《周易参同契(阴真人)》

The Zhouyi Cantong Qi (Commentary by the Immortal Yin). Originally titled Commentary by the Immortal Yin of Long Life, it consists of three volumes and is included in the Taixuan section of the Zhengtong Daoist Canon. Zhu Xi’s Textual Studies on the Zhouyi Cantong Qi, included in the Wenyuan Pavilion collection of the Complete Library of the Four Treasuries, is used as a comparative text.

One of the Prefaces to the Zhouyi Cantong Qi

I have heard that the Cantong qi (Token for Joining the Three) was originally titled Ancient Scripture of the Dragon and Tiger Above and was written by the Perfected Xu. The Perfected Xu once held office in Qingzhou and was from Beihai. Later, Wei Boyang, a native of Shangyu in Yue, wrote the Fivefold Correspondences to explain the earlier text, and so renamed the book the Cantong qi. Chunyu Shutong then added related material, drawing on the symbolic pattern of Heaven, Earth, and Humanity as the Three Powers, and arranged the whole work in three volumes.

Shutong had studied this scripture under Master Xu. He stayed awake at night, gazing up at the celestial patterns to determine the changes of Yin and Yang. He also used the Qian and Kun trigrams to arrange the line positions, matched the trigrams with the sun and moon, and drew on the images and numbers of the Classic of Changes to explain the principles of alchemical practice. Confucius said, “Among the things suspended in the sky and made clearly visible, none is greater than the sun and moon.” Thus, those who take this restored elixir are said to gain longevity and endure as long as Heaven and Earth.

The sun is the essence of Yang Fire and is represented in alchemy by cinnabar and mercury as the “Dragon.” The moon is the essence of Great Yin Water and is represented by lead and silver as the “Tiger.” Lead and mercury are regarded as the most numinous materials between Heaven and Earth; among the seventy-two alchemical ingredients, none is more esteemed than lead and mercury. They respond to the twenty-four solar terms and correspond to twenty-four named categories. Through transformation and refinement, they become an elixir. Those who take it are said to live forever and ride a dragon up to the Purple Palace, the celestial halls of the immortals in Daoist belief.

Cinnabar is the offspring of Fire, while mercury is the grandson of Metal. Gold is born of the sun, and silver nurtured by the moon. The sun and moon interact; Water and Fire are refined together; the Dragon and Tiger work in concert; Yin and Yang restrain one another. In the end, the Great Elixir is formed.

There are eight kinds of Great Elixir, divided into three grades. The most esteemed, the superior grade, comprises elixir methods known as “Spirit Talisman and White Snow” and “Great Reverted Elixir of Nine Cycles of Golden Liquids.” The medicines are combined with spirit water and then covered and sealed with five talismans. According to the scripture, those who take them can ascend to Heaven in broad daylight, while materials such as the eight minerals and five metals are also transformed into treasures.

Next is the middle grade, made by refining materials such as Golden Flower and Yellow Sprout to nourish mercury and produce purple-gold cinnabar. Some elixirs are said to double in potency with each passing month. Those who take them can likewise ascend to Heaven in broad daylight, while materials such as the eight minerals and five metals are transformed into treasures.

The next lower grade of elixir method uses Golden Flowers and Yellow Sprouts to nourish and refine mercury, producing Purple-Gold Cinnabar. Some practitioners double the amount of ingredients each month; this is called “the Way of Correct Nourishment.” A still lower grade of method uses realgar. Realgar belongs to Earth and occupies the center, which is why it is called the “general”: it can subdue Water. Azurite belongs to Wood and can brighten the eyes and nourish the spirit. It can transform mercury, which congeals into lustrous cinnabar known as “Purple-Gold Elixir.” Of the eight elixir methods, these three alone are the most precious.

When a crow eats the elixir, it can become a phoenix; when a snake swallows it, it can become a dragon. When a person takes it, they can live forever, sharing the lifespan of Heaven and Earth. It can also gather in the hun and po souls, restore youth, summon wind and clouds, and bring jade maidens to serve. These are all the effects of the Reverted Elixir.

Thus, Qian and Kun (two hexagrams from the Book of Changes, here likened to the upper and lower furnaces) are the two furnaces above and below. Kan and Li (representing Water and Fire) are the ingredients used in refining the elixir. Zhen and Gen (representing changes in the hexagram images) are used to set the cycles of the firing process and coordinate them with the ritual tallies. Gold and mercury are placed in the furnace, with Golden Flowers and Yellow Sprouts as auxiliaries. They are nourished and refined within the Red Gate, and the fire is tended for three years. Following the transformations of nature, the Reverted Elixir is formed. When the Qi of the Great Mystery—the most profound primordial energy—is thus complete, how could the elixir fail to form?

The Great Elixir is made through a sequence of transformations: cinnabar becomes mercury, mercury becomes gold, gold becomes cinnabar, and cinnabar finally becomes elixir. Hence it is called the “Reverted Elixir.” “Reverted” means returning to the original state; “elixir” refers to the color red. Mercury’s original substance is gold. Once it congeals into sand, it is called “gold sand.” Gold sand is refined from purple-red into elixir, then finally returns to its original substance; for this reason, it is called the “Great Reverted Elixir.”

The Cantong qi (Token for Joining the Three) has already explained these principles clearly. But people fail to understand them deeply and instead make guesses and handle the process as they please, so their refining fails. As a result, they cannot attain immortality and transcend the world. If they wish to prolong their lives, they cannot do without the elixir. Taking the great medicine of the Golden Elixir enables one to rise through the clouds; without taking gold sand, one cannot ride a crane to become an immortal.

It is often said that nonbeing can give rise to being, and being can in turn become nonbeing. Since being can also change into nonbeing, and nonbeing can give rise to being, why not take the medicines of gold and mercury? Even the five grains can prolong life, so how much more can the wondrous Golden Elixir? Poison can bring death; could the Reverted Elixir not bring long life? If a person’s resolve is unwavering, would the Dao go against their wishes?

Why let a rosy complexion and radiant youth fade away in vain, until a fine appearance turns at last to dust? Without learning the Way of long life, one will in the blink of an eye become a lowly ghost. Only the Returning Elixir, the elixir sought through Daoist alchemy, is said to have the power to cause death. Could it have no principle by which it prolongs life and grants longevity? If a person lacks steadfast resolve, how could the Dao ever go against that person’s wishes?

Why let a rosy complexion and radiant youth fade away in vain, until a fine appearance turns at last to dust? Without learning the Way of long life, one will in the blink of an eye become a lowly ghost. The principles of the Returning Elixir are explained clearly in the Cantong (the Zhouyi Cantong qi), but most commentaries by earlier scholars are obscure. I studied its methods again and again and gained considerable insight. I did not shrink from toil or resent setbacks, but devoted myself wholeheartedly to the Golden Cauldron used in alchemical practice.

As I studied the Cantong, I often wore coarse cloth and longed for the mountain forests. By nature, I loved to uphold the Daoist teachings. Though I lived amid worldly society, my aspirations were different: I yearned wholeheartedly for long life and followed the arts of the immortals. The Dao does not go against a person’s wishes. Later, I unexpectedly met a Perfected One. The next morning, he transmitted the teachings to me; I received the oral instructions firsthand and also dreamed that a spirit bestowed the method upon me. I wrote it all down, then carried out the firing of the elixir and the refining of mercury. After refining the Returning Elixir, how could its principles be wrong?

I often sigh for those who study the Dao. Before they have undergone the furnace’s alchemical firing, they are already eager for quick success. At the slightest setback, they give rise to deep resentment. Most have not shed their ingrained habits and lack pure resolve; the right path is mixed with misguided thoughts, and their minds waver in indecision. They spend years this way, until their Qi and blood are exhausted and they vanish in the blink of an eye, like morning dew. It is truly lamentable. They bear the name of Daoist students but have no resolve to refine the elixir.

If a person of ambition is quiet and detached, with a generous and even disposition, regarding worldly affairs as scalding water that one would rather not touch, and wife and children as things one can set aside as easily as a pair of shoes; if that person sees how brief life is and understands that the Great Dao endures, then this scripture may be transmitted to them. They should investigate its principles earnestly, neither retreating in the face of gain nor loss. If they persevere, they will surely achieve something. Having succeeded, they will be able to watch the sea turn into hills, see human life as water bubbles that gather and disperse, soar above the Great Void, and roam freely within the transformations of creation. This is not the work of Heaven and Earth themselves; it is truly the power of the Returning Elixir. Whoever investigates the Cantong will surely understand its meaning. Following the current back to its source, why should one fear failing to grasp it?

The commentary I have written differs considerably from the accounts of other scholars.

First bring the canonical principles of the Book of Changes together and direct them toward the Great Dao. When discussing the hexagram images, begin with the “fire phase”—the ability to judge timing and progress in the process of refining and cultivating. When explaining Yin-Yang, give priority to the medicinal substances used in cultivation, whether material or symbolic. In this way, the relevant matters will become clear, the principles will be easy to understand, and nothing will remain puzzling. Then later students can all turn toward the Great Dao. Would that not be excellent?

The Kinship of the Three (Zhouyi Cantong Qi), Upper Scroll

Commentary by Immortal Yin of Changsheng

Qian and Kun are the gateways of the Changes.

The Appended Statements says, “Are Qian and Kun perhaps the gateways of the Changes?” Qian represents Yang, and Kun represents Yin. When Yin and Yang unite, firmness and yielding each take on concrete form. Yin and Yang are Qi; firmness and yielding are form. Receiving the Qi of Yin and Yang gives rise to the forms of metal and water. The Changes concerns transformation, and it also takes its images from the distinctive qualities of things: metal is associated with Qian because it is firm and straight, while water is associated with Kun because it yields and flows. When metal and water unite, they congeal into something solid and upright; this expresses transformation. Metal’s nature resists decay and corrosion, making it a treasure among things; this expresses what does not change. All transformation among things depends on Yin and Yang, just as people must pass through gateways when entering and leaving.

Qian and Kun are the parents of the myriad hexagrams.

The Changes says that Qian is Heaven, and so is called the father; Kun is Earth, and so is called the mother. The Yin and Yang Qi of Qian and Kun join and give rise, in turn, to the other six hexagrams. When Yang Qi joins for the first time, it produces a son and forms the Zhen hexagram, so Zhen is the eldest son. When Yin Qi joins for the first time, it produces a daughter and forms the Xun hexagram, so Xun is the eldest daughter. The second union produces a son and forms the Kan hexagram, making Kan the middle son; the second union of Yin produces a daughter and forms the Li hexagram, making Li the middle daughter. The third union produces a son and forms the Gen hexagram, making Gen the youngest son; the third union of Yin produces a daughter and forms the Dui hexagram, making Dui the youngest daughter. The parents of the myriad hexagrams are Qian and Kun.

Kan and Li form the outer framework and turn like a wheel hub mounted on its axle.

The Kan trigram symbolizes water, and the Li trigram symbolizes fire. Fire is always in motion by nature, while water is always still: still water is like an axle, and moving fire is like a wheel. This means that the Qi of Kan and Li are contained within a set boundary, like a wheel and axle working together as they turn in a cycle.

The statement of the Kan hexagram says, “Repeated Kan,” meaning layers of danger and difficulty; “water flows but does not fill,” meaning that water moves without becoming full. Firm Yang Qi lies in the middle of the hexagram, like water poured into a vessel. The statement of the Li hexagram says that “Li” means to adhere. Firmness transforms into yielding, and so things can proceed smoothly; “to cling” also means to adhere. “Double brightness” refers to Yang, and “yielding” refers to Yin. Fire adheres to the outside of a vessel, while water is held within it. Only through the interaction of water and fire can their respective qualities become apparent, giving rise in turn to precious results. Kan contains Yang, while Li contains Yin; this too shows how they contain one another, like the inside and outside of a vessel.

The four trigrams Qian, Kan, Kun, and Li are like a bellows and its tubes, paired as female and male, enclosing Yin and Yang. Here, “female and male” symbolize Yin and Yang: Qian and Kan belong to Yang, while Kun and Li belong to Yin. The Qi of Yin and Yang moves within them like the airflow through a bellows and its tubes. “Covering and enclosing” means wrapping around and covering. Metal belongs to Yang, and water belongs to Yin; their mutual transformation as Yin and Yang follows the pattern of Yin-Yang change.

The Dao is like a charioteer who holds the reins, guides the carriage according to its rules, and follows the ruts in the road. It occupies the center and regulates what moves outside; its principles are expressed in the calendar and the order of the seasons.

The charioteer in the carriage is like a ruler, and the horses pulling it are like ministers. However docile the horses may be, they still need someone to guide them; and though the ruler sits in the carriage, it cannot move without horses. Here, metal is taken as the ruler, symbolizing firmness at its utmost, and water as the horse, symbolizing yielding at its utmost. Metal is within and sets things in motion at the proper time, while water is outside and flows without ceasing. If water threatens to run wild, metal can restrain it. Thus, what occupies the center can regulate what is outside.

The seasonal divisions of each month are arranged in five periods, each lasting about six days.

Six multiplied by five makes thirty, representing the number of days in a month. Yin and Yang, firmness and gentleness, each occupy half: daytime belongs to firmness and Yang, while nighttime belongs to gentleness and Yin. When firmness and gentleness meet, Metal and Water also come together.

The longitude and latitude follow the sun’s course, while containing and unfolding the sixty-four hexagrams. “Longitude” refers to the sun and moon; “latitude” refers to the five planets. The moon is the essence of Great Yin, condensed and made visible in form. Its body and image correspond, receiving the sun’s light and illuminating the night. The sun is like a ruler and the moon like a subject: the moon receives the sun’s light and is therefore governed by it. Water receives Metal’s harmonizing influence in the same way. “Containing and unfolding” means that the hexagrams in the Book of Changes include Yin lines.

Firmness and gentleness form an inner and outer relationship. The Commentary on the Appended Phrases says, “Yin and Yang” refer to Qi, while “firmness and gentleness” refer to form. Change begins with the movement of Qi, and only afterward takes shape in concrete forms. Here, form refers to Metal and Water, while Qi refers to Water and Fire: the Qi of Water and Fire transforms the forms of Metal and Water.

The “Sequence of the Hexagrams” says, “‘Sprouting’ symbolizes the beginning of growth among the myriad things.” Wang Fusi explains that this hexagram concerns Yin seeking Yang: the weaker party cannot accomplish anything alone and must rely on the stronger party. Water symbolizes the weak, and Metal the strong. When Metal acts, Water follows its course; Metal can respond to Water, and so the two unite.

The “Commentary on the Judgments” says, “The firm and the yielding first join, and hardship arises with them; acting amid danger and obstruction, one can ultimately achieve fulfillment and remain upright.” The firm symbolizes Metal, and the yielding symbolizes Water. The energies of Water and Fire interact and circulate within Yang. Water flowing in a vessel symbolizes the movement of Yin and Yang energies. To achieve fulfillment and remain upright means that, after Yin and Yang unite, their respective qualities become interconnected, giving rise to true nature. Here, “upright nature” refers to the genuine treasure.

The phrase “the first day of the lunar month” refers to the first day of each month. “The day begins at dawn” presumably means that a day starts in the early morning. “Those on duty” refers to the people taking their watch and responsible for their assigned tasks. The Scripture of Dunjia says “the Eight Gates on duty,” with the same meaning. Yin and Yang have only just begun to unite, a moment of hardship; the hexagram Sprouting therefore represents the governing image of this stage.

At dusk, the hexagram Youthful Folly should follow Sprouting.

The Sequence of the Hexagrams says: “After all things come into being, they inevitably pass through a state of obscurity; therefore, the next hexagram is Meng (Youthful Folly). ‘Meng’ means that things are still in an immature stage.” Wang Fusi explains: In the Meng hexagram, Yin arrives before Yang. Yin is dark and obscured, while Yang is bright and strong, able to awaken Yin from its obscurity. Yin’s coming to seek Yang is not limited to the Meng hexagram: from the eleventh month through the fourth month of the following year, Yang Qi may be said to govern, with Yin coming to seek Yang.

The Tuan Commentary says: “It is not I who seek the young and foolish; the young and foolish come to seek me.” Here, “I” refers to Yang, which corresponds to Metal; “the young and foolish” refers to Yin, which corresponds to Water. When Metal exerts its influence, Water comes to seek Metal. Hence the saying, “the young and foolish seek me.”

In its explanation of the Nine at the Second Place, the Image Commentary says: “To embrace the immature is auspicious; to take a wife is also auspicious, because the firm and the yielding meet.” Yang symbolizes the man, and Yin the woman. Because Yin and Yang unite, the phrase “taking a wife” is used to describe this. The firm corresponds to Metal, and the yielding to Water; when Metal and Water interact, the firm and the yielding unite.

One hexagram is used for day and another for night, in sequence: Zhun (Difficulty at the Beginning) is used by day, and Meng (Youthful Folly) by night. “The young and foolish seek me” describes Yin coming to seek Yang; Zhun represents the beginning of Yin and Yang’s union, which cycles and continues without interruption.

As the movement proceeds from Ji Ji (After Completion) and Wei Ji (Before Completion) to the alternation of darkness and brightness, one ending is followed by a new beginning. “Darkness” here refers to the dimness at the end of the lunar month, while “brightness” refers to radiance: the moon gradually brightens at the beginning of the month and grows dark at its end. When the movement reaches the alternation of darkness and brightness, Zhun and Meng are used respectively for day and night, symbolizing the beginning of the union of Metal and Water.

The day and hour designate the cycles of movement; the activation and stillness of Yin and Yang each have their proper time.

The chen refers to the twelve double-hours, each of which corresponds to a month. On the fifteenth day of each month, it receives a current of Qi and undergoes a small change. Each time it receives a current of Qi, it changes once. There are twenty-four solar terms in a year, through which all things complete their growth. Metal and water absorb Qi and take form; their transformations follow this same pattern.

The sun moves more slowly, traveling one degree each day; the moon moves faster, traveling thirteen degrees each day. The sun circles the heavens once in a year, while the moon circles them once in a month. Metal symbolizes the sun, and water symbolizes the moon; their movement at different speeds serves as a metaphor. By measuring the degrees they travel, one can know the season of their cycles; by observing their movement and stillness, one can judge when coagulation will occur. Here, “movement and stillness” refers to the transformations of water and fire, while “early and late” refers to the use of the gentle and fierce fires in the process of refinement.

The transformations of spring and summer take their pattern from the inner workings. By measuring the degrees of movement, one can know the season of the cycles; by observing the movement and stillness of water and fire, one can judge when coagulation will occur. “Movement and stillness” refers to water and fire; “early and late” refers to the gentle and fierce fires.

Spring and summer correspond to inner cultivation, proceeding from the Zi hour through the Chen and Si hours. Zi, Chou, and Yin belong to spring; Mao, Chen, and Si belong to summer. During these six months, pure Yang Qi holds sway, and Yin Qi attaches itself to Yang Qi in pursuit of transformation.

Autumn and winter, by contrast, correspond to outward application, beginning with the Wu hour and continuing through the Xu and Hai hours.

The months of Wu, Wei, and Shen correspond to autumn, while the months of You, Xu, and Hai correspond to winter. During these six months, pure Yin Qi is in command, and Yang Qi seeks to unite with Yin Qi. By this time, water has already congealed, and Metal Qi has been gathered into the water. Metal Qi disperses and melts into the water.

A hexagram has an inner and an outer trigram: the three lines below belong to the inner trigram and represent Yang; the three lines above belong to the outer trigram and represent Yin. The upper three lines are the expression of the activity of the lower three. When Fuxi first drew the trigrams, each had only three lines, symbolizing Heaven, Earth, and humanity, and were called the “Three Powers.” Later, to represent more fully the workings of Heaven, Earth, and the myriad things, the three-line trigrams were doubled to form six-line hexagrams: the inner trigram is the substance, and the outer trigram its function. Spring and summer are governed by the inner trigram, corresponding to the first, second, and third Yang lines of the Qian hexagram; autumn and winter employ the outer trigram, corresponding to the first, second, and third Yin lines of the Kun hexagram. When Yang Qi is in command, Water Qi seeks to unite with Metal Qi; when Yin Qi is in command, Metal Qi seeks to unite with Water Qi. The relationship between Metal within and Water without, and their meeting across the inner and outer, is represented through the hexagram images.

Rewards and punishments accord with spring and autumn.

In spring, all things grow, as though Heaven were bestowing rewards; in autumn, the grasses and plants wither, as though Heaven were imposing punishments. When Fire Qi is in motion, Metal and Water blend—this is the aspect of spring. When Water Qi is in motion, Metal and Water congeal—this is the aspect of autumn.

Dusk and dawn follow the cold and heat.

In cultivation, one must respond to the changes between day and night, while also observing the seasons of cold and heat. Using the gentle method in cold weather and the forceful method in hot weather means adapting to the seasons and not going against the Way of Heaven. Here, “gentle” and “forceful” refer to different methods of cultivation; the general meaning is to adjust one’s approach to the season.

The line statements embody benevolence and righteousness, expressing joy and anger in season.

“Line” refers to each individual stroke in a hexagram. “Benevolence and righteousness” here refer to the changes of Yin and Yang. Across the six lines, the methods of cultivation must change with the seasons, expressing corresponding states akin to joy and anger.

The lines in a hexagram are its individual strokes. Benevolence and righteousness can be compared to Yin and Yang: each hexagram has six lines, some Yin and some Yang. Yang Qi (vital energy) causes all things to grow, so it is called “benevolence”; Yin Qi brings all things into form, so it is called “righteousness.” Yang Qi unfolds and appears as joy; Yin Qi contracts and appears as anger. For example, Metal becomes gentle and pleasing when it receives the Qi of Water, while Water becomes restless when it receives the Qi of Fire. The Xici says that restraining people from doing what is improper is called “righteousness.” Here, this can also be understood as holding back Metal and Water so they do not scatter freely.

In this way, the Qi of the four seasons can flow smoothly, and the Five Phases (Wood, Fire, Earth, Metal, Water) can each follow their proper course. The four seasons are spring, summer, autumn, and winter. By following the Qi of the seasons and the workings of the Five Phases, Metal and Water can each find their proper place.

Heaven and Earth each rest in their proper position, and the transformations of the Yi unfold within them. The Xici says: “Heaven is high and Earth is low; thus Qian and Kun are established. High and low are arranged, and honor and lowliness are thereby distinguished. Once Heaven and Earth are established, the transformations of the Yi arise from them.” Here, Heaven and Earth refer to Yin and Yang. When Yin and Yang join, the myriad things come into being; this is what “change” means. In this passage, Metal and Water correspond to Heaven and Earth, while Water and Fire embody transformation.

Heaven and Earth are Qian and Kun. Heaven and Earth are forms that have already appeared, while Qian and Kun are the Qi that gives rise to form. Qi comes first, and form takes shape afterward. This is like Metal and Water first receiving the Qi of Water and Fire, and only then forming into tangible substances.

“Setting the positions” means arranging the places where Yin and Yang correspond with one another. When Yin Qi receives Yang Qi, this is called “matching.” Here, the interaction of Metal and Water is used to explain this relationship.

In the Yi, Kan and Li, which represent Water and Fire respectively, are two workings of Qian and Kun. Kan and Li have no fixed line positions; they circulate through the Six Emptinesses, the spaces above, below, and in the four directions.

Qian and Kun symbolize the workings of Heaven and Earth, while Kan and Li symbolize the workings of Qian and Kun. Front and back, left and right, above and below—in all, the six directions—are together called the “Six Emptinesses.” Here this refers to the space inside the alchemical vessel, not to the six line positions of a hexagram.

Kan and Li represent the Qi of water and fire; Qian and Kun represent the substance of metal and water. Substance has form: it is solid and visible. Qi has no form and moves unseen. Their circulation and transformation within the vessel’s space is the Dao of change. Since metal and water move through these two functions, they are not bound by fixed line positions. The Xici says: “Change and movement never cease; they circulate through the Six Emptinesses. Above and below have no fixed course; the firm and the yielding exchange places.” This describes how metal and water, and water and fire, transform into one another.

The Qi of water and fire steams and rises between them, while the forms of metal and water continually circulate. Thus their coming and going have no set direction, and their movement above and below has no fixed position. They lie hidden and concealed, yet also rise and generate transformations within the vessel: water rises when it meets fire, while metal is concealed within water. The two alternate in transformation, eventually coalescing inside the vessel.

Heaven and Earth contain the myriad things; this is the framework of the Dao. The framework belongs to Yang, and its ordering strands to Yin; here Yin is above and Yang below. Heaven and Earth contain the myriad things, while Yin and Yang form the framework and ordering principles of the Dao. The vessel contains metal and water, while water and fire form the principles governing its operation.

The function of the vessel lies in emptiness: the formless governs the formed. The substance of metal and water belongs to the formed, while the Qi of water and fire belongs to the formless. When the Qi of water and fire interact, the forms of metal and water naturally unite. Using these two kinds of Qi is like relying on the workings of the Void.

Therefore, when one investigates the principles of Yin and Yang waxing and waning and changing, the functions of Kan and Li also recede from view.

The Commentary on Correct Meaning in the Book of Changes (the commentary to the Correct Meaning of the Zhou Book of Changes) says: “Those who know how to grasp the waxing and waning of change will remain focused and avoid failure.” Here, this refers to regulating the waxing and waning of Water and Fire. When the regulation accords with the proper time, Metal and Water can unite; when it does not, Water and Fire overcome one another. The Water and Fire mentioned here refer to Kan and Li, the trigrams in the Book of Changes that symbolize water and fire. “Waning” does not mean that the water has literally dried up. When the sun sets, the moon rises; when the moon sets, the sun rises. This describes Yin and Yang cycling in alternation and interacting with each other.

Words must not be made up at will, and arguments cannot arise from nothing.

The Seal of the Unity of the Three (Cantong qi) draws on the important teachings of the three sages Fuxi, King Wen, and Confucius to investigate the principles of Yin-Yang change. It was not written from nothing, in disregard of the ancient teachers.

Use the sun and moon as evidence, and Yin and Yang as measures.

The sun and moon can serve to verify the transformations of Metal and Water, while Yin and Yang provide the principles by which change is measured. To know when Metal and Water will unite, one can observe the changing movements of the sun and moon. Their alternating courses are called “change”; the unfathomable transformations of Yin and Yang are called “spirit.”

Explain the words by drawing on things of a similar kind, and use fundamental principles as proof.

“Character” refers to placing the character for “moon” beneath the character for “sun” to form the character for “change.” “Kind” refers to using the dragon as a metaphor for Qian, which symbolizes the firm and yang, and the horse as a metaphor for Kun, which symbolizes the yielding and yin.

Kan symbolizes Wu Earth and the moon’s vital essence; Li symbolizes Ji Earth and the sun’s radiance.

Kan belongs to Water and Li to Fire. Wu belongs to Yin and Ji to Yang. The essence of Yang Qi gathers to form Fire, and the essence of Fire gathers to form the sun; the essence of Yin Qi gathers to form Water, and the essence of Water gathers to form the moon. Thus Kan is paired with Wu and symbolizes the moon’s vital essence, while Li is paired with Ji and symbolizes the sun’s radiance. This is like the steaming and mingling of Water and Fire energies, through which Metal and Water take on corresponding forms.

The sun and moon together form the character for “change”; firmness and yielding join with one another.

Placing the character for “moon” beneath the character for “sun” forms the character for “change.” Day belongs to the firm, and night to the yielding. Metal and Water symbolize the sun and moon joining; after gathering over the course of a full year, they take shape.

Earth is vigorous in all four seasons and runs through the process from beginning to end.

The sun and moon meet once each month, and twelve such meetings make a year. Earth has no fixed form and is vigorous in every season. In the metaphor of alchemy, it is like the four sides of the furnace, extending through the refining process from beginning to end.

Blue, red, white, and black represent the four directions—east, south, west, and north. Each draws its power from the center, Wu and Ji (Earth). On the four sides of the alchemical furnace, guardian spirits are painted according to their directions: the Azure Dragon in the east, the essence of Wood; the Vermilion Bird in the south, the essence of Fire; the White Tiger in the west, the essence of Metal; the Black Tortoise in the north, the essence of Water; and Wu and Ji at the center, the essence of Earth. Earth is packed into the furnace and the spirits of the four directions are painted on it, signifying the prevention of Metal and Water Qi from escaping. Earth can restrain Water; this is why it is said to be the function of Wu and Ji (Earth). The same idea is expressed below in the lines, “Water takes Earth as its ghost; when Earth fills it, Water cannot rise.”

The Book of Changes (Yijing) speaks in images—that is, it uses concrete forms to explain principles. Nothing makes forms more clearly visible than the sun and moon. The Li trigram symbolizes the sun, and the Kan trigram symbolizes the moon; the sun and moon are the manifestations of the essences of Water and Fire. The workings of Heaven and Earth depend first of all on the sun and moon: by day, the Yang Qi is strong and vigorous through the sun’s action; at night, the Yin Qi is gentle and yielding through the moon’s action. The Metal and Water used in alchemy likewise depend on Water and Fire, whose essences are the sun and moon. All things cannot grow without the sun and moon, just as Metal and Water cannot be refined without Water and Fire.

By probing the finest principles, one can understand change. As Yang Qi recedes, Yin arrives. The Appended Statements says, “The transformations of Yin and Yang are unfathomable; this is called spirit. One Yin and one Yang alternate in their operation; this is called the Dao.” By deeply understanding the patterns of Yin and Yang in motion, one can recognize the source of change. Metal and Water embody the source of change, while Water and Fire embody the patterns by which Yin and Yang operate. Only through Yin and Yang alternating back and forth and stirring one another can a treasure condense. Confucius said that one who understands the Dao of change can probably grasp how wondrous transformations arise.

The Qi of Water and Fire gathers in the vessel and acts upon itself, steaming the Metal and Water in the furnace and changing their form. It is like the spokes of a wheel converging at the hub as the wheel turns without stopping. Qi moves in and out of the vessel, repeatedly contracting and expanding.

Water and fire contend and gather within the vessel, steaming the forms of metal and water as they turn ceaselessly like a wheel. When water Qi enters, fire Qi curls up and draws inward; when fire Qi enters, water Qi spreads out. The expansion and contraction of water and fire both remain within the vessel.

There are 384 lines in the hexagrams, and the tallies are selected according to the lines. Here, “tally” refers to the sixty-four hexagrams. A line is one of the horizontal strokes in a hexagram, and “selecting” means choosing them individually. Each hexagram has six lines; the sixty-four hexagrams together have 384 lines, corresponding to the number of zhu in one jin: one jin of gold contains 384 zhu. In refining metal and water and working with water and fire, images are sometimes drawn from the forms of the hexagrams and sometimes from their line statements. Though the images taken from hexagrams and lines differ, they all remain within the scope of the sixty-four hexagrams.

At dawn on the first day of each lunar month, the hexagram Zhen receives the tally. At the beginning of the month, the earth’s Qi stirs and rises from the ground, so Zhen corresponds to this time. The image of Zhen says, “Thunder stirs in danger; thus firmness is formed.” “Thunder” means movement, and “danger” means apprehension. The Yin line is above and the Yang lines below. Once Yang Qi has begun to rise, soft Yin shifts to rest above firm Yang, and so the image is one of danger. Water above metal is softness riding on firmness; when it encounters fire, it stirs, remaining in a state of perilous movement throughout.

The ancients used the twelve pitch pipes—the twelve musical pitches, also matched to the twelve months—to measure the arrival of Qi. They buried the pipes, arranged according to the positions of the spirits, and filled them indoors with reed ash. The pipes were then placed on sifted grain husks. When Qi arrived, it blew the ash out of the pipes. By observing changes in the weather in this way, they could verify whether the Qi had arrived.

At that very moment, the essences of Heaven and Earth meet.

The Xici says: “When the Qi of Heaven and Earth mingle, all things are transformed, nurtured, and brought to maturity; when male and female unite, all things reproduce and grow.” Here Heaven and Earth are compared to male and female, and Jing and Qi to Yin and Yang. When male and female unite, Jing and Qi are able to unfold; when Yin and Yang join, Jing and Qi give rise to the myriad things. Metal and Water symbolize Heaven and Earth, while Water and Fire symbolize Jing and Qi. When Metal and Water respond to the essence of Water and Fire, they transform into a true treasure—that is, the moment Water and Fire set change in motion. The condensation of Jing and Qi by Metal and Water does not occur only over the course of a month; whenever the movement of Qi begins, Yin-Yang changes unfold even within a single day and night.

The Sun and Moon alternate in their courses.

“Tan chi” describes the shuttle moving back and forth across a loom. The Sun and Moon move and transform into a true treasure—that is, the moment Water and Fire set change in motion. The condensation of Jing and Qi by Metal and Water does not occur only over the course of a month; whenever the movement of Qi begins, Yin-Yang changes unfold even within a single day and night.

The Sun and Moon alternate in their courses.

“Tan chi” describes the shuttle moving back and forth across a loom. The Sun and Moon embody the workings of Heaven and Earth. The Qi of Heaven and Earth meets and circulates through the movements of the Sun and Moon. Likewise, the Metal and Water cultivated in alchemical practice must also undergo the transformations of Water and Fire.

The vigorous male Yang sows mysterious Qi; the receptive female Yin nurtures a tender yellow shoot.

The Wenyan commentary on Kun says: “Dark and yellow are the colors formed when Heaven and Earth mingle; Heaven is dark, and Earth is yellow.” This describes the union of Yin and Yang. The vigorous male refers to the strong and forceful aspect of Yang Qi, while the receptive female refers to the gentle and profound aspect of Yin Qi. Forceful Yang Qi issues forth, while gentle Yin Qi transforms unseen. Through the alternation of cold and heat, a tender yellow shoot is born. This is the process being described.

Within chaos, spirit and Qi join, and the myriad things begin to establish their foundations.

Before Heaven and Earth were separated, there was what is called “chaos.” At that time, Qian and Kun were still and silent. Although no change had yet occurred, they were already the source of the myriad things. This is like Metal and Water when they are clear, still, and unmoving: they are the basis for refining the Returned Elixir, the alchemical medicine of Daoist Neidan practice.

Set Water and Fire in motion to cultivate the foundation; when spirit and Qi settle and become still, the pivot takes shape.

“Manage and put into operation” means to set in motion and carry out; “rocky edges” refers to the angular contours of stone. The passage describes using the workings of Water and Fire to cultivate a form with rocklike contours. As the principles of spirit settle into stillness, the pivot takes shape naturally. Here, the “pivot” refers to the Qi gathered at the angular edges of the Returned Elixir.

People came forth by following this path; every creeping, living creature arose from it.

“Many beings” means people collectively; “stirring life” refers to all living creatures capable of movement. People and all things exist between Heaven and Earth, brought into being through their shaping and transformation. The changes between Metal and Water, Water and Fire, and Yin-Yang—whether brought about through action or non-action—all follow this principle. Living beings move in accordance with it, and the vitality of all things arises from it. The “pivot” mentioned here is the hub of the Qi of the restored Elixir.

Confucius’s courtesy name was Zhongni. “Vast obscurity” refers to the state before Heaven and Earth were separated, when all was undifferentiated chaos. With the aid of the Ten Wings—the ten texts explaining the Book of Changes—Confucius clarified profound principles and revealed the mystery of the Changes. By discerning the principles of chaos, one can see the inherent qualities of Heaven and Earth and thereby understand the underlying patterns and circumstances of things. The scripture also says: without the text of the Cantong qi, how could one understand the principles of the restored Elixir?

“To examine antiquity” means to investigate events of the past; “Primordial Sovereign” refers to the Heavenly Sovereign. In the age of the ancient Heavenly Sovereigns, men and women could come together naturally without deliberately seeking one another. After the time of the Yellow Emperor, men and women could not unite unless they sought one another out. This is the meaning expressed in “Guan ju,” a poem in the Book of Songs: “Guan guan cry the ospreys, on the river island. A gentle, graceful maiden is a fitting mate for the noble man.” Here, “mate” means a spouse. The scripture uses Metal as a metaphor for the man and Water for the woman: Metal initiates, and Water responds, just as a man first pursues a woman.

When men and women undergo the capping and marriage rites, their Qi intermingles and joins them; their vital essences entwine, and gradually they produce and form offspring, like a nine-tiered tower built up basketful by basketful of earth. “The first year” refers to the beginning of a year and also symbolizes the sprouting and growth of all things; here, a sprout is used as a metaphor for a woman.

When men and women come together in marriage, Jing and Qi join and gradually reproduce and take form, like a nine-tiered terrace built up from successive piles of earth. At the beginning of the year, all things begin to sprout, then gradually increase until their numbers are beyond counting. Does the mutual resonance of Metal and Water bring about transformation in the same way?

The sages did not invent these principles out of nothing. They looked upward to observe the patterns revealed by the heavens.

The sage referred to here is Fuxi. When Fuxi first drew the Eight Trigrams (Bagua), he looked up to observe the heavens and down to examine the earth. He also studied the qualities of all things and the markings of birds and beasts. He took models close at hand from his own person and farther away from the myriad things. In this way, he first created the Eight Trigrams to make the virtue of the spirits intelligible and to encompass the conditions of all things. “Heavenly signs” here refers to the celestial patterns in which the Seven Luminaries—the sun, moon, and five planets—correspond to the Five Phases. These patterns also mark the beginning of refining the returned elixir.

The patterns of the heavens advance and withdraw, bend and extend, and change with the seasons.

The Appended Statements says: “Change is expressed through advance and withdrawal. What has passed appears as bending; what is to come appears as extension. Bending and extension respond to one another, and so benefit and harm arise.” This refers to the movements of the sun, moon, and five planets, of Yin and Yang, and of day and night. Thus, when firmness and yielding respond to one another, the myriad things come into being; when Metal and Water respond to one another, the true treasure is refined.

Therefore, the Yi encompasses the fundamental patterns of the Way of Heaven, while the Returning hexagram marks the beginning from which all things sprout.

“Return” refers to the Yin-Yang energies returning to their root. Heaven and Earth take Wuwei (non-action) as their heart; Wuwei is the nature of Heaven and Earth. The Book of Changes says, “Return: success. Going out and coming in without hindrance.” Here, “success” means free passage. At the winter solstice, the Yin-Yang energies begin to revive beneath the earth and flow freely, so that going out and coming in meet no obstacles.

The Book of Changes also asks, “In Return, do we glimpse the heart of Heaven and Earth?” Thunder rises and wind moves; the myriad things undergo countless changes, yet their root is still and formless. This root is the heart of Heaven and Earth. The Return hexagram reveals not a deliberate pursuit of stillness, but a natural settling into quietude; in this way, the heart of Heaven and Earth can be seen.

In the eleventh month, a Yang line stirs beneath the Yellow Springs, and the myriad things begin to sprout. Thus life is said to begin with budding. At this time, Metal is below, in the position of the single Yang; Water is above, in the position of the five Yin lines. Yin energy changes and gradually congeals into solid ice. Once Metal and Water have both withdrawn and returned to storage, it is the season of Wuwei. Wuwei is the root of the Great Dao; “attaining the One” is the effect of cultivating the Returning Elixir. Without cultivating the Returning Elixir, it is difficult to accord with the Great Dao. The key is to be free of thought and action, to avoid attachment to purposeful activity, and to remain still and unmoving. This is the true meaning of the Dao of Wuwei.

The eldest son inherits his father’s form and, with the aid of his mother, establishes his foundation.

The Zhen hexagram is Qian’s eldest son. Confucius says that when the Yang energy of the Qian hexagram first joined with Yin, it gave rise to Zhen, a masculine hexagram, which is why Zhen is called the eldest son. Zhen is located in the east, a position of pure Yang. It carries forward Qian’s function, causing the myriad things to grow and flourish. Since growth requires an initial impulse, Zhen is called the eldest son.

The “mother” mentioned here refers to the two Yin lines above the Zhen hexagram gradually transforming into Yang lines. The single Yang line below begins to stir: this is the sign of a sprout emerging and the foundation of a thing. The passage also explains the hexagram through terms from alchemy. Metal represents the eldest son, while lead represents the father. Metal is the essence among the five metals and is born from metal, which is why it is called the eldest son. The mother represents water. Metal changes through the action of water and eventually becomes metal again; this is what “formed through the mother” means.

“Changes answer to the bell and pitch pipes; ascent and descent follow the Dipper’s pivot.”

“Changes” means observing and awaiting transformation. One must wait for metal and water, grasp the timing of Yin-Yang’s movement, and also measure the twelve pitch pipes, a system of tones used to mark the seasons of Heaven and the energies of Earth. The bells measure the seasonal cycles above, while the pitch pipes gauge the energies below. When refining with fire, one must use these to observe the right moment. Once metal receives the energies of water and fire, it rises and descends in its transformations, like the Dipper’s pivot star, which marks the turning point of the Northern Dipper, moving to determine direction. To know what changes are taking place inside the furnace vessel, one must use these changes in timing as confirmation.

“On the third day it emerges bright; Zhen receives Geng in the west.”

“Bright” means luminous. The moon first appears, but only on the third day does it show its light, appearing in the western Geng position. After three days of fire refinement, the energy begins to circulate through the vessel. At this time water is also in the Geng position. Water belongs to Yin and is represented by the moon. By observing the moon’s waxing and waning, one can judge the movement or stillness of water; hence the phrase “Zhen receives Geng in the west.”

“On the eighth day Dui receives Ding; the first quarter lies straight as a cord.”

On the eighth day, the moon reaches its first-quarter phase. The Dui hexagram corresponds to the Ding position. At this time the moon’s face is straight and level, like a cord. The scripture uses the moon’s changing phases to illustrate the advance and retreat of Yin and Yang energies during the refining process.

The eighth day after the moon’s first appearance is called the “upper bow.” Its shape resembles a suspended bow, with a taut, straight string. On this day, the moon has just appeared in the south at the Ding position, and Metal appears with it. Metal is like a ruler and moves more slowly, so it does not appear until the eighth day. Water is like a minister and moves more quickly, appearing after three days. Metal and Water move in succession, allowing the seasons to be discerned.

By the fifteenth day, the form of the Qian trigram has taken shape. The moon is full and appears in the east at the Jia position. At this time, Metal and Water join at the Jia position and share a single Qi, revealing the form of Metal.

The moon contains the images of a toad and a rabbit. On the fifteenth day, the Qi of both the sun and moon shines forth brightly. The toad and rabbit are both said to dwell within the moon; “image” refers to their luminous forms. On the fifteenth day, both forms shine together. On other days, the moon wanes, and the forms are no longer complete. The ancients used this to explain that on every fifteenth day, all things receive a single Qi, and the forms of Metal and Water become visible together. They therefore used the toad and rabbit as images to illustrate this.

The toad corresponds to the rhythm of the trigrams, while the rabbit symbolizes the emission of light. The Baihu Tong says, “‘Rabbit’ carries the meaning of ‘to emit,’ referring to its emitting the moon’s radiance.” When the toad appears, the moon is full; when the toad disappears, the moon wanes. The ancients used this to infer the timing of Metal and Water’s movement.

After passing through the numbers seven and eight, which together make fifteen days, the moon gradually wanes, ceding its merit to the sun and once again receiving the command to move. Metal receives the command of Water and begins to circulate again.

On the sixteenth day, the moon turns to receive the sun’s command. The Xin direction at the Xun position appears at daybreak. The moon is like a minister, and the sun like a ruler. The moon receives the sun’s light: after three days, the lunar soul takes shape; after eight days, its brightness appears. On the sixteenth day, the moon cedes its merit to the sun and receives the command to move again. The moon rises from the Xun position; by the time it reaches the Xin direction, dawn has broken. Metal receives the command of Water and begins to move again, just as the sun’s changes are made manifest through the moon.

The Gen position corresponds to the Bing direction, to its south. The twenty-third day is the “lower bow.”

On the twenty-third day, the moon is waning. As it approaches its end, it once again appears like a newly risen crescent. At this time, the moon rises from the Gen position (northeast) and, by the time it reaches the Bing position (south), dawn is near. This is precisely when the Qi of water responds to the season.

Kun corresponds to Yi. On the thirtieth day, the moon loses its companion in the northeast.

On the thirtieth day, the moon rises from the Yi position (east) and sets in the Kun position (southwest). Kun belongs to Yin, so it is said to “gain a companion”; the northeast and southwest lie opposite one another, so it is also said to “lose a companion.” Water flows from northeast to southwest, just as the moon loses its companion.

At the end of the monthly cycle, Yin and Yang hand over to one another.

The end of the monthly cycle is the end of the month. “Ceding and yielding” means that Yin gives way to Yang. The end of the month belongs to Yin, while the beginning belongs to Yang; Yang is also called the dragon. Thus, when Yin’s form comes to an end, Yang is born again. Metal takes on the form of water and then returns to Yang. Yang is the Qi of fire. Wang Fusi (Wang Bi) said, “The dragon is used to represent Qian, and the horse to represent Kun,” drawing comparisons according to the categories of things.

Ren and Gui correspond to Kun; Jia and Yi correspond to Qian. Qian and Kun encompass the beginning and end of a month. “Encompass” means to gather together and bring to a close. Ren and Gui belong to Water and correspond to Kun; Jia and Yi belong to Yang and correspond to Qian. This describes how Yin and Yang each occupy half of the month. The generation and formation of all things have their basis in Yin and Yang; Yin and Yang are also the Qi of Water and Fire, which can therefore take form as Metal, Water, and other substances. The Xici says, “Qian governs the beginning, and Kun brings things to form.” This is what it means for Qian and Kun to encompass the beginning and end.

Seven and eight together make fifteen; nine and six likewise correspond to one another.

Seven and nine are Yang numbers, while six and eight are Yin numbers. Yin and Yang combine to form the changes of a month; the changes between Metal and Water, and between Water and Fire, follow the same pattern.

The four numbers together make thirty. When the movement of Qi and numbers in the Yi reaches its limit, it wanes and withdraws into concealment.

The four numbers “seven, eight, nine, and six” together represent the thirty days of a month. The patterns of change follow Yin-Yang: when Yin Qi arrives, it draws inward and lies hidden; when Yang Qi arrives, it emerges and becomes active.

The Eight Trigrams—Qian, Kun, Kan, Li, Zhen, Xun, Gen, and Dui—are arranged in sequence, and Yin and Yang move and change accordingly, yet never depart from the Way of centrality and correctness. It is like the metal and water used in alchemy: they must undergo transformation through the Qi of water and fire, while remaining contained within the vessel.

Original Jing (primordial essence and Qi, that is, primordial Qi) is subtle and difficult to perceive. Its workings can be verified by calculating the movements of the sun and moon and consulting the trigrams. The sequence by which the cosmos comes into being in the Book of Changes is: the Taiji gives rise to the Two Modes; the Two Modes give rise to the sun and moon; the sun and moon give rise to the four seasons; the four seasons give rise to the Five Phases; the Five Phases give rise to the twelve months; and the twelve months correspond to the twenty-four solar terms. Each period of fifteen days is one solar term, and two solar terms make a month. The four seasons make a year, and the cycle repeats.

Here, “calculation” means observing the movements of the sun and moon, while “verification by correspondence” means consulting the Eight Trigrams. Primordial Qi is deep and subtle, with no visible form, so one must calculate changes in cold and heat from the sun and moon, and observe the trigrams to judge good or ill fortune. Metal and water in the vessel receive Jing and Qi; their forms, too, are not easy to see directly, and can likewise be inferred from cold and heat, the sun and moon, and the trigrams. Other things can be understood by the same principle.

Observe the heavens regularly, using their forms as a reference. The “Appended Statements” says, “Look up and observe the images in the heavens.” These “images” refer to the sun, moon, five planets, and twenty-eight lunar mansions. When the sun and moon meet, metal and water also come together; when metal and water unite, their inner and outer forms become apparent.

Set up a gnomon—the ancient instrument used to measure the sun’s shadow and determine the seasons—as a standard. Observe the changes in the seasons and use them to judge good or ill fortune.

“Model” means a rule. Taking the movements of the sun and moon as a rule makes it possible to observe when Metal and Water condense. The Appended Statements says, “Good fortune and misfortune are signs of gain and loss; regret and distress are signs of worry and unease.” Once something has been lost, regret and distress arise; with them come worry and unease. Therefore, in cultivation one must carefully observe the signs of Yin and Yang waxing and waning, so that trouble does not arise. In this way, one can discern the Returned Elixir—the elixir produced through alchemical practice, or the results of cultivation.

When issuing instructions, follow the seasons and do not miss the moment when the Yin and Yang lines stir into action.

After the winter solstice, Yang Qi first comes to life, like a single Yang line stirring deep underground. Beginning the firing process to refine the elixir at this time can be said to accord with the season.

Look above to examine the Yellow River Diagram, a pattern symbolizing the laws governing the movements of Heaven and Earth; look below to observe the terrain and the flow of water. Then use these to test the principles of elixir refinement.

When issuing instructions, follow the seasons and do not miss the moment when the Yin and Yang lines stir into action.

After the winter solstice, Yang Qi first comes to life, like a single Yang line stirring deep underground. Beginning the firing process to refine the elixir at this time can be said to accord with the season.

Look above to examine the patterns of the Yellow River Diagram; look below to observe the terrain and the flow of water. Then examine human affairs and use them to compare and verify the Three Powers: Heaven, Earth, and humanity.

Heavenly patterns correspond to fire, terrain to water, and human affairs to the regulation of the fire process—the adjustment of its strength in alchemical practice. Fire burns below, water flows above, and human affairs are observed in the middle to regulate the fire. In this way, the principles of the Three Extremes—Heaven, Earth, and humanity—are complete.

In movement, follow the rhythm of the hexagrams; in stillness, take the Image Statements—the texts that explain the hexagram images—as your guide.

The Zhen hexagram symbolizes movement, while the Fu hexagram symbolizes stillness and constancy. Fire rises and burns in motion, following the Zhen hexagram; water flows downward in stillness, taking its model from the hexagram text. The Judgment on Fu says, “In the Fu hexagram, is the original heart of Heaven and Earth not revealed?” Stillness is the root of Heaven and Earth; this is Wuwei (non-action).

Only when Qian and Kun—Heaven and Earth—carry out their functions can the myriad things under Heaven each find their proper order. How could one fail to be careful about this? It is the foremost principle for those in charge of alchemical practice.

The Commentary on the Words of Qian says, “At the proper time, ride the six dragons to govern the Way of Heaven. The Way of Qian transforms and changes, enabling the myriad things to each set their nature and life in order.” Qian and Kun are the workings of Heaven and Earth. As they operate, the myriad things come into being and transform; all things under Heaven thereby each find their proper principle. Water and fire take this pattern as their model and do not stray from what is fitting, so Metal and Water can each find their proper principle.

When the method of elixir refinement is made to govern the process thoroughly, down to its most subtle workings, the Treasure comes to light through its cycles of opening and closing.

To refine the Returning Elixir, the key is to master its underlying pattern. Qian and Kun—the Yin-Yang transformations of Heaven and Earth—set things in motion, and from them all things come into being, each following its own principle. Water and Fire, too, must be brought into proper accord with this pattern so that Metal and Water each fulfill their proper role.

One must carefully master the subtle changes, opening and closing the vessel at the right times and properly placing the treasure within it.

When refining the Returning Elixir, the first task is to seal the vessel’s opening, making the seal firm and tight. Then Metal and Water can flow smoothly, Yin and Yang can be brought into harmony, and a true substance can finally coalesce without error.

The essential principle is like the pivot of the Dipper, which governs the main structure and key points of transformation.

The Golden Sea says: The seven stars of the Northern Dipper, together with its companion star, move through the center like the imperial chariot, governing the four directions, distinguishing Yin and Yang, and corresponding to the turning of the four seasons. The Dipper’s handle marks the Five Phases and shifts with the seasons, establishing the order of their movements. It is the envoy of Taiyi, a revered deity in Daoism. The first four stars of the Dipper are called Kui, the last three Shao; together they are called the Dipper. It occupies a Yin position yet dispenses Yang energy, which is why it is called the Northern Dipper. Near the star Kaiyang is another star, serving as its precious attendant. The stars within the Dipper respectively govern Heaven, Earth, Fire, Water, Earth, Wood, and Metal; the Sun and Moon also move and converge according to them. By following the Northern Dipper’s course, one can understand the Five Phases; by following the Five Phases, their order can be established. Once that order is established, why worry that Metal, Water, and Fire will fail to follow their proper principles?

The signs of the hexagram lines change within, while good and ill fortune appear without.

A hexagram is formed by arranging the images of its lines. When the line images change within, good and ill fortune become visible without. This means that the changes of Metal and Water should be assessed by reference to the line images. An auspicious sign is when Metal can retain Water; an inauspicious sign is when Water escapes and disperses. The key to both lies in coordinating Water and Fire: miss the right moment by even a little, and an inauspicious sign will appear.

Whether the Five Planets—the five planets that travel around the Sun and Moon—move in proper order or fall out of order, their changes correspond to the seasons.

The Yisi Divination (an ancient text on interpreting celestial omens) says: The movements of the Sun and Moon are like the warp threads in a loom, while the movements of the Five Planets—Water, Fire, Metal, Wood, and Earth—are like the weft. When the planets move smoothly, Yin-Yang can remain in harmony. When their movements fall into disorder, Yin-Yang becomes unbalanced, and the regions they pass through suffer calamity. When Water and Fire are in harmony, the movements of Metal and Water proceed smoothly; when Water and Fire lose their restraint, Metal and Water also decline. Changes in the heavens elicit corresponding responses, and their signs can be observed.

The stars of the Four Seven Lodges move in disorder, straying from their proper places and losing their order above and below.

“Four Seven” refers to the Twenty-Eight Lodges, the twenty-eight regions into which the ancients divided the sky. “Out of order” means that their movements go awry and depart from their proper courses; “straying apart” means that they leave their original positions. The Twenty-Eight Lodges correspond to the paths of the Five Phases. If they all stray and fall into disorder, this symbolizes irregular movements of Metal, Water, and Fire.

The Star of Literary Excellence (Wenchang) oversees the offices that record celestial phenomena and calls to account the ministers of state symbolized by the Three Terraces stars.

The Yisi Divination says: The six stars of Wenchang lie in front of the Dipper’s bowl in the Northern Dipper. They symbolize the officials who govern education and state affairs throughout the world, corresponding respectively to Metal, Wood, Water, Fire, Earth, and grain. The fifth star is called Director of the Center; it oversees the inspection of misconduct and the pursuit of offenses. The sixth is called Director of Emoluments; it assists in governance, brings precious things to light, and oversees the gathering and recording of fortune and misfortune. The six stars of the Three Terraces are divided into three pairs, each pair responding to the others.

Wenchang’s movement follows the Taiwei Enclosure, the star region that symbolizes the Celestial Emperor and his court. When the ranks of the Taiwei Enclosure are level and orderly, this symbolizes harmony between Yin and Yang and well-timed winds and rains. The single star called Assistant of the Seasons lies beside the Dipper’s handle. When the position of the Chief Minister shines brightly, it symbolizes the proper order of the four seasons and the orderly movement of the Five Phases (Wood, Fire, Earth, Metal, and Water). Wenchang governs the stars, including the Five Planets, the Twenty-Eight Lunar Mansions, the Three Terraces, and the auxiliary stars. When Yin and Yang move in keeping with the seasons, the stars follow the order of the heavens; when Yin and Yang fall out of balance, Wenchang investigates their transgressions. These teachings all use the refining of elixirs over a furnace fire as an analogy: Wenchang symbolizes Earth, while Yin and Yang symbolize Water, Fire, Wood, and Metal. Among these four—Water, Fire, Wood, and Metal—Earth can regulate them. For this reason, the scripture draws widely on celestial phenomena as metaphors to explain the central role of Earth.

Officials at every level each oversee their own affairs.

The Numinous Pivot and Spiritual Hinge says: The single star called Historiographer oversees the recording of transgressions; the three stars called the Three Dukes oversee the spread of Virtue and transformation; the three stars of the Nine Ministers oversee the handling of various affairs; the five stars of the Secretariat oversee receiving and transmitting decrees; and the two stars of Advisers and the Minister of Justice oversee criminal cases. Other officials likewise each have corresponding stars. They are not listed here one by one, to avoid excessive detail. Every official post at the Chinese court has a corresponding place among the celestial phenomena. In other words, each of the spirits of the five directions and the essences of Water and Fire has its own duties.

The sun gathers the essences of the Five Phases, while the moon moves in accordance with the seasonal cycles of the Six Pitch-Pipes.

The Yisi Divination says: The sun, moon, and Five Planets each conjoin once a month. In the month of the Horse, the sun receives the Qi of the pitch-pipe and also conjoins with the sun. Metal, Wood, Water, and Fire all move according to this pattern.

Five multiplied by six gives thirty degrees. Once a circuit is complete, the cycle begins again.

The sun travels one degree each day. The moon and the five planets—Metal, Wood, Water, Fire, and Earth—meet the sun once each month. In the month of Wu (the fifth lunar month), they receive the Qi (vital energy) of the seasonal measures—the Qi that moves in accordance with the seasons—and also align with the sun. Metal, Wood, Water, and Fire each follow this pattern in their movement.

Five and six combine to make thirty degrees. Once a full cycle is completed, it begins again.

The sun travels one degree each day; the moon travels thirteen degrees each day. Its conjunction is complete only when it reaches the sun, after which it continues on its course. The beginning of the month belongs to Yang, and its end to Yin. Yin and Yang alternate throughout the month, cycling again and again, like Metal and Water—the substances named in alchemical practice—moving in a repeating circuit.

By tracing things from their beginning to their end, one can discern the pattern of persistence and decline.

The beginning belongs to Yang, and the end to Yin. The way Yin and Yang move is also the way of the gentle fire and fierce fire, terms for the slow and rapid application of heat in alchemy. When the gentle and fierce fires are applied at the proper time, Metal and Water can be preserved; if the heat is misapplied, they will disperse. The beginning and end of things, and their persistence and decline, depend on how Water and Fire are used.

At times, a ruler becomes proud and complacent, rising to excess and departing from the normal course.

Here, “ruler” refers to Metal, and “excess” means reaching the extreme. The meaning is that when Metal receives fire that is too fierce and intense, it becomes excessive at the extreme and can no longer conform to the right course. The right course here refers to the returning elixir, the process of refining an internal or alchemical elixir.

At times, a subordinate becomes crooked and ingratiating, acting outside the rules.

Here, “subordinate” refers to Water. When Water is acted upon by forceful Yang Qi, it surges and flows without restraint, departing from the normal course. It thus strays from the right path and takes on the aspect of crookedness and ingratiation. This is the use of the ruler-subordinate relationship as a metaphor for Metal and Water. The key to bringing Metal and Water into harmony is to regulate Water and Fire at the proper time.

The moon’s first and last quarters, its fullness at opposition, and its waxing and waning are all related to Water. When Water is acted upon by forceful Yang Qi, it surges and flows without restraint, departing from the normal course. It thus strays from the right path and takes on the aspect of crookedness and ingratiation. This is the use of the ruler-subordinate relationship as a metaphor for Metal and Water. The key to bringing Metal and Water into harmony is to regulate Water and Fire at the proper time.

The moon’s changes from first quarter to last quarter, from fullness to waning, bring change, regret, and misfortune.

The moon reaches its first quarter on the eighth day, its last quarter on the twenty-third, and opposition, or the full moon, on the fifteenth. “Opposition” means that the sun and moon face one another and can be seen from each other’s position. The moon waxes and wanes; if its degrees of motion are unclear, it is difficult to grasp the right moment for Metal and Water to unite. When regret and error exceed due measure, misfortune follows.

Those who enforce the law use accusations and mockery to investigate wrongdoing, then shift responsibility onto the person in charge.

The Jinhai says: The Taiwei Enclosure, the Ten Stars, the Yi Lodge, and the Miao Star form the court of the Son of Heaven and the residences of the feudal lords. The listed lodges—the constellations arranged across the sky—receive celestial mandates, while the gods examine whether they keep to their proper times and courses. On the southern side, a star called the Duan Gate serves as a protective screen. To the east is the Left Censor, symbolizing the Minister of Justice; to the west is the Right Censor, symbolizing the Grand Censor. They are responsible for exposing wicked and treacherous acts.

If the Five Planets, the Twenty-Eight Lodges, or the various wandering stars stray from their proper positions and fail to follow the patterns of Yin-Yang, the Left and Right Censors will investigate their transgressions and reassign the affairs under their charge. Those who administer belong to Metal; those who enforce the law belong to Fire. If Metal cannot restrain Water, then the force of Fire is made to press upon and drive them away.

If the Eight Lodges or the various wandering stars stray from their proper positions and fail to follow the patterns of Yin-Yang, the Left and Right Censors will investigate their transgressions and reassign the affairs under their charge. Those who administer belong to Metal; those who enforce the law belong to Fire. If Metal cannot restrain Water, then the force of Fire is made to press upon and drive them away.

The Chen Pivot, the celestial pivot near the North Star, keeps to its proper place, calm and at ease in its lower position.

The Yisi Zhan says: The five stars of the Northern Pole are called the Northern Dipper’s Pole Star, or Beichen. They occupy the center of the heavens and are used to set the four seasons. The celestial body turns without pause, but the Pole Star does not move. It holds its radiance within and gives off vital energy. By means of the Dipper’s movement, it establishes the regular courses, governs destiny and the seasons, and spreads the essence of the spirits. From this, the One comes forth, and the Yellow Emperor is its ruler. The Celestial Pole represents Metal. Metal rests within a vessel, calm and at ease, while Water and Fire steam over it; in this way, it naturally takes on a well-formed shape.

When the Hall of Enlightenment, where the Son of Heaven issues policy, governs through De, the state will suffer no harm.

The three stars of the Hall of Enlightenment mark the offices where the Son of Heaven issues commands. The Hall represents a vessel, and Metal represents the ruler. Metal rests within the vessel, cultivating De and abiding there. Even when steamed by Water and Fire, it suffers no harm.

Cultivate yourself within, remaining settled, still, and empty.

Here, “within” means inside the vessel. Metal and Water rest securely within it, quiet and inactive, merging with emptiness.

Its radiance lies hidden from the beginning, yet inwardly it sees its own form.

This means that Metal is refined from ore. Though Metal is bright, its radiance is hidden within; outwardly, it looks dull and stubborn like a stone, and often appears dim.

Close the opening of Dui, the vessel’s mouth, and make firm the numinous root, its foundation.

It is like gold hidden in ore: its brilliance is vivid, and light is contained within it; yet from the outside, it seems as dull as an ordinary stone and often appears dim.

Close the vessel’s opening and firmly seal the spirit plant, the foundation of refining the elixir. Here, “plant” means the foundation, and “opening” means the vessel’s mouth. The foundation refers to Metal and Water, the basis for refining the Returned Elixir, the Daoist elixir. Though Metal and Water are wondrous, they must not be allowed to escape the vessel. Its mouth must be sealed tightly, without the slightest leak.

The three lights of the Sun, Moon, and stars sink into the vessel to nurture the pearl-like elixir. The Sun belongs to Yang light, while the stars and Moon belong to Yin light. Yang represents Metal, and Yin represents Water. Both Metal and Water sink into the vessel. “Nurturing the pearl” means tending the substance being refined as though it were a pearl. Metal arises from Water, and Water is the source from which Metal is born; hence the phrase “nurturing the pearl.”

You cannot see it, though it is close at hand and easy to obtain. This means that although Metal and Water are inside the vessel, they cannot be seen directly. Their transformation depends on Water and Fire, so the Returned Elixir is not difficult to obtain.

Yellow Qi gradually penetrates and brings things into harmony within, nourishing the whole body and reaching the skin. This draws on the phrase “the noble person, centered in yellow, penetrates the patterns” from the “Commentary on Kun” in the Book of Changes: virtue is held within, flowing freely, and then manifests in the limbs and one’s undertakings. Here, Water is represented by white and Metal by yellow. When Metal enters Water, their qualities become connected, and Metal can also transform Water. It is as though the whole body were nourished, the skin took on a glow, and the limbs moved with ease.

Only by beginning in the proper way can one proceed in accord with the cycles of the heavenly stems and earthly branches. Yang represents the stems, and Yin the branches; here they refer to Metal and Water. Though Metal stirs first, Water’s power is still weak and cannot yet support it in becoming a true elixir. But if the firing process is properly regulated from the beginning, the course of a month can reveal the changes of a year. The cycle continues without end, with the two alternating in turn.

This essential teaching is hidden deeply, and ordinary people do not know it.

“One” refers to Water, which is matched with the number one among the Five Phases. When water covers a vessel, it can contain the water within and keep it from escaping. Ordinary people do not understand this principle and so waste their money in vain.

Higher De (Virtue or Power) is a state of following nature and governing through Wuwei (non-action): it neither acts rashly nor deliberately seeks to observe. Lower De is a state of purposeful action: it actively exerts itself, and its effects never cease.

Here, Higher De corresponds to Water and Lower De to people. Ordinary people do not understand the principle and so waste their money in vain.

Higher De neither acts rashly nor deliberately seeks to observe; Lower De acts purposefully, and its effects never cease. Higher De corresponds to Water and Lower De to Fire. Water is still and settled, symbolizing the substance of Wuwei; Fire burns and rises, remaining in motion, and is the basis of purposeful action. In a state of Wuwei, one follows nature; when purposeful action begins, its effects continue to unfold.

When the upper part is closed, it is called “Being”; when the lower part is closed, it is called “Nonbeing.”

The upper part refers to Water and the lower part to Fire. Fire moves freely by means of breath; when breath is put to use, it appears empty and formless. Water, by contrast, takes bodily form as its basis. The position where its form appears becomes its function.

“Nonbeing” nourishes the upper part, where a wondrous De resides within. Here, “spirit De” refers to Water, while “Fire Qi” refers to Nonbeing. Formless Fire Qi rises, causing Water to coagulate. Water then flows, and the Qi of Water and Fire interact, forming the working of alchemical cultivation.

The principles of these two apertures concern the coming and going of breath; the movement of breath also depends on both of them.

The two apertures form a channel linking above and below—the upper opening and the lower opening. The upper opening is near Water, and the lower opening is near Fire. The Qi of Water and Fire harmonizes within this channel; when the balance is right, Metal can form. “Metal” here is a symbolic term in Neidan (internal alchemy), referring to the essence produced through cultivation.

When one understands “knowing the white and keeping to the black”—recognizing what is manifest while holding to what is hidden—the wondrous state will arrive of its own accord. White refers to Metal essence, and black to Water’s foundation. Water belongs to black, and Metal to white. Metal essence is also called “yellow sprout,” an alchemical term for the essence generated through cultivation. The key to keeping Water from escaping lies in Metal essence. “Spirit” here refers to the wondrous quality revealed in the transformations of all things. Only when something’s subtlety reaches its utmost does it become true; it is as though a spirit had descended, leaving people unable to know where it came from.

Water is the pivot of the Dao (the Way), and in the Five Phases it is numbered one. Water can transform, and is therefore key to the Dao’s operation.

At the beginning of Yin-Yang union, deep within lie Mysterious Water and Yellow Sprout—the essence of Metal.

“Mysterious” refers to Water, and “Yellow Sprout” to Metal’s essence. When Metal and Water first begin to unite, Yin-Yang union begins.

Among the Five Metals, the one that takes the leading role is the northern “River Chariot”—a name for the essence of the Five Metals, and another name for lead.

Lead is dark on the outside, yet contains Golden Florescence—the essence of Metal—within. It is like someone concealing jade beneath coarse clothes and pretending to be wild and foolish.

Metal is Water’s mother, and the mother conceals a child not yet born. Water is Metal’s child, and it conceals Golden Florescence within. Though lead is dark on the outside, it contains Golden Florescence within, like someone concealing jade beneath coarse clothes and pretending to be wild and foolish.

Metal can generate Water, so it is called Water’s mother. Water is born from Metal, so it is called Metal’s child. Before Water comes into being, it remains hidden within its mother’s womb.

The state of the realized person is exceedingly subtle, seeming to exist and yet not to exist.

Though signs of the true treasure appear, it has not yet taken the form of a true treasure; hence it is said to be as though present and as though absent.

In the Great Abyss—the vessel—Water sinks and rises from time to time, changing without predictability.

Under the influence of Fire’s Qi, Water sinks and rises unpredictably.

Once Water, Fire, Metal, and Wood have all entered, their four forces take up separate positions, each guarding one direction.

When gathered, it is white; once refinement is complete, it turns vermilion.

During extraction and refinement, Metal is white. When refinement is complete, its color becomes like vermilion.

During refinement, Water guards Metal from the outside. When the Dao is achieved and De fulfilled, Water sinks into Metal. The two become one and together bring the true path to completion.

When refining Metal, Water is outside it. When the Dao is achieved and De fulfilled, Water sinks into Metal. The two become one and together bring the true path to completion.

It is no more than an inch across and round, mingling together and supporting one another.

When Metal and Water unite, the square and the circle share a space one inch across.

That vessel existed before Heaven and Earth took shape; it stands high and honored. Beside it are walls and gates, and its form resembles Penghu, the legendary mountain of immortals. It is tightly enclosed, with passages running in every direction, yet winding and difficult to traverse. It is closely guarded against harmful influences; winding galleries inside connect with one another to guard against the unexpected. In cultivation, one may proceed without deliberate thought, yet worry and toil are hard to avoid. Spirit and Qi fill the vessel, and external things cannot hold them there. Guard it and it will flourish; lose it and it will decline. Whether one is active, sitting quietly, or resting, it is always with one.

“Before Heaven and Earth” refers to the vessel. Only after Heaven and Earth took shape did Metal generate Water. First, the vessel is set in place; then Metal and Water are put inside it, which is why it is called “before.” The vessel’s top rises above the furnace opening, hence its height and honor. The earthen furnace is shaped like walls and gates. The furnace joins the vessel and takes the form of a mountain, so it is compared to the immortal mountain Penglai: the realized person, one who has cultivated the Dao, is within the inner furnace. The vessel is enclosed all around, and its passages wind and connect like twisting galleries. The joints must be sealed tightly, without the slightest gap, so that the whole is firm and intact. Understand the subtle principle, and the work can be accomplished without deliberate thought; lose the root, and sorrow is of no use. Activity, quiet sitting, and rest are all occasions for gathering and making use of it. Although cultivation depends on Water and Fire, its efficacy lies in Metal and Water; it also depends on the person’s own practice and cannot be obtained naturally. That is why it is said that this work is always with one, whether active, quiet, or at rest.

This is not a secret method passed down through the generations, but a practice of inward vision and contemplative visualization.

It describes the way of fetal breathing: contemplate the five organs and hold them in the mind.

Step in accordance with the constellations, treading the Northern Dipper; use the talismans of the Six Jia in accordance with the days and times, and inhale the Qi of the sun and moon.

The Yin method of inner cultivation takes “one” and “nine” as its essentials: “one” refers to primordial Qi, and “nine” to the constellations. Use the talismans of the Six Jia in accordance with the days and times, and inhale the Qi of the sun and moon.

The Yin method takes one and nine as its essentials, yet it can also become turbid and disordered, disturbing the primordial embryo, the source of life.

“One” refers to primordial Qi (vital energy), and “Nine” refers to the path along which Yang Qi flows. When these are applied to the arts of the bedchamber—using sexual intercourse as a method of cultivation—they throw primordial Qi and the Yang path into disorder and pollution, ultimately leading to decline and death.

Some people believe that the Qi within the body is upright Qi, while the Qi outside it is evil Qi. So they breathe out the upright Qi within and breathe in the evil Qi without, while trying to keep their stomach and intestines constantly full. They stay awake day and night as their gut rumbles without pause. Their bodies grow weary and their minds become dazed, like those of fools; Qi and blood surge ceaselessly throughout the body and cannot settle into clarity and stillness.

Others follow various methods of cultivation, yet their intestines rumble day and night without respite. As a result, their Qi and blood are exhausted, and they take on the vacant expression of fools.

They build walls and erect ritual platforms, offering reverent sacrifices morning and evening. When they see apparitions of ghosts or receive signs in dreams, they rejoice, convinced that they will surely prolong their lives. In truth, this is deluded folly. In the end, they die young, their bodies left exposed to decay. Their many practices often go against what is right and violate the essential principles of the Dao.

These methods treat ghosts and spirits as supports for cultivating the Dao, and assume that frequent sacrifices can build up merit. People become absorbed in fantasy: even if they see something in a dream, they think they have attained the Dao and rejoice in themselves. They do not realize that this conduct departs from the proper course of Heaven’s mandate and may instead shorten their lives and bring an early death. Those who practice these methods often hide away in mountain forests; when their lifespan comes to an end, their bodies still decay and lie exposed. The methods described below, beginning with embryonic breathing (a practice of regulating the breath and nourishing Qi, resembling the breathing of a fetus), are not the true way. They are cited here specifically so that their errors can be clarified: they do not harmonize Yin-Yang or follow nature, but disturb the ordinary course of things.

The Taiqing Jing says: “The way to long life does not lie in sacrificing to or serving ghosts and spirits, in guiding the breath and bending and stretching the limbs, in chanting incantations and exhaling while speaking at length, or in concentrating one’s thoughts and laboring alone. The key to long life lies in the divine elixir (an elixir refined in Daoist practice). Understanding this principle is not difficult, but truly refining the elixir is hard; one must wait for the Nine-Turn, Eight-Jade Elixir (a type of elixir in Daoist alchemy). Most methods other than this mislead people. If you understand the true way, be cautious and do not practice those methods.”

The arts and techniques are exceedingly numerous, tangled in countless strands and numbering more than ten thousand. They often run counter to the thought of Huang and Lao (the Daoist teachings of the Yellow Emperor and Laozi), and take a winding course away from the Nine Capitals (the methods of the Nine Perfected Ones, meaning ways of cultivation that follow nature).

The Taiqing Jing says: “Huang and Lao refers to the Lord Huanglao of the Center; the Nine Capitals refers to the methods of the Nine Perfected Ones. These are all Daoist methods that follow nature.”

Those who understand grasp the central principle and will suddenly see clearly the path cultivation of the Dao should follow.

In brief, yellow corresponds to Earth, and nine to Yang; Earth can suppress Qi, preventing it from rising. Among the various methods of cultivation for protecting the body, only the Cantong qi is most subtle. Examine the sage’s original intent closely and understand its source: then there is no Dao that cannot be realized and no De that cannot be cultivated.

Practice diligently, without slackening at any hour, day or night.

Continue cultivating for a full year, tireless day and night.

Cultivate in this way for three years, and you will become light enough to rise and fly, traveling far in every direction.

Take one grain of rice sized pill each day, and after three years of cultivation the Dao will be realized. If you wish to ascend further into the void, the degree you attain will vary.

You may cross flames without being burned and enter water without getting wet; you can appear and disappear. From then on, you will enjoy lasting peace and freedom from worry. Once the Dao is realized and De fulfilled, remain hidden for a time and await the proper moment. The Great One (a revered Daoist deity) will then summon you to move to the Central Continent (a Daoist immortal realm). When your merit is complete, you will rise to become an immortal; the Fulu you receive and the degree of your ascent will vary.

One can pass through fire without being burned and enter water without becoming wet. One can appear or disappear at will, living in lasting peace and joy, free from affliction. Once cultivation of the Dao is complete and De perfected, one withdraws from the world and waits for the right moment. When Taiyi (the supreme deity revered in Daoism) issues a summons, one moves to the Central Continent, a legendary realm of immortals. When one’s merit is complete, one ascends to Heaven and receives talismans and diagrams according to the registers of the celestial realm.

The spirit Taiyi watches over and protects the alchemical work. When the elixir is complete, one first reports it to Shangqing, the celestial realm in Daoist belief. Once Shangqing has received the report, the alchemist should receive talismans and diagrams, and the body then ascends to Heaven.

The Fire Record, a text describing the timing and control of the alchemical fire, was not invented from nothing. It draws on the principles of the Yi (the Book of Changes) to explain its teachings.

The work of refining the elixir in the furnace follows the laws of Yin-Yang transformation. Human beings are rooted in Yin and Yang, so the human form and its Yin-Yang relations serve as metaphors through which these processes can be explained.

The alchemical furnace and vessel are made in the shape of a crescent moon.

The White Tiger, symbolizing Metal, is central to the refining process. It represents Metal: first place the Metal in the vessel, then add Water. Water takes Metal as its pivot.

Mercury is like the sun: it is the flowing elixir.

The Flowing Pearl refers to mercury, a substance congealed from the sun’s essence.

The Azure Dragon, symbolizing Water, enters the vessel alongside it.

The Azure Dragon represents Water, and the White Tiger represents Metal. Metal and Water are placed in the vessel together, as the human being has both Hun and Po souls, which correspond to one another.

At the waxing half-moon, take the number eight from the Dui trigram; at the waning half-moon, take the number eight from the Gen trigram. When the essences of the two halves meet, they form the substance of Qian and Kun. The two eights make one jin, in keeping with the principles of the Yi and without deviation.

Here, the two eights together amount to sixteen liang; by the ancient system of weights, one jin equals sixteen liang. Though Yin and Yang serve as metaphors, what is being described is the principle of transformation in things.

One jin contains 384 zhu, a number that also corresponds to the timing of the alchemical fire and to the figures formed by the lines of the Yi hexagrams.

In the ancient system of weights, twenty-four zhu make one liang, and one jin contains 384 zhu. The sixty-four hexagrams each have six lines, making 384 lines in all. Thus, the measures of the alchemical work correspond to the numerical principles of the Yi.

When gold is smelted in a blazing fire, its color does not change, and its crystalline sheen does not diminish. Since Heaven and Earth were first formed, the light of the sun and moon has suffered no loss, and gold has not lost its weight. The forms of the sun and moon remain as they always were.

This is an analogy used to explain the principle.

Gold and wood grow and develop in accordance with the moon. At dawn on the first day of the lunar month, they receive the sun’s mandate, symbolizing the sun’s action and influence. Since the moon receives its mandate from the sun, water, too, receives its mandate from gold.

Gold returns to its mother. At the end of the month, the sun and moon embrace one another. Then water envelops gold: its outer form disappears, and it sinks into emptiness. At this point, gold and water have not yet taken on definite forms; they remain submerged in emptiness.

When gold recovers its original nature, the radiance in the vessel appears. Refining gold into gold means returning it to its source. After gold receives the Qi of gold, the vessel, too, rejoices in the work of refinement.

Zi and Wu join to make three; Wu and Ji together are called five. When three and five are harmonized, the eight minerals each return to their proper order. Zi belongs to water, whose number is one; Wu belongs to fire, whose number is two. Water and fire joined make three. Wu and Ji belong to earth, whose number is five. Three and five together make eight. The transformations of gold and water are governed by water, fire, and earth. The Central Scripture says, “The three things are one family; all return to Wu and Ji.” It refers precisely to these three substances.

The breath within the vessel interacts and gathers to a pause, as though forming a married couple. The Qi of water and fire moves through the vessel in cycles of inhalation and exhalation. Gold and water receive this Qi and join with one another. Gold is male and water is female; when gold and water unite as one, they form the bond of husband and wife.

Yellow earth is the father of gold, and flowing pearl (mercury) is the mother of water. Water regards earth as its “ghost”—the force that restrains it in the mutual overcoming of the Five Phases. Earth is male and water is female. When gold and water unite as one, they form the bond of husband and wife. Earth fills and blocks water, preventing it from rising.

“Flowing Pearl” is a name for cinnabar. Metal is generated from earth, and water flows out of sand. Earth can restrain water, so it is called a “ghost.” Only the action of earth can keep water from dispersing.

The Vermilion Bird is the vital essence of Fire. Only when the Fire Qi is balanced can it regulate the waxing and waning of Metal and Water.

The Vermilion Bird is the vital essence of Fire, depicted on the southern side of the furnace. Only Fire can harmonize Metal and Water.

When Water grows too strong, Fire is extinguished. Once both have waned, they return to the thick earth.

However fiercely Fire burns, Water will eventually extinguish it. When Water and Fire have both subsided, only a clod of earth remains. Once the Reverted Elixir has been refined, Water and Fire disappear as well.

The three qualities of Metal, Water, and Fire have now converged, and the nature of all things returns to a single source.

Metal, Water, and Fire operate according to the Five Phases’ cycle of mutual generation, each becoming the root of the others. When Water joins with Metal and then encounters Fire, an elixir can be refined.

Eating giant dodder (sesame) can already prolong one’s life; taking the Reverted Elixir offers an even greater hope of ascending as an immortal.

Metal does not easily decay or corrode, so it is regarded as a treasure among things. Practitioners take the Golden Elixir in the hope of prolonging their lives.

The “Metal” spoken of here is not ordinary metal, but the Reverted Elixir.

Earth moves between the four seasons, keeping each within its proper bounds and establishing the laws of their operation.

The four sides of the alchemical furnace are all coated with earth.

When golden sand enters the body, it spreads like mist, enveloping everything like wind and rain. Its vapor steams through the limbs, giving the complexion a healthy glow. White hair turns black, and teeth grow again; an old man regains his prime, and an old woman becomes young. Those who thereby transform their appearance and escape the calamities of the world are called Perfected Ones.

The Yellow Sprout resembles golden sand in form. Once it enters water, it quickly disperses, giving the complexion a healthy glow; white hair turns black, and teeth grow again. An old man regains his prime, and an old woman becomes young. Those who transform their appearance and escape the calamities of the world are called Perfected Ones.

The Yellow Sprout, a term from alchemy referring here to an elixir ingredient such as gold sand, looks like golden grains of sand. When cast into water, it changes rapidly, as if a sudden storm had arrived. Under the influence of metal, the water changes: first it turns black, then yellow. Metal is the father and water the mother, so they are also called the “old man” and the “aged woman.” Metal and water interact and transform into metal; once it becomes a treasure, it is no longer subject to the hardship of being refined and melted in the world. “Strong man” describes the flourishing vigor of metal Qi; “Maiden” is a term for a young or virginal woman.

When lead white, an ancient white powder, is put into fire, its color changes and it eventually returns to lead.

Lead can be refined into powder, and powder can be refined back into lead. This is a return to the original state.

When ice and snow meet warm soup, they melt and become something of profound mystery.

Water freezes into ice, and when ice melts it becomes water again. Both are returns to the original state.

Metal takes sand as its root and receives its harmonizing influence from mercury. Sand is another name for the Yellow Sprout; when put into mercury, it forms lead and returns to its origin.

When ice and snow meet warm soup, they melt. Water freezes into ice, and ice melts back into water. All are returns to the source.

Metal takes sand as its root and receives its harmonizing influence from mercury. Sand is another name for the Yellow Sprout; when put into mercury, it undergoes the corresponding transformation.

Transformations proceed according to the true nature of things, and their beginnings and endings follow on from one another.

Refine gold with gold, and you can make a golden bell. Sow grain seeds and hope for a harvest of grain: the seeds will indeed produce grain.

To refine an elixir that grants immortality when ingested, one should choose materials of the same nature.

To grow millet, use grain seeds; to hatch a chick, use a chicken egg. When materials of the same kind accord with nature, things are easily refined. How could a fish’s eye serve as a pearl? Nor can mugwort and similar plants grow into catalpa trees.

A boy is born face down, while a girl is born lying face up: this is the way of nature. The perfected elixir is made according to the same principle. How does this differ from the art of firing and smelting?

Things of the same nature can respond to one another; when their natures conflict, they cannot be refined into a treasure. Thus sparrows do not produce phoenixes, and foxes and rabbits do not raise horses. Water cannot burn upward, and the vapor of fire cannot moisten downward.

Gold, water, and lead belong to the same kind. Beyond this range, the materials’ natures do not match, and they cannot be refined into a treasure.

Many people in the world who study the Dao think themselves learned and exceptionally gifted, yet by chance they never meet anyone who truly understands the method. As a result, they waste their money on alchemy. Water cannot burn upward, and the vapor of fire cannot moisten downward. Gold, water, and lead belong to the same kind; beyond this range, their natures do not match, and they cannot be refined into a treasure.

There are many people in the world who believe themselves to be deeply learned and exceptionally talented. Yet they have never met anyone who truly understands the art of alchemy, and so they waste their money pursuing it. Relying only on what books say, they experiment recklessly according to their own ideas, with no reliable guidance and no sense of how to proceed with proper restraint. They grind and refine qiangshi, alum, mica, alum stone, and magnetite; they also mix and process sulfur, Yuzhang wood, lead, and other substances, using five kinds of stone and copper to assist the refining. But these materials all have different properties—how could they simply be combined at will? They try a thousand times and fail ten thousand times, never finding a chance of success. From youth into old age, they go on searching in vain, full of doubts. They turn away from the right path and cling to mistaken ways, following crooked and deviant tracks. Their vision is like peering through a bamboo tube: their outlook is narrow, and they can scarcely foresee what lies ahead.

This laments that people in the world are not unwilling to seek the Reverted Elixir, the pill sought through Daoist alchemy. Rather, they search far and wide for mineral substances and medicines, yet reach old age without achieving anything.

As for the sages, the earliest was none other than Fuxi. He drew the Eight Trigrams (Bagua), opening the way to the patterns of Heaven and Earth in the Changes. King Wen of Zhou inherited his teaching, arranging and elaborating the statements attached to the hexagrams and their lines. Confucius is hailed as the foremost among the sages; he composed the Ten Wings, ten works that expound the Classic of Changes, to aid its interpretation. All three sages were born of Heaven. They arose in succession, each appearing in response to its time. Their talents and virtue may rank at different levels, but their accomplishments were not fundamentally different. Each of their creations built on what came before, and their investigations and elaborations were meticulous and careful. What can be seen is easy to assess; what gives no visible sign is difficult to plan for. The principles they established could serve as models, and they also set out the Classics, including the Book of Poetry and the Book of Documents, for the world. They were not born with foresight; rather, a teacher’s guidance allowed them to grasp things swiftly. Even so, when faced with truths that were profound and hard to fathom, they were like people lifting a curtain and climbing a high platform with their eyes shut: they could hardly see clearly.

This laments that even the three sages Fuxi, King Wen, and Confucius could not master the Way of the Reverted Elixir, and in the end they all passed away. How much less could the countless people of the world, or high-ranking officials, accomplish it easily, when everyone is bewildered? The Book of Documents says, “Knowing this is not difficult; putting it into practice is what is difficult.”

The “Fire Record” (a chapter recording the stages of heat in alchemical practice) comprises six hundred sections, all drawing on the same guiding principle. Its language is solemn and profound, and ordinary people find it difficult to grasp fully. If we trace its origins, we find that the hidden and the manifest—that is, subtle and apparent principles—are connected at their source. I dare speak of these matters only to the worthy. How could I presume to speak falsely? Yet if I remain silent, it would be like cutting off the path by which the teachings are transmitted, and I fear I would incur blame.

I wrote my thoughts on bamboo and silk, yet worried that this might reveal Heaven’s secrets. So I hesitated and sighed, turning the matter over again and again. Alchemical practice has its methods and procedures. I cannot bear to disclose them all, so I will outline the essentials, allowing readers to see the later stages through the first.

I feared people might still fail to understand, so I explained the matter earnestly. Even so, some remain bewildered and do not understand the fundamental principles. Though the subject is intricate and broad, and its approaches deep and mysterious, those with wisdom can investigate it and gain insight.

First use metal to form a dike; once water enters, it can be harmoniously regulated. In other words, build the dike first, so the water cannot overflow. How is the dike built? Put in metal first, then add water. When water meets metal, the two can join calmly.

The number for metal is fifteen; the completed number for water is six, and metal’s completed number is nine. Add six and nine, and the sum is fifteen. These are numbers that express the principles of Yin-Yang; they should not be understood as actual weights in catties and taels.

When measuring beside the furnace, the portion of water exceeds five tenths. In ancient measures, ten tenths make one inch, and one inch equals one catty. Metal accounts for five tenths, and the rest is water; this is the prescribed ratio.

Only when these two substances, metal and water, are brought together is the true pairing achieved. Once placed in the vessel, the combined quantity of metal and water remains one catty; after refinement, the total amount does not diminish.

Next, the third substance does not enter the elixir furnace; water enters it together with the second substance, metal.

Metal, water, and earth are collectively called the “Three Substances.” Water and metal together make two substances. Metal and water enter the furnace, while earth remains outside.

The three substances contain and support one another, and the changes that take place seem wondrous and unfathomable.

Here, the “Three Substances” means metal, water, and earth. Metal and water interact, harmonizing and restraining one another through earth. Earth occupies the center and brings about their transformation, in a process that seems governed by spirits.

Below, the Qi of the sun is temporarily concealed and steams upward.

Here, “sun” refers to fire.

The three substances mean metal, water, and earth. Metal and water interact, harmonizing and restraining one another through earth. Earth occupies the center and brings about their transformation, in a process that seems governed by spirits.

Below, the Qi of the sun is temporarily concealed and steams upward.

Here, “sun” refers to fire.

First it turns to liquid, then it coagulates. This is called the “Yellow Carriage.”

When metal and water meet fire, they transform together. As the Qi moves, the liquid gradually coagulates and slowly hardens, like ice. Its color resembles gold, so it is called the “Yellow Carriage.”

As the alchemical work nears completion, destroying the nature of the elixir substance will damage one’s lifespan.

Once the Reverted Elixir—the elixir that has been refined—is complete, the original natures of metal and water disappear.

The elixir substance has the form of ashy earth, like dust beside a bright window. Pound and refine it, blend it until it becomes one, then send it into the red gate.

This describes the changes that occur as the Reverted Elixir nears completion, comparing them to a person relinquishing the stages of bodily form and afterward returning to the original reality.

The joints of the furnace must be sealed tightly, ensuring that the whole is secure and firm.

As the alchemical process draws to its end, the fire will flare up again. If the opening is not sealed tightly, the elixir may fail just as it is about to succeed.

Below, the fierce fire burns strongly, roaring day and night. At first, use a gentle fire so the substance gradually takes shape; only at the end should a fierce fire be applied.

The “Song of Verses” says: “Use fierce fire at the beginning and the end, and gentle fire in between. The first stage lasts seventy days, the final stage thirty days, and the middle stage three hundred and sixty days; regulate them evenly.” In other words, first use fierce fire for seventy days, then use fierce fire for another seventy days, and finally use fierce fire for thirty days; in between, refine with gentle fire for three hundred and sixty days.

When observing the fire’s progress, be especially cautious: inspect it carefully and adjust its heat and coolness.

Here, “coolness and warmth” refers to regulating the gentle and fierce fires.

Follow the cycle through the twelve stages. When one cycle ends, begin again.

The changing course of the moon serves as a basis for judging the right moment and observing the transformations of Metal and Water.

The breath gradually fails, life is about to end, and the hun and po souls will also disperse. This describes the changes that occur when things approach their end: in the third phase of winter, Water Qi is at its height, Wood Qi comes next, Fire Qi declines, Earth Qi is constrained, and Metal Qi lies dormant. The po belongs to Yin and the hun to Yang; the Qi of both Yin and Yang has grown weak.

The substance changes color, becoming purple, vivid, and bright; in the end, it is refined into the Returning Elixir, a medicine that returns to the source.

“Returning” means restoring its original color. People are born by receiving the Qi of the Dao; after taking the Returning Elixir, they return to the Dao. That is why it is called the Returning Elixir.

Take only a small amount of the Returning Elixir. The elixir refined in the Nine Tripods is especially wondrous. Once the Returning Elixir is ready, it may be taken daily, like rice. For those who wish to ascend as immortals, a single dao gui—a small ancient measure for medicines, meaning a very tiny amount—may be taken at once.

The principles of the Five Phases can be worked out and explained concisely, without needless complexity. Stir Water against Fire, and its brilliance will suddenly go out.

Those who understand the patterns of the Five Phases can act simply, without making others labor over the matter. When the Qi of Water and Fire steams and mingles, the original radiance of Metal naturally goes out.

The sun and moon mutually conceal and press against one another, a phenomenon often seen between the dark moon and the new moon. Eclipses of the sun and moon often occur at this time, when Yin and Yang meet and cover one another. The transformations of Metal and Water work in the same way.

When Water is strong, Kan Water—the Water of the Five Phases and the Eight Trigrams—presses upon Yang Qi. When Fire is weak, even daytime appears dim. The Qi of Water and Fire meet and wax and wane against each other, sometimes rising and sometimes declining.

Yin and Yang consume and diminish one another, responding to each other; this is the way of nature. If nature did not work this way, who would make it happen? The mutual response of Metal and Water follows the same principle.

A “name” identifies the state of a thing, while a “designation” describes it according to its nature. Calling Metal “Metal” is a fixed name; the designation “Yellow Sprout Metal” comes from its nature.

Only when Metal returns to its original nature can it be called the Returning Elixir. Refining Metal until it becomes gold is the making of the Returning Elixir.

I do not dare make claims from nothing. I follow the words of the sages and explain them through the images and principles of the Book of Changes; I am not setting up a doctrine on my own.

Ancient writings mention dragons and tigers; here, the dragon and tiger refer to Metal and Water. The Yellow Emperor praised the flower of Metal, and the King of Huainan refined autumn stone.

Alum stone is alum ground into powder. Wang Yang then adds Yellow Sprout, an alchemical term for a substance used in making elixirs.

The key to the Reverted Elixir, the elixir sought through Daoist alchemy, lies solely in these two substances. Gold and water together have three names. Though the names differ, they share the same source.

Those with understanding can cultivate according to the method. Those who do not understand its principles should not be allowed to take part.

Some, relying on their own guesses, try to refine silver into Autumn Stone, an alchemical term for a substance produced through refinement.

Alum stone is alum ground into powder. Wang Yang then adds Yellow Sprout. The Way of the Reverted Elixir lies solely in these two substances. Gold and water may have three names, but they are different names for things of the same source.

Those with understanding can cultivate according to the method. Those who do not understand its principles should not be allowed to take part.

Some suppose that silver and lead can also be added together to gold and water. From ancient times to the present, the principle has remained the same. Though the ages differ, the Dao is unchanged.

Those who study the Dao should work even harder at understanding these teachings, keep them firmly in mind, and reflect on them deeply. The sages established these methods to clarify the principles. They feared that ordinary people would not believe them, so they stated the most important words plainly, making them clear to all. They did not deceive us. To say that they did not deceive us means that they did not mislead us.

End of the Upper Volume of The Seal of the Unity of the Three (Zhouyi Cantong Qi).

In the text, the character yu is written as “lü” in the Kaoyi edition; “jian kai” (“open together”) is written as “jian bing” (“combine”); “si shi liu gua” (“sixty-four hexagrams”) is written as “wei liu shi” (“make sixty”); and “wei” (“make”) is written as “you” (“have”).

The sentence “After ji and wei come darkness and brightness; at the end, the beginning comes again” originally reads, “After ji and wei come darkness and brightness, and at the end, the beginning comes again.” The wording here follows the revised text in the Kaoyi edition. “The Qi of the four seasons flows in harmony” is written as “responds to the four seasons”; “its principle” is written as “its sequence”; and the character er (“and”) has been added based on the Kaoyi edition.

The sentence “The Yi says that Kan and Li…” reads “The Yi says: Kan and Li; Kan and Li…” in the Kaoyi edition. “Rise and transform” is written as “rise and descend”; “compare and measure” is written as “compare and measure”; “as proof” is written as “as an indication”; “correspond with one another” is written as “match one another”; “all are observed by the central official” is written as “all are received by the central official”; and “converge like spokes” is written as “assemble like spokes.”

In the passage from “The hexagrams have three hundred and eighty-four lines” to “the tally refers to the sixty-four hexagrams,” the Kaoyi edition omits everything after “entering and exiting, alternately curling and unfurling.” “Every time the new moon arrives” is written as “from the dark moon to the new moon”; “yellow color” is written as “yellow wrapping”; and “the spirits interact” is written as “interact with one another.”

These notes mainly record differences in wording among various editions. The Kaoyi edition is an alternate-text version provided for comparison.

Editorial note on textual variants: The Kaoyi edition writes “cheng qu” in place of “cheng shu”; “Zhongni zan hongmeng” in place of “Zhongni shi hongmeng”; “de” (virtue) in place of “de” (to attain); “cheng” in place of “dang”; “nai ya zi” in place of “nai ya zi”; “xu” in place of “kong”; “shan xin yi” in place of “qu shen”; “tu po” in place of “tu ying”; “yan” in place of “shi”; “dao” in place of “shu”; “sang qi ming” in place of “sang qi peng”; “yang qi” in place of “yi qi”; “xuan jing miao nan guan” in place of “yuan jing sha nan shi”; “ni” in place of “fa”; “can tong” in place of “can he”; “yin” in place of “xiang”; “zhi” in place of “li”; and “wei shu yi” in place of “he shu.” The original reads “shi” (“beginning”) where this passage, following the Kaoyi edition, has been emended to “wai” (“outer”).

In Article 44, “jiao yi” is written as “jiao yi” in the Kaoyi edition.

In Article 45, “chui bian lin jiu” is written as “guai bian xiong jiu” in the Kaoyi edition.

In Article 46, “zhuo ge guo” is written as “jie guo” in the Kaoyi edition.

Article 47 has been revised on the basis of the Kaoyi edition.

In Article 44, “jiao yi” is written as “jiao yi” in the Kaoyi edition.

In Article 45, “chui bian lin jiu” is written as “guai bian xiong jiu” in the Kaoyi edition.

In Article 46, “zhuo ge guo” is written as “jie guo” in the Kaoyi edition.

In Article 47, “yuan ben” is written as “yuan ben” in the Kaoyi edition.

In Article 48, “zhong xun” is written as “zhong xiu” in the Kaoyi edition.

In Article 49, “yi” is written as “yi” in the Kaoyi edition.

In Article 50, “su ren” is written as “shi ren” in the Kaoyi edition.

In Article 51, “qiao fa” is written as “xue fa” in the Kaoyi edition.

In Article 52, “yin qi yi xiang xu” is written as “jin qi yi xiang xu yi” in the Kaoyi edition.

In Article 53, “ming yi” is written as “ge yi” in the Kaoyi edition.

In Article 54, “kun shi” is written as “fang fu yi” in the Kaoyi edition.

In Article 55, “jin” is written as “tui” in the Kaoyi edition. The text that follows is incomplete in the cited edition.

In Article 56, “cai” is written as “wang” in the Kaoyi edition.

In Article 57, “xiang fu” is written as “xiang ju yi” in the Kaoyi edition.

In Article 58, “huan za” was originally written as “huan shi”; it has been changed to “huan za” on the basis of the Kaoyi edition. The same change is made directly wherever it occurs later, without further comment.

In Article 59, “yuan bao” is the reading in the original text and has been emended based on the meaning. The Kaoyi edition reads “xuan bao.”

The following entries list textual differences among various editions of the Zhouyi cantong qi:

60. The character “hong” appears as “ming” in the Kaoyi edition.

61. The two characters “suo xie” appear as “xin xie yi” in the Kaoyi edition.

62. The two characters “chang wu” appear as “hui shuo” in the Kaoyi edition.

63. The character “ji” appears as “yi” in the Kaoyi edition.

64. The two characters “lei yuan” appear as “zhou hui” in the Kaoyi edition.

65. The two characters “bu xi” appear as “bu xiu” in the Kaoyi edition.

66. The two characters “jing ying” appear as “fu shi” in the Kaoyi edition.

67. The two characters “xiang qiu” appear as “xiang ju” in the Kaoyi edition.

68. The four characters “gen yi ba” appear as “yi yi ru zhi” in the Kaoyi edition.

69. The sentence “There are three hundred and eighty-four zhu, which are also consumed” is treated in the Kaoyi edition as a commentary note rather than part of the scripture. Elsewhere, it is recorded as “There are three hundred and eighty-four zhu, also the measure for calculating the firing times and line images.” This means that three hundred and eighty-four zhu are used to calculate the firing times in alchemical refinement and the line images—the patterns of change symbolized by the hexagrams and lines of the Zhouyi.

70. The six characters “yi jin ru meng huo” appear as “jin ru yu meng huo” in the Kaoyi edition.

71. The two characters “jing guang” appear as “jing guang” in the Kaoyi edition, with the latter form meaning “essence-light.”

72. The character “mu” appears as “ben” in the Kaoyi edition.

73. The two characters “yuan guo” appear as “kuang guo” in the Kaoyi edition.

74. The character “xi” also appears as “xi” in the Kaoyi edition.

75. The two characters “xie he” appear as “he xie” in the Kaoyi edition.

76. The two characters “hu xi” appear as “jue xi” in the Kaoyi edition.

77. The two characters “zhu xi” appear as “zhu si” in the Kaoyi edition.

78. The three characters “yi hui he” appear as “ji he hui” in the Kaoyi edition.

79. The two characters “xun zheng” appear as “zhong hei” in the Kaoyi edition.

Article 80 says, “The hair at the temples turns from white to black, and teeth that have fallen out grow back.” The Kaoyi version reads, “The hair turns white and then black again; fallen teeth grow back.”

In Article 81, the Kaoyi version omits the character “ruo.”

The sentence in Article 82, “How can a fish’s eye count as a pearl, and mugwort cannot be made into a wheel,” was missing from the original and has been added from the Kaoyi version.

In Article 83, the Kaoyi version reads “dong yi” instead of “hua.” The text following “xun” is as recorded in this passage.

In Article 84, the Kaoyi version reads “fu yi” instead of “mei.”

In Article 85, the Kaoyi version reads “zhi” instead of “zhi.”

In Article 86, the Kaoyi version reads “hao huo” instead of “hao huo.”

In Article 87, the Kaoyi version reads “wen shuo” instead of “shuo wen.”

In Article 88, the Kaoyi version reads “shi” instead of “he.” The original “cha shi” has been changed to “qiang shi” on the basis of the Kaoyi version.

In Article 90, the Kaoyi version reads “yu ci” instead of “fan ci.”

In Article 91, the Kaoyi version reads “ni gong xiang lian zhi” instead of “qian gong he he zhi.”

In Article 92, the Kaoyi version reads “za xing” instead of “yi xing.”

In Article 93, after “xin,” the Kaoyi version reads “yu dian fan cheng chi” instead of “jiao xing qi bu yu.”

In Article 94, the Kaoyi version reads “zhong dao sheng hu yi” instead of “yong suo chang hu yi.”

In Article 95, the Kaoyi version reads “chu zheng ru xie qi” instead of “lü jing ru qu xie.”

In Article 96, the Kaoyi version omits “shu” from “shu hua ba gua.”

In Article 97, the Kaoyi version omits “di” from “you tian di tu.”

In Article 98, the variant recorded after “xiu er” is “chu zheng ru xie qi.”

96. “Counting the lines of the Eight Trigrams”: the variant edition does not include the character “counting.”

97. “The young Heaven-and-Earth diagram”: the variant edition does not include the character “Earth.”

98. “Cultivate and”: the variant edition reads “congeal into a body,” meaning to solidify into a formed body.

99. “Close the eyes”: the variant edition reads “open the eyes wide.”

100. “What is taken”: the variant edition reads “what is pursued,” meaning the direction toward which something tends.

101. “Common people”: the variant edition reads “people of the world,” referring to ordinary people in society.

102. “Trace and examine its origins and development; the hidden and the manifest originally dwell together”: the original text is defective here, so the passage has been supplied from the variant edition. The sentence means that by tracing and examining the origins and development of things, one can see that the hidden and the manifest originally coexist as one.

103. “Then do”: the variant edition reads “wait in secret,” meaning to wait discreetly.

104. “Deceptive words”: the variant edition reads “carelessly write,” meaning to write words rashly.

105. “As if the tongue were afflicted with a sore”: the variant edition reads “the tongue is tied, and one wishes to speak but cannot,” meaning that the tongue feels bound, making speech impossible.

106. “Attach”: the variant edition reads “entrust,” meaning to lodge something in or attach it to something else.

107. “Gather thoughts”: the variant edition reads “string together these foolish notions,” meaning to link and collect such ignorant thoughts.

108. “Methods and procedures”: the variant edition reads “standards and measures,” referring to the rules and principles followed in cultivation.

109. “Order and discipline”: the variant edition reads “discipline and order,” referring to the guiding principles and arrangement that govern things.

110. “At the beginning, the branches appear”: the variant edition reads “the branches spread out luxuriantly,” meaning that from the beginning one can see the branches and leaves gradually flourishing.

111. “Water enters”: the variant edition reads “Water and Fire,” referring to water and fire.

112. “Count”: the variant edition reads “number,” meaning a quantity or calculation.

113. “Submerged and steamed”: the variant edition reads “submerged and concealed,” meaning hidden away.

114. “As”: the variant edition reads “become,” meaning to become or serve as.

115. “Beginning and origin”: the variant edition reads “become close to one another,” meaning to draw near to each other.

In the Kaoyi edition, “hun and po” is written as “po and hun”; “powdered Ti, one knife-point measure, the Nine Cauldrons are most wondrous” is written as “powdered Ti in one pill; the knife-point measure is most wondrous”; “explaining the Five Phases” is written as “the numbers of the Five Phases”; “yǎnrán” is written as “yǎnrán” with a different character; “swallow” is written as “drink”; “imitate” is written as “put into practice”; “still” is written as “by”; and “exclaim” is written as “spit.” These are textual differences among the various editions.

Qian, which symbolizes Yang and strength, is firm; Kun, which symbolizes Yin and gentleness, is yielding. Yin and Yang work together and contain one another. Qian belongs to Yang, and is therefore upright and strong; Kun belongs to Yin, and is therefore yielding. Gentleness is like water, while firmness is like metal. Firmness and gentleness come together like a married couple.

Yang Qi receives Yin Qi, and the male and female depend on one another. Yin and Yang need each other to bring about transformation and creation, allowing Jing and Qi to unfold. Here, the union of male and female serves as a metaphor for the interaction of Yin and Yang. The condensation of Jing and Qi into a substance, and the joining of metal and water into one, are explained as the formation of a true substance through receiving Yin-Yang Qi.

Kan, which symbolizes water and Yang within Yin, and Li, which symbolizes fire and Yin within Yang, occupy the foremost positions, and their radiance shines far and wide. The mystery within them is profound and impossible to fathom, and cannot be depicted in a diagram.

The Kan trigram symbolizes water, and the Li trigram symbolizes fire. Fire is below and water above, placed at opposite ends of a vessel; “end” means the head end. The flames in the furnace burn fiercely, so the fire’s energy is said to spread upward. “Mysterious darkness” refers to the Dao’s profound and subtle depths, which are difficult to explain in words. How much less, then, could pictures alone reveal its source?

The sage—here, Fuxi—investigated the patterns governing the movements of Heaven and Earth and took them as a guide in arranging the original foundations of the myriad things. “Original foundation” means the root of the Dao. Fuxi looked up to observe the celestial signs and down to examine the terrain, and through this came to know the source of the Dao.

The four trigrams Qian, Kun, Kan, and Li—that is, Metal, Wood, Water, and Fire—mix and blend with one another, entering directly into the realm of emptiness and nothingness. “Emptiness and nothingness” is used here as a metaphor for a state free of intention and action.

Each of the sixty hexagrams has its function. Arranged and set in motion, they are like a carriage that bears and moves the myriad things. The workings of Yin-Yang are like the movement of a carriage: they cycle back and forth without end.

A dragon and a horse are harnessed to a carriage, which is driven by an enlightened ruler. When they are well balanced and move smoothly, the carriage follows the right path along an even road without straying. If it takes a crooked path and encounters danger, it overturns, placing the state in peril. Here, the dragon symbolizes the Qian trigram, the horse the Kun trigram, the ruler Fire, and the state the furnace vessel. When the firing process is properly balanced, Metal and Water proceed according to their natural order without dispersing or flooding. When the firing process is out of balance, Metal and Water overflow and run wild, eventually damaging the furnace vessel.

The Xici says, “When a gentleman speaks good words within his home, people a thousand miles away respond.” Here, these words serve as a metaphor for the Golden Lord—the alchemical symbol of Metal—residing within the spirit chamber, an alchemical term for the furnace vessel or space of cultivation. The ruler dwells deep within the palace and issues commands in accord with Yin-Yang and the seasons. One should gather in one’s implements and wait for the right moment, without going against the hexagram days—days chosen for action according to the hexagrams.

The Commentary on the Appended Phrases says: “When a noble person is alone in a room and speaks words of goodness, people a thousand miles away respond—how much more so those nearby! If they speak words that are not good, people a thousand miles away oppose them—how much more so those nearby?” This is used here as an analogy for refining the Golden Elixir: words, once spoken, draw responses from near and far, just as metals in the furnace respond to changes in Yin-Yang.

At the winter solstice and summer solstice, Yin and Yang reach turning points and begin anew. For this reason, ancient rulers closed the passes on those two days, and merchants and travelers ceased their journeys. The ruler arranged openings and closings in accordance with the changes of Yin and Yang. Gold and wood placed in a vessel symbolize their confinement within the furnace chamber, enclosed layer upon layer. Issuing commands and carrying out orders is compared to applying water and fire. The entire process must follow the changes of cold and heat so that the myriad things may come into being; this is what it means to observe the proper timing. Using the hexagrams Zhun and Meng to schedule the work for each day means ensuring that practical operations do not contradict the hexagram images and accord with the hexagram statements and line statements.

The hexagram Zhun is assigned the days Shen and Zi; the hexagram Meng, the days Yin and Xu.

The Yisi Divination says: Among the Earthly Branches, those of the same kind occupy different positions: Yin, Wu, and Xu belong to Fire, while Shen, Zi, and Chen belong to Water. Shen, Zi, and Chen are Yin; Yin, Wu, and Xu are Yang. From dawn until noon is the time of Yang; from noon until dusk is the time of Yin. Therefore, at dawn on the first day of the month, the hexagram Zhun takes charge, and at dusk the hexagram Meng takes over.

The remaining sixty hexagrams are also each assigned specific days.

This means that from the last day of the month to the first day of the next, the hexagram Zhen takes up the tally; the hexagram Fu symbolizes the first stirrings of Yang Qi, and so on.

Only two hexagram images have been briefly discussed here; the explanation is not yet complete. One should bestow kindness through benevolence, and establish rules and penalties through righteousness. Going against this principle brings danger; following it brings good fortune.

The “two images” refer to Water and Fire. Water embodies benevolence and generosity; Fire embodies righteousness and punishment. Following them allows Metal and Water to harmonize; going against them causes Metal and Water to disperse and escape.

When arranging activities according to the calendar, one must be sincere, focused, and meticulous, carefully observing the movements of the sun and moon and closely tracking the waxing and waning of Yin and Yang. Even the slightest error can bring regret and calamity.

The Commentary on the Appended Phrases says: “Good fortune, misfortune, regret, and distress all arise from action.” Here, “action” refers to Fire being set in motion. Once the Qi of Fire moves, one must carefully discern the waxing and waning of Yin and Yang. These changes have no fixed pattern; an error brings regret and worry. If the timing is even slightly off, Metal and Water cannot congeal, and calamity follows.

When the seasonal order of the Winter Solstice, Summer Solstice, Spring Equinox, and Autumn Equinox becomes disrupted, the movement of Yin-Yang strays from its proper course and abnormal changes appear: the depths of winter grow as hot as midsummer, while frost and snow fall in the height of summer. At the spring and autumn equinoxes, day and night are no longer of the seasonally appropriate lengths, as though the water clock had gone wrong. Winds and rains fall out of balance; floods and droughts alternate; infestations of insects and locusts spread; strange phenomena appear in the sky; mountains collapse and the earth caves in; and plants grow abnormal branches and leaves.

The Yisi Zhan says: “The Winter Solstice, Summer Solstice, Spring Equinox, and Autumn Equinox are the days when Yin and Yang divide or meet.” The phrase “one shichen before them is separation” means that Yin and Yang begin to separate or transform one shichen before these days. The second and eighth months are seasons when Yin and Yang divide; the fifth and eleventh months are when they meet. In the second month, Yang Qi begins to rise while Yin Qi begins to recede; this is called “Yin’s separation.” In the eighth month, Yin Qi begins to rise while Yang Qi begins to recede; this is called “Yang’s separation.” Yang Qi begins to arise at the hour of Zi, while Yin Qi begins to arise at the hour of Wu. In the fifth month, Yin gradually arrives as Yang gradually withdraws, so this is linked to the transformation called “arrival.” When Yin and Yang fall out of balance, the various calamities described above come to pass; when Water and Fire lose their restraint, the Qi of Metal and Water also undergoes change.

A filial son, through devoted cultivation, can resonate with the “Supreme Pole,” a central power that symbolizes uprightness and balance. This resonance issues from the mouth when near, and spreads to distant lands when far away.

Here, “filial son” refers to Water, and “Supreme Pole” refers to Metal. In other words, when Water responds to Metal, it flows continuously and eventually reaches distant places.

This resonance sometimes brings calamity, sometimes blessing; sometimes it brings about peace, and sometimes it gives rise to war. Which of these four outcomes occurs depends on how the mind puts it to use.

“The four” refers to the four images of Qian, Kun, Kan, and Li, and also to the implements of war, such as armor, helmets, weapons, and halberds. When Yin and Yang are out of balance, calamity arises; when they are in harmony, blessings arrive and peace follows. As for the shift between peace and war, the key lies in Fire: when its force blazes fiercely, it has the destructive power of weapons.

Movement and stillness each have their constant laws, and should follow established measures and standards. Fire governs movement, while Water governs stillness. To move in accordance with the laws of Yin-Yang is to remain true to the line and level, without deviation.

Follow the changes of the four seasons, bringing yourself into harmony with the Qi of nature.

When Water and Fire refine one another, the flames surge fiercely, like weapons clashing in battle.