Wu Style Taiji Saber (Xuanxuan Dao)

THE TAIJI UNFATHOMABLE SABER OF THE INTERNAL SCHOOL
by Wu Tunan
[published by The Commercial Press, LTD, Apr, 1934]
[translation by Paul Brennan, Sep, 2014]
-
Portrait of Chu Minyi
A souvenir for elder brother Wu Tunan
- calligraphy by Chu Minyi

-

Portrait of Wu Jianquan
-

Portrait of the Author, Wu Tunan
-
by Wu Tunan:

The Taiji Unfathomable Saber of the Internal School
- calligraphy by Cai Yuanpei

-
by Wu Tunan:
- [calligraphy by] Yu Youren

-

by Wu Tunan:
- calligraphy by Yi Peiji
-

by Wu Tunan:
- calligraphy by Chu Minyi

-

For Wu Tunans publication of Unfathomable Saber:
Work your muscles and bones.
- calligraphy by Wu Tiecheng
-

The quintessence of Chinese martial arts!

- Inscription for Wu Tunan, Nov, 1931, by Qi Jingyu
-

A gift for Wu Tunan:
You have the skill of the gliding blade.

[i.e. the skill of the famous cook Zhuangzi, chapter 3]
- calligraphy by old Xu Sian

-

To my dear friend Wu Tunan, for his book of Taiji Saber Methods:
[The softest thing in the world] wears away the hardest. [Daodejing, chapter 43]
- [calligraphy by] Qixun Tiegen
PREFACE BY CHU MINYI
It is my nature to love exercise. When I was overseas, I engaged in extra training in Western
calisthenics, becoming very familiar with it. After I returned home, I discovered the use of
Chinese martial arts and then learned Taiji Boxing from Wu Jianquan. After practicing for a
year, I felt my body and mind had received limitless benefit. I therefore became intent upon
further training and advanced enthusiastically, also doing my utmost to promote it so that
someday it may spread everywhere.
Having given it much contemplation, I have also made an addition to it. Taiji Boxings
pushing hands and weapons sets are enjoyed by many of my comrades. But the year before
last, while on the boat to Europe and back, there was no sense of ordinariness about it, and
when I was not practicing the boxing set, it struck me that the postures were overcomplicated.
Beginners who practice it all feel troubled that it is difficult to practice and easy to forget. I
thereupon invented Taiji Calisthenics [also writing a book about it, published Aug, 1931]. It
has the same function as Taiji Boxing, but the postures are simpler, and it is easier to practice
and remember. It has affected people because of this.
Our nations martial arts have a history of several thousand years. Not only are we not able
to carry them forward, these techniques are vanishing into oblivion with each passing day, a
pitiable situation. I have often reflected upon this in my spare time and feel that the cause of
this comes down to no more than these couple of reasons:
Firstly, successive generations of students have wanted to teach more than they have
wanted to study. Therefore martial arts principles have gotten vastly misunderstood. By
following their strained interpretations and obscure explanations, it has drifted down a path of
mystical nonsense.
Secondly, in former times, people thought of martial arts as a specialized skill, and those
who had it bragged of themselves as unique. They did not lightly teach people with whom
they did not have a very close relationship or who thought different from the local folk, much
less popularize and spread their art.
Therefore we nowadays should strive to rectify these mistakes of previous generations. It
is inappropriate to only use martial arts as a way to gain individual health and happiness. We
should instead have a deep concern for the well-being of the group, and we should look upon
martial arts as a means of more efficiently strengthening our people, thus we should humbly
do our utmost to popularize these arts. We especially should meticulously study them,
arranging everything about them to make them systematic and organized, then compile them
into specialized books to be widely circulated, sometimes even coming up new methods that
are more convenient to learn if we have to. In order to be able to make progress in carrying
this out, we will, all of my comrades, have to work hard together.
As for Wu Tunans particular field, he has studied Taiji Boxing intensively for more than
twenty years, including the supplemental studies of Taiji Saber and Taiji Sword. He has
become thoroughly knowledgeable through study, not to mention what he has gained through
experience. He has already authored a book, A Scientific Martial Art: Taiji Boxing, which is
popular throughout the nation. Now he is near to publishing this volume on the saber. I have
browsed through it and feel that his purposes and my long-held aspirations are the same. And
so I cannot help but be pleased to write this preface.

written by Chu Minyi of Wuxing at the Executive Branch Secretariat, May 1, 1932
PREFACE BY A MR. WANG
I once met Wu Tunan of Beijing last year in Chu Minyis house. He is cultured, elegant, and
remarkable in conversation, very different from ordinary people. Then I became aware he is
adept at boxing arts and has authored a book on Taiji Boxing that is popular in every school
and with every student in Shanghai. Chu along with them praises him highly.
Wu expresses the ancient teacher Zhang Sanfeng, who obtained the secret of softness,
distinct from the Shaolin schools emphasis on martial strength. In an emergency, it can be
used to defend against assailants. In ordinary times, it can be used to build ones health. It can
be practiced by young and old alike, due to its pure naturalness. As we were talking, it came
out that he would soon be writing Taiji Saber Methods to share with everyone.
He then took off his jacket and performed it for us. The shine of his saber danced through
air, appearing to be a ball of shimmering snowflakes. Going left and right, up and down, it
leapt forth over and over again. It was a magical skill I found incomparable. I long ago
memorized the poem Zeng Qius Large Saber by Zhu Mingpan of Taixing. I thought its
descriptions were too extraordinary to be real, but now Wu has lived up to it.
It seems to me that warfare throughout the world is valuing artillery most of all, but for
fighting at close quarters it is the saber-wielders that have the edge. This is because of the
Songs axes and Lus knives [Rites of Zhou, Record of Artisans] type of value for what is
ancient. But unless the weapons are superbly sharpened and the techniques are highly skillful,
it would not be of adequate effectiveness.
Once this book has been published, there will then soon be vast numbers of students
getting together to practice the material to perfection so that our nation can resist foreign
aggression. The training initiated by Wu will not be on a small scale, due to the spread of this
book.
written by the Modern Traditional Good-for-Nothing, 8th day of the second ten-day
week, last month of summer, 1931
-

AUTHORS PREFACE
Our nations martial studies began a very long time ago. The creating of weapons by the
Yellow Emperor was the beginning of martial arts. During the Three Dynasties [Xia, Shang,
and Zhou], skill with the weapons of war was trained from boyhood, thereby strengthening
the culture and the race, defending both self and nation. It was thereafter passed down from
master to disciple, each focusing on their own specialty. There were those who used it to
spread cruelty and those who used it to help the unfortunate, and gradually its original
intention of encouraging physical education was lost.
When the Song Dynasty was being replaced by the Yuan, the founding teacher Zhang
Sanfeng emerged and developed the Taiji skill in accordance with the theory in the Book of
Changes. Energy divides into passive and active aspects, a moment which initiates distinction
between movement and stillness, and in realizing both self and other, it merges with the Way.
It was then passed down from the talented to the talented, each generation having its
representative figure, but unfortunately it was always passed down by way of personal
instruction instead of being supplied to the world. Although there are gentlemen who love
studying it, they have not obtained the knack, and their followers feel what a pity it is.
I took this as a warning, and so in the winter of 1928, I set out from my limited experience
to write and publish a book, A Scientific Martial Art: Taiji Boxing [published Oct, 1931].
Exaggerating and ignorant students praised it, decreeing that it greatly contributed to the
promotion of martial arts, though I suppose it was not without some slight achievement. Now,
in further response to the demands of the current situation, I have continued by completing
another book, The Taiji Unfathomable Saber of the Internal School, and I urge you all to
promote it. By using scientific methods, we can build a strong populace, and the future of the
Chinese people depends on this.
Recall that during the Shanghai Incident [Jan-Mar, 1932], our troops were wielding large
sabers, yet they charged forward and broke through the enemys position to slaughter him.
From this can be seen that in our scientific world, our nations martial arts are still capable of
distinguishing themselves. As this book becomes popular, it can perhaps work toward
avenging the enemys insults and help us to work together during this time of national crisis. I
hope our whole nation and all of its people will rise up as one, and that my martial arts
colleagues will make a great effort to spread such information. Then our nations future will
assuredly receive some small boost. Thus I have written this preface.
written by Wu Tunan of Beijing at the Shanghai Central State College of Engineering,

Proctors Hall, Feb 22, 1933
CONTENTS

Chapter One: Generalities

Chapter Two: Specifics
[1] TAIJI POSTURE
[2] CATCH THE SPARROW BY THE TAIL Part 1
[5] STEP FORWARD, BRUSH KNEE
[6] BRINGING THE SABER TO THE OTHER SIDE
[7] IN A SUDDEN FLASH, SHOW THE SABER
[8] PLUCKING THE STARS TO THE LEFT
[9] PLUCKING THE STARS TO THE RIGHT
[10] WITHDRAWING STEP, CAPTURING WITH THE SABER
[11] STAB THROUGH THE CENTER
[12] HANGING THE GOLDEN BELL TO THE LEFT
[13] PUSH OPEN THE WINDOW TO GAZE AT THE MOON
[14] TURN AROUND, CHOP
[15] TURN AROUND, RAISE TO THE GROIN
[17] CLIMB THE MOUNTAIN AND LOOK OUT AT THE VIEW
[18] HAWK TURNS AROUND

[19] RUKH SPREADS ITS WINGS
[20] SWALLOW ENTERS ITS NEST
[21] ADVANCE, CAPTURING WITH THE SABER
[22] STAB TO THE FACE
[23] TURN AROUND, CONCEALING THE SABER
[24] SABER TO THE GROIN
[25] FIGHTING TIGER POSTURE
[28] BLUE DRAGON LEAVES THE WATER
[30] UPWARD WITH THREE SPREADINGS
[31] HELPING A DRUNK REMOVE HIS BOOTS
[36] SWEEPING ASIDE A THOUSAND SOLDIERS
[41] SEARCHING THE SEA
[42] SCOOPING THE MOON
[45] JADE RINGS PROP UP THE SABER
[46] BIG DIPPER SABER
[47] CROUCHING TIGER JUMPS OVER THE STREAM
[49] CROUCHING TIGER POSTURE
[50] CONCEALING THE SABER
[51] COILING DRAGON POSTURE
[52] CHASING STEP, COILING DRAGON POSTURE
[53] CLOUDING SABER, CONCEALING THE SABER
[54] PROTECT THE KNEE, CHOP
[56] FLOPPING FISH POSTURE
[63] TURN AROUND, BLOCKING
[64] GREEN SNAKE HIDES ON THE GROUND

[66] TURN THE HORSE, LIFTING THE BELL
[67] DIAGONAL FLYING POSTURE
[68] GOLDEN NEEDLE POINTS SOUTH
[69] EMBRACING THE MOON
[70] GOING WITH THE CURRENT TO PUSH THE BOAT
[72] LIFTING THE SABER, SEARCHING THE SEA
[73] WITHDRAWING STEP, SUDDEN SPREADING
[74] ADVANCE AND CHOP
[77] BLUE DRAGON SHOWS A CLAW
[79] METEOR CHASES THE MOON
[82] BRAVING THE WIND AND WAVES
[87] ADVANCE, FLICK WITH THE SABER
[88] TURNING OVER THE ARM TO PLANT SEEDS
[91] ROTATING THE CRANK TO LIFT THE BASKET
[92] ADVANCE, LIFTING THE BASKET
[93] CLOUD DRAGON PLAYS IN THE WATER
[94] SPIN AROUND, CHOP
[98] ADVANCE, EXCHANGING THE SABER
[99] BRUSH KNEE IN A CROSSED STANCE
[100] RETREAT, GATHERING IN THE SABER
[101] RETURN TO THE TAIJI POSTURE

Chapter Three: Conclusion
THE TAIJI UNFATHOMABLE SABER OF THE INTERNAL SCHOOL

CHAPTER ONE: GENERALITIES
Our nation, the earliest to become civilized, has the vastest terrain, the largest population, and
the most abundant resources in the world. We should be able to be prosperous and strong, and
gain the respect of the world. But nowadays we are so enfeebled, how could we ever?
Although there are a great many sources of our sickness, when we seek for the main cause, it
is that the citizens are unhealthy in body and inactive in spirit.
A saying goes: Strengthening the spirit always lies in strengthening the body. And so it
is indeed the case that without strengthening the body, there is no strengthening of the spirit.
Without strengthening our spirit so we can conduct the scientific research that will help us fix
our circumstances, what chance will we have in the fight for survival in the modern world?
The reason a sick nation always invites bullying by foreign countries is that a weakened
populace can hardly defend itself. The enemy is the chopping blade while we are but the fish
flesh on the chopping block. Alas.
In view of this situation, I have firmly decided to promote Chinese martial arts so that we
may ceaselessly improve ourselves [Book of Changes, hexagram 1] and awaken our fellow
countrymen so they do not continue to idly sit back and allow the same things to happen over
and over. We must work together, all with the same purpose, that of community-wide exercise
in martial arts, to bring our people to a position of strength in both body and spirit. Then we
will mightily create and build, and we will have success in our hopes. Westerners consider our
nation to be lacking in vitality, and they are on the verge of giving a roar and leaping at us.
In ancient times, the Yellow Emperor had his limbering arts, which were the beginning of
martial arts. During the Xia, Shang, and Zhou dynasties, dancing, music, and skill with
weapons were trained from boyhood, thereby strengthening the culture and the race,
defending both self and nation. Thereafter, despotic rulers ceased to encourage it, for fear that
if the citizenry had a means for strengthening body and spirit, they would resist the
government when they were dissatisfied and there would be no way to deal with them, and
thus was begun the elevating of literary pursuits above martial ones. Once the system was
established of selecting men for government positions by means of literary training, citizens
spent their whole lives buried in poetry and prose. As for the health of the body, there was no
time to attend to it. This is what our nation encouraged.
As for the citizens themselves, they were ignored by the nation, and even the virtuous
disdained to do anything for them. Those who did do something for them were none of them a
valiant martial man [Book of Poems, poem 7], but instead the oafs among the ordinary
people, leading everyone along to drift in uneducated ignorance. Systems branched off into
privately run schools. Within was the charm of having something to themselves, and by
keeping it secret, they were under the impression they possessed some supreme truth.
They feared that later generations of students would surpass them, and so they clearly had
no awareness of these ideas [from Xia Zhirongs On Teachers]: In becoming enlightened,
there is a process. In developing a skill, there is concentrated study [The student is not
necessarily inferior to the teacher] and the teacher is not necessarily superior to the student.
They were even more unaware that there is no end to learning. The more we study, the more
details we notice. How can we close ourselves away from the world and hope to achieve
anything? [Making a cart behind closed doors, (you will have to come out to attach the
wheels). from Zhu Xis Questions on the Zhong Yong, book 3] How can we really even see
the world when looking at with such a limited scope? [Peering at a leopard through a pipe,
(all that will be seen is a spot.) from Liu Yiqings A New Account of Tales of the World,
part 5]
So constrained by sectarian bias, they followed what they considered superior doctrines
and rejected what they considered inferior [from Han Yus Original Way]. These teachers
looked upon each other as rivals and never discussed their arts with each other, and so they
were unwilling to conduct public classes or record the material in books. When ordinary
people see these things to be the case, why would they open their hearts to these arts and ask
for guidance in them? This is the major reason our nations martial arts have been lost.
How then are we to implement the current policy of promoting martial arts? We must do
away with previous bad examples, get rid of sectarian bias, smash the corrupt habit of guarded
secrecy, and give these arts to the public as something we all have in common. Presenting
martial arts more scientifically will make it more understandable, thereby granting everyone
the opportunity to practice. Martial arts themselves indeed should be conforming to
mechanics and psychology, already based in physiology and health maintenance.
There are no limits of time nor restrictions of space. No money is required and there is no
need to put forth excessive effort. Regardless of old and weak, woman or child, all can
practice. Thus the status of martial arts will daily improve, their principles will become
gradually clearer, and their uses will increasingly manifest. Will this not make martial arts
more scientific, more organized, and more popular?
European and American styles of exercise are indeed also a way of strengthening the body.
But the movements are strenuous and the equipment is complex, and so they really fail to
ennoble people. Therefore they are not worth emulating. Furthermore, because people have to
wait their turn to use athletic facilities, such exercise cannot enable the entire populace to
practice simultaneously, already violating the principle of equal opportunity practice.
In the case of European and American calisthenics, they certainly can be practiced by large
numbers of people at the same time, but because they move in paths of straight lines, which is
rather absurd physiologically (See [Chu Minyis] Taiji Calisthenics [which are more curved
in movement than the Western version], published by Great East Bookstore.), they are thus
incapable of being either entirely beautiful or entirely beneficial.
If from now on our fellow countrymen can unanimously recommend martial arts, delving
into them together, physical exercise will grow faster, and then within ten years, every citizen
can have a healthy constitution, thereby strengthening the nation, and as a product of that, our
Chinese nation can keep up with the worlds great powers. When empires hear of this
[referring here particularly to Japan], they are sure to run away in defeat, and they will throw
out all of their unfair treaties without even waiting for them to be rejected. By this means, we
will achieve a position of freedom and equal standing.
It is apparent therefore that martial arts should be promoted and that this truly must not be
postponed. However, there is a great variety of martial arts. Which are best for body and
mind? Which most conform to scientific principles? Selecting a method is therefore also a top
priority.
Wang Yuyang said: Shaolin is the external school. Zhang Sanfeng of Wudang is the
internal school. It was said by Huang Baijia: Shaolin is the peak of refinement for the
external arts. Zhang Sanfeng was a Shaolin expert, but he turned the art on its head and
thereby created the internal school. Obtaining just a little bit of it is enough to defeat Shaolin.
It can be seen from this that though Shaolin is the crystallization of the external school, the
internal school is the fulfillment of Shaolin, just as lush hillside begins with younger grass and
ice comes from the freezing of water.
Therefore in the promoting of martial arts, we should of course select the best and ignore
the worst, and thus we should recommend the internal school over the external school. Seeing
as Zhang Sanfeng was actually an expert of the external school through Shaolin and achieved
mastery after he was able with careful attention to mold it into something else, this indicates
the internal school is indeed the better vehicle.
I believe that in the promoting of martial arts, one should not admire the ones that are risky
or look dramatic, but instead those that are simple and easy to learn, unexhausting to perform,
easily spread to large numbers of people, and guarantee better health. It is the internal school
that indeed has all of these qualities.
Still surviving in the world is the Taiji skill. It is an excellent method for cultivating health.
Intention and energy are in charge. Bone and flesh are subordinate. Body and mind are
equally involved, neither being over-emphasized nor under-emphasized. After practicing it
over a long period, your body will naturally develop gracefulness. This is different from other
boxing methods that overemphasize certain sections of the body and lead to abnormal
development.
Once you have been transformed by it, the involuntary muscles throughout your body can
become more subject to voluntary movement, and so every part of your body can realize
heightened reflexes. From head to foot, there is no part that is not nimble, no part that is not
resilient, no part that is not calm, no part that does not flow. There is a coursing through the
entire body without the slightest discontinuity, naturally soothing the mind and quieting the
intention, and change is endlessly generated.
The internal school is a study in adaptability, whereas the external school is a study of
techniques. Changes cycle without end, whereas techniques at some point finish. Comparing
the two, they are as different in the world as cloud and mud. Furthermore, the internal school
includes both spirit and posture. Posture is what is on outside, spirit stored within. Therefore
your manner will be alert, your movement prompt, you will succeed whether advancing,
retreating, going to the left or right, and it will all be a matter of spirit.
Sunzi said [Art of War, chapter 2]: Mindless speed has sometimes been heard to succeed,
but skilled tactics have never been seen to draw out a conflict. The internal school of boxing
is no different, and thus students are given a demonstration of slowness. However, I fear that
beginners will hanker for speed, and the postures will not then easily be corrected nor the
movements easily feel natural. Once you are skillful at it, advancing and retreating will be
done properly, and attacking and defending will be done appropriately. When the opponent
moves quickly, act quickly. When the opponent moves slowly, act slowly. Thus it is said
[Thirteen Dynamics Song]: The magic lies in making adjustments based on being receptive
to the opponent. This is the voice of the internal school of boxing [based on an Art of War
quote, chapter 6: One who is able to seize victory because of the enemys changes can
deservedly be described a magician.].
As for the origin and principles of the internal school of boxing, as well its postures and
applications, I have already discussed this in detail in A Scientific Martial Art: Taiji Boxing,
published by Commercial Press, LTD. I will therefore not go into very much of it here.
However, the saber and sword methods have rarely been taught. In former times, when laying
siege to cities or clashing on battlefields, victory always depended on weaponry. Therefore in
studying martial arts, the saber and sword methods also have to be understood.
Though I am untalented, I have been infatuated with martial arts for more than twenty
years. I often thought about producing writings and having them widely spread. Unfortunately
I was frequently being interrupted by life and so the work was very sporadic. In the spring of
1929, I made a manuscript of Taiji Saber Methods, which I then despondently threw on the
fire, so incapable was I of finishing the task. This autumn, I came to Shanghai and eventually
had spare time to write it, and it was now a pleasure to do so.
My Saber Methods was completed just as other gentlemen had the same thoughts in mind.
I received a letter inviting me to publish it and urging me to do it quickly. Though I am
untalented and have only limited experience, I made the book, now titling it The Taiji
Unfathomable Saber of the Internal School. The intention of unfathomable is that it is
limitless. It is also one of the Daoist names of Zhang Sanfeng [Xuanxuan indicating that
we could think of the Unfathomable Saber also as the Zhang Sanfeng Saber]. This is to
make later generations of students aware that the transmission of these saber methods came
from Zhang. It is its quality of transformation that makes it so unfathomable, endlessly
mysterious.
The names of the saber techniques have long been lost to time and there is no way we can
examine them. I have thus considered how the features of each posture are interrelated with
the methods of their applications, then named them one after another according to how they
are to be practiced and how they are to be applied. They are each described individually
below. To provide for those who have an ambition for martial arts, I have done this simply for
the sake of reference.
Despite the invention of modern firearms which can attack fortifications from a great
distance, their power alone enough to frighten people, nevertheless when battle so rages that
bodies are compelled into closer quarters, it always comes down to the naked blade. Therefore
the Unfathomable Saber can still have its place as a backup force to artillery, hence this
discourse upon the subject.

CHAPTER TWO: SPECIFICS
Because the Unfathomable Saber was taught by way of oral transmission, the original names
of the postures were lost long ago, and thus the postures and their applications have varied
from person to person. There are those who prefer to do what is simple and easy, there are
those who are able to do what is risky and dramatic, and then there are beginners, who have
no idea what to do. Electing to keep the postures simple to learn and easy to understand, I
have made a name for each technique. I have also included posture and application
explanations, enabling beginners to proceed step by step through imitation.
There are principles to abide by and plenty of fascinating movement transitions. If you are
able to ponder what you have learned, it will not be difficult to achieve a magical
illumination, a level at which your movement is endlessly mysterious. Below I sincerely
present the Unfathomable Saber, its individual postures with photographs and explanations, in
order that those who have an interest in saber methods will know where to look for guidance.
POSITIONING CHART:
Right Rear
Rear
Left Rear
Right (Beginning Posture) Left
Right Front
Front
Left Front
[1] TAIJI POSTURE
Explanation of the posture:
Your body stands straight, facing forward. Your head is upright, neck straight. Contain your
chest and pluck up your back. Your arms hang down leisurely. Your left hand carries the
saber, the handle placed beside your left hip, the edge facing forward, the tip pointing upward,
and the back of the saber must be touching your left arm. The fingers of your right hand are
forward, palm pushing downward, placed beside your right hip. Your feet are parallel at
shoulder-width apart. Your gaze is level.

Your left foot takes a step forward and the knee bends forward. Your right foot stays where it
is and the leg squats down, the weight now fully on your right foot. At the same time, your
left arm, carrying the saber, lifts up until in front of your chest, the saber edge facing upward,
the tip pointing to the Left, the handle placed in front of your right shoulder, while your right
hand lifts up until between the saber and your chest, fingers upward, palm forward. Your
body is upright and comfortable, your gaze level.

Your left foot shifts its toes toward the Right Front (making an angle of forty-five degrees),
your right foot takes a step to the Right (ninety degrees), heel touching down, toes lifted, your
torso turning to the Right, the weight now fully on your left foot. At the same time, your left
hand, carrying the saber, shifts slightly to the Right, the handle to the Right, the edge facing
upward, the tip pointing to the Left, while your right hand, elbow dropping, palm standing,
extends to the Right, thumb at about nose level. Your gaze is to the Right.

Your right hand does a rollback downward to the Left, then extends to the Right, [the weight
shifting forward,] then goes from the Right to the Rear to the Left, turning in a semicircle,
[the weight shifting back,] and goes again to the Right, pushing out. Your left hand, carrying
the saber, does the same movement as your right hand, the saber handle placed beside your
right wrist, the edge facing upward, the tip pointing to the Left. At the same time, your right
toes come down, your right knee bends to the Right, and your left leg presses straight, the
weight shifting to your right foot. Your torso is facing to the Right, your gaze level.

[5] STEP FORWARD, BRUSH KNEE
Your left foot takes a step to the Left Rear, the knee bends to the Left, your right leg presses
straight, and the weight is now on your left foot. At the same time, your left arm, carrying the
saber, brushes past your left knee, and the saber handle is placed beside your left hip, the edge
facing to the Left, the tip pointing upward, while your right hand pushes out to the Left. You
are facing to the Left, your gaze level.
[6] BRINGING THE SABER TO THE OTHER SIDE
Your right hand lowers until in front of your left knee, then circles outward as your left hand
carries the saber until in front of your belly, whereupon the saber handle is switched to your
right hand, and then your left hand grabs your right wrist. The saber handle is placed to the
left [right] of your left knee, the edge facing downward to the Left Rear, the saber back
touching your left arm, the tip pointing upward to the Right Rear. You are facing to the Left,
your gaze level, and the weight is on your left foot.

[7] IN A SUDDEN FLASH, SHOW THE SABER
Your right foot takes a step forward to the Left Front, the knee bends, and your left leg
presses straight, the weight now on your right foot. At the same time, your right hand, holding
the saber, lifts up, the saber handle at about nose level, the edge facing to the Left, the tip
hanging straight down, while your left hand, the palm upright, the elbow hanging, lifts up
until in front of your chest, parallel with the back of the saber. Your torso is facing to the Left,
your gaze level.
Explanation of the application:

An opponent uses a spear to stab to my chest, so I lift up my saber to prop it outward, and
wait for what he will do next.
Your left foot advances a step to the Left Rear, the knee bends, and your right leg presses
straight, the weight now on your left foot. At the same time, your right hand, holding the
saber, coils all the way around your head from the left, then goes upward to the Left Rear with
a raising action, while your left palm touches your right wrist to assist the posture. The saber
tip is pointing upward to the Left Rear, the edge facing upward to the Right Rear. Your torso
is facing to the Left Rear, your gaze to the saber tip.
The opponent uses his spear to stab to my chest, so I use my saber in a hanging action to take
it aside. He draws back his spear and retreats, so I take advantage of the moment by
advancing and using my saber to do a slash to his head.

Your right foot advances a step to the Left Front, the knee bends, and your left leg presses
straight, the weight now on your right foot. At the same time, your right hand, holding the
saber, goes from the Left Rear to the Right Rear with a downward chop, then goes to the Left
Front with a raising action, the saber tip pointing upward to the Left Front, the edge facing
upward to the Right Front, while your left palm touches your right wrist to assist the posture.
Your torso is facing to the Left Front, your gaze to the saber tip.
The opponent uses his spear to stab to my groin, so I use my saber to deflect his spear aside,
and then while advancing, to slash to his head.
Your right foot withdraws a half step to the Right, toes touching down, your left leg squatting
down, the weight now on your left foot. At the same time, your right hand, holding the saber,
goes downward in a capturing action, the saber handle beside your right knee, the tip pointing
to the Left, the edge facing downward. You are facing to the Left, your gaze level.

The opponent uses his spear to stab to my leg, so I withdraw a half step and follow his
stabbing energy by using my saber to do a capturing action to his spear, then wait for what he
will do next.
Your right foot advances a half step to the Left, the knee bends, and your left leg presses
saber, does a stab to the Left with the blade vertical, the saber tip pointing to the Left, the
edge facing downward, while your left hand extends to the Right, fingers pointing to the
Right, palm facing downward. You are facing to the Left, your gaze to the saber tip.

After the opponents spear gets captured, he looks for a new opening, which would be a stab
to my head, so I take advantage of the moment he draws back his spear by advancing and
stabbing to his chest.
down, the weight now fully on your left foot. At the same time, your right hand, holding the
saber, goes from the Left to the Right Rear, turning over and withdrawing with a hanging
action, the saber handle placed beside your left ear, the edge facing upward, the tip pointing to
the Left, while your left hand draws back from the right, the palm touching the handle to
assist the posture. You are facing to the Left, your gaze level.
The opponent uses his spear to stab to my head, so I send my saber outward to take him aside
with a hanging action, then watch for what he will do next.

Your right foot advances a half step to the Left, then your left foot steps forward to the Left
Front, the knee bends, and your right leg presses straight, the weight now on your left foot. At
the same time, your right hand, holding the saber, raises out to the Left Front, the saber tip
pointing downward to the Left Front, the edge facing upward to the Left Front, while your left
hand, palm upright, elbow hanging, is between the saber and your chest. You are facing to the
Left Front, your gaze upward to the Left Front.
The opponent draws back his spear and stabs to my belly, so I use my saber in a raising action
to take his spear aside, taking advantage of the moment by stepping forward, following his
spear with an advance, and doing a raising action to his front hand.
Your body turns around to the Right Rear, your knee bends to the Right Rear, and your left
leg presses straight, the weight now on your right foot. At the same time, your right hand,
holding the saber, lifts up from the Left Front and chops downward to the Right Rear, the
saber handle placed in front of your right knee, the tip pointing downward to the Right Rear,
the edge facing downward, while your left hand touches your right wrist to balance the
posture. You are facing downward to the Right Rear, your gaze to the saber tip.

An opponent from behind me uses a spear to attack me with a stab, so I turn around to prevent
it, using my saber to chop to his head.
Your body turns around from the Right Rear to the Left Front, your right foot advances a step
to the Left Front, the knee bends, and your left leg presses straight. At the same time, your
right hand, holding the saber, raises from the Right Rear to the Left Front, the tip pointing
downward to the Left Front, the edge facing upward to the Left Front, while your left hand
touches your right wrist to assist. Your gaze is to the saber tip and the weight is now on your
right foot.

The opponent that is now behind me uses a spear to attack with a stab, so I turn around to
suddenly take his spear aside, taking advantage of the moment by stepping in and using my
saber to do cleaving raise to his leg [groin].
Your right foot withdraws a half step to the Front [Right Rear], toes touching down, your left
leg squatting down, the weight now fully on your left foot. At the same time, your right hand,
holding the saber, goes from the Left Front to the Right Rear, turning over and withdrawing
with a hanging action, the saber handle placed beside your left ear, the edge facing upward,
the tip pointing to the Left, while your left hand draws back from the Left Front, the palm
touching the handle to assist the posture. You are facing to the Left, your gaze level.
The opponent uses his spear to stab to my head, so I send my saber outward [to take him
aside] with a reverse hanging action, then wait for what he will do next.
[17] CLIMB THE MOUNTAIN AND LOOK OUT AT THE VIEW
[Your right foot advances a half step to the Left,] then your left foot steps forward to the Left
pointing to the Left Front, the edge facing upward to the Left Front, the handle placed beside
your right ear, while your left hand, palm upright, elbow hanging, touches the saber handle to
assist [and saber and left hand then stab forward together]. You are facing to the Left Front,
your gaze level.
The opponent uses his spear to stab to my groin, so I use my saber in a raising action to take
his spear aside, taking advantage of the moment by advancing forward and using my saber to
stab to his throat.
[18] HAWK TURNS AROUND
With your right hand holding the saber and not changing its location, your torso turns from
beneath your right arm, your right foot lifts up, toes hanging down, and using your
straightened left leg as a pivot, goes from the Left Front to the Right until facing to the Left
Rear, spinning around two hundred seventy degrees. Then your right hand, holding the saber,
is withdrawn in an embracing action to the Right Rear, the saber tip pointing to the Left Front,
the edge facing upward, while your left hand touches the handle to assist. You are facing to
the Left Front, your gaze to the saber tip.

An opponent uses a spear to stab to my back, so I turn around to prevent it by taking his spear
aside, holding my saber with both hands, then watch for what he will do next.
[19] RUKH SPREADS ITS WINGS
Your right foot takes a step forward to the Left Front, the knee bends, and your left leg
the saber, stabs out to the Left Front, the saber tip pointing to the Left Front, the edge facing
upward, while your left hand extends level to the Right Rear. You are facing to the Left Front,
your gaze to the saber tip.

The opponent uses his spear to stab to my chest, so I use my saber to follow along his
spearshaft, advancing with a slash [stab] to his head.
[Using your left foot as a pivot, your body turns from the Left Front to the Right Rear, and]
your right leg does a level kick to the Right Rear, while your right hand, holding the saber,
goes downward from the Left Front, then raises to the Right Rear, to be parallel with your
right leg, the tip pointing to the Right Rear, the edge facing upward, your left hand touching
your right wrist to assist. You are facing to the Right Rear, your gaze level, the weight fully
on your left foot.
The opponent behind me uses his spear to attack me with a [low] stab, so I turn around and
use my foot to kick it aside, taking advantage of the moment by using my saber to do a raising
action to his hand.

Your right foot advances a step to the Right Rear, the knee bends, and your left leg presses
saber, sinks down with a capturing action, the saber handle placed beside your right hip, the
tip pointing to the Right Rear, the edge facing downward, while your left hand, palm upright,
elbow hanging, is placed in front of your chest. You are facing to the Right Rear, your gaze
level.
The opponent uses his spear to stab to my groin, so I send my saber downward to capture his
spear, then watch for what he will do next.
Your left foot advances a step to the Right Rear, the knee bends, and your right leg presses
saber, then goes to the Right Rear with a level stab, the saber tip pointing to the Right Rear,
the edge facing downward, while your left palm touches your right forearm to assist. You are
facing to the Right Rear, your gaze level.

The opponent draws back his spear, so I take advantage of his withdrawing energy and use
my saber to stab to his face.
Your torso turns around to the Left, your right foot taking a half step to the Left Front,
the knee bends, and your left leg presses straight, the weight now on your right foot. At the
same time, your right hand, holding the saber, goes from the Right Rear to the Rear, to the
Left, to the Front, lifts up and coils a complete circle around your head, then the saber handle
is placed beside your right hip, the tip pointing to the Left, the edge facing downward, while
your left hand, palm upright, elbow hanging, is placed in front of your chest. You are facing
to the Left, your gaze level.

The opponent behind me uses his spear to stab to my groin, so I turn around, using my saber
to deflect it aside. He again stabs, now to my head, so I use my saber in a coiling action
around my head to prop his spear aside, then conceal my saber beside my hip and wait for
what he will do next.
[24] SABER TO THE GROIN
Your right hand, holding the saber, stabs downward to the Left Rear, the saber tip pointing
downward to the Left Rear, the edge facing downward, while your left palm touches your
right forearm to assist. You are facing to the Left Rear, your gaze to the saber tip.

The opponent draws back his spear, so I take advantage of his moment of unpreparedness and
use my saber to stab to his groin.
[25] FIGHTING TIGER POSTURE
Your left foot takes a step to the Left Rear, the knee bends, and your right leg presses straight,
the weight now on your left foot. At the same time, your right hand, holding the saber, [lifts
up from downward in the Left Rear and] chops downward to the Left Front, the tip pointing
downward to the Left Front, the edge facing downward, while your left hand is placed
crosswise above your forehead to assist the posture. You are facing to the Left Front, your
gaze to the saber tip.
The opponent uses his spear to stab to my waist, so I take a step forward to evade his spear
tip, taking advantage of the moment by using my saber to chop at him.

Your right leg does a level kick to the Left Rear, your left leg standing straight, the weight
now fully on your left foot. At the same time, your right hand, holding the saber, raises to the
Left Rear to be parallel with your right leg, the tip pointing to the Left Rear, the edge facing
upward, your left hand touching your right forearm to assist. You are facing to the Left Rear,
your gaze level.
An opponent from the side uses his spear to attack me with a stab, so I turn around and use
my foot to kick it aside, taking advantage of the moment by using my saber to do a raising
action to his hand.
Your right foot advances a step to the Left Rear, the knee bends, and your left leg presses
saber, sinks down with a capturing action, the saber handle placed beside your right hip, the
tip pointing to the Left Rear, the edge facing downward, while your left hand, palm upright,
elbow hanging, is placed in front of your chest. You are facing to the Left Rear, your gaze
level.

The opponent uses his spear to stab to my groin, so I send my saber downward to capture his
spear, then watch for what he will do next.
[28] BLUE DRAGON LEAVES THE WATER
saber, then goes to the Left Rear with a level stab, the saber tip pointing to the Left Rear, the
edge facing downward, while your left palm is placed crosswise above your forehead. You
are facing to the Left Rear, your gaze level.

The opponent draws back his spear, so I take advantage of the moment by advancing and
using my saber to stab to his throat.
[Your body turns around to the right and] your right foot steps sideways to the Right Rear, the
knee bends, and your left leg presses straight, the weight now on your right foot. At the same
time, your right hand, holding the saber, lifts up then lowers to the Right, the saber handle
placed beside your right hip, the tip pointing to the Right, the edge facing downward, while
your left hand, palm upright, elbow hanging, is placed in front of your chest. You are facing
to the Right, your gaze level.
The opponent behind me uses his spear to attack me with a low stab, so I turn around, using
my saber to deflect it aside, then wait for what he will do next.
[30] UPWARD WITH THREE SPREADINGS [i.e. the spreading out of the saber, the left
hand, and the right knee]
Your left leg stands straight and your right knee lifts up, the weight now fully on your left
foot. At the same time, your right hand, holding the saber, does a level stab to the Right, the
tip pointing to the Right, the edge facing downward, while your left hand, palm upright,
pushes out to the Left. You are facing to the Right, your gaze level.
The opponent uses his spear to stab to my leg, so I lift up my knee to evade it, then use my
saber to stab forward to his throat.
[31] HELPING A DRUNK REMOVE HIS BOOTS
Your right leg does a level kick to the Right. At the same time, your right hand, holding the
saber, withdraws in an embracing action toward your chest, the saber handle placed in front of
your chest, the tip pointing to the Right, the edge facing upward, your left hand touching your
right wrist to assist. You are facing to the Right, your gaze level.

his spear aside, taking advantage of the moment by using my foot to kick his front hand.
Your right foot comes down to the Right and your left foot takes a step to the Right Rear,
the knee bends, and your right leg presses straight, the weight now on your left foot. At the
same time, your right hand, holding the saber, raises out to the Right Rear, the saber tip
pointing downward to the Right Rear, the edge facing upward to the Right Rear, while your
left hand, palm upright, elbow hanging, is between the saber and your chest. You are facing to
the Right Rear, your gaze level.

The opponent uses his spear to stab to my belly, so I use my saber in a raising action to take
his spear aside, taking advantage of the moment by stepping forward, advancing along his
spear to seek his front hand.
[Your torso turning around to the Left,] your right foot takes a half step to the Left Front, the
time, your right hand, holding the saber, lifts up and then comes downward to the Left with a
capturing action, the saber handle placed beside your right hip, the tip pointing to the Left, the
edge facing downward, while your left hand, palm upright, elbow hanging, is placed in front
of your chest. You are facing to the Left, your gaze level.

The opponent behind me uses his spear to attack me with a low stab, so I turn around, sending
my saber downward to capture his spear, then watch for what he will do next.
Your left leg steps to the Left, your body turns around from the Left to the Right, your right
knee bends to the Right, and your left leg extends straight, the weight now on your right foot.
At the same time, your right hand, holding the saber, lifts up and chops downward to the
Right, the saber handle placed to the right side of your right knee, the tip pointing downward
to the Right, the edge facing downward, while your left hand touches your right wrist to
assist. You are facing to the Right, your gaze to the saber tip.

The opponent behind me uses his spear to stab to my leg, so I withdraw my leg a full step to
evade his spear tip, then turn around, using my saber to chop to his head.
[Your body turning around from the Right to the Left,] your right foot steps forward to the
Left, the knee bends, and your left leg presses straight, the weight now on your right foot. At
the same time, your right hand, holding the saber, raises from downward in the Right to the
Left, the tip pointing downward to the Left, the edge facing upward to the Left, while your
left hand touches your right wrist to assist. You are facing to the Left, your gaze to the saber
tip.
The opponent behind me uses his spear to attack me with a stab, so I turn around to suddenly
take his spear aside, taking advantage of the moment by stepping in and using my saber in a
raising action to his groin.

Squat down with both legs and center your torso, the weight now between your feet. At the
same time, your right hand, holding the saber, lifts up until in front of your face, then sweeps
across to the Left as a flat blade, the tip pointing to the Left, the edge facing to the Front,
while your left hand extends to the Right. You are facing to the Left, your gaze to the saber
tip.
his spear aside. He draws back his spear, so I take advantage of the moment by using my
saber to sweep across to his head.
saber, goes from the Left to the Right Rear, turning over and withdrawing with a hanging
action, the saber handle placed beside your left ear, the edge facing upward, the tip pointing to
the Left, while your left hand draws back from the Right, the palm touching the handle to
assist the posture. You are facing to the Left, your gaze level.

Your right foot advances a half step to the Left, then your left foot steps forward to the Left
pointing downward to the Left Front, the edge facing upward to the Left Front, while your left
hand, palm upright, elbow hanging, is placed between the saber and your chest. You are
facing to the Left Front, your gaze upward to the Left Front.

to take his spear aside, taking advantage of the moment by stepping forward, advancing along
his spear to get to his front hand.
[Your body turns around to the Right and] your right foot takes a half step out to the Right
Rear, the knee bends, and your left leg presses straight, the weight now on your right foot. At
the same time, your right hand, holding the saber, lifts up from the Left Front, then goes
downward to the Right with a capturing action, the saber handle placed beside your right hip,
the tip pointing to the Right, the edge facing downward, while your left hand, palm upright,
elbow hanging, is placed in front of your chest. You are facing to the Right, your gaze level.

The opponent behind me uses his spear to come at me with a stab, so I turn around, using my
saber to deflect it aside, then conceal my saber beside my right hip and wait for what he will
do next.
[Your body turning around to the Left,] your left foot takes a step forward to the Right, your
knee bends to the Left, and your left leg straightens, the weight now on your right foot. At the
same time, your right hand, holding the saber, lifts up from the Right and chops downward to
the Left, the saber handle placed in front of your right knee to the Left, the tip pointing
downward to the Left, the edge facing downward, while your left hand touches your right
wrist to assist. You are facing downward to the Left, your gaze to the saber tip.

The opponent behind me uses his spear to stab to my leg, so I step forward to evade it, then
turn around, using my saber to chop to his head.
[41] SEARCHING THE SEA
[Your body turning around from the Left to the Right,] your right foot steps forward to the
Right, the knee bends, and your left leg presses straight, and the weight is now on your right
foot. At the same time, your right hand, holding the saber, goes from downward in the Left by
raising out to the Right, the tip pointing downward to the Right, the edge facing upward,
while your left hand extends to the Left. You are facing to the Right, your gaze to the saber
tip.
The opponent behind me uses his spear to attack with a low stab, so I turn around to prevent
it, taking advantage of the moment by stepping in and [using my saber] to seek his leg.
[42] SCOOPING THE MOON
Your torso slightly shifts to the Left, then returns. At the same time, your right hand, holding
the saber, lifts up from the Right, goes downward to the Left, and again downward to the
Right, the hand turning over with a raising action, the tip pointing downward to the Right, the
edge facing upward, your left hand touching your right wrist to assist. You are facing to the
Right, your gaze to the saber tip, and the weight is again on your right foot.
his spear aside, then take advantage of the moment by using my saber in a raising action to his
lower body.
Your right foot withdraws a half step to the Left, toes touching down, your left leg squatting
goes downward in a capturing action, the saber handle placed beside your right knee, the tip
pointing to the Right, the edge facing downward, while your left hand touches your right wrist
to assist. You are facing to the Right, your gaze to the saber tip.

The opponent uses his spear to stab to my leg, so I withdraw a half step, using my saber to
capture his spear, then wait for what he will do next.
Your right foot advances a half step to the Right, the knee bends, and your left leg presses
saber, does a stab to the Right with the blade vertical, the saber tip pointing to the Right, the
edge facing downward, while your left hand extends to the Left, fingers pointing to the Left,
palm facing downward. You are facing to the Left, your gaze to the saber tip.
After the opponents spear is captured, he draws it back to stab at me again, so I take
advantage of the moment he draws back his spear by advancing using my saber to stab to his
chest with the blade vertical.
[45] JADE RINGS PROP UP THE SABER
Your right foot steps out a half step to the Right Front, then your left foot advances a full step
to the Right Front, the knee bends, and your right leg presses straight, the weight now on your
left foot. At the same time, your right hand, holding the saber, draws back from the Right and
pushes out upward to the Right Front, the saber handle placed to the forward right of your
forehead, the tip pointing downward to the Right Front, the edge facing upward to the Right
Front, while your left hand, palm upright, elbow hanging, is between the saber and your chest.
You are facing to the Right Front, your gaze level.
The opponent uses his spear to stab to my head, so I send my saber outward in a hanging
action to take his spear aside, then take advantage of the moment by stepping forward and
using my saber in a raising action seeking his belly.
[46] BIG DIPPER SABER

Your torso turns from the Right Front to the Right Rear, your feet staying where they are, the
weight still on your left foot. At the same time, your right hand, holding the saber, goes to the
Right Rear, sinking down to stand it up straight, the saber handle placed in front of your chest,
the tip pointing upward, the edge facing to the Right Rear, while your left hand, palm upright,
elbow hanging, is placed between the saber and your chest. You are facing to the Right Rear,
your gaze level.
The opponent uses his spear to stab to my chest from the side, so I shift the direction of my
torso, using my saber to deflect his spear aside, then watch for what he will do next.
[47] CROUCHING TIGER JUMPS OVER THE STREAM
Your right foot withdraws a half step to the Right Front, but before it comes down, your left
foot lifts up, making a hopping step, then your right foot comes down, the leg squats down,
and your left foot steps forward a half step to the Right Rear, toes touching down,
the knee slightly bent [the weight now on your right foot]. At the same time, your right hand,
holding the saber, goes downward from the Right Rear, then to the Left Front, upward, and
again to the Right Rear, sinking down with a capturing action, the saber handle placed beside
your right hip, the tip pointing to the Right Rear, the edge facing downward, while your left
hand, palm upright, elbow hanging, is placed in front of your chest. You are facing to the
Right Rear, your gaze level.
The opponent uses his spear to stab toward my [right] leg, so I hop a step to evade it while
sending my saber outward in a hanging action to take his spear aside, then wait for what he
will do next.
Your left foot advances a step to the Right Rear, the knee bends, and your right leg presses
saber, then goes to the Right Rear with a level stab, the saber making a line with the arm, the
tip pointing to the Right Rear, the edge facing downward, while your left palm touches your
right wrist [forearm] to assist. You are facing to the Right Rear, your gaze to the saber tip.

The opponent draws back his spear, so I take advantage of the moment by stepping in and
using my saber to stab to his face with the blade vertical.
Your torso turns from the Right Rear to the Left, your left leg squats down, and your right leg
presses straight, the weight still on your left foot. At the same time, your right hand, holding
the saber, goes from the Right Rear to the Right Front, coiling a half circle around your head,
until downward to the Left Front, then sweeps across upward to the Right Rear, the saber
handle placed beside your left ribs, the tip pointing upward to the Right, the edge facing to the
Right Rear, while your left hand is placed crosswise above your forehead. You are facing to
the Left, your gaze level.

The opponent behind me uses his spear to attack me with a stab [to my head], so I turn
around, using my saber to deflect it aside. He again stabs, now to my belly, so I use my saber
to sweep aside his spear, then wait for what he will do next.
Your right foot takes a half step to the Left Front, the knee bends, and your left leg presses
saber, goes from the Right Rear to the Left Front with a downward chop, then lifts up the
saber and coils it all the way around your head, from the Front to the Right, passing around to
the Left and again forward, the saber handle placed beside your right hip, the tip pointing to
the Left, the edge facing downward, while your left hand, palm upright, elbow hanging, is
placed in front of your chest. You are facing to the Left, your gaze level.

The opponent uses his spear to stab to my leg, so I use my saber to deflect it aside. He again
stabs, now to my head, so I use my saber in a coiling action around my head to prop his spear
away, then conceal my saber beside my leg and watch for what he will do next.
[51] COILING DRAGON POSTURE
Your left foot withdraws a half step to the Right Rear, the leg squats down, and your right
foot withdraws a half step to the Right Rear, toes touching down, the weight now fully on
your left foot. At the same time, your right hand, holding the saber, goes to the Right Rear
with the saber upright in a crossing action to hang his weapon aside, the tip pointing upward,
the edge facing to the Left Rear, while your left hand, palm upright, elbow hanging, sticks to
the back of the saber. You are facing to the Left, your gaze level.

The opponent uses his spear to stab to my face, so I send my saber outward to hang his
weapon aside while retreating, then wait for what he will do next.
[52] CHASING STEP, COILING DRAGON POSTURE
Your right foot steps out a half step to the Left Front, the knee bends, the leg squats down,
and your left foot follows the right foot forward a half step, toes touching down, the weight
now fully on your right foot. At the same time, your right hand, holding the saber, does not
move, while your left hand still sticks to the back of the saber. You are facing to the Left
Front, your gaze level.

After his spear has been hung aside, he draws it back to try a different attack, so I follow his
withdrawing energy, chasing forward to again hang his weapon aside, then calmly wait for
[53] CLOUDING SABER, CONCEALING THE SABER
Your right foot takes a step to the Left Front and then your left foot takes a step to the Left
Front, your torso turning to the Right Rear, as your right hand, holding the saber, chops
downward to the Left Front, then sweeps across to the Right Rear as a horizontal blade. At the
same time, your right leg squats down and your left foot takes a half step to the Right Rear
[Rear], toes touching down, as your right hand, holding the saber, captures downward, the
saber handle placed beside your right hip, the tip pointing to the rear, the edge facing
downward, while your left hand, palm upright, elbow hanging, is placed in front of your
chest. You are facing to the Rear, your gaze level.

The opponent uses his spear to stab to my leg, so I advance, using my saber to deflect it aside.
Suddenly an opponents spear appears behind me, so I turn around and use my saber in a
clouding action to ward it away [then conceal my saber beside my right leg and wait for what
he will do next].
[54] PROTECT THE KNEE, CHOP
Your left foot steps out a half step to the Rear, then your right foot takes a step to the Rear, the
time, your right hand, holding the saber, goes from beside your left knee, going outward in a
hanging action, then chops downward to the Rear, the tip pointing downward to the Rear, the
edge facing downward, while your left hand extends Forward. You are facing downward to
the Rear, your gaze level.

The opponent uses his spear to stab to my knee, so I send my saber outward in a hanging
action to send his spear aside, then take advantage of the moment by stepping in and using my
saber to chop to his head.
Your right foot withdraws a half step to the Front, toes touching down, your left leg squatting
saber, goes to the Right Front, turning over and withdrawing with a hanging action, the saber
handle placed beside your left ear, the tip pointing to the Rear, the edge facing upward, while
your left hand touches your right wrist to assist. You are facing to the Rear, your gaze level.

[Your right foot takes a half step to the Rear,] your left foot takes a full step to the Rear, then
your right foot steps to the Rear, behind your left foot, and both legs squat down, the weight
now on your left foot. At the same time, your right hand, holding the saber, sinks down with a
capturing action, the saber handle below your left knee, the tip pointing to the Rear, the edge
facing downward, while your left hand touches your right wrist to assist. You are facing to the
Rear, your gaze level.

The opponent uses his spear to stab to my leg, so I use my saber to capture his spear, then
Your body goes from the Rear to the Left, to the Front, to the Right, spinning all the way
around, then your left foot takes a half step to the Rear, toes touching down, heel lifted,
your right foot not leaving its location, the leg squatting down, the weight now on your right
foot. At the same time, your right hand, holding the saber, lifts up, then sinks down to the
Rear with a capturing action, the saber handle placed beside your right hip, the edge facing
downward, the tip pointing to the Rear, while your left hand, palm upright, elbow hanging,
extends to the Rear. You are facing to the Rear, your gaze level.
The opponent uses his spear to stab to my head, so I lift up my saber to deflect it aside,
[spinning my body around,] then conceal my saber beside my leg and wait for what he will do
next.

Your left foot takes a half step to the Rear, the knee bends, and your right leg presses straight,
the weight now on your left foot. At the same time, your right hand, holding the saber, then
goes to the Rear with a level stab, saber and arm making a straight line, the saber tip pointing
to the Rear, the edge facing downward, while your left palm touches your right wrist to assist
the posture. You are facing to the Rear, your gaze to the saber tip.
The opponent draws back his spear, so I take advantage of the moment by stepping in and
using my saber to stab to his face with the blade vertical.
Your left foot retreats a step to the Front, the leg squats down, and your right foot takes a step
to the Right, toes touching down, heel lifted, knee slightly bent, the weight now on your left
foot. At the same time, your right hand, holding the saber, goes from the Rear to the Right,
then to the Front, coils all the way around your head, then waves outward to the Left below
your armpit, the tip pointing upward to the Left, the edge facing downward to the Left Front,
while your left hand is placed crosswise above your forehead. You are facing to the Right,
your gaze level.

The opponent uses his spear to stab to my head, so I use my saber to deflect it aside. He then
uses his spear to stab to my belly, so I send my saber to sweep aside his spear, then wait for
Your right foot advances a half step to the Right, your left foot then takes a full step to the
Right, then your right foot steps to the Right Front, behind your left foot, both legs squat
sinks down to the Right with a capturing action, the tip pointing to the Right, the edge facing
downward, while your left hand touches your right wrist to assist the posture. You are facing
to the Right, your gaze level.

Your body goes from the Right to the Rear, to the Left, to the Front, spinning all the way
around, your right foot not leaving its location, the leg squatting down, and your left foot
advances a half step to the Right, toes touching down, heel lifted, the weight now on your
right foot. At the same time, your right hand, holding the saber, sinks down with a capturing
action, the saber handle placed beside your right hip, the tip pointing to the Right, the edge
facing downward, while your left hand, palm upright, elbow hanging, extends to the Right.
You are facing to the Right, your gaze level.

Your left foot advances a half step to the Right, then your right foot advances a full step to the
Right, the knee bends, and your left leg presses straight, the weight now on your right foot. At
the same time, your right hand, holding the saber, does a level stab to the Right, the saber tip
pointing to the Right, the edge facing downward, while your left hand extends to the Left.
You are facing to the Right, your gaze to the saber tip.
Once his spear has been captured by me, he draws it back and looks for a new opening to
again stab at me, so I take advantage of the moment he draws back his spear by advancing and
[63] TURN AROUND, BLOCKING
Your right foot takes a step to the Left, behind your left foot, and your left knee bends,
the weight now on your left foot. At the same time, your right hand, holding the saber, goes
downward from the Right, blocking downward to the Left, the tip pointing downward to the
Left, the edge facing downward to the Right, while your left hand touches your right wrist to
assist. You are facing downward to the Left, your gaze to the saber tip.
The opponent behind me uses his spear to stab to my leg, so I turn around and use my saber to
block his spear.
Your left foot takes a step to the Left, your right foot then advances a step to the Left, [your
torso spinning around,] and both legs squat down, the weight now between your feet. At the
same time, your right hand, holding the saber, pokes out to the Left [along with the left step],
then sinks down with a capturing action [along with the right step and the spin], the saber
handle placed beside your abdomen, the tip pointing to the Left, the edge facing downward,
while your left hand touches the saber handle to assist the posture. You are facing to the Left,
your gaze level.

The opponent draws back his spear, then stabs to my chest, so I use my saber to capture his
spear, then wait for what he will do next.
Your right foot staying where it is, the knee bends, and your left leg presses straight, the
weight now on your right foot. At the same time, your right hand, holding the saber, does a
level stab to the Left, the saber tip pointing to the Left, the edge facing downward, while your
left hand extends to the Right. You are facing to the Left, your gaze to the saber tip.
After the opponents spear has been captured, he draws it back to look for a new opening to
again stab at me, so I take advantage of the moment he draws back his spear by advancing and
[66] TURN THE HORSE, LIFTING THE BELL
Your right foot takes a step to the Right, the knee bends, and your left foot lifts up to be
downward to the Left, the weight now fully on your right foot. At the same time, your right
hand, holding the saber, lifts up from the Left, then with the hand turning over, does a raising
action downward to the Left, the tip pointing downward to the Left, the edge facing upward to
the Left, while your left hand touches your right wrist to assist the posture. You are facing
downward to the Left, your gaze to the saber tip.
The opponent uses his spear to stab my leg, so I feign a bad position, then take advantage of
the moment of his unpreparedness by [using my foot to kick his spear aside and] using my
saber to do a raising action to his lower body.
[Your left foot comes down,] your left [right] foot advances a step to the Right, your [left]
knee bends, and your right leg presses straight, the weight now on your left foot. At the same
time, your right hand, holding the saber, lifts up from downward in the Left, goes to the Right,
downward, making a complete [vertical] circle, then again with the hand turning over, goes
downward to the Left with a raising action, while your left hand extends upward to the Right.
You are facing downward to the Left, your gaze to the saber tip.
The opponent draws back his spear and stabs to my chest, so I lift up my saber and send it
outward to deflect him aside, then take advantage of the moment by [advancing and] using
my saber to seek his leg with a raising action.
[68] GOLDEN NEEDLE POINTS SOUTH
Your right foot withdraws a half step to the Right, toes touching down, heel lifted, knee
slightly bent, your left leg squatting down, the weight now fully on your left foot. At the same
time, your right hand, holding the saber, withdraws toward your chest, the saber handle placed
in front of your chest, the tip pointing to the Left, the edge facing upward, while your left
hand touches your right hand to assist. You are facing to the Left, your gaze level.

his spear aside, then wait for what he will do next.
Your right takes a half step to the Left, then your left foot advances a full step to the Left,
[stepping over your right leg,] and both legs squat down, the weight now on your right foot.
At the same time, your right hand, holding the saber, [goes downward in a capturing action,
then] embraces toward your chest, the tip pointing to the Left, the edge facing upward, while
your left hand touches the saber handle to assist, You are facing to the Left, your gaze level.

The opponent draws back his spear, so I take advantage of the moment by advancing and
[using my saber to] capture his spear, then [draw it back and] wait for what he will do next.
[70] GOING WITH THE CURRENT TO PUSH THE BOAT
Your right foot advances a step to the Left, the knee bends, and your left leg presses straight,
the weight now on your right foot. At the same time, your right hand, holding the saber, does
a level stab to the Left, the tip pointing to the Left, the edge facing upward, while your left
hand touches the saber handle to assist the posture. You are facing to the Left, your gaze to
the saber tip.
The opponent draws back his spear, so I follow his withdrawing energy and advance, using
my saber to stab to his throat.
Your right foot withdraws a step to the Right Rear, your left knee bends to the Left, and your
right leg presses straight, the weight now on your left foot. At the same time, your right hand,
holding the saber, goes downward to the Right Rear with a raising action, the hand turning
over, the tip pointing downward to the Right, the edge facing upward to the Right Rear, while
your left hand extends upward to the Left. You are facing downward to the Right, your gaze
to the saber tip.
The opponent behind me uses his spear to stab to my lower body, so I turn around to suddenly
take his spear aside, taking advantage of the moment by stepping in and using my saber to
seek his leg with a raising action.
[72] LIFTING THE SABER, SEARCHING THE SEA
Your right foot takes a step to the Right Front, then your left foot takes a step out to the Right,
the knee bends, and your left leg presses straight, the weight now on your left foot. At the
same time, your right hand, holding the saber, goes downward from the Right, lifts to the Left,
then chops downward to the Right, the tip pointing to the Right, the edge facing downward,
while your left hand makes a hook, turning over and lifting up to the Left. You are facing
downward to the Right, your gaze to the saber tip.

The opponent uses his spear to stab to my leg, so I dodge with my body, using my saber to
take his spear aside with a hanging action, then take advantage of the moment by stepping in
and using my saber to chop to his head.
[73] WITHDRAWING STEP, SUDDEN SPREADING
Your right leg bends to the Left and your left leg presses straight, the weight now on your
right foot. At the same time, the saber in your right hand, the hand turning over, draws back to
the Left Rear, the tip pointing downward to the Right Front, the edge facing upward to the
Right Rear, while your left hand touches the saber handle to assist the posture. Your torso is
facing to the Right Front [Right Rear], your gaze to the saber tip.
The opponent draws back his spear and stabs to my leg, so I dodge with my body and use my
saber in a hanging action to take his spear aside, then wait for what he will do next.
[74] ADVANCE AND CHOP
Your left foot advances a step to the Right Rear, then your right foot advances a step to the
Right, the knee bends, and your left leg presses straight, the weight now on your right foot. At
the same time, the saber in your right hand lifts up from the Right Front to the Left Rear [in a
deflecting action, coordinated with the left step], then chops downward to the Right
[coordinated with your right step], the tip pointing to the Right, the edge facing downward,
while your left hand touches your right wrist to assist the posture. You are facing downward
to the Right, your gaze to the saber tip.
The opponent uses his spear to stab to my head, so I use my saber to deflect it aside, then
advance with a chop to his head.
Your right foot withdraws a half step to the Left, toes touching down, heel lifted, your left
foot staying where it is but the leg squatting down, the weight now fully on your left foot. At
the same time, your right hand, holding the saber, goes to the Left Front, the hand turning
over, with a hanging action, the saber handle placed beside your left ear, the tip pointing to
the Right, the edge facing upward, while your left hand touches your right wrist to assist the
posture. You are facing to the Right, your gaze level.
Your right foot steps out a half step to the Right, then your left foot advances a half step [full
step] to the Right Rear, the knee bends, and your right leg presses straight, the weight now on
your left foot. At the same time, your right hand, holding the saber, raises out to the Right
Rear, the saber tip pointing downward to the Right Rear, the edge facing upward to the Right
Rear, while your left hand, palm upright, elbow hanging, is placed between the saber and your
chest. You are facing to the Right Rear, your gaze level.

to take his spear aside, taking advantage of the moment by stepping forward, following his
spear with an advance, and doing a raising action to his front hand.
[77] BLUE DRAGON SHOWS A CLAW
Your left foot takes a step to the Right Front, then your right foot advances a step to the Right
Front, the knee bends, and your left leg presses straight, the weight now on your right foot. At
the same time, the saber in your right hand, [the hand turning over,] does a raising action
upward to the Right Front, the tip pointing upward to the Right Front, the edge facing upward
to the Left Rear, while your left hand touches your right wrist to assist the posture. You are
facing to the Right Front, your gaze to the saber tip.

The opponent uses his spear to stab to my chest, so I send my saber outward to prop aside his
spear, taking advantage of the moment by advancing with a raising action to his head.
Your left foot takes a step to the Left Front and both legs squat down, the weight now
between your feet. At the same time, your right hand, holding the saber, chops downward to
the Left until in front of your face, then sweeps across to the Right as a flat blade, the tip
pointing to the Right, the edge facing to the Rear, while your left hand extends to the Left.
You are facing to the Right, your gaze to the saber tip.
his spear aside. He draws back his spear and retreats, so I take advantage of the moment by
using my saber to sweep across to his head.
[79] METEOR CHASES THE MOON
Your right foot advances a half step [full step] to the Left, toes touching down, heel lifted,
your left foot not leaving its location but the leg squatting down, the weight now fully on your
left foot. At the same time, the saber in your right hand, [the hand turning over,] does a level
paring action upward to the Left, the tip pointing upward to the Left, the edge facing upward
to the Right Rear, while your left hand touches your right wrist to assist the posture. You are
facing to the Left, your gaze to the saber tip.
An opponent from beside me uses his spear to attack me with a stab, so I use my saber in a
paring action to deflect it aside, advancing to seek his throat.
Your right foot extends a half step to the Left, your left knee bends, [and your right leg
presses straight,] the weight now on your left foot. At the same time, the saber in your right
hand, the hand turning over, does a low raising action to the Left, the tip pointing downward
to the Left, the edge facing to the Front, while your left hand extends upward to the Right.
You are facing downward to the Left, your gaze to the saber tip.

The opponent draws back his spear and stabs to my chest, so I lift up my saber and send it
outward to deflect him aside, then take advantage of the moment by [advancing and] using
my saber to seek his leg with a raising action.
Your right foot withdraws a half step to the Right, toes touching down, heel lifted, your left
foot staying where it is but the leg squatting down, the weight now on your left foot. At the
same time, your right hand, holding the saber, withdraws embracing to the Right, the back of
the saber propped up on your right elbow, the tip pointing to the Left, the edge facing upward,
while your left hand touches the saber handle to assist. You are facing to the Left, your gaze
level.

The opponent uses his spear to stab to my head, so I use my saber in a hanging action to take
[82] BRAVING THE WIND AND WAVES
Your right foot advances a half step to the Left, then your left foot advances a full step to the
Left, the knee slightly bends, and your right leg presses straight, the weight now on your left
foot. At the same time, the saber in your right hand does not move and your left hand, palm
upright, extends to the Right. You are facing to the Right, your gaze level.

The opponent draws back his spear wanting to flee, so I embrace my saber and advance to
stab to his chest with the blade vertical.
Your right foot advances a step to the Left, the knee bends, and your left leg presses straight,
the weight now on your right foot. At the same time, your right hand, holding the saber, does
a level stab to the Left, the saber tip pointing to the Left, the edge facing downward, while
your left hand extends to the Right. You are facing to the Left, your gaze to the saber tip.
After the opponents spear gets captured, he looks for a new opening [which would be a stab
to my head], so I take advantage of the moment he draws back his spear by advancing and
Your right foot advances a step to the Left Front, the knee bends, and your left leg presses
straight, the weight now on your right foot. At the same time, the saber in your right hand
switches to your left hand, then goes upward to the Left Front with a raising action, the tip
pointing upward to the Left Front, the edge facing upward to the Right Front, while your right
hand touches your left wrist to assist the posture. You are facing to the Left Front, your gaze
to the saber tip.
The opponent uses his spear to stab to my groin, so I use my saber to deflect his spear aside,
and then while advancing, to slash to his head.
straight, the weight now on your left foot. At the same time, the saber, still in your left hand,
[goes from the Left Front to the Right Front with a downward chop,] then goes upward to the
Left Rear with a raising action, the tip pointing upward to the Left Rear, the edge facing
upward to the Right Rear, while your right palm touches your left wrist to assist the posture.
You are facing to the Left Rear, your gaze to the saber tip.

it aside. He draws back his spear and retreats, so I take advantage of the moment by
advancing and using my saber to do a slash to his head.
Your left foot withdraws a half step to the Right, toes touching down, heel lifted, your right
foot staying where it is but the leg squatting down, the weight now on your right foot. At the
same time, the saber, still in your left hand, goes downward with a capturing action, the saber
handle placed beside your left knee, the tip pointing to the Left, the edge facing downward,
while your right hand touches your left wrist to assist the posture. You are facing downward
to the Left, your gaze to the saber tip.

The opponent uses his spear to stab to my leg, so I withdraw a half step and follow his
stabbing energy by using my saber to do a capturing action to his spear, then wait for what he
will do next.
[87] ADVANCE, FLICK WITH THE SABER
Your left foot advances a half step to the Left, the knee bends, and your right leg presses
straight, the weight now on your left foot. At the same time, the saber, still in your left hand,
goes downward to the Left and does a raising flick [using the back of the blade], the tip
pointing downward to the Left, the edge facing downward, while your right hand touches
your left wrist to assist. You are facing downward to the Left, your gaze to the saber tip.
When the opponents spear has been captured by my saber, he wishes to draw back his spear,
so I take advantage of the opportunity of his withdrawing by advancing and using my saber to
do a flicking action to his groin.
[88] TURNING OVER THE ARM TO PLANT SEEDS
Your right foot advances a step to the Left, then your left foot steps to the Left behind it, and
both legs squat down, the weight now on your right foot. At the same time, the saber, still in
your left hand, the hand turning over, [rises with a hanging action and] inserts downward to
the Left, the tip pointing downward to the Left, the edge facing upward to the Left, while your
right hand touches the back of the saber to assist. You are facing downward to the Left, your
gaze to the saber tip.
The opponent uses his spear to stab my chest, so I use my saber in a hanging action to take
aside the opponents spear, then take advantage of the moment by using my saber to stab to
his leg.
Your torso spins around from the Left to the Rear, to the Right, then your right foot steps out
a half step to the Right, and both legs squat down, the weight now between your feet. At the
same time, the saber, still in your left hand lifts up, then chops downward to the Left [Right],
the saber switching to your right hand, the tip pointing to the Right, the edge facing
downward, while your left hand touches the saber handle to assist. You are facing to the
Right, your gaze to the saber tip.
The opponent behind me uses his spear to stab to my head, so I spin around and use my saber
to deflect it aside. He again stabs, now to my chest, so I [switch hands and] use my saber to
capture his spear, then wait for what he will do next.
Your right knee bends to the Right, and your left leg presses straight, the weight now on your
right foot. At the same time, your right hand, holding the saber, does a level stab to the Right,
the tip pointing to the Right, the edge facing downward, while your left hand extends to the
Left. You are facing to the Right, your gaze level.

Once the opponents spear has been captured by my saber, he draws it back to stab at me
again, so I use my saber to follow his withdrawing energy, stabbing to his chest with the blade
vertical.
[91] ROTATING THE CRANK TO LIFT THE BASKET
Your right foot retreats a full step to the Left, then your left foot withdraws a half step,
toes touching down, heel lifted, your right leg squatting down, the weight now fully on your
right foot. At the same time, the saber in your right hand draws back, lowers from the Right
Front, sweeps across to the Right Rear [Left Rear], then lifts up behind your back, the tip
hanging down, the edge facing to the Left, while your left hand, palm upright, extends to the
Right. You are facing to the Right, your gaze level.

The opponent uses his spear to stab to my groin, so I use my saber to sweep aside his spear,
then hide my saber behind my back and wait for what he will do next.
[92] ADVANCE, LIFTING THE BASKET
Your left foot advances a half step to the Right, the knee bends, then your right foot also
advances a step to the Right, toes touching down, heel lifted, the weight now fully on your left
foot. At the same time, your right hand keeps the saber lifted up behind your back, while your
left palm pushes out to the Right. You are facing to the Right, your gaze level.

The opponent uses his spear to stab to my chest, so I advance using my left hand to push it
aside, then wait for what he will do next.
[93] CLOUD DRAGON PLAYS IN THE WATER
Your left foot advances a step to the Right, your right foot advances a step to the Right, then
your left foot takes a step to the Right behind your right foot, the weight now on your left
foot. At the same time, your right hand, holding the saber, chops downward to the lower
Right, then lifts up to the Left, then reaches out to the lower Right, the tip pointing to the
lower Right, the edge facing to the lower Left, while your left hand is placed crosswise above
your forehead, and your torso reaches out to the Right. You are facing downward to the Right,
your gaze to the saber tip.

The opponent uses his spear to stab to my groin, so I advance and use my saber to chop to his
front hand. He draws back his spear, so I take advantage of the moment by using my saber in
a hanging action to take his spear aside and seek his leg with the blade vertical.
[94] SPIN AROUND, CHOP
Your torso goes from the Right to the Front, to the Left, to the Rear, spinning all the way
around, then your left knee bends to the Right and your right leg presses straight, the weight
now on your left foot. At the same time, your right hand, holding the saber, lifts up from the
lower Right to the Left, then chops downward to the Right, the tip pointing downward to the
Right, the edge facing downward to the Left, while your left hand touches the saber handle to
assist. You are facing downward to the Right, your gaze to the saber tip.

The opponent uses his spear to stab to my back, so I quickly turn around, chopping downward
with my saber to capture his spear.
Your torso spins around from the Right to the Rear, to the Left, your right knee bends to the
Left, and your left leg presses straight, the weight now on your right foot. At the same time,
your right hand, holding the saber, lifts up from the lower Right, then chops downward to the
Left, the tip pointing downward to the Left, the edge facing downward to the Right, while
your left hand extends to the Right. You are facing downward to the Left, your gaze to the
saber tip.

The opponent behind me uses his spear to attack me with a stab, so I turn around, using my
saber to capture his spear, then watch for what he will do next.
Your right foot withdraws a half step to the Right, toes touching down, heel lifted, your left
foot staying where it is but the leg squatting down, the weight now on your left foot. At the
same time, your right hand, holding the saber, waves outward until under your left armpit, the
tip pointing upward to the Right Rear, the edge facing downward to the Left Rear, while your
left hand is placed crosswise above your forehead. You are facing to the Left, your gaze level.
The opponent uses his spear to stab to my chest [belly / groin], so I send my saber outward to
deflect it aside, then wait for what he will do next.
Your right foot advances a half step to the Left Front, the knee bends, and your left leg
the saber, goes from the Right Rear to chop downward to the Left Front, then sinks in a
capturing action, the tip pointing to the Left, the edge facing downward, while your left hand,
palm upright, elbow hanging, extends to the Left. You are facing to the Left, your gaze level.
The opponent uses his spear to stab to my leg, so I use my saber in a hanging action to take
[98] ADVANCE, EXCHANGING THE SABER
Your left foot advances a step to the Left, the knee bends, and your right leg presses straight,
the weight now on your left foot. At the same time, your right hand, holding the saber, lifts
up, goes from the Front to the Left, to the Rear, to the Right, coils a complete circle around
your head, then switches the saber to your left hand, the saber back touching your left arm, the
tip pointing upward to the Right Rear, the edge facing upward to the Left Rear. You are
facing to the Left, your gaze level.

[99] BRUSH KNEE IN A CROSSED STANCE
Your left arm, carrying the saber, goes from in front of your left knee, brushing away to the
Rear, and the saber handle is placed beside your left hip, the tip pointing upward, the edge
facing to the Left, while your right hand, palm upright, elbow hanging, pushes out to the Left.
You are facing to the Left, your gaze level.
[100] RETREAT, GATHERING IN THE SABER

Your torso turns from the Left to the Front, your left foot stepping toward your right foot to
stand next to it. The weight is now between your feet. At the same time, your left hand,
carrying the saber, lifts to the Left, then upward, to the Right, in front of your body, making a
circle, then places the saber handle beside your left hip, the tip pointing upward, the edge
facing to the Front, while your right hand goes downward from the Left, to the Right, and is
placed crosswise above your forehead. You are facing to the Left, your gaze level.
[101] RETURN TO THE TAIJI POSTURE
Your head turns from the Left to the Front, your body stands straight, facing to the Front, your
gaze level. The weight is between your feet. At the same time, your left hand, carrying the
saber, does not move, and your right hand goes from above your headtop to hang down
leisurely, placed beside your right hip, the palm pushing downward, but without exertion.
Movement and stillness blending together, you have returned to your original position.

CHAPTER THREE: CONCLUSION
As to the postures and applications above, once you have got the whole sequence, examine
yourself: are you able to do the postures correctly, the movements naturally, the applications
skillfully, and with your body and mind unified? These points are vitally important, for if it
can be correct, natural, skillful, and unified, then you can progress to studying how the saber
methods are applied adaptively.
If the saber methods are not applied, you will not be able to discover their subtleties, and if
they are not adaptive, you will not be able to understand its spirit. Right at the moment that I
have to face an opponent, I do not know if he is better than me or worse. How well does he
use his hands, or maneuver his body? What is his skill level, and how well has he been
taught? How is he at applying techniques, and at adapting?
I will not come to know such information by obtaining it. Avoiding the mistake of falling
apart with panic, I calm myself and wait for him, keeping guard and letting the situation
unfold. I fix my eyes upon him and quietly observe. I watch to see whether or not his spirit
and posture are united. And does his manner exhibit quick reflexes? Does he perform
techniques nimbly? Is his adaptability proficient? How well does he grasp his weapon? What
target does he want to attack? I must distinguish clearly where he is empty and full. I must
notice the speed of his advance and retreat.
I will thus have a plan of attack and defense, and will be the one holding all the cards. That
way, whether he attacks or defends, however fast or slow, I will always be in charge of the
situation. I can avoid his fullness and attack his emptiness [Art of War, chapter 6], and I can
also attack where he is unprepared and then use a trick to appear where he has not
anticipated [both from chapter 7]. My footwork is agile and cunning, my body maneuverings
are sudden and surprising, my saber techniques come and go without being comprehended.
Thus with a sharp blade in hand and a superb strategy in mind, I outwardly spy on the
opponents changes while inwardly concealing my spirit under countless layers. [from
Understanding How to Practice:] The shape is like a falcon capturing a rabbit. The spirit is
like a cat pouncing on a mouse. The movements are exquisite, body and mind equally
involved. As when I am crossing hands with opponents, the comings and goings of the saber
is mostly like the posturings of a cloud dragon the head is seen, but not the tail. This
makes it very hard for the opponent to deal with, so difficult to differentiate between my
emptiness and fullness that it is as though he is falling into that mass of murky energy at the
beginning of the universe.
At this time, if the opponent wants to attack, he cannot get in, and if he wants to escape, he
cannot get away. As Huang Baijia said when pointing out that although one may obtain every
little aspect of the internal school of boxing, it is not necessary to seek for someone to copy,
only to respond to opponents with whatever works, up or down, left or right, forward or back,
and to notice the correct moment to engage. Does this not describe the Unfathomable Saber?
Its techniques are: [1] CHOPPING, [2] STABBING, [3] PROPPING, [4] SEARCHING,
[5] LIFTING, [6] RAISING, [7] SINKING, [8] CAPTURING [equivalent of and somewhat
similar pronunciation to the boxing sets ROLLBACK], [9] CROSSING, [10] SWEEPING,
[11] BLOCKING, [12] SLASHING, [13] FLICKING, [14] ERASING [never mentioned
throughout the set], [15] PARING, [16] CLEAVING, [17] HACKING [never mentioned
throughout the set]. [HANGING ought to be included in this list too, since it is frequently
mentioned throughout the set.] The opponent is made to find nothing in his attempts to read
me, and he can get nowhere, forever unable to get around the Taiji skill. This is the un of
the unfathomable saber. It is endlessly mysterious.
The subtleties of the saber methods were already determined in detail by Zhang Sanfeng.
But after so many centuries, can anyone pass on the correct teachings and clarify his
intentions? Yes, there have through the succeeding generations been charitable people, and
we can all obtain the art because of this.

Wu Style Taiji Saber (Xuanxuan Dao)

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Wu Style Taiji Saber (Xuanxuan Dao)

Uploaded by

Copyright:

Available Formats

THE TAIJI UNFATHOMABLE SABER OF THE INTERNAL SCHOOL

Portrait of Chu Minyi

A souvenir for elder brother Wu Tunan

- calligraphy by Chu Minyi

- calligraphy by Cai Yuanpei

The Taiji Unfathomable Saber of the Internal School

- [calligraphy by] Yu Youren

The Taiji Unfathomable Saber of the Internal School

The Taiji Unfathomable Saber of the Internal School

- calligraphy by Chu Minyi

Work your muscles and bones.

You have the skill of the gliding blade.

- calligraphy by old Xu Sian

- [calligraphy by] Qixun Tiegen

PREFACE BY CHU MINYI

so I cannot help but be pleased to write this preface.

PREFACE BY A MR. WANG

written by Wu Tunan of Beijing at the Shanghai Central State College of Engineering,

[1] TAIJI POSTURE

[2] CATCH THE SPARROW BY THE TAIL Part 1

[3] CATCH THE SPARROW BY THE TAIL Part 2

[4] CATCH THE SPARROW BY THE TAIL Part 3

[5] STEP FORWARD, BRUSH KNEE

[6] BRINGING THE SABER TO THE OTHER SIDE

[7] IN A SUDDEN FLASH, SHOW THE SABER

[8] PLUCKING THE STARS TO THE LEFT

[9] PLUCKING THE STARS TO THE RIGHT

[10] WITHDRAWING STEP, CAPTURING WITH THE SABER

[11] STAB THROUGH THE CENTER

[12] HANGING THE GOLDEN BELL TO THE LEFT

[13] PUSH OPEN THE WINDOW TO GAZE AT THE MOON

[14] TURN AROUND, CHOP

[15] TURN AROUND, RAISE TO THE GROIN

[16] HANGING THE GOLDEN BELL TO THE LEFT

[17] CLIMB THE MOUNTAIN AND LOOK OUT AT THE VIEW

[18] HAWK TURNS AROUND

[20] SWALLOW ENTERS ITS NEST

[21] ADVANCE, CAPTURING WITH THE SABER

[22] STAB TO THE FACE

[23] TURN AROUND, CONCEALING THE SABER

[24] SABER TO THE GROIN

[25] FIGHTING TIGER POSTURE

[26] SWALLOW ENTERS ITS NEST

[27] ADVANCE, CAPTURING WITH THE SABER

[28] BLUE DRAGON LEAVES THE WATER

[29] TURN AROUND, CONCEALING THE SABER

[30] UPWARD WITH THREE SPREADINGS

[31] HELPING A DRUNK REMOVE HIS BOOTS

[32] PUSH OPEN THE WINDOW TO GAZE AT THE MOON

[33] TURN AROUND, CONCEALING THE SABER

[34] TURN AROUND, CHOP

[35] TURN AROUND, RAISE TO THE GROIN

[36] SWEEPING ASIDE A THOUSAND SOLDIERS

[37] HANGING THE GOLDEN BELL TO THE LEFT

[38] PUSH OPEN THE WINDOW TO GAZE AT THE MOON

[39] TURN AROUND, CONCEALING THE SABER

[40] TURN AROUND, CHOP

[41] SEARCHING THE SEA

[42] SCOOPING THE MOON

[43] WITHDRAWING STEP, CAPTURING WITH THE SABER

[44] STAB THROUGH THE CENTER

[45] JADE RINGS PROP UP THE SABER

[46] BIG DIPPER SABER

[47] CROUCHING TIGER JUMPS OVER THE STREAM