The secret transmission in verse of the 8 gates (八 门 太极拳) of taiji quan:

The dodge arm is extended in the shape of a crescent moon; The leading knee is slightly bent and the rear knee is rounded.

The kilograms and grams of an opponent’s force are weighed on the scale of the dodging arm.

When my opponent emits energy, I respond to him with a block or by pulling down; When he manifests failures, I respond by pressing.

Up and down, my whole body fills with continuous chi, Like a great serpent coiled in a spiral.

The hand is like a deer looking back; Placed up or down, the hand moves freely.

Our spirit is fully manifested in our hands; Our waist and legs are coordinated like a boat that goes with the flow.

In sticking and sticking we never leave the central ground position; the basis of turning back is to attract the opponent.

Turning backwards without pressing is wasting turning backwards; Pressing without turning back is a stupid risk.

When pressing, the hand is extended like an arched bridge, cautiously advancing from an angle and always maintaining a fearless spirit.

If you are faced with pushing, respond with pressing, but first use turning back.

It attracts the adversary and when its energy acts in a vacuum, it explores with one arm.

With your “arched bridge” block your opponent’s shoulder and arm; Sink first and then move forward without deviating. If pressing does not continue to turn back, you cannot attract the opponent, and if turning back does not continue to press, it is a waste of time.

Pushing is used like a tiger pouncing on a sheep; Waist, legs, arms and hands are all perfectly coordinated.

Sink first, then connect, and then push forward, and the opponent is sure to fly off with irresistible force.

As you push, dodge, roll back, and neutralize, pay attention that the elbow does not extend far beyond the knee.

When the opponent takes a step back trying to pull me down, I advance by hitting with my elbow or shoulder to hurt him.

Pulling down is like a monkey picking peaches; after sinking, he grabs obliquely, prompting the opponent to steal them.

Take a step back, pulling vigorously with your wrist down; If our movement does not destabilize the adversary and is not clean, we have wasted our energy.

Whether we are attacked with dodging or pushing, pulling down turns them into melting ice.

When using pull down, defend against the opponent’s elbow or shoulder blow, always protect the central palace against daring blows.

Partir strikes with horizontal force the same as a surprise blow; Avoid the central door and move in a spiral.

Striking the opponent’s neck with one hand, I am like a galloping horse that destroys everything in its path.

You have to use part to respond to part, but if my opponent treats me with respect, I respond with respect.

The shoulders follow the turn of the waist like a dragon twists its body; Avoid being clumsy or unnatural at all costs.

Hitting with the elbow is like a bull lowering its head; The flowers open freely one after the other.

This technique can be used effectively, at close range, against an attempt to use throw down, or, at a greater distance, to mortify the opponent.

When the opponent adopts blocking or pulling down, use this technique appropriately; An elbow pointed at the opponent’s ribs is a great threat.

When using elbow strikes, be very careful with your lute playing posture, because if you do come across it, you must turn your body and protect your throat.

Apply hitting with the elbow like a dragon swimming. When performing shoulder strikes, you must move straight towards your opponent’s crotch.

Push him at an angle from below, turning your body quickly, and strike with your shoulder, without mercy, the opponent’s chest.

Be careful to lean on your leg well, lest your opponent have room to escape.

Most of the time hitting with the shoulder is a transformation of throwing down, so if the opponent avoids my throwing down, then that technique comes into play.