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

歌訣三十六

用時最要是精神，
精神煥發耳目真，
任憑他人飛燕手，
蟻鳴我聽虎龍吟。

"When in application the key is vitality.
When one is glowing with health and vigor, all senses are alert.
It does not matter if the opponent’s hands are fast like a flying swallow,
The shout of an ant is like a tiger’s roaring or a dragon hissing to my ears."

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"

Thirty-fifth Secret Song (歌訣三十五) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Trigésima Quinta Canção Secreta (歌訣三十五) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣三十五

冰天雪地雨濘滑，
前腳橫使且莫差，
翻身切忌螺絲轉，
高低緊避乃為佳。

"Icy sky, snowy ground, it is slippery and muddy in the rain,
The front foot is employed horizontally; please don’t make a mistake,
When turning over, avoid to spin it,
Avoid difficult heights, then handling becomes fine."

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"

Thirty-fourth Secret Song (歌訣三十四) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Trigésima Quarta Canção Secreta (歌訣三十四) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣三十四

伸手不見前掌伸，
又無油松照彼身，
收縮眼皮努睛看，
底盤掌使顯神奇。

"When extending the hand one cannot see the front palm stretching,
And there is no light to illuminate the opponent’s body,
Contract the eyelids to exert the eyeballs to see,
The palm at the bottom portion enables the miracle."

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"

Thirty-third Secret Song (歌訣三十三) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Trigésima Terceira Canção Secreta (歌訣三十三) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣三十三

人眾我寡力難擋，
巧破千鈞莫要忙。
一手不勞憑指力，
犁牛猶怕反弓張。

"When the opponents are numerous, my force is scant and in distress to resist,
To break a thousand pounds it is important not to rush.
One hand cannot work relying only on the strength of the fingers,
Though the ox is strong, yet it still fears the whip."

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".

Thirty-second Secret Song (歌訣三十二) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Trigésima Segunda Canção Secreta (歌訣三十二) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣三十二

短兵相接似難防，
哪怕鋒利似魚腸。
伸手來接囊中物，
指山打磨妙中藏。

"It seems difficult to guard against hand-to-hand fight,
One should not be afraid even if the knife looks like the Yu Chang.
Extend one’s hands to seize it like picking up an object from a bag,
Point the mountain and strike the millstone, the marvelous is hidden within."

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".

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".

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".

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".

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".

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".

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".

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".

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".

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".

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".

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".

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

歌訣二十

剛在先兮柔後藏，
柔在先兮剛後張。
他人之柔腰與手，
我則吸腰步穩揚。

"If hardness comes first, then the softness is concealed behind.
If softness comes first, then the hardness is manifested later.
Other people’s softness from the waist and hands
Can be beaten by the absorption of the waist and a steady step."

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"

"Se no príncipio vem a rigidez, então a suavidade está escondida por trás,
Se a suavidade vem primeiro, então a rigidez se manifestará depois.
A suavidade produzida pelo oponente pela cintura e as mãos
Pode ser vencida pela absorção na cintura e um passo constante.

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"

Nineteenth Secret Song (歌訣十九) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)Décima Nona Canção Secreta (歌訣十九) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十九

人道掌法勝在剛，
郭老曾言柔內藏。
個中也有人知味，
剛柔相濟是所長。

"People’s way to beat the palm methods is in the hard,
The ancient said that the soft should be concealed within.
In martial arts someone has discovered this taste,
The mutual assistance of the hard and the soft is the best way."

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 maneira das pessoas se baterem com o método da palma é através do rígido,
Os antigos diziam que o suave deve ser escondido.
Alguém descobriu o gosto dessa maneira,
A mútua assistência entre o duro e o suave é o ideal"

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"

Eighteenth Secret Song (歌訣十八) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Décima Oitava Canção Secreta (歌訣十八) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十八

高欲低兮矮欲揚，
斜身繞步不須忙。
斜翻倒翻腰著力，
翻到極處力要剛。

"When above, one wishes to lower, when low, one wishes to raise,
The body inclines, the step winds, one should not hurry.
Through oblique overthrows or turns, the waist mobilizes the power,
When turning to the extreme point the power will be strong."

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 no alto, deseja-se descer, quando abaixo, deseja-se subir,
O corpo se inclina, o passo serpenteia, não se deve apressar.
Através de golpes oblíquos ou de giros, a cintura mobilisa a força,
Quando girando ao ponto extremo, a potência será máxima."

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".

Seventeenth Song (歌訣十七) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Décima Sétima Canção Secreta (歌訣十六) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十七

掌使一面不為功，
至少仍須兩面攻。
一橫一直三角手，
使人如在我懷中。

"To use a single palm is not effective,
at least both sides must attack.
One across, one straight, the hands form a triangle,
it is as if the opponent is positioned at the center of my chest."

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"

"Usar uma só palma não é eficaz,
pelo menois os dois lados devem atacar.
Uma através, outra à frente do corpo, as mãos formam um triângulo,
É como se oponente se posicionasse no centro do meu peito."

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".