Collection of Qi (氣斂) from the Five Key Words (五字訣)

三,曰氣斂

氣勢散漫，便無含蓄，身易散亂，務使氣斂入脊骨。呼吸通靈,周身罔間。吸，為合為蓄；呼，為開為發。蓋吸則自然提得起，亦擎得人起；呼則自然沉得下，亦放得人出。此是以意運氣，非以力使氣也。

李亦畬

"Third saying: collection of Qi
If the Qi and Jin are disorganized, it is not contained. The body is easily scattered, it is possible from the exterior to make the Qi enter and control the spine. The breathing is smooth, there is no gap in the whole body. To inhale is to gather, it is as storing up; to exhale is to open, it is as emitting. Inhalation naturally lifts (the Qi) allowing the rise (of the spirit of vitality); it can also lift the opponent. Exhalation naturally sink (the Qi) allowing it to keep down; it can also release towards the opponent. This means that Yi guides Qi, one should not use Li to employ Qi."

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

Thirty-first Secret Song (歌訣三十一) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Trigésima Primeira Canção Secreta (歌訣三十一) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣三十一

人持利器我不忙，
飛劍遙遙到身旁。
看他來路哼哈避，
邪不勝正語頗良。

"I am in no hurry if the opponent holds a sharp weapon,
The flying sword reaches my side from a distance.
Watch its coming trajectory and use the Hen and Ha sounds to avoid it,
That evil cannot match the just is a rather good saying."

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"

""

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

The Song of Mutual Destruction (相剋歌) by Jiāng Róngqiáo (薑容樵)

相剋歌

劈能克崩崩克橫，
橫能克鑽鑽克炮，
炮能克劈歸易理，
不外五行求奧妙。

薑容樵

"Pi is able to overcome Beng; Beng is able to overcome Heng.
Heng is able to overcome Zuan; Zuan is able to overcome Pao.
Pao is able to overcome Pi; this belongs to the change principle.
These subtilities are not beyond 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

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

知彼知己，百戰不殆；不知彼而知己，一勝一負；不知彼，不知己，每戰必敗。

孫子

"If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained you will also suffer a defeat. If you know neither the enemy nor yourself, you will succumb in every battle."

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

Proper Treatment without Defects (對待無病抗) by Yáng​ Bān​hóu​ (楊班侯)

對待無病

頂，匾，丟，抗，失於對待也。所以為之病者，既失粘黏連隨，何以獲知覺運動?既不知己，焉能知人?
所謂對待者，不以頂匾丟抗相對於人也，要以粘黏連隨等待於人也。能如是，不但無對待之病，知覺運動自然得矣。可以進於懂勁之功矣。

楊班侯

"Go Against, Deficiency, Lose and Resist means missing proper treatment. The reason is that if one loses attach, adhere, connect and follow, how can one attain consciousness in movement? If one is not able to be aware of it on oneself, how can one be aware of it on the opponent?
What is called proper treatment is not to use Go Against, Deficiency, Lose and Resist with the opponent. It is capital to use attach, adhere, connect and follow to match the opponent. Being able to do so not only there are no defects on the manners, consciousness in movement will be obtained naturally. It will then be possible to progress in the practice of Understanding Jin."

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)

Thirtieth Secret Song (歌訣三十) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Trigésima Canção Secreta (歌訣三十) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣三十

轉身變法步莫長，
擦地而行莫要慌。
看準來路方伸手，
巧女穿針穩柔剛。

"When turning the body and changing the techniques, the stepping should not be long.
Stroke the ground when walking, one should lose one’s head.
Observe the coming path and only then extend the hands.
Like a skilful girl threading a needle, be steady, soft and firm."

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"

"Quando se gira o corpo e se muda técnice, o passo não deve ser longo.
O pé roça o solo durante o movimento, é importante não se perder.
Observar a trajetória do movimento que chega, e só então estender as mãos.
O movimennto é como a agulha de uma constureira experiente, constante, suave e firme."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Kung Fu Tea

One of my preferred blogs, "Kung Fu Tea" brings a much needed lucid historical, sociological and political perspective to the study of chinese martial arts. It can be asked what such a view can add to one's practice, as at the end of the day it is the quality of the practice that counts. My point of view is that such perspective helps the modern practiotiner to demistify the art, and in doing so free the study from the more superstitious claims. These claims are often distracting from the concrete, pratical aspects of the practice.
Most of the historical records of the chinese martial arts as known today do not come from earlier than the nineteenth century. The last two centuries were a period of great transformation for China, it is naive to consider that the evolution of martial arts exist in isolation from this context. The perspectives, terminology and techniques passed down by tradition were and still are being strongly influenced by the social and political environment. The sincere practitioner can only gain in clarity by acknowledging this.
Even if there is a small accent on Wing Chun, the site adresses chinese martial arts in general, internal and external (if this differentiation really applies for this point of view). Some of my preferred subjects are the following

• religion
• pop culture kung fu

The review of lives and legends of great figures are also of great interest, as the accent in understanding the context of those lives and the relations with the art of those masters gives a new angle to the relations that the practice can have with our own lives. For my own practice, I found the articles immediately relevant :

• Zhang Sanfeng: Political Ideology, Myth Making and the Great Taijiquan Debat
• Sun Lutang and the Invention of the “Traditional” Chinese Martial Arts (Part I).

The Study of the Cannon Fist in Xingyi (形意炮拳學) from The Study of Xing Yi Quan (形意拳學)

形意炮拳學

炮拳者，屬火，是一氣之開合，如炮忽然炸裂，其彈突出，其性最烈，其形最猛。在腹內則屬心，在拳中即為炮。所謂炮拳似炮屬火者是也。其氣和則心中虛靈，其氣乖則心中朦味，其人必愚矣。其拳和則身體舒暢，其拳謬則四體失和矣。學者務深究此拳也。

孫祿堂

"The cannon fist is classified with the element Fire and is the opening and closing of the unified Qi. It is like the sudden explosion of a cannon shooting its shell, its nature is the most vigorous, its shape the most fierce. In the body it belongs to the heart. In boxing it is like an explosion. This is why it is said that the pounding fist is like a cannon and belongs to fire. When its Qi is harmonius, one’s bosom is empty and alert. When its Qi is irregular, one’s bosom is muddled, one will necessarily be deceitful. When the boxing is harmonius, the body is comfortable. When the boxing is erroneous, it makes the four limbs lose their coordination. This fist should be carefully studied by practitioners."

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.

Feign Madness But Keep Your Balance (假癡不癲) from the Thirty-Six Stratagems (三十六計)Finja Loucura mas Mantenha o Equilíbrio (假癡不癲) dos Trinta e Seis Estratagemas (三十六計)

假癡不癲

寧偽作不知不為，不偽作假知妄為；靜不露機，雲雷屯也。

"Hide behind the mask of a fool, a drunk, or a madman to create confusion about your intentions and motivations. Lure your opponent into underestimating your ability until, overconfident, he drops his guard. Then you may attack."

Quoted from Chinese Classics and Translations

"Esconda-se por trás de uma fachada de tolo, bêbado ou maluco para criar confusão sobre suas intenções e motivações. Faça com que seu oponente subestime suas habilidades até que, confiante, ele abaixe sua guarda. Este é o momento de atacar."

Traduzido à partir de Chinese Classics and Translations

Agility of the Body (身靈) from the Five Key Words (五字訣)

身靈

身滯則進退不能自如，故要身靈。舉手不可有呆像,彼之力方礙我皮毛，我之意已入彼骨裡，兩手支撐，一氣貫穿。左重則左虛，而右已去；右重則右虛，而左已去。氣如車輪，周身俱要相隨，有不相隨處，身便散亂，便不得力，其病於腰腿求之。先以心使身，從人不從已。後身能從心，由已仍是從人。由己則滯，從人則活。能從人，手上便有分寸；稱彼勁之大小，分釐不錯，權披來之長短，毫發無差；前進後退，處處恰合，工彌久，而技彌精矣。

李亦畬

"Second saying: agility of the body
If the body is stagnant, then one cannot move forward and backward smoothly, this is the reason why it is important for the body to be agile. Raising one’s hand should not look dull. As the opponent’s power just block my skin, my intention has already entered deep in his bones. Both hands support a single thread of unified Qi from beginning to end. If the opponent weights on the left, one voids the left and let the right go; it the opponent weights on the right, one voids the right and let the right go. Qi is like a wheel, each part of the body must follow one another. If one part does not follow, then the body is disorganized, it is not possible to gather force. If one has this problem, then the waist and legs must be investigated. First one uses intention to send instructions to the body to follow the opponent and not follow ones’s will. Afterwards, the body may follow the will, because it still follows the opponent. If one follows oneself, then the movement is sluggish, if one follows the opponent then the movement is lively. If one is able to follow the opponent, then top of the hand is very precise. When one weighs the opponent strength (Jin), one should distinguish the hundredths of it correctly and sense the power’s duration, when sending out there will not be an error even by a hairsbreadth. Going forward and backward, in all respects perfectly coordinated. The longer one works, the finer the skill."

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

Twenty Ninth Secret Song (歌訣二十九) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Nona Canção Secreta (歌訣二十九) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十九

步法動時腰先提，
收縮合宜顯神奇。
足欲動兮腰不動，
踉蹌邁去誤時機。

"The feet move if the waist has moved first,
When it is suitable to withdraw, the trick becomes evident.
When one wishes to step but the waist does not move,
The step will be clumsy and the opportunity will be missed."

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"

"Os pés se movem depois que a cintura se mova,
Quando é apropriado se retirar, a mágica fica clara.
Se se deseja que os pés se movam, sem mover a cintura, O passo será desajeitado e a oportunidade será perdida."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Go Against, Deficiency, Lose and Resist (頂匾丟抗) by Yáng​ Bān​hóu​ (楊班侯)

頂匾丟抗

頂者，出頭之謂也; 匾者，不及之謂也； 丟者，離開之謂也: 抗者，太過之謂也。
要知於此四字之病，不明粘黏連隨，斷不明知覺運動也。初學對手，不可不知也，更不可不去此病。所難者，粘黏連隨，而不許頂匾丟抗。是所不易矣。

楊班侯

"To go against means to overdo. Deficiency means not enough. Losing means to depart. To resist means to exceed.
One should be aware of the defaults of these four words. Failing to understand attach, adhere, connect and follow definitely leads to failing to understand “consciousness in movement”. In the beginning, if one is not aware of these defaults, he should not practice with an opponent, one cannot advance with these defaults. The difficulty in learning attach, adhere, connect and follow is to avoid to go against, deficiency, to lose and to resist. This is in fact not so easy."

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)

Bāguàzhăng (八卦掌) class by Sūn Shūróng (孫淑容) - Part I

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

臀

提起臀部，
氣貫四梢，
兩腿繚繞，
臀部肉交，
低則勢散，
故宜稍高。

薑容樵

"Raise the buttocks,
The qi will go through the four extremities
Both legs curl up.
The buttocks muscles come together.
If too low the posture is broken.
Therefore it is suitable to raise it slightly."

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

Excerpt from Xian Jin (先進) in the Analects (論語)Trecho do Xian Jin (先進) dos Analetos (論語)

子貢問：「師與商也孰賢？」子曰：「師也過，商也不及。」曰：「然則師愈與？」子曰：「過猶不及。」

孔子

"Zi Gong asked which of the two, Shi or Shang, was the superior. The Master said, 'Shi goes beyond the due mean, and Shang does not come up to it.' 'Then,' said Zi Gong, 'the superiority is with Shi, I suppose.' The Master said, 'To go beyond is as wrong as to fall short.'"

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

"Zi Gong perguntou qual dos dois, Shi ou Shang, era superior. O Mestre disse, 'Shi vai além do que é razoável, e Shang nunca chega à ele.' 'Então,' disse Zi Gong, 'eu suponho que Shi seja superior.' O Mestre respondeu, 'Ir além é um erro tão grande como não completar a ação.'"

Traduzido à partir da tradução para o inglês do Chinese Text Project

Attach, Adhere, Connect and Follow (粘黏連隨) by Yáng​ Bān​hóu​ (楊班侯)

粘黏連隨

粘者，提上拔高之謂也；黏者，留戀絕卷之謂也; 連者，捨己無離之謂也; 隨者，彼走此應之謂也。要知人之知覺運動，非明粘黏連隨不可。斯粘黏連隨之功亦，亦甚細矣。

楊班侯

"To attach means to raise and to pull upwards. To adhere means to be reluctant to leave and to entangle with the opponent. To connect means means to give up oneself and not part. To follow means to comply with the opponent’s movement. It is important to be aware that without attach, adhere, connect and follow, it is not possible to achieve “consciousness in movement”. Therefore, attaining attach, adhere, connect and follow is a very refined ability."

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)

Twenty Eight Secret Song (歌訣二十八) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Oitava Canção Secreta (歌訣二十八) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十八

人剛我柔是正方，
我剛人柔法亦良。
剛柔相遇腰求勝，
解此糾紛步法強。

"When the opponent is hard and I am soft, this is the right way.
If I am hard and the opponent is soft, the method is also good.
When the hard and soft meet, one looks for victory through the waist.
The solution of the conflict is decided on whose footwork is best."

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"

"Quando o oponente é duro e eu suave, esta é a maneira certa.
Seu eu sou duro e o oponente suave, o método também é bom.
Quando o duro e o suave se encontram, é através da cintura que se deve buscar a vitória.
A solução do conflito é encontrada por aquele que trabalha melhor os passos."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Ōu Yángfāng (毆陽方) demonstrating Wǔ/Hǎo Style Tàijíquán (武/郝氏太極拳)

Excerpt from Report of Guō Yúnshēn Sayings (述郭雲深先生言) in Boxing Concepts Explained Authentically (拳意述真)

十一則

練拳術不可固執不通。若專以求力。即被力所拘。專以求氣。即被氣所拘。若專以求沉重。即為沉重所捆墜。若專以求輕浮。神氣則被輕浮所散。所以然者。練之形式順者。自有力。內裏中和者。自生氣。神意歸於丹田者。身自然重如泰山。將神氣合一化成虛空者。自然身輕如羽。故此不可以專求。雖然求之有所得焉。亦是有若無實若虛。勿忘勿助。不勉而中。不思而得。從容中道而已。

郭雲深

"When practicing boxing arts, you must not have so much determination that it obstructs you. If you are obsessed with seeking to have strength, you will get jammed up by it. If you are obsessed with seeking to have energy, you will get clogged up by it. If you are obsessed with seeking to be heavy, it will weigh you down. If you are obsessed with seeking to be light, your spirit and energy will wander off.
Therefore the way to go about these things is to practice the postures smoothly, and then naturally there will be strength. When there is neutrality within, it will naturally produce energy. When your spirit and intention return to your elixir field, your body will naturally be as heavy as Mt. Tai. When your spirit and energy merge into one and transform into emptiness, your body will naturally be light as a feather.
Thus you must not obsessively seek, even though there may be something to be gained through the seeking. Look upon that something as if it is nothing, treating its substantiality as insubstantial. Neither forget about it nor assist it. Do not strive for it and you will hit the target. Do not fixate on it and you will obtain it. Being patient and balanced is all you need."

Excerpt from the translation by Paul Brennan, to be found in the Brennan Translation blog.

Create Something from Nothing (無中生有) from the Thirty-Six Stratagems (三十六計)Criar Algo do Nada (無中生有) dos Trinta e Seis Estratagemas (三十六計)

無中生有

誑也非誑也實其所，誑也少陰太陰太陽。

"You use the same feint twice. Having reacted to the first and often the second feint as well, the enemy will be hesitant to react to a third feint. Therefore the third feint is the actual attack catching your enemy with his guard down. "

Quoted from Chinese Classics and Translations

"Usar a mesma finta duas vezes. Tendo já reagido à primeira e à segunda, o inimigo hesitará em respoder à terceira. Em realidade a terceira finta é o real ataque que tomará o inimigo com as guardas baixas."

Traduzido à partir de Chinese Classics and Translations

Hand Positions in the Yinyang Circle (武當劍手法陰陽圈) from The Major Methods of Wudang Sword (武當劍法大要) As Posições da Mão no Círculo Yinyang (武當劍手法陰陽圈) de Os Principais Métodos da Espada Wudang (武當劍法大要)

中陰	Middle Yin
少陰	Young Yin
太陰	Greatest Yin
老陰	Old Yin
中陽	Middle Yang
老陽	Old Yang
太陽	Greatest Yang
少陽	Young Yang

Based on the translations by Chang Wu Na (張悟納) and Dr. Lu Mei-hui (呂美惠) in "The Major Methods of Wudang Sword " (武當劍法大要)
and by Paul Brennan in his site "Brennan Translation".
Disclaimer: I don't practice Wudang Sword myself. However the school's texts and insights are of interest for any internal martial arts practitioner..

中陰	Meio Yin
少陰	Jovem Yin
太陰	Máximo Yin
老陰	Yin Velho
中陽	Meio Yang
老陽	Yang Velho
太陽	Máximo yang
少陽	Jovem Yang

Baseado na tradução de Chang Wu Na (張悟納) e Dr. Lu Mei-hui (呂美惠) em "Os Métodos Principais da Espada Wudang" (武當劍法大要) e na de Paul Brennan no site "Brennan Translation".
Aviso: Eu não pratico a espada de Wudang. Entretanto, os textos e instruções da escola são interessantes para todos os praticantes de artes marciais internas.

Method to Put in Evidence the Intrinsic Nature (固有分明法) by Yáng​ Bān​hóu​ (楊班侯)

固有分明法

蓋人降生之初，目能視，耳能聽，鼻能聞，口能食。顏色，聲音，香臭，五味，皆天然知覺，固有之良。其手舞足蹈，於四肢之能，皆天然運動之良，思及此，是人孰無？
因人性近習遠，失迷固有。要想還我固有，非乃武無以尋運動之根由:非乃又無以得知覺之本原，是乃運動而知覺也。
夫運而知，動而覺，不運不覺，不動不知，運極則為動，覺盛則為知。動知者易，運覺者難。先求自已知覺運動，得之於身，自能知人，要先求知人，恐失於自己。不可不知此理也，夫而後懂勁然也。

楊班侯

"At birth, the eyes can see, the ears can hear, the nose can smell, the mouth can eat. The colors, sounds, fragrances, odors and five flavors are all natural, intrinsic to one’s nature. Waving hands and dancing feet are within the capabilities of the fours limbs; these are also intrinsic to one’s movement abilities. When one considers using these abilities, how come one does not have it?
The cause for this is that through learning one distances himself from our original attributes, losing the ways of his nature. If one wishes to return to the natural ways, it is not enough to follow martial physical exercises to seek the original movements, as it is not enough to use learning to return to the source of consciousness. What is needed is movement combined with consciousness.
Movement and consciousness, utilisation and perception. Do not apply it unconsciously, do not move without awareness, using the extremes generates the movement, perception of the full generates awareness. Movement with awareness is easy, application with perception is difficult. One must first seek consciousness in one’s own movements, in order to obtain understanding of the body. After self-awareness one is able to understand the opponent. If one is anxious and try to learn the other firs, it is oneself that will be lost. One should not ignore this logic, this is how Understanding Jin is correctly obtained."

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)

Twenty Seventh Secret Song (歌訣二十七) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Sétima Canção Secreta (歌訣二十七) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十七

剛柔相濟是何言，
剛柔相輔總無難。
剛柔當用乾坤手，
掀天揭地海波瀾。

"What does the mutual supporting of hard and soft mean?
There is no difficulty in the complementarity of hard and soft.
When hard and soft are used in the Qian and Kun hands,
It stirs heaven, exposes earth, and creates great waves in the ocean."

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"

"What does the mutual supporting of hard and soft mean?
There is no difficulty in the complementarity of hard and soft.
When hard and soft are used in the Qian and Kun hands,
It stirs heaven, exposes earth, and creates great waves in the ocean."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Tai Chi Magazine Brazil (Revista Tai Chi Brasil)

One can only rejoice from the fact that this magazine exists. In the same spirit of what was done by the Pakua Chang Journal in the 90's in the US, Revista Tai Chi Brasil is an initiative by practitioners freely available to practitioners. It gives a wide panorama of Tai Chi practice in Brazil, its various schools and traditions. By being freely available it enables the emergence of a nation-wide community.
For a country where the chinese diaspora is small in proportion, it has the advantage of bracing teachers from the whole country, and not only from the major centers. The magazine also presents some content of chinese culture and roots, which makes it more authentic than some international publications that have more of a new age tone.
The magazine is a bit limited by its environment, the range of styles existing in Brazil is less than what can be seen in other countries, either because the chinese diaspora is larger there or because interest in these topics have started earlier. The magazine has also a tendency to be a bit to deferential to ceremonies and rituals that are, in my opinion, somewhat peripheral to the central subject of practice and could sometimes be a distraction.
This caveat does not diminishes the value of the initiative, and it highlights the respect of a traditional way of practice by the editors and contributors. The magazine is highly recommended for those with an interest in Tai Chi Chuan in Brazil.

Chapter 56 (五十六) from the Dào​dé​jīng (道德經) Capítulo 56 (五十六) do Dào​dé​jīng (道德經)

五十六

知者不言，言者不知。
塞其兌，閉其門，
挫其銳，解其分，
和其光，同其塵，
是謂玄同。
故不可得而親，不可得而疏；
不可得而利，不可得而害；
不可得而貴，不可得而賤。
故為天下貴。
老子

"He who knows does not speak; he who speaks about it does not know it.
He who knows it will keep his mouth shut and close the portals.
He will blunt his sharp points and unravel the complications of things;
he will attemper his brightness, and bring himself into agreement with the obscurity.
This is called 'the Mysterious Agreement.'
(Such an one) cannot be treated familiarly or distantly;
he is beyond all consideration of profit or injury;
of nobility or meanness:
- he is the noblest man under heaven."

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

"O que é da compreensão não é a palavra O que é da palavra não é a compreensão
Fechando a boca
Trancando a porta
Cegando o corte
Desatando o nó
Harmonizando-se à luz
Igualando-se à poeira
Isto chama-se o Mistério Comum

Com o qual
Não se pode encontrar aproximação
Não se pode encontrar afastamento
Não se pode encontrar benefício
Não se pode encontrar malefício
Não se pode encontrar valorização
Não se pode encontrar desvalorização
Por isso age como nobre sob o céu

Tradução de Wǔ Rǔqīng (武汝清)

Quiescence of the Mind (心靜) from the Five Key Words (五字訣)

一,曰心靜

心不靜，則不專，一舉手，前後左右全無定向,故要心靜。起初舉動未能由已，要息心體認。隨人所動，隨屈就伸，不丟不頂，勿自伸縮。彼有力我亦有力，我力在先；彼無力我亦無力，我意仍在先。要刻刻留心，挨何處，心要用在何處，須向不丟不頂中討消息。從此做去，一年半載便能施於身。此全是用意，不是用勁。久之，則人為我制，我不為人制矣。

李亦畬

"First saying: quiescence of the mind
If the mind is not quiet, then one is not focused, the strikes back and forth, left and right, will lack precision. Therefore one must be calm. In the beginning the movement fails to follow the mind, it is important to put the mind at rest. Follow the opponent’s movements, follow a curve then stretch; don’t lose, don’t resist; don’t extend or withdraw by yourself. If the opponent is vigourous, I am also vigourous, my power comes first; if my opponent lacks strength, I also let go strength, I still have the intention to come first. One must be focused in every moment; wherever there is contact, the mind must also be; one has to use “don’t lose, don’t resist” to collect information all along. If practiced from now on, in about a year it one will be able to carry this out easily oneself. This is done wholly using Yi (intention) and not using Jin (strength). If practiced for a long time, the opponent will be controlled by me, and not the opposite."

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

The Song of Liǎngyí (兩儀歌) by Jiāng Róngqiáo (薑容樵)

兩儀歌

鷹熊競志,
取法為拳。
陰陽暗合,
形意之源。

薑容樵

"The eagle and the bear have competing wills
Adopt their methods to serve as your boxing.
Yin and yang will then agree naturally
This is the root of Xing Yi."

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

CCTV9 Chinese Kungfu: Wudang Kungfu

The Application of Eight Gates and Five Steps (八門五步用功法) by Yáng​ Bān​hóu​ (楊班侯)

八門五步用功法

八卦，五行，是人生成固有之良。必先明“知覺運動”四字之本由。知覺運動得之後，而後方能懂勁。由懂勁後，自能階及神明。
然用功之初，要知知覺運動，雖固有之良，亦難得於我也。

楊班侯

"The Eight Trigrams and the Five Phases are intrinsic to human life. Prior to understading them, one needs to understand the foundations of the phrase: “consciousness in movement”. After understanding “consciousness in movement”, then one can be able to “Understand the Energy”. After being able to “Understand the Energy”, one can reach the rank of gods.
It is correct to practice diligently in the beginning to become aware of “consciousness in movement”. Although “consciousness in movement” is inherent to human nature, it is also very rare."

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)

Twenty Sixth Secret Song (歌訣二十六) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Sexta Canção Secreta (歌訣二十六) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十六

力要剛兮更要柔，
剛柔偏重功難收。
過剛必折真物理，
優柔太盛等於休。

"Power requires hardness, change requires softness,
If hardness or softness is unduly emphasized, it will be difficult to achieve results.
If there is too much strength in the movement, nature says it will be certainly broken,
If it contains too much softness, it is the same thing as ceasing the movement."

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"

"Power requires hardness, change requires softness,
If hardness or softness is unduly emphasized, it will be difficult to achieve results.
If there is too much strength in the movement, nature says it will be certainly broken,
If it contains too much softness, it is the same thing as ceasing the movement."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Lúshān (廬山) by Zhāng Dàqiān (張大千)

The Study of the Chicken Form (雞形學) from The Study of Xing Yi Quan (形意拳學)

雞形學

雞形者，雞於世最有益者也。能以司晨報曉，又有單腿獨立之能，抖翎之威，爭斗之勇，故雞形拳中之功夫可謂甚大。在腹內而為陰氣初動，又為巽掛，在天為風，在人為氣，在拳中謂之雞形。又能起足根之勁上升，又能收頭頂之氣下降，又能散其真氣於四體之中。其拳順，則上無腦筋不足之患，下無腿足疼痛之憂。其拳謬則腦筋不足，耳目不靈，手足亦麻木不仁矣。學者於此雞形中最當注意。

孫祿堂

"The cock is the most useful of the animals there is. It is able to take charge for announcing the break of day, it is also able to stand on a single leg, the sternness of shaking the feathers and it is a brave fighter. Because all of this, it can be said that the chicken form within the martial arts is highly important within the martial arts. It is the beginning of the movement of the Yin Energy (Qi) in the body, it corresponds to the Wind Trigram (Xùn Guà), to wind in heaven, to respiration in man and in boxing it is called the chicken form. It can at the same time initiate the raise of the strength from the root in the feet, stop the decline of the energy (qi) from the top of the head and spread that real energy (zhen qi) through the core of the four limbs. If one complies with this boxing method, above the brain does not suffer from deficiency and below one does not worry about excessive pain in the legs. If one perform this boxing method erroneously then the brain will be deficient, the attention will be ineffective and the feet and hands will be apathetic. It is of greatest importance to take notice of the study of the chicken form."

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

Wáng Shùjīn (王樹金) demonstrating Tàijíquán (太極拳) Applications

Eight Gates and Five Steps (八門五步) by Yáng​ Bān​hóu​ (楊班侯)

八門五步

掤南、	捋西、	擠東、	按北、	採西北、	挒東南、	肘東北、	靠西南:	方位;
坎、	離、	兌、	震、	巽、	乾、	坤、	艮:	八門。

方位、八門，乃為陰陽顛倒之理，周而復始，隨其所聽也。 總之，四正，四隅，不可不知矣。夫掤，捋，擠，按，是四正之手；採，挒，肘，靠，是四隅之手。合隅，正之手，得門，位八卦。以身分步，五行在意，支張掌八面。五行；進步火，退步水，左顧木，右盼金，定之方，中土也。夫進退為水火之步，顧盼為金木之步，以中土為樞機之軸。懷藏八卦，腳跐五行，手，步八五，其數十三，出於自然十三勢也。名之曰:八門五步。

楊班侯

"The Cardinal Points correspondence with the Eight Gates demonstrate the principles of the Yin and Yang’s cyclical nature, it performs a full cycle and returns to the beginning. Comply with and listen to the appropriate place. In brief, one should not be unaware of the four sides and four corners. Peng, Lu, Ji and An are the four sides in the hands and Cai, Lie, Zhou, and Kao are of the four corners in the hands. By combining corners and sides in the hands, one can obtain the eight gates position in relation to the eight trigrams. Use the body to discriminate the steppings and the intention within the Five Phases, supporting the placement of the palms in the eight directions. In the Five Phases, advance correspond to fire, retreat corresponds to water, look after the left corresponds to wood, beware of the right corresponds to metal and the central equilibrium is classified as central earth. Advance and retreat are the water and fire steps; look after the left and beware of the right are the metal and wood steps. One uses the central earth as the main axis. The intention is hidden within the eight trigrams and the feet step according to the Five Phases. The hands and the steppings, eight and five, they number thirteen. These stem from the natural thirteen moving patterns, known as the Eight Gates and the Five Steppings."

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)

Twenty Fifth Secret Song (歌訣二十五) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Quinta Canção Secreta (歌訣二十五) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十五

跟到手到腰腿到，
心真神真力又真。
三真四到合一處，
防己有餘能制人。

"The heels arrive, the hands arrive and the waist and the hips arrive.
The intention is genuine, the spirit is genuine and the power is also genuine.
The three “genuines” and the four “arrives” combined into one point.
There is plenty to defend oneself and to control the opponent."

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 heels arrive, the hands arrive and the waist and the hips arrive.
The intention is genuine, the spirit is genuine and the power is also genuine.
The three “genuines” and the four “arrives” combined into one point.
There is plenty to defend oneself and to control the opponent."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Lofty Mount Lu (廬山高) by Shěn Zhōu (沈周)

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

舌
舌為肉梢，
捲則氣降，
目張髮聳，
丹田愈沉，
肌容如鐵，
內堅腑臟。
薑容樵

"The tongue is the extremity of the flesh.
If one rolls it up, the the qi is tame.
One should open the eyes, the hair rises up,
Sink more the dantian.
Then one’s muscles will look like iron
And the organs and viscera will strong."

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

Adhere Jin (黏勁) from The Detailed Interpretation of the Five Elements (五行要義詳解)Aderir (黏勁) da Interpretação Detalhada dos Cinco Elementos (五行要義詳解)

黏者，粘貼之謂。彼進我退，彼退我進，彼浮我隨，彼沉我鬆，丟之不開，投之不脫，如粘如貼，不丟不頂，是謂之黏勁。

"To adhere means to stick. The opponent advances, I retreat; the opponent retreats, I advance; the opponent is unstable, I follow; the opponent sinks, I relax. There is no opening to losing, there is no escape in seeking refuge. It is as if I were glued or sticked to the opponent, without losing him and without resisting, this is what is called the adhere 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).

"Aderir significa colar. O oponente avança, eu recuo; o oponente recua, eu avanço; o oponente fica instável, eu o sigo; o oponente desce, eu relaxo. Não há possibilidade de partir, não há saída em buscar refúgio. É como se eu estivesse colado ao oponente, sem deixar ir e sem resistir. A isso se chama o Jin Aderir."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Twenty Fourth Secret Song (歌訣二十四) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Quarta Canção Secreta (歌訣二十四) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十四

力足發自筋與骨，
骨中出硬筋須隨。
足跟大筋通腦脊，
發招跟步力能摧。

"Ample power is emitted from tendons and bones
Its stiff aspect is produced from within the bones, tendons allow its expression.
The big tendon on the heel is connected with the head and the spine.
When emitting from the heels and then stepping, the power is devastating."

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"

"A força ampla é emitida dos tendões e dos ossos
Seu aspecto duro é produzido à partir dos ossos, os tendões permitem sua expressão.
O grande tendão do calcanhar é conectado com a cabeça e a espinha dorsal.
No momento da emissão, se há o passo, a força é devastadora."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Zhèng Mànqīng (鄭曼青) demonstrating Tàijí Sword (太極劍) Zhèng Mànqīng (鄭曼青) demonstrando Tàijí Sword (太極劍)

Excerpt from Wei Zheng (為政) in the Analects (論語)Trecho do Wei Zheng (為政) dos Analetos (論語)

學而不思則罔，思而不學則殆。

孔子

"Learning without thought is labor lost; thought without learning is perilous."

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

"Aprender sem refletir é perda de tempo; refletir sem aprender é perigoso."

Traduzido à partir da tradução para o inglês do Chinese Text Project

Split Jin (挒勁) from The Secret of the Eight Methods (八法秘訣)Separar (挒勁), extraído do Segredo dos Oito Métodos (八法秘訣)

挒勁義何解？旋轉若飛輪。
投物於其上，脫然擲丈尋。
君不見漩渦，捲浪若螺紋。
落葉墮其上，倏而便沉淪。

吳公藻

"How to explain Split/Lie Jin? It spins like a flying wheel.
An object thrown on it will be easily tossed more than ten feet away.
Don’t you see the whirlpool?, its turning waves look like a spiral pattern.
When a falling leave lands on it, it will simply sink and perish hastily."

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).

"Como explicar o Separar/Lie Jin? Ele gira como uma roda solta.
Um objeto lançado nela é facilmente jogado a muitos metros.
Veja o rodamoinho. Suas ondas circulares têm a aparência de uma forma espiral.
Quando uma folha cai nele, ela afunda e desaparece rapidamente."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

The Song of Pàoquán (炮拳歌) by Jiāng Róngqiáo (薑容樵)A Canção de Pàoquán (炮拳歌) de Jiāng Róngqiáo (薑容樵)

炮拳歌

炮拳似炮性屬火，
生橫克劈內外合，
斜行何妨從軍陣，
五拳精義十三格。

薑容樵

"Pàoquán is like a cannon. Its nature corresponds to fire.
It creates Heng and overcomes Pi. The inside and the outside are together.
Through oblique steps one avoids the battle without harm.
The essence of the five fists makes thirteen techniques."

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

"Pàoquán é como um canhão. Sua natureza pertence ao fogo.
Ele cria o Héng e domina o Pi. O interior e o exterior se movem juntos.
Através dos passos em diagonal, evita-se a batalha sem risco.
A essência dos cinco elementos compõe as treze técnicas."

Do livro os Punhos-Mãe do Xing Yi (形意母拳), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall

Plan (意) from The Detailed Interpretation of the Five Elements (五行要義詳解)Planejar (意) da Interpretação Detalhada dos Cinco Elementos (五行要義詳解)

意者，设想之謂。以虛實之理，使敵出其不意，攻其不備，對方雖實力充足，據險以守，不畏攻擊，不畏力敵，然最忌誘敵。吾若以利誘之，使其弃守為攻，實力分散，吾則分而擊之，是誘而殺之。亦其自取敗亡，所謂攻其所不守，守其所不攻之道也。學者務須時時體會，久而自驗。

"The meaning of Yi means is to envisage or plan. One uses the framework of the insubstantial and substantial to cause surprise on the opponent by attacking when she is off-guard. If the opponent is full of strength and has a natural advantage to defend, she will be unafraid of an attack by a powerful opponent, but she will be mostly afraid of to be enticed by her opponent. One may seem to give the advantage to the opponent, in order to maker her give up her defences and attack instead, in this way her power will be scattered. The opponent creates then the conditions of her own defeat. One follows the divided opponent and attack, enticing her defeat. This is what is called “the way of attacking the places that are undefended and defending the places where one is unable to attack.” The practictioner should learn from experience in every occasion, after a long time he will be able to verify by himself."

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).

"O significado de Yi é planejar, imaginar. Deve-se usar a teoria do Pleno e do Vazio para causar surpresa no oponente e atacá-lo quando ele estiver despreparado. Se o oponente é forte e tiver uma vantagem natural para se defender, ele não terá medo de um ataque vindo de um adversário poderoso, mas ficará descofiado de uma armadilha do oponente. Deve-se criar a impressão de dar a vantagem ao oponente, de maneira à que ele abandone as defesas e passe ao ataque. Dessa maneira sua força será dispersa. O oponente cria, assim, as condições de sua própria derrota. Deve-se em seguida perseguir o oponente disperso e atacar, provocando sua derrota. Isto é o que se chama de 'a maneira de atacar pontos expostos e defender pontos que sejam inatacáveis.' O praticante deve aprender com a experiência em cada ocasião, após muito tempo ele será capaz de verificar por si mesmo."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

A Survey on Instruction on the Elbow (肘)

肘

The instruction around the Elbow is one that is to be overlook during practice. At first it seems a bit counterintuitive, as it asks for a very mobile joint to be stuck in a sunken position.

The first indication by the texts is that it should be "sunk" or "dropped", along with the shoulder. One can read this on many texts related to postural instruction, such as the Eight Points of the Body Method (身法八要) by Wǔ Yǔxiāng (武禹襄) for Tàijíquán (太極拳) practitioners:

含胸、拔背、
裹襠、護肫、
提頂、弔襠、
鬆肩、沉肘。

"Contain the chest, stretch the back
Wrap the inner tighs, protect the hips
Lift the crown, hang the crotch
Loose the shoulders, sink the elbow.

Or in the First Secret Song (歌訣一) of Bāguàzhăng (八卦掌):

沈肩墜肘伸前掌

"Sink the shoulders, drop the elbows, and extend the front palm forward."

It is not always easy to pinpoint what "sinking" the elbows mean. Although although it is often translated as "sink", different words are used in Chinese. These words have associated meanings that are useful to keep in mind. The first is Zhuì (墜), that is given by my dictionaries as "to fall, to drop, to weigh down". The second is Chén (沉) which means "to sink, to submerge, to keep down", but also "deep", "heavy". It seems to me that there is an implied sensation of heaviness, of weight that brings the "sinking".

This is the basic, but not the unique instruction on elbows that can be found. Another one is the relation of the "sinking" of the elbow and the protection of the abdomen and the ribs. In the sixth of the Xingyi Eight Character Secret (形意八字訣) by Lǐ Cúnyì (李存義) and Jiāng Róngqiáo (薑容樵) one can read:

兩肘下垂，則兩肱自圓，能固兩脅。

"When both elbows hang down, then both arms are naturally round, and can solidify the ribs.

And on the Second Secret Song (歌訣二) of Bāguàzhăng (八卦掌):

後肘先疊肘掩心

The rear elbow is folded to cover up the center

A third point can be noted on the aspect of bending of the elbow. Jiāng Róngqiáo (薑容樵) states it clearly in his instruction of Bāguàzhăng (八卦掌)on "Relax the Shoulders; sink the elbows. Strengthen the belly; open the chest." (鬆肩沉肘，實腹暢胸)

沉肘是使肘部經常保持著向下沉墜，在鍛煉時必須屈如半月形。

"The Sink the Elbow instruction is contantly sent to the elbows, in order to keep them sunk at all times. During practice it is mandatory that the elbows remain bent like in a half-moon shape."

Jiāng Róngqiáo (薑容樵) gives even more precise instruction on the instructions for Sāntǐ Shì (三體式) in the Arms song (臂) of the Nine Songs of Xingyiquan (形意拳九歌):

左臂前伸，
右臂在肋，
似曲不曲，
似直不直，
過曲不遠，
過直少力。

"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."

As implied in the text above, there is a link between the position of the elbow and capacity to emit power. Yáng Chéngfǔ (楊澄甫) makes it very clear in Sink the Shoulders and Drop the Elbows (沉肩墜肘):

肘若懸起，則肩不能沉，放人不遠，近于外家之斷勁矣。

"If the elbows seem raised or suspended, then the shoulders cannot sink. Therefore the ability to release (power towards) the opponent does not go far. This is similar to the external styles discontinuous power."

The elbow (肘) and the unification of the body

It is important to keep in mind that the elbow does not function alone, as nothing does in Internal Martial Arts (內家拳). Instruction on it is very precise, as the relationship between the elbow and the knees is classified among the Three External Coordinations (三外和). This is particularly transmitted on Xíngyìquán (形意拳) texts, for example in "The Six Harmonies of Xingyiquan" (形意拳六合) by Líng Shànqīng (凌善清):

兩肘往下垂勁，兩膝往里扣勁，是曰肘與膝合

"When the two elbows are sinking and the two knees are locked internally, it is said that the elbows and the knees are coordinated."

The unification of the body is of course a topic by itself.

The elbow (肘) in combat

Finally, the elbow is also seen as both a "weapon" and a "technique". In Xíngyìquán (形意拳) it is classified among the Seven Stars (七星) or seven points of contact, as one can read in the "Song of Seven Stars" (七星歌) by Jiāng Róngqiáo (薑容樵):

用必七體，
頭肩肘手，
胯膝合足，
相助為友。

"In applications it is necessary to use the seven forms: These are the head, shoulder, elbow, hand, Thighs, knees and feet, They help one another as old friends."

And the elbow is also a key element in the applications of Tàijíquán (太極拳). It is one of the Eight Directions or Eight Methods (八法秘訣) with subitilities of its own. A reminder from the Secret of Eighteen Dependencies (十八在訣) is suitable as the final word of this survey:

肘在曲使

"The elbow is used bent, "

Twenty Third Secret Song (歌訣二十三) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Terceira Canção Secreta (歌訣二十三) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十三

打人憑手膀為根，
膀在肩端不會伸。
故欲進時進前步，
若進後步枉勞神。

"When striking the opponent, one relies on the upper arms as the root of the attack.
The upper arm at the shoulder extremity do not extend.
When one wishes to advance, one steps forward with front leg.
If one steps forward with the rear leg, then one will be troubled."

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"

"Quando atacando o oponente, deve-se confiar à parte superior dos braços como raiz do ataque.
O alto do braço na altura do ombro não se estende.
Quando deseja-se avançar, deve-se dar um passo adiante com a perna à frente.
Se se dá um passo com a perna de trás, o movimento fica perturbado."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Lure the Tiger Down the Mountain (調虎離山) from the Thirty-Six Stratagems (三十六計)Atrair o Tigre para o Pé da Montanha (調虎離山) dos Trinta e Seis Estratagemas (三十六計)

調虎離山

待天以困之用人，以誘之往蹇來返。

"Never directly attack a well-entrenched opponent. Instead lure him away from his stronghold and separate him from his source of strength."

Quoted from Chinese Classics and Translations

"Nunca atacar um inimigo bem posicionado. Ao contrário, deve-se atraí-lo de sua posição de força et separá-lo da fonte de sua força."

Traduzido à partir de Chinese Classics and Translations

Secret of Four Words (四字秘訣) by Wǔ Yǔxiāng (武禹襄)Segredo das Quatro Palavras (四字秘訣) por Wǔ Yǔxiāng (武禹襄)

四字秘訣

敷　敷者，運氣於己身，敷布彼勁之上，使不得動也。
蓋　蓋者，以氣蓋彼來處也。
對　對者，以氣對彼來處，認定準頭而去也。
吞　吞者，以氣全吞而入於化也。

此四字無形無聲，非懂勁後，練到極精地位者，不能知全。是以氣言，能直養其氣而無害，始能施於四體。四體不言而喻矣。

武禹襄

"Spread: to spread means to transport the Qì from one’s body to the opponent’s Jin, so he is unable to move.
Cover: to cover means to use the Qì to cover of the opponent’s point of attack.
Match: to match means to use the Qì to match the opponent’s point of attack. Recognize precisely the target and then go.
Swallow: to swallow means use the Qì to completely absorb and transform it.

These four characters are formless and soundless. Those who do not understand Jìn and did practice enough to reach the highest standard won’t be able to understand fully. Following these words on Qì, one is able to raisonably develop one’s Qì without harm and spread it to the four limbs."

By Wǔ Yǔxiāng (武禹襄), based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu & Li Styles (太極拳武李氏先哲秘要) and various translations on the internet.

"Distribuir: distribuir significa transportar o Qì do próprio corpo ao Jin do oponente, de maneira que ele fique incapaz de se movimentar.
Cobrir: cobrir significa utilisar o Qì para proteger o ponto de ataque do oponente.
Adapatar: adaptar significa utilisar o Qì para encaixar com o ponto de ataque do oponente. Idenfiricar precisamente o alvo e só então partir.
Engolir: engolir significa utilisar o Qì para completamente absorvê-lo e transformá-lo.

Estes quatro termos não tem forma ou som. Aqueles que não compreendem o Jìn e não praticaram até o nível mais elevado, não serão capazes de compreender inteiramente. Ao aplicar essas palavras sobre o Qì, é possível desenvolver o próprio Qì sem risco e distribuí-lo até os quatro membros do corpo."

The Eight Characters (八字) by Jiāng Róngqiáo (薑容樵) Os Oito Caracteres (八字) de Jiāng Róngqiáo (薑容樵)

八字

斬（劈拳也），
截（鑽拳也），
裹（橫拳也），
跨（崩拳也），
挑（踐拳亦即燕形也），
頂（蛇拳也），
雲（鼉形也），
領（蛇形也）。

薑容樵

"Chop (Piquan),
Intercept (Zuanquan),
Wrap (Hengquan),
Stride (Bengquan),
Poke, Incite (Tread, or the Swallow Form),
Push to the Top (Paoquan),
Cloud (Alligator Form),
Lead (Snake form)"

From the book Xing Yi Mother Fists (形意母拳) and The Miscellaneous Form and Eight Postures Form of Xing Yi (形意杂式捶八式拳合刊), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall.

"Decepar (Piquan),
Interceptar (Zuanquan),
Envolver (Hengquan),
Avançar (Bengquan),
Incitar (Tread, or the Swallow Form),
Levar ao alto (Paoquan),
Nuvem (Alligator Form),
Guiar (Snake form)"

Do livro os Punhos-Mãe do Xing Yi (形意母拳) de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall.

Sūn Zhìjūn (孫志君) performing the Sixty-four Palms (八卦六十四掌)Demonstração das Sessenta e Quatro Palmas (八卦六十四掌) por Sūn Zhìjūn (孫志君)

The Study of the Crossing Fist in Xingyi (形意橫拳學) from The Study of Xing Yi Quan (形意拳學) O Estudo do Punho que Cruza (形意橫拳學) do Estudo do Xíngyì Quán (形意拳學)

形意橫拳學

橫拳者，屬土，是一氣之團聚。在腹內則屬脾，在拳中即為橫。其形圓，是以性實，其氣順，則脾胃和緩。其氣乖，則脾虛胃弱，而五臟必失和矣。其拳順，則內五行和而百物生。其拳謬，則內氣必努力矣。內氣努則失中，失中則四體百骸無所措施，諸勢亦無形矣。其氣要圓，其勁要和，萬物土中生，所謂橫拳似彈屬土者是也。先哲雲：“在理則為信，在人則為脾，在拳則為橫。”
人而無信，百事不成，人傷在其脾，則五臟失調，橫拳不和，百勢無形。此言形名雖殊，其理則一也。橫拳乃形意之要著也，學者不可不慎詳之。

孫祿堂

"The crossing fist is affiliated to the earth and is reunion of the unified Qi. In the body it is in the same category as the spleen, in the boxing it is the crossing fist. As its form is round, its nature solid. When its qi is convenient; the spleen and the stomach are at ease. When its qi is abnormal, the spleen is depleted and the stomach feeble; therefore the five viscera will necessarily be in disharmony. When the boxing is convenient, the internal five elements are in harmony and all things develop. When the boxing is erroneous, the internal qi will certainly be strained. When the internal qi is strained, the center is lost. Loosing the center causes the limbs and the structure to loose their placements. All forms become shapeless. Its qi should be round and its strength should be soft. All beings grow from earth. The so-called crossing fist is round and affiliated with the earth. The ancient sages said: “It is like the faith in the principle, like the spleen in a man, like the crossing fist in boxing.”
A man without faith is unable to do anything. A person with a hurt spleen loses the harmony of the five viscera. When crossing fist becomes disharmonius, all forms become shapeless. These sentences appear different, their logic is the same. Therefore, crossing fist is important in Xingyi. Students should be attentive to all its details."

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.

"O punho que cruza é classificado com o elemento Terra e é a reunião do Qi unificado. No corpo, pertence à mesma categoria que o baço, nas artes marciais é o punho que cruza. Como sua forma é redonda, sua natureza é sólida. Quando seu Qi é adequado; o baço e o estômago ficam confortáveis. Quando seu Qi está desorganizado, o baço fica debilitado e o estômago fraco; deixando assim as cinco vísceras sem harmonia. Quando praticado convenientemente, os cinco elementos internos ficam em harmonia e tudo se desenvolve. Quando a prática é incorreta, a energia interna será estressada. Quando a energia interna é estressada, perde-se o centro. Perder o centro causa aos membros e à estrutura a perda do posicionamento. Todas as formas ficam sem forma. Seu Qi deve ser arredondado e sua força, suave. Todos os seres crescem da Terra. O punho chmado “punho que cruza” é arredondado e classificado com a Terra. Os sábios antigos diziam: “ é como acreditar em um pricípio, como o baço no homem, como o punho que cruza nas artes marciais.”
Um homem sem fé é incapaz de realizer o que quer que seja. Uma pessoa com um baço debilitado perde a harmonia das cinco vísceras. Quando cruzar perde a harmonia, todas as formas ficam sem forma. Essas sentenças pareceme diferentes, a lógica delas é a mesma. Assim, o punho que cruza é importante no Xingyi. Estudantes devem prestar atenção a todos os seus detalhes."

Do livro O Estudo do Xíngyì Quán (形意拳學), de Sūn Lùtáng (孫祿堂), baseado na tradução de Albert Liu e Dan Miller.

Landscape in the Style of Yan Wengui by Dàijìn (戴進)

Twenty Second Secret Song (歌訣二十二) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Segunda Canção Secreta (歌訣二十二) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十二

轉掌之神頸骨傳，
轉項扭項手當先。
變時縮頸發時伸，
要如神龍首尾連。

"The spirit of the turning palm is manifested from the neck bone.
When turning and twisting the nape, the hands move first.
At the moment of changing the neck withdraws, at the time of emitting it extends.
It should be like a heavenly dragon connecting head and tail."

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"

"O espírito da palma que gira se manifesta à partir do pescoço.
Quando a nuca gira e se torce, as mãos se movem primeiro.
No momento de mudar o pescoço se retira, no momento de emitir, ele se extende.
Ele deve ser como um dragão celeste ligando a cabeça à cauda."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Connect Jin (連勁) from The Detailed Interpretation of the Five Elements (五行要義詳解)Conectar (連勁) da Interpretação Detalhada dos Cinco Elementos (五行要義詳解)

連者，貫也。不中斷，不脫離，接續聯綿，無停無止，無息無休，是為連勁。

"To connect means to string together. There is no interruption, there is no separation, one follows and continues, without stopping and without end, restless and ceaseless, this is the connect 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).

"Conectar significa interligar. Não há interrupção, não há separação, apenas seguir e continuar, sem parar e sem terminar, sem descanso e sem pausa, este é o Jin conectar."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Die Tai Chi-Ecke

I have to recognize that my first approach of the Tai Chi-Ecke blog was very light. I opened the first pages of the excellent (but short-lived) Taiji Lilun magazine and notice a very detailed explanation of theoretical aspects of Tai Chi Chuan. One thing that I get wary off is the long list of resources that explain the somewhat intellectual endeavor of Yin-Yang, Qi, Trigrams and leave aside the core topic of the practice itself. My own practice experience, these concepts are important, but they are far too advanced for a beginner to integrate in the practice, and still a long way to make a real impact on my own practice.
However, on a more attentive reading my mistake was evident. The richness of the resources made available by Martin Bödicker becomes evident. First, the knowledge shared is anchored on the rich and recognized tradition of Wu Style Taijiquan (吳家太極拳) from Ma Jiangbao (馬江豹) and Ma Yueliang (馬岳樑). Second, many of the articles do tackle the immediate issues of practice and integration of practice in everyday life. Or they bring a more global historical view of the tradition. In my opinion this is a more contemporary view of the ancient art that I share, a respectful and thoughtful approach that avoid the traps of an uncritical sinophily or a blind new age spiritualism. I find in the pages an important aspect of practice for me: how to integrate these rich traditions in our contemporary context and lifes.
Some of my preferred entries:

• Kao - der Stoß mit dem Körper
• Zur schriftlichen Tradition des Tai Chi Chuan
• Das Besondere des Taijiquan

In time, my shallow knowledge of German pushed me to find the sister Tai-chi Philosophy blog, where English translations of most of the articles are presented. And Mr. Bödicker is a profilic translator and writer, if I have the opportunity I will review some of the material in future posts.

Eu devo reconhecer que minha primeira abordagem do blog Tai Chi-Ecke foi muito superficial. Eu abri as primeiras páginas da excelente (mas de vida curta) revista Taiji Lilun e notei as explicações detalhadas de aspectos teóricos em torno do Tai Chi Chuan. A lista de livros e sites que explicam de maneira intelectual o Yin-Yang, o Qi, os Trigramas é longa, e na maioria dos casos o assunto principal, a prática é deixada de lado. A minha própria experiência da prática é que esses conceitos são importantes, mas eles são muito avançados para serem integrados por um iniciante, e ainda longe de fazer um impacto real na minha prática individual.
Entretanto, após uma leitura mais atenta, percebi meu erro de leitura. A riqueza dos recursos disponibilizados por Martin Bödicker fica evidente. Em primeiro lugar, o conhecimento é ancorado na tradição rica e reconhecida do estilo Wu de Taijiquan (吳家太極拳) de Ma Jiangbao (馬江豹) e Ma Yueliang (馬岳樑). Em segundo lugar, muitos dos artigos tratam dos assuntos imediatos da prática e da integração da prática no cotidiano. Ou então eles trazem uma visão histórica global da tradição. Na minha opinião, essa é uma visão contemporânea dessa arte antiga, visão que eu compartilho, uma visão respeituosa e profunda que evita as armadilhas da sinofilia sem críticas ou de um espiritualismo new age cego. Eu encontro nessas páginas um aspecto importante para mim: como integrar essas ricas tradições no nosso contexto contemporâneo.
Alguns dos meus posts preferidos:

• Kao - der Stoß mit dem Körper
• Zur schriftlichen Tradition des Tai Chi Chuan
• Das Besondere des Taijiquan

Meus conhecimentos de alemão são insuficientes, o que me levou a encontrar o blog Tai-chi Philosophy, onde se pode encontrar traduções para o inglês da maior parte dos artigos. Além do mais, Mr. Bödicker é um tradutor e escritor prolífico, e se eu tiver a oportunidade, escreverei alguns comentários sobre esse material.

Pluck Jin (採勁) from The Secret of the Eight Methods (八法秘訣)Colher (採勁), extraído do Segredo dos Oito Métodos (八法秘訣)

採勁

採勁義何解？如權之引衡。
任你力巨細，權後知輕重。
轉移只四兩，千斤亦可平。
若問理何在？幹捍之作用。

吳公藻

"How do we explain Pluck/Cai Jin? It is like using a gauge to test the balance.
The incoming force can be big or small, only after gauging it one can now its intensity.
To shift it one uses only four onces, even if the coming force is a thousand pounds,
One can ask what is the logic? It is the application of leverage."

By Wú Gōngzǎo (吳公藻), based on the translation 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).

"Como explicar o Colher/Cai Jin? É como usar um padrão para testar a balança.
A força que chega pode ser forte ou fraca, só após testa-la é possível saber a sua intensidade.
Para desvia-la deve-se usar quatro onças, mesmo que a força que chega seja de mil libras.
Pode-se perguntar qual é a lógica? A lógica é a aplicação da alavanca."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Excerpt from Tactical Dispositions (軍形) in The Art of War (兵法)Citação de Disposições Táticas (始計) da Arte da Guerra (兵法)

昔之善戰者，先為不可勝，以待敵之可勝，不可勝在己，可勝在敵。故善戰者，能為不可勝，不能使敵必可勝。

孫子

"The good fighters of old first put themselves beyond the possibility of defeat, and then waited for an opportunity of defeating the enemy. To secure ourselves against defeat lies in our own hands, but the opportunity of defeating the enemy is provided by the enemy himself. Thus the good fighter is able to secure himself against defeat, but cannot make certain of defeating the enemy."

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

"Os bons guerreiros de antigamentes se colocavam fora da possibilidade de derrota, e em seguida esperavam por uma oportunidade para derrotar o inimigo. Nos assegurar contra derrotas está em nossas próprias mãos, a oportunidade de derrotar o inimigo é fornecida por ele mesmo. Assim, o bom guerreiro pode se proteger contra a derrota, mas não pode ter certeza de derrotar o inimigo."

Traduzido a partir de Chinese Text Project

The Song of Sì​xiàng (四象歌) by Jiāng Róngqiáo (薑容樵)A Canção do Sì​xiàng (四象歌) de Jiāng Róngqiáo (薑容樵)

四象歌

已成四拳，
隨機應變，
靜如山嶽，
動則崩翻。

薑容樵

"To succeed in the four fists,
One need to adapt to the situation,
Be calm as a mountain,
And use the principle of beng."

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

"Para o sucesso nos quatro boxes,
É necessário se adaptar às situações,
Ser calmo como uma montanha,
E usar o princípio de beng."

Do livro os Punhos-Mãe do Xing Yi (形意母拳), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall

Elbow Jin (肘勁) from The Secret of the Eight Methods (八法秘訣)Cotovelo (肘勁), extraído do Segredo dos Oito Métodos (八法秘訣)

肘勁

肘勁義何解？方法有五行。
陰陽分上下，虛實須辨清。
連環勢莫擋，開花捶更兇。
六勁融通後，運用始無窮。

吳公藻

"How to explain Elbow/Zhou Jin? Its methods have five phases.
Yin and yang separate above and below, the insubstantial and the substantial must be discriminated clearly.
The continuous power cannot be blocked. When the flower blooming strikes, it is even more fierce.
As the six Jins are blended and threadened together, the unlimited applications will begin."

By Wú Gōngzǎo (吳公藻), based on the translation 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).

"Como explicar o Cotovelo/Zhou Jin? O método tem cinco fases.
Yin e Yang separam o acima e o abaixo, o substancial e o insubstancial devem ser claramente discriminados.
A força contínua não pode ser bloqueada, quando a flor se abrindo ataca, ela é ainda mais terrível.
Quando os seis Jins são fundidos, começa o uso ilimitado."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Twenty-first Secret Song (歌訣二十一) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Primeira Canção Secreta (歌訣二十一) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十一

用到極處須轉身，
脫身化影不留痕。
如何變換端在步，
出入進退腰先伸。

"When the application has reached its extreme point, the body must turn.
Get away and transform oneself in a shadow without leaving a trace.
The way to transform is in the stepping.
To exit and to enter, to advance and to retreat, the waist is the first to extend."

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"

"Quando o movimento atinge seu extremo, o corpo deve girar.
Escapar e transformar-se numa sombra sem deixar traço.
A transformação está nos passos.
Sair, entrar, avançar, recuar, a extensão sempre começa pela cintura.

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Sūn Shūróng (孫淑容) demonstrating Sūn Style Tàijíquán (孫氏太極拳) Demonstração de Tàijíquán (孫氏太極拳) estilo Sūn por Sūn Shūróng (孫淑容)

The Song of Practicing the Sword (練劍歌) from The Major Methods of Wudang Sword (武當劍法大要) A Canção da Prática de Espada (練劍歌) de Os Principais Métodos da Espada Wudang (武當劍法大要)

練劍歌

頭腦心眼如司令。
手足腰胯如部曲。
內勁倉庫丹田是。
精氣神膽須充足。
內外功夫勤修練。
身劍合一方成道。

"The mind and the intention lead like commanders.
Hands, feet, waist and the thighs follow as the troops.
The internal strength is stored in the Dantian.
Jìn, qì, shén and courage should be abundant.
Internal and external Gongfu require diligent practice.
Only when the body and the sword are one the way is found."

Based on the translations by Chang Wu Na (張悟納) and Dr. Lu Mei-hui (呂美惠) in "The Major Methods of Wudang Sword " (武當劍法大要)
Disclaimer: I don't practice Wudang Sword myself. However the school's texts and insights are of interest for any internal martial arts practitioner..

"A mente e a intenção são como comandantes.
Mãos, pés, cintura e coxas séao como as tropas.
A energia interna é guardada no Dantian.
Jìn, qì, shén e coragem devem ser abundantes.
Tanto o Gongfu interno quanto externo requerem uma prática diligente.
Apenas quando o corpo e a espada se unificam é que o caminho foi encontrado."

Baseado na tradução de Chang Wu Na (張悟納) e Dr. Lu Mei-hui (呂美惠) em "Os Métodos Principais da Espada Wudang" (武當劍法大要) Aviso: Eu não pratico a espada de Wudang. Entretanto, os textos e instruções da escola são interessantes para todos os praticantes de artes marciais internas.

Excerpt from the Inner Enterprise by Guǎn​zǐ (管子內業)

四體既正，血氣既靜，一意摶心，耳目不淫，雖遠若近思索生知，慢易生憂。暴傲生怨，憂鬱生疾，疾困乃死。思之而不捨，內困外薄。不蚤為圖，生將巽舍。食莫若無飽，思莫若勿致，節適之齊，彼將自至。

管子

"When your four limbs are balanced and the qi of your blood tranquil, unify your thoughts and concentrate your mind. Eyes and ears never astray, though distant, it will be as though near. Contemplative thought gives birth to knowledge; careless laxity gives birth to cares; violent arrogance gives birth to resentments; cares and melancholy give birth to illness. If you contemplate things and don’t let go, you will be harried within and haggard without. If you don’t plan against this early on, your life will slip away from its abode. When eating, it is best not to eat one’s fill. When contemplating, it is best not to carry it to the end. When there is regularity and equilibrium, it will come of itself."

Translation proposed by The University of Indiana

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Traduzido a partir de Chinese Text Project

Sink the Shoulders and Drop the Elbows (沉肩墜肘) from The Ten Important Points of Tai Chi Chuan (太極拳十要) Abaixar os Ombros, Deixar Cair os Cotovelos (含胸拔背) dos Dez Pontos Chave do Tàijíquán(太極拳十要)

沉肩墜肘

沉肩者，肩鬆開下垂也。若不能鬆垂，兩肩端起，則氣亦隨之而上，全身皆不得力矣。墜肘者，肘往下鬆墜之意。肘若懸起，則肩不能沉，放人不遠，近于外家之斷勁矣。

楊澄甫

"Sink the shoulders means to loosen the shoulders so they hang down. If one is not able to loosen, the tip of both shoulders will raise, therefore the Qi will follow and also rise and the whole body is not able to generate power. Drop the elbows means the elbows point down with the idea of loosening and weighing down. If the elbows seem raised or suspended, then the shoulders cannot sink. Therefore the ability to release (power towards) the opponent does not go far. This is similar to the external styles discontinuous power."

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

"Abaixar os ombros significa relaxar os ombros de maneira à que eles fiquem pendurados. Se não sé é capaz de relaxar, a ponta de ambos os ombros sobe, e por consequênia o Qi seguirá e subirá, fazendo com que o corpo não seja capaz de gerar força. Deixar cair os corovelos significa que os cotovelos apontam para baixo com idéia de relaxar e pousar um peso. Se os cotovelos parecem levantados ou suspendidos, então os ombros não podem se abaixar. Em consequência a capacidade de emitir em direção do oponente não será significativa. Isto é parecido com a situação de força discontínua dos estilos externos."

De Yáng Chéngfǔ (楊澄甫), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) e outras traduções em livros e na internet.