《重陽全真集》Vol. 12

This poem was composed by Wang Chongyang (Daoist name Chongyangzi), patriarch of the Quanzhen (Complete Perfection) school, during his spiritual practice in the Zhongnan Mountains. Through three richly symbolic lyric forms, it expresses insights into Daoist cultivation.

The "Welcoming Immortal Guests" section describes cultivation states: practitioners must seek true clarity, stillness, and sincerity. The "azure, white, red, and black" colors symbolize the harmonized Five Phases (Wood, Fire, Earth, Metal, Water), while the "crystal dwelling" represents the purified Dao-body. Jade boys and golden boys signify balanced Yin-Yang energies within—when reaching the "chosen by Heaven" state, one truly becomes a "welcomed immortal guest" (enlightened being). The latter part humorously reveals key practices: during Zi and Wu hours (critical times of Yin-Yang transition), one mustn't indulge in sleep but practice diligently. Releasing attachments naturally brings freedom from calamity—even incense becomes unnecessary in the Quanzhen hall (practice space), achieving cool serenity.

"Fragrant Mountain Gathering" depicts celestial scenery: white radiance, azure brilliance, and crimson glow enveloping luminous pearls, symbolizing Neidan (internal alchemy) accomplishment. Immortals traverse clear skies, receiving jade decrees from the Jade Emperor (supreme Daoist deity). Higher immortals converge on Fragrant Mountain (sacred Daoist peak) amidst rosy clouds, jointly expounding Daoist truths, ultimately returning together to the Three Isles (Penglai, Fangzhang, and Yingzhou—legendary immortal abodes).

"Red Peonies" explains essential techniques: maintain alert awareness (xingxing) to perceive subtle qi (vital energy) movements during practice. During Zi-Wu hours, circulate Shen (spirit) and guard the Treasure Vessel Palace (Dantian). When jade portals (body's energy gates) open, promptly lock the golden passes (prevent Jing/essence leakage), avoiding lustful winds (carnal desires) and karmic fires (delusional thoughts). Transcending the six rebirth paths, one becomes filled with pure Yang's white qi—when the Golden Elixir forms, celestial music and heavenly flowers will greet you.

"Solitary Frontier" personifies Neidan achievement through metaphor: cultivation results defy description, like a stone fairy maiden dancing rhythmically. Gold, jade, and pearls represent accumulated virtue—when jade stamens (elixir's divine fragrance) emerge, it marks complete accomplishment. Throughout, the poem embodies Quanzhen's core principle of "clarity-quiescence and Wuwei (non-action)," emphasizing inner cultivation over external forms.

This passage is a collection of poems by Wang Chongyang (Daoist name Chongyangzi), the founding patriarch of the Quanzhen (Complete Perfection) school of Daoism, revealing the core teachings of Quanzhen practice. Let me interpret their essence in modern terms:

The first poem depicts practitioners treasuring their spiritual nature like picking jade flowers ("spiritual child" refers to the original Shen/spirit), transcending worldly dust through profound cultivation to reach the state of "surpassing the azure heavens" (碧汉 meaning the blue sky). Those who achieve success resemble celestial guests playing new melodies, forever roaming in carefree joy.

The second poem, "Twin Swans," advises releasing attachments to wander and cultivate (西州 referring to the Western Pure Land). Using "leading back six oxen" as a metaphor for subduing the six senses (eyes, ears, nose, tongue, body, and mind), it advocates following circumstances like recognizing water plants in practice to attain the pure state of "whiteness permeating the whole body," ultimately boarding the liberation vessel.

In "Another Self-Description," Wang Chongyang calls himself "Harmful Wind" (the mad Daoist), confessing that after shattering worldly perceptions he appears deranged. The "restless horse and monkey mind" symbolizes agitated thoughts, emphasizing the need to subdue delusions. Finally, willow branches represent the pure original nature that can freely manifest true self.

"Simpleton Guo Lang" satirizes worldly greed and foolishness, declaring that serene Wuwei (non-action) is true Dao. Minor immortals accumulate blessings through practice (黄泉 meaning death), while fools chase wealth, only realizing regret at life's end.

"Luring the Lost Spirit" describes insights from encountering skeletons during travels. Skeletons in wild woods (绿莎 meaning moss) weathered by wind and sun warn how attachment to wealth and lust reduces all to dry bones. The image of shepherd boys whipping skeletons subtly suggests karmic retribution.

"Red Window Distance" advises fellow practitioner Liu Yue (平等社 meaning cultivation community) to accumulate virtuous causes. "Balancing the scale beam" symbolizes impartial practice, while "don't let ink grind drop by drop" warns against contaminating the mind with distractions. The daily scene of bamboo shadows and tea fragrance by the window perfectly embodies the unrestrained realm of cultivation.

Finally, common household analogies illustrate practice: handsome or ugly appearances are empty forms, just as storing soy sauce and vinegar requires measured care (张公 representing cultivators generally). Throughout, the Quanzhen teaching of "dual cultivation of nature and life" (性命双修) merges Chan insights with life wisdom.

Beware lest what you hold in your hands falls and shatters to pieces, scattering fragments everywhere. When you reach the age of seventy-three or thirty-seven, it's time to reflect deeply—Wang Ji, oh Wang Ji, how perilous it is by the cliff's edge; mind your footing lest you slip. I urge you to turn back in time—don't cling to stubbornness.

You who cultivate the Dao with your head wrapped in a scarf—if by next year's New Year's Day your mind remains as scattered as before, even living to ninety would be in vain. A person's worth lies in accumulating virtue; don't deceive Heaven and Earth. Though you may have ample food and clothing now, tonight there is only Wang San (Wang Chongyang referring to himself) keeping company with his elderly parents—no visitors, no bedding, sleeping in his robes. If in stillness you can keep your heart unshaken, after awakening, you'll find an even deeper coolness, amusing yourself only with poetry.

When next year's great harvest comes, all those treacherous thoughts will have long vanished. Alas, people still chase fame and profit in their busy bustle—even mountains of gold won't satisfy them. Why not sow more blessings for the afterlife? Look at those people in twos and threes, all calculating gains and losses. To serve your elder brother and his wife well is to honor your parents in this life—who dares refute this truth?

Here is Wang San, morning and evening thinking of his elder brother and sister-in-law. Don't be gloomy, don't fret—purify your heart. Burn precious incense, study the scriptures of Confucianism, Buddhism, and Daoism, and let virtuous thoughts grow unceasing. This Wang San is free as the wind, having long seen through the three delusions of wealth, fame, and lust—yet why can't he quit fine wine? Even the immortals love to wander alone, carefree and at ease. Wherever he goes, all strange disturbances vanish; the Heart Sutra is remembered clearly, with no more attachments.

I, Wang Zhe (Wang Chongyang), have always had my own methods of cultivation, diligently seeking the secrets day by day. I don't look toward the underworld; Heaven naturally rejoices, and Penglai, the isle of immortals, feels just like home—cultivation must be thorough. When sailing the night boat (a metaphor for spiritual practice), I, Wang Chongyang, care for nothing but leisure and idleness. Let others judge my paper robe and hemp clothes—I know my own warmth and cold. In the time it takes a stick of incense to burn, I read ten scrolls of scripture; after three thousand days of practice, merit will be fulfilled, and I'll ride auspicious clouds straight to the highest heavens—let your night boat chase after me (a metaphor for transcending rebirth).

Roaming the land like drifting clouds and flowing water, treating all beings with equality. Passing through Laizhou again, I'll spread aid far and wide. This mad Daoist spreads the teachings, balancing good and evil, ensuring Heaven, Earth, and humanity always uphold the right path. The human heart must be seen clearly...

Wang Chongyang (founder of the Quanzhen school of Daoism) expounds the core principles of spiritual cultivation through this series of poems:

The first poem employs the metaphor of scales and measures to illustrate the importance of maintaining mental equilibrium—only by avoiding extremes can one attain the Dao and achieve immortality. Using lamps and candles as symbols for "nature and life" (xingming), he emphasizes the necessity of their dual cultivation (xingming shuangxiu), asserting that understanding fundamental truths dissolves obstacles, ultimately leading to the immortal isle of Penglai.

The second poem critiques worldly pursuits of wealth and status, dismissing fine silks, sumptuous feasts, and high office as illusory. Wang describes himself clothed in coarse hemp and paper robes, eating simple meals as circumstances allow, seeking only the eternal truth of the Dao—the genuine state of wuwei (non-action).

The third poem depicts his ascetic practice: carrying a hemp sack and gourd, living in quiet cultivation with three disciples. When hungry, he gathers sacred mushrooms; when thirsty, he drinks water boiled over fire. His ultimate aim is to ride a blue phoenix to Penglai, joining the immortal Wang Qiao in celestial realms.

The fourth poem employs the image of a white ox in a dream, symbolizing the docile, adaptable temperament essential for Daoist practice. Only by emulating the ox’s gentle nature can one achieve carefree liberation, transcending worldly attachments.

The fifth poem warns the unenlightened: stubbornness and greed inevitably lead to rebirth in the cycle of suffering. When underworld messengers come to claim the soul, neither descendants nor riches can save one—only then do regrets arise for neglecting the Dao.

The sixth poem responds to a fellow seeker’s query, advising cultivation of a heart free from anger and clear discernment between the perishable body and the eternal true nature. Daily practice should accumulate virtue (de), preserve spiritual clarity (shen), and resist temptations of wealth and desire—thus naturally perfecting the Golden Elixir (jindan) and escaping delusion.

The final poem, "Chrysanthemum Sky," satirizes those who flaunt delicacies and indulge in pleasures. Even mountains of gold cannot accompany one at life’s end. Only when underworld officers arrive does realization dawn—a lifetime spent on wrong paths—but repentance comes too late.

These verses consistently urge detachment from worldly illusions, advocating serene devotion to the immortal path. They call for awakening before it is too late, directing seekers toward the Dao’s promise of enduring life and transcendent wisdom.

Wang Chongyang's series of poems expounds the essential teachings of Quanzhen (Complete Perfection) Daoist cultivation. The first poem advises practitioners to relinquish worldly attachments, pointing out that the true path to immortality lies within one's heart-mind. Through Wuwei (non-action), vexations naturally dissolve. Cultivation requires no forced striving—just as one shouldn't forcibly seek emptiness during springtime, simply "taking chuanxiong" (a metaphor for Daoist practice) brings bodily lightness. When merit and practice reach completion, one ascends directly to the ninth heaven.

The poem "Immortal by the River" depicts cultivators wandering freely without displaying supernatural powers, maintaining mirror-like clarity within. It emphasizes unwavering self-cultivation through proper conduct—only with disciplined inner alignment can spiritual radiance manifest. By observing precepts, honoring parents, and abandoning selfishness, one attains lotus-like purity under the moon's glow, ultimately ascending to the Great Luo Heaven.

The discourse on "Four Symbols" applies Yin-Yang and Five Phases theory to bodily cultivation: the heart corresponds to Fire (south), kidneys to Water (north), lungs to Metal (west), and spleen to Earth (center), harmonized through celestial stems, earthly branches, and seasonal cycles. By balancing Kan (Water) and Li (Fire), resonating Zhen (Thunder) and Dui (Lake), practitioners achieve Five Phases harmony.

The final ode to the gourd symbolizes the cultivator's Dantian (energy center), containing jade nectar (authentic Qi) that never depletes through daily "drinking" (practice). The image of wandering with a gourd-laden staff metaphorically represents cultivating with Dantian's vital energy until comprehending cosmic origins (the "millet-sized pearl" denoting Daoist cosmogony). The pomegranate blossoms' imagery subtly suggests enlightenment blossoms through mind-nature cultivation.

Wang Chongyang (Daoist name Chongyangzi) expounds the essential principles of Quanzhen (Complete Perfection) cultivation through these poetic verses. The first stanza depicts how practitioners (referred to as "harmful winds," a metaphor for cultivators) can resolve calamities through enlightenment of the Dao. By drinking immortal wine in the blessed grotto-heavens, they transcend the cycle of rebirth and naturally reach the Penglai paradise.

The second section responds to fellow cultivators' queries about practice: one must maintain purity of body and virtuous thoughts, constantly nurture compassion, and abide in the state of Qingjing (clarity and tranquility) and Wuwei (non-action). Cultivation requires penetrating the profound mysteries ("Xiyi" refers to the state described in the Daode Jing: "Looked at but not seen - it is called formless; listened to but not heard - it is called soundless"). The teachings of Confucianism, Buddhism, and Daoism should all be synthesized. Renouncing family attachments and distancing from material desires mark superior practitioners, enabling them to nourish the five viscera, prolong life, and ultimately achieve spiritual completion before ascending to immortality.

The third stanza discusses the "Taiyi Hunyuan Zhenfa Lu" (True Register of the Primordial Chaos Method), emphasizing the need to first subdue one's deluded thoughts ("capturing those corpse-like insects of the self"). Through incense offerings to commune with spirits and accumulating hidden virtue, one redeems deceased souls and dissolves karmic obstacles. When cultivation reaches fruition, auspicious clouds will naturally accompany the practitioner.

The fourth passage employs metaphors to illustrate practice methods: daily cultivation should be like drawing golden waves from the Western River (symbolizing gathering primordial Qi), enabling the continuous circulation of true Qi. This purifies the body, extends longevity, and prompts the Big Dipper Deity (who governs life and death) to prolong one's lifespan while the Southern Dipper Deity (who records longevity) inscribes immortality. Reducing material greed and sensual desires creates cultivation conditions; following celestial will leads to immortal attainment.

The concluding stanzas reinforce key cultivation points: recognizing the Dao's true nature, severing worldly attachments ("black smoke" symbolizes mundane troubles); harmonizing Yin-Yang ("the union of the old couple" represents the balance of Yin and Yang); cultivating in silence while seeing through worldly illusions ("Zhaozhou's tea" uses a Chan Buddhist koan to symbolize enlightenment); ultimately attaining companionship with clouds and mists in celestial ascension.

Wang Chongyang's poetry collection depicts the cultivator's spiritual journey and realized states. The opening section portrays practitioners who appear to follow worldly circumstances while maintaining transcendent awareness amidst mundane affairs. The phrase "vast and obscure" (yaoyao mingming) describes the mystical state entered during cultivation, "afflicted winds" (menghai feng) metaphorically represents worldly disturbances, while "a single point of spiritual illumination piercing the vault of heaven" illustrates how practice opens one's consciousness to cosmic connection.

The second segment employs "the first milestone at Mount Jia" as a metaphor for initial steps on the path, progressing to "the pure sea carrying crystalline clarity" depicting advanced cultivation. "Jade Pool" (yaochi) and "white lotus blossoms" evoke Daoist celestial realms, with "the Great Canopy Heaven" (daluo cheng) representing the supreme transcendental state achieved upon completion of cultivation.

"Trimming the Silver Lamp" emphasizes nurturing one's fundamental nature. "Primordial original nature" (genchu yuanxing) refers to humanity's innate purity, while "luminous pearl" symbolizes the realized spirit (shen). The poem mentions how "the Three Authenticities" (likely jing-qi-shen) and celestial sages bear witness during advanced practice.

"Wind-Horse Command" uses horse taming as metaphor for mind mastery. The "willful steed" represents restless thoughts, "White Cloud Cavern" denotes the serene Daoist realm, depicting how rigorous cultivation ultimately leads to carefree liberation.

"The Diviner's Calculation" explains practical methods. The "steel-blue sword" likely symbolizes wisdom severing delusions, while "celestial steed" represents the spirit's ascension, demonstrating how persistent practice verifies the way of longevity.

Finally, "Visiting an Absent Companion" records seeking fellow cultivators. "Complete Perfection" (quanzhen) refers to the school's core tenets, with "a single point of spiritual clarity" highlighting the importance of maintaining fundamental awareness. The conclusion presents the Three Teachings unity doctrine, asserting Confucianism, Buddhism and Daoism ultimately point toward cosmic origins ("primordial beginning", "fundamental source", "original celestial time"). Through cultivation, one's vital energy (qi) becomes eternally cyclical like sun, moon and stars.

This scripture integrates the practice of Daoist Neidan (internal alchemy) with moral exhortation, employing vivid metaphors and scene depictions to convey essential cultivation principles.

The practitioner must open the body’s three key passes (Jing-guan, Qi-guan, and Shen-guan), transcend superficial perception, and align with the Dao of the Three Powers (heaven, earth, and humanity). Through cultivating the Three Treasures (likely referring to essence, energy, and spirit), one attains the radiance of the Three Luminaries (sun, moon, and stars), causing the quintessence of the Three Dantian (upper, middle, and lower energy centers) to coalesce.

The text then contrasts this with worldly life: those who flaunt their talents, obsess over appearances, and boast in taverns will collapse when adversity strikes. It admonishes those lost in mundane pleasures to awaken swiftly, safeguard their primordial Yang (innate vital essence), and avoid disturbing body and mind. With just a turn of awareness, one opens the "Dao-eye" (spiritual insight) to witness golden lotuses (the Golden Elixir) blooming and jade blossoms (true Qi) exuding rare fragrance, filling the void with luminous clarity.

The "Shutang Chun" section recounts Wang Chongyang (styled Wang San) receiving ancestral transmission in Ganhe Town. After realizing his innate spiritual clarity, he composed poetry, refined elixirs, and in moments of unbound freedom, contemplated the Three Luminaries, ultimately transcending to sagehood.

"Qingyu An" depicts the Lantern Festival (a major Daoist celebration): parting clouds reveal a jade-like sky, urging cultivators to ignite the "mind-moon’s wisdom-lamp" and harmonize the sun and moon’s radiance. Ritual vessels adorned with Seven Treasures gleam brilliantly as one abides in the light of intrinsic nature. Golden Children (accomplished adepts) wield their jade pestles (cultivation methods), riding the wind back to Penglai’s immortal isles.

"Dai Ma Xing" employs horse-taming as a cultivation metaphor: initially riding the celestial steed (symbolizing the primordial spirit) alone, this noble mount spirals upward to the Three Sacred Isles (Penglai, Fangzhang, and Yingzhou). The vigorous immortal horse (representing true Qi) leaps across crimson cliffs, escapes worldly snares, and roams through water and fire adorned with jade bridles. When moonlight (true Yin) shines, its hooves race lightly toward the Great Dao, fulfilling the karmic fruits of practice.

The conclusion emphasizes key principles: upon encountering the Dao, rectify the heart-mind swiftly, transforming into "Chongyang" (pure Yang-body) like dawn illuminating clear skies. The spirit-horse guides one onto the path of longevity, where numinous and divine lights merge, silver mists shield the form, and golden blossoms crown the head as one ascends to the Jade Pool with azure phoenixes. True cultivation demands leaping from the "burning house" (worldly attachments), severing familial bonds with fierce resolve, and realizing primordial truth to become truly awakened. Those clinging to spouses, children, or wealth remain bound by earthly chains.

Through rich imagery—steeds, lanterns, and festivals—the text transforms Neidan processes into tangible visions, stressing renunciation of worldly ties and preservation of primordial Yang as the path’s core.

This scripture expounds the Quanzhen (Complete Perfection) tradition's methods for cultivating one's nature and practicing Neidan (internal alchemy), employing numerous metaphors and specialized Daoist terminology to describe spiritual states.

Practitioners should regard all things with compassionate equanimity, maintaining clear awareness within. Authentic cultivation requires the focused dedication of a hundred-day retreat—free from indulgence and transcending worldly attachments. Those who share this aspiration practice together in purity, as if wandering immortal realms in the company of transcendents.

Throughout the process, whether in states of intoxication or sobriety, one preserves inner purity. Neither the riches of a silk-robed noble nor the allure of song and dance should stir attachment. Upon reaching the mysterious state, the mind becomes as carefree as drifting clouds. Though such adepts may appear to possess nothing, they comprehend the ten thousand things with serene clarity, perceiving the movements of sun, moon, wind, and clouds—ultimately dispelling darkness to behold the light.

The text employs concepts like the "Three Powers" (heaven, earth, humanity), "Three Teachings" (Daoism, Confucianism, Buddhism), and "Three Treasures" (Jing/essence, Qi/vital energy, Shen/spirit) to illustrate how cultivation synthesizes multiple wisdoms. Through Neidan practice (symbolized by the "three chariots" transporting Jing, Qi, and Shen), one visualizes celestial realms ("three isles and ten continents") within the body, ultimately uniting with the Dao (represented by the Sanqing/Three Pure Ones, the highest celestial abode).

Later passages use alchemical metaphors like lead and mercury, or the Azure Dragon and White Tiger, to depict Yin-Yang harmonization. Lead corresponds to kidney-water, mercury to heart-fire; refinement brings about their balanced union. "Severing the turtle's four legs" symbolizes subduing deluded thoughts, while the "maiden wedding the youth" signifies Yin-Yang communion. Eliminating the "Three Corpses" (three harmful mental poisons) enables the forging of pure Yang elixir (crimson flames blanketing jade slopes).

Finally, botanical imagery describes the "spiritual root" (innate nature) growing in purity, its "branches and leaves" (cultivation efforts) swaying freely. Absorbing lunar and solar essences ("moonlight and solar breath"), it ultimately bears the Golden Elixir (the "Blossom Pearl Palace" denoting the upper Dantian). Just as fire hidden in stone eludes discovery, or gold in water requires special methods to extract, so too does spiritual practice demand proper technique.

This passage comes from Wang Chongyang's Complete Perfection Anthology (Chongyang Quanzhen Ji), the founding patriarch of the Quanzhen (Complete Perfection) tradition of Daoism. Using poetic form, it conveys the essentials of Neidan (internal alchemy) practice and philosophical insights on life. Here is a modern interpretation:

Regarding Neidan cultivation, it describes: Using the "heart fire" (conscious intent) to mobilize "kidney water" (Jing-essence), harmonized through "lung metal" (breath), akin to refining "true lead" (primal essence) in a furnace. One must merge "mercury" (Shen-spirit) with "metal" (Qi-energy), like a swift sword uniting with a treasured blade—only then can the path to immortality be realized. Seize the vitality of spring within the cycle of seasons, nurturing one's innate nature and transcending worldly attachments. True practice lies not in forced breath control or swallowing saliva, but in the natural radiance of sun and moon in a clear sky.

The poem Treading on Grass employs metaphors: Like hooking a joyful whale in the Eastern Sea, its scales glistening like white brocade, freely roaming with me. Amid green mountains and blue waters, it mirrors the playful dynamic of "Master Zhang drinking while Master Li snatches the cup"—a subtle allusion to the natural harmony of Yin-Yang interaction.

The verses on axes and hoes (tools) superficially describe implements but actually convey cultivation principles: Seek a master craftsman (enlightened teacher) to forge an axe (practice method); if lacking means, use what's at hand (adapting to circumstances). With compassion as the foundation, attaining true method (unyielding steel) can "split open the eye of Dao" (wisdom), holding golden tablets (scriptures) to realize the Way. The iron hoe (cultivation resolve) plants the "great medicine" (Golden Elixir), demolishing the "mountains of affection and prisons of desire" (emotional attachments), shattering stubborn rocks (karmic obstacles) to reveal Kunlun jade (original nature).

Finally, Fisherman's Chant reflects: Official careers are as unpredictable as sea winds—one must know when to stop. Flowers bloom in their season (following celestial timing); the sun and moon alternate (Yin-Yang cycles) by inherent law. The Kun-whale of the Northern Sea (the great Dao) eludes ordinary perception, while autumn winds (heavenly messages) whisper truths. My fishing (practice) seeks no catch (material gain)—only to comprehend the true meaning within.

These poems employ everyday imagery to expound the Neidan principles of balancing Yin-Yang, dissolving attachments, and the cultivation attitude of aligning with nature to illuminate one's true mind.

These poems from the Chongyang Quanzhen Collection reveal Wang Chongyang's (founder of the Quanzhen tradition) unique perspective on spiritual cultivation and worldly wisdom.

The first poem depicts the realm of practice: The cultivator soars like a giant roc ascending through the clouds, reaching the supreme state of carefree liberation. The "divine pearl" (Neidan, internal elixir) emits dazzling radiance, symbolizing accomplished cultivation. "Soaring ascent" refers to the Daoist concept of transcendent freedom, while "azure heavens" represent the highest spiritual attainment.

The second poem satirizes hypocrites: Outwardly resplendent in fragrant, colorful robes, they pompously deliver lofty speeches while inwardly rotten. Such people flaunt their status with entourages, yet resemble dung heaps concealed beneath ornate exteriors.

The third poem discusses rebirth through the wheel of existence: Mortals change appearances too swiftly for worldly eyes to perceive truth. Practitioners remain content in solitary freedom, while those chasing fame and wealth add needless suffering—like people fumbling in dark rooms—until awakened ones light the lamp within.

The fourth poem advises a friend: Abandon official titles ("salt judge" refers to bureaucratic positions like salt and iron commissioners) to wander freely like clouds and cranes. Couples cultivating together may enjoy moonlit breezes, experiencing the joy of unconstrained practice.

The River Transmission Song employs repeated "bamboo" and "wood" characters to portray ascetic life: Wearing bamboo hats, using wooden utensils and sandals, embodying simple naturalness. "Wooden ox plowing fields" metaphorically describes Neidan practice.

The final passage depicts a cultivator's lifestyle: Though enduring hunger and cold, he accepts circumstances gracefully. Carrying an iron alms bowl through streets, he receives compassion without shame. Calling himself "Madman Harming Winds" (Wang's self-mocking title), he appears destitute yet transcends worldly concerns. The closing lines affirm his eventual liberation ("azure void" signifies celestial realms), advising others not to worry for him.

The physical form of ordinary people should not be overly clung to. By maintaining clarity and understanding, one naturally achieves bright awareness. Whether walking, standing, sitting, or lying down, one must preserve a state of purity and ease, allowing Jing (essence), Qi (vital energy), and Shen (spirit) to harmonize and merge. Only then can the Golden Elixir (Neidan, internal alchemy) be formed within, granting the qualification to enlighten sentient beings.

Like an arrow shot from a drawn bow striking the bullseye with precision, cultivation requires seizing the right moment to dispel the disturbances of celestial cycles (the patterns of cosmic movement). When the Golden Elixir takes shape within the body, it emits priceless iridescent light. At this stage, one transcends the constraints of the Five Phases (Wood, Fire, Earth, Metal, Water) and breaks through the boundaries of Yin-Yang, reaching a realm beyond creation itself.

Cherish the optimal timing for cultivation. Begin with a solid foundation, ensuring that the true Dao attained is free from error. Within the golden furnace (a metaphor for the Dantian, energy center) of the body, the jade blossoms (symbolizing the refined essence of Neidan) begin to form. Through repeated refinement, this precious elixir is obtained. When Jing and Qi undergo nine cycles of transformation (repeated purification) within the three Dantian (upper, middle, and lower energy centers), they radiate brilliant light, and the eight meridians and four gates (channels and acupoints) open freely. A single point of spiritual radiance in the void becomes exceptionally bright—a state beyond words, where one naturally merges with the Dao.

Fellow seekers of the Dao should remain grounded, carefully contemplating the profound mysteries. In cultivation, one should be as comfortable as resting one’s head on a cool pillow, peacefully sleeping even amid the beauty of wind and moonlight. Regularly ingest the "knife and spoon" (a metaphor for the subtle substances obtained through cultivation), and gradually, one will witness the blossoming of a thousand flowers within. To explore this fragrant realm in detail, cherish the opportune moments and savor them deeply in the practice.

(Ode to the Purple Swallow)

I observe the purple swallow building its nest and laying eggs, tirelessly feeding its young each day. Yet once the fledglings grow and leave the nest, they abandon their parents and fly away. Human parenting often follows the same pattern—knowing that clinging to external attachments only deepens desire, it is better to cultivate the path of longevity. Roaming freely among mountains and rivers in leisure is true happiness.

(On Yin-Yang)

In the primordial chaos before Heaven and Earth separated, Yin and Yang had yet to manifest. Only when Heaven and Earth took their positions, with Qian (Heaven) and Kun (Earth) clearly defined, did the three lights (sun, moon, and stars) appear. Within the human body, the two Qi of Yin and Yang (the harmonizing energy) circulate continuously, with Water and Fire in mutual nourishment (a cultivation term for Yin-Yang balance). The White Tiger (symbolizing Lung-Metal) and the Azure Dragon (symbolizing Liver-Wood) intermingle. In cultivation, one should not fixate on the forms of male and female—true practitioners have companions of a different kind.

(Song of the Tossed Ball)

Auspicious lingzhi mushrooms grow upon the Fusang (the mythical divine tree), yet transplanted to Penglai, the immortal isle, they become even more precious. Golden branches and jade leaves are naturally splendid, transforming into treasures upon Mount Kunlun. Radiant light enhances their mystery, and within the bright flames, the true principle is realized. An immortal youth presents an edict bestowing an honorable title, completing this cultivation in the state of Wuwei (non-action).

(Spring Exploration Verse)

The original heart-mind is deep and silent—both minute and vast. A sphere of crystalline light encircles the body, accompanied by five-colored auspicious clouds. The carefree realm is worth experiencing, with jade youths arriving to offer congratulations. The air is filled with rich fragrance, within which immortals sit in companionship.

A hundred years of human life is like gazing into a mirror—raising your hand brings blessings, while turning it over invites calamity. Life and death, wealth and honor now lie clearly before our eyes; we must swiftly turn back to recognize our original source (referring to the nature of Dao). If one truly comprehends the profound mystery of the great Dao and follows a genuine master in cultivation, they can eradicate the Three Corpses (the three malevolent spirits believed by Daoism to reside within the human body) and Nine Worms (parasites that harm health).

By refining the pure Yang Qi (vital energy) and harmonizing body and mind to achieve a state of balanced unity, one transcends worldly entanglements and is no longer bound by the suffering of reincarnation. Even the tolling bells of temples and monasteries cannot disturb such an awakened person who has attained the Dao.