NOTE :
The names used for the 66 form titles are somewhat odd for a 'martial' exercise. Few are actually 'martial' in
character as a 'hidden' punch.
Line-28 : 截手雙推 jie2 shou3 shuang1 tui 1
Intercept 截 and block
the hand 手 paired 雙
as two they push 推 forward
Line-35 : 掩手衝拳 yan3 shou3 chong1 quan2
Cover, conceal 掩 the
hand 手 and 'charge against 衝 boxing' 拳
Most can easily be shown to be derived from archaric
idioms, poetry, and Chinese qin 琴 zither themes and pipa 琵琶 lute-guitar .
The use of names as the 'woodsman' woodcutter 樵夫 qiao1 fu2
Line-22 : is juxtaposed with the 'fisherman' in Qin themes.
The use of 'high mountains and flowing
streams' appears exactly as this in Qin lyrics.
Line-20 : 高山流水 gao1 shan1 liu2 shui3
from ...alpine mountains
高山 flowing streams-water 流水 [ falls down ]
Line-11 :
川流不息 chuan2 liu1 bu4 xi2
River 川 current-flows 流 /
without 不 [no] endings 息
A common
saying.
There are common idioms voiced also,
Line-4, Line-16: 撥雲見日 bo2 yun1 jian4 ri4
Brush aside 撥 the clouds 雲 ...to see
見 the
sun 日
' dispel the clouds and see the sun - restore justice '
Line-8 :
閉門推月 Bi 4 men2 tui1 yue4
Close 閉 (the) door-gate 門 / push 推 expel (the) moon 月
The 閉門 close-door references here are all to biographies of people 'closing the door' so as to study; they are not in
qin lyrics. They DO NOT suggest 'restricted teachings, closed to the public' and secrets ...as some have
suggested.
There also exists Qin songs and lyrics devoted
to the 'water-spirit' and written by an archaic author whose name includes both Bo and Duan.
Similar phonetically to the claimed author of LHBF, Msr. Chen Bo Tuan. This brings up two suppositions : first that the author of these form names,
as 4-character strings either knew or borrowed from Qin themes or songs. Also, the water, waterspirit, names may
have played into its history or been borrowed as convenient, flowing water, wind, drifting, currents.
There is also common, natural philosophy, admonishing to 'turn around'
Hui1tou1, 回頭; tiger turning, horse turning,
All of
the other LHBF websites and books, English or Chinese, have not explored nomenclature, idioms, and musical allusions
and historical
references of the LHBF form names, 66 in all. Qin-zither lyrics are evident as are alchemical references.
A complete translation with commentary and theme references is available in my Fourth Edition publication.
