中文译者 黑色伯劳鸟 的前言：
感谢主計科少尉候補蛋，胡德和水鬼，量产级伯爵，Ilkka Hartikainen Marozzo.com等等给予的帮助和校对。
《博洛尼亚无名剑客手稿Anonimo Bolognese》是意大利博洛尼亚兵击武术体系的遗存手稿之一，包含了不同种类武器的技法和训言，英文翻译后多达13万字，包含了较为充沛的细节，是目前最全面的博洛尼亚古籍资料。（个人建议学习博洛尼亚先看这本，不然很难理解Marozzo那本。）
该稿根据对其书法水印的分析，估计其成稿于16世纪初（大约1510-1515年），由于全篇没有署名，我们无法判定出自哪位剑客之手。Cesari和Rubboli 推测其作者为吉多·安东尼奥，迪·卢卡Guido Antonio di Luca，著名大师马洛佐Marozzo和曼乔里洛Mancionino的老师。但这个推论并没有得到广泛支持。
中文译本译自Stephen Fratus的英文译本，由于文字量巨大，所以我恐怕只能翻译一部分。
建议：大师们的古谱提供了丰富的思路，战术体系，技法描述，但书本无法记录武术的所有，很多古谱是供给能够理解自己的身体、或是有武术基础的战士。所以建议观看的各位，去学习一种运动，格斗，武术，或者和这些领域的人探讨，让他们帮助你理解身体运动的基础，掌握运用这些技巧所需要的身体和运动知识。
前几部分是基础篇，里面首先命名了一些基本的架势和动作。记住这些命名，因为后面无名剑客讲到战术战法的时候，会频繁地使用这些名词。如果你在看后面部分时忘记了，希望能打开前几篇来对照。
以下是可用于对照参考的视频
av20726852 博洛尼亚基础与理念解析【重要】 av27113899 博洛尼亚套路训练解析。【帮助你掌握动作衔接】 ， av18213075 博洛尼亚剑法 挥砍训练 av32127430 简单易学的大风车训练：力量，耐力，手腕灵活和协调性 av18228391 步法下盘训练 av17999382 剑之轮步法训练 av19375389 博洛尼亚侧剑 架势演示(°∀°)ﾉ
《博洛尼亚无名剑客手稿》英文译者Stephen Fratus
版权声明：这份译本是我的礼物，送给所有想要学习或训练这项技艺的人。所以任何人可将此译本用于任何目的。只需你遵从一条规则，即署上我的姓名，译者Stephen Fratus。
以上不包括译本中其他译者的部分，这取决于其他译者的版权。
鸣谢
我首先想要感谢那些帮助我翻译困难段落的人，特别是Albertus Comes, Frank Gao和Jherek Swanger.
我还要感谢Tom Leoni和Greg Mele允许我包含了一些Tom的大师级翻译
我要感谢 Ilkka Hartikainen （芬兰半秃帅叔），他的早期译本激发了我尝试理解这份狂野、迷人的兵击手稿
最终我要感谢Tyson Wright 提议我翻译这份手稿
博洛尼亚无名剑客手稿·第一册
In the Name of God
Anonymous Incomplete Manuscript upon Fencing: or Treatise of Fencing
How wonderful is this ingenious art of defense when it derives from four principles that between them are more important than are any other. They are courage, cunning, strength, and skill and he that will adopt these four qualities shall never have shame … ①
Now it is possible that a man could think to make some attack without thought to his own defense. As it will be necessary that in so doing he must first move his weapon from whatever position it may be in, and then his feet from wherever they bear him up, he may instead act from one of these positions of hand and foot known as guards, and thus act from a position of being able to safely attack. And so likewise I shall too follow this natural order of starting with these positions known to all as guards, based upon their usage, as placements into which a man may put himself and from which a man may safely move his sword hand, and then his feet, as following they must.
以上帝的名义
这份独具慧心的自卫技艺是如此奇妙，它得自无比重要的四大原则，即勇气，狡诈，力量和技巧。拥有这四种品质的人永远不会含恨受耻......①
现在，可能一个人在进行攻击时常常忽视对自己的保护。想要保护自己，他必须先动武器再动腿。他若从一些特定的被称为“架势”的位置发起动作，那么他的动作就能成为一次安全的进攻。因此，我也将遵循自然顺序，从架势开始讲起，根据用法的不同，架势可以描述一个人可能到达的位置体势，以及安全地先动武器再动脚步的基础。
①文本在这里中断
The Guards
架势
Guardia di Testa
There is a guard which more than the others protects the head; from this it takes the name guardia di testa, and you may make this guard having either the right or left foot forward, so long as you keep the lead foot far in front. As for your arms, the right arm is the sword arm and the other holds the buckler, and they must both be extended strongly towards the enemy and they will be no higher than your shoulder, though the sword arm must be a little lower than the buckler arm.
头位势
这个架势能比其他架势更好地保护头部，因此它被称作头位势，在这个架势下你可以右脚或左脚在前。至于你的手臂，右臂是持剑臂，左臂则是持握小盾，两者都朝着敌人稳固地伸展，且都不要高于你的肩膀，尽管持剑臂要略低于持盾臂。
头位势 （配图全部来自另一位大师Marozzo的著作，因此不一定完全符合，作为参考）
Guardia Alta
One makes guardia alta by lifting the sword arm aloft into the air, such that the sword is completely back, and by also extending the buckler arm, driving it towards the enemy's face. As to the feet, either the left foot or the right foot may lead. Or we may place the right foot a mere four fingers ahead of the left, and if we settle in this manner we shall also keep the heel of the right foot a little lifted from the ground, and placing ourselves this way we will keep both legs straight, without the least bend in them.
高悬势
进入高悬势是将持剑臂抬高到空中，剑完全靠后，伸展持盾臂朝向敌人的面部，左脚或者右脚都可以在前。或者右脚比左脚靠前四指长，如果我们用这种方式，那也要略微抬高右脚的脚后跟，并保持双腿伸直，不要有一点弯曲。
高悬势 （配图全部来自另一位大师Marozzo的著作，因此不一定完全符合，作为参考）
高悬势
Guardia di Lioncorno②
To set yourself in the so-called guardia di lioncorno, make the sword point downwards just like the horn of the animal, you will lift the sword arm up in such a way that the point is directed at the enemy's face and you will likewise push the buckler forward. As to the feet we may place the right or left foot forward somewhat forward.
独角兽势
进入独角兽势，剑尖朝下，如同动物的角一般。抬高你的持剑臂，剑尖直指敌人的脸。同时推动小盾朝前。右脚或左脚朝前都可以。
② 在其他大师的著作中Guardia di Lioncorno等同于 Guardia d'Alicorno或者 Becca Posa/Cea.
独角兽势（右脚在前）
独角兽势（左脚在前）
Guardia di Faccia
Placing yourself into guardia di faccia will be similar to guardia di lioncorno, in that either foot may lead. But the arm needs to be kept extended towards the enemy, and lower, at the height of the shoulders as how we describe the guardia di testa; and in a manner that the hand comes to direct the point driving it straight towards the enemy's face, and the hand will be covered by the buckler hand.
面位势
面位势类似于独角兽势，任何一只脚都可以在前。但手臂需要保持朝着敌人伸展，低一点，到肩膀的高度，如同我们在头位势说过的那样。剑尖直指敌人的脸，用小盾护住持剑手。
Guardia di Sopra Braccio
In order to form the guardia di sopra braccio, one needs to place the sword arm such that the inside of the elbow is near to the point where the buckler arm bends, and in a way that the point of the sword faces well backwards. And the shoulder points towards the enemy and the buckler is strongly pushed towards his face. And so the right foot is only a good palmo3 forward, such that the front leg shall be found having little bend in it.
臂上势
你需要将持剑臂的手肘内侧靠近持盾臂弯曲的地方，剑尖朝向后方。肩膀指向敌人，小盾稳固地朝对手的脸伸展。右脚仅仅朝前一掌③，如此让前脚只有略微弯曲。
③一掌Palmo，测量单位，长度不定。大约在20厘米左右。
Guardia di Entrare
To place yourself in the guardia di entrare, extend the arm so that the point of your sword threatens his face. Despite this, your hands, while threatening him, will not extend much past your own face. And so that you can be strong in this guard, your right foot needs to be in front and with the foot but lightly upon the ground.
侵入势
进入侵入势，伸展手臂用剑尖威胁敌人的脸部，但你的手在威胁他的同时，不要伸展超过你自己的脸。以此能保持架势稳固，你的右脚需要在前，脚掌轻盈地踩在地面上。
Guardia di Sotto Braccio
When one wishes to stand in guardia di sotto braccio, it will be necessary to place the sword hand below the buckler arm either under the arm or in the armpit, in such a way that the sword will be straightened behind you and the buckler pointed towards the enemy's face, and the feet placed as in the aforementioned guardia di sopra braccio.
臂下势
将持剑手放在持盾臂的手臂或腋窝下方。剑直直朝后，小盾指向对方的脸。双脚如上文提及的臂上势一般。
Porta di Ferro Alta④
The guard called porta di ferro alta is such that one setting himself in it will position himself at an angle, directing the right shoulder to the enemy's chest and keeping the sword arm well-extended with the point toward the opponent's face and so that the sword hand is flush with the right leg, and as to the feet, the right needs to be a great step forward, towards the enemy, and the left must be at an angle and at such a width that the knees are somewhat bent.
铁门高悬势
你将站成一个角，右肩直指敌人的胸部，保持持剑手臂较为伸展，指向敌人的脸，持剑手与右腿齐平。至于脚步，右脚大步朝前，朝向敌人，左脚必须成一个角，两只膝盖都有所弯曲。
④在这份文本中实际叫做Porta Alta di Ferro，此处改词序为其他博洛尼亚大师所说的一般用法Porta di Ferro Alta
Porta di Ferro Stretta
If you want to place yourself in the guard of porta di ferro stretta, such that you push yourself strettamente⑤ towards the enemy, then you will be no different than how you stood in the previous guard directing your right shoulder at the enemy and extending the sword arm before the right knee such that the hand will not be distant from the top of the knee; and the buckler will be driven strongly towards the enemy to defend the head. In this guard the right foot needs to be in a long stride forward towards the enemy and the left foot at an angle, keeping both legs somewhat bent.
铁门固守势
身姿缩紧朝向敌人，站姿与前一个架势无异，右肩直向敌人，伸展持剑臂在右膝之前，如此手不会离膝盖上方太远；小盾稳固地朝向敌人，保护你的头部。在这个架势中，右脚需要大步在前朝向敌人，左脚呈一个角，保持双腿都有所弯曲。
⑤实际词汇是“strettamente” 可以字面翻译为“收缩地，靠拢地narrowly”
Porta di Ferro Larga
Porta di Ferro Larga is so-called because it is wider and more exposed to the enemy; the placement is the same as we have said for porta di ferro stretta, the sword hand should not be changed from the right knee, and the point shall be directed at the ground and the sword hand should not be farther down than the middle of the bent knees.
铁门展开势
此架势之所以叫做铁门展开势，是因为其更为伸展，更多的暴露面给对手。体势与前面的铁门固守势一致，持剑手不要远离右膝，剑尖直指着地下，持剑手掌不要过于下放以至于超过弯曲的膝盖之间。
Cinghiara Porta di Ferro Alta
Repairing yourself into the guard cinghiara porta di ferro alta takes its name from the boar, which is accustomed to attacking with its tusks from the side; you will set the left foot traversing your left side over the somewhat bent knee; and the right leg fully extended in a wide step behind; and likewise the sword hand with the point directed at the enemy's face. But in this guard you must hold the buckler high to guard the head.
野猪之铁门高悬势
野猪之铁门高悬势，其名字来源于野猪惯于以两侧的獠牙进攻。你需要将你的左脚斜跨至左侧超过你略微弯曲的膝盖；右腿在后完全伸展，双腿跨开（up：类似于弓步）；同时剑尖指着对方的脸。但在这个架势中你必须保持小盾抬高护住头部。
Cinghiara Porta di Ferro Stretta
The guard cinghiara porta di ferro stretta is similar to cinghiara porta di ferro alta, and differs only in that the hand will lowers itself until it is in front of the left knee and there it stays to secure the knee, but in all other ways the placements are all the same.
野猪之铁门固守势
这个架势类似于野猪之铁门高悬势，区别只在于手放得更低，直至左膝盖前方，并在此护住膝盖。其他地方都与上一个架势相同。
Cinghiara Porta di Ferro Larga
The guard cinghiara porta di ferro larga is made no differently with the body than the preceding guard, except the sword hand has the point towards the ground in such a way that it lies across the left knee.
野猪之铁门展开势
这个架势在身体形态方面与上一个架势无异，除了将剑尖指向地面，持剑手越过左膝盖。
Coda Lunga Alta
The guard called coda lunga alta is composed such that the sword arm is extended to the side diagonally not higher than the shoulders and it should have the point guarding the enemy, and likewise with one will keep the buckler pushed strongly forward towards the enemy. And the left foot will lead in a long step towards the enemy, keeping the knee somewhat bent
长尾高悬势
持剑臂向外侧斜向伸展，不要高于肩膀，剑尖指着敌人，同时将小盾稳固地推向敌人。左脚大步在前，朝向敌人。
Coda Lunga Stretta
The guard coda lunga stretta, so called from the fact that it is narrower than the rest of the other coda lunga guards, and proceeds according to the previous except that the sword hand goes down by the right knee and you keep the point directed at the enemy.
长尾固守势
此架势叫做长尾固守势，因为它比其他长尾架势更为收缩。其他都与前一个架势相同，除了要将持剑手放低到右膝盖附近，剑尖直指敌人。
Coda Lunga Larga
Similarly the guard called coda lunga larga is made in the made way shown above, except that the sword hand holds the point towards the ground, and it is from this, that the guard coda lunga larga takes its name, since the point is not kept in presence.
长尾展开势
其他都与上一个架势相同，除了持剑手将剑尖指向地面。？？？？？（这一句不会翻）
Coda Lunga Lunga
With the previously described placement one may also fashion a guard with a redoubled name, except that the sword hand turns extending the point backwards, showing a broad tail, from the beside of the right knee, and it is from this that the guard takes its name.
长尾远伸势
其他与前一个架势相同，除了持剑手向后伸展，并将剑尖指向后方，如同一条显眼的尾巴。注意持剑手在右膝盖的外侧。
Coda Lunga Alta (Right Foot Forward)
And there is another coda lunga alta, made like as described above, but is made not with the left foot forward with the right foot forward in a long step towards the enemy, and like the left foot having the right foot pointing somewhat off to its performers right side and under a somewhat bent knee, but the location of both arms will be the same as in the other coda lunga alta.
长尾高悬势（右脚在前）
这是另一种长尾高悬势，其他如前一种所述，但是右脚在前，大跨步朝向敌人。左脚指向右侧，膝盖略微弯曲。双臂的位置与另一个长尾高悬势相同。
Coda Lunga Stretta (Right Foot Forward)
Similarly there is another coda lunga stretta in which you will position the feet in the same way as above and put the arms as in the other coda lunga stretta.
长尾固守势（右脚在前）
另一个长尾固守势，只不过右脚在前。
Coda Lunga Larga (Right Foot Forward)
And so there is another coda lunga larga, into which any may place themselves having the
sword outside the right knee pointing down towards the ground, and the feet positioned as in the one before it, with the right foot forward.
长尾展开势（右脚在前）
另一种长尾展开势，将剑放置在右膝盖外侧指向地面，右脚在前。
Coda Lunga Lunga (Right Foot Forward)
And the other coda lunga lunga will be made like the other but with the right foot forward, and the only difference is that the buckler arm will be strongly pushed towards the enemy.
长尾远伸势（右脚在前）
另一种长尾远伸势，只不过右脚在前。唯一的区别是持盾臂要稳固地朝着敌人伸展。
High Guards, Narrow Guards, Wide Guards
Now that we have named all of the guards, note that you will find them in three different manners: high, narrow, and wide, and so that you will know them from one another, they will be named herein.
• The High Guards: guardia alta, guardia di lioncorno, guardia di intrare, guardia di testa, guardia di faccia, and guardia di sopra braccio. In all of these high guards you may stand with either foot forward, or with the feet together.
• The Other High Guards: porta di ferro alta, cinghiara porta di ferro alta, coda lunga alta with the left foot forward, and coda lunga with the right foot forward. In all of these guards you may stand with your feet together.
• The Narrow Guards: porta di ferro stretta with the right foot forward, cinghiara porta di ferro stretta with the left foot traversing, coda lunga stretta with the right foot forward, coda lunga stretta with the left foot forward. These you may also form with feet together.
• The Wide Guards: porta di ferro larga with the right foot forward, cinghiara porta di ferro larga with the left foot traversing; coda lunga larga with the right foot forward, and coda lunga lunga, coda lunga larga with the left foot forward, coda lunga lunga with the left foot forward. Guardia sotto braccio is also a wide guard, which you may form with either foot forward, and with feet together.
高位架势，收缩架势，伸展架势
现在我们已经命名了所有架势，你要注意到它们有三种不同的特征：高位，收缩，伸展。如以下分类。
高位架势：高悬势，独角兽势，侵入势，头位势，面位势，臂上势。在以上高位架势中，你可以任一只脚在前，或者双脚靠拢。
其他高位架势：铁门高悬势，野猪之铁门高悬势，长尾高悬势（左脚在前），所有右脚在前的长尾架势。这些架势中你可以保持两脚靠拢。
收缩架势：铁门固守势（右脚在前），野猪之铁门固守势（左脚在前朝外侧），长尾固守势（右脚在前），长尾固守势（左脚在前），这些架势你也可以保持两脚靠拢。
伸展架势：铁门展开势（右脚在前），野猪之铁门展开势（左脚在前），长尾展开势（右脚在前），长尾展开势（左脚在前），长尾远伸势，长尾远伸势（左脚在前），臂下势。这些架势中你可以任一只脚在前，或者两脚靠拢。
And so because we have taught and given the knowledge of the gallant guards that pertain to this ingenious art of defense, because there is no other thing in this art that you may need to understand as much, so that when you find yourself against an enemy, you can immediately identify how he keeps his sword, the placement being from the infinite and innumerable ends of the various attacks and modes that vary from that from guard to another; and so you will know what it is suitable because being very shrewd and illuminated with the knowledge of his placement you will make effective attacks, with tempo, and with the sword, and the body; and doing them in such a manner that you will remain secure from harm.
我们已经传授了这门精巧的护身技艺的架势知识，在这门技艺中，没什么比架势更需要你着重理解了。当你对敌之时，你能立即辨别出敌人持剑的方式，纵然各种各样的攻击方式和变化模式会到达的落点和位置无穷无尽，但实际都是从一个架势到另一个架势的过程。通过对这些位置和架势的知识，你能狡诈地发动合适的，有效的进攻。当然，要配合正确的时机，控剑，和身体运动，如此你便能避免受伤。
（up的理解：为什么前面会命名那么多架势？因为其实囊括了起手到挥剑过程中会到达的大多数位置。每种不同的架势/位置有他的强项、擅长的进攻方式、封锁区域，暴露面。了解这些，你就可能在对敌时观察敌人当时的架势，更快反应到如何进行安全的攻防。实际上，后面无名剑客也会介绍大量的不同架势vs不同架势的战术战法。
前面写到架势之间腿的弯曲和伸直，大师说到所有攻击和运动模式实际都是一个架势到另一个架势的过程，在这个过程中，注意双腿的弯曲，靠拢或伸直有一系列作用：比如双腿伸直将重心抬高，双腿弯曲可将重心降低，通过重心的起落为你的斩击提供速度和力量，还能骗距离等等等等，双腿屈伸也为移动和爆发提供力量。）
同时，命名架势/位置也是大师用来定位记录动作的一个方法，后面他描述一个动作时，会将一些架势串联起来，如此你便能知道他整个动作的轨迹。
所以记住这些架势的命名很重要，教大家几个规律：长尾架势在自身右侧，铁门架势在自身左侧，带野猪的双腿跨开。）
The Blows of the Sword & Turns of the Hand and Body
剑的攻击方式 & 手和身体的扭转
伊卡【剑的攻击方式 & 手和身体的扭转】演示及训练
So that you may understand this art, know that there are two cuts, those made with the true edge and those made with the false edge. When holding the sword the edge facing the inside of your right arm is the false edge, and so it follows that the one facing the outside is called the true edge.
Now here it is necessary to know that when you and your opponent are in porta di ferro stretta with the right foot forward, the false edges of both your swords will be defending against one another.
The other way is that you will be able to be place the true edges of the sword defending one another, both in porta di ferro stretta with the right foot forward, and so here it is necessary to always be shrewd for it is a great virtue to be aware of the swords, for even in a single placement there are many precise ways in which they can be made.
Also you may find yourself set with the left foot forward against your enemy in coda lunga stretta, and should he be in the same placement it will be wise to heed the manner in which your swords are found, because there are two ways in which you may be found, either with the true edges facing one another or with the false edges facing each other, for there is a great variety of cuts that from either placement one may use.
But you must utilize this judgment in any guard or placement in which you have set yourself against your enemy because there is a great variety of attacks that can be made from one or the other; and note that by keeping the sword half a finger higher, or lower, or to the side, even by just a hair's breadth, can ruin your guard, because the sword passes and enters so many small positions that only to think about it is a marvel.
And so you will heed that finding yourself against your enemy and you set in cinghiara porta di ferro stretta with the left foot traversing, and he will oppose you in coda lunga stretta with the right foot forward, and in this situation you will be able to find yourself set in two manners: such that your true edge edge guards his false edge, or such that the false edge of your sword faces his true edge, and so on, he has moved not were not wounding said guards were composed …6
理解这门技艺，你要知晓两种斩击方式，一种是正刃斩击，一种是反刃斩击。当你握剑时，对着你右臂内侧的刃即为反刃，对着右臂外侧的即为正刃。
当你和你的对手都在铁门固守势（右脚在前）时，双方反刃相对。
但双方都在铁门固守势（右脚在前）时，你也能用正刃相对。重要的是对剑敏锐的观察，即使在一个单一位置下也有很多种不同的精密的放置方式。
比如你也可能以长尾固守势（左脚在前）对敌，他可能也在同一架势，此时你要明智地留心剑的放置，因为你们彼此的剑，可能正刃朝向对手，也可能反刃朝向对手，这两种放置方式都包含大量不同的斩击手法。
你必须将这种判断力应用于所有你对敌时的架势或位置上，因为不同架势或位置能发动大量不同的进攻。记住若是架势有一指长的抬高，降低，偏移，哪怕是极短的距离，都能毁掉这个架势。因为剑能从很多细小的空隙钻进来，你想都想不到。
现在你将小心地对敌，进入野猪之铁门固守势（左脚在前朝外侧），而敌人则是长尾固守势（右脚在前），在这种体势下你会发现两种情况，你的正刃正对对手反刃，护住自己；或者反刃正对他的正刃，诸如此类，他无法移动或伤害你的架势，由....组成。⑥
⑥原文在这里中断，没有发现 他的完整意思。
This ingenious art of the sword consists above all of a half turn of the hand or a full turn of the hand; but this half turn of the hand or full turn has a great need to accompany full cuts or half cuts, and this half turn of the body has a great need to be accompanied by a half step or a full step; and this half step or full step has great need to be accompanied by a mezzo tempo or a full tempo; and this half tempo or full tempo has great need of agility and skill; and this skill and agility has need of courage, and this courage has great need to be accompanied by judgment, and this judgment one cannot have without experience, the mother of all education, and that which we will provide.
You will notice that this half turn of the hand, one makes in even more ways, and is of great importance, and the cornerstone of this art, and to let one know the manner and modes that one may make this half turn of the hand, I say, that finding yourself set in coda lunga stretta with the right foot forward; by turning only the wrist of the hand and easing yourself into porta di ferro stretta; this will be a half turn of the hand; and so were you set in porta di ferro stretta with the right foot forward and turning only the wrist of the hand and easing yourself into coda lunga stretta, so this will also be a half turn of the hand; and so one may make this half turn of the hand with a variety of footwork as you will see written in this work, and so in various ways of striking you will find that you can wound your enemy with only a turn of the sword hand. But you know that every time that you find yourself in some guard of your choosing, and without throwing any attack, only turning your sword and placing yourself into another guard, this movement will also be a half turn of the hand.
A full turn of the hand one makes such, that finding yourself in guardia di lioncorno with the sword hand high and having the point directed at your enemy's face; and having your right foot forward if you were to turn the hand such that you should wind up in guardia di entrare turning well the hand of the sword, this will be a full turn of the hand; and so you will understand me better, I say that if your enemy is set in porta di ferro larga with the the right foot forward and you are placed opposite him in guardia di entrare with the right foot forward such that the point of your sword is directed at his sword hand; and staying in this placement, if you were to turn only the wrist of the hand keeping the point of the sword directed at your enemy's sword hand, and move yourself into guardia di lioncorno with the hand high and the point directed at his sword hand this will be a full turn of the hand.
这门精巧的剑技，首先包括的是手之半转或全转。但手之半转或全转，极需配合全斩或半斩；而身之半转需要配合半踏步或全踏步；而半踏步或全踏步，需要配合半拍或全拍；（up：时机概念）而掌握半拍或全拍，则极需敏锐和技巧；而运用这种敏锐和技巧，需要勇气；而勇气，需要判断力；而这种判断力，需要经验，教育，那就是我们正提供给你的。
你要注意手之半转，它有多种运用方式，非常重要，是这门技艺的基石。你要让一个人了解手之半转的特征和运动模式。我这么说，你先进入长尾固守势（右脚在前），转动手腕进入铁门固守势，这是一种手之半转。再来你进入铁门固守势（右脚在前），转动手腕并进入长尾固守势，这也是一种手之半转。你可以在运用手之半转时配合不同的步法。（这些步法之后会写到）然后你会发现在进行各种各样的攻击时，只需通过持剑手的转动就可杀伤敌人。但你要知道，每次你进入自己选择的架势时，不用发动任何攻击，只需转动你的剑并让自己进入另一个架势，这种动作也可称作手之半转。
手之全转要这么做：你进入独角兽势，持剑手抬高，剑尖直指敌人的脸。转动持剑手做一个“卷”的动作到达侵入势，右脚向前，这是一种手之全转；我这么说你会更懂我的意思：假使你的敌人在长尾展开势（右脚在前），而你则对之以侵入势（右脚在前），剑尖直指他的持剑手。你转动手腕，改变体势进入独角兽势，在这个过程中保持剑尖指着他的持剑手，这就是一种手之全转。
下一篇预告：斩击与刺击，身之扭转，步法，时机。
