Wubei Zhi (Vol. 36)

I have heard it said that the art of war involves the orthodox and the unorthodox, the empty and the substantial. One must measure the power of the many against the few, and the strong against the weak. One must decide the timing of victory or defeat, of exertion or rest. One must recognize the situation of the front, rear, left, and right, and examine the posture of the enemy and oneself, the host and the guest. One hides one's strengths and conceals one's weaknesses, or displays one's weaknesses while hiding one's strengths. One calls out and moves with the nine heavens; one inhales and remains still with the nine earths. One can be yin passive/receptive, one can be yang active/assertive. One can be yielding, one can be firm. One can attack, one can defend. One can be released or restrained.

Current Shaolin staff methods encompass these transformations and are largely similar to these principles. For example, the four standard postures of upper, middle, and lower [levels] align with the orthodox methods of warfare. Do the techniques of "dragging the halberd in reverse" or "pulling the whip in reverse" not overcome the enemy through unorthodox methods? In "dividing the gate and setting the door," what is substantial? In "feinting with the spear and pretending to be defeated," what is empty? Is "Iron Ox Tilling the Land" not the use of firmness to crush the sharp? Yet, when one dodges, tricks, pierces, and lifts, one is using the yielding to overcome the firm. Is "Lone Goose Leaving the Flock" not using exertion to snatch victory? Yet, [it also employs] techniques to avoid the crowd.