《参同契阐幽》Vol. 2

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Zangwai Daoshu 藏外道書 Vol. 2 / 5 25,000 characters

About this page. The original text of 《参同契阐幽》 Vol. 2 (Zangwai Daoshu 藏外道書, 5 volumes) is shown in Classical Chinese as transmitted in the Godners/DaoZang edition. An English interpretation of the 1 passages on this page accompanies it: select a passage or press “Interpretation” to show it. All texts in English

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黄芽”。黄芽者，取水中藏金之象，指先天一而言也。先天一炁正是干家金精，能总持万化，为后天五行生生之真宰，而深藏北极太渊之中。故曰：“五金之主，北方河车”。五金者，借外炼银铅砂汞土以喻身中五行之精，即此一物，以其外之纯黑也，故象铅。以其黑中含白也，故又有金华之象。譬若有人外被褐而内怀玉，外若狂夫中藏圣哲，岂非神明不测者乎？此言真铅之别于凡铅也。苟能知白守黑，则神明自来矣。金丹妙用，只在水中之金。此段特显其法象。《入药镜》云：“水乡铅，只一味”，《悟真篇云》“黑中有白为丹母”，此之谓也。金为水母，镜》云：“水乡铅，只一味”，《悟真篇云》“黑中有白为丹母”，此之谓也。金为水母，母隐子胎。水为金子，子藏母胞。真人至妙，若有若无。彷佛太渊，乍沉乍浮。退而分布，各守境隅。采之类白，造之则朱。炼为表卫，白里真居。此节重指金水两窍之用併两而归一也。上节合言水中金，此又分言金水两体。金精本能生水，水之母也。干中真金隐在坤水包络中，故曰：“母隐子胎”。即上文所云下闭则称无也。水本金之所生，金之子也。坤中真水藏在干金匡廓内，故曰：“子藏母胞”。即上文所云上闭则称有也。金水互用便是两弦之炁两畔同子也。坤中真水藏在干金匡廓内，故曰：“子藏母胞”。即上文所云上闭则称有也。金水互用便是两弦之炁两畔同升合为一，而真人出其中矣。真人存于中宫，非有非无，灵妙不测。故曰：“真人至妙，若有若无”。“彷佛太渊”者，真人潜深渊也。“乍沉乍浮”者，浮游守规中也。金水交会之际，同在中央。及既交而退，真人处中，两者依旧分布上下，一南一北，“各守境隅”矣。其初采取北方坎中之金，本来一片纯白，及至锻以南方离中真火，然后赫然发光，岂非“采之类白，造之则朱”乎。然此一点真种，非有非无，本质极其微妙，须赖中黄坤母环卫而乳哺之，方得安居神室，然后赫然发光，岂非“采之类白，造之则朱”乎。然此一点真种，非有非无，本质极其微妙，须赖中黄坤母环卫而乳哺之，方得安居神室，不动不摇。故曰：“炼为表卫，白里真居”。此段言併两归一，乃药物入炉之象。即上所云“无者以奉上，上有神明居”也。方圆径吋，混而相拘。先天地生，巍巍尊高。旁有垣阙，状似蓬壶。环匝关闭，四通踟蹰。守御密固，遏绝奸邪。曲阁相连，以戒不虞。可以无思，难以愁劳。神炁满室，莫之能留。守之者昌，失之者亡。动静休息，常与人俱。相连，以戒不虞。可以无思，难以愁劳。神炁满室，莫之能留。守之者昌，失之者亡。动静休息，常与人俱。此节特显炉鼎法象，而火候即在其中。中黄神室之中不过径吋，圆以象天，方以象地，中有真人居之。浑浑沌沌，形如鸡子。《黄庭经》云“方圆一吋处此中”是也。故曰：“方圆径吋，混而相拘”。径吋之地，即元关也。元关一窍，大包六合，细入微尘，未有天地先有此窍，号为天中之天。内藏元始祖炁。岂非“先天地生，巍巍尊高”者乎。此窍当天地正中，左右分两仪，上下定三才。左通元门，右达牝户。上透天关，下透地轴。八面玲珑，有如蓬岛方壶之象。岂非“旁有垣阙，状似蓬壶”者乎。“环匝关闭，四通踟蹰”者，深根固蒂，牢镇八门，令内者不出也。“守御密固，遏绝奸邪”者，收视返听，屏除一切，环匝关闭，四通踟蹰”者，深根固蒂，牢镇八门，令内者不出也。“守御密固，遏绝奸邪”者，收视返听，屏除一切，令外者不入也。灵窍相通，本无隔碍，然必防危虑险。故曰：“曲阁相连，以戒不虞”。定中回光，本无间断，又必优游自然。故曰：“可以无思，难以愁劳”。神室中元始祖炁人人具足，本来洋溢充满，但人自不能久留耳。故曰：“神炁满室，莫之能留”。真人既安处神室，必须时时相顾，刻刻相守。若一刻不守，便恐致亡失之患。故曰：“守之者昌，失之者亡”。惟是一动一静不敢自由，直与神室中真人呼吸相应，彼动则与之俱动，彼静则与之俱静，彼休息则与之俱休息。勿助勿忘，绵绵若存，火候才得圆足。故曰：“动静休息，常与人俱”。此段言吸相应，彼动则与之俱动，彼静则与之俱静，彼休息则与之俱休息。勿助勿忘，绵绵若存，火候才得圆足。故曰：“动静休息，常与人俱”。此段言炉鼎之象而兼温养之功。即上文所云“金炁亦相胥”之作用也。此章首揭出有无两用之窍是真炉鼎，次别金水二炁之用是真药物，末了更示人以温养防护之功是真火候。金丹关键已全具此中，不可忽过。明辨邪正章第八是非历脏法，内观有所思。履行步斗宿，六甲次(以)日辰。阴道厌九一，浊乱弄元胞。食炁鸣肠胃，吐正吸外邪。昼夜不卧寐，晦朔未尝休。身体日疲倦，恍惚状若痴。百脉鼎沸驰，不得清澄居。累土立坛宇，朝暮敬祭祀。鬼物（神）见形象，梦寐感慨之。心欢意喜悦，自谓必延期，遽以夭命死，腐露其形骸。举措辄有违，悖逆失枢机。诸术甚众多，千条有万余，前却违黄老，曲折戾九都。明其形骸。举措辄有违，悖逆失枢机。诸术甚众多，千条有万余，前却违黄老，曲折戾九都。明者省厥旨，旷然知所由。此章历指旁门之谬以分别邪正也。欲知大道之是，当先究旁门之非。旁门种种，邪谬不可枚举，姑约略而计之。是非历脏法，内观有所思。此内观五脏，着于存想之旁门。履行步斗宿，六甲次(以)日辰。此履罡步斗，泥于符术之旁门。阴道厌九一，浊乱弄元胞。此九浅一深，采阴补阳之旁门。食炁鸣肠胃，吐正吸外邪。此吞服外气，吐故纳新之旁门。道厌九一，浊乱弄元胞。此九浅一深，采阴补阳之旁门。食炁鸣肠胃，吐正吸外邪。此吞服外气，吐故纳新之旁门。昼夜不卧寐，晦朔未尝休。此搬精运气，常坐不卧之旁门。身体日疲倦，恍惚状若痴。百脉鼎沸驰，不得清澄居。以上五种旁门俱是求之身内者。种种捏怪，勉强行持，究其流弊，至于身体疲倦，精神恍惚，周身之百脉势必奔逸散驰，而无一刻清宁澄湛之时。求之身内者其恶验如此。累土立坛宇，朝暮敬祭祀。鬼物（神）见形象，梦寐感慨之。此祭炼鬼物，入梦现形之旁门。心欢意喜悦，自谓必延期，遽以夭命死，腐露其形骸。以上一种旁门是求之身外者。初时朝暮祭祀，妄冀鬼物救助，益算延年，不知反为鬼物所凭，流入阴魔邪术，既而或遭王难，或遘奇疾，本欲长生，反夭厥命。腐露形骸，为世俗之所耻笑矣。求之延年，不知反为鬼物所凭，流入阴魔邪术，既而或遭王难，或遘奇疾，本欲长生，反夭厥命。腐露形骸，为世俗之所耻笑矣。求之身外者，其恶验又如此。章首是非二字直贯到底，言金丹大道全在养性，非是此等旁门可得而混入也。养性工夫即在前两章中。旁门反之，故遭种种恶验。举措辄有违，悖逆失枢机。诸术甚众多，千条有万余，前却违黄老，曲折戾九都。明者省厥旨，旷然知所由。此段结言旁门之背道也。金丹大道，莫过养性。原本黄帝老子虚无自然宗旨千条有万余，前却违黄老，曲折戾九都。明者省厥旨，旷然知所由。此段结言旁门之背道也。金丹大道，莫过养性。原本黄帝老子虚无自然宗旨。故阴符道德两经直指尽性尽命最上一乘法门，与三圣作易同一枢机。世人不悟，往往流入旁门。动輙千差万别，悖逆之极，全失其枢机矣。以上所列五六种，或求之身内，或求之身外，只是略举一隅，引而伸之，千条万绪，可以类推。大约非黄老复命归根之功，即非黄老九宫洞房之奥。此辈甘堕旁蹊，如却行求前，徒费曲折耳。明眼之士只是略举一隅，引而伸之，千条万绪，可以类推。大约非黄老复命归根之功，即非黄老九宫洞房之奥。此辈甘堕旁蹊，如却行求前，徒费曲折耳。明眼之士，亟发信心，参礼真师，穷取性命根源本来面目。倘能于片言之下洞彻宗旨，方知本来一条平坦道路，人人可得而由。再加向上功夫，勤行伏炼，庶乎脱旁蹊而超彼岸矣。上篇此章专言伏食而御政养性已寓其中。前面御政诸章但陈一阴一阳法象，养性诸章但指一性一命本体。至于阴阳之配合，性命之交併，别有妙用养性已寓其中。前面御政诸章但陈一阴一阳法象，养性诸章但指一性一命本体。至于阴阳之配合，性命之交併，别有妙用存焉。此伏食之功所以为金丹要关键也。伏者取两物相制为用，食者取两物相併为一。盖假铅汞凡药巧喻性命真种，借鼎炉外象旁通身心化机。以有形显无形，乃是伏食宗旨。究非烧茅弄火一切旁门可得，而假借也。药在炉中，须用真火锻炼，故末篇又云炉火之事。两弦合体章第九火记不虚作，演易以明之。偃月法炉鼎，白虎为熬枢；汞日为流珠，青龙与之俱。举东以合西，魂魄自相拘。上弦兑数八，下弦艮亦八，两弦合其精，乾坤体乃成。二八应一斤，易道正不倾虎为熬枢；汞日为流珠，青龙与之俱。举东以合西，魂魄自相拘。上弦兑数八，下弦艮亦八，两弦合其精，乾坤体乃成。二八应一斤，易道正不倾。此章直指金水两弦之炁，先分后合，示人以真药物也。火记不虚作，演易以明之。偃月法炉鼎，白虎为熬枢；汞日为流珠，青龙与之俱。举东以合西，魂魄自相拘。此节指两弦真炁为金丹之用也。前养性章中俱说虚无自然大道，尚不及龙虎铅汞诸异名，到此方说。临炉作用要紧全在金水两物，曰炉鼎，曰铅汞，曰龙虎，曰上下两弦，种种曲譬皆是物也。世传古丹经有火记六百篇，魏公仿之作参同契，其实非也。火记本无，其文即在先天羲易中。盖日月为易，不过一阴一阳，体属乾坤，用寄坎离。一切异名皆从此演出，于乾坤寓炉鼎仿之作参同契，其实非也。火记本无，其文即在先天羲易中。盖日月为易，不过一阴一阳，体属乾坤，用寄坎离。一切异名皆从此演出，于乾坤寓炉鼎法象，于坎离寓药物法象，其余六十卦三百六十爻即寓火候法象。一日两卦，一月之候正应周天三百六十度数，又以一月配一年，便成火记六百篇。究竟只是日月为易，一阴一阳而已。故曰：“火记不虚作，演易以明之”。坎为太阴真水，本是月精，然必受符于日，晦朔交会之间，阴极转阳，魄中生魂，一阳实生于朔，火力尚微，到初三日没时，庚方之上一阳初动而为震，一钩偃仰成偃月之象，坎水中产出金精。所谓虎向水中生也。金伏炉中，必须锻之乃出，是为上弦兑体。故曰：“偃月法炉鼎，白虎为熬枢”。此举炉鼎以包药物也。。金伏炉中，必须锻之乃出，是为上弦兑体。故曰：“偃月法炉鼎，白虎为熬枢”。此举炉鼎以包药物也。离为太阳真火，本是日光，然必合体于月，日月对望之际，阳极转阴，魂中生魄，一阴实生于望，水炁尚藏，到十六日平明时，辛方之上一阴初降而为巽，盛满欲流，有流珠之象。离火中生出木液。所谓龙从火里出也。木性顺金，恒欲流而就下，是谓（为）下弦艮体。故曰：“汞日为流珠，青龙与之俱”。此举药物以该炉鼎也。于是驱东方之龙以就西方之虎，流珠与金华，情性既已相投，地魄与为）下弦艮体。故曰：“汞日为流珠，青龙与之俱”。此举药物以该炉鼎也。于是驱东方之龙以就西方之虎，流珠与金华，情性既已相投，地魄与天魂，金木自然相制。故曰：“举东以合西，魂魄自相拘”。此言两窍互用，金炁相胥之妙。假两弦法象以发明之也。上弦兑数八，下弦艮亦八，两弦合其精，乾坤体乃成。二八应一斤，易道正不倾。此节言两弦之炁合而成丹也。自震庚一点偃月进至二阳，便属上弦之兑，其卦气纳丁，此时水中胎金魄中魂半，所谓上弦金半斤也。如颠倒取之亦可云水半斤，故曰：“上弦兑数八”。自巽辛一点流珠退到二阴，便属下弦之艮，其卦气纳丙，此时金中胎水魂中魄半，所谓下弦水半斤也。如颠倒取之亦可云金半斤，故曰：“下弦艮亦八”。前取两物相制，故云二阴，便属下弦之艮，其卦气纳丙，此时金中胎水魂中魄半，所谓下弦水半斤也。如颠倒取之亦可云金半斤，故曰：“下弦艮亦八”。前取两物相制，故云金木。此又取一体相生，故云金水。其用一也。兑体本属纯干，因上爻易坤一阴，遂成少女。艮体本属纯坤，因上爻易干一阳，遂成少男。今者两畔同升合而为一，纯金还干性，处内而立鄞鄂，纯水还坤命，处外而作胞胎，一粒金丹产在中黄土釜。岂非“两弦合其精，乾坤体乃成”乎？须知两弦之时，即具全体。到得全体之时，却不见有两弦。全体之合得诸自然，两弦之分别有妙用乎？须知两弦之时，即具全体。到得全体之时，却不见有两弦。全体之合得诸自然，两弦之分别有妙用。所谓月之圆存乎口诀也。夫两弦既合，铅止半斤，汞惟八两，正应金丹一斤之数。乾坤之全体从艮兑之分体而成也，艮兑之分体又从坎离之中体而出也。坎离之体不过一日一月，前所云日月为易者，到此适得其平而无倾昃(zè太阳偏西之意)之患矣。故曰：“二八应一斤，易道正不倾”。即后天两弦之用以还先天干金之体，方是金丹作用。正所云演易以明之者，此伏食之第一义也。金返归性章第十金入于猛火，色不夺精光。自开辟以来，日月不亏明。金不失其重，日月形如常。金本从月生第十金入于猛火，色不夺精光。自开辟以来，日月不亏明。金不失其重，日月形如常。金本从月生，朔旦受日符。金返归其母，月晦日相包。隐藏其匡廓，沉沦于洞虚。金复其故性，威光鼎乃熺。此章直指先天金性为丹道之基也。上章并举金水两弦犹属对法，此则併两归一，直提金性根源，令学道者知有归宿处，且如世间真金入猛火中锻炼一番，精光自然倍增，罔有夺其色者，凡金尚然，矧（shěn 况且之意。）此本来金性原属干元，先天地生，万劫不坏，有能夺其精光者乎？故曰：“金入于猛火，色不夺精光”。当其混蒙初剖，地辟天开，干中一阳既破而为离，坤中一阴遂实而为坎。坎属太阴，其精为金。离乎？故曰：“金入于猛火，色不夺精光”。当其混蒙初剖，地辟天开，干中一阳既破而为离，坤中一阴遂实而为坎。坎属太阴，其精为金。离属太阳，其光为火。坎中真金锻以离中真火，精光自然团结不散。所以日月合体，而亘古亘今光明不息。故曰：“自开辟以来，日月不亏明”。世间真金入猛火中，锻炼数过，分量终不增减纤（xiān通“纤”）毫，况本来金性无欠无余，由他在乾坤大冶中千变万化，分量断然不增不减矣。所以自有日月以来，升沉出没，不知几经薄蚀，而圆明之体万古长存者，惟金性不毁故也。故曰：“金不失其性（前为“重”字），日月形如常”。金之精光本一，而日月分受之。日得其光常主外施，月得其精常主内藏。究竟日月原非二体，精光亦非二物，坎中金精虽若寄体于月，实则受胎于日。人但见初三之夕，一点阳光，月得其精常主内藏。究竟日月原非二体，精光亦非二物，坎中金精虽若寄体于月，实则受胎于日。人但见初三之夕，一点阳光倏从庚方出现，似乎金从月生，不知这点光明原（书中为“元”，疑有误）从太阳中来。只因晦朔之交，日月合璧，日魂返照月魄，感而有孕。至于朔旦一阳初动，月魄乃遡（sù同“溯”）日魂而生明，震来受符矣。故曰：“金本从月生，朔旦受日符”。盖坎中金精原从干金中分来，故以干为父。又从坤土中产出，故以坤为母。月当晦时与日媾精，两相撢持，日在上，月居下，日精入在月中，尽为太阴所收，月光包在日内，尽为太阳所挕（shè古同“摄”），光尽体伏，纯黑无光，乃坎金返撢持，日在上，月居下，日精入在月中，尽为太阴所收，月光包在日内，尽为太阳所挕（shè古同“摄”），光尽体伏，纯黑无光，乃坎金返归坤土之象。故曰：“金返归其母，月晦日相包”。当金返归母之时，月既为日所包，阳光遂隐匿潜伏，深藏于北方虚危之地，一点金精沉在北极太渊空洞虚无之中。在造化为日月合璧，旋玑停轮。在吾身为神归炁穴，大药入炉之时也。故曰：“隐藏其匡廓，沉沦于洞虚”。未几而阴极阳生，金性来复，庚方之上一阳复萌，在造化为哉生明，在吾身为大药将产，出坤炉而上升干鼎。坎中真金到此才得返本还源，复其干父之性，赫然成丹，而光明洞彻太虚矣。岂非“金复其故性，威光鼎乃熺”乎？此章直指金性为造还源，复其干父之性，赫然成丹，而光明洞彻太虚矣。岂非“金复其故性，威光鼎乃熺”乎？此章直指金性为造化之根，生身之本。造化之奥全在河图，水为五行开先，故天一即生水，沿而下之，水生木，木生火，火生土，到土方才生金，金独处其最后，而全五行之气，是造化以金为要终也。土为五行殿后，故天五才生土，遡而上之生土者火，生火者木，生木者水，水却从金而生。金复处，其最先而辟五行之源，是造化又以金为原始也。此终则有始之妙也。金在吾身即属先天祖性，父母未生以前，此性圆同太虚。迨媾最先而辟五行之源，是造化又以金为原始也。此终则有始之妙也。金在吾身即属先天祖性，父母未生以前，此性圆同太虚。迨媾精以后，地水火风四大假合而成幻躯，太虚中一点真性落于其中方能立命，是吾身以金为原始也。及乎四大假合之躯终归变灭，而此金性独不与之俱变，万劫长存，是吾身又以金为要终也。此无终无始之妙也。昔羲皇作易，剖开太极，劈破天心，最初落下一点便成干卦，干为天，而孔子翼之曰：万物资始。干为金，而孔子翼之曰：纯粹以精。此万世尽性至命之准则也。释迦作易，剖开太极，劈破天心，最初落下一点便成干卦，干为天，而孔子翼之曰：万物资始。干为金，而孔子翼之曰：纯粹以精。此万世尽性至命之准则也。释迦得此以证丈六之身，故尊之曰：金仙。元始得此以结一黍之珠，故宝之曰：金丹。三教根源同一金性，外此即堕旁蹊曲径矣。此学道者所当细参也。从金性二字参出三教圣人立地处，可谓泄尽天机。即此见参同一书，无人不当读，无时不当读矣。二土全功章第十一子午数合三，戊己号称五。三五既和谐，八石正纲纪。呼吸相含育，伫息（思）为夫妇。黄土金之父，流珠水之子。水以土为鬼，土镇水不起。朱雀为火精，执平调胜负。水盛火消灭，俱死归厚土。三性即会合，本性共宗祖。巨胜尚延年，还丹可入口之子。水以土为鬼，土镇水不起。朱雀为火精，执平调胜负。水盛火消灭，俱死归厚土。三性即会合，本性共宗祖。巨胜尚延年，还丹可入口。金性不败朽，故为万物宝。术士伏食之，寿命得长久。土游于四季，守界定规矩。金砂入五内，雾散若风雨。熏蒸达四肢，颜色悦泽好。发白皆变黑，齿落还旧所。老翁复壮丁，耆妪成姹女。改形免世厄，号之曰真人。此章专揭二土之用造化成丹，示人以归根之要也。子午数合三，戊己号称五。三五既和谐，八石正纲纪。呼女。改形免世厄，号之曰真人。此章专揭二土之用造化成丹，示人以归根之要也。子午数合三，戊己号称五。三五既和谐，八石正纲纪。呼吸相含育，伫息（思）为夫妇。此节言水火二用必归于中土也。盖丹道妙用无过水火，水火妙用不离戊己，大约举一即兼两，举两即兼三，会三乃归一。故水火既济，其功用全赖中央真土。水属北方正子，在吾身为坎戊月精，天一所生，其数得一。火属南方正午，在吾身为离己日光，地二所生，其数得二。两者一合，便成三数。坎中有戊，是为阳土。离中有己，是为阴土。在吾身为中黄真意。土本天五所生，独得五数。故曰：“子午数合三，戊己号称五”。合之而三性具矣。水火异性，各不相入。惟赖中央土德多方调燮，方得相济为用。由是水一火二得中央之土，列为四象，重为“子午数合三，戊己号称五”。合之而三性具矣。水火异性，各不相入。惟赖中央土德多方调燮，方得相济为用。由是水一火二得中央之土，列为四象，重为八卦。四正四隅，分布环拱，便成八石之象。岂非“三五既和谐，八石正纲纪”乎？外炼之术以五金配五行，以八石配八卦，丹头一到，五金八石皆点化而成真金。故仙翁假外象以喻内功，切不可泥象执文。水火既已相济，其中一合一辟，便有呼吸往来。呼至于根，吸至于蒂，总赖中宫真土含藏而停育之。此呼吸非口鼻之气，乃真息也。真息往来，初无间断，自相合辟于中土，不啻（chì〔不～〕a.不止，不只，如“～～如此”；b.不异于，如“～呼吸非口鼻之气，乃真息也。真息往来，初无间断，自相合辟于中土，不啻（chì〔不～〕a.不止，不只，如“～～如此”；b.不异于，如“～～兄弟”。）夫妇之相配偶，乃真胎也。中宫之真胎不动，而一水一火自然呼吸其中。犹太虚之真胎不动，而一日一月自然呼吸其中。岂非：“呼吸相含育，伫息为夫妇”乎？此段直指真息（原文为“意”，疑有误）为金丹之母，南华经云：真人之息以踵。心印经云：呼吸育清。黄庭经云：后有密户前生门，出日入月呼吸存。皆言真息也。此处指北方正子为水，南方正午为火，以本体而言。后面指离中流珠为水，坎中金精为火，又以颠倒互用而言矣。黄土金之父，流珠水之子。水以土为鬼，土镇水不起。朱雀为火精，执平调胜负。水盛火消灭指离中流珠为水，坎中金精为火，又以颠倒互用而言矣。黄土金之父，流珠水之子。水以土为鬼，土镇水不起。朱雀为火精，执平调胜负。水盛火消灭，俱死归厚土。三性即会合，本性共宗祖。此节言真土妙用能使三家归一也。戊己二土分属水火，水火之中便藏金木，而终始不离于土。盖生身受炁之初，即有中黄真土为金精之所自出，此金本是干家祖性，中宫不动元神。只因干金一破流入坤中，实而为坎。坎中金精便属戊土，即所谓金华也。惟坎中金精从干父而生，故，中宫不动元神。只因干金一破流入坤中，实而为坎。坎中金精便属戊土，即所谓金华也。惟坎中金精从干父而生，故曰：“黄土金之父”。干之一阳既入坎中，中间换入一阴，破而为离，正是坤宫真水化出离中木液，便属己土，即所谓太阳流珠也。惟离中流珠从坤母而出，故曰：“流珠水之子”。此言三性之顺而相生者也。坎中金精是为太阳真火，离中木液是为太阴真水。离中阴水易至泛滥，来克坎中阳火，坎中之火乃生中央真土以制之。故曰：“水以土为鬼，土镇水不起”。离中之水能克坎中真火，中央之土能制离中真水，而坎中之火又能生中央真土。所以水火相克，两下交战，全赖中央真土调停火候。不使两家偏胜，庶几各得其平。故曰：“朱雀为火精，执平调胜负”。朱雀是火候之火，不可偏属两家，所以特称火精。火盛而有炎上之患，赖真水以消灭之。水盛而有泛滥。故曰：“朱雀为火精，执平调胜负”。朱雀是火候之火，不可偏属两家，所以特称火精。火盛而有炎上之患，赖真水以消灭之。水盛而有泛滥之处，又赖真土以镇伏之。火性一死，永不复燃。水性一死，永不复流。俱销归于真土之中。故曰：“水盛火消灭，俱死归厚土”。此言三家之逆而相克者也。三家顺而相生，须从中宫之土生起。三家逆而相克，亦从中宫之土克起。所以丹道作用全在真意。念头起处，系人生死之根。顺之则流转不穷，逆之则轮回顿息。于此起手即于此归根。不可不知离中真水称一性，坎中真火称一性，中央真土独称一性。方其未归之前强分三性，既归之后，方知三性本来只是一性。最初太极函三，浑然天地之心，不可剖析。因混沌一剖，水火遂分上下两弦，併中土而成三家。此由合而分也。后来两弦之炁由分而合，戊天地之心，不可剖析。因混沌一剖，水火遂分上下两弦，併中土而成三家。此由合而分也。后来两弦之炁由分而合，戊己二土销归中央，依然一个宗祖。张紫阳所谓“追二炁于黄道，会三性于元宫”是也。故曰：“三性即会合，本性共宗祖”。初云夫妇以两性相配而言也。继云父子言两性之所自出也。究云宗祖乃併为一性矣。夫妇喻坎离，父母喻乾坤，是为两仪四象。宗祖喻中央祖土，便是返太极处，归根复命之妙于此可见。巨胜尚延年，还丹可入口。金性不败朽，故为万物宝。术士伏食之，寿命得长久。土游于四季，守界定规矩。金砂入五内，雾散若风雨。熏蒸达四肢，颜色悦泽好。发白皆变黑，齿落还旧所。老翁复壮丁，耆妪成姹女。改形免世厄守界定规矩。金砂入五内，雾散若风雨。熏蒸达四肢，颜色悦泽好。发白皆变黑，齿落还旧所。老翁复壮丁，耆妪成姹女。改形免世厄，号之曰真人。此节言伏食之神验也。三性会合便成金丹，吞入口中便称伏食。迥非旁门服食之术也。世间药草如巨胜之类尚可延年益算，况金性坚刚万劫不朽，岂不为万物中至宝？道术之士倘能伏此先天一炁，寿命有不长久者乎？戊己二土本无定位，周流四季，在东则为辰土，在南则为未土，在西则为戍土，在北则为丑土。木火金水无非土之疆界，作丹之时，赖此土以立中宫之基，伏丹之时，仍赖此土以定四方之界。故曰：“土游于四季，守界定规矩”。金砂即还丹也，盖两物所结就者。入五内即是入口，盖指方吋而言，非服食之邪说也。“雾散若风雨”以下俱是伏丹后自然之验。丹既吞入口中，灵变不测。周身八万四千毛孔，指方吋而言，非服食之邪说也。“雾散若风雨”以下俱是伏丹后自然之验。丹既吞入口中，灵变不测。周身八万四千毛孔，若云腾雾散，风雨暴至之状。四肢自然熏蒸，颜色自然悦泽，发白还黑，齿落转生，老翁复成壮男，老妪变成姹女，劫运所不能制，造物所不能厄，任他沧海成田，由我逍遥自在，“号之曰真人”不亦宜乎？同类合体章第十二胡粉投火中，色坏还为铅。冰雪得温汤，解释成太玄。金以砂为主，禀和于水银。变化由其真，终始自相因。欲作伏食仙，宜以同类者，植禾当以谷，覆鸡用其卵。以类辅自然，物成易陶冶。鱼目岂为珠？蓬蒿不成槚。类同者相从，事乖不当以谷，覆鸡用其卵。以类辅自然，物成易陶冶。鱼目岂为珠？蓬蒿不成槚。类同者相从，事乖不成宝。燕雀不生凤，狐兔不乳马。水流不炎上，火动不润下。世间多学士，高妙负良材。邂逅不遭値（遇），耗火亡资财。据按依文说，妄以意为之。端绪无因缘，度量失操持。捣治羌石胆，云母及矾（fán 见“矾”）磁。硫磺烧豫章，泥汞相炼飞。鼓铸五石铜，以之为辅枢。杂性不同类，安肯合体居。千举必万败，欲黠反成痴。稚年至白首，中道生狐疑。背道守迷路，出正入邪蹊。管窥不广见，难以揆方来。侥幸讫不遇，圣人独知之。此章言同类相从，方称伏食，而外炼者失其真也。胡粉投火中，色坏还为铅。冰雪得温汤，解释成太玄。金以砂为主，禀和于水银。变化由其真，终始自相因食，而外炼者失其真也。胡粉投火中，色坏还为铅。冰雪得温汤，解释成太玄。金以砂为主，禀和于水银。变化由其真，终始自相因。此节正言水火同类相变化而成丹也。何为同类？人但知坎为水，不知坎中一阳本从干家来，正是太阳真火。阳与阳为同类，故坎中真火恒欲炎上以还干。人但知离为火，不知离中一阴本从坤宫来，正是太阴真水。阴与阴为同类，故离中真水恒欲就下以还坤。此即大易“水流湿，火就燥”。本乎天者亲上，本乎地者亲下，各从其类之义也。魏公先以世间法喻之，如胡粉本是黑铅烧就，一见火则当下还复为铅。冰雪本是寒水结成，一见汤则立即解释成水。可见火还归火，水还归水，本性断不可违矣。炼金丹者，只取一味水中是黑铅烧就，一见火则当下还复为铅。冰雪本是寒水结成，一见汤则立即解释成水。可见火还归火，水还归水，本性断不可违矣。炼金丹者，只取一味水中之金，水中之金即命蒂也，本来原出于干性。自干破为离，离为性根，中有真阴，得南方火炁，砂之象也。学人欲暸命宗，必须以性为主。故曰：“金以砂为主”。而此离中砂性，得火则飞，未易降伏，仍赖北方水中之金以制之。学人欲暸性宗，又必须以命为基。故曰：“禀和于水银”。要知砂与水以砂为主”。而此离中砂性，得火则飞，未易降伏，仍赖北方水中之金以制之。学人欲暸性宗，又必须以命为基。故曰：“禀和于水银”。要知砂与水银原是一体同出而异名者也。其初原从一体变化而成两物，其究还须从两物变化而归一体。只此真阴真阳，同类交感，相因为用而已。故曰：“变化由其真，终始自相因”。变化之法，不过流戊就己，颠倒主宾，使后天坎离还复先天乾坤耳。张紫阳云“阴阳得类方交感，二八相当自合亲”，此之谓也。欲作伏食仙，宜以同类者，植禾当以谷，覆鸡用其卵。以类辅自然，物成易陶冶。鱼交感，二八相当自合亲”，此之谓也。欲作伏食仙，宜以同类者，植禾当以谷，覆鸡用其卵。以类辅自然，物成易陶冶。鱼目岂为珠？蓬蒿不成槚。类同者相从，事乖不成宝。燕雀不生凤，狐兔不乳马。水流不炎上，火动不润下。此节旁证同类之义也。伏食之法只取砂与水银二物变化成丹。金以制砂，其义为伏。吞入五内，其义为食。非伏食无由作仙，非同类之物，无由取以伏食。故曰：“欲作伏食仙，宜以同类者”。此二句为通章要领，以下旁引曲喻总是发明同类二字，世间一切有情无情之物，莫不各有其类。若同类者相从，有如植禾之必以谷，覆鸡之必用卵，其炁自然相辅，庶几物得化生而易于陶冶矣。若非类强合，则如鱼目之不可为珠，蓬蒿（hā）之不得成槚，相辅，庶几物得化生而易于陶冶矣。若非类强合，则如鱼目之不可为珠，蓬蒿（hā）之不得成槚，燕雀之决不生凤，狐兔之决不产马。其性迥然各别，必至事情乖违，而难以成宝矣。何况水本流湿，其润下之性也，一流即不能强之使上。火本就燥，其炎上之性也，一动即不能强之使下。此一坎一离所以各从其类，砂与水银之所以变化而成丹也。即伏食之义也。世间多学士，高妙负良材。邂逅不遭値（遇），耗火亡资财。据按依文说，妄以意为之。端绪无因缘，度量失操持。捣治羌石胆，云母及矾（fán 见“矾”）磁。硫磺烧豫章，泥汞相炼飞。鼓铸五石铜，以之为辅枢。杂性不同类，安肯合体居。千举必万败，欲黠（xiá）反成痴（chī同“痴”）。稚年至白首，中道生狐疑。背道守迷路，出正入邪蹊。管窥，欲黠（xiá）反成痴（chī同“痴”）。稚年至白首，中道生狐疑。背道守迷路，出正入邪蹊。管窥不广见，难以揆方来。侥幸讫不遇，圣人独知之。此节端破炉火之谬言。一切有形有质者皆非同类之真也。欲炼还丹必须采取药物，一性一命本先天无形之妙，喻为铅汞，迥非凡砂水银。欲炼还丹必是安炉立鼎，药物入炉，用先天真火锻炼，喻为炉火，迥非烧茅弄火。还丹工用，全资火候而烹炼，既而温养，终而变化，一粒圆成，脱胎入口，喻为伏食，迥非服铒金石。然而金丹大道，茅弄火。还丹工用，全资火候而烹炼，既而温养，终而变化，一粒圆成，脱胎入口，喻为伏食，迥非服铒金石。然而金丹大道，万劫一传，兼且世人福薄，难逢真师，往往多流于伪术。有等狂夫，自负高材，博学不求真师指授，妄认己意，附（傅）会丹经，遂以凡药为铅汞，以烧炼为炉火，以服饵为伏食，既不识端绪，又不知度量，于是广求五金八石，杂（zá同“杂”）用三黄四神，既非本来同类之物，安肯合体成丹？是犹认鱼目而为珠，望狐兔以生马也。此等伪术，势必万举万败，白首无成。小则耗损资财，大则丧身失命。似黠（xiá）而实痴，当疑而反信，此为守迷背道，出正入邪，不肯自己以生马也。此等伪术，势必万举万败，白首无成。小则耗损资财，大则丧身失命。似黠（xiá）而实痴，当疑而反信，此为守迷背道，出正入邪，不肯自己认错，转将错路指人，遂以管窥蠡测之见着书立言，贻误方来，塞却后来途径，瞎却后人眼目，以至人法眼观之，无半点是处。此辈尚不觉悟，方且欲侥幸于万一，岂不谬哉？首章指出两弦真气，次章独揭先天金性，三章才说三性会合，直到还丹入口，位证真人，伏食之旨已无余蕴矣。但世人惑于旁门烧炼之术，往往假托伏食而实非同类之真，故此章重言以破其迷。吕公警世诗云“不思还丹本无质，翻饵金石何太愚!”引而不发，其即仙翁破迷之意乎？祖述三圣章第十三若夫三（至）圣，不过伏羲，始画八卦，效法天地。文王帝之宗，结体演爻辞。夫子庶圣雄，十翼以辅之。三君天所挺，迭兴更御时。优法天地。文王帝之宗，结体演爻辞。夫子庶圣雄，十翼以辅之。三君天所挺，迭兴更御时。优劣有步骤，功德不相殊。制作有所踵，推度审分铢。有形易忖量，无兆难虑谋。作事令可法，为世定此（诗）书。素无前识资，因师觉悟之。皓若褰（qiān1揭起2 古代称套裤）帷帐，嗔目登高台。火记六百篇，所趣等不殊。文字郑重说，世人不熟思。寻度其源流，幽明本共居。窃为贤者谈，曷敢轻为书？若遂结舌喑（yīn同“喑”），绝道获罪诛。写情着竹帛，又恐泄天符。犹豫增叹息，俛（同“俯”）仰缀（役）斯愚。陶冶有法度，安能（未可）悉陈敷。略述其纲纪，枝条见扶疏。此章言祖述三圣之易以阐明大道也。若夫三圣，不过伏羲，始画八卦，效法冶有法度，安能（未可）悉陈敷。略述其纲纪，枝条见扶疏。此章言祖述三圣之易以阐明大道也。若夫三圣，不过伏羲，始画八卦，效法天地。文王帝之宗，结体演爻辞。夫子庶圣雄，十翼以辅之。三君天所挺，迭兴更御时。优劣有步骤，功德不相殊。制作有所踵，推度审分铢。有形易忖（cǔn）量，无兆难虑谋。作事令可法，为世定此书。此节言三圣作易，为大道之渊源也。道体同于太虚，本无名象。邃古以前，混混沌沌，忘乎道，无非道也！自圣人作易，方才凿破混沌，一切天机乃尽泄矣。易之为书画卦始于伏羲，系辞演于文王，十翼成于孔子，更三圣而易道始备。羲皇为开天之圣，宇宙在手，万化生心，当时仰观俯察，穷取造化根源。天不爱道，于是河出图，于文王，十翼成于孔子，更三圣而易道始备。羲皇为开天之圣，宇宙在手，万化生心，当时仰观俯察，穷取造化根源。天不爱道，于是河出图，洛出书，为之印证。从此灼见造化根源只一太极，太极之精蕴不出河图洛书。河洛之中，五即太极也！由此分出一阴一阳而为两仪，由两仪而生四象，由四象而生八卦。八卦既画，其序则干一兑二离三震四巽五坎六艮七坤八。干以原始，坤以要终，两头包括阴阳。震为天根，巽为月窟。一中分出造化。其位则干南坤北，离东坎西，兑东南，艮西北，巽西南，震东北，阴阳之纯且中者居四正，杂且偏者居四隅。天位乎上，地位乎下，乾坤定子午之位。日，离东坎西，兑东南，艮西北，巽西南，震东北，阴阳之纯且中者居四正，杂且偏者居四隅。天位乎上，地位乎下，乾坤定子午之位。日生于东，月生于西，坎离列卯酉之门。以至山镇西北，泽注东南，风起西南，雷动东北，悉合造化自然法象。重之为六十四卦，其序其位大略相同。盖卦未画时，易在天地，卦既画时，天地在易。是谓“效法天地”。此先天之羲易也。先天之易，但立其体，未究其用。厥后，连山首艮，归藏首坤，夏商之易，虽各有其用，而精义未彰。至商周之际先天之易，但立其体，未究其用。厥后，连山首艮，归藏首坤，夏商之易，虽各有其用，而精义未彰。至商周之际，文王蒙难羑里，身经忧患，大用现前，乃翻转羲皇局面，颠倒乾坤化机，其位则离火自东而南，代干之位，干之大用在离，向明之象也。坎水自西而北，代坤之位，坤之大用在坎，藏用之地也。震木本在东北，进而居东以代离，木与火为侣也。兑金本在东南，退而居西以代坎，金与水为朋也。退干父于西北，实居坎水之前，取干知大始之义。置坤母于西南，实居离火之后，取坤作成物之义。艮来东北，处先天震位，长男返为少男，阳以进极而退也。巽往东南，处先天兑位，少女转为长女，阴以退极而进也长男返为少男，阳以进极而退也。巽往东南，处先天兑位，少女转为长女，阴以退极而进也。阴阳之少而交者居四正，老而不交者居四隅。义取交易为用，其八卦之序，则自帝出乎震，以至成言乎艮。循环无端，终始万物。义取变易为用，其六十四卦之序，则始于乾坤，中于坎离，终于既济，未济。义取反对为用，位置既易，因象系辞，系在卦下者，谓之彖辞，如元亨利贞之类。系在逐爻者，谓之爻辞，如潜龙勿用之类。象辞，占变粲然大备，是谓“结体演爻辞”。此则后天之周易也。孔子生诸圣之后，晚而好易，韦编三绝，其义益精。作十传以羽翼圣经，谓之十翼。象彖文言专发文王后天之辞，系辞说卦兼明圣之后，晚而好易，韦编三绝，其义益精。作十传以羽翼圣经，谓之十翼。象彖文言专发文王后天之辞，系辞说卦兼明伏羲先天之象，序卦杂卦旁通流行之妙，反对之机大约。尽性至命之微言，穷神知化之奥义，无不悉备其中。是谓：“十翼以辅之”。使人从后天以返先天，而易道集其大成矣。三圣皆天挺之资，迭兴间出，倡明大道。作述虽分先后，功德实无优劣。伏羲之易取诸造化，文王之易取诸伏羲，孔子之易兼取诸羲文，或作或述，同出一源，其间分数铢两毫发不差。无兆者，形而上之道，太极是也。有形者，形而下之器，卦爻象数是也。形上之道，难以揣摹。形下之器，易为忖（cǔn）度。所以画卦系辞作翼，而一阴差。无兆者，形而上之道，太极是也。有形者，形而下之器，卦爻象数是也。形上之道，难以揣摹。形下之器，易为忖（cǔn）度。所以画卦系辞作翼，而一阴一阳之道遂宜乎其中。三圣定为此易书，正欲万世学道之士则而象之耳。素无前识资，因师觉悟之。皓若褰（qiān1揭起2 古代称套裤）帷帐，嗔目登高台。火记六百篇，所趣等不殊。文字郑重说，世人不熟思。寻度其源流，幽明本共居。窃为贤者谈，曷敢轻为书？若遂结舌喑（yīn同“喑”），绝道获罪诛。写情着竹帛，又恐泄天符。犹豫增叹息，俛（同“俯”）仰缀斯愚。陶冶有法度，安能悉陈敷。略述其纲纪，枝条见扶疏。此节言准易以作参同契，直叙其源流也。魏公自言大道非真师不传，天纵如三圣，制作且有所踵，况我素无先知之同契，直叙其源流也。魏公自言大道非真师不传，天纵如三圣，制作且有所踵，况我素无先知之资，岂能坐进大道？幸遇真师先觉而始得开悟耳！因师觉悟之后，夙障尽空，疑团冰解，双目洞明，有若褰帷帐而登高台，岂不快哉？易有六十四卦，除去乾坤坎离四卦应炉鼎药物，其余一日两卦，朝屯暮蒙，一月三十日，准六十卦，十月三百日，便准六百卦。究竟簇年归月，簇月归日，簇日归时，火候工夫只在一刻。文虽郑重，旨趣不殊，非果有六百篇火记也。奈世人不能好学深思，究其源流之所在。倘能究之，只此一坎一离，月幽日明，同类共居，日月为记也。奈世人不能好学深思，究其源流之所在。倘能究之，只此一坎一离，月幽日明，同类共居，日月为易，通乎昼夜，便是无上至真妙道。我今因师觉悟，灼见道在目前，祗可与一二贤者共谈，不敢轻易笔之于书也。然遂闭口结舌，诚恐逆天道而获谴。若尽情着之竹帛，又恐泄天宝而罹愆（qiān罪过）。进退两难，犹豫俛仰，只得假大易有象之文寓大丹无形之用，费尽陶冶，约略敷陈，鼎器药物，粗述纲纪。采取烹炼，微露枝条。翼后学之得意而忘言耳。盖书不尽言，言不尽意。仙翁参同一书，实与三圣作易，尽性至命穷，粗述纲纪。采取烹炼，微露枝条。翼后学之得意而忘言耳。盖书不尽言，言不尽意。仙翁参同一书，实与三圣作易，尽性至命穷神知化之宗旨若合符节。世之有缘遇师者，得此一印证而了然矣！还丹法象章第十四以金为堤（同堤）防，水入乃优游。金数（计有十五）十有五，水数亦如之。临炉定铢两，五分水有余。二者以为真，金重如本初。其土（三）遂不离（入），二者（火二）与之俱。三物相含受，变化状若（有）神。下有太阳炁，伏蒸须臾间。先液而后凝，号曰黄舆（yú）焉。岁月将欲讫，毁性伤寿年。形体为（如）灰土，状若明窗尘。捣治併合之，持入赤色门。固塞其际会，务令致完坚焉。岁月将欲讫，毁性伤寿年。形体为（如）灰土，状若明窗尘。捣治併合之，持入赤色门。固塞其际会，务令致完坚。炎火张于下，龙虎（昼夜）声正勤。始文使可修，终竟武乃成。候视加谨密，审察调寒温。周旋十二节，节尽更湏亲。气索命将绝，体死亡魄魂。色转更为紫，赫然称还丹。粉提以一丸，刀圭最为神。此章全举还丹法象，以为入室之准则也。以金为堤防，水入乃优游。金数十有五，水数亦如之。临炉定铢两，五分水有余。二者以为真，金重如本初。其土遂不离，二者与之俱。此节言金水定铢两，五分水有余。二者以为真，金重如本初。其土遂不离，二者与之俱。此节言金水二炁为金丹之真种也。盖还丹妙用彻始彻终，只此金水二物。建之即为炉鼎，采之即为药物，烹之即为火候，乃至抽添运用，脱胎神化，无不在此。然学道之士当知所先后，未有堤防不立而得金水之用者也。坎中之金本伏处而在内，然内者不可不出。金丹作用必须先立堤防，牢镇六门，元气方不外泄。离中之水易泛滥而在外，然外者不可不入。况堤防既立，不许泛滥，真精无复走漏，自然优游入炉。故曰：“以金为堤防，水入乃优游”。金水两物之中，本藏戊己入。况堤防既立，不许泛滥，真精无复走漏，自然优游入炉。故曰：“以金为堤防，水入乃优游”。金水两物之中，本藏戊己二土。土之生数得五，成数得十。坎中之金纳戊，是得其十数之五也。离中之水纳己，是亦得其十数之五也。二土合而成圭，两弦之炁恰好圆足。故曰：“金数十有五，水数亦如之”。堤防既立，方及临炉之用。临炉配合，仍旧是金水二物，但铢两分数纤毫不可差错。真水真金二者须要适均，不可太过，亦不可不及。故水止于五分，当防其有余而泛滥，不可太过也。金亦须五，仍旧是金水二物，但铢两分数纤毫不可差错。真水真金二者须要适均，不可太过，亦不可不及。故水止于五分，当防其有余而泛滥，不可太过也。金亦须五分，当重如原初之铢两，不可不及也。金水二者既得其真，自有真土调和其间。盖离中纳己，其五分之水即己土也，坎中纳戊，其五分之金即戊土也。举金水二物而真土在其中矣。及至戊己二土会入中央，亦适得五分本数，三家相会恰圆三五之数。故曰：“其土遂不离，二者与之俱”。三五之义出于河图，东三南二，木火为侣。北一西四，金水为朋。此处但举金水而不及木火者，盖以金水为精魄，如人之形。木火为神魂，如人之影”。三五之义出于河图，东三南二，木火为侣。北一西四，金水为朋。此处但举金水而不及木火者，盖以金水为精魄，如人之形。木火为神魂，如人之影。形动则影随，吋步不离，木火之于金水亦然。精魄既合同而化，神魂亦与之俱妙矣。此金丹造化之妙也。三物相含受，变化状若神。下有太阳炁，伏蒸须臾间。先液而后凝，号曰黄舆（yú）焉。岁月将欲讫，毁性伤寿年。形体为灰土，状若明窗尘。此节言坎离交会，金丹之法象也。金水两弦之炁得真土以含育之，是为三物一家。其中自生变化之状，而神明不测矣。盖前后堤防既已完固，不容丝毫走漏，炉中真炁自然发生。然后抽坎中之阳填离中之阴。北海中太阳真火熏蒸上腾，须臾之间，离宫真水应之，先时化为白液，后乃凝而至坚。两者交会于黄房，运旋不停，有黄舆之象。所上腾，须臾之间，离宫真水应之，先时化为白液，后乃凝而至坚。两者交会于黄房，运旋不停，有黄舆之象。所谓“婴儿姹女齐齐出，却被黄婆引入室”也。然此两物未交之前，当以真意合之；两物既交之后，又当以真意守之；一点阳炁敛入厚土中，生机转为杀机；譬若穷冬之季，万物剥落而归根。故曰：“岁月将欲讫，毁性伤寿年”。初时神入炁中，寂然不动，似乎薧木死灰。久之生机复转，一点真炁希微隐约，滃然上升，有如野马尘埃之状。故曰：“形体为灰土，状若明窗尘”。此为坎离始媾，大，一点真炁希微隐约，滃然上升，有如野马尘埃之状。故曰：“形体为灰土，状若明窗尘”。此为坎离始媾，大药将产之法象。捣治并合之，持入赤色门。固塞其际会，务令致完坚。炎火张于下，龙虎声正勤。始文使可修，终竟武乃成。候视加谨密，审察调寒温。周旋十二节，节尽更须亲。气索命将绝，体死亡魄魂。色转更为紫，赫然称还丹。粉提以一丸，刀圭最为神。此节言乾坤交媾，还丹之法象也。坎离既交会于黄房，抟炼两物，併合为一，养在坤炉之中。时节一到，大药便产。所谓“水乡铅，只一味”是也。大药既产即忙采取，当以真意为媒，回风混合，徐徐从坤炉升入干鼎，方得凝而成丹。故曰：“捣治併合之，持入赤色门”。此二句有吸舐（shì）撮闭无数作用在内。赤色门即绛宫，干鼎是也；药既升鼎，渐凝渐结，又徐徐从干鼎引下，送归黄併合之，持入赤色门”。此二句有吸舐（shì）撮闭无数作用在内。赤色门即绛宫，干鼎是也；药既升鼎，渐凝渐结，又徐徐从干鼎引下，送归黄庭，此时当用固济之法，深之又深，密之又密，直到虚极静笃，一点真阳之炁方不泄漏。故曰：“固塞其际会，务令致完坚”。固塞之极，一阳动于九地之下，形如烈火斩关而出。正子时一到，亟当发真火以应之。霎时乾坤合辟，龙虎交争，便有龙吟虎啸之声。故曰：“炎火张于下，龙虎声正勤”。大药初生，用文火以含育之，方得升腾而出炉。大药既生，用武火以锻炼之，方得结宝而归鼎。故曰：“始文使可修，终竟武乃成”。此中火候不可毫发差殊，当用文而失之于猛，则火太炎矣。当用武而失之于弱，则火太冷矣。必相其宽猛之宜，调其寒温之节，方能修，终竟武乃成”。此中火候不可毫发差殊，当用文而失之于猛，则火太炎矣。当用武而失之于弱，则火太冷矣。必相其宽猛之宜，调其寒温之节，方能得中。故曰：“候视加谨密，审察调寒温”。子时从尾闾起火，应复卦一阳初动，是为天根。直至六阳纯乎干，动极而复静矣。午时从泥汍退火，应姤卦一阴初静，是为月窟。直至六阴纯乎坤，静极而复动矣。故曰：“周旋十二节，节尽更须亲”。此乾坤大交之法象也。动静相生，循环不息，练之有练，日逐抽铅添汞，久之铅尽汞干，阴消阳长，方得变种性为真性，化识神为元神。阴滓尽除，则尸气灭而命根卒断；阳神成象，则凡体死而魂魄俱空。故曰：“气索命将绝，体死亡魄魂”。关尹子所谓“一息不存，道将来契”正此时也。至于伏炼久久，绝后再苏（sū同“苏空。故曰：“气索命将绝，体死亡魄魂”。关尹子所谓“一息不存，道将来契”正此时也。至于伏炼久久，绝后再苏（sū同“苏”），心死神活，而鼎中之丹圆满光明塞乎太虚矣。岂非“色转更为紫，赫然称还丹”乎？金丹本干家所出，还归于干，故称还丹。色转紫者，取水火二炁锻炼而成也。还丹有气无质，不啻（chì不异于）如一丸之粉，一七之刀圭，而其变化若神已如此。从此脱胎换鼎，再造乾坤。子又生孙，变化不测，过此已往，未之或知矣。岂非“粉提以一丸，刀圭最为神”乎？刀者，水中金也。圭者，戊己二土也。可见彻始彻终，只取金水土三物变化而成还丹耳。崔公《入药镜》云：“饮刀圭，窥天巧”。吕祖《沁园春》云：“当时自饮刀圭，又谁信，无中产就儿”。其旨略同。此章全露还丹法象，系伏食卷中大关键处当时自饮刀圭，又谁信，无中产就儿”。其旨略同。此章全露还丹法象，系伏食卷中大关键处。初言两物相交，则伏炁于坤炉而产药。继言一阳初动，则凝神于干鼎而成丹。前两节总是金丹作用，后一节方是还丹作用。《入药镜》云：“产在坤，种在干”。《悟真篇》云：“依他坤位生成体，种在干家交感宫”。皆本诸此章。还丹名义章第十五推演五行数，较约而不繁。举水以激火，奄然灭光明。日月相薄蚀，常在晦朔（朔望）间。水盛坎侵阳，火衰离昼昏。阴阳相饮食，交感道自然。名者以定较约而不繁。举水以激火，奄然灭光明。日月相薄蚀，常在晦朔（朔望）间。水盛坎侵阳，火衰离昼昏。阴阳相饮食，交感道自然。名者以定情，字者缘（以）性言。金来归性初，乃得称还丹。吾不敢虚说，仿效圣人文。古记显（题）龙虎，黄帝美金华。淮南炼秋石，玉阳加黄芽。贤者能持行，不肖毋与俱。古今道由一，对谈吐所谋。学者加勉力，留念深思维。至要言甚露，昭昭不我欺。此章结言还丹名义不外水火之性情也。推演五行数，较约而不繁。举水以激火，奄然灭光明。日月相薄蚀，常在晦朔间义不外水火之性情也。推演五行数，较约而不繁。举水以激火，奄然灭光明。日月相薄蚀，常在晦朔间。水盛坎侵阳，火衰离昼昏。阴阳相饮食，交感道自然。此节言水火交感，虽变而不失其常也。盖丹道之要，不外一水一火。水火本出一原，后分两物。干中一阳走入坤宫成坎，坎中有太阳真火。坤中一阴转入干宫成离，离中有太阴真水。水火二炁互藏其根，化化不穷，五行全具其中。盖水能生木，木能生火，火能生土，土能生金，金转生水。左旋一周而相生，便是阴真水。水火二炁互藏其根，化化不穷，五行全具其中。盖水能生木，木能生火，火能生土，土能生金，金转生水。左旋一周而相生，便是河图顺数。火能克金，金能克木，木能克土，土能克水，水转克火。右旋一周而相克，便是洛书逆数。一顺一逆，一生一克，而五行之千变万化，总不出其范围。故曰：“推演五行数，较约而不繁”。天一生水，水本真阳，落在北方太阴之中，所以水反属阴。地二生火，火本真阴，升在南方太阳之位，所以火反属阳。阴盛便来。天一生水，水本真阳，落在北方太阴之中，所以水反属阴。地二生火，火本真阴，升在南方太阳之位，所以火反属阳。阴盛便来侵阳，水盛便能灭火。盖先天无形之水火，主相济为用。后天有形之水火，便主相激为仇。故曰：“举水以激火，奄然灭光明”。天上之日月即是世间之水火，日属太阳火精，其光无盈无亏。月属太阴水精，借太阳以为光。晦朔之交，日与月并会于黄道，谓之合朔。然但同经而不同纬，故虽合朔而日不食。若同经而又同纬，月不避日，阳光便为阴魄所掩，所以太阳薄蚀长经而不同纬，故虽合朔而日不食。若同经而又同纬，月不避日，阳光便为阴魄所掩，所以太阳薄蚀长在朔日。故曰：“日月相薄蚀，常在晦朔间”。人生与造化若合符节，世人但知坎水为月，不知离中一点真水正是月精。但知离火为日，不知坎中一点真火正是日光。晦朔之交，日月合璧，水火互藏，一点太阳真火沉在北海极底。邵子所谓“日入地中，媾（交）精之象”也。在丹道为坎离会合，一阳初动之时；此时当温养，潜龙勿可轻用，直到阳光透出地上，方才大明中天。若真阳不之象”也。在丹道为坎离会合，一阳初动之时；此时当温养，潜龙勿可轻用，直到阳光透出地上，方才大明中天。若真阳不能作主，陷在阴中，无由出炉，即是北方寒水过盛浸灭太阳之象。真火既为寒水所浸，日光便受重阴掩抑，正当中天阳盛之时，奄奄衰弱，昏然而无光矣。故曰：“水盛坎侵阳，火衰离昼昏”。坎居北方幽阙之中，正子位上，月当朔之象也。离居南方向明之地，正午位上，日当昼之象也。水火均平，方得交济为用。一或偏胜，便致薄蚀为灾。日月之相薄蚀，即“举水以激火，奄然灭光明”之义也。当与中篇“晦朔薄蚀，掩冒相倾”参看。虽然此特言其变耳。若水不过盛，火不过衰，日以施德，月以舒光，水火自然之性情即阴阳交感之常道。薄蚀灾变何自而生？故曰：“阴阳相饮食，交感道自然”。日月反其常道，故云薄蚀。阴阳情即阴阳交感之常道。薄蚀灾变何自而生？故曰：“阴阳相饮食，交感道自然”。日月反其常道，故云薄蚀。阴阳循其自然，故云饮食。盖以造化日月之合有常有变，喻身中坎离之交有得有失，不可不慎密也。名者以定情，字者缘性言。金来归性初，乃得称还丹。此节言金返归性，乃还丹之了义也。离中元精本太阴真水，又称木液。坎中元炁本太阳真火，又称金精。丹道以水火为体，金木为用。关尹子曰“金木者，水火之交（是）也”。金木虽分两物，究其根源只一金性。金性本出先天之干，未生以前，纯粹以精，万劫不坏。只因有生以后，混沌一破，走入坤宫，是为坎中金精，干家之性转两物，究其根源只一金性。金性本出先天之干，未生以前，纯粹以精，万劫不坏。只因有生以后，混沌一破，走入坤宫，是为坎中金精，干家之性转而称情。干之一阳既变为坎，其中换入坤之一阴，是为离中木液，坤家之情转而称性。盖木主宁静，字之曰性。所谓人生而静，天之性也。金主流动，名之曰情。所谓感于物而动性之欲也。两者同出异名，譬如只此一个人，既有名，复有字，名字虽分两样，性情原是一人。故曰：“名者以定情，字者缘性言”。其初，干中之金变而成坎，便是性转为情。一转则无所不转，轮回颠倒只在目前，所谓顺去生人生物也。今者，仍取坎中真金还而归干，便是情返为性。一返则无所不返，坚固圆常，顿超无漏。所谓逆来成圣成仙也。学道之士，若能于感而顺去生人生物也。今者，仍取坎中真金还而归干，便是情返为性。一返则无所不返，坚固圆常，顿超无漏。所谓逆来成圣成仙也。学道之士，若能于感而遂通之后，弗失其寂然不动之初，而丹乃可还矣。故曰：“金来归性初，乃得称还丹”。此两句不特为一部参同契关键，且能贯穿万典千经。《愣严经》云：“如金矿杂于金精，其金一纯，更不成杂”。《圆觉经》云：“如销金矿，金非销有，既已成金，不重为矿，经无穷时，金性不坏”。是此义也。吕纯阳云：“金为浮来方见性，木因沉后始知心”。张紫阳云：“金鼎欲留朱里汞，玉池先下水中银”。亦此义也。可见吕纯阳云：“金为浮来方见性，木因沉后始知心”。张紫阳云：“金鼎欲留朱里汞，玉池先下水中银”。亦此义也。可见三藏梵典，只发挥得金性二字，万卷丹经，只证明得还丹二字〞。且更兼质之羲易，若合符节，可以豁然矣。还丹法象已备见上章，此特结言其名义耳。吾不敢虚说，仿效圣人文。古记显龙虎，黄帝美金华。淮南炼秋石，玉阳加黄芽。贤者能持行，不肖毋与俱。古今道由一，对谈吐所谋。学者知勉力，留念深思维。至要言甚露，昭昭不我欺。此节言还丹宗旨，实祖述从上先圣也。自开辟以来，只有此一点金性；得此以自度，超凡入圣固是这个；得此以度世，着书立言也是这个。所谓千百世之上，千百世之下，有圣人出焉，此心此理无不同也，迥非一切虚词曲说可得而拟。故曰：“吾不敢虚说，仿效圣人文”。本来金性无也是这个。所谓千百世之上，千百世之下，有圣人出焉，此心此理无不同也，迥非一切虚词曲说可得而拟。故曰：“吾不敢虚说，仿效圣人文”。本来金性无名无字，古圣因觉悟末学，强为安名立字，种种不一。还丹之道取龙虎两弦之炁相配而成，古丹经中显出龙虎两物。故曰：“古记显龙虎”。不特此也，昔黄帝炼成还丹，美其名曰金华；淮南丹成又名秋石，玉阳丹成又名黄芽。龙虎象一金一木；金华象水中之金；秋石色本黑而转白，亦象水中之金；黄芽象土中黄帝炼成还丹，美其名曰金华；淮南丹成又名秋石，玉阳丹成又名黄芽。龙虎象一金一木；金华象水中之金；秋石色本黑而转白，亦象水中之金；黄芽象土中之金；究竟名字虽殊，性情则一。所谓“较约而不烦”者也。即如篇中言龙虎，言金华，言黄芽，不一而足，或喻两物，或喻真种，要皆本黄帝以来之遗文。岂故为虚词曲说以误后学哉？然此事只可与贤者行持，断断不可与不肖者同事，何以故？贤者性慧而能通，得真师一言开悟，便知专求先天金炁，炼成还丹，不受群惑。不肖者性钝而易惑，闻说龙虎便疑是炉火外道，闻说金华黄芽便猜做五金八石，闻说秋石便思炼食溲溺。错认先圣大道，流入彷门，此辈讵可与共事哉？岂知一切异名总不出先天金性，只此一事实，余二即非真。先圣先贤得心应手之后，着书立说，虽各出手眼，然到宗旨合同道，流入彷门，此辈讵可与共事哉？岂知一切异名总不出先天金性，只此一事实，余二即非真。先圣先贤得心应手之后，着书立说，虽各出手眼，然到宗旨合同处，恍如对面而谈，无不吐露，至切至要，更无一字自欺欺人。学者倘能参礼真师，研穷元奥，勉力而深思之，悉与此书印证，毫发不差，方知还丹大道只在目前，仙翁真不我欺也，何不直下承当，而转转赚误乎？此系上篇伏食末章（节），专为还丹二字结尾。故魏公自发其作书之原委特叮咛之。抑有疑焉！魏公既何不直下承当，而转转赚误乎？此系上篇伏食末章（节），专为还丹二字结尾。故魏公自发其作书之原委特叮咛之。抑有疑焉！魏公既言参同一书祖述三圣之易而作矣，此处仿效圣人又别指黄帝以下，一可疑也。“世俗相沿”又云魏公不知师授谁氏，得古文龙虎经仿之作参同契。二可疑也。愚常窃取近代所传龙虎经反复玩之，不特义蕴浅薄，视参同有天壤之别，即其章章相效，句句相摹，声口逼肖，蹈袭之蹊径显然。盖世间好事者见此章有古记显龙虎句，求其说而不得，遂造作伪书以欺世而惑众耳。后来彭晓王道辈，读书无眼，甘为所欺，反以此书为依傍龙虎经而作，岂不误哉！自王彭作俑以来，，求其说而不得，遂造作伪书以欺世而惑众耳。后来彭晓王道辈，读书无眼，甘为所欺，反以此书为依傍龙虎经而作，岂不误哉！自王彭作俑以来，近代炉火家无不奉龙虎经为指南，并将此书牵入炉火，牢不可破，遂使金丹大道流为彷门烧炼之术，良可悲也。然则仿效圣人句究竟何居？曰此圣人泛指黄帝以来诸祖，仿效者言金华黄芽诸异名所自出也。非端指龙虎经也。若专指龙虎经，则金华黄芽等又出何经耶？即使果有龙虎经，必系上古之文，在魏公时尚彷佛相传，今则久则金华黄芽等又出何经耶？即使果有龙虎经，必系上古之文，在魏公时尚彷佛相传，今则久已亡矣，决非近代所传之伪龙虎经也。然则仿效圣人祖述三圣两说究竟何居？曰两者各不相悖，篇中龙虎金华诸异名，相沿于黄帝以来所传之文，而药物炉鼎火候三种法象，则断断出乎三圣之易，不可诬也。此御政伏食之所以相为表里也。其参考丹经，则中篇结尾“惟昔圣贤，伏炼九鼎”等句印证甚明。其原本周易，则下篇结尾“歌叙大易，三圣遗言”等句印证尤明。后两篇结尾实与此章首尾相应，彼两章内并不提龙虎经一字，可见此处仿效圣人其为泛指之辞无本周易，则下篇结尾“歌叙大易，三圣遗言”等句印证尤明。后两篇结尾实与此章首尾相应，彼两章内并不提龙虎经一字，可见此处仿效圣人其为泛指之辞无疑矣！非愚輙敢为臆说，皆俱仙翁所自道也。此系千古一大疑案，管窥之见，聊为指破，知我罪我，其何敢辞。伏食诸章，尤奥于前两卷，得此阐发，不啻皎日之中天矣。至如龙虎经一案，以伪杂真，千数百年来，无人敢开口，并为道破，快绝快绝！参同契中篇（上卷，御政计四章，此乃中之上也。）上篇十五章分御政养性伏食三卷，应药物炉鼎火候三要。金丹大道已无余蕴，然但举其契中篇（上卷，御政计四章，此乃中之上也。）上篇十五章分御政养性伏食三卷，应药物炉鼎火候三要。金丹大道已无余蕴，然但举其体统该（概）括处，尚有细微作用未及悉究，恐学者不察，流入差别门庭。故此篇仍分三卷，将差别处逐段剖析，与上篇处处表里相应。近代诸家有分上篇为经，此篇为注者；又有分四言为经，五言为注者。不知彻首彻尾贯通三篇，始成一部参同契。千载之下，孰从定其为经为注而徒破碎章句乎？俱系臆说，暨所不取。此卷专言御政，而养性伏食已寓其中。义同上始成一部参同契。千载之下，孰从定其为经为注而徒破碎章句乎？俱系臆说，暨所不取。此卷专言御政，而养性伏食已寓其中。义同上篇。四象环中章第十六干刚坤柔，配合相包。阳禀（秉）阴受，雌雄相须。须以造化，精炁乃舒。坎离冠首，光曜垂敷。玄冥难测，不可画图。圣人揆度，参序元基。四者混沌，径入虚无。六十卦周，张布为舆。龙马就驾，明君御时。和则随从，路平不邪。邪道险阻，倾危国家。此章言乾坤坎离自相造化，明先，径入虚无。六十卦周，张布为舆。龙马就驾，明君御时。和则随从，路平不邪。邪道险阻，倾危国家。此章言乾坤坎离自相造化，明先天环中之妙也。干刚坤柔，配合相包。阳禀阴受，雌雄相须。须以造化，精炁乃舒。此节言乾坤为坎离之体也。盖乾坤者，易之门户，实坎离之所自出。干元为天地之始，坤元为万物之母。干动而直，其体本刚，故资始而有父道。坤静而翕，其体本柔，故资生而有母道。两者自相配合，包含万化。故曰：“干刚坤柔，配合相包”。父主秉与，能知大始。所谓“雄阳播元施”也。母主含受，能作成物。所谓“雌阴化黄包”也。故曰：“阳禀阴受，雌雄相须”。两者相须，始成造化。造者自无母主含受，能作成物。所谓“雌阴化黄包”也。故曰：“阳禀阴受，雌雄相须”。两者相须，始成造化。造者自无而之有，化者自有而之无；自无而之有则真空形为妙有，干中藏坤；自有而之无则妙有返为真空，坤中藏干；干中藏坤是为太乙元精，坤中藏干是为元始祖炁。主宾颠倒，造化之妙见矣。故曰：“须以造化，精炁乃舒”。此言乾坤交而生坎离药物，即易所谓“天地絪缊，万物化醇”也。坎离冠首，光曜垂敷。玄冥难测，不可画图。圣人揆度，参序元基。四者混沌，径入虚无。此节言坎离为乾坤之用也。乾坤一”也。坎离冠首，光曜垂敷。玄冥难测，不可画图。圣人揆度，参序元基。四者混沌，径入虚无。此节言坎离为乾坤之用也。乾坤一媾，中间便成坎离。离为至阴之精，坎乃至阳之炁。杳冥恍惚虽后天地而用，实先天地而生。造化得之而为日魂月魄，光明普照，能生万物。吾身得之而为日精月华。光明撮聚，能产大药。岂非“坎离冠首，光曜垂敷”乎？夫此元精元炁恍惚杳冥之物，非有非无，可用而不可见，尚且难于测识，岂能传之画图？全赖作易之圣多方揆度，象以干父坤母，坎男离女，故篇中得以配之为炉鼎药物，无非参序元化之基，使内观者知有下手处耳。学道之士倘能法乾坤以立炉鼎，攒坎离以会药物，日精月光两者自然凝聚盘旋于祖窍之中，混混沌沌复返先天虚无一炁，大药在其中矣。故曰：“四者混沌，精月光两者自然凝聚盘旋于祖窍之中，混混沌沌复返先天虚无一炁，大药在其中矣。故曰：“四者混沌，径入虚无”。此言坎离交而归乾坤祖窍，即易所谓“男女媾精，万物化生”也。六十卦周，张布为舆。龙马就驾，明君御时。和则随从，路平不邪。邪道险阻，倾危国家。此节言火候之节度也。除却乾坤坎离四卦应炉鼎药物，余六十卦循环布列，配乎周天。在一日为子午卯酉，在一月为晦朔弦望，在一年为春夏秋冬，周流反复，循环不息，有张布为舆之象，既有舆，不可无马以驾之。何谓龙马？龙以御天，主于飞腾。马以行地，主于调服。作丹之时，神炁相守，不敢飞腾，御天之干龙化为行地之坤马。步步循规蹈矩，有若人君统御臣下，立纲陈纪，一毫不敢懈丹之时，神炁相守，不敢飞腾，御天之干龙化为行地之坤马。步步循规蹈矩，有若人君统御臣下，立纲陈纪，一毫不敢懈弛。故曰：“龙马就驾，明君御时”。夫御车之法与御政大段相同，须得六辔在手，调和合节，舆从马，马随人，稳步康庄大路，宜端平而不宜欹（qī古同“攲”倾斜之义）斜，若一欹斜，则险阻在前，覆辙立至。亦犹御政者之失其常道，危及国家矣。丹道以身为舆，以意为马，御之者心君也。当采取交媾之时，仗心君之主持，防意马之颠劣，稍一不谨，未免毁性伤丹，可不戒哉？总是一个主宰，在车则为御者，在政则为明君，在天则为斗柄，在丹道则为天心，皆言把柄在手也。上篇御政章中“要道魁柄”等句即是此意。此章戒哉？总是一个主宰，在车则为御者，在政则为明君，在天则为斗柄，在丹道则为天心，皆言把柄在手也。上篇御政章中“要道魁柄”等句即是此意。此章大旨正与上篇首章相应，干刚坤柔一段即乾坤门户之说也。坎离冠首一段即坎离匡廓之说也。

Interpretation

“Yellow Sprout” uses the image of gold concealed in water to explain the primordial One Qi. This primordial One Qi is the essence of metal belonging to the Qian family—the Heaven and Yang symbolized by the Qian trigram. It governs all transformations among the myriad things and is the fundamental power behind the generation and transformation of the postcelestial Five Phases. Deeply hidden in the Great Abyss of the north, it is therefore called “the lord of the five metals, the northern river chariot.”

The “five metals” mentioned here borrow the silver, lead, sand, mercury, and earth used in external alchemy to symbolize the essences of the Five Phases within the human body. At their root, they all refer to the same thing. Because it appears entirely black on the outside, it symbolizes lead; because white is concealed within the black, it also bears the image of the flower of gold. It is like someone dressed in coarse cloth who conceals fine jade within: the exterior seems ordinary, while the interior possesses the nature of a sage. This is what distinguishes “true lead” from ordinary lead. When one understands “knowing the white, keeping to the black,” the spirit naturally becomes manifest. The wondrous function of the Golden Elixir lies entirely in the gold within water. The Mirror of Compounding the Medicine says, “Lead of the watery region: a single ingredient”; the Wuzhen Pian says, “Within the black is white, the mother of the Elixir.” Both express this meaning.

Metal is the mother of water, and the mother is hidden in the child’s womb; water is the child of metal, and the child is hidden in the mother’s womb. This describes how the true Qi of metal and water conceal one another and act upon one another. The True Person—the true nature that manifests through cultivation—is mysterious and difficult to fathom, seeming both present and absent, like something sinking and rising in the Great Abyss. When metal and water meet, they unite at the center; afterward, each returns to its own place, distributed above and below, each keeping to its own region.

When the essence of metal is gathered from the Kan water of the north, it is originally pure white. Tempered by the Li fire of the south, it reveals a vermilion radiance. This subtle seed is hard to perceive. It must be sheltered and warmed by the central-yellow Kun Mother, the nurturing power of Earth Qi, so that it can dwell securely in the spirit chamber and remain still. This symbolizes “the two joining and returning to oneness, the medicine entering the furnace.”

The furnace and cauldron symbolize the space for cultivation within the body, while the firing process is embodied in the course of practice. The central-yellow spirit chamber is only one inch square: its roundness symbolizes Heaven, its squareness symbolizes Earth, and the True Person dwells within it, complete and undivided like an egg. The Huangting Jing says, “In this place, a square and circle one inch across”; this is what it means. This small aperture is called the Mysterious Pass. Though its scope is small, it symbolizes the fundamental aperture that contains Heaven and Earth and existed before them, concealing the primordial ancestral Qi.

The Mysterious Pass lies at the center of Heaven and Earth, open in all four directions, and resembles the palace halls of the immortal island Penglai. The cultivator must turn the gaze inward and return hearing within, clearing away distracting thoughts so that inner Jing and Qi do not leak out and disturbances from the outside do not intrude. Although the mind and spirit may pass through without obstruction, one must still guard against the unexpected. In meditation, one should relax naturally, without deliberate thought, worry, or strain. The spirit and Qi already fill the chamber; people simply often fail to let them remain there for long. They must therefore be continually watched over and guarded. Whether moving, sitting quietly, or resting, one should remain attuned to the inner True Person, neither forcing growth nor letting it slip from mind. Only when practice continues without interruption can the firing process be complete. This passage describes the image of the furnace and cauldron, along with the work of warming, nurturing, and guarding.

This chapter first points out that the aperture in which the functions of being and nonbeing operate is the true furnace and cauldron. It then explains that the true Qi of metal and water is the true medicine. Finally, it says that warming, nurturing, and guarding constitute the true firing process. The essential points of Golden Elixir cultivation are all contained here.

Chapter Eight: Discerning the True Path from the Deviant

This chapter identifies the errors of various unorthodox methods one by one, to distinguish the true path from deviations.

“Counting the organs, contemplating within, and having something in mind” refers to practices that focus on visualizing the five organs. “Treading the Dipper and walking among the constellations, the Six Jia in sequence with the earthly branches of the days” refers to ritual methods involving steps that trace the celestial patterns and practices performed according to the stars and the Six Jia day cycles. “The Yin method of practicing the nine shallow and one deep, muddling and manipulating the primordial womb” refers to gathering Yin to replenish Yang through methods such as nine shallow thrusts and one deep thrust. “Eating Qi until the stomach and intestines resound, exhaling the pure and inhaling external evils” refers to swallowing external Qi and exhaling the stale to take in the fresh. “Neither sleeping nor lying down day or night, never resting at the dark moon or the new moon” refers to circulating Jing and Qi while sitting for long periods without lying down.

If these methods that exert force within the body are practiced relentlessly, they can easily cause fatigue and mental confusion, agitate the circulation of Qi and blood, and make it difficult to attain calm and clarity.

“Piling up earth to build an altar, making offerings morning and evening, spirits and ghosts appearing in visible form, and stirring emotions in dreams” refers to setting up altars, making offerings, cultivating ghosts and spirits, and hoping they will appear in dreams. The author holds that those who practice this may initially believe they can prolong their lives, but in the end may die prematurely through sorcery or illness, failing to achieve longevity.

These practices run counter to the Dao of emptiness and naturalness taught by the Yellow Emperor and Laozi. Those who truly understand should recognize their errors and return to the cultivation of nature, restoring life to its root.

Part One

This section is devoted to “concealing and ingesting,” and also includes the principles of governing and cultivating nature. The preceding section on governing explains the patterns of Yin-Yang transformation, while the section on cultivating nature explains the roots of nature and life. The way Yin and Yang combine, and nature and life unite, is explained through the practice of concealing and ingesting.

“To conceal” means to make two things act through mutual constraint; “to ingest” means to unite them as one. The scripture borrows terms from external alchemy, such as lead, mercury, furnace, and cauldron, to explain the relationship between the true seed of nature and life and the transformations of body and mind: visible things serve as metaphors for invisible cultivation. This is not an unorthodox practice of burning plants and trees or ingesting minerals. The furnace fire discussed in the final section likewise explains the firing process of inner cultivation.

Chapter Nine: The Two Crescents Unite as One

This chapter directly explains how the Qi of the two crescents, metal and water, first separates and then unites, thereby identifying the true medicine used in the Golden Elixir.

The “Record of the Fire” is not a separate alchemical book consisting of six hundred chapters. Rather, it uses the transformations of the Yi to explain the Yin and Yang of the sun and moon. Qian and Kun symbolize the furnace and cauldron; Kan and Li symbolize the medicine; and the remaining sixty hexagrams and three hundred sixty lines symbolize the firing process. If one counts two hexagrams per day, a month corresponds to roughly sixty hexagrams, and a year can be further divided into six hundred periods. Thus, “six hundred chapters in the Record of the Fire” ultimately refers to the movements of the sun and moon and the transformations of Yin and Yang.

Kan symbolizes the true water of Great Yin and the essence of the moon; Li symbolizes the true fire of the sun and its light. At the beginning of the month, when Yin reaches its limit and Yang is born, the essence of metal appears in Kan water and is called the White Tiger. After midmonth, when Yang reaches its limit and Yin is born, the sap of Wood arises in Li fire and is called the Azure Dragon. The Dragon of the east and the Tiger of the west then join, symbolizing the mutual responsiveness of Metal and Wood, and of the ethereal and corporeal souls.

The number of the upper crescent, the Dui trigram, is eight; the number of the lower crescent, the Gen trigram, is also eight. When the Qi of the two crescents combines, the complete form of Qian and Kun is restored. The two eights make one pound, symbolizing the exact balance of the two forces of Yin and Yang. The separate functions of the two crescents ultimately merge into one: when apart, they work wondrously; when united, their completion is natural. This is the first meaning of the formation of the Golden Elixir.

Chapter Ten: Metal Returns to Its Nature

This chapter directly identifies the innate nature of metal as the foundation of the alchemical Dao. True gold does not lose its luster when tempered in fierce fire; its radiance becomes clearer. The innate nature of metal is the same: it undergoes transformations without being destroyed.

After Heaven and Earth came into being, the Yang Qi within Qian transformed into Li, and the Yin Qi within Kun transformed into Kan. Kan belongs to Great Yin, and its essence is metal; Li belongs to the sun, and its light is fire. When the essence of metal in Kan is tempered by the true fire in Li, it is like the sun and moon joining as one, their light enduring forever. The measure of metal neither increases nor decreases through tempering, symbolizing that one’s original nature neither increases nor diminishes.

The essence of metal seems to arise from the moon, but in truth it comes from the sun. When the sun and moon meet, the solar soul shines into the lunar body. At the new moon, when Yang first stirs, the moon receives the sun’s light and begins to shine. Hence the saying: “Metal is originally born from the moon; at dawn on the new moon, it receives the sun’s mandate.”

At the dark end of the month, the sun and moon meet and enfold each other. The moon’s light disappears, symbolizing the essence of metal returning to Kun Earth and hiding in the Great Abyss of the north. In human cultivation, this corresponds to the spirit returning to the Qi cavity and the Great Medicine entering the furnace. Then, when Yin reaches its limit and Yang is born, the nature of metal reappears, returning to the nature symbolized by the Father Qian, and the Elixir is finally formed and shines.

This chapter uses the nature of metal to explain the roots of creation and life. Water arises from metal among the Five Phases. Metal is both the beginning of the Five Phases’ operation and their final place of return. For human beings, metal symbolizes the innate ancestral nature. Before birth, one’s nature is complete, like the Great Void; after birth, it resides within the body, but when the body perishes, the nature does not perish with it. The author holds that the sages of Confucianism, Buddhism, and Daoism all take this nature of metal as their foundation: Daoists call it the Golden Elixir, while Buddhists call it the Golden Immortal. The roots of the Three Teachings are thus explained as one and the same innate nature of metal.

Chapter Eleven: The Complete Work of the Two Earths

This chapter focuses on the role of the two central Earths, Wu and Ji: water and fire must return to central Earth and be harmonized before the Golden Elixir can form.

Zi represents the water of the north, and Wu represents the fire of the south. Together, they make three. Wu and Ji belong to central Earth, whose number is five. When water and fire work together with central Earth, they can harmonize Yin and Yang and govern the Four Images and the Eight Trigrams. “Breathing” here means true breathing—the continuous inner action of the breath—not merely the air entering and leaving through the mouth and nose. True breathing moves back and forth in the central palace, like a husband and wife joining to conceive the true embryo.

Yellow Earth is the father of metal, and the flowing pearl is the child of water. The essence of metal in Kan comes from Father Qian and is called Wu Earth; the sap of Wood in Li comes from Mother Kun and is called Ji Earth. The true water in Li can easily overflow and subdue the true fire in Kan. Central true Earth must therefore harmonize water and fire, preventing either from becoming too strong or too weak. In the end, both water and fire return to thick Earth, and when the three forces meet, they return to their common source.

The “three natures” mentioned here are the three functions of water, fire, and Earth. Before they unite, they can be described separately; once they return to oneness, they reveal that they originally belong to a single nature. This is the process of returning from differentiation to Taiji, the Supreme Ultimate, and restoring the root.

When the three natures meet, the Golden Elixir forms. The scripture mentions that plants such as sesame, also known as great victory, can prolong life, to emphasize that the innate nature of metal symbolized by the Golden Elixir is even more precious. Earth Qi moves through the four seasons and establishes the four directions. The “metal sand” entering the “five interiors” means the Elixir entering the body. The scripture then describes mists rising, the complexion becoming moist, white hair turning black, lost teeth growing back, and the elderly regaining youth. These changes portray the marvelous transformations of body and mind after successful cultivation, and the one who attains them is called a True Person.

Chapter Twelve: Things of the Same Kind Unite as One

This chapter emphasizes that only things of the same kind can respond to and unite with one another to form the Elixir. It criticizes the practice of treating the burning of external minerals as the Golden Elixir.

When lead powder encounters fire, it can revert to lead; when ice and snow meet hot water, they melt into water. These examples show that things return to their own nature. The scripture uses them to describe the true Yin and true Yang within Kan and Li: Kan contains true Yang from Qian, and Li contains true Yin from Kun. Each must return to its own kind before they can respond to and transform one another.

To cultivate the Golden Elixir, one must use things of the same kind, just as rice must be sown from grain and a chicken must be hatched from an egg. Fish eyes cannot turn into pearls, mugwort cannot grow into a precious tree, sparrows cannot give birth to phoenixes, and foxes and hares cannot give birth to horses. Things of different natures cannot be forced together to make a true treasure.

The author further criticizes those who rely on their own cleverness and, without guidance from a true master, interpret alchemical texts according to their own guesses. They burn minerals such as chalcanthite, mica, alum, magnetite, sulfur, and mercury in an attempt to make the Golden Elixir. The author holds that these materials have different natures and are not things of the same kind as innate true Yin and true Yang. Forcing them together cannot produce the Golden Elixir; it merely wastes money and may even harm the body. True concealing and ingesting takes innate nature and life as its foundation. It uses terms such as furnace, cauldron, and firing process to explain the cultivation of body and mind, ultimately bringing the true seed to condense into an Elixir. It is neither the ingestion of minerals nor external smelting.

Chapter Thirteen: Following the Teachings of the Three Sages

This chapter says that the Cantong qi draws on the Yi of the three sages Fuxi, King Wen, and Confucius, using its hexagrams and images to explain the Great Dao.

Fuxi created the Eight Trigrams by following the patterns of Heaven and Earth. King Wen developed the hexagrams and composed the line statements. Confucius wrote the Ten Wings to expound the principles of the Yi. The three sages appeared in succession. Though their contributions came at different times, the principles they transmitted are connected.

Fuxi observed Heaven, Earth, and the myriad things, grasped the roots of creation, and divided Yin and Yang from Taiji. He then developed the Eight Trigrams from the Two Modes and the Four Images. King Wen further adjusted the positions and sequence of the hexagrams, writing the hexagram and line statements to clarify the transformations they represent. Confucius wrote the Ten Wings, explaining the images and the hexagram and line statements, while also adding an account of the transformations before and after Heaven and Earth came into being. The Yi produced by the three sages points together to the transformations of Yin and Yang and to understanding one’s nature and knowing one’s destiny.

The author says he had no innate gift of foreknowledge. Only after receiving guidance from a teacher did he begin to understand, as though a curtain had been drawn aside and he had climbed a high platform to see the principles clearly. The Cantong qi uses the images of the Yi to suggest the furnace, cauldron, medicine, and firing process. Though the text is long, its central purpose is consistent throughout. The Great Dao cannot be fully expressed in writing, so one can only outline its main principles and hint at the details, leaving readers to grasp them for themselves.

Chapter Fourteen: The Images and Patterns of the Returning Elixir

This chapter gives a complete account of the images and patterns of cultivating the Returning Elixir, describing how metal and water work together, how Kan and Li meet, how the firing process is applied, and how the Elixir forms.

Metal symbolizes a dike: once water enters the furnace, it can flow safely. The forces of metal and water each have their corresponding measure and quantity, and their proportions must be exact: there must not be too much water or too little metal. Both metal and water contain Wu and Ji Earth. Central true Earth harmonizes the two, so metal, water, and Earth together form the true seed of the Golden Elixir.

The three nourish one another in concealed ways, and their transformations are difficult to fathom. The true Yang fire in Kan rises as vapor, and the true Yin water in Li responds. It first becomes liquid, then condenses into form, and meets in the Yellow Chamber, the central spirit chamber. This symbolizes the imminent generation of the Great Medicine. Before it forms, the cultivator must use true intent to bring the two together. After they meet, one must keep them joined and prevent Jing and Qi from leaking away. The scripture compares this stage to the withering of all things in winter and their return to the root, describing body and mind as if reduced to ash and earth, and the true Qi as faint as dust in a bright window.

Once the medicine has formed, it must be gathered and united, then sent into the Red Gate—the Crimson Palace, or Qian Cauldron. It must afterward be guarded closely so that the true Qi does not disperse. When Yang Qi stirs, the cultivator must apply gentle and strong fire according to the firing process: gentle fire warms and nourishes at first, then strong fire tempers it. The strength and mildness of the fire, as well as its warmth and coolness, must also be carefully regulated. References in the scripture to Zi and Wu and to the twelve periods symbolize the cyclic transformations of Yin and Yang Qi, which must be applied with care at each stage.

As cultivation deepens, the Yin dregs are exhausted and the Yang spirit condenses, bringing a transformation like shedding one body and changing cauldrons. The scripture says, “Qi is exhausted and life is about to end; the body dies, and the ethereal and corporeal souls depart.” This describes the passing away of the former state of body and mind. In the end, the Elixir turns purple and its radiance appears; this is called the Returning Elixir. “Knife-point measure” is a symbolic expression for a very small amount of medicine, and also represents the subtle substance formed when metal, water, and Earth condense together. This chapter uses the language of alchemy to describe the process of inner cultivation.

Chapter Fifteen: The Meaning of the Returning Elixir

This chapter summarizes the meaning of the Returning Elixir, pointing out that its foundation lies in the natures of water and fire and the transformations arising from their interaction.

Water and fire originally come from the same source, but later divide into two forces. The generation and overcoming of the Five Phases are all expressions of the transformations of water and fire. When water is abundant, it can extinguish fire, symbolizing how excessive Yin can suppress Yang. The sun and moon also undergo conjunctions and eclipses, symbolizing imbalances between Yin and Yang. When water and fire are balanced, Yin and Yang naturally respond to one another; when the balance is lost, deviations arise.

A “name” identifies a feeling, while a “designation” explains a nature. The relationship between names and designations is used here to explain that, although the essence of metal in Kan and the sap of Wood in Li have different names, they share the same root in the nature of metal. This nature comes from the innate Qian origin. When it enters Kan, it becomes the essence of metal; when Yin and Yang join once more, the metal in Kan returns to the nature of Qian. Its feeling returns to its nature, and this is called the Returning Elixir. The author holds that the principle of “metal returning to its nature” runs through many classics and is the core meaning of the Returning Elixir.

Finally, the author explains that his writing is not invented from nothing but follows principles transmitted by the sages of antiquity. Different alchemical texts use names such as Dragon and Tiger, Flower of Gold, Autumn Stone, and Yellow Sprout for the true seed in cultivation. Though the names differ, they refer to the same root. The author holds that these terms are suited only to those with insight and guidance from a true master. If readers interpret the words literally, they may mistakenly think the texts describe smelting minerals or ingesting external substances.

Middle Part

The fifteen chapters of the first part discuss governing, cultivating nature, and concealing and ingesting, covering the three essentials of medicine, furnace and cauldron, and firing process. Though these chapters outline the main principles of the Great Dao of the Golden Elixir, certain subtle functions still require further explanation. The middle part is therefore also divided into three scrolls, each developing these points section by section and corroborating the first part. The middle part focuses on governing, while also containing the principles of cultivating nature and concealing and ingesting.

Chapter Sixteen: The Four Images Encircling the Center

This chapter explains how Qian, Kun, Kan, and Li work together and act upon one another, revealing the mystery of the innate circle at the center.

Qian is firm and strong, while Kun is yielding and receptive. Joined together, they contain the transformations of the myriad things. Yang gives and Yin receives, like male and female depending on one another; through their union, Jing and Qi unfold. When Qian and Kun unite, they form Kan and Li, which symbolize the functions of Yin and Yang. Their workings are profound and difficult to fathom, and no diagram can fully express them. The hexagrams of the Yi can only help one understand. Following Qian and Kun, the cultivator establishes the furnace and cauldron; through Kan and Li, the medicine is brought together, gathering the essence of the sun and the splendor of the moon in the ancestral aperture, until it ultimately returns to the innate Qi of emptiness and nonbeing.

Besides Qian, Kun, Kan, and Li, which represent the furnace, cauldron, and medicine, the remaining sixty hexagrams symbolize the cycles of the firing process, recurring through the days, months, and years. The cultivator must master the firing process as though driving a cart: the body is the cart, intent the horse, and the mind the driver, guiding spirit and Qi along their proper course. When everything is harmonized, it is like a cart traveling along a level road. If the mind and spirit lose control or the firing process goes awry, the cultivator may stray onto a dangerous path and damage the practice.

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