(Here is, most likely, the first incident of when the
Songs went from the strictly spoken-word teachings, taught to the
student, who had to memorize them, to being written and later
transcribed into books:)
From the "Pakua Journal" Vol. 6-1
"As far as documented evidence of the philosophical connection between the martial art Ba Gua Zhang and the eight trigrams of the Yi Jing is concerned, the first known occurrence of the ba gua philosophy as it relates to the martial art of Ba Gua Zhang appeared in an unpublished text called Ba Gua Zhuan Zhang Hui Lan written by Zeng Xing San (1862-1951). Zeng Xing San, who was also known as Zeng Zeng Qi (曾增啟), was a well known Manchurian scholar who worked in the Palace of Su and began his study of Ba Gua Zhang with Yin Fu. Zeng was highly educated and in the imperial examinations he had reached the second highest level of achievement. While Zeng was studying with Yin Fu, he was taken to see Dong Hai Chuan on many occasions and discussed the principles of the art with Dong. After the fall of the Qing government (1911), Zeng Xing San was out of a job and thus had a lot of time on his hands. To occupy himself, Zeng began to write down all that he learned from Dong Hai Chuan and Yin Fu. In his manuscript, Zeng used the theory of the Yi Jing to explain the martial art of Ba Gua Zhang. This book was also the first known book to contain the 36 songs and 48 methods of Ba Gua Zhang. His handwritten manuscript was later given to his friend Guo Gumin (郭古民). Guo Gu Min in turn gave the manuscript to his younger classmate Li Zi Ming..."
From the "Pakua Journal" Vol. 6-1
"As far as documented evidence of the philosophical connection between the martial art Ba Gua Zhang and the eight trigrams of the Yi Jing is concerned, the first known occurrence of the ba gua philosophy as it relates to the martial art of Ba Gua Zhang appeared in an unpublished text called Ba Gua Zhuan Zhang Hui Lan written by Zeng Xing San (1862-1951). Zeng Xing San, who was also known as Zeng Zeng Qi (曾增啟), was a well known Manchurian scholar who worked in the Palace of Su and began his study of Ba Gua Zhang with Yin Fu. Zeng was highly educated and in the imperial examinations he had reached the second highest level of achievement. While Zeng was studying with Yin Fu, he was taken to see Dong Hai Chuan on many occasions and discussed the principles of the art with Dong. After the fall of the Qing government (1911), Zeng Xing San was out of a job and thus had a lot of time on his hands. To occupy himself, Zeng began to write down all that he learned from Dong Hai Chuan and Yin Fu. In his manuscript, Zeng used the theory of the Yi Jing to explain the martial art of Ba Gua Zhang. This book was also the first known book to contain the 36 songs and 48 methods of Ba Gua Zhang. His handwritten manuscript was later given to his friend Guo Gumin (郭古民). Guo Gu Min in turn gave the manuscript to his younger classmate Li Zi Ming..."
***
1935 年，曾述编有《八卦穿掌正宗》 In 1935 Men Baozhen wrote, narrated, and published his book “Orthodox Bagua Penetrating Palms” Bagua Chuan Zhang Zhengzong. Here's a review of that book:
门宝珍(1873-1958)，字聘三，清顺天府大兴县人(今北京)，为八卦掌重要传人尹福之弟子。本书于民国二十四年（1935）十一月由明华印刷局印刷出版。由于流通不广，迄今未见海内外再版、影印流通。 全书目录依次：董海传墓及本门字派；全体合影；门宝珍委任状；杜汉升委任状；八卦掌五代人名；序文；董海川之事迹，尹寿鹏先师小传；门宝珍志；八卦掌名称；八卦掌法；八卦掌及兵刃照像；八卦拳术；药方；共52页。
Men Baozhen (1873-1958) of modern day Beijing. Was the head disciple under Yin Fu. He wrote a book in 1935, which was published by the Minghua publishing company. Due to the short print run it's very rare and only a few copies are in existence and there has yet to be a second printing. Here is the Table of Contents: Dong Haichuan's tomb and listing of the various lineages; A group photo in front the tomb; Some info on Men Baozhen's lineage; A forward or preface; A history of Dong Haichuan; A biography of Yin Fu; A footnote by Men Baozhen; The Official Organization of the Baguazhang School; The Methods of Baguazhang; The various bladed weapons of Baguazhang; and the empty hand methods of Baguazhang.
1935 年，曾述编有《八卦穿掌正宗》 In 1935 Men Baozhen wrote, narrated, and published his book “Orthodox Bagua Penetrating Palms” Bagua Chuan Zhang Zhengzong. Here's a review of that book:
门宝珍(1873-1958)，字聘三，清顺天府大兴县人(今北京)，为八卦掌重要传人尹福之弟子。本书于民国二十四年（1935）十一月由明华印刷局印刷出版。由于流通不广，迄今未见海内外再版、影印流通。 全书目录依次：董海传墓及本门字派；全体合影；门宝珍委任状；杜汉升委任状；八卦掌五代人名；序文；董海川之事迹，尹寿鹏先师小传；门宝珍志；八卦掌名称；八卦掌法；八卦掌及兵刃照像；八卦拳术；药方；共52页。
Men Baozhen (1873-1958) of modern day Beijing. Was the head disciple under Yin Fu. He wrote a book in 1935, which was published by the Minghua publishing company. Due to the short print run it's very rare and only a few copies are in existence and there has yet to be a second printing. Here is the Table of Contents: Dong Haichuan's tomb and listing of the various lineages; A group photo in front the tomb; Some info on Men Baozhen's lineage; A forward or preface; A history of Dong Haichuan; A biography of Yin Fu; A footnote by Men Baozhen; The Official Organization of the Baguazhang School; The Methods of Baguazhang; The various bladed weapons of Baguazhang; and the empty hand methods of Baguazhang.
尹氏八卦掌歌 SONGS OF YIN STYLE BAGUAZHANG
THE ESSENTIAL SECRETS OF TURNING
转掌要求口诀
Zhuan Zhang Yao Qiu Kou Jue
Essential Secrets of Turning (Circle Walking)
转腰顶颈含着胸，后肘粘胸前手平。松肩坠肘塌住腕，肘手不离形似弓。
Zhuan yao ding jing han zhe xiong, hou zhou zhan xiong qian shou ping. Song jian zhui zhou ta zhu wan, zhou shou bu li xing si gong.
Turn the waist, stretch up the neck, concave the chest. The back elbow sticks tight to the chest [solar plexus], the front hand is held level. Relax the shoulders, the elbows fall [as if being pulled down by a weight], the wrist drops. The elbow and hand must not lose the shape of a curved bow.
大指挺力二指领，中指直力掌心空。四指五指合并住，鱼际合住小天星。
Dazhi ting li er zhi ling, zhongzhi zhi li zhang xin kong. Sizhi wuzhi hebing zhu, yu ji he zhu xiao tian zing.
The index finger is held strong and straight, the middle finger points to and leads the direction of the hand and is held strong and upright. The center of the palm is held hollow. The ring and little fingers are held together as one. The edges joined gathering the small heavenly star.
穿掌手形似瓦拢，大拽合力入劳宫。四指用力合并住，小臂按起向前挺。
Chuan zhang shou xing si wa long, da zhuai he li ru laogong. Si zhi yong li hebing zhu, xiao bi an qi xiang qian ting.
In the penetrating palm the hand has a shape similar to a spade trowel. The thumb is tightly held in, covering lao gong point. The four fingers squeeze together as one and are held straight with force. The forearm presses down and stabs straight forward.
蹲存膝胯足趟水，足趾抓地脚心空。三尖垂直成一线，三连一体变化生。
转掌要求头身正，四肢末梢贯力行。
Dun cun xi kua zu tang shui, zu zhi zhua di jiao xin kong. San jian chui cheng yi xian, san lian yi ti bianhua sheng. Zhuan zhang yao qiu tou shen zheng, Si zhi mo shao guan li xing.
Squat down, bend the knee, hip, and ankle like when crossing a river. The ten toes must grasp the ground while raising up the center of the feet. The three tips [(tip of the nose, tip of the fingers, tips of the toes)] must be aligned in a vertical line, the three must be linked as one when changing in order to develop skill. When turning (circle-walking) seek to keep the head and body upright to be correct. To be correct strength must extend out to the tips of the four limbs.
________
Circle Turning's Essential Secrets
Turn the waist, stretch up the neck, concave the chest. The back elbow sticks tight to the chest [solar plexus], the front hand is held level. Relax the shoulders, the elbows fall [as if being pulled down by a weight], the wrist drops. The elbow and hand must not lose the shape of a curved bow.
The index finger is held strong and straight, the middle finger points to and leads the direction of the hand and is held strong and upright. The center of the palm is held hollow. The ring and little fingers are held together as one.
In the penetrating palm the hand has a shape similar to a spade trowel. The thumb is tightly held in, covering lao gong point. The four fingers squeeze together as one and are held straight with force. The forearm presses down and stabs straight forward.
Squat down, bend the knee, hip, and ankle like when crossing a river. The ten toes must grasp the ground while raising up the center of the feet. The three tips [(tip of the nose, tip of the fingers, tips of the toes)] must be aligned in a vertical line, the three must be linked as one when changing in order to develop skill. When turning (circle-walking) seek to keep the head and body upright to be correct. To be correct strength must extend out to the tips of the four limbs.
转掌要求口诀
Zhuan Zhang Yao Qiu Kou Jue
Essential Secrets of Turning (Circle Walking)
转腰顶颈含着胸，后肘粘胸前手平。松肩坠肘塌住腕，肘手不离形似弓。
Zhuan yao ding jing han zhe xiong, hou zhou zhan xiong qian shou ping. Song jian zhui zhou ta zhu wan, zhou shou bu li xing si gong.
Turn the waist, stretch up the neck, concave the chest. The back elbow sticks tight to the chest [solar plexus], the front hand is held level. Relax the shoulders, the elbows fall [as if being pulled down by a weight], the wrist drops. The elbow and hand must not lose the shape of a curved bow.
大指挺力二指领，中指直力掌心空。四指五指合并住，鱼际合住小天星。
Dazhi ting li er zhi ling, zhongzhi zhi li zhang xin kong. Sizhi wuzhi hebing zhu, yu ji he zhu xiao tian zing.
The index finger is held strong and straight, the middle finger points to and leads the direction of the hand and is held strong and upright. The center of the palm is held hollow. The ring and little fingers are held together as one. The edges joined gathering the small heavenly star.
穿掌手形似瓦拢，大拽合力入劳宫。四指用力合并住，小臂按起向前挺。
Chuan zhang shou xing si wa long, da zhuai he li ru laogong. Si zhi yong li hebing zhu, xiao bi an qi xiang qian ting.
In the penetrating palm the hand has a shape similar to a spade trowel. The thumb is tightly held in, covering lao gong point. The four fingers squeeze together as one and are held straight with force. The forearm presses down and stabs straight forward.
蹲存膝胯足趟水，足趾抓地脚心空。三尖垂直成一线，三连一体变化生。
转掌要求头身正，四肢末梢贯力行。
Dun cun xi kua zu tang shui, zu zhi zhua di jiao xin kong. San jian chui cheng yi xian, san lian yi ti bianhua sheng. Zhuan zhang yao qiu tou shen zheng, Si zhi mo shao guan li xing.
Squat down, bend the knee, hip, and ankle like when crossing a river. The ten toes must grasp the ground while raising up the center of the feet. The three tips [(tip of the nose, tip of the fingers, tips of the toes)] must be aligned in a vertical line, the three must be linked as one when changing in order to develop skill. When turning (circle-walking) seek to keep the head and body upright to be correct. To be correct strength must extend out to the tips of the four limbs.
________
Circle Turning's Essential Secrets
Turn the waist, stretch up the neck, concave the chest. The back elbow sticks tight to the chest [solar plexus], the front hand is held level. Relax the shoulders, the elbows fall [as if being pulled down by a weight], the wrist drops. The elbow and hand must not lose the shape of a curved bow.
The index finger is held strong and straight, the middle finger points to and leads the direction of the hand and is held strong and upright. The center of the palm is held hollow. The ring and little fingers are held together as one.
In the penetrating palm the hand has a shape similar to a spade trowel. The thumb is tightly held in, covering lao gong point. The four fingers squeeze together as one and are held straight with force. The forearm presses down and stabs straight forward.
Squat down, bend the knee, hip, and ankle like when crossing a river. The ten toes must grasp the ground while raising up the center of the feet. The three tips [(tip of the nose, tip of the fingers, tips of the toes)] must be aligned in a vertical line, the three must be linked as one when changing in order to develop skill. When turning (circle-walking) seek to keep the head and body upright to be correct. To be correct strength must extend out to the tips of the four limbs.
THE SECRET METHODS TURNING, CHANGING, AND OBSERVING IN YIN STYLE BAGUA
八卦转掌换式眼法口诀
Bagua zhuan zhang huan shi yan fa kou jue
The secret methods of Baguazhang's turning, changing, and observing.
两眼圆睁六路观，四面八方看周全。双眼随手如闪电，瞻前顾后左右看
Liang yan yuan zheng liu lu guan, si mian bafang kan zhou quan. Shuang yan sui shou ru shan dian, zhan qian gu hou zuo you kan.
Both eyes need to be open to the six pathways in front of you, attentively observe in all directions. Both eyes need to follow the hands like following a glimpse of lightning, gaze at the front hand, be mindful of the back hand, guard against the left and the right.
头顶端正三面观，旋转躲闪旋风般。观定对方换法变，随机应变发换先。
Tou ding duan zheng san mian guan, xuan zhuan duo shan xuan feng ban. Guan ding duifang huan fa bian, sui ji ying bian fa huan xian.
The head is held upright to observe the 3 sides, spin and turn, dodge like a whirlwind. Watch for and determine the opponents changes in order to transform them.
当场动手眼神先，乘虚攻击莫迟延。一举一动双眼看，全在双睛神一团。
Dangchang dongshou yan shen xian, cheng xu gongji mo chiyan. Yiju yi dong shuang yan kan, quan zai shuang jing shen yi tuan.
Follow the source, adapt to their change and transform it before it arrives. At that time show intent with the eyes before the hands touch and take advantage of their momentary lapse, attack without delay. In one move you will have used one to transform both of theirs as they stand by passively with their eyes fixated on your one hand.
对方变换看胯肩，肩胯齐动手脚添。动手输招不输眼，手眼身法眼当先。
Duifang bianhuan kan kua jian, jian kua qi dong shou jiao tian. Dongshou shu zhao bu shu yan, shou yan shenfa yan dang xian.
Observe the opponents hips and shoulders to see their changes. The shoulders and hips move simultaneously with the movement of the limbs. Use the touching [crossing] of the hands to feel their intentions not their eyes. Hand, eye, body movement the eyes move first.
眼随心变换随眼，虚实进退眼先观。
Yan sui xin bianhuan sui yan, xu shi jin tui yan xian guan.
The eyes follow the heart, the changes follow the eyes. To know whether to advance or retreat first observe with the eyes.
__________
The secret methods of Baguazhang's turning, changing, and observing.
Both eyes need to be open to the six pathways in front of you, attentively observe in all directions. Both eyes need to follow the hands like following a glimpse of lightning, gaze at the front hand, be mindful of the back hand, guard against the left and the right. The head is held upright to observe the 3 sides, spin and turn, dodge like a whirlwind. Watch for and determine the opponents changes in order to transform them. Follow the source, adapt to their change and transform it before it arrives. At that time show intent with the eyes before the hands touch and take advantage of their momentary lapse, attack without delay. In one move you will have used one to transform both of theirs as they stand by passively with their eyes fixated on your one hand. Observe the opponents hips and shoulders to see their changes. The shoulders and hips move simultaneously with the movement of the limbs. Use the touching [crossing] of the hands to feel their intentions not their eyes. Hand, eye, body movement the eyes move first. The eyes follow the heart, the changes follow the eyes. To know whether to advance or retreat first observe with the eyes.
八卦转掌换式眼法口诀
Bagua zhuan zhang huan shi yan fa kou jue
The secret methods of Baguazhang's turning, changing, and observing.
两眼圆睁六路观，四面八方看周全。双眼随手如闪电，瞻前顾后左右看
Liang yan yuan zheng liu lu guan, si mian bafang kan zhou quan. Shuang yan sui shou ru shan dian, zhan qian gu hou zuo you kan.
Both eyes need to be open to the six pathways in front of you, attentively observe in all directions. Both eyes need to follow the hands like following a glimpse of lightning, gaze at the front hand, be mindful of the back hand, guard against the left and the right.
头顶端正三面观，旋转躲闪旋风般。观定对方换法变，随机应变发换先。
Tou ding duan zheng san mian guan, xuan zhuan duo shan xuan feng ban. Guan ding duifang huan fa bian, sui ji ying bian fa huan xian.
The head is held upright to observe the 3 sides, spin and turn, dodge like a whirlwind. Watch for and determine the opponents changes in order to transform them.
当场动手眼神先，乘虚攻击莫迟延。一举一动双眼看，全在双睛神一团。
Dangchang dongshou yan shen xian, cheng xu gongji mo chiyan. Yiju yi dong shuang yan kan, quan zai shuang jing shen yi tuan.
Follow the source, adapt to their change and transform it before it arrives. At that time show intent with the eyes before the hands touch and take advantage of their momentary lapse, attack without delay. In one move you will have used one to transform both of theirs as they stand by passively with their eyes fixated on your one hand.
对方变换看胯肩，肩胯齐动手脚添。动手输招不输眼，手眼身法眼当先。
Duifang bianhuan kan kua jian, jian kua qi dong shou jiao tian. Dongshou shu zhao bu shu yan, shou yan shenfa yan dang xian.
Observe the opponents hips and shoulders to see their changes. The shoulders and hips move simultaneously with the movement of the limbs. Use the touching [crossing] of the hands to feel their intentions not their eyes. Hand, eye, body movement the eyes move first.
眼随心变换随眼，虚实进退眼先观。
Yan sui xin bianhuan sui yan, xu shi jin tui yan xian guan.
The eyes follow the heart, the changes follow the eyes. To know whether to advance or retreat first observe with the eyes.
__________
The secret methods of Baguazhang's turning, changing, and observing.
Both eyes need to be open to the six pathways in front of you, attentively observe in all directions. Both eyes need to follow the hands like following a glimpse of lightning, gaze at the front hand, be mindful of the back hand, guard against the left and the right. The head is held upright to observe the 3 sides, spin and turn, dodge like a whirlwind. Watch for and determine the opponents changes in order to transform them. Follow the source, adapt to their change and transform it before it arrives. At that time show intent with the eyes before the hands touch and take advantage of their momentary lapse, attack without delay. In one move you will have used one to transform both of theirs as they stand by passively with their eyes fixated on your one hand. Observe the opponents hips and shoulders to see their changes. The shoulders and hips move simultaneously with the movement of the limbs. Use the touching [crossing] of the hands to feel their intentions not their eyes. Hand, eye, body movement the eyes move first. The eyes follow the heart, the changes follow the eyes. To know whether to advance or retreat first observe with the eyes.
THE 36 SECRET POEMS OF SHI JIDONG
史氏八卦掌锻炼要领三十六歌诀 Shi shi baguazhang duanlian yaoling sanshiliu ge jue
The Shi family's 36 secret songs of Bagua Zhang essentials.
一。头顶颌勾身正直，塌腰躬腿虚实步，沉肩坠肘伸前臂，扭腕挺掌拉食指。
Yi. Touding he gou shen zhengzhi, ta yao gong tui xu shi bu, chen jian zhui zhou shen qian bi, niu wan ting zhang la shizhi
1. The top of the head is held up, the chin is tucked, the body is straight and upright. Sink the waist, bend/ bow the legs, use empty and full stepping. Sink the shoulders, drop the elbows, extend out through the front arm. Twist the wrist, the palm is held firm and straight, pull back through the forefinger.
二。一臂伸推一臂屈，眼向伸臂虎口瞧，伸臂推把屈拉弦，好似弯弓射大雕
Er. Yi bi shen tui yi bi qu, yan xiang shen bi hu kou qiao, shen bi tui ba qu la xian, haosi wan gong she da diao.
2. The front arm is straight and pushing, the back arm is bent. The eyes look towards the out-stretched arm and gaze at the tiger's mouth. The front arm pushes and holds, the back arm is like pulling a bow string. It is like using a bow to shoot a big vulture. [this last line is referring to an old chinese tale]
三。虎口圆撑掌心凹，拉指挺掌指上翘，推把拉弦扩胸肺，屈膝行步腿脚健。
San. Hu kou yuan cheng zhang xin ao, la zhi ting zhang zhi shang qiao, tui ba la xian kuo xiong fei, qu xi xing bu tui jiao jian.
3. The tigers mouth is round the palm is held hollow. Pull the fingers back, the palm faces up, the fingers point upwards. Push and grab, pull the bow, expand out through the ribs strengthening the lungs. Walking with bent-knee stepping strengthens the legs.
四。屈膝躬腿趟泥步，外扣内直走圆圈，扭腰塌腰把肛提，形如推磨团团转。
Si. Qu xi gong tui tang ni bu, wai kou nei shi zou yuanquan, niu yao ta yao ba gang ti, xing ru tui mo tuan tuan zhuan.
4. Bend the knees and bow the legs imagine wading through thick mud. When walking the circle the outside foot hooks(kou) the inside foot steps straight. Twist the waist, sink the waist while holding and lifting up the perineum [huiyin point]. The form is like pushing a millstone around and around, turning in a circle.
五。身随步转手随手扭，扭腰扭颈塌腰鼓腹，配合呼吸化纳攻吐，屈膝躬腿脚趾抓地。
Wu. Shen sui bu zhuan shou suishou niu, niu yao niu jing ta yao gu fu. peihe huxi hua na gong tu, qu xi gong tui jiaozhi zhua di.
5. The body follows the stepping while turning the circle, the hands ride along with the body's twisting. Twist the waist, turn the neck, sink the waist and round the abdomen. Coordinate exhaling and inhaling, when changing breathe in, when attacking breathe out. Bend the knees, bow the legs, the toes grasp the ground.
六。走掌身躯莫倾斜，前俯后仰都禁忌。扭腰小腹紧贴股，步履沉着身平稳。
Liu. Zou zhang shen mo qingxie, qian fu hou yang dou du jinji, nui yao xiao fu jintie gu, bu luu chenzhou shen pingwen.
6. When walking and changing hands, the body must not lean to the sides. Stooping forward and leaning back, both are forbidden. Twist the waist, contract the abdomen to connect to the thighs. When walking, even on uneven ground, the stepping will be calm and composed and the whole body will appear level and steady.
七。势势动作左右练，循环往返不散顿，先向稳实求平正，神奇百变熟中生。
Qi. Shi dongzuo zuoyou lian, xunhuan wangfan bu san dun, xian xiang wenshi qiu ping zheng, shenqi bai bian shu zhong sheng.
7. Power/force in the movements/changes is done on the left and right sides to perfect one's skill. Drilling back and forth, to and fro, the movement is not done leisurely or with breaks. First work on becoming steady and stable then seek to be level and exact. The mysterious will become known and will change and grow.
八。穿掌手贴肘下出，避实乘虚才有功，脚踏中门寻门路，斜出正入随人动。
Ba. Chuan zhang shou tie zhou xia chu, bi shi cheng xu cai you gong, jiao ta zhongmen xun men lu, xie chu zheng ru sui ren dong.
8. In the penetrating palm the hand goes out from below the elbow. Avoiding the solid parts and aiming for the gaps and soft areas is the skill that allows this strike to work. The feet tread the center door and seek out the way inside. The arm at a slant is struck straight to enter then it follows the opponent's movements.
九。穿掌手法要牢记，后掌穿出前掌收，相互配合相辅成，身手步腰动协调。
Jiu. Chuan Zhang shoufa yao laoji, hou zhang chuan chu qian zhang, xianghu peihe xiang fu cheng, shenshou bu yao dong xietiao.
9. The skill of the penetrating palm is important to remember clearly. The back hand stabs out the front hand gathers in. To win, the hands need to work together. Coordinate the movement of the body with the hands, feet, and waist.
十。走圈三盘逐步练，初练上盘架稍高，中盘屈膝势渐蹲，低盘讲求平膝胯。
Shi. Zou quan san pan zhubu lian, chu lian shang pan jia shao gao, zhong pan qu xi shi jian dun, di pan jiang qiu ping xi kua.
10. Walking the circle is progressively practiced at three different heights. The basic practice is the upper basin where you stand just a little lower than your normal height. The middle basin is done with bent knees, power comes from gradually squatting lower. The lower basin stresses getting the thighs level with the knees.
十一。舌抵上颚鼻呼吸，气沉丹田同导引，动作呼吸应配合，得机得势轻松灵。
Shiyi. She di shang e bi huxi, qi chen dantian tong daoyin, dongzuo huxi ying peihe, de ji de shi qingsong ling.
11. Press the tongue up against the roof of the mouth, breathe through the nose. Sink the qi down to the dantian like its being guided. Coordinate the movement together with the movement of exhalation and inhalation. To generate and deliver power you need to be relaxed and agile.
十二。上下相随宜一致，身手顺随腰腿动，步法变化走转移，机动灵活无定踪。
Shier. Shangxia xiang sui yi yizhi, shenshou shun sui yao tui dong, bufa bianhua zou zhuan yi, ji dong linghuo wu ding zong.
12. Top and bottom move together and follow one another. Skill comes from moving with and following the movement of the waist and legs. Moving and shifting come from changes in the footwork. Its powered by nimbleness and flexibility not a fixed pattern of stepping.
十三。扣步形成正三角，足尖膝盖同相合，摆步成为八字形，足尖脚根二交合。
Shisan. kou bu xing zheng sanjiao, zu jian xigai tong xiang he, bai bu chengwei ba zixing, zu jian jiao gen er jiao he.
13. Hooking (kou) stepping has the shape of a triangle. The tips of the two feet and the kneecaps touch/meet. The swinging (bai) step has the shape of the character '八' ba (eight). The tip of the foot is in line with the heel of the other foot.
十四。上步后足超前足，进步前足向前行，撤步前足越后足，退步后足向后行
Shisi. Shang bu hou zu chao qian zu, jin bu qian zu xiang qian xing, che bu qian zu yue hou zu, tui bu hou zu xianghou xing.
14. In the 'forge step' the back foot steps past the front foot. In the 'advance step' (jin bu)front foot advances forward. The 'withdrawing step' (che bu) the front foot moves past the back foot. In the 'retreating step' (tui bu) the back foot moves backward.
十五。尚德不尚力，尚智不尚勇，尚力与尚勇，迟早必落空。
Shiwu. Shang de bu shang li, shang zhi bu shang yong, shang li yu shang yong, chizao bi luokong.
15. Esteem virtue not strength. Esteem wisdom not bravery. Esteeming strength together with bravery sooner or later will fail you.
十六。出手顺敌意，提防左右攻，敌退前足起，敌进后足行
Shiliu. Chu shou shun diyi, difang zuo you gong, di tui qian zu qi, di jin hou zu xing.
16. The outgoing hand should follow the enemy. Guard against attack from the left and right. To retreat from the enemy move the front foot first. To advance on the enemy move the back foot first.
十七。身如游龙雁腾空，虎撞龟泳蛇行动，围回联连势无定，斜横进退谈笑中。
Shiqi. Shen ru you long yan teng kong, hu zhuang gui yong she xingdong, wei hui lian lian shi wu ding, xie heng jin tui tan xiao zhong.
17. The body is like a swimming dragon, a wild goose soaring through the sky, a tiger pouncing, a sea turtle gliding, and a snake's coiling. Surrounding, returning, joined together, or in succession the power/force can be varied. On an angle, to the sides, advancing forward, retreating back, all the while remaining in the center smiling.
十八。此掌奥妙在走圈，步法致胜脚力功，扣摆绕行踪飘忽，视前忽后无定踪。
Shiba. Zhang aomiao zai zou quan, bufa zhi sheng jiao li gong, kou bai rao xingzong piao hu, shi qian hu hou wu ding zong.
18. These palms are secret and mysterious when walking on the circle. Victory is achieved through the footwork and the strength of the legs. The Hook step (kou bu) and the Swing step (bai bu) wind around and are lost track of, the body appears to be floating. Its seen in front and without leaving a trace, it suddenly appears behind.
十九。手随人动顺敌情，起而未落占中央，脚踏中门寻门路，敌纵有防亦无妨。
Shijiu. Shou sui ren dong shun di qing, qi er wei luo zhan zhongyang, jiao ta zhongmen xun men lu, di zong you fang yi wu fang.
19. The hand follows the person, changing to move with the enemies position. Rise up but do not fall to occupy the middle. The feet tread the center door and seek out the way inside. Even if the enemy moves up to defend themself it will not hinder your attack.
二十。出手要一不要二，以多胜少要牢记，若能识得其中意，优势常存掌握中
Ershi. Chu shou, yao yi buyao er, yi duo sheng shao yao laoji, ruo neng shi de qi zhong yi, youshi chang cun zhangwo zhong.
20. The outgoing hand must be one not both hands. Using the one hand to do many things to overcome the few, must be remembered. If you are able to understand this you can obtain this central idea. Superiority is always held by seizing control of the center.
二一。出手招招因人动，封闭对方最有功，步从三角转移灵，手取十字利化功。[lian huan zhang]
Eryi. Chu shou zhao yin ren dong, fengbi duifang zui you gong, bu cong sanjiao zhuan yi ling, shou qu shizi li hua gong
21. The outgoing hand needs to provoke causing the enemy to move/ react. To seal up/ entangle the enemy is the best situation/ skill to achieve. Steps should follow the triangle pattern [a right triangle- either diagonally then horizontally or horizontally then diagonally] to turn and change effectively. Using the hands in the cross-shape or figure ten '十' to take advantage its quick ability to change is a great acheivement. [this is why the back hand in bagua is held under the elbow of the front to quickly cross-up and exchange the back hand for the front hand, its why bagua was said to have really fast hands]
二二。敌进我走避锐锋，让出地位引落空，回首一击常切中，败中取胜时有功。[shun shi zhang]
Erer. Di jin wo zou bi rui feng, rang chu diwei yin luo kong, huishou yi ji chang qie zhong, bai zhong qusheng shi you gong.
22. If the enemy advances, move to avoid the tip of his attack. Yield your positition to let him fall into emptiness. Turn back and with one strike (almost always) cut/slice into his middle. Giving up the center to achieve a victory is a very hard skill to achieve.
二三。敌正我正奇，敌奇我奇正，柔身拉舵尾，顺水驾轻舟。[bao shi zhang]
Ersan. Di zheng wo zheng qi, di qi wo qi zheng, ruo shen la duo wei, shun shui jia qing zhou.
23. If the enemies attack is appropriate, I make the appropriate unexepected. If the enemies attack is unexepected, I make the unexepected appropriate. The soft/flexible body pulls the rudder to turn the tailend and follows the waters current to easily move the boat.
二四。击左右应，击前后应，相互呼应，使人难应。[feng lun zhang]
Ersi. Ji zuo you ying, ji qian hou ying, xianghu hu ying, shi ren nan ying.
24. A strike to my left my right answers, a strike to my front my back answers in harmony with my breath makes it difficult for the enemy to answer back.
二五。闭滚防左右，回头退为进，近挤走离远，付力长身形。[bei shen zhang]
Erwu. Bi gun fang zuo you, huitou tui wei jin, jin ji zou li yuan, fu li zhang shen xing.
25. Close up and roll to defend against the left and right, turn around and appear to retreat to advance, crowd your body close to move them away, expend force to change the body's shape.
二六。挑掌藏身进步，勾掌退步进身，敌人正面进攻，挑勾上下救应 [ping tuo zhang]
Erliu. Tiao zhang cang shen jin bu, gou zhang tuibu jin shen, di ren zheng mian jin gong, tiao gou shangxia jiu ying.
26. The flicking palm hides the body as you advance, use the hooking palm as you retreat step and then enter to the body, attack the enemy's front side with your advancing attack, flicking up and hooking down working together.
二七。侧身伸臂示虚空，身胸暴露诱人攻，引得对方乘隙进，缠搅封探争主动。[wo shi zhang- tactic of the empty in the middle Li trigram]
Erqi. ce shen shen bi shi xu kong, shen xiong baolu you ren gong, yin de duifang chengxi jin, chan jiao feng tan zheng zhudong
27. Lean the body to the side, [hollow the abdomen] extend out the hand to show the false vital area/ gap in your defense. The body's vital areas lay exposed to entice the enemy to attack. Draw out the enemy then take advantage and enter, coil, blend, and seal to find and take the initiative.
二八。翻身掌法守为攻，翻滚绕转随人动，顺从客观丢主观，穿扒挂游灵活用 [fan shen zhang]
Erba. Fan shen zhang fa shou wei gong, fan gun rao zhuan sui ren dong, shuncong ke guan diu zhu guan, chuan ba gua you ling huo yong.
28. In the method of the 'returning to the body palm' observe and comply with the enemy's attack. Turn over, roll, wind around, rotate to follow the enemy's movements. Be compliant to the enemy's outlook put aside your own outlook. Penetrate, rake, and hang like swimming quickly to attack.
二九。八卦掌法不挡架，予欲取弃顺中成，手出选择途径近，后发先至成大功。
Erjiu. Baguazhang fa bu dang jia, yu yu qu qi shun zhong cheng, shou chu xuan ze tujing jin, hou fa xian zhi cheng dagong.
29. Baguazhang's method does not take a blocking posture, it wants to move everything around its center to win. The outgoing hand determines the angle of approach, emit your strike after but having it arrive first is the desired ability and key to winning.
三十。沾粘连随不丢顶，不挡不架顺敌情，让出地位争主动，动人将动静人静。
Sanshi. Zhan zhan lian sui bu ding, bu dang bu jia shun di qing, rang chu di wei zheng zhudong, dong ren jiang dong jing ren jing
30. Touch and stick, join and follow do not lose the control. Do not block, do not support, follow the enemy's situation. Give up your position to gain the initiative. When the enemy moves handle it by moving calmly to keep the enemy calm.
三一。人刚我柔全仗走，创造条件夺先手，转入我顺人背时，柔转刚兮粘即发。
Sanyi. Ren gang wo rou quan zhang zou, chuang zao tiao jian duo xian shou, zhuan ru
31. If the enemy is hard I am soft and use moving/changing throughout the fight. Bring about the condition to land the first hand. Turning and entering I try to get to get to the enemy's back. Then soft turns to hard, stick and stay close to emit.
三二。刚在先兮柔内藏，柔在前兮刚相辅，刚中藏柔柔寓刚，刚柔变化端在步
Saner. gang zai xian xi rou nei cang, rou zai qian xi gang xiang fu, gang zhong cang rou yu gang, gang rou bianhua duan zai bu.
32. When hardness is used first, softness must be hidden inside. When softness is in front of hardness the two must mutually assist each other. Hardness hides softness in the center, hardness resides within softness. The changing/transforming between hard and soft are begun within the stepping.
三三。眼到手到腰腿到，全身协调劲发整，能伸能屈步履稳，得机得势能制人。
Sanshisan. Yan dao shou dao yao tui dao, quanshen xie tiao jin fa, neng shen neng qu bu luu wen, de ji de shi neng zhi ren.
33. The eyes, hands, waist, and feet all need to arrive at the same time. The whole body needs to coordinate to emit power. When extending out or contracting in, the stepping must be stable. When you understand how to generate and deliver power you will be able to control the enemy.
三四。精神贯注气势充，镇定安详不惶恐，眼侦敌情是先锋，凭仗手脚灵活用。
Sansi. Jing shen guan zhu qi shi chong, zhen ding an xiang bu huang kong, yan zhen di qing shi xianfeng, ping zhang shou jiao ling huo yong.
34. The essence and spirit need to pass through and combine with the energy for your power to be full, so you will be calm, composed and not frightened. So the eyes will detect the enemies disposition and their first attack (vanguard). Rely on the nimble movement and tricks of your hands, and your agility and cleverness to win.
三五。出手打人腰步催，进退咸宜脚跟随，悟得走化转移意，八卦真理在其中
Sanwu. Chu shou da ren yao bu cui, jin tui xian yi jiao gensui, wu dei zou hua zhuan yi yi, bagua zhenli zaiqi zhong.
35. When you strike the enemy hit with the waist and urge/press with the stepping. Entering or retreating should be followed with the legs. You must comprehend the meaning of stepping, transforming, turning, and changing. Therein you will know the true meaning of Bagua.
三六。八卦真理不玄虚，顺逐解化走转移，不挡不架不丢顶，舍已从人顺敌情。
Sanliu. Bagua zhenli bu xuanxu, shun zhu jie hua zou zhuan yi, bu dang bu jia bu diu ding, she yi cong ren shun di qing.
36. The truth of Bagua is not a mystery. Follow and pursue, divide and transform, move, turn, and change. Do not block, do not support, do not lose the lead. Nothing else matters, following the enemy becomes your life. Follow, adhere, and move along with the enemy's situation.
史氏八卦掌锻炼要领三十六歌诀 Shi shi baguazhang duanlian yaoling sanshiliu ge jue
The Shi family's 36 secret songs of Bagua Zhang essentials.
一。头顶颌勾身正直，塌腰躬腿虚实步，沉肩坠肘伸前臂，扭腕挺掌拉食指。
Yi. Touding he gou shen zhengzhi, ta yao gong tui xu shi bu, chen jian zhui zhou shen qian bi, niu wan ting zhang la shizhi
1. The top of the head is held up, the chin is tucked, the body is straight and upright. Sink the waist, bend/ bow the legs, use empty and full stepping. Sink the shoulders, drop the elbows, extend out through the front arm. Twist the wrist, the palm is held firm and straight, pull back through the forefinger.
二。一臂伸推一臂屈，眼向伸臂虎口瞧，伸臂推把屈拉弦，好似弯弓射大雕
Er. Yi bi shen tui yi bi qu, yan xiang shen bi hu kou qiao, shen bi tui ba qu la xian, haosi wan gong she da diao.
2. The front arm is straight and pushing, the back arm is bent. The eyes look towards the out-stretched arm and gaze at the tiger's mouth. The front arm pushes and holds, the back arm is like pulling a bow string. It is like using a bow to shoot a big vulture. [this last line is referring to an old chinese tale]
三。虎口圆撑掌心凹，拉指挺掌指上翘，推把拉弦扩胸肺，屈膝行步腿脚健。
San. Hu kou yuan cheng zhang xin ao, la zhi ting zhang zhi shang qiao, tui ba la xian kuo xiong fei, qu xi xing bu tui jiao jian.
3. The tigers mouth is round the palm is held hollow. Pull the fingers back, the palm faces up, the fingers point upwards. Push and grab, pull the bow, expand out through the ribs strengthening the lungs. Walking with bent-knee stepping strengthens the legs.
四。屈膝躬腿趟泥步，外扣内直走圆圈，扭腰塌腰把肛提，形如推磨团团转。
Si. Qu xi gong tui tang ni bu, wai kou nei shi zou yuanquan, niu yao ta yao ba gang ti, xing ru tui mo tuan tuan zhuan.
4. Bend the knees and bow the legs imagine wading through thick mud. When walking the circle the outside foot hooks(kou) the inside foot steps straight. Twist the waist, sink the waist while holding and lifting up the perineum [huiyin point]. The form is like pushing a millstone around and around, turning in a circle.
五。身随步转手随手扭，扭腰扭颈塌腰鼓腹，配合呼吸化纳攻吐，屈膝躬腿脚趾抓地。
Wu. Shen sui bu zhuan shou suishou niu, niu yao niu jing ta yao gu fu. peihe huxi hua na gong tu, qu xi gong tui jiaozhi zhua di.
5. The body follows the stepping while turning the circle, the hands ride along with the body's twisting. Twist the waist, turn the neck, sink the waist and round the abdomen. Coordinate exhaling and inhaling, when changing breathe in, when attacking breathe out. Bend the knees, bow the legs, the toes grasp the ground.
六。走掌身躯莫倾斜，前俯后仰都禁忌。扭腰小腹紧贴股，步履沉着身平稳。
Liu. Zou zhang shen mo qingxie, qian fu hou yang dou du jinji, nui yao xiao fu jintie gu, bu luu chenzhou shen pingwen.
6. When walking and changing hands, the body must not lean to the sides. Stooping forward and leaning back, both are forbidden. Twist the waist, contract the abdomen to connect to the thighs. When walking, even on uneven ground, the stepping will be calm and composed and the whole body will appear level and steady.
七。势势动作左右练，循环往返不散顿，先向稳实求平正，神奇百变熟中生。
Qi. Shi dongzuo zuoyou lian, xunhuan wangfan bu san dun, xian xiang wenshi qiu ping zheng, shenqi bai bian shu zhong sheng.
7. Power/force in the movements/changes is done on the left and right sides to perfect one's skill. Drilling back and forth, to and fro, the movement is not done leisurely or with breaks. First work on becoming steady and stable then seek to be level and exact. The mysterious will become known and will change and grow.
八。穿掌手贴肘下出，避实乘虚才有功，脚踏中门寻门路，斜出正入随人动。
Ba. Chuan zhang shou tie zhou xia chu, bi shi cheng xu cai you gong, jiao ta zhongmen xun men lu, xie chu zheng ru sui ren dong.
8. In the penetrating palm the hand goes out from below the elbow. Avoiding the solid parts and aiming for the gaps and soft areas is the skill that allows this strike to work. The feet tread the center door and seek out the way inside. The arm at a slant is struck straight to enter then it follows the opponent's movements.
九。穿掌手法要牢记，后掌穿出前掌收，相互配合相辅成，身手步腰动协调。
Jiu. Chuan Zhang shoufa yao laoji, hou zhang chuan chu qian zhang, xianghu peihe xiang fu cheng, shenshou bu yao dong xietiao.
9. The skill of the penetrating palm is important to remember clearly. The back hand stabs out the front hand gathers in. To win, the hands need to work together. Coordinate the movement of the body with the hands, feet, and waist.
十。走圈三盘逐步练，初练上盘架稍高，中盘屈膝势渐蹲，低盘讲求平膝胯。
Shi. Zou quan san pan zhubu lian, chu lian shang pan jia shao gao, zhong pan qu xi shi jian dun, di pan jiang qiu ping xi kua.
10. Walking the circle is progressively practiced at three different heights. The basic practice is the upper basin where you stand just a little lower than your normal height. The middle basin is done with bent knees, power comes from gradually squatting lower. The lower basin stresses getting the thighs level with the knees.
十一。舌抵上颚鼻呼吸，气沉丹田同导引，动作呼吸应配合，得机得势轻松灵。
Shiyi. She di shang e bi huxi, qi chen dantian tong daoyin, dongzuo huxi ying peihe, de ji de shi qingsong ling.
11. Press the tongue up against the roof of the mouth, breathe through the nose. Sink the qi down to the dantian like its being guided. Coordinate the movement together with the movement of exhalation and inhalation. To generate and deliver power you need to be relaxed and agile.
十二。上下相随宜一致，身手顺随腰腿动，步法变化走转移，机动灵活无定踪。
Shier. Shangxia xiang sui yi yizhi, shenshou shun sui yao tui dong, bufa bianhua zou zhuan yi, ji dong linghuo wu ding zong.
12. Top and bottom move together and follow one another. Skill comes from moving with and following the movement of the waist and legs. Moving and shifting come from changes in the footwork. Its powered by nimbleness and flexibility not a fixed pattern of stepping.
十三。扣步形成正三角，足尖膝盖同相合，摆步成为八字形，足尖脚根二交合。
Shisan. kou bu xing zheng sanjiao, zu jian xigai tong xiang he, bai bu chengwei ba zixing, zu jian jiao gen er jiao he.
13. Hooking (kou) stepping has the shape of a triangle. The tips of the two feet and the kneecaps touch/meet. The swinging (bai) step has the shape of the character '八' ba (eight). The tip of the foot is in line with the heel of the other foot.
十四。上步后足超前足，进步前足向前行，撤步前足越后足，退步后足向后行
Shisi. Shang bu hou zu chao qian zu, jin bu qian zu xiang qian xing, che bu qian zu yue hou zu, tui bu hou zu xianghou xing.
14. In the 'forge step' the back foot steps past the front foot. In the 'advance step' (jin bu)front foot advances forward. The 'withdrawing step' (che bu) the front foot moves past the back foot. In the 'retreating step' (tui bu) the back foot moves backward.
十五。尚德不尚力，尚智不尚勇，尚力与尚勇，迟早必落空。
Shiwu. Shang de bu shang li, shang zhi bu shang yong, shang li yu shang yong, chizao bi luokong.
15. Esteem virtue not strength. Esteem wisdom not bravery. Esteeming strength together with bravery sooner or later will fail you.
十六。出手顺敌意，提防左右攻，敌退前足起，敌进后足行
Shiliu. Chu shou shun diyi, difang zuo you gong, di tui qian zu qi, di jin hou zu xing.
16. The outgoing hand should follow the enemy. Guard against attack from the left and right. To retreat from the enemy move the front foot first. To advance on the enemy move the back foot first.
十七。身如游龙雁腾空，虎撞龟泳蛇行动，围回联连势无定，斜横进退谈笑中。
Shiqi. Shen ru you long yan teng kong, hu zhuang gui yong she xingdong, wei hui lian lian shi wu ding, xie heng jin tui tan xiao zhong.
17. The body is like a swimming dragon, a wild goose soaring through the sky, a tiger pouncing, a sea turtle gliding, and a snake's coiling. Surrounding, returning, joined together, or in succession the power/force can be varied. On an angle, to the sides, advancing forward, retreating back, all the while remaining in the center smiling.
十八。此掌奥妙在走圈，步法致胜脚力功，扣摆绕行踪飘忽，视前忽后无定踪。
Shiba. Zhang aomiao zai zou quan, bufa zhi sheng jiao li gong, kou bai rao xingzong piao hu, shi qian hu hou wu ding zong.
18. These palms are secret and mysterious when walking on the circle. Victory is achieved through the footwork and the strength of the legs. The Hook step (kou bu) and the Swing step (bai bu) wind around and are lost track of, the body appears to be floating. Its seen in front and without leaving a trace, it suddenly appears behind.
十九。手随人动顺敌情，起而未落占中央，脚踏中门寻门路，敌纵有防亦无妨。
Shijiu. Shou sui ren dong shun di qing, qi er wei luo zhan zhongyang, jiao ta zhongmen xun men lu, di zong you fang yi wu fang.
19. The hand follows the person, changing to move with the enemies position. Rise up but do not fall to occupy the middle. The feet tread the center door and seek out the way inside. Even if the enemy moves up to defend themself it will not hinder your attack.
二十。出手要一不要二，以多胜少要牢记，若能识得其中意，优势常存掌握中
Ershi. Chu shou, yao yi buyao er, yi duo sheng shao yao laoji, ruo neng shi de qi zhong yi, youshi chang cun zhangwo zhong.
20. The outgoing hand must be one not both hands. Using the one hand to do many things to overcome the few, must be remembered. If you are able to understand this you can obtain this central idea. Superiority is always held by seizing control of the center.
二一。出手招招因人动，封闭对方最有功，步从三角转移灵，手取十字利化功。[lian huan zhang]
Eryi. Chu shou zhao yin ren dong, fengbi duifang zui you gong, bu cong sanjiao zhuan yi ling, shou qu shizi li hua gong
21. The outgoing hand needs to provoke causing the enemy to move/ react. To seal up/ entangle the enemy is the best situation/ skill to achieve. Steps should follow the triangle pattern [a right triangle- either diagonally then horizontally or horizontally then diagonally] to turn and change effectively. Using the hands in the cross-shape or figure ten '十' to take advantage its quick ability to change is a great acheivement. [this is why the back hand in bagua is held under the elbow of the front to quickly cross-up and exchange the back hand for the front hand, its why bagua was said to have really fast hands]
二二。敌进我走避锐锋，让出地位引落空，回首一击常切中，败中取胜时有功。[shun shi zhang]
Erer. Di jin wo zou bi rui feng, rang chu diwei yin luo kong, huishou yi ji chang qie zhong, bai zhong qusheng shi you gong.
22. If the enemy advances, move to avoid the tip of his attack. Yield your positition to let him fall into emptiness. Turn back and with one strike (almost always) cut/slice into his middle. Giving up the center to achieve a victory is a very hard skill to achieve.
二三。敌正我正奇，敌奇我奇正，柔身拉舵尾，顺水驾轻舟。[bao shi zhang]
Ersan. Di zheng wo zheng qi, di qi wo qi zheng, ruo shen la duo wei, shun shui jia qing zhou.
23. If the enemies attack is appropriate, I make the appropriate unexepected. If the enemies attack is unexepected, I make the unexepected appropriate. The soft/flexible body pulls the rudder to turn the tailend and follows the waters current to easily move the boat.
二四。击左右应，击前后应，相互呼应，使人难应。[feng lun zhang]
Ersi. Ji zuo you ying, ji qian hou ying, xianghu hu ying, shi ren nan ying.
24. A strike to my left my right answers, a strike to my front my back answers in harmony with my breath makes it difficult for the enemy to answer back.
二五。闭滚防左右，回头退为进，近挤走离远，付力长身形。[bei shen zhang]
Erwu. Bi gun fang zuo you, huitou tui wei jin, jin ji zou li yuan, fu li zhang shen xing.
25. Close up and roll to defend against the left and right, turn around and appear to retreat to advance, crowd your body close to move them away, expend force to change the body's shape.
二六。挑掌藏身进步，勾掌退步进身，敌人正面进攻，挑勾上下救应 [ping tuo zhang]
Erliu. Tiao zhang cang shen jin bu, gou zhang tuibu jin shen, di ren zheng mian jin gong, tiao gou shangxia jiu ying.
26. The flicking palm hides the body as you advance, use the hooking palm as you retreat step and then enter to the body, attack the enemy's front side with your advancing attack, flicking up and hooking down working together.
二七。侧身伸臂示虚空，身胸暴露诱人攻，引得对方乘隙进，缠搅封探争主动。[wo shi zhang- tactic of the empty in the middle Li trigram]
Erqi. ce shen shen bi shi xu kong, shen xiong baolu you ren gong, yin de duifang chengxi jin, chan jiao feng tan zheng zhudong
27. Lean the body to the side, [hollow the abdomen] extend out the hand to show the false vital area/ gap in your defense. The body's vital areas lay exposed to entice the enemy to attack. Draw out the enemy then take advantage and enter, coil, blend, and seal to find and take the initiative.
二八。翻身掌法守为攻，翻滚绕转随人动，顺从客观丢主观，穿扒挂游灵活用 [fan shen zhang]
Erba. Fan shen zhang fa shou wei gong, fan gun rao zhuan sui ren dong, shuncong ke guan diu zhu guan, chuan ba gua you ling huo yong.
28. In the method of the 'returning to the body palm' observe and comply with the enemy's attack. Turn over, roll, wind around, rotate to follow the enemy's movements. Be compliant to the enemy's outlook put aside your own outlook. Penetrate, rake, and hang like swimming quickly to attack.
二九。八卦掌法不挡架，予欲取弃顺中成，手出选择途径近，后发先至成大功。
Erjiu. Baguazhang fa bu dang jia, yu yu qu qi shun zhong cheng, shou chu xuan ze tujing jin, hou fa xian zhi cheng dagong.
29. Baguazhang's method does not take a blocking posture, it wants to move everything around its center to win. The outgoing hand determines the angle of approach, emit your strike after but having it arrive first is the desired ability and key to winning.
三十。沾粘连随不丢顶，不挡不架顺敌情，让出地位争主动，动人将动静人静。
Sanshi. Zhan zhan lian sui bu ding, bu dang bu jia shun di qing, rang chu di wei zheng zhudong, dong ren jiang dong jing ren jing
30. Touch and stick, join and follow do not lose the control. Do not block, do not support, follow the enemy's situation. Give up your position to gain the initiative. When the enemy moves handle it by moving calmly to keep the enemy calm.
三一。人刚我柔全仗走，创造条件夺先手，转入我顺人背时，柔转刚兮粘即发。
Sanyi. Ren gang wo rou quan zhang zou, chuang zao tiao jian duo xian shou, zhuan ru
31. If the enemy is hard I am soft and use moving/changing throughout the fight. Bring about the condition to land the first hand. Turning and entering I try to get to get to the enemy's back. Then soft turns to hard, stick and stay close to emit.
三二。刚在先兮柔内藏，柔在前兮刚相辅，刚中藏柔柔寓刚，刚柔变化端在步
Saner. gang zai xian xi rou nei cang, rou zai qian xi gang xiang fu, gang zhong cang rou yu gang, gang rou bianhua duan zai bu.
32. When hardness is used first, softness must be hidden inside. When softness is in front of hardness the two must mutually assist each other. Hardness hides softness in the center, hardness resides within softness. The changing/transforming between hard and soft are begun within the stepping.
三三。眼到手到腰腿到，全身协调劲发整，能伸能屈步履稳，得机得势能制人。
Sanshisan. Yan dao shou dao yao tui dao, quanshen xie tiao jin fa, neng shen neng qu bu luu wen, de ji de shi neng zhi ren.
33. The eyes, hands, waist, and feet all need to arrive at the same time. The whole body needs to coordinate to emit power. When extending out or contracting in, the stepping must be stable. When you understand how to generate and deliver power you will be able to control the enemy.
三四。精神贯注气势充，镇定安详不惶恐，眼侦敌情是先锋，凭仗手脚灵活用。
Sansi. Jing shen guan zhu qi shi chong, zhen ding an xiang bu huang kong, yan zhen di qing shi xianfeng, ping zhang shou jiao ling huo yong.
34. The essence and spirit need to pass through and combine with the energy for your power to be full, so you will be calm, composed and not frightened. So the eyes will detect the enemies disposition and their first attack (vanguard). Rely on the nimble movement and tricks of your hands, and your agility and cleverness to win.
三五。出手打人腰步催，进退咸宜脚跟随，悟得走化转移意，八卦真理在其中
Sanwu. Chu shou da ren yao bu cui, jin tui xian yi jiao gensui, wu dei zou hua zhuan yi yi, bagua zhenli zaiqi zhong.
35. When you strike the enemy hit with the waist and urge/press with the stepping. Entering or retreating should be followed with the legs. You must comprehend the meaning of stepping, transforming, turning, and changing. Therein you will know the true meaning of Bagua.
三六。八卦真理不玄虚，顺逐解化走转移，不挡不架不丢顶，舍已从人顺敌情。
Sanliu. Bagua zhenli bu xuanxu, shun zhu jie hua zou zhuan yi, bu dang bu jia bu diu ding, she yi cong ren shun di qing.
36. The truth of Bagua is not a mystery. Follow and pursue, divide and transform, move, turn, and change. Do not block, do not support, do not lose the lead. Nothing else matters, following the enemy becomes your life. Follow, adhere, and move along with the enemy's situation.
ANOTHER TRANSLATION OF SHI JIDONG's 36
[The following is from -- http://trinity.psnw.com/~dlmurray/classic.html]
Shi's 36 Stanzas
Joseph Crandall sent these over a period of time to the Bagua List. The following is a forward by him and some additional information from Jarek Szymanski sent to the Bagua List.
Forward: This is something I translated a long time ago and just dug out of my files. To redo the mandarin would be too much work at this point. If you are really interested I might scan the characters and send them out as a jpeg. The lineage of Shi Jitong Bagua has a 36 Stanza poem and a 48 Stanza poem similar to the ones promulgated by the Liang and Cheng lineages. These stanza come to us courtesy of Di Zhaolong, the current (I think) authority on this style. Shi Ji Tong was a nephew of Dong Haichuan.
-Joseph Crandall
Shi Jidong (not Shi Jitong) was Dong's adopted daughter's husband. Actually Shi arranged that his wife became Dong's adopted daughter so that she could take good care of the old master. Dong spent last years of his life in Shi's house in Beijing (Shi was one of the wealthiest disciples and owner of Yihe Timber Mill).
-Jarek Szymanski Shanghai, China
_______________
Epilogue: This song has 36 stanzas. Bagua's true significance is contained herein. Memorize and try to understand them and practice hard. Skill and hard work will not fail the conscientious person. Practice hard and practice harder. Over a long period of time, its value is lasting. You will become stronger and never stop gaining skills. Raise the martial spirit to be cheerful and healthy.
-Joseph Crandall
1. The head is held up. The chin is tucked in. The body is held straight. Depress the waist. Swell the belly. The steps are empty and full. Sink the shoulders. Hang the elbows. Reach with the front arm. Turn the wrist. Straighten the palm. Pull back the index finger.
2. One arm pushes out straight. One arm is bent. The eyes gaze at the tiger's mouth of the straight arm. The straight arm pushes and seizes. The bent arm pulls the bowstring. This is like using a bow to shoot a big vulture.
3. The tiger's mouth is curved. The palm is hollow. Pull back the fingers. Straighten the palm. The fingers are held upwards. Push and seize. Pull the bow. Defend the chest and lungs. The practice of bent knee stepping trains the leg skills.
4. Bend the knees and bow the legs. The steps are like walking in mud. In walking the circle, the outside foot turns inwards and the inside foot moves straight. Turn the waist. Depress the waist. Raise up the anus. The form is like pushing a grindstone round and round.
5. Turn the waist. Turn the neck. Depress the waist. Swell the belly. The foot grips the ground. The knees bend and the legs bow. The body follows the steps and the turning hands follow the body's movements. Weave together inhaling and exhaling and then transform them to chewing up and spitting out the enemy.
6. In walking, the palm and body should not lean to the sides. Do not lean forwards or backwards. Turn the waist and tighten the lower abdomen to connect the limbs. In stepping, the steps sink and the body has the appearance of being even and steady.
7. Moment is practiced on the left and right sides, Reciprocating without breaks or stopping. Aim for being stable and full. Become level and true. The spirit can tranform and grow from immature to mature.
8. In the piercing palm, the hand goes out under the elbow. Avoid the full and draw near the empty to achieve skill. The foot treads the center gate and searches out the way. The corner become the sides, enter and flow with the person's movements.
9. The hand method of the piercing palm must be remembered well. The rear hand pierces out and the front hand retracts. They must be mutually coordinated and complement each other. Mobility and agility display your talent.
10. In walking the circle, persue three levels in your stepping practice. First practice the upper level frame, which is high. The middle level bends the knees and the posture gradually squats. The lower level stresses getting the thighs level with the knees.
11. The tongue sticks to the upper palate. Inhale and exhale through the nose. The qi sinks to the dantian like being guided. Movement must be coordinated with the breathing. They complement each other and create agility.
12: Skill and talent smoothly follow the waist and leg movement; The stepping method transforms the walking with many turns; Upper and lower coordinate and become one thing; Mobility and agility must be harmonized.
13: The toe-in stepping form makes a triangle. The toe and kneecap are aligned. The toe-out stepping form makes an eight character shape (/ \). The toe and the heel meet together.
14. In the Upper Step (shang bu), the rear foot steps past the front foot. In the Advance Step (jin bu), the front foot moves to the front. In the Withdraw Step (che bu), the front foot steps past the rear foot. In the Retreat Step (tui), the rear foot moves to the rear.
15. Esteem virtue, do not esteem strength. Esteem wisdom, do not esteem courage. If you esteem strength and esteem courage; Sooner or later it must fall into the void.
16. The body is like a swimming dragon, a wild goose leaping into the air. It is like a tiger strikes, a turtle swims, a snake's movement. Vary the postures continuously without stopping. Move to the corners and sides, advance and retreat, talk and laugh in the center.
17. This palm is mysterious in walking the circle. The stepping method causes victory, the foot is strong and skilled. Toe-out, toe-in, arcing and turning, people cannot fathom it. Look to the front and now to the rear. Leave no fixed trail.
18. The foot treads the central gate and searches out the way. The hands follow the enemy's condition and flow in the opposite direction; Rise and do not fall, occupy the center; The enemy's preparations are in vain and he finds it diffucult to defend himself.
Here is another. This one is a toughie, a bit esoteric. I took some time going over it again and changing some of my original work, but I can't guarentee total accuracy on this one.
19. The outgoing hand must be one, it must not be two. The idea of many overcoming the few must be followed. If you can understand, you can get this central idea. Superiority is commonly had in grasping the center.
20. The outgoing hand techniques follow the man. To seal the enemy requires a lot of skill. The triangle pattern steps are very subtle. The hands in the cross shape form are beneficial to attack
21. The out-going hand flows with the enemy's intention. Rise to defend, attack to the left and right. If the enemy retreats, your front foot advances. If the enemy advances, your rear foot moves.
22. When the enemy advances, I move to evade his attack. I give up my position and cause him to fall into emptiness. I turn back and with one strike invariably cut to his center. To defeat the center and take the victory requires skill.
Here is #23. I must confess that it does not make much sense to me. My confusion revolves around the interplay between two characters zheng (true, upright, correct) and qi (wonderful, suprise). I have seen these two characters used together before and the best that I could guess based on the context was a sense of coming and going. However in this poetry the meaning is much more difficult for me to grasp. If anyone has a clue I'd appreciate some enlightenment.
23. The enemy is true, I am true suprise; The enemy is suprise, I am suprise true. A soft body pulls the rudder. Flowing water drives a light boat.
24. A strike comes to my right and my left responds. A strike comes to my front and my back responds. I coordinate my response with my breathing. If I do this others find it difficult to respond to me.
25. Close and roll, defend to the left and right. Turning back the head in retreat turns into an advance. If pressed close, move farther away. Commit to a strong body form.
26. The flicking palm conceals the body as you advance. Use the hooking palm as you retreat and then advance. Attack the enemy's front side as you advance. The flick and hook, up and down, aid and support each other.
27. An arm stretched out from the side of the body reveals an empty space. The chest exposed to open air induces people to attack. Draw out the enemy to take the advantage and advance. Bind, mix, seal, insert, and strive to master the movement.
28. With the overturning body palm method, defense becomes the attack. Overturn, roll, arc and turn to follow the man's motion. Submit to the objective, ignore the subjective. Pierce, grip, hang, and float, agile functions.
29. The Baguazhang method is not a blocking frame. I wish to choose flowing from my center. The outgoinh hand must choose the way to approach. I issue later but arrive first cannot be successfully defended against.
30. Touch and stick, continuously follow, don't loose the lead. Don't block, don't frame, flow with the enemy's nature. Yeild the position and strive for mastery of motion. Moving supports motion, moving supports stillness
31. The man is hard, I am soft and completely rely on walking; Bring about the condition to deprive him of the first hand; Turning and entering I flow to the man's back; Soft turns to hard and sticking becomes issuing.
32. When hardness is presented first then softness must be concealed inside. When softness is presented first it must be coordinated with hardness. Hardness conceals softness in its center, softness contains hardness. Hardness and softness are transformed in the stepping.
33. The eyes are linked to the hands which are linked to the waist which is linked to the legs. When the whole body is harmonized and coordinated, then when you issue stength it is whole. Regardless of whether your movements are straight or curved, the walking must be stable. When you get the power and get the posture, then you will be able to control the enemy.
34. When jing and shen are connected with qi, the posture will be filled. You will then be calm and composed, not terrified. The eyes detecting the enemy's emotion is the first point. The brain is the master and takes charge of the movement.
35. For the hands to attack the enemy, the waist and legs must be quick. Advance and retreat completely rely on the feet. Understand that walking be transformed by turning has many meanings. The true significance of Bagua is contained within this.
36. Bagua's true significance is not a mystery. Go smoothly, understand transformation, and walk the circle many times. Don't block, don't frame, don't lose the lead. Sacrifice your own interests for the sake of flowing with the enemy's emotion.
[The following is from -- http://trinity.psnw.com/~dlmurray/classic.html]
Shi's 36 Stanzas
Joseph Crandall sent these over a period of time to the Bagua List. The following is a forward by him and some additional information from Jarek Szymanski sent to the Bagua List.
Forward: This is something I translated a long time ago and just dug out of my files. To redo the mandarin would be too much work at this point. If you are really interested I might scan the characters and send them out as a jpeg. The lineage of Shi Jitong Bagua has a 36 Stanza poem and a 48 Stanza poem similar to the ones promulgated by the Liang and Cheng lineages. These stanza come to us courtesy of Di Zhaolong, the current (I think) authority on this style. Shi Ji Tong was a nephew of Dong Haichuan.
-Joseph Crandall
Shi Jidong (not Shi Jitong) was Dong's adopted daughter's husband. Actually Shi arranged that his wife became Dong's adopted daughter so that she could take good care of the old master. Dong spent last years of his life in Shi's house in Beijing (Shi was one of the wealthiest disciples and owner of Yihe Timber Mill).
-Jarek Szymanski Shanghai, China
_______________
Epilogue: This song has 36 stanzas. Bagua's true significance is contained herein. Memorize and try to understand them and practice hard. Skill and hard work will not fail the conscientious person. Practice hard and practice harder. Over a long period of time, its value is lasting. You will become stronger and never stop gaining skills. Raise the martial spirit to be cheerful and healthy.
-Joseph Crandall
1. The head is held up. The chin is tucked in. The body is held straight. Depress the waist. Swell the belly. The steps are empty and full. Sink the shoulders. Hang the elbows. Reach with the front arm. Turn the wrist. Straighten the palm. Pull back the index finger.
2. One arm pushes out straight. One arm is bent. The eyes gaze at the tiger's mouth of the straight arm. The straight arm pushes and seizes. The bent arm pulls the bowstring. This is like using a bow to shoot a big vulture.
3. The tiger's mouth is curved. The palm is hollow. Pull back the fingers. Straighten the palm. The fingers are held upwards. Push and seize. Pull the bow. Defend the chest and lungs. The practice of bent knee stepping trains the leg skills.
4. Bend the knees and bow the legs. The steps are like walking in mud. In walking the circle, the outside foot turns inwards and the inside foot moves straight. Turn the waist. Depress the waist. Raise up the anus. The form is like pushing a grindstone round and round.
5. Turn the waist. Turn the neck. Depress the waist. Swell the belly. The foot grips the ground. The knees bend and the legs bow. The body follows the steps and the turning hands follow the body's movements. Weave together inhaling and exhaling and then transform them to chewing up and spitting out the enemy.
6. In walking, the palm and body should not lean to the sides. Do not lean forwards or backwards. Turn the waist and tighten the lower abdomen to connect the limbs. In stepping, the steps sink and the body has the appearance of being even and steady.
7. Moment is practiced on the left and right sides, Reciprocating without breaks or stopping. Aim for being stable and full. Become level and true. The spirit can tranform and grow from immature to mature.
8. In the piercing palm, the hand goes out under the elbow. Avoid the full and draw near the empty to achieve skill. The foot treads the center gate and searches out the way. The corner become the sides, enter and flow with the person's movements.
9. The hand method of the piercing palm must be remembered well. The rear hand pierces out and the front hand retracts. They must be mutually coordinated and complement each other. Mobility and agility display your talent.
10. In walking the circle, persue three levels in your stepping practice. First practice the upper level frame, which is high. The middle level bends the knees and the posture gradually squats. The lower level stresses getting the thighs level with the knees.
11. The tongue sticks to the upper palate. Inhale and exhale through the nose. The qi sinks to the dantian like being guided. Movement must be coordinated with the breathing. They complement each other and create agility.
12: Skill and talent smoothly follow the waist and leg movement; The stepping method transforms the walking with many turns; Upper and lower coordinate and become one thing; Mobility and agility must be harmonized.
13: The toe-in stepping form makes a triangle. The toe and kneecap are aligned. The toe-out stepping form makes an eight character shape (/ \). The toe and the heel meet together.
14. In the Upper Step (shang bu), the rear foot steps past the front foot. In the Advance Step (jin bu), the front foot moves to the front. In the Withdraw Step (che bu), the front foot steps past the rear foot. In the Retreat Step (tui), the rear foot moves to the rear.
15. Esteem virtue, do not esteem strength. Esteem wisdom, do not esteem courage. If you esteem strength and esteem courage; Sooner or later it must fall into the void.
16. The body is like a swimming dragon, a wild goose leaping into the air. It is like a tiger strikes, a turtle swims, a snake's movement. Vary the postures continuously without stopping. Move to the corners and sides, advance and retreat, talk and laugh in the center.
17. This palm is mysterious in walking the circle. The stepping method causes victory, the foot is strong and skilled. Toe-out, toe-in, arcing and turning, people cannot fathom it. Look to the front and now to the rear. Leave no fixed trail.
18. The foot treads the central gate and searches out the way. The hands follow the enemy's condition and flow in the opposite direction; Rise and do not fall, occupy the center; The enemy's preparations are in vain and he finds it diffucult to defend himself.
Here is another. This one is a toughie, a bit esoteric. I took some time going over it again and changing some of my original work, but I can't guarentee total accuracy on this one.
19. The outgoing hand must be one, it must not be two. The idea of many overcoming the few must be followed. If you can understand, you can get this central idea. Superiority is commonly had in grasping the center.
20. The outgoing hand techniques follow the man. To seal the enemy requires a lot of skill. The triangle pattern steps are very subtle. The hands in the cross shape form are beneficial to attack
21. The out-going hand flows with the enemy's intention. Rise to defend, attack to the left and right. If the enemy retreats, your front foot advances. If the enemy advances, your rear foot moves.
22. When the enemy advances, I move to evade his attack. I give up my position and cause him to fall into emptiness. I turn back and with one strike invariably cut to his center. To defeat the center and take the victory requires skill.
Here is #23. I must confess that it does not make much sense to me. My confusion revolves around the interplay between two characters zheng (true, upright, correct) and qi (wonderful, suprise). I have seen these two characters used together before and the best that I could guess based on the context was a sense of coming and going. However in this poetry the meaning is much more difficult for me to grasp. If anyone has a clue I'd appreciate some enlightenment.
23. The enemy is true, I am true suprise; The enemy is suprise, I am suprise true. A soft body pulls the rudder. Flowing water drives a light boat.
24. A strike comes to my right and my left responds. A strike comes to my front and my back responds. I coordinate my response with my breathing. If I do this others find it difficult to respond to me.
25. Close and roll, defend to the left and right. Turning back the head in retreat turns into an advance. If pressed close, move farther away. Commit to a strong body form.
26. The flicking palm conceals the body as you advance. Use the hooking palm as you retreat and then advance. Attack the enemy's front side as you advance. The flick and hook, up and down, aid and support each other.
27. An arm stretched out from the side of the body reveals an empty space. The chest exposed to open air induces people to attack. Draw out the enemy to take the advantage and advance. Bind, mix, seal, insert, and strive to master the movement.
28. With the overturning body palm method, defense becomes the attack. Overturn, roll, arc and turn to follow the man's motion. Submit to the objective, ignore the subjective. Pierce, grip, hang, and float, agile functions.
29. The Baguazhang method is not a blocking frame. I wish to choose flowing from my center. The outgoinh hand must choose the way to approach. I issue later but arrive first cannot be successfully defended against.
30. Touch and stick, continuously follow, don't loose the lead. Don't block, don't frame, flow with the enemy's nature. Yeild the position and strive for mastery of motion. Moving supports motion, moving supports stillness
31. The man is hard, I am soft and completely rely on walking; Bring about the condition to deprive him of the first hand; Turning and entering I flow to the man's back; Soft turns to hard and sticking becomes issuing.
32. When hardness is presented first then softness must be concealed inside. When softness is presented first it must be coordinated with hardness. Hardness conceals softness in its center, softness contains hardness. Hardness and softness are transformed in the stepping.
33. The eyes are linked to the hands which are linked to the waist which is linked to the legs. When the whole body is harmonized and coordinated, then when you issue stength it is whole. Regardless of whether your movements are straight or curved, the walking must be stable. When you get the power and get the posture, then you will be able to control the enemy.
34. When jing and shen are connected with qi, the posture will be filled. You will then be calm and composed, not terrified. The eyes detecting the enemy's emotion is the first point. The brain is the master and takes charge of the movement.
35. For the hands to attack the enemy, the waist and legs must be quick. Advance and retreat completely rely on the feet. Understand that walking be transformed by turning has many meanings. The true significance of Bagua is contained within this.
36. Bagua's true significance is not a mystery. Go smoothly, understand transformation, and walk the circle many times. Don't block, don't frame, don't lose the lead. Sacrifice your own interests for the sake of flowing with the enemy's emotion.
SHI JIDONG's 48 SKILLS
Shi Style Baguazhang
Oral Traditions: The 48 Skill Methods
Forward: Here are some more goodies from Shi Style Baguazhang. Please bear in mind that I am probably not the best qualified to translate this stuff, but no one else seems to want to do it. Chinese characters often have more than one meaning. In choosing the best meaning I must rely on my own experience with the art and with fighting. Someone else might have another interpretation based on their experience. The martial arts has its own jargon, characters will be used in a martial context that will never show up in a common dictionary. Unless one is privy to the martial meaning of the character, the sentence ends up making no sense. Unfortunately I make mistakes in this area, so you will have to bear with me. Because of the varying ways in which Chinese texts can be interpreted it makes sense to read as many translations as possible in order to sort through the chaff and pick out what pearls may be within. I would encourage anyone with alternate translations to publish and compare with what I submit so that we may all grow in knowledge in the arts.
-Joseph Crandall
1. Shen Fa -- The Body Method:
The body is like a swimming dragon, a wild goose soaring in the air. Zigzagging, curved and straight, it moves like a snake. Overturn, roll, revolve and turn are dominated by the waist. Move to the corners and side-to-side, advance and retreat, talking and laughing in the center.
2. Mu Ce - Range Estimation:
To resist the enemy when you cross hands, you must first estimate the range. If there is no movement, gaze at the man's shoulder. Calmly and carefully examine his posture. Seek out the way to go. Reconnoitre and reflect. Only the eyes look forward.
3. Yanming - Sharp Eyes:
The heart's emotions are reflected in the eyes like a mirror. See the situation create the emotion, then the posture responds. If you are very fearful and the mind is confused, your eyes will not follow. The hands will be occupied, the feet confused, and you will lose your cleverness
4. Xianxing - In Advance:
The eyes first seek out the enemy's condition. The four sides and eight directions need to be observed clearly. Allow your movement to change irregularly many times. What enters my eye, I instantly understand.
5. Shen Shi - Careful Posture:
The eyes watch the four directions, form and posture are understood. The ears hear in eight directions, movement and stillness are known. The feet tread the eight trigrams, walk the complete circle. Look ahead and behind, capture the enemy's emotion.
6. Bu Fa - Stepping Method:
If you wish to move the extremities, the root must move first. Quick hands are inferior to agile stepping. Turning, moving, entering, yeilding only require half a step. The outer boundary is peaceful, the whole form changes.
7. Ta Zong Men - Tread the Center Gate:
Stride forward like a tiger and with the aspect of a hero. Advance and retreat, look around, look for the enemy's trace. The feet tread the center gate and interlink with the enemy's path. The enemy has to defend against strikes to the center.
8. Xie Chu Cheng Ru - Diagonal Leaving, Straight Entering:
With footsteps firm and stable, seek adroit movement. By advancing, retreating, turning, and shifting, seek out the enemy's path. Walking follows the triangle. The toes grip the ground. Diagonal leaving, straight entering, is wonderful and unlimited.
9. Xu Jin - Continuous Advancing:
Develop an offensive posture, the enemy can not move back. Continue advancing with strikes that are difficult to evade. Step and advance the body, then step to the front. The hands, feet, and body must be one and arrive together.
10. Lian Zhui - Continuous Chasing:
I advance. If the enemy retreats, I must follow. One step or two steps, I am continuously stepping to follow. Closely press the enemy so there is no way for him to flee. Continuously advance, victory comes in one step.
11. Xu shi - Empty and Full:
For agile movement in the legs, empty and full need to be understood If you relax the rules then you will be double weighted and sluggish. With changing movements and turning movements the empty foot is agile. With the weight in the full foot, steadiness is preserved.
12. Jin-tui - Advance and Retreat:
The enemy retreats, I advance with my front foot first. The enemy advances, I retreat by moving with my rear foot. The stepping method of advancing and retreating must be agile, Turning, changing, and transforming in accordance with the enemy's emotion
13. Zhang Fa - Palm Method:
In attack and defence, both palms must be lively. The rear palm goes out and the front palm returns. The tiger's mouth and ox's tongue work together: "Follow the curve to arrive at the straight", understand the body's peril.
14. Gong Fang Xiang Ji - Mutual Attack and Defence:
In mutual attack and defence you must remember firmness. My hand goes out, and defends against the man's strike. Advance to attack, defend and ward-off, turn and transform quickly. When you can attack and be successful in defence, your skill starts to become high.
15. Gong Fang Huying - Attack and Defence Working Together:
The hands, going out and blocking, have to work together. Issuing is not correct and yet it is not presumptuous to issue. The postures of attack and defence change many times. Issuing is not the main thing. You must defend against the opponent's issuing.
16. Zhao Fa - Technique Method:
The front arm reaches straight, forming the tiger's mouth. The rear arm hides the ox tongue. Swallowing and spitting, opening and closing, flow with the enemy's emotion. Work together with change, close the enemy's posture.
17. Fa Jin - Issuing Energy:
Store up energy till plentiful, like a bent bow. Issue energy like an arrow, swiftly away from the bowstring. With a single purpose, in one direction, strength issues from the back. Have a sunk appearance, be relaxed completely, qi ought to be first.
18. Yin Shi Li Dao - Adroitly Guiding Action According to Circumstances:
If he is high, strike him low. If he is low, strike him high. With a fat man, strike at him from either corner. If you meet someone long and thin, press toward the inside. The old man cannot move to block.
19. Jie Zhao - Make Contact and Gesture:
The enemy man comes gesturing. Don't block or frame him. Flow with his incoming posture only once. Moving or still, quick or slow, you must close and slap. Follow curve, move toward the straight, multiply his defects.
20. Jie Na - Explaining Seizing:
Qin Na must use a double hand motion. Both hands seize, oneself is empty. No matter what, Qin Na flows with his motion. Pierce the nose or jab the eyeballs and the enemy's posture relaxes.
21. Jie Na - Explaining Seizing:
He seizes me and the flowing posture moves. The flowing posture moves and the seized posture is empty. Even if his Qin Na is very adroit, My movement follows the man and the seize has no skill.
22. Bu Zhong Qin Na - Do Not Stress Seizing:
The Bagua palm method does not stress seizing. If both your hands, seize you suffer a setback. You are only seizing the man and it is not like striking. Depress and bend the man over, many changes are not advisable.
23. Feng Bi - Seal and Close:
The issuing hand flows and follows the enemy's intention to move. To seal and close the enemy I need a lot of skill. If I can seal firmly the posture of the enemy, Victory employs having my hand in the center.
24. Feng Bi - Seal and Close:
Perhaps he has weapons in both hands and is quick like the wind. With one coming and one going, he displays remarkable skill. Close his left hand then his right hand is not used. Both hands coming at the same time is emptyness.
25. Huan Zhao - Returning Techniques:
Sealing and closing strongly is a technique for 'defending the body'. Vigorously seal the man's techniques and do a technique in return. Stick continuously, following and leading the enemy's techniques. Be neither too close nor too far, flow with the enemy's techniques.
26. Yi Gao Yi Zhao - High Skill of One Move:
The strong are victorious over the weak, and their strength shows off their ability. The quick strike the slow, and their skill is in their speed. In these cases the High Skill of One Move is very much needed. Bind their hands and bind their feet to control them.
27. Rangkai Gong Shi - Defend by Getting Out of the Way:
If the other party has the strength of 1000 pounds, issue quickly. If his incoming posture is as violent as a mountain slide, Get out of the way and attack, take advantage of his gaps. Be decisive and mobile, swiftly do a technique in return.
28. Xie Shan - Diagonal Dodging:
The enemy comes in straight and quick like an arrow. First issue to control the his brave and fierce posture. Only meet this emotion, it is not appropriate to retreat. Diagonally moving, dodge and yeild like a spirit.
29. Bu Lan Bu Jia - Don't Block, Don't Frame:
Even when the enemy's posture is ruthless, you have no fear. He strikes at you and you defend against him. Toe out on the diagonal, the way is close. Don't block, don't frame, only once.
30. You Di - Lead the Enemy:
When the enemy doesn't attack, I use motion to draw him out. When his attack comes, I walk to the empty space. I do not rely on hand methods, I rely on stepping methods. Enticed to advance, he falls into air and is subject to my control.
31. Hua Jie - Transformation Understood:
Vertical can understand horizontal, horizontal understands vertical. When a split comes from an oblique angle, I split him. When a leg comes, if the leg is understood, you understand and then attack. The hands and legs go out and steps turn many times.
32. Yuan Xing Hua Jie - Circular Transformation Understood:
He surrounds me and I surround him. With circular turning and walking he can only attack air. Surround, surround one posture, the trail is not fixed. Completely rely on the stepping method and powerful walking.
33. Xie Zheng Huan Hua - Diagonal and True Transformed:
There is straightness within diagonal and diagonalness within straight. The diagonal/true transformation truly is wonderful. When you meet a strong enemy, a strong attack is demanded. Hide suprises within suprises, and the enemy falls into a trap.
34. Zhi Ren - Control the Man:
To control a man, one ought to pierce up towards his eyes. If both eyes suffer damage, then the enemy will be in a bind. The importance of the damage suffered, though small in degree, is not understood. A poke in the eyes is a victory of 1,000 techniques.
35. Dong Jie - Movement Understood:
Use stillness to control motion, leisurely await the work. Use motion to control stillness, rely on skill. The man doesn't know me, but I know the man. Meet strength with wisdom, seek the weak with flaunting techniques.
36. Kai He - Open and CLose:
If you desire to close, the correct form is to open first. Observe that open defends, and closed can know the power. Open is in the center of closed and closed is in the center of open. They can meet at the origin and instantly know minutia.
37. Qu Shou You Zhun - The Outgoing Hand Is the Standard:
It does not matter if he has 1,000 techniques and quickness in 1,000 things; If he is not able to be centered, his effort are in vain. Not stopping is important and not sending out hand. The outgoing hand must instantly be in the enemy's center.
38. Shulian: Skilled/practiced/proficient:
Attack and defend, advance and retreat, because the postures are different. 100 refinements make steel, bitter practice makes you complete. First aim towards being firm and solid, seek to be level and straight. Spiritual wonder is transformed, skill is created in the center.
39. Lingmin - Sensitive/keen/agile/acute:
If the mind is sensitive, its tranformations are inexhaustable. If the eyes are sharp, they can make out the enemy's emotion. If the stepping is agile, the mechanical power is adaptable. If the hand is keen, controlling the enemy is the standard.
40. Tu Na - Giving and Receiving:
Inhaling and exhaling, giving and receiving, are controlled from the nose. First it flows throught the Du Mai. Then continues to the Ren Mai to complete the cycle. Qi moves through the body, the will directs its motion.
41. Lizheng Zhudong - Work Hard for the Initiative:
When fighting, you must be able to endure the enemy's atttack. First seek to be invincible, then return the attack. If the posture and surroundings are inferior, toe out and escape. The center having moved, strive for the initiative.
42. Ceshen - On Ones Side:
In the Snake Form Palm, the posture the body overturns to the side. The body must have a twisting movement to use the Snake Form. Both arms go out straight to protect the skull. Expanding and contracting, turning sideways, Snake Spits out its Tongue.
43. Niu Yao - Twist the Waist:
When the enemy attacks, I stick to his body. My hands and feet return to defend and transform him. Turning and revolving, left and right, the waist twists and turns. Take a turn for the better and be out of danger; defeat demands victory.
44. Dang Ji Ji Fa - Prompt Issuing:
The mind takes charge of life, the eyes gaze. The hands and feet coordinate for carefull attack and defence. Search for the man's gaps, strive for motion. Issue promptly, don't hesitate.
45. Bi Shi Ji Xu - Avoid the Enemy's Strength, Strike at his Weakness:
When the enemy punches at your face, Take the lower way and instantly open up. Take him by suprise, unprepared for the attack. Avoid his strength and attack his weak points, victory comes.
46. Ji Ting - Avoid Stopping:
The chaotic original one qi walks heaven's limits. Walking, but not walking too far, the feet change and transform. Bagua's functional movement consists of the walking movements. Standing fixed when convenient becomes fallen flowers.
47. Luo Kong Bu Wen - Fall into Emptyness No Disorder:
Stepping must be lively and the gestures must be accurate. Then, to use 'Falling into Emptiness', the mind must not be disorderly. Curves interlink with curves and are never used up. When there are circles within circles, transformation is created.
48. Li Yi Wei Xian - Ceremony and Righteousness take Precedence:
Esteem virtue, esteem ceremony, don't esteem strength. Esteem wisdom, esteem righteousness, don't esteem bravery. Esteem strength, esteem bravery, strength is the core of strength. When your skill is high, then with one touch, your enemy falls into emptiness.
Assisting Song:
In Martial Arts, techniques come from theory. If the theory is substantial, then skill can advance. They supplement each other and both can rise high. Constantly improve, have no fixed bounderies. The Inner Gate leads the way, the teacher transmits the instruction. First, toward the firm and stable, seek the level and true. The martial sea has roads, diligently use the boat. Spiritual wonder is transformed and practice is halfway complete.
THE THEORY OF THE YANG FIRE AND THE YIN AMULETShi Style Baguazhang
Oral Traditions: The 48 Skill Methods
Forward: Here are some more goodies from Shi Style Baguazhang. Please bear in mind that I am probably not the best qualified to translate this stuff, but no one else seems to want to do it. Chinese characters often have more than one meaning. In choosing the best meaning I must rely on my own experience with the art and with fighting. Someone else might have another interpretation based on their experience. The martial arts has its own jargon, characters will be used in a martial context that will never show up in a common dictionary. Unless one is privy to the martial meaning of the character, the sentence ends up making no sense. Unfortunately I make mistakes in this area, so you will have to bear with me. Because of the varying ways in which Chinese texts can be interpreted it makes sense to read as many translations as possible in order to sort through the chaff and pick out what pearls may be within. I would encourage anyone with alternate translations to publish and compare with what I submit so that we may all grow in knowledge in the arts.
-Joseph Crandall
1. Shen Fa -- The Body Method:
The body is like a swimming dragon, a wild goose soaring in the air. Zigzagging, curved and straight, it moves like a snake. Overturn, roll, revolve and turn are dominated by the waist. Move to the corners and side-to-side, advance and retreat, talking and laughing in the center.
2. Mu Ce - Range Estimation:
To resist the enemy when you cross hands, you must first estimate the range. If there is no movement, gaze at the man's shoulder. Calmly and carefully examine his posture. Seek out the way to go. Reconnoitre and reflect. Only the eyes look forward.
3. Yanming - Sharp Eyes:
The heart's emotions are reflected in the eyes like a mirror. See the situation create the emotion, then the posture responds. If you are very fearful and the mind is confused, your eyes will not follow. The hands will be occupied, the feet confused, and you will lose your cleverness
4. Xianxing - In Advance:
The eyes first seek out the enemy's condition. The four sides and eight directions need to be observed clearly. Allow your movement to change irregularly many times. What enters my eye, I instantly understand.
5. Shen Shi - Careful Posture:
The eyes watch the four directions, form and posture are understood. The ears hear in eight directions, movement and stillness are known. The feet tread the eight trigrams, walk the complete circle. Look ahead and behind, capture the enemy's emotion.
6. Bu Fa - Stepping Method:
If you wish to move the extremities, the root must move first. Quick hands are inferior to agile stepping. Turning, moving, entering, yeilding only require half a step. The outer boundary is peaceful, the whole form changes.
7. Ta Zong Men - Tread the Center Gate:
Stride forward like a tiger and with the aspect of a hero. Advance and retreat, look around, look for the enemy's trace. The feet tread the center gate and interlink with the enemy's path. The enemy has to defend against strikes to the center.
8. Xie Chu Cheng Ru - Diagonal Leaving, Straight Entering:
With footsteps firm and stable, seek adroit movement. By advancing, retreating, turning, and shifting, seek out the enemy's path. Walking follows the triangle. The toes grip the ground. Diagonal leaving, straight entering, is wonderful and unlimited.
9. Xu Jin - Continuous Advancing:
Develop an offensive posture, the enemy can not move back. Continue advancing with strikes that are difficult to evade. Step and advance the body, then step to the front. The hands, feet, and body must be one and arrive together.
10. Lian Zhui - Continuous Chasing:
I advance. If the enemy retreats, I must follow. One step or two steps, I am continuously stepping to follow. Closely press the enemy so there is no way for him to flee. Continuously advance, victory comes in one step.
11. Xu shi - Empty and Full:
For agile movement in the legs, empty and full need to be understood If you relax the rules then you will be double weighted and sluggish. With changing movements and turning movements the empty foot is agile. With the weight in the full foot, steadiness is preserved.
12. Jin-tui - Advance and Retreat:
The enemy retreats, I advance with my front foot first. The enemy advances, I retreat by moving with my rear foot. The stepping method of advancing and retreating must be agile, Turning, changing, and transforming in accordance with the enemy's emotion
13. Zhang Fa - Palm Method:
In attack and defence, both palms must be lively. The rear palm goes out and the front palm returns. The tiger's mouth and ox's tongue work together: "Follow the curve to arrive at the straight", understand the body's peril.
14. Gong Fang Xiang Ji - Mutual Attack and Defence:
In mutual attack and defence you must remember firmness. My hand goes out, and defends against the man's strike. Advance to attack, defend and ward-off, turn and transform quickly. When you can attack and be successful in defence, your skill starts to become high.
15. Gong Fang Huying - Attack and Defence Working Together:
The hands, going out and blocking, have to work together. Issuing is not correct and yet it is not presumptuous to issue. The postures of attack and defence change many times. Issuing is not the main thing. You must defend against the opponent's issuing.
16. Zhao Fa - Technique Method:
The front arm reaches straight, forming the tiger's mouth. The rear arm hides the ox tongue. Swallowing and spitting, opening and closing, flow with the enemy's emotion. Work together with change, close the enemy's posture.
17. Fa Jin - Issuing Energy:
Store up energy till plentiful, like a bent bow. Issue energy like an arrow, swiftly away from the bowstring. With a single purpose, in one direction, strength issues from the back. Have a sunk appearance, be relaxed completely, qi ought to be first.
18. Yin Shi Li Dao - Adroitly Guiding Action According to Circumstances:
If he is high, strike him low. If he is low, strike him high. With a fat man, strike at him from either corner. If you meet someone long and thin, press toward the inside. The old man cannot move to block.
19. Jie Zhao - Make Contact and Gesture:
The enemy man comes gesturing. Don't block or frame him. Flow with his incoming posture only once. Moving or still, quick or slow, you must close and slap. Follow curve, move toward the straight, multiply his defects.
20. Jie Na - Explaining Seizing:
Qin Na must use a double hand motion. Both hands seize, oneself is empty. No matter what, Qin Na flows with his motion. Pierce the nose or jab the eyeballs and the enemy's posture relaxes.
21. Jie Na - Explaining Seizing:
He seizes me and the flowing posture moves. The flowing posture moves and the seized posture is empty. Even if his Qin Na is very adroit, My movement follows the man and the seize has no skill.
22. Bu Zhong Qin Na - Do Not Stress Seizing:
The Bagua palm method does not stress seizing. If both your hands, seize you suffer a setback. You are only seizing the man and it is not like striking. Depress and bend the man over, many changes are not advisable.
23. Feng Bi - Seal and Close:
The issuing hand flows and follows the enemy's intention to move. To seal and close the enemy I need a lot of skill. If I can seal firmly the posture of the enemy, Victory employs having my hand in the center.
24. Feng Bi - Seal and Close:
Perhaps he has weapons in both hands and is quick like the wind. With one coming and one going, he displays remarkable skill. Close his left hand then his right hand is not used. Both hands coming at the same time is emptyness.
25. Huan Zhao - Returning Techniques:
Sealing and closing strongly is a technique for 'defending the body'. Vigorously seal the man's techniques and do a technique in return. Stick continuously, following and leading the enemy's techniques. Be neither too close nor too far, flow with the enemy's techniques.
26. Yi Gao Yi Zhao - High Skill of One Move:
The strong are victorious over the weak, and their strength shows off their ability. The quick strike the slow, and their skill is in their speed. In these cases the High Skill of One Move is very much needed. Bind their hands and bind their feet to control them.
27. Rangkai Gong Shi - Defend by Getting Out of the Way:
If the other party has the strength of 1000 pounds, issue quickly. If his incoming posture is as violent as a mountain slide, Get out of the way and attack, take advantage of his gaps. Be decisive and mobile, swiftly do a technique in return.
28. Xie Shan - Diagonal Dodging:
The enemy comes in straight and quick like an arrow. First issue to control the his brave and fierce posture. Only meet this emotion, it is not appropriate to retreat. Diagonally moving, dodge and yeild like a spirit.
29. Bu Lan Bu Jia - Don't Block, Don't Frame:
Even when the enemy's posture is ruthless, you have no fear. He strikes at you and you defend against him. Toe out on the diagonal, the way is close. Don't block, don't frame, only once.
30. You Di - Lead the Enemy:
When the enemy doesn't attack, I use motion to draw him out. When his attack comes, I walk to the empty space. I do not rely on hand methods, I rely on stepping methods. Enticed to advance, he falls into air and is subject to my control.
31. Hua Jie - Transformation Understood:
Vertical can understand horizontal, horizontal understands vertical. When a split comes from an oblique angle, I split him. When a leg comes, if the leg is understood, you understand and then attack. The hands and legs go out and steps turn many times.
32. Yuan Xing Hua Jie - Circular Transformation Understood:
He surrounds me and I surround him. With circular turning and walking he can only attack air. Surround, surround one posture, the trail is not fixed. Completely rely on the stepping method and powerful walking.
33. Xie Zheng Huan Hua - Diagonal and True Transformed:
There is straightness within diagonal and diagonalness within straight. The diagonal/true transformation truly is wonderful. When you meet a strong enemy, a strong attack is demanded. Hide suprises within suprises, and the enemy falls into a trap.
34. Zhi Ren - Control the Man:
To control a man, one ought to pierce up towards his eyes. If both eyes suffer damage, then the enemy will be in a bind. The importance of the damage suffered, though small in degree, is not understood. A poke in the eyes is a victory of 1,000 techniques.
35. Dong Jie - Movement Understood:
Use stillness to control motion, leisurely await the work. Use motion to control stillness, rely on skill. The man doesn't know me, but I know the man. Meet strength with wisdom, seek the weak with flaunting techniques.
36. Kai He - Open and CLose:
If you desire to close, the correct form is to open first. Observe that open defends, and closed can know the power. Open is in the center of closed and closed is in the center of open. They can meet at the origin and instantly know minutia.
37. Qu Shou You Zhun - The Outgoing Hand Is the Standard:
It does not matter if he has 1,000 techniques and quickness in 1,000 things; If he is not able to be centered, his effort are in vain. Not stopping is important and not sending out hand. The outgoing hand must instantly be in the enemy's center.
38. Shulian: Skilled/practiced/proficient:
Attack and defend, advance and retreat, because the postures are different. 100 refinements make steel, bitter practice makes you complete. First aim towards being firm and solid, seek to be level and straight. Spiritual wonder is transformed, skill is created in the center.
39. Lingmin - Sensitive/keen/agile/acute:
If the mind is sensitive, its tranformations are inexhaustable. If the eyes are sharp, they can make out the enemy's emotion. If the stepping is agile, the mechanical power is adaptable. If the hand is keen, controlling the enemy is the standard.
40. Tu Na - Giving and Receiving:
Inhaling and exhaling, giving and receiving, are controlled from the nose. First it flows throught the Du Mai. Then continues to the Ren Mai to complete the cycle. Qi moves through the body, the will directs its motion.
41. Lizheng Zhudong - Work Hard for the Initiative:
When fighting, you must be able to endure the enemy's atttack. First seek to be invincible, then return the attack. If the posture and surroundings are inferior, toe out and escape. The center having moved, strive for the initiative.
42. Ceshen - On Ones Side:
In the Snake Form Palm, the posture the body overturns to the side. The body must have a twisting movement to use the Snake Form. Both arms go out straight to protect the skull. Expanding and contracting, turning sideways, Snake Spits out its Tongue.
43. Niu Yao - Twist the Waist:
When the enemy attacks, I stick to his body. My hands and feet return to defend and transform him. Turning and revolving, left and right, the waist twists and turns. Take a turn for the better and be out of danger; defeat demands victory.
44. Dang Ji Ji Fa - Prompt Issuing:
The mind takes charge of life, the eyes gaze. The hands and feet coordinate for carefull attack and defence. Search for the man's gaps, strive for motion. Issue promptly, don't hesitate.
45. Bi Shi Ji Xu - Avoid the Enemy's Strength, Strike at his Weakness:
When the enemy punches at your face, Take the lower way and instantly open up. Take him by suprise, unprepared for the attack. Avoid his strength and attack his weak points, victory comes.
46. Ji Ting - Avoid Stopping:
The chaotic original one qi walks heaven's limits. Walking, but not walking too far, the feet change and transform. Bagua's functional movement consists of the walking movements. Standing fixed when convenient becomes fallen flowers.
47. Luo Kong Bu Wen - Fall into Emptyness No Disorder:
Stepping must be lively and the gestures must be accurate. Then, to use 'Falling into Emptiness', the mind must not be disorderly. Curves interlink with curves and are never used up. When there are circles within circles, transformation is created.
48. Li Yi Wei Xian - Ceremony and Righteousness take Precedence:
Esteem virtue, esteem ceremony, don't esteem strength. Esteem wisdom, esteem righteousness, don't esteem bravery. Esteem strength, esteem bravery, strength is the core of strength. When your skill is high, then with one touch, your enemy falls into emptiness.
Assisting Song:
In Martial Arts, techniques come from theory. If the theory is substantial, then skill can advance. They supplement each other and both can rise high. Constantly improve, have no fixed bounderies. The Inner Gate leads the way, the teacher transmits the instruction. First, toward the firm and stable, seek the level and true. The martial sea has roads, diligently use the boat. Spiritual wonder is transformed and practice is halfway complete.
陽火陰符之理 Yang Huo Yin Fu Zhi Li
Yin Fu style was called the 硬 ying (hard style) by other Baguazhang and Martial Art schools during the time of the late 1800s early 1900s.
In Yin Style Bagua we want to initially practice with this strong strength, intent, and force in the beginning for a good 10 years in order to properly develop the Yin Fu 硬 Ying Hard Style. This practice and way we train is all described in the classic Baguazhang song: 八卦掌陽火陰符形式 Baguazhang Developing the Yang Fire into the Yin Amulet:
陽火陰符之理(即拳中之明勁暗勁也)，始終兩段工夫。一進陽火(拳中之明勁也)一運陰符(即拳中之暗勁也)，進陽火者，陰中返陽，進其剛健之德，所以復先 天也﹔運陰符者陽中用陰，運其柔順之德，所以養先天也。進陽火必進至於六陽純全，剛健之至，方是陽炎之功盡(拳中明勁中正之至也)﹔運陰符，必運至於六陰 純全，柔順之至，方是陰符之功畢(拳中暗和之至也)。陽火陰符，功力俱到，剛柔相當，建順兼全，陽中有陰陰中有陽，陰陽一氣， 渾然天理，圓陀陀 (氣無缺也)，光灼灼(神氣足也)，淨倮倮(無雜氣也)，赤洒洒(氣無拘也)，聖胎完成，一粒金丹寶珠懸於太虛空中，寂然不動，感而遂通﹔感而遂通，寂然 不動﹔常應常靜，常靜常應。本良知良能面目復還先天，一粒金丹吞入腹，始知我命不由天也，再加向上工夫，煉神還虛，打破虛空脫出真身，永久不壞，所謂聖而 不可知之之謂神，進於形神俱妙，與道合真之境矣。
(The following translation is from Yang, Jwing-Ming and it's close enough.) - {The theory of the Yang Fire and Yin Amulet, from the beginning to end, includes two sections of Gongfu. One is to advance the Yang Fire [The training I describe below.], and the other is to manipulate the Yin Amulet. The "Advance the Yang Fire" is to return to Yang from Yin, and so to approach the virtues of the solid and and strength. Therefore, it is to recover the Pre-Heaven. To "Manipulate the Yin Amulet" is to apply Yin within Yang, and to manifest it's virtues of softness and smoothness. Therefore, it is to nourish (i.e. cultivate) the Pre-Heaven. When advancing "Yang Fire", (you) must advance to the stage that all Six Yangs are refined and complete. Then it is the final accomplishment of the Yang Fire. When utilizing the "Yin Amulet", (you) must manipulate until all of the Six Yins are refined and complete, and reach the most soft and smooth stage. This is the final accomplishment of the Yin Amulet. When the efficacies of the Yang Fire and the Yin Amulet are reached, the hardness and the softness are properly and mutually balanced, the strength and the smoothness are both complete. Withing Yang, there is a Yin, and within Yin there is a Yang, so that both Yin and Yang become a single energy.}
[In the beginning of one's practice the youthful need to advance or 'stoke' the 'Yang fire' which is strengthening and hardening of the body's muscles and tissues. This is done through 站(Zhan) Standing, 轉(Zhuan) Turning, 打(Da) Striking, and 換(Huan) Changing. Stoking the 'Yang fire' is contained in the 'Lion Opens it's Mouth Posture' and the pure Yang 'Qian' trigram. A large amount of 意(Yi) 'Intention' needs to be put into the hand while at this stage, the fingers should stab outward, the eyes should gaze at the middle finger, the thumb should crossover the palm and touch the base of the little finger - covering 'Lao Gong' point. The upper hand should be the same, the arm held up high using the muscles of the back and chest to stretch the ribcage open- this develops the lungs. Stretching and twisting the arms, extending out through the fingers, grabbing the ground with the toes, bending at the knees, twisting through the legs - the ten fingers and ten toes are the tips of the tendons, by lengthening and stretching you enable the tips to have energy and force and will have the skill of the 'Lion Shaking it's Fur'. The intention should be on getting energy out to the ends of the extremities and the practice can be measured by the amount of and how quickly one breaks into a sweat. In striking and changing one needs to seek a solidarity and perfect harmony between the hands and feet, the waist and body, and the eyes and the heart. The resultant body and 'Shenfa' (Body Method) is very powerful and solid but is applicable through the use of 連環(Lianhuan) the 'Inter-linking' or tactic of continuously linking together strikes/movements, which is the start of the bagua strategy of putting a hand out and leaving it out. The Qian Trigram is very close-in fighting and prefers to be right up next to the opponenet or just short of colliding.]
[Once one has sufficiently hardened the body, stoked the 'Yang fire' to its hottest one starts to forge and fold the steel required to make the 'Yin Amulet' which is contained in the pure Yin 'Kun' trigram. The palm shape is the 'Lin Spits out it's Tongue'. All the joints of the body are loose and soft and the movements are whip-like but thanks to the years of stoking the fire the steel is hard and tempered on contact. All the techniques and other animals of Baguazhang can be pulled out of the Qian and Kun Trigrams. The other 6 Trigrams are part of the forging process that is used to make the steel of the 'Yin Amulet' and are a specialization of certain techniques and strategies. When the skill of the 'Yin Amulet' is understood you will have hard and soft mutually balanced. Yang within Yin and Yin within Yang.]
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