Line one:

This is the most basic of all the lines, showing the basic forward thrusting punch in a bow and arrow stance. The poem uses the image of a yoke to describe this line, possibly because the arms are outstretched as if they were supporting a yoke.

Line two:

In this line, the student learns to punch and block at the same time–left kick, right punch and so on. The poem talks about a pulling and pushing motion referring to the way the right side of the body twists forward with the punch while the opposite side retracts.

Line three:

Line three begins like line one but immediately covers and blocks to the rear while punching. It introduces the long arms, or windmill motion, the backfist, and blocking by using the whole side of the arm and body.

Line four:

This line begins with a change of direction on the 45-degree angle. It introduces a number of new stances: the low stretching leg, the twisted, and the 40-60. It also shows the chang shou, the technique of “wiping the arms or hands.”

Line five:

This one is fairly straightforward: simultaneously upward block and punch, double strike (or block) down, and toe kick.

Line six:

Line six begins like line four except on a straight line. It introduces a finger strike, and block that uses the arm in concert with turning the body and dropping the center of gravity into the low, stretching leg stance.

Line seven:

Line seven starts like line two with a simultaneous block and punch. It then introduces a new kind of overhead circular arm blocking and trapping movement combined with the twisted stance. The roundhouse kick is done for the first time, rising out of the twisted stance and simultaneously blocking.

Line eight:

This is the longest and most complex of all the lines. It includes three different kicks: toe, heel, and the side kick, and two of these are executed from low, coiled stances. Line eight links together several of the techniques that have appeared previously.

Line nine:

Line nine is done on two opposite 45-degree angles. It uses a low, blocking movement to lead into a flying double jump kick, combined with a wide-open arm movement.

Line ten:

This line begins with a small circular block (and step) that the poem describes as “picking a flower.” Another step is initiated by the rear leg; then the body coils inward and both arms shoot out in opposite directions as the student executes a flying double jump kick. The poem describes this as springing outward like an arrow.

 

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