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Thread: Just what were those four strokes that Yeung Gor taught Cheung Gwun Bo?

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    Moderator Ken Cheng's Avatar
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    Default Just what were those four strokes that Yeung Gor taught Cheung Gwun Bo?

    At the end of ROCH, Yeung Gor taught young Cheung Gwun Bo (the future Cheung 3 Fung) four strokes that the youth used to critically injure the Mongolian mercenary warriors Siu Seung Tze and Wan Hak Sai. Just what were these four strokes? They obviously weren't part of Sad Palms (because that would require Cheung Gwun Bo to have a kind of sadness that he didn't have). Were they a part of Yeung Gor's regular martial arts, or were they something that Yeung Gor made up on the spot for Cheung Gwun Bo to use? Moreover, this was Cheung Gwun Bo's first formal training in the martial arts. Did those four strokes influence his later martial arts development in any way?

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    Senior Member Ardor's Avatar
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    They were one variation of 4 moves in the Sad Palms. Only two moves of the Sad Palms require sadness to comprehend.
    Burying his Dugu 9 Jian manual under an epitaph, Dugu Qiubai felt he has left his legacy for the next generation. He then moved to Shaolin to study Buddhism, sweep floors and tap elite fighters.

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    Moderator Ken Cheng's Avatar
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    What's funny is that I think only Jin Yong would have the audacity to take a legendary/historical figure from the Chinese heritage and make him beholden to one of his own characters. Think about it: Cheung 3 Fung, whose name had been legendary for centuries before Jin Yong was even born, suddenly becomes infatuated with Gwok Jing's daughter and learns his first formal martial arts lesson from Yeung Gor. Could you imagine any other writer doing that with a legendary/historical figure?

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    First move: Incorporated from YG's HIS techniques. Follow the intent of the stance rather than the force behind it. Like many DGQB's theories, the intent is paramount, not the methods/stances.

    Second move: No idea.

    Third move: All-directions-encompassing. The keyword is to strike afterwards to gain control of the situation, by striking beforehand, one gets controlled by the oppoent instead. (Sounds very taichi to me, don't you think?)

    Fourth move: No idea.

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    Moderator Ken Cheng's Avatar
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    Quote Originally Posted by Pacifian
    Third move: All-directions-encompassing. The keyword is to strike afterwards to gain control of the situation, by striking beforehand, one gets controlled by the oppoent instead. (Sounds very taichi to me, don't you think?)
    Perhaps the root of Mo Dong martial arts lay in this third move. How ironic it would be if the root of Mo Dong martial arts lay with Yeung Gor.

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    Quote Originally Posted by Ken Cheng
    Perhaps the root of Mo Dong martial arts lay in this third move. How ironic it would be if the root of Mo Dong martial arts lay with Yeung Gor.
    Actually, it was stated that 9 Yang stated this idea explicitly, YG merely had a rough idea of this theory, so technically, the root of Wu Dang martial arts would be more inclined towards 9 Yang.

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    Quote Originally Posted by Pacifian
    Actually, it was stated that 9 Yang stated this idea explicitly, YG merely had a rough idea of this theory, so technically, the root of Wu Dang martial arts would be more inclined towards 9 Yang.
    That's what I think too.

    But the Taiji principles can also be found in the Tao Te Ching (translation by Peter Merel):

    78. Yielding
    Nothing in the world is as soft and yielding as water,
    Yet nothing can better overcome the hard and strong,
    For they can neither control nor do away with it.

    The soft overcomes the hard,
    The yielding overcomes the strong;
    Every person knows this,
    But no one can practice it.

    Who attends to the people would control the land and grain;
    Who attends to the state would control the whole world;
    Truth is easily hidden by rhetoric.

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    Senior Member mawguy's Avatar
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    Quote Originally Posted by Ken Cheng
    What's funny is that I think only Jin Yong would have the audacity to take a legendary/historical figure from the Chinese heritage and make him beholden to one of his own characters. Think about it: Cheung 3 Fung, whose name had been legendary for centuries before Jin Yong was even born, suddenly becomes infatuated with Gwok Jing's daughter and learns his first formal martial arts lesson from Yeung Gor. Could you imagine any other writer doing that with a legendary/historical figure?
    GL. i'll leave the rest to your imagination. LOL!

    actually LYS sort of did it in PZXYL.

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    Moderator Ken Cheng's Avatar
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    Quote Originally Posted by mawguy
    GL. i'll leave the rest to your imagination. LOL!
    Except Gu Long never did that. Gu Long, unlike Jin Yong, steered clear of actual historical figures. Even the Ming Emperor from LUK SIU FUNG: THE DUEL was not specifically identified as being any particular historical emperor.

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    Senior Member mawguy's Avatar
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    Quote Originally Posted by Ken Cheng
    Except Gu Long never did that.
    yeah, that's only because he didn't want to pinpoint a specific era/dynasty as the background setting to his stories. otherwise, he'd probably take it a lot further than JY.

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    Senior Member CC's Avatar
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    Quote Originally Posted by Ken Cheng View Post
    What's funny is that I think only Jin Yong would have the audacity to take a legendary/historical figure from the Chinese heritage and make him beholden to one of his own characters. Think about it: Cheung 3 Fung, whose name had been legendary for centuries before Jin Yong was even born, suddenly becomes infatuated with Gwok Jing's daughter and learns his first formal martial arts lesson from Yeung Gor. Could you imagine any other writer doing that with a legendary/historical figure?
    Taking legendary figures and making up stories? I think Wu Cheng'en takes the prize.
    Its BIxie Jianfa Gawdammit you guys!!!!

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