Post by eric on Dec 30, 2014 16:14:36 GMT
The Ten Discussions
Written by: Dr. Xie Peiqi
(Translated by: Eric C.)
----------
在演練和技擊時，全身各部位都有其姿勢和要領，這樣才能學好或用好八卦掌拳術。總結餘之經驗和心得體會，寫出十論，供練習和技擊使用。
When training & fighting, all parts of the body have their appropriate postures & guidelines; only then will one be able to effectively learn & use the fighting art of Baguazhang. In a summary of experience and understanding, I have written ten discussions to be of assistance whether in training or fighting.
一：論手
無論平時練習，還是技擊相搏時，兩手都要極力伸出，做到手不離肘，肘不離手，手（的高度）不離口，前手伸出，後手要摀，要做到手如兩扇門，關、守、開、進，從容自如。兩手要含著力向前挺進，大指要挺、食指要領、中指要豎、餘指要攏，大魚際要往裏裹，小魚際要向外合，掌心勞宮穴要取空玄之象，兩手要具有敏感的＂聽力＂。
1. Regarding the Hands
Whether in training or in combat, both hands must be extended with extreme strength. One must meet the requirements of the hand never leaving the elbow, the elbow never leaving the hand and the [back] hand('s height) never leaving the solar plexus. The front hand should extend out while the back hand covers; the arms should serve as two doors closing off, guarding, opening & entering, fulfilling these functions as if in a relaxed & easy manner. The two hands contain strength as they are advanced firmly forward. The thumb should be held firm, the index finger guides the hand, the middle finger straight in alignment, the remaining two fingers held together. The thenar eminence should wrap towards the inside of the palm while closing itself off to the outside. The laogong point in the center of the palm should appear empty & hidden. Both hands should be sensitive at "listening to [the opponent's] strength".
二：論眼
目要圓睜，全神貫注，目光往來，快似閃電。不論如何變換招法，二目要時刻不離地緊隨自己的雙手，同時用餘光隨時監視上下、左右、前後等處的情況變換，以便做到眼觀六路。要準確的看出對方的動作虛實，使自己的胸有成竹，從而方可乘虛而入。技擊相搏時，要求兩眼石中求火。歌曰：臨敵動手眼要清，全神貫注須分明。換式雙眼急准快，打閃縫針不穿功。
2. Regarding the Eyes
One's eyes should be opened round & wide, the entirety of one's spirit concentrated, one's vision shifting as if at lightning's pace. Regardless of the change or exchange of techniques, the eyes must immediately hasten to follow one's hands; simultaneously, one's remaining peripheral vision must constantly monitor the situation as well as exchanges occurring high & low, left & right, ahead & behind in order to achieve the six paths of eye sight. One must see accurately whether an opponent's movement is real or empty; this will grant one a card up one's sleeve and one can then immediately take advantage of the opponent's empty point and enter thereby. When in fighting, the two eyes must be able to spot the magma within the rock. As the Songs say: "when one moves against an opponent, the eyes must be clear; the entire spirit concentrated, it must distinguish sharply. As one switches between techniques, the eyes must be urgent, accurate & fast; they must be developed such that, by flash of lightning bolt [in the darkness], one may stitch the skin without stabbing the patient."
三：論足
八卦掌的步法，分為八形步，也可稱之為八種步法。這八種步是八卦掌的基本功。八形步的內容為：掰步、扣步、臥步、車輪步、抽撤步、鶴提步、蹚水步、連環步。八形步法之取形依次為：龍形、麟形、雞形、獅形、熊形、鳳形、蛇形、猴形。在使用時有如下歌訣當記：足趾抓地腳力功，雙足站穩似根生。後足上步跟住勁，面前推力不放鬆。進步須知有虛實，虛實時刻要分清。進退守舍抽撤步，勝敵似在頃刻中。
3. Regarding the Feet
The stepping methods of Baguazhang are divided into 8 forms or types of stepping. These 8 types of stepping are the basic foundational development of Baguazhang. The content of these 8 types is as follows: the swing step (prying open step), the hook step, the lying step, the wheel step, the withdrawing step, the crane raising step, the water-wading step and the interlocking step. These 8 forms of stepping are drawn respectively from their corresponding animal systems: dragon, unicorn, rooster, lion, bear, phoenix, snake and monkey. When using the legs, one would do well to remember the following song: "the feet & toes grasping the ground: this is the developed strength of the feet; the two feet stand stable as if they have grown roots. The back leg steps up and follows with force; it presses forward without relaxing. When entering with a step, one must know where the opponent is full and where he is empty; emptiness & fullness must be clearly differentiated in an instant. With steps entering, retreating, guarding, abandoning, pulling back inward and withdrawing, one bests the opponent as if in a mere moment."
四：論腿
腿步是本掌練拳的根本，練習八卦掌對腿的要求很嚴格，其具體內容，請看如下歌訣：走掌換式腿先行，腿帶跨動下坐功；抽腿提膝肩先動，兩腿龍蹲虎踞形；兩腿塌力似蹚水，小腿暗力向前功。總之，在練拳換式時要注意：兩膝不要超過足尖，否則即易失中，而使力不平衡。
4. Regarding the Legs
The leg methods are the roots of this art's practices. While training Baguazhang, the requirements of the legs are especially severe. As for the specifics of these requirements, please refer to the following song: "as one turns in a palm posture, when the time comes to switch the posture/technique, the legs move first. The legs carry within them the developed sitting strength of the motion of the hips. When pulling in a leg or raising a knee, the shoulder begins the motion. The two legs resemble the squatting of a dragon and the crouching of a tiger. The (ground collapsing) stamping strength of the two legs should make one seem as if one's legs are wading through water. The lower leg contains the development of having a hidden strength driving the body forward." In general, when training and switching between postures or techniques, one should mind the following: the two knees should not go past the tips of the toes; otherwise, one will easily lose one's center and one will have an unbalanced use of strength.
五：論腰
5. Regarding the Waist
腰是全身力之根本，主先天未破之橫力。腰居人體之中部，萬力皆由此產生。練拳時要求：腰動如鑽杆，腰中發力，能打能卸（即俗話說的腰打腰卸），進退、內轉，都要有腰帶動，腰為動力。
The waist is the root of strength for the entire body; it is the primary provider of pre-heaven, unbreakable, horizontal strength. The waist resides in the center of the human body and myriads of different strengths are produced therein. The requirements for the waist when training are as follows: the movement of the waist should be as if a drilling pole; the center of the waist emits strength; it can strike and it can remove (i.e.: in colloquial language, we say the waist strikes & the waist removes); whether advancing, withdrawing or turning inward, all of these use the waist to carry the movement; the waist is the motive power.
六：論身
練拳時，全身都要放鬆，採取自然之力。使身立如松，身臥如弓，身坐如鐘，身行如風。其歌曰：頭正身正腰中正，三合一體萬法生，全身正直下塌力，心平氣穩自有根；蹲身要求綿軟巧，翻身舒展長身形；閃身轉體急且快，騰身挪身妙巧靈；走掌換式如龍舞，縮身存式似猴形。
6. Regarding the Body
When training, the entire body must be relaxed, gathering its natural strength. The body should be held upright as if a pine tree, lie as if a bow, sit as if a massive bell and move as if the wind. Its song is as follows: "the head is held upright, the body upright, the waist centered & upright; the three form a unity whence a myriad of methods are born. The whole body is upright & straight, sinking with (ground collapsing) stamping strength. The heart-and-mind even, the breath steady, one will naturally find one's root. Crouching the body, it is required that one is soft, pliant and tricky; turning over the body, it is required that the body unfolds in a long technique/posture; dodging & turning the body must be urgent & fast; rising & shifting the body requires one to be clever, tricky and agile. Turning with the palm and switching between techniques should seem as if a dragon dancing; contracting and enfolding the body should resemble the appearance of a monkey.
七：論肩
練拳時肩要放鬆，使力自然貫入掌中。歌曰：肩之要領在垂鬆，並穴一鬆氣可通。兩肩內合抱著勁，貼靠擠打肩之功，搖著衝肩左右撞，橫肩順肩截攔擰。用肩須賴身法好，遲滯僵呆忌肩功。
7. Regarding the Shoulders
When training, the shoulders must be relaxed; this way strength will naturally concentrate in the hands. The songs state: "the guiding principle of the shoulders is that they must drop down relaxed; furthermore, as soon as the points of the shoulders are relaxed [1], the circulation can move unimpeded. The two shoulders close inward, hugging with strength. Sticking, leaning, squeezing, striking, these are the developed strengths of the shoulder. Swaying, the shoulders rush, crashing left & right; horizontal shoulders, moving with shoulders, they sever, block off and twist. Employment of the shoulders is dependent upon expert body method; those who are slow or sluggish, stiff or daft should abstain from using the shoulder's development in combat.
八：論肘
練拳時須時刻注意垂肘、墮肘、外裹內合、前頂、後退、上翻、下滾、左盤、右轉等八大肘法，要細心體會，用心掌握。歌曰肘之要領在於墮，形如彎弓是準繩。滾肘搖肘外合力，上下翻滾肘力隨。中肘平肩橫肩擠，下肘反轉要平擠。肘短用險須大膽，盤頂翻打是肘功。
8. Regarding the Elbows
When training, one must pay immediate attention to the 8 main elbow methods: downward dropping, falling, outside winding & inside closing, driving firmly straight forward, retracting backwards, turning over high, rolling low, coiling left and turning right. One must attentively experience these and diligently master them. The songs say: "the guiding principles of the elbows, as they refer to falling elbows, the criterion is that the form of the elbow resembles a bent bow. Rolling elbows and swaying elbows have a closing force to the outside. The upward & downward turning over and rolling strength of the elbows follows [along with the strength of the opponent]. A mid-level elbow squeezes in and strikes level & horizontal to the shoulder; a lower elbow reverses & turns but also squeezes in and strikes level [to the shoulder]. The short-ranged uses of the elbow are dangerous and therefore require audacity. Coiling, driving firmly forward, turning over and striking, such are the elbow's development.
九：論胯
胯居身中與腰平，兩胯似腿兩眼晴。前胯領路後胯坐，發腿全靠胯之功。胯打功法衝撞靠，貼擠扭打胯力崩。要想下掌功夫好，兩腿下坐與膝平。收肛必須縮雙胯，上提穀道縮胯功。
9. Regarding the Hips
The hips reside at the center of the body and are in line with the waist. The two hips are as if the eyes of the legs. The front hip leads the way and the back hip sits down. The sending out of the legs depends entirely on the development of the hips. The striking & developmental methods of the hips are rushing, crashing & leaning on; sticking to, squeezing against, twisting and striking, the hips' strength bursts out. If one wishes to attain good development with the lower palm, the two legs must sit down even with the knees. Tucking the anus requires that one contracts the two hips; such is the contracting development of the hips.
十：論背
拔背圓膀基本功，頂豎背拔督脉通。取像迎孟九宮法，拔背全身整力功。內力來於拔背法，背拔氣順歸正宗。走掌換式須拔背，轉身靠擠後背功。
10. Regarding the Back
Pulling the back [long/round] as if a rounded pillar, this is a type of foundational development [2]. The head vertical & the back pulled [long/rounded], the du meridian is unimpeded. It draws its appearance from the method of greeting Meng in the nine palaces [3]; it has the development of full-body strength derived from the pulling [round] of the back. Its internal strength comes from the method of pulling the back [round]; with the back pulled [round] the circulation moves smoothly returning to its proper purpose. When turning with the palm or changing between postures/techniques, the back must be pulled [round]. The development of the back is to turn the body while crashing and squeezing in backwards.
綜上概述，歌曰：十論之語雖不多，言簡意賅理法深。學者務須詳參想，細品文味妙且珍。一朝豁然貫通日，必悟此論勝金針。
In general overview of the content aforesaid, the songs say: "while the words of the ten discussions are few, their words are simple, their content comprehensive, their theory & methods profound. A student must thoroughly ruminate upon them, partaking in a refined sampling of their cultured taste for their words are both subtle and precious. A single dawn of understanding can thread illumination through the entirety of day; [in this respect] one must realize that these discussions are superior to a needle wrought of gold."
------
Translator's Footnotes:
1. The author of this mnemonic rhyme does not specify the "points" in question to which he refers. The Doctor's article "Postural Requirements for Lion Standing" covers this in further detail.
2. The character for "pulling" refers to a "pulling out" as if ripping a plant out by the roots. While we often think of rounding the muscle on our backs, "pulling" makes sense if you think of the spine. The dropping, rounding & lengthening would all contribute to stretching the spine out as long as possible.
3. The nine palaces can refer to a spacial or directional consideration of the trigrams wherein each of the trigrams represents one of the eight directions and is considered "a palace". The 5th palace is generally called the "middle palace" and it resides between the other eight. I am not sure what is meant by the "method of greeting meng"; were I to guess wildly, as "meng" can refer to the first month of a season, perhaps it refers to the connection between the du & ren meridians (which would be achieved by pulling the spine long & rounding it). Chinese medicine suggests that certain areas of the body are particularly prone to having poor circulation; holding the proper posture could therefore help to restore appropriate circulation.
Written by: Dr. Xie Peiqi
(Translated by: Eric C.)
----------
在演練和技擊時，全身各部位都有其姿勢和要領，這樣才能學好或用好八卦掌拳術。總結餘之經驗和心得體會，寫出十論，供練習和技擊使用。
When training & fighting, all parts of the body have their appropriate postures & guidelines; only then will one be able to effectively learn & use the fighting art of Baguazhang. In a summary of experience and understanding, I have written ten discussions to be of assistance whether in training or fighting.
一：論手
無論平時練習，還是技擊相搏時，兩手都要極力伸出，做到手不離肘，肘不離手，手（的高度）不離口，前手伸出，後手要摀，要做到手如兩扇門，關、守、開、進，從容自如。兩手要含著力向前挺進，大指要挺、食指要領、中指要豎、餘指要攏，大魚際要往裏裹，小魚際要向外合，掌心勞宮穴要取空玄之象，兩手要具有敏感的＂聽力＂。
1. Regarding the Hands
Whether in training or in combat, both hands must be extended with extreme strength. One must meet the requirements of the hand never leaving the elbow, the elbow never leaving the hand and the [back] hand('s height) never leaving the solar plexus. The front hand should extend out while the back hand covers; the arms should serve as two doors closing off, guarding, opening & entering, fulfilling these functions as if in a relaxed & easy manner. The two hands contain strength as they are advanced firmly forward. The thumb should be held firm, the index finger guides the hand, the middle finger straight in alignment, the remaining two fingers held together. The thenar eminence should wrap towards the inside of the palm while closing itself off to the outside. The laogong point in the center of the palm should appear empty & hidden. Both hands should be sensitive at "listening to [the opponent's] strength".
二：論眼
目要圓睜，全神貫注，目光往來，快似閃電。不論如何變換招法，二目要時刻不離地緊隨自己的雙手，同時用餘光隨時監視上下、左右、前後等處的情況變換，以便做到眼觀六路。要準確的看出對方的動作虛實，使自己的胸有成竹，從而方可乘虛而入。技擊相搏時，要求兩眼石中求火。歌曰：臨敵動手眼要清，全神貫注須分明。換式雙眼急准快，打閃縫針不穿功。
2. Regarding the Eyes
One's eyes should be opened round & wide, the entirety of one's spirit concentrated, one's vision shifting as if at lightning's pace. Regardless of the change or exchange of techniques, the eyes must immediately hasten to follow one's hands; simultaneously, one's remaining peripheral vision must constantly monitor the situation as well as exchanges occurring high & low, left & right, ahead & behind in order to achieve the six paths of eye sight. One must see accurately whether an opponent's movement is real or empty; this will grant one a card up one's sleeve and one can then immediately take advantage of the opponent's empty point and enter thereby. When in fighting, the two eyes must be able to spot the magma within the rock. As the Songs say: "when one moves against an opponent, the eyes must be clear; the entire spirit concentrated, it must distinguish sharply. As one switches between techniques, the eyes must be urgent, accurate & fast; they must be developed such that, by flash of lightning bolt [in the darkness], one may stitch the skin without stabbing the patient."
三：論足
八卦掌的步法，分為八形步，也可稱之為八種步法。這八種步是八卦掌的基本功。八形步的內容為：掰步、扣步、臥步、車輪步、抽撤步、鶴提步、蹚水步、連環步。八形步法之取形依次為：龍形、麟形、雞形、獅形、熊形、鳳形、蛇形、猴形。在使用時有如下歌訣當記：足趾抓地腳力功，雙足站穩似根生。後足上步跟住勁，面前推力不放鬆。進步須知有虛實，虛實時刻要分清。進退守舍抽撤步，勝敵似在頃刻中。
3. Regarding the Feet
The stepping methods of Baguazhang are divided into 8 forms or types of stepping. These 8 types of stepping are the basic foundational development of Baguazhang. The content of these 8 types is as follows: the swing step (prying open step), the hook step, the lying step, the wheel step, the withdrawing step, the crane raising step, the water-wading step and the interlocking step. These 8 forms of stepping are drawn respectively from their corresponding animal systems: dragon, unicorn, rooster, lion, bear, phoenix, snake and monkey. When using the legs, one would do well to remember the following song: "the feet & toes grasping the ground: this is the developed strength of the feet; the two feet stand stable as if they have grown roots. The back leg steps up and follows with force; it presses forward without relaxing. When entering with a step, one must know where the opponent is full and where he is empty; emptiness & fullness must be clearly differentiated in an instant. With steps entering, retreating, guarding, abandoning, pulling back inward and withdrawing, one bests the opponent as if in a mere moment."
四：論腿
腿步是本掌練拳的根本，練習八卦掌對腿的要求很嚴格，其具體內容，請看如下歌訣：走掌換式腿先行，腿帶跨動下坐功；抽腿提膝肩先動，兩腿龍蹲虎踞形；兩腿塌力似蹚水，小腿暗力向前功。總之，在練拳換式時要注意：兩膝不要超過足尖，否則即易失中，而使力不平衡。
4. Regarding the Legs
The leg methods are the roots of this art's practices. While training Baguazhang, the requirements of the legs are especially severe. As for the specifics of these requirements, please refer to the following song: "as one turns in a palm posture, when the time comes to switch the posture/technique, the legs move first. The legs carry within them the developed sitting strength of the motion of the hips. When pulling in a leg or raising a knee, the shoulder begins the motion. The two legs resemble the squatting of a dragon and the crouching of a tiger. The (ground collapsing) stamping strength of the two legs should make one seem as if one's legs are wading through water. The lower leg contains the development of having a hidden strength driving the body forward." In general, when training and switching between postures or techniques, one should mind the following: the two knees should not go past the tips of the toes; otherwise, one will easily lose one's center and one will have an unbalanced use of strength.
五：論腰
5. Regarding the Waist
腰是全身力之根本，主先天未破之橫力。腰居人體之中部，萬力皆由此產生。練拳時要求：腰動如鑽杆，腰中發力，能打能卸（即俗話說的腰打腰卸），進退、內轉，都要有腰帶動，腰為動力。
The waist is the root of strength for the entire body; it is the primary provider of pre-heaven, unbreakable, horizontal strength. The waist resides in the center of the human body and myriads of different strengths are produced therein. The requirements for the waist when training are as follows: the movement of the waist should be as if a drilling pole; the center of the waist emits strength; it can strike and it can remove (i.e.: in colloquial language, we say the waist strikes & the waist removes); whether advancing, withdrawing or turning inward, all of these use the waist to carry the movement; the waist is the motive power.
六：論身
練拳時，全身都要放鬆，採取自然之力。使身立如松，身臥如弓，身坐如鐘，身行如風。其歌曰：頭正身正腰中正，三合一體萬法生，全身正直下塌力，心平氣穩自有根；蹲身要求綿軟巧，翻身舒展長身形；閃身轉體急且快，騰身挪身妙巧靈；走掌換式如龍舞，縮身存式似猴形。
6. Regarding the Body
When training, the entire body must be relaxed, gathering its natural strength. The body should be held upright as if a pine tree, lie as if a bow, sit as if a massive bell and move as if the wind. Its song is as follows: "the head is held upright, the body upright, the waist centered & upright; the three form a unity whence a myriad of methods are born. The whole body is upright & straight, sinking with (ground collapsing) stamping strength. The heart-and-mind even, the breath steady, one will naturally find one's root. Crouching the body, it is required that one is soft, pliant and tricky; turning over the body, it is required that the body unfolds in a long technique/posture; dodging & turning the body must be urgent & fast; rising & shifting the body requires one to be clever, tricky and agile. Turning with the palm and switching between techniques should seem as if a dragon dancing; contracting and enfolding the body should resemble the appearance of a monkey.
七：論肩
練拳時肩要放鬆，使力自然貫入掌中。歌曰：肩之要領在垂鬆，並穴一鬆氣可通。兩肩內合抱著勁，貼靠擠打肩之功，搖著衝肩左右撞，橫肩順肩截攔擰。用肩須賴身法好，遲滯僵呆忌肩功。
7. Regarding the Shoulders
When training, the shoulders must be relaxed; this way strength will naturally concentrate in the hands. The songs state: "the guiding principle of the shoulders is that they must drop down relaxed; furthermore, as soon as the points of the shoulders are relaxed [1], the circulation can move unimpeded. The two shoulders close inward, hugging with strength. Sticking, leaning, squeezing, striking, these are the developed strengths of the shoulder. Swaying, the shoulders rush, crashing left & right; horizontal shoulders, moving with shoulders, they sever, block off and twist. Employment of the shoulders is dependent upon expert body method; those who are slow or sluggish, stiff or daft should abstain from using the shoulder's development in combat.
八：論肘
練拳時須時刻注意垂肘、墮肘、外裹內合、前頂、後退、上翻、下滾、左盤、右轉等八大肘法，要細心體會，用心掌握。歌曰肘之要領在於墮，形如彎弓是準繩。滾肘搖肘外合力，上下翻滾肘力隨。中肘平肩橫肩擠，下肘反轉要平擠。肘短用險須大膽，盤頂翻打是肘功。
8. Regarding the Elbows
When training, one must pay immediate attention to the 8 main elbow methods: downward dropping, falling, outside winding & inside closing, driving firmly straight forward, retracting backwards, turning over high, rolling low, coiling left and turning right. One must attentively experience these and diligently master them. The songs say: "the guiding principles of the elbows, as they refer to falling elbows, the criterion is that the form of the elbow resembles a bent bow. Rolling elbows and swaying elbows have a closing force to the outside. The upward & downward turning over and rolling strength of the elbows follows [along with the strength of the opponent]. A mid-level elbow squeezes in and strikes level & horizontal to the shoulder; a lower elbow reverses & turns but also squeezes in and strikes level [to the shoulder]. The short-ranged uses of the elbow are dangerous and therefore require audacity. Coiling, driving firmly forward, turning over and striking, such are the elbow's development.
九：論胯
胯居身中與腰平，兩胯似腿兩眼晴。前胯領路後胯坐，發腿全靠胯之功。胯打功法衝撞靠，貼擠扭打胯力崩。要想下掌功夫好，兩腿下坐與膝平。收肛必須縮雙胯，上提穀道縮胯功。
9. Regarding the Hips
The hips reside at the center of the body and are in line with the waist. The two hips are as if the eyes of the legs. The front hip leads the way and the back hip sits down. The sending out of the legs depends entirely on the development of the hips. The striking & developmental methods of the hips are rushing, crashing & leaning on; sticking to, squeezing against, twisting and striking, the hips' strength bursts out. If one wishes to attain good development with the lower palm, the two legs must sit down even with the knees. Tucking the anus requires that one contracts the two hips; such is the contracting development of the hips.
十：論背
拔背圓膀基本功，頂豎背拔督脉通。取像迎孟九宮法，拔背全身整力功。內力來於拔背法，背拔氣順歸正宗。走掌換式須拔背，轉身靠擠後背功。
10. Regarding the Back
Pulling the back [long/round] as if a rounded pillar, this is a type of foundational development [2]. The head vertical & the back pulled [long/rounded], the du meridian is unimpeded. It draws its appearance from the method of greeting Meng in the nine palaces [3]; it has the development of full-body strength derived from the pulling [round] of the back. Its internal strength comes from the method of pulling the back [round]; with the back pulled [round] the circulation moves smoothly returning to its proper purpose. When turning with the palm or changing between postures/techniques, the back must be pulled [round]. The development of the back is to turn the body while crashing and squeezing in backwards.
綜上概述，歌曰：十論之語雖不多，言簡意賅理法深。學者務須詳參想，細品文味妙且珍。一朝豁然貫通日，必悟此論勝金針。
In general overview of the content aforesaid, the songs say: "while the words of the ten discussions are few, their words are simple, their content comprehensive, their theory & methods profound. A student must thoroughly ruminate upon them, partaking in a refined sampling of their cultured taste for their words are both subtle and precious. A single dawn of understanding can thread illumination through the entirety of day; [in this respect] one must realize that these discussions are superior to a needle wrought of gold."
------
Translator's Footnotes:
1. The author of this mnemonic rhyme does not specify the "points" in question to which he refers. The Doctor's article "Postural Requirements for Lion Standing" covers this in further detail.
2. The character for "pulling" refers to a "pulling out" as if ripping a plant out by the roots. While we often think of rounding the muscle on our backs, "pulling" makes sense if you think of the spine. The dropping, rounding & lengthening would all contribute to stretching the spine out as long as possible.
3. The nine palaces can refer to a spacial or directional consideration of the trigrams wherein each of the trigrams represents one of the eight directions and is considered "a palace". The 5th palace is generally called the "middle palace" and it resides between the other eight. I am not sure what is meant by the "method of greeting meng"; were I to guess wildly, as "meng" can refer to the first month of a season, perhaps it refers to the connection between the du & ren meridians (which would be achieved by pulling the spine long & rounding it). Chinese medicine suggests that certain areas of the body are particularly prone to having poor circulation; holding the proper posture could therefore help to restore appropriate circulation.
