《洞玄金玉集》

This passage records several anecdotes and poems concerning Wang Chongyang (Daoist name Chongyangzi), the founding patriarch of the Quanzhen (Complete Perfection) school of Daoism, and his disciple Ma Yu (Daoist name Danyangzi).

Master Ma Yu recounted that when Chongyang practiced cultivation on Kunlun Mountain, he fashioned a distinctive headpiece from three-and-a-half feet of blue cloth, featuring nine layered folds and nine seams, which he called the "Ninefold Yang-Transforming Kerchief." He claimed this design came to him in a dream. With his majestic bearing resembling the legendary immortal Zhongli Quan (one of the Eight Immortals), the kerchief enhanced Chongyang's transcendent aura. Ma Yu composed verse praising his master: "Appearing as Zhongli Quan reborn,/ Naturally graceful with radiant spirit,/ No earthly mortal could compare,/ Wearing the ninefold blue kerchief of Yang transformation."

Another poem extols Chongyang's compassionate practice: "Robed in clouds and rainbow hues,/ His body emits circular light,/ Descending from celestial Purple Mansion,/ As Wonderful Practice Zhenren fulfilling vows to save beings."

Chongyang's own poetry reveals his dedication: "Neither dwelling in town nor village,/ Unconcerned with wife, children or elders,/ Within walls single-mindedly cultivating the Great Dao,/ Seeking to open jade portals to golden gates (referring to Neidan internal alchemy)." He reflects: "Thirty years in Confucian halls,/ Never knew the character 'Dao' so vast./ By chance comprehending Wind Immortal's truth,/ Suddenly my luminous spirit fills the cosmos."

Further verses depict transcendent realms: "The boundless immaterial realm of immortals/ Is actually the expansive landscape within./ In daylight's leisure, riding rising mist/ I come and go through celestial gates./ Calling myself carefree visitor to three mountains,/ Unfettered wandering immortal,/ Opening the gourd-heaven (Neidan term) in purity,/ Treading mysterious caverns through Wuwei non-action."

Ma Yu recalls encountering Chongyang in Zhongmu County, Henan, where his master prophesied his future enlightenment and return to the Thirty-Six Grotto Heavens. He also records how Chongyang entrusted a painting to disciple Shi Gongmi in Liquan County. Ma Yu dreamed of cranes emerging from the earth in South Garden; a month later Chongyang arrived, pointing where the cranes arose as the site for his hermitage. Another dream followed of entering mountains with his master, who next day bestowed him the Daoist name "Shantong."

Finally, when Chongyang prepared to return to Nanjing sensing his impending death, Ma Yu requested parting verses. These accounts vividly portray the master-disciple Dharma transmission and their cultivation life.

On the walls of Daoist Lü's hermitage in Guanzhong, I (Ma Yu) had inscribed these words in advance. I reported to my master Wang Chongyang that I had three vows: First, I wished to print and circulate his Quanzhen Collection, to which he replied we should decide upon reaching Chang'an; second, I desired to observe three years of mourning for him, and he instructed that I could dwell at the old hermitage foundation in Liujiang Village; third, I vowed to convert people from all directions to abandon worldly life for Daoist cultivation. Having said this, my master ascended in feathered transformation.

Taking leave from Daliang (modern Kaifeng), I passed through Luoyang and Tongguan, then climbed Mount Hua to visit fellow practitioners. While in Jingzhao (modern Xi'an), a certain Master Kong hosted me in his hermitage for several days. Shi Gong (Shi Chuhou) from Liquan specially sought me out, and we met at a teahouse by the eastern gate. Upon inquiry, he revealed himself as Shi Fengzi of Liquan, also a disciple of Chongyang Zhenren. This delighted me, for our master often spoke of this virtuous man during his lifetime.

After tea, as I wandered along Taiping Tower's lower street, fellow practitioner Yang Erlang invited me for another cup. Shi Gong arrived again and prostrated before me once more. I reproached him: "As Chongyang's disciple, why such excessive courtesy? What Daoist bows thrice daily?" In truth, I had long known of Shi Gong's reluctance to beg alms and was testing him deliberately. "I'd treat you to wine," I said, "but wonder if the shopkeeper would consent?" When Shi produced coins from his robe, I countered: "Not with ready money—the wine should be bought with alms begged this day." After long contemplation, he finally took to the streets and returned with begged coins for wine. As I drank alone, Shi requested verses, so I composed ten quatrains for him:

The first declares: What shame in begging like soulless flesh? Never fret over food and clothes. Follow my example stretching hands in streets—true refinement lies in alms received by fate's grace.

The second teaches: Wealth and honors count as trifles, but life-breath matters celestial. This body of Earth, Water, Fire and Wind resembles bubbles—see through the false corporeal shell.

The third advises: Today you meet the virtuous sincerely—shun ill-gotten household coins. Subdue your self through alms-begging to roam carefree by nature's law.

The fourth explains: This Ma Yu craves no drunkenness, but leads your hands to streets' demand. Live by destiny's measure to aid cultivation's treasure—no need to peddle herbs for sustenance.

(Note: "Chongyang Zhenren" refers to Quanzhen School founder Wang Chongyang; "Ma Feng" is Ma Yu's self-reference. Quanzhen emphasizes asceticism, often using alms-begging as spiritual practice. The poem's "Fire-Wind-Earth-Water" references the Buddhist four elements theory describing human composition.)

These poems convey the principle that spiritual practitioners must relinquish worldly attachments and pursue inner purity.

The first poem speaks of nourishing one's innate true nature with the "jade liquor" (referring to the vital essence, Jing, within the body) during cultivation. Though one may appear intoxicated, the mind grows ever clearer—only then can the path to immortality be attained. The second poem describes a life free from marriage and children as a divine gift of carefree liberation, urging practitioners to cherish this rare opportunity, for unseen deities observe every word and deed.

The third advises letting go of past obsessions and swiftly turning toward transcendence. True cultivation never strays from the "square inch of the heart" (the inner mind); only by maintaining integrity and selflessness can one grasp the profound truth. The fourth states that the "heavenly mysteries" (the secrets of the Dao) should not be lightly revealed—they must be contemplated deeply. When facing hardship, one must not dwell on thoughts of home, for such moments are precisely the gateway to longevity.

The fifth declares that chasing fame and fortune leads only to the grave, while attaining immortality is no trivial matter—only through accumulating virtue (De) can one reach the blessed isles of the immortals. The sixth emphasizes that to become an immortal, one must fully sever worldly ties, relinquishing all mundane entanglements and even dissolving one's own traces. When the time comes, celestial beings will naturally guide the way.

The poem addressed to the fellow Daoist in Chang'an says that the path of cultivation lies before every household, and any courtyard can become a paradise. If the mind remains unmoved, one transcends the realms of ordinary existence; when the Three Burners (the upper, middle, and lower Dantian) are unobstructed, inner coolness arises naturally. The verse for Guo Zicong praises his abundant pure spirit-light, noting that there is no need to forcibly restrain the "monkey of the mind" (the restless spirit), as this very freedom deepens insight into the mysteries.

For Magistrate Lu, the body is likened to a wall enclosing the "spiritual child" (the original spirit, Shen), who, though silent, comprehends the profound. One must rein in the unruly mind. The poem for Brother Kong Gong recounts arriving in Chang'an at forty-eight and expresses gratitude for the special regard shown by others, now revealing the essential method of cultivation—like subduing dragons and taming tigers, one must master body and mind.

The final verses speak of kindling the "true fire of longevity" (a Neidan term) within the body, illuminating the inner self like an eternal day. With a heart serene and unfettered, one must refine the inner elixir (lead and mercury, the "infant and maiden" being Neidan metaphors) by harmonizing Yin and Yang in the cauldron. Once all worldly ties are cast aside, the opportunity for cultivation naturally arises, lifting the clear and luminous spirit to the Jade Tower (the upper Dantian). Free from attachment, untouched by greed or anger, blending with the world in laughter and ease—may all fellow seekers... (the closing line is incomplete).

A practitioner of the Dao should aspire to cultivate like me, progressing together toward immortality. Only by transcending worldly concerns can one preserve the primordial Shen (spirit); only by relinquishing overthinking and cunning can one align with the true essence of the Dao. Understanding the virtue of non-contention marks a superior cultivator, while enduring humiliation with patience paves the path to transcendence.

Daoist practice most values unfettered spontaneity—I particularly cherish this state of joyful self-forgetfulness. In the serenity of cultivation, one experiences genuine bliss, naturally soaring like an immortal dancing on cloud-wreathed peaks.

At Sanji Mountain, I refine the Great Dao of the Golden Elixir (Jindan), where snowflakes swirl endlessly in the alchemical furnace. Upon awakening to the Dao, I no longer seek acclaim but deliberately embrace humility to invite others' disregard.

An enlightened mind feels no shame in begging for scraps—how could fame or wealth sway my being? I urge all to abandon attachment to externals and swiftly follow Ma Yu (patriarch of Quanzhen) in seeking the Way of Emptiness.

Rein in the restless "mind-monkey" at once, harmonizing the Five Phases (Wood, Fire, Earth, Metal, Water) to balance Yin-Yang. Through ninefold refinement of the elixir, the Great Medicine crystallizes, granting eternal abode in the Isles of Immortals.

Inscribed for Secretary Wang Ling’s Hall of Venerating Antiquity:

Lord Wang’s nature reveres the ancient Way, where dragon and tiger (Yin-Yang energies) merge in his hall. Through daily practice overturning heaven and earth, the dancing fetal immortal (Neidan) manifests spontaneously.

Master Qinggu’s visage bears archaic grace, having penetrated the mystery of Li’s dragon and Kan’s tiger (Yin-Yang union). Returning to the sublime truth of the Ultimate, he dares dance with Ma Yu (Ma Feng) through the streets.

Master Qinggu follows the Dao of Primordial Antiquity, comprehending dragon-tiger mechanics before heaven and earth existed. Letting Yin-Yang energies flow unimpeded within, he stirs the crimson maiden and infant (Neidan terms) to dance face-to-face.

Master Qinggu intuits eternal mysteries, nurturing dragon and tiger within emptiness. Serene practice reveals his original face—a carefree spirit-child dances before him.

At Mafang, Observing Lecturer Li Reading the Zhuangzi:

Though study broadens knowledge, excessive fixation breeds deeper delusion. Better to release all external ties—only purity ascends the celestial ladder.

For Abbot Liu of Mafang Hermitage:

Cultivate single-mindedly to the end, fine-tuning Yin-Yang breaths with meticulous care. When Jing, Qi, and Shen coalesce, four seasons of practice ferry you to immortal shores.

Reply to Young Zhang of Huxian:

The child asks of the Dao—the Dao speaks not. Preserve serenity to touch the profound. Uphold this family tradition through constant practice, and immortality will grace you by affinity.

Reply to Young Wang of Huxian:

Child, heed my teaching—nurture your numinous nature. Destiny will link you to Ma Yu’s lineage. Maintain Wuwei’s uncontrived heart-mind, and transcend the dust of mundanity.

This collection of Daoist cultivation poetry conveys spiritual insights and daily practices. The first poem suggests that to truly comprehend the Dao of nature, one must relinquish worldly attachments and drift like clouds to the Penglai Immortal Palace. The second advises practitioners that rather than becoming entangled in mundane troubles, complete release of attachments brings liberation.

The third recounts receiving guidance from an enlightened master, attaining an immortal’s transcendence beyond worldly concerns. By nurturing Qi (vital energy) and preserving innate purity through cultivation, one naturally ripens the fruit of immortality. The fourth emphasizes subduing the ego in spiritual refinement—kindling the "true fire" (Neidan/internal alchemy) within water—achieving mental clarity to successfully form the Golden Elixir.

The fifth employs the Buddhist concept of "form and emptiness," illustrating how penetrating the nature of materiality and void purifies the mind like fragrant lotus blossoms. The sixth laments how familial burdens drain Shen (spirit), leaving one weary and aged. The seventh likens a mottled bamboo staff to a demon-subduing ritual tool, gifted to a fellow seeker journeying to celestial realms.

Later verses document ascetic life: practicing during auspicious hours (the Lower Prime Day of Dingyou); reuniting with masters and uncles for instruction; wandering freely like wind before returning to seclusion; sealing doors and windows during retreats to cultivate undistracted. The final entry records traveling from Longmen to Taihe Hermitage in Huating during the winter of the Dading Wuxu year—originally bound for Mount Kongtong but ultimately settling at Dongyao Xiansheng’s retreat.

This passage documents the interactions and poetic exchanges between Daoist practitioner Ma Danyang and several fellow seekers. At the time, there were over a dozen companions including Liu Zhaoxin, Pei Daqi, and Li Dacheng. Though Ma Danyang spent consecutive days guiding them in cultivation, none showed genuine devotion to the Dao. Preparing to depart the next day, he left verses expressing his state of mind.

The first poem states: Having refined myself to a state of pure Yang (Danyang refers to the pure Yang realm), transparent like flawless jade, I now journey northwest seeking those with immortal destiny. Just as an angler fails to catch golden carp, better to gather my fishing rod and return—a metaphor for failing to find destined individuals worthy of deliverance.

Li Dacheng’s responding poem says: Suddenly this dullard’s mind brightened, a spark of spiritual light appearing (Lingyang refers to innate true Yang). No longer obscured by worldly dust, in purity I apprehended the wondrous truth.

The subsequent four poems for Li Dacheng all encourage cultivation: escaping delusion’s bitter sea to walk the path with fellow seekers; rejoicing in destined companions who comprehend the universe within the gourd (a Daoist term for the microcosm within); practicing with carefree ease, unswayed by fame and gain; praising Li Dacheng’s transcendent state, solitary as wild cranes drifting beyond clouds.

The poem for Zhao Gong’s black hat observes: Cultivation shatters ignorance, distinguishing truth from falsehood. Like Zhao Gong discerning the moon’s essence beneath his dark cap, he stands aloof as the immortal Chisongzi.

Regarding Master Cuan’s verse: Having taken Ma Danyang as teacher, Cuan practiced steadfastly without retreat, ultimately transcending like a cicada shedding its shell. Occasionally descending to this realm, he still left poetic traces.

The admonition for Abbot Zhang Dawu of Huating County’s hermitage urges: Hold fast to true teachings, guarding the Three Treasures of Jing (essence), Qi (vital energy), and Shen (spirit). If the restless mind-monkey remains untamed, calamity may follow.

For Huating County’s fellow seekers, the verse employs Vimalakirti (a Buddhist bodhisattva referenced here metaphorically) to awaken beings from delusion, lest they perish like moths drawn to flame.

The poem for Jiao Gong’s wife advises: Youth fades swiftly—abandon vanity’s adornments. Seize the day for cultivation (disheveled hair symbolizes the practitioner’s disregard for superficiality).

Finally, the mention of burning charcoal with Longzhou official Li Zhenguo on the winter solstice likely records an ordinary moment within their ascetic routine.

This poetic collection reveals a cultivator's insights and spiritual experiences across various circumstances. The opening depicts the winter solstice's nascent yang energy, where the poet humorously laments his laborious verse-writing—warming frozen hands by blowing on his brush, his thoughts sparking like kindling chopped for winter fires. Contrasting the rich man's extravagance with his humble hermitage's austerity, he observes how the Dao treats all equally, though human circumstances differ.

Recurring references to a fellow Daoist's gift of sheepskin blankets express gratitude toward a Pengcheng (modern Xuzhou) companion whose pelt wards off bitter cold. Inscribed on the walls of Taiping Temple's Southern Dipper Pavilion in the Zhongnan Mountains, he realizes that when the mind remains untainted and profound mysteries are grasped, the Penglai Immortal Isles appear before one's eyes. During a Chang'an rain-praying ceremony, barefoot Daoists burn incense as their heartfelt petitions rise to celestial palaces, beseeching life-giving rain for withered crops—a compassionate act for the people's relief.

Gatherings with fellow cultivators are described as "making companions of clouds and mist." Seeking enlightened masters by the Blue Lotus Pond, he encounters transcendents within Yellow Crane Cave. While discussing the Dao with Elder Moon of Wutai Mountain, the Chan (Zen) saying "clouds in sky, water in vase" helps him grasp the wondrous paradox of inverted water-and-cloud reality.

Final verses employ the Buddhist "three vehicles" metaphor (ox-cart, deer-cart, sheep-cart) and time's cyclical flow to express contentment in receiving true transmission—approaching sixty years yet unafraid of aging through Dao-realization. Emphasizing discernment between truth and falsehood in cultivation, he warns against vanity's illusions to safeguard one's original heart. Collectively, these poems portray a cultivator's spiritual journey—penetrating mysteries through seasonal changes while benefiting the world with compassion.

The first passage reveals the mystery of cultivation: The art of the Ninefold Golden Elixir (Jiuzhuan Jindan, the highest realm of Daoist Neidan practice) lies in circulating the celestial cycle (the internal Qi circulation). One should not indulge in empty talk about seemingly profound yet irrelevant theories. The deepest truths are difficult for ordinary people to comprehend—before attaining true clarity, one remains trapped by superficial appearances.

The second passage discusses the attitude toward practice: Let go of worldly attachments, yet do not cling to the superficial trappings of cultivation. Those who truly love the Dao must endure hardship. The subtle interplay between Metal and Wood (a key concept in Five Phases theory) cannot be grasped through clever words alone.

The third passage speaks of harmonizing Yin and Yang: The interaction of Kan and Li (representing Water and Fire, Yin and Yang) drives the celestial cycle, its ebb and flow never straying from the root. I long to explain this to those who understand, but alas, the stubborn world accuses me of deception.

The fourth passage emphasizes the importance of lineage: The Great Dao operates according to its own principles; its mysteries arise from utmost sincerity. The profound workings of heaven’s mechanisms defy ordinary logic—without guidance from an enlightened master, one will inevitably be led astray.

The fifth passage shares insights from practice: Having realized the true meaning within, I care not whether others understand. Cultivation values genuine personal realization; to deceive others is ultimately to deceive oneself.

The sixth passage depicts the vision of cultivation: Dragons and serpents (symbolizing the dual energies of Yin and Yang) rise, while the sun and moon share the same palace (a celestial metaphor for Yin-Yang harmony). Follow this path, and immortality is assured—do not say Ma Yu (the Daoist master Dan Yangzi) deceives you.

The seventh passage criticizes worldly delusions: The immortal scriptures clearly record the methods of cultivation, yet foolish people refuse to exert effort. Those who boast of enlightenment while mired in worldly life are only deceiving themselves.

Poems of Offering:

To Master Wang Er of Yaozhou:

Encounters with profound truths stir boundless joy;

With an awakened heart, I long to leave the dusty world.

True delight lies in following the heart’s freedom—

How laughable are those who toil day after day!

To Brothers Hou of Hezhong:

Within the gourd (symbolizing Neidan practice), emerald clouds are refined;

The heart’s field is tended into a realm of endless light.

Capturing the Golden Crow and Jade Rabbit (essences of sun and moon),

Time itself is made to stand still.

To Thunder Duke (Lei Gong):

Though you may possess fame like Su Qin’s,

Better to conceal your brilliance and withdraw.

True freedom lies beyond material concerns—

Return to the origin, and natural radiance shines.

Another Offering:

Purity is the secret to eternal life,

Yet abandoning wife and children cannot convey it.

Realize emptiness without attachment,

And favorable opportunities arise naturally.

Reflections on New Year’s Day:

Spring and summer passed, autumn too has changed,

Last night, the year’s end vanished with the wind.

People say today adds a new year,

But I see this fleeting life has one year less.

To Liu Mengsong:

Better than dreaming of eighteen sages (immortals)

Is a single awakened spirit, clear and bright.

The towering Dao-heart remains untainted by dust—

Majestic and serene, its nature is empty radiance.

To Spring Wanderers (a metaphor for cultivation):

Seemingly urging a spring outing,

Yet secretly reminding: seize the spring light (the right moment for practice).

This scripture employs multiple poetic verses to vividly admonish worldly people to see through mundane illusions and focus on spiritual cultivation.

The first poem warns against indulging in worldly pleasures, likening it to chasing blooming flowers while ignoring their inevitable withering. If one comprehends the truth of impermanence in prosperity and decay, they should turn inward to practice Neidan (internal alchemy). The second verse uses butterflies enamored with flowers as a metaphor, cautioning that attachment to sensual beauty leads to self-delusion. The third emphasizes diligent cultivation—only by maintaining clarity can one attain the true Dao.

The poem about a paper fan describes a cultivator's mental state: when distracting thoughts are severed, the mind becomes pure and cool, just as waving a palm-leaf fan naturally generates a breeze. External aids become unnecessary to dispel inner heat. The pomegranate blossom verse contrasts fleeting beauty with lasting virtue—showy peach and plum blossoms eventually fade, while autumn chrysanthemums endure with subtle fragrance, hinting that seekers of the Dao should aspire to eternal truths.

Upon receiving a bamboo staff, the poet compares its curved form to a dragon in potential, expressing yearning for transcendent realization. Subsequent verses directly expose worldly folly: they criticize those obsessed with base needs yet neglecting xingming (nature and life) cultivation; they declare that clinging to ancient phrases is inferior to directly apprehending profound mysteries; they depict fools trapped in the "burning house" of desire (a metaphor for the suffering-laden world) while creating their own afflictions.

The final poems sharply distinguish righteousness from corruption: tyrants who bully others ultimately reap consequences; they reveal the human body's composition from the "Four Elements" (earth, water, fire, wind), with sensory cravings being demonic obstructions; they stress how wine, lust, wealth, and wrath invite calamity, while serene virtue cultivates immortality. Terms like "demon kings" and "evil destinies" (unfortunate rebirths) reflect Buddhist causality concepts, demonstrating the integration of Three Teachings (Daoism, Buddhism, Confucianism).

Encouraging Firm Commitment to the Dao Path

How can worldly fame and profit—those gilded yet empty pursuits (like cotton-blade arrows and paper spearheads)—ever help one attain the immortal path? A true man of resolve must act decisively; to transcend the cycle of life and death, one must turn back at the right moment.

To Fellow Daoists

If you aspire to cultivate the Dao, do not delay or make excuses. Hesitation may cost you the chance for immortality. Who knows what tomorrow may bring? How can this year guarantee the next?

Another Verse

The path to longevity lies before you, as tangible as the impermanence (of life and death) that reminds us to relinquish attachments. Roam freely like clouds and streams, seeking kindred spirits, and you will naturally encounter true companions.

Instruction to Disciples

Every wandering thought depletes your Shen (spirit)—how dare you let your mind be entangled by worldly dust? Forcibly severing all external ties is but an illusion; only by refining your inherent nature to perfection can you attain the true Dao.

Another Verse

The distinction between "self and others" is the barrier blocking the gate of life and death. I urge you to topple this mountain of duality. Once this separation is dissolved, your heart will naturally incline toward goodness, and you will leap beyond the cycle of rebirth.

Another Verse

To return to your original clarity, you must still the "monkey-mind" (restless thoughts). Only when the heart is pure and intentions serene can the Three Treasures (Jing, Qi, and Shen) coalesce, achieving the union of Dragon and Tiger and the harmony of the Four Symbols (key Neidan alchemical stages).

To Li Jichuan

Concealing wisdom while appearing foolish, daring to forsake wealth and honor—this marks a true man. Only those who can relinquish wife, children, and family are genuine heroes; those who vow to cultivate the Dao are worthy to be called my disciples.

To Lu Gu

The lamp of wisdom pierces the heavens, wreathed in auspicious Bagua clouds. Through the ninefold refinement of the Golden Elixir (the pinnacle of Neidan), your jade-like nature is perfected, and the path to the Ten Isles of Immortals lies open and unobstructed.

To Xue Gu, the Recluse of Pine Creek

In cultivation, extravagance is the gravest fault—strip away attachments as wheat is freed from chaff. Penetrate the mystery of Yin-Yang transformation, and the Great Elixir (Neidan) will naturally form within the alchemical furnace.

To Chai Gu

Wuwei (non-action) is the highest practice; only with a tranquil mind can the lamp of wisdom be lit. Illuminate the Nine Passes (key energy gates) and move through them freely, until at last you ascend from Mount Kunlun (sacred Daoist mountain) as an immortal.

To Yan Gu, the Recluse of Frost Creek

With unwavering devotion to the Dao, nourish the Great Elixir with the Eight Nectars (essences of cultivation). The Nine Luminaries (Daoist stellar deities) temper your true jade nature, and when merit is complete, you shall rise to the immortal court.

Composed Upon Receiving the Capital's Edict of Repatriation, in Gratitude to the Commander

Three-Knotted Mountain Dong (the author's sobriquet) chanced upon this karmic encounter, journeying to Qin to cultivate. On reflection, rather than face repatriation, I'd sooner seek a blade before the hall.

Written Upon Inevitable Departure After Receiving the Edict

Those who vie for fame and gain in the mortal arena—how could they bear to turn their hearts toward transcendence? Blame not the suddenness of the court's decree; it is but the ripening of past karma's debt.

These poems express the spiritual insights of Daoist master Wang Chongyang, founder of the Quanzhen (Complete Perfection) tradition. The first poem suggests that An Gong (likely a fellow practitioner) must comprehend the true meaning of "Chang'an" (Eternal Peace)—a metaphor for inner tranquility. Upon genuine realization, one can achieve introspective contemplation, undisturbed by distracting thoughts (symbolized by the restless "monkey and horse" imagery), harmonize Qi (vital energy) and Shen (spirit), and ultimately form the spiritual elixir (representing alchemical attainment).

He recounts meeting Provincial Graduate Wang at Huangyang Inn, where they discussed Huang Yingqing passing the imperial exams at fifty-three—an encounter that inspired these verses. Dressed in star-crowned robes and moon-embroidered vestments (traditional Daoist attire), the poet laments how worldly people fail to recognize his spiritual identity, instead encountering demonic obstructions (metaphors for cultivation barriers).

Later poems repeatedly employ the character "dan" (to shoulder) to convey his cultivation attitude: rejecting worldly burdens (jade manacles and golden fetters symbolizing constraints) while wearing simple hemp garments; emphasizing internal alchemy (Neidan) to harmonize Yin-Yang (the "six harmonies and three unions"); urging detachment from familial ties to avoid mundane snares. Phrases like "six-six illumination" and "three-three verification" reference specific Neidan stages of attainment.

Particularly, he admonishes butchers to abandon the karmic debts of slaughter lest they fall into rebirth cycles, recommending they emulate practitioners like Zhao Si and Zhang San in pursuing virtuous livelihoods. The closing reference to fellow seekers in Kaizhou (modern Puyang, Henan) reflects his compassionate mission. The recurring "threefold crystallization" points to the essential Neidan process of uniting Jing (essence), Qi, and Shen—the core objective of internal alchemy.

Ma Yu (also known as Ma Feng) traveled east and west, with fellow Daoists speculating about his whereabouts. If he were to meet Patriarch Chongyang (Wang Chongyang) again someday, he would surely ride the clouds together to the Penglai paradise.

This poem, harmonizing with a fellow Daoist's verse, says: Seeing through life's transient nature, yet the natural form still seems excessive. Roaming freely through the four directions, one attains the mysterious path, guiding others to escape the sea of suffering.

Inspired upon seeing Official Li San of Zizhou holding a white banana-leaf fan: Having attained the Dao, Ma Yu wanders carefree, unrestrained and open-hearted. His true nature is fragrant as a red lotus, his clear mind unfurled like a white banana leaf.

Continuing the rhyme of Master Geng of Weizhou's poem: Ma Yu encountered living immortals, cultivating his own universe within the cave. Dragons and tigers coil as he contemplates the moon of his original nature; the restless mind grows still to admire the lotus of the heart.

Accompanied by Changle Daoist friends to Lone Mountain to view immortal traces on stone, I casually composed a short verse for Palace Graduate Qi and fellow practitioners: All rush to see the traces of immortals—but who will truly follow in my footsteps? With single-minded transcendence, one naturally finds the path to cloud-wandering.

In response to an ancient verse presented by Deputy Jiefu of Laizhou, which I happened to see yesterday at the residence of Tudan: The priceless Golden Elixir forged in the furnace—never exchanged for coin within the hermitage. Yesterday, a guest regarded me with admiration; today, I sleep alongside white clouds.

Harmonizing with Lord Ren's verse: Cultivating original truth through mystical practice, virtue naturally attracts kindred spirits. With purified intent, one knows the Golden Elixir remains unbroken; with a luminous heart, who could doubt the dustless nature of the self?

For Master Ma Congshi of Huiguang Hermitage in Xigaocun Village, Huang County: Accumulating merit through charity may tower like mountains, yet rebirth remains inevitable. Only when body and mind are purified within and without can one transcend the wheel of life and death.

Incantation for the Withered Bamboo of Quanzhen Hermitage in Huang County: Daoism proclaims itself the gate of immortality—now let withered bamboo transform its form. May these stalks regain eternal verdancy, not a single leaf devoid of vitality.

Three Verses Celebrating the Revival of Pines: I comprehend the method of regeneration, circulating Qi to alter form. Beyond the window lies not just the scholar's (bamboo) green—before the hermitage, I rejoice again at the nobleman's (pine) enduring hue.

On the third day of the sixth month, Dading year Guimao (1183), invited by Daoist friends in Huang County to stay at Golden Jade Hermitage, where six young pines were newly planted within the courtyard walls—thus composed these three quatrains.

In front of the Daoist temple, six pine trees were planted in the sixth lunar month, yet they were battered by relentless gales. Though their vital Qi was weakened, if one upholds the six vows of cultivation (referring to the six sacred commitments in Daoist practice), great merit may still be achieved.

Another verse recounts: During the dog days of summer, fellow Daoists leisurely attempted to harness the wind's force. I remarked that these six pines seemed unlikely to survive, yet legend speaks of the Three-Knotted Daoist (referring to Quanzhen patriarch Wang Chongyang) possessing true mastery.

A further poem states: On the third day of the sixth month, young pines were planted; their six sets of needles shifted hues in the wind. I prayed for the auspicious influence of Patriarch Chongyang—indeed, the miraculous power of the Three-Knotted Daoist manifested.

In a poetic exchange with the Dengzhou granary official: Cultivation should be as meticulous as an ant threading a pearl, using gentle heat to gradually refine the body’s Qi. When the nine orifices (key acupoints in the body) are unblocked, one attains the Dao, forming virtuous bonds with the Three Luminaries (sun, moon, and stars).

In a response to Dengzhou’s Inspector Zhu: When lead and mercury (Neidan terms for Yin and Yang energies) meet, diligent effort is required. The infant (Yang) and the maiden (Yin) must harmonize and merge. The jade tiger and golden dragon (symbolizing refined Qi) soar upward, while the golden crow and jade hare (essences of sun and moon) descend from the heavens.

A verse encouraging Scholar Sun for the imperial exams: May my kin soon see through worldly splendor and roam freely in search of transcendence. Reclining amidst clouds, sipping wind and dew, they shall be guided by golden lotuses and jade blossoms to immortality.

A poem urging awakening: I advise you to swiftly discern illusion, abandon worldly learning, and abide in Wuwei (non-action). Cultivate the resolute heart of Ma Yu (one of the Quanzhen Seven), and the bearing of a true immortal will naturally emerge.

Another exhortation: May you soon gain clarity of mind, no longer chasing fame and profit. Transcend material concerns to explore the Heavenly Dao—even a withered tree may revive with new life.

To Scholar Fan: Master Fan, a virtuous elder of the village, once pursued renown in youth. Should he grasp the profound mysteries of our tradition, let him quiet his heart and mend his inner grotto (cultivating body and mind).

For Abbot Jiang: The Wind Immortal (Ma Yu) left behind a gourd ladle, destined for Abbot Jiang. Returning your robe, I hope you awaken—roam carefree like me among clouds and streams.

Encouraging Yang Hezhi: Flaunt no cleverness before others; seek piercing insight into mind and nature. Purify the heart, and spiritual light will shine—dwelling at last in Penglai’s immortal halls.

Exchanging a Staff with Yu Tianxi: Once a coiled dragon in wood form, traded for bamboo—better than riches. Leisurely wielding it stirs poetic grace; awakening true nature reveals transcendent talent.

Presenting a Cane to Preceptor Zhu: Elder Liu Haichan (a Daoist immortal) once bore this precious staff, transcending the Three Realmes upon enlightenment. Ma Yu (Danyangzi), inheriting its essence, passed it on—now Preceptor Zhu strolls in boundless freedom.

Ma Yu (Daoist name Danyangzi, known as "Brother Wind Horse") composed this series of cultivation poems while staying at Fan Mingshu's home. With his hair tied in three topknots (symbolizing the cultivation of the three Dantian energy centers), he lived the wandering life of a Daoist practitioner. The poems express his pursuit of spiritual refinement - constantly feeling the "pearls" (neidan, internal elixir) within him were not yet perfected, while lamenting the worldly attachments that still bound him.

On the Double Ninth Festival, he recalled the teachings of his master Wang Chongyang (founder of the Quanzhen tradition): by simply guarding the essential key and purifying the spiritual altar (lingtai), like a clear breeze dispersing mist, one would naturally behold the luminous state as bright as the full moon.

The subsequent poems weave through threefold symbolism to describe different cultivation stages:

• The three topknots represent the Three Treasures (Jing, Qi, Shen); wholly devoted to contemplating the Dao, he no longer craved worldly pleasures, finding the taste of cultivation sweeter than citrus.
• Only after meeting his master and transcending material concerns did he truly experience the joy of carefree wandering.
• When teaching alongside fellow disciples like Tan Chuduan and Liu Chuxuan, he perceived within himself the neidan visions of phoenixes dancing and dragon-tiger interplay (the "great medicine").
• Cultivating the three yin and three yang in the "eight-trigram furnace" (the human body), during the harmonious union of water and fire, he witnessed miraculous visions of red lotuses amid blue flames.
• After refining and consolidating his essence, energy and spirit into the internal elixir, even the legendary immortal wine (daogui) seemed bland by comparison.
• Warning how worldly desires are venomous snakes, he taught that only through inward contemplation can one leave suffering behind.
• Contrasting scholars laboring over texts with the sweetness of cultivation life.
• Finally employing the Buddhist metaphor of ox-cart, deer-cart and goat-cart to advise young seekers: through virtuous cultivation, the jade nectar and immortal peaches (neidan phenomena) attained surpass all worldly sweets.

Through vivid everyday metaphors, this poetic sequence reveals core Quanzhen neidan principles: transcending worldly dust, the dual cultivation of nature and life (xingming shuangxiu), ultimately arriving at liberation beyond pleasure and pain.