The Song of Seven Stars (七星歌) by Jiāng Róngqiáo (薑容樵)

七星歌

用必七體，
頭肩肘手，
胯膝合足，
相助為友。

薑容樵

"For application it is necessary to use the seven bodies:
The head, shoulder, elbow, hand,
Crotch, knees coordinated with the feet,
They are like friends helping one other."

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

Demonstration of a Form of Bāguà Deer Horn Knives (八卦掌双钺)

The Shape of the Body, the Waist and the Crown of the Head (身形腰頂) by Yáng​ Bān​hóu​ (楊班侯)

身形腰頂

身形腰頂棄可無，缺一何必費工夫。
腰頂窮研生不已，身形順我自伸舒。
捨此真理終何極，十年數載亦糊塗。

楊班侯

"One cannot relinquish the shape of the body, the waist and the crown of the head, as soon as one is abandoned there is no need to spend time practicing.
The endless study of the waist and of the crown cannot be exhausted in a lifetime, the shape of the body follows me when I extend and relax.
If one abandons these truths, what is reached at the end? Even after ten years of practive, still there will be be confusion."

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

Excerpt from Energy (兵勢) in The Art of War (兵法)

凡戰者，以正合，以奇勝。故善出奇者，無窮如天地，不竭如江河，終而復始，日月是也；死而復生，四時是也。聲不過五，五聲之變，不可勝聽也。色不過五，五色之變，不可勝觀也。味不過五，五味之變，不可勝嘗也。戰勢不過奇正，奇正之變，不可勝窮也。奇正相生，如循環之無端，孰能窮之哉！

孫子

"In all fighting, the direct method may be used for joining battle, but indirect methods will be needed in order to secure victory. Indirect tactics, efficiently applied, are inexhaustible as Heaven and Earth, unending as the flow of rivers and streams; like the sun and moon, they end but to begin anew; like the four seasons, they pass away to return once more. There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard. There are not more than five primary colors (blue, yellow, red, white, and black), yet in combination they produce more hues than can ever been seen. There are not more than five cardinal tastes (sour, acrid, salt, sweet, bitter), yet combinations of them yield more flavors than can ever be tasted. In battle, there are not more than two methods of attack - the direct and the indirect; yet these two in combination give rise to an endless series of maneuvers. The direct and the indirect lead on to each other in turn. It is like moving in a circle - you never come to an end. Who can exhaust the possibilities of their combination?"

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

The Song of Bēng​quán (崩拳歌) by Jiāng Róngqiáo (薑容樵)

崩拳歌

崩拳似箭性屬木，
生炮克橫理不謬，
兩拳輪流循環進，
牢記左前右足跟。

薑容樵

"Bēng​quán is like an arrow, its nature is affiliated with wood.
It produces Pao and overcomes Heng, the theory is not absurd.
The two fists advance in alternate cycles.
Keep in mind that the left is in front and the right foot follow closely."

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

Robert Smith on Zhèng Mànqīng (鄭曼青)

"This is not to say that T'ai-chi does not require effort. It does. But it requires quite as much faith. I asked Cheng once why none of his students approached him in skill. His terse answer: 'No faith.' Faith in what? Simply in the twin principles of relax and sink, in not resisting and always remaining gently attached to the opponent."

Quoted from Chinese Boxing - Masters & Methods

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".

Unification of Jin (勁整) from the Five Key Words (五字訣)

四,曰勁整

一身之勁，練成一家，分清虛實。發勁要有根源。勁起手腳根,主於腰間，形於手指，發於脊背；又要提起全副精神。於彼勁將出未發之際，我勁已接入彼勁，恰好不後不先；如皮燃火，如泉湧出。前進後退，無絲毫散亂，曲中求直，蓄而後發，方能隨手奏效。此謂"借力打人，四兩撥千斤"也。

李亦畬

"Fourh saying: unification of Jin
The whole body Jin when trained becomes one family, substantial and insubstantial are clearly distinguished, and root is a requirement to emitting Jin. Jin raises from the root of the feet, it is led by the waist, expressed by the fingers sent out by the back; it is also required to completely raise the spirit of vitality. As the opponent’s Jin is just about to be emitted my Jin already receives ant enter, at the exact time, no later, no earlier. It is just like the skin being burned by fire, like a spring bubbling up from the ground. Forward, backward, without the slightest disorganization, look for the straight in the curved, store and then emit. Only then it will be smooth and effective. This is called “borrowing the opponent’s force to strike him, and four ounces to repel a thousand pounds”. "

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

Wáng Xīzhī Watching Geese from the Orchid Pavilion by Qián Xuǎn (錢選)

The Song of Zuànquán (鑽拳歌) by Jiāng Róngqiáo (薑容樵)

鑽拳歌

鑽拳似電性屬水，
生崩克炮手足腿，
起鑽落翻陰陽轉，
功至還虛是洗髓。

薑容樵

"Zuanquan is like lightning, its nature is affiliated with water.
It produces Beng and overcomes Pao, one must use hands, feet and legs.
Raise, drill, fall, overturn: the Yin and Yang turn.
The achievement arrives when one returns to nothingness and washes the marrow."

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