《贊靈集》

The first volume of Eulogies of the Numinous records two stele inscriptions concerning the Lingji Palace. In Min County of Fuzhou, there was a locality called Jishan Ward where stood the Temple of the Numinous and Benevolent King (Lingji Wang), a significant site revered by local people for blessings and prayers.

In earlier times, those seeking divine favor communicated with deities through phoenix-planchette divination (a type of spirit-writing tool), leaving behind efficacious verses and prophecies, though no complete texts survived. Later, villagers noticed the temple's dilapidation and the fading of its divine statues, prompting discussions about restoration. They sought divine guidance through planchette divination and received revelatory writings from the deities, after which the renovation commenced. During the project, more divine edicts emerged in succession—so voluminous that scribes suffered wrist strain and readers grew dizzy from the abundance.

These divine proclamations surged forth with the grandeur of rushing rivers, eagerly copied and circulated across neighboring regions, evoking both reverence and skepticism. Notably, when the temple's name plaque was first petitioned, even the deities' surname remained unknown; only later was it revealed to be Xu. Now that the deities' deeds manifested in such detail, it might herald a flourishing of literary fortune, with the divine deliberately revealing their presence through writing. Just as turbulent countercurrents pale before the silent steadiness of midstream flow, deities resort to written revelations only out of necessity—much like ancient sages who composed texts not for vanity but because the world's decline compelled them. Confucius writing the Spring and Autumn Annals and Mencius authoring the Seven Chapters followed this very principle.

(Note: The phoenix planchette refers to a tool used in Daoist spirit-writing practices; the Seven Chapters denotes the seven books of Mencius; proper names like "Temple of the Numinous and Benevolent King" and "Jishan Ward" are retained.)

This passage discusses the records and eulogies of a deity (likely a deified historical figure or local protective god) in the Zanling Ji (Anthology of Spirit Praises). The general meaning is as follows:

The teachings of this deity have deeply touched people’s hearts, needing no deliberate written records. Like the ancient sages, his spirit has been passed down through inscriptions, divination verses (lottery poems), and other means, helping people understand history and foresee fortune or misfortune. When the spiritual energy (Qi) of mountains and rivers waned, he used literature to restore its flow; when social morals decayed, he composed satirical poems like Liangfu Yin (Song of Liangfu); witnessing ethical decline, he wrote Juebi Yin (Song of the Final Brush) and Feishen Fu (Ode Against False Gods) to admonish the world. His writings vary in style—some elegant and orthodox, others bold and unconventional—like the alternating melodies of ancient ceremonial music (Ying, Zhang, Huo, Xia), yet as practical as grain and cloth.

If the local people recite the deity’s writings and grasp his intentions, the entire community would be imbued with righteousness, and even small villages would flourish with loyalty and trust. Scholars would devote themselves to learning, farmers to their fields, artisans and merchants to their trades; disputes would be resolved with courtesy, litigation with mutual aid, and idlers would return to their proper duties. In this way, the deity would attain the highest realm of "sagehood beyond comprehension"—why would he need to write books?

The deity’s inscription concludes: Though I imitate but a fraction of Liu Zongyuan’s (Lord Liu) style, without a literary master like Han Yu (Duke Wen) to record it, how could it be passed down? Han Yu’s writings simply teach the principles of father-son and husband-wife relations, emphasizing familial virtues like kindness, filial piety, and fraternal love—precisely what the deity wished future writings to uphold: rectifying the world’s moral core.

The author humbly adds: My talent is shallow; how dare I compare myself to Han Yu? Like an insect that dares not chirp under thunder. Yet I reflect that since the deity arrived in Fujian during the Later Jin’s Kaiyun era (ca. 944 CE), my ancestors also migrated from Gushi during the Five Dynasties. My forebears built shrines for him, petitioned the court for honorific titles, and have worshipped him for generations. Now, the villagers have united to renovate his temple, hoping to continue receiving his divine protection.

The text comprises two main sections: the first extols the divine merits of the deity, while the latter documents the temple restoration process.

Regarding the divine presence, it states: A deity’s deeds need no elaborate recounting by mortals, as the temple’s stone inscriptions already detail their lineage, miraculous manifestations, and the temple’s founding era. Yet the author emphasizes that sincere devotion—even with humble offerings like mulberries and plain water (yaojiang refers to fine wine, ximao to wild greens)—is joyfully received by the divine. Where reverence resides, blessings flow unceasingly. The cyclical rhythms of Heaven and Earth ensure that just as ancestors flourished under divine protection, so too will descendants prosper through piety, destined for grander ceremonies of honor in times to come.

The latter section chronicles the restoration of Lingji Xianguang (Spiritual Blessings Immortal Palace) at the southern foot of Aofeng Mountain in Fujian. This ancient temple, dedicated to a deity of national renown, had fallen into disrepair, its murals faded. After divination confirmed divine approval, the community united to raise funds. They widened the cramped gate, dredged the dried-up pond, replaced rotten beams and tiles, and repainted the deity’s robes and the statues of civil and martial attendants. By the eighth lunar month, the temple stood renewed. The restored deity’s majesty shone brightly, drawing reverent worship as devotees credited the divine for their collective achievement.

References to Wengong (Han Yu) and Liu Hou (Liu Zongyuang), Tang-Song literary figures, express the author’s hope for his writing to endure like theirs. Jian guan denotes the ancient ritual of libation, while fu ju describes the bowing posture during worship, illustrating the scene of devout homage.

This passage documents the historical origins of Lingji Palace (a Daoist temple) and the miraculous manifestations of its resident deity. It recounts how divine protection has continued unbroken from the Xia, Shang, and Zhou dynasties through the Five Dynasties and Ten Kingdoms period, ensuring the temple's enduring incense offerings.

Those involved in the temple affairs were astonished to discover through divination that this deity bore the surname Xu—revealed to be a descendant of King Xu Yan of the Zhou dynasty. They resolved to inscribe the deity's miracles on stone tablets, preserving these divine manifestations for eternity. The text describes various methods for discerning auspicious and inauspicious signs, including Yi hexagram divination, the Liangfu hymns (ancient sacrificial songs), as well as rituals like well-filling and taboo avoidance to commune with the divine.

The author marvels at the deity's written revelations (oracles), comparing them to towering cloud-piercing mountains and mighty surging waves. These celestial writings embody the essence of the Kuixu and Bixu constellations (two of the twenty-eight lunar mansions) in heaven, resemble the legendary Hetu and Luoshu (auspicious diagrams bestowed by heaven) on earth, and serve as auspicious signs for the imperial court among mortals. Though formless and silent, the deity manifests its presence through these writings.

Particular attention is given to Aofeng (a turtle-shaped mountain) and Longshou (a dragon-headed hill), deemed spiritually potent landscapes destined to nurture extraordinary talents. The deity's poetic revelation advises: "Are literary achievements not precious? The noble one shall ultimately shine like a leopard's spots." The text concludes by observing that while Dao's cycles eternally revolve, comprehending divine will ultimately depends on human insight.

This commemorative inscription vividly portrays Lingji Palace's deity manifesting through sacred writings and the local community's devout belief. By connecting natural landscapes with divine manifestations, it embodies the Daoist philosophy of "cosmic resonance between heaven and humanity."

This passage records the deeds of King Yan of antiquity (a ruler renowned for his filial piety) in establishing ancestral shrines and venerating deities, as well as the subsequent temple restoration process.

Moved by King Yan's filial devotion that touched heaven and earth, he erected shrines where the people could offer sacrifices. His benevolent influence endured through generations, with blood sacrifice rituals protecting the region. People from all directions relied on his blessings, as his virtuous De (Power) pacified the surrounding lands. His illustrious achievements manifested through promoting ritual music culture to display auspicious signs. When the deities solemnly revealed their presence, people responded with sincere devotion to honor their origins, composing ballads to extol his virtues through the ages.

During the restoration of Lingqi Palace, a stele inscription documented: "Humans serve the deities, and deities in turn rely on humans." When construction began on an auspicious date, the gods manifested their presence, bestowing elegantly worded revelations. The restoration team worked with reverent care, laboring day and night without negligence. They crafted new vestments for the divine statues and adorned the sacred images. Upon completion, the deities personally "experienced" these transformations, with their miraculous responses carved into stone. The inscription's majestic tone transcended mundane language, inspiring awe that compelled all to worship wholeheartedly.

The restorers deliberated: "The dried-up ponds on both eastern and western sides diminish the shrine's grandeur; the crumbling outer walls weaken people's reverence; the damaged Dragon-Head Well disrupts Feng Shui and must be abandoned." They proceeded to fill the well, dredge the ponds, and repaint the walls—actions pleasing to both deities and beneficial to the people, unanimously approved.

Further discussions concerned the dust-covered statues of Emperor Wenchang (patron of literary fortunes) and Emperor Guan (martial god) in the eastern pavilion. During that militaristic era, some proposed removing Wenchang's image. But colleagues cited Confucius: "Civil governance requires martial support, just as martial power needs civil guidance"—eternal truth of their complementary nature. They decided to enshrine the Three Stellar Deities (Fu-Lu-Shou) above, with nation-protecting deities below, properly arranging civil and martial aspects—again with unanimous consent.

The temple's imposing gate tower contrasted with its solemn interior layout: resplendent eaves paintings, exquisitely plastered walls, every detail meticulously restored. Only two dilapidated storerooms troubled the villagers. The restorers prayed: "Long have we labored at restoration, unable to cease though we wished—this devotion the deities surely understand." They concluded with "Though temple restoration proves difficult, it accords with the Dao (Way)," demonstrating their comprehension of this principle.

This passage describes the restoration of Lingji Palace. At the time, the rafters had blackened and rotted, roof tiles were broken and missing, walls stood uneven and damaged—all were repaired until they shone anew. During the renovation, the deities manifested their presence once more. The newly built eastern hall was named "Hall of Kinship and Harmony," while the western hall was called "Hall of Joyous Feasting," allowing the spirits attached to this place to manifest their virtue (De).

Though this was a collective effort, all believed it was accomplished through divine intervention. After completion, the local administrator Zhang Gongduo was invited to inscribe the plaque, formally elevating the shrine to the status of "palace." The newly constructed halls gleamed with golden splendor, drawing passersby to pause and gaze. For three full days, carriages and horses congested the roads as people marveled in awe and reverence.

The stone stele on East Street records the deities' origins, while the inscription on the western steps documents their miracles. The palace's archives contain abundant literature: stele texts, chronicles, oracle verses, eulogies, rhapsodies, petitions, and memorials in various literary forms, along with poetry collections handed down through generations. The title "Lingji" (Numinous Beneficence) was bestowed by a former emperor, while the honorific "Zhenren" (Perfected Being) manifests celestial virtue (De)—glories even village elders and officials praise as beyond ordinary description.

Seven days after completion, the community gathered with wine and offerings for the dedication ceremony. Standing solemnly in the courtyard, all reflected on the three-year restoration—their labor now fulfilled. May the deities remember their merit and bless generations to come. Though wishing to carve this account in stone, we feared accusations of boastfulness, hence first recording the date within Lingji Palace.

The inscription concludes:

The deities receive heaven's mandate,

Their radiance illuminates the mortal realm.

A stroke of divine brush astonishes all,

Their boundless power none can withstand.

Renovating the palace like robing a figure,

East stands Kinship Hall, west Joyous Feasting.

Summoning artisans for grand construction,

All quarters contributed their strength,

Completed at last on auspicious days.

Three years proved each one's devotion,

Prudence and unity marked every phase.

Now the deities dwell in contentment,

The people rejoice in harmonious rapture.

This passage documents the reconstruction of Lingji Palace (a temple dedicated to Daoist deities) during the Yuan Dynasty and the local devotion to divine manifestations. The main account states:

In the tenth month of 1293 (the 30th year of the Zhiyuan era), Zhang Guilong and others from Jishanli in Fujian petitioned to erect a stele commemorating the merits of the Temple of Lingji King. This ancient temple originally lacked inscribed records, and its buildings had collapsed. That May, Shen Jianweng initiated repairs, with Zhang Guilong, Zhou Tong, and others jointly facilitating the project, which was completed by August. After completion, the deities frequently manifested their power, bestowing written revelations. Locals Lin Digong and Yannian were tasked with engraving these accounts on stone, while the author was invited to inscribe the temple plaque.

In December, Zhang Guilong presented ancient poems said to be granted by the deities, claiming they contained divine intentions to be recorded. The author initially agreed but delayed writing. The following January, Zhang personally pressed for the manuscript, even presenting a 65-verse poem in classical and modern styles purportedly bestowed by the deities. This reminded the author of the legendary incident where the River God inspired Wang Bo to compose the Preface to the Pavilion of Prince Teng, suggesting this too might be divinely arranged.

The author describes the celestial writings as transcendent, utterly distinct from mundane human compositions. He reflects that the true nature of deities lies in their "wisdom, clarity, and integrity," while their awe-inspiring manifestations are merely outward signs. The temple had existed since the Kaiyun era (944–946) of the Later Jin Dynasty, with local devotees maintaining reverent worship for generations. Zhang Guilong explained that these divine writings were not isolated—sporacular responses had appeared in prior years, but now they manifested with exceptional literary elegance. Some revelations urged righteousness and virtue, others taught filial piety, while specific guidance was given for particular events, such as the Text on Sealing the Well, which addressed a local incident.

This passage explores the relationship between divine manifestations and literary creation. Since ancient times, various literary forms have emerged to venerate deities, such as mural inscriptions, the Liangfu chants (ancient sacrificial songs), the Unicorn Ode (auspicious hymns), along with prefaces, postscripts, petitions, debates, travelogues, musical compositions, eulogies, and memorials—each genre evolving in increasingly wondrous ways.

Those who approach with sincere devotion receive divine revelations tailored to their petitions. Like Gui Long and Jian Weng, who attended the deities day and night, their writings verified miraculous signs, while the miracles, in turn, inspired their compositions—a seamless harmony between the two. The author marvels: Such writings nearly attain the natural sublimity of heaven-sent rain or mist-shrouded mountains, foreshadowing events before human desires even arise. Spirits discern omens, and these texts become the sacred music of the divine.

After the Tang dynasty, imperial examinations became the primary path for selecting talent, and scholars competed fiercely for literary fame. In Sichuan, the Zitong deity (patron of scholarly success) presided over examination honors. His ninety-four divinely inspired texts earned such reverence from Sichuan’s literati that they served him as they would their parents. Successful candidates dared not claim credit for their achievements, attributing all to the deity’s grace. Thus, scholars nationwide enshrined Zitong, spreading his veneration across the land.

Now, the Lingji deity (identified here with Zitong) manifests in Fujian just as Zitong once did in Sichuan. Ninety-four texts may no longer suffice—his influence, too, seems destined to spread universally, transcending regional bounds. Such writings endure as eternally as heaven and earth, never fading; what dims temporarily will shine again, what stalls momentarily will flow unimpeded. This is why deities reveal auspicious signs.

Finally, with the erection of the divine stele, the local community rejoiced. Zhuang Weng of Zhou inscribed the tablet’s reverse, pondering: "Must the mountain deity descend to birth a sage, or must we await the sage’s arrival?" His words carry profound meaning. As the land’s spiritual energy grows ever more radiant and eminent figures continue to emerge, future writings will surely celebrate the nation’s flourishing—transcending mere personal glory.

This recounts the story of a divine being surnamed Xu. During his mortal life, he was an ordinary man, but after death became a venerated deity. Having rendered meritorious service to the state and demonstrated profound virtue (De) toward the people, temples were erected in his honor and commemorative steles established.

Initially, the deity's name remained unknown until divination revealed his surname as Xu. He was thus named "Wang" (meaning "to gaze afar"), signifying that his virtue could be compared to the ancient "Four Observances" ritual honoring the mountains and rivers of the four directions. Later, the deity himself revealed his identity as Xu Zhizheng, Prince of Jiang from the Five Dynasties and Ten Kingdoms period, with his younger brother being Xu Zhi'e, Prince of Rao.

Historical records from the Wu Kingdom section of the History of the Five Dynasties show their father Xu Wen (Prince of Qi) played a pivotal role in assisting Yang Xingmi, Prince of Wu, to establish the Huainan regime. Though wielding great power, Xu Wen consistently maintained proper ministerial decorum toward Yang's descendants—a striking contrast to other warlords of that era. The author reflects that despite the vicissitudes of time, the Xu family's virtuous reputation has endured for centuries through continuous temple worship, their spiritual essence truly everlasting.

The title "Lingji Zhenren" (Perfected Lord of Numinous Aid, Daoism's designation for Xu Zhizheng) appears in the History of Five Dynasties. In the fourth year of the Kaiyun era (947 CE), the deity manifested his sacred presence. According to Daoist liturgical practice, during special occasions like the Three Primes festivals (Shangyuan, Zhongyuan, Xiayuan), Eight Solar Terms (beginning with立春/Lichun), and cyclical days such as Jiazi and Gengshen, devotees must observe purification through fasting and ablutions while concentrating on ritual offerings. Through such devout practice, human spirit (Shen) communes with divine beings, attaining the state of cosmic harmony.

Both the Yellow Emperor and Queen Mother of the West (Xi Wangmu, a major Daoist goddess) achieved immortality through similar cultivation. Today, Xu Zhizheng's divine efficacy persists—his spiritual essence roams the boundless celestial realms alongside ancient transcendents like Fu Qiu Gong, Prince Jin of Zhou (son of King Ling of Zhou), Sima Chengzhen (courtesy name Ziwei), and Feng Dahe. This realm transcends the limitations of sound and form, reaching the mysterious state where "listening reveals no sound, gazing perceives no shape," yet perfectly harmonizes with seasonal transformations and merges with nature's rhythms.

This scripture primarily expounds on the sacred status of Daoist Zhenren (Perfected Ones) and their influence in the mortal realm. It records how the 38th Celestial Master (Tianshi), leader of Daoism, was conferred the honorific title "Perfected Being of Grand Simplicity, Concentrated Spirit and Vast Dao," while his wife Lady Xu was granted the title "Immortal Consort of Harmonious Assistance and Benevolent Grace." Another Perfected Being, Rao Wang, and his wife Lady Tao similarly received exalted titles. These designations manifest their sublime status in the celestial realm, empowering them to command wind and rain while protecting common people.

The text describes how Zhenren possess transcendent wisdom that unites them with the supreme Dao. They can ascend to the celestial court to report human merits, inscribing these deeds on metal and stone for eternal preservation. The people consequently rejoice, kneeling northward to pray for blessings and give thanks to the deities for ensuring seasonal rains and bountiful harvests.

The latter section chronicles the magnificent scenery of Ao Peak Mountain in Fuzhou (located twenty li south of the Min River). Nestled among embracing peaks and converging waters, this site hosts temples enshrining divine beings. Local inhabitants prepare abundant ritual offerings according to seasonal rites, having been shielded from floods and droughts through divine protection, thus enjoying peaceful livelihoods and prosperous lineages. The record concludes by noting its composition by Fuzhou Daoist priest Liu Jingfu.

Throughout the text, emphasis is placed on the relationship between Zhenren (those who have attained the Dao through cultivation) and divine beings, particularly their capacity to mediate between heaven and humanity. Through ritual sacrifices, people express gratitude to the deities, who in turn continue safeguarding earthly peace and prosperity.

This passage documents the origins and deification process of two Daoist immortals—Xu Zhizheng and Xu Zhi'e. These brothers were members of the Southern Tang imperial clan (Xu Zhizheng being the fifth son of Xu Wen, enfeoffed as Prince of Jiang and later Prince of Wei; Xu Zhi'e the sixth son, enfeoffed as Prince of Rao and later Prince of Liang). While leading troops to quell a rebellion in Fujian, they achieved military merits at Mount Aofeng in Zhangzhou. Posthumously, they were venerated as Daoist deities—Xu Zhizheng as the "Golden Tower Perfected Being" (Jinque Zhenren) and Xu Zhi'e as the "Jade Tower Perfected Being" (Yuque Zhenren).

Local legends recount that after their apotheosis, celestial phenomena like divine lanterns and heavenly music manifested near Zhi Islet (likely adjacent to Mount Aofeng), prompting villagers to establish a shrine. The text particularly highlights Mount Aofeng's extraordinary landscape as a numinous site for divine manifestations—just as fine jade nourishes trees and precious pearls illuminate waters, this mountain gained heightened spiritual potency through the immortals' presence.

During the Yongle era of the Ming dynasty, Gao Xiong—son of Hanlin academician Gao Tingli—reportedly received direct spiritual guidance from the Perfected Beings after praying at the shrine, with subsequent events verifying their divine intervention. In gratitude, Gao Tingli painted The Divine Splendor of Mount Aofeng and commissioned his colleague Wang Bao (then serving as Hanfu Jishan) to compose an account. The narrative was engraved on a stele to inform local communities, concluding with the inscription date: the 15th day of the 9th lunar month, 1411. Gao Tingli personally handled the calligraphy and painting for this commemorative stele.

The second volume of Eulogies of the Numinous contains two congratulatory memorials addressed to Daoist Perfected Lords.

The first celebrates the bestowal of an honorific title upon the Perfected Lord of the Nine Heavens’ Numinous Grace. The text praises this Perfected Lord for his upright and discerning character, his profound understanding of the ceaseless creative transformations of nature, and his mastery of the unfathomable mysteries of the Dao (the Way). He embodies both dignified authority and compassionate benevolence, ever vigilant in his spiritual practice. It is due to these virtues that he has been rewarded with divine recognition. The author humbly likens himself to a frail reed, offering this memorial with utmost reverence, beseeching the Perfected Lord to heed his words and continue showering blessings like nourishing rain upon all beings, ensuring that prosperity endures as eternally as heaven and earth.

The second memorial commemorates the sacred birthday of the Perfected Lord of the Golden Palace of the Nine Heavens. It records that this Perfected Lord’s birth is celebrated on the seventeenth day of the ninth lunar month, an occasion joyously observed by the local populace. Endowed with vast spiritual power (Shen), he shines as brilliantly as the sun and moon, participating in the cosmic process of creation. He has vowed to fulfill fifty-five sacred pledges for the salvation of humanity, accumulating merit over four hundred years. His virtue (De) aligns perfectly with the Dao, and his benevolent influence ensures the harmonious progression of the seasons. The people, grateful for his blessings, honor him with deep reverence. The author further prays that the Perfected Lord will continue to protect the thousand households of the region and safeguard the enduring stability of the nation.

The text employs classical Daoist imagery: "Cinnabar Terrace and Jade Chamber" refers to the celestial abodes of immortals; "Phoenix-Seal and Dragon-Script" denotes the edicts of the Heavenly Emperor; "the joy of snapping one’s clogs" describes overwhelming delight; "offering congratulations with a whip in hand" symbolizes respectful homage; "tiger-bow" represents a reverential salute; and "rhinoceros-horn goblet" signifies a ceremonial wine vessel. These specialized terms and allusions exemplify the distinctive style of Daoist documents from the Song Dynasty.

The True Lord of the Golden Palace of the Nine Heavens, born into the illustrious Yanwang lineage, has received generations of enfeoffment in the Qi region, where temple sacrifices have been offered to him for over five hundred years. Honored with a thirty-two-character sacred title, his miraculous deeds are renowned, and he has repeatedly bestowed special graces. This majestic Aofeng (legendary divine mountain) with its towering terrain is frequently graced by descending rainbow lights, like the Milky Way pouring down. We reverently raise our ancient wine vessels in celebration.

We who are fortunate to be ranked among the immortal retinue and serve the deities all live under divine protection. Having long received such boundless virtue (De), how shall we repay it? We maintain the practice of morning and evening incense offerings, gazing upon the divine majesty; with dawn bells and dusk drums, we diligently cultivate without cease. Though our offerings are humble, we pray only for the deities' descent to partake. May our sagely ruler govern the world in peace, and may the Middle Kingdom enjoy eternal tranquility; may the deities' majestic virtue (De) shine forth, revered for millennia. May the temples remain solemn and pure, and the people dwell in contentment.

(Here begins the formal memorial) Within these dignified temples, numerous deities manifest their awesome majesty, having assisted in sacrifices for many years. With reverent hearts we kowtow and declare: The deities are great and sacred, truly existent yet formless and traceless. Intelligent and upright, they accompany humanity; comprehending the principles of all things, they unite with heaven and earth in virtue (De), and harmonize with the four seasons. Their renown illuminates the world, their grace widely benefiting the people.

We local gentry and Confucian scholars participating in these rites, though offering only simple water plants for sacrifice, do so with sincere devotion. Though the deities speak not, they bless all beings, granting seasonal winds and rains. The elderly pass their years in peace, children receive care, and the people continue to receive these blessings. Scholars, farmers, artisans, and merchants all find their proper places—how shall we repay such magnificent merit?

Now comes the sacred birthday of the Upper Immortal Who Propagates Transformation and Upholds Teachings from the Jade Palace of the Nine Heavens, and the True Man of Manifested Spirit and Universal Aid—coinciding with the Zhongyuan Festival (Ghost Festival). This True Man is like the newborn moon, sharing heaven's longevity. His birthday falls one day before Minister Lai's and eight dynasties after King Kang's. In this season of universal renewal, the people dwell in peace. Together we celebrate the deities' descent, offering traditional Chinese blessings. The rising new moon shines upon the east, while auspicious signs from Penglai, the Isle of Immortals, endure forever.

This scripture expresses devout prayers and praises to the divine, encompassing several key dimensions:

The text first describes the state of reverent devotion: Rather than merely gazing from afar at the radiance of the South Pole Star (symbolizing longevity), practitioners seek direct communion with divine manifestations. They pray for constant divine presence, whether visibly or invisibly, beseeching blessings of prosperity, longevity, and flourishing fortune.

It then extols the mysterious nature of divinity: True sacredness transcends mortal understanding yet responds to sincere supplications. The Yellow Emperor (Xuanyuan Huangdi, revered ancient sage in Daoism) opened the gate of Daoist methods, while Laozi (Taishang Laojun) transmitted the essential truths. This supreme Dao is unfathomably profound—serenely empty yet brimming with vitality, circulating through all realms without cease, governing all creation without omission.

The text expresses the petitioner's humility: Though claiming limited wisdom, they offer utmost sincerity. On the auspicious Zhongyuan Festival (major Daoist observance on the 15th day of the 7th lunar month), coinciding with the birthday of the Shangxiang Star Lord, heaven and earth manifest auspicious signs. Drawing parallels to Mount Song's legendary births of sages, devotees direct prayers to the Jade Emperor (supreme deity in Daoism), wishing universal blessings of fortune and longevity.

Finally, it reaffirms devotion: The Jade Emperor sovereignly rules the ten directions, having perfected his virtue through countless kalpas (cosmic cycles). All living beings revere him. The petitioner likens themselves to a speck of dust, maintaining ritual purity with reverential fear as if standing before deep abyss or treading on thin ice. They seek divine protection in unseen ways, praying for prosperity, health, longevity for elders, and peace for all people.

Throughout the text flows sublime veneration and earnest supplication, embodying core Daoist beliefs of "revering heaven and emulating ancestors," while demonstrating the religious practice of connecting heaven and humanity through zhaijiao (purification rituals).

This presents two Daoist memorials addressed to the Celestial True Lord (a revered Daoist deity) by devotees seeking protection. The first extols the True Lord's virtues, while the second contains specific petitions.

The first states: In this season of universal renewal, people offer prayers to heaven with devout hearts. The Two True Lords of the Nine Heavens (high-ranking Daoist deities) descend from ancient King Yan's lineage, enfeoffed in the land of Qi. Their spiritual virtue (De) is vast as heaven and earth, nourishing all beings like gentle rain and dew. Possessing boundless divine power (Shen) and impartial justice, they have received human worship for four hundred years, honored with a sixteen-character celestial title. All people gratefully remember the True Lords' blessings and pray for continued divine favor to protect their descendants through generations.

The second petition reads: Ordinary people merely complain of seasonal changes, while the wise prepare for danger in times of safety. Though we have long maintained devout prayers, we rely more on the deities' unseen protection. The Numinous Salvation True Lord of the Nine Heavens (the aforementioned Celestial True Lord) bestows grace like heaven's rain—manifesting miracles while providing universal relief. We common folk, long sheltered by the True Lord's protection, feel deep gratitude yet shame for our inadequate spiritual practice. Now facing neighbors in distress, we should help one another; dwelling in shared communities, we must prevent dangers before they arise. May the True Lord grant us abundant harvests of the Five Grains, blessing people with longevity, prosperity, and well-being.

The conclusion emphasizes: Deities only protect sincere devotees, aiding them against calamities. Though celestial decrees are immutable, we must strictly uphold precepts in our practice. We villagers acknowledge our limited understanding, now earnestly praying for the True Lord's compassionate discernment of our plight. Past transgressions may remain, and we still offend celestial majesty like ignorant children. Perhaps our methods for seeking healing were incomplete, or selfish thoughts remain unpurged—or we acted rashly like ancient figures Cao Gui or Ziyang.

This scripture primarily extols the Nine Heavens Golden Tower True Lord (a revered Daoist deity) and includes a memorial from local officials recommending two Xu clan adepts.

The opening section describes how mortals dare not casually judge the merits or faults of divine beings, offering only reverent prayers. When deities descend, people act with awestruck caution, fearing any misstep might offend the sacred. The text emphasizes banishing malignant forces and eradicating misfortunes, never tolerating evil that harms living beings—these being the very petitions people bring before the gods.

It then praises the divine majesty of the Nine Heavens Golden Tower Jade Tower True Lord (a high-ranking Daoist divinity): combining sacredness with authority, capable of manifesting miracles while broadly bestowing benevolent virtue. For millennia, sacrificial rites have been solemnly maintained, with titles of utmost nobility—its might shakes like thunder, achievements rivaling sun and moon. It drives out mountain demons, pacifies rivers and seas, bringing peace to the world and stability to the people. Both relieving mortal suffering and embodying the Great Supreme's (referring to the highest Daoist deity) compassion. Though divine grace spreads widely, mortals can scarcely comprehend such power in full.

Following this is the officials' memorial recommending two Xu clan adepts (Daoist practitioners surnamed Xu). It states the Great Dao originates from Wuji (the formless cosmic source), profound beyond comprehension. Only after the Supreme True Imperial One (a legendary Daoist immortal) established scriptures with purple brushstrokes could cultivators trace the Dao's origins. Now two practitioners, through fasting and cultivation, have accumulated merit with vows to aid the world—their conduct aligns perfectly with Daoist scriptures. Local scholars and commoners alike praise them, making them worthy candidates for official recognition.

Special mention goes to the Nine Heavens Golden Tower Adept Xu and Nine Heavens Jade Tower Adept Xu (the two Xu practitioners)—their reputations shine brightly, their virtue benefiting the people. Examining both their internal and external cultivation reveals true immortal bone structure and Daoist bearing, wholeheartedly devoted to goodness and reverently upholding the Three Treasures (in Daoism: the Dao, scriptures, and teachers)—rare individuals on the path of cultivation.

Only those who have accumulated virtue in past lives, possess special karmic affinity, and can comprehend the profound mysteries of heaven and earth would ever encounter these sacred texts. Herein are recorded the didactic writings of the Nine True Precepts (the nine fundamental Daoist commandments), the liturgical standards for the Nine Prisons Spirit Lamps (a lamp ritual to liberate departed souls), and the Three Realms Horse Rites (a liturgy for sacrifices to the celestial, earthly, and aquatic realms). All these originate from the mysterious true words of the Supreme Venerable Lord (Taishang Laojun), meticulously researched and distilled to form a complete system through natural coalescence.

These numinous scriptures and chants serve as bridges to transcend calamities. Those who concoct private theories behind closed doors can never fathom the accumulated wisdom of ages contained herein. Furthermore, there are the Special Lingji Offering Rites (unique zhaijiao ceremonies), Original Vow Liturgical Texts, and Seven Luminaries Lamp Rites (lamp ceremonies for worshiping the sun, moon, and five planets) - none of which dare claim personal authorship, but were compiled in response to popular supplication.

Though I recognize my own dull nature and humble speech, investigating facts and discerning truth remain my bounden duty. With reverence I have collated and revised these materials into this collection. Previously, through sacred grace, I and others like Xu were entrusted with important positions and elevated in immortal ranks. Now I humbly petition for imperial approval to promulgate the liturgical classics compiled by Xu and myself, that all relevant institutions across the Three Realms may implement them accordingly.

This would not only manifest the salvific merits of the Lingji Dharma Gate, but also magnify the prestige of our Daoist tradition, while comforting the earnest hopes of southeastern commoners. Respectfully awaiting the sacred decree.

I once believed Laozi's five thousand words in the Dao De Jing encompassed all truth, leaving no need for later scholars to study extensively. Yet only the lineage of Celestial Master Zhang (Zhang Daoling, founder of Daoism) in the Han dynasty truly grasped its essence—a transmission now spanning over twelve hundred years, renowned across the land. From nobles to commoners, all who seek health and longevity bow in reverence. Today, the manifested deity "Lingji Zhenren" (True Man of Numinous Aid) reveals miracles through spirit possession—is this not because he was blessed to inherit the Celestial Master's method of refining lead and mercury (the Neidan practice of internal alchemy)? That spark of numinous light remains eternally undimmed like a luminous pearl.

When I first heard these accounts, I was both astonished and skeptical—until the day I visited the shrine with incense and witnessed inscriptions whose praises transcended worldly language, dispelling my doubts. This Collected Praises of the Numinous had been treasured by local gentry for years, and only after repeated requests did I obtain it. After burning incense and reciting it several times, I found its essence rooted in the Dao De Jing, yet it also unveiled profound truths in harmony with the Great Dao. Its records of compassionate deeds are vast as oceans and mountains, with mysterious divine workings appearing intermittently—far beyond the grasp of shallow minds. Yet the true mystery lies in the True Man himself.

Though I often considered writing a preface, I feared experts might mock it as "adding legs to a snake." The True Man's virtue shines like sun and moon; surely a master will compose a worthy preface in time. Here, I merely outline its essence.

Regarding the "True Lord's Vow" (a Daoist vow ritual), this is both the True Man's pledge and the shared aspiration of devotees. Each prostration embodies focused sincerity, and ultimate sincerity is supreme goodness. Human nature's innate goodness flows like water downward—only willful stubbornness concerns me. This vow ritual exists precisely to guide people toward goodness—how could it be mere empty words?

When we gaze upward at celestial patterns, we discern the number twenty-five (heaven's number); when we observe earthly principles below, we find thirty (earth's number). Their union forms the complete essentials of cultivation.

The number fifty-five can fulfill wishes because it resonates with the patterns of Heaven and Earth. Without aligning with the De (Virtue/Power) of the cosmos, how could one attain such a state? The virtuous person embodies the guiding principles of Heaven and Earth. If even a trace of hypocrisy or laziness arises in thought, it cannot be called a true "wish," nor can such a person compare to genuine virtue.

Ancient texts say: Virtuous actions have no fixed form—what matters is unwavering consistency. There is no secret to this beyond maintaining from beginning to end what was first established, never abandoning the path midway. Only then can it be called perfect goodness. Virtuous deeds are the foundation for accumulating blessings, and blessings are the accumulation of virtuous deeds. The Tang dynasty scholar Gao Ying once said: Blessings come from accumulating virtue, not from purchasing them with wealth. Since blessings can be sought without spending money, how can virtuous people be said to squander resources? When we witness virtuous acts, we should spread word of them; when we hear of good deeds, we should share them with others. We who share this aspiration must encourage one another in this way, so that we may stand without shame before Heaven and Earth—and before the Zhenren (Perfected Ones, accomplished Daoist adepts). This, too, is the greatest wish of the Perfected Ones.

Regarding the petition to restore Lingji Palace: According to the "Wudai Shi: Huainan Shijia" (Historical Records of the Five Dynasties: The Huainan Lineage), Prince Xu Zhizheng of Qi had two sons, the Princes of Jiang and Yu, who are now revered as the two Perfected Ones of the Golden and Jade Towers (Jinque and Yuque). In life, these two Perfected Ones excelled in poetry and literature, and their spiritual manifestations have been extraordinarily potent. The people of the southeast have relied on their protection, with efficacy surpassing even the divinatory power of turtle shells and yarrow stalks. During the great drought of the Gengyin year in the Yongle era, local officials were deeply troubled—yet the two Perfected Ones sent timely rain as promised, demonstrating remarkable spiritual power. Officials and commoners alike agreed that the dilapidated temple must be restored. To repay the divine favor, this brief essay was composed to seek donations from noble households. A single stroke of the brush summons blessings naturally.

The two Perfected Ones renounced official titles to attain immortality, their literary brilliance illuminating imperial genealogies for millennia; they led troops to quell bandits, their eternal incense now honored on Golden Turtle Isle. The people cherish their benevolent governance like Duke Shao of Zhou, while auspicious mushrooms flourish in ministerial courtyards as emblems of their virtue. Expanding the temple with lofty gates and spacious halls recreates the solemn grandeur before the Embroidered Ridge Palace; visions arise of jade windows wreathed in clouds beyond Chengdu’s Brocade Official City, sun and moon illuminating golden towers. Where good omens gather, vitality thrives; where fortune descends, generations of nobles emerge without end. They became pillars of the realm, models for all distances, upholding treasured teachings to attract auspiciousness and avert misfortune, propagating family traditions that reward good and punish evil. As years pass, their courtyard instructions remain vivid; when frost and dew descend, the immortal isle feels ever nearer.

The Zanling Ji text consists of two main parts: the first is a eulogy depicting celestial scenery, while the second contains two discursive postscripts from Xu Xian Hanzao.

The opening section poetically portrays an immortal realm: Precious elixirs are prepared in celestial palaces, while coastal inhabitants rejoice in sweet rain. Withered crops revive, moss creeps anew across curtained eaves, and verdant grass stains travelers' footprints. Wind caressing jade-green tiles resembles the hand that mended heaven (referring to Nüwa's creation myth), while rain washes crumbling walls yet preserves their foundations. Without extraordinary courage, how could one achieve transcendent merit? Like an unceasing giant brush (metaphor for literary talent), towering palace walls rise instantly. To the left flows the Rongxi stream, to the right the Laishui waters, with Purple Terraces (abodes of immortals) nearby, arrayed alongside divine springs. Before it stands a jade table, behind flutter feathered reeds (celestial plants), while the Literary Peak pierces the stars of the Cowherd and Weaver Maid (Vega and Altair). When one attains the Dao (the Way), myriad nations celebrate together.

The subsequent postscripts discuss the relationship between literature and heavenly principles: The first states that when noble persons encounter orderly times, expressing aspirations through writing becomes natural. Though people often seek celestial truths through intellect, those aspiring to the Dao who wish their writings to impact the present world resemble jade-carvers standing at Jing Mountain (symbolizing unrecognized talent) - not misfortune, but nature's way. When divine mysteries dwell in obscurity, must they startle mortals through literature? How peculiar! The Xu Xian Hanzao anthology collects records, eulogies, rhapsodies and hymns - each phrase meticulously crafted as social commentary. That beings separated by Yin-Yang realms still bear worldly burdens inevitably causes perplexity.

The second postscript proposes that "spirits (Shen) cannot exist without humans, nor humans without spirits." Present communication between both occurs entirely through literary language. Does writing connect with spirits, or do deities manifest as words? Though the River Chart and Luo Writings (legendary cosmic diagrams) appear mysterious - trusted by sages like Fuxi and Yu the Great (of the Si clan) - later generations inevitably doubt. Reading these texts as records of divine-human interaction reveals every phrase springs from sagely hearts.

The text consists of two parts: the first is a discourse from the Zanling Ji (Anthology of Spiritual Praise), while the latter is an imperial edict granting a plaque to the Shanglingji Temple (a Daoist temple bestowed by the emperor).

The first section discusses governance, stating: Laws and policies should be as clear as the lines on one’s palm—so why must rulers labor anxiously? Excessive concern for the people only breeds doubt—is this the will of the spirits or merely human effort? Just as dragons and fish stir wind and rain, all things follow their inherent patterns. Thus, though the divine governs all, its execution still depends on human action. If one cannot make decisions or articulate thoughts clearly yet seeks to speak through others, it will surely fail. When wielding the brush to compose, I must never shirk responsibility. To let the clamor of crude earthen pots replace the solemn music of ceremonial bells would disgrace the spirits. The literary brilliance of Immortal Xu (possibly referring to Xu Shenweng) was itself divine inspiration; since it has already spread widely, I must preserve it with reverence.

The latter section describes the grandeur of Shanglingji Temple: Here, Dragon Head Mountain rises majestically, and Ao Peak (a famed Daoist mountain) towers aloft, where worldly dust transforms into brocade to adorn the sacred space, and azure canopies fulfill auspicious prophecies. The temple, thriving with incense for millennia, has now been magnificently restored. The Lingji Zhenren (Perfected Being of Numinous Aid) manifests boundless spiritual power, and his blessings are profoundly efficacious. Recently, his teachings have grown even more refined, using parables to urge adherence to ritual and righteousness, with meritorious deeds recorded on illustrious steles. Once honored with an imperial plaque, the temple now receives the extraordinary title of "Heavenly Enfeoffment," elevating its name among the celestial registers. At this very moment, a high-ranking official (a regional governor of the fourth rank) arrives—versed in rites like the Duke of Zhou and as discerning in ritual as Confucius. Following classical precedent, he bestows a new name upon the temple. The plaque, inscribed with golden characters as large as stars, enhances the splendor of the mountains and rivers, rivaling the sun and moon, while the people rejoice in celebration. A poem praises: "The Lingji Zhenren, enfeoffed by Heaven as a true immortal," praying for favorable winds and rains, abundant harvests, and the eternal continuity of incense offerings, year after year offering longevity blessings for the emperor. The phrase "eight-character royal enfeoffment" refers to the eight-word imperial title, while "timely rain, sunshine, cold, and heat" signifies harmonious seasons, embodying the Daoist cosmology of "resonance between Heaven and humanity."

The Zanling Ji contains two imperial edicts for inscribed plaques and one rain prayer document, recording ancient people's devotion to the True Lord Lingji (a revered Daoist deity). The first recounts how the emperor inscribed the plaque for the "Hall of Familial Harmony," praising the True Lord Lingji for his upright wisdom and solemn presence in the palace, with far-reaching fame. After establishing this ancestral hall, local customs became pure and simple, and the people naturally developed filial piety. With the plaque hung, it was hoped that harmony would prevail between superiors and subordinates, proper order between elders and youth, peace among neighbors, contentment for the elderly in their twilight years, and filial hearts among the young. Quoting the Book of Songs, the text emphasizes heavenly principles and social order, believing such moral instruction would surely lead to the eventual erection of memorial arches honoring filial devotion.

The second document records the inscription for the "Hall of Joyful Feasting." It describes the resplendent palace and the awe-inspiring majesty of the deities, with vibrant new paintings. The temple of the True Man Lingji (i.e., the True Lord Lingji) was solemn and dignified, with clear divine responses. The plaque bore an eight-character inscription in gold, attended reverently by numerous palace maidens. Prayers were answered immediately, with all kinds of blessings descending. After the sacrificial rites, the wish for a son was indeed fulfilled—the household flourished magnificently, and the plaque radiated glory. It was hoped that hanging it would bring prosperity to descendants and unbroken lineage for generations. The text mentions the abundant spiritual energy of Mount Aofeng, where auspicious signs appeared like green cloth woven into silk. The Kong family (possibly descendants of Confucius) personally carried and presented children, and the sacred response from Songshan Mountain indeed came true.

The third document is a thanksgiving memorial for rain by villagers including Huang Yuan. It records a summer drought during which the people purified themselves through fasting and prayed devoutly. On the eighteenth day of the fifth lunar month, they sincerely invited Daoist priests to jointly welcome the True Lord Lingji of Vast Grace to fetch sacred water from the Dragon Pool at Aofeng (a legendary deep pool associated with dragons). At noon, after reverently enshrining the sacred water in the temple, a divine response manifested: dark clouds gathered in the southwest, and rain fell by afternoon. That evening, a Daoist ritual arena was set up, where ceremonies were conducted according to Keyi (Daoist liturgical standards), including a special Zhaijiao purification ritual for the Dragon King. A hundred prostrations were made toward heaven in repentance.

This scripture records an elaborate Daoist thanksgiving ritual for rainfall. After twenty consecutive days of abundant showers ("night rains falling steadily for twenty days until a great downpour"), the plentiful precipitation ("copious rains") nourished the farmlands. To express gratitude for divine benevolence, Daoist priests conducted a solemn Zhaijiao purification ritual (Daoist ceremonial worship), making offerings to the Dragon King, the Field Ancestor (agricultural deity), and other divinities, while lighting star lamps to venerate the Southern Dipper, Northern Dipper, and other celestial bodies.

The ceremony featured modest yet devout offerings ("humble provisions"), with the complete Jiao sacrificial procedure conveying profound thanksgiving. The prayers sought harmonious movement of sun and moon ("balancing the two celestial regulators"), timely winds and rains, ensuring bountiful harvests ("producing abundant crops with auspicious signs of ripening grains"). They praised the emperor's virtue ("the Ninefold Heaven" symbolizing the sovereign) flowing like water to nourish all lands, anticipating annual celebrations where farmers' harvest songs accompanied the ancient "striking the earth" dance.

The text concludes with blessings for the emperor's longevity ("sacred lifespan") and universal peace, praying for all beings to flourish eternally under harmonious cosmic influence. The passage brims with gratitude for divine protection and aspirations for national prosperity, embodying the Daoist tradition of "revering heaven and emulating the ancestors."

To the south of Mount Fang stands an ancient divine shrine, where people worship the brothers Xu Zhigao from the Five Dynasties period, revered as the "Golden Tower Perfected Lord" and "Jade Tower Perfected Lord." These two Perfected Lords were descendants of deities, having passed away nearly five hundred years ago. Yet their divine spirits still protect the people from the heavens. Whenever droughts, floods, or plagues occur, the prayers of the people here are always answered. Though I, Zhao Di, am dull-witted, I too wished to visit this shrine and offer prayers, thus composing this "Pacing the Void Hymn" in their honor.

The first poem depicts the descent of divine beings: The sages, descendants of deities, arrive holding crimson ritual banners (Daoist ritual implements), riding upon purple auspicious clouds, their emerald canopies blending with verdant bamboo branches. Their spiritual radiance illuminates all without shadow, how pure and luminous this ethereal realm! Auspicious qi (vital energy) drifts through jade caverns, while rosy light bathes crimson groves. Now the deities solemnly descend, their phoenix-adorned banners flickering in and out of view, resolving worldly troubles for mortal kind.

The second poem portrays the shrine's solemn majesty: The gem-like palace (Daoist temple) soars cloudward, merging with the emerald mountain peaks. The heroic wind of their spirit has blown through a hundred generations, their divine light shines perpetually through the seasons. The sacred statues bear dignified majesty, the temple stands in reverent stillness. Blue-green halls swirl with incense smoke, while daytime beams hold chilly cloud-breath between their rafters. How can we insignificant mortal forms hope to reach such numinous clarity?

The third poem describes the deities' ethereal descent: Feathered canopies drift lightly as numinous aura descends to cinnabar towers (celestial abodes). Faint phoenix cries echo through the autumn-cooled woods. Jade essence (immortal dew) flows, transforming into purple clouds, while divine empyrean (celestial realm) floats with crimson banners. Feather-robed immortals fade into starry skies, celestial music gradually stills in the air. The great void (cosmos) lies in profound silence, when suddenly the colored mists disperse. Only the sound of pacing the void (immortals walking) remains, leaving behind jade peaches mirroring the moon.

The fourth poem extols the deities' protective power: The brothers stand like twin jade lotuses, guarding this land by the Heavenly Emperor's decree. Suddenly the dark wind blows, bringing down efficacious sweet rain. Illnesses are quelled by divine power, calamities averted through spiritual protection. Their profound mysteries remain unfathomable, yet their support for the nation's fortune shines clearly. The lofty Great Canopy Heaven (highest Daoist celestial realm) stands pure and cold, the luminous palace of clarity and emptiness glows translucent. Jade pendants and clear mists form their robes, feathered canopies move along crimson cloud paths. Riding the whistling long wind, they ascend to visit the purple mists' immortal realm.

Additionally, there are twelve poems titled "Paying Homage at Lingji Palace" composed by Senior Counselor Yang Jingheng. At that time, Zhang the Perfected of the Shangqing lineage (Shangqing school) received imperial decree to conduct the Grand Court Blessing Ritual (major Daoist zhaijiao ceremony) at Lingji Palace. Yang Jingheng composed these poems to record the grand occasion: Mountains and rivers reveal numinous signs proclaiming peace, Shangqing's immortal guests descend on fragrant clouds. The celestial altar commences ritual liturgy (keyi), cloud banners unfurl while feathered pendants (immortal ornaments) shuttle through lunar palaces. This joyous gathering ascends the treasured land, even the Weak Waters (mythical river) cannot bar the way to Penglai. Facing the wind, I wish to borrow jade terrace cranes, to soar toward loftier realms.

The "Hymns to the Numinous" collection contains several poems praising the merits and virtues of Daoist immortals and divine beings. Let me analyze them one by one:

The first poem depicts celestial palaces: three sacred mountains (san shan) emerald green, connected to the Ao Peak (a Daoist sacred mountain). The Purple Mansion (immortal abode) towers into the clouds, the light from the cinnabar cauldron (alchemical furnace) illuminates a thousand mountains under the moon, while the Jade Terrace (immortal dwelling) sends forth the fragrance of a hundred flowers. The divine merits shine brightly, the emperor's grace runs deep, bestowing honors upon temples. The poet wonders when he might attain the Dao and become perfected, riding white clouds in ascension.

The second describes an immortal procession: fragrant carriages adorned with floral designs, drawn by purple luan birds (celestial phoenixes), while the sound of cave pipes drifts down from the clouds. The stars of the Nine Heavens reflect upon mountain halls, the winds and thunder of the fifth watch encircle stone altars. Branches bend with immortal fruits, lychees ripen red; courtyards remain serene with verdant phoenix trees. The divine merits shine brightly, protecting the imperial dynasty for ten thousand generations in peace.

The third records a temple visit: halting horses to steal leisure in the divine palace, where stone paths and streams are veiled in mist. Twin birds sing beyond the window, a hundred flowers bloom before the steps. The deities bless the current era with noble titles, eliminating calamities and establishing martial achievements. Divine grace spreads throughout the land, receiving perpetual sacrifices across generations.

The fourth discusses seeking immortality and medicine: visiting the immortal palace twice yearly, sincerely cultivating apricots (a Daoist allusion to medical charity) to repay divine grace. Witnessing miraculous medicines curing stubborn illnesses, potent talismans reviving the weary. Searching for immortal deer at flower-filled cave mouths, listening to dragon sermons in the rain. Stone tablets record these merits as deities enjoy sacrifices and emperors bestow increasing honors.

The fifth commemorates military achievements: pausing the march to ascend Ao Peak, repeatedly paying respects to brothers' merits. Having pacified rebellions in ancient times, now receiving sacrifices for a thousand years. Prayers prove efficacious, earning imperial commendations. The deities protect the nation and people, harmonizing winds and rains seasonally.

The sixth extols divine majesty: once leading celestial troops across the gorge river, causing a million enemies to surrender at mere sight. Golden Ao (divine tortoise) enjoys sacrifices, paired with jade palace registers. Stern swords stand guard, towers rise majestically. Heroic names echo through time, while literary achievements dominate the realm.

The seventh describes temple geomancy: verdant mountains and clear waters conceal profound mysteries, as heaven-sent worthies guard the riverside. The deities discern day and night's fortunes, perceiving the slightest details to judge right and wrong. Ancient shrines stand upon three sacred mountains, eternally receiving worldly offerings.

These poems collectively embody the sacred solemnity of Daoist temples, praising deities for protecting the nation, blessing the people, punishing evil and rewarding virtue, along with imperial reverence for Daoism. They employ characteristic Daoist imagery - cinnabar cauldrons, jade terraces, purple luan birds - to portray celestial beauty.

This passage records the inscribed poems and reflections of several Ming dynasty officials during their visit to Lingji Palace in Fuzhou (a Daoist temple dedicated to the two perfected beings Xu Zhizheng and Xu Zhi'e).

Zhu Chun of the Office of Scrutiny for Justice (a native of Shanyin) describes how he traveled to Fujian bearing a jade ceremonial scepter and made a special pilgrimage to Lingji Palace atop Aofeng (Turtle Peak). After solemn ritual offerings, the temple abbot—accompanied by several youths clad in feathered robes and crane cloaks (traditional Daoist attire)—invited him to Chrysanthemum Pavilion for tea and philosophical discussion. At the host's request, he composed impromptu verses expressing reverence, praising the temple's majestic architecture, the deities' eternally resplendent vestments, and the inscribed steles documenting celestial achievements. He marveled at how imperial decrees illuminated the coastal region and prayed for divine protection of the eternal prosperity of the state.

Meng Shi, a secretary in the Ministry of Revenue (from Peixian), passed by the renovated Lingji Palace on Jin'ao Peak (Golden Turtle Peak) during his winter 1432 mission to Fujian. He reflected that the Xu brothers embodied perfect loyalty and filial piety in life before transforming into deities who safeguarded the nation. Their ability to influence cosmic transformations justified imperial titles and perpetual veneration. His poem extolled their heroic legacy—their shared filial devotion in life and continued loyalty in death, their nocturnal dream-revelations guiding enlightened rulers, and their miraculous prescriptions healing the imperial body. Their majestic temple commanded universal reverence.

Censor Yang Zheng (of Jishui) composed verses celebrating the Xu brothers' apotheosis from nobility to divinity, their distant transmission of Daoist alchemical secrets (Neidan practices), and meritorious deeds that stirred the celestial courts. Elevated among the ranks of immortals with prestigious titles, their rituals on Aofeng remained solemn with unbroken incense offerings.

Finally, Chai Shan—a senior envoy to Ryukyu and other nations—recorded his enduring devotion to Lingji Palace deities even while commanding frontier troops. These accounts reveal Ming officials' profound faith in the "Two Perfected Ones" of Lingji Palace, believing they protected both sovereign and common people through divine grace.

This passage describes the wondrous scenery and spiritual experiences at Lingji Palace, a sacred Daoist site. When staying overnight at the temple, the author felt as if he had entered a true celestial realm.

The opening depicts the mystical landscapes of southern Min (modern Fujian region), where Dongting Lake and the sacred Mount Taihua reflect each other's glory. Hidden here are traces left by true dragons (symbolizing accomplished adepts), with numinous light shimmering through the mountains and emerald hues filling the vision. Authentic immortals appear intermittently, silently operating celestial mechanisms (cosmic principles) while disseminating divine blessings.

The text mentions "numinous elixirs guarding the sacred body" (Lingdan wei shenggong), referring to Daoist practitioners preserving their physical form through alchemical preparations; while "vast grace shelters the people's hardships" (Hong'en bi min'e) speaks of deities extending benevolent protection to ordinary folk. It also records the legend of exceptionally filial brothers who served as renowned officials during their lifetime and became venerated temple deities after death, their spiritual efficacy widely manifested.

The author describes holding ritual banners (huafan) in solemn ceremonies, devoutly chanting sacred invocations within the purified space of zhaijie (Daoist purification rituals). Deeply moved by this sacred environment, he composes these words to extol the virtues of the divine.

Vivid details portray Lingji's extraordinary surroundings: Jin'ao Peak appears like a golden turtle emerging from the sea, resembling an azure dragon coiled among rainbow clouds; Cassia Halls (guiyu) glow with cinnabar radiance while Fungus Chambers (zhifang) conceal immortal secrets. Occasionally one glimpses returning cranes, their celestial fragrance (tianxiang) permeating the air.

The nocturnal cultivation experience concludes the account: during bamboo-chamber purification fasting (qingzhai), he dreams of a lone islet's bright moon, experiencing frost-like purity. Through night mists emerges the divine turtle (shen'ao), while auspicious cranes soar amidst autumn sounds. Wrapped in robes, sleepless, he discerns traces of heavenly fragrance in the predawn twilight.

These writings reveal a Daoist practitioner's vision of earthly paradise—where natural wonders interweave with alchemical mysteries, brimming with yearning for eternal realms. The description blends supernatural landscapes with profound cultivation experiences, embodying the Daoist pursuit of transcendence.

The scenery of White Deer Peak (a renowned Daoist mountain) resembles layered emerald brocade. Legend says the white deer vanished with the clouds, never to return. Today, along the rocky streamsides, one can still imagine the traces of immortal hooves upon the moss. Li Shuyi of Longxi wrote: "A celestial deer once passed here bearing blossoms in its mouth, inspiring the construction of a temple on the cliff." The verdant peaks retain their ancient names, where robed monks still chuckle while chanting verses amidst the woods.

Literary Brush Peak (a summit shaped like a writing brush) pierces the clouds, its three divine ridges standing in solemn opposition, their jade-green hues flowing like dragon-pool ripples. The Ink Pond (a legendary pool where immortals washed their brushes) mirrors the rosy clouds, evoking a revolving battle formation of brushes encircled by starlight. This convergence of numinous Qi (vital energy) seems destined to birth splendid writings worthy of enlightened rulers. Li Shuyi marveled: "This aloof peak rises beneath a canopy of emerald, painted from afar with mist and rainbow. Since the banished immortal awoke from spring dreams, who knows how many blossoms have bloomed and fallen upon its crest?"

Lotus Peak (a petal-shaped summit) stands majestically in the south, its Jade Well (a celestial spring) glowing auspiciously in autumn hues. One imagines nightly lotus fragrance drifting into immortal pavilions. Li Shuyi envisioned: "This blossom seems transplanted from the Jade Well to emerald slopes, proudly piercing cloud oceans. When deities come to gather it, they'll mistake it for visions seen through wine-drowsy eyes after feasts in the Jasper Pool."

Flying Artemisia Peak (resembling the tumbleweed herb) mirrors Penglai, the fabled isle of immortals, overgrown with rare jade-grass. Having flown here from the Three Divine Mountains, it completes this land's ten wonders. The sky, white as a jade flagon, reflects cinnabar-hued flames (alchemical materials) — should one meet an immortal here, mists would part to reveal hidden realms. Li Shuyi described: "This summit, flown from unknown Yingzhou isles, bears a crown like jade-carved hibiscus. Pilgrims seeking the Dao (the Way) often climb its crimson stairs to trace crane footprints."

Greedy Wolf Peak (aligned with the Big Dipper's alpha star) radiates untouchable clarity, its stellar beauty gifted to the mortal realm in unknown eras. From afar, it resembles Penglai borne on a golden turtle's back. Li Shuyi wrote: "Encircled by painted screen-like ridges, this perilous peak stabs the azure heavens. Still nights often see vermilion light piercing the Dipper, like a radiant star-river cascading earthward."

Square Crag Peak rivals Kongtong (sacred Daoist mountain) in divine majesty, appearing from afar as a crouching black panther, its silhouette mirrored in watery depths.

By the crystal-clear river and emerald mountains, an old man gathering lingzhi mushrooms sits on a moss-covered stone, gently waving his horsetail whisk. His robe seems to merge with the white clouds, embodying carefree wandering.

Li Shuyi from Longxi (present-day Gansu region) wrote: Towering peaks appear ready to collapse, while crane-flight paths remain pristine without moss. Celestial winds scatter cliffside waterfalls, transforming into midnight thunder echoing through rocky crevices.

Guo Yi from Baihu at Zitai Peak depicted: Jade-green cliffs and crimson precipices connect to the heavenly court, wrapped in purple clouds during late spring. Who plays jade flutes beneath the moonlight on high platforms? Surely awaiting immortals returning on crane-back.

Li Shuyi continued: Unfathomable purple qi cannot be brushed aside, these perilous mountain foundations seem carved by divine craftsmanship. As jade pendants chime, moonlight spills before the terrace—revealing an immortal arriving astride a crane.

Guo Yi from Baihu at Ancient City Peak lamented: How many households remain in this ancient town? The mountains stand empty, scarce traces of bygone days remain. Mossy paths sever the fragrance of mortal dust, while mist-wrapped cliffs exude chill. Cool breezes cross pine-shaded pools, moonlight climbs vines embracing boulders. Pay no heed to night-raven cries—they only stir futile nostalgia.

Li Shuyi added: Between jade cliffs and cinnabar precipices, the path proves treacherous, yet travelers still whisper the ancient city's name. Mountain winds and springs daily bring pure melodies, though none accompany plum blossoms with iron flute songs now.

Guo Yi from Baihu at Taiping Peak chanted: Auspicious light descends from ninth heaven, echoing through countless valleys with cloud-borne hymns. Who will join singing the Taiping melody? Better ascend the golden turtle's hundred-foot bridge together.

Li Shuyi responded: The vision of great peace spans boundless horizons, half-concealed within these famed peaks and streams. Rejoice seeing deities dwelling here—even shade-cloaked cliffs bask in virtue's benevolent breeze.

In "Eight Odes to True Immortals," Guo Yi from Baihu depicted Ao Mountain's celestial palace: Auspicious signs manifest in immortal realms, heavenly fragrances illuminate splendid robes. Blossoms greet paired phoenixes, mountain ranges embrace golden turtles. Cassia palaces pierce cloud layers, mushroom altars suspend the moon. Divine mechanisms contain cosmic mysteries, brushstrokes transform into surging waves. Jade caves hold Liu Chen's elixirs (the legendary woodcutter who encountered immortals), while jade terraces conceal the Queen Mother's peaches of immortality. Behold the massive stele inscribed with celestial script—praised for eternity.

Li Pu from Fishing Terrace wrote: Atop towering Jin'ao Peak, gazing upward reveals thousand-ren heights. Since primordial chaos parted, it has stood distinct among peaks. The sacred dynasty's true palace gleams with golden splendor. Divine mechanisms penetrate nine heavens, sagely wisdom establishes literary models. Celestial incense flickers through clouded forests, immortal music mingles with wind-swept springs.

This is a collection of poems depicting Daoist celestial realms, composed by several Song Dynasty literati. The verses portray the transcendent landscapes of Daoist temples (referred to as "jade halls" or "jade palaces") and sacred mountains.

Li Shuyi of Longxi writes: Within these serene Daoist halls, worldly troubles may be cleansed. The peaks rise like golden ao-turtles (legendary divine tortoises) coiled in repose, their spiritual radiance touching the heavens as auspicious qi flows from the sun's edge. Vermilion phoenixes (mythical birds) carry immortal herbs in their beaks while azure-hued immortal youths (Daoist celestial attendants) present feathered wine cups. This realm beyond the mundane dust surpasses even the beauty of Penglai, the fabled paradise.

Shao Yong of Qingmen depicts: Majestic palace towers stand aloof from worldly clamor, where fragrant mists drift through emerald-hued vapors. When immortals return, moonlight bathes the golden ao-turtle's crest; when celestial music sounds, white clouds accompany flocks of cranes. Here are recorded the graces bestowed from the Nine Heavens, continuing the glory passed down through five dynasties. Gazing toward the interlocking floral calyxes in the distance, a thousand years of spiritual light nurtures extraordinary fragrance.

Chen Tang of Changle marvels: This jade palace presents peerless scenery, its golden ao-turtle's rocky carapace enduring eternally. In times of great peace, divine manifestations appear, while encircling mountains exude extraordinary energy. At night, the jeweled palace (shell-ornamented towers) gleams brilliantly; in spring, celestial peaches intoxicate the senses. Since ancient times, outstanding talents have emerged here to bask in imperial favor.

Guo Yi of Baihu describes the Dragon Pool's cascades: After rain upon the immortal's peak, ancient dragon pools (qiu) send forth rushing waterfalls. By night one hears twin mountain streams, by dawn converging into a single flow. The falls reflect like the Silver River pouring downward, their echoes resounding through azure skies. Roosting cranes startle awake while hidden dragons stir. Distant woodcutters' bell tones might be mistaken for undulating white silk (the waterfall). In the secluded reaches of Golden Ao Peak, moonlight illuminates the Step-Void Tower (a Daoist structure).

Li Shuyi continues: The spiritual pool, washed by night rain, sends forth cascades like the Milky Way descending. The clear sky mirrors polished ice, while chilling sounds emerge through creeping vines. Pine waves disturb cranes' dreams as fishermen's songs drift from the shore. Washing feet beneath moonlit streams, who knows how many true immortals have passed this way?

Li Pu of Diaotai contemplates: Observing creation's primal beginnings, heaven and earth were shaped by celestial craftsmanship alone. The spiritual veins coil like hidden dragons, while deep pools contain primordial chaos qi. The Silver River hangs from heaven's edge, inverted like a thousand-foot rainbow—above connecting with stars, below merging with rivers. Cool shadows embrace the new moon as crisp sounds harmonize with clear winds. Here true immortals feast daily—what earthly verse could match such refined elegance?

Shao Yong composes anew: The spiritual pool after fresh clearing inspires transcendent joy—a hundred-foot cascade like heaven's river pouring forth. Suspended midair, it resembles trailing jade silk; under moonlight, scattered jade pendants. Hidden dragons pause to listen while geese flying sunward startle in turn. At dawn climbing Golden Ao Peak, one sees the waterfall transform into turquoise waves of Penglai's immortal sea.

Chen Tang concludes: Cold currents plunge a thousand feet like white rainbows descending from Jade Pool's clouds. Marveling at these wondrous sights, one almost hears the whispers of divine dragons.

The "Odes to the Numinous" collection depicts winter snowscapes and transcendent Daoist realms through these poems:

The first poem "Bamboo Cliffs in Clearing Snow" portrays a bamboo grove after snowfall: Countless bamboo stalks stand erect along the precipice, their icy coating glistening like Wu region salt crystals. Snowlight illuminates the bamboo-lined path where white cranes soar amidst auspicious signs while crows rest quietly. This scene recalls the ancient "White Snow" melody from Ying, the Chu capital, and resembles the cooling cinnabar sands by an immortal's alchemical furnace. Approaching such sublime purity makes even floral fragrances seem extraordinarily refined.

The second poem "Fishing Terrace" describes a recluse's snowy retreat: Deep mountain crags lie blanketed in snow as frozen bamboo and woods lose their emerald hues. Sunlight makes snowflakes sparkle while the winter wind howls through the twelfth lunar month. This bountiful year's auspicious snowfall mirrors the celestial Twelve Tower pavilions, with scripture recitation ringing like jade fragments.

The third poem depicts snowy cliffs: Clouds disperse before the rocky cliffs as snow begins melting beyond the bamboo grove. The radiant snowscape reflects distant towers and cloaks jade-green bamboo in crystalline garments. This glittering vision resembles mica curtains and crystal plates, making one ashamed of lingering worldly attachments that hinder harmony with immortal songs.

The fourth poem portrays divine birds in snow: Azure peaks pierce the clouds where snow lingers unmelted. White cranes and green luan birds (Daoist celestial phoenixes) flicker through the snowfall - a beauty surpassing the "Liang Garden Rhapsody" (famous Han dynasty fu poetry) that even the "White Snow" melody cannot match. One imagines immortals' jade pendants tinkling in the dawn breeze.

The fifth poem follows snowy immortal-seeking: Bamboo by numinous cliffs appears sanctified by snow as cranes circle clear springs. The poet's spirit wanders to Three Xiangs (Hunan region) and the Jade Abode paradise, though recluses find snow-bamboo shoots slippery to harvest.

The final two odes celebrate lingzhi mushrooms: Peaks nurture these auspicious fungi, surpassing all flowers. Dew-kissed leaves exude fragrance around the Purple Mansion (Daoist celestial abode). Brighter than lotus ponds and rarer than Shang Mountain's flora (recluses' habitat), their radiance reaches the moon palace while jade hues permeate rosy clouds. Such divine herbs aren't for mortal picking - only life-extending transcendents may partake.

These poems employ characteristic Daoist imagery: snow symbolizes purity, bamboo and cranes represent nobility, lingzhi implies longevity - collectively constructing a transcendent paradise beyond the mundane world.

This Anthology of Spiritual Praise collects poetic works by several literati extolling the celestial realms of sacred mountains, primarily depicting the immortal landscapes and auspicious lingzhi mushrooms of Qingpu in Longxi (modern-day Gansu region). Through imagery of tides, radiant clouds, and boats, the poets construct a transcendent realm beyond the mundane world.

Li Shuyi's poem describes lingzhi mushrooms growing on the mountain peak with extraordinary purple leaves that gather golden light in spring, nurturing yellow pistils at dawn. Such divine herbs were never meant for the mortal world, yet now they are gathered as offerings. Shao Yong depicts Penglai, the immortal isle, lying beyond the azure sea—where the Cinnabar Well (a Daoist alchemical site) glows faintly at night, and the Taiyi Pool (a celestial dwelling) mirrors emerald hues at dawn. Autumn dew dampens the scriptures on the giant turtle's back, while songs among the cliffs linger until sunset.

Chen Tang laments the abundance of flourishing purple lingzhi in this land, regretting that he has aged in vain beneath the mythical Yingzhou (an immortal mountain in the Eastern Sea), never attaining the Dao like the Four Elders of Shangshan (reclusive sages of the Qin-Han period). Guo Yi's verses weave images of Qingpu's returning tides and the White Sea Gate, where waters encircle the mountain isle ceaselessly, day and night. Crimson clouds and moonlight intertwine as a thousand lanterns illuminate the ancient streams of the immortal source.

From the vantage of a fishing terrace, Li Pu paints the river's shimmering clarity after evening rain, where reeds flourish and wild ducks rest. Simple boats moor along both banks, while mountain paths wind through clustered peaks—not relics of Yu the Great's flood control, but the natural convergence of eastern waters. Another poem by Shao Yong describes the vast distant shores at dusk, where the returning tide seems to comprehend its origin. White birds leave traces on sunlit sands, and moss reveals stone patterns in twilight. Gazing from the summit of Ao Peak—where exactly lies the Dragon Gate that Yu once dredged?

Chen Tang concludes with a traveler nearing Qingpu, where retreating tides are drawn by drifting clouds. Strange trees hang over the banks, and idle gulls stand in shallow waters. Fishing nets are folded, lone sails tilt, and in moments of silent contemplation, the entire vista breathes an immortal aura. Together, these poems construct a realm of shifting tides and flickering clouds—a sacred landscape where poets seek traces of transcendence, yearning for the guidance of a true master to unveil the mysteries.

These poems depict the observations and reflections of ancient literati during their travels in Nantang (modern Fujian region), filled with lamentations about worldly toils and yearnings for celestial realms.

The first poem describes a traveler passing through Nantang, where winding mountain paths encircle the Taiyi Temple (an important Daoist monastery), with endless mountain ranges stretching beyond sight. Gazing toward his homeland obscured by floating clouds, he contemplates the sunset-lit riverscape, recalling historical figures like Jizi and Lord Liang, feeling himself akin to a lone goose before frost or drifting duckweed on the sea. He concludes: since the path to prosperity lies open, why weep over east-west wanderings?

The second poem portrays the abundant mountains and seas of Minzhou (Fujian), bustling with merchants coming and going. The poet sighs that these profit-seekers resemble floating duckweed along Nantang's shores. Cooking smoke in the sunset, cold wind stirring his temples—all evoke homesickness. He reflects how time flows eternally within an immortal's gourd (referencing the Daoist legend of cosmic realms within vessels), making worldly struggles seem laughable by comparison.

The third poem similarly depicts people rushing along southern Fujian's post roads chasing gain. A gaunt horse startles while fording cold rivers, light carriages move beneath moonlight. Moved by these scenes, the poet weeps over his rootless existence like floating duckweed, yearning for immortal joy while pitying mortal delusions.

The fourth poem expresses Nantang journey reflections. Beneath emerald willows, the poet worries about distant loved ones' welfare, chanting solitary verses of parting sorrow. Watching lone geese cross moonlit green shores and white clouds drift toward distant peaks, he resolves to pause his wanderings and seek true immortal realms, valuing celestial guidance above ten thousand gold pieces.

The fifth poem depicts Nantang road's bustling traffic. The poet marvels: with green mountains to enter, secluded blossoms to gather, fish to angle—why must people labor without rest?

The final three poems, titled "Woodcutter Songs of Mu Ridge," portray woodcutters' mountain life. Heavenly winds stir their grass cloaks as they walk through clouds, singing all night upon returning. Wild temple chimes fade, household doors stand half-closed, autumn sounds whisper, moonlight shimmers. Their songs echo through valleys—first like orioles trilling, then mournful gibbons, mingling with stream murmurs and white clouds like ethereal immortal music, resounding until moonlit peaks.

These poems depict the sacred landscapes of Mount Zhong (a renowned Daoist mountain) where cultivation thrives. At dawn, woodcutters' songs echo through emerald forests as mist veils the mountain valleys, with clouds swirling above deep streams. Suddenly, the cries of gibbons by the creek startle the mountain spirits (woodland immortals), whose chimes mingle with the distant recitation of Daoist scriptures (Buxu hymns) from temple halls (Lin Guan).

Shao Yong of Qingmen writes: The towering wooden peaks stand aloof from worldly dust, yet woodcutters climb tirelessly without weariness. Lost in reading, I'm often stirred by twilight mountain vistas; raising my voice in song, I most adore the newborn moon. A few startled cries scatter cranes from their pine nests, while a mountain ballad calls herb-gatherers home. At dusk approaching Ao Peak, I seem to hear celestial jade pendants descending from the heavens.

Dong Tang of Changle describes: Woodcutters' melodies linger in the secluded wooden ridges, watching the setting sun sink westward with the flowing stream as coiled clouds drift toward distant forests. They rouse cranes from serene dreams in their nests, while dragon-like echoes murmur from cavern depths. Hearing the lingering notes of this Canglang tune (Daoist ritual music), one's spirit (Shen) is instantly uplifted.

The poem from Zhongshan's Wild Goose Pagoda reads: Solitary peaks glow with violet-jade hues as seven-tiered pagodas (Futu) vie in splendor. Soaring heights nearly touch the celestial realm; winding paths slope diagonally into cloudbanks. Those who inscribed their names here through dynasties were pillars of the state, yet kalpas pass like Ganges' sands. Pagoda shadows reflect in Vimalakirti's (the Buddhist layman) meditation chamber, while fragrances waft from the abode of Taiyi (Daoist deity). Lanterns illuminate jeweled trees at night; at dawn, Dharma seats scatter udumbara blossoms. I revere the virtue (De) of past sages—their luminous names shimmer like azure gauze.

Li Pu of Diaotai marvels: Mount Zhong guards this sacred cultivation ground, majestic by the crystalline river. Pagodas (Futu) lean against summit cliffs, their seven stories riding cloud-waves. Their loftiness transcends the mundane; their resplendent architecture surpasses mortal craft. Those who inscribed their names formed phoenix companions (exemplary pairs), their jade pendants summoning crane flocks. Long have I cherished aspirations of ascension (purple mists), forever yearning to manifest numinous fragrance. Though I've yet to tread the Golden Elixir's (Jindan) ladder, my reverence lingers till twilight.

Li Shuyi of Longxi writes: Mount Zhong encircles this treasured land where the Wild Goose Pagoda clings to the zenith. Beyond autumn clouds, lantern glimmers appear; within sunset's glow, bell tones resound. Incense burners bear names of gifted scholars; noble gatherings unite dragon-devas (heavenly protectors). Time and again I resolve to embrace pure cultivation—who knows when worldly bonds will sever?

Shao Yong of Qingmen composes again: This famed mountain's precious pagoda stands remote from dust, facing true immortals (Zhen Guan) and white clouds. A hundred blended incense trails scatter on the wind; celestial music of the Nine Heavens arrives at nightfall. By flowered windows, Sanskrit chants dissolve into silence; names inscribed on cassia registers (immortal rolls) are renowned across the seas. Just as I reminisce while gazing afar, cold skies echo with departing wild geese.

Finally, Chen Tang of Changle intones: The seven-tiered pagoda gleams anew, upheld by Zhongshan's jade-green cliffs. Since ancient times, its inscribed names shine with talent, ever inspiring later souls to awaken to the sages' wisdom.