I am the Eighth [Dagger Remedy] Master and I cross with my dagger. And this cover is good both armored or unarmored. And some of my plays are shown before me, and some are shown after me…

In the play that is shown before me, three plays back [72], the?Zugadore?was struck in his hand with the point of his opponent's dagger. Similarly in this play I could strike downwards to his hand just as in the earlier play I struck upwards to his hand.

Also, I could seize his hand at the wrist with my left hand, and then strike him hard with my right hand, just as you will find demonstrated by the ninth student [108] of the Ninth [Dagger Remedy] Master, who strikes the?Zugadore?in the chest. Also, I could do the last play that follows after [109] where I drop my own dagger and take his.

I am the counter-remedy to the Eighth [Dagger Remedy] Master that preceded me, and to all of his students…

[This counter was moved before [97] and [98] because it is unclear how they relate to the Eight Master.]

After this turn that I make you do?I will strike you and force you to the ground.

…If I extend my left hand to his elbow, I can push it so strongly that I can strike him obliquely. Also, as I make him turn I can throw my arm around his neck and hurt him in a variety of possible ways.

This is a guard that is a strong cover in armor or unarmored. It is a good cover because from it you can quickly put your opponent into a lower lock or “strong key.” This is what is depicted by the sixth play [54] of the Third [Dagger Remedy] Master who defends against the reverse hand strike and who uses his left arm to bind the?Zugadore’s right arm.

?This cover that I make like this with arms crossed is good in armor or unarmored. And my play puts the Zugadore into the lower lock, which is also called the “strong key,” which the scholar who preceded me told you about, namely the sixth play [54] of the Third Master who defends with his right hand against the reverse hand strike. And this play is made similarly to the play that immediately preceded me, but is begun in a slightly different way.

And our counter–remedy again is the elbow push.

[The Master in the right image is missing both garter and crown.]

八號結束，壓軸技師有什么干活呢？拭目以待

From this grip that I have I can do many plays.
Take away the dagger, break, strike or bind.
And the quickest is to take the dagger from your hand,
so as to avoid any risk of harm from the player.

I am the Ninth King [and Dagger Remedy Master] and I no longer have a dagger. And this grip that I make from the low attack is similar to the grip made by the Fourth King [and Dagger Remedy Master], only this one is made against the low attack instead of the high attack, and my plays are not the same as his. This grip is good whether in armor or unarmored, and from it you can make many good strong plays, as shown below. Whether in armor or unarmored there is no doubt of their effectiveness.

?If I rotate the dagger close to your elbow,
Your dagger will be mine for certain.

I have followed on from the?presa?of the Ninth [Dagger Remedy] Master. Taking my right hand from the grip, I seize your dagger as shown and I rotate it upwards close to your elbow. And I will then thrust the point into your face for certain, or I will deal with you as the next student will demonstrate.

The first student of this Master?Takes away the dagger and makes this play.

I complete the play of the student who came before me, and from his grip this is how he should finish his play. Other students will make different plays from his grip. Watch those who follow, and you will see their techniques.

一套完整的動作。雙臂捕捉起手，控制繳械。繳械后反扎，扎不死撈腿掀翻出去。原文啰里啰嗦還是那幾句有無甲都行，這手很強，這樣這樣他就死球了。

I can dislocate your arm like this,And I can also bind you in the lower bind.

My Master's grip has already been demonstrated. Here my right hand leaves his grip. And if I grip you under your elbow, I can dislocate your arm. And also from this grip I can put you into a bind, namely the “strong key” [lower bind], which is one the third King and [Dagger Remedy] Master showed in his plays In his sixth play [38] he shows you how this one is done.

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

f I can give your arm a half turn,
You will quickly find yourself in the lower bind.

I have arrived at this position from the grip of my Master [Ninth Dagger Remedy Master], and I do not remain in this grip but move into the lower bind, also known as the “strong key.” This I can do without difficulty, and I can then easily take your dagger.

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

Without releasing my grip I enter underneath your arm,And from behind your shoulder I will hurt you grievously.

I have not abandoned the grip of my Master [the Ninth Dagger Remedy Master], but I have quickly entered under his right arm, to dislocate it with this grip. I can do this whether he is wearing armor or not, and once I have him held from behind and in my power, I will show him no mercy as I hurt him.

Although this play is not often employed,It can be done well, if you practice it.

I did not abandon the grip of my Master [the Ninth Dagger Remedy Master] and the?Zugadore?saw that he could not break my grip on his arm. And as he pressed downwards towards the ground with his dagger, I quickly reached through his legs from behind and grabbed his right hand with my left hand. And once I had a good grip on his hand, I passed behind him. And as you can see in the picture, he cannot dismount his own arm without falling. And I can now also do the play that follows me. If I let go of the dagger with my right hand, and I grab his foot I will send him crashing to the ground, and I cannot fail to take his dagger.

The student who preceded me performed the first part of this play, and I make the finish by driving him into the ground, as has already been explained. Although this play is not commonly performed in the art, I wish to show you that I have a complete knowledge of it.

I made the cover of my Master [the Ninth Dagger Remedy Master] and then quickly I gripped him in this way with my left hand. And then I drew my dagger and thrust it into his chest. And if I do not have time to draw my dagger, I will make the play that follows me.

With this play I complete the play of the student who preceded me, who left his [sheathed] dagger where it was and instead decided to take your live dagger. I have already explained how this play is performed.?The Counter-remedy to this Ninth [Dagger Remedy] Master's play is as follows: when the?Zugadore?with his left hand has seized your right hand that has the dagger, then you should quickly seize your dagger near the point and strongly draw or pull it back towards you so that he has to let go of it, or alternately press the dagger point into his elbow to make him think twice.

打完收工。后續(xù)會有一個整理技術的總結篇，敬請期待。