The Kunwu Sword Manual of Li Lingxiao

KUNWU SWORD MANUAL
by Li Lingxiao
[published Feb, 1935]
[translation by Paul Brennan, July, 2013]
-
Portrait of the author
PREFACE [BY YIN JINGCHUN]
I have always been addicted to martial arts. Whenever I meet martial arts experts, I always
want to have a conversation, to take the opportunity to find out about what they have achieved
through their studies and about their particular specialties, so as to explore the wonders of our
nations martial arts. More than ten years ago, there was an occasion in which I got to meet
and talk with no less than ten noteworthy experts. It was at a competitive gathering of famous
practitioners that had attracted a crowd of over a thousand people. Some of the competitors
won through hardness and fierceness, others through nimbleness and ingenuity. Some enjoyed
a great reputation for having built up their bodies, while others had a thorough ability with
every kind of weapon and had created their own systems. And the essence of any one of their
arts is that if it is not worked at for years upon years, there will be no skill. Indeed the
profound depth of martial arts is truly beyond the grasp of laymen.
In 1929, I came to Cang county to take up a high school teaching position, where I met Li
Lingxiao. He had lived there his whole life beyond the west gate and was the martial arts
instructor in the Cang county high school. Although a martial man, he has the dignified air of
a gentleman. Talking freely in our spare time, I began to be aware of his prowess in both
internal and external skills. One day, he told a student to perform the Kunwu sword set so I
could take a look at it. Carefully observing, I noticed it diverges in a great many ways from
Jiang Rongqiaos Authentic Kunwu Sword [1930]. I then discussed the sword with him,
whereupon I realized his mastery of the sword art.
I have experienced the sword methods of Ma Zizhen and Jiang Rongqiao. I was quite
delighted by their extensive discourse and methodical understanding. Li also has remarked
upon their profound fluency. I cannot help but state from my amazement that the reason the
sword art is the sword art is because of such quality as theirs. The body goes along with the
swords rotations while the sword covers over the bodys shape. The hand shoots out fast as
lightning, the legs standing solid as a boulder. It is roundabout and indirect, suddenly fast,
suddenly slow. It is said that one who performs it like a swimming dragon, like a soaring
phoenix has truly obtained the swords attitude.
Sophisticated gentlemen all used to use the zither and the sword as means to express
themselves. Famous men nowadays also are often practicing the sword art for their
amusement. But for the most part they do not have enough free time, and so it is especially
difficult for them to make a deep study of it. Though they may have an ambition to pursue it,
the opportunity to meet with an instructor who is a genuine expert is hard to come by.
Moreover, the martial arts of our nation were originally a kind of esoterica that was kept only
in the family. Those with only a rough understanding do not have the confidence to jump into
teaching, while those who are experts are not willing to teach just anyone. The day of Chinese
martial arts is long gone, and surely these are the reasons why.
Nowadays, martial arts institutes have been founded, both centrally and in the provinces.
But as for the excellent martial artists in the countryside, what can be done to fully bring them
into the project? Though their skills may be profound, they are not necessarily sufficiently
literate for the task of passing down their arts secrets. As they can be recommended only for
their hard work, it is difficult to harvest a fully satisfactory result. Because Li is such a one
who is highly proficient in the art yet somewhat deficient in literacy, I instigated this project
of sharing this book with the world, for the sake of preserving the integrity of the genuine
sword art and to supply the martial arts world with study materials for it.
There are so very many sword sets due to the multitude of styles, and each thinks their way
of doing it is the right one. But to miss by an inch is to lose by a mile. If it is not learned with
precision, one will quickly end up violating fundamental principles. To be able to observe
examples of mastery while practicing martial arts, to get to watch someone who is totally
immersed in a style, is really an uncommon experience in the world. Li carried his art around
in a frantic quest north and south to meet with more famous practitioners than can be counted.
At the first moment of contact, they were each convinced of his magical prowess. When Cao
Zhongshan caught sight of his skill, he so admired it. When Li Xiehe heard about it, he was
full of appreciation. When Zhang Zhijiang looked upon it, he was utterly delighted. So how
could his skill not be exquisite?
When I met Li, I felt the same as they did. Once he had finished this project to his
satisfaction, he returned home to teach students for his own pleasure. This is why he is so
much better at it than others, not just because his skill is superb.
written by Yin Jingchun of Fangshan [district of Beijing]
AUTHORS PREFACE
I am not sure about the source of the Kunwu sword art, but the sword of that name is famous.
In the ancient Zhou era, King Mu sent an expedition against the Kun tribe in the west, who
then presented as tribute to him the sword of Kunwu. Liezi wrote [Liezi, chapter 5]: The
sharpness of the Kunwu sword could cut through jade as if it was mud. Therefore the Kunwu
sword was a precious sword even in ancient times.
There was the sword, and then there was the method. Prior to the days of cannon fire, our
nations warriors relied entirely on long weapons and short weapons to deal with enemies.
These arts were passed down through many generations. The more they were worked with,
the more they were refined. History has no lack of famous experts. Later generations of them
developed a sectarian mentality and established their own styles. Some sword arts were
named after actual swords, such as Kunwu and Qingping, with the intention of gaining the
respectability of being associated with something ancient.
In the first year of the Qing emperor Daoguangs reign [1821], in the town of Dongbei in
my home county, Jun Mazhan and Dai San were well-known as being good at martial arts.
One day, there was a married couple from Jiangnan surnamed Liu who were holding swords
and had come for a visit. Dai declined them humbly but not wisely. Mr. Liu said: I esteem
your reputation and have not come to challenge you, but I wish to have a look at the hand
techniques of your style. Dai had no choice but to exhibit his style by way of a bout with Liu,
but whatever he did with his hands was easily controlled no matter what he tried. Dai then
handed over his sword and said to Liu: You are my teacher.
Thereupon he took Liu into his home and learned from him day and night. Liu stayed for a
year and a half. As he started again on his journey, he told Dai: I have been addicted to this
art my whole life. This is why I have traveled north and south in search of the most brilliant
experts, and I have to keep on looking. That it has now turned out that I have taught my art to
you was all a matter of destiny. You must not casually show it to people. When he finished
saying this, he left.
Later, Dai taught it to Li Tianmu, Jia Xinzhuang, and Liu Zhenxiang. I learned it from Liu
Zhenxiang but did not yet master it. Later I met Dai Sans nephew in Dalian [city in
Liaoning], and hence worked at it every day until I began to obtain its secrets. Although I
would not dare to claim this sword art contains every possible sword technique, I would say
from what I have practiced and what I have seen that its techniques surpass those of other
sword arts.
Yin Jingchun of Fangshan is a scholar who is addicted to martial arts. When he saw this
sword method, he was surprised by its uniqueness. As he has been promoting the worth of
martial arts to the nation, he urged me to publish it to supply study materials for those with the
same interests. Based on discussions with Yin, I now present this manual after repeated
revisings. Included are application explanations and photographs so that students will not only
achieve the performance of the sword postures but also be able to understand how to use
them.
By referring to the materials to get the idea, you will systematically progress to a polished
level. By practicing it until you are skillful at it and then working toward its quality of
adaptability, you can succeed at in a year. You thereby can obtain the general idea in the ways
of the sword art. But as for its spiritual aspect, I will tell you in advance that is more difficult
to attain. After learning it, many become too busy with other things and never achieve its
essentials, and then when they put up their hands to fight, they end up controlled by their
opponents. What kind of way is that to value the study of the sword art?
Yet my own knowledge is so limited, whatever I have gotten right in here was by sheer
luck. I sincerely hope the nations experts will give me corrections, for which I would feel
blessed indeed.
written by Li Lingxiao of Cang county [in Hebei], July, 1934

TEN CAUTIONS IN THE TREATMENT OF THE SWORD ART
(These ten things are rarely talked about anymore, but through them we can get a sense of the
painstaking effort of ancient people and come to see this sword art as something precious.)
[1] A variety of sword arts have been passed down since ancient times, but the Kunwu
method is the best of them. You must not look upon it as something ordinary, but should
instead regard it as a treasure.
[2] The sword is an implement that fits well alongside music and literature. There are no
ordinary weapons that can be compared to it. If you are one who cherishes it, you have to
store it in a place that you keep especially clean.
[3] There are only three kinds of people who can be taught the sword art: Confucianists,
Daoists, and strategists, for such people have the required qualities of uprightness and
elegance.
[4] There are many kinds of people who are not to be taught the sword art: those without
honor, the disloyal or unfilial, those without perseverance, those who do not understand the
value of taking caring of oneself, those without a balance between the civil and martial, those
who are looking to make money out of it, those with crass personalities, the street performers,
and bullies. Why? For fear such people would disgrace the integrity of Kunwu.
[5] Five things to avoid in the sword art: 1. bragging, 2. seeking fame, 3. finding enjoyment in
defeating others, 4. finding enjoyment in destroying others, 5. and looking upon life as if it
does not matter.
[6] If someone can be taught yet is not taught, that is a waste of the person. If someone cannot
be taught but is taught anyway, that is a waste of the sword art. When considering whether a
person is right for it, it is better to waste the person than to waste the sword art. It has been
thus since ancient times and is not a stinginess from our own generation.
[7] In teaching the sword art, you first must select the student, and then you must select the
environment. If you are teaching in a messy and distracting place, then even if the student is
one who can indeed be taught, his grasp of it will not be very solid. You will gradually turn
him into a bad student, and the harm you pass down [not just to him but to his future students
and to the future of the art itself] will not be slight.
[8] You need to be cautious. When in the midst of the multitude, you must never lightly show
off in order to win a good reputation. It is likely that the wrong sort of person will see it and
fall in love with it, and then when he is not able to get anything out of it even though he tries,
you will only have caused resentment.
[9] The sword art is such an exceptional thing that it is a source of envy. If you encounter
someone who has not obtained the true teachings yet croons on and on about how great he is
and thinks he knows everything, it is not necessary for you to have an argument with him.
[10] Once you have obtained the authentic teachings, you must then be restrained and
discipline your own temperament. If you encounter someone who does not know what he is
talking about and hastily slanders others, you ought to merely point the way to reducing his
lifetime of confusion. It is not necessary for you to have a bout with him.
ESSENTIALS OF SPARRING WITH THE SWORD
This sword art does not use sealing, propping, or sticking, and yet finds a way in.

I await the opponent with both orthodox techniques and surprises. When I chase after him, I
must control the gateway. I do not allow him to position his hands. Rising and crouching
should be distinct. When I want to go to the left, I first attack to the right. When I you want to
go to the right, I first attack to the left.
If he stabs to my solar plexus, I use SPARKING THE FURNACE to block off the middle.
If he wants to chop to my head, the VINES CLIMBING THE WALL is limitlessly
effective.
If he wants to stab to my knee or foot, I upset his plans with a hanging slash.
If he wants to chop to my leg, a low block is the most obvious thing to do.
If he goes across with a smearing technique to my neck, WIND TUGS THE ROBE will
defeat it.
If he slashes to the inside of my wrist, I whip forth with a smearing technique.
If he chops to my left temple, FLYING INTO THE SKY will stop him above to defeat it.
If he goes for my right temple, closing the door with a low posture is best.
If he wants to stab straight to my hand, the technique of PLUCKING A PLUM is best.
If he wants to get inside an inch, a smear underneath can succeed.
If he wants to slash outward an inch, a smear underneath can pass through his door.
If he attacks two inches inward, a retracting slash will surely work.
If he attacks two inches outward, an outward rolling technique will have the clearest result.
If he attacks three inches inward, to raise outward and stab to his flank is best.
If he attacks three inches outward, CATCHING THE MOUSE is the best technique.
If he attacks four or five inches inward, the yellow dragons head and hands will rush
through.
If he attacks four or five inches outward, THREE STOPPINGS will disperse the wind.
If he employs continuous postures, the rolling technique of SWINGING TAIL will win.
If he slashes inward to my hand, successive techniques of STABBING THE LENGTH OF
THREE MILES will do the trick.
If he slashes outward to my hand, I raise inward and stab to his chest.
For a downward attack, I rain down. For an upward attack, I lift up. There is always a
method whether advancing or retreating. The key techniques are to be practiced until they are
perfected. The postures are often difficult to fully explain, but with hard work there will
naturally be success.
THE KUNWU SWORD METHODS TEN-WORD FORMULA
This sword arts Ten-Word Formula is a very simple list of techniques:

Prop, smear, carry, tap, roll, hook, hang, break, stab, and stand.
The Kunwu sword art was passed down from ancient times. It all comes down to its ten terms.
Prop, smear, carry, tap, roll The sudden gleaming emitted dazzles the opponents eyes as
the sword is wielded, turning over upwards, turning over downwards. As for its techniques,
they are peerless.
Hook, hang, break, stab, stand Attack to the left, to the right, fast as lighting. Whether
rolling upward, twining in the middle, or breaking downward, inside there is circling.
When applying propping or smearing, you should stand and rotate. As for its body
methods, they should be nimble. There is firstly the slanting of the torso and the twisting of
the stance, and then there is lightness and heaviness, lengthening and shortening.
But these are hollow words when discussed only on paper. If you are to learn the sword,
obtain genuine teaching. With personal instruction, skill will naturally be trained.
SOME SWORD PRINCIPLES THAT MUST BE UNDERSTOOD
1. The length of the sword is three feet, the final inch being the tip. You must hold the sword
in an adjustable grip. The livelier the grip, the livelier the sword will twirl. Therefore on the
subject of sword methods, they succeed entirely through artistry. The sword leads the way and
the body follows along with it. Make sure body and sword are merged as one, and then you
will be able to perform with your hand as is in your mind.
2. Begin by practicing static postures until they are stable. Then perform them slowly and
without effort. It is like practicing calligraphy: if the framing of your characters is not
consistent, your calligraphy will be utterly unworkable. If you practice until you are skillful,
then whether fast or slow, you will naturally be able to perform them with the right balance.
Do not be misled by the advice of onlookers in your hopes of getting there faster.
3. The highest sword method does not use sealing, propping, or sticking, and yet finds a way
in wondrously. This is not to say that the sword is not to be used at all when combating with
an opponent. It is because I control the opponents wrist once he puts out his hand that I can
then easily stab forward, and so there is no need for me to seal him off, prop him away, or
stick to him.
4. Many of the sword postures have a slanting torso or a twisting stance, which depends
entirely on the waist. If you are unable to use your waist, ninety percent of the sword arts
effectiveness will have been cast aside.
5. Mind, eye, torso, hand, and step are all to act in unison. Particular attention is given to this
in all boxing arts, and since it is the same in the sword arts, you must not neglect it.
6. The photos in this book are all of static postures. The technique that is applied happens for
the most part between postures. You must carefully ponder in order to get the route along
which the sword travels to be constantly swirling. If you are completely without moments in
which your feet are getting stuck, then you will get it.
A FEW POINTS ABOUT USING THIS BOOK

1.
To each of the postures that follow are attached poetic lyrics describing the postures
application. The photo that follows it shows the posture at the completion of its application.
2.
With each posture is included potential follow-up techniques for all three heights high,
middle, low so that upon applying a technique you can then respond according to the
situation.
3.
The footwork charts are displayed in ten separate sections for you to be able to refer to them.
Although there is a method for each of the stance changes, it is assumed you have a grounding
in the fundamentals of boxing arts, and so they are not repeated here. [i.e. While this book
uses terms such as bow stance, horse-riding stance, stealth stance, and so on, it never
explains or defines them, expecting you to already understand the terms through your
foundation training or to find out about them from other books.]
4.
The orientation of the postures as they appear in the photos corresponds to the explanation for
the footwork charts so that you can cross-reference between them to get a clearer idea. [i.e.
They are both aligned with each other consistently in that the charts are all oriented the same
way with each other and the photos have all been taken with the camera pointing north. (But
be warned that the consistency goes little further than that, for the footwork charts are rather
unexacting as to the orientations of head, torso, and even feet, being a somewhat looser
depiction of what is going on than the photos and movement descriptions.)]
This is not to say the orientation cannot be changed. [i.e. It does not matter which direction
you are initially facing as long as the rest of the set is consistent with the initial direction.]
5.
For the application of each posture, observe the circumstances that precede and follow it.
Then when you have learned a posture, it will not be difficult to realize how it is meant to be
done.
6.
The photos are all of static postures. The route along which the sword moves between them is
too hard to photograph, and so you will have to examine the movement explanations to get at
that aspect.
7.
For every posture in the set, there are listed three follow-up techniques. Thus the techniques
of the flowingly danced sword routine described below are triple-layered for combat. You
need to be aware of this.
CONTENTS
Section One

Posture 1: PRESENTING THE SWORD BEFORE THE GATE

Posture 2: TAKING THE SWORD ACROSS TO CHECK HIS WRIST

Posture 3: DRAGONFLY SKIMS THE WATER

Posture 4: CROUCHING TIGER POSTURE

Posture 5: IMMORTAL POINTS THE WAY

Posture 6: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 1

Posture 7: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 2

Posture 8: WHITE CRANE SHOWS ITS WINGS

Posture 9: GOLDEN NEEDLE INTO THE GROUND

Posture 10: POWERFUL CHOP THROUGH MT. HUA

Posture 11: BEADED CURTAIN IS ROLLED AWAY Part 1

Posture 12: BEADED CURTAIN IS ROLLED AWAY Part 2

Posture 13: A THOUSAND POUNDS DROP TO THE GROUND Part 1

Posture 14: A THOUSAND POUNDS DROP TO THE GROUND Part 2

Posture 15: SMEARING TECHNIQUE WITH ASSISTING HAND

Posture 16: PROPITIOUS CLOUDS CARRY THE SUN
Section Two

Posture 17: IMMORTAL GOES INTO HIS CAVE

Posture 18: DRAGONFLY SKIMS THE WATER
Section Three


Posture 20: ICICLE HANGING FROM THE EAVES

Posture 21: INWARD SPARKING-THE-GOLDEN-FURNACE

Posture 22: OUTWARD SPARKING-THE-GOLDEN-FURNACE

Posture 23: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 1


Section Four


Posture 27: YELLOW DRAGON SWINGS ITS TAIL Part 1





Posture 32: TAO YUANMING PLUCKS A CHRYSANTHEMUM






Posture 38: TAO YUANMING PLUCKS A CHRYSANTHEMUM

Posture 39: TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER
Part 1

Posture 40: TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER
Part 2

Posture 41: NIGHT DEMON SEARCHES THE SEA
Section Five

Posture 42: GAZING UPON BEAUTIFUL CLOUDS

Posture 43: QUICK CAT CATCHES THE MOUSE

Posture 44: MAGPIES FLY INTO THE SKY

Posture 45: MENG HAORAN PLUCKS A PLUM
Section Six

Posture 46: SWORD STABS THE LENGTH OF A MILE Part 1

Posture 47: SWORD STABS THE LENGTH OF A MILE Part 2

Posture 48: INSERTING A STICK OF INCENSE INTO LEVEL GROUND

Posture 49: VINES CLIMBING THE WALL

Posture 50: COVER IN FRONT & BLOCK BEHIND Part 1

Posture 51: COVER IN FRONT & BLOCK BEHIND Part 2

Posture 52: WIND TUGS AT THE ROBE Part 1

Posture 53: WIND TUGS AT THE ROBE Part 2

Posture 54: SLAMMING DOWN MONEY
Section Seven

Posture 55: CONTINUOUS SWORD Part 1



Section Eight

Posture 59: PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part
1

2

3

Posture 62: RUNNING HORSE LOOKS BEHIND Part 1

Posture 63: RUNNING HORSE LOOKS BEHIND Part 2

Posture 64: THREE STOPPINGS Part 1



Posture 67: WHITE HORSE PARTS ITS MANE Part 1

Posture 68: WHITE HORSE PARTS ITS MANE Part 2
Section Nine

Posture 69: QUICKEN THE HORSE WITH MORE WHIPPING

Posture 70: FLOCK OF GEESE GOING OVER THE SEA

Posture 71: WINGED SERPENT FLICKS ITS TONGUE Part 1

Posture 72: WINGED SERPENT FLICKS ITS TONGUE Part 2
Section Ten

Posture 73: NOBLEMAN HANGS UP HIS SEAL Part 1

Posture 74: NOBLEMAN HANGS UP HIS SEAL Part 2

Posture 75: FLOWER HIDDEN UNDER THE LEAF

Posture 76: YELLOW DRAGON TURNS AROUND

Appendix: Explanations for Kunwu Swords Ten Techniques
KUNWU SWORD FOOTWORK CHARTS
Go back and forth [five times] for a total of ten sections.
(Explanation)
1.
For each chart, east is at the top. [When reading the actual book, west is actually at the top.
The images have been turned sideways for this translation, and so north now appears to be at
the top, aligning them closer to the photographs.] When practicing, always begin in the east.
2.
Left and Right are constant, but when stepping to a new place, the order of the steps
follows in sequence in the manner of Left 1, Right 2, Left 3, Right 4, etc.
SECTION 1 (stepping from east to west):

Stance 1: Right 0, Left 0 feet together [Posture 1]
Stance 2: Left 1, Right 2 pointed stance [Posture 2]
Stance 4: Right 4, Left 5 pointed stance [Posture 4]
Stance 5: Right 4, Left 6 bow stance [Posture 5]
Stance 6: Right 4, Left 7 twisted stance [Posture 6]
Stance 7: Left 7, Right 8 bow stance [Posture 7]
Stance 9: Right 10 (advancing into pointed stance), Left 10 [11], Right 12 pointed stance
[Posture 9]
Stance 10: Right 13 (walking step), Left 14 (advancing), Right 15 feet together [Posture 10]
Stance 13: Right 18, Left 20 pointed stance [feet together] [Posture 13]
Stance 16: Left 23, Right 24 feet together [Posture 16]

SECTION 2 (stepping from west to east):
Stance 1: Right 1 (lift then come down to the east [Right 2]), Left 3 (jumping step), Right 4
(advancing) horse-riding stance [Posture 17]

Stance 2: Left 3, Right 4 horse-riding stance [Posture 20]
Stance 3: Right 4, Left 5 pointed stance [Postures 21-23]
Stance 4: Right 6, Left 7, Right 8 walking steps [Posture 24&25 (three times)]
Stance 5: Left 9, Right 10 feet together [Posture 25 (as static posture)]

Stance 1: Right 2 [1], Left 2 pointed stance [Posture 26]
Stance 3: Left 4, Right 5 bow stance [Postures 28-30]
Stance 4: Left 6, Right 7 pointed stance [Postures 31&32]
Stance 6: Left 9, Right 10 bow stance [Postures 34-36]
Stance 7: Left 11, Right 12 pointed stance [Postures 37-39]
Stance 9: Right 15 one-legged stance [Posture 41]

Stance 5: Left 8 one-legged stance [Posture 46]

Stance 1: Right jump with Left advance, Left 1, Right 2 horse-riding stance [Posture 47]
Stance 3: Left 4, Right 5 bow stance [Postures 49&50]
Stance 5: Left 7, Right 5 bow stance [Postures 52&53]

Stance 1: Right 1, Left 2 stealth stance [Posture 55 (Left 2 also for one-legged Posture 57]
Stance 2: Right 3, Left 4 stealth stance [Posture 56]
Stance 3: Right 5, Left 6 walking steps [Posture 58]
Stance 4: Left 6, Right 7 stealth stance [Posture 58 cont.]
Stance 5: Left 6, Right 8 horse-riding stance [Posture 58 cont.]
Stance 6: Right 9 one-legged stance [Posture 59]
Stance 1: Right 1, Left 2 bow stance [Postures 60&61]
Stance 3: Left 3, Right 4 twisted stance [Posture 62 cont.]
Stance 4: Right 4, Left 5 twisted stance [Posture 63]
Stance 5: Left 5, Right 6 bow stance [Posture 63 cont.]

Stance 7: Right 8, Left 9 walking steps [Postures 65&66]
Stance 8: Right 10, Left 11 stealth stance [Posture 67]
Stance 10: Left 13, Right 14 horse-riding stance [Posture 68 cont.]
Stance 1: Right 1, Left 2 bow stance [Postures 69&70]
Stance 3: Right 4, Left 5, Right 6 walking steps [Posture 72]
Stance 4: Left 7, Right 8 feet together [Posture 72 cont.]

Stance 1: Right 1, Left 2 pointed stance [Posture 73 (Left 2 for one-legged Posture 74)]
Stance 2: Right 3 (jumping), Left 4, Right 5 bow stance [Postures 75]

POSTURE 1: PRESENTING THE SWORD BEFORE THE GATE

Lyrics:
An opponent attacks with a stab to my arm.

I use TAKING THE SWORD ACROSS TO CHECK HIS WRIST while retreating to the west.
I begin in the east, facing to the north, feet together. My left hand is grasped into a fist, right
hand holding my sword horizontal in front of my waist, the edges up and down. The sword tip
and my face are both facing to the west. This is PRESENTING THE SWORD BEFORE THE
GATE.
(Techniques that follow from it for each of the three levels high, middle, low could be:
high GAZING UPON BEAUTIFUL CLOUDS, middle TAKING THE SWORD
ACROSS TO CHECK HIS WRIST, low NIGHT DEMON SEARCHES THE SEA.)
If the opponent attacks with a stab to my right arm, my left leg withdraws a half step to the
west, my torso goes along with my sword as it turns to point to the east, my right leg now
forward making a pointed stance as my sword goes across with a checking technique to the
outside of his wrist. This posture is as in the photo below:

POSTURE 2: TAKING THE SWORD ACROSS TO CHECK HIS WRIST
Lyrics:
The opponent attacks with a stab to my knee.

I use DRAGONFLY SKIMS THE WATER to drop downward.
The posture is now facing to the east. My right hand is holding my sword, the tip pointing
diagonally upward, slightly higher than my headtop, the spine of the sword directly in front of
my face. I am using my sword to perform a checking technique to the outside of the
opponents wrist, while my left hand, formed as a swordsmans hex, is placed in front of and
above my head. This is TAKING THE SWORD ACROSS TO CHECK HIS WRIST.
(Techniques that follow from it for each of the three levels could be: high MAGPIES
FLY INTO THE SKY, middle DRAGONFLY SKIMS THE WATER, low TAO
YUANMING PLUCKS A CHRYSANTHEMUM.)
If the opponent attacks with a stab to my knee, my right foot retreats to stand next to my
left foot and my sword tip goes downward with a tapping technique to his wrist, my left hand
assisting at my right wrist. This posture is as in the photo below:

POSTURE 3: DRAGONFLY SKIMS THE WATER
Lyrics:
If an opponent attacks from behind,

I use CROUCHING TIGER POSTURE to await him without wavering.
The posture is now facing to the east, feet together. My right hand is sending my sword
downward with a tapping technique, the more diagonally downward the better, my left hand
assisting at my right wrist. This is DRAGONFLY SKIMS THE WATER.
(Techniques that follow from it for each of the three levels could be: high INSERTING
A STICK OF INCENSE INTO LEVEL GROUND, middle CROUCHING TIGER
POSTURE, low BEADED CURTAIN IS ROLLED AWAY.)
If an opponent attacks from behind, my right leg withdraws to the east and I sit, my left leg
forward making a pointed stance, while my body turns along with my sword so that I am
facing west, and I make the CROUCHING TIGER POSTURE to await him. This posture is
as in the photo below:

POSTURE 4: CROUCHING TIGER POSTURE
Lyrics:
The opponent attacks with a stab to my left wrist.

I use IMMORTAL POINTS THE WAY to stab to his chest.
The posture is now facing to the west. My right hand is holding my sword, the tip hanging
down and slanted slightly forward, prepared to be thrust out. My left hand, formed as a
swordsmans hex, is directly in front of my face. My left leg is forward making a pointed
stance. This is CROUCHING TIGER POSTURE.
(Techniques that follow from it for each of the three levels could be: high WIND TUGS
AT THE ROBE, middle IMMORTAL POINTS THE WAY, low TRYING TO SCOOP
THE MOONS REFLECTION FROM THE WATER.)
If the opponent attacks with a stab to my left wrist, I withdraw my left hand and step my
left leg forward into a bow stance toward the southwest. At the same time, I send my sword
forward with a level stab to his chest. This posture is as in the photo below:

POSTURE 5: IMMORTAL POINTS THE WAY
Lyrics:
The opponent attacks with a stab to my left shoulder.

I use FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER to prop up continuing
into hooking away.
The posture is now facing to the southwest, my legs making a bow stance. My right hand
sends my sword forward in a level stab, my left hand assisting at my right wrist. This is
IMMORTAL POINTS THE WAY.
(Techniques that follow from it for each of the three levels could be: high WHITE
CRANE SPREADS ITS WINGS, middle FISHERMAN EXAMINES FOR WHERE TO
CROSS THE RIVER, low TRYING TO SCOOP THE MOONS REFLECTION FROM
THE WATER.)
If the opponent attacks with a stab to my left shoulder, I send my sword upward with a
propping technique to his wrist. He retracts his stab, so I send my sword downward to his
wrist with a hooking technique, my torso at the same time turning along with my sword. With
my torso slanting and my stance twisting, my sword and left hand spread apart to be hanging
down below my ribs on either side, ready to go forward with a level stab. This posture is as in
the photo below:

POSTURE 6: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 1

Lyrics:
The opponent attacks with a stab to my left ribs.

I use FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER to twist my torso while
retreating.
The posture is now facing to the southwest, torso squared to the northwest. My right leg is
standing bent, my left leg lifted to the forward right. My torso is slanted, my stance twisted.
My left hand is formed as a swordsmans hex and my right hand is holding my sword in
readiness to make a level stab. It is the appearance of a fisherman examining for where to
cross the river. This is the first movement of FISHERMAN EXAMINES FOR WHERE TO
CROSS THE RIVER.
If the opponent attacks with a stab to my left ribs, my left leg comes down, my right leg
steps forward to the west into a bow stance, and my torso goes along with my sword as it
stabs forward to his chest, my left hand assisting at my right wrist. This posture is as in the
photo below:

POSTURE 7: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 2

Lyrics:
The opponent attacks with a stab to my right shoulder.

I use WHITE CRANE SHOWS ITS WINGS to turn over to the rear.
The posture is now facing to the southwest. My right hand is sending my sword forward with
a level stab, my left hand assisting at my right wrist. My right leg is forward making a bow
stance. This is the freeze-frame posture of FISHERMAN EXAMINES FOR WHERE TO
CROSS THE RIVER [unlike Part 1 which does not pause in a pose].
CRANE SHOWS ITS WINGS, middle WIND TUGS AT THE ROBE, low SWORD
STABS THE LENGTH OF A MILE.)
If the opponent attacks with a stab to my right shoulder, my right leg steps diagonally
forward and my left foot follows forward to stand next to my right foot, while my arms spread
horizontally, my sword flashing to the rear. This posture is as in the photo below:

POSTURE 8: WHITE CRANE SHOWS ITS WINGS

Lyrics:
The opponent attacks with a stab to my leg.

I use GOLDEN NEEDLE INTO THE GROUND to follow it downward.
The posture is now facing to the southwest. My right hand sends my sword flashing slightly
to the rear, the sword body flat and straight. My left hand, formed as a swordsmans hex, is
extended level with my right hand. My feet are together. This is WHITE CRANE SHOWS
ITS WINGS.
(Techniques that follow from it for each of the three levels could be: high POWERFUL
CHOP THROUGH MT. HUA, middle VINES CLIMBING THE WALL, low GOLDEN
NEEDLE INTO THE GROUND.)
If the opponent attacks with a stab to my right thigh, my right leg steps forward while my
sword follows the posture downward with a tapping technique. There is a slight pause, then
my left leg jumps to the south [and my right leg follows to make a pointed stance]. At the
same time, my right hand sends my sword rushing through upward [coordinated with my left
leg], then stabbing downward to the lower left [coordinated with my right leg], my left hand

POSTURE 9: GOLDEN NEEDLE INTO THE GROUND

Lyrics:

I perform POWERFUL CHOP THROUGH MT. HUA without delay.
The posture is now facing to the west. My right hand is holding my sword, the tip pointing
downward, my left hand assisting at my right wrist. My right leg is forward making a pointed
stance. This is GOLDEN NEEDLE INTO THE GROUND.
CHOP THROUGH MT. HUA, middle PLUCK AWAY THE STARS & REPLACE THEM
WITH THE MOON, low QUICKEN THE HORSE WITH MORE WHIPPING.)
If the opponent attacks with a stab to my right shoulder, my right leg steps forward to the
northwest, my left foot goes forward to stand next to my right foot, and my right hand uses
my sword to perform a chopping technique onto his wrist. This posture is as in the photo
below:

POSTURE 10: POWERFUL CHOP THROUGH MT. HUA

Lyrics:
An opponent makes a surprise attack from behind.

I use BEADED CURTAIN IS ROLLED AWAY to turn around and wipe him away.
The posture is now facing to the northwest. My right hand is sending my sword forward with
a tapping technique. My left hand as a swordsmans hex is placed in front of my forehead
[although the photo shows it at the wrist]. My feet are together. This is POWERFUL CHOP
THROUGH MT. HUA.
CRANE SHOWS ITS WINGS, middle BEADED CURTAIN IS ROLLED AWAY, low
TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER.)
If an opponent comes from behind with a low stab, my right leg takes a half step forward,
my body goes along with my sword by turning around to the left for it to oppose him with a
checking technique to his wrist, my left hand assisting at my right wrist, while my left leg
pulls back to make a pointed stance. This posture is as in the photo below:

POSTURE 11: BEADED CURTAIN IS ROLLED AWAY Part 1

Lyrics:
The opponent attacks with a stab to my face.

I use BEADED CURTAIN IS ROLLED AWAY to prop then hook to his wrist.
The posture is now facing to the east. My right hand is holding my sword, the tip slightly
lowered forward, edges to the left and right, my left hand assisting at my right wrist. My torso
is slightly leaning forward. My left leg is forward making a pointed stance. This is the first
movement of BEADED CURTAIN IS ROLLED AWAY.
(Techniques that follow from it for each of the three levels could be: high GAZING
UPON BEAUTIFUL CLOUDS, middle BEADED CURTAIN IS ROLLED AWAY, low
A THOUSAND POUNDS DROP TO THE GROUND.)
If the opponent attacks with a stab to my face, drawing it back to continue with stabs to the
middle and below, I use a propping technique against the high stab, a hooking technique
against the middle stab, and a checking technique to his wrist to counter the low stab. These
three actions are continuous and are very obvious techniques. During the hooking technique,
my left leg jumps back a step, then once the posture settles [after also stepping back my right
leg so my left is making the pointed stance], the same downward check immediately comes
out. This posture has techniques that move both inward and outward, and this is thus the
second movement, but it ends up in the same posture as before.

POSTURE 12: BEADED CURTAIN IS ROLLED AWAY Part 2

Lyrics:

I use A THOUSAND POUNDS DROP TO THE GROUND to retreat to the right.
The posture is as before and so is not described again here.

(Techniques that follow from it for each of the three levels could be: high PROPITIOUS
CLOUDS CARRY THE SUN [A THOUSAND POUNDS DROP TO THE GROUND],
middle BEADED CURTAIN IS ROLLED AWAY, low FLOWER HIDDEN UNDER
THE LEAF.)
If an opponent attacks from behind with a stab to my left arm, my body goes along with
my sword, turning around to the right rear as it goes across with a checking technique to his
wrist, my left foot moving to stand next to my right foot. The sword tip is pointing straight up,
my left hand formed as a swordsmans hex placed over my headtop. This posture is as in the
photo below:

POSTURE 13: A THOUSAND POUNDS DROP TO THE GROUND Part 1
Lyrics:
The opponent attacks with a propping technique to my wrist.

I use A THOUSAND POUNDS DROP TO THE GROUND to turn over to the left.
straight up, my left hand as a swordsmans hex placed above my headtop. My feet are
together, my upper body leaning to the right rear. This is the first movement of A
THOUSAND POUNDS DROP TO THE GROUND.
AT THE ROBE, middle RUNNING HORSE LOOKS BEHIND, low A THOUSAND
POUNDS DROP TO THE GROUND.)
If the opponent does a propping technique under my wrist, my right hand gathers my
sword forward, my left hand assisting at my right wrist, while my left leg jumps to the left and
my right leg follows to make a pointed stance. This posture is as in the photo below:

POSTURE 14: A THOUSAND POUNDS DROP TO THE GROUND Part 2
Lyrics:

I use SMEARING TECHNIQUE WITH ASSISTING HAND to attack forward.
straight up, my left hand assisting at my right wrist. My right leg is forward making a pointed
stance. This is the second movement of A THOUSAND POUNDS DROP TO THE
GROUND.
FLY INTO THE SKY [SMEARING TECHNIQUE WITH ASSISTING HAND], middle
MENG HAORAN PLUCKS A PLUM, low A THOUSAND POUNDS DROP TO THE
GROUND.)
If the opponent attacks with a stab to my right shoulder, my torso goes along with my
sword as it moves forward performing a smearing technique, sweeping across and pressing
down on his wrist, my left hand assisting at my right wrist, while my left leg steps forward
into a bow stance. This posture is as in the photo below:

POSTURE 15: SMEARING TECHNIQUE WITH ASSISTING HAND
Lyrics:
The opponent attacks with a stab to my chest.

I use PROPITIOUS CLOUDS CARRY THE SUN to hook and smear.
The posture is now facing to the west. My right hand is holding my sword, which is level in
front of me pushing down on the opponents wrist, my left hand assisting at my right wrist.
My left leg is forward making a bow stance. This is SMEARING TECHNIQUE WITH
ASSISTING HAND.
A STICK OF INCENSE INTO LEVEL GROUND, middle PROPITIOUS CLOUDS
CARRY THE SUN, low NIGHT DEMON SEARCHES THE SEA.)
If the opponent attacks with a stab to my chest, my torso slightly leans back as I use a
hooking technique to catch his wrist. He stabs again, so I use a carrying technique as my right
foot moves to stand next to my left foot. This posture is as in the photo below:

POSTURE 16: PROPITIOUS CLOUDS CARRY THE SUN
Lyrics:
The opponent attacks with a stab to my back.

I use IMMORTAL GOES INTO HIS CAVE to whirl around and chase him.
The posture is now facing to the west. My right hand is holding my sword, performing a level
carrying technique, the tip pointing forward, my left hand assisting at my right wrist. My feet
are together. This is PROPITIOUS CLOUDS CARRY THE SUN.
CHOP THROUGH MT. HUA, middle IMMORTAL GOES INTO HIS CAVE, low
FLOWER HIDDEN UNDER THE LEAF.)
If the opponent attacks with a stab to my back, my right hand lifts my sword to perform a
hooking technique as my right leg lifts and my body turns to the right along with my sword.
When my right leg comes down, my left leg then does a jumping step forward, my body turns
around another turn [as my right leg advances] to make a horse-riding stance. While my left
leg is jumping, my left hand draws a circle from below which will finally arrive as a
swordsmans hex in front of my headtop. This posture is as in the photo below:

POSTURE 17: IMMORTAL GOES INTO HIS CAVE
Lyrics:
The opponent attacks with a checking technique to my wrist.

I perform DRAGONFLY SKIMS THE WATER without delay.
The posture is now facing to the east, torso squared to the north. My right hand is holding my
sword, the sword body level, tip pointing to the north. My sword and my right arm are making
a triangle [from tip to shoulder to hand to tip]. My left hand as a swordsmans hex is placed in
front of my headtop. My legs are making a horse-riding stance. This is IMMORTAL GOES
INTO HIS CAVE.
(Techniques that follow from it for each of the three levels could be: high NOBLEMAN
HANGS UP HIS SEAL, middle DRAGONFLY SKIMS THE WATER, low QUICK CAT
CATCHES THE MOUSE.)
If the opponent attacks with a checking technique to the outside of my wrist, I withdraw
my sword horizontally, then follow the posture downward with a tapping technique, my left
hand assisting at my right wrist, while my left foot goes forward to stand next to my right
foot. This posture is the same as in Posture 3.

POSTURE 18: DRAGONFLY SKIMS THE WATER

Lyrics:
If an opponent counterattacks from the west,

I use CROUCHING TIGER POSTURE to watch for an opportunity.
This posture is as before and so its description is not repeated here.

(Techniques that follow from it for each of the three levels could be: high YELLOW
DRAGON TURNS AROUND, middle CROUCHING TIGER POSTURE, low FLOCK
OF GEESE GOING OVER THE SEA.)
If the opponent counterattacks from the west, I make the CROUCHING TIGER
POSTURE to await what he will do next. This posture is the same as in Posture 4.

Lyrics:

I use ICICLE HANGING FROM THE EAVES to prop under his wrist.
CROUCHING TIGER POSTURE is as before, but this time can be followed by ICICLE
HANGING FROM THE EAVES.
If the opponent attacks with a stab to my face, I send my sword up with a propping
technique under his wrist, then draw a circle from above to below while my body goes along
with my sword by advancing [left leg then right leg]. My right hand is arcing my sword
through the rest of the circle from my left side as my legs make a horse-riding stance. This
posture is as in the photo below:

POSTURE 20: ICICLE HANGS FROM THE EAVES

Lyrics:

I use INWARD SPARKING-THE-GOLDEN-FURNACE to get in first.
The posture is now facing to the south. My right hand is holding my sword, the tip hanging
down. My left hand as a swordsmans hex is placed in front of my headtop. My legs are
making a horse-riding stance. This is ICICLE HANGING FROM THE EAVES.
FLY INTO THE SKY, middle INWARD SPARKING-THE-GOLDEN-FURNACE, low
QUICKEN THE HORSE WITH MORE WHIPPING.)
If the opponent attacks with a stab to my left shoulder, my body goes along with my sword
as it goes to the left with a propping technique under his wrist, and my right leg goes along
with my sword by lifting to the east. This posture is as in the photo below:

POSTURE 21: INWARD SPARKING-THE-GOLDEN-FURNACE

Lyrics:
An opponent behind me stabs to my waist.

I use OUTWARD SPARKING-THE-GOLDEN-FURNACE to hang, prop, or lift.
The posture is now facing to the east. My right hand is holding my sword, performing a level
propping technique, the tip pointing forward, my left hand assisting at my right wrist. My
right leg is lifted in front, my left leg standing straight [bent]. This is INWARD SPARKINGTHE-GOLDEN-FURNACE.
(Techniques that follow from it for each of the three levels could be: high SLAMMING
DOWN MONEY, middle OUTWARD SPARKING-THE-GOLDEN-FURNACE, low
COVER IN FRONT & BLOCK BEHIND.)
If an opponent attacks from behind with a stab to my waist, my sword goes to the rear with
a lifting technique from below to catch his wrist, my left hand assisting at my right wrist,
while my right leg [comes down and] goes along with my sword as it turns around [to the left]
to face to the west [and my left leg lifts]. This posture is as in the photo below:

POSTURE 22: OUTWARD SPARKING-THE-GOLDEN-FURNACE

Lyrics:

I use GOLDEN ROOSTER PECKS WITH ITS HEAD to turn over upward.
forward, my left hand assisting at my right wrist. My left leg is lifted in front, my right leg
standing straight [bent] behind. This is OUTWARD SPARKING-THE-GOLDENFURNACE.
CRANE SHOWS ITS WINGS, middle GOLDEN ROOSTER PECKS WITH ITS HEAD,
low GOLDEN NEEDLE INTO THE GROUND.)
If the opponent attacks with a stab to my face, I send my sword tip upward with a hanging
technique to his wrist, my left hand assisting at my right wrist. At the same time, my left leg
comes down. This posture is as in the photo below:

POSTURE 23: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 1

Lyrics:
The opponent attacks with a stab to my midsection.

I use GOLDEN ROOSTER PECKS WITH ITS HEAD to turn over downward.
The posture is now facing to the west. My right hand is holding my sword so the tip is
pointing diagonally upward, my left hand assisting at my right wrist. My left leg is forward
making a pointed stance. With the step that follows, there is a tapping technique that happens
with it. This is the first movement of GOLDEN ROOSTER PECKS WITH ITS HEAD.
(Techniques that follow from it for each of the three levels could be: high GOLDEN
ROOSTER PECKS WITH ITS HEAD, middle GOLDEN ROOSTER PECKS WITH ITS
HEAD, low A THOUSAND POUNDS DROP TO THE GROUND.)
If the opponent attacks with a stab to my chest, I send my sword downward with a tapping
technique to his wrist, my left hand assisting at my right wrist, while my left leg takes all the
weight and my right leg lifts. This posture is as in the photo below:


Lyrics:
The opponent attacks with stabs high and low.

I use GOLDEN ROOSTER PECKS WITH ITS HEAD to turn over upward and downward.
The posture is now facing to the west. My right hand is sending my sword downward with a
tapping technique, my left hand assisting at my right wrist. My left leg is forward in a chasing
posture, stepping along with the sword tip as it lifts and taps to the opponents wrist. This is
the second movement of GOLDEN ROOSTER PECKS WITH ITS HEAD.
(Techniques that follow from it for each of the three levels could be: high GOLDEN
ROOSTER PECKS WITH ITS HEAD, middle GOLDEN ROOSTER PECKS WITH ITS
HEAD, low QUICK CAT CATCHES THE MOUSE.)
If the opponent taps down from above, I send my sword tip upward with a hanging
technique to his wrist. At the same time, my right foot goes forward to stand next to my left
foot. This posture is as in the photo below:


Lyrics:
The opponent goes along with the posture and turns over to end up behind me.
I use CROUCHING TIGER POSTURE as before to follow his changes.
diagonally upward, my left hand assisting at my right wrist. My feet are together. This is the
third movement of GOLDEN ROOSTER PECKS WITH ITS HEAD.
(Techniques that follow from it for each of the three levels could be: high PROPITIOUS
CLOUDS CARRY THE SUN, middle CROUCHING TIGER POSTURE, low NIGHT
DEMON SEARCHES THE SEA.)
If an opponent attacks from the left rear, I then withdraw my right leg a half step to the
west, turning around and making the CROUCHING TIGER POSTURE to await him.
Note: GOLDEN ROOSTER PECKS WITH ITS HEAD [Parts 1&2] can be performed
continuously three times, switching to a static posture with the last one.


Lyrics:

I use YELLOW DRAGON SWINGS ITS TAIL to prop and roll.
The posture is now facing to the southeast. It is the same as in Posture 4, but in this photo the
grasping of the sword is more noticeable.
HORSE PARTS ITS MANE, middle YELLOW DRAGON SWINGS ITS TAIL, low
FLOCK OF GEESE GOING OVER THE SEA.)
If the opponent attacks with a level stab, my right leg steps forward into a bow stance as I
bring my sword across to do a checking technique to the inside of his wrist. This posture is as
in the photo below:

POSTURE 27: YELLOW DRAGON SWINGS ITS TAIL Part 1

Lyrics:
The opponent attacks high.

I counter with YELLOW DRAGON SWINGS ITS TAIL to prop and carry.
The posture is now facing to the southeast. My right hand is holding my sword, the tip
hanging diagonally forward and downward, my left hand assisting at my right wrist. My left
[right] leg is forward making a bow stance. This is the first movement of YELLOW
DRAGON SWINGS ITS TAIL.
DRAGON SWINGS ITS TAIL, middle SWORD STABS THE LENGTH OF A MILE, low
NIGHT DEMON SEARCHES THE SEA.)
If the opponent does a high sweeping technique to my face, I revolve my sword into a
rolling technique to catch his wrist (If it is higher, I use a propping technique, or if lower, a
carrying technique.), my left hand assisting at my right wrist, while lifting my right leg. This


Lyrics:
The opponent attacks with a low stab.

I use YELLOW DRAGON SWINGS ITS TAIL to hook and then return a stab.
The posture is now facing to the southeast. My right hand is propping with my sword
horizontally, the tip pointing forward, my left hand assisting at my right wrist. My left leg is
standing straight behind, right leg lifted. This is the second movement of YELLOW
FLY INTO THE SKY, middle YELLOW DRAGON SWINGS ITS TAIL, low FLOWER
HIDDEN UNDER THE LEAF.)
If the opponent attacks with a low stab, I lean my torso and send my sword downward with
a hooking smearing technique to his wrist. Then my right leg lunges forward into a bow
stance while I shoot out my sword with a stab to his knee, my left hand as a swordsmans hex
placed in front of my headtop. This posture is as in the photo below:


Lyrics:

I use YELLOW DRAGON SWINGS ITS TAIL to lift up under his wrist.
The posture is now facing to the southeast. My right hand is sending my sword forward and
downward with a stab, the edges up and down. My left hand as a swordsmans hex is placed
in front of my headtop. My right leg is forward making a bow stance. This is the third
movement of YELLOW DRAGON SWINGS ITS TAIL.
DRAGON SWINGS ITS TAIL, middle RUNNING HORSE LOOKS BEHIND, low
RETREAT, SPARKING THE GOLDEN FURNACE.)
If the opponent attacks with a stab to my head, my torso goes along with my sword as it
goes upward with a hanging technique lifting to his wrist, while my left hand as a
swordsmans hex makes a circle from above to below to again be placed in front of my head,
my left leg bending to the west to make a reverse bow stance. This posture is as in the photo
below:


Lyrics:
The opponent attacks with a stab to my waist.

I use YELLOW DRAGON SWINGS ITS TAIL to prop and lift.
The posture is now facing to the east, torso inclining to the northwest. My right hand is
holding my sword, the tip pointing diagonally upward. My left hand as a swordsmans hex is
in front of my head. My left leg is in front [behind] making a reverse bow stance. This is the
fourth movement of YELLOW DRAGON SWINGS ITS TAIL.
AT THE ROBE, middle YELLOW DRAGON SWINGS ITS TAIL, low TRYING TO
SCOOP THE MOONS REFLECTION FROM THE WATER.)
If the opponent attacks with a stab to my waist, I withdraw my sword with a sweeping
action to his wrist, embracing my sword in front of my chest while lifting my right leg. This


Lyrics:
The opponent attacks with a stab to my shoulder.

I use TAO YUANMING PLUCKS A CHRYSANTHEMUM to block above and below.
The posture is now facing to the north [northeast]. My right hand is holding my sword,
embracing it in front of my chest, tip pointing forward, my left hand assisting at my right
wrist. My right leg is lifted, left leg standing straight. This is the fifth movement of YELLOW
If the opponent attacks with a stab to my shoulder, my left leg jumps to the west while my
sword raises up toward his wrist and he tries again with a low stab. When my left leg comes
down, I send my sword downward with a checking technique to his wrist, my right leg
forward making a pointed stance. This posture is as in the photo below:

POSTURE 32: TAO YUANMING PLUCKS A CHRYSANTHEMUM

Lyrics:

I use YELLOW DRAGON SWINGS ITS TAIL to prop leading into rolling.
The posture is now facing to the northeast. My right hand is holding my sword, the tip
hanging down toward the right. My right leg is forward making a pointed stance. My left hand
as a swordsmans hex is placed in front of my head. This is TAO YUANMING PLUCKS A
CHRYSANTHEMUM.
(Techniques that follow from it for each of the three levels could be: high
CONTINUOUS SWORD, middle WHITE HORSE PARTS ITS MANE, low YELLOW
DRAGON SWINGS ITS TAIL.)
If the opponent attacks with a stab to my chest, my torso goes along with my sword as it
goes forward and across with a rolling technique to his wrist. My right leg steps forward into
a bow stance and I use my sword to prop and roll as the posture lifts into place, my left hand
assisting at my right wrist. This posture is the same as in Posture 27.





The above five postures are the same as before, therefore there are no photos for them here.
Previously they moved to the southeast and now they are moving to the northeast. The
orientation is different but the movement is the same. Because this is the original structure of
this sword set, it would not be appropriate to trim away these repeated postures.

POSTURE 38: TAO YUANMING PLUCKS A CHRYSANTHEMUM
Lyrics:

I use TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER, which is
wondrous without compare.
The posture is now facing to the northeast. The posture is as described before and so the
description is not repeated here.
UPON BEAUTIFUL CLOUDS, middle WHITE HORSE PARTS ITS MANE, low
If the opponent attacks with a stab to my face, I send my sword upward with a propping
technique to his wrist. This posture is as in the photo below:

POSTURE 39: TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER
Part 1

Lyrics:
If the opponent retreats away,

I use TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER to chase him
with propping and sweeping.
The posture is now facing to the east. My right hand, palm outward, is sending my sword
upward with a propping technique to the opponents wrist, My left hand as a swordsmans
hex is placed in front of my face. My right leg is forward, again making a pointed stance. This
is the first movement of TRYING TO SCOOP THE MOONS REFLECTION FROM THE
WATER.
When practicing the posture, there can be a slight pause, but when applying it, [it continues
right into the next:]
My torso goes along with my sword as it goes forward and upward to prop. At the same
time, my left leg advances with a jumping step [coming down with my right leg advancing
beyond it into a low stance] so I can sweep with my sword to catch his lower body. This

POSTURE 40: TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER
Part 2

Lyrics:

I use NIGHT DEMON SEARCHES THE SEA to block downward.
sword, embraced in front of my hips, the tip pointing to the north [east], my left hand assisting
at my right wrist. My right leg is forward making a spreading stance. This is the second
movement of TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER.
(Techniques that follow from it for each of the three levels could be: high TAKING THE
SWORD ACROSS TO CHECK HIS WRIST, middle CONTINUOUS SWORD, low
NIGHT DEMON SEARCHES THE SEA.)
If the opponent attacks with a stab to my leg, my body goes along with my sword as it rises
and reaches downward with a checking technique to his wrist. This posture is as in the photo
below:

POSTURE 41: NIGHT DEMON SEARCHES THE SEA

Lyrics:

I use GAZING UPON BEAUTIFUL CLOUDS to check to the outside of his wrist.
The posture is now facing to the east. My right hand is holding my sword, performing a
downward checking technique to the opponents wrist. My left hand as a swordsmans hex is
placed in front of my headtop. My right leg is standing in front, left leg lifted behind. This is
NIGHT DEMON SEARCHES THE SEA.
UPON BEAUTIFUL CLOUDS, middle PLUCK AWAY THE STARS & REPLACE
THEM WITH THE MOON, low TAO YUANMING PLUCKS A CHRYSANTHEMUM.)
If the opponent attacks with a stab to my face, my body goes to the rear into a sitting
stance, my sword at the same time going forward and upward with a checking technique to
the outside of his wrist. This posture is as in the photo below:

POSTURE 42: GAZING UPON BEAUTIFUL CLOUDS

Lyrics:

I use QUICK CAT CATCHES THE MOUSE to skillfully tap to his head.
The posture is now facing to the east. My right hand is sending my sword upward with a
checking technique to the opponents wrist, my left hand assisting at my right wrist. My right
leg is forward making a pointed stance. This is GAZING UPON BEAUTIFUL CLOUDS.
Although the names are different, it is actually the same thing as TAKING THE SWORD
ACROSS TO CHECK HIS WRIST.
CRANE SHOWS ITS WINGS, middle PLUCK AWAY THE STARS & REPLACE THEM
WITH THE MOON, low QUICK CAT CATCHES THE MOUSE.)
If the opponent attacks with a stab to my chest, I send my sword downward with an
outward hanging technique to his wrist while my right leg withdraws with a jumping step, my
sword circling from below and turning over upward to tap on top of his head or wrist. My left
leg is pointing to the east making a pointed stance. This posture is as in the photo below:

POSTURE 43: QUICK CAT CATCHES THE MOUSE

Lyrics:

I use MAGPIES FLY INTO THE SKY to prop under his wrist.
downward with a level tapping technique. My left hand as a swordsmans hex is placed in
front of my headtop. My left leg is forward making a pointed stance. This is QUICK CAT
CATCHES THE MOUSE.
FLY INTO THE SKY, middle VINES CLIMBING THE WALL, low CONTINUOUS
SWORD.)
If the opponent attacks with a stab to my face, I retreat my left leg into a bow stance while
using my sword to do a propping technique to his wrist. This posture is as in the photo below:

POSTURE 44: MAGPIES FLY INTO THE SKY

Lyrics:

I use MENG HAORAN PLUCKS A PLUM to do a hooking technique to the outside of his
wrist.
forward, my left hand assisting at my right wrist. My right leg is forward making a bow
stance. This is MAGPIES FLY INTO THE SKY.
(Techniques that follow from it for each of the three levels could be: high
CONTINUOUS SWORD, middle MENG HAORAN PLUCKS A PLUM, low
RUNNING HORSE LOOKS BEHIND.)
If the opponent attacks with a stab to my chest, my right leg withdraws so my left leg is
forward making a pointed stance while I turn over my wrist to do a hooking technique to the
outside of his wrist. This posture is as in the photo below:

POSTURE 45: MENG HAORAN PLUCKS A PLUM
Lyrics:

I use SWORD STABS THE LENGTH OF A MILE, which begins with carrying.
The posture is now facing to the east. My right hand is performing a hooking technique with
my sword, the tip pointing forward. My left hand as a swordsmans hex is placed in front of
my head. My left leg is forward making a pointed stance. This is MENG HAORAN PLUCKS
A PLUM.
DOWN MONEY, middle SWORD STABS THE LENGTH OF A MILE, low TAO
YUANMING PLUCKS A CHRYSANTHEMUM.)
If the opponent attacks with a stab to my chest, I use my sword to do a carrying technique
to his wrist, my left leg retreating, right leg lifting. This posture is as in the photo below:

POSTURE 46: SWORD STABS THE LENGTH OF A MILE Part 1
Lyrics:

I use SWORD STABS THE LENGTH OF A MILE to chase with a smear and a stab.
The posture is now facing to the east. My right hand is holding my sword, performing a
carrying technique in front of my chest, the tip pointing forward, my left hand assisting at my
right wrist. My left leg is standing straight, right leg lifted. This is the first movement of
SWORD STABS THE LENGTH OF A MILE.
If the opponent attacks with a stab to my knee, my body goes along with my sword as it
goes forward and downward with a smearing technique to his wrist. At the same time, my
right leg comes down then advances as my left leg does a jumping step to make a horse-riding
posture, and I squeeze forth a stab to his waist. This posture is as in the photo below:

POSTURE 47: SWORD STABS THE LENGTH OF A MILE Part 2
Lyrics:

I use INSERTING A STICK OF INCENSE INTO LEVEL GROUND to lift under his wrist.
sword, stabbing level. My left hand as a swordsmans hex is placed in front of my headtop.
My legs are making a horse-riding stance. This is the second movement of SWORD STABS
THE LENGTH OF A MILE.
A STICK OF INCENSE INTO LEVEL GROUND, middle VINES CLIMBING THE
WALL, low QUICK CAT CATCHES THE MOUSE.)
If the opponent attacks with a stab to my shoulder, my left foot moves to stand next to my
right foot, my sword going upward with a lifting technique. This posture is as in the photo
below:

POSTURE 48: INSERTING A STICK OF INCENSE INTO LEVEL GROUND

Lyrics:
The opponent attacks with a stab to my ribs.

I use VINES CLIMBING THE WALL to wipe away downward.
pointing straight up, positioned to the right side of my body, my left hand assisting at my right
wrist. My feet are together. This is INSERTING A STICK OF INCENSE INTO LEVEL
GROUND.
CRANE SHOWS ITS WINGS, middle VINES CLIMBING THE WALL, low TRYING
TO SCOOP THE MOONS REFLECTION FROM THE WATER.)
If the opponent attacks with a stab to my ribs, I send my sword downward with a hanging
technique to his wrist, then lift my right leg while turning my sword over upward to do a
covering tap to his wrist. This posture is as in the photo below:

POSTURE 49: VINES CLIMBING THE WALL

Lyrics:
If the opponent retreats away,

I use COVER IN FRONT & BLOCK BEHIND to chase him.
The posture is now facing to the northeast. My right hand is holding my sword, lifted level
below my ribs, the tip pointing forward. My left hand as a swordsmans hex is placed in front
of my headtop. My right leg is lifted in front, left leg standing straight. This is VINES
CLIMBING THE WALL.
A STICK OF INCENSE INTO LEVEL GROUND, middle COVER IN FRONT & BLOCK
BEHIND, low ADVANCE, CONTINUOUS SWORD.)
If the opponent retreats, my torso goes along with my sword as it does a level stab forward,
my left hand assisting at my right wrist, my right leg advancing into a bow stance. This

POSTURE 50: COVER IN FRONT & BLOCK BEHIND Part 1

Lyrics:

I use COVER IN FRONT & BLOCK BEHIND to retreat.
The posture is now facing to the northeast. My right hand is holding my sword, stabbing level,
my left hand assisting at my right wrist. My right leg is forward making a bow stance. This is
the first movement of COVER IN FRONT & BLOCK BEHIND.
AT THE ROBE, middle COVER IN FRONT & BLOCK BEHIND, low YELLOW
DRAGON SWINGS ITS TAIL.)
If an opponent attacks from behind with a stab to my left leg, my left leg withdraws to the
left rear [right rear] while my body turns around [to the left] and I go to the southeast with a
stab to his wrist, my left hand assisting at my right wrist, my left leg forward making a bow
stance. This posture is as in the photo below:

POSTURE 51: COVER IN FRONT & BLOCK BEHIND Part 2

Lyrics:

I use WIND TUGS AT THE ROBE to prop under his wrist.
The posture is now facing to the southeast. My right hand is sending my sword forward with a
level stab, my left hand assisting at my right wrist. My left leg is forward making a bow
stance. This is the second movement of COVER IN FRONT & BLOCK BEHIND.
AT THE ROBE, middle NOBLEMAN HANGS UP HIS SEAL, low NIGHT DEMON
SEARCHES THE SEA.)
If an opponent attacks with a stab to my right shoulder, my left leg retreats into a bow
stance while I send my sword upward with a propping technique under his wrist, my left hand

POSTURE 52: WIND TUGS AT THE ROBE Part 1

Lyrics:

I use WIND TUGS AT THE ROBE to turn over to the right.
The posture is now facing to the northwest. My right hand is sending my sword upward with a
level propping technique, my left hand assisting at my right wrist. My left leg is forward
making a bow stance. This is the first movement of WIND TUGS AT THE ROBE.
AT THE ROBE, middle YELLOW DRAGON SWINGS ITS TAIL, low QUICKEN THE
HORSE WITH MORE WHIPPING.)
If the opponent attacks with a stab to my right shoulder, my torso goes along with my
sword as it goes to the right with a propping technique under his wrist, my left hand assisting
at my right wrist. My feet stay where they are as I rotate to make an eastward bow stance.
This posture is as in the photo below:

POSTURE 53: WIND TUGS AT THE ROBE Part 2

Lyrics:
The opponent attacks with a stab to the outside of my wrist.

I use SLAMMING DOWN MONEY to tap downward.
The posture is now facing to the east. My right hand is holding my sword up and horizontal,
my left hand assisting at my right wrist. My right leg is forward making a bow stance. This is
the second movement of WIND TUGS AT THE ROBE.
DOWN MONEY, middle IMMORTAL GOES INTO HIS CAVE, low FLOWER
HIDDEN UNDER THE LEAF.)
If the opponent attacks with a stab to the outside of my wrist, my torso goes along with my
sword as it chops down with a tap to his wrist, my left foot at the same time following to
stand next to my right foot. This posture is as in the photo below:

POSTURE 54: SLAMMING DOWN MONEY

Lyrics:

I use CONTINUOUS SWORD to prop under his wrist.
The posture is now facing to the northeast. My right hand is sending my sword downward
with a tapping technique, my left hand assisting at my right wrist. My feet are together. This
is SLAMMING DOWN MONEY, which is almost the same as DRAGONFLY SKIMS THE
WATER.
HANGS UP HIS SEAL, middle CONTINUOUS SWORD, low CONTINUOUS
SWORD.)
If the opponent attacks with a stab to my left shoulder, I turn my body around to the left
while sending my sword in a propping technique under his wrist. At the same time, my right
leg steps forward to the west, my left leg stepping past it into a stealth stance. This posture is

POSTURE 55: CONTINUOUS SWORD Part 1

Lyrics:

I use CONTINUOUS SWORD to follow through upward and forward.
The posture is now facing to the southwest. My right hand is sending my sword upward and
slightly diagonally with a propping technique. My left hand as a swordsmans hex is placed in
front of my headtop. My right leg is in front, left leg behind it, making a stealth stance. This is
the first movement of CONTINUOUS SWORD.
(Techniques that follow from it for each of the three levels could be: high ADVANCE,
CONTINUOUS SWORD, middle MENG HAORAN PLUCKS A PLUM, low
RETREAT, CONTINUOUS SWORD.)
If the opponent attacks with a stab to my right shoulder, my right leg advances across to
the west, my left leg again stepping past it into a stealth stance. At the same time, I send my
sword in a circle so it goes up from below in a reverse-grip propping technique to his wrist.


Lyrics:

I use CONTINUOUS SWORD to check to the outside of his wrist.
The posture is now facing to the southwest. My right hand is sending my sword upward with
a reverse-grip propping technique. My left hand as a swordsmans hex is placed in front of my
headtop. My right leg is in front, left leg behind it, making a stealth stance. This is the second
movement of CONTINUOUS SWORD.
If the opponent attacks with a stab to my leg, my left leg withdraws and my right leg lifts.
At the same time, I withdraw my sword and send it down from above with a tapping
technique to his wrist. This posture is as in the photo below:


Lyrics:

I use CONTINUOUS SWORD to again check to the outside of his wrist.
The posture is now facing to the northwest. My right hand is sending my sword downward
with a reverse tapping technique [i.e. using the upper edge]. My left leg is standing, right leg
lifted, torso twisted, making a one-legged stance. My left hand as a swordsmans hex is
placed at an angle above my headtop. This is the third movement of CONTINUOUS
SWORD.
UPON BEAUTIFUL CLOUDS, middle RETREAT, CONTINUOUS SWORD, low
WHITE HORSE PARTS ITS MANE.)
If the opponent attacks with a stab to my face, my torso goes along with my sword, turning
around to the right while I lower my right leg and step forward with my left leg [then step
behind it with my right leg in a brief twisted stance], sending my sword down from above
with a checking technique to the outside of his wrist as I turn the rest of the way around and
make a horse-riding stance. This posture is as in the photo below:

Lyrics:

I use PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON to skillfully prop
to his wrist.
The posture is now facing to the south. My right hand is holding my sword, the tip pointing
upward. My left hand as a swordsmans hex is placed in front of my headtop. My legs are
making a horse-riding stance. This is the fourth movement of CONTINUOUS SWORD.
AT THE ROBE, middle PLUCK AWAY THE STARS & REPLACE THEM WITH THE
MOON, low YELLOW DRAGON TURNS AROUND.)
goes forward with a propping technique to his wrist. At the same time, my left leg lifts to
make it easier to reach out with my torso. This posture is as in the photo below:

POSTURE 59: PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON
Part 1
Lyrics:
The opponent attacks with a stab to my right ribs.

I use PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON to follow with a
hooking technique.
a propping technique. My left hand as a swordsmans hex supports to the left side of my
chest. My left leg is lifted, right leg standing straight. This is the first movement of PLUCK
AWAY THE STARS & REPLACE THEM WITH THE MOON.
If the opponent counters with a stab to my right ribs, I turn over my wrist, sending my
sword downward with a hooking technique to his wrist while my left leg comes down and my
right leg lifts. This posture is as in the photo below:

Part 2
Lyrics:
The opponent attacks with a stab to my left ribs.

I use PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON to chase with
hooking and stabbing.
a hooking technique, my left hand assisting at my right wrist. My left leg is standing straight,
right leg lifted. This is the second movement of PLUCK AWAY THE STARS & REPLACE
THEM WITH THE MOON.
If the opponent counters with a stab to my chest, my right leg comes down forward into a
bow stance as my sword stabs forward to his left ribs. This posture is as in the photo below:

Part 3

Lyrics:
The opponent attacks with a stab to my leg.

I use RUNNING HORSE LOOKS BEHIND to sweep to his wrist while retreating.
a level stab, my left hand assisting at my right wrist. My right leg is forward making a bow
stance. This is the third movement of PLUCK AWAY THE STARS & REPLACE THEM
WITH THE MOON. Although the name is different, this posture is actually the same as
FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 2.
CRANE SHOWS ITS WINGS, middle RUNNING HORSE LOOKS BEHIND, low
If the opponent attacks with a stab to my right ribs, I twist my waist to the left, sweeping
the tip of my sword downward to catch his wrist, while my right leg goes to the forward left
to make a twisted stance, thereby evading his sword tip. This posture is as in the photo below:

POSTURE 62: RUNNING HORSE LOOKS BEHIND Part 1

Lyrics:
The opponent attacks with a stab to my waist.

I use RUNNING HORSE LOOKS BEHIND to stab and hook.
The posture is now facing to the southeast. My right hand is sending my sword downward
with a rolling technique to the opponents wrist. My left hand as a swordsmans hex supports
in front of my chest. My right leg is forward making a twisted stance. This is the first
movement of RUNNING HORSE LOOKS BEHIND.
UPON BEAUTIFUL CLOUDS, middle ADVANCE, CONTINUOUS SWORD, low
RUNNING HORSE LOOKS BEHIND.)
If the opponent attacks with a stab to my waist, I lift my left leg and step [around my right
leg] to the forward right to make a twisted stance, using my sword to do a hooking technique
to his wrist. He stabs again, so I step down diagonally [forward with my right leg into a bow
stance], stabbing to his ribs. This posture is the same as PLUCK AWAY THE STARS &
REPLACE THEM WITH THE MOON Part 3.

POSTURE 63: RUNNING HORSE LOOKS BEHIND Part 2
Lyrics:

I use THREE STOPPINGS POSTURE to lift under his wrist.
The posture is the same as in PLUCK AWAY THE STARS & REPLACE THEM WITH
THE MOON Part 3, and so the description is not repeated.
HANGS UP HIS SEAL, middle THREE STOPPINGS POSTURE, low WHITE HORSE
PARTS ITS MANE.)
If the opponent attacks with a stab to my face, I turn my body to the left, sending my
sword upward with a lifting technique under his wrist, while my left leg withdraws to make a
pointed stance [foot slightly lifted]. This posture is as in the photo below:

POSTURE 64: THREE STOPPINGS POSTURE Part 1
Lyrics:
If the opponent wants to attack with a propping technique under my wrist.

I use THREE STOPPINGS POSTURE to tap downward.
The posture is now facing to the [south, torso squared to the] east. My right hand is holding
my sword, the tip pointing straight up. My left hand as a swordsmans hex is extended at
shoulder level. My left leg is forward making a pointed stance. This is the third movement of
THREE STOPPINGS POSTURE.
CHOP THROUGH MT. HUA, middle THREE STOPPINGS POSTURE, low GOLDEN
PETALS FALL TO THE GROUND.)
If the opponent attacks with a propping technique to my wrist, I step forward with my left
leg while following the momentum downward with a tapping technique to his wrist. This

Lyrics:

I use THREE STOPPINGS POSTURE to lift under his wrist.
The posture is now facing to the [south, torso squared to the] east. My right hand is sending
my sword downward with a tapping technique. My left hand as a swordsmans hex taps
downward in unison with my sword. My left leg has come down forward and my right leg has
lifted with the action. This is the second movement of THREE STOPPINGS POSTURE.
If the opponent attacks with a stab to my right shoulder, I send my sword upward with a
lifting technique under his wrist, my right foot coming down forward to be next to my left
foot. This posture is as in the photo below:


Lyrics:

I use WHITE HORSE PARTS ITS MANE to tap downward.
The posture is now facing to the [south, torso squared to the] east. My right hand is sending
my sword upward with a lifting technique so the tip is pointing upward. My left hand as a
swordsmans hex is postured the same way as my sword. My feet are together. This is the
third movement of THREE STOPPINGS POSTURE.
If an opponent attacks with a stab to my left shoulder, I send my sword down from above
with a stab to his wrist while my right leg steps to the left and forward into a stealth stance.

POSTURE 67: WHITE HORSE PARTS ITS MANE Part 1

Lyrics:
The opponent returns a stab to my left shoulder.

I use WHITE HORSE PARTS ITS MANE to turn over with a follow-through step.
The posture is now facing to the northeast. My right hand is sending my sword diagonally
downward with a stabbing technique, the tip pointing slightly downward, my left hand
assisting at my right wrist. My left leg is in front, right leg behind, making a stealth stance.
This is the first movement of WHITE HORSE PARTS ITS MANE.
HORSE PARTS ITS MANE, middle NOBLEMAN HANGS UP HIS SEAL, low
YELLOW DRAGON SWINGS ITS TAIL.)
If the opponent counters with a stab to my left shoulder, my torso goes along with my
sword, turning around [to the right] to be squared to the north for it to press out with a
checking technique to his wrist. At the same time, my legs are making a horse-riding stance.

POSTURE 68: WHITE HORSE PARTS ITS MANE Part 2

Lyrics:
The opponent chases with a low attack.

I use QUICKEN THE HORSE WITH MORE WHIPPING to block downward.
pointing upward. My left hand as a swordsmans hex is placed in front of my headtop. My
legs are making a horse-riding stance. This is the second movement of WHITE HORSE
PARTS ITS MANE. Although the name is different, it is actually the same as
CONTINUOUS SWORD Part 4.
UPON BEAUTIFUL CLOUDS, middle IMMORTAL POINTS THE WAY, low
QUICKEN THE HORSE WITH MORE WHIPPING.)
If the opponent attacks with a stab to my thigh, my right leg jumps away to the west and
my left leg then goes forward [behind] to make a [reverse] bow stance. At the same time, I
send my sword downward with another checking technique to his wrist. This posture is as in
the photo below:

POSTURE 69: QUICKEN THE HORSE WITH MORE WHIPPING

Lyrics:

I use FLOCK OF GEESE GOING OVER THE SEA to hook, smear, and block.
The posture is now facing to the east, torso squared to the north. My right hand is sending my
sword downward with a blocking technique. My left hand as a swordsmans hex is placed in
front of my headtop. My left leg is forward [behind], right leg behind [forward], making a
[reverse] bow stance. This is QUICKEN THE HORSE WITH MORE WHIPPING.
CRANE SHOWS ITS WINGS, middle TAKING THE SWORD ACROSS TO CHECK
HIS WRIST, low FLOCK OF GEESE GOING OVER THE SEA.)
If the opponent attacks with a stab to my left shoulder, my torso goes along with my sword
as it turns around to the west with a propping technique to his wrist. He stabs again, so I use a
hooking technique.
If at the same time, an opponent behind me attacks with a stab to my back, I turn my torso
to the east to catch his wrist with a rolling technique.
If the opponent to the west again attacks with a stab, I again turn to face him, going across
with a checking technique to his wrist. As I turn to and fro, my legs are making [reverse] bow
stances. Back and forth, my sword has performed four actions: prop, hook, roll, block. This is
a method of responding to more than one opponent. While these four actions are being
wielded, my left hand is behind me, formed as a hook hand. (After blocking, I will retract my
sword, embracing it in front of my chest, my left leg withdrawing to make a pointed stance.)

POSTURE 70: FLOCK OF GEESE GOING OVER THE SEA
Lyrics:

I use WINGED SERPENT FLICKS ITS TONGUE to stab from in front of my chest.
The posture is now facing to the north [west]. My right hand is pulling my sword back in after
performing the four actions of prop, hook, roll, and block, bringing it in to be embraced level
in front of my chest, my left hand assisting at my right wrist. My left leg is forward making a
pointed stance. This is FLOCK OF GEESE GOING OVER THE SEA.
(Techniques that follow from it for each of the three levels could be: high VINES
CLIMBING THE WALL, middle WINGED SERPENT FLICKS ITS TONGUE, low
GOLDEN NEEDLE INTO THE GROUND.)
If the opponent attacks with a stab to my chest, I send my sword forward to stab to his
wrist. This posture is as in the photo below:

POSTURE 71: WINGED SERPENT FLICKS ITS TONGUE Part 1

Lyrics:
The opponent chops down from above.

I use WINGED SERPENT FLICKS ITS TONGUE to send my sword upward.
The posture is now facing to the west. My right hand is sending my sword forward with a
level stab, my left hand assisting at my right wrist. My left leg is forward making a pointed
stance. This is the first movement of WINGED SERPENT FLICKS ITS TONGUE.
(Techniques that follow from it for each of the three levels could be: high WINGED
SERPENT FLICKS ITS TONGUE, middle WINGED SERPENT FLICKS ITS TONGUE,
low TAO YUANMING PLUCKS A CHRYSANTHEMUM.)
If the opponent chops to my face, I send my sword upward with a lifting technique to his
wrist, while [stepping forward with my right leg, then left leg, then right leg, then moving my
left foot up to stand next my right foot,] bringing my feet together. This posture is as in the
photo below:

POSTURE 72: WINGED SERPENT FLICKS ITS TONGUE Part 2

Lyrics:
An opponent stabs at me from behind.

I use NOBLEMAN HANGS UP HIS SEAL to do a hanging tap while retreating.
The posture is now facing to the west. My right hand is sending my sword upward with a
lifting technique, my left hand assisting at my right wrist. My feet are together. This is the
second movement of WINGED SERPENT FLICKS ITS TONGUE.
If an opponent attacks from behind with a stab, my body goes along with my sword
[turning around to the left] as it goes to the rear and down from above with a hanging tap to
his wrist, while my left leg angles, right leg standing behind, as I slant my torso to make a
twisted stance. This posture is as in the photo below:

POSTURE 73: NOBLEMAN HANGS UP HIS SEAL Part 1

Lyrics:

I use NOBLEMAN HANGS UP HIS SEAL to continue into hooking and hanging.
The posture is now facing to the east. My right hand is sending my sword down from above
with a hanging tapping technique, the edges up and down, my left hand assisting at my right
wrist. My left leg is forward making a pointed [twisted] stance. This is the first movement of
NOBLEMAN HANGS UP HIS SEAL.
performs left hanging [hooking] and right hanging techniques to his wrist, my left hand
assisting at my right wrist, while my right foot lifts. This posture is as in the photo below:

POSTURE 74: NOBLEMAN HANGS UP HIS SEAL Part 2
Lyrics:

I use FLOWER HIDDEN UNDER THE LEAF to do a hook and a hanging chop.
upward, edge straight in front of my face, my left hand assisting at my right wrist. My right
leg is lifted, left leg standing straight. This is the second movement of NOBLEMAN HANGS
UP HIS SEAL.
CRANE SHOWS ITS WINGS, middle NOBLEMAN HANGS UP HIS SEAL, low
FLOWER HIDDEN UNDER THE LEAF.)
If the opponent attacks with a stab to my knee, my torso goes along with my sword as it
performs a left hook and right hang [hanging chop] to his wrist. At the same time, my right
foot comes down forward, my left foot jumps forward, then my right foot goes forward again
to make a spreading stance. My right hand is holding my sword so the tip is upward,
positioned in front of my right knee, my left hand assisting at my right wrist. This posture is

POSTURE 75: FLOWER HIDDEN UNDER THE LEAF
Lyrics:
The opponent attacks with a stab to my wrist.

I perform YELLOW DRAGON TURNS AROUND without delay.
The posture is now facing to the east. My right hand is holding my sword so the tip is pointing
diagonally upward, edge straight in front of my face, my left hand assisting at my right wrist.
My right leg is forward making a spreading stance. This is FLOWER HIDDEN UNDER THE
LEAF.
(Techniques that follow from it for each of the three levels could be: high TAKING THE
SWORD ACROSS TO CHECK HIS WRIST, middle YELLOW DRAGON TURNS
AROUND, low NIGHT DEMON SEARCHES THE SEA.)

If the opponent attacks with a stab to my wrist, my right hand brings my sword in, then
[my left leg steps forward and] I turn my body around [to the right] to counter with a checking
technique to his wrist in a horse-riding stance. This posture is as in the photo below:

POSTURE 76: YELLOW DRAGON TURNS AROUND
Lyrics:
The opponent retreats away.

From CROUCHING TIGER POSTURE, I gather in my techniques and finish.
sword, the tip pointing up. My left hand as a swordsmans hex is placed in front of my
headtop. My legs are making a horse-riding stance. This is YELLOW DRAGON TURNS
AROUND.
HANGS UP HIS SEAL, middle RUNNING HORSE LOOKS BEHIND, low
CROUCHING TIGER POSTURE.)
If the opponent comes around me to the west, I make the CROUCHING TIGER
POSTURE to respond to whatever may follow, my sword tip hanging downward while my
left leg withdraws into a pointed stance.

This posture is as before.

To now conclude the Kunwu sword set, my left foot withdraws to stand next to my right
foot. My right hand holds my sword horizontal in front of my waist as my left hand grasps
into a fist held below the ribs, making the closing posture the same as Posture 1.
EXPLANATIONS FOR KUNWU SWORDS TEN TECHNIQUES

TECHNIQUE 1: PROPPING
(Explanation)
The propping technique goes up from below to control the opponents upward sword. It
can be done to the left or right, forward or back, and is the major technique. It is sometimes
called clouding or raising, which are actually the propping technique. If the opponent
sends his sword upward and attacks with either a stab or a tap, this technique can be used in
both cases.
In the set, is like MAGPIES FLY INTO THE SKY [Posture 44], WIND TUGS AT THE
ROBE [Postures 52&53], CONTINUOUS SWORD Parts 1&2 [Postures 56&56], TRYING
TO SCOOP THE MOONS REFLECTION FROM THE WATER Part 1 [Posture 39], or
PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part 1 [Posture
59], which are all variations of this propping technique.

TECHNIQUE 2: SMEARING
(Explanation)
The smearing technique is for controlling the opponents sword when at the middle height,
my sword running to his outer gate. It is sometimes called deflecting or grinding, which
are both variations of this technique. If the opponent attacks with a level stab, this can easily
be applied from the forward left to chase and catch his wrist.
In the set, an example of this technique is SMEARING TECHNIQUE WITH ASSISTING
HAND [Posture 15].

TECHNIQUE 3: CARRYING
(Explanation)
The carrying technique is for catching the opponent under his wrist. If he uses his sword to
attack at the middle height with a stab or tap, this can be applied in either case.
In the set, it is like PROPITIOUS CLOUDS CARRY THE SUN [Posture 16], INWARD
SPARKING-THE-GOLDEN-FURNACE [Posture 21], YELLOW DRAGON SWINGS ITS

TAIL Part 2 [Postures 28&34], or SWORD STABS THE LENGTH OF A MILE Part 1
[Posture 46], which are all versions of this carrying technique.

TECHNIQUE 4: TAPPING
(Explanation)
The tapping technique goes down from above to control the opponents sword when at the
middle height. It is sometimes called chopping, hacking, or cleaving, and although the
names are different, they are actually the same thing.
In the set, it is like DRAGONFLY SKIMS THE WATER [Postures 3&18], POWERFUL
CHOP THROUGH MT. HUA [Posture 10], QUICK CAT CATCHES THE MOUSE [Posture
43], GOLDEN ROOSTER PECKS WITH ITS HEAD Part 2 [Posture 24], SLAMMING
DOWN MONEY [Posture 54], or THREE STOPPINGS Part 2 [Posture 65], which are all
methods of tapping.

TECHNIQUE 5: ROLLING
(Explanation)
The rolling technique can be done upward or downward, to the left or right, forward or
back, according to the moment. It is sometimes called shearing or circling, and are
actually all the same thing.
In the set, it is like BEADED CURTAIN IS ROLLED AWAY [Postures 11&12],
YELLOW DRAGON SWINGS ITS TAIL Part 1 [Postures 27&33], or RUNNING HORSE
LOOKS BEHIND Part 1 [Posture 62], which are all variations of this technique.

TECHNIQUE 6: HOOKING
(Explanation)
The hooking technique is sometimes called whittling, sweeping, or scraping.
In the set, an example of this technique is PLUCK AWAY THE STARS & REPLACE
THEM WITH THE MOON Part 2 [Posture 60].

TECHNIQUE 7: HANGING
(Explanation)
The hanging technique can be used upward, downward, to the left or right, forward or
back. It is sometimes called lifting or raising, both of which are the hanging technique.
In the set, this is like ICICLE HANGING FROM THE EAVES [Posture 20], OUTWARD
SPARKING-THE-GOLDEN-FURNACE [Posture 22], GOLDEN ROOSTER PECKS WITH
ITS HEAD Parts 1&3 [Postures 23&25], YELLOW DRAGON SWINGS ITS TAIL Part
4 [Postures 30&36], INSERTING A STICK OF INCENSE INTO LEVEL GROUND
[Posture 48], VINES CLIMBING THE WALL [Posture 49], THREE STOPPINGS Part 1
[Posture 64], WINGED SERPENT FLICKS ITS TONGUE Part 2 [Posture 72], WHITE
HORSE PARTS ITS MANE [(Part 2) Posture 68], NOBLEMAN HANGS UP HIS SEAL
[Postures 73&74], or FLOWER HIDDEN UNDER THE LEAF [Posture 75], which are all
variations of the hanging technique.

TECHNIQUE 8: BREAKING
(Explanation)
The breaking technique can be done upward or downward, to the left or right, forward or
back. It is sometimes called blocking or checking.
In the set, it is like TAKING THE SWORD ACROSS TO CHECK HIS WRIST [Posture
2], WHITE CRANE SHOWS ITS WINGS [Posture 8], GOLDEN NEEDLE INTO THE
GROUND [Posture 9], BEADED CURTAIN IS ROLLED AWAY Part 1 [Posture 11], A
THOUSAND POUNDS DROP TO THE GROUND [(Part 1) Posture 13], IMMORTAL
GOES INTO HIS CAVE [Posture 17], TAO YUANMING PLUCKS A
CHRYSANTHEMUM [Postures 32&38], NIGHT DEMON SEARCHES THE SEA [Posture
41], GAZING UPON BEAUTIFUL CLOUDS [Posture 42], MENG HAORAN PLUCKS A
PLUM [Posture 45], or QUICKEN THE HORSE WITH MORE WHIPPING [Posture 69],
which are all variations of this technique.

TECHNIQUE 9: STABBING
(Explanation)
The stabbing technique is the most obvious. The direction is not consistent and it is applied
according to opportunity. It is a method of attacking forward. When stabbing out, the sword
edges can be either left/right or up/down, whatever appears to be convenient at the time. Some
people call a stab with the blade flat a stab and a stab with the blade vertical a poke [and
vice versa], but such differentiating is not actually necessary [seeing as they are both stabs].
In the set, it is like IMMORTAL POINTS THE WAY [Posture 5], SWORD STABS THE
LENGTH OF A MILE [(Part 2) Posture 47], COVER IN FRONT & BLOCK BEHIND
[Postures 50&51], and WINGED SERPENT FLICKS ITS TONGUE [(Part 1) Posture 71],
which are all stabbing postures.

TECHNIQUE 10: STANDING
(Explanation)
The standing technique looks simple but is actually the most difficult, because it is the
technique before techniques emerge. You must examine the opponents activity to thereby
execute the techniques that would be most likely to defeat him.
In the set, it is like PRESENTING THE SWORD BEFORE THE GATE [Posture 1],
which is indeed a standing posture. Actually the rest of the static postures are all standing
postures too, and you must not look upon it in overly literal way by mistaking the feettogether position as being the only kind of standing posture.

The Kunwu Sword Manual of Li Lingxiao

Hochgeladen von

Dokumentinformationen

Originalbeschreibung:

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

The Kunwu Sword Manual of Li Lingxiao

Hochgeladen von

Copyright:

Verfügbare Formate

KUNWU SWORD MANUAL

Portrait of the author

PREFACE [BY YIN JINGCHUN]

ESSENTIALS OF SPARRING WITH THE SWORD

THE KUNWU SWORD METHODS TEN-WORD FORMULA

This sword arts Ten-Word Formula is a very simple list of techniques:

SOME SWORD PRINCIPLES THAT MUST BE UNDERSTOOD

A FEW POINTS ABOUT USING THIS BOOK

Posture 16: PROPITIOUS CLOUDS CARRY THE SUN

Posture 56: CONTINUOUS SWORD Part 2

Posture 75: FLOWER HIDDEN UNDER THE LEAF

Appendix: Explanations for Kunwu Swords Ten Techniques

KUNWU SWORD FOOTWORK CHARTS

Go back and forth [five times] for a total of ten sections.

SECTION 1 (stepping from east to west):

Stance 2: Left 1, Right 2 pointed stance [Posture 2]

Stance 3: Right 3, Left 1 feet together [Posture 3]

Stance 4: Right 4, Left 5 pointed stance [Posture 4]

Stance 5: Right 4, Left 6 bow stance [Posture 5]

Stance 6: Right 4, Left 7 twisted stance [Posture 6]

Stance 7: Left 7, Right 8 bow stance [Posture 7]

Stance 8: Right 8, Left 9 feet together [Posture 8]

Stance 11: Right 16, Left 17 pointed stance [Posture 11]

Stance 12: Right 18, Left 19 pointed stance [Posture 12]

Stance 14: Right 22, Left 21 pointed stance [Posture 14]

Stance 15: Right 22, Left 23 bow stance [Posture 15]

Stance 16: Left 23, Right 24 feet together [Posture 16]

Stance 2: Left 5, Right 6 feet together [Posture 18]

SECTION 3 (stepping from east to west):

Stance 2: Left 3, Right 4 horse-riding stance [Posture 20]

Stance 3: Right 4, Left 5 pointed stance [Postures 21-23]

Stance 5: Left 9, Right 10 feet together [Posture 25 (as static posture)]

SECTION 4 (stepping from west to east):

Stance 2: Left 2, Right 3 bow stance [Posture 27]

Stance 3: Left 4, Right 5 bow stance [Postures 28-30]

Stance 4: Left 6, Right 7 pointed stance [Postures 31&32]

Stance 5: Left 6, Right 8 bow stance [Posture 33]

Stance 6: Left 9, Right 10 bow stance [Postures 34-36]

Stance 7: Left 11, Right 12 pointed stance [Postures 37-39]

Stance 8: Left 13, Right 14 bow stance [Posture 40]

Stance 9: Right 15 one-legged stance [Posture 41]

SECTION 5 (stepping from east to west):

Stance 2: Left 3, Right 4 pointed stance [Posture 43]

Stance 3: Right 4, Left 5 bow stance [Posture 44]

Stance 4: Left 6, Right 7 pointed stance [Posture 45]

Stance 5: Left 8 one-legged stance [Posture 46]

SECTION 6 (stepping from west to east):

Stance 2: Right 2, Left 3 feet together [Posture 48]

Stance 3: Left 4, Right 5 bow stance [Postures 49&50]

Stance 4: Right 5, Left 6 bow stance [Posture 51]

Stance 5: Left 7, Right 5 bow stance [Postures 52&53]

Stance 6: Left 8, Right 9 feet together [Posture 54]

SECTION 7 (stepping from east to west):

Stance 2: Right 3, Left 4 stealth stance [Posture 56]

Stance 3: Right 5, Left 6 walking steps [Posture 58]

Stance 4: Left 6, Right 7 stealth stance [Posture 58 cont.]

Stance 5: Left 6, Right 8 horse-riding stance [Posture 58 cont.]

Stance 6: Right 9 one-legged stance [Posture 59]

SECTION 8 (stepping from west to east):

Stance 1: Right 1, Left 2 bow stance [Postures 60&61]

Stance 2: Right 1, Left 3 pointed stance [Posture 62]

Stance 3: Left 3, Right 4 twisted stance [Posture 62 cont.]

Stance 4: Right 4, Left 5 twisted stance [Posture 63]