Manual Da Espada Kunwu

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THE KUNWU SWORD MANUAL OF LI LINGXIAO

Posted on July 20, 2013by Paul Brennan
KUNWU SWORD MANUAL
by Li Lingxiao
[published Feb, 1935]
[translation by Paul Brennan, July, 2013]
-
Portrait of the author
PREFACE [BY YIN JINGCHUN]
I have always been addicted to martial arts. Whenever I meet martial arts
experts, I always want to have a conversation, to take the opportunity to find out
about what they have achieved through their studies and about their particular
specialties, so as to explore the wonders of our nations martial arts. More than
ten years ago, there was an occasion in which I got to meet and talk with no less
than ten noteworthy experts. It was at a competitive gathering of famous
practitioners that had attracted a crowd of over a thousand people. Some of the
competitors won through hardness and fierceness, others through nimbleness
and ingenuity. Some enjoyed a great reputation for having built up their bodies,
while others had a thorough ability with every kind of weapon and had created
their own systems. And the essence of any one of their arts is that if it is not
worked at for years upon years, there will be no skill. Indeed the profound depth
of martial arts is truly beyond the grasp of laymen.
In 1929, I came to Cang county to take up a high school teaching position,

where I met Li Lingxiao. He had lived there his whole life beyond the west gate
and was the martial arts instructor in the Cang county high school. Although a
martial man, he has the dignified air of a gentleman. Talking freely in our spare
time, I began to be aware of his prowess in both internal and external skills. One
day, he told a student to perform the Kunwu sword set so I could take a look at
it. Carefully observing, I noticed it diverges in a great many ways from Jiang
Rongqiaos Authentic Kunwu Sword [1930]. I then discussed the sword with
him, whereupon I realized his mastery of the sword art.
I have experienced the sword methods of Ma Zizhen and Jiang Rongqiao. I
was quite delighted by their extensive discourse and methodical understanding.
Li also has remarked upon their profound fluency. I cannot help but state from
my amazement that the reason the sword art is the sword art is because of
such quality as theirs. The body goes along with the swords rotations while the
sword covers over the bodys shape. The hand shoots out fast as lightning, the
legs standing solid as a boulder. It is roundabout and indirect, suddenly fast,
suddenly slow. It is said that one who performs it like a swimming dragon, like
a soaring phoenix has truly obtained the swords attitude.
Sophisticated gentlemen all used to use the zither and the sword as means to
express themselves. Famous men nowadays also are often practicing the sword
art for their amusement. But for the most part they do not have enough free
time, and so it is especially difficult for them to make a deep study of it. Though
they may have an ambition to pursue it, the opportunity to meet with an
instructor who is a genuine expert is hard to come by. Moreover, the martial arts
of our nation were originally a kind of esoterica that was kept only in the family.
Those with only a rough understanding do not have the confidence to jump into
teaching, while those who are experts are not willing to teach just anyone. The
day of Chinese martial arts is long gone, and surely these are the reasons why.
Nowadays, martial arts institutes have been founded, both centrally and in
the provinces. But as for the excellent martial artists in the countryside, what
can be done to fully bring them into the project? Though their skills may be
profound, they are not necessarily sufficiently literate for the task of passing
down their arts secrets. As they can be recommended only for their hard work,
it is difficult to harvest a fully satisfactory result. Because Li is such a one who is
highly proficient in the art yet somewhat deficient in literacy, I instigated this
project of sharing this book with the world, for the sake of preserving the
integrity of the genuine sword art and to supply the martial arts world with
study materials for it.
There are so very many sword sets due to the multitude of styles, and each
thinks their way of doing it is the right one. But to miss by an inch is to lose by a
mile. If it is not learned with precision, one will quickly end up violating
fundamental principles. To be able to observe examples of mastery while
practicing martial arts, to get to watch someone who is totally immersed in a
style, is really an uncommon experience in the world. Li carried his art around
in a frantic quest north and south to meet with more famous practitioners than
can be counted. At the first moment of contact, they were each convinced of his
magical prowess. When Cao Zhongshan caught sight of his skill, he so admired
it. When Li Xiehe heard about it, he was full of appreciation. When Zhang
Zhijiang looked upon it, he was utterly delighted. So how could his skill not be
exquisite?
When I met Li, I felt the same as they did. Once he had finished this project
to his satisfaction, he returned home to teach students for his own pleasure.
This is why he is so much better at it than others, not just because his skill is
superb.
written by Yin Jingchun of Fangshan [district of Beijing]
AUTHORS PREFACE

I am not sure about the source of the Kunwu sword art, but the sword of that
name is famous. In the ancient Zhou era, King Mu sent an expedition against
the Kun tribe in the west, who then presented as tribute to him the sword of
Kunwu. Liezi wrote [Liezi, chapter 5]: The sharpness of the Kunwu sword could
cut through jade as if it was mud. Therefore the Kunwu sword was a precious
sword even in ancient times.
There was the sword, and then there was the method. Prior to the days of
cannon fire, our nations warriors relied entirely on long weapons and short
weapons to deal with enemies. These arts were passed down through many
generations. The more they were worked with, the more they were refined.
History has no lack of famous experts. Later generations of them developed a
sectarian mentality and established their own styles. Some sword arts were
named after actual swords, such as Kunwu and Qingping, with the intention of
gaining the respectability of being associated with something ancient.
In the first year of the Qing emperor Daoguangs reign [1821], in the town of
Dongbei in my home county, Jun Mazhan and Dai San were well-known as
being good at martial arts. One day, there was a married couple from Jiangnan
surnamed Liu who were holding swords and had come for a visit. Dai declined
them humbly but not wisely. Mr. Liu said: I esteem your reputation and have
not come to challenge you, but I wish to have a look at the hand techniques of
your style. Dai had no choice but to exhibit his style by way of a bout with Liu,
but whatever he did with his hands was easily controlled no matter what he
tried. Dai then handed over his sword and said to Liu: You are my teacher.
Thereupon he took Liu into his home and learned from him day and night.
Liu stayed for a year and a half. As he started again on his journey, he told Dai:
I have been addicted to this art my whole life. This is why I have traveled north
and south in search of the most brilliant experts, and I have to keep on looking.
That it has now turned out that I have taught my art to you was all a matter of
destiny. You must not casually show it to people. When he finished saying this,
he left.
Later, Dai taught it to Li Tianmu, Jia Xinzhuang, and Liu Zhenxiang. I
learned it from Liu Zhenxiang but did not yet master it. Later I met Dai Sans
nephew in Dalian [city in Liaoning], and hence worked at it every day until I
began to obtain its secrets. Although I would not dare to claim this sword art
contains every possible sword technique, I would say from what I have practiced
and what I have seen that its techniques surpass those of other sword arts.
Yin Jingchun of Fangshan is a scholar who is addicted to martial arts. When
he saw this sword method, he was surprised by its uniqueness. As he has been
promoting the worth of martial arts to the nation, he urged me to publish it to
supply study materials for those with the same interests. Based on discussions
with Yin, I now present this manual after repeated revisings. Included are
application explanations and photographs so that students will not only achieve
the performance of the sword postures but also be able to understand how to
use them.
By referring to the materials to get the idea, you will systematically progress
to a polished level. By practicing it until you are skillful at it and then working
toward its quality of adaptability, you can succeed at in a year. You thereby can
obtain the general idea in the ways of the sword art. But as for its spiritual
aspect, I will tell you in advance that is more difficult to attain. After learning it,
many become too busy with other things and never achieve its essentials, and
then when they put up their hands to fight, they end up controlled by their
opponents. What kind of way is that to value the study of the sword art?
Yet my own knowledge is so limited, whatever I have gotten right in here was
by sheer luck. I sincerely hope the nations experts will give me corrections, for
which I would feel blessed indeed.
written by Li Lingxiao of Cang county [in Hebei], July, 1934
TEN CAUTIONS IN THE TREATMENT OF THE SWORD ART

(These ten things are rarely talked about anymore, but through them we can get
a sense of the painstaking effort of ancient people and come to see this sword art
as something precious.)
[1] A variety of sword arts have been passed down since ancient times, but the
Kunwu method is the best of them. You must not look upon it as something
ordinary, but should instead regard it as a treasure.
[2] The sword is an implement that fits well alongside music and literature.
There are no ordinary weapons that can be compared to it. If you are one who
cherishes it, you have to store it in a place that you keep especially clean.
[3] There are only three kinds of people who can be taught the sword art:
Confucianists, Daoists, and strategists, for such people have the required
qualities of uprightness and elegance.
[4] There are many kinds of people who are not to be taught the sword art: those
without honor, the disloyal or unfilial, those without perseverance, those who do
not understand the value of taking caring of oneself, those without a balance
between the civil and martial, those who are looking to make money out of it,
those with crass personalities, the street performers, and bullies. Why? For fear
such people would disgrace the integrity of Kunwu.
[5] Five things to avoid in the sword art: 1. bragging, 2. seeking fame, 3. finding
enjoyment in defeating others, 4. finding enjoyment in destroying others, 5. and
looking upon life as if it does not matter.
[6] If someone can be taught yet is not taught, that is a waste of the person. If
someone cannot be taught but is taught anyway, that is a waste of the sword art.
When considering whether a person is right for it, it is better to waste the person
than to waste the sword art. It has been thus since ancient times and is not a
stinginess from our own generation.
[7] In teaching the sword art, you first must select the student, and then you
must select the environment. If you are teaching in a messy and distracting
place, then even if the student is one who can indeed be taught, his grasp of it
will not be very solid. You will gradually turn him into a bad student, and the
harm you pass down [not just to him but to his future students and to the future
of the art itself] will not be slight.
[8] You need to be cautious. When in the midst of the multitude, you must never
lightly show off in order to win a good reputation. It is likely that the wrong sort
of person will see it and fall in love with it, and then when he is not able to get
anything out of it even though he tries, you will only have caused resentment.
[9] The sword art is such an exceptional thing that it is a source of envy. If you
encounter someone who has not obtained the true teachings yet croons on and
on about how great he is and thinks he knows everything, it is not necessary for
you to have an argument with him.
[10] Once you have obtained the authentic teachings, you must then be
restrained and discipline your own temperament. If you encounter someone
who does not know what he is talking about and hastily slanders others, you
ought to merely point the way to reducing his lifetime of confusion. It is not
necessary for you to have a bout with him.
ESSENTIALS OF SPARRING WITH THE SWORD
This sword art does not use sealing, propping, or sticking, and yet finds a way
in.
I await the opponent with both orthodox techniques and surprises. When I
chase after him, I must control the gateway. I do not allow him to position his
hands. Rising and crouching should be distinct. When I want to go to the left, I
first attack to the right. When I you want to go to the right, I first attack to the
left.
If he stabs to my solar plexus, I use SPARKING THE FURNACE to block off

the middle.
If he wants to chop to my head, the VINES CLIMBING THE WALL is
limitlessly effective.
If he wants to stab to my knee or foot, I upset his plans with a hanging slash.
If he wants to chop to my leg, a low block is the most obvious thing to do.
If he goes across with a smearing technique to my neck, WIND TUGS THE
ROBE will defeat it.
If he slashes to the inside of my wrist, I whip forth with a smearing technique.
If he chops to my left temple, FLYING INTO THE SKY will stop him above to
defeat it.
If he goes for my right temple, closing the door with a low posture is best.
If he wants to stab straight to my hand, the technique of PLUCKING A PLUM
is best.
If he wants to get inside an inch, a smear underneath can succeed.
If he wants to slash outward an inch, a smear underneath can pass through
his door.
If he attacks two inches inward, a retracting slash will surely work.
If he attacks two inches outward, an outward rolling technique will have the
clearest result.
If he attacks three inches inward, to raise outward and stab to his flank is
best.
If he attacks three inches outward, CATCHING THE MOUSE is the best
technique.
If he attacks four or five inches inward, the yellow dragons head and hands
will rush through.
If he attacks four or five inches outward, THREE STOPPINGS will disperse
the wind.
If he employs continuous postures, the rolling technique of SWINGING TAIL
will win.
If he slashes inward to my hand, successive techniques of STABBING THE
LENGTH OF THREE MILES will do the trick.
If he slashes outward to my hand, I raise inward and stab to his chest.
For a downward attack, I rain down. For an upward attack, I lift up. There is
always a method whether advancing or retreating. The key techniques are to be
practiced until they are perfected. The postures are often difficult to fully
explain, but with hard work there will naturally be success.
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THE KUNWU SWORD METHODS TEN-WORD FORMULA
This sword arts Ten-Word Formula is a very simple list of techniques:

Prop, smear, carry, tap, roll, hook, hang, break, stab, and stand.
The Kunwu sword art was passed down from ancient times. It all comes down to
its ten terms.
Prop, smear, carry, tap, roll The sudden gleaming emitted dazzles the
opponents eyes as the sword is wielded, turning over upwards, turning over
downwards. As for its techniques, they are peerless.
Hook, hang, break, stab, stand Attack to the left, to the right, fast as
lighting. Whether rolling upward, twining in the middle, or breaking downward,
inside there is circling.
When applying propping or smearing, you should stand and rotate. As for its
body methods, they should be nimble. There is firstly the slanting of the torso
and the twisting of the stance, and then there is lightness and heaviness,
lengthening and shortening.
But these are hollow words when discussed only on paper. If you are to learn
the sword, obtain genuine teaching. With personal instruction, skill will
naturally be trained.
SOME SWORD PRINCIPLES THAT MUST BE UNDERSTOOD
1. The length of the sword is three feet, the final inch being the tip. You must
hold the sword in an adjustable grip. The livelier the grip, the livelier the sword
will twirl. Therefore on the subject of sword methods, they succeed entirely
through artistry. The sword leads the way and the body follows along with it.
Make sure body and sword are merged as one, and then you will be able to
perform with your hand as is in your mind.
2. Begin by practicing static postures until they are stable. Then perform them
slowly and without effort. It is like practicing calligraphy: if the framing of your
characters is not consistent, your calligraphy will be utterly unworkable. If you
practice until you are skillful, then whether fast or slow, you will naturally be
able to perform them with the right balance. Do not be misled by the advice of
onlookers in your hopes of getting there faster.
3. The highest sword method does not use sealing, propping, or sticking, and yet
finds a way in wondrously. This is not to say that the sword is not to be used at
all when combating with an opponent. It is because I control the opponents
wrist once he puts out his hand that I can then easily stab forward, and so there
is no need for me to seal him off, prop him away, or stick to him.
4. Many of the sword postures have a slanting torso or a twisting stance, which
depends entirely on the waist. If you are unable to use your waist, ninety percent
of the sword arts effectiveness will have been cast aside.
5. Mind, eye, torso, hand, and step are all to act in unison. Particular attention is
given to this in all boxing arts, and since it is the same in the sword arts, you
must not neglect it.
6. The photos in this book are all of static postures. The technique that is
applied happens for the most part between postures. You must carefully ponder
in order to get the route along which the sword travels to be constantly swirling.
If you are completely without moments in which your feet are getting stuck,
then you will get it.
A FEW POINTS ABOUT USING THIS BOOK
1.
To each of the postures that follow are attached poetic lyrics describing the
postures application. The photo that follows it shows the posture at the
completion of its application.
2.
With each posture is included potential follow-up techniques for all three
heights high, middle, low so that upon applying a technique you can then
respond according to the situation.
3.
The footwork charts are displayed in ten separate sections for you to be able to
refer to them. Although there is a method for each of the stance changes, it is
assumed you have a grounding in the fundamentals of boxing arts, and so they
are not repeated here. [i.e. While this book uses terms such as bow stance,
horse-riding stance, stealth stance, and so on, it never explains or defines
them, expecting you to already understand the terms through your foundation
training or to find out about them from other books.]
4.
The orientation of the postures as they appear in the photos corresponds to the
explanation for the footwork charts so that you can cross-reference between
them to get a clearer idea. [i.e. They are both aligned with each other
consistently in that the charts are all oriented the same way with each other and
the photos have all been taken with the camera pointing north. (But be warned
that the consistency goes little further than that, for the footwork charts are
rather unexacting as to the orientations of head, torso, and even feet, being a
somewhat looser depiction of what is going on than the photos and movement
descriptions.)]
This is not to say the orientation cannot be changed. [i.e. It does not matter
which direction you are initially facing as long as the rest of the set is consistent
with the initial direction.]
5.
For the application of each posture, observe the circumstances that precede and
follow it. Then when you have learned a posture, it will not be difficult to realize
how it is meant to be done.
6.
The photos are all of static postures. The route along which the sword moves
between them is too hard to photograph, and so you will have to examine the
movement explanations to get at that aspect.
7.
For every posture in the set, there are listed three follow-up techniques. Thus
the techniques of the flowingly danced sword routine described below are triplelayered for combat. You need to be aware of this.
CONTENTS
Section One
Posture 1: PRESENTING THE SWORD BEFORE THE GATE
Posture 2: TAKING THE SWORD ACROSS TO CHECK HIS WRIST
Posture 3: DRAGONFLY SKIMS THE WATER
Posture 4: CROUCHING TIGER POSTURE
Posture 5: IMMORTAL POINTS THE WAY
Posture 6: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER

Part 1
Posture 7: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER

Part 2
Posture 8: WHITE CRANE SHOWS ITS WINGS
Posture 9: GOLDEN NEEDLE INTO THE GROUND
Posture 10: POWERFUL CHOP THROUGH MT. HUA

Posture 11: BEADED CURTAIN IS ROLLED AWAY Part 1
Posture 12: BEADED CURTAIN IS ROLLED AWAY Part 2
Posture 13: A THOUSAND POUNDS DROP TO THE GROUND Part 1
Posture 14: A THOUSAND POUNDS DROP TO THE GROUND Part 2
Posture 15: SMEARING TECHNIQUE WITH ASSISTING HAND
Posture 16: PROPITIOUS CLOUDS CARRY THE SUN
Section Two
Posture 17: IMMORTAL GOES INTO HIS CAVE
Posture 18: DRAGONFLY SKIMS THE WATER
Section Three
Posture 20: ICICLE HANGING FROM THE EAVES
Posture 21: INWARD SPARKING-THE-GOLDEN-FURNACE
Posture 22: OUTWARD SPARKING-THE-GOLDEN-FURNACE
Posture 23: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 1
Section Four
Posture 27: YELLOW DRAGON SWINGS ITS TAIL Part 1

Posture 32: TAO YUANMING PLUCKS A CHRYSANTHEMUM
Posture 38: TAO YUANMING PLUCKS A CHRYSANTHEMUM
Posture 39: TRYING TO SCOOP THE MOONS REFLECTION FROM THE

WATER Part 1
Posture 40: TRYING TO SCOOP THE MOONS REFLECTION FROM THE

WATER Part 2
Posture 41: NIGHT DEMON SEARCHES THE SEA
Section Five
Posture 42: GAZING UPON BEAUTIFUL CLOUDS
Posture 43: QUICK CAT CATCHES THE MOUSE
Posture 44: MAGPIES FLY INTO THE SKY
Posture 45: MENG HAORAN PLUCKS A PLUM

Section Six
Posture 46: SWORD STABS THE LENGTH OF A MILE Part 1
Posture 47: SWORD STABS THE LENGTH OF A MILE Part 2
Posture 48: INSERTING A STICK OF INCENSE INTO LEVEL GROUND
Posture 49: VINES CLIMBING THE WALL
Posture 50: COVER IN FRONT & BLOCK BEHIND Part 1
Posture 51: COVER IN FRONT & BLOCK BEHIND Part 2
Posture 52: WIND TUGS AT THE ROBE Part 1
Posture 53: WIND TUGS AT THE ROBE Part 2
Posture 54: SLAMMING DOWN MONEY
Section Seven
Posture 55: CONTINUOUS SWORD Part 1
Section Eight
Posture 59: PLUCK AWAY THE STARS & REPLACE THEM WITH THE
MOON Part 1
MOON Part 2
MOON Part 3
Posture 62: RUNNING HORSE LOOKS BEHIND Part 1
Posture 63: RUNNING HORSE LOOKS BEHIND Part 2
Posture 64: THREE STOPPINGS Part 1
Posture 67: WHITE HORSE PARTS ITS MANE Part 1
Posture 68: WHITE HORSE PARTS ITS MANE Part 2
Section Nine
Posture 69: QUICKEN THE HORSE WITH MORE WHIPPING
Posture 70: FLOCK OF GEESE GOING OVER THE SEA
Posture 71: WINGED SERPENT FLICKS ITS TONGUE Part 1
Posture 72: WINGED SERPENT FLICKS ITS TONGUE Part 2
Section Ten
Posture 73: NOBLEMAN HANGS UP HIS SEAL Part 1
Posture 74: NOBLEMAN HANGS UP HIS SEAL Part 2
Posture 75: FLOWER HIDDEN UNDER THE LEAF
Posture 76: YELLOW DRAGON TURNS AROUND
Appendix: Explanations for Kunwu Swords Ten Techniques

KUNWU SWORD FOOTWORK CHARTS
Go back and forth [five times] for a total of ten sections.
(Explanation)
1.
For each chart, east is at the top. [When reading the actual book, west is actually
at the top. The images have been turned sideways for this translation, and so
north now appears to be at the top, aligning them closer to the photographs.]
When practicing, always begin in the east.
2.
Left and Right are constant, but when stepping to a new place, the order of
the steps follows in sequence in the manner of Left 1, Right 2, Left 3, Right 4,
etc.
SECTION 1 (stepping from east to west):

Stance 1: Right 0, Left 0 feet together [Posture 1]
Stance 2: Left 1, Right 2 pointed stance [Posture 2]
Stance 4: Right 4, Left 5 pointed stance [Posture 4]
Stance 5: Right 4, Left 6 bow stance [Posture 5]
Stance 6: Right 4, Left 7 twisted stance [Posture 6]
Stance 7: Left 7, Right 8 bow stance [Posture 7]
Stance 9: Right 10 (advancing into pointed stance), Left 10 [11], Right 12

pointed stance [Posture 9]
Stance 10: Right 13 (walking step), Left 14 (advancing), Right 15 feet together
[Posture 10]
Stance 13: Right 18, Left 20 pointed stance [feet together] [Posture 13]

Stance 16: Left 23, Right 24 feet together [Posture 16]
SECTION 2 (stepping from west to east):
Stance 1: Right 1 (lift then come down to the east [Right 2]), Left 3 (jumping
step), Right 4 (advancing) horse-riding stance [Posture 17]

Stance 2: Left 3, Right 4 horse-riding stance [Posture 20]
Stance 3: Right 4, Left 5 pointed stance [Postures 21-23]
Stance 4: Right 6, Left 7, Right 8 walking steps [Posture 24&25 (three times)]
Stance 5: Left 9, Right 10 feet together [Posture 25 (as static posture)]

Stance 1: Right 2 [1], Left 2 pointed stance [Posture 26]

Stance 3: Left 4, Right 5 bow stance [Postures 28-30]
Stance 4: Left 6, Right 7 pointed stance [Postures 31&32]
Stance 6: Left 9, Right 10 bow stance [Postures 34-36]
Stance 7: Left 11, Right 12 pointed stance [Postures 37-39]
Stance 9: Right 15 one-legged stance [Posture 41]

Stance 5: Left 8 one-legged stance [Posture 46]
Stance 1: Right jump with Left advance, Left 1, Right 2 horse-riding stance
[Posture 47]
Stance 3: Left 4, Right 5 bow stance [Postures 49&50]
Stance 5: Left 7, Right 5 bow stance [Postures 52&53]

Stance 1: Right 1, Left 2 stealth stance [Posture 55 (Left 2 also for one-legged
Posture 57]
Stance 2: Right 3, Left 4 stealth stance [Posture 56]
Stance 3: Right 5, Left 6 walking steps [Posture 58]
Stance 4: Left 6, Right 7 stealth stance [Posture 58 cont.]
Stance 5: Left 6, Right 8 horse-riding stance [Posture 58 cont.]
Stance 6: Right 9 one-legged stance [Posture 59]

Stance 1: Right 1, Left 2 bow stance [Postures 60&61]
Stance 3: Left 3, Right 4 twisted stance [Posture 62 cont.]
Stance 4: Right 4, Left 5 twisted stance [Posture 63]
Stance 5: Left 5, Right 6 bow stance [Posture 63 cont.]
Stance 7: Right 8, Left 9 walking steps [Postures 65&66]
Stance 8: Right 10, Left 11 stealth stance [Posture 67]
Stance 10: Left 13, Right 14 horse-riding stance [Posture 68 cont.]

Stance 1: Right 1, Left 2 bow stance [Postures 69&70]
Stance 3: Right 4, Left 5, Right 6 walking steps [Posture 72]
Stance 4: Left 7, Right 8 feet together [Posture 72 cont.]

Stance 1: Right 1, Left 2 pointed stance [Posture 73 (Left 2 for one-legged
Posture 74)]
Stance 2: Right 3 (jumping), Left 4, Right 5 bow stance [Postures 75]
POSTURE 1: PRESENTING THE SWORD BEFORE THE GATE
Lyrics:
An opponent attacks with a stab to my arm.
I use TAKING THE SWORD ACROSS TO CHECK HIS WRIST while retreating
to the west.
I begin in the east, facing to the north, feet together. My left hand is grasped into
a fist, right hand holding my sword horizontal in front of my waist, the edges up
and down. The sword tip and my face are both facing to the west. This is
PRESENTING THE SWORD BEFORE THE GATE.
(Techniques that follow from it for each of the three levels high, middle,
low could be: high GAZING UPON BEAUTIFUL CLOUDS, middle
TAKING THE SWORD ACROSS TO CHECK HIS WRIST, low NIGHT
DEMON SEARCHES THE SEA.)
If the opponent attacks with a stab to my right arm, my left leg withdraws a
half step to the west, my torso goes along with my sword as it turns to point to
the east, my right leg now forward making a pointed stance as my sword goes
across with a checking technique to the outside of his wrist. This posture is as in
the photo below:
POSTURE 2: TAKING THE SWORD ACROSS TO CHECK HIS WRIST
Lyrics:

The opponent attacks with a stab to my knee.
I use DRAGONFLY SKIMS THE WATER to drop downward.
The posture is now facing to the east. My right hand is holding my sword, the tip
pointing diagonally upward, slightly higher than my headtop, the spine of the
sword directly in front of my face. I am using my sword to perform a checking
technique to the outside of the opponents wrist, while my left hand, formed as a
swordsmans hex, is placed in front of and above my head. This is TAKING THE
SWORD ACROSS TO CHECK HIS WRIST.
(Techniques that follow from it for each of the three levels could be: high
MAGPIES FLY INTO THE SKY, middle DRAGONFLY SKIMS THE WATER,
low TAO YUANMING PLUCKS A CHRYSANTHEMUM.)
If the opponent attacks with a stab to my knee, my right foot retreats to stand
next to my left foot and my sword tip goes downward with a tapping technique
to his wrist, my left hand assisting at my right wrist. This posture is as in the
photo below:
POSTURE 3: DRAGONFLY SKIMS THE WATER
Lyrics:
If an opponent attacks from behind,

I use CROUCHING TIGER POSTURE to await him without wavering.
The posture is now facing to the east, feet together. My right hand is sending my
sword downward with a tapping technique, the more diagonally downward the
better, my left hand assisting at my right wrist. This is DRAGONFLY SKIMS
THE WATER.
INSERTING A STICK OF INCENSE INTO LEVEL GROUND, middle
CROUCHING TIGER POSTURE, low BEADED CURTAIN IS ROLLED
AWAY.)
If an opponent attacks from behind, my right leg withdraws to the east and I
sit, my left leg forward making a pointed stance, while my body turns along with
my sword so that I am facing west, and I make the CROUCHING TIGER
POSTURE to await him. This posture is as in the photo below:
POSTURE 4: CROUCHING TIGER POSTURE
Lyrics:
The opponent attacks with a stab to my left wrist.

I use IMMORTAL POINTS THE WAY to stab to his chest.
The posture is now facing to the west. My right hand is holding my sword, the
tip hanging down and slanted slightly forward, prepared to be thrust out. My
left hand, formed as a swordsmans hex, is directly in front of my face. My left
leg is forward making a pointed stance. This is CROUCHING TIGER POSTURE.
WIND TUGS AT THE ROBE, middle IMMORTAL POINTS THE WAY, low
TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER.)
If the opponent attacks with a stab to my left wrist, I withdraw my left hand
and step my left leg forward into a bow stance toward the southwest. At the
same time, I send my sword forward with a level stab to his chest. This posture
is as in the photo below:
POSTURE 5: IMMORTAL POINTS THE WAY
Lyrics:
The opponent attacks with a stab to my left shoulder.

I use FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER to prop
up continuing into hooking away.

The posture is now facing to the southwest, my legs making a bow stance. My
right hand sends my sword forward in a level stab, my left hand assisting at my
right wrist. This is IMMORTAL POINTS THE WAY.
WHITE CRANE SPREADS ITS WINGS, middle FISHERMAN EXAMINES
FOR WHERE TO CROSS THE RIVER, low TRYING TO SCOOP THE
MOONS REFLECTION FROM THE WATER.)
If the opponent attacks with a stab to my left shoulder, I send my sword
upward with a propping technique to his wrist. He retracts his stab, so I send
my sword downward to his wrist with a hooking technique, my torso at the same
time turning along with my sword. With my torso slanting and my stance
twisting, my sword and left hand spread apart to be hanging down below my
ribs on either side, ready to go forward with a level stab. This posture is as in the
photo below:
POSTURE 6: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER

Part 1
Lyrics:
The opponent attacks with a stab to my left ribs.

I use FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER to twist
my torso while retreating.
The posture is now facing to the southwest, torso squared to the northwest. My
right leg is standing bent, my left leg lifted to the forward right. My torso is
slanted, my stance twisted. My left hand is formed as a swordsmans hex and my
right hand is holding my sword in readiness to make a level stab. It is the
appearance of a fisherman examining for where to cross the river. This is the
first movement of FISHERMAN EXAMINES FOR WHERE TO CROSS THE
RIVER.
If the opponent attacks with a stab to my left ribs, my left leg comes down,
my right leg steps forward to the west into a bow stance, and my torso goes
along with my sword as it stabs forward to his chest, my left hand assisting at
my right wrist. This posture is as in the photo below:
POSTURE 7: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER

Part 2
Lyrics:
The opponent attacks with a stab to my right shoulder.

I use WHITE CRANE SHOWS ITS WINGS to turn over to the rear.

The posture is now facing to the southwest. My right hand is sending my sword
forward with a level stab, my left hand assisting at my right wrist. My right leg is
forward making a bow stance. This is the freeze-frame posture of FISHERMAN
EXAMINES FOR WHERE TO CROSS THE RIVER [unlike Part 1 which does not
pause in a pose].
WHITE CRANE SHOWS ITS WINGS, middle WIND TUGS AT THE ROBE,
low SWORD STABS THE LENGTH OF A MILE.)
If the opponent attacks with a stab to my right shoulder, my right leg steps
diagonally forward and my left foot follows forward to stand next to my right
foot, while my arms spread horizontally, my sword flashing to the rear. This
posture is as in the photo below:
POSTURE 8: WHITE CRANE SHOWS ITS WINGS
Lyrics:
The opponent attacks with a stab to my leg.

I use GOLDEN NEEDLE INTO THE GROUND to follow it downward.
The posture is now facing to the southwest. My right hand sends my sword
flashing slightly to the rear, the sword body flat and straight. My left hand,
formed as a swordsmans hex, is extended level with my right hand. My feet are
together. This is WHITE CRANE SHOWS ITS WINGS.
POWERFUL CHOP THROUGH MT. HUA, middle VINES CLIMBING THE
WALL, low GOLDEN NEEDLE INTO THE GROUND.)
If the opponent attacks with a stab to my right thigh, my right leg steps
forward while my sword follows the posture downward with a tapping
technique. There is a slight pause, then my left leg jumps to the south [and my
right leg follows to make a pointed stance]. At the same time, my right hand
sends my sword rushing through upward [coordinated with my left leg], then
stabbing downward to the lower left [coordinated with my right leg], my left
hand assisting at my right wrist. This posture is as in the photo below:
POSTURE 9: GOLDEN NEEDLE INTO THE GROUND
Lyrics:

I perform POWERFUL CHOP THROUGH MT. HUA without delay.

tip pointing downward, my left hand assisting at my right wrist. My right leg is
forward making a pointed stance. This is GOLDEN NEEDLE INTO THE
GROUND.
POWERFUL CHOP THROUGH MT. HUA, middle PLUCK AWAY THE
STARS & REPLACE THEM WITH THE MOON, low QUICKEN THE HORSE
WITH MORE WHIPPING.)
If the opponent attacks with a stab to my right shoulder, my right leg steps
forward to the northwest, my left foot goes forward to stand next to my right
foot, and my right hand uses my sword to perform a chopping technique onto
his wrist. This posture is as in the photo below:
POSTURE 10: POWERFUL CHOP THROUGH MT. HUA
Lyrics:
An opponent makes a surprise attack from behind.

I use BEADED CURTAIN IS ROLLED AWAY to turn around and wipe him
away.
The posture is now facing to the northwest. My right hand is sending my sword
forward with a tapping technique. My left hand as a swordsmans hex is placed
in front of my forehead [although the photo shows it at the wrist]. My feet are
together. This is POWERFUL CHOP THROUGH MT. HUA.
WHITE CRANE SHOWS ITS WINGS, middle BEADED CURTAIN IS
ROLLED AWAY, low TRYING TO SCOOP THE MOONS REFLECTION
FROM THE WATER.)
If an opponent comes from behind with a low stab, my right leg takes a half
step forward, my body goes along with my sword by turning around to the left
for it to oppose him with a checking technique to his wrist, my left hand
assisting at my right wrist, while my left leg pulls back to make a pointed stance.
This posture is as in the photo below:
POSTURE 11: BEADED CURTAIN IS ROLLED AWAY Part 1
Lyrics:
The opponent attacks with a stab to my face.

I use BEADED CURTAIN IS ROLLED AWAY to prop then hook to his wrist.
slightly lowered forward, edges to the left and right, my left hand assisting at my
right wrist. My torso is slightly leaning forward. My left leg is forward making a
pointed stance. This is the first movement of BEADED CURTAIN IS ROLLED
AWAY.
GAZING UPON BEAUTIFUL CLOUDS, middle BEADED CURTAIN IS
ROLLED AWAY, low A THOUSAND POUNDS DROP TO THE GROUND.)
If the opponent attacks with a stab to my face, drawing it back to continue
with stabs to the middle and below, I use a propping technique against the high
stab, a hooking technique against the middle stab, and a checking technique to
his wrist to counter the low stab. These three actions are continuous and are
very obvious techniques. During the hooking technique, my left leg jumps back
a step, then once the posture settles [after also stepping back my right leg so my
left is making the pointed stance], the same downward check immediately
comes out. This posture has techniques that move both inward and outward,
and this is thus the second movement, but it ends up in the same posture as
before.
POSTURE 12: BEADED CURTAIN IS ROLLED AWAY Part 2
Lyrics:

I use A THOUSAND POUNDS DROP TO THE GROUND to retreat to the right.
The posture is as before and so is not described again here.

PROPITIOUS CLOUDS CARRY THE SUN [A THOUSAND POUNDS DROP TO
THE GROUND], middle BEADED CURTAIN IS ROLLED AWAY, low
FLOWER HIDDEN UNDER THE LEAF.)

If an opponent attacks from behind with a stab to my left arm, my body goes
along with my sword, turning around to the right rear as it goes across with a
checking technique to his wrist, my left foot moving to stand next to my right
foot. The sword tip is pointing straight up, my left hand formed as a
swordsmans hex placed over my headtop. This posture is as in the photo below:
POSTURE 13: A THOUSAND POUNDS DROP TO THE GROUND Part 1
Lyrics:
The opponent attacks with a propping technique to my wrist.

I use A THOUSAND POUNDS DROP TO THE GROUND to turn over to the left.
tip pointing straight up, my left hand as a swordsmans hex placed above my
headtop. My feet are together, my upper body leaning to the right rear. This is
the first movement of A THOUSAND POUNDS DROP TO THE GROUND.
WIND TUGS AT THE ROBE, middle RUNNING HORSE LOOKS BEHIND,
low A THOUSAND POUNDS DROP TO THE GROUND.)

If the opponent does a propping technique under my wrist, my right hand
gathers my sword forward, my left hand assisting at my right wrist, while my left
leg jumps to the left and my right leg follows to make a pointed stance. This
POSTURE 14: A THOUSAND POUNDS DROP TO THE GROUND Part 2
Lyrics:

I use SMEARING TECHNIQUE WITH ASSISTING HAND to attack forward.
tip pointing straight up, my left hand assisting at my right wrist. My right leg is
forward making a pointed stance. This is the second movement of A
THOUSAND POUNDS DROP TO THE GROUND.
MAGPIES FLY INTO THE SKY [SMEARING TECHNIQUE WITH ASSISTING
HAND], middle MENG HAORAN PLUCKS A PLUM, low A THOUSAND
POUNDS DROP TO THE GROUND.)

If the opponent attacks with a stab to my right shoulder, my torso goes along
with my sword as it moves forward performing a smearing technique, sweeping
across and pressing down on his wrist, my left hand assisting at my right wrist,
while my left leg steps forward into a bow stance. This posture is as in the photo
below:
POSTURE 15: SMEARING TECHNIQUE WITH ASSISTING HAND
Lyrics:
The opponent attacks with a stab to my chest.

I use PROPITIOUS CLOUDS CARRY THE SUN to hook and smear.
The posture is now facing to the west. My right hand is holding my sword, which
is level in front of me pushing down on the opponents wrist, my left hand
assisting at my right wrist. My left leg is forward making a bow stance. This is
SMEARING TECHNIQUE WITH ASSISTING HAND.
INSERTING A STICK OF INCENSE INTO LEVEL GROUND, middle
PROPITIOUS CLOUDS CARRY THE SUN, low NIGHT DEMON SEARCHES

THE SEA.)
If the opponent attacks with a stab to my chest, my torso slightly leans back
as I use a hooking technique to catch his wrist. He stabs again, so I use a
carrying technique as my right foot moves to stand next to my left foot. This
POSTURE 16: PROPITIOUS CLOUDS CARRY THE SUN
Lyrics:
The opponent attacks with a stab to my back.

I use IMMORTAL GOES INTO HIS CAVE to whirl around and chase him.
The posture is now facing to the west. My right hand is holding my sword,
performing a level carrying technique, the tip pointing forward, my left hand
assisting at my right wrist. My feet are together. This is PROPITIOUS CLOUDS
CARRY THE SUN.
POWERFUL CHOP THROUGH MT. HUA, middle IMMORTAL GOES INTO

HIS CAVE, low FLOWER HIDDEN UNDER THE LEAF.)
If the opponent attacks with a stab to my back, my right hand lifts my sword
to perform a hooking technique as my right leg lifts and my body turns to the
right along with my sword. When my right leg comes down, my left leg then
does a jumping step forward, my body turns around another turn [as my right
leg advances] to make a horse-riding stance. While my left leg is jumping, my
left hand draws a circle from below which will finally arrive as a swordsmans
hex in front of my headtop. This posture is as in the photo below:
POSTURE 17: IMMORTAL GOES INTO HIS CAVE
Lyrics:
The opponent attacks with a checking technique to my wrist.

I perform DRAGONFLY SKIMS THE WATER without delay.
The posture is now facing to the east, torso squared to the north. My right hand
is holding my sword, the sword body level, tip pointing to the north. My sword
and my right arm are making a triangle [from tip to shoulder to hand to tip]. My
left hand as a swordsmans hex is placed in front of my headtop. My legs are

making a horse-riding stance. This is IMMORTAL GOES INTO HIS CAVE.
NOBLEMAN HANGS UP HIS SEAL, middle DRAGONFLY SKIMS THE
WATER, low QUICK CAT CATCHES THE MOUSE.)
If the opponent attacks with a checking technique to the outside of my wrist,
I withdraw my sword horizontally, then follow the posture downward with a
tapping technique, my left hand assisting at my right wrist, while my left foot
goes forward to stand next to my right foot. This posture is the same as in
Posture 3.
POSTURE 18: DRAGONFLY SKIMS THE WATER
Lyrics:
If an opponent counterattacks from the west,

I use CROUCHING TIGER POSTURE to watch for an opportunity.
This posture is as before and so its description is not repeated here.

YELLOW DRAGON TURNS AROUND, middle CROUCHING TIGER
POSTURE, low FLOCK OF GEESE GOING OVER THE SEA.)
If the opponent counterattacks from the west, I make the CROUCHING
TIGER POSTURE to await what he will do next. This posture is the same as in
Posture 4.
Lyrics:

I use ICICLE HANGING FROM THE EAVES to prop under his wrist.
CROUCHING TIGER POSTURE is as before, but this time can be followed by

ICICLE HANGING FROM THE EAVES.
If the opponent attacks with a stab to my face, I send my sword up with a
propping technique under his wrist, then draw a circle from above to below
while my body goes along with my sword by advancing [left leg then right leg].
My right hand is arcing my sword through the rest of the circle from my left side
as my legs make a horse-riding stance. This posture is as in the photo below:
POSTURE 20: ICICLE HANGS FROM THE EAVES
Lyrics:

I use INWARD SPARKING-THE-GOLDEN-FURNACE to get in first.
The posture is now facing to the south. My right hand is holding my sword, the
tip hanging down. My left hand as a swordsmans hex is placed in front of my
headtop. My legs are making a horse-riding stance. This is ICICLE HANGING
FROM THE EAVES.

MAGPIES FLY INTO THE SKY, middle INWARD SPARKING-THEGOLDEN-FURNACE, low QUICKEN THE HORSE WITH MORE
WHIPPING.)
If the opponent attacks with a stab to my left shoulder, my body goes along
with my sword as it goes to the left with a propping technique under his wrist,
and my right leg goes along with my sword by lifting to the east. This posture is
as in the photo below:
POSTURE 21: INWARD SPARKING-THE-GOLDEN-FURNACE
Lyrics:
An opponent behind me stabs to my waist.

I use OUTWARD SPARKING-THE-GOLDEN-FURNACE to hang, prop, or lift.
The posture is now facing to the east. My right hand is holding my sword,
performing a level propping technique, the tip pointing forward, my left hand
assisting at my right wrist. My right leg is lifted in front, my left leg standing
straight [bent]. This is INWARD SPARKING-THE-GOLDEN-FURNACE.

SLAMMING DOWN MONEY, middle OUTWARD SPARKING-THEGOLDEN-FURNACE, low COVER IN FRONT & BLOCK BEHIND.)
If an opponent attacks from behind with a stab to my waist, my sword goes to
the rear with a lifting technique from below to catch his wrist, my left hand
assisting at my right wrist, while my right leg [comes down and] goes along with
my sword as it turns around [to the left] to face to the west [and my left leg lifts].
POSTURE 22: OUTWARD SPARKING-THE-GOLDEN-FURNACE
Lyrics:

I use GOLDEN ROOSTER PECKS WITH ITS HEAD to turn over upward.
tip pointing forward, my left hand assisting at my right wrist. My left leg is lifted
in front, my right leg standing straight [bent] behind. This is OUTWARD
SPARKING-THE-GOLDEN-FURNACE.
WHITE CRANE SHOWS ITS WINGS, middle GOLDEN ROOSTER PECKS
WITH ITS HEAD, low GOLDEN NEEDLE INTO THE GROUND.)
If the opponent attacks with a stab to my face, I send my sword tip upward
with a hanging technique to his wrist, my left hand assisting at my right wrist.
At the same time, my left leg comes down. This posture is as in the photo below:
POSTURE 23: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 1
Lyrics:
The opponent attacks with a stab to my midsection.

I use GOLDEN ROOSTER PECKS WITH ITS HEAD to turn over downward.
The posture is now facing to the west. My right hand is holding my sword so the
tip is pointing diagonally upward, my left hand assisting at my right wrist. My
left leg is forward making a pointed stance. With the step that follows, there is a
tapping technique that happens with it. This is the first movement of GOLDEN
ROOSTER PECKS WITH ITS HEAD.
GOLDEN ROOSTER PECKS WITH ITS HEAD, middle GOLDEN ROOSTER
PECKS WITH ITS HEAD, low A THOUSAND POUNDS DROP TO THE
GROUND.)
If the opponent attacks with a stab to my chest, I send my sword downward
with a tapping technique to his wrist, my left hand assisting at my right wrist,
while my left leg takes all the weight and my right leg lifts. This posture is as in
the photo below:
Lyrics:
The opponent attacks with stabs high and low.

I use GOLDEN ROOSTER PECKS WITH ITS HEAD to turn over upward and
downward.
The posture is now facing to the west. My right hand is sending my sword
downward with a tapping technique, my left hand assisting at my right wrist.
My left leg is forward in a chasing posture, stepping along with the sword tip as
it lifts and taps to the opponents wrist. This is the second movement of
GOLDEN ROOSTER PECKS WITH ITS HEAD.
GOLDEN ROOSTER PECKS WITH ITS HEAD, middle GOLDEN ROOSTER

PECKS WITH ITS HEAD, low QUICK CAT CATCHES THE MOUSE.)
If the opponent taps down from above, I send my sword tip upward with a
hanging technique to his wrist. At the same time, my right foot goes forward to
stand next to my left foot. This posture is as in the photo below:
Lyrics:
The opponent goes along with the posture and turns over to end up behind me.
I use CROUCHING TIGER POSTURE as before to follow his changes.
tip pointing diagonally upward, my left hand assisting at my right wrist. My feet
are together. This is the third movement of GOLDEN ROOSTER PECKS WITH
ITS HEAD.
PROPITIOUS CLOUDS CARRY THE SUN, middle CROUCHING TIGER
POSTURE, low NIGHT DEMON SEARCHES THE SEA.)
If an opponent attacks from the left rear, I then withdraw my right leg a half
step to the west, turning around and making the CROUCHING TIGER
POSTURE to await him.
Note: GOLDEN ROOSTER PECKS WITH ITS HEAD [Parts 1&2] can be
performed continuously three times, switching to a static posture with the last
one.
Lyrics:

I use YELLOW DRAGON SWINGS ITS TAIL to prop and roll.
The posture is now facing to the southeast. It is the same as in Posture 4, but in
this photo the grasping of the sword is more noticeable.
WHITE HORSE PARTS ITS MANE, middle YELLOW DRAGON SWINGS ITS
TAIL, low FLOCK OF GEESE GOING OVER THE SEA.)
If the opponent attacks with a level stab, my right leg steps forward into a
bow stance as I bring my sword across to do a checking technique to the inside

of his wrist. This posture is as in the photo below:
POSTURE 27: YELLOW DRAGON SWINGS ITS TAIL Part 1
Lyrics:
The opponent attacks high.

I counter with YELLOW DRAGON SWINGS ITS TAIL to prop and carry.
The posture is now facing to the southeast. My right hand is holding my sword,
the tip hanging diagonally forward and downward, my left hand assisting at my
right wrist. My left [right] leg is forward making a bow stance. This is the first
movement of YELLOW DRAGON SWINGS ITS TAIL.
YELLOW DRAGON SWINGS ITS TAIL, middle SWORD STABS THE
LENGTH OF A MILE, low NIGHT DEMON SEARCHES THE SEA.)
If the opponent does a high sweeping technique to my face, I revolve my
sword into a rolling technique to catch his wrist (If it is higher, I use a propping
technique, or if lower, a carrying technique.), my left hand assisting at my right
wrist, while lifting my right leg. This posture is as in the photo below:

Lyrics:
The opponent attacks with a low stab.

I use YELLOW DRAGON SWINGS ITS TAIL to hook and then return a stab.
The posture is now facing to the southeast. My right hand is propping with my
sword horizontally, the tip pointing forward, my left hand assisting at my right
wrist. My left leg is standing straight behind, right leg lifted. This is the second
movement of YELLOW DRAGON SWINGS ITS TAIL.
MAGPIES FLY INTO THE SKY, middle YELLOW DRAGON SWINGS ITS
TAIL, low FLOWER HIDDEN UNDER THE LEAF.)
If the opponent attacks with a low stab, I lean my torso and send my sword
downward with a hooking smearing technique to his wrist. Then my right leg
lunges forward into a bow stance while I shoot out my sword with a stab to his
knee, my left hand as a swordsmans hex placed in front of my headtop. This

Lyrics:

I use YELLOW DRAGON SWINGS ITS TAIL to lift up under his wrist.
The posture is now facing to the southeast. My right hand is sending my sword
forward and downward with a stab, the edges up and down. My left hand as a
swordsmans hex is placed in front of my headtop. My right leg is forward
making a bow stance. This is the third movement of YELLOW DRAGON
SWINGS ITS TAIL.
YELLOW DRAGON SWINGS ITS TAIL, middle RUNNING HORSE LOOKS
BEHIND, low RETREAT, SPARKING THE GOLDEN FURNACE.)
If the opponent attacks with a stab to my head, my torso goes along with my
sword as it goes upward with a hanging technique lifting to his wrist, while my
left hand as a swordsmans hex makes a circle from above to below to again be
placed in front of my head, my left leg bending to the west to make a reverse
bow stance. This posture is as in the photo below:

Lyrics:
The opponent attacks with a stab to my waist.

I use YELLOW DRAGON SWINGS ITS TAIL to prop and lift.
The posture is now facing to the east, torso inclining to the northwest. My right
hand is holding my sword, the tip pointing diagonally upward. My left hand as a
swordsmans hex is in front of my head. My left leg is in front [behind] making a
reverse bow stance. This is the fourth movement of YELLOW DRAGON
SWINGS ITS TAIL.
WIND TUGS AT THE ROBE, middle YELLOW DRAGON SWINGS ITS TAIL,
low TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER.)
If the opponent attacks with a stab to my waist, I withdraw my sword with a
sweeping action to his wrist, embracing my sword in front of my chest while
lifting my right leg. This posture is as in the photo below:

Lyrics:
The opponent attacks with a stab to my shoulder.

I use TAO YUANMING PLUCKS A CHRYSANTHEMUM to block above and
below.
The posture is now facing to the north [northeast]. My right hand is holding my
sword, embracing it in front of my chest, tip pointing forward, my left hand
assisting at my right wrist. My right leg is lifted, left leg standing straight. This is
the fifth movement of YELLOW DRAGON SWINGS ITS TAIL.
If the opponent attacks with a stab to my shoulder, my left leg jumps to the
west while my sword raises up toward his wrist and he tries again with a low
stab. When my left leg comes down, I send my sword downward with a checking
technique to his wrist, my right leg forward making a pointed stance. This
POSTURE 32: TAO YUANMING PLUCKS A CHRYSANTHEMUM

Lyrics:

I use YELLOW DRAGON SWINGS ITS TAIL to prop leading into rolling.
The posture is now facing to the northeast. My right hand is holding my sword,
the tip hanging down toward the right. My right leg is forward making a pointed
stance. My left hand as a swordsmans hex is placed in front of my head. This is
TAO YUANMING PLUCKS A CHRYSANTHEMUM.
CONTINUOUS SWORD, middle WHITE HORSE PARTS ITS MANE, low
YELLOW DRAGON SWINGS ITS TAIL.)
If the opponent attacks with a stab to my chest, my torso goes along with my
sword as it goes forward and across with a rolling technique to his wrist. My
right leg steps forward into a bow stance and I use my sword to prop and roll as
the posture lifts into place, my left hand assisting at my right wrist. This posture
is the same as in Posture 27.
The above five postures are the same as before, therefore there are no photos for
them here. Previously they moved to the southeast and now they are moving to
the northeast. The orientation is different but the movement is the same.
Because this is the original structure of this sword set, it would not be
appropriate to trim away these repeated postures.
POSTURE 38: TAO YUANMING PLUCKS A CHRYSANTHEMUM
Lyrics:

I use TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER,
which is wondrous without compare.
The posture is now facing to the northeast. The posture is as described before
and so the description is not repeated here.
GAZING UPON BEAUTIFUL CLOUDS, middle WHITE HORSE PARTS ITS
MANE, low TRYING TO SCOOP THE MOONS REFLECTION FROM THE
WATER.)
If the opponent attacks with a stab to my face, I send my sword upward with
a propping technique to his wrist. This posture is as in the photo below:
POSTURE 39: TRYING TO SCOOP THE MOONS REFLECTION FROM THE

WATER Part 1

Lyrics:
If the opponent retreats away,

I use TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER to
chase him with propping and sweeping.
The posture is now facing to the east. My right hand, palm outward, is sending
my sword upward with a propping technique to the opponents wrist, My left
hand as a swordsmans hex is placed in front of my face. My right leg is forward,
again making a pointed stance. This is the first movement of TRYING TO
SCOOP THE MOONS REFLECTION FROM THE WATER.
When practicing the posture, there can be a slight pause, but when applying
it, [it continues right into the next:]
My torso goes along with my sword as it goes forward and upward to prop. At
the same time, my left leg advances with a jumping step [coming down with my
right leg advancing beyond it into a low stance] so I can sweep with my sword to
catch his lower body. This posture is as in the photo below:
POSTURE 40: TRYING TO SCOOP THE MOONS REFLECTION FROM THE

WATER Part 2

Lyrics:

I use NIGHT DEMON SEARCHES THE SEA to block downward.
is holding my sword, embraced in front of my hips, the tip pointing to the north
[east], my left hand assisting at my right wrist. My right leg is forward making a
spreading stance. This is the second movement of TRYING TO SCOOP THE
MOONS REFLECTION FROM THE WATER.
TAKING THE SWORD ACROSS TO CHECK HIS WRIST, middle
CONTINUOUS SWORD, low NIGHT DEMON SEARCHES THE SEA.)
If the opponent attacks with a stab to my leg, my body goes along with my
sword as it rises and reaches downward with a checking technique to his wrist.
POSTURE 41: NIGHT DEMON SEARCHES THE SEA

Lyrics:

I use GAZING UPON BEAUTIFUL CLOUDS to check to the outside of his wrist.
performing a downward checking technique to the opponents wrist. My left
hand as a swordsmans hex is placed in front of my headtop. My right leg is
standing in front, left leg lifted behind. This is NIGHT DEMON SEARCHES
THE SEA.
GAZING UPON BEAUTIFUL CLOUDS, middle PLUCK AWAY THE STARS &
REPLACE THEM WITH THE MOON, low TAO YUANMING PLUCKS A
CHRYSANTHEMUM.)
If the opponent attacks with a stab to my face, my body goes to the rear into a
sitting stance, my sword at the same time going forward and upward with a
checking technique to the outside of his wrist. This posture is as in the photo
below:
POSTURE 42: GAZING UPON BEAUTIFUL CLOUDS

Lyrics:

I use QUICK CAT CATCHES THE MOUSE to skillfully tap to his head.
The posture is now facing to the east. My right hand is sending my sword
upward with a checking technique to the opponents wrist, my left hand
assisting at my right wrist. My right leg is forward making a pointed stance. This
is GAZING UPON BEAUTIFUL CLOUDS. Although the names are different, it is
actually the same thing as TAKING THE SWORD ACROSS TO CHECK HIS
WRIST.
WHITE CRANE SHOWS ITS WINGS, middle PLUCK AWAY THE STARS &
REPLACE THEM WITH THE MOON, low QUICK CAT CATCHES THE
MOUSE.)
If the opponent attacks with a stab to my chest, I send my sword downward
with an outward hanging technique to his wrist while my right leg withdraws
with a jumping step, my sword circling from below and turning over upward to
tap on top of his head or wrist. My left leg is pointing to the east making a
pointed stance. This posture is as in the photo below:

POSTURE 43: QUICK CAT CATCHES THE MOUSE
Lyrics:

I use MAGPIES FLY INTO THE SKY to prop under his wrist.
pointing downward with a level tapping technique. My left hand as a
swordsmans hex is placed in front of my headtop. My left leg is forward making
a pointed stance. This is QUICK CAT CATCHES THE MOUSE.
MAGPIES FLY INTO THE SKY, middle VINES CLIMBING THE WALL, low
CONTINUOUS SWORD.)
If the opponent attacks with a stab to my face, I retreat my left leg into a bow
stance while using my sword to do a propping technique to his wrist. This
POSTURE 44: MAGPIES FLY INTO THE SKY

Lyrics:

I use MENG HAORAN PLUCKS A PLUM to do a hooking technique to the
outside of his wrist.
pointing forward, my left hand assisting at my right wrist. My right leg is
forward making a bow stance. This is MAGPIES FLY INTO THE SKY.
CONTINUOUS SWORD, middle MENG HAORAN PLUCKS A PLUM, low
RUNNING HORSE LOOKS BEHIND.)
If the opponent attacks with a stab to my chest, my right leg withdraws so my
left leg is forward making a pointed stance while I turn over my wrist to do a
hooking technique to the outside of his wrist. This posture is as in the photo
below:
POSTURE 45: MENG HAORAN PLUCKS A PLUM

Lyrics:

I use SWORD STABS THE LENGTH OF A MILE, which begins with carrying.
The posture is now facing to the east. My right hand is performing a hooking
technique with my sword, the tip pointing forward. My left hand as a
swordsmans hex is placed in front of my head. My left leg is forward making a
pointed stance. This is MENG HAORAN PLUCKS A PLUM.
SLAMMING DOWN MONEY, middle SWORD STABS THE LENGTH OF A
MILE, low TAO YUANMING PLUCKS A CHRYSANTHEMUM.)
If the opponent attacks with a stab to my chest, I use my sword to do a
carrying technique to his wrist, my left leg retreating, right leg lifting. This
POSTURE 46: SWORD STABS THE LENGTH OF A MILE Part 1

Lyrics:

I use SWORD STABS THE LENGTH OF A MILE to chase with a smear and a
stab.
performing a carrying technique in front of my chest, the tip pointing forward,
my left hand assisting at my right wrist. My left leg is standing straight, right leg
lifted. This is the first movement of SWORD STABS THE LENGTH OF A MILE.
If the opponent attacks with a stab to my knee, my body goes along with my
sword as it goes forward and downward with a smearing technique to his wrist.
At the same time, my right leg comes down then advances as my left leg does a
jumping step to make a horse-riding posture, and I squeeze forth a stab to his
waist. This posture is as in the photo below:
POSTURE 47: SWORD STABS THE LENGTH OF A MILE Part 2

Lyrics:

I use INSERTING A STICK OF INCENSE INTO LEVEL GROUND to lift under
his wrist.
is holding my sword, stabbing level. My left hand as a swordsmans hex is placed
in front of my headtop. My legs are making a horse-riding stance. This is the
second movement of SWORD STABS THE LENGTH OF A MILE.
INSERTING A STICK OF INCENSE INTO LEVEL GROUND, middle VINES
CLIMBING THE WALL, low QUICK CAT CATCHES THE MOUSE.)
If the opponent attacks with a stab to my shoulder, my left foot moves to
stand next to my right foot, my sword going upward with a lifting technique.
POSTURE 48: INSERTING A STICK OF INCENSE INTO LEVEL GROUND

Lyrics:
The opponent attacks with a stab to my ribs.

I use VINES CLIMBING THE WALL to wipe away downward.
the tip pointing straight up, positioned to the right side of my body, my left hand
assisting at my right wrist. My feet are together. This is INSERTING A STICK
OF INCENSE INTO LEVEL GROUND.
WHITE CRANE SHOWS ITS WINGS, middle VINES CLIMBING THE WALL,
low TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER.)
If the opponent attacks with a stab to my ribs, I send my sword downward
with a hanging technique to his wrist, then lift my right leg while turning my
sword over upward to do a covering tap to his wrist. This posture is as in the
photo below:
POSTURE 49: VINES CLIMBING THE WALL

Lyrics:
If the opponent retreats away,

I use COVER IN FRONT & BLOCK BEHIND to chase him.
lifted level below my ribs, the tip pointing forward. My left hand as a
swordsmans hex is placed in front of my headtop. My right leg is lifted in front,
left leg standing straight. This is VINES CLIMBING THE WALL.
INSERTING A STICK OF INCENSE INTO LEVEL GROUND, middle COVER
IN FRONT & BLOCK BEHIND, low ADVANCE, CONTINUOUS SWORD.)
If the opponent retreats, my torso goes along with my sword as it does a level
stab forward, my left hand assisting at my right wrist, my right leg advancing
into a bow stance. This posture is as in the photo below:
POSTURE 50: COVER IN FRONT & BLOCK BEHIND Part 1

Lyrics:

I use COVER IN FRONT & BLOCK BEHIND to retreat.
stabbing level, my left hand assisting at my right wrist. My right leg is forward
making a bow stance. This is the first movement of COVER IN FRONT &
BLOCK BEHIND.
WIND TUGS AT THE ROBE, middle COVER IN FRONT & BLOCK BEHIND,
low YELLOW DRAGON SWINGS ITS TAIL.)
If an opponent attacks from behind with a stab to my left leg, my left leg
withdraws to the left rear [right rear] while my body turns around [to the left]
and I go to the southeast with a stab to his wrist, my left hand assisting at my
right wrist, my left leg forward making a bow stance. This posture is as in the
photo below:
POSTURE 51: COVER IN FRONT & BLOCK BEHIND Part 2

Lyrics:

I use WIND TUGS AT THE ROBE to prop under his wrist.
forward with a level stab, my left hand assisting at my right wrist. My left leg is
forward making a bow stance. This is the second movement of COVER IN
FRONT & BLOCK BEHIND.
WIND TUGS AT THE ROBE, middle NOBLEMAN HANGS UP HIS SEAL, low
NIGHT DEMON SEARCHES THE SEA.)
If an opponent attacks with a stab to my right shoulder, my left leg retreats
into a bow stance while I send my sword upward with a propping technique
under his wrist, my left hand assisting at my right wrist. This posture is as in the
photo below:
POSTURE 52: WIND TUGS AT THE ROBE Part 1

Lyrics:

I use WIND TUGS AT THE ROBE to turn over to the right.
upward with a level propping technique, my left hand assisting at my right
wrist. My left leg is forward making a bow stance. This is the first movement of
WIND TUGS AT THE ROBE.
WIND TUGS AT THE ROBE, middle YELLOW DRAGON SWINGS ITS TAIL,
low QUICKEN THE HORSE WITH MORE WHIPPING.)
If the opponent attacks with a stab to my right shoulder, my torso goes along
with my sword as it goes to the right with a propping technique under his wrist,
my left hand assisting at my right wrist. My feet stay where they are as I rotate
to make an eastward bow stance. This posture is as in the photo below:
POSTURE 53: WIND TUGS AT THE ROBE Part 2

Lyrics:
The opponent attacks with a stab to the outside of my wrist.

I use SLAMMING DOWN MONEY to tap downward.
The posture is now facing to the east. My right hand is holding my sword up and
horizontal, my left hand assisting at my right wrist. My right leg is forward
making a bow stance. This is the second movement of WIND TUGS AT THE
ROBE.
SLAMMING DOWN MONEY, middle IMMORTAL GOES INTO HIS CAVE,
low FLOWER HIDDEN UNDER THE LEAF.)
If the opponent attacks with a stab to the outside of my wrist, my torso goes
along with my sword as it chops down with a tap to his wrist, my left foot at the
same time following to stand next to my right foot. This posture is as in the
photo below:
POSTURE 54: SLAMMING DOWN MONEY

Lyrics:

I use CONTINUOUS SWORD to prop under his wrist.
The posture is now facing to the northeast. My right hand is sending my sword
downward with a tapping technique, my left hand assisting at my right wrist.
My feet are together. This is SLAMMING DOWN MONEY, which is almost the
same as DRAGONFLY SKIMS THE WATER.
NOBLEMAN HANGS UP HIS SEAL, middle CONTINUOUS SWORD, low
CONTINUOUS SWORD.)
If the opponent attacks with a stab to my left shoulder, I turn my body
around to the left while sending my sword in a propping technique under his
wrist. At the same time, my right leg steps forward to the west, my left leg
stepping past it into a stealth stance. This posture is as in the photo below:
POSTURE 55: CONTINUOUS SWORD Part 1

Lyrics:

I use CONTINUOUS SWORD to follow through upward and forward.
upward and slightly diagonally with a propping technique. My left hand as a
swordsmans hex is placed in front of my headtop. My right leg is in front, left
leg behind it, making a stealth stance. This is the first movement of
CONTINUOUS SWORD.
ADVANCE, CONTINUOUS SWORD, middle MENG HAORAN PLUCKS A
PLUM, low RETREAT, CONTINUOUS SWORD.)
If the opponent attacks with a stab to my right shoulder, my right leg
advances across to the west, my left leg again stepping past it into a stealth
stance. At the same time, I send my sword in a circle so it goes up from below in
a reverse-grip propping technique to his wrist. This posture is as in the photo
below:

Lyrics:

I use CONTINUOUS SWORD to check to the outside of his wrist.
upward with a reverse-grip propping technique. My left hand as a swordsmans
hex is placed in front of my headtop. My right leg is in front, left leg behind it,
making a stealth stance. This is the second movement of CONTINUOUS
SWORD.
If the opponent attacks with a stab to my leg, my left leg withdraws and my
right leg lifts. At the same time, I withdraw my sword and send it down from
above with a tapping technique to his wrist. This posture is as in the photo
below:

Lyrics:

I use CONTINUOUS SWORD to again check to the outside of his wrist.
downward with a reverse tapping technique [i.e. using the upper edge]. My left
leg is standing, right leg lifted, torso twisted, making a one-legged stance. My
left hand as a swordsmans hex is placed at an angle above my headtop. This is
the third movement of CONTINUOUS SWORD.
GAZING UPON BEAUTIFUL CLOUDS, middle RETREAT, CONTINUOUS
SWORD, low WHITE HORSE PARTS ITS MANE.)
If the opponent attacks with a stab to my face, my torso goes along with my
sword, turning around to the right while I lower my right leg and step forward
with my left leg [then step behind it with my right leg in a brief twisted stance],
sending my sword down from above with a checking technique to the outside of
his wrist as I turn the rest of the way around and make a horse-riding stance.

Lyrics:

I use PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON to
skillfully prop to his wrist.
The posture is now facing to the south. My right hand is holding my sword, the
tip pointing upward. My left hand as a swordsmans hex is placed in front of my
headtop. My legs are making a horse-riding stance. This is the fourth movement
of CONTINUOUS SWORD.
WIND TUGS AT THE ROBE, middle PLUCK AWAY THE STARS & REPLACE
THEM WITH THE MOON, low YELLOW DRAGON TURNS AROUND.)
sword as it goes forward with a propping technique to his wrist. At the same
time, my left leg lifts to make it easier to reach out with my torso. This posture is
as in the photo below:
POSTURE 59: PLUCK AWAY THE STARS & REPLACE THEM WITH THE
MOON Part 1

Lyrics:
The opponent attacks with a stab to my right ribs.

follow with a hooking technique.
forward with a propping technique. My left hand as a swordsmans hex supports
to the left side of my chest. My left leg is lifted, right leg standing straight. This
is the first movement of PLUCK AWAY THE STARS & REPLACE THEM WITH
THE MOON.
If the opponent counters with a stab to my right ribs, I turn over my wrist,
sending my sword downward with a hooking technique to his wrist while my left
leg comes down and my right leg lifts. This posture is as in the photo below:
MOON Part 2

Lyrics:
The opponent attacks with a stab to my left ribs.

chase with hooking and stabbing.
forward with a hooking technique, my left hand assisting at my right wrist. My
left leg is standing straight, right leg lifted. This is the second movement of
PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON.
If the opponent counters with a stab to my chest, my right leg comes down
forward into a bow stance as my sword stabs forward to his left ribs. This
MOON Part 3

Lyrics:
The opponent attacks with a stab to my leg.

I use RUNNING HORSE LOOKS BEHIND to sweep to his wrist while
retreating.
forward with a level stab, my left hand assisting at my right wrist. My right leg is
forward making a bow stance. This is the third movement of PLUCK AWAY
THE STARS & REPLACE THEM WITH THE MOON. Although the name is
different, this posture is actually the same as FISHERMAN EXAMINES FOR
WHERE TO CROSS THE RIVER Part 2.
WHITE CRANE SHOWS ITS WINGS, middle RUNNING HORSE LOOKS
BEHIND, low TRYING TO SCOOP THE MOONS REFLECTION FROM THE
WATER.)
If the opponent attacks with a stab to my right ribs, I twist my waist to the
left, sweeping the tip of my sword downward to catch his wrist, while my right
leg goes to the forward left to make a twisted stance, thereby evading his sword
tip. This posture is as in the photo below:
POSTURE 62: RUNNING HORSE LOOKS BEHIND Part 1

Lyrics:
The opponent attacks with a stab to my waist.

I use RUNNING HORSE LOOKS BEHIND to stab and hook.
downward with a rolling technique to the opponents wrist. My left hand as a
swordsmans hex supports in front of my chest. My right leg is forward making a
twisted stance. This is the first movement of RUNNING HORSE LOOKS
BEHIND.
GAZING UPON BEAUTIFUL CLOUDS, middle ADVANCE, CONTINUOUS
SWORD, low RUNNING HORSE LOOKS BEHIND.)
If the opponent attacks with a stab to my waist, I lift my left leg and step
[around my right leg] to the forward right to make a twisted stance, using my
sword to do a hooking technique to his wrist. He stabs again, so I step down
diagonally [forward with my right leg into a bow stance], stabbing to his ribs.
This posture is the same as PLUCK AWAY THE STARS & REPLACE THEM
WITH THE MOON Part 3.

POSTURE 63: RUNNING HORSE LOOKS BEHIND Part 2
Lyrics:

I use THREE STOPPINGS POSTURE to lift under his wrist.
The posture is the same as in PLUCK AWAY THE STARS & REPLACE THEM
WITH THE MOON Part 3, and so the description is not repeated.
NOBLEMAN HANGS UP HIS SEAL, middle THREE STOPPINGS POSTURE,
low WHITE HORSE PARTS ITS MANE.)
If the opponent attacks with a stab to my face, I turn my body to the left,
sending my sword upward with a lifting technique under his wrist, while my left
leg withdraws to make a pointed stance [foot slightly lifted]. This posture is as in
the photo below:
POSTURE 64: THREE STOPPINGS POSTURE Part 1
Lyrics:
If the opponent wants to attack with a propping technique under my wrist.

I use THREE STOPPINGS POSTURE to tap downward.
The posture is now facing to the [south, torso squared to the] east. My right
hand is holding my sword, the tip pointing straight up. My left hand as a
swordsmans hex is extended at shoulder level. My left leg is forward making a
pointed stance. This is the third movement of THREE STOPPINGS POSTURE.
POWERFUL CHOP THROUGH MT. HUA, middle THREE STOPPINGS
POSTURE, low GOLDEN PETALS FALL TO THE GROUND.)
If the opponent attacks with a propping technique to my wrist, I step forward
with my left leg while following the momentum downward with a tapping
technique to his wrist. This posture is as in the photo below:
Lyrics:

I use THREE STOPPINGS POSTURE to lift under his wrist.
hand is sending my sword downward with a tapping technique. My left hand as
a swordsmans hex taps downward in unison with my sword. My left leg has
come down forward and my right leg has lifted with the action. This is the
second movement of THREE STOPPINGS POSTURE.
If the opponent attacks with a stab to my right shoulder, I send my sword
upward with a lifting technique under his wrist, my right foot coming down
forward to be next to my left foot. This posture is as in the photo below:
Lyrics:

I use WHITE HORSE PARTS ITS MANE to tap downward.
hand is sending my sword upward with a lifting technique so the tip is pointing
upward. My left hand as a swordsmans hex is postured the same way as my
sword. My feet are together. This is the third movement of THREE STOPPINGS
POSTURE.
If an opponent attacks with a stab to my left shoulder, I send my sword down
from above with a stab to his wrist while my right leg steps to the left and
forward into a stealth stance. This posture is as in the photo below:
POSTURE 67: WHITE HORSE PARTS ITS MANE Part 1
Lyrics:
The opponent returns a stab to my left shoulder.

I use WHITE HORSE PARTS ITS MANE to turn over with a follow-through
step.
The posture is now facing to the northeast. My right hand is sending my sword
diagonally downward with a stabbing technique, the tip pointing slightly
downward, my left hand assisting at my right wrist. My left leg is in front, right
leg behind, making a stealth stance. This is the first movement of WHITE
HORSE PARTS ITS MANE.

WHITE HORSE PARTS ITS MANE, middle NOBLEMAN HANGS UP HIS
SEAL, low YELLOW DRAGON SWINGS ITS TAIL.)
If the opponent counters with a stab to my left shoulder, my torso goes along
with my sword, turning around [to the right] to be squared to the north for it to
press out with a checking technique to his wrist. At the same time, my legs are
making a horse-riding stance. This posture is as in the photo below:
POSTURE 68: WHITE HORSE PARTS ITS MANE Part 2
Lyrics:
The opponent chases with a low attack.

I use QUICKEN THE HORSE WITH MORE WHIPPING to block downward.
the tip pointing upward. My left hand as a swordsmans hex is placed in front of
my headtop. My legs are making a horse-riding stance. This is the second
movement of WHITE HORSE PARTS ITS MANE. Although the name is
different, it is actually the same as CONTINUOUS SWORD Part 4.

GAZING UPON BEAUTIFUL CLOUDS, middle IMMORTAL POINTS THE
WAY, low QUICKEN THE HORSE WITH MORE WHIPPING.)
If the opponent attacks with a stab to my thigh, my right leg jumps away to
the west and my left leg then goes forward [behind] to make a [reverse] bow
stance. At the same time, I send my sword downward with another checking
technique to his wrist. This posture is as in the photo below:
POSTURE 69: QUICKEN THE HORSE WITH MORE WHIPPING
Lyrics:

I use FLOCK OF GEESE GOING OVER THE SEA to hook, smear, and block.
is sending my sword downward with a blocking technique. My left hand as a
swordsmans hex is placed in front of my headtop. My left leg is forward
[behind], right leg behind [forward], making a [reverse] bow stance. This is
QUICKEN THE HORSE WITH MORE WHIPPING.

WHITE CRANE SHOWS ITS WINGS, middle TAKING THE SWORD
ACROSS TO CHECK HIS WRIST, low FLOCK OF GEESE GOING OVER THE
SEA.)
If the opponent attacks with a stab to my left shoulder, my torso goes along
with my sword as it turns around to the west with a propping technique to his
wrist. He stabs again, so I use a hooking technique.
If at the same time, an opponent behind me attacks with a stab to my back, I
turn my torso to the east to catch his wrist with a rolling technique.
If the opponent to the west again attacks with a stab, I again turn to face him,
going across with a checking technique to his wrist. As I turn to and fro, my legs
are making [reverse] bow stances. Back and forth, my sword has performed four
actions: prop, hook, roll, block. This is a method of responding to more than one
opponent. While these four actions are being wielded, my left hand is behind
me, formed as a hook hand. (After blocking, I will retract my sword, embracing
it in front of my chest, my left leg withdrawing to make a pointed stance.) This
POSTURE 70: FLOCK OF GEESE GOING OVER THE SEA
Lyrics:

I use WINGED SERPENT FLICKS ITS TONGUE to stab from in front of my
chest.
The posture is now facing to the north [west]. My right hand is pulling my sword
back in after performing the four actions of prop, hook, roll, and block, bringing
it in to be embraced level in front of my chest, my left hand assisting at my right
wrist. My left leg is forward making a pointed stance. This is FLOCK OF GEESE
GOING OVER THE SEA.
VINES CLIMBING THE WALL, middle WINGED SERPENT FLICKS ITS
TONGUE, low GOLDEN NEEDLE INTO THE GROUND.)
If the opponent attacks with a stab to my chest, I send my sword forward to
stab to his wrist. This posture is as in the photo below:
POSTURE 71: WINGED SERPENT FLICKS ITS TONGUE Part 1
Lyrics:
The opponent chops down from above.

I use WINGED SERPENT FLICKS ITS TONGUE to send my sword upward.
forward with a level stab, my left hand assisting at my right wrist. My left leg is
forward making a pointed stance. This is the first movement of WINGED

SERPENT FLICKS ITS TONGUE.
WINGED SERPENT FLICKS ITS TONGUE, middle WINGED SERPENT
FLICKS ITS TONGUE, low TAO YUANMING PLUCKS A
CHRYSANTHEMUM.)
If the opponent chops to my face, I send my sword upward with a lifting
technique to his wrist, while [stepping forward with my right leg, then left leg,
then right leg, then moving my left foot up to stand next my right foot,] bringing
my feet together. This posture is as in the photo below:
POSTURE 72: WINGED SERPENT FLICKS ITS TONGUE Part 2
Lyrics:
An opponent stabs at me from behind.

I use NOBLEMAN HANGS UP HIS SEAL to do a hanging tap while retreating.
upward with a lifting technique, my left hand assisting at my right wrist. My feet
are together. This is the second movement of WINGED SERPENT FLICKS ITS
TONGUE.
If an opponent attacks from behind with a stab, my body goes along with my
sword [turning around to the left] as it goes to the rear and down from above
with a hanging tap to his wrist, while my left leg angles, right leg standing
behind, as I slant my torso to make a twisted stance. This posture is as in the
photo below:
POSTURE 73: NOBLEMAN HANGS UP HIS SEAL Part 1
Lyrics:

I use NOBLEMAN HANGS UP HIS SEAL to continue into hooking and
hanging.
The posture is now facing to the east. My right hand is sending my sword down
from above with a hanging tapping technique, the edges up and down, my left
hand assisting at my right wrist. My left leg is forward making a pointed
[twisted] stance. This is the first movement of NOBLEMAN HANGS UP HIS
SEAL.
sword as it performs left hanging [hooking] and right hanging techniques to his
wrist, my left hand assisting at my right wrist, while my right foot lifts. This

POSTURE 74: NOBLEMAN HANGS UP HIS SEAL Part 2
Lyrics:

I use FLOWER HIDDEN UNDER THE LEAF to do a hook and a hanging chop.
pointing upward, edge straight in front of my face, my left hand assisting at my
right wrist. My right leg is lifted, left leg standing straight. This is the second
movement of NOBLEMAN HANGS UP HIS SEAL.
WHITE CRANE SHOWS ITS WINGS, middle NOBLEMAN HANGS UP HIS
SEAL, low FLOWER HIDDEN UNDER THE LEAF.)
If the opponent attacks with a stab to my knee, my torso goes along with my
sword as it performs a left hook and right hang [hanging chop] to his wrist. At
the same time, my right foot comes down forward, my left foot jumps forward,
then my right foot goes forward again to make a spreading stance. My right
hand is holding my sword so the tip is upward, positioned in front of my right
knee, my left hand assisting at my right wrist. This posture is as in the photo
below:
POSTURE 75: FLOWER HIDDEN UNDER THE LEAF
Lyrics:
The opponent attacks with a stab to my wrist.

I perform YELLOW DRAGON TURNS AROUND without delay.
The posture is now facing to the east. My right hand is holding my sword so the
tip is pointing diagonally upward, edge straight in front of my face, my left hand
assisting at my right wrist. My right leg is forward making a spreading stance.
This is FLOWER HIDDEN UNDER THE LEAF.
TAKING THE SWORD ACROSS TO CHECK HIS WRIST, middle YELLOW
DRAGON TURNS AROUND, low NIGHT DEMON SEARCHES THE SEA.)
If the opponent attacks with a stab to my wrist, my right hand brings my
sword in, then [my left leg steps forward and] I turn my body around [to the
right] to counter with a checking technique to his wrist in a horse-riding stance.

POSTURE 76: YELLOW DRAGON TURNS AROUND
Lyrics:
The opponent retreats away.

From CROUCHING TIGER POSTURE, I gather in my techniques and finish.
is holding my sword, the tip pointing up. My left hand as a swordsmans hex is
placed in front of my headtop. My legs are making a horse-riding stance. This is
YELLOW DRAGON TURNS AROUND.
NOBLEMAN HANGS UP HIS SEAL, middle RUNNING HORSE LOOKS
BEHIND, low CROUCHING TIGER POSTURE.)
If the opponent comes around me to the west, I make the CROUCHING
TIGER POSTURE to respond to whatever may follow, my sword tip hanging
downward while my left leg withdraws into a pointed stance.
This posture is as before.

To now conclude the Kunwu sword set, my left foot withdraws to stand next
to my right foot. My right hand holds my sword horizontal in front of my waist
as my left hand grasps into a fist held below the ribs, making the closing posture
the same as Posture 1.
EXPLANATIONS FOR KUNWU SWORDS TEN TECHNIQUES
TECHNIQUE 1: PROPPING
(Explanation)
The propping technique goes up from below to control the opponents
upward sword. It can be done to the left or right, forward or back, and is the
major technique. It is sometimes called clouding or raising, which are
actually the propping technique. If the opponent sends his sword upward and
attacks with either a stab or a tap, this technique can be used in both cases.
In the set, is like MAGPIES FLY INTO THE SKY [Posture 44], WIND TUGS
AT THE ROBE [Postures 52&53], CONTINUOUS SWORD Parts 1&2
[Postures 56&56], TRYING TO SCOOP THE MOONS REFLECTION FROM

THE WATER Part 1 [Posture 39], or PLUCK AWAY THE STARS & REPLACE
THEM WITH THE MOON Part 1 [Posture 59], which are all variations of this
propping technique.
TECHNIQUE 2: SMEARING
(Explanation)
The smearing technique is for controlling the opponents sword when at the
middle height, my sword running to his outer gate. It is sometimes called
deflecting or grinding, which are both variations of this technique. If the
opponent attacks with a level stab, this can easily be applied from the forward
left to chase and catch his wrist.
In the set, an example of this technique is SMEARING TECHNIQUE WITH
ASSISTING HAND [Posture 15].
TECHNIQUE 3: CARRYING
(Explanation)
The carrying technique is for catching the opponent under his wrist. If he
uses his sword to attack at the middle height with a stab or tap, this can be
applied in either case.
In the set, it is like PROPITIOUS CLOUDS CARRY THE SUN [Posture 16],
INWARD SPARKING-THE-GOLDEN-FURNACE [Posture 21], YELLOW
DRAGON SWINGS ITS TAIL Part 2 [Postures 28&34], or SWORD STABS
THE LENGTH OF A MILE Part 1 [Posture 46], which are all versions of this
carrying technique.
TECHNIQUE 4: TAPPING
(Explanation)
The tapping technique goes down from above to control the opponents
sword when at the middle height. It is sometimes called chopping, hacking,
or cleaving, and although the names are different, they are actually the same
thing.
In the set, it is like DRAGONFLY SKIMS THE WATER [Postures 3&18],
POWERFUL CHOP THROUGH MT. HUA [Posture 10], QUICK CAT CATCHES
THE MOUSE [Posture 43], GOLDEN ROOSTER PECKS WITH ITS HEAD
Part 2 [Posture 24], SLAMMING DOWN MONEY [Posture 54], or THREE
STOPPINGS Part 2 [Posture 65], which are all methods of tapping.
TECHNIQUE 5: ROLLING
(Explanation)
The rolling technique can be done upward or downward, to the left or right,
forward or back, according to the moment. It is sometimes called shearing or
circling, and are actually all the same thing.
In the set, it is like BEADED CURTAIN IS ROLLED AWAY [Postures 11&12],
YELLOW DRAGON SWINGS ITS TAIL Part 1 [Postures 27&33], or
RUNNING HORSE LOOKS BEHIND Part 1 [Posture 62], which are all
variations of this technique.

TECHNIQUE 6: HOOKING
(Explanation)
The hooking technique is sometimes called whittling, sweeping, or
scraping.
In the set, an example of this technique is PLUCK AWAY THE STARS &
REPLACE THEM WITH THE MOON Part 2 [Posture 60].
TECHNIQUE 7: HANGING

(Explanation)
The hanging technique can be used upward, downward, to the left or right,
forward or back. It is sometimes called lifting or raising, both of which are
the hanging technique.
In the set, this is like ICICLE HANGING FROM THE EAVES [Posture 20],
OUTWARD SPARKING-THE-GOLDEN-FURNACE [Posture 22], GOLDEN
ROOSTER PECKS WITH ITS HEAD Parts 1&3 [Postures 23&25], YELLOW
DRAGON SWINGS ITS TAIL Part 4 [Postures 30&36], INSERTING A STICK
OF INCENSE INTO LEVEL GROUND [Posture 48], VINES CLIMBING THE
WALL [Posture 49], THREE STOPPINGS Part 1 [Posture 64], WINGED
SERPENT FLICKS ITS TONGUE Part 2 [Posture 72], WHITE HORSE PARTS
ITS MANE [(Part 2) Posture 68], NOBLEMAN HANGS UP HIS SEAL [Postures
73&74], or FLOWER HIDDEN UNDER THE LEAF [Posture 75], which are all
variations of the hanging technique.
TECHNIQUE 8: BREAKING
(Explanation)
The breaking technique can be done upward or downward, to the left or right,
forward or back. It is sometimes called blocking or checking.
In the set, it is like TAKING THE SWORD ACROSS TO CHECK HIS WRIST
[Posture 2], WHITE CRANE SHOWS ITS WINGS [Posture 8], GOLDEN
NEEDLE INTO THE GROUND [Posture 9], BEADED CURTAIN IS ROLLED
AWAY Part 1 [Posture 11], A THOUSAND POUNDS DROP TO THE GROUND
[(Part 1) Posture 13], IMMORTAL GOES INTO HIS CAVE [Posture 17], TAO
YUANMING PLUCKS A CHRYSANTHEMUM [Postures 32&38], NIGHT
DEMON SEARCHES THE SEA [Posture 41], GAZING UPON BEAUTIFUL
CLOUDS [Posture 42], MENG HAORAN PLUCKS A PLUM [Posture 45], or
QUICKEN THE HORSE WITH MORE WHIPPING [Posture 69], which are all
variations of this technique.
TECHNIQUE 9: STABBING
(Explanation)
The stabbing technique is the most obvious. The direction is not consistent
and it is applied according to opportunity. It is a method of attacking forward.
When stabbing out, the sword edges can be either left/right or up/down,
whatever appears to be convenient at the time. Some people call a stab with the
blade flat a stab and a stab with the blade vertical a poke [and vice versa],
but such differentiating is not actually necessary [seeing as they are both stabs].
In the set, it is like IMMORTAL POINTS THE WAY [Posture 5], SWORD
STABS THE LENGTH OF A MILE [(Part 2) Posture 47], COVER IN FRONT &
BLOCK BEHIND [Postures 50&51], and WINGED SERPENT FLICKS ITS
TONGUE [(Part 1) Posture 71], which are all stabbing postures.
TECHNIQUE 10: STANDING
(Explanation)
The standing technique looks simple but is actually the most difficult,
because it is the technique before techniques emerge. You must examine the
opponents activity to thereby execute the techniques that would be most likely
to defeat him.
In the set, it is like PRESENTING THE SWORD BEFORE THE GATE
[Posture 1], which is indeed a standing posture. Actually the rest of the static
postures are all standing postures too, and you must not look upon it in overly
literal way by mistaking the feet-together position as being the only kind of
standing posture.
-

Manual Da Espada Kunwu

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Manual Da Espada Kunwu

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THE KUNWU SWORD MANUAL OF LI LINGXIAO

KUNWU SWORD MANUAL

Portrait of the author

PREFACE [BY YIN JINGCHUN]

In 1929, I came to Cang county to take up a high school teaching position,

TEN CAUTIONS IN THE TREATMENT OF THE SWORD ART

ESSENTIALS OF SPARRING WITH THE SWORD

If he stabs to my solar plexus, I use SPARKING THE FURNACE to block off

This sword arts Ten-Word Formula is a very simple list of techniques:

SOME SWORD PRINCIPLES THAT MUST BE UNDERSTOOD

A FEW POINTS ABOUT USING THIS BOOK

Posture 1: PRESENTING THE SWORD BEFORE THE GATE

Posture 2: TAKING THE SWORD ACROSS TO CHECK HIS WRIST

Posture 3: DRAGONFLY SKIMS THE WATER

Posture 4: CROUCHING TIGER POSTURE

Posture 5: IMMORTAL POINTS THE WAY

Posture 6: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER

Posture 7: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER

Posture 8: WHITE CRANE SHOWS ITS WINGS

Posture 9: GOLDEN NEEDLE INTO THE GROUND

Posture 10: POWERFUL CHOP THROUGH MT. HUA

Posture 12: BEADED CURTAIN IS ROLLED AWAY Part 2

Posture 13: A THOUSAND POUNDS DROP TO THE GROUND Part 1

Posture 14: A THOUSAND POUNDS DROP TO THE GROUND Part 2

Posture 15: SMEARING TECHNIQUE WITH ASSISTING HAND

Posture 16: PROPITIOUS CLOUDS CARRY THE SUN

Posture 17: IMMORTAL GOES INTO HIS CAVE

Posture 18: DRAGONFLY SKIMS THE WATER

Posture 19: CROUCHING TIGER POSTURE

Posture 20: ICICLE HANGING FROM THE EAVES

Posture 21: INWARD SPARKING-THE-GOLDEN-FURNACE

Posture 22: OUTWARD SPARKING-THE-GOLDEN-FURNACE

Posture 23: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 1

Posture 24: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 2

Posture 25: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 3

Posture 26: CROUCHING TIGER POSTURE

Posture 27: YELLOW DRAGON SWINGS ITS TAIL Part 1

Posture 29: YELLOW DRAGON SWINGS ITS TAIL Part 3

Posture 30: YELLOW DRAGON SWINGS ITS TAIL Part 4

Posture 31: YELLOW DRAGON SWINGS ITS TAIL Part 5

Posture 32: TAO YUANMING PLUCKS A CHRYSANTHEMUM

Posture 33: YELLOW DRAGON SWINGS ITS TAIL Part 1

Posture 34: YELLOW DRAGON SWINGS ITS TAIL Part 2

Posture 35: YELLOW DRAGON SWINGS ITS TAIL Part 3

Posture 36: YELLOW DRAGON SWINGS ITS TAIL Part 4

Posture 37: YELLOW DRAGON SWINGS ITS TAIL Part 5

Posture 38: TAO YUANMING PLUCKS A CHRYSANTHEMUM

Posture 39: TRYING TO SCOOP THE MOONS REFLECTION FROM THE

Posture 40: TRYING TO SCOOP THE MOONS REFLECTION FROM THE

Posture 41: NIGHT DEMON SEARCHES THE SEA

Posture 42: GAZING UPON BEAUTIFUL CLOUDS

Posture 43: QUICK CAT CATCHES THE MOUSE

Posture 44: MAGPIES FLY INTO THE SKY

Posture 45: MENG HAORAN PLUCKS A PLUM

Posture 46: SWORD STABS THE LENGTH OF A MILE Part 1

Posture 47: SWORD STABS THE LENGTH OF A MILE Part 2

Posture 48: INSERTING A STICK OF INCENSE INTO LEVEL GROUND

Posture 49: VINES CLIMBING THE WALL

Posture 50: COVER IN FRONT & BLOCK BEHIND Part 1

Posture 51: COVER IN FRONT & BLOCK BEHIND Part 2

Posture 52: WIND TUGS AT THE ROBE Part 1

Posture 53: WIND TUGS AT THE ROBE Part 2

Posture 54: SLAMMING DOWN MONEY