A Connected Neck

龜縮頸，耕牛之力

The tortoise pull back its neck, the power of the ploughing ox

頂要懸

The crown of the head is suspended

A connected neck improves direction and balance.

Flexible Lower Back

坐胯，轉腰，圈襠步

Sitting the hips, twisting the waist, rounded crotch step

襠胯宜提緊，須玩兑澤之情*
Crotch and hips shall lift and keep tight, having to play in the swamp of passions 

Wiggling one's bum is the flexibility needed in one's lower backbone.

Greenish Black And Blackish Green

劍走青，刀走黑

The sword goes green, the sabre black.

Green because of the homophony with the character for light.

Sticky and Nimble Hands

手為先鋒*

Hands are the vanguard

手以心把, 心以手把**

Hands are held by the heart, the heart by the hand.

One trains the grip, not the fist.

Light And Athletic Foot

手腳眼為根

Hands, feet and eyes for roots

足膝效法乎坤，取其鎮靜厚載*

Feet and knees model themselves on The Feminine, fetching its unruffled largeness which supports and contains.

腳為四肢百骸之舟楫，一身之領袖，稍有不合，全體之氣俱不入矣，不可不細為區別**

Feet are the oars of all the limbs and bones, what leads the body, just a little bit uncomfortable, none of the whole body vapours can enter! They cannot not be meticulously diacritical

With 26 bones, 33 joints and more than a hundred muscles, tendons and ligaments, the foot is a complex machine often overlooked in training.

One Centre, Six Extremities

勁從足下起，還得丹田足

The strength raises from the feet on the prerequisite the cinnabar field is full

掌心力從足心印

The force from the centre of the palms comes from the mark in the centre of the feet

One can only be as relax as his/her hands and feet are lax and as nimble as the waist is lest. 

Changes

玲瓏變化佈周身

Exquisite, ingenious and delicate changes dispose the whole body

拳有勢者，所以為變化也。横斜側面，起立走伏，皆有墙戶，可以攻，故謂之勢。拳有定勢，而用時無定勢。然當其用也，變無定勢，而實不失勢，故謂之把勢*

Fists have a posture, which implies changes.Transversal, oblique, sideways or frontal, getting up, standing, moving or lying prostrate, everything has walls and doors, attack being then possible, therefore we talk about posture. Fists have fixed postures, but when boxing there is no fixed posture. So that it undertakes its own usefulness, changes knowing no determined posture and yet one actually not losing posture, which is the way to be skilful in the art.

A few further posts will try to stick more to the old methods, giving only leads.

Starting with one dealing with changes in one's practice seems, then, appropriate.

Breathless

呼吸往來，不及法禁*

Exhaling and inhaling comes and goes, never reaching what the method prohibits

At first your breathing will be rough. When it gradually calms down, your ch'i will become lively and should feel as though it fills Heaven and Earth. This is not a matter of holding your breath or straining your ch'i. In this case, your ch'i fills you internally and becomes active.**

當明內外呼吸之歸***

When understanding where internal and external breathing converge

Breathing is a complex matter which has been briefly described in Breathing, Complex and Evolving. Being one of the main obvious activities our body has, it is naturally ultimately the main tool used in practice, whether external, the body, or internal, the organs. Of all the different ways to train one's body, in the end, it just becomes a question of a correct breathing. Indeed breathing directs everything, from body relaxation and stretching to organs pressure, from body angles to vapours flow, from body stillness to mind awareness, from movements to emptiness of one's mind. Therefore fascias and vapours are linked through breathing, they naturally expand and retract following one's breath. Whether external (pulmonary) or internal, it may be interesting to describe a few ways breathing is used in order to decipher the method it relies on. 

The Rice Strikes Back

五臟實為生性之源，生氣之本*

The five organs are really the source of the production of essence, the basis of the production of vapours

布形候氣**

Deploying the body awaiting for vapours

行氣，深則蓄，蓄則伸***

Vapours behaviour, deep then accumulating, accumulating then stretching

Even if the original character for Qi was just a simple description of cloud vapours and did not contain any reference to rice, as explained in "气 Where is my Bowl of Rice?", one cannot also totally dismiss the presence of rice, or grain, in such notion. Indeed, languages are a living thing, meanings and understanding changes during the course of time, and the complex version of Qi, "氣", has been used for a time long enough to alter, willingly or not, the original meaning of what was just a simple way to describe the feminine and masculine principles interaction, more known as the Yin and the Yang. Futhermore, if the complex version was not a pictogram, it was still an ideogram made of two very recognisable compounds, grain (or rice) and vapours. Hence, for who opened the lid of a pot of just cooked rice, or grain, and saw the vapours coming out of it, the link between the character and vapours coming from just cooked grain or rice can seem quite obvious. A lot of texts describing the notions behind the concept of Qi were originally written with its complex version, meaning the understanding was also coming from an analysis including the rice/grain element.