《重陽全真集》Vol. 7

The poem "Jie Pei Ling" depicts the daily life of a Daoist practitioner in quiet cultivation within a hermitage. Though dwelling in a thatched hut, mundane chores multiply endlessly—worrying over rice and flour provisions, organizing cooking utensils (mortar and pestle, knives, porcelain bowls, earthen pots, spoons, chopsticks, ladles, steamers), tending fields, scrubbing stoves, lighting lamps for fire prevention, and constantly locking and unlocking doors. Seeking tranquility, one finds instead entanglement in these trivialities, making it difficult to soar on clouds in pursuit of the Daoist path.

"Zhuan Diao Chou Nu Er" admonishes people against obsession with wealth and sensual pleasures, comparing fame and gain to shackles binding human freedom. Youth fleets like an arrow—one must awaken early and escape delusion. Only by maintaining serene leisure can one nurture pure heart-mind and crystallize the Golden Elixir (Neidan terminology referring to the energy core formed through internal alchemy). The true Penglai paradise lies not in distant lands, but within this very space of pure cultivation.

"Ling Zeng Ma Yu" contains Wang Chongyang's instructions to his disciple Ma Yu (Daoist name Danyangzi). He urges him to recognize past errors in Daoist practice and now follow proper guidance. When old friend Lu Shan visits, he too should comprehend these profound principles. Wang advises building a mountain hermitage for easier alms-seeking until merits are fulfilled, when master and disciple may together ascend to the Ten Isles of Immortals (legendary oceanic mountain paradises) in shared joy.

Regarding dual cultivation of nature and life (xingming shuangxiu, the core of Daoist practice—where "nature" signifies heart-mind and "life" the physical body), one must contemplate ceaselessly day and night. The sun and moon revolve like the Big Dipper's pivot (symbolizing internal Qi circulation)—when cultivation reaches its zenith, celestial flowers and rare fragrances manifest as auspicious signs. Achieving emptiness and luminous stillness, one attains harmonious intercourse of Yin-Yang energies (Neidan terminology for energy balancing) in cool serenity, effortlessly realizing authenticity. Gathering "cloud-companions and rainbow-friends" (fellow cultivators), all jointly refine the Daoist path.

"You Cha Si" declares true tea ceremony transcends leaf grades, valuing utmost authenticity instead. Inviting fellow Daoists to brew and savor tea, watching boiling water churn like cloud-waves. Sipping lightly refreshes Qi and Shen (spirit), akin to Tang poet Lu Tong's ecstasy after seven cups. Understanding this true flavor resembles Chan master Zhaozhou's enlightenment. Wang Chongyang (self-styled "Wang the Madwind") and four companions share tea beneath moonlight, chanting verses by Liu Yong.

The finale reflects on a life appearing mad yet profoundly touched by Liu Yong's "Collection of Musical Lyrics." At forty-something, his Dao-nature awakened with radiant wisdom (signifying elevated cultivation), finding enlightenment through poetry. Highlighting Liu's famed line "Willow-lined bank, dawn breeze, waning moon," it demonstrates how art and Daoist cultivation interpenetrate.

This "Chrysanthemum Sky" poem describes a miraculous elixir called the "Purple Golden Elixir" (Zijindan) that grants perpetual health when consumed. As the elixir circulates through the three Dantian (energy centers) — the Upper Dantian (Mud Ball Palace at the crown), Middle Dantian (Scarlet Palace), and Lower Dantian (Qi Sea) — it eventually emits radiant five-colored auroras from the Mud Ball Palace (a cranial acupoint), assisting one's ascension to the immortal realms.

Another verse discusses an elixir specifically curing systemic numbness. Whether taken with wine or tea, it renews sinews and bones, coalescing into cinnabar (the essence of Neidan/internal alchemy practice). Immediately, one's spirit becomes refreshed and qi purified, each step generating celestial clouds beneath one's feet.

There's also a specialized eye-healing elixir that restores clarity of vision, allowing one to perceive the path ahead. After gentle scraping with a golden eye scalpel (an ancient ophthalmic tool), it removes ocular impurities, making one's sight as luminous as the Three Radiances (sun, moon, and stars).

The cough-relief elixir regulates lung function by balancing Water and Metal (according to Five Phases theory in Chinese medicine). Upon ingestion, it dispels wind-cold and heat pathogens, shielding against the five pathogenic influences while restoring robust health.

The viscera-nourishing elixir follows a unique formula with immediate efficacy. Combined with secret techniques for cultivating True Mystery (Neidan practices), it nurtures qi, perfects the spirit (Shen), prolongs life, and grants eternal serenity.

"Diviner's Song: Request from Miaojue Temple Monk" portrays an enlightened abbot: this monk of Miaojue Temple realized compassionate wisdom, daily opening the Gate of Skillful Means (Buddhist pedagogical methods), his intellect illuminating beings like a lamp. Seated like Buddha in snowfall or Bodhidharma facing his wall (alluding to Chan Patriarch Bodhidharma's nine-year wall-gazing enlightenment), he ultimately perfected his merits and ascended to the Tusita Heaven (a Buddhist pure land).

The final passage employs horse-riding allegory: letting the mind-monkey (metaphor for restless thoughts) roam freely with rosy clouds, riding fine steeds unimpeded. Yet when constrained by silver saddles, true liberation comes only by casting off reins to gallop wildly. This subtly advises practitioners to break attachments, attaining genuine carefree liberation (Xiaoyao).

This passage presents the cultivation poetry of Wang Chongyang (the True Man Chongyang), founding patriarch of the Quanzhen (Complete Perfection) tradition, expressing the realm of mind cultivation and the pursuit of transcending worldly attachments.

The poem employs metaphors like "wild steed," "wind steed," and "cloud steed" to depict the practitioner's state of unfettered freedom. When liberated from worldly constraints ("shaking off the halter, leaving stable beams behind"), the mind roams freely like a wild horse. Upon attaining true nature ("zhenzhen"), the spirit becomes crystalline and luminous ("radiantly translucent"), moving effortlessly through ethereal realms. Riding the wind steed (symbolizing transcendence), one trusts in its drifting motion while maintaining clear awareness ("xingxing"), traversing between azure skies, then mounting the cloud steed in perfect ease.

At advanced stages, the practitioner can "drive back the crow of the sun, seize the hare of the moon" (alchemical symbols of solar and lunar essences), becoming clothed in crystalline light with the golden steed (the Golden Elixir) coming to rest—this is the realm of the True Man Chongyang. Here one freely wanders cloud paths, preceded and followed by the sound of steeds (symbolizing yang spirit excursions) while seeking fellow cultivators.

The self-referential "madman of harm" (Wang's nickname) searches the seas for worthy opportunities ("liangjia"), yet excessive mental grasping ("the heart clutches too tightly") binds the mind-steed (thoughts), breeding vexation. Through meticulous cultivation ("patient thorough searching"), he eventually discovers the four central jewels (neidan) amid passing years, with the vital steed (qi mechanisms) moving swiftly, attaining the Great Dao in western passes (around Zhongnan Mountain).

Later verses emphasize steadfast determination: "You resolve to walk steadfastly, I resolve to guard steadfastly"—only after hundred-day retreats comes awakening. One must recognize primordial nature ("this person of original beginnings") as naturally as seasonal blossoms and spring willows, sharing the wine of immortality (enlightenment). Through divination verses comprehending hexagrams and line statements (Yijing symbols), on spiritual islands (metaphoric cultivation realms) seeking true companions, one summons the supporting wind (authentic qi). Fear no hardship—with clear, determined will, eternal companions of longevity shall be found.

Final quatrains further elucidate cultivation realms: worldly people misunderstand the cultivator's "wind madness" (unconventional behavior), which actually brings coolness in heat and warmth in cold. Through perfected beings' guidance obtaining true immortals' secrets, one reaches the paradoxically harmonious state where "amidst ninety-nine frigidities flowers bloom, while mid-summer snows fall." Lamenting worldly obsession ("scorched by cravings," "consumed by envy") unaware of approaching death ("Fengdu," the underworld), the verses clarify cultivation requires no haste—opportunities arise naturally. Constant companionship with white clouds brings quiet joy, as azure-robed youths (immortal attendants) deliver the register of longevity. The essence resounds in "leaping from mortal cages to seek nature and life"—cultivation means transcending mundanity while maintaining pristine spiritual clarity.

Wang Chongyang (founder of the Quanzhen school of Daoism) reveals the essence of spiritual practice and philosophical wisdom in these poems. The first segment expounds key cultivation methods: through meditative contemplation of emptiness (jingzuo mingxiang, quiet sitting meditation), one recognizes their fundamental nature. Upon enlightenment, the inner mind becomes luminous like refined gold, ultimately attaining the deathless state of transcending ordinary existence (a liberated state beyond life and death).

In verses addressed to his nephew, he advises younger generations to relinquish worldly attachments and break free from the shackles of samsaric rebirth. Referring to himself as "Wang San," he emphasizes the need for unwavering commitment to the Daoist path, advocating regular veneration of the Three Luminaries (sun, moon and stars—important objects of Daoist cultivation) to escape worldly entanglements and ultimately achieve carefree spiritual liberation and celestial ascension.

Poems for fellow practitioners employ the metaphor of pearl-like rice to symbolize the preciousness of Daoist teachings. When the practitioner's abdomen manifests white qi (a sign of successful neidan practice), they should contemplate the true Dao under the moon's pure radiance. Verses for Ning Sheng compare the human body to a house—bones forming its beams and skin its roof tiles—exhorting filial piety toward parents as one would maintain a dwelling.

In poems for capital city practitioners, he stresses cultivating inner purity like white jade through solitary practice that eliminates desires, maintaining mind-illumination like candlelight while chanting the "Deathless Melody" (a cultivation method). Finally, his verses about Shimen Hermitage on Kunyu Mountain depict the ascetic life: diligent mountain cultivation where even daily chores like gathering firewood and carrying water become spiritual practice, urging fellow seekers to seize the moment for cultivation and vowing to clearly expound the Dao's truths.

These poems consistently embody Quanzhen's core principle of "dual cultivation of nature and life" (xingming shuangxiu), emphasizing transcendence of worldly concerns through inner refinement. Their simple language conceals profound cultivation secrets.

This scripture primarily describes a practitioner's cultivation process and awakening experiences during the five night watches (ancient time divisions). In the first watch, the cultivator leaves home and seals away the turbid Qi (black whirlwind) within the body. The second watch depicts the harmonization of Yin-Yang, akin to a couple practicing together. The third watch describes the formation of the Golden Elixir (Jindan, the essence of Neidan practice). By the fourth watch, one attains a state of cool clarity, drinking celestial nectar and jade wine. In the fifth watch, all constraints are transcended as the luminous pearl (representing the original spirit, Yuanshen) radiates brilliant light.

Subsequent passages employ chess as a metaphor for cultivation: the players' obsession with victory mirrors worldly people's attachment to superficial appearances, while the observer (hinting at an awakened one) sees through the illusion. The text laments how ordinary people struggle to free themselves from desires (the fiery courtyard), only realizing their folly when facing death (the great limit). It then describes the cultivator practicing alone in meditation, with genuine Qi circulating along the Governing Vessel (key points: Wei Lü, Jia Ji, and Niwan), attaining the joy of longevity.

Finally, it observes how few comprehend the Caoxi Chan method (a Zen practice), unwilling to relinquish worldly pleasures with wives and children. Though the path to immortality lies clearly visible, scarce are those who choose to escape worldly defilements. Only by penetrating the Three Radiances (possibly referring to the sun, moon, and stars, or the Three Treasures of Jing, Qi, and Shen) can one forge true connections and comprehend the profound mysteries.

These poems from the Chongyang Quanzhen Collection are works by Wang Chongyang, founder of the Quanzhen school of Daoism, using vernacular verse to convey profound cultivation truths. The first poem depicts the wondrous realm of the Golden Elixir (Jindan) path, describing how the supreme immortal Dao gestates within the void—the Golden Elixir pure as a flawless pearl, radiating dazzling light that pierces the heavens.

The second addresses cultivators in Ninghai (modern Muping, Shandong), urging them to awaken to the true Dao and anticipating future reunions at the Golden Lotus (symbolizing a pure practice site). The cultivation path brims with auspicious clouds and emerald mists, encouraging the forging of virtuous connections. It then playfully mocks the local magistrate, contrasting officials’ daily feasting with the author’s own refusal to conform—referring to himself as "Madman Wang."

The third uses the moon as a metaphor for eternal truth, lamenting how worldly people dwell in darkness like cave-dwellers. The fourth, Willow Branches, paints a cultivation scene: the bright moon hangs in the azure sky, a single branch of immortality peaches (Pantao) is obtained, while the adept freely writes mystical verses with "knife and brush" (symbolizing cultivation methods).

The subsequent Pounding Cloth poems employ lively colloquial language to reveal essential practices: monkey-like restless thoughts "riding horses" must be severed, using wisdom’s blade to point directly to the original mind; the mystery of water and fire uniting (Kan-Li interaction, a Neidan term) demands contemplation; true practice lies not in external alchemy (Waidan) but in illuminating the mind to perceive true nature. The conclusion declares that transcending the cycle of life and death brings carefree liberation—using the "medicine spoon" (Daogui, representing cultivation techniques) to shatter delusion, like a white lotus unstained by mud, symbolizing freedom from worldly defilement.

Blending profound Neidan concepts with accessible imagery—from folksy refrains like "liluo" to specialized terms like Golden Elixir and Kan-Li—these verses embody Wang Chongyang’s cultivation philosophy of "achieving immortality through complete authenticity."

This poetic selection from the Chongyang Quanzhen Ji was composed by Wang Chongyang (also known as Wang Feng), the founding patriarch of the Quanzhen (Complete Perfection) school of Daoism. Using vernacular language, it conveys profound spiritual realizations. The first poem advises practitioners to transcend worldly pursuits of fame and profit, likening the process to ascending a high plateau far from mundane clamor. After a decade of rigorous cultivation when merit reaches fruition, one attains carefree liberation amidst the white clouds. The "three precious elixirs" refer to the essential triad of Jing (essence), Qi (vital energy), and Shen (spirit) within the human body. Cultivation requires maintaining a state of primordial chaos and empty stillness, embracing the void with natural ease.

The second poem, set to the Tashaxing melody, warns against attachment to romantic entanglements—these seemingly beautiful attachments ultimately harm both self and others. Lavish mansions and beautiful companions are karmic debts from past lives. Even if one's household appears as solid as iron, accumulated transgressions must ultimately be borne alone; nothing can be taken beyond death's threshold.

The third poem serves as a farewell declaration to family: "Do not grieve, wife and daughters; do not resent me, children and grandchildren—my aspiration for the Dao was long determined." Only by casting off worldly shackles can one enter the realm of clear coolness. True freedom is found practicing amidst the mist-wrapped peaks of Kunlun, the immortal mountains, and within cavernous abodes veiled in radiant haze.

The introspective fourth verse observes how humans chase after wealth, which in turn is squandered by people—an endless, futile cycle. Even copper coins wear down with use; how then can our mortal flesh escape the cycle of life and death? It urges awakening to seek the true Dao. The essential method lies within: when heart and kidneys commune (symbolizing the alchemical union of lead and mercury), it resembles clear springs merging with true fire. When dragon and tiger unite (the harmonious interplay of Yin and Yang), one naturally harvests the golden elixir (symbolized as golden peaches and jade fruits).

The conclusion reveals the core message: The great Dao is fundamentally nameless. The author (referring to himself as "Harmful Wind") employs the Tashaxing verse form to express the joy of cultivation. Each step in practice blooms like lotuses emerging from clear springs, forming auspicious clouds. When internal alchemy (Neidan) reaches fruition, inner radiance manifests spontaneously—what need is there for external seeking? Those ignorant of cultivation's true essence waste days drawing talismans (Fulu) and chanting invocations, begging others for salvation—all futile exertion.

These verses by Wang Chongyang (founder of the Quanzhen [Complete Perfection] school of Daoism) reveal essential cultivation methods and spiritual states.

The first poem advises practitioners to maintain simplicity like wearing plain felt socks and wooden headgear, accepting humble meals while discerning their deeper flavor. True cultivators (zhenren [perfected persons]) and enlightened beings (pusa [bodhisattvas]) attain transcendence through such austere practice. The "lead and mercury" metaphor refers to the Yin-Yang energies (Qi) in Neidan [internal alchemy] practice, reminding adepts to conserve their vital essence (Jing) without dissipation.

The second employs agricultural imagery—hemp harvested the previous year, wheat gathered last season—to illustrate subtle Yin-Yang transformations. The "golden cake" symbolizes burgeoning Yang energy, while the "silver vessel" represents latent Yin force. Cultivation requires balance like an unwavering scale beam. References to Zhongnan Mountain and the Jingdong region emphasize grounded practice.

The third likens the body to an incense burner and the mind to its flame. Timely practice ("burning at proper hours") ascends to the crown (Kunlun signifies the head), with auspicious smoke heralding communion with divine beings.

The fourth stresses nurturing the "single spark of spiritual clarity"—one's original nature—while walking the twin paths (likely referring to xingming shuangxiu [dual cultivation of nature and life]). Practitioners must seize cosmic rhythms ("sun's turning, moon's rising"), not clinging to longevity but stabilizing vital essence ("golden Jing").

The fifth describes establishing a thatched hermitage on Kunyu Mountain. The physical structure merely facilitates practice; true importance lies in maintaining precepts while awaiting maturation of conditions.

The sixth recounts burning the long-dwelling Liu-Jiang Hermitage, demonstrating detachment from attachments. Though outsiders may lament, this constitutes the necessary path to Penglai, the immortal isles.

The final section portrays advanced cultivation where practice continues even during sleep, ultimately crystallizing the jiuzhuan zhendan [ninefold perfected elixir]. The adept ascends on auspicious clouds, guided by celestial cranes.

Wang Chongyang, the founder of the Quanzhen (Complete Perfection) school of Daoism, described experiencing a pulsating red light at the center of his body (referring to the Dantian or energy center) during meditation. This account appears in Volume 7 of the Chongyang Quanzhen Ji (Collected Works of Chongyang on Complete Perfection), illustrating a phenomenon encountered in Neidan (internal alchemy) practice.

The "red light" mentioned here represents a common experience in Daoist cultivation, understood as the coalescence of Jing (essence), Qi (vital energy), and Shen (spirit) within the practitioner. The "center" specifically denotes the Dantian, the primary focal point for gathering energy during meditation. In Daoist tradition, such luminous manifestations are considered auspicious signs of successful cultivation.