《抱朴子內篇》Vol. 19

Someone once said to me: "I am a man of shallow learning, confined like one standing before a wall by the doctrines of Confucianism. I know only the Five Classics and Three Histories, the discourses of the Hundred Schools, along with those ornate poems and frivolous essays. For many years I have exhausted my mind clinging to these things. Born in this calamitous age of constant warfare, these literary arts are held in no esteem—they merely waste time and energy. I have labored diligently to plumb their profound principles, yet gained neither rank nor profit. Instead, I have neglected farming, depleted my spirit (Shen), and done nothing to prolong life. Now my hair turns grey, age advances, and youthful ambitions fade. I wish to turn back from this misguided path to seek the way of longevity, yet find myself utterly lost—like standing before a great river with no means to cross. You, sir, have read widely and mastered rare texts and secret classics. Might I ask how many volumes the Daoist scriptures comprise? I beg you to name their titles and contents."

I (Baopuzi) replied: "I too was once troubled as you are. In my youth I was fortunate to meet the enlightened master Zheng Jun (Zheng Yin), but regret that my natural capacity was insufficient to fully comprehend the most profound truths. Though I attended him as a disciple, my talents were meager, my youth impulsive, my mind unfocused, and worldly habits still clung to me—thus I learned little of his true teachings, which I deeply lament."

"Master Zheng was then over eighty years old. Though his temples had been streaked with white, within a few years they turned black again. His face glowed with vigor—he could draw a strong bow to shoot a hundred paces, walk hundreds of miles in a day, and drink two dou of wine without drunkenness. Whenever climbing mountains, he moved as lightly as a swallow, scaling perilous heights where even young men could not follow. He ate ordinary food like others, never abstaining from grains. I once asked his senior disciple Huang Zhang, who told me that when Zheng Jun returned from Yuzhang, encountering fierce winds at Juegou Pu and hearing of bandits ahead, fellow travelers dared proceed only in groups, complaining of scarce provisions. Zheng Jun shared his own rice with them and went fifty days without eating, yet felt no hunger—though none saw him perform any magical arts."

"Master Zheng could write tiny characters by lamplight, his eyesight surpassing the young. He mastered musical tones, excelled at the qin, and while sitting at leisure could answer several people simultaneously while still detecting every rhythmic nuance of someone playing nearby—without the slightest error. Only later did I come to..."

When disciples of Master Zheng (the Daoist patriarch Zheng Yin) requested to study books on esoteric arts, he would tell me: "The true essentials of cultivation could be written on a single piece of plain silk—enough to transcend worldly dust. There's no need for excessive accumulation. Yet broad learning ultimately surpasses having no learning at all." He understood the seekers' intentions while still willing to teach basic methods to help beginners guard against various calamities before achieving mastery.

Master Zheng first produced nearly a hundred scrolls of Daoist precepts and instructional texts—all works he considered insignificant. Noticing I had already read many of them, I questioned him about their obscure passages. He remarked: "You possess discernment to distinguish truth from falsehood, making you worthy of instruction. Yet though your knowledge is broad, it lacks depth. Your mind remains scattered on Confucian external studies, making focused cultivation difficult. You're not yet ready to penetrate Daoism's profound mysteries." He promised to gradually show me superior texts, mentioning that collecting various silk and bamboo manuscripts over years might yield two hundred scrolls, though complete collection would remain elusive.

While other disciples performed menial tasks like chopping wood and tilling fields, my frail constitution excused me from heavy labor, limiting me to dusting desks, grinding ink, tending lamps, and occasionally copying ancient texts for Master Zheng. Yet he treated me as a senior disciple, advising: "Every Daoist text contains something valuable—simply discern the essence and select the good. There's no need to memorize everything and waste time. Once you achieve the Golden Elixir (Jindan) of the Great Dao, these can all be discarded." Sometimes he taught according to my capacity, insisting on gradual progress from fundamentals and warning against unrealistic ambitions.

Master Zheng never permitted disciples to copy his collection without permission—true transmission required his personal instruction. Though texts could be borrowed long-term, none dared make private copies. This former Confucian master (who once taught the Book of Rites and Book of Documents) maintained dignified solemnity even in late-life Daoist practice; disciples approached him with utmost reverence. While some books remained in my hands for over a month—ample time for extensive copying—I never dared transcribe them secretly, fearing Master Zheng's keen perception might detect minor transgressions with major consequences. Even during formal instruction, I cautiously awaited proper moments rather than rashly requesting word-by-word explanations.

This passage primarily documents Ge Hong's (Baopuzi) compilation of Daoist scriptures. He describes his thirst for knowledge as unquenchable as drinking from a river, yet acknowledges the limited number of authentic texts he actually obtained. Among his fifty-some disciples, only he was privileged to receive treasured scriptures like the Classic of the Golden Elixir (Jindan zhi Jing), Scripture of the Three Sovereigns' Esoteric Writings (Sanhuang Neiwen), and Pillowbook of Five Phases Records (Zhenzhong Wuxing Ji)—texts whose titles most followers never even glimpsed.

The text then enumerates major Daoist scriptures circulating during that era, categorized as follows:

1. Cultivation Texts: Including the Scripture of the Three Sovereigns' Esoteric Writings (secret transmissions from ancient rulers), Scripture of Primordial Completion (Huncheng Jing), and Mysterious Registers (Xuanlu), which expound cosmogony and the origins of Daoist practice.

2. Longevity Texts: Works like the Scripture of Nine Lives (Jiusheng Jing) and Scripture of Twenty-Four Lives (Ershisi Sheng Jing) focus on life preservation, while Book of Nourishing Life (Yangshu Shu) and Classic of Embryonic Breathing (Taixi Jing) specialize in breath regulation techniques.

3. Esoteric Arts: The Immortals' Divination Classic (Lingbu Xianjing) covers prognostication, Mozi's Pillowbook of Five Phases Records details Five Phases (Wuxing) numerology, with Classic of Massage (Anmo Jing) and Guide and Pull Classic (Daoyin Jing) documenting physical cultivation methods.

4. Alchemical Classics: Core texts of the Dan-Ding school include Single Elixir Classic (Danyi Jing) and Elixir Crucible Classic (Danhu Jing) recording alchemical processes, alongside the Inner Classic (Neijing) by Wei Boyang (Eastern Han alchemist).

5. Illustrated Manuals: The Five Peaks Scripture (Wuyue Jing) includes mountain range diagrams, while Sitting in Oblivion Chart (Zuowang Tu) and Form-Preservation Chart (Shouxing Tu) depict meditation visualizations.

6. Ritual Codices: Rites of Ascension (Shengtian Yi) documents celestial ascent ceremonies, and Scripture of Treading the Three Gang and Six Ji (Bu Sangang Liuji Jing) outlines the Big Dipper star-stepping techniques.

These scriptures encompass the full spectrum of Daoist cultivation—from foundational longevity practices to advanced alchemy (Neidan/Waidan). Ge Hong meticulously recorded them to guide future seekers in their textual pursuits. Among them, the Scripture of Great Peace (Taiping Jing) and Yellow Court Classic (Huangting Jing) would exert profound influence in later eras, while texts like Rongcheng's Classic (Rongcheng Jing) and Pengzu's Classic (Pengzu Jing) on bedroom arts reflect the comprehensive nature of early Daoist cultivation systems.

This passage enumerates numerous titles of Daoist scriptures, primarily drawn from the Inner Chapters of the Master Who Embraces Simplicity (Baopuzi Neipian) by Ge Hong of the Eastern Jin dynasty. These texts encompass various aspects of Daoist cultivation, including alchemical practices (Scripture of Yellow and White), longevity techniques (Scripture of Inner Vision), and talismanic magic (Scripture for Capturing Mountain Spirits and Subduing Evil Essences), reflecting the rich technical systems of early Daoism.

The "Scripture of Yellow and White" series details methods for crafting elixirs from gold and silver. The "Scripture of Inner Vision" teaches health preservation through introspective meditation. Texts like the "Scripture of Corpse Liberation" and "Scripture of Earthbound Immortals" document different Daoist paths to transcendence. Others such as "Treatise on the Three Corpses" and "Scripture for Healing All Ailments" relate to expelling the Three Corpses (sanshi) parasites and curing diseases. Certain classics like the "Yellow Court Scripture" (Huangting Jing) and "Master Yu's Essential Scripture of the Five Phases" later became foundational Daoist texts.

The frequent appearance of characters like "jade," "gold," and "yellow" in these titles reflects Daoist veneration of precious metals, believed to possess mystical properties. Numerals like "three," "five," "seven," and "nine" carry the tradition's characteristic numerological symbolism. Titles such as "Summoning the Assistants of the Five Peaks" and "Methods to Command Earth Deities" reveal these scriptures also contain extensive rituals for invoking and commanding spirits.

The compilation demonstrates how early Daoist texts integrated alchemical pursuits (waidan), physiological cultivation, and supernatural practices—forming a comprehensive system where material refinement, physical discipline, and spiritual mastery converged in the quest for immortality. This corpus laid groundwork for later developments in internal alchemy (neidan) while preserving China's ancient occult traditions.

This passage primarily documents the catalog of Daoist scriptures and Fulu (talismans and registers, ritual texts used for exorcism and blessings), along with Ge Hong's (known by his Daoist name Baopuzi) perspectives on their efficacy.

The text first enumerates numerous Daoist classics and talismanic texts, including works like "Records of Wolf Taboos in Mountain Forests," "Treatise on Summoning Hundred-Mile Serpents and Insects," and "Master Gaoqiu's Methods of Myriad Accomplishments," as well as various talismans such as the Golden Light Talisman, Great Mystery Talisman, and Heaven-Penetrating Talisman. Notably, some talismans like the "Celestial Water Divine Talisman" and "Forty-Nine Authentic Talismans" are mentioned as multi-scroll works, while those without specified volumes are single-scroll editions.

Ge Hong then presents his commentary, relaying the views of his teacher Zheng Yin (Master Zheng): Fulu originate from the Most High Lord Lao (Taishang Laojun, one of Daoism's supreme deities) and are essentially "celestial writings" (sacred script). Lord Lao could communicate with divine beings, and these talismans were all transmitted by the gods. The reason modern practitioners often find them ineffective stems from two main causes: first, these talismans have been transmitted across great antiquity, accumulating numerous errors during copying; second, contemporary users lack sufficiently firm faith and fail to employ proper application methods (the ritual techniques for deploying talismans).

Here emerges a fundamental Daoist concept: the efficacy of Fulu depends not only on the talismans' textual accuracy but also crucially on the practitioner's sincerity and correct ritual performance. As a renowned Jin Dynasty Daoist theorist, Ge Hong emphasizes how the precision of Daoist transmission and the practitioner's devout attitude decisively influence the effectiveness of ritual arts.

This passage primarily discusses the precautions and significance of using Daoist Fulu (talismanic scriptures imbued with spiritual power). Ge Hong uses the analogy of writing characters to describe talisman drawing: just as errors easily occur when copying texts, the slightest deviation in drawing talismans may render them ineffective or even harmful. There's a folk saying that "after three transcriptions, the character for 'fish' becomes 'Lu', and 'emptiness' turns into 'tiger'", illustrating how written characters easily become distorted through copying—this is especially true for the characters on talismans, where ordinary people can hardly detect such errors.

Some individuals born with special constitutions achieve particularly potent results when using talismanic spells, much like how some people naturally emit fragrance when wearing musk—this innate gift cannot be taught. However, ordinary people can still achieve effects (though slower than those with natural talent) provided they use flawless talismans with sincere devotion. Ge Hong cautions that those cultivating the Dao seeking longevity should primarily focus on elixir preparation, while talismans and ritual swords are mainly for exorcising evil spirits. Though some advanced talismans claim to assist in achieving immortality, one shouldn't rely entirely on them.

The text mentions the Wu Kingdom Daoist Jie Xiang from the Three Kingdoms period, who possessed a unique ability to discern authentic talismans. When people presented him with various healing and exorcism talismans with their titles removed, he could accurately name them and point out errors—an ability never seen again in later times.

Regarding the most miraculous talismanic texts, Ge Hong recounts his teacher Zheng Yin's words: the most essential Daoist scriptures are undoubtedly the Sanhuang Wen (Scripture of the Three Sovereigns containing secret methods) and the Wuyue Zhenxing Tu (Charts of the True Forms of the Five Sacred Mountains). Ancient celestial officials treasured these classics profoundly, transmitting them only to those with immortal destiny once every forty years, with recipients swearing blood oaths (an ancient ritual of drinking or smearing blood on lips during covenants). These treasures were hidden in stone chambers within sacred mountain grottoes, discoverable only by sincere seekers guided by mountain deities—like Bo He (courtesy name Zhongli) who attained the Dao in mountains before establishing altars and leaving authentic copies.

These scriptures must be kept in pure locations, and their use requires preliminary reporting, akin to serving one's sovereign or father. The Sanhuang Wen states: keeping this scripture at home wards off evil spirits, plagues, and sudden disasters. Those gravely ill and near death, if truly faithful in the Dao...

This scripture primarily discusses the marvelous Daoist arts and talismanic incantations (fulu) recorded in the Inner Chapters of the Master Who Embraces Simplicity (Baopuzi Neipian). It states that sincere devotion to this scripture and carrying it with one's person can avert death. For instance, if a woman in difficult labor holds it, her child will be delivered safely; when a Daoist seeking longevity (chang sheng) enters the mountains with it, they can avoid tigers, wolves, mountain spirits (shan jing), venomous creatures, and malevolent entities.

The text elaborates on specific applications of several talismans: those crossing rivers or seas can repel flood dragons (jiao long) and calm winds and waves; when constructing new dwellings or tombs, one may first inscribe the "Script of the Earth Sovereign (Di Huang Wen)" dozens of times on the ground—where yellow hues appear the next day indicates an auspicious site; secretly placing a slip inscribed with the "Script of the Human Sovereign (Ren Huang Wen)" and one's name during another's burial can avert misfortunes and thieves.

It particularly emphasizes that practitioners must first observe purification (zhai) for a hundred days before employing these talismans to summon deities like the Celestial Gods (Tianshen), the Year Guardian (Taisui), and the Sacred Peaks and Rivers (Wuyue Sidu). These deities manifest in human form to reveal auspicious or inauspicious omens. Another eighteen-character talisman, when sewn into clothing, ensures safe passage across waters without encountering storms.

Two profound arts are detailed: one from the Mozi's Records of the Five Phases (Wuxing Ji) employs herbs and talismans to enable flight, invisibility, shapeshifting into women, elders, or children, transforming wood into forests, conjuring melons from emptiness, drawing rivers with a fingertip, or piling earth into mountains. The other, from Jade Maiden's Subtle Secrets (Yu Nü Yinwei), allows metamorphosis into beasts or objects of gold and jade, summoning wind and rain, or self-multiplication into a thousand bodies.

The text concludes with a vital caveat: though these arts are wondrous, practitioners must cultivate benevolence and righteousness—otherwise, they risk annihilation of their lineage. This underscores that Daoist cultivation values ethical refinement as profoundly as mystical techniques.

This passage describes several mystical arts and cultivation methods in Daoism. It first mentions an advanced Daoist technique where practitioners can fly freely through the air, exhale seven-colored Qi (vital energy), perceive distant places and underground phenomena while seated, and emit radiant light that illuminates dark rooms spontaneously. However, mastering this art requires practicing specific astral stepping patterns—a complex and obscure process few can comprehend.

Next introduced is the "White Tiger Seven Transformations Method": On the third day of the third lunar month, one must collect the scalp of a slain white tiger, blood from a live horse and tiger, then combine these with purple silk ribbons, shoelaces, and duckweed to plant together. The grass that grows resembles sesame, and after bearing fruit, the seeds are replanted—this cycle repeats seven times. The final fruits are used to prepare medicine enabling shape-shifting, free flight, and underwater breathing. This technique shares similarities with the invisibility arts attributed to ancient philosopher Mozi and the Jade Maidens (Daoist celestial maidens).

The text references Master Zheng (Ge Hong's teacher Zheng Yin), who not only mastered Confucian classics and immortality practices but also deeply studied Jiugong numerology, Sanqi (Three Wonders—sun, moon, and stars in Daoist terminology), calendrical astronomy, and esoteric texts like the Hetu and Luoshu diagrams. In 302 CE (the first year of the Tai'an era), foreseeing impending chaos and upheaval in southern China, he packed chests with elixirs and led disciples eastward into Mount Huo (modern Anhui), vanishing without trace thereafter.

These accounts showcase the miraculous arts within Daoist cultivation, along with stories of enlightened masters anticipating historical tides and withdrawing from worldly affairs. The described techniques and rituals embody Daoism's pursuit of supernatural transformations (shentong) and longevity through practice.