《周易参同契注(佚名氏)》

The Commentary on the Seal of the Unity of the Three in Accordance with the Book of Changes (author of the original commentary unknown) comprises two volumes and is included in the Chinese Daoist Canon: Daoist Studies of the Changes. The surviving base text comes from the Taixuan section of the Zhengtong Daoist Canon, with Yu Mei’s Explication of the Seal of the Unity of the Three in Accordance with the Book of Changes, preserved in the Daoist works section of the Zi division of the Wenyuan Pavilion Complete Library of the Four Treasuries, used for comparison.

First piece of the upper volume; author of the original commentary unknown.

“Zhou” refers to the Dao’s constant course, while “Yi” means change and transformation. The text says that refining the Great Returning Elixir and applying the firing times must follow the cycles of a complete celestial circuit; hence the title Zhouyi.

Mercury, used in alchemy, symbolizes the sun and belongs to Li Fire in the south. The sun’s vital essence is called the Azure Dragon. Lead symbolizes the moon and belongs to Kan Water in the north. The moon’s vital essence is called the White Tiger. Another interpretation takes cinnabar to symbolize the sun and mercury the moon, so the sun and moon together can also explain the character “Yi.”

“Can” means to mix or combine, referring to the coordination of three substances: water, earth, and metal. “Tong” means to unite as one, like matching tallies. Hence the title Cantongqi.

Ancient perfected beings are said to have called this book The Upper Scripture of the Dragon and Tiger. “Dragon” refers to mercury, another name for quicksilver; “Tiger” refers to the Metal Lord and also to cinnabar. Cinnabar is red, so it is called the Red Dragon; mercury is white, so it is called the White Tiger. Mercury is also known as “damp silver,” which is another reason for calling it the White Tiger.

Later, Lord Wei changed the title to Cantongqi and invoked the authority of the Zhouyi. The Yi encompasses such ideas as firmness and yielding, inner and outer, ruler and minister, father and son, water and fire, and the Five Phases. The art of the divine elixir likewise depends on Yin-Yang and the Five Phases, so the Zhouyi was used to explain it.

“Jing” means something constant: the enduring Way transmitted by the sages. That is why the work is called a Jing. According to tradition, Lingyangzi transmitted the book to Xu Congshi on Mount Kongtong, and Xu Congshi passed it on to Chunyu Jun. Chunyu Jun looked up at the hexagram symbols and matched vessels to Heaven and Earth: the cauldron represented the Great White Star, or Venus, the furnace represented a walled city, and the ingredients corresponded to Kan and Li, symbolizing water and fire, and the moon and sun. He then used the remaining sixty hexagrams to determine the firing times, the rise and fall of Yin and Yang, and the measures of their cycles. He also arranged the changes at the winter and summer solstices and the turning of the cauldron.

Chunyu Jun therefore compiled Wuxianglei, explaining the preceding material through analogies and gathering related content into one volume. Together with the three earlier volumes, it expresses the Three Powers of Heaven, Earth, and Humanity, as well as the cauldron and ingredients, in correspondence with the sun, moon, and stars. The first volume discusses how metal and mercury take form and how the sun and moon rise and set. The second discusses the waxing and waning of Yin and Yang and the embryo’s emergence after ten months of alchemical refinement. The third, written by Chunyu Jun, reinterprets the two volumes above. The original text says that Chunyu Jun may have written it when he first transmitted the work to Lord Wei.

Qian and Kun are the gates through which the Yi’s cycles of ascent and descent pass. The second volume discusses the increase and decrease of the firing phases and the ten months of gestation before emergence from the womb. The third volume, written by Lord Chunyu, reinterprets the two volumes above; it may preserve what was first transmitted to Lord Wei.

Qian and Kun are the gateways of the Yi.

Here, Qian and Kun refer to the vessels used in alchemical practice: Qian is the upper crucible, and Kun the lower crucible. In the Yi, Gold and Mercury are symbolized respectively by the sun and moon, and refer to the ingredients used in alchemy. The Instructions on the Circulation of Fire say that Qian’s image lies in the northwest, taking on Yang while occupying a Yin position; Kun’s image lies in the southwest, taking on Yin while occupying a Yang position. Thus Qian borrows from Yin, and Kun from Yang. Qian borrows from Yin because, in the fifth month, a Yin line arises within the Qian hexagram. Kun borrows from Yang because, in the eleventh month, a Yang line arises within the Kun hexagram.

Accordingly, the upper crucible, symbolized by the Qian hexagram, is first fired until the Zhen hexagram appears and receives the tally; this takes fifteen days. Then the lower crucible, symbolized by the Kun hexagram, is fired for another fifteen days. Qian represents the movement by which the ingredients enter and leave; Kun represents the opening and closing of the vessels. That is why they are called gateways. Both interpretations are sound.

Qian and Kun are the parents of all the hexagrams.

This means that Qian and Kun are the foundation of all sixty-four hexagrams. For this reason, refining the Great Elixir requires warming and nourishing the vessels. The Discussion of the Trigrams says, “Qian is the father, Kun the mother; Qian is Heaven, Kun is Earth.” Everything between Heaven and Earth is nurtured by Qian and Kun. All things grow in accordance with the Yin and Yang of Heaven and Earth, so Qian and Kun are called parents.

Kan and Li form the frame of the vessels.

This refers to refining Mercury into an elixir: water is placed above and fire below. When setting the vessels in place, they too are moistened with water so they can receive the energies of water and fire. The verse, “Water above becomes the decoction; guard against the flowing pearl,” conveys the same idea. Another interpretation is that Kan refers to the Metal Lord and Li to Red Mercury, the two precious ingredients used in alchemy; water and fire form the frame of the upper and lower crucibles. “Frame” also means “to assist,” so here it can mean that water and fire assist in forming the vessels.

It turns like a wheel hub, aligning its axle. The guo is the vessel, divided into the female and male parts, which correspond to Yin and Yang.

Place the vessel at the center and use it to regulate the external transformations of Yin-Yang.

This means that the cauldron is placed inside the furnace and controlled by external fire. The ingredients inside the cauldron are likewise regulated with the help of external fire and water. Thus, the cauldron and its contents, which occupy the center, must be controlled by the proper timing and intensity of external fire. The cauldron and furnace must first be sealed securely; only then can water and fire be brought into balance so that each restrains the other. These four points are connected.

The year and month should therefore be reckoned according to the calendar. The term “cycle” here can refer either to a sixty-year cycle or to a month. In the context of alchemical fire timing, it means a cycle of sixty hexagrams: fire is regulated according to the hexagrams each morning and evening, and after the eleventh month, one full round of the alchemical method is complete.

Each month follows a “five-six” count—that is, thirty days. Once a month, the cauldron is opened for inspection. The ingredients are washed and ground, then returned to the cauldron; in this way, the first great Elixir is refined.

The regulation of fire and the refining process should follow the days and hours. Here, “warp” means to follow and uphold, while “weft” refers to the calendrical measures associated with the five planets; together, they mean that the procedures must take the movements of the constellations into account. The ancients believed that the moon changed under the sun’s influence and that all things arose from this process. Accordingly, alchemy also required choosing the proper days: on the Origin day, the ground is broken; on the Chong day and the Fire day, mercury is refined; on the Completion day, the ingredients are combined and pounded; on the Harvest day, they are further refined; on the Closing day, they are placed in the cauldron; on the Establishment day, the furnace is worshipped; and on the King and Minister days, the elixir is taken. When the fire is first lit on the Upper Origin day of the eleventh month, the date is determined by counting from a Jia day. For example, a Jiazi day occurring around the winter solstice is taken as the Upper Origin; then, when a Jiaji day comes around, the fire is lit at midnight.

Taken together, these are matched with the trigrams according to the night watches. Counting from the first Jia day, fifty days make one cycle. Over sixty days, the sixty trigrams run their course; each shorter period corresponds to one trigram. Adding the four trigrams used earlier—Qian, Kun, Kan, and Li—gives a total of sixty-four. Thus, the firing process follows the sequence of the sixty-four trigrams over the course of a day, and the same sixty-four-trigram sequence is used over the course of a month. The two trigrams used each day are counted beginning with Zhun and Meng. A day has sixty-four periods; here, “period” means a shorter interval, calculated from the change of tally every five days, for a total of sixty intervals.

The firm and the yielding are distributed between the outer and inner positions.

Qian represents firmness and Kun yielding, symbolizing the movement of Yin-Yang. The east is outer, extending from the Zi hour to the Si hour; the west is inner, extending from the Wu hour to the Hai hour. Yang is above and belongs to the outer position, while Yin is below and belongs to the inner position. Firmness can also refer to the external apparatus, and yielding to the inner medicine. These interpretations can all apply.

On the new moon day, Zhun governs.

This means that each day has a trigram governing its activity, as well as a tally. The Zhen trigram corresponds to the new moon day and serves as that day’s governing tally. With Kan above and Zhen below, they form the Zhun hexagram. Kan symbolizes medicinal mercury, and Zhen symbolizes the cauldron. The cauldron moves from the Zi hour to the Wu hour, with its opening facing upward; therefore, Zhun governs. Zhen is the governing trigram for that day—that is, the trigram directing the day’s operation. The monthly cycle is arranged on the same principle.

In the eleventh month, Kan governs. Of Kan’s three lines, the upper and lower are Yin, while the middle is Yang. In the eleventh month, a Yang line emerges from within abundant Yin. Yang energy grows outward, causing the Yin lines to recede inward and the Yang line to become visible. In the fifth month, Li governs. Of Li’s three lines, the upper and lower are Yang, while the middle is Yin. A Yin line emerges from within abundant Yang; Yin energy gradually strengthens, and Yin recedes as Yang withdraws inward. This is why the Zhun hexagram is used in the morning.

In the evening, the Meng hexagram takes its turn in succession.

At dusk, Gen (Mountain) is placed above as the “directing talisman”—the hexagram on duty and in charge—while Kan (Water) is below, forming the Meng hexagram. From the afternoon until midnight, the cauldron is turned downward to form Meng. Since Meng is in charge at this time, this is called “Meng receiving.”

Of the twelve two-hour periods in a day, six correspond to Gen and Meng, while six correspond to Zhen (Thunder) and Zhun. Thus, Zhun is practiced by day and Meng by night. The Yi hexagram serves as the cauldron, the vessel that holds the substances during alchemical work; with Gen above and Zhen below, it forms the Mountain-Thunder Yi hexagram. Kan is used as the medicinal agent, and Kan symbolizes mercury. Mercury is also associated with the directions represented by Zhen and Gen.

“One hexagram for each of day and night” means that, over the twelve two-hour periods of a day, Zhun is used by day and Meng by night, with one hexagram practiced in each half of the day-night cycle. Extended to a month, this means using the sixty hexagrams in sequence.

“Use them in order” means applying the sixty hexagrams successively over the course of a day, a month, and a year. A month begins with Zhun, followed by Meng. The second month begins with Xu, followed by Song; the sequence continues in order up to Jiji, which symbolizes the completion of the elixir work. This is why it is called “order.” The earlier statement that Zhun is used by day and Meng by night concerns the turning of the cauldron; the sequential use of the hexagrams discussed here means arranging the number of firing phases according to the hexagram lines.

“Ji and Wei reach from darkness to dawn.”

“Ji” refers to the Ji Ji Hexagram, and “Wei” to the Wei Ji Hexagram. Ji Ji symbolizes water above fire: mercury corresponds to the Kan trigram. It is inherently Yang, yet occupies a Yin position, so Yang is contained within Yin. Cinnabar symbolizes the vital essence of the sun. It lies in the south and corresponds to the Li trigram. Li contains Yin within Yang and is therefore Yin, yet occupies a Yang position.

Now mercury is placed in the north and cinnabar in the south, changing their original positions. The mercury in the north is made to return south, back to its proper position; hence the name “Ji Ji,” or “Already Fulfilled.” Wei Ji, “Not Yet Fulfilled,” symbolizes fire above water: cinnabar originally corresponds to the Li trigram, but now becomes Yin and occupies the north. It has not yet returned to its proper position in the south, hence the name “Wei Ji.”

It is also said that the sixty hexagrams proceed from the Tun Hexagram and the Meng Hexagram to the Ji Ji and Wei Ji Hexagrams. These two hexagrams correspond to the end and beginning of the month, after which the cycle repeats. “Shuang” means clear or manifest. These two hexagrams embody the way of change between Yin and Yang.

After the end comes the beginning again.

Here, the text says that once the Ji Ji and Wei Ji Hexagrams have completed their course through a month, the next month begins again with the Tun Hexagram, followed by the Meng Hexagram, and ends once more with the Ji Ji and Wei Ji Hexagrams. This is the pattern for all twelve months. The eleventh month begins with the Kun and Fu Hexagrams and ends at the close of the month; at the beginning of the following month, it starts again with the Fu Hexagram. The end of the month turns into its beginning, and once a month is complete, the sequence resumes in its original order.

The calendrical days and hours are used to set the duration of this cycle.

A day is divided into twelve double-hours, which together complete one circuit of the 365 degrees of the celestial sphere. This passage also pairs the two hexagrams Zhun and Meng with the cycle: each hexagram has six lines, and each line corresponds to one double-hour, so the two hexagrams together account for all twelve.

Movement and stillness each have their proper times.

The processes described here are arranged around the alternating cycles before and after Zi and Wu. The arousal of Yang Qi belongs to morning, while the stillness of Yin Qi belongs to evening. Spring and summer are Yang and govern movement; autumn and winter are Yin and govern stillness.

Spring and summer correspond to the inner realm.

Spring and summer belong to Yang. Beginning in the eleventh month after the winter solstice, the month of Jianzi, Yang proceeds in the leftward direction for four months, reaching its limit in the season of Chen and Si. This direction corresponds to the East, which is also the inner realm.

From Zi through Chen and Si.

This means that Yang begins at the Zi hour and proceeds leftward until Chen and Si, when it comes to an end. Yang Qi is exhausted, and mercury enters the state of “death.” Here, “mercury” is an alchemical term for a substance used in the alchemical process.

Autumn and winter correspond to the outer realm.

Autumn and winter belong to Yin. Yin begins after the summer solstice in the fifth month and ends at the Hai hour. Yin arises at Wu and reaches its end at Hai, symbolizing the outer realm; the West, too, belongs to the outer realm.

From Wu through Xu and Hai.

The process begins at Wu and ends at Xu and Hai, when the Yin path recedes. At this time, mercury is about to lie concealed. Hai and Zi belong to Water; Hai corresponds to the Kun hexagram and the color black, and Hai is also its proper position. The Qian hexagram is connected with this as well: mercury lies concealed at this time. After twelve months, the whole process converges at the position of Qian. The union of Yin and Yang, beginning with Qian and ending with Kun, follows the natural order. Thus the Great Returning Elixir is refined to completion.

Rewards and punishments correspond to spring and autumn; darkness and brightness follow the cold and heat.

Spring and summer are warm and belong to Yang and brightness; they correspond to reward. In cultivation, they call for martial fire, a stronger and more urgent application of heat. Autumn and winter are cold and belong to Yin and darkness; they correspond to punishment. In cultivation, they call for civil fire, a weaker and gentler application of heat. Here, “darkness” means night, and “brightness” means morning. Whether over the course of a year, a month, or a day, the application of fire should follow the changes of spring and autumn, cold and heat: add charcoal after the summer solstice and use martial fire; reduce charcoal after the winter solstice and use civil fire.

The statements attached to the hexagrams and their lines contain the principles of benevolence and righteousness, which should be expressed as joy or anger in accordance with the seasons. In applying fire, follow the hexagram images and line statements, adjusting the heat as the hexagrams and lines change. Fire also has its own forms of benevolence and righteousness: benevolence corresponds to civil fire and joy, while righteousness corresponds to martial fire and anger. Spring and summer belong to benevolence and are suited to civil fire; autumn and winter belong to righteousness and are suited to martial fire. To accord with the principles of the hexagrams is to be “joyful”; to go against the line statements is to be “angry.” This is like a ruler who gains a worthy minister: the people rejoice, and wind and rain come in harmony. If the ruler instead appoints a rebellious minister, the ruler remains angry, and the realm cannot be at peace. The same is true of alchemical practice: the use of civil and martial fire must follow the proper principles.

In this way, the Qi of the four seasons can flow smoothly. Here, “Qi” refers to the application of fire; when fire is used in accord with the four seasons, their Qi can be fully sustained. The application of fire must also follow the Five Phases to accord with the principles of the Way.

Whether the Great Elixir and great medicine can be successfully refined depends on the application of fire. When the heat is even and properly measured, with civil and martial fire each used as appropriate, the medicine can be refined. If the timing is wrong, even excellent ingredients may scatter and dissipate. The essential task in alchemy, then, is to apply the fire with attentive care. This is like governing a state: when the state is at peace, the people rejoice; when it is unsettled, all things fall into disorder and distress.

Heaven and Earth each occupy their proper place, and the Changes operate between them.

Qian symbolizes Heaven, and Kun symbolizes Earth; together they are like the vessels used in alchemical practice. “Setting the positions” means arranging the places where Yin and Yang are paired. Here, “Yi” refers to the sun and moon, and also to the ingredients. The ingredients are placed in the vessel, within the realm symbolized by Qian and Kun. The Kan trigram symbolizes the moon and lead; the Li trigram symbolizes the sun and mercury. The sun and moon are paired above and below, forming the character “Yi.” This serves as a metaphor for their union within the vessel, hence the phrase, “Yi operates within it.”

Heaven and Earth are Qian and Kun.

Qian is Heaven, symbolizing the upper lid of the vessel; Kun is Earth, symbolizing the lower lid.

“Setting the positions” means arranging the places where Yin and Yang are paired.

Commentators explain that the vessel’s opening resembles the union of male and female, symbolizing the joining of Yin and Yang. “Setting the positions” also refers to arranging the directions, stars, and degrees around the furnace according to the movements of Qian and Kun, thereby establishing the positions of Yin and Yang.

Here, “Yi” refers to the Kan and Li trigrams. Kan and Li are the two transformations through which Qian and Kun act.

The Great Elixir, the elixir spoken of in Neidan practice, corresponds to the essence of the sun and moon, so “Yi” represents the sun and moon. Kan symbolizes the moon and lead, while Li symbolizes the sun and mercury; Kan and Li therefore represent the ingredients. Qian and Kun represent the vessel. These four trigrams each have a specific function, unlike the other sixty trigrams. One may also say that during the refinement, water and fire are applied from above and below, using the vessel symbolized by Qian and Kun. Mercury is placed inside the vessel and must be subdued with the aid of water and fire before it can be refined into the Great Elixir.

Kan and Li serve as the ingredients, and Qian and Kun as the vessel. The line positions they use differ from those of the other sixty trigrams; each has its own specific line positions.

They circulate through the Six Emptinesses, the six line positions indicated by the trigram figures.

Kan and Li, which represent water and fire and also refer to mercury and related substances used in alchemy, are placed in the Qian and Kun vessels and are repeatedly subjected to the pressure of water and fire. They move up and down within the vessel, circulating through the east, west, south, and north, and rising and falling between upper and lower positions. For this reason, they are called the “Six Emptinesses,” meaning the six directions or positions. The “Six Emptinesses” are simply six positions.

The substances move back and forth without a fixed direction, and their changes between above and below follow no regular pattern.

This refers to mercury moving back and forth inside the vessel. Of the twelve double-hours in a day, it moves upward for six and downward for six, continually changing direction without a fixed pattern. From the hour of Zi to the hour of Wu, the substances move downward; from the hour of Wu to the hour of Hai, they move upward. As Yang Qi recedes, Yin Qi arrives; as Yin Qi recedes, Yang Qi arrives. The substances change back and forth in this way, so their movement above and below is said to follow no fixed pattern. Mercury lies hidden within the vessel, refined above by the pressure of water and fire and urged below by the gentle and fierce fires. Through continual circulation, it is ultimately refined into the Great Return Elixir.

Deeply concealed, hidden from sight.

This refers to the Golden Lord, an alchemical term often used for lead or substances associated with lead, concealed within mercury. Once mercury receives the Golden Lord, it too sinks out of sight. The two substances depend on one another and remain hidden inside the vessel; hence they are said to be deeply concealed and unseen.

Within it, the Dipper turns and brings about change.

The substances inside the vessel circulate without ceasing, ultimately refining into the Great Return Elixir.

Deeply concealed, hidden from sight.

This refers to the Golden Lord concealed within mercury. Once mercury receives the Golden Lord, it too sinks out of sight. The two substances depend on one another and remain hidden inside the vessel; hence they are said to be deeply concealed and unseen.

Within it, the Dipper turns and brings about change.

The “Dipper” refers to a balance beam set above the furnace, shaped after the Northern Dipper in the heavens. Its handle turns with the seasonal markers of the months, and also turns with the hours throughout the day. For example, when the furnace was opened at the end of last month, the handle pointed toward the Zi position; the following month it points toward the Chou position, then continues turning in sequence. The timing for taking the substances is determined by the water clock. The movement of the fire cycle inside the vessel follows the same principle. Here, the vessel is said to turn in imitation of the Northern Dipper and thereby transform the substances.

It contains the myriad things and becomes the guiding principle of the Dao.

“Contain” means that substances such as golden flowers can envelop mercury, as a child depends on its mother, or as the Dragon and Tiger swallow one another. This is why it is called the “Dao.” There is another meaning: earth, golden flowers, and other materials are made into a clay seal to enclose the gold and mercury inside the vessel. “Pouch” means something that holds the myriad things. Once the elixir is complete, it is called the Purple Gold Sand Great Return Spirit Elixir. It can transform the myriad things, restore vitality to dried bones, turn earth and stone into precious treasures, and enable those who take it to become perfected beings. For this reason, it is called the guiding principle of the Dao.

The Elixir is compared to a “sack” because a sack can contain all things. The passage says that once the elixir has been refined, it is called the Purple-Gold Sand Great Restoration Spirit Elixir. It can transform all things, bringing withered bones back to life and turning earth and stone into treasures. Whoever takes it can become an immortal. The Way of the Elixir is therefore regarded as the guiding principle and law that governs these transformations.

“To use the Origin to govern Being; the use of Qi rests on Emptiness” means that the Origin governs Being, while the use of Qi takes Emptiness as its basis. Yang belongs to the Origin, and Yin to Being. Being corresponds to the Metal within Kan, while the Origin corresponds to the Mercury within Li. This refers to the positions of Water and Fire represented by the Kan and Li trigrams. Emptiness is the Dao, or the empty, primordial state from which the Dao gives rise to all things. The Origin refers to the form in which Yang Qi appears; it can be felt within the human body and is called the Qi of balanced harmony. Being refers to Yin Qi when it has congealed and become stagnant. The scripture also says that when Yin and Yang Qi respond to one another, wind and rain take shape.

Mercury belongs to Yang, yet ultimately returns to Metal; Metal is the pure, true Yang Elixir. Mercury and Metal can also be discussed from the Yin aspect: when Yang and Yin unite, this is called “using the Origin to govern Being.” Qi belongs to Fire and to Yang. Metal and Mercury are refined and brought under control by Fire. The Fire spoken of here belongs to Emptiness: it causes the Origin medicine to congeal into Being. This is why the passage says that “the use of Qi rests on Emptiness.”

Next, one must examine the waxing and waning of Yin and Yang. “Waxing and waning” refers to their rising and falling, growth and decline: when Yin Qi diminishes, the charcoal fire is reduced; when Yang Qi grows, charcoal is added. When the movement of Qi rises, the furnace vessel is oriented upward; when it descends, the vessel is oriented downward. These expressions describe how the heat and the procedures of elixir refining are adjusted in response to changes in Yin and Yang.

“Kan and Li vanish” means that the Metal symbolized by Kan and the Mercury symbolized by Li are brought together. Mercury receives the essence of Metal, and when the two unite, their former distinction disappears.

“The words are not carelessly contrived, and the discussion does not arise from emptiness” means that the elixir-refining methods transmitted in the scripture are not arbitrary inventions. Their reasoning is based on the Yin and Yang line figures—the Yin and Yang symbols in the trigrams. Metal and Mercury are drawn to one another and unite; things of the same kind give rise to one another. The principles set out here are therefore not groundless inventions but have a basis.

“To draw on signs and observe their verification from the beginning, and to transmit methods that accord with the spirits” means that the stages of heating are worked out according to the line figures, and the corresponding changes can be observed each month. In this way, one communicates with the spirits and transmits the methods to others. Here, “method” refers to the rules and procedures. Refining according to these principles enables one to complete the Great Restoration Elixir.

The scripture’s final sentence proposes that one should seek correspondences among things in order to combine words, and use the fundamental principles of things as a means of verification.

When discussing the refinement of the Great Reversion Elixir, the text draws on the principles of Yin-Yang and the symbols of Kan and Li, combining them to form the character “Yi” and explaining the elixir method through the union of things of the same kind. Here, “gold” means the golden flower transformed from lead essence, while “mercury” symbolizes sunlight. Refining gold and mercury together into an elixir does not mean using actual gold from the world. Phrases in the original such as “one-one-three elixirs” are unclear in meaning; the explanation here follows the general sense of the surrounding passage.

Wu in Kan symbolizes the essence of the moon, while Ji in Li symbolizes the sun’s radiance. The sun and moon together form the character “Yi.” Lead essence resembles the moon and belongs to Kan, corresponding to Wu; the light of mercury resembles the sun and belongs to Li, corresponding to Ji. Thus the essence and radiance of the sun and moon are paired to create the symbol of “Yi.”

The transformations of the two Yin-Yang treasures are also explained through the months. The ninth, tenth, and eleventh months belong to the position of Kan and Wu, when Yin energy reaches its height. Yin essence rises to become the moon and belongs to Metal and Water. The “gold” mentioned in the scripture is therefore the golden flower of lead essence refined many times over, not actual gold. The scripture says, “At times, the treasure within the Dao is used; worldly gold is not.” If gold and silver are mixed into the Great Elixir, it cannot be consumed. If mercury alone is used to refine the Golden Elixir, it is called a divine medicine. Although the text speaks of refining silver essence through nine stages, lead ultimately turns to ash. Here, the breath of silver is invoked, using Yin to support Yang.

The third, fourth, and fifth months belong to the position of Li and Ji, when Yang energy matures. Yang essence rises to become the sun and belongs to mercury and Fire. This is why the text says that the sun and moon together form “Yi.” If the elixir can bring gold and mercury into union, transformations of radiant essence will arise naturally.

The union of hardness and softness: The Yang energy within Kan is symbolized by mercury and represents hardness; the Yin energy within Li is symbolized by lead and represents softness. When Yin and Yang are paired and hardness and softness unite, the Great Elixir can be refined.

Earth governs the four seasons: “Governs” means being vigorous and taking charge; Earth holds the central position in all four seasons. “Earth” can also refer to the flower or the cauldron. The phrase “the four yellows belong to Earth” likewise uses the color yellow and the nature of Earth as metaphors for the materials used in alchemy; it does not mean that the cauldron is made of yellow earth. If a metal cauldron is used, its interior can be coated with yellow earth. “Birth-gold” in the text refers to a material used in alchemy; “golden flower” and “yellow sprout” are also names that invoke Earth.

Arrange the furnaces and cauldrons in sequence around them, following the moon’s changes from the new moon to the last day of the lunar month. “Luo-luo” refers to vessels such as furnaces and cauldrons. Another method is to coat the inside of a cauldron with yellow earth, apply medicinal substances such as Golden Flower and Yellow Tooth, and then secure them with a further coating of yellow earth.

Blue, red, white, and black each correspond to a direction. Blue belongs to Wood in the east, symbolizes the Azure Dragon, and corresponds to mercury. Red belongs to Fire in the south and corresponds to cinnabar. White belongs to Metal in the west, symbolizes the White Tiger, and corresponds to Metal Essence. Black belongs to Water in the north and corresponds to lead. Gold and mercury are each assigned to the four directions, yet both also return to the central Earth of Wu and Ji.

Although gold and mercury have different names and are each assigned to a direction, both are also linked to the central Wu and Ji. Their transformations are brought about by Earth. To refine the medicine of True Yang or Self-Transformation, do not use realgar; combine only mercury and gold. After being warmed and nurtured by fire for a long time, they will transform into an elixir on their own. During refinement, coat the vessel with yellow earth and use it to secure the medicine. Golden Flower and Yellow Tooth may be applied to a thickness of about half an inch. Here, “Golden Flower” means True Lead: the medicine formed when lead enters mercury. “Yellow Tooth” means the substance obtained by firing yellow lead. The lead of the Kan trigram belongs to Wu, and the mercury of the Li trigram belongs to Ji. Hence they are called Wu and Ji, terms that refer to their belonging to Earth and explain how Earth enables mercury to transform into an elixir. Some say that sulfur transforms mercury into a cinnabar-red substance and therefore call sulfur “the Upper Correspondence.” This explanation is probably mistaken.

The Yi means “image.” Among the visible and radiant images of Heaven and Earth, none are more significant than the sun and moon.

The sun therefore symbolizes cinnabar-mercury, the mercury refined within the moon, while the moon symbolizes lead-silver. Among the seventy-two kinds of minerals, none are more important than lead and mercury, so they are called the sun and moon. The sun and moon are also embodied in the character Yi (Change), which is why the Zhouyi is used to explain them. Confucius said, “Of all the things suspended in heaven and shining brightly, none is greater than the sun and moon.” The transformations of the Yi are supremely subtle, so its images and principles are used as metaphors for gold and mercury.

By probing the wondrous transformations, one can understand how things change. When Yang Qi withdraws, Yin Qi arrives.

Here, “spirit” refers to fire, which can transform the myriad things. “Yang departs” means that, beginning with the Kun hexagram, whose six lines are all Yin, the first Yang line arises in the eleventh month. Yang Qi gradually increases until the Qian hexagram, whose six lines are all Yang. Once Yang Qi reaches its peak, it begins to withdraw. “Yin arrives” means that the first Yin line arises in the fifth month, and Yin Qi gradually increases from there. Thus, as Yang Qi withdraws, the Yang lines of the Qian hexagram gradually diminish; as Yin Qi arrives, the Yin lines of the Kun hexagram gradually increase. What arrives extends; what departs contracts. These passages describe how the firing process is regulated in accordance with the changing hexagram images.

The spokes gather at the hub, and the wheel turns.

This means that regulating the firing process and turning the furnace and vessel are like turning a wheel. The “spokes” are the wheel’s thirty spokes, all joined to a single hub. The thirty spokes symbolize a month, and the hub symbolizes the vessel. In other words, the furnace and vessel revolve in cycles corresponding to the month.

Yang Qi emerges and Yin Qi enters, cycling back and forth, now expanding, now contracting.

Here, Yang Qi begins to appear with the Zhen hexagram, which represents the east and the birth of spring, and gradually grows until it reaches the Qian hexagram. Yin Qi begins to appear with the Xun hexagram, which represents the southeast and the gradual arrival of Yin, and gradually grows until it reaches the Kun hexagram. The waxing and waning of the hexagrams in their cycles symbolizes the continual movement of the firing process within the furnace and vessel.

As Yang Qi rises and Yin Qi gathers, this can be described as Yang Qi stirring into motion from the Zhen trigram, which symbolizes the east and spring, and forming the Qian trigram; Yin Qi enters the Xun trigram, which symbolizes the southeast and wind, and forms the Kun trigram. The waning of Yang Qi is called “diminishing,” while the waxing of Yin Qi is called “growing.” This describes how the changes in Yin and Yang waxing and waning govern the firing process for refining elixirs, with the trigrams illustrating each stage.

Another method of refinement opens the crucible once each month and gradually increases the amount of raw mercury added to it. Beginning with one liang, the practitioner follows the method of adding and adjusting the ingredients through nine transformations, continuing for a year. In the second year, the mixture is fired until it turns red. Once it reaches the point of “fire fixation”—when firing has made the medicine stable in nature—it melts into a black mass. This is then broken up, ground fine, and returned to the crucible. Firing continues for another month; when it turns purple, the process is stopped.

There is also a method called “Correct Yang.” Lead and mercury are taken in certain amounts and combined in equal proportions. Firing begins at the winter solstice and the heat is gradually increased at the summer solstice of the following year, continuing until the next winter solstice. The crucible is opened once each month to check whether the elixir ingredients are still present. After a full year, the mercury floats above the lead and has turned purple. This is called the “Elixir of Yang Origin and Correct Yang.” The elixir is removed and placed in a clean vessel of golden flowers, then refined for another month. When it turns purple, the refinement is complete.

In another method, the furnace is opened once each month. This is called “bringing out the tiger and ushering in the dragon” and “adding to the dragon and calling the tiger.” Here, “dragon” refers to mercury and “tiger” to lead. Realgar is added, and the mixture is returned to the crucible and refined into an elixir. These three methods are all what is meant here by the Correct Yang method.

Each hexagram has six lines, and the sixty-four hexagrams together have three hundred and eighty-four lines. The images of the lines correspond to talismanic registers. The “talisman” referred to here means the sixty-four hexagrams.

The sixty-four hexagrams have 384 line images, and one catty of medicinal substances is likewise divided into 384 zhu. If the process is measured by the sun’s passage through one complete celestial cycle in a day, the firing period of the gentle fire is sufficient. Measured across a year, the substances have likewise undergone enough firing by the fierce fire, and the medicine is refined. This symbolizes the naturally formed Return Elixir, which comes into being by receiving the Sun’s Qi.

“Fu” has several meanings. In speaking of each day and month, two hexagrams are used: one governs the affairs of the day, and the other governs their correspondence. “Fu” also refers to the Five Talismanic Signs, the Golden Flower, and similar things. The “talisman of Heaven and Earth” refers to gold and mercury. “Zhe” means to measure and calculate. The passage describes refining the elixir by means of the hexagram images in the Book of Changes, completing the process over the course of a year. The firing follows the cycles of the seasons and takes the degrees of the celestial cycle as its measure; once the count is complete, the elixir is formed.

This account describes combining half a catty of mercury with half a catty of Golden Flower to make the elixir, a process completed in a year. As for the White Snow Elixir, after nine revolutions and three years it becomes the Pure Yang Elixir. The scale of production may be as large as a hundred catties or as small as one or two catties; refining it takes fifteen months.

“From the dark of the moon until dawn on the first day, Zhen comes to receive the tally” means that at the end of the month, at dawn on the first day, the Zhen hexagram takes up the correspondence. The month ends with Kun; when the first day arrives, Kun transforms into Zhen as one line changes. Zhen serves as the day’s tally, while the Fu hexagram governs the day’s affairs. This hexagram runs its course through the day’s twelve two-hour periods. From the Zi hour to the Si hour, the movement of Yang Qi reaches its close and Yin Qi begins to rise; at the Renwu hour, the firing process is set in motion. Another hexagram takes its turn and remains in charge until the Hai hour. At dawn on each first day of the month, Zhen is set in motion like a seal, thereby determining which hexagram image is to be used.

“At this juncture” means at this moment of transition. Confucius said that the Qi of Heaven and Earth intermingle. Therefore, the cauldron is used to carry out the firing process, and the point of transition is sealed tightly.

Heaven and Earth mingle their vital essences, while the Sun and Moon receive and support one another.

Heaven and Earth are the vessel used for alchemical refinement; “essence” refers to the finest part of the ingredients. The Sun and Moon symbolize the two ingredients, Gold and Mercury. “Tan” means to probe and draw out, while “fu” means to support. The meaning is that the two treasures are placed inside the vessel and refined with the fire of the Sun. The two ingredients symbolized by the Sun and Moon mingle their essences, probing and supporting one another, until an elixir is formed.

This is like the descent of heavenly Qi and the ascent of earthly Qi: when the Sun and Moon meet and Yin and Yang unite, auspicious transformations arise, corresponding to the symbols of the alchemical Way. This is precisely the moment when the Thunder Trigram stirs and the Mandate is received: firmness and yielding unite, and Gold and Mercury together release their essence. When the Sun and Moon join and Heaven and Earth mingle their essences, the myriad things come into being. The alchemical Way works in the same manner: all things are generated by receiving the Qi of Yin and Yang.

In “the potent Yang spreads dark emanations,” “potent Yang” refers to Mercury, and “dark” refers to Lead. “The essence of Lead” is the essence of the ninefold Lead. When it meets fire, it turns into water and enters the Mercury. The essence of Lead releases its refined substance and receives Mercury; once Mercury has obtained Lead, it spreads through the Lead. After the mixture cools and solidifies, it is pounded into pieces and placed in the vessel. The fire is then applied again until the Great Returning Elixir is refined.

The receptive Yin then transforms into a yellow casing.

“Female Yin” refers to orpiment, and “Metal Lord” refers to realgar. After the Metal Lord obtains mercury, it is heated briefly over a fierce fire, whereupon it gives off golden blossoms called “blossoms of the Mysterious Yellow.” These blossoms are melted and used to coat the mercury, which is then placed in a vessel and heated. Fine, scattered sounds emerge from inside the vessel, and its contents take on the appearance of overlapping fish scales and golden blossoms. As the sounds gradually settle, the mercury lies still in the fire. If it turns purple, the elixir is complete; if it has not yet turned purple, it must continue to be heated. Hence the passage below says: “It makes fine, scattered sounds, like an infant clinging to its mother; before half a water clock has passed, fish-scale-like golden blossoms rise thickly.” A water clock was an ancient timekeeping device; “half” means half of one timekeeping unit.

The “Middle Chapter of the Golden and Jade” offers another account: “Male Yang” is realgar, “Mysterious” is mercury, and “Female” is orpiment. Realgar is pounded into a paste to make the upper cover; orpiment is mixed with the powder of calcined praise stone to make the lower cover. Both are worked into a paste with “left flavor.” The dried cinnabar is wrapped into a ball, placed in a gold vessel, and sealed with earthenware. After a year of heating, the result is called the “Purple Gold Reverted Elixir.” It is said to transmute the five metals and, when taken, grant long life.

The alchemical method described in this section of the “Token for Joining the Three” does not, however, use the two minerals orpiment and realgar. Instead, it takes lead essence as its foundation and uses it to nourish and refine mercury, producing the elixir of “True Yang,” also called the “Divine Elixir of the True One.” Taking it is said to enable one to become an immortal and ascend on feathered wings. The “Middle Chapter” says: “To refine it, yellow sprouts are the foundation.” “Yellow sprouts” refers to lead essence. The “Lower Chapter” also says, “Remove the martial capital.” On this basis, the method here should use neither realgar nor orpiment, but only the two treasures of lead and mercury. Western countries prize yellow lead; China prizes lead elixir made from cinnabar and mercury. Since this elixir comes from China, it is called the “Central Elixir.”

“When Chaos has joined in union, the beginning plants the root foundation”: once the Qi of Chaos has joined, all things begin to emerge and establish their foundations. Here the alchemical process serves as an illustration: mercury is the “tree,” and lead essence is the “root foundation.” “Beginning” means commencement, while “Kun” refers to the vessel.

Mercury—a Daoist alchemical term for materials containing mercury used in alchemy—is called the “tree,” while yellow tooth, an alchemical term for the yellow substance formed during the process, is called the foundation. “Quanyu” means the beginning. Kun, the hexagram representing Yin in the Changes and also often used to refer to the cauldron, is the vessel. The passage says that once mercury has obtained Hua and yellow tooth, it enters the cauldron in a state of mingled, undifferentiated fusion, where it can form the elixir of its own accord. Thus all things are born from the Primordial Beginning, the source of all things. The Primordial Beginning is the Qi of Heaven and Earth, brought forth by Qian and Kun, the two hexagrams representing Yang and Yin in the Changes. Qian and Kun are therefore like vessels that can generate and nurture the elixir. Another interpretation is that Kun refers to orpiment: orpiment is mixed with gold and refined to make an elixir, which is why it is called the foundation.

“Managing and nourishing the Yin’e” means that after gold and mercury have undergone a year of firing and refinement, their forms resemble heavy frost and appear in successive layers like fish scales.

“To condense the spirit and form the body” means to gather together and take shape. “Body” here means physical form. After gold and mercury are refined by fire, they first become liquid, then congeal and unite as one to form the divine elixir. The commentator therefore connects this process with the time in the eleventh month when the first Yang line begins to emerge. The Changes says: “At the beginning of the sixth line, treading on frost, solid ice will follow: Yin has begun to congeal.” This means that when frost is felt beneath one’s feet, one knows that Yin Qi has begun to congeal and that ice will form. Thus alchemical refinement should begin at the hour of the Rat on the first day of the upper period of the eleventh month, when the first Yang begins to emerge. Fire is used to refine mercury, so that Yang Qi subdues Yin Qi and gold and mercury congeal into one.

When the first Yang line emerges in the eleventh month, one line of the Kun hexagram changes into the Zhen hexagram and Yang Qi begins to stir. Zhen symbolizes thunder and corresponds to spring; dormant insects stir in response, and the vitality of all things arises from the changes in Yin-Yang Qi. The commentator uses this as a metaphor: mercury is like a wriggling insect, which begins to fly once it receives the Yang Qi of the sun’s fire. When the first Yang line emerges, the fire is kindled; stirred by the resonance of Yin and Yang, the mercury then quivers and seems ready to fly. “The many men” refers to people working together to refine the elixir. Though the mercury tries to escape by flying off, they control it with the firing process. It shifts between flight and concealment, like an insect twitching when startled by thunder, yet unable to act as it pleases. The commentator further uses this process to illustrate that all things are transformed into being by the Dao. When immortals take the elixir, their bodies too are transformed into bones of gold and flesh of jade; all of this is the work of the elixir.

Thus Zhongni (Confucius) praised Hongmeng, the undivided chaos at the beginning of Heaven and Earth, through which Qian and Kun attained Dongxu, a realm of deep, far-reaching emptiness and clarity.

The Qian and Kun are like a cauldron and a pot; the cavity is the furnace, and the emptiness is where the furnace fire resides. This means that all things are transformed through the refining of elixirs.

Confucius therefore praised Hongmeng—the primordial chaos before Heaven and Earth were divided—saying that Qian and Kun could manifest within the cavity and emptiness.

The Qian and Kun are like a cauldron and a pot; the cavity is the furnace, and the emptiness is where the furnace fire resides. This means that gold and mercury, when acted upon by fire, move freely within the vessels.

Examining the ancient methods, we find that they originated with the “Guanjui” method created by the Primordial Sovereign.

The Primordial Sovereign refers to the original Primordial Sovereign Lord Lao. It is said that he devised a method of subduing and refining substances through the divine elixir. Mercury was refined into an elixir which, it was said, could grant longevity when consumed and ultimately transform one into an immortal. “Guan” means to close in; “jui” refers to mercury, also called “the bride.” This means sealing mercury inside the cauldron and gently nurturing it over a low flame so it does not disperse. The poem “The ospreys call, male and female answering one another” was used as a metaphor for mercury joining with golden flower and responding to it, just as male and female unite to refine an elixir.

Without the two medicines of Yin and Yang, how could one subdue the properties of the substances and transform them into an elixir? Here, the male is mercury and the female is lead essence. The Nine Primordial Lords said, “Taking mercury cinnabar alone is called solitary Yang; taking lead flower alone is called solitary Yin.” Lead and mercury must therefore be combined to form an elixir. A scripture also says, “Repeatedly refine lead essence to strengthen and protect my body and life; return cinnabar seven times to transform my original nature.” It further says, “Transform mercury into an elixir, and you may ascend to sit upon the Jade Altar.” An elixir lacking both Yin and Yang cannot accord with the principles of refinement. Only refining and taking the two medicines together accords with the way of Yin and Yang in union.

A scripture says that after using lead Qi to refine an elixir, the lead must still be removed. Taking mercury elixir alone also has its rationale; lead flower refined through nine cycles can be taken over a long period. In theory, it is also possible to refine a single-cycle flower bud as a medicinal seed, but the lead must still be removed to prevent it from harming the body.

To remove the lead, first refine the medicine into sand and subdue its fire, then knead it with water into a pellet. Moisten the medicinal sand with yellow lead oxide water and place it on the furnace. Build up fire around it and fan the flames; the lead will melt and flow out by itself, while the mercury remains inside. Once the lead has been removed, place the medicine in a lidded vessel and nurture it gently for sixty days, until it becomes an elixir. A scripture says that the process may be stopped when the elixir turns purple. It may also be left in the vessel for continued nurturing and refining, with occasional bursts of intense heat and a basin of water placed on top. If the medicine stays in the center, it may sometimes expel lead upward, where it solidifies into a lead cake. This is called the “lead shedding its embryo” method.

Thus, when lead essence is used as the medicinal seed, mercury is constrained by it and transformed into an elixir; afterward, the lead emerges on its own and, left for a long time, becomes ash. If the fire is too fierce, the flower bud may also turn into lead, enclosing the mercury within it so that the elixir forms inside. Once the elixir is complete, only lead ash may remain. Few people today know even a little about this method.

Some say that seven-return cinnabar and nine-refined lead powder should be mixed and fired in a cauldron, but they do not understand the method, the coordination of Yin and Yang, or the timing of the fire. The mercury then disperses, leaving only lead in the cauldron, colored like yellow lead oxide. They mistakenly believe that the mercury has been subdued by fire and turned into an elixir. Taking this substance makes the lower back and body feel heavy and fatigued; in people who are thin and weak, it can also damage Yin energy. It cannot achieve longevity.

To test whether the fire has truly been subdued, observe how the medicine changes when heated. Lead, when burned, produces liquid and cinnabar-colored material; once cooled, it is soft, pale, and heavy. A medicine whose fire has truly been subdued retains the color it acquired through firing: red-purple and fine as powder, dissolving when rubbed between the fingers. From this we know that only mercury elixir treated to subdue its fire can be taken.

The refinement of the Great Elixir must begin with lead. Only when the lead is exhausted and the mercury subdued may the elixir be taken. To begin without lead does not accord with the principles of elixir refinement. The lead spoken of here must be the essence refined through nine cycles, not ordinary white lead; refining it through seven returns is also highly subtle.

The union of mercury and lead is like the joining of husband and wife. “Mercury” is likened to the husband, and “lead” to the wife; here, “fire” refers to the degree and timing of heating. The fire causes the two to unite: when Yin and Yang energies converge, it is like a married couple coming together.

“An origin year” refers to a cycle. The text says that sixty days make one origin, while the Jiazi Cycle Scripture says that sixty sexagenary cycles make one great origin. After mercury has undergone a year of heating, it is like Yin and Yang joining: it begins to take shape and sprout, grows gradually, and is ultimately refined into the Elixir. The commentary adds that mercury begins to grow gradually from the eleventh month. When arranging the trigrams’ qi and determining the cycle, five days make one period, for a total of fifteen periods. Then, using the Jiazi cycle, one calculates six decades of sixty Jiazi, down to the sixty double-hours within a single day. The process is considered complete only when the qi of one full origin cycle has run its course.

The sages did not establish this method without reason. Here, “sage” refers to the Supreme Perfected One. The commentator holds that only a sage can understand mercury’s subtle transformations, and that is why this method was established.

“Look upward, and the celestial tally will become evident.” Here, “tally” refers to the direct tally. Perfected Xu gazed upward at the trigrams and used them to determine changes in Yin and Yang. “Above” also refers to the mysterious place at the base of the upper cauldron. The commentator reiterates that only a sage can understand mercury’s subtle transformations; the sage therefore established this method for good reason.

The “talisman” refers to the timing talisman (the signs marking the cyclical passage of time). The Perfected Xu looked up at the trigrams and used them to determine the changes of Yin and Yang. The dark underside of the upper crucible symbolizes Heaven; the lower crucible symbolizes Earth. The Sun and Moon are placed between them to represent the Three Powers (Heaven, Earth, and humanity). Thus the elixir method is illuminated through Heaven and Earth, the Sun and Moon, and the stars: Mercury represents the Sun, Lead represents the Moon, the vessel represents the stars, and the two crucibles above and below represent Heaven and Earth. The Great Elixir represents the essence of the Sun and Moon and runs through the transformations of nature. It fits together like matching tallies, and so the celestial talisman becomes manifest. A talisman is Heaven’s token of verification; this is why the trigrams of the Yi were established.

The celestial talisman advances and retreats.

Advancing and retreating refer to the movement of the timing talisman. Yin-Yang changes must be determined, and the fire adjusted by increasing or decreasing the amount of charcoal. In the eleventh month, the first Yang line is born: Yang Qi advances and Yin Qi retreats. In the fifth month, the first Yin line arises in its turn: Yin Qi advances and Yang Qi retreats. When Yin Qi retreats, reduce the charcoal by more than one and a half jin. When Yang Qi advances, add charcoal, but no more than three jin.

Bending and extending follow the thirty-seven, in accord with the seasons.

This means that from the new moon to the full moon, Yang Qi extends; from the full moon to the dark moon, Yin Qi contracts. As Yin contracts, Yin Qi wanes; as Yang extends, Yang Qi grows. When Yang Qi grows, add charcoal; when Yin Qi wanes, reduce it. The instructions for regulating the fire explain this in detail.

Thus the Yi encompasses the heart of Heaven.

The Yi refers to the Sun and Moon, and also to Lead and Mercury. Lead and Mercury are placed inside the vessel, which symbolizes Heaven, so they dwell at Heaven’s center. The Yi therefore encompasses the principles governing all things between Heaven and Earth. Trigrams were established to express fully what words cannot convey; words were established to express fully what the heart intends. The foregoing explains these principles. From this point onward, the elixir method begins to discuss the regulation of the fire, continuing through “losing its companions.”

The Fu hexagram marks the first stirrings.

The Fu hexagram explains the initial kindling of the fire. In the eleventh month, the first Yang line of Kun transforms into Zhen—that is, into the Fu hexagram. “Beginning” means starting. The regulation of the fire begins with the Fu hexagram, gradually takes shape, then grows, and ultimately reaches the Qian hexagram.

The eldest son inherits the form of his father.

The process of change has already been explained through the Zhen trigram. Zhen represents the beginning: all things start from the Fu hexagram, gradually sprout tender shoots, then grow, and eventually develop into the Qian hexagram.

The eldest son inherits his father’s form

The process of change has already been explained through the Zhen trigram. Zhen is Qian’s eldest son. This means that one yin line in the Kun hexagram changes, forming the Zhen trigram. By the fourth month, the yin lines have gradually disappeared, and the result is the Qian hexagram. Thus Zhen is said to inherit the form of its father, Qian.

From the mother, the basis for emergence is established

The foundation of change has already been explained through the Kun hexagram. Kun is Zhen’s mother, so Zhen depends on its mother, Kun, to establish the basis for the emergence of change, from which it takes shape as Zhen.

The waxing and waning correspond to the pitch pipes

The waxing and waning of Yin-Yang correspond to the pitch pipes, the ancient system of musical pitches used to determine tones and calculate the seasonal divisions.

“Yellow Bell” (Huangzhong) is the name of the pitch pipe corresponding to the eleventh month. In the eleventh month, Yang Qi first comes forth, corresponding to the single Yang line of the Returning hexagram. By the fifth month, Yang Qi gradually wanes; the corresponding pitch pipe is Ruibin. In the twelfth month, Yang Qi reaches the second line, corresponding to the Dalu pitch and the Approach hexagram. In the first month, it reaches the third line, corresponding to the Taicu pitch and the Peace hexagram. In the second month, it reaches the fourth line, corresponding to the Jiazhong pitch and the Great Strength hexagram. In the third month, it reaches the fifth line, corresponding to the Guxian pitch and the Breakthrough hexagram. In the fourth month, all six lines are Yang, corresponding to the Zhonglü pitch and the Creative hexagram. At this point Yang Qi is about to run its course and Yin Qi begins to rise. This is also the process by which the Receptive hexagram begins to produce Yang lines, as Yang Qi gradually grows.

In the fifth month, a Yang line in the Creative hexagram changes into a Yin line, corresponding to the Ruibin pitch and the Encounter hexagram. In the sixth month, a second Yin line appears, corresponding to the Linzhong pitch and the Retreat hexagram. In the seventh month, a third Yin line appears, corresponding to the Yize pitch and the Stagnation hexagram. In the eighth month, a fourth Yin line appears, corresponding to the Nanlü pitch and the Contemplation hexagram. In the ninth month, a fifth Yin line appears, corresponding to the Wushe pitch and the Stripping hexagram. In the tenth month, Yin Qi wanes and Yang Qi rises, corresponding to the Yingzhong pitch and the Receptive hexagram. Yin Qi wanes and Yang Qi grows, and the cycle continues without end.

In alchemical practice, the changes of the Creative and Receptive hexagrams are used to regulate the firing process. A “line” is one of the Yin or Yang strokes in a hexagram; here, the waxing and waning of the lines represents the changes in Yin and Yang Qi with the seasons. The perfected person directs and regulates the firing process; the “fire” in this context refers to Yin and Yang Qi. If the fire is too intense, the medicinal substance will disperse; if it is too weak, there is concern that the substance will not be refined. The firing process must therefore be adjusted in accordance with the seasons indicated by the solar terms and pitch pipes, increasing or reducing the amount of charcoal so that the substance retains its original color and remains moist.

The year is arranged according to the Creative and Receptive hexagrams, for a total of twelve lines, each governing one month. A month is further divided between two hexagrams, each governing about fifteen days. A day, too, is divided between two hexagrams, each governing one double-hour. The amount of charcoal must therefore be adjusted according to the changes of the year, month, and day, so that the firing process accords with the rhythms of the pitch pipes.

The directions of ascent and descent are determined by the handle of the Northern Dipper. From the hour of Zi to the hour of Si, Yang qi descends; from the hour of Wu to the hour of Hai, Yin qi rises. When Yang qi rises, the mouth of the cauldron faces upward; when Yin qi descends, the mouth faces downward. This describes the cauldron vessel turning in the opposite direction as Yin and Yang rise and fall. It can also be understood as setting the Dipper’s handle above the furnace and turning it with the monthly cycle, following the direction assigned to each month. This operation also corresponds to the arrangement of fire use across the twelve double-hours.

On the third day, the moon first appears as a bright crescent in the western Geng position. Here, the text uses the Zhen trigram, which symbolizes Yang qi in its first emergence, to explain the changing phases of the moon. On the third day, the moon rises in the west; Geng corresponds to Zhen. The Zhen trigram develops from a change in one line of the Kun trigram, signifying the first emergence of a Yang line, which is why the text says that Zhen becomes manifest. The scripture also uses this as a metaphor for refining mercury: firing begins on the first day, with the Yang line corresponding to Yang fire, and the mercury changes under the influence of the fire’s qi. On the second day, Yin qi rises again, and the mercury seems ready to fly off; on the third day, Yang qi appears once more, and the mercury is subdued again. Before the fifteenth day, the mercury alternately flies off and is subdued. Around the fifteenth day, half of it has been subdued and its form resembles a full moon, though it has not yet been completely refined and subdued.

On the eighth day, the moon moves to the Ding position, straight and taut like a bow at first quarter. Here, the text uses the Dui trigram, which symbolizes the gradual growth of Yin qi, to explain both the lunar phase and the changes in refining mercury. Dui belongs to the Metal phase in the west; its image has one Yin line above two Yang lines. On the eighth day, the moon rises at the Ding position, which corresponds to Dui. After receiving the fire’s qi on the eighth day, the mercury combines with the metal and becomes liquid. Its form grows more stable, but it has not yet fully transformed.

On the fifteenth day, the Qian trigram, which symbolizes pure Yang, takes shape. The moon is full and lies at the eastern Jia position. By the fifteenth day, the firing process has gradually transformed the Kun trigram into Qian, while the metal and mercury undergo further refinement and become firm and solid, like the moon nearing fullness. At this point, all three Yang lines are complete. Jia belongs to the east and also corresponds to Qian; hence the phrase “full and abundant in the eastern Jia position.”

The Toad and Jade Rabbit, symbols of the toad and rabbit in the moon, shine upon one another as the two kinds of qi associated with the sun and moon work together.

The toad, which represents the Moon’s essence, symbolizes the Moon’s vital energy: lead. The rabbit symbolizes the Sun’s vital energy: mercury. Since the two vital energies of the Sun and Moon combine, they are called “the pair.” “Radiant” means bright. After mercury has been refined for fifteen days, it may be dry, full and round like water, clear and pure, yet the firing process has still not reached the required degree. The refining of yellow and white metals—the art of making gold and silver—requires sealing off the fire for a month. To refine the Great Elixir, whether Neidan or an elixir drug, mercury must undergo three hundred and fifty days of firing. Even then, the Elixir is not yet complete.

This is like the Moon’s vital essence, which cannot shine by itself and must borrow the Sun’s light. Though mercury is numinous, it too must receive the essence of lead refined through nine cycles before the firing process can be sealed and it can transform into an Elixir. The scripture says, “To cover the hawk, one must have its young; to sow grain, one must have millet. Without the same kind, nothing can grow.” This means that mercury must take lead as its seed in order to form an Elixir. Likewise, refining yellow and white metals requires gold and silver as its foundation for them to become treasures. The rabbit represents the Sun, whose light shines on the Moon; hence the phrase “the rabbit shines brightly.”

“The toad rests in the Moon’s trigrams and seasons; the rabbit breathes forth new light.” In general, this means that the toad corresponds to the Moon’s trigrams and seasons, while the rabbit gives forth newly born light.

“Paper” is a phonetic loan for “see.” Here it describes the interaction of lead and mercury: when lead observes mercury, lead appears within the mercury. Only when mercury and lead unite can lead be obtained. Lead then emits light; after both have been subdued through the firing process, they give forth their essence and radiance. This is like the Moon, which, though bright, must still borrow the Sun’s light in order to spread its radiance across the world.

At the end of the month, the Sun and Moon occupy the same lodge, their lights reflecting one another and producing transformation. Then they separate again and each shines on its own. On the eighth day, the rabbit’s shape gradually fades; on the fifteenth, the toad’s form is complete—hence the word “radiant.” On the sixteenth day, the rabbit’s shape recedes and its light draws in with it; hence the toad is said to correspond to the trigrams and seasons.

“The Way of seven and eight is complete; it bends and descends.” This means that the transformations of seven and eight have run their course, after which the movement turns and proceeds downward.

Since this hexagram has been used to explain the respective positions of Yin and Yang, by the fifteenth day Yang Qi begins to weaken. After the Moon is full, it begins to wane, and its visible form gradually diminishes: the hexagram changes from Qian to Xun, as a firm line is broken and becomes a yielding line. From the seventh or eighth day through the fifteenth, the Moon gradually reaches fullness. This change is also used here to explain the formation of the Qian hexagram; hence the saying, “Qian completes its course through the Dao, beginning at the new moon.”

“On the sixteenth, it passes under Xun’s rule; Xin appears at dawn” means that on the sixteenth day, the Xun hexagram—composed of one Yin line and two Yang lines—takes up the rule of the Qian hexagram. One line of Qian changes into a Yin line, and firmness becomes yielding; this is why Xun is said to “take up the rule.” Here, “rule” means governance or succession. At this time, the Moon appears in the direction associated with Xun, and when it reaches the Xin position, dawn is near. The Moon’s change from fullness to waning is used here to describe how, in the process of alchemical refinement, the firing process gradually draws to a close and the elixir approaches completion.

“Gen stands at the southern Bing position; the last quarter comes on the twenty-third” means that the Gen hexagram, which symbolizes stillness and stability, corresponds to the southern Bing position, and that the last-quarter Moon appears around the twenty-third day. Gen has one Yang line above and two Yin lines below, signifying the continued growth of Yin and the gradual loss of Yang lines from Qian, until the hexagram changes into Gen. When the Moon reaches the Bing position, dawn is near. The text uses Gen’s image of mountainlike stillness to explain that at this stage of alchemical refinement, mercury—a technical alchemical term for one of the materials used in the process—should be settled and unmoving, while the elixir takes shape like fish scales. In refining gold and silver, the firing process must likewise be brought under control. Gen carries the meanings of stopping and stillness.

“Kun at Yi on the thirtieth; in the northeast it loses its companion” means that the Kun hexagram corresponds to the Yi position, and that at the end of the month, on the thirtieth day, the Moon has waned away completely. The Yang lines of Qian have been entirely lost, and all three Yin lines have arisen, so the hexagram changes into Kun. Kun belongs to Yin and is first paired with the Yi position. When the Moon wanes away at the Yi position on the thirtieth day, this symbolizes its loss of its companion at that time.

When the Kun hexagram appears, it marks the end of this cycle of change. The Yang Qi of the Qian hexagram gradually wanes, and three Yin lines emerge, transforming it into Kun. Kun belongs to Yin; when Yin Qi first arises, it corresponds to Yi. On the thirtieth day of each month, the moon wanes at the Yi position. Yi is the position of the Kun hexagram, in the southwest. The text also says that at the transition between the end and beginning of the month, Yin and Yang shift from the Gen position to the Kun position. Thus, when the sun and moon reach the northeast, Yang Qi loses its companion. The Classic of Changes (Yijing), in its “Kun” hexagram, says, “In the northeast, friends are lost; in the end, there is celebration.” Here, “celebration” means joy: Yin Qi turns and joins with Yang Qi. In the language of alchemy, lead and mercury unite through the firing process and are finally refined into an elixir, bringing delight.

If one is practicing the arts of yellow and white—that is, using substances to refine gold and silver—the work can be completed in a month. Refining the Great Elixir, however, requires a year of firing and produces the Lesser Return Elixir. Each month passes through the transformation from Qian to Kun, cycling month after month without end. By the close of the year, the firing cycle of the celestial circuit is complete.

When the seasonal markers reach their limit, they alternate with one another; at the moment of transition, the dragon is born again.

“Seasonal markers reach their limit” means that a month has ended. “Ceding and yielding” refers to the point at the beginning of the month when Yin and Yang divide and the line positions change. At this time, the Zhen hexagram arises again from the first line of Kun. Zhen symbolizes the dragon, hence the phrase “the dragon is born again.” When the previous month ends, the mercury that is about to form is added. In refining the Golden Elixir, this means adding the “dragon” and “tiger” to the cauldron and continuing the work. A single Yang line emerges within the first, Yin line of Kun, forming the Fu hexagram. Thus, when Kun’s seasonal cycle ends, Zhen and Fu follow in turn, and the process repeats.

Ren and Gui correspond to Jia and Yi.

Jia marks the beginning of Yang Qi, while Ren marks its end; Yi marks the beginning of Yin Qi, while Gui marks its end. The Qian hexagram corresponds to Jia and Ren, and the Kun hexagram to Yi and Gui. Qian initiates change, while Kun receives and completes it, illustrating how each cycle of change returns to its beginning. These characters also signify the alchemical substances: the Azure Dragon symbolized by Jia and Yi is mercury, while the Dark Warrior symbolized by Ren and Gui is lead. The two work together.

Qian and Kun alternate, repeating the cycle without end to illustrate ceaseless change. They also represent the ingredients. Jia and Yi belong to the Azure Dragon and represent mercury; Ren and Gui belong to the Dark Warrior and represent lead. These two ingredients work together.

Qian and Kun encompass the beginning and end of things.

Whether the cycle described here is a year, a month, or a day, the Qian and Kun trigrams are used to arrange the firing process—that is, to regulate the heat and timing when refining the ingredients. The firing process begins with Qian and then turns to Kun, marking its start. Because the two trigrams are used repeatedly, Qian represents the beginning of Yin Qi, and Kun the beginning of Yang Qi. Qian governs beginnings: a beginning is a start. Kun governs endings, with the end referring to the close of the month. Thus, by using Qian and Kun in a repeating cycle, beginning and end are joined together.

Seven and eight add up to fifteen, referring to the fifteenth day, when mercury has undergone fifteen days of firing.

Nine and six correspond as well. Together, the four numbers seven, eight, nine, and six make thirty, forming a month. Here, the Changes refers to the ingredients. Yin and Yang Qi move in accordance with the firing process; month by month they gradually wane and are stored away, and the ingredients being refined likewise lie dormant. As Yang Qi wanes, Yin Qi is stored away, completing one cycle in a month. Seven represents young Yang, eight young Yin, nine old Yang, and six old Yin. Together they make thirty, exactly one month; Yin and Yang Qi therefore also undergo a process of waning and storage.

This is like midwinter, when plants and trees wither and suffer damage. Yang Qi is supported, as travelers pause to rest, while the ruler withdraws deep into seclusion. One should follow the season, keep one’s mouth carefully closed, and avoid speaking indiscriminately. The Dao of Heaven is vast and profound; the Great Mystery has no form or shape, is empty and still, and cannot be seen—even its outlines and boundaries dissolve. If the sequence is mistaken and the essentials abandoned, words and actions will ultimately contradict one another and bring harm upon oneself. These four numerical images are explained separately so that later students may understand their principle. The Eight Trigrams are set out in order and shine forth; in their transformations and movements, they never depart from the centered and correct course.

The Bagua are arranged around the furnace and cauldron in eight directions. Here, “radiance” refers to fire. The meaning is that the Great Unity Furnace, used for alchemical work, is laid out according to the Bagua, and the firing process follows the twelve double-hours. The Kan trigram represents Yang Qi residing within Yin, while the Li trigram represents Yin Qi residing within Yang, expressing the principle that Yin and Yang unite. The cauldron is set at the center; as the fire is tended, the vessel is turned while remaining centered.

Thus, Qian corresponds to jia and Kun to yi, symbolizing Heaven and Earth each settling in its proper place; Gen corresponds to bing and Dui to ding, symbolizing the Qi of mountains and marshes communicating; Zhen corresponds to geng and Xun to xin, symbolizing thunder and wind stirring one another; Kan corresponds to wu and Li to ji, symbolizing water and fire each following its own course without clashing. The sun and moon move among the Bagua, passing along the ecliptic—the apparent path of the sun across the sky—and therefore never stray from the central position.

Original Essence, a term in alchemy referring to mercury, is subtle and elusive, difficult to see. The passage describes it as pure and fine, hard to discern. The Yin and Yang Qi embodied by gold and mercury are exceedingly subtle in their form and color, manifestations of the numinous Qi of Heaven and Earth.

Examine how the firing process proceeds and verify the corresponding signs. As the fire passes through each trigram, it follows the rules of the celestial circuit, taking confirming signs that accord with those rules as its guide.

In stillness, observe the celestial phenomena and take them as models for ritual and form. The sun and moon appear in the sky as celestial phenomena and manifest as forms on Earth. When tending the fire, observe the cauldron and do not deviate from the established ritual. Investigate the Qi of Yin and Yang, acting in accordance with the changes of the seasons. The Changes means observing the Qi and examining changes in form, then taking them as a model. The Immortal Xu looked up to observe the trigram images; the art of alchemy, too, follows these principles.

Set up a gnomon, an instrument for marking the time, as a standard. This means placing a graduated device on the furnace and marking the hours of the day according to the twelve double-hours, as with a water clock. The Zi hour is marked with the image of a rat, and the remaining hours are arranged in sequence. As the firing process proceeds, move one mark for each passing double-hour, following the twelve-hour scale without error.

Observe the changes of the twelve hexagrams according to the water clock to judge what is auspicious or inauspicious. Issue instructions at the proper times and follow the seasons; observe the signs that appear in succession at each double-hour, and advance the firing process step by step in time with them.

When issuing commands, one must follow the seasonal markers and not miss the moments when the Yin-Yang lines and Qi change.

“Time” here refers to the twelve double hours, while “command” refers to the seasonal markers of the four seasons. When working with the fire phases, one must follow the four seasons and not go against the sequence described in the Book of Changes: spring nurtures life, autumn gathers the harvest, summer fosters growth, and winter stores away. When Yang becomes excessively strong, it reaches an extreme; when Yin becomes excessive, it too turns aberrant. One must therefore always follow the patterns of change in the four seasons. The Xun hexagram speaks of “before Geng,” and the Gu hexagram speaks of “before Jia.” Both mean that when working with the fire phases and setting the apparatus in motion, one should follow the patterns of the Qian and Kun hexagrams. The growth and transformation of things, and the start of any operation, should likewise accord with the time and season.

Look upward at the patterns in the Yellow River Chart—that is, at the celestial signs. The Yellow River Chart here refers to the Eight Trigrams (Bagua). When working with the fire phases, one should regularly observe the positions of the Eight Trigrams. Thus the Book of Changes says, “Observe the patterns of heaven in order to examine the changes of the seasons.”

One must also arrange the terrain and the flow of water. “Order” here means to lay out and arrange. Facilities such as furnaces and herb gardens should be set according to the positions of the trigrams. One should also choose famous mountains and places with favorable topography, following the local terrain and the direction of the water’s flow. When the orientation is appropriate, it will bring good fortune.

One must also examine people’s feelings and dispositions. Those who practice alchemy and cultivate the Dao together need to understand one another. Only people who are gentle in temperament and single-minded in their commitment to the Dao are suited to practicing the Way of the Elixir together.

One must also take stock of the circumstances of heaven, earth, and humanity.

The Three Powers—Heaven, Earth, and humanity—must all be in place before alchemy can be practiced. Refining elixirs and preparing medicines is a serious undertaking. To choose an auspicious day and hour, one must observe the stars. To assess the terrain, one should select a place that faces the sun and has shelter from the wind. One must also understand the people involved: participants should be gentle and kind. Methods such as refining flying elixirs and smelting minerals must be overseen by someone who understands the principles of the spirits. If the terrain is not chosen carefully, people’s Jing and Qi may be harmed; if Yin-Yang is not properly distinguished, the elixir may become dangerous or the process may fail. If you have misgivings, your companions may also become doubtful. Begin only once everyone agrees and is in harmony; do not act hastily.

Thus, the River Chart and the Luo Writing were made by sages to explain the principles of Heaven and Earth. When the Duke of Zhou and the Duke of Shao established the eastern capital at Luoyi, they too first chose a suitable site. Only when the Three Powers are properly prepared can one seek good fortune and avoid calamity.

In carrying out the work, follow the rhythms of the trigrams. This refers to seasonal nodes such as the winter and summer solstices, and to the waxing and waning of Yin and Yang. After the summer solstice, regulate the firing process according to the patterns of the Qian and Kun trigrams. The progression of the firing process follows the changes in the line positions of Qian and Kun.

When maintaining stillness, follow the wording of the “Image Commentary.” The “Image Commentary” explains the trigrams, while the line statements explain change. Thus, when Yang Qi stirs and Yin Qi settles, the alchemist should act in keeping with the rhythms shown by the trigrams. The firing process, too, must accord with the changes between activity and stillness in Yin and Yang.

Only after the functions of Qian and Kun have been put into effect can the world be governed. How could one fail to follow their patterns? The Way of Qian puts benevolence into practice, and the Way of Kun puts righteousness into practice. Through them, the world is brought to peace and the four seasons proceed in their proper order. Just as ruler and ministers govern the people through virtue, the workings of Heaven and Earth must follow the Way of Qian and Kun for all to be at peace.

In “The Beginning of Governing the Process,” “governing” means directing, “process” means administration, and “beginning” means commencement. The meaning is that governance should follow established rules from beginning to end, maintaining continuity throughout.

“Encompassing and regulating with subtle precision.”

“Guan” is a door bolt, and “yue” is a key; “kuo” means to bind and tie, while “wei” means fine and close. The meaning is that when sealing the vessel, it should be fastened tightly, like a door secured with a bolt and lock, then bound firmly like a knot in a rope. The seal must be meticulous, so that the essence and vital energy of the medicines do not escape.

Open, spread, and distribute the treasures.

This means opening the alchemical vessel once each month to grind and prepare the medicines and wash them clean, then adding the two medicines called Dragon and Tiger (alchemical names for substances). Coat the vessel with clay to seal it, and place the two medicines inside as before. When the appointed day arrives, open it and continue the process. After a period of time, the elixir will be complete.

Grasp the key principle, the Dipper’s handle, and govern the framework of transformation.

“Kui-bing” refers to the bowl and handle of the Northern Dipper, while “framework and pivot” refers to the key that directs and connects transformations. The passage says that alchemical work requires mastery of its essential methods, so that the changes in the furnace fire and the medicines are brought under control.

The commentary says to place a balance beam above the furnace and align the Dipper’s handle with the water level in the clepsydra. The direction of the handle corresponds to the monthly construction (a traditional way of marking the months with the twelve Earthly Branches); on this basis, the alchemical vessel is turned and the firing intensity adjusted. The commentator also interprets “pivot” as a cord on the apparatus, and describes binding the vessel with a small metal tube when refining mercury and suspending it inside the furnace. If the metal tube needs to be moved, it must be dipped in water. This procedure, in which metal is subjected to fire and controlled by water, illustrates the need to follow the changes of Yin-Yang and to regulate the firing intensity with care.

The lines and images stir within; good and ill fortune begin to arise.

“Lines and images” refers to the Yin-Yang changes symbolized by the hexagrams and lines of the Book of Changes. The meaning is that one should act according to the hexagram images and follow Yin-Yang. The success or failure of the medicines within the vessel begins to become apparent through this process.

The Five Planets move in harmony or discord, responding and stirring.

The “Five Planets” are the five visible planets associated with the Five Phases: Metal, Wood, Water, Fire, and Earth. The commentator assigns the alchemical vessel, furnace fire, water, golden flower, and mercury respectively to Saturn, Mars, the Pole Star, Venus, and Jupiter. The meaning is that alchemical work must align these correspondences with the changes of the seasons. If the procedure is mistimed, the medicines may spoil and fail to form an elixir.

The Four Sevens fall into disorder; excess and separation, turning and bowing.

The “Four Sevens” refer to the Twenty-Eight Lunar Mansions, the ancient divisions of the celestial region. The commentator explains that excess and negligence cause the medicines to disperse; “turning and bowing” refers to operations such as turning the alchemical vessel during the day. When working with fire, one should follow the sequence of time represented by the Twenty-Eight Lunar Mansions and avoid disrupting it.

Wenchang records and oversees all.

Wenchang consists of the six stars beside the Northern Dipper and governs six kinds of official duties. Ancient texts often use their collective name to refer to the multitude of stars and to examine the constellations. Here, the image of the stars illustrates how the art of alchemical refinement is arranged according to the distinct roles of the celestial bodies.

“To examine and censure the Three Ministers” means to inspect the stars of the Three Ministers. “Minister” refers to the star beside the Northern Dipper known as the Assistant. The “cauldron” is a vessel used in alchemy. A representation of the Northern Dipper is placed above the cauldron, with the cauldron below, depicting the Dipper’s celestial platform. The Three Platforms are also the names of stars. The “three nails” refer to the things that work in coordination: each has its own function, enabling the Wenchang stars to take the leading role.

Each official has duties to oversee and is in charge of the area assigned to them. “Department” means jurisdiction, and “to administer” means to take charge. The passage says that when refining the Great Elixir, one follows the models of Heaven and Earth, the stars and constellations, the sun and moon, each with its corresponding function.

The “sun” refers to mercury. Mercury absorbs the essence of the Five Phases (Wood, Fire, Earth, Metal, and Water), rises, and becomes the “sun.” Cinnabar belongs to Fire; its fire essence transforms into the Azure Dragon and becomes the essence of Wood. Quicksilver is the essence of Water. Mercury is white like silver, so it is called “moist silver” and is the essence of Metal. It also transforms into golden flowers and becomes the essence of Earth. Thus, it gathers the essences of the Five Phases.

The “moon” refers to the Metal Lord and belongs to Yin. Six is the measure of Yin, while six is the rhythm of Yang. Metal and mercury contain the vital energies of Yin and Yang; therefore, they receive the virtue of rhythm and measure and are ultimately refined into the elixir.

Five multiplied by six makes thirty degrees, representing the number of days in a month. The vital energies of Yin and Yang complete their cycle over the course of a month, then begin again.

Five and six together make thirty, precisely the number of days in a lunar month. Here the numbers governing the movements of the Sun and Moon are used, with “five and six” standing for one month. Thus, by observing their movements, we see that a monthly cycle does not exceed thirty days. “Degree” refers to the measure of their movement. Calculations of the movement over a day, a month, or a year must be based on the degrees traversed by the celestial bodies: the Sun moves one degree in a day and completes one circuit of the heavens in 360 days; the Moon moves twelve degrees a day, though some accounts say thirteen, and completes one circuit in a month. The degrees traversed by the celestial bodies over day and night amount to 360 and a quarter. Taking thirty days as one cycle, the movements of the Sun and Moon then correspond: in the first month they meet on the day of Hai, in the second month on the day of Xu, and so on, moving successively to the left, until in the twelfth month they meet on the day of Zi. Therefore, when circulating the fire—that is, regulating the firing process in alchemy—one must calculate each step according to the degrees of the Twenty-Eight Lunar Mansions, the ancient divisions of the sky. “End and beginning” means that when the degrees of one month have run their course, the next month begins.

To investigate the origin of things, one must also examine their end, and through this understand the pattern of their continuance and demise.

Yang is the beginning; Yin is the end. When Yang Qi becomes excessive and Yin reaches its extreme, evil influences should be dispelled and brought to an end. By tracing things to their origin and examining their end, one can understand the principles governing changes in life and death. When things reach an extreme, they transform; when the Moon’s waxing and waning reaches its limit, it begins anew. Thus, one must observe the changes each month and understand continuance and demise, gain and loss, and renewal. “Thread” refers to continuation, increase, and renewed generation.

At times, the ruler becomes arrogant and unrestrained, stubbornly self-satisfied, and acts against the Way.

Here, “ruler” refers to fire, also called the “Solar Yang Ruler.” If gentle and fierce firing—the terms for weaker and stronger heat in alchemy—are not properly regulated, the fire may become too strong and depart from the proper measure. Another interpretation holds that the “ruler” refers to metal, which must not be used in excessive quantity.

At times, the minister is ingratiating and deceitful, and acts without regard for the proper rules.

Here, “minister” refers to Yin Water, or water of a Yin nature. When water is in the upper position, it must flow properly; “follow the course” means to keep it steady and sufficient. Another account says that if the amount of mercury exceeds that of realgar, the balance is wrong, so one must take care.

The Moon undergoes changes in its first quarter, full moon, waxing, and waning; by following these changes, one can avoid misfortune.

When mercury, the substance used in alchemy, meets fire, the medicine begins to settle at the first quarter moon on the eighth day. At the full moon on the fifteenth day, it is about to dry and congeal into sand. At the last quarter moon on the twenty-third day, it once again lies dormant and transforms. Thus gold and mercury wax and wane over the course of a month, just as the sun and moon do. If this pattern is not followed, errors and calamities will result. For example, if ruler and ministers fail to follow the right Way, this is like eclipses of the sun and moon or comet-like portents among the Five Planets: Heaven will send down calamity. If, in refining the Elixir, one allows impurity to escape, the spirits will punish the practitioner and bring calamity. One must therefore remain wholly focused and cautious.

When regulating the fire in Elixir cultivation, if the mind and spirit are not focused and the rules are not followed, the right moment will be missed and errors will follow. The “ruler” here refers to mercury. If the mind and spirit waver and cannot become still, the situation is like a state with officials responsible for enforcing the law: when loyal ministers see their ruler making a mistake, they try to remonstrate with him, hoping he will seize the moment to correct it. If the alchemist does not cultivate with care, the spirits will send down calamity and bring punishment.

“Celestial Pivot” refers to the Northern Pole Star, the star near the north celestial pole. The alchemical cauldron should be upright and steady like the Northern Pole Star, so that the numinous mercury within it does not escape. The stars turn in reverence around the Northern Pole Star; likewise, alchemical work should follow the timing and directions associated with the days and cyclical signs.

“Entrusting to those below” refers to the use of fire. Regulate the firing so that its intensity is appropriate, and the mercury will remain in the vessel, passing safely through the four seasons. The firing schedule, too, should follow the timing and directions associated with the days and cyclical signs. If gentle and fierce firing are out of balance and the heat becomes too intense, the medicine may fly away. Even if it remains in the cauldron, it may be scorched dry and lose its luster. Here, too, the Northern Pole Star is likened to a ruler: when the ruler occupies the honored center and ministers assist in governing, the people can live in peace, just as the stars circle the Northern Pole Star.

When the Hall of Illustriousness, the ancient place where government was conducted and rituals performed, carries out affairs of state in keeping with Virtue, the country can preserve the right Way.

“Mingtang” refers to the vessel used in alchemical practice. Place the character “fire” in the bright furnace and regulate the cauldron vessel, making the furnace and cauldron firm and tightly sealed. This is called “yuanhai” (freedom from harmful influences). The furnace is like a state, and the cauldron like its ruler. When Dao is put into practice through the Virtue of good governance, peace can prevail throughout the land, and the state will be free of harmful influences.

Inwardly cultivate yourself, bringing the mind to stillness, emptiness, and Wuwei (non-action).

Here, “self” refers to the elixir, and “inside” refers to the interior of the vessel. Only when both inside and outside are settled can the elixir be nurtured to maturity. The mind is empty, clear, and still, undisturbed by distractions. As it grows quiet, inner wisdom naturally becomes bright. This is what it means to cultivate yourself.

The original brightness is hidden within; turn inward to illuminate the form.

Gold and mercury shine like the sun and moon, yet remain hidden inside the cauldron. Gold is refined by fire until it becomes liquid, which is then received by mercury. Their original forms join together; they are white and still, and their brightness should become visible inside the cauldron. When the fire reaches the right intensity, mercury releases golden blossoms that adhere to lead, allowing their form to be seen. This is an elixir founded on original Yin. If the elixir is instead founded on yellow sprouts, mercury enters the golden blossom buds. Grind them into powder and place them in the cauldron for further refinement. After prolonged firing, the golden blossom buds turn to ash, revealing the form of lead.

This also serves as a metaphor for the practitioner who sits in forgetfulness, no longer attached to reflections from outside, and gathers the spirit to observe the heart within. Once the mind and spirit are clear, one can look inward, as though the Five Viscera were bright and transparent, ultimately reaching the state of attaining the Dao.

Seal the mouth of the cauldron, firmly securing the golden blossoms.

“Numinous” refers to mercury, “shoot” to the golden blossoms, “Dui” to the mouth of the cauldron, and “building” to sealing it firmly. The meaning is to close the cauldron tightly so that the numinous mercury cannot escape. This also serves as a metaphor for the human mouth as a gateway and the tongue as its key. When the tongue moves, the gateway opens; thus careless speech brings trouble through the mouth.

The three lights sink into the cauldron, gently nurturing and refining the “child pearl,” the embryo of the elixir.

“The pearl” refers to mercury, also called the “child of longevity” or “flowing pearl.” The “three lights” are the sun, moon, and stars: the sun corresponds to mercury, the moon to gold, and the stars to the crucible; they also represent the substances used in the elixir. Here, the three lights are also compared to three materials: water, earth, and metal. “Submerged on land” refers to fire. When gold and mercury are gently nourished by fire, they gradually transform and are refined into an elixir.

This passage also uses the human body as a metaphor: the “three offices” refer to three parts of the body or its Qi (vital energy), while the “six receptacles” refer to the six visceral organs. By preserving and nourishing the Qi of the three offices and letting it flow through the six receptacles, one can nourish spirit and vitality, keeping Shen (spirit) from dispersing and the hun and po souls enduring. Elixir refining works in the same way: nourish the three lights with a firing schedule that accords with the four seasons, and the divine elixir can be formed.

“To see it not, though it is near, and to find it readily” describes how mercury cannot be seen directly as it transforms inside the crucible, even though the method of refining is close at hand, not far away. The Laozi says, “What cannot be seen is called ‘yi.’” Here, “yi” refers to the “Way of the obscure and subtle,” meaning something faint and difficult to perceive. Though it cannot be seen, once its principle is understood, it can be comprehended.

The commentary goes on to describe a method of refining mercury: seal it inside a silver vessel and regulate the firing according to set time divisions. The “divisions” here are units of time used in refining, not the hundred divisions of a day measured by a water clock. After the mercury has been subdued by fire for a period, by the end of the month the vessel turns red-hot and the mercury changes from red to white; only then is the process complete. If black spots remain, it has not yet been properly subdued. The commentary says this belongs to the art of transforming metals into yellow and white, and that the mercury must first be solidified into sand before being placed in the vessel. “Unseen” also means that the substance is inside the vessel and cannot be viewed directly.

“Gradually, the Yellow Center comes to understand its principle and moistens the skin” means that, after gold and mercury have been gently nourished by the firing process over a long period, they are gradually refined into a purple, lustrous elixir. Once taken, its medicinal power reaches the skin. The following words, “When the beginning is correct, the end is completed; the skin…” are incomplete. All that can be discerned is that they speak of beginning correctly so that the work may be completed, and mention the skin.

Gold and mercury are nurtured by the proper application of heat. A jade-like material changes within the vessel. After a long period of refinement, like the passage of days and months, the heat is gradually increased, and an Elixir slowly forms. The Elixir is purple, moist, and lustrous; when taken, its medicinal power reaches the skin.

At the beginning, the materials must be prepared correctly; at the end, they must be adjusted once more.

This means that at the start of the month, the materials are carefully placed in the vessel, and at the end of the month they are adjusted again.

The Qian material may be ready, but it cannot yet be used directly.

“Qian” refers to Qianhua. The flower buds of Qianhua may be ground finely and placed in the vessel, or the blossoms may be melted over a fire into liquid and then added to mercury. Some first refine mercury into cinnabar. Any of these can serve as base materials; they are ground finely and combined with powdered flower buds and other ingredients, then placed in the cauldron like powder. If the fundamental material suited to the Elixir has not been obtained, even the slightest mistake may cause the alchemical process to fail. Once the Elixir has formed, Qian material must also be added to nourish and preserve it.

Here, too, the point is that the materials used in alchemy must belong to the right fundamental category. Otherwise, even with ingredients at hand, it is difficult to produce the Elixir. The “root” refers to Golden Flower and Yellow Sprout. Even someone of outstanding talent cannot use that as a basis for alchemical cultivation if their words and actions go against the Dao, they insist on acting on their own judgment, and they rely on power and reputation.

The One has already become hidden and imperceptible, beyond the knowledge of ordinary people.

Here, the One refers to the Dao; hence the saying, “Know the One, and all things are complete.” Commentators also explain the One as mercury: mercury belongs to the water of the north, whose number is one. They also identify it with lead: lead is black and likewise belongs to water, whose number is again one. Lead contains white metal, as though mother and child were held within one another. This is why its mystery is concealed from ordinary people.

Those of High De follow what is natural and do not rely on deliberate seeking. Those of Low De act with intention and therefore keep exerting themselves without pause.

Commentators explain “High De” as referring to people who make no contrivance and harbor no desires: their minds are like dead ashes, their bodies like withered wood. Through “sitting in forgetfulness”—sitting quietly and forgetting the body and distinctions—they turn their awareness inward, holding only to the Dao rather than observing and searching for it. Those of Low De act with intention, and so they labor without rest.

Those of high De are cultivators of the Dao who seek no empty fame. They do not act recklessly or crave possessions. Their minds are tranquil, still as cold ashes, and their bodies settled like withered trees. Sitting in meditation, they forget themselves and turn their gaze inward. They aspire only to long life, seek no profit or offerings, and devote themselves to cultivating the alchemical method. Single-mindedly pursuing success, they do not rely on clever devices to pry into worldly affairs.

Those of low De, by contrast, pursue prominence and fame. On the surface they take an interest in Daoist arts, but inwardly they dwell on alchemy and wealth. They value only fame and profit, and are also enthralled by sensual pleasures. As soon as they obtain an alchemical formula, they hasten to publicize it, then use it every day without restraint. In so doing, they disclose the secrets of Heaven and stray far from the Great Dao. If those who cultivate the elixir can keep their De hidden and accord with the Great Dao, they will unite with it, and the alchemical method can be brought to completion. Making the method public would violate the rules of cultivation and ruin the practice.

When the upper part is closed, this is called “Being”; when the lower part is closed, this is called “Nonbeing.” “Nonbeing” serves to honor the upper part, where the wondrous virtue of Shen resides.

Here, “Being” refers to the substances used in the work, while “Nonbeing” refers to emptiness. The upper part being closed indicates that the substances in the upper cauldron are rising; the lower part being closed indicates that the substances in the lower cauldron have become empty. Turn the cauldron in this way to make the vapor of water circulate up and down. Thus the divine elixir resides in the upper part. This is the principle of “Being above, Nonbeing below.”

The breath also coordinates between these two apertures.

The “two apertures” are the upper and lower cauldrons. As the cauldrons open and close, mercury, acted upon by the fire energy, makes a sound like a groan. This is therefore called “the dragon’s roar and the tiger’s howl.” The Dragon and Tiger work together inside the cauldron. Earlier, from the head down to the north, the text discussed the tending of the fire, the hexagrams and lines, the cauldrons, and the virtue of ruler and ministers. These are all aspects of the alchemical Way, held in the highest regard, and so are likened to the virtue of ruler and ministers. What follows gradually explains the meaning of the alchemical method.

Know the white and hold to the black; Shen will arrive of its own accord.

“White” refers to mercury, and “black” to Metal Lord. When Metal Lord holds fast to mercury, Shen will arrive of its own accord.

White is the essence of Metal; black is the foundation of Water.

The term “Metal Essence” refers to mercury. Mercury is called the descendant of Metal and is also known as liquid silver; hence it is called “Metal Essence.” “Black” refers to Metal Lord, which belongs to Water in the north. By holding to Metal Lord and obtaining mercury, Shen will arrive of its own accord.

The white substance is “gold essence,” a technical alchemical term for a substance produced during the alchemical process; the black substance is the “foundation of water,” the substance that serves as water’s basis.

Here, “gold essence” refers to mercury. Mercury is called the descendant of gold, and is also known as “wet silver,” hence the name “gold essence.” “Lord Metal” is another name for mercury. Because it belongs to the water of the north, it is called the “foundation of water.” White signifies silver, expressing the same idea as the preceding passage.

Another interpretation is that mercury enters “Lord Metal” and congeals, producing a flowerlike substance called “gold essence,” also known as the “flower of the dark and yellow” or the “golden flower.” When Lord Metal receives mercury, the essence of the golden flower flows out. Lord Metal is black, and is therefore regarded as mercury’s foundation. It also produces a yellow “tooth”—an alchemical term for a crystal or product—called the “yellow flower of Lord Metal.”

This flowerlike substance has many other names, including “Single Gate,” “Purple Powder,” “Standing-Made Stone,” “Stone Gall,” “Flowing Pearl,” “Autumn Stone,” “Dark White,” “Yellow Light,” “Token of Heaven and Earth,” “Compact of Heaven and Earth,” “River Cart,” “Golden Dog,” and “Golden Tiger.” They cannot all be listed here. In alchemical work, this “flower-tooth” must serve as the foundation. It is used to coat the cauldron vessels, after which such materials as the “Compact of Heaven and Earth” are used to cover, line, and seal the edges of the alchemical apparatus. Only when all these preparations are complete can the elixir be successfully refined.

Water is the pivot of the Dao, and its number is called “One.”

The lead and mercury used in alchemical practice both belong to the Water phase of the north. In the numerical sequence of the Five Phases (Wood, Fire, Earth, Metal, Water), Water is one and is described as “Heaven’s One gives birth to Water.” The Dao gives rise to “One”; “One” is both the beginning of the Five Phases and the pivotal key to the Dao. Therefore, one jin of each is used for lead and mercury.

According to this scripture, using one jin of mercury accords precisely with the timing and measures of Heaven and the numerical principles of the Changes. This is called the “Yin Origin Elixir,” with one jin making one dose. If one jin of cinnabar is used and covered and underlaid with lead oxide, it is called the “Yang Origin Elixir.” To refine an elixir specifically for transforming Yang, one may use yellow sprouts, the gold-colored substance found in lead ore. Alternatively, one may begin with one liang of golden blossoms—the gold-colored essence contained in lead—and add to it gradually each month. By the ninth month the total reaches thirty jin. This is also called the “Special Ninefold Transmutation Method.”

There are several methods for refining the Reverted Elixir, each with its own variations, but their fundamental principles are shared. Whether a method succeeds depends on the person carrying out the refinement; all the elixirs refined are Great Elixirs. Once the ingredients have undergone “fire subduing”—being stabilized through control of the fire’s duration and intensity—they become the highest-grade medicine of the immortals.

At the beginning of the union of Yin and Yang, yellow sprouts are contained within the Mystery.

Lead belongs to Water and is therefore called “the Mystery.” Yellow sprouts lie within lead ore and resemble gold, hence the name “yellow sprouts.”

Of the five metals, lead is primary. It is also called the “River Chariot of the North,” a Daoist alchemical term for lead. Lead is black on the outside, yet within it contains golden brilliance—its gold-colored essence.

Yin refers to “Metal Lord,” and Yang refers to mercury. “Five Metals” is another name for lead, which is also called “Metal Lord.” Lead contains many different colors and can be made into metals of five colors, hence the name “Five Metals.” Lead is the principal material for mercury. It belongs to Water and can carry elixirs, like a cart or boat carrying cargo, so it is also called the “River Cart.” Because lead contains a golden color, it is called “Golden Flower.”

A substance made with yellow lead, once hardened, is smooth as a mirror; when broken, its shape resembles a horse’s tooth. It is called “Yellow Tooth.” The prized Yellow Tooth is obtained from unrefined lead ore. Although Golden Flower and Yellow Tooth both come from lead, they are made by different methods.

To make Golden Flower, first remove impurities from nine-times-transformed lead until its surface shines like a mirror. Then add mercury in the proportion of four ounces to each pound of lead. Some accounts give two ounces instead, and the various schools differ. Some advocate equal parts lead and mercury; others recommend a four-to-six ratio. The commentary says these views are mostly wrong: a three-to-four ratio is the proper one. The ancients kept the method secret. After adding the mercury, heat the mixture over a fierce flame at once for half a day. Golden Flower will separate out, looking like mica and displaying colors such as the five hues, black, and yellow. It can be collected with an iron plate.

If Golden Flower remains gold-colored after cooling, it is mercury flower; if it turns blue-green, it is lead flower, which cannot be used for refining. Heating may also produce no Golden Flower, though wherever there is mercury, flower may emerge. Once all the Golden Flower has been collected, add more mercury and continue extracting it, stopping when the desired quantity has been reached. Some accounts say there is no need to use nine-times-transformed lead, but the commentary rejects this: the lead must undergo at least three transformations before flower will emerge.

According to the Cantong qi (The Seal of the Unity of the Three), melt one pound of Golden Flower into liquid, add one pound of mercury, and, after the mixture solidifies, pound it into pieces and place them in a cauldron. To refine what is called the “Elixir of Pure Yang,” place the Golden Flower in lead sand and calcine it for one hundred days, until it turns reddish brown. Then take one ounce of this Golden Flower, mix it with one ounce of raw mercury, grind them into powder, and put the powder in a cauldron. Calcined Golden Flower is called “Autumn Stone,” also known as “Stone of Established Transformation.” For a separate refinement, coat the inside of a cauldron with Golden Flower, add only raw mercury in any quantity, and it can also be refined into an elixir.

To make Yellow Tooth, take one pound of capital cinnabar and add four ounces of mercury. Put them in a porcelain bowl from Shouzhou and refine them over a fierce, fanned flame. Once they melt into a mirror-like liquid, remove the mixture and let it cool. It will solidify into a golden-yellow substance that, when broken, resembles a horse’s tooth. It serves the same purpose as Golden Flower. The commentary says that many other accounts are mistaken; Golden Flower and Yellow Tooth, once refined, must also be treated in lead sand.

The so-called “nine transformations of refining metal” means roasting lead into sand, then refining the sand back into lead, and repeating this process nine times. This is called the “method of nine leads.” The commentary says the method cannot yet be described in detail here. “Dark Containment” refers to mercury and lead flower: “dark” means mercury, and “containment” means lead flower. Lead flower is also called Yellow Tooth, hence the name “Dark Containment Yellow Tooth.”

On the outside it looks like it is dressed in coarse cloth, but within it conceals fine jade. This refers to lead: its outer layer is blackish yellow, like coarse cloth, while inside it contains silver, white as jade. Lead seems crude, yet holds something precious within, so it is likened to “a wild man dressed in coarse cloth.”

Gold is the mother of water, and the mother conceals her offspring in the womb. Here, “gold” means silver, and “water” means lead. Since lead contains silver, silver is called the mother of lead; lead, in turn, is called the offspring of silver, as though the child were concealed in the womb.

Water is the offspring of gold, and the offspring is concealed in its mother’s womb. Here, the mother is silver and water is lead; silver, as the offspring, is concealed within the mother’s womb. This shows that silver is an important intermediary among the various materials used in alchemy and lies at the heart of Yin-Yang union. The scripture says: “Do not damage my lead, or you will destroy my life-giving gold. Do not break my carriage, or I will be unable to return home.” It also says: “If the lead is not pure, mercury will find it hard to unite with it; if the lead is solid and pure, it will not lose its household retainers.”

“Messenger with the blue waist” refers to zengqing, a blue mineral, while “General of Red Blood” refers to realgar, a reddish-yellow mineral. The two materials combine as though people from two different families were living together as one group; lead is indispensable for refining the Great Elixir. When using lead, one must choose lead that has been properly prepared. “White and glossy” refers to material that can be refined into hua ya, a crystalline product; “cup-like” refers to the pale blue yuan hua. “Dark lead with a blue waist” in the text refers to zengqing, and “General of Red Blood” refers to realgar. The “two families” means mercury and golden flowers.

This concludes the first volume of the Commentary on the Zhouyi Cantongqi.

The material that follows consists mainly of notes on textual collation. The commentator uses the Siku edition of Yu Ying’s Explication of the Zhouyi Cantongqi as a comparison text, recording item by item which words and phrases in the classic have been corrected, added, or rearranged on the basis of their meaning, as well as the variant readings between the two editions. Some passages are missing from the Explication edition, and some words are written differently. The commentator selects the readings deemed appropriate in light of the context and meaning.

The state reached by a perfected person (one who has attained the Dao) is extremely subtle, seeming to be both present and absent. Here, “absence” refers to yang lead, while “presence” refers to yin mercury; silver is a treasure of yang nature. The perfected person understands that lead contains precious substance and can transform mercury into the elixir.

Lead and mercury enter a deep, abyss-like molten pool, sometimes sinking and sometimes rising. They are then gradually dispersed, each remaining within its own bounds. The “great abyss” refers to molten lead: when mercury is added to it, the mercury enters the lead. “Sometimes sinking and sometimes rising” describes the method for refining golden blossoms. Once the mercury enters the molten lead, it spreads through it and is enclosed by the lead, so it cannot fly off. Thus, when compounding the elixir, one first refines the lead into blossoms and uses them to subdue the mercury. Another interpretation takes the “great abyss” to mean the ash-pit method: lead is heated in an ash pit, and silver is extracted from it. The scripture’s words, “The ash pit blazes with heat; lead sinks and silver rises,” describe this process. Both interpretations are plausible.

During extraction and refinement, the substance appears white; once prepared, its color turns vermilion. Lead guards it on the outside, wrapping the mercury within like silk and keeping it settled and contained. This refers to lead turning white when molten; when mercury is added and refined, the color shifts to vermilion. Lead acts as an outer guard, enclosing the mercury so it cannot fly off and remains stable. This passage describes refining golden blossoms and tooth-like forms; it then turns to the process of refining them in the vessel.

They are square and round in shape, about one inch in diameter. They mingle and support one another, as though they had existed before Heaven and Earth took form.

“Giving birth” means mixing. In other words, Mercury is introduced into lead flower and mixed with it, so that the two assist one another. The mixture is then placed in the Dark-and-White Golden Flower cauldron. Mercury is a metallic substance, about one inch square and weighing one pound. The “one pound” mentioned in the Cantong qi refers to this.

“First” means that the vessel is made first. Its upper lid symbolizes Heaven, and its lower lid symbolizes Earth. Once Heaven and Earth are established, all things are born from them. Everything in the cosmos is nourished by Heaven and Earth, so the Dao gives rise to Heaven and Earth; the Elixir, too, emerges from the Dao and depends on Heaven and Earth for its nurture. That is why the vessel is described first: it is used to nurture the Great Elixir.

The vessel is tall and exalted.

This means that the vessel is set inside the Taiyi furnace, the furnace used for alchemical work, and stands above the Three Platforms, appearing alone in its height and grandeur. The Dao and De are exalted and sublime, and the Way of the Elixir is therefore regarded as supreme.

Beside it are four walls and gate towers.

“Enclosing walls” refers to the Taiyi furnace. Eight gates are opened on its four sides, allowing the winds from the eight directions to pass through. Twelve protrusions are fitted to its top, symbolizing the twelve double-hours; its apertures symbolize the Twelve Branches. The furnace is divided into four tiers, corresponding to the four seasons, which is why it is called “walls and gates.”

Its shape resembles Penghu.

“Vessel” refers to the cauldron. The cauldron also resembles a pitch-pot; its form is like a bottle, and it comes in several styles. It may be made in the shape of a gourd, or as a square or angular vessel, but in every case it should have loop handles. When using it, immerse small, long tongs in water and use them for weighing. If it is to be used to refine yellow and white substances—that is, gold and silver in alchemy—a silver vessel is made. The reed tube is two inches in diameter and one and a half inches long, and can hold one pound of Mercury. “Peng” refers to the furnace, which is arranged according to the Five Sacred Peaks and shaped like Mount Penglai.

The vessel is enclosed all around, open to the four directions, with its contents winding and turning within.

“Encircling all around” means that the cauldron has either four ears or two. Its lower part is sealed so that the Mercury remains inside and cannot escape.

It is guarded closely and securely.

Sealing means closing the furnace vessel securely; guarding means monitoring the firing process. One must remain attentive even during the day. Most crucially, the vessel’s opening must not lose its seal. If it is not sealed firmly, all the medicinal substances will disperse. Only when it is tightly closed can their essence be preserved, until in the end only lead cinnabar remains. If a vessel such as a silver flask is not sealed well, the elixir may remain in the furnace, but the mercury will escape completely.

The scripture says, “‘Six-One’ means that six and one combine to make seven.” The seams of the furnace vessel must be sealed as tightly as with lacquer; using only seven kinds of clay is not enough. For materials such as the Eight Minerals, the Four Spirits, Golden Essence, and Jade Powder, one may seal the top and bottom with powdered praise-stone and red ochre, or use these together with ash and salt. When using such sealing materials, the key ingredients are golden flowers and yellow teeth. Some people also grind lead and cinnabar finely, mix them into a paste, and seal the top and bottom with it together with salt and ash. For a silver flask or a reed vessel, one uses great roc sand and powdered fine silver to seal the joints, with steel sand beneath. Other accounts that name unburnt wood or Rong salt as sealing materials are incorrect.

A tight seal can keep out harmful influences. Here, “harm” means the medicinal substances dispersing and escaping.

The bends of the furnace compartments connect to one another as a safeguard against mishaps. Here, “mishap” means an error or accident. The so-called male and female furnace vessels are made so that their two parts interlock like a dog’s teeth; an elephant-trunk-shaped piece is fitted around the outside. During the process, one must check them repeatedly and carefully, making sure they are sealed firmly and tightly.

When refining the elixir, one may remain calm and focused while tending the fire, but must not become troubled or exhausted. When spirit and Qi fill the furnace chamber, they are difficult to retain; keeping them brings success, while losing them brings failure. Here, “spirit and Qi” refers to the fire, “chamber” to the elixir furnace, and “full” to a strong blaze. When the fire burns fiercely, the mercury can scarcely withstand it, so the furnace vessel must be sealed especially well.

Spirit and Qi are like fire. The chamber is the furnace, and “filling it” means using strong fire—the vigorous phase of heating—to fill the furnace with its power. Once the fire grows too strong, the power of mercury becomes difficult to control. Mercury is extremely fluid and can easily disappear without trace, so the joints of the furnace vessel must be sealed tightly and securely. The vessel and furnace must have no holes or damage. You must also regulate the heat according to the four seasons, applying both gentle and strong fire at the appropriate times. Then there is little cause for worry. Properly managed fire brings the work to fruition: when the refining succeeds, the elixir forms; if there is a mistake, it disperses. To refine a flying elixir, first prepare the vessel well, then learn how to seal its joints so the fire is evenly regulated. Work diligently and attentively, without slackening, and nothing will be damaged.

Whether active, still, or at rest, someone should always remain nearby to keep watch.

This passage describes repeatedly inspecting the vessel and regulating the heat, for which three people should keep watch at all times. Yang belongs to movement, Yin to stillness. Whether increasing or reducing the fire, one must not leave the furnace. As long as the furnace fire is operating, no one can rest, so someone must keep watch continuously.

This is not merely a record of methods for storing and preserving—methods of cultivation or visualization. It also calls for focused thought during inner contemplation.

“Passing through” means to traverse. Here it refers to directing the fire and circulating Qi through the constellations, following the corresponding methods of preservation. The cultivation chamber should also be kept quiet and pure. Burn incense to dispel harmful influences, and draw diagrams of the Nine Furnaces, the True Forms of the Five Sacred Peaks, and the Eight Directions’ True Writings. Set up images or talismanic inscriptions of the Celestial Boys and Jade Maidens, the Eight Lords and Nine Perfected Ones, the Twelve Divine Kings, and the Three Great Generals. Hang mirrors in the eight directions around the altar for pacing the void, set up swords on all four sides, burn incense, keep the space clean, observe the precepts, and focus your visualization on the Most High, the Nine Perfected Ones and Eight Sages, the Jade Maidens and Immortal Boys, and the celestial soldiers and mighty warriors. Visualize the Azure Dragon and White Tiger on your left and right, and auspicious beasts such as the Vermilion Bird before and behind you.