http://brennantranslation.wordpress.com/THE KUNWU SWORD MANUAL OF LILINGXIAOPosted onJuly 20, 2013byPaul Brennan-KUNWU SWORD MANUALby Li Lingxiao[published Feb, 1935][translation by Paul Brennan, July, 2013]-

Portrait of the author-PREFACE [BY YIN JINGCHUN]I have always been addicted to martial arts. Whenever I meet martial arts experts, I always want to have a conversation, to take the opportunity to find out about what they have achieved through their studies and about their particular specialties, so as to explore the wonders of our nations martial arts. More than ten years ago, there was an occasion in which I got to meet and talk with no less than ten noteworthy experts. It was at a competitive gathering of famous practitioners that had attracted a crowd of over a thousand people. Some of the competitors won through hardness and fierceness, others through nimbleness and ingenuity. Some enjoyed a great reputation for having built up their bodies, while others had a thorough ability with every kind of weapon and had created their own systems. And the essence of any one of their arts is that if it is not worked at for years upon years, there will be no skill. Indeed the profound depth of martial arts is truly beyond the grasp of laymen. In 1929, I came to Cang county to take up a high school teaching position, where I met Li Lingxiao. He had lived there his whole life beyond the west gate and was the martial arts instructor in the Cang county high school. Although a martial man, he has the dignified air of a gentleman. Talking freely in our spare time, I began to be aware of his prowess in both internal and external skills. One day, he told a student to perform the Kunwu sword set so I could take a look at it. Carefully observing, I noticed it diverges in a great many ways from Jiang RongqiaosAuthentic Kunwu Sword[1930]. I then discussed the sword with him, whereupon I realized his mastery of the sword art. I have experienced the sword methods of Ma Zizhen and Jiang Rongqiao. I was quite delighted by their extensive discourse and methodical understanding. Li also has remarked upon their profound fluency. I cannot help but state from my amazement that the reason the sword art is the sword art is because of such quality as theirs. The body goes along with the swords rotations while the sword covers over the bodys shape. The hand shoots out fast as lightning, the legs standing solid as a boulder. It is roundabout and indirect, suddenly fast, suddenly slow. It is said that one who performs it like a swimming dragon, like a soaring phoenix has truly obtained the swords attitude. Sophisticated gentlemen all used to use the zither and the sword as means to express themselves. Famous men nowadays also are often practicing the sword art for their amusement. But for the most part they do not have enough free time, and so it is especially difficult for them to make a deep study of it. Though they may have an ambition to pursue it, the opportunity to meet with an instructor who is a genuine expert is hard to come by. Moreover, the martial arts of our nation were originally a kind of esoterica that was kept only in the family. Those with only a rough understanding do not have the confidence to jump into teaching, while those who are experts are not willing to teach just anyone. The day of Chinese martial arts is long gone, and surely these are the reasons why. Nowadays, martial arts institutes have been founded, both centrally and in the provinces. But as for the excellent martial artists in the countryside, what can be done to fully bring them into the project? Though their skills may be profound, they are not necessarily sufficiently literate for the task of passing down their arts secrets. As they can be recommended only for their hard work, it is difficult to harvest a fully satisfactory result. Because Li is such a one who is highly proficient in the art yet somewhat deficient in literacy, I instigated this project of sharing this book with the world, for the sake of preserving the integrity of the genuine sword art and to supply the martial arts world with study materials for it. There are so very many sword sets due to the multitude of styles, and each thinks their way of doing it is the right one. But to miss by an inch is to lose by a mile. If it is not learned with precision, one will quickly end up violating fundamental principles. To be able to observe examples of mastery while practicing martial arts, to get to watch someone who is totally immersed in a style, is really an uncommon experience in the world. Li carried his art around in a frantic quest north and south to meet with more famous practitioners than can be counted. At the first moment of contact, they were each convinced of his magical prowess. When Cao Zhongshan caught sight of his skill, he so admired it. When Li Xiehe heard about it, he was full of appreciation. When Zhang Zhijiang looked upon it, he was utterly delighted. So how could his skill not be exquisite? When I met Li, I felt the same as they did. Once he had finished this project to his satisfaction, he returned home to teach students for his own pleasure. This is why he is so much better at it than others, not just because his skill is superb. written by Yin Jingchun of Fangshan [district of Beijing]-AUTHORS PREFACEI am not sure about the source of the Kunwu sword art, but the sword of that name is famous. In the ancient Zhou era, King Mu sent an expedition against the Kun tribe in the west, who then presented as tribute to him the sword of Kunwu. Liezi wrote [Liezi, chapter 5]: The sharpness of the Kunwu sword could cut through jade as if it was mud. Therefore the Kunwu sword was a precious sword even in ancient times. There was the sword, and then there was the method. Prior to the days of cannon fire, our nations warriors relied entirely on long weapons and short weapons to deal with enemies. These arts were passed down through many generations. The more they were worked with, the more they were refined. History has no lack of famous experts. Later generations of them developed a sectarian mentality and established their own styles. Some sword arts were named after actual swords, such as Kunwu and Qingping, with the intention of gaining the respectability of being associated with something ancient. In the first year of the Qing emperor Daoguangs reign [1821], in the town of Dongbei in my home county, Jun Mazhan and Dai San were well-known as being good at martial arts. One day, there was a married couple from Jiangnan surnamed Liu who were holding swords and had come for a visit. Dai declined them humbly but not wisely. Mr. Liu said: I esteem your reputation and have not come to challenge you, but I wish to have a look at the hand techniques of your style. Dai had no choice but to exhibit his style by way of a bout with Liu, but whatever he did with his hands was easily controlled no matter what he tried. Dai then handed over his sword and said to Liu: You are my teacher. Thereupon he took Liu into his home and learned from him day and night. Liu stayed for a year and a half. As he started again on his journey, he told Dai: I have been addicted to this art my whole life. This is why I have traveled north and south in search of the most brilliant experts, and I have to keep on looking. That it has now turned out that I have taught my art to you was all a matter of destiny. You must not casually show it to people. When he finished saying this, he left. Later, Dai taught it to Li Tianmu, Jia Xinzhuang, and Liu Zhenxiang. I learned it from Liu Zhenxiang but did not yet master it. Later I met Dai Sans nephew in Dalian [city in Liaoning], and hence worked at it every day until I began to obtain its secrets. Although I would not dare to claim this sword art contains every possible sword technique, I would say from what I have practiced and what I have seen that its techniques surpass those of other sword arts. Yin Jingchun of Fangshan is a scholar who is addicted to martial arts. When he saw this sword method, he was surprised by its uniqueness. As he has been promoting the worth of martial arts to the nation, he urged me to publish it to supply study materials for those with the same interests. Based on discussions with Yin, I now present this manual after repeated revisings. Included are application explanations and photographs so that students will not only achieve the performance of the sword postures but also be able to understand how to use them. By referring to the materials to get the idea, you will systematically progress to a polished level. By practicing it until you are skillful at it and then working toward its quality of adaptability, you can succeed at in a year. You thereby can obtain the general idea in the ways of the sword art. But as for its spiritual aspect, I will tell you in advance that is more difficult to attain. After learning it, many become too busy with other things and never achieve its essentials, and then when they put up their hands to fight, they end up controlled by their opponents. What kind of way is that to value the study of the sword art? Yet my own knowledge is so limited, whatever I have gotten right in here was by sheer luck. I sincerely hope the nations experts will give me corrections, for which I would feel blessed indeed. written by Li Lingxiao of Cang county [in Hebei], July, 1934-TEN CAUTIONS IN THE TREATMENT OF THE SWORD ART(These ten things are rarely talked about anymore, but through them we can get a sense of the painstaking effort of ancient people and come to see this sword art as something precious.)[1] A variety of sword arts have been passed down since ancient times, but the Kunwu method is the best of them. You must not look upon it as something ordinary, but should instead regard it as a treasure.[2] The sword is an implement that fits well alongside music and literature. There are no ordinary weapons that can be compared to it. If you are one who cherishes it, you have to store it in a place that you keep especially clean.[3] There are only three kinds of people who can be taught the sword art: Confucianists, Daoists, and strategists, for such people have the required qualities of uprightness and elegance.[4] There are many kinds of people who are not to be taught the sword art: those without honor, the disloyal or unfilial, those without perseverance, those who do not understand the value of taking caring of oneself, those without a balance between the civil and martial, those who are looking to make money out of it, those with crass personalities, the street performers, and bullies. Why? For fear such people would disgrace the integrity of Kunwu.[5] Five things to avoid in the sword art: 1. bragging, 2. seeking fame, 3. finding enjoyment in defeating others, 4. finding enjoyment in destroying others, 5. and looking upon life as if it does not matter.[6] If someone can be taught yet is not taught, that is a waste of the person. If someone cannot be taught but is taught anyway, that is a waste of the sword art. When considering whether a person is right for it, it is better to waste the person than to waste the sword art. It has been thus since ancient times and is not a stinginess from our own generation.[7] In teaching the sword art, you first must select the student, and then you must select the environment. If you are teaching in a messy and distracting place, then even if the student is one who can indeed be taught, his grasp of it will not be very solid. You will gradually turn him into a bad student, and the harm you pass down [not just to him but to his future students and to the future of the art itself] will not be slight.[8] You need to be cautious. When in the midst of the multitude, you must never lightly show off in order to win a good reputation. It is likely that the wrong sort of person will see it and fall in love with it, and then when he is not able to get anything out of it even though he tries, you will only have caused resentment.[9] The sword art is such an exceptional thing that it is a source of envy. If you encounter someone who has not obtained the true teachings yet croons on and on about how great he is and thinks he knows everything, it is not necessary for you to have an argument with him.[10] Once you have obtained the authentic teachings, you must then be restrained and discipline your own temperament. If you encounter someone who does not know what he is talking about and hastily slanders others, you ought to merely point the way to reducing his lifetime of confusion. It is not necessary for you to have a bout with him.-ESSENTIALS OF SPARRING WITH THE SWORD This sword art does not use sealing, propping, or sticking, and yet finds a way in. I await the opponent with both orthodox techniques and surprises. When I chase after him, I must control the gateway. I do not allow him to position his hands. Rising and crouching should be distinct. When I want to go to the left, I first attack to the right. When I you want to go to the right, I first attack to the left. If he stabs to my solar plexus, I use SPARKING THE FURNACE to block off the middle. If he wants to chop to my head, the VINES CLIMBING THE WALL is limitlessly effective. If he wants to stab to my knee or foot, I upset his plans with a hanging slash. If he wants to chop to my leg, a low block is the most obvious thing to do. If he goes across with a smearing technique to my neck, WIND TUGS THE ROBE will defeat it. If he slashes to the inside of my wrist, I whip forth with a smearing technique. If he chops to my left temple, FLYING INTO THE SKY will stop him above to defeat it. If he goes for my right temple, closing the door with a low posture is best. If he wants to stab straight to my hand, the technique of PLUCKING A PLUM is best. If he wants to get inside an inch, a smear underneath can succeed. If he wants to slash outward an inch, a smear underneath can pass through his door. If he attacks two inches inward, a retracting slash will surely work. If he attacks two inches outward, an outward rolling technique will have the clearest result. If he attacks three inches inward, to raise outward and stab to his flank is best. If he attacks three inches outward, CATCHING THE MOUSE is the best technique. If he attacks four or five inches inward, the yellow dragons head and hands will rush through. If he attacks four or five inches outward, THREE STOPPINGS will disperse the wind. If he employs continuous postures, the rolling technique of SWINGING TAIL will win. If he slashes inward to my hand, successive techniques of STABBING THE LENGTH OF THREE MILES will do the trick. If he slashes outward to my hand, I raise inward and stab to his chest. For a downward attack, I rain down. For an upward attack, I lift up. There is always a method whether advancing or retreating. The key techniques are to be practiced until they are perfected. The postures are often difficult to fully explain, but with hard work there will naturally be success.-THE KUNWU SWORD METHODS TEN-WORD FORMULAThis sword arts Ten-Word Formula is a very simple list of techniques:Prop, smear, carry, tap, roll, hook, hang, break, stab, and stand.The Kunwu sword art was passed down from ancient times. It all comes down to its ten terms. Prop, smear, carry, tap, roll The sudden gleaming emitted dazzles the opponents eyes as the sword is wielded, turning over upwards, turning over downwards. As for its techniques, they are peerless. Hook, hang, break, stab, stand Attack to the left, to the right, fast as lighting. Whether rolling upward, twining in the middle, or breaking downward, inside there is circling. When applying propping or smearing, you should stand and rotate. As for its body methods, they should be nimble. There is firstly the slanting of the torso and the twisting of the stance, and then there is lightness and heaviness, lengthening and shortening. But these are hollow words when discussed only on paper. If you are to learn the sword, obtain genuine teaching. With personal instruction, skill will naturally be trained.-SOME SWORD PRINCIPLES THAT MUST BE UNDERSTOOD1. The length of the sword is three feet, the final inch being the tip. You must hold the sword in an adjustable grip. The livelier the grip, the livelier the sword will twirl. Therefore on the subject of sword methods, they succeed entirely through artistry. The sword leads the way and the body follows along with it. Make sure body and sword are merged as one, and then you will be able to perform with your hand as is in your mind.2. Begin by practicing static postures until they are stable. Then perform them slowly and without effort. It is like practicing calligraphy: if the framing of your characters is not consistent, your calligraphy will be utterly unworkable. If you practice until you are skillful, then whether fast or slow, you will naturally be able to perform them with the right balance. Do not be misled by the advice of onlookers in your hopes of getting there faster.3. The highest sword method does not use sealing, propping, or sticking, and yet finds a way in wondrously. This is not to say that the sword is not to be used at all when combating with an opponent. It is because I control the opponents wrist once he puts out his hand that I can then easily stab forward, and so there is no need for me to seal him off, prop him away, or stick to him.4. Many of the sword postures have a slanting torso or a twisting stance, which depends entirely on the waist. If you are unable to use your waist, ninety percent of the sword arts effectiveness will have been cast aside.5. Mind, eye, torso, hand, and step are all to act in unison. Particular attention is given to this in all boxing arts, and since it is the same in the sword arts, you must not neglect it.6. The photos in this book are all of static postures. The technique that is applied happens for the most part between postures. You must carefully ponder in order to get the route along which the sword travels to be constantly swirling. If you are completely without moments in which your feet are getting stuck, then you will get it.-A FEW POINTS ABOUT USING THIS BOOK1.To each of the postures that follow are attached poetic lyrics describing the postures application. The photo that follows it shows the posture at the completion of its application.2.With each posture is included potential follow-up techniques for all three heights high, middle, low so that upon applying a technique you can then respond according to the situation.3.The footwork charts are displayed in ten separate sections for you to be able to refer to them. Although there is a method for each of the stance changes, it is assumed you have a grounding in the fundamentals of boxing arts, and so they are not repeated here. [i.e. While this book uses terms such as bow stance, horse-riding stance, stealth stance, and so on, it never explains or defines them, expecting you to already understand the terms through your foundation training or to find out about them from other books.]4.The orientation of the postures as they appear in the photos corresponds to the explanation for the footwork charts so that you can cross-reference between them to get a clearer idea. [i.e. They are both aligned with each other consistently in that the charts are all oriented the same way with each other and the photos have all been taken with the camera pointing north. (But be warned that the consistency goes little further than that, for the footwork charts are rather unexacting as to the orientations of head, torso, and even feet, being a somewhat looser depiction of what is going on than the photos and movement descriptions.)] This is not to say the orientation cannot be changed. [i.e. It does not matter which direction you are initially facing as long as the rest of the set is consistent with the initial direction.]5.For the application of each posture, observe the circumstances that precede and follow it. Then when you have learned a posture, it will not be difficult to realize how it is meant to be done.6. The photos are all of static postures. The route along which the sword moves between them is too hard to photograph, and so you will have to examine the movement explanations to get at that aspect.7.For every posture in the set, there are listed three follow-up techniques. Thus the techniques of the flowingly danced sword routine described below are triple-layered for combat. You need to be aware of this.-CONTENTSSection OnePosture 1: PRESENTING THE SWORD BEFORE THE GATEPosture 2: TAKING THE SWORD ACROSS TO CHECK HIS WRISTPosture 3: DRAGONFLY SKIMS THE WATERPosture 4: CROUCHING TIGER POSTUREPosture 5: IMMORTAL POINTS THE WAYPosture 6: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 1Posture 7: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 2Posture 8: WHITE CRANE SHOWS ITS WINGSPosture 9: GOLDEN NEEDLE INTO THE GROUNDPosture 10: POWERFUL CHOP THROUGH MT. HUAPosture 11: BEADED CURTAIN IS ROLLED AWAY Part 1Posture 12: BEADED CURTAIN IS ROLLED AWAY Part 2Posture 13: A THOUSAND POUNDS DROP TO THE GROUND Part 1Posture 14: A THOUSAND POUNDS DROP TO THE GROUND Part 2Posture 15: SMEARING TECHNIQUE WITH ASSISTING HANDPosture 16: PROPITIOUS CLOUDS CARRY THE SUNSection TwoPosture 17: IMMORTAL GOES INTO HIS CAVEPosture 18: DRAGONFLY SKIMS THE WATERSection ThreePosture 19: CROUCHING TIGER POSTUREPosture 20: ICICLE HANGING FROM THE EAVESPosture 21: INWARD SPARKING-THE-GOLDEN-FURNACEPosture 22: OUTWARD SPARKING-THE-GOLDEN-FURNACEPosture 23: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 1Posture 24: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 2Posture 25: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 3Section FourPosture 26: CROUCHING TIGER POSTUREPosture 27: YELLOW DRAGON SWINGS ITS TAIL Part 1Posture 28: YELLOW DRAGON SWINGS ITS TAIL Part 2Posture 29: YELLOW DRAGON SWINGS ITS TAIL Part 3Posture 30: YELLOW DRAGON SWINGS ITS TAIL Part 4Posture 31: YELLOW DRAGON SWINGS ITS TAIL Part 5Posture 32: TAO YUANMING PLUCKS A CHRYSANTHEMUMPosture 33: YELLOW DRAGON SWINGS ITS TAIL Part 1Posture 34: YELLOW DRAGON SWINGS ITS TAIL Part 2Posture 35: YELLOW DRAGON SWINGS ITS TAIL Part 3Posture 36: YELLOW DRAGON SWINGS ITS TAIL Part 4Posture 37: YELLOW DRAGON SWINGS ITS TAIL Part 5Posture 38: TAO YUANMING PLUCKS A CHRYSANTHEMUMPosture 39: TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER Part 1Posture 40: TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER Part 2Posture 41: NIGHT DEMON SEARCHES THE SEASection FivePosture 42: GAZING UPON BEAUTIFUL CLOUDSPosture 43: QUICK CAT CATCHES THE MOUSEPosture 44: MAGPIES FLY INTO THE SKYPosture 45: MENG HAORAN PLUCKS A PLUMSection SixPosture 46: SWORD STABS THE LENGTH OF A MILE Part 1Posture 47: SWORD STABS THE LENGTH OF A MILE Part 2Posture 48: INSERTING A STICK OF INCENSE INTO LEVEL GROUNDPosture 49: VINES CLIMBING THE WALLPosture 50: COVER IN FRONT & BLOCK BEHIND Part 1Posture 51: COVER IN FRONT & BLOCK BEHIND Part 2Posture 52: WIND TUGS AT THE ROBE Part 1Posture 53: WIND TUGS AT THE ROBE Part 2Posture 54: SLAMMING DOWN MONEYSection SevenPosture 55: CONTINUOUS SWORD Part 1Posture 56: CONTINUOUS SWORD Part 2Posture 57: CONTINUOUS SWORD Part 3Posture 58: CONTINUOUS SWORD Part 4Section EightPosture 59: PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part 1Posture 60: PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part 2Posture 61: PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part 3Posture 62: RUNNING HORSE LOOKS BEHIND Part 1Posture 63: RUNNING HORSE LOOKS BEHIND Part 2Posture 64: THREE STOPPINGS Part 1Posture 65: THREE STOPPINGS Part 2Posture 66: THREE STOPPINGS Part 3Posture 67: WHITE HORSE PARTS ITS MANE Part 1Posture 68: WHITE HORSE PARTS ITS MANE Part 2Section NinePosture 69: QUICKEN THE HORSE WITH MORE WHIPPINGPosture 70: FLOCK OF GEESE GOING OVER THE SEAPosture 71: WINGED SERPENT FLICKS ITS TONGUE Part 1Posture 72: WINGED SERPENT FLICKS ITS TONGUE Part 2Section TenPosture 73: NOBLEMAN HANGS UP HIS SEAL Part 1Posture 74: NOBLEMAN HANGS UP HIS SEAL Part 2Posture 75: FLOWER HIDDEN UNDER THE LEAFPosture 76: YELLOW DRAGON TURNS AROUNDPosture 77: CROUCHING TIGER POSTUREAppendix: Explanations for Kunwu Swords Ten Techniques-KUNWU SWORD FOOTWORK CHARTS Go back and forth [five times] for a total of ten sections. (Explanation)1.For each chart, east is at the top. [When reading the actual book, west is actually at the top. The images have been turned sideways for this translation, and so north now appears to be at the top, aligning them closer to the photographs.] When practicing, always begin in the east.2.Left and Right are constant, but when stepping to a new place, the order of the steps follows in sequence in the manner of Left 1, Right 2, Left 3, Right 4, etc.SECTION 1 (stepping from east to west):

Stance 1: Right 0, Left 0 feet together [Posture 1]Stance 2: Left 1, Right 2 pointed stance [Posture 2]Stance 3: Right 3, Left 1 feet together [Posture 3]Stance 4: Right 4, Left 5 pointed stance [Posture 4]Stance 5: Right 4, Left 6 bow stance [Posture 5]Stance 6: Right 4, Left 7 twisted stance [Posture 6]Stance 7: Left 7, Right 8 bow stance [Posture 7]Stance 8: Right 8, Left 9 feet together [Posture 8]Stance 9: Right 10 (advancing into pointed stance), Left 10 [11], Right 12 pointed stance [Posture 9]Stance 10: Right 13 (walking step), Left 14 (advancing), Right 15 feet together [Posture 10]Stance 11: Right 16, Left 17 pointed stance [Posture 11]Stance 12: Right 18, Left 19 pointed stance [Posture 12]Stance 13: Right 18, Left 20 pointed stance [feet together] [Posture 13]Stance 14: Right 22, Left 21 pointed stance [Posture 14]Stance 15: Right 22, Left 23 bow stance [Posture 15]Stance 16: Left 23, Right 24 feet together [Posture 16]SECTION 2 (stepping from west to east):

Stance 1: Right 1 (lift then come down to the east [Right 2]), Left 3 (jumping step), Right 4 (advancing) horse-riding stance [Posture 17]Stance 2: Left 5, Right 6 feet together [Posture 18]SECTION 3 (stepping from east to west):

Stance 1: Right 1, Left 2 pointed stance [Posture 19]Stance 2: Left 3, Right 4 horse-riding stance [Posture 20]Stance 3: Right 4, Left 5 pointed stance [Postures 21-23]Stance 4: Right 6, Left 7, Right 8 walking steps [Posture 24&25 (three times)]Stance 5: Left 9, Right 10 feet together [Posture 25 (as static posture)]SECTION 4 (stepping from west to east):

Stance 1: Right 2 [1], Left 2 pointed stance [Posture 26]Stance 2: Left 2, Right 3 bow stance [Posture 27]Stance 3: Left 4, Right 5 bow stance [Postures 28-30]Stance 4: Left 6, Right 7 pointed stance [Postures 31&32]Stance 5: Left 6, Right 8 bow stance [Posture 33]Stance 6: Left 9, Right 10 bow stance [Postures 34-36]Stance 7: Left 11, Right 12 pointed stance [Postures 37-39]Stance 8: Left 13, Right 14 bow stance [Posture 40]Stance 9: Right 15 one-legged stance [Posture 41]SECTION 5 (stepping from east to west):

Stance 1: Right 1, Left 2 pointed stance [Posture 42]Stance 2: Left 3, Right 4 pointed stance [Posture 43]Stance 3: Right 4, Left 5 bow stance [Posture 44]Stance 4: Left 6, Right 7 pointed stance [Posture 45]Stance 5: Left 8 one-legged stance [Posture 46]SECTION 6 (stepping from west to east):

Stance 1: Right jump with Left advance, Left 1, Right 2 horse-riding stance [Posture 47]Stance 2: Right 2, Left 3 feet together [Posture 48]Stance 3: Left 4, Right 5 bow stance [Postures 49&50]Stance 4: Right 5, Left 6 bow stance [Posture 51]Stance 5: Left 7, Right 5 bow stance [Postures 52&53]Stance 6: Left 8, Right 9 feet together [Posture 54]SECTION 7 (stepping from east to west):

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

Stance 1: Right 1, Left 2 bow stance [Postures 60&61]Stance 2: Right 1, Left 3 pointed stance [Posture 62]Stance 3: Left 3, Right 4 twisted stance [Posture 62 cont.]Stance 4: Right 4, Left 5 twisted stance [Posture 63]Stance 5: Left 5, Right 6 bow stance [Posture 63 cont.]Stance 6: Right 6, Left 7 pointed stance [Posture 64]Stance 7: Right 8, Left 9 walking steps [Postures 65&66]Stance 8: Right 10, Left 11 stealth stance [Posture 67]Stance 9: Left 11, Right 12 horse-riding stance [Posture 68]Stance 10: Left 13, Right 14 horse-riding stance [Posture 68 cont.]SECTION 9 (stepping from east to west):

Stance 1: Right 1, Left 2 bow stance [Postures 69&70]Stance 2: Right 1, Left 3 pointed stance [Posture 71]Stance 3: Right 4, Left 5, Right 6 walking steps [Posture 72]Stance 4: Left 7, Right 8 feet together [Posture 72 cont.]SECTION 10 (stepping from west to east):

Stance 1: Right 1, Left 2 pointed stance [Posture 73 (Left 2 for one-legged Posture 74)]Stance 2: Right 3 (jumping), Left 4, Right 5 bow stance [Postures 75]Stance 3: Left 6, Right 7 horse-riding stance [Posture 76]Stance 4: Right 7, Left 8 pointed stance [Posture 77]-POSTURE 1: PRESENTING THE SWORD BEFORE THE GATE

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

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

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

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

Lyrics:The opponent attacks with a stab to my left shoulder.I use FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER to prop up continuing into hooking away.The posture is now facing to the southwest, my legs making a bow stance. My right hand sends my sword forward in a level stab, my left hand assisting at my right wrist. This is IMMORTAL POINTS THE WAY. (Techniques that follow from it for each of the three levels could be: high WHITE CRANE SPREADS ITS WINGS, middle FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER, low TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER.) If the opponent attacks with a stab to my left shoulder, I send my sword upward with a propping technique to his wrist. He retracts his stab, so I send my sword downward to his wrist with a hooking technique, my torso at the same time turning along with my sword. With my torso slanting and my stance twisting, my sword and left hand spread apart to be hanging down below my ribs on either side, ready to go forward with a level stab. This posture is as in the photo below:POSTURE 6: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 1

Lyrics:The opponent attacks with a stab to my left ribs.I use FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER to twist my torso while retreating.The posture is now facing to the southwest, torso squared to the northwest. My right leg is standing bent, my left leg lifted to the forward right. My torso is slanted, my stance twisted. My left hand is formed as a swordsmans hex and my right hand is holding my sword in readiness to make a level stab. It is the appearance of a fisherman examining for where to cross the river. This is the first movement of FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER. If the opponent attacks with a stab to my left ribs, my left leg comes down, my right leg steps forward to the west into a bow stance, and my torso goes along with my sword as it stabs forward to his chest, my left hand assisting at my right wrist. This posture is as in the photo below:POSTURE 7: FISHERMAN EXAMINES FOR WHERE TO CROSS THE RIVER Part 2

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

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

Lyrics:The opponent attacks with a stab to my right shoulder.I perform POWERFUL CHOP THROUGH MT. HUA without delay.The posture is now facing to the west. My right hand is holding my sword, the tip pointing downward, my left hand assisting at my right wrist. My right leg is forward making a pointed stance. This is GOLDEN NEEDLE INTO THE GROUND. (Techniques that follow from it for each of the three levels could be: high POWERFUL CHOP THROUGH MT. HUA, middle PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON, low QUICKEN THE HORSE WITH MORE WHIPPING.) If the opponent attacks with a stab to my right shoulder, my right leg steps forward to the northwest, my left foot goes forward to stand next to my right foot, and my right hand uses my sword to perform a chopping technique onto his wrist. This posture is as in the photo below:POSTURE 10: POWERFUL CHOP THROUGH MT. HUA

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

Lyrics:The opponent attacks with a stab to my face.I use BEADED CURTAIN IS ROLLED AWAY to prop then hook to his wrist.The posture is now facing to the east. My right hand is holding my sword, the tip slightly lowered forward, edges to the left and right, my left hand assisting at my right wrist. My torso is slightly leaning forward. My left leg is forward making a pointed stance. This is the first movement of BEADED CURTAIN IS ROLLED AWAY. (Techniques that follow from it for each of the three levels could be: high GAZING UPON BEAUTIFUL CLOUDS, middle BEADED CURTAIN IS ROLLED AWAY, low A THOUSAND POUNDS DROP TO THE GROUND.) If the opponent attacks with a stab to my face, drawing it back to continue with stabs to the middle and below, I use a propping technique against the high stab, a hooking technique against the middle stab, and a checking technique to his wrist to counter the low stab. These three actions are continuous and are very obvious techniques. During the hooking technique, my left leg jumps back a step, then once the posture settles [after also stepping back my right leg so my left is making the pointed stance], the same downward check immediately comes out. This posture has techniques that move both inward and outward, and this is thus the second movement, but it ends up in the same posture as before.POSTURE 12: BEADED CURTAIN IS ROLLED AWAY Part 2Lyrics:The opponent attacks with a stab to my left shoulder.I use A THOUSAND POUNDS DROP TO THE GROUND to retreat to the right.The posture is as before and so is not described again here. (Techniques that follow from it for each of the three levels could be: high PROPITIOUS CLOUDS CARRY THE SUN [A THOUSAND POUNDS DROP TO THE GROUND], middle BEADED CURTAIN IS ROLLED AWAY, low FLOWER HIDDEN UNDER THE LEAF.) If an opponent attacks from behind with a stab to my left arm, my body goes along with my sword, turning around to the right rear as it goes across with a checking technique to his wrist, my left foot moving to stand next to my right foot. The sword tip is pointing straight up, my left hand formed as a swordsmans hex placed over my headtop. This posture is as in the photo below:POSTURE 13: A THOUSAND POUNDS DROP TO THE GROUND Part 1

Lyrics:The opponent attacks with a propping technique to my wrist.I use A THOUSAND POUNDS DROP TO THE GROUND to turn over to the left.The posture is now facing to the west. My right hand is holding my sword, the tip pointing straight up, my left hand as a swordsmans hex placed above my headtop. My feet are together, my upper body leaning to the right rear. This is the first movement of A THOUSAND POUNDS DROP TO THE GROUND. (Techniques that follow from it for each of the three levels could be: high WIND TUGS AT THE ROBE, middle RUNNING HORSE LOOKS BEHIND, low A THOUSAND POUNDS DROP TO THE GROUND.) If the opponent does a propping technique under my wrist, my right hand gathers my sword forward, my left hand assisting at my right wrist, while my left leg jumps to the left and my right leg follows to make a pointed stance. This posture is as in the photo below:POSTURE 14: A THOUSAND POUNDS DROP TO THE GROUND Part 2

Lyrics:The opponent attacks with a stab to my right shoulder.I use SMEARING TECHNIQUE WITH ASSISTING HAND to attack forward.The posture is now facing to the west. My right hand is holding my sword, the tip pointing straight up, my left hand assisting at my right wrist. My right leg is forward making a pointed stance. This is the second movement of A THOUSAND POUNDS DROP TO THE GROUND. (Techniques that follow from it for each of the three levels could be: high MAGPIES FLY INTO THE SKY [SMEARING TECHNIQUE WITH ASSISTING HAND], middle MENG HAORAN PLUCKS A PLUM, low A THOUSAND POUNDS DROP TO THE GROUND.) If the opponent attacks with a stab to my right shoulder, my torso goes along with my sword as it moves forward performing a smearing technique, sweeping across and pressing down on his wrist, my left hand assisting at my right wrist, while my left leg steps forward into a bow stance. This posture is as in the photo below:POSTURE 15: SMEARING TECHNIQUE WITH ASSISTING HAND

Lyrics:The opponent attacks with a stab to my chest.I use PROPITIOUS CLOUDS CARRY THE SUN to hook and smear.The posture is now facing to the west. My right hand is holding my sword, which is level in front of me pushing down on the opponents wrist, my left hand assisting at my right wrist. My left leg is forward making a bow stance. This is SMEARING TECHNIQUE WITH ASSISTING HAND. (Techniques that follow from it for each of the three levels could be: high INSERTING A STICK OF INCENSE INTO LEVEL GROUND, middle PROPITIOUS CLOUDS CARRY THE SUN, low NIGHT DEMON SEARCHES THE SEA.) If the opponent attacks with a stab to my chest, my torso slightly leans back as I use a hooking technique to catch his wrist. He stabs again, so I use a carrying technique as my right foot moves to stand next to my left foot. This posture is as in the photo below:POSTURE 16: PROPITIOUS CLOUDS CARRY THE SUN

Lyrics:The opponent attacks with a stab to my back.I use IMMORTAL GOES INTO HIS CAVE to whirl around and chase him.The posture is now facing to the west. My right hand is holding my sword, performing a level carrying technique, the tip pointing forward, my left hand assisting at my right wrist. My feet are together. This is PROPITIOUS CLOUDS CARRY THE SUN. (Techniques that follow from it for each of the three levels could be: high POWERFUL CHOP THROUGH MT. HUA, middle IMMORTAL GOES INTO HIS CAVE, low FLOWER HIDDEN UNDER THE LEAF.) If the opponent attacks with a stab to my back, my right hand lifts my sword to perform a hooking technique as my right leg lifts and my body turns to the right along with my sword. When my right leg comes down, my left leg then does a jumping step forward, my body turns around another turn [as my right leg advances] to make a horse-riding stance. While my left leg is jumping, my left hand draws a circle from below which will finally arrive as a swordsmans hex in front of my headtop. This posture is as in the photo below:POSTURE 17: IMMORTAL GOES INTO HIS CAVE

Lyrics:The opponent attacks with a checking technique to my wrist.I perform DRAGONFLY SKIMS THE WATER without delay.The posture is now facing to the east, torso squared to the north. My right hand is holding my sword, the sword body level, tip pointing to the north. My sword and my right arm are making a triangle [from tip to shoulder to hand to tip]. My left hand as a swordsmans hex is placed in front of my headtop. My legs are making a horse-riding stance. This is IMMORTAL GOES INTO HIS CAVE. (Techniques that follow from it for each of the three levels could be: high NOBLEMAN HANGS UP HIS SEAL, middle DRAGONFLY SKIMS THE WATER, low QUICK CAT CATCHES THE MOUSE.) If the opponent attacks with a checking technique to the outside of my wrist, I withdraw my sword horizontally, then follow the posture downward with a tapping technique, my left hand assisting at my right wrist, while my left foot goes forward to stand next to my right foot. This posture is the same as in Posture 3.POSTURE 18: DRAGONFLY SKIMS THE WATERLyrics:If an opponent counterattacks from the west,I use CROUCHING TIGER POSTURE to watch for an opportunity.This posture is as before and so its description is not repeated here. (Techniques that follow from it for each of the three levels could be: high YELLOW DRAGON TURNS AROUND, middle CROUCHING TIGER POSTURE, low FLOCK OF GEESE GOING OVER THE SEA.) If the opponent counterattacks from the west, I make the CROUCHING TIGER POSTURE to await what he will do next. This posture is the same as in Posture 4.POSTURE 19: CROUCHING TIGER POSTURELyrics:The opponent attacks with a stab to my face.I use ICICLE HANGING FROM THE EAVES to prop under his wrist.CROUCHING TIGER POSTURE is as before, but this time can be followed by ICICLE HANGING FROM THE EAVES. If the opponent attacks with a stab to my face, I send my sword up with a propping technique under his wrist, then draw a circle from above to below while my body goes along with my sword by advancing [left leg then right leg]. My right hand is arcing my sword through the rest of the circle from my left side as my legs make a horse-riding stance. This posture is as in the photo below:POSTURE 20: ICICLE HANGS FROM THE EAVES

Lyrics:The opponent attacks with a stab to my left shoulder.I use INWARD SPARKING-THE-GOLDEN-FURNACE to get in first.The posture is now facing to the south. My right hand is holding my sword, the tip hanging down. My left hand as a swordsmans hex is placed in front of my headtop. My legs are making a horse-riding stance. This is ICICLE HANGING FROM THE EAVES. (Techniques that follow from it for each of the three levels could be: high MAGPIES FLY INTO THE SKY, middle INWARD SPARKING-THE-GOLDEN-FURNACE, low QUICKEN THE HORSE WITH MORE WHIPPING.) If the opponent attacks with a stab to my left shoulder, my body goes along with my sword as it goes to the left with a propping technique under his wrist, and my right leg goes along with my sword by lifting to the east. This posture is as in the photo below:POSTURE 21: INWARD SPARKING-THE-GOLDEN-FURNACE

Lyrics:An opponent behind me stabs to my waist.I use OUTWARD SPARKING-THE-GOLDEN-FURNACE to hang, prop, or lift.The posture is now facing to the east. My right hand is holding my sword, performing a level propping technique, the tip pointing forward, my left hand assisting at my right wrist. My right leg is lifted in front, my left leg standing straight [bent]. This is INWARD SPARKING-THE-GOLDEN-FURNACE. (Techniques that follow from it for each of the three levels could be: high SLAMMING DOWN MONEY, middle OUTWARD SPARKING-THE-GOLDEN-FURNACE, low COVER IN FRONT & BLOCK BEHIND.) If an opponent attacks from behind with a stab to my waist, my sword goes to the rear with a lifting technique from below to catch his wrist, my left hand assisting at my right wrist, while my right leg [comes down and] goes along with my sword as it turns around [to the left] to face to the west [and my left leg lifts]. This posture is as in the photo below:POSTURE 22: OUTWARD SPARKING-THE-GOLDEN-FURNACE

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

Lyrics:The opponent attacks with a stab to my midsection.I use GOLDEN ROOSTER PECKS WITH ITS HEAD to turn over downward.The posture is now facing to the west. My right hand is holding my sword so the tip is pointing diagonally upward, my left hand assisting at my right wrist. My left leg is forward making a pointed stance. With the step that follows, there is a tapping technique that happens with it. This is the first movement of GOLDEN ROOSTER PECKS WITH ITS HEAD. (Techniques that follow from it for each of the three levels could be: high GOLDEN ROOSTER PECKS WITH ITS HEAD, middle GOLDEN ROOSTER PECKS WITH ITS HEAD, low A THOUSAND POUNDS DROP TO THE GROUND.) If the opponent attacks with a stab to my chest, I send my sword downward with a tapping technique to his wrist, my left hand assisting at my right wrist, while my left leg takes all the weight and my right leg lifts. This posture is as in the photo below:POSTURE 24: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 2

Lyrics:The opponent attacks with stabs high and low.I use GOLDEN ROOSTER PECKS WITH ITS HEAD to turn over upward and downward.The posture is now facing to the west. My right hand is sending my sword downward with a tapping technique, my left hand assisting at my right wrist. My left leg is forward in a chasing posture, stepping along with the sword tip as it lifts and taps to the opponents wrist. This is the second movement of GOLDEN ROOSTER PECKS WITH ITS HEAD. (Techniques that follow from it for each of the three levels could be: high GOLDEN ROOSTER PECKS WITH ITS HEAD, middle GOLDEN ROOSTER PECKS WITH ITS HEAD, low QUICK CAT CATCHES THE MOUSE.) If the opponent taps down from above, I send my sword tip upward with a hanging technique to his wrist. At the same time, my right foot goes forward to stand next to my left foot. This posture is as in the photo below:POSTURE 25: GOLDEN ROOSTER PECKS WITH ITS HEAD Part 3

Lyrics:The opponent goes along with the posture and turns over to end up behind me.I use CROUCHING TIGER POSTURE as before to follow his changes.The posture is now facing to the west. My right hand is holding my sword, the tip pointing diagonally upward, my left hand assisting at my right wrist. My feet are together. This is the third movement of GOLDEN ROOSTER PECKS WITH ITS HEAD. (Techniques that follow from it for each of the three levels could be: high PROPITIOUS CLOUDS CARRY THE SUN, middle CROUCHING TIGER POSTURE, low NIGHT DEMON SEARCHES THE SEA.) If an opponent attacks from the left rear, I then withdraw my right leg a half step to the west, turning around and making the CROUCHING TIGER POSTURE to await him. Note: GOLDEN ROOSTER PECKS WITH ITS HEAD [Parts 1&2] can be performed continuously three times, switching to a static posture with the last one.POSTURE 26: CROUCHING TIGER POSTURE

Lyrics:The opponent attacks with a stab to my chest.I use YELLOW DRAGON SWINGS ITS TAIL to prop and roll.The posture is now facing to the southeast. It is the same as in Posture 4, but in this photo the grasping of the sword is more noticeable. (Techniques that follow from it for each of the three levels could be: high WHITE HORSE PARTS ITS MANE, middle YELLOW DRAGON SWINGS ITS TAIL, low FLOCK OF GEESE GOING OVER THE SEA.) If the opponent attacks with a level stab, my right leg steps forward into a bow stance as I bring my sword across to do a checking technique to the inside of his wrist. This posture is as in the photo below:POSTURE 27: YELLOW DRAGON SWINGS ITS TAIL Part 1

Lyrics:The opponent attacks high.I counter with YELLOW DRAGON SWINGS ITS TAIL to prop and carry.The posture is now facing to the southeast. My right hand is holding my sword, the tip hanging diagonally forward and downward, my left hand assisting at my right wrist. My left [right] leg is forward making a bow stance. This is the first movement of YELLOW DRAGON SWINGS ITS TAIL. (Techniques that follow from it for each of the three levels could be: high YELLOW DRAGON SWINGS ITS TAIL, middle SWORD STABS THE LENGTH OF A MILE, low NIGHT DEMON SEARCHES THE SEA.) If the opponent does a high sweeping technique to my face, I revolve my sword into a rolling technique to catch his wrist (If it is higher, I use a propping technique, or if lower, a carrying technique.), my left hand assisting at my right wrist, while lifting my right leg. This posture is as in the photo below:POSTURE 28: YELLOW DRAGON SWINGS ITS TAIL Part 2

Lyrics:The opponent attacks with a low stab.I use YELLOW DRAGON SWINGS ITS TAIL to hook and then return a stab.The posture is now facing to the southeast. My right hand is propping with my sword horizontally, the tip pointing forward, my left hand assisting at my right wrist. My left leg is standing straight behind, right leg lifted. This is the second movement of YELLOW DRAGON SWINGS ITS TAIL. (Techniques that follow from it for each of the three levels could be: high MAGPIES FLY INTO THE SKY, middle YELLOW DRAGON SWINGS ITS TAIL, low FLOWER HIDDEN UNDER THE LEAF.) If the opponent attacks with a low stab, I lean my torso and send my sword downward with a hooking smearing technique to his wrist. Then my right leg lunges forward into a bow stance while I shoot out my sword with a stab to his knee, my left hand as a swordsmans hex placed in front of my headtop. This posture is as in the photo below:POSTURE 29: YELLOW DRAGON SWINGS ITS TAIL Part 3

Lyrics:The opponent attacks with a stab to my face.I use YELLOW DRAGON SWINGS ITS TAIL to lift up under his wrist.The posture is now facing to the southeast. My right hand is sending my sword forward and downward with a stab, the edges up and down. My left hand as a swordsmans hex is placed in front of my headtop. My right leg is forward making a bow stance. This is the third movement of YELLOW DRAGON SWINGS ITS TAIL. (Techniques that follow from it for each of the three levels could be: high YELLOW DRAGON SWINGS ITS TAIL, middle RUNNING HORSE LOOKS BEHIND, low RETREAT, SPARKING THE GOLDEN FURNACE.) If the opponent attacks with a stab to my head, my torso goes along with my sword as it goes upward with a hanging technique lifting to his wrist, while my left hand as a swordsmans hex makes a circle from above to below to again be placed in front of my head, my left leg bending to the west to make a reverse bow stance. This posture is as in the photo below:POSTURE 30: YELLOW DRAGON SWINGS ITS TAIL Part 4

Lyrics:The opponent attacks with a stab to my waist.I use YELLOW DRAGON SWINGS ITS TAIL to prop and lift.The posture is now facing to the east, torso inclining to the northwest. My right hand is holding my sword, the tip pointing diagonally upward. My left hand as a swordsmans hex is in front of my head. My left leg is in front [behind] making a reverse bow stance. This is the fourth movement of YELLOW DRAGON SWINGS ITS TAIL. (Techniques that follow from it for each of the three levels could be: high WIND TUGS AT THE ROBE, middle YELLOW DRAGON SWINGS ITS TAIL, low TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER.) If the opponent attacks with a stab to my waist, I withdraw my sword with a sweeping action to his wrist, embracing my sword in front of my chest while lifting my right leg. This posture is as in the photo below:POSTURE 31: YELLOW DRAGON SWINGS ITS TAIL Part 5

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

Lyrics:The opponent attacks with a stab to my chest.I use YELLOW DRAGON SWINGS ITS TAIL to prop leading into rolling.The posture is now facing to the northeast. My right hand is holding my sword, the tip hanging down toward the right. My right leg is forward making a pointed stance. My left hand as a swordsmans hex is placed in front of my head. This is TAO YUANMING PLUCKS A CHRYSANTHEMUM. (Techniques that follow from it for each of the three levels could be: high CONTINUOUS SWORD, middle WHITE HORSE PARTS ITS MANE, low YELLOW DRAGON SWINGS ITS TAIL.) If the opponent attacks with a stab to my chest, my torso goes along with my sword as it goes forward and across with a rolling technique to his wrist. My right leg steps forward into a bow stance and I use my sword to prop and roll as the posture lifts into place, my left hand assisting at my right wrist. This posture is the same as in Posture 27.POSTURE 33: YELLOW DRAGON SWINGS ITS TAIL Part 1POSTURE 34: YELLOW DRAGON SWINGS ITS TAIL Part 2POSTURE 35: YELLOW DRAGON SWINGS ITS TAIL Part 3POSTURE 36: YELLOW DRAGON SWINGS ITS TAIL Part 4POSTURE 37: YELLOW DRAGON SWINGS ITS TAIL Part 5The above five postures are the same as before, therefore there are no photos for them here. Previously they moved to the southeast and now they are moving to the northeast. The orientation is different but the movement is the same. Because this is the original structure of this sword set, it would not be appropriate to trim away these repeated postures.POSTURE 38: TAO YUANMING PLUCKS A CHRYSANTHEMUMLyrics:The opponent attacks with a stab to my face.I use TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER, which is wondrous without compare.The posture is now facing to the northeast. The posture is as described before and so the description is not repeated here. (Techniques that follow from it for each of the three levels could be: high GAZING UPON BEAUTIFUL CLOUDS, middle WHITE HORSE PARTS ITS MANE, low TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER.) If the opponent attacks with a stab to my face, I send my sword upward with a propping technique to his wrist. This posture is as in the photo below:POSTURE 39: TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER Part 1

Lyrics:If the opponent retreats away,I use TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER to chase him with propping and sweeping.The posture is now facing to the east. My right hand, palm outward, is sending my sword upward with a propping technique to the opponents wrist, My left hand as a swordsmans hex is placed in front of my face. My right leg is forward, again making a pointed stance. This is the first movement of TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER. When practicing the posture, there can be a slight pause, but when applying it, [it continues right into the next:] My torso goes along with my sword as it goes forward and upward to prop. At the same time, my left leg advances with a jumping step [coming down with my right leg advancing beyond it into a low stance] so I can sweep with my sword to catch his lower body. This posture is as in the photo below:POSTURE 40: TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER Part 2

Lyrics:The opponent attacks with a low stab.I use NIGHT DEMON SEARCHES THE SEA to block downward.The posture is now facing to the east, torso squared to the north. My right hand is holding my sword, embraced in front of my hips, the tip pointing to the north [east], my left hand assisting at my right wrist. My right leg is forward making a spreading stance. This is the second movement of TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER. (Techniques that follow from it for each of the three levels could be: high TAKING THE SWORD ACROSS TO CHECK HIS WRIST, middle CONTINUOUS SWORD, low NIGHT DEMON SEARCHES THE SEA.) If the opponent attacks with a stab to my leg, my body goes along with my sword as it rises and reaches downward with a checking technique to his wrist. This posture is as in the photo below:POSTURE 41: NIGHT DEMON SEARCHES THE SEA

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

Lyrics:The opponent attacks with a stab to my chest.I use QUICK CAT CATCHES THE MOUSE to skillfully tap to his head.The posture is now facing to the east. My right hand is sending my sword upward with a checking technique to the opponents wrist, my left hand assisting at my right wrist. My right leg is forward making a pointed stance. This is GAZING UPON BEAUTIFUL CLOUDS. Although the names are different, it is actually the same thing as TAKING THE SWORD ACROSS TO CHECK HIS WRIST. (Techniques that follow from it for each of the three levels could be: high WHITE CRANE SHOWS ITS WINGS, middle PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON, low QUICK CAT CATCHES THE MOUSE.) If the opponent attacks with a stab to my chest, I send my sword downward with an outward hanging technique to his wrist while my right leg withdraws with a jumping step, my sword circling from below and turning over upward to tap on top of his head or wrist. My left leg is pointing to the east making a pointed stance. This posture is as in the photo below:POSTURE 43: QUICK CAT CATCHES THE MOUSE

Lyrics:The opponent attacks with a stab to my face.I use MAGPIES FLY INTO THE SKY to prop under his wrist.The posture is now facing to the east. My right hand is holding my sword, the tip pointing downward with a level tapping technique. My left hand as a swordsmans hex is placed in front of my headtop. My left leg is forward making a pointed stance. This is QUICK CAT CATCHES THE MOUSE. (Techniques that follow from it for each of the three levels could be: high MAGPIES FLY INTO THE SKY, middle VINES CLIMBING THE WALL, low CONTINUOUS SWORD.) If the opponent attacks with a stab to my face, I retreat my left leg into a bow stance while using my sword to do a propping technique to his wrist. This posture is as in the photo below:POSTURE 44: MAGPIES FLY INTO THE SKY

Lyrics:The opponent attacks with a stab to my chest.I use MENG HAORAN PLUCKS A PLUM to do a hooking technique to the outside of his wrist.The posture is now facing to the east. My right hand is holding my sword, the tip pointing forward, my left hand assisting at my right wrist. My right leg is forward making a bow stance. This is MAGPIES FLY INTO THE SKY. (Techniques that follow from it for each of the three levels could be: high CONTINUOUS SWORD, middle MENG HAORAN PLUCKS A PLUM, low RUNNING HORSE LOOKS BEHIND.) If the opponent attacks with a stab to my chest, my right leg withdraws so my left leg is forward making a pointed stance while I turn over my wrist to do a hooking technique to the outside of his wrist. This posture is as in the photo below:POSTURE 45: MENG HAORAN PLUCKS A PLUM

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

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

Lyrics:The opponent attacks with a stab to my right shoulder.I use INSERTING A STICK OF INCENSE INTO LEVEL GROUND to lift under his wrist.The posture is now facing to the east, torso squared to the north. My right hand is holding my sword, stabbing level. My left hand as a swordsmans hex is placed in front of my headtop. My legs are making a horse-riding stance. This is the second movement of SWORD STABS THE LENGTH OF A MILE. (Techniques that follow from it for each of the three levels could be: high INSERTING A STICK OF INCENSE INTO LEVEL GROUND, middle VINES CLIMBING THE WALL, low QUICK CAT CATCHES THE MOUSE.) If the opponent attacks with a stab to my shoulder, my left foot moves to stand next to my right foot, my sword going upward with a lifting technique. This posture is as in the photo below:POSTURE 48: INSERTING A STICK OF INCENSE INTO LEVEL GROUND

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

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

Lyrics:The opponent attacks with a stab to my right shoulder.I use COVER IN FRONT & BLOCK BEHIND to retreat.The posture is now facing to the northeast. My right hand is holding my sword, stabbing level, my left hand assisting at my right wrist. My right leg is forward making a bow stance. This is the first movement of COVER IN FRONT & BLOCK BEHIND. (Techniques that follow from it for each of the three levels could be: high WIND TUGS AT THE ROBE, middle COVER IN FRONT & BLOCK BEHIND, low YELLOW DRAGON SWINGS ITS TAIL.) If an opponent attacks from behind with a stab to my left leg, my left leg withdraws to the left rear [right rear] while my body turns around [to the left] and I go to the southeast with a stab to his wrist, my left hand assisting at my right wrist, my left leg forward making a bow stance. This posture is as in the photo below:POSTURE 51: COVER IN FRONT & BLOCK BEHIND Part 2

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

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

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

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

Lyrics:The opponent attacks with a stab to my right shoulder.I use CONTINUOUS SWORD to follow through upward and forward.The posture is now facing to the southwest. My right hand is sending my sword upward and slightly diagonally with a propping technique. My left hand as a swordsmans hex is placed in front of my headtop. My right leg is in front, left leg behind it, making a stealth stance. This is the first movement of CONTINUOUS SWORD. (Techniques that follow from it for each of the three levels could be: high ADVANCE, CONTINUOUS SWORD, middle MENG HAORAN PLUCKS A PLUM, low RETREAT, CONTINUOUS SWORD.) If the opponent attacks with a stab to my right shoulder, my right leg advances across to the west, my left leg again stepping past it into a stealth stance. At the same time, I send my sword in a circle so it goes up from below in a reverse-grip propping technique to his wrist. This posture is as in the photo below:POSTURE 56: CONTINUOUS SWORD Part 2

Lyrics:The opponent attacks with a low stab.I use CONTINUOUS SWORD to check to the outside of his wrist.The posture is now facing to the southwest. My right hand is sending my sword upward with a reverse-grip propping technique. My left hand as a swordsmans hex is placed in front of my headtop. My right leg is in front, left leg behind it, making a stealth stance. This is the second movement of CONTINUOUS SWORD. If the opponent attacks with a stab to my leg, my left leg withdraws and my right leg lifts. At the same time, I withdraw my sword and send it down from above with a tapping technique to his wrist. This posture is as in the photo below:POSTURE 57: CONTINUOUS SWORD Part 3

Lyrics:The opponent attacks with a stab to my face.I use CONTINUOUS SWORD to again check to the outside of his wrist.The posture is now facing to the northwest. My right hand is sending my sword downward with a reverse tapping technique [i.e. using the upper edge]. My left leg is standing, right leg lifted, torso twisted, making a one-legged stance. My left hand as a swordsmans hex is placed at an angle above my headtop. This is the third movement of CONTINUOUS SWORD. (Techniques that follow from it for each of the three levels could be: high GAZING UPON BEAUTIFUL CLOUDS, middle RETREAT, CONTINUOUS SWORD, low WHITE HORSE PARTS ITS MANE.) If the opponent attacks with a stab to my face, my torso goes along with my sword, turning around to the right while I lower my right leg and step forward with my left leg [then step behind it with my right leg in a brief twisted stance], sending my sword down from above with a checking technique to the outside of his wrist as I turn the rest of the way around and make a horse-riding stance. This posture is as in the photo below:POSTURE 58: CONTINUOUS SWORD Part 4

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

Lyrics:The opponent attacks with a stab to my right ribs.I use PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON to follow with a hooking technique.The posture is now facing to the southwest. My right hand is sending my sword forward with a propping technique. My left hand as a swordsmans hex supports to the left side of my chest. My left leg is lifted, right leg standing straight. This is the first movement of PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON. If the opponent counters with a stab to my right ribs, I turn over my wrist, sending my sword downward with a hooking technique to his wrist while my left leg comes down and my right leg lifts. This posture is as in the photo below:POSTURE 60: PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part 2

Lyrics:The opponent attacks with a stab to my left ribs.I use PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON to chase with hooking and stabbing.The posture is now facing to the southwest. My right hand is sending my sword forward with a hooking technique, my left hand assisting at my right wrist. My left leg is standing straight, right leg lifted. This is the second movement of PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON. If the opponent counters with a stab to my chest, my right leg comes down forward into a bow stance as my sword stabs forward to his left ribs. This posture is as in the photo below:POSTURE 61: PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part 3

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

Lyrics:The opponent attacks with a stab to my waist.I use RUNNING HORSE LOOKS BEHIND to stab and hook.The posture is now facing to the southeast. My right hand is sending my sword downward with a rolling technique to the opponents wrist. My left hand as a swordsmans hex supports in front of my chest. My right leg is forward making a twisted stance. This is the first movement of RUNNING HORSE LOOKS BEHIND. (Techniques that follow from it for each of the three levels could be: high GAZING UPON BEAUTIFUL CLOUDS, middle ADVANCE, CONTINUOUS SWORD, low RUNNING HORSE LOOKS BEHIND.) If the opponent attacks with a stab to my waist, I lift my left leg and step [around my right leg] to the forward right to make a twisted stance, using my sword to do a hooking technique to his wrist. He stabs again, so I step down diagonally [forward with my right leg into a bow stance], stabbing to his ribs. This posture is the same as PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part 3.POSTURE 63: RUNNING HORSE LOOKS BEHIND Part 2Lyrics:The opponent attacks with a stab to my face.I use THREE STOPPINGS POSTURE to lift under his wrist.The posture is the same as in PLUCK AWAY THE STARS & REPLACE THEM WITH THE MOON Part 3, and so the description is not repeated. (Techniques that follow from it for each of the three levels could be: high NOBLEMAN HANGS UP HIS SEAL, middle THREE STOPPINGS POSTURE, low WHITE HORSE PARTS ITS MANE.) If the opponent attacks with a stab to my face, I turn my body to the left, sending my sword upward with a lifting technique under his wrist, while my left leg withdraws to make a pointed stance [foot slightly lifted]. This posture is as in the photo below:POSTURE 64: THREE STOPPINGS POSTURE Part 1

Lyrics:If the opponent wants to attack with a propping technique under my wrist.I use THREE STOPPINGS POSTURE to tap downward.The posture is now facing to the [south, torso squared to the] east. My right hand is holding my sword, the tip pointing straight up. My left hand as a swordsmans hex is extended at shoulder level. My left leg is forward making a pointed stance. This is the third movement of THREE STOPPINGS POSTURE. (Techniques that follow from it for each of the three levels could be: high POWERFUL CHOP THROUGH MT. HUA, middle THREE STOPPINGS POSTURE, low GOLDEN PETALS FALL TO THE GROUND.) If the opponent attacks with a propping technique to my wrist, I step forward with my left leg while following the momentum downward with a tapping technique to his wrist. This posture is as in the photo below:POSTURE 65: THREE STOPPINGS POSTURE Part 2

Lyrics:The opponent attacks with a stab to my right shoulder.I use THREE STOPPINGS POSTURE to lift under his wrist.The posture is now facing to the [south, torso squared to the] east. My right hand is sending my sword downward with a tapping technique. My left hand as a swordsmans hex taps downward in unison with my sword. My left leg has come down forward and my right leg has lifted with the action. This is the second movement of THREE STOPPINGS POSTURE. If the opponent attacks with a stab to my right shoulder, I send my sword upward with a lifting technique under his wrist, my right foot coming down forward to be next to my left foot. This posture is as in the photo below:POSTURE 66: THREE STOPPINGS POSTURE Part 3

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

Lyrics:The opponent returns a stab to my left shoulder.I use WHITE HORSE PARTS ITS MANE to turn over with a follow-through step.The posture is now facing to the northeast. My right hand is sending my sword diagonally downward with a stabbing technique, the tip pointing slightly downward, my left hand assisting at my right wrist. My left leg is in front, right leg behind, making a stealth stance. This is the first movement of WHITE HORSE PARTS ITS MANE. (Techniques that follow from it for each of the three levels could be: high WHITE HORSE PARTS ITS MANE, middle NOBLEMAN HANGS UP HIS SEAL, low YELLOW DRAGON SWINGS ITS TAIL.) If the opponent counters with a stab to my left shoulder, my torso goes along with my sword, turning around [to the right] to be squared to the north for it to press out with a checking technique to his wrist. At the same time, my legs are making a horse-riding stance. This posture is as in the photo below:POSTURE 68: WHITE HORSE PARTS ITS MANE Part 2

Lyrics:The opponent chases with a low attack.I use QUICKEN THE HORSE WITH MORE WHIPPING to block downward.The posture is now facing to the northeast. My right hand is holding my sword, the tip pointing upward. My left hand as a swordsmans hex is placed in front of my headtop. My legs are making a horse-riding stance. This is the second movement of WHITE HORSE PARTS ITS MANE. Although the name is different, it is actually the same as CONTINUOUS SWORD Part 4. (Techniques that follow from it for each of the three levels could be: high GAZING UPON BEAUTIFUL CLOUDS, middle IMMORTAL POINTS THE WAY, low QUICKEN THE HORSE WITH MORE WHIPPING.) If the opponent attacks with a stab to my thigh, my right leg jumps away to the west and my left leg then goes forward [behind] to make a [reverse] bow stance. At the same time, I send my sword downward with another checking technique to his wrist. This posture is as in the photo below:POSTURE 69: QUICKEN THE HORSE WITH MORE WHIPPING

Lyrics:The opponent attacks with a stab to my left shoulder.I use FLOCK OF GEESE GOING OVER THE SEA to hook, smear, and block.The posture is now facing to the east, torso squared to the north. My right hand is sending my sword downward with a blocking technique. My left hand as a swordsmans hex is placed in front of my headtop. My left leg is forward [behind], right leg behind [forward], making a [reverse] bow stance. This is QUICKEN THE HORSE WITH MORE WHIPPING. (Techniques that follow from it for each of the three levels could be: high WHITE CRANE SHOWS ITS WINGS, middle TAKING THE SWORD ACROSS TO CHECK HIS WRIST, low FLOCK OF GEESE GOING OVER THE SEA.) If the opponent attacks with a stab to my left shoulder, my torso goes along with my sword as it turns around to the west with a propping technique to his wrist. He stabs again, so I use a hooking technique. If at the same time, an opponent behind me attacks with a stab to my back, I turn my torso to the east to catch his wrist with a rolling technique. If the opponent to the west again attacks with a stab, I again turn to face him, going across with a checking technique to his wrist. As I turn to and fro, my legs are making [reverse] bow stances. Back and forth, my sword has performed four actions: prop, hook, roll, block. This is a method of responding to more than one opponent. While these four actions are being wielded, my left hand is behind me, formed as a hook hand. (After blocking, I will retract my sword, embracing it in front of my chest, my left leg withdrawing to make a pointed stance.) This posture is as in the photo below:POSTURE 70: FLOCK OF GEESE GOING OVER THE SEA

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

Lyrics:The opponent chops down from above.I use WINGED SERPENT FLICKS ITS TONGUE to send my sword upward.The posture is now facing to the west. My right hand is sending my sword forward with