write about the martial aspects as well and most still regard t’ai chi
as a martial art, which has great health benefits.
Many of the classics are written in poetic form and can only be understood
if the reader is up to a certain mind level.
“Execute play the pipa and use threading and transforming energy.”
Or, “In moving to and fro, us the folding method in advancing and
retreating use changes and turning.”
Many classics are quite clear in what they are trying to transmit.
“The method of cross legs breaks the softer bone below the knee.”
Some classics have slightly esoteric meanings such as, “If there is
hardness within our softness we will never be defeated, if our hardness
contains no softness, it can never be called firm.”
Some of the classics give us exact details as to the postures of t’ai
chi. “Before slant flying, use shoulder stroke.” This tells us that
shoulder should be used before and in between each slant flying posture
something that many Yang styles have left out.
The classics give us explanations on how to use every facet of t’ai
chi from the form through to push hands and street fighting. If we are
able to understand them and use them as back up to our own learning
then they are the greatest learning tools available to any t’ai chi student.
If we take them all as literal and never question or experiment,
not keeping what we want and losing the rest then we will become as
sheep and never become our own masters.
Amost excellent translation of the classics is by Douglas Wile in his
book, “T’ai Chi Touchstones.” This book is a must for all who practice
the martial art of T’ai chi ch’uan.
Chapter Four, The Classics: LONG.