We are delighted to present an interview with Master Byron Jacobs, a 7th Duanwei ranking holder by the Chinese Wushu Association, who recently published the book entitled “Dragon Body, Tiger Spirit”, a comprehensive translation and clarification of the classic texts of Xingyiquan (形意拳). From his early teens, Jacobs began practicing Chinese martial arts, doing both traditional and standardized competitive systems. Then, for the last two decades, he has studied continuously under traditional Grandmaster Di Guoyong (邸國勇), eventually becoming a closed-door disciple of his and recognized as an inheritor of his lineage. This interview contains many fascinating details about Jacobs outstanding translation and interpretation work, which also demonstrates his long-term dedication to the practice and preservation of the arts.
EA: Could you mention briefly which are the Xingyiquan classics that you have translated?
BJ: There exists an extensive collection of texts that are classified as the classics of Xingyiquan, some being lineage-specific and more recently added by named authors, while others are classified as universal, irrespective of the lineage and many of which are not directly attributed to a single author. In some cases, legendary figures are cited as the authors, which is most probably not true. Within this book I have included what is generally accepted as the main corpus of the Xingyiquan classics. These include texts that are existent in both Xingyiquan and in the forerunner style of Xinyiquan (心意拳), such as the Eight Word Poems (八字訣), Yue Fei’s Nine Essential Requirements Treatise (岳武穆九要論), and several others.
I also included some relatively more recent texts and commentaries, such as the well-known Xingyi Five Elements Boxing Manual (形意五行拳圖說) by Jin Yunting (靳雲亭) as part of the Five Elements chapter of my book, and the Discourse on the Art of Xingyiquan (形意拳術講義) by Xue Dian (薛颠) as part of the Twelve Animals chapter, to name a few. Additionally, I decided to include a translation and explanation of the Internal Work Four Classics (內功四經), which are not considered part of the core Xingyiquan classical texts, but rather come from the Shanxi lineage of the Song family and are directly relevant to that particular lineage’s practice.
EA: I noticed the book also includes a biography section, is that correct?
BJ: Yes, I decided to present brief biographies of various prominent practitioners of the art of Xingyiquan. I have utilized a combination of the publicly available information regarding these practitioners as well as other information provided at times by practitioners within various lineages. The biographies are by no means meant to be exhaustive or in-depth investigations of these peoples’ lives but rather glimpses into the histories of the practitioners who shaped and preserved this wonderful art that we practice today.
EA: Was your translation work source-oriented or target-oriented? Please elaborate.
BJ: Both. This book is laid out in the following manner. Each chapter focuses on a particular classic. Firstly, I present a brief overview of that particular text and then include it in its entirety in traditional Chinese characters which is followed by a translation. My primary goal in each translation is to present the meaning of what is being conveyed in the clearest and most suitable language to that end, and with that I do not present a simple direct translation, as this often leaves the English reader without a clear understanding of its actual meaning. Following each translation, I present detailed commentary, in which I go into deeper detail regarding the meaning, function, and application of each respective text. My goal throughout this work is to present these texts as clearly as possible within the correct context of Xingyiquan and broader martial arts practice.
In each section, where needed, I also included footnotes. I opted to place each section’s footnotes directly below it as opposed to placing it at the rear of the book. My rationale for this was that these footnotes need to be read together with each section in question, and, in order to avoid the inconvenience to the reader of having to continuously flip back and forth between a section and the rear of the book, I placed the notes within each section. Additionally, in cases where there were differences between various versions of the same text as they exist in differing classical sources, I have either utilized the one that was deemed to be most correct, or I have included more than one in cases where this was appropriate. Furthermore, where necessary, I have included an appendix in the rear of the book in which one can find reference diagrams, etc., related to specific topics mentioned within these texts.
EA: What were some of the common challenges you faced during the translation of these texts and what were the methods you used to better connect your target audience to the classics?
BJ: There is double the difficulty, in that the texts are written in classical vernacular, which even if one could read them, one would most likely not understand what is being conveyed. Additionally, without an understanding of the practices, one would not be able to explain the instruction contained within the text. I was lucky to have an old generation teacher, who not only could read the text, but was a high-level practitioner of the art. So, the experience I had studying with him, in which he would constantly recite and explain aspects of the classics to me during training helped with the initial step.
Over the years, throughout my time learning the art, I studied these texts extensively as a means to deepen my practice as well. Through this, I became quite familiar with the texts and their meaning and how it applies to training as well. With this, I was able to translate the texts, and then explain what they are conveying in terms of practice. Additionally, as the language of those times often used classical Chinese imagery, philosophy, and medical theory, I have explained these in my book and added footnotes to explain these aspects as well.
Lastly, when written records were compiled, there are cases where different transmissions of the same text have differences such as a different character utilized here or there. For example, within the classics texts for Six Body Shapes (身成六式), there is a mention to the concept of Tiger Leopard Head (虎豹頭), also recorded as Tiger Embracing Head (虎抱頭) on some sources. Since the terms for leopard and embrace are homophones, which one is correct? These were things my teacher had also pointed out to me when I was studying with him. At times they were clearly an error and in such cases my teacher had amended them to be correct. However, at other times, the different versions all had some value and in such cases I have included the different versions and explained their differences as well.
EA: What were the motives for this endeavor and the time it has taken?
BJ: This book has been in the making for a decade. Initially, I started writing this for myself, it was not initially planned to be a book. However, over the years I found that there was very little of the classics translated into English, and those that existed in many cases were translated in a manner that was either inaccurate or unclear. They were also very seldom fully explained. I also found that there was quite a bit of misunderstanding from the international Xingyiquan community as to their meaning and by extension the practices themselves. I often found myself online trying to explain these to people and that was one of the reasons I decided to publish the book. I also wanted to add something of value to the international Chinese martial art community that could elevate the understanding and practice and give people an appreciation of the culture it came from.
EA: Why would you say it is important to read the classics to all practitioners?
BJ: The classics are crucially important for many reasons. They elucidate the conceptual basis of the practice, focusing on aspects that are crucial in technical, psychological as well as other areas. They also convey the history and culture of the style, which is very important if one wants to learn the art deeply and fully. The classics are not something you read once, but rather something you read over and over as you progress through your training, as they reveal deeper meaning as you yourself go deeper into the art. They continually give you something new while at the same time ensuring you stay on the right course.
Furthermore, I believe that my book can help to demystify these classical texts as well, which are often mistranslated, misunderstood, or both. Through this clearer understanding, one can get a better idea of the differences in terms of basis and approach that Xingyiquan has in contrast to some other arts and what it stresses. Additionally, it is interesting to note that other martial arts such as Taijiquan (太極拳) and Baguazhang (八卦掌) have also utilized aspects from the Xingyiquan classics within their own classics.
EA: After reading these sources yourself, how did your own Xingyiquan practice evolve?
BJ: Many aspects were improved. From a technical perspective, the classics deepened my practice. I also better understood cultural aspects as well as philosophical, Chinese medicinal and historical aspects of the art and those great predecessors involved in Xingyiquan.
EA: Can you mention a “precious find” you have uncovered from the classics?
BJ: While there are many examples of pure gold in the classics, I will refer to one that I quite enjoy. This extract is from within the first essential requirement of Yue Fei’s Nine Essential Requirements Treatise:
“Through the diligent daily training of the skills, success will be attained. The method to understanding the unifying principles as handed down from the sages of old is through patience and numerous repetitions, this will lead to realization. Be forever relentless in your efforts to attain knowledge and skill. This process is neither overtly difficult nor easy, but solely depends on your own efforts. One should neither be in a rush nor delay, one should not be impatient, but rather progress step by step following the correct process. In this way your bones and joints, the upper and the lower, the internal and the external will naturally connect and harmoniously unite.”
It really does sum up martial arts practice as a whole and the attitude one should employ for a lifetime of training. This is also applicable to anything in life, which makes it even more valuable. The instruction about “numerous repetitions” also highlights a key aspect to the practice of Xingyiquan, which features a heavy focus on repetitive line drills of a single technique over and over. However, repetition here not only means to physically repeat motions but also refers to repeating the instructions and principles as well as repetitively hearing the instructions and principles. Which brings us back full circle to the function and value of the classics.
EA: Fascinating! How would you like your readers to interrogate and process your translations?
BJ: Readers should expect a read that requires one’s full attention and a book that one will and should come back to often throughout their training life.
