YANG STYLE TAIJI SABER

Posted on November 30, 2012

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PART EIGHT of Tai j i Compi led: The Boxi ng, Saber , Swor d, Pole, and Sparr i ng

by Chen Yanlin
[published June, 1943]
[translation by Paul Brennan, Nov, 2012]
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TAIJI SABER

Taiji Saber is also called Thirteen Dynamics Saber [Shisan Shi Dao], having thirteen techniques: cleaving,
hacking, scratching, pushing, shaving, raising, stabbing, rolling, chopping, coiling, fanning, blocking, and sliding.
It is one of the earlier weapon sets to become a famous part of the Yang familys Taiji boxing art. There are not
many postures for the saber, but they are all practical, and in neutralizing and counterattacking an opponent it is
especially ingenious, causing him to be unable to figure out what you are doing.
Tradition has it that Yang Jianhou had a bout with a famous man called Magic Saber Zhang in which Yang used
only a horsetail duster in place of a saber. Zhang advanced not even one step before his saber had been adhered
to, and so he had no chance to carry out even a single saber technique. From this it can be seen how profound the
Yang familys Taiji Saber is.
Alas, those who nowadays have obtained the true transmission are so rare, it resembles the way the Guangling
Melody is considered a masterpiece [because it is hard to find someone who can perform it well]. I am unwilling
to hold anything back, and so I present this sabers training method and methods of application through thorough
explanations, with which to supply aficionados so they may learn by the experience of others.
When either practicing or applying the Taiji Saber, always use your hips as the central pivot directing
movement. The sabers advancing and retreating is coordinated with your hips. Using a saber is just like using
your hand. Whether going up or down, forward or back, your whole body is to work as a single unit, and during
the exercise there must not be the slightest break in the flow. You especially should use no effort to wield the saber
(such as your arm using clumsy strength to make the saber move), and so you should dread using clumsy strength
(also known as stupid strength), which will seal your internal power into your bones, unable to express
outwardly, and then you will have the error of moving awkwardly. You must use the saber to draw forth your own
internal power, causing the power within your whole body, as well as your essence, energy, and spirit, to move
into the saber. It is like quicksilver is filling it, reaching to the tip [when advancing] and gathering in the pommel
[when withdrawing].
For this reason, when the previous generations of the Yang family practiced the Taiji Saber, they had weapons
that were all heavier than five pounds. When they wanted to move such heavy sabers, it drew forth the internal
power in their bodies. If they wielded them using only their hands and not their hips, how could they have done so
with any speed? Therefore when practicing the Taiji Saber, if you are not driven by your hips, you will not be able
Brennan Translation
to move [i.e. If you do not move your hips, you cannot move the saber.]. As for sticking and the rest of the
energies, they are the same here as in the bare-handed exercises, otherwise you will not be able to get your Taiji
Saber to be authentic.

SONG OF POSTURE NAMES FOR TAIJI SABER

[The posture names here employ more poetry whereas those used for the movement descriptions are more
technical. I have here aligned the instructions in the verse with the posture names in the movement descriptions
so that you may refer back and forth with less confusion.]

BIG DIPPER POSTURE in a sitting tiger stance rouses mind and energy.
WHITE CRANE COOLS ITS WINGS involves a subtle retreat.
WIND ROLLS UP THE LOTUS LEAVES conceals under a leaf.
PUSH OPEN THE WINDOW TO GAZE AT THE MOON lengthens your torso.
[postures 1-3 4 5 6]
LOOK LEFT & RIGHT, expanding to both sides.
MAIDEN WORKS THE SHUTTLE deals with all directions.
LION TURNS THE BALL rolls forward.
OPEN THE MOUNTAIN and HUGE PYTHON turns your body around.
[postures 7-9 10 11 12&13]
Going left and right, high and low, the BUTTERFLY LOVES THE FLOWERS.
Turn around, ROLLING and RAISING are like windmills.
DOUBLE KICK, then perform FIGHTING TIGER POSTURE.
MANDARIN DUCK KICK expresses with your body at an angle.
[postures 14-16 17-20 21&22 23&24]
GOING WITH THE CURRENT TO PUSH THE BOAT, use your iron staff like a punting-pole.
Turn around, spread your hands, then LEAP THE DRAGON GATE.
FORCEFUL CHOP THROUGH MT. HUA, then EMBRACE THE SABER.
BIAN HE CARRIES THE STONE, then the PHOENIX RETURNS TO ITS NEST.
[postures 25 26-28 29&30 31&32]

1. BEGINNING POSTURE

1
Your left hand holds the saber, the edge facing forward, the back of the saber touching your left arm. Your right
palm is pressing downward, fingers extended forward. Your feet are spread apart, standing parallel at about
shoulder width. Your head is suspended and your body is upright, eyes looking straight ahead. Your tongue
touches the roof of your mouth and your mouth is closed in terms of both lips and teeth. Breathe through your
nose. Sink your shoulders and drop your elbows. Contain your chest and pluck up your back. Loosen your waist
and hips. Your body is calm and relaxed. Energy gently sinks to your elixir field. Your spirit lifts, passing through
to your headtop. Your whole body loosens. This is entirely like the BEGINNING POSTURE in the boxing set. See
drawing 1:

2. STEP FORWARD WITH THE BIG DIPPER

2
(facing to the Front) [These directions faced are constant compass points Front, Rear, Left, Right regardless of
the changes in direction of your own personal left and right. I will capitalize compass directions to keep them
distinct from personal directions. The directions faced are always in the context of your torso. Here, your torso is
square to the Front.]
Your hands go along with your waist as it moves to the Left [Front], both going outward from in, arcing in
horizontal circles until in front of your chest, the back of the saber touching your left arm, your right hand
grasping into a fist and striking out forward under your left wrist. At the same time, your right foot takes a step
forward, then your left foot advances, using the toes to kick forward with the foot flat. You should forcelessly press
up your headtop, contain your chest and pluck up your back, sink your shoulders and drop your elbows, and
center your tailbone. Your gaze is forward. See drawing 2:

Application:
Your left hand uses your sabers handle to block aside an opponents weapon, and your right fist strikes to his
solar plexus while your left foot kicks to his shin.

Note:
The directions you face to the Front, [Rear,] Left, Right are all according to the Front, Rear, Left, Right of the
BEGINNING POSTURE. [i.e. The compass directions are established based on whatever direction you are facing
in the initial standing posture.]

3. TURN LEFT WITH THE BIG DIPPER

3
(facing to the Left)
As your waist turns to the left, your left foot lowers to the left side. At the same time, your hands spread apart
horizontally to the sides, then once your whole body has turned to the left side, again they join inward in unison,
and your right fist again strikes out forward under your left wrist, the back of the saber touching your left arm. At
the same time, your right foot kicks forward with the foot flat. The rest is the same as in Posture 2. See drawing 3:

Application:
An opponent attacks from the left side, so turn your body to the left, using your sabers handle to block his weapon
aside, and use your right fist to strike to his solar plexus while your right foot kicks to his shin.

4. WHITE CRANE COOLS ITS WINGS

(facing to the Left)

Your right foot withdraws until a half step behind your left foot, comes down and sits full, then your left foot
slightly withdraws, heel lifted, making an empty stance. Your hands are going along with the squatting down of
your hips, left hand going downward, right hand (becoming a palm) going upward, spreading apart in unison, the
back of the saber touching your left arm, making a posture of a white crane cooling its wings. Do not spread your
hands too far apart. You should forcelessly press up your headtop, contain your chest and pluck up your back,
keep your tailbone tucked in, and keep the energy sticking to your spine. Your gaze is forward. See drawing 4 [side
view]:

Application:
Your sabers handle deflects an opponents weapon, and your right palm strikes to his face while your left foot
kicks to his lower body.

5. TURN AROUND, STORE THE SABER

(turning around to the right, then facing to the Left)

Your left foot slightly lifts, and with the ball of your right foot touching the ground, your whole body spins around
to the right, squatting down during the spin. Halfway through the spin (i.e. once you have turned 180 degrees),
your right hand takes hold of the saber handle, the saber edge facing outward, the back of the saber facing inward.
Your body then continues to spin to the right, rising up during the spin, until you are facing the original direction
(continuing from the initial half spin all the way around to make a full spin). Your right leg during the turn
gradually lifts and your right hand pulls the saber horizontally to the right, your left hand touching the back of the
saber. The saber is horizontal with the blade flat below your right knee, your left knee slightly bent. You should
forcelessly press up your headtop, and contain your chest and pluck up your back. Your gaze is forward. See
drawing 5 [side view]:

Application:
First evade [an attack], then use your sabers edge to do a pulling cut to the opponents torso or arm, after which
store your saber in preparation for his next attack. [This storing is unlike the storing in Postures 13, 17, 24, and 27,
and seems to only indicate a slight follow-through from the pulling cut, as is implicit in Postures 19 and 23, but
here your saber does not get pulled back to your hip, only below your knee. Your knee is apparently the leaf in the
songs words of conceals under a leaf.]

6. DIAGONAL PUSH WITH THE SABER

(facing to the Left corner [Left Front])

When your right hand finishes pulling horizontally to the right, the wrist turns over so the blade is upward, and
goes to the left and rear, chopping down from above, while your right foot takes a step out to the right side to
make a diagonal bow stance. The saber goes along with your hips as they go to the right side, going forward and
upward from below with a pushing (or scratching) cut, with your left hand touching the back of the saber. Your
torso is slightly inclining to the right side. This posture is on a diagonal. Do not lean your torso too far forward.
Your tailbone should be centered. Your gaze is to the right side. (The above mentioned right side then continues
forward in the direction of the movement of the previous posture. The direction of each of the postures that follow
can then be reasoned out.) See drawing 6:

Application:
First chop to an opponent attacking from your left and rear, then go forward to the right side with a scratching cut
to another opponents wrist or torso. (After the scratching, you could then coil around and slide along his
weapon.)
[Notice the saber set begins in the manner the boxing set ends. Postures 3-6 are equivalent to this series of
postures in the boxing set: STEP FORWARD WITH THE BIG DIPPER > RETREAT TO SITTING TIGER
POSTURE > TURN AROUND, SWINGING LOTUS KICK > BEND THE BOW TO SHOOT THE TIGER.]

7. LEFT RAISE

7
(facing to the Left)
Your left foot takes a half step forward across to the left (slightly dragging your right foot forward). The saber in
your right hand goes along with your hips as they turn to the left, your left [right] wrist turning over so the saber
edge is upward, and goes from below to above and forward to the left with a raising cut, your left hand spreading
away to the rear. Your legs are making a diagonal bow stance. You should loosen your waist and hips, contain your
chest and suspend your headtop. Your right elbow slightly sinks and should not be too straightened. Your gaze is
to the area above the saber tip. See drawing 7:

Application:
An opponent to your left uses a saber to attack you with a chop, so step across, turning your waist, and use your
sabers edge in a raising (or shaving [see Posture 14]) cut to his wrist. (After shaving, you could then turn your
wrist over and use your sabers edge in a fanning cut [see Posture 15] to his neck.)

8. RIGHT RAISE

8
(facing to the Left)
Your right foot takes a half step forward across to the right (slightly dragging your left foot forward). The saber in
your right hand goes along with your hips as they turn to the right, your right wrist turning over so the saber edge
is again upward, and goes from below to above and forward to the right with a vertical raising cut, your left hand
touching your right wrist. Your legs are making a diagonal bow stance. The rest is the same as in Posture 7. See
drawing 8:

Application:
1. An opponent to your right side uses a saber to attack you with a chop, and so you step across, turning your waist
and use your sabers edge in a raising (or shaving) cut to his wrist.
2. Or continuing from the previous application of raising to the left, after doing the raising cut to the opponent,
dodge to the right while turning over your right wrist, stepping forward and using your sabers edge to scratch
along his belly or arm.

Note:
After RIGHT RAISE, you may step your left foot forward and repeat LEFT RAISE. Then after LEFT RAISE, you
may repeat RIGHT RAISE. When practicing, these postures can be performed two, four, or six times.

9. STRAIGHT PUSH WITH THE SABER

(facing to the Left)

After RIGHT RAISE, your right wrist turns over so the saber edge faces upward. The saber goes along with
your hips as they turn to the left, going to the left and rear, chopping down from above until level with your left
ribs, your right foot slightly shifting forward. Then your left foot steps forward to make a bow stance, and the
saber, edge facing outward, goes along with your left foots advance, both hands (left palm touching the back of
the saber) sending the saber up from below, going forward with a pushing cut. Suspend your headtop and
straighten your tailbone. Do not lean too far forward. Contain your chest and pluck up your back. Your gaze is
forward. See drawing 9:

Application:
1. First chop to an opponent attacking from the left and rear, then turn your torso until it is again facing forward
and block the forward opponents weapon, or perhaps do a pushing cut to his wrist, or a scratching cut to his
abdomen. (After the pushing cut, you could use your saber to coil around and slide along his weapon.)
2. Or continuing from RIGHT RAISE, when the opponent retreats from it, you can take advantage of the moment
by withdrawing your saber and stepping forward to attack his side.

10. MAIDEN WORKS THE SHUTTLE

10
(turning around to the right, then facing to the Right)
Continuing from both hands pushing the saber, the saber goes along with your hips as they turn to the left [right]
and coils around your head to the right, the saber tip pointing downward. At the same time, your right heel
slightly lifts in order to use the sole of the foot as a pivot to turn around to the right, your whole body performing
similarly to the posture of HAWK TURNS OVER, turning around until to the rear, your right hand embracing the
saber at chest level (the saber edge facing upward), your left palm touching the saber pommel. Your left foot
lifting, your hands in unison spread to the sides at shoulder level, similar to SINGLE WHIP in the boxing set (the
saber edge going along with the posture, coiling around to face downward). Your gaze is forward. Forcelessly press
up your headtop, and contain your chest and pluck up your back. Your torso slightly inclines to the right. See
drawing 10:

Application:
Use your saber to protect all the way around against surrounding opponents. Feign defeat, then take them by
surprise as you turn around and stab to the throat or solar plexus of one while striking with your left palm
diagonally to the left side to attack the other.

11. PULL ACROSS

11
(facing to the Right)
As your left foot comes down, the saber tip hangs down, the back of the saber facing upward, and going along with
your hips as they turn to the left, it goes up from below in a diagonal raising action to the left, until level with your
forehead. Turning your right wrist over so the saber tip is pointing to the right, the saber edge facing outward, do
a horizontal pulling cut to the left. [This is not a proper pulling cut. The text here should instead say leading to
the left. It is merely a buildup into the first pulling cut, a subtle curving movement which will manifest naturally if
you are using a very heavy saber. Your hips will instinctively torque to the left in order to slash the saber to the
right.] Step forward with your right foot, turning your right wrist over, and with the saber tip pointing to the left,
the saber edge facing outward, your left hand touching the back of the saber, the saber goes along with your hips
by going forward with a horizontal pulling cut leading away to the right. See drawing 11 [side view]:

When the pulling cut has reached its limit, turn your right wrist over, and with the saber tip pointing to the right,
the saber edge facing outward, step forward with your left foot and do a horizontal pulling cut to the left. After the
pulling cut to the left, step forward with your right foot and do another pulling cut to the right. (You may do this
move three, five, or seven times [the last one, and therefore the first one, on the right side].) Your body is
centered. Keep your tailbone tucked in. Contain your chest and pluck up your back. Your torso should not lean
forward. The energy should not be even slightly interrupted. Your gaze is forward.

Application:
Using the back of your saber, do a raising strike to an opponents wrist. Wait until he retreats in order to
neutralize it, then advance and do a horizontal pulling cut to his torso. If he again neutralizes it, you should follow
up by leading to the right (to do another pulling cut [to the left]).

Note:
The pulling cut contains the rolling intention [i.e. It does not pose with each pull across but instead twines into the
next].

12. DIAGONAL PUSH WITH THE SABER

(facing to the Right)

Continuing from pulling the saber to the right side, your right wrist turns over so the saber edge faces upward, and
the saber, going along with your hips as they turn to the left, goes to the left and rear, chopping down from above
until level with your left ribs, and your right foot slightly lifts and comes down forward. Your left foot then takes a
step forward to the Right corner to make a bow stance, and with your left hand touching the back of the saber, the
saber edge facing outward, the saber goes along with your left foots advance, and using power from your hips to
send it to the Right corner, goes forward and upward from below with a pushing (or scratching) cut. The rest is the
same as in Posture 9 [reverse view].

Application:
Same as in Posture 9.

13. TURN AROUND, COIL AROUND THE HEAD, STORE THE SABER

12
(turning around to the right, then facing to the Left)
Your left sole slightly lifts (heel still touching down) and turns to the right. Your right foot lifts and lowers slightly
to the right side while your whole body turns around to the right rear, the saber going along with the momentum
(the saber edge facing downward) by going downward to the right and pulling back to be beside your right hip,
and your left palm goes from the back of the saber to strike forward and upward. Your front foot slightly empties
[i.e. your weight slightly shifts back], your right wrist turning over so the blade is facing upward, and the saber
goes along with the turning of your hips, lifting until beside the right side of your forehead. It coils around your
head to the left (the saber edge facing outward, your left palm withdrawing) until level with your left shoulder,
then again goes downward to the right, and pulls back to be beside your right hip [while your weight again shifts
forward,] as your left palm goes from the back of the saber to again strike forward and upward. You should
forcelessly press up your headtop, contain your chest and pluck up your back, loosen your waist and hips, keep the
posture natural, and keep your tailbone tucked in. Your gaze is forward. See drawing 12:

Application:
First turn around, blocking aside an opponents weapon, and strike to his face with your left hand. Then coil your
saber around your head to send it downward from above with a diagonal pulling cut to his wrist or torso, and your
left hand can strike, grab, or pull. After storing your saber, calmly watch for how he will move, then you may
advance a step and attack.

14. LEFT SHAVE

13
(facing to the Left)
Your left foot lifts and takes a step forward diagonally to the left side, your right wrist turning over so the saber
edge is facing to the left, and the saber goes along with your hips by going upward to the left with a horizontal
shaving cut. At the same time, your left hand touches on top of your right pulse area. Your legs are making a
sideways bow stance. Suspend your headtop and center your tailbone. Your upper body should not lean too far
forward. Do not let your internal power be even slightly interrupted. Do not raise the saber beyond nose level.
Your gaze is forward. See drawing 13:

Application:
When an opponent attacks with a chop, use your sabers edge to do a horizontal shaving cut to his wrist.

15. RIGHT FAN

14
(facing to the Left)
Your right foot lifts and takes a step forward diagonally to the right side, your right wrist turning over so the saber
edge is facing to the right, and with your right leg bending, left leg straightening, torso squatting down, the saber
goes along with your hips to do a fanning chop downward to the right, while your left hand spreads away
horizontally to the rear. You should suspend your headtop and center your tailbone, keep your internal power
from being interrupted, contain your chest and pluck up your back, sink your shoulders and drop your elbows,
and loosen your whole body. Your gaze is forward. See drawing 14:

Application:
Continuing from LEFT SHAVE, if the opponent evades to the rear, take advantage of the moment by stepping
forward and doing a fanning chop to his lower body.

Note:
After RIGHT FAN, you may again step forward with your left foot and perform LEFT SHAVE, then after LEFT
SHAVE, again perform RIGHT FAN, so that each posture can be practiced three times.

16. STRAIGHT PUSH WITH THE SABER

(facing to the Left)

After RIGHT FAN, do STRAIGHT PUSH WITH THE SABER, same as in Posture 9.

17. TURN AROUND, STORE THE SABER

(turning around to the right, then facing to the Right)

Your left sole slightly lifts (heel still touching down) and turns to the right. Your right foot lifts and lowers slightly
to the right side while your whole body turns around to the right rear, the saber going along with the momentum
(the saber edge facing downward) by going downward to the right and pulling back to be beside your right hip,
your left palm going from the back of the saber to strike forward and upward. Your front foot will slightly empty
[to initiate the following posture]. The rest of the details are the same as in Posture 13, except it is not necessary
here to coil around your head and do a pulling cut.

Application:
Same as in Posture 13 [but with the reverse of drawing 12, as in drawing 18].

18. RAISE THE SABER

15
(facing to the Right)
Step forward with your left foot, turning your right wrist over so the saber edge is facing upward, and going along
with the advancing of your hips, go up from below with a vertical raising cut until at chest level, your left hand
touching your right pulse area. Your legs are making a bow stance. Forcelessly press up your headtop. Contain
your chest and pluck up your back. Loosen your waist and hips. Your torso should not lean forward. Your gaze is
forward. See drawing 15:

Application:
Use your sabers edge in a raising cut to an opponents wrist or torso.

19. ROLL THE SABER

16
(facing to the Right)
Step forward with your right foot, the saber going along with the advancing of your hips, your right wrist turning
over, the saber arcing to the rear until level with the right side of your forehead, then going forward with a vertical
hacking cut (the saber edge facing downward) until at chest level. It then goes to the right rear with a diagonal
pulling cut until beside your right hip, your left palm going from the back of the saber to strike forward and
upward. The rest is the same as in Posture 13, except it is not necessary here to coil around your head and do a
pulling cut. See drawing 16:

Application:
The opponent dodges back [from your raising cut]. First make it appear you will allow him to back off, then come
forward with a hacking cut and lead back with a pulling cut to his wrist or torso, and your left hand can either
strike, grab, or pull.

20. RAISE THE SABER

(facing to the Right)

The back of the saber faces upward, then goes along with the posture upward and to the rear with a twining
action, turning your right wrist over so the saber edge is facing outward, and it goes up from below, going forward
with a vertical raising cut until at chest level, your left hand touching your right pulse area. The rest is the same as
in Posture 18.

Application:
First use the back of your saber to do a raising deflection to an opponents weapon, then use your sabers edge to
do a vertical raising cut to his wrist or torso.
[(Note:) There is no description here of Postures 19 & 20 repeating, but with the options of repeating the
movements of Postures 7 & 8 to the Left, 11 to the Right, and 14 & 15 to the Left, should not Postures 19 & 20 also
have optional repeats to the Left? If you elect to do the repeat option for Postures 7 & 8, 11, and 14 & 15, you will
not be able to finish the set where you started unless you also repeat Postures 19 & 20 equivalent to the repeating
in Posture 11.]

21. DOUBLE KICK

(facing to the Right corner [Right Rear])

Your right hand switches the saber to your left hand, the back of the saber touching your left arm, and your left
foot goes along with the rising of your body to do a high kick to the Right corner using the toes. Your right foot
waits until your left foot is about to lower, then also does a toe kick to the Right corner, your right palm slapping
the back of your right foot. Your body is upright, headtop suspended. The toes [of each foot] are pointing forward.
Your breathing is natural. [This is the only place this advice is mentioned throughout these saber instructions, and
is very appropriate here because this jumpy movement has added vigor and thus comes with more of a temptation
for you to counterproductively hold your breath.] Your gaze is forward.

Application:
Your left foot does a feint to lure an opponent into disarray, then your right foot takes advantage of his hesitation
by kicking to his solar plexus or under his chin.

22. WITHDRAW A STEP, FIGHTING TIGER POSTURE

17
(facing to the Right)
Your left foot goes along with the lowering of your right foot by withdrawing a half step diagonally to the Left. At
the same time, your hips turn to the left, and your hands go along with their turning by going to the left and
sinking down until close beside your left hip, then rising until beside the left side of your forehead. They then turn
to the right until beside the right side of your forehead, and again turn to the left (your left hand holding the saber
crosswise, level with your left ear), your right hand gradually grasping into a fist and striking crosswise to the left
until level with your left ribs. Your legs are making a diagonal bow stance. Your gaze is to the Right corner.
Forcelessly press up your headtop, contain your chest and pluck up your back, center your tailbone, and loosen
your waist and hips. See drawing 17:

Application:
Withdraw a step to feign defeat, evading an opponents attack, while above blocking his weapon with your sabers
handle, in the middle using your fist to strike, and below you may use your right foot to kick him.

23. MANDARIN DUCK KICK

5

(facing to the Right corner [Right Rear])

Your right hand takes the saber, your torso rises up, your right leg lifts (so your thigh is flat, knee bent, foot
hanging), and using the back of the saber, pull to the right, past your right knee. (It is similar to drawing 5.)
Your right foot comes down to make an empty step, the saber doing a pulling cut until to the right side, then
your right wrist turns over so the saber edge is facing upward, and the saber goes along with the turning of your
hips, rising up until beside the right side of your forehead. It continues to the left and coils around your head (the
saber edge facing outward, your left palm withdrawing) until level with your left shoulder, then goes to the right
and downward to the rear with a pulling cut until beside your right hip. At the same time, your left palm goes from
the back of the saber and strikes out forward and upward. [It is similar to drawing 16, but with the weight on your
back leg.]
Your right hand sends the saber across to be beside your left ribs, the back of the saber facing inward, the saber
tip doing a horizontal stab to the left rear (barring across your waist). At the same time, your left hand lifts and
goes across to the right to be in front of your forehead as your right foot lifts and uses the bottom of the foot to do
a pressing kick forward to the right corner. You should clearly distinguish between empty and full, your tailbone
should be centered, and spirit should penetrate to your headtop.

Application:
Your right foot lifts to evade an opponents weapon. At the same time, use your sabers edge to do a pulling cut to
his wrist or torso. If he dodges this, then take advantage of the moment to go to the left [around your head] and
cleave diagonally forward, which then becomes [retracts as] a pulling cut to his wrist or torso. If he again dodges
and then uses his weapon to attack, take advantage of the moment by using your left hand to grab his wrist while
using your saber to stab across or do a blocking strike to his torso, and if he now retreats, follow up by using your
right foot to do a pressing kick.

24. TURN AROUND, COILING AROUND THE HEAD, STORE THE SABER

18
(turning around to the right, then facing to the Right [Right Rear])
Your right foot withdraws and comes down, toes pointing to the right side, and the saber, going along with
your hips as they turn to the right, goes downward to the right with a horizontal pulling cut until beside your right
hip, your left hand spreading away to the left side. [It is similar to drawing 11.]
Your left foot slightly shifts forward a half step to the right, the saber [follows through from the pulling cut into
a sweeping cut behind you, then] lifts until beside the right side of your forehead, coils around your head to the
left until level with your right [left] shoulder, (the saber edge facing outward, your left palm withdrawing), your
whole body spinning around to the right. As your right foot takes a step forward to the right corner to make a bow
stance (You are facing to the Right corner to make the posture diagonal.), the saber again goes downward to the
right and pulls back to be beside your right hip, your left palm going from the back of the saber to strike forward
and upward. The turning of your body should nimble. The saber edge and the back of the saber should be distinct.
Your torso should not lean forward. Your tailbone should be centered. Contain your chest and pluck up your back.
Your gaze is forward. See drawing 18:

Application:
Do a pulling cut to the opponents wrist or torso, turn around, sweeping across with a pulling cut to an opponent
attacking from behind, and coil around your head to block aside his [the forward opponents] weapon, then do a
diagonal pulling cut to his wrist or torso, and your left hand can either strike, grab, or pull. After storing your
saber, you may feign defeat or calmly watch for how he will move, then take your chance to attack.

25. GOING WITH THE CURRENT TO PUSH THE BOAT

19
(facing to the Left)
Your left hand, going along with your hips as they turn to the left, spreads away upward to the left, and with your
right wrist turning over so the saber edge is upward, the saber goes along with your right foot as it takes a step
forward, going up from below and forward with a vertical cut until at nose level, your left hand spreading away to
the rear at shoulder level. Your legs are making a bow stance. See drawing 19:
20
Turning your torso to the left, the saber goes along with the turning of your hips by going to the left and rear with
a chop until level with your left ribs. See drawing 20:

The weight is shifted to your left leg, your left hand is placed at your left elbow, and your gaze is to the rear.
Step your left foot forward, and with the saber edge facing outward, the saber goes along with your left foots
advance, your left palm touching the back of the saber, going up from below and forward with a vertical pushing
cut. Your legs are making a bow stance. (It is like Posture 9.)
Turning your torso to the right, the saber goes along with the turning of your hips by going to the right and rear
with a chop until level with your right ribs, the weight shifting to your right leg, your left hand spreading away
forward at shoulder level, your gaze to the rear. [It is somewhat similar to drawing 14, and with a reverse view.]
Step forward with your right foot and again do the vertical raising cut. After the raising, do the chop to the left
rear. After the chop, again do the forward pushing cut.
Then after the pushing cut, you may again do the chop to the right rear, and after the chop, again do the raise,
and after the raise, again do the chop to the left rear, and after the chop, again do the push Regardless of how
many times the above movements are done, they must conclude with the pushing cut.
Your whole body must be nimble. Your upper body and lower act as one, hand going along with saber, saber
going along with your hips. In advancing and retreating, their movements are to be unified. In the turning and
coiling of your waist, seek to be fully rounded. Additionally, forcelessly press up your headtop, contain your chest
and pluck up your back, and center your tailbone. Your gaze is concentrated and must be upon the target.

Application:
Step forward and do a raising cut to an opponents wrist or torso, then go to the left rear with a chop to an
opponent attacking from behind, then step forward lifting your saber into a pushing cut to the opponent in front
of you, and lead into a chop to the right rear for the opponent behind. This posture covers your whole body while
you perform an advancing attack.

26. TURN AROUND, STORE THE SABER

Same as in Posture 17.

27. STEP FORWARD, RAISE THE SABER

Same as in Posture 18.

28. HOP & HACK

21

(facing to the Right)

The saber, going along with your hips as they turn to the right, lowers until level with the right side of your waist
and withdraws until beside your right hip. At the same time, your left hand spreads away forward, and your right
foot lifts and takes a crosswise half step forward. Your left foot goes along with the momentum, taking a full step
forward, and the saber goes along with the advancing step and the squatting of your body by going forward and
downward with a vertical hacking cut until level with your left knee, your left hand placed on top of your right
wrist. Your legs are making a bow stance. Your torso should not lean too far forward. You should forcelessly press
up your headtop, and center your tailbone. Your gaze is to the saber. See drawing 21:

Application:
Continuing from RAISE THE SABER, as the opponent retreats, take advantage of the moment by jumping
forward and do a hacking cut to his torso.

29. POWERFUL CHOP THROUGH MT. HUA

22
(facing to the Rear)
The saber, going along with the turning of your hips to the right and the squatting down of your torso, goes to the
right and downward from above with a vertical chop until at shoulder level. Your left hand at the same time
spreads away to the side at shoulder level. Your legs are making a horse-riding stance. Your gaze is to the saber
tip. You should suspend your headtop and straighten your tailbone, loosen your waist and hips, and contain your
chest and pluck up your back. See drawing 22:

Application:
Turn around and chop an opponent behind you.

30. EMBRACE THE SABER, STAB

23
(facing to the Rear, slightly leading to the Left)
Your body rises to the left, your right leg lifting, knee bent, foot hanging, the weight shifted onto your left leg. At
the same time, both your hands embrace inward, your right elbow aligned with your right knee, the hand placed
palm inward, the saber edge facing upward, [cutting] across diagonally forward, the saber tip pointing downward,
your left hand touching the saber handle. See drawing 23:

24
Your hands spread apart in unison, your right hand, holding the saber, going forward and downward with a
vertical stab, your left hand spreading away upward to the rear. At the same time, your right foot kicks out, your
torso slightly leaning forward and downward. Your gaze is to the saber tip. You should forcelessly press up your
headtop, center your tailbone, loosen your waist and hips, contain your chest and pluck up your back, and sink
your shoulders and drop your elbows. See drawing 24:

Application:
First evade an opponents weapon (or use your sabers edge to draw in with a pulling cut to his wrist), then stab
forward at him. Your right foot may go along with the posture and kick to his lower body.

31. TURN THE BODY, SWITCHING THE FEET, CLEAVE

25

(facing to the Front [Left])

Your right foot comes down crosswise, your left foot lifts, your torso turns to the right side, your left foot takes a
step forward to the right side, and the knee bends, your torso squatting down, your right leg straightening. At the
same time, the saber goes along with the turning of your torso, first rising to the right, then hacking across
downward to the left until level with your right [left] knee, your left hand placed on the back of your right wrist.
Do not lean your torso too far forward. Your headtop should be suspended and your tailbone should be straight.
Do not let your internal power be even slightly interrupted. Your gaze is to the saber. See drawing 25:

Application:
Turn your body with a sweeping block to an opponents weapon, then do a pulling cut changing into a cleaving
cut.

32. CLOSING POSTURE

26
[facing to the Front]
Your body rises up, the weight between both feet (knees and hips first slightly bending, then rising up to stand
straight), and the saber, going along with your hips as they turn to the right, goes to the right and upward until
level with the right side of your forehead. It then coils around your head to the left (the back of the saber facing
downward) until level with the left side of your forehead, and lowers to be placed into your left hand, the back of
the saber touching your left arm, as your feet come together [right foot stepping toward left foot] to be at shoulder
width, your body rising, and your hands hang down. See drawing 26:

It is the same as in the BEGINNING POSTURE. Energy returns to your elixir field. Gather energy and concentrate
spirit. Pause there, standing for a moment to get the energy to return to its original state, then end. (The position
of your stance in CLOSING POSTURE should be at the same spot as in BEGINNING POSTURE rather than the
postures occupying different places. If you want to end up in the same place, it depends on GOING WITH THE
CURRENT TO PUSH THE BOAT matching the distance [i.e. Dont repeat Posture 25 too many times].)
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[continue to Part Nine: pole]
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