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.