejing, chapter 1]’ Before the universe existed, there was merely nothingness, and thus nothing to be described. Once the universe existed, there was finally somethingness, and thus things to be described. Before the universe existed, there awaited the principle of existence. Once the universe came into being, there was then the creative principle.
     “Pre-beginning, it was the principle of existence that brought about the balanced passive and active energies. Post-beginning, the creative principle then gave rise to the ways of coming into being: gestation in a womb, hatching from an egg, spontaneous generation from water, and metamorphosis. The Way is the way of neutrality, nourishing all things by being in a balanced position between skyness and groundness. The sky and ground are your greater parents, of the pre-beginning. Your mother and father are your lesser parents, of the post-beginning. When we are born, we are the recipients of the energies of passive and active, of pre-beginning and post-beginning, and on such a basis we begin. When we are born, we are given by our greater parents our life-force and disposition, and are endowed with reason. From our lesser parents come our physical essence, blood, and bones. By the merging of the life-force and body of the pre-beginning and post-beginning, we each then become a person. For us to align with the sky and ground, taking our place as one of the three substances, we cannot ignore our fundamental origin [as a product of both].
     “As long as we are able to follow our nature, we will not lose touch with our origin. By not forgetting where we come from, we will not lose touch with where we are headed, for if you want to know where you are going, you must first know where you are coming from. With our origin mapped out, our way ahead is a clear route that will be traversed by way of instinct. We all, whether smart or stupid, worthy or worthless, have an instinctive awareness that will point us to the Way. If we cultivate the Way, we will be able to know our origin and can fulfill our destiny. To know our origin and fulfill our destiny lies in being able to cultivate the self. Thus it is said [in the Da Xue]: ‘From king to commoner, it all comes down to self-cultivation.’ The way to cultivate the self is through instinctive understanding and ability: eyes keenly seeing and ears acutely hearing, hands dancing and feet prancing, martiality and civility. ‘Broaden your understanding by studying things deeply, thereby improving your intellect and smoothing your emotions.’
     “Since mind is in charge of body, the intellect should be improved and the emotions smoothed in order for the feet to perform the five steps and the hands to perform the eight techniques. The hands and feet amount to four, and they can be used in such a variety of ways, but instinct is able to retrieve their basic state [of unity]. The eyes see as a union of three [what the left eye sees, what the right eye sees, what both eyes see by triangulating together] and the ears hear along the six paths. The eyes and ears amount to four, but within they function as one, instinct again regaining the basic state. Ears, eyes, hands, and feet – they each are divided into two, making two polarities, but each functioning as a unity, totaling a grand polarity.
     “Gathering inward from without, expressing outward from within, all of it in this way can be reached, inside and out, specifically and in general, all understood thoroughly, and we will naturally attain the hoped-for achievements of the worthies and sages, their vision and knowledge, their wisdom and spirituality. This is what they meant by fulfilling one’s nature and facing one’s destiny, taking spirit as far as it will go and thereby causing transformation. The way of both Nature and mankind is sincerity and nothing more.”

– – –

[*Survey of Textual Variations (Wu document left side / Yang document right side):

Harmless character variants:
section 5 – 斷 / 断
7 – 淂 / 得
10 – 淂 / 得
13 – 淂 / 得
15 – 得 / 淂
21 – 顕 / 顯
23 – 缉 / 緝
24 – 憑 / 凴
30 – 顯 / 顕
ii – 淂 / 得 ; 也 / 矣
iv – 淂 / 得
vii – 淂 / 得 ; 淂 / 得 ; 淂 / 得 ; 之 / 者 ; 淂 / 得

Flipped words (one occasion in each document):
24 – 絲毫 / 毫絲
vi – 濟既 / 既濟

Missing words (one occasion in Wu document, seven occasions in Yang document):
1 – 五行者 / 五行
2 – 淂之 / 淂
13 – 淂矣 / 得
19 – 得成 / 得
22 – 半重偏 / 半重偏重
ii – 緣勁 / 勁
iv – 如對掌 / 對掌
vii – 補助身 / 補助
There are also two occasions in Yang document of missing character components:
17 – 悠久 / 攸久
25 – 呬 / 四
As for accidentally added words, there is one occasion in Wu document:
22 – 除除 / 除
In section 30, 於己人 is expanded in Yang document to 於己於人 five times, indicating deliberate addition in Yang document rather than absent-mindedness in this section of Wu document.

Mistaken words (one occasion in Wu document, ten occasions in Yang document):
3 – 知 / 覺
5 – 匾 / 區
18 – 亮 / 毫
23 – 使 / 始
24 – 囟門 / 匃門 ; 云 / 去
32 – 一然 / 亦然
iii – 末 / 未
vi – 戌 / 戍
viii – 壹 / 一 ; 手 / 乎 ]

老缅明目张胆地否认，是对大陆婊子化政府的强烈蔑视。中方主动替人辩解称“误投”、“流弹”“落入”，更是十足下流无耻。外窝囊，内贪横的阿共正权的婊子性质早被各个国家摸透：要选票时把该贱婊子拉出来狠扇耳光子，把婊子脸当屁股，婊子只是喊委屈，最多抗议一下，提醒嫖客扇轻点，我贪刮来的钱也一直进贡一份给你的。。。；缺钱时，嫖客给该贱婊子一个笑脸，婊子马上忘了被扇时的疼痛，贱得不知几斤几两，又上去被嫖还倒贴。。。2013年外蒙也是这么扇该婊子的，现在是老缅。。。北朝鲜。。。。。；缺钱时，嫖客给该贱婊子一个笑脸，婊子马上忘了被扇时的疼痛，贱得不知几斤几两，又上去被嫖还倒贴。。。2013年外蒙也是这么扇该婊子的，现在是老缅。。。北朝鲜。。。

照片右为

又是绅士又是战士的费尔白恩先生  ——源于旧上海滩的传奇

又是绅士又是战士的费尔白恩先生

——源于旧上海滩的传奇

(如有转载请注明原作者青萍快剑）

国内的很多军事迷都很熟悉上个世纪最传奇的F-S匕首( Fairbairn–Sykes 匕首)，这个匕首最早由费尔白恩(William E. Fairbairn) 先生在上海设计，装备上海国际租界的警察和驻扎在上海的美国海军陆战队，后来又在二战中装备了盟军的特种部队。

（笔者网上搜索的F-S匕首相关照片）

那么这位费尔白恩先生又是怎样的一位人物呢？笔者在英国参加欧洲历史剑法活动的时候，听英国教练提起有一位在上海国际租界（上海当时有国际租界和法租界两大租界）任职的英国警官费尔白恩先生，说他学过中国武术，但是不知道具体是和中国哪个老师、哪个门派学的。我后来在亚马孙网站上发现，购买阅读后才知道他是谁，有着怎样的故事，可以说不看不知道，一看吓一跳！

（《费尔白恩传奇：又是绅士又是战士——上海岁月》)

（费尔白恩先生在上海期间照片）

费尔白恩先生（1885年2月28日~1960年6月20日）出生于英国的Hertfordshire，1901年加入英国皇家海军陆战队，1907加入了上海国际租界警察局（Shanghai Municipal Police），在上海期间他组建了世界上最早的特警和防暴警察（警察不需要执勤，专门处理突发的犯罪和事件），带领队伍处理过大量突发事件和案件，创建了一套近身格斗系统后来被称为Defendu，还有基于F-S匕首的格斗技术，以及近身格斗式射击技术（后称上海射击流派，射击分瞄准式射击和以近身格斗相结合的格斗式射击两种）。1940年回国后，赶上二战盟军要组建特别行动队（也就是后来的特种部队）执行敌后任务，他被选为格斗和射击教练，他的F-S匕首开始装备盟军特种部队，他训练的突击队成功暗杀了纳粹的重要领导人。后来又前往美国中央情报局的前身OSS美国特勤局教近身格斗、匕首技术以及格斗式射击，也为盟军特工进行过暗杀训练，007小说的作者Ian Fleming也是他的学生，说起来007的武术和射击技术都是起源于旧上海滩。因为费尔白恩先生创制的这个体系来源于他在旧上海滩的实战经验总结，他在上海的主要对手是青帮的犯罪分子，当然也包括一些当年中国共产党的地下党和其它在上海的犯罪团伙。

我发现他的柔道黑带证书上印了日本柔道之父乔纳治五郎的名字，原来他的柔道是跟日本柔道之父学的，他也学过日本柔道的前身——柔术。

但是他的中国武术学于何人，我看有资料显示是崔振东，八卦掌董海川八大弟子尹福(任职于清朝皇宫，大内侍卫，开创八卦掌著名流派尹派八卦）的徒弟，同时崔 振东也是上海武术家纪晋山（上海滩著名拳王）的师父之一。半个多世纪过去，物是人非，很多事情已经很难考证，无法回答那位英国教练的问题。从他公开的格斗 教材和教学视频来看，他教柔道的动作并不多，除了一些近身擒敌的技巧，倒是用了不少掌法。外国人也是从他教的一些掌法来推断，他当时学的可能是八卦掌。不 过他的标志性掌法，推下巴再挖眼睛之类的，还有一些擒拿技法，笔者所学武术（河北沧州燕青拳，“快手杨三爷”杨昆山所传一支）也有。由此，仅凭掌法的应 用，似乎还不能断定他学的就是八卦掌。当然尹派八卦也是以特殊的牛舌掌（寓意牛吃有荆棘的草也能舌头一卷而入，以柔克刚）和硬八卦（打击风格）而著称，与 他很多掌法的应用也颇为符合。

（费尔白恩示范掌法）

（费尔白恩示范的中国武术腿法应用）

他的传记中，有他当时去上海四川北路日本人柔道道馆练习的照片，不过练习中国武术的相关资料，则没有照片什么的，当然他在上海长达三十多年，对于不同的武 术流派定当都有条件接触到，包括英国人带到上海租界工作的印度锡克教人（上海人俗称“印度红头阿三”）的武术根据记载他也接触过。当然传奇的上海滩各派势 力各种犯罪团伙和组织的活动，给了他大量的实战经验。可以说他在上海的实战经验，奠定了他日后担任欧美情报、特工以及特种部队格斗教官的基础，最终能够把 这一身功夫传授给了英国军情六处、以及美国中央情报局、英国SAS等这些传奇的地方。在英国帝国战争博物馆里的二战橱窗中，笔者也看到了他二战时候出版的《All In Fight》格斗教材的原版。早期的007电影中007格斗不少的动作，如手在腰间的持枪动作，都和这本格斗教材上的传授如出一辙，不知道他给007小说的作者Ian Fleming谈 了多少东方的传奇故事。笔者参加活动的时候和一位意大利武术教练（他也教匕首和格斗式射击）谈到费尔白恩先生，我表示非常遗憾没能听听费尔白恩先生谈谈对 武术的见解，听听他怎么看待乔纳治五郎的柔术和柔道，中国尹派八卦、青帮的人身手到底如何？这位意大利教练的回答却把笔者高看了，觉得笔者应该比费尔白恩 先生恩更理解东西方武术，因为系统接触过欧洲从中世纪到文艺复兴时期，以及后文艺复兴时期的武术，而且本身又是中国人。其实笔者对于中国武术所知还甚少， 反而是对欧洲各种剑法比较熟悉。最近看了费尔白恩先生教授匕首格斗式的步法和体态，在运用匕首方面，对于步法的运用，身体重心的把握可能就远在笔者之上。

（费尔白恩先生运用匕首的步法非常独特）

至于剑法上的水平，也属于术业有专攻。有趣的是，他的实战经验是在旧上海滩积累的，笔者虽然练过旧上海滩传下来的武术，实战经验却是在英国积累的。历史轮 回，冥冥中自有天意，由笔者来完成这篇文章，介绍一下这位又是绅士又是战士的人物。笔者在练习西班牙文艺复兴决斗剑法的时候，觉得有一式步法不顺，突然想 到了八卦掌独特走圈步法，一下子体会到了八卦掌步法的奥秘。（西班牙决斗剑法历史上有被称为死亡之舞，神秘的圆圈，以圆为核心理念，八卦掌以著名的圆圈运 动形式和走边门而独树一帜，笔者开始打通世界两大古典武学体系的联系，互相印证，古为今用，洋为中用，横有千古，纵有八方。而西班牙剑法源于古希腊希波克 拉底对于人体的认识，八卦掌的八卦方位之说又和中国八卦学说，伏羲象形取意有联系，最终由武学入人类古文明之考探，发现古希腊文明和古华夏文明的异同。） 最近开始练习八卦掌的第一掌，练了以后发现步法在之前迷踪步法的基础上又上了一层，在费尔白恩的教学视频中我也看见了快速的转身身法，说不定真的是拜八卦 掌所赐。至于手上的掌法，笔者自持书生身份，同时觉得人进化出两只手本意也不是干这件事，从小接受中国传统教育，君子善假于物也，单凭手中长剑一柄，情寄 青萍，希望有朝一日，游遍世界，会尽天下剑客，访日本，回蜀山，飞欧洲，能像卧虎藏龙中的玉娇龙那样，今朝踏破峨嵋顶，明朝再拔勃朗峰。文已至此，直恨古 人吾不见，亦恨古人不见吾。在昆山家中写作，遥想当年《手臂录》作者一代枪王吴殳亦占籍昆山，写下了“美人如玉剑如虹”诗句的龚自珍晚年居于昆山。遗憾的 是，八卦掌也好，燕青拳也好，青萍剑法也好，欧洲各种剑法也好，都是海洋都是高峰，传承了人类的文化和一定环境下独有的技击技术，笔者也只是学得皮毛而 已，在武术上还有很长的路要走，正如影片《一代宗师》中叶问所说，他在看了八卦六十四掌后就见到了武学的高峰，但是后来发现真正难过的是生活。笔者回国已 经几年，本该早点写文章来介绍这位又是绅士又是战士的费尔白恩先生，结果迟迟没有动笔，只是因为自己在武学上见了自己，见了天地，一直没有见众生，自己性 格中更像宫二而不是叶问。从笔者个人经历和费尔白恩先生的经历来说，我们不能以暂时国运强弱、文化兴衰、擂台表现去盲目否定中国传统武术，有条件还是能取 其精华，去其糟粕。费尔白恩先生学过中国传统武术，但是在他的武学体系中，直接从一些打法出发来进行训练，去除了一些套路化和形式化的训练。当然这也符合 特种兵、间谍和特工的需求，功夫能够快速上身。通俗地讲，中国传统武术还是有东西的。笔者从英国回来以后，在上海生活工作，夜晚下班后，路过浦江两岸，霓 虹灯下，觉得新的一段上海滩的传奇岁月正发生在自己身上。在这个上海滩不再需要武术大师而是需要数据科学家的新时代，笔者又以数据科学家的身份，谱写着新 的故事，同时三五知音，业余时间默默地传承着中国传统武术和欧洲历史剑法，成立了公司新的一派——青萍剑社。常常武戏文唱，练剑之余赏花吟诗，谈笑人生。

一代拳王纪公晋山恩师（1908-1987）一生中起码有四位老师，然而最主要的是薛子洞、崔振东两位大师。

薛子洞是湖北荆门满族人，是醉八仙及心意六合拳一代宗师，约生于1867年，该支心意六合拳传承是鲁山李祯、刘万义--南阳唐万义--南阳周德文--新野马建剑章--荆门薛子洞--上海纪公晋山恩师；

崔振东大师是河北人，原为少林无极门巨擘，他的八卦掌传承是河北文安董海川--尹福--崔振东--纪公晋山恩师。

上世纪八十年代初紫元与纪公晋山恩师

纪公晋山恩师1950年与上海拳术界巨擘们一起留影，前排正中坐者（右起第六位）为宗师，右起第二位是
佟忠义，右起第四位是蔡龙云的父亲蔡桂勤，右起第五位是王效荣、右起第七位是王子平。卢嵩高宗师在第二排，合影中无于化龙。

宗师在纽约

宗师心意六合拳“霸王观阵”之雄姿

宗师心意六合拳“刮地风”