I want each of my students to know?That you cannot defend against the collar grab unless you move quickly.And with the strike that I make against your elbow,I will quickly feel your arm dislocate.

望周知，除非你夠快，不然就會被薅領(lǐng)子。當我用圖中招式攻擊你的手肘時，我會聽見那斷肢的啪嘰聲。

I am the Fifth Dagger Remedy Master who defends against the collar grab made by this player. Before he can strike me with his dagger I destroy his arm like this, because the grip he has on me is actually to my advantage. And I can do all of the covers, holds and binds of the other remedy masters and their students who came before me. And I say this from experience: all who study this art should be aware that you cannot successfully defend the collar grab unless you move quickly.

我是匕首五號技師，正在反制薅領(lǐng)子。在敵人用匕首攻擊我之前，我如圖廢了他的手臂，因為薅領(lǐng)子這不痛不癢的動作反而成為了我的優(yōu)勢。我可以做任何控制、防御、進攻。經(jīng)驗之談:習吾道者需知，你防守得不夠快，就會被薅領(lǐng)子。

After striking against your elbow, I will continue on.To quickly seek to find your dagger.

This is another way to destroy the arm. And from this play I can move to other plays and holds…

By striking to your wrist or to your elbow,I will either dislocate it, or you will quickly let go.

…Also if I strike you hard in the wrist joint of the hand holding my collar, I am certain to dislocate it unless you let go.

I wish to tell you the counter. As the student strikes down with his arms to dislodge the player's hand, the player quickly withdraws his hand from the student’s collar, and he then quickly strikes the student in the chest with his dagger.

?I will get rid of your spear with my arms in this way,Then I will turn and hit you,And if I cannot do it this wayThen I will use the technique I described before.

…Also, if you are pinned by a spear then by making this strike against it you will either unpin yourself or break off the haft from the spearhead.

If I want to get this spear off me,I had better hit it hard from above,So that I will break the staff of your spear And then I will want to come to the close.

This is another way to make you let go, and is also a better method of breaking off the head of a spear…

I am confident and certain that you will go to the ground,And I care little or nothing for your dagger.

I will throw you to the ground like this, before your dagger can get near me. And if your dagger comes down the center line to strike at me, I will release my grip and deal with your dagger, so that you will not be able to injure me in any way. Then with the remedy plays I will make you suffer.

在你匕首威脅我之前我就會讓你入土為安。如果你用匕首沿中線下位捅過來，我就會放棄糾纏轉(zhuǎn)而專心處理你的匕首，確保無傷的情況下我再另找機會降服你，并讓你痛苦萬分。

I choose to try this method of throwing you to the ground,And if this does not work I will try a different play.

This play will make you let go of me. And in addition, if I advance my right foot behind your left foot, you will be thrown to the ground without fail. And if this play is not enough, I will try others on your dagger, because my heart and my eyes are never focused anywhere other than upon taking away your dagger quickly and without delay.

You will find out that over my right shoulder，I will not fail to break your arm.

This player had me grabbed by the collar, but before he could strike me with his dagger I quickly seized his left hand with my hands and pulled his arm over my shoulder so as to dislocate it, and then I completely dislocated it. But this play is safer to do in armor than unarmored.

By the way I seize you and hold you,I will force you to the ground shoulders first.

In this way I will hurl you to the ground without fail. And I will surely take your dagger. And if you are armored that may help you, since I will be aiming to take your life with your own dagger. But even if we are armoured, this art will not fail me. And if you are unarmored and very quick, other plays can be made besides this one.

[In the Getty and Paris, the Scholar's right foot is inside (in front) of his opponent's left leg.]

To take your dagger I make a cover like this,And then with other plays I will make you suffer.

This cover is very good in armor or without armor. And against any strong man such a cover is good for covering an attack from below as well as from above. And from this play you can enter into a middle bind as shown in the third play of the First Dagger Remedy Master. And if the cover is made in response to an attack from below, the student will put the player into a lower lock also known as “the strong key”, as shown in the sixth play [38] of the Third [Dagger] Remedy Master who plays to the reverse hand attack.

If I can turn this arm of yours,Then I will force you into the lower lock.

If I can turn this arm I will be certain to put you into the lower lock also known as “the strong key”. I will however be able to do this more safely if I am armored. I could also do something else against you: if I grip your left hand firmly and seize you under your left knee with my right hand, then I will not lack the strength to put you to the ground.

Whether you try to strike at me from above or below,You will lose your dagger from this crossing.

With arms crossed I await you without fear. And I don't care whether you come at me from above or below, because however you come at me, you will be bound. You will be locked either in the middle lock or the lower lock. And if I wished to make the plays of the Fourth Dagger Remedy Master, I would cause you great harm with these plays. And I will have no difficulty in taking your dagger.

[In the Getty, the Scholar's left foot is forward.]

By holding your arm with my two hands,I will take away the dagger from you, as you deserve.

This grip is sufficient to prevent you being able to touch me with your dagger. And from here I can do the play that comes after me. And I could also certainly do other plays to you. I disregard the other plays for now, however, because this one is good for me and very fast.

The student who came before me did not make this play,So I show how to take away the dagger in his place.

This is the play referred to by the student who came before me, and I take away this dagger as he indicated. And to disarm him I push his dagger downwards and to the right as written above. And then by making a turn with his dagger I will thrust the point into his chest without fail.

[In the Getty and Paris, the Scholar's left foot is forward, and his opponent's right foot is forward.]

?So that this student cannot dislocate my arm, I pull it towards me and bend it. And the farther I pull it towards me and bend it, the better, because in this way I make the counter to the Remedy Master of the close play of the dagger.

我的學生沒能在第一時機廢了我的手臂，我就立馬把他扯過來。敵人失衡越厲害，結(jié)構(gòu)越潰散越好，這樣我就能越輕易的扎死你。如圖我做了反制反擊大師的技術(shù)。

筆者小結(jié)：第五章完結(jié)，這章內(nèi)容就是圍繞一個薅領(lǐng)子博弈。里面又提到了強鑰匙這個概念，還有相關(guān)的高中低鎖。我對這個強力鑰匙的理解是一種發(fā)力方式，類似鑰匙開鎖的結(jié)構(gòu)特點，筆直頂入或者拉直，然后扭轉(zhuǎn)。對方的關(guān)節(jié)就會咔嚓打開了。結(jié)合之前的陰風手，其實描述的是切入手段如陰風襲人，發(fā)力如鑰匙開鎖。然后是高中低鎖。菲奧雷的說法是把敵人摁到低位的就是地鎖，中鎖是站立固定的，高鎖是往上提往前推的。也就是說他是按照發(fā)力趨勢來定義中高低的。這一章的內(nèi)容在現(xiàn)代的武術(shù)教學中有非常多近似的內(nèi)容，大家可以各自參考。

打完收工！