Eight Secret Song (歌訣八) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)

歌訣八

走時周身莫動搖，
全憑膝下兩相交。
底盤雖講平膝胯，
中盤也要下腿腰。

"When walking, the entire body remains stable.
The whole relies on the knees intersecting.
Although the lower section concerns the leveling of knees, waist and thighs,
The middle section is also dependent on the legs and waist."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"

Yáng Chéngfǔ (楊澄甫) performing Fist under Elbow (肘底看捶)

The Song of the Arms (臂) in the Nine Songs of Xing Yi Quan (形意拳九歌) by Jiāng Róngqiáo (薑容樵)

臂
左臂前伸，
右臂在肋，
似曲不曲，
似直不直，
過曲不遠，
過直少力。
薑容樵

"The left arm stretches forward.
The right arm is by the ribs.
They seem bent but are not bent.
They seem straight but are not straight.
Bend too much and there is not enough reach.
Make it too straight and there is not enough strength."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

The Entering and Support of Yin and Yang (陰陽入扶論) from the Chang Family Comprehensive Theory of Martial Arts (萇氏武技全書)

陰陽入扶論

練形不外陰陽，陰陽不明從何練起，督脈統領諸陽經，任脈統領諸陰經，故背為陽，腹為陰，二經下交會陰，上會齦交。
俯式為陰勢，卻是入陽氣，益督脈，領諸陽經之氣，盡歸於上之前也；仰式為陽式，卻是入陰氣，益任脈，領諸陰經之氣，盡歸於上之後也。

萇乃周

"Training the physical form is nothing more than yin and yang. If we fail to understand yin and yang, how would one know where to begin our training? The governing vessel (du mai) commands all of the yang channels. The controlling vessel (ren mai) commands all of the yin channels. This is the reason why the back is yang, and the belly is yin. The two channels intersect below at the Perineum (hui yin, CV-1) and above at the Gum Intersection (duan jiao, GV-28).
To look down is a Yin posture, it allows the Yang chi to enter. It benefits the governing vessel. It concentrates the chi of all yang channels, which finishes at the upper front aspect of the body. To look up is a Yang posture and allows the Yin chi to enter. It benefits the controlling vessel, leads the chi of all Yin channels, which finishes at the upper rear aspect of the body."

From the book Chang Family Comprehensive Theory of Martial Arts (萇氏武技全書), by Cháng Nǎizhōu (萇乃周), based on the translations by Douglas Wile in "T'Ai Chi's Ancestors: The Making of an Internal Art" and Marnix Wells in "Scholar Boxer: Chang Naizhou's Theory Of Internal Martial Arts And The Evolution of Tàijíquán"

Chapter 47 (四十七) from the Dào​dé​jīng (道德經)Capítulo 47 (四十七) do Dào​dé​jīng (道德經)

四十七

不出戶知天下。
不闚牖見天道。
其出彌遠，
其知彌少。
是以聖人
不行而知。
不見而明。
不為而成。

老子

"Without going outside his door, one understands all that takes place under the sky;
without looking out from his window, one sees the Dao of Heaven.
The farther that one goes out, the less he knows.
Therefore the sages got their knowledge without travelling;
gave their names to things without seeing them;
and accomplished their ends without any purpose of doing so."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

"Sem sair da porta
Pode-se conhecer o mundo
Sem ver através da janela
Pode-se conhecer o Caminho do céu
Quanto mais longe saímos
Tanto menos conhecemos
Por isso, o Homem Sagrado
Conhece sem caminhar
Reconhece sem ver
Realiza sem agir"

Tradução de Wǔ Rǔqīng (武汝清)

The Secret of Withdraw and Release (撤放密訣)

撤放密訣

一曰擎。擎起彼身借彼力。（中有靈字）
二曰引。引到身前勁始蓄。（中有斂字）
三曰鬆。鬆開我勁勿使屈。（中有靜字）
四曰放。放時腰腳認端的。（中有整字）

李亦畬

"First saying: Raise. Start by raising the hand (deflect) and borrow the force of the opponent’s body. Within there is the word of agility.
Second saying: Pull. Lead the frontal force near one's own body and start storing it. Within there is the word of collecting.
Third saying: Loose. To release the force, relax without bending. Within there is the word of calmness.
Fourth saying: Release. At the time of releasing, the waist and the feet must be accurately coordinated. Within there is the word of precision."

By Lǐ Yìyú (李亦畬), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu/Li Style (太極拳武李氏先哲秘要) and various translations on the internet

Zhāng Jùnfēng (張俊峰) demonstrating Ānshēnpào (安身炮)Demonstração de Ānshēnpào (安身炮) por Zhāng Jùnfēng (張俊峰)

Hóng Yìxiáng (洪懿祥) in Green Dragon Stretches Forward Palm (青龍探掌)

Rollback Jin (履勁) from The Secret of the Eight Methods (八法秘訣)

履勁義何解？引導使之前，
順其來時力，輕靈不丟頂，
力盡自然空。丟擊任自然，
重心自維持，莫被他人乘。

吳公藻

"How to explain the correct meaning of Rollback/Lü Jin? One guides the opponent forward,
follows the timing of the incoming force, being agile without stopping pushing up the crown of the head.
When the incoming force is exhausted, it will naturally empty itself.
One should maintain one’s center of gravity and do not let the opponent take advantage of it."

By Wú Gōngzǎo (吳公藻), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Hóng Yìxiáng (洪懿祥) demonstrating Five Elements Linked Set (五行連環拳)Demonstração da Forma dos Cinco Elementos (五行連環拳) por Hóng Yìxiáng (洪懿祥)

Excerpt from Manoeuvering (軍爭) in The Art of War (兵法)

故兵以詐立，以利動，以分合為變者也，故其疾如風，其徐如林，侵掠如火，不動如山，難知如陰，動如雷霆。掠鄉分眾，廓地分利，懸權而動，先知迂直之計者勝，此軍爭之法也。

孫子

"In war, practice dissimulation, and you will succeed. Whether to concentrate or to divide your troops, must be decided by circumstances. Let your rapidity be that of the wind, your compactness that of the forest. In raiding and plundering be like fire, is immovability like a mountain. Let your plans be dark and impenetrable as night, and when you move, fall like a thunderbolt. When you plunder a countryside, let the spoil be divided amongst your men; when you capture new territory, cut it up into allotments for the benefit of the soldiery. Ponder and deliberate before you make a move. He will conquer who has learnt the artifice of deviation. Such is the art of maneuvering."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

Seventh Secret Song (歌訣七) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)

歌訣七

胸欲空兮氣欲沈，
背緊肩垂意前伸。
氣到丹田縮穀道，
直拔顛頂貫精神。

"The chest is empty and the Qi is sunk,
The back is straight, the shoulders are dropped, and the intention is forward.
Qi is led to Dan Tian, the coccyx is withdrawn.
The head is pulled straight upward to let the spirit of vitality pass through."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"

Ward-off (掤) in The Explanation of Tai Chi Chuan's Harmonious Stepping in Four Sides of Pushing Hands (太極拳合步四正推手解)

掤法向外，駕禦敵人之按手，使不得按至胸腹貼近。故曰掤。此掤字取意，與說文釋義稍異。掤之方式，左右同其用法，最忌板滯。板者，不知自己之運動。滯者，不知敵人之取舍。既不知己，又不知彼，則不成為推手矣。遲重者，必以力禦人，便成死手，非太極家之所取也。必曰掤者，黏也非杭也。手向外掤，意欲黏回，又不使己之掤手與胸部貼近。得化勁全賴轉腰，一轉腰則我之掤勢巳成矣。

楊澄甫

"The technique of Ward-off (Peng) is directed outward. It is used to defend against the opponent's Press (An) to make him unable to Press (An) and block the chest and the abdomen. This is called Peng (Ward off). The meaning of the Ward-off (Peng) character differs slightly from the explanation in the Shuowen (traditional dictionary from the Han dynasty). In the Ward-off (Peng) manner, both right and left are treated in the same way, the most important is to avoid stiffness. If stiff, one cannot feel one’s own movements. If sluggish, one cannot know the opponent’s choices. If one is not aware of oneself and does not know the opponent, then it cannot push hands. When one is slow and heavy, Muscular Force (Li) has to be used to resist the opponent. The hands become ordinary dead hands. This is not what is aimed by the Taiji styles. Ward-off (Peng) is necessarily adhering and not resisting. The Ward-off (Peng) hands are directed outward, the Yi Intention (Yi) is to adhere and revolve, and one does not allow the hands press to one’s own chest. One should use Neutralizing Jin (Hua Jin) by relying on the waist's turning. Once the waist is turned, then the formation of Ward-off (Peng) is completed."

Dictated by Yang Chengfu (楊澄甫口述), noted by Chen Weiming (陳微明筆述), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) and various translations on the internet

Tai Chi Sword (太極劍) and Other Writings by Chén Wēimíng (陳微明)

An interesting book, one of the earliest descriptions of the Yang Style sword form (楊氏太極劍).Chén Wēimíng (陳微明) has an important place in the genealogy of the Yang style: both as a student of Yáng Chéngfǔ (楊澄甫) and as a documentarist that helped to put in paper his teacher's principles.
As a instructions manual, it is useful only to help memorization and identification of movements. As a document, it is very valuable for the serious practicioner interested in the evolution of the style. The preface by Barbara Davis is particularly informative, not least because of her own long experience on the topic.

Street Videos on Bāguàzhăng Applications (八卦掌打法)Aplicações de Bāguàzhăng(八卦掌打法)

Pakua Chang Journal

The Pakua Chang Journal is the main reference on the art. It has a somewhat mytical status for its duration and the breadth of the information it conveys. Bāguàzhăng (八卦掌) has developped through inoumerous families which makes an overview of its styles quite a complicated topic. The curiosity of its editor, Dan Miller, made that took an agnostic attitude and was able to reach for many different styles. His persistence made it run for seven years, allowing the time for a broad coverage.
The magazine stopped running in 1997, and is now sold as a CD-ROM archive with the full set of editions. This makes it almost a mini-encyclopedia of the styles that were reachable in the 90's. Beyond the editions themselves, in the set that is currently being sold there is an editor's letter included. It is quite interesting for the description of Dan Miller's own history. One point in particular drew my attention: the reasons why he stopped editing the magazine. In short it was so absorbing that it was polluting his training. At some point he stopped being a publisher, journalist and teacher; he became a student of the art.

Chapter 43 (四十三) from the Dào​dé​jīng (道德經)Capítulo 43 (四十三) do Dào​dé​jīng (道德經)

四十三

天下之至柔，
馳騁天下之至堅。
無有入無間，
吾是以知無為之有益。
不言之教，
無為之益
天下希及之。

老子

"The softest thing in the world dashes against and overcomes the hardest;
that which has no substantial existence enters where there is no crevice.
I know hereby what advantage belongs to doing nothing.
There are few in the world who attain to the teaching without words, and the advantage arising from non-action."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

"O mais suave cavalga sobre o mais duro sob o céu
A não-existência pode penetrar no sem-espaço
Por isso conheço o benefício da não-ação
O ensinamento da não-palavra
O benefício da não-ação
Sob o céu, são poucos que os alcançam"

Tradução de Wǔ Rǔqīng (武汝清)

Ward-off Jin (掤勁) from The Secret of the Eight Methods (八法秘訣)

掤勁義何解？如水負行舟。
先貫丹田氣，次要頂頭懸，
全體彈簧力，開合一定间。
任有千斤重，飄浮亦不難。

吳公藻

"How to explain the correct meaning of Ward-off (Peng) Jin? It is like the water carrying a moving boat.
First one fills up Qi in the Dantian. Second, push up the head is as it was hanging.
The entire body generates a springing force, opening and closing in a fixed timing.
It is not hard to make even one of thousand pounds of weight float."

By Wú Gōngzǎo (吳公藻), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Sixth Secret Song (歌訣六) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)

歌訣六

穿時指掌貼肘行，
後肩改做前肩承。
莫要距離莫猶疑，
步入襠兮是準繩。

"When boring, the palm moves straight forward closely along the elbow
The rear shoulder transforms and continues as the front shoulder
One shall not separate nor hesitate,
To step into the opponent’s crotch is the standard."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"

Sūn Lùtáng (孫祿堂) in Wújí Stance (無極势)

The Song of the Shoulders (肩) in the Nine Songs of Xing Yi Quan (形意拳九歌) by Jiāng Róngqiáo (薑容樵)

肩

頭宜上頂，
肩宜下垂，
左肩成拗，
右肩自隨，
身力到手，
肩之所為。

薑容樵

"The head should push upwards.
The shoulders properly hang down.
The left shoulder is completely twisted.
The right shoulder will naturally follow.
The body’s strength will arrive at the hands.
It is the shoulder’s position that allows it."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Five Elements in Xíngyì Spear (形意五行枪) and Long Spear (大枪) by Shā Jùnjié (沙俊傑)

Excerpt from Variations in Tactics (九變) in The Art of War (兵法)

故用兵之法，無恃其不來，恃吾有以待之；無恃其不攻，恃吾有所不可攻也。

孫子

"The art of war teaches us to rely not on the likelihood of the enemy's not coming, but on our own readiness to receive him; not on the chance of his not attacking, but rather on the fact that we have made our position unassailable."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

The Insubstantial Jin leads the Crown Upwards (虛領頂勁) from The Ten Important Points of Tai Chi Chuan (太極拳十要)

虛領頂勁

頂勁者，頭容正直，神貫于頂也。不可用力，用力則項強，氣血不能流通，須有虛靈自然之意。非有虛領頂勁，則精神不能提起也。

楊澄甫

"The crown upward Jin means the head looks upright and the spirit reaches the crown. One should not allow to use force. The use of the force makes the crown stiff and the Qi and blood cannot circulate smoothly and fluidly. The Yi of the insubstantial must be present, agile, natural. Without the insubstantial Jin to lead the crown upward, then the spirit of vitality cannot be raised."

By Yáng Chéngfǔ (楊澄甫), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) and various translations on the internet

Large and Small Postures (大小勢) from the Chang Family Comprehensive Theory of Martial Arts (萇氏武技全書)

大小勢

合勢不嫌其小，欲氣合得足也；開勢不嫌其大，欲力發得出也。非徒長身為大，屈身為小。
力是自然之力，故初學必以不著力為是。

萇乃周

"In closing postures one should not mind it being small, they need sufficient unification of qi. In opening postures do one should not mind it being large; they need to release the force. It is not just a matter of expanding the body to make it great or contracting it to make it small.
Power is spontaneous power, for beginners the use of force is necessarily not correct."

From the book Chang Family Comprehensive Theory of Martial Arts (萇氏武技全書), by Cháng Nǎizhōu (萇乃周), based on the translations by Douglas Wile in "T'Ai Chi's Ancestors: The Making of an Internal Art" and Marnix Wells in "Scholar Boxer: Chang Naizhou's Theory Of Internal Martial Arts And The Evolution of Tàijíquán"

The Song of the Body (身) in the Nine Songs of Xing Yi Quan (形意拳九歌) by Jiāng Róngqiáo (薑容樵)

身

前俯後仰，
其式不勁，
左側右欹，
皆身之病，
正而似斜，
斜而似正。

薑容樵

"Leaning the body backward and forward,
The form does not have energy,
Leaning to the left side or the right side,
In any case the body is incorrect,
It is erect, yet it seems inclined,
It is inclined yet it seems erect."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Fifth Secret Song (歌訣五) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)

歌訣五

步既轉兮手亦隨，
後掌穿出前掌回。
去來來去無二致，
要如弩箭離弦飛。

"The steps turn and the hands follow
The rear palm bores out and the front palm returns
Go and come, come and go, without two (different) goals.
One must be like an arrow leaving the string of a crossbow."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"

The Song of Sparring (打手歌) attributed to Wáng Zōngyuè (王宗嶽)

亂環訣

掤履擠按須認真，上下相隨人難進。
任他巨力來打我，牽動四兩撥千金。
引進落空合即出，粘連黏隨不丟頂。

王宗嶽

"One should be conscious of Ward-off, Rollback, Press and Push, up and down should follow each other, the opponent will find it difficult to penetrate.
It does not matter if he uses enormous force to attack, one needs four onces to deflect a thousand pounds.
Guide the opponent's power to lead him into emptiness, then immediately attack, adhere, connect, stick, follow, and do not loose the opponent. "

Based on various translations on the internet.

Clamor in the East, Attack in the West (聲東擊西) from the Thirty-Six Stratagems (三十六計)Clamar à Leste para Atacar à Oeste (聲東擊西) dos Trinta e Seis Estratagemas (三十六計)

聲東擊西

敵志亂萃，不虞，坤下兌上之象。利其不自主而取之。

"When face to face with an enemy, surprise can still be employed by attacking where he least expects it. To do this you must create an expectation in the enemy's mind through the use of a feint."

Quoted from Chinese Classics and Translations

"Mesmo em face a face com um inimigo, a surpresa pode ser utilisada ao se atacar onde ele menos espera. Para isso é necessário criar expectativa na mente do inimigo através de uma diversão."

Quoted from Chinese Classics and Translations

Dǒng Yīngjié (董英傑) performing Yáng style Tàijíquán (楊式太極拳)

Double Weight (雙重) from Tai Chi Chuan Teaching Notes (太極拳講義)

雙重

雙重者，無虛實之謂也。雙重之病，有單方，與雙方及兩手兩足之分。經云，偏沉則隨，雙重則滯。又云，有數年純功而不能運用者，率為人制，雙重之病未悟耳。故雙重之病，最難自悟自覺。非知虛實之理，不易避免。能解此病，則聽勁、感覺、虛實、問答，皆能融會貫通焉。

吳公藻

"Double weight means there is no discrimination of substantial and insubstantial. The problem of double weighting can be distinguished as single side or double sides and the differentiation of the two hands and two feet. The classic says: “When the opponent presses sideward or downward, then follow. When there is double weighting, then there is stagnation.” It also says: ‘There are those that train seriously for several years and cannot put to (Tai Chi) use and is controlled by the opponent. They do not have yet a proper understanding of the problem of double weighting.” Therefore the problem of double weighting is the most difficult problem for someone to become aware and comprehend. Without knowing the theory of insubstantial and substantial, it is not easy to avoid this problem. Being able to solve this problem one will be able to develop the Listening Jin, touch and feel, insubstantial and substantial, question and answer thoroughly."

腳踏車之所以能行動彎轉自如者，均力學也。人坐於車上，手拂之，足踏之，目視之，身隨之，其重心在腰，而司顧盼，以手輔助之，其輪盤置於車之中心，兩足踏於腳蹬之上，一踏一提，則輪齒鉸鏈而帶動前進矣。若使兩足同時用力踏之，則車即行停止前進。此蓋雙重之病耳。

"The reason why a bicycle can move and turn freely is mechanics. A person sits on a bicycle, the hands are on the handles and the feet are stepping on the pedals, the eyes are looking, and the body is following, the center of gravity is on the waist, which allows to take care of the surroundings and to use the hands to assist. The stepping wheel is located at the center of the bicycle and the two feet are stepping on the pedals, one presses and one lifts, then the wheel turns the chain to provide impulse to move the wheels. If both feet presse the pedals at the same time, then the bicycle will stop going forward. This is because of the problem of the double weighting."

夫推手亦然。對方用力推我，吾若仍以力相抵抗之，因而相持，則謂之滯。此即雙方之雙重也。若我或彼，各順其勢，不以力抵抗，而順對方來力之方向撤回，引之前進，然須不丟不頂，則必有一方之力落空。此即偏沉所致。

"It is the same in pushing hands. If the opponent uses force to push me and I also use force to resist, then both are locked in a stalemate. This is called stagnation. This is called double weighting of both sides. If I follow the coming force, do not resist with force, and retreat by following the arriving force and lead it farther by withdrawing, with the skills of no losing and not resisting, then there must be one side’s force lost into emptiness. This is accomplished because of following and leading it sideward or downward."

如我擬攻對方之側面，使其倒也，若以兩手直接推之，而對方氣力強大，不可挫其鋒，須以虛實之法，雙手撫其肩，我左手由彼之右肩下捋，同時我右手擊其左肩，此時我之兩手作交叉之勢，同主一方，而發勁成一圓形，則彼可側斜而倒。因彼同時不能上下相顧，而失利也。此即吾發勁偏沉所致也。學者悟一而知十，所謂由著熟，而漸悟懂勁也。

"If I wish to attach the opponent’s side and make him fall, If I use both hands to push directly and the opponent’s power is strong, I would not be able to defeat him. I must use the method of insubstantial and substantial. Use both of my hands to touch his shoulder lightlys, my left hand rolling smoothly downward his right shoulder while my right hand attacks his left shoulder. At this moment, my hands are in the posture of mutual support and are together in the same direction to send Jin into a circle. In this case, the opponent’s body will tilt and fall. This is because the opponent cannot take care both on the top and the bottom simultaneously and has lost his advantageous position. This is also caused by my Jin’s emitting sideward and downward. Once the practicioner comprehends he will know ten, this is called maturing on one’s own way and gradually comprehending the Understanding Jin."

By Wú Gōngzǎo (吳公藻), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Borrowing Qi (借行氣) from the Chang Family Comprehensive Theory of Martial Arts (萇氏武技全書)

借行氣

借行氣者，借人之氣方行而打之也。蓋彼之勢既發，已近我身，尚未落點，我即趁此機會，發我之勢，彼欲退不能，欲攔不及，再無不妙之理。若稍前，則彼尚可退回；稍後，則我已吃虧。所謂後發先至者，此也。如此，則迎機赴節，隨時得宜，不患技之不高矣。諸家所謂將計就計，借力使力，不外此訣。所謂驚戰計，正於此時用之。

萇乃周

"« Borrowing Qi » refers to borrowing the opponent’s Qi to strike the opponent. When the opponent’s strike is just about to land on my body, I take advantage of this to develop my posture, leaving the opponent no opportunity to retreat or to block. There is no mysterious principle. If I make my move prematurely, this allows the opponent time to retreat; if I make my move too late, then we have already been beaten. This is called of “strike second but land first”. In this way, seize opportunities and go into action. If you act at the right time, you need never worry about your lack of skill. This is what is meant by beating somebody at its own game and borrowing strength to apply strength. This is what is called by striking by stratagem at the right opportunity."

From the book Chang Family Comprehensive Theory of Martial Arts (萇氏武技全書), by Cháng Nǎizhōu (萇乃周), based on the translations by Douglas Wile in "T'Ai Chi's Ancestors: The Making of an Internal Art" and Marnix Wells in "Scholar Boxer: Chang Naizhou's Theory Of Internal Martial Arts And The Evolution of Tàijíquán"

The Study of the Water Lizard Form (鼉形學) from The Study of Xing Yi Quan (形意拳學)

鼉形學

鼉形者，水族中之身體最靈者也。此形有浮水之能，在腹內則為腎，而能清散心火，又能化積聚，消飲食。在拳中則為鼉形。其形能活潑周身之筋絡，又能化身體之拙氣拙力。其拳順，則筋骨弱者能轉而為強；柔者能轉而為剛；筋縮者易之以長；筋弛者易之以和，則謂順天者存也。其拳謬，則手足肩胯之勁必拘束矣。拘束則身體亦必不輕靈，不活潑矣。不活潑，即欲如鼉之能與水相合一氣而浮於水面難矣。

孫祿堂

"From the group of water, the body of the water lizard is the most agile in the water. Its form has the ability to float, in the abdomen it belongs to the kidney, it can calm and disperse heart fire, it can also eliminate indigestion. In the boxing, it belongs to the water lizard form. This for can activate the tendons and sinews of the entire body; it can also transform the body’s clumsy energy and clumsy force. When performed appropriately, weak muscles and bones can be strengthened; the frail can be enforced; contracted tendons can be extended; and all slackened tendons can be adjusted; this is the meaning of following heaven. When performed erroneously, the strength of hands and feet, shoulders and hips will be restrained. The body will also be akward, not agile and not lively. “Not lively” means that if one desires to do replicate the water lizard’s ability of floangti and uniting with the surface of the water and unite with the qi, one will have difficulty."

From the book The Study of Xing Yiquan (形意拳學), by Sūn Lùtáng (孫祿堂), based on the translation by Albert Liu and Dan Miller

Excerpt from The Great Treatise (繫辭上) an appendix to the Book of Changes (周易)

一陰一陽之謂道，繼之者善也，成之者性也。

"One time Yin, one time Yang, this is what is called the Dao. Those that go on with it are virtuous, those that accomplish it are natural."

Unless noted otherwise, all quotations of classical texts come from the Chinese Text Project

Loose the waist (鬆腰) from The Ten Important Points of Tai Chi Chuan (太極拳十要)

鬆腰

腰為一身之主宰，能鬆腰然后兩足有力，下盤穩固﹔虛實變化皆由腰轉動，故曰︰«命意源頭在腰隙»，«有不得力必于腰腿求之也»。

楊澄甫

"The waist is the master of the entire body. If one is able to loosen the waist then the his two feet have power and the lower disk is steady and firm. The variations of insubstantial and substantial all originate from the waist's turning and movement. Therefore, it is said: «the origin of the life and intention (Yi) is in the waist.», «If one is in a place where it is not possible to use force (Li), then a solution must come from the the waist and the legs»."

By Yáng Chéngfǔ (楊澄甫), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) and various translations on the internet

Fourth Secret Song (歌訣四) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)

歌訣四

一勢單邊不足奇，
左右迴圈乃為宜。
左換右兮右換左，
抽身倒步自合機。

"A single sided practice is odd and not worth,
Revolving in circles to both sides is therefore appropriate.
Change from left to right and from right to left,
Draw out the body and step backward to create an opportunity."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"

Zhèng Mànqīng (鄭曼青) demonstrating Tuī Shǒu (推手)Demonstração de Tuī Shǒu (推手) por Zhèng Mànqīng (鄭曼青)

The Complete Secret of Applications (全體大用訣) by Yáng​ Bān​hóu​ (楊班侯)

全體大用訣

太極拳法妙無窮，掤捋擠按雀尾生。
斜走單鞭胸膛佔，回身提手把招封。
海底撈月亮翅變，挑打軟肋不容情。
摟膝拗步斜中找，手揮琵琶穿化精。
貼身靠近橫肘上，護中反打又稱雄。
進步搬攔肋下使，如封似閉護正中。
十字手法變不盡，抱虎歸山採列成。

楊班侯

"The techniques of Tai chi chuan are marvellous and unlimited. It produces Peng, Lu, Ji, An and Grasp the Sparrow’s tail.
Walk diagonally into Single Whip to occuppy the chest area. Return the body and lift arms to seal the center.
Pick up the Moon from the Bottom of the Sea and vary it into the Spread the Wings. Use the picking hand to attack the soft tendons (lower part of the rib) without mercy.
The application of Brush the Knee and Step Forward is found diagonally. The variations of poking in Hands Like Pi Pa are essential.
When the body is closed (to the opponent), use the sideways elbow to attack. This will protect the center and allow to use the reverse fist strike to become an hero again.
Step forward for Parry and Punch, apply it to the lower ribs. As Seal as Close is used to protect the center.
The variations of Cross Hands techniques are unlimited. Embrace the tiger to return to the Mountain to complete the Pluck (Cai) and Split (Lie)."

肘底看捶護中手，退行三把倒轉肱。
墜身退走扳挽勁，斜飛招法用不空。
海底針要躬身就，扇通臂上托駕功。
撇身捶打閃化式，橫身進前招法成。
腕中反有閉拿法，雲手三進臂上功。
高探馬上攔手刺，左右分腳手要封。
轉身蹬腳腹上佔，進步栽捶迎面沖。

"In Punching under the Elbow there is a hidden hand for protection. Step Back Three Times and Reverse the Forearm to sink the body for retreating and twisting force.
The technique of Diagonal Flying can be used often without being in vain.
To execute Pick Up the Needle from the Bottom of the Sea the body should bow accordingly. Fan back can be achieved by pressing and supporting upward.
Turn, Twist Body and Circle the Fist is a posture of dodging and neutralizing. The body should advance from sideways to accomplish this technique.
There are techniques of sealing and sizing hidden in the wrist with reverse action. Attach the arm with Wave Hands like Clouds three times.
Stand High to Search Out the Horse is used to intercept the coming poking hand. When applying the Left and Right Separate Foot, the hands must seal (the opponent’s attack clearly).
Turn and Kick with the Heel is used to attack (the opponent’s) abdomen. (When using) Stepping Forward and Strike Down with the Fist, thrust towards the opponent directly."

反身白蛇吐信變，采住敵手取雙瞳。
右蹬腳上軟肋踹，左右披身伏虎精。
上打正胸肋下用，雙峰貫耳招法靈。
左蹬腳踢右蹬式，回身蹬腳膝骨迎。
野馬分鬃攻腋下，玉女穿梭四角封。
搖化單臂托手上，左右用法一般同。
單鞭下勢順峰入，金雞獨立佔上風。

"Turn the body, use the White Snake Spits Poision to change the situation. Plucking the opponent’s hand and attacking his two eyes.
The Right Heel Kick is used to tread soft ribs. Left and right dodging the body, the technique of Taming the Tige ris refined.
The upper hand is to strike the ribs at the lower chest (solar plexus). The technique of Attacking the Ears with the Fists is effective.
Left Heel Kick is used to defend against the opponent’s right heel kick. Turn the Body and Kick with the Heel is aiminig at the knee cap.
The Wild Horse Parts its Mane is to attack the place under the armpit. The Fair Lady Weaves with Shuttle is used to seal the four corners.
Use the single arm to neutralize the incoming force and the other hand to attack upwards. The applications of the left and right are all the same.
Single Whip to Snake Creeps Down is to follow the incoming force and enter. Use the Golden Rooster Stands on One Leg to occupy the advantageous position."

反身白蛇吐信變，采住敵手取雙瞳。
右蹬腳上軟肋踹，左右披身伏虎精。
上打正胸肋下用，雙峰貫耳招法靈。
左蹬腳踢右蹬式，回身蹬腳膝骨迎。
野馬分鬃攻腋下，玉女穿梭四角封。
搖化單臂托手上，左右用法一般同。
單鞭下勢順峰入，金雞獨立佔上風。

"Turn the body, use the White Snake Spits Poision to change the situation. Plucking the opponent’s hand and attacking his two eyes.
The Right Heel Kick is used to tread soft ribs. Left and right dodging the body, the technique of Taming the Tige ris refined.
The upper hand is to strike the ribs at the lower chest (solar plexus). The technique of Attacking the Ears with the Fists is effective.
Left Heel Kick is used to defend against the opponent’s right heel kick. Turn the Body and Kick with the Heel is aiminig at the knee cap.
The Wild Horse Parts its Mane is to attack the place under the armpit. The Fair Lady Weaves with Shuttle is used to seal the four corners.
Use the single arm to neutralize the incoming force and the other hand to attack upwards. The applications of the left and right are all the same.
Single Whip to Snake Creeps Down is to follow the incoming force and enter. Use the Golden Rooster Stands on One Leg to occupy the advantageous position."

Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)

Excerpt from Weak and Strong Points (謀攻) in The Art of War (兵法)

凡先處戰地而待敵者佚，後處戰地而趨戰者勞。故善戰者，致人而不致于人。能使敵人自至者，利之也；能使敵不得至者，害之也。

孫子

"Whoever is first in the field and awaits the coming of the enemy, will be fresh for the fight; whoever is second in the field and has to hasten to battle will arrive exhausted. Therefore the clever combatant imposes his will on the enemy, but does not allow the enemy's will to be imposed on him. By holding out advantages to him, he can cause the enemy to approach of his own accord; or, by inflicting damage, he can make it impossible for the enemy to draw near."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

A Study of Xing Yi Quan (形意拳學) by Sūn Lùtáng (孫祿堂) translated by Albert Liu

This is certainly the reference book on Xíngyìquán (形意拳). The author, Sūn Lùtáng (孫祿堂) is one of, if not the, main masters of internal martial arts in the 20th century. For this aspect alone, it would be a key book for the practicioner.
As a manual, it is a rather complete coverage of the main basic aspects of the art. To my knowledge is one of very the few books that go beyond the Five Fists (五行拳) to the Twelve Animals (十二形拳) of Hebei and Anshenpao (安身炮). Each movement is presented with a "theoretical explanation", to me the most interesting parts, followed by the movements themselves, which are always better seen with a qualified teacher than in a book.
The main interest is that Sūn Lùtáng (孫祿堂) developed the main systematization of the Internal Martial Arts(內家). In his books for the first time cosmological taoist terms like Wú​jí (無極), Tài​jí (太極) and Liǎng​yí (兩儀) are presented to explain specific steps of the practice. Even though it is applied to the other internal arts, this systematization is particularly striking for Xíngyìquán (形意拳).

The Secret

練

Within the Internal Martial Arts lore, there is an anedocte that highlights the importance of practice. It says that when Sūn Lùtáng (孫祿堂) was on his deathbed, his students asked him what was the secret for reaching a high level of Kung Fu. As Sūn Lùtáng was unable to speak, he raised his palm and with the other hand, drawn an imaginary character "practice" - liàn (練) on it.
In the introduction of the translation of Study of Xing Yi Quan (形意拳學) by Benjamin Lo, Sūn Jiànyún (孫劍雲), Sūn Lùtáng's daughter, states that the story is apochryphal and false. She goes on to say that it does convey the opinion of Sūn Lùtáng nevertheless. This is also an observation that I had from any serious teacher.
It is a fine reminder of the prime place of practice (練), relegating any other activity to a secondary place. Activity as reading books, watching videos, or writing this blog for that matters, are diversions to the one core activity of the serious practicioner.
However, the story stops short of giving further clues of what should constitute practice: its scope (what kind of exercices? how many styles?), the relative importance of frequency and quantity, how much practice is enough, under what conditions it is wise to practice and not practice, and so on. Some of the more esoteric aspects are sometimes adressed, like the notion of practicing facing north or early in the morning, without however a general orientation on how to practice.
In fact, what I would call the methodology of practice is something that is not systematically approached in the literature and in classes in general. It is particularly hard for a beginner to find himself all alone and decide what she should practice. In my opinion, this point is the main first obstacle for someone that wishes to become a serious practitioner.

Eight Vital Points (八要) by Jiāng Róngqiáo (薑容樵)

八要

心定神寧，神寧心安，心安清淨。清淨無物，無物氣行、氣行絕象，絕象覺明，覺明則神氣相通，萬氣歸矣。

薑容樵

"If the mind is settled, then the spirit is peaceful. If the spirit is peaceful, then the mind is calm. If the mind is calm, then it is pure and clear. If it is pure and clear, then there is nothing. If there is non content, then the qi moves. If the qi moves, then the form disappears. If the form disappears, then awareness and understanding raise. With awareness and understanding, the spirit and qi will connect. Then all of the qi’s will return."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

The Study of Wuji in the Sword (無極劍學) from the Study of Bagua Sword (八卦劍學)

無極劍學

劍學之無極者，當人執劍身體未動之時也，此時心中空空洞洞混混沌沌一氣渾然，此理是一字生這〇，一字者先天之至道，這〇者無極之形式，是先天一字之所生。人生在世，未嘗學技動作自然，是道之所行，是一字也。及手執劍正立身體未動，是一字生這〇也。譬諸靜坐功夫，未坐之時，呼吸動作是先天道之自然之所行，如同一字也。甫坐之時，兩腿盤跌兩目平視，雖未垂簾觀玄兩手打扣，而心中空空洞洞無思無想一氣渾然，如同〇也。及心神定住，再扣手垂簾塞兌觀玄，又如同這矣。所以劍學與丹道，初無差別，分之則二合而為一，是即劍學無極之理，天地之始也。或者丹書雲：道生虛無，返回練虛合道，是此意也。學者細參之，此理大中秘密言之。

孫祿堂

"The study of Wuji in the sword refers to a man standing and holding the sword, and his body not yet moving. At this moment the center is empty and formless, the unified qi is undivided. This principle is represented by an empty circle, this character (the circle) and the pre-natal heaven follow the same way. The circle is the form of Wuji, it is the symbol of the creation of the Pre-natal. When people are born into the world, before they had learned skills, their natural movements are spontaneous in the Taoist way. When one holds the sword and stands up before the start of the movement, the symbol of the circle is generated.It is like doing sitting meditation, without sitting. Breathing is natural as the pre-natal dao, as the symbol (circle). At the time of sitting, both legs drop and both eyes look levelly ahead. Although you are not blindfolded, you still see the darkness, both hands closed. The interior is empty; there are no thoughts, no consideration, the one qi is undivided as the circle. The attention is still, again the hands turn inward and hang like a curtain, stop looking, this is like a dot in a circle. There is no difference between the study of the sword and the Daoist alchemy, the two are one. The principles of Wuji in the study of the sword are the same of those of the beginning of the world. The Dan Shu says “the Dao is born out of empty nothing, the practice of returning joins the Emptiness to the Dao”, this is the meaning. The student must pay detailed attention; this principle is one of the major secrets."

起點面正，身子直立不可俯仰，兩手下垂直，兩足為九十度之形式。右手執劍，手為中陰中陽之訣式，劍尖與劍把橫平直，左手五指伸直手心靠著腿，兩手兩足不可有一毫之動作。心中空空洞洞，意念思想一無所有，兩目望平直線看去，亦不可移轉，將神氣定住。此式自動而靜由一而生這〇，即為無極形式，內中一切情形與八卦拳學無異，此道執械則為劍，無械即是拳，所以八卦拳學於各種器械莫不包含，學者可與八卦拳并參之。

"The starting point is to look upright. The body stands upright, it should not pitch forward or backward. Both hands hand down straight. The feet form a 90 degree angle. The right hand holds the sword. The hand shape middle Yin middle Yang is the secret. The point of the sword together with the sword handle are leveled. The five fingers of the left hand are stretched out, the palm is near the leg. Neither hands nor feet should have one bit of movement. The mind is empty. There are not thoughts at all. Both eyes gaze at the horizon. The sight is set at the distance, it does not wander around. The vitality shall be present. This form is naturally moving and yet still, one is born from zero, this is the Wuchi form. In all circumstances it is part of the Study of Bagua Quan. This is the way to hold a weapon and make it function as a sword. Because the study of the fist is without weapon, the study of Bagua Quan includes all kinds of weapons. The student can combine (the study of the sword) with Bagua Quan."

From the book The Study of Bagua Sword (八卦劍學), by Sūn Lùtáng (孫祿堂), based on the translation by Joseph Crandall

The Explanation of Tai Chi Chuan's Harmonious Stepping in Four Sides of Pushing Hands (太極拳合步四正推手解)

太極拳合步四正推手解
太極拳以練習推手為致用，學推手刖即是學覺勁,有覺勁刖懂勁便不難矣。故總論所謂由懂勁而階及神明，此言即根於推手無疑矣。掤，履，擠，按四式即黏，連，貼，隨捨己從人之定步推手。

楊澄甫

"Taijiquan uses the practice of pushing hands because of its delicate appplication. Learning pushing hands means learning Feeling Jin. When there is Feeling Jin, the Understanding Jin is not difficult. Therefore, the Total Thesis (of Taijiquan) said: «from Understanding Jin then gradually reach the spiritual enlightenment». There is no doubt that these words are in the basis of pushing hands. Peng (Ward Off), Lu (Rollback), Ji (Press), and An (Push) are the four patterns of adhering, connecting, attaching and following of selfless yielding in fixed-step push hands."

Dictated by Yang Chengfu (楊澄甫口述), noted by Chen Weiming (陳微明筆述), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) and various translations on the internet

Three Emptinesses

The term "Empty" or "Emptiness" is often used in Internal Martial Arts (内家武術) translations, in particular those that are somewhat older. In fact, whenever reading a text that mentions "emptiness" in a western language one should be aware that it can point to three different notions.

空

The first translation is what I would call "literal" emptiness, the notion that something has been emptied, is vacant, unoccupied. This term is kōng (空), and it describes a wide range of things: the outer space in astronomy (太空), the vacuum (真空), a cavity (空洞), a vacancy (空缺) or a "liberty" in the game of go.

In the internal martial arts texts I've seen, this term is used mostly linked to physical postures, like the necessity of emptying the chest. For example in "Cover" (扣) from the "Xingyi Eight Characters Secret" (形意八字訣) by Jiāng Róngqiáo (薑容樵):

一。兩肩要扣，則前胸空闊，氣力到肘。

"Both shoulders should be like covers. The chest is empty and broad. The qi strength arrives in the elbows."

虚

A second translation is mostly in Tai Chi Chuan (太極拳), and it relates to the way movement is made in Tai Chi. Earlier translations would talk about "full" (實) and "empty" (虚) for the weight for example. I think a better translation for this "fullness" and "emptiness" is given by Yang Jwing Ming (楊俊敏): "substantial" (實) and "insubstantial" (虚). The idea of emptiness here is an idea of void, often in what in the West would be seen as a negative sense: a false reputation (虚名), vanity (虚荣心) or fictitious or theoretical (虚拟). In the Tai Chi Chuan texts, the term is quite central to the practice, for example in the The Ten Important Points of Tai Chi Chuan (太極拳十要) by Yáng Chéngfǔ (楊澄甫):

太極拳術以分虛實為第一義

"The discrimination of insubstantial and substantial is the most important content in Taijiquan. "

無
極

Although much more rarely, the third term that is sometimes translated as "emptiness" or a related term is Wú​jí (無極). It is a term related to chinese cosmogony, as it refers to the potential state the universe was before the "Ten Thousand Beings" appeared (萬物). In internal martial arts, Wú​jí is used to denote the initial undifferentiated state, before a form is started. In some old translations or internal martial arts books, we would see "emptiness" or "empty oneself" related to that specific point.

The term has been introduced in the Internal Martial Arts universe by Sūn Lùtáng (孫祿堂) and Jiāng Róngqiáo (薑容樵), in texts like "The Song of Wújí" (無極歌) by Jiāng Róngqiáo (薑容樵) and "The Study of Wuji in the Sword" (無極劍學) by Sūn Lùtáng.

Chapter 36 (三十六) from the Dào​dé​jīng (道德經)Capítulo 36 (三十六) do Dào​dé​jīng (道德經)

三十六

將欲歙之，必固張之。
將欲弱之，必固強之。
將欲廢之，必固興之。
將欲奪之，必固與之。
是謂微明。
柔弱勝剛強。
魚不可脫於淵，
國之利器，不可以示人。

老子

"When one is about to take an inspiration, he is sure to make a (previous) expiration;
when he is going to weaken another, he will first strengthen him;
when he is going to overthrow another, he will first have raised him up;
when he is going to despoil another, he will first have made gifts to him.
This is called 'Hiding the light.'
The soft overcomes the hard; and the weak the strong.
Fishes should not be taken from the deep; instruments for the profit of a state should not be shown to the people."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

"Para querer iniciar o recolhimento
É necessário consolidar a expansão
Para querer iniciar o enfraquecimento
É necessário consolidar o fortalecimento
Para querer iniciar o abandono
É necessário consolidar o amparo
Para querer iniciar a subtração
É necessário consolidar o aumento
Isto se chama breve iluminação
O suave e o fraco vencem o rígido e o forte
Os peixes não podem separar-se do lago
O reino que tem o instrumento afiado
Não pode colocá-lo à vista do homem"

Tradução de Wǔ Rǔqīng (武汝清)

The Song of Six Coordinations (六合歌) by Jiāng Róngqiáo (薑容樵)

六合歌

身成六式，
雞腿龍身，
熊膀鷹爪，
虎抱雷鳴。

薑容樵

"The whole body has six forms,
Cock legs, dragon body,
Bear arms, eagle claws,
Tiger’s embrace and the sound of thunder.

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Wú style Tai Chi Sword (吳式太極劍) by Mǎ Yuèliáng (馬岳樑)

The Secret of Random Ring (亂環訣) by Yáng​ Bān​hóu​ (楊班侯)

亂環訣

亂環術法最難通，上下隨合妙無窮。
陷敵深入亂環內，四兩千斤招法成。
手腳齊進橫豎找，掌中亂環落不空。
欲知環中法何在，發落點對即成功。

楊班侯

"It is the hardest to understand the techniques of random ring. The top and the bottom follow each other harmoniously, its marvelousness is unlimited. Trap the enemy deeply into the random ring and use four ounces to repel a thousand pounds, the techniques are then completed. The hands and feet enter together and search for the opportunity in the horizontal and vertical movements. The attack of the random ring in the palms will not be empty. If one wishes to know what are the techniques used in the ring, emitting, falling, pointing and matching, then the success is immediate."

Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)

Chinese Longsword

Chinese Longsword's explicit mission is to "promote and preserve martial arts ancient wisdoms and knowledge" and "translate ancient Chinese manuals to share it with the world", a mission that it has been accomplishing rather well. The selection of the texts available is very interesting: texts that are not easily reachable for the western practicioner (although some of them can be found in chinese on the internet), in translations that are modern and accessible. The rarity of some of the weapons adressed, like whip (鞭) or shield and wolf brush (牌與狼筅), make the translations already interesting from a historical perspective.
The texts are some centuries old, and refer mostly to shaolin or military manuals. At the time the distinction between internal and external martial arts was starting to brew. For example, the "Boxing Treatise"(拳經) from the "New and effective methods in military science" (紀效新書) by Qī​ Jìguāng (戚繼光) is more or less contemporary to the "Sword Treatise" (劍經) translated by Chinese Longsword, it is also arguably one of the first to adress internal aspects of martial arts.
Even if these are mostly "external" manuals, if one understands the evolution of the internal martial arts, the interest is immediate.

As a note of caution for those looking for ancient sword techniques, the "Sword Treatise" (劍經) is mostly about the staff, as it is seen as the source of techniques for other weapons.

Excerpt from Knowledge rambling in the North (知北遊) in Zhuāng zi (莊子)

大馬之捶鉤者，年八十矣，而不失豪芒。大馬曰：“子巧與？有道與？”曰：“臣有守也。臣之年二十而好捶鉤，於物無視也，非鉤無察也。是用之者，假不用者也以長得其用，而況乎無不用者乎！物孰不資焉？”

莊子

"The forger of swords for the Minister of War had reached the age of eighty, and had not lost a hair's-breadth of his ability. The Minister said to him, 'You are indeed skilful, Sir. Have you any method that makes you so?' The man said, 'Your servant has (always) kept to his work. When I was twenty, I was fond of forging swords. I looked at nothing else. I paid no attention to anything but swords. By my constant practice of it, I came to be able to do the work without any thought of what I was doing. By length of time one acquires ability at any art; and how much more one who is ever at work on it! What is there which does not depend on this, and succeed by it?'"

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

Third Secret Song (歌訣三) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)

歌訣三

步彎腳直向前伸，
形如推磨一般真。
屈膝隨胯腰扭足，
眼到三面不搖身。

"The curved step and straight foot extend forward,
The form is as if it was truly pushing a millstone.
Bend knees, the hips follow; the waist twists the feet,
The eyes watch the three surfaces (the surroundings), the body does not change."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"

The Song of Tàijí (太極歌) by Jiāng Róngqiáo (薑容樵)

太極歌

心猿已動，
拳勢始作，
剛柔虛實，
開合起落。

薑容樵

"After the monkey-mind moves,
Boxing postures are started,
Hard and soft, insubstantial and substantial,
Open and close, rise and fall."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Documentary on Swordsmith Guō Chángxǐ (郭常喜)

From the documentary "Human Bones Burned to Make "Spirit"-Filled Swords" from National Geographic

Use Intention, not Force (用意不用力) from The Ten Important Points of Tai Chi Chuan (太極拳十要)

用意不用力

太極拳論云︰«此全是用意不用力。»練太極拳全身鬆開，不能有分毫之拙勁，以留滯于筋骨血脈之間以自縛束，然后能輕靈變化，圓轉自如。或疑不用力何以能長力?蓋人身之有經絡，如地之有溝洫，溝洫不塞而水行，經絡不閉則氣通。如渾身僵勁滿經絡，氣血停滯，轉動不靈，牽一發而全身動矣。

楊澄甫

"The Taijiquan Treatise says: « All of these are using the Yi not the Li » (When) training Taijiquan, the entire body is loosening and opening, cannot have (even a) centimeter or millimeter's (i.e., slightly) clumsy Jin which (may cause) self bondage (i.e., clumsiness) due to the delay and stagnation (of the Qi and blood circulation) within tendon, bones and blood. Then, (you) can be light, agile, varied, and round as wished. (You) may doubt, how can you grow power without muscular force? It is because the Jing and Luo (i.e., primary and secondary Qi channels) in the human body are like streams and ditches. When the streams and ditches are not blocked, the water will flow (smoothly), and when the Jing and Luo are not shut off, the Qi will transport (easily). If there is a stiff Jin (applied on) entire Jing and Luo (system), the Qi and blood will be stopped or stagnant and the turning and movement will not be agile. (When this happens,) once a place is pulled, the entire body moves. "

By Yáng Chéngfǔ (楊澄甫), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) and various translations on the internet

Various Demonstrations of Shānxī Xíngyìquán (山西形意拳)

The Six Harmonies of Xing Yi Quan (形意拳六合) from The Illustration of Xing Yi Quan (形意拳圖說)

形意拳六合

形意拳最重要之點，在一“合”字。動作合，則姿勢正而獲其益；動作不合，則姿勢乖而氣力徒勞。不可不知也。

凌善清

"In Xing Yi Quan, the most important point is in one word – coordination. If the movements are coordinated, then the postures will be precise and gain the advantage. If the movements are not coordinated, then the postures are irregular and the vigour will be futile. One must not ignore this."

所謂合者有六，身無偏倚，心平氣和，意不他動，動作自然，謂之心與意合，意與氣合，氣與力合。此內三合也。

"What is called coordination includes six topics. The body is not leaning, the xin is peaceful and the chi is harmonious, the yi is not concentrated on other matters, the movements are natural. This is called the coordination of Xin and Yi, coordination of Yi and Chi, and coordination of Chi and Li. These are the three internal coordinations."

動作時兩手扣勁，兩足後跟向外扭勁，是曰手與足合；兩肘往下垂勁，兩膝往里扣勁，是曰肘與膝合；兩鬆開抽勁，兩胯里根抽勁，是曰肩與胯合。此外三合也。總名之曰六合。

"During the movement, when both hands have grabbing Jing and the heels of the two feet have the external twisting Jing, it is said that hands and feet are coordinated. When the two elbows are sinking and the two knees are locked internally, it is said that the elbows and the knees are coordinated. When the shoulders are relaxed and open in drawing the Jing and the two hips are firmed internally to draw the Jing, it is said that shoulders and hips are coordinated. These are the three external coordinations. The total is called 'the six harmonies'."

學者能熟知六合之法，則練習時自能觸類旁通，而一舉一動，無不合法。蓋內六合之外，還須心與眼合，肝與筋合，脾與肉合，肺與身合，腎與骨合；外三合之外，尚須頭與手合，手與身合，身與步合也。

"If the student is able to become familiar with the techniques of these six coordinations, then when practicing, he will automatically understand others which belong to the same category. Then, every movement cannot avoid being in the right way. In addition to the three internal coordinations, one still needs xin and eyes to coordinate, liver and tendons to coordinate, spleen and muscles to coordinate, lungs and body to coordinate, kidneys and bones to coordinate. In addition to the three external coordinations, one still needs head and hands to coordinate, hands and body to coordinate, body and stepping to coordinate."

觀此可知形意拳動作之間，無論內外，莫不有陰陽之分，即莫不寓有互相聯合之理，學者當體會及之。

"If one observe these, it is clear that from the movements in Xing Yi Quan, no matter if it is internal or external, there is none that escapes the discrimination of Yin and Yang. That is, there is no movement that does not intrinsically have each other (Yin and Yang) combined. Students ought to realize this point."

By Líng Shànqīng (凌善清), based on the translation Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in

Excerpt from Attack by Stratagem (虛實) in The Art of War (兵法)

不戰而屈人之兵，善之善者也。

孫子

"Supreme excellence consists in breaking the enemy's resistance without fighting."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

Central Equilibrium (中定) from Tai Chi Chuan Teaching Notes (太極拳講義)

中定

伸屈開合之未發謂之中，寂然不動謂之定。心氣清和，精神貫頂，不偏不倚，是為中定之氣，亦道之本也。

吳公藻

"Before the action of extending, bending, opening and closing is called center. Silent and still is called equilibrium. The Xin and Qi are clean and harmonious, the spirit of vitality reaches the top of the head, no tilting, no leaning is called the Qi of Central Equilibrium. It is also the root of the Dao."

By Wú Gōngzǎo (吳公藻), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

A survey of quietness (靜)

靜

My dictionaries provide 3 possible translations for 靜: quiet, calm, still. In modern Chinese the term is used to design what in the west we would call « static »: static electricity (靜電) in science, for example; or a still life (靜物画) in arts. It can also be found in expressions that evocate tranquility, like”the sea is calm and tranquil” (海上風平浪靜). A pure translation of the term points then to a quality of that a pristine lake or a quiet forest: still but not stiff, calm but not on a psychological term, quiet as when movement has ceased.

To capture the sense of the term it is also good to note that the term meditation is often used as a translation of 靜坐. If translated literally, character by character, we would read “sit quietly” or “sit still”. One does not need to go far to find it: the Chinese title of “The Tao of Meditation” by Jou Tsung Hwa (周宗樺) is 靜坐開悟之道 or literally “An introduction to the way of sitting in quietness”.

Quietness in Internal Martial Arts

A first aspect of 靜 that can be found in the texts is its opposition to speed, a sort of duality between stillness and movement. It is treated here as a technical aspect of fighting, in the sense that it is needed to be learned to be used in the right opportunity, as a tool. For example, in the “Thirteen Secret Words of Practice” (十三字行功訣) by Yang Banhou (楊班侯) one can read:

掤手兩臂要圓撐，動靜虛實任意攻。

"In Ward-off it is important that both arms keep round, then quietness and activity, insubstantial and substantial can be used to attack as wished."

A second aspect is 靜 as a quality to be included in the movements. Rather than being a pair stillness-movement, this second meaning implies that calmness has to be maintained throughout the practice. In “Seeking Calmness in Movement” (動中求靜), Yang Chengfu (楊澄甫) indicates that the student should remain calm despite being in movement:

太極拳以靜御動，雖動尤靜

"Tàijíquán uses calmness to control the movements, through moving one remains calm."

It is certain that this is an aspect that looks very proper to Taijiquan, as it explains the reason for slowness in training. In the text, Yang Chengfu (楊澄甫) goes on with:

故練架子愈慢愈好。

"Therefore, when practicing postures, the slower the better."

In fact, this impression of 靜 being a exclusive feature of the system of Tàijíquán (太极拳) is only apparent. In the studies written by Sūn Lùtáng (孙禄堂) and Jiāng Róngqiáo (薑容樵) on Xíngyìquán (形意拳) and Bāguàzhăng (八卦掌), quietness is mentioned as a requirement for practice. It is often associated with Wuji (無極), the undifferentiated state that precedes and concludes every practice. For example, in the Xing Yi Wu Ji Song (形意無極歌) by Jiang Rongjiao (薑容樵) it can be read:

空洞自然凝神靜。

"The nature is empty, the spirit concentrate on quietness."

This connotation of the term in the Internal Martial Arts texts is the closest to the meaning of 靜 that can be found in the ancient texts, and this brings another hint of its meaning.

靜 in Ancient Texts

靜is also an ancient term that was can be found in the earlier texts. For example, in the Chapter 16 of the 道德經 (Dào dé jīng) one can read:

歸根曰靜

Returning to one's roots is known as stillness.

And again in the 管子內業 (Guǎnzi Nèiyè), chapter 3 one can read:

天主正，地主平。人主安靜

The pivot of heaven is uprightness. The pivot of earth is flatness. The pivot of man is quiescence.

It is not only the Taoist-leaning texts that put quietness as central to man’s nature. In Confucian texts, such as the Great Learning -大學 - Da Xue, quietness is also given this place:

大學之道，在明明德，在親民，在止於至善。知止而後有定，定而後能靜，靜而後能安

What the Great Learning teaches, is to illustrate illustrious virtue; to renovate the people; and to rest in the highest excellence. The point where to rest being known, the object of pursuit is then determined; and, that being determined, a calm unperturbedness may be attained to. To that calmness there will succeed a tranquil repose.

For the ancient, 靜 is therefore associated to Early Heaven (先天): a primordial quality that is present before differentiation and movement – and therefore its association with Wuji (無極) in the internal martial arts texts. Beyond being a core quality of human nature, it is also a state worth to be looked for, as the aim of a movement of return.

Zhuang Zi’s (莊子) hints on methods

The question that follows then is “how” approach this return to quietness (靜), this state of calm unperturbedness or tranquil repose. Throughout his text, Zhuang Zi (庄子) proposes an indication on how to return and reach it.

A first pointer may be found with “Sitting in Forgetfulness” (坐忘), a process that is described in chapter 6: The Great and Most Honoured Master (六。大宗師) :

顏回曰：“回益矣。”仲尼曰：“何謂也？”曰：“回忘仁義矣。”曰：“可矣，猶未也。”他日復見，曰：“回益矣。”曰：“何謂也？”曰：“回忘禮樂矣。”曰：“可矣，猶未也。”他日復見，曰：“回益矣。”曰：“何謂也？”曰：“回坐忘矣。”仲尼蹴然曰：“何謂坐忘？”顏回曰：“墮肢體，黜聰明，離形去知，同於大通，此謂坐忘。”

Yan Hui said, 'I am making progress.' Zhongni replied, 'What do you mean?' 'I have ceased to think of benevolence and righteousness,' was the reply. 'Very well; but that is not enough.' Another day, Hui again saw Zhongni, and said, 'I am making progress.' 'What do you mean?' 'I have lost all thought of ceremonies and music.' 'Very well, but that is not enough.' A third day, Hui again saw (the Master), and said, 'I am making progress.' 'What do you mean?' 'I sit and forget everything.' Zhongni changed countenance, and said, 'What do you mean by saying that you sit and forget (everything)?' Yan Hui replied, 'My connexion with the body and its parts is dissolved; my perceptive organs are discarded. Thus leaving my material form, and bidding farewell to my knowledge, I am become one with the Great Pervader. This I call sitting and forgetting all things.'

The paragraph describes a long term process that reaches the end of something that could be called a “spiritual” state. The main aspect of “Sitting in Forgetfulness” seems to be the “Calming the Thoughts”, as stated in the Chapter 23 - Geng-sang Chu (廿三。庚桑楚):

南榮趎蹴然正坐曰：“若趎之年者已長矣，將惡乎託業以及此言邪？”庚桑子曰：“全汝形，抱汝生，無使汝思慮營營。若此三年，則可以及此言矣。”

(On this) Nan-rong Chu abruptly sat right up and said, 'What method can an old man like me adopt to become (the Perfect man) that you have described?' Geng-sang Zi said, 'Maintain your body complete; hold your life in close embrace; and do not let your thoughts keep working anxiously: do this for three years, and you may become the man of whom I have spoken.'

There is a further explanation in in Chapter 4 - . Man in the World, Associated with other Men (四。人間世) , where managing the flow of thoughts seems to be related also to the appropriate placing of the will (“fasting of the mind”). Once this is done, the senses, the mind and the spirit will be calmly performing their functions:

回曰：“敢問心齋。”仲尼曰：“一若志，無聽之以耳而聽之以心，無聽之以心而聽之以氣。聽止於耳，心止於符。氣也者，虛而待物者也。唯道集虛。虛者，心齋也。”

'I venture to ask what that fasting of the mind is,' said Hui, and Zhongni answered, 'Maintain a perfect unity in every movement of your will, You will not wait for the hearing of your ears about it, but for the hearing of your mind. You will not wait even for the hearing of your mind, but for the hearing of the spirit. Let the hearing (of the ears) rest with the ears. Let the mind rest in the verification (of the rightness of what is in the will). But the spirit is free from all pre-occupation and so waits for (the appearance of) things. Where the (proper) course is, there is freedom from all pre-occupation; such freedom is the fasting of the mind.'

This is just an illustration of how this state of quiescence (靜) could be attained. There is of course not much in these three cotations to transform it into a practical method for the modern western practicant. It would even be pretentious to think so, as thousands of years of study and practice by brilliant masters were built on this tradition.

However three general points can be apprehended from what Zhuang Zi (庄子) says as principles in the way of reaching quiescence (靜) :

• Achieving quietness is a gradual process, that comes with constant practice, and takes a long time to mature, if to be reached at all
• This process is related to regulating the flow of thoughts, aiming at having a non turbulent flow
• It is also related to the appropriate use of the intention or will, so that sensations and thoughts are properly managed.

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

Second Secret Song (歌訣二) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)

歌訣二

後肘先疊肘掩心，
手在翻塌向前跟。
跟到前肘合抱力，
前後兩手一團神。

"The rear elbow is folded and in line with the stomach,
The palm turns downward and extends forward.
The rear palm is below the elbow of the lead arm,
Both palms coordinate in harmony to become one whole power."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"

Various Demonstrations of Shānxī Xíngyìquán (山西形意拳)

The Song of Pīquán (劈拳歌) by Jiāng Róngqiáo (薑容樵)

劈拳歌

劈拳似斧性屬金，
生鑽克崩妙絕倫，
金隱于內鼻通肺，
五行第一存其真。

薑容樵

"Piquan is like a hatchet, its nature is affiliated with metal,
It is outstanding in creating beng and overcoming zuan
When metal is concealed inside, the nose is connected to the lungs,
It is truly the first of the five elements."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Discriminate Insubstantial and Substantial (分虛實) from The Ten Important Points of Tai Chi Chuan (太極拳十要)

分虛實

太極拳術以分虛實為第一義，如全身皆坐在右腿，則右腿為實，左腿為虛﹔全身皆坐在左腿，則左腿為實，右腿為虛。虛實能分，而后轉動輕靈，毫不費力﹔如不能分，則邁步重滯，自立不穩，而易為人所牽動。

楊澄甫

"The discrimination of insubstantial and substantial is the most important content in Taijiquan. If the entire body is all sitting on the right leg, then the right leg is substantial and the left leg is insubstantial. If the entire body is all sitting on the left leg, then the left leg is substantial and the right leg is insubstantial. When the insubstantial and substantial can be discriminated, then the turning and movement can be light and agile, without wasting too much power. If (they) cannot be discriminated, then the stepping is heavy and stagnant, the self stance is not steady and can be pulled and moved easily by the opponent."

By Yáng Chéngfǔ (楊澄甫), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) and various translations on the internet

First Secret Song (歌訣一) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)

歌訣一

空胸拔頂下塌腰，
扭步掰膝抓地牢。
沈肩墜肘伸前掌，
二目須從虎口瞧。

"Relax the chest, lift up the crown of the head, and let the waist sink,
Twist the step, lock the knees together, grab the ground.
Sink the shoulders, drop the elbows, and extend the front palm forward,
Both eyes look through the tiger's mouth."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"

The Essence and Applications of Tai Chi Chuan (太極拳體用全書) by Yáng Chéngfǔ (楊澄甫) translated by Louis Swaim

Classics are the books that everyone should read and almost nobody does. This 1934 book by Yáng Chéngfǔ (楊澄甫) is a classic in its own right, as it was one of the books of its generation to open wide the tradition. It was not the only one, Sūn Lùtáng (孫祿堂) and others have done likewise. Moved by the nationalistic fervor of the time, they all wanted to share practices that would strenghen fellow countrymen. Being one among others does not diminish its merits, as the company is very noble, and this is one the first veritable book on the Yáng Style Tàijíquán (楊氏太极拳).
It reads like a manual, as it is supposed to do. The translator, Louis Swaim goes far in lifting ambiguity and clarifying the text for the western reader. More than the instructions themselves, the main interest for me is in the pictures: seeing the postures executed by a grand master is always a lesson in itself, even though a beginner like me cannot capture much of what is really going on.

Bāguàzhăng Applications (八卦掌打法) by Sūn Zhìjūn (孫志君)