Huang Ji Jing Shi Shu (皇極經世書)

臣等謹案：《皇極經世書》十四卷，宋邵雍撰。邵子數學本於李挺之、穆修，而其源出於陳摶。當李挺之初見邵子於百泉，即授以義理性命之學。其作《皇極經世》蓋出於物理之學，所謂“易外別傳者”是也。

We have carefully examined: The "Supreme Principles Governing the World" consists of fourteen volumes and was written by Shao Yong of the Northern Song dynasty. Shao Yong, whose courtesy name was Yaofu and posthumous name was Kangjie, studied "mathematics," which is a discipline that uses numbers to investigate the principles of the universe and all things. This discipline was directly passed down from Li Zhicai (courtesy name Tingshi) and Mu Xiu, and its origin can be traced further back to Chen Tuan, a Taoist priest from Huashan. When Li Zhicai first met Shao Yong in Gongcheng Baiquan, he immediately taught him the "study of meaning, reason, nature, and destiny" — a discipline that explores heavenly principles, human nature, and destiny. As for Shao Yong's writing of the "Supreme Principles Governing the World," it was based on the "study of physical principles," which investigates the principles of the generation and transformation of all things. This is what previous scholars referred to as "an independent transmission outside the Yi Jing": not following the traditional approach of commenting on the text, but instead establishing a separate system outside the Zhou Yi, using numbers and symbolic images to deduce the changes of heaven and earth throughout history.

其書以元經會，以會經運，以運經世，起於帝堯甲辰，至後周顯德六年己未，而興亡治亂之跡皆以卦象推之。朱子謂《皇極》是推步之書，可謂能得其要領。朱子又嘗謂：“自《易》以後，無人做得一物如此整齊，包括得盡。”又謂：“康節《易》看了，卻看別人的不得。”

This book is arranged in three layers: first, "using the yuan to encompass the twelve hui," using one yuan to govern twelve hui; second, "using the hui to encompass the thirty yun," using one hui to govern thirty yun; finally, "using the yun to encompass the world," using one yun to govern twelve shi, each shi being thirty years, thus making the years concrete. The parts with historical events start from the year Jiachen of Emperor Yao's reign (traditionally dated to 2357 BCE), and end with the sixth year of Xiande in the Later Zhou dynasty, Jiwei (959 CE). The traces of rise and fall, peace and chaos of dynasties are all calculated using hexagrams. Zhu Xi said that "Huangji Jingshi" is a "tui bu" book. "Tui bu" originally refers to the astronomical science of calculating the movements of the sun, moon, and five planets. Using these three characters to define it captures the essence. Zhu Xi also said that since the "Zhou Yi," no one has been able to organize a system as neat and comprehensive as this; he also said that after reading Shao Kangjie's "Yi" studies, others' works are no longer worth reading.

而張崏亦謂：“此書本以天道質以人事，辭約而義廣，天下之能事畢矣。”蓋自邵子始為此學，其後自張行成、祝泌等數家以外，能明其理者甚鮮。故世人卒莫窮其作用之所以。

Zhang Xingcheng also said: This book takes the heavenly way as its foundation and uses human affairs to verify it. Its wording is concise but its meaning is broad, encompassing all the studies available in the world. This discipline was first established by Shao Yong. After that, except for a few scholars such as Zhang Xingcheng and Zhu Bi in the Southern Song dynasty, few people could truly explain its principles. Therefore, the world has never fully understood how this system of deduction actually works.

然其起而議之者，則曰元會運世之分無所依據，十二萬九千餘年之說近於釋氏之劫數，水火土石本於釋氏之地水火風，且五行何以去金、去木？乾在《易》為天，而《經世》為日；兌在《易》為澤，而《經世》為月。以至離之為星，震之為辰，坤之為水，艮之為火，坎之為土，巽之為石，其取象多不與《易》相同，俱難免於牽強不合。

But those who raise doubts also say: the division into yuan, hui, yun, and shi is itself without solid basis; the idea of one yuan being twelve thousand nine hundred and sixty years is similar to the Buddhist concept of 'kalpa'; taking water, fire, earth, and stone as the fundamental substances of all things is based on the Buddhist elements of earth, water, fire, and wind; moreover, why can the five phases exclude metal and wood? For example, the Qian trigram, which symbolizes heaven in the Zhou Yi, is paired with 'sun' in the Huang Ji Jing Shi; the Dui trigram, which symbolizes marsh in the Zhou Yi, is paired with 'moon' here; and so on, with Li paired with 'star', Zhen with 'chén', Kun with 'water', Gen with 'fire', Kan with 'earth', and Xun with 'stone'. The imagery used here differs greatly from that in the Zhou Yi, and there are many instances of forced interpretations and inconsistencies.

然邵子在當日用以占驗，無不奇中，故歷代皆重其書。且其自述大旨，亦不專於象數。如云“天下之事，始過於重，猶卒於輕；始過於厚，猶卒於薄”，又云“學以人事為大”，又云“治生於亂，亂生於治。聖人貴未然之防，是謂《易》之大綱”，又云“天下將治，則人必尚義也；天下將亂，則人必尚利也。尚義則謙讓之風行焉，尚利則攘奪之風行焉”類，皆立義正大，垂訓深切。是《經世》一書雖明天道，而實責成於人事。洵粹然儒者之言，固非讖緯術數家所可同年而語也。

However, Shao Yong once used this system to predict events, and none of his predictions failed to come true, so his writings have been highly valued through the ages. Moreover, he himself explained the main purpose of his entire work, which was not solely focused on images and numbers. For example, he said: the affairs of the world, if started too strongly at the beginning, will eventually become careless; if started too thickly at the beginning, will eventually become shallow. He also said: the study of learning should place the affairs of people as the highest priority. He also said: peace comes from chaos, and chaos comes from peace. The virtue of the sage lies in preventing problems before they occur, which is the main idea of the Zhou Changes. He also said: when the world is about to be well governed, people will certainly value morality; when the world is about to be in chaos, people will certainly value private interests. When people value morality, the风气 of humility and courtesy will prevail; when people value private interests, the风气 of contention will prevail. Such statements are all based on sound reasoning and offer deep guidance to future generations. It is evident that although the book "Huang Ji Jing Shi" explains the heavenly way, it actually places the responsibility on human affairs. Therefore, it is indeed the speech of a true Confucian scholar, and cannot be compared with the superstitious divination and numerology of the谶纬 school.

乾隆四十六年四月恭校上。總纂官臣紀昀，臣陸錫熊，臣孫士毅；總校官臣陸費墀。

In April of the 46th year of the Qianlong reign (1781 AD), after careful compilation and verification, the work was presented for the emperor's inspection. The names listed are the officials of the Siku Quanshu editorial office: the chief editors Ji Yun, Lu Xixiong, and Sun Shiyi, and the chief proofreaders Lu Fei chi. This passage is the signature of the Siku Quanshu editors when presenting the book, indicating that the preceding summary is from the Siku Quanshu Total Catalogue, an official compilation of the entire collection, rather than the original preface of Shao Yong's work.

日甲一，月子一。星甲一：辰子一、辰丑二、辰寅三、辰卯四、辰辰五、辰巳六、辰午七、辰未八、辰申九、辰酉十、辰戌十一、辰亥十二。星乙二：辰子十三、辰丑十四、辰寅十五、辰卯十六、辰辰十七、辰巳十八、辰午十九、辰未二十、辰申二十一、辰酉二十二、辰戌二十三、辰亥二十四。

From here, we enter the first level of deduction in the "Huang Ji Jing Shi" text, known as "Yi Yuan Jing Hui," which means using one Yuan to encompass twelve Hui. The headings "Day," "Month," "Star," and "Chen" represent the four levels of time units: Day as Yuan, Month as Hui, Star as Yun, and Chen as Shi. "Ri Jia Yi" refers to the first Yuan being marked by the heavenly stem Jia; "Yue Zi Yi" refers to the first Hui of this Yuan, marked by the earthly branch Zi. Each line starting with "Xing" refers to a Yun. "Xing Jia Yi" and "Xing Yi Er" are the first and second Yun, respectively. The names of the Yun are marked by the ten heavenly stems, cycling from Jia to Gui. The numbers following indicate their total order within the Yuan. Below each Yun, there are twelve "Chen," representing the twelve Shi under its jurisdiction. The names of the Shi are marked by the twelve earthly branches, cycling from Zi to Hai. The numbers again indicate their total order within the Yuan. One Shi is thirty years, and one Yun with twelve Shi totals three hundred and sixty years. Therefore, "Xing Jia Yi" encompasses the first to twelfth Shi, i.e., the first to three hundred and sixty years of the Yuan; "Xing Yi Er" encompasses the thirteenth to twenty-fourth Shi, i.e., three hundred and sixty-one to seven hundred and twenty years. According to later calculations, the starting year of this Yuan is approximately 67000 years before the common era. There are still seventy-three Yun and twenty-six thousand two hundred and eighty years until the middle of the寅 Hui period, the time of creation.

星丙三：辰子二十五、辰丑二十六、辰寅二十七、辰卯二十八、辰辰二十九、辰巳三十、辰午三十一、辰未三十二、辰申三十三、辰酉三十四、辰戌三十五、辰亥三十六。星丁四：辰子三十七、辰丑三十八、辰寅三十九、辰卯四十、辰辰四十一、辰巳四十二、辰午四十三、辰未四十四、辰申四十五、辰酉四十六、辰戌四十七、辰亥四十八。

The star Bing governs the 25th to 36th generations, corresponding to the 721st to 1080th years of a cycle; the star Ding governs the 37th to 48th generations, corresponding to the 1081st to 1440th years. This table, when viewed horizontally, shows the twelve generations under one cycle, and when viewed vertically, it progresses one cycle at a time. The numbering of generations is continuous, starting from the first generation up to the 4320th generation at the end of a cycle, without restarting due to changes in cycles or periods. After the third cycle, the Zi period has completed thirty-six generations and 1080 years; after the fourth cycle, it has completed forty-eight generations and 1440 years, with twenty-six cycles remaining in this period. There are still seventy-one cycles and 25,560 years left until the beginning of creation. In terms of the entire cycle, it takes three hundred and sixty cycles to complete four cycles.

星戊五：辰子四十九、辰丑五十、辰寅五十一、辰卯五十二、辰辰五十三、辰巳五十四、辰午五十五、辰未五十六、辰申五十七、辰酉五十八、辰戌五十九、辰亥六十。星己六：辰子六十一、辰丑六十二、辰寅六十三、辰卯六十四、辰辰六十五、辰巳六十六、辰午六十七、辰未六十八、辰申六十九、辰酉七十、辰戌七十一、辰亥七十二。

The star戊 five governs the forty-ninth to sixtieth generations, which corresponds to the first 1,441 to 1,800 years of a cycle. The star己 six governs the sixty-first to seventy-second generations, which corresponds to the years 1,801 to 2,160. Shao Yong compared a cycle to a year, with each period of twelve months representing a "he," each day representing a "yun," and each hour representing a "shi." Calculating from the winter solstice to the end of the festival of Great Snow marks the end of a "year." The first "he" corresponds to the beginning of the "year's" coldest season. After the fifth "yun" is completed, this "he" has already passed sixty generations and 1,800 years; after the sixth "yun" is completed, it has passed seventy-two generations and 2,160 years, with twenty-four "yun" remaining. There are still sixty-nine "yun" and 24,840 years until the time of creation.

星庚七：辰子七十三、辰丑七十四、辰寅七十五、辰卯七十六、辰辰七十七、辰巳七十八、辰午七十九、辰未八十、辰申八十一、辰酉八十二、辰戌八十三、辰亥八十四。星辛八：辰子八十五、辰丑八十六、辰寅八十七、辰卯八十八、辰辰八十九、辰巳九十、辰午九十一、辰未九十二、辰申九十三、辰酉九十四、辰戌九十五、辰亥九十六。

The star stem Geng seven governs the 73rd to 84th generations, which corresponds to the 2161st to 2520th years of the first yuán; the star stem Xin eight governs the 85th to 96th generations, which corresponds to the 2521st to 2880th years. The names of the yuán cycle through the ten heavenly stems from Jia to Gui, completing one cycle in ten yuán; the names of the generations cycle through the twelve earthly branches from Zi to Hai, completing one cycle in twelve generations. These two cycles rotate independently, combined with non-repeating sequence numbers, resulting in each of the 4320 generations within a yuán having a unique position. After the eighth yuán is completed, the Zi cycle has carried out 96 generations over 2880 years, leaving 22 more yuán remaining; there are still 67 yuán and 24,120 years until the beginning of creation, and 172 yuán until the first 180 yuán when the Emperor Yao took over.

星壬九：辰子九十七、辰丑九十八、辰寅九十九、辰卯一百、辰辰一百一、辰巳一百二、辰午一百三、辰未一百四、辰申一百五、辰酉一百六、辰戌一百七、辰亥一百八。星癸十：辰子一百九、辰丑一百一十、辰寅一百十一、辰卯一百十二、辰辰一百十三、辰巳一百十四、辰午一百十五、辰未一百十六、辰申一百十七、辰酉一百十八、辰戌一百十九、辰亥一百二十。

The star Ren (壬) governs the 97th to 108th generations, corresponding to the 2881st to 3240th years of the first great cycle; the star Gui (癸) governs the 109th to 120th generations, corresponding to the 3241st to 3600th years, completing the first round of the ten heavenly stems. In the table, the entry 「Chen Chou 110」 is written differently from the entries 「Chen Yin 111」 and 「Chen Mao 112」, but this is merely due to inconsistent numbering characters in the original text, and it still refers to the 110th generation. After the tenth cycle, the Zi (子) cycle has passed 120 generations and 3600 years, which is exactly one third of the full cycle of thirty cycles, leaving twenty cycles remaining; the time until the beginning of creation is still sixty-five cycles and 23,400 years.

星甲十一：辰子一百二十一、辰丑一百二十二、辰寅一百二十三、辰卯一百二十四、辰辰一百二十五、辰巳一百二十六、辰午一百二十七、辰未一百二十八、辰申一百二十九、辰酉一百三十、辰戌一百三十一、辰亥一百三十二。星乙十二：辰子一百三十三、辰丑一百三十四、辰寅一百三十五、辰卯一百三十六、辰辰一百三十七、辰巳一百三十八、辰午一百三十九、辰未一百四十、辰申一百四十一、辰酉一百四十二、辰戌一百四十三、辰亥一百四十四。

The star stem Jia governs the 121st to 132nd generations, corresponding to the 3601st to 3960th years of the first cycle; the star stem Yi governs the 133rd to 144th generations, corresponding to the 3961st to 4320th years. The name of the cycle here again begins with Jia, entering the second round of the ten stems. This shows that the names of the stems are merely markers for a ten-year cycle, and the actual positioning depends on the following sequence numbers. According to Shao Yong's cosmic chronology, the phase of Zi corresponds to the stage of "Heaven opens at Zi," when celestial bodies first formed but the earth and human beings had not yet appeared, so there is only a number recorded without any events to note. After the twelfth cycle, this cycle has covered 144 generations and 4320 years, with 18 cycles remaining; these 4320 years are merely one thirtieth of the full cycle of 129,600 years. There are still 63 cycles and 22,680 years until the time of creation.

星丙十三：辰子一百四十五、辰丑一百四十六、辰寅一百四十七、辰卯一百四十八、辰辰一百四十九、辰巳一百五十、辰午一百五十一、辰未一百五十二、辰申一百五十三、辰酉一百五十四、辰戌一百五十五、辰亥一百五十六。星丁十四：辰子一百五十七、辰丑一百五十八、辰寅一百五十九、辰卯一百六十、辰辰一百六十一、辰巳一百六十二、辰午一百六十三、辰未一百六十四、辰申一百六十五、辰酉一百六十六、辰戌一百六十七、辰亥一百六十八。

The star Bing thirteen oversees the 145th to 156th generations, which corresponds to the years 4321 to 4680 of the first cycle. The star Ding fourteen oversees the 157th to 168th generations, which corresponds to the years 4681 to 5040 of the first cycle. The section "using the cycle to divide into periods" only divides the first cycle into twelve periods, three hundred and sixty ages, and four thousand three hundred and twenty generations, without specifying particular years, so each section is just an empty number. To see the yearly stem and branch, one must refer to the section "using the period to divide into ages" in volume three. The section "using the age to divide into generations" can be detailed down to the monthly level, but that section omits the months due to brevity. The three levels proceed from coarse to fine, which is the order of arrangement throughout the entire text. After the fourteenth age, the first period has completed one hundred and sixty-eight generations and five thousand and forty years, with sixteen ages remaining. The time until the beginning of creation is still sixty-one ages and twenty-one thousand nine hundred and sixty years. In terms of the entire cycle, three hundred and sixty ages make up fourteen ages, and four thousand three hundred and twenty generations make up one hundred and sixty-eight generations.

星戊十五：辰子一百六十九、辰丑一百七十、辰寅一百七十一、辰卯一百七十二、辰辰一百七十三、辰巳一百七十四、辰午一百七十五、辰未一百七十六、辰申一百七十七、辰酉一百七十八、辰戌一百七十九、辰亥一百八十。星己十六：辰子一百八十一、辰丑一百八十二、辰寅一百八十三、辰卯一百八十四、辰辰一百八十五、辰巳一百八十六、辰午一百八十七、辰未一百八十八、辰申一百八十九、辰酉一百九十、辰戌一百九十一、辰亥一百九十二。

The star戊 fifteenth governs the 169th to 180th generations, which corresponds to the 5,441st to 5,400th years of a great cycle; the star己 sixteenth governs the 181st to 192nd generations, which corresponds to the 5,401st to 5,760th years. After the fifteenth cycle is completed, exactly half of the sub-cycle is passed: a sub-cycle consists of thirty cycles, three hundred and sixty generations, and eleven thousand and eight hundred years. At this point, fifteen cycles, one hundred and eighty generations, and five thousand four hundred years have passed. Using the analogy of "a great cycle as a year," this is equivalent to having passed half of December, when the cold is at its peak and vitality has not yet begun to stir, so nothing is recorded in the table. After the sixteenth cycle is completed, this sub-cycle has passed one hundred and ninety-two generations and five thousand seven hundred and sixty years, with fourteen cycles remaining; the time until the creation of things is still fifty-nine cycles and twenty-one thousand two hundred and forty years away. The entire great cycle comprises four thousand three hundred and twenty generations, so only one hundred and ninety-two generations have been passed, still in the early stage of a great cycle.

星庚十七：辰子一百九十三、辰丑一百九十四、辰寅一百九十五、辰卯五百九十六、辰辰一百九十七、辰巳一百九十八、辰午一百九十九、辰未二百、辰申二百一、辰酉二百二、辰戌二百三、辰亥二百四。星辛十八：辰子二百五、辰丑二百六、辰寅二百七、辰卯二百八、辰辰二百九、辰巳二百十、辰午二百十一、辰未二百十二、辰申二百十三、辰酉二百十四、辰戌二百十五、辰亥二百十六。

The star stem Geng seventeen governs the 193rd to 204th generations, that is, the 5761st to 6120th years of a great cycle; the star stem Xin eighteen governs the 205th to 216th generations, that is, the 6121st to 6480th years. Within the entry for "Geng seventeen," the phrase "Chen Mao five hundred ninety-six" should, according to the sequence, be "one hundred ninety-six." The original text here has a carving error, and it remains unchanged. This kind of numerical table may seem dull, but in fact it is the coordinate paper that Shao Yong prepared in advance for the entire history. After the eighteenth movement, the Zi period has already passed 216 generations and 6480 years, with twelve more movements remaining; the time until the creation period is still fifty-seven movements and 20,520 years.

星壬十九：辰子二百十七、辰丑二百十八、辰寅二百十九、辰卯二百二十、辰辰二百二十一、辰巳二百二十二、辰午二百二十三、辰未二百二十四、辰申二百二十五、辰酉二百二十六、辰戌二百二十七、辰亥二百二十八。星癸二十：辰子二百二十九、辰丑二百三十、辰寅二百三十一、辰卯二百三十二、辰辰二百三十三、辰巳二百三十四、辰午二百三十五、辰未二百三十六、辰申二百三十七、辰酉二百三十八、辰戌二百三十九、辰亥二百四十。

The star壬 Nineteenth oversees the 217th to 228th generations, corresponding to the 6481st to 6840th years of the first cycle; the star癸 Twentieth oversees the 229th to 240th generations, corresponding to the 6841st to 7200th years, completing the second round of the ten heavenly stems. A single period consists of thirty cycles, which is exactly three rounds of the ten heavenly stems; twelve periods amount to thirty-six rounds, totaling three hundred and sixty cycles, which is the origin of the term "one cycle consists of three hundred and sixty cycles," corresponding to the three hundred and sixty days of a year. Similarly, one cycle corresponds to one day divided into twelve hours, and one period of thirty cycles corresponds to one month of thirty days. After the completion of the twentieth cycle, the Zi period has passed two hundred and forty generations and seven thousand two hundred years, which is two-thirds of the entire period, leaving ten cycles remaining; there are still fifty-five cycles, or nineteen thousand eight hundred years, until the time of creation. In total, across the entire cycle, twenty cycles, two hundred and forty generations, and seven thousand two hundred years have already passed.

星甲二十一：辰子二百四十一、辰丑二百四十二、辰寅二百四十三、辰卯二百四十四、辰辰二百四十五、辰巳二百四十六、辰午二百四十七、辰未二百四十八、辰申二百四十九、辰酉二百五十、辰戌二百五十一、辰亥二百五十二。星乙二十二：辰子二百五十三、辰丑二百五十四、辰寅二百五十五、辰卯二百五十六、辰辰二百五十七、辰巳二百五十八、辰午二百五十九、辰未二百六十、辰申二百六十一、辰酉二百六十二、辰戌二百六十三、辰亥二百六十四。

The star Jia (甲) governs the 241st to 252nd generations, corresponding to the 7201st to 7560th years of the first cycle; the star Yi (乙) governs the 253rd to 264th generations, corresponding to the 7561st to 7920th years. The third round of ten heavenly stems begins again with the 21st cycle. The thirty cycles of the zodiac are divided into three rounds. Although the numbers in the table are numerous, there are only two rules: each increase of one in the cycle number corresponds to an increase of twelve in the generation number; each increase of one in the generation number corresponds to an increase of thirty in the year. By mastering these two rules, any given entry can be immediately converted into its exact year within the first cycle. After the completion of the 22nd cycle, this society has passed 264 generations and 7920 years, with eight cycles remaining; there are still fifty-three cycles and 19,080 years until the time of creation. The entire cycle of 129,600 years has so far passed 7,920 years.

星丙二十三：辰子二百六十五、辰丑二百六十六、辰寅二百六十七、辰卯二百六十八、辰辰二百六十九、辰巳二百七十、辰午二百七十一、辰未二百七十二、辰申二百七十三、辰酉二百七十四、辰戌二百七十五、辰亥二百七十六。星丁二十四：辰子二百七十七、辰丑二百七十八、辰寅二百七十九、辰卯二百八十、辰辰二百八十一、辰巳二百八十二、辰午二百八十三、辰未二百八十四、辰申二百八十五、辰酉二百八十六、辰戌二百八十七、辰亥二百八十八。

The star Bing (丙) governs the 23rd cycle, covering the 265th to 276th generations, which corresponds to the 7,921st to 8,280th year of a great cycle; the star Ding (丁) governs the 24th cycle, covering the 277th to 288th generations, which corresponds to the 8,281st to 8,640th year. If we compare a great cycle to a year, the Zi period corresponds to the month of Jiuzi (建子), which is the time when yang energy begins to move and all things have not yet formed. The saying 「Heaven opens at Zi」 refers to this period of ten thousand and eight hundred years, during which the celestial bodies were completed. The form of the earth and the emergence of human beings occurred in the subsequent periods. After the completion of the 24th cycle, the Zi period has already passed 288 generations and 8,640 years, leaving only six cycles remaining. There are still fifty-one cycles and 18,360 years until the time of creation. In terms of the entire great cycle, thirty-six cycles have already passed twenty-four cycles, forty-three hundred and twenty generations have passed two hundred and eighty-eight generations, and twelve thousand nine hundred and sixty years have passed eight thousand six hundred and forty years.

星戊二十五：辰子二百八十九、辰丑二百九十、辰寅二百九十一、辰卯二百九十二、辰辰二百九十三、辰巳二百九十四、辰午二百九十五、辰未二百九十六、辰申二百九十七、辰酉二百九十八、辰戌二百九十九、辰亥三百。星己二十六：辰子三百一、辰丑三百二、辰寅三百三、辰卯三百四、辰辰三百五、辰巳三百六、辰午三百七、辰未三百八、辰申三百九、辰酉三百十、辰戌三百十一、辰亥三百十二。

The star戊 (Wu) governs the 25th cycle, covering the 289th to 300th generations, which corresponds to the 8,641st to 9,000th year of the first great cycle; the star己 (Ji) governs the 26th cycle, covering the 301st to 312th generations, which corresponds to the 9,001st to 9,360th year. The numbering of generations and years reaches convenient whole numbers at 300 generations and 9,000 years respectively, making self-checking easy. Reverse calculation is also convenient: knowing the number of a generation, divide by twelve, and if the remainder is less than one, add one to get the corresponding era; knowing the number of an era, divide by thirty, and if the remainder is less than one, add one to get the corresponding cycle. After the 26th era, the Zi cycle has completed 312 generations and 9,360 years, with four eras remaining; there are still 49 eras and 17,640 years until the beginning of creation. The entire cycle of 360 eras still has 334 eras remaining.

星庚二十七：辰子三百十三、辰丑三百十四、辰寅三百十五、辰卯三百十六、辰辰三百十七、辰巳三百十八、辰午三百十九、辰未三百二十、辰申三百二十一、辰酉三百二十二、辰戌三百二十三、辰亥三百二十四。星辛二十八：辰子三百二十五、辰丑三百二十六、辰寅三百二十七、辰卯三百二十八、辰辰三百二十九、辰巳三百三十、辰午三百三十一、辰未三百三十二、辰申三百三十三、辰酉三百三十四、辰戌三百三十五、辰亥三百三十六。

The star stem Geng (庚) covers the 313th to 324th generations, corresponding to the 9361st to 9720th year of the first cycle; the star stem Xin (辛) covers the 325th to 336th generations, corresponding to the 9721st to 10,800th year. This entire passage contains no events to record, and it is not incomplete: in Shao Yong's view, at this time the heavens and earth had just begun to form, and human beings had not yet been born. Therefore, what can be said is only the measurement of time itself. So he first arranged the time measurements fully, leaving the subsequent volumes to fill in historical events. After the completion of the 28th cycle, the sub-cycle of Zi (子) has already passed 336 generations and 10,800 years, leaving only two more cycles; there are still 47 cycles and 16,920 years until the time of creation, and 152 cycles until the first 180 cycles of Emperor Yao's era, with 332 cycles remaining in the entire cycle.

星壬二十九：辰子三百三十七、辰丑三百三十八、辰寅三百三十九、辰卯三百四十、辰辰三百四十一、辰巳三百四十二、辰午三百四十三、辰未三百四十四、辰申三百四十五、辰酉三百四十六、辰戌三百四十七、辰亥三百四十八。星癸三十：辰子三百四十九、辰丑三百五十、辰寅三百五十一、辰卯三百五十二、辰辰三百五十三、辰巳三百五十四、辰午三百五十五、辰未三百五十六、辰申三百五十七、辰酉三百五十八、辰戌三百五十九、辰亥三百六十。

The star壬 (Ren) governs the 29th cycle, covering the 337th to 348th generations, which corresponds to the first 10,801 years to the 10,440th year of the first yuán. The star癸 (Gui) governs the 30th cycle, covering the 349th to 360th generations, which corresponds to the 10,441st year to the 10,800th year of the first yuán. One cycle consists of thirty yùn, three hundred and sixty generations, and ten thousand eight hundred years. The first cycle is thus completed. The next section moves to the second cycle, the Chǒu cycle. The sequence of yùn continues from the thirty-first, and the sequence of generations continues from the 361st. The twelve cycles of the full yuán follow this pattern until the 360th yùn, 4,320 generations, and 129,600 years. There are still forty-five yùn and 16,200 years remaining until the beginning of creation, which is exactly one and a half cycles. In total, thirty yùn, three hundred and sixty generations, and ten thousand eight hundred years have already passed, leaving three hundred and thirty yùn remaining.

日甲一，月丑二。星甲三十一：辰子三百六十一、辰丑三百六十二、辰寅三百六十三、辰卯三百六十四、辰辰三百六十五、辰巳三百六十六、辰午三百六十七、辰未三百六十八、辰申三百六十九、辰酉三百七十、辰戌三百七十一、辰亥三百七十二。

The second section of the "Observing Things" chapter continues with the layer of "using the beginning to govern the meeting," but it changes the time period to a different one. "Day Jia one" remains unchanged, still referring to the current yuan being calculated. "Month Chou two" indicates entering the second meeting, the Chou meeting, with the yun starting from the thirtieth, and the world starting from the three hundred and sixty-first. The star Jia thirty-one governs the world from three hundred and sixty-first to three hundred and seventy-second, that is, from the first ten thousand eight hundred and first year to the first eleven thousand one hundred and sixtieth year of the first yuan. According to Shao Yong's view, "the earth was formed in Chou," meaning the physical form of the earth solidified during this meeting, while humans and all things had not yet been born, so there are still only numbers without historical events. This meeting has only gone through one yun, with twenty-nine yuns remaining; there are still forty-four yuns and fifteen thousand eight hundred and forty years until the time of creation.

星乙三十二：辰子三百七十三、辰丑三百七十四、辰寅三百七十五、辰卯三百七十六、辰辰三百七十七、辰巳三百七十八、辰午三百七十九、辰未三百八十、辰申三百八十一、辰酉三百八十二、辰戌三百八十三、辰亥三百八十四。星丙三十三：辰子三百八十五、辰丑三百八十六、辰寅三百八十七、辰卯三百八十八、辰辰三百八十九、辰巳三百九十、辰午三百九十一、辰未三百九十二、辰申三百九十三、辰酉三百九十四、辰戌三百九十五、辰亥三百九十六。

The star Yi governs the 32nd cycle, covering the 373rd to 384th generations, which corresponds to the 11,161st to 11,520th year of the first cycle. The star Bing governs the 33rd cycle, covering the 385th to 396th generations, which corresponds to the 11,521st to 11,880th year of the first cycle. The names of each generation still follow the order of Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai, and this sequence is independent of the Heavenly Stems. The two cycles overlap, each maintaining its own distinct sequence. After the 33rd cycle is completed, Chou has already passed through 36 generations, 1,080 years, leaving 27 cycles remaining. The time until the beginning of the creation period still includes 42 cycles and 15,120 years. In total, 360 cycles have passed 33 cycles, 4,320 generations have passed 396 generations, and the total years have accumulated to 11,880.

星丁三十四：辰子三百九十七、辰丑三百九十八、辰寅三百九十九、辰卯四百、辰辰四百一、辰巳四百二、辰午四百三、辰未四百四、辰申四百五、辰酉四百六、辰戌四百七、辰亥四百八。星戊三十五：辰子四百九、辰丑四百十、辰寅四百十一、辰卯四百十二、辰辰四百十三、辰巳四百十四、辰午四百十五、辰未四百十六、辰申四百十七、辰酉四百十八、辰戌四百十九、辰亥四百二十。

The star Jia (丁) governs the 34th era, covering the 397th to 408th generations, which corresponds to the 11,881st to 12,240th years of the first cycle. The star Wu (戊) governs the 35th era, covering the 409th to 420th generations, which corresponds to the 12,241st to 12,600th years of the first cycle. In the table, 「Chen Mao four hundred」 and 「Chen Chen four hundred and one」 are abbreviations referring to the 400th and 401st generations. After the completion of the 35th era, the Chou (丑) cycle has already passed 60 generations and 1,800 years, with 25 eras remaining. There are still 40 eras and 14,400 years until the time of creation. In total, 35 eras, 420 generations, and 12,600 years have been completed, leaving 325 eras remaining out of 360.

星己三十六：辰子四百二十一、辰丑四百二十二、辰寅四百二十三、辰卯四百二十四、辰辰四百二十五、辰巳四百二十六、辰午四百二十七、辰未四百二十八、辰申四百二十九、辰酉四百三十、辰戌四百三十一、辰亥四百三十二。星庚三十七：辰子四百三十三、辰丑四百三十四、辰寅四百三十五、辰卯四百三十六、辰辰四百三十七、辰巳四百三十八、辰午四百三十九、辰未四百四十、辰申四百四十一、辰酉四百四十二、辰戌四百四十三、辰亥四百四十四。

The star Jia (甲) governs the 36th cycle, covering the 421st to 432nd generations, which corresponds to the first 12,601 to 12,960 years of the first era. The star Geng (庚) governs the 37th cycle, covering the 433rd to 444th generations, which corresponds to the years 12,961 to 13,320. The end of the 36th cycle is exactly the year 12,960, which is one-tenth of the 129,600 years of the first era, and also one-tenth of the 360 cycles. The correspondence between these two shows that these numbers were deliberately arranged. Shao Yong created this table not to record events, but to fix the scale of time. After the 37th cycle, the Ox cycle has already passed 84 generations and 2,520 years, with 23 cycles remaining. There are still 38 cycles and 13,680 years until the time of creation. In total, across the entire era, 37 cycles, 444 generations, and 13,320 years have passed.

星辛三十八：辰子四百四十五、辰丑四百四十六、辰寅四百四十七、辰卯四百四十八、辰辰四百四十九、辰巳四百五十、辰午四百五十一、辰未四百五十二、辰申四百五十三、辰酉四百五十四、辰戌四百五十五、辰亥四百五十六。星壬三十九：辰子四百五十七、辰丑四百五十八、辰寅四百五十九、辰卯四百六十、辰辰四百六十一、辰巳四百六十二、辰午四百六十三、辰未四百六十四、辰申四百六十五、辰酉四百六十六、辰戌四百六十七、辰亥四百六十八。

The star system Xin 38 governs the 445th to 456th generations, corresponding to the first 13,321 to 13,680 years of the first yuán; the star system Ren 39 governs the 457th to 468th generations, corresponding to the 13,681st to 14,040th years of the first yuán. Shao Yong regarded water, fire, earth, and stone as the physical components of heaven and earth, assigning them respectively to the trigrams Kan (water), Li (fire), Kun (earth), and Gen (mountain). The period of Chou (丑) is associated with the "creation of the earth," during which water, fire, earth, and stone condensed into form within a span of 10,800 years, while living beings had not yet appeared. After the completion of the 39th movement, this period has already passed 108 generations and 3,240 years, with 21 movements remaining; the time until the emergence of living beings still spans 36 movements and 12,960 years. In total, across the entire yuán, 360 movements have passed 39 movements, 4,320 generations have passed 468 generations, and the total number of years has accumulated to 14,040.

星癸四十：辰子四百六十九、辰丑四百七十、辰寅四百七十一、辰卯四百七十二、辰辰四百七十三、辰巳四百七十四、辰午四百七十五、辰未四百七十六、辰申四百七十七、辰酉四百七十八、辰戌四百七十九、辰亥四百八十。星甲四十一：辰子四百八十一、辰丑四百八十二、辰寅四百八十三、辰卯四百八十四、辰辰四百八十五、辰巳四百八十六、辰午四百八十七、辰未四百八十八、辰申四百八十九、辰酉四百九十、辰戌四百九十一、辰亥四百九十二。

The star癸 forty governs the 469th to 480th generations, which corresponds to the first 14,441st to 14,400th years of the first yuán; the star甲 forty-one governs the 481st to 492nd generations, which corresponds to the 14,401st to 14,760th years of the first yuán. The star癸 forty concludes the ten heavenly stems starting from the star甲 thirty; the star甲 forty-one begins again with the stem 甲. The period of the second round of the thirty years of the chǒu cycle has just begun. After the forty-first round is completed, this cycle has passed 132 generations and 3,960 years, with 19 rounds remaining; the time until the beginning of creation is still 34 rounds or 12,240 years away. In total, across the entire yuán, 41 rounds have been completed out of 360, 492 generations out of 4,320, and the total years amount to 14,760, with 319 rounds remaining.

星乙四十二：辰子四百九十三、辰丑四百九十四、辰寅四百九十五、辰卯四百九十六、辰辰四百九十七、辰巳四百九十八、辰午四百九十九、辰未五百、辰申五百一、辰酉五百二、辰戌五百三、辰亥五百四。星丙四十三：辰子五百五、辰丑五百六、辰寅五百七、辰卯五百八、辰辰五百九、辰巳五百十、辰午五百十一、辰未五百十二、辰申五百十三、辰酉五百十四、辰戌五百十五、辰亥五百十六。

The star Yi governs the 42nd cycle, covering the 493rd to 504th generations, which corresponds to the years 14,761 to 15,120 of the first era. The star Bing governs the 43rd cycle, covering the 505th to 516th generations, which corresponds to the years 15,121 to 15,480 of the first era. The sequence of generations here reaches 500, and the years reach 15,000. At each such whole number, one should pause to check, which is least likely to result in errors. After the 43rd cycle, the Chou cycle has already passed 156 generations and 4,680 years, with 17 cycles remaining. The time until the opening of the creation is still 32 cycles and 11,520 years. In total, across the entire era, 43 cycles, 516 generations, and 15,480 years have already passed.

星丁四十四：辰子五百十七、辰丑五百十八、辰寅五百十九、辰卯五百二十、辰辰五百二十一、辰巳五百二十二、辰午五百二十三、辰未五百二十四、辰申五百二十五、辰酉五百二十六、辰戌五百二十七、辰亥五百二十八。星戊四十五：辰子五百二十九、辰丑五百三十、辰寅五百三十一、辰卯五百三十二、辰辰五百三十三、辰巳五百三十四、辰午五百三十五、辰未五百三十六、辰申五百三十七、辰酉五百三十八、辰戌五百三十九、辰亥五百四十。

The star system of Ding (丁) covers the 517th to 528th generations, corresponding to the first 15,481 to 15,840 years of the first great cycle. The star system of Wu (戊) covers the 529th to 540th generations, corresponding to the years 15,841 to 16,200 of the first great cycle. The 45th cycle is exactly halfway through the Chou (丑) convergence: since the 31st cycle, fifteen cycles, 180 generations, and 5,400 years have already passed, and fifteen cycles remain before the Yin (寅) convergence begins. Shao Yong believed that the physical form of the earth was fixed during the Chou convergence, with mountains, rivers, water, and fire each in their proper places. There are still thirty cycles and 10,800 years remaining until the time of creation, which is exactly one convergence. When considering the entire great cycle, 45 out of 360 cycles have passed, 540 out of 4,320 generations have passed, and the total years have accumulated to 16,200, which is one-eighth of the entire great cycle.

星己四十六：辰子五百四十一、辰丑五百四十二、辰寅五百四十三、辰卯五百四十四、辰辰五百四十五、辰巳五百四十六、辰午五百四十七、辰未五百四十八、辰申五百四十九、辰酉五百五十、辰戌五百五十一、辰亥五百五十二。星庚四十七：辰子五百五十三、辰丑五百五十四、辰寅五百五十五、辰卯五百五十六、辰辰五百五十七、辰巳五百五十八、辰午五百五十九、辰未五百六十、辰申五百六十一、辰酉五百六十二、辰戌五百六十三、辰亥五百六十四。

The star Jia has jurisdiction over the 541st to 552nd generations, which corresponds to the first ten thousand six hundred and one to first ten thousand six hundred and fifty years of the first yuán. The star Geng has jurisdiction over the 553rd to 564th generations, which corresponds to the first ten thousand six hundred and fifty-one to first ten thousand six hundred and ninety years. This period of the cycle is actually a preparatory phase arranged by Shao Yong for the generation of heaven and earth: once the terrain is established, then the concept of "human beings are born in the Year of the Ox" can be discussed, and the order cannot be reversed. After the forty-seventh yun, the Chou cycle has already passed two hundred and four generations and six thousand one hundred and twenty years, with thirteen yuns remaining; there are still twenty-eight yuns and ten thousand and eighty years until the time of creation. In total, three hundred and sixty yuns have passed forty-seven yuns, four thousand three hundred and twenty generations have passed five hundred and sixty-four generations, and the total number of years has reached one ten thousand six hundred and ninety years, with three hundred and thirteen yuns remaining.

星辛四十八：辰子五百六十五、辰丑五百六十六、辰寅五百六十七、辰卯五百六十八、辰辰五百六十九、辰巳五百七十、辰午五百七十一、辰未五百七十二、辰申五百七十三、辰酉五百七十四、辰戌五百七十五、辰亥五百七十六。星壬四十九：辰子五百七十七、辰丑五百七十八、辰寅五百七十九、辰卯五百八十、辰辰五百八十一、辰巳五百八十二、辰午五百八十三、辰未五百八十四、辰申五百八十五、辰酉五百八十六、辰戌五百八十七、辰亥五百八十八。

The star Xin forty-eight governs the 565th to 576th generations, which corresponds to the 16,921st to 17,280th years of the first yuán. The star Ren forty-nine governs the 577th to 588th generations, which corresponds to the 17,281st to 17,640th years of the first yuán. The system of "yuán-jing-hui" only includes the levels of yuán, hui, yun, and shi, without involving the stem-branch of years, so each section remains empty until the lower two levels are filled. After the completion of the forty-ninth yun, the Chou hui has already passed 228 generations and 6,840 years, with eleven yuns remaining; there are still twenty-six yuns and 9,360 years until the time of creation. In total, out of 360 yuns, 49 have been passed; out of 4,320 generations, 588 have been passed; the total years have accumulated to 17,640, which is still less than one-seventh of the entire yuán.

星癸五十：辰子五百八十九、辰丑五百九十、辰寅五百九十一、辰卯五百九十二、辰辰五百九十三、辰巳五百九十四、辰午五百九十五、辰未五百九十六、辰申五百九十七、辰酉五百九十八、辰戌五百九十九、辰亥六百。星甲五十一：辰子六百一、辰丑六百二、辰寅六百三、辰卯六百四、辰辰六百五、辰巳六百六、辰午六百七、辰未六百八、辰申六百九、辰酉六百十、辰戌六百十一、辰亥六百十二。

The star癸 (Gui) governs the 50th cycle, covering the 589th to 600th generations, which corresponds to the first 17,641 to 18,000 years of the first great cycle. The star甲 (Jia) governs the 51st cycle, covering the 601st to 612th generations, which corresponds to the years 18,001 to 18,360. When the 600th generation ends, the Chou (Chou) cycle has completed 20 cycles, 240 generations, and 7,200 years, which is two-thirds of the entire cycle. The name of the cycle reaches the 51st cycle, which is the sixth round of the ten heavenly stems. After the 51st cycle ends, this cycle has completed 252 generations and 7,560 years, with nine cycles remaining; there are still 24 cycles, or 8,640 years, until the time of creation. In total, across the entire cycle, 51 cycles, 612 generations, and 18,360 years have been completed.

星乙五十二：辰子六百十三、辰丑六百十四、辰寅六百十五、辰卯六百十六、辰辰六百十七、辰巳六百十八、辰午六百十九、辰未六百二十、辰申六百二十一、辰酉六百二十二、辰戌六百二十三、辰亥六百二十四。星丙五十三：辰子六百二十五、辰丑六百二十六、辰寅六百二十七、辰卯六百二十八、辰辰六百二十九、辰巳六百三十、辰午六百三十一、辰未六百三十二、辰申六百三十三、辰酉六百三十四、辰戌六百三十五、辰亥六百三十六。

The star Yi governs the 52nd cycle, covering the 613th to the 624th generations, which corresponds to the 18,361st to the 18,720th year of the first yuán. The star Bing governs the 53rd cycle, covering the 625th to the 636th generations, which corresponds to the 18,721st to the 19,080th year of the first yuán. In the table, expressions like "Chen Zi 610" are abbreviations for the 601st generation and should not be misread as six hundred and one; whenever whole tens or hundreds are encountered in the subsequent text, they are written in the same manner. After the 53rd cycle is completed, the Chou phase has already passed 276 generations and 8,280 years, with seven more cycles remaining; the time until the opening of the creation is still twenty-two cycles and 7,920 years away. In total, across the entire yuán, 53 out of 360 cycles have been completed, 636 out of 4,320 generations have been passed, and the total number of years has accumulated to 19,080.

星丁五十四：辰子六百三十七、辰丑六百三十八、辰寅六百三十九、辰卯六百四十、辰辰六百四十一、辰巳六百四十二、辰午六百四十三、辰未六百四十四、辰申六百四十五、辰酉六百四十六、辰戌六百四十七、辰亥六百四十八。星戊五十五：辰子六百四十九、辰丑六百五十、辰寅六百五十一、辰卯六百五十二、辰辰六百五十三、辰巳六百五十四、辰午六百五十五、辰未六百五十六、辰申六百五十七、辰酉六百五十八、辰戌六百五十九、辰亥六百六十。

The star Jia (丁) governs the 54th cycle, covering the 637th to 648th generations, which corresponds to the 19,081st to 19,440th years of the first era. The star Wu (戊) governs the 55th cycle, covering the 649th to 660th generations, which corresponds to the 19,441st to 19,800th years of the first era. To examine the annual Heavenly Stems and Earthly Branches along with historical events, one must refer to the sections below, namely 「Using Convergences to Determine the Great Cycle」 and 「Using the Great Cycle to Determine the World Cycle」, where the years are listed in order. The level of detail in this book is determined by the three layers of division. After the 55th cycle, the Chou Convergence has already passed through 300 generations and 9,000 years, with five more cycles remaining; there are still twenty cycles and 7,200 years left until the time of creation. In total, out of 360 cycles, 55 have been completed; out of 4,320 generations, 660 have been completed; the total years amount to 19,800, with 305 cycles and 100,980 years remaining.

星己五十六：辰子六百六十一、辰丑六百六十二、辰寅六百六十三、辰卯六百六十四、辰辰六百六十五、辰巳六百六十六、辰午六百六十七、辰未六百六十八、辰申六百六十九、辰酉六百七十、辰戌六百七十一、辰亥六百七十二。星庚五十七：辰子六百七十三、辰丑六百七十四、辰寅六百七十五、辰卯六百七十六、辰辰六百七十七、辰巳六百七十八、辰午六百七十九、辰未六百八十、辰申六百八十一、辰酉六百八十二、辰戌六百八十三、辰亥六百八十四。

The star Jia governs the 56th cycle, covering the 661st to the 672nd generations, which corresponds to the first 19,801st to the 20,160th year of the first great cycle. The star Geng governs the 57th cycle, covering the 673rd to the 684th generations, which corresponds to the 20,161st to the 20,550th year. The entire structure of the "Huang Ji Jing Shi" is built layer by layer: one great cycle consists of twelve great periods, each great period consists of thirty ages, each age consists of twelve generations, and each generation spans thirty years. Multiplying these four levels together gives exactly 129,600 years. After the 57th age, the Chou period has already passed 324 generations and 9,720 years, leaving only three ages remaining; there are still eighteen ages and 6,480 years until the time of creation. In total, across the entire cycle, 360 ages have passed 57 ages, 4,320 generations have passed 684 generations, and the total number of years has accumulated to 20,550.

星辛五十八：辰子六百八十五、辰丑六百八十六、辰寅六百八十七、辰卯六百八十八、辰辰六百八十九、辰巳六百九十、辰午六百九十一、辰未六百九十二、辰申六百九十三、辰酉六百九十四、辰戌六百九十五、辰亥六百九十六。星壬五十九：辰子六百九十七、辰丑六百九十八、辰寅六百九十九、辰卯七百、辰辰七百一、辰巳七百二、辰午七百三、辰未七百四、辰申七百五、辰酉七百六、辰戌七百七、辰亥七百八。

The star Xin (辛) governs the 58th cycle, covering the 685th to the 696th generations, which corresponds to the 20,521st to the 20,880th year of the first great cycle. The star Ren (壬) governs the 59th cycle, covering the 697th to the 708th generations, which corresponds to the 20,881st to the 21,240th year of the first great cycle. The number 129,600 years later became known as the "number of a great cycle," and became the common measure used by scholars from the Song dynasty onwards to discuss the beginning and end of heaven and earth. After the 59th cycle, the Earthly Branch Chou (丑) has already passed 348 generations and 10,440 years, leaving only one cycle remaining; there are still sixteen cycles and 5,760 years until the time of creation. In total, across the entire great cycle, 59 cycles, 708 generations, and 20,880 years have passed, while 301 cycles and 100,8720 years remain.

星癸六十：辰子七百九、辰丑七百十、辰寅七百十一、辰卯七百十二、辰辰七百十三、辰巳七百十四、辰午七百十五、辰未七百十六、辰申七百十七、辰酉七百十八、辰戌七百十九、辰亥七百二十。

The star癸 governs the sixty cycles from the 709th to the 720th generations, corresponding to the second twenty-one thousand two hundred forty-first year to the second twenty-one thousand six hundred year of one great cycle, with the Chou cycle concluding at this point. After the completion of both the Zi and Chou cycles: the Zi cycle represents the beginning of heaven, the Chou cycle the creation of earth, each lasting thirty cycles, three hundred and sixty generations, and eleven thousand and eight hundred years, totaling twenty-one thousand six hundred years, which is exactly one sixth of a great cycle. The next section enters the Yin cycle, which is the one Shao Yong referred to as "humanity is born in Yin." The moment of creation occurs at the midpoint of this cycle; there remains fifteen cycles and five thousand four hundred years until the time of creation, which is precisely half of the cycle.

日甲一，月寅三。星甲六十一：辰子七百二十一、辰丑七百二十二、辰寅七百二十三、辰卯七百二十四、辰辰七百二十五、辰巳七百二十六、辰午七百二十七、辰未七百二十八、辰申七百二十九、辰酉七百三十、辰戌七百三十一、辰亥七百三十二。

Chapter Three of the "Observing Things" section still follows the principle of "using the beginning to govern the meeting," but it shifts to the third meeting. "Month Yín Three" indicates the third meeting with the character Yín from the Earthly Branches. The cycles covered by the Yín meeting start from the sixty-first cycle, and the world periods begin from the seventh hundred and twentieth. The star Jia Sixty-One governs the world periods from the seventh hundred and twenty-first to the seventh hundred and thirty-second, corresponding to the years from the second ten thousand and six hundred and first to the second ten thousand and nineteen hundred and sixtieth. This meeting is the most important in the entire text. Shao Yong said, "Creation begins in the middle of Yín." After the creation of heaven and earth, the starting point of the birth of all things and humans falls on the seventy-sixth cycle of this meeting. At that time, it was exactly twenty-seven thousand years after the beginning of the first cycle. This meeting has only gone through one cycle, and there are still fourteen cycles, or five thousand and forty years, until the beginning of creation.

星乙六十二：辰子七百三十三、辰丑七百三十四、辰寅七百三十五、辰卯七百三十六、辰辰七百三十七、辰巳七百三十八、辰午七百三十九、辰未七百四十、辰申七百四十一、辰酉七百四十二、辰戌七百四十三、辰亥七百四十四。星丙六十三：辰子七百四十五、辰丑七百四十六、辰寅七百四十七、辰卯七百四十八、辰辰七百四十九、辰巳七百五十、辰午七百五十一、辰未七百五十二、辰申七百五十三、辰酉七百五十四、辰戌七百五十五、辰亥七百五十六。

The star Yi governs the 62nd cycle, covering the 733rd to the 744th generations, which corresponds to the 21,961st to the 22,320th year of the first great cycle. The star Bing governs the 63rd cycle, covering the 745th to the 756th generations, which corresponds to the 22,321st to the 22,680th year. Comparing the three divisions, the Zi division is associated with Heaven, the Chou division with Earth, and the Yin division with Humanity. The saying "Heaven was opened at Zi, Earth was formed at Chou, and Humanity was born at Yin" originates from this division order. After the 63rd cycle, the Yin division has already passed 36 generations and 1,080 years, with 27 cycles remaining. There are still 12 cycles and 4,320 years until the time of creation. In total, 63 out of 360 cycles have been completed, 756 out of 4,320 generations have been passed, and the total years have accumulated to 22,680.

星丁六十四：辰子七百五十七、辰丑七百五十八、辰寅七百五十九、辰卯七百六十、辰辰七百六十一、辰巳七百六十二、辰午七百六十三、辰未七百六十四、辰申七百六十五、辰酉七百六十六、辰戌七百六十七、辰亥七百六十八。星戊六十五：辰子七百六十九、辰丑七百七十、辰寅七百七十一、辰卯七百七十二、辰辰七百七十三、辰巳七百七十四、辰午七百七十五、辰未七百七十六、辰申七百七十七、辰酉七百七十八、辰戌七百七十九、辰亥七百八十。

The star system of Ding covers the 757th to 768th generations, corresponding to the 22,681st to 23,040th years of the first great cycle; the star system of Wu covers the 769th to 780th generations, corresponding to the 23,041st to 23,400th years. Comparing one great cycle to one year, the Year of Yin corresponds to the first lunar month, the beginning of the year in the traditional Chinese calendar. Since spring is the time when all things begin to sprout, the creation of things is associated with this period. After the completion of the 65th cycle, this period has already passed 60 generations and 1,800 years, with 25 cycles remaining. There are still ten cycles and 3,600 years left until the time of creation. In total, 360 cycles have passed 65 cycles, and 4,320 generations have passed 780 generations. The total years have accumulated to 23,400, which is still less than one fifth of the entire cycle. Among the 360 cycles, 295 remain.

星己六十六：辰子七百八十一、辰丑七百八十二、辰寅七百八十三、辰卯七百八十四、辰辰七百八十五、辰巳七百八十六、辰午七百八十七、辰未七百八十八、辰申七百八十九、辰酉七百九十、辰戌七百九十一、辰亥七百九十二。星庚六十七：辰子七百九十三、辰丑七百九十四、辰寅七百九十五、辰卯七百九十六、辰辰七百九十七、辰巳七百九十八、辰午七百九十九、辰未八百、辰申八百一、辰酉八百二、辰戌八百三、辰亥八百四。

The star Jia has sixty-six generations covering the 781st to the 792nd generations, which corresponds to the second 23,401st to the 23,760th year of the first great cycle; the star Geng has sixty-seven generations covering the 793rd to the 804th generations, which corresponds to the 23,761st to the 24,120th year of the first great cycle. Within the sixty-seven generations of the star Geng, "Chen Wei eight hundred" refers to the 800th generation, and "Chen Shen eight hundred one" refers to the 801st generation. Whenever a whole number appears, it is written in this abbreviated form, and the same applies to subsequent volumes. After the completion of the 67th cycle, the寅 (Yin) cycle has already passed 84 generations and 2,520 years, leaving 23 cycles remaining; the time until the opening of the material world is still 8 cycles and 2,880 years. In total, 360 cycles have passed 67 cycles, 4,320 generations have passed 804 generations, and the total number of years has accumulated to 24,120.

星辛六十八：辰子八百五、辰丑八百六、辰寅八百七、辰卯八百八、辰辰八百九、辰巳八百十、辰午八百十一、辰未八百十二、辰申八百十三、辰酉八百十四、辰戌八百十五、辰亥八百十六。星壬六十九：辰子八百十七、辰丑八百十八、辰寅八百十九、辰卯八百二十、辰辰八百二十一、辰巳八百二十二、辰午八百二二十三、辰未八百二十四、辰申八百二十五、辰酉八百二十六、辰戌八百二十七、辰亥八百二十八。

The star system Xin 68 governs the 805th to 816th generations, which corresponds to the 24,121st to 24,480th years of the first great cycle; the star system Ren 69 governs the 817th to 828th generations, which corresponds to the 24,481st to 24,840th years. In the system of Ren 69, the term 「Chen Wu 8223」 should be 「8223」 according to the sequence, but the original text mistakenly added an extra 「er」, and this error is retained as is. After the completion of the 69th cycle, the寅 cycle has already passed 108 generations and 3,240 years, with 21 cycles remaining; the time until the opening of the material world is still 6 cycles and 2,160 years. In total, across the entire cycle, 69 cycles, 828 generations, and 24,840 years have been completed.

星癸七十：辰子八百二十九、辰丑八百三十、辰寅八百三十一、辰卯八百三十二、辰辰八百三十三、辰巳八百三十四、辰午八百三十五、辰未八百三十六、辰申八百三十七、辰酉八百三十八、辰戌八百三十九、辰亥八百四十。星甲七十一：辰子八百四十一、辰丑八百四十二、辰寅八百四十三、辰卯八百四十四、辰辰八百四十五、辰巳八百四十六、辰午八百四十七、辰未八百四十八、辰申八百四十九、辰酉八百五十、辰戌八百五十一、辰亥八百五十二。

The star癸 seventy governs the 829th to 840th generations, which corresponds to the second 24,841st to 25,200th years of a cycle; the star甲 seventy-one governs the 841st to 852nd generations, which corresponds to the 25,201st to 25,560th years. After the completion of the seventyth cycle, one cycle has exactly passed 25,200 years; after five more cycles, the period of creation begins, which lasts 1,800 years, being the last segment of time in the universe without any substance. After the completion of the seventy-first cycle, the寅 cycle has passed 132 generations and 3,960 years, with 19 cycles remaining; the time until creation begins is now four cycles and 1,440 years. In total, 360 cycles have passed 71 cycles, 4,320 generations have passed 852 generations, and the total years have accumulated to 25,560, with 289 cycles remaining.

星乙七十二：辰子八百五十三、辰丑八百五十四、辰寅八百五十五、辰卯八百五十六、辰辰八百五十七、辰巳八百五十八、辰午八百五十九、辰未八百六十、辰申八百六十一、辰酉八百六十二、辰戌八百六十三、辰亥八百六十四。星丙七十三：辰子八百六十五、辰丑八百六十六、辰寅八百六十七、辰卯八百六十八、辰辰八百六十九、辰巳八百七十、辰午八百七十一、辰未八百七十二、辰申八百七十三、辰酉八百七十四、辰戌八百七十五、辰亥八百七十六。

The star Yi seventy-two governs the 853rd to 864th generations, corresponding to the 25,561st to 25,920th years of the first cycle. The star Bing seventy-three governs the 865th to 876th generations, corresponding to the 25,921st to 26,280th years of the first cycle. According to the appended "Outline of the Mechanism of the Supreme Ultimate" in this book, starting from the day Jia, the month Zi, the star Jia, and the hour Zi on the winter solstice, after two and a half cycles, seventy-five cycles, nine thousand generations, and twenty-seven thousand years, the process of creation begins. This matches exactly with the numbering in this table. After the completion of the seventy-third cycle, the寅 cycle has already passed one hundred and fifty-six generations and four thousand six hundred and eighty years; the creation process remains only two cycles, twenty-four generations, and seven hundred and twenty years away. In total, three hundred and sixty cycles have passed seventy-three cycles, four thousand three hundred and twenty generations have passed eight hundred and seventy-six generations, and the total number of years has accumulated to twenty-six thousand two hundred and eighty years.

星丁七十四：辰子八百七十七、辰丑八百七十八、辰寅八百七十九、辰卯八百八十、辰辰八百八十一、辰巳八百八十二、辰午八百八十三、辰未八百八十四、辰申八百八十五、辰酉八百八十六、辰戌八百八十七、辰亥八百八十八。星戊七十五：辰子八百八十九、辰丑八百九十、辰寅八百九十一、辰卯八百九十二、辰辰八百九十三、辰巳八百九十四、辰午八百九十五、辰未八百九十六、辰申八百九十七、辰酉八百九十八、辰戌八百九十九、辰亥九百。

The star Jia (丁) governs the 74th lineage, covering the 877th to 888th generations, which corresponds to the 26,281st to 26,640th years of the first great cycle. The star Wu (戊) governs the 75th lineage, covering the 889th to 900th generations, which corresponds to the 26,641st to 27,000th years. The 900th generation is just before the creation of all things: from the beginning, two and a half cycles, seventy-five great periods, nine hundred generations, and twenty-seven thousand years have passed. The next phase marks the beginning of the creation of all things. The most critical turning point of the entire text falls between these two lines. After the completion of the 75th great period, the寅 cycle has progressed through 180 generations and 5,400 years, which is exactly half of the entire cycle, with fifteen more great periods remaining. Considering the entire cycle, 360 great periods have passed through 75, accumulating a total of 27,000 years, which is two parts and some more of the entire cycle's 129,600 years. Among the 360 great periods, 285 remain.

星己七十六：辰子九百一、辰丑九百二、辰寅九百三、辰卯九百四、辰辰九百五、辰巳九百六、辰午九百七、辰未九百八、辰申九百九、辰酉九百十、辰戌九百十一、辰亥九百十二。星庚七十七：辰子九百十三、辰丑九百十四、辰寅九百十五、辰卯九百十六、辰辰九百十七、辰巳九百十八、辰午九百十九、辰未九百二十、辰申九百二十一、辰酉九百二十二、辰戌九百二十三、辰亥九百二十四。

The star Jia 76 governs the 901st to 912th generations, that is, the 27,001st to 27,360th years of a great cycle—Shao Yong refers to this as "the beginning of creation in the middle of the Year of the Tiger." This marks the point in a great cycle where the heavens and earth first begin to produce human beings. The star Geng 77 governs the 913th to 924th generations, that is, the 27,361st to 27,720th years. From this point until the middle of the Year of the Dog when creation is closed, there are eight cycles, 240 ages, 2,880 generations, and 86,400 years in total for the existence of all things. After creation is closed, there is another one and a half cycles, 45 ages, 540 generations, and 16,200 years, and then the great cycle ends. After the 77th age, the Year of the Tiger has already passed 204 generations and 6,120 years, with thirteen ages remaining; since the beginning of creation, two ages, twenty-four generations, and seven hundred twenty years have already passed.

星辛七十八：辰子九百二十五、辰丑九百二十六、辰寅九百二十七、辰卯九百二十八、辰辰九百二十九、辰巳九百三十、辰午九百三十一、辰未九百三十二、辰申九百三十三、辰酉九百三十四、辰戌九百三十五、辰亥九百三十六。星壬七十九：辰子九百三十七、辰丑九百三十八、辰寅九百三十九、辰卯九百四十、辰辰九百四十一、辰巳九百四十二、辰午九百四十三、辰未九百四十四、辰申九百四十五、辰酉九百四十六、辰戌九百四十七、辰亥九百四十八。

The star Xin 78 governs the 925th to 936th generations, which corresponds to the 27,721st to 28,080th years of the first cycle; the star Ren 79 governs the 937th to 948th generations, which corresponds to the 28,081st to 28,440th years. Although the era of Kaiwu has already passed, the recorded line of emperors in history still lies far ahead: the phase of "governing through the cycle" will not reach the reign of Emperor Yao of the heavens, which begins in the year Jiachen (甲辰), until the 180th cycle and the 2,156th generation. By the end of the 79th cycle, the寅 cycle has already passed 228 generations and 6,840 years, leaving 11 cycles remaining; since the beginning of Kaiwu, 4 cycles, 48 generations, and 1,440 years have already passed. In total, 360 cycles have passed 79 cycles, accumulating to 28,440 years, with 281 cycles remaining.

星癸八十：辰子九百四十九、辰丑九百五十、辰寅九百五十一、辰卯九百五十二、辰辰九百五十三、辰巳九百五十四、辰午九百五十五、辰未九百五十六、辰申九百五十七、辰酉九百五十八、辰戌九百五十九、辰亥九百六十。星甲八十一：辰子九百六十一、辰丑九百六十二、辰寅九百六十三、辰卯九百六十四、辰辰九百六十五、辰巳九百六十六、辰午九百六十七、辰未九百六十八、辰申九百六十九、辰酉九百七十、辰戌九百七十一、辰亥九百七十二。

The star癸 governs the 949th to 960th generations, corresponding to the period from the second twenty-eight thousand four hundred and forty-first year to the second twenty-eight thousand eight hundredth year of a great cycle. The star甲 governs the 961st to 972nd generations, corresponding to the period from the second twenty-eight thousand eight hundred and first year to the second twenty-nine thousand one hundred and sixtieth year. When the eightieth cycle ends, the great cycle has progressed for exactly twenty-eight thousand eight hundred years, which is two ninths of the entire cycle. The name of the cycle reappears as 甲 at the start of the eighty-first cycle, marking the ninth round of the ten heavenly stems in the entire cycle. After the eighty-first cycle, the寅 has progressed through two hundred and fifty-two generations and seven thousand five hundred and sixty years, with nine cycles remaining. Since the beginning of creation, it has already passed six cycles, seventy-two generations, and two thousand one hundred and sixty years. In total, across the entire cycle, eighty-one cycles, nine hundred and seventy-two generations, and twenty-nine thousand one hundred and sixty years have passed, leaving two hundred and seventy-nine cycles and ten thousand and four hundred and forty years remaining out of the total three hundred and sixty cycles.

星乙八十二：辰子九百七十三、辰丑九百七十四、辰寅九百七十五、辰卯九百七十六、辰辰九百七十七、辰巳九百七十八、辰午九百七十九、辰未九百八十、辰申九百八十一、辰酉九百八十二、辰戌九百八十三、辰亥九百八十四。星丙八十三：辰子九百八十五、辰丑九百八十六、辰寅九百八十七、辰卯九百八十八、辰辰九百八十九、辰巳九百九十、辰午九百九十一、辰未九百九十二、辰申九百九十三、辰酉九百九十四、辰戌九百九十五、辰亥九百九十六。

The star Yi (乙) governs the 82nd cycle, covering the 973rd to 984th generations, which corresponds to the 29,161st to 29,520th year of the first great cycle. The star Bing (丙) governs the 83rd cycle, covering the 985th to 996th generations, which corresponds to the 29,521st to 29,880th year of the first great cycle. In Shao Yong's view, this long period belongs to a time when there were already people but no written records: the table still only contains numbers, and it is only when there are emperors to be recorded that historical events will be filled into the table. After the 83rd cycle, the寅 cycle has passed 276 generations and 8,280 years, with seven more cycles remaining; since the beginning of creation, 8 cycles, 96 generations, and 2,880 years have already passed. In total, 360 cycles have passed 83 cycles, accumulating 29,880 years, with 277 cycles and 99,720 years remaining.

星丁八十四：辰子九百九十七、辰丑九百九十八、辰寅九百九十九、辰卯一千、辰辰一千一、辰巳一千二、辰午一千三、辰未一千四、辰申一千五、辰酉一千六、辰戌一千七、辰亥一千八。星戊八十五：辰子一千九、辰丑一千十、辰寅一千十一、辰卯一千十二、辰辰一千十三、辰巳一千十四、辰午一千十五、辰未一千十六、辰申一千十七、辰酉一千十八、辰戌一千十九、辰亥一千二十。

The star Jia (丁) governs the 84th cycle, covering the 997th to 1008th generations, which corresponds to the second 29,881st to third 30,240th years of a great cycle. The star Wu (戊) governs the 85th cycle, covering the 1009th to 1020th generations, which corresponds to the third 30,241st to 30,600th years. Starting from "Chen Mao 1000," the generation numbers enter four digits, changing from "nine hundred ninety-nine" to "one thousand" and "one thousand one," still using the same continuous numbering system. When the 1000th generation is completed, the great cycle has already passed three ten-thousand years. After the 85th cycle is completed, the寅 (Yin) cycle has passed 300 generations and 9,000 years, with five more cycles remaining; since the beginning of creation, the寅 cycle has passed ten cycles, 120 generations, and 3,600 years; the entire great cycle still has 275 cycles and 99,000 years remaining.

星己八十六：辰子一千二十一、辰丑一千二十二、辰寅一千二十三、辰卯一千二十四、辰辰一千二十五、辰巳一千二十六、辰午一千二十七、辰未一千二十八、辰申一千二十九、辰酉一千三十、辰戌一千三十一、辰亥一千三十二。星庚八十七：辰子一千三十三、辰丑一千三十四、辰寅一千三十五、辰卯一千三十六、辰辰一千三十七、辰巳一千三十八、辰午一千三十九、辰未一千四十、辰申一千四十一、辰酉一千四十二、辰戌一千四十三、辰亥一千四十四。

The star Jia 86 governs the 1021st to 1032nd generations, corresponding to the third ten thousand and six hundred first year to the third ten thousand and nine hundred and sixtieth year of a great cycle. The star Geng 87 governs the 1033rd to 1044th generations, corresponding to the third ten thousand and nine hundred and sixty-first year to the third ten thousand and one thousand three hundred and twentieth year. Shao Yong placed "Kai Wu" (Creation of Things) at the midpoint of this period, reflecting the meaning that all things arise in spring. This aligns with the Zhou Changes' concept of the Zhen trigram representing movement and spring. After the completion of the 87th cycle, the寅 period has already passed 324 generations and 9,720 years, leaving only three more cycles. Since the beginning of Kai Wu, twelve cycles, 144 generations, and 4,320 years have already passed. In total, across the entire cycle, 4,320 generations have passed 1,044 generations, and 360 cycles remain, amounting to 273 cycles and 98,280 years.

星辛八十八：辰子一千四十五、辰丑一千四十六、辰寅一千四十七、辰卯一千四十八、辰辰一千四十九、辰巳一千五十、辰午一千五十一、辰未一千五十二、辰申一千五十三、辰酉一千五十四、辰戌一千五十五、辰亥一千五十六。星壬八十九：辰子一千五十七、辰丑一千五十八、辰寅一千五十九、辰卯一千六十、辰辰一千六十一、辰巳一千六十二、辰午一千六十三、辰未一千六十四、辰申一千六十五、辰酉一千六十六、辰戌一千六十七、辰亥一千六十八。

The star Xin 88 governs the 1045th to 1056th generations, corresponding to the third ten thousand three hundred and twenty-first to third ten thousand six hundred and eightieth years of the first cycle. The star Ren 89 governs the 1057th to 1068th generations, corresponding to the third ten thousand six hundred and eighty-first to third ten thousand two hundred and forty-first years. Once the generation numbers exceed one thousand, the number of characters in each line becomes significantly longer. This is merely due to the increase in numbers, while the number of divisions remains unchanged, with each cycle still consisting of twelve generations and three hundred and sixty years. By the end of the eighty-ninth cycle, the寅 (Yin) division has already passed three hundred and forty-eight generations and ten thousand and four hundred and forty years, leaving only one cycle remaining. Since the beginning of creation, fourteen cycles have been completed, covering one hundred and sixty-eight generations and five thousand and forty years. In total, across all cycles, the years amount to thirty-two thousand and forty, with three hundred and sixty cycles remaining, equivalent to nine thousand seven hundred and sixty years. From this, the number of the first cycle can be inferred.

星癸九十：辰子一千六十九、辰丑一千七十、辰寅一千七十一、辰卯一千七十二、辰辰一千七十三、辰巳一千七十四、辰午一千七十五、辰未一千七十六、辰申一千七十七、辰酉一千七十八、辰戌一千七十九、辰亥一千八十。

The star癸 governs the ninety-first to the one thousand and eightieth generations, which corresponds to the third twenty-four thousand and forty-first to third twenty-four thousand and four hundred years of the great cycle, ending with the寅 cycle. After the completion of the three cycles, it marks one quarter of the great cycle; since the beginning of creation, fifteen cycles, one hundred and eighty generations, and five thousand four hundred years have already passed. The next section transitions to the卯 cycle, with the cycle starting from the ninety-first and the generation starting from the one thousand and eightieth; there remain ninety cycles and thirty-two thousand four hundred years until the first one hundred and eighty cycles of the Emperor Yao's era.

日甲一，月卯四。星甲九十一：辰子一千八十一、辰丑一千八十二、辰寅一千八十三、辰卯一千八十四、辰辰一千八十五、辰巳一千八十六、辰午一千八十七、辰未一千八十八、辰申一千八十九、辰酉一千九十、辰戌一千九十一、辰亥一千九十二。

In the first volume, at the beginning of the "Observing Things" section, entering the fourth phase of the卯 (Mao) phase, it still belongs to the level of "using the original to govern the phases." The "month and卯" indicates the fourth phase with the earthly branch character卯. The cycles covered by the卯 phase start from the ninety-first cycle, and the world periods start from the first thousand and eighty-first. The star甲 (Jia) ninety-first governs the world periods from the first thousand and eighty-first to the first thousand and ninety-second, that is, from the third twenty-four thousand and first year to the third twenty-seven thousand and six hundredth year of one cycle. Since the beginning of the creation of things occurred at the midpoint of the previous phase, from the midpoint of the寅 (Yin) phase until the midpoint of the戌 (Xu) phase, the eight phases with two hundred and forty cycles all belong to the world of things. The卯 phase is at the beginning of this large period; since the creation of things, sixteen cycles, one hundred and ninety-two world periods, and five thousand seven hundred and sixty years have already passed.

星乙九十二：辰子一千九十三、辰丑一千九十四、辰寅一千九十五、辰卯一千九十六、辰辰一千九十七、辰巳一千九十八、辰午一千九十九、辰未一千一百、辰申一千一百一、辰酉一千一百二、辰戌一千一百三、辰亥一千一百四。

The star system "Ji Yi Ji Er" oversees the 1093rd to 1104th generations, which corresponds to the 32,761st to 33,120th years of the first great cycle. "Chen Wei Yi Thousand One Hundred" refers to the 1100th generation, and "Chen Shen Yi Thousand One Hundred One" refers to the 1101st generation, continuing the method of omitting whole numbers. The "Mao" phase has completed two cycles, having passed 24 generations and 720 years, with 28 cycles remaining; since the beginning of creation, 17 cycles, 204 generations, and 6,120 years have already been traversed.

星丙九十三：辰子一千一百五、辰丑一千一百六、辰寅一千一百七、辰卯一千一百八、辰辰一千一百九、辰巳一千一百十、辰午一千一百十一、辰未一千一百十二、辰申一千一百十三、辰酉一千一百十四、辰戌一千一百十五、辰亥一千一百十六。

The star Bing has ruled the 93rd cycle, encompassing the 1,105th to the 1,116th generations, which corresponds to the 33,121st to the 33,480th years of the first great cycle. From this passage onward, each line contains a significantly greater number of characters, solely because the generation numbers have exceeded 1,000 and must now be written as four-digit numbers. Although the numbers are longer, the rules remain unchanged: each cycle consists of twelve generations, and each generation lasts thirty years. The trine of Mao has already passed through thirty-six generations and 1,080 years, with twenty-seven cycles remaining. Since the beginning of creation, eighteen cycles have already passed, spanning 6,480 years.

星丁九十四：辰子一千一百十七、辰丑一千一百十八、辰寅一千一百十九、辰卯一千一百二十、辰辰一千一百二十一、辰巳一千一百二十二、辰午一千一百二十三、辰未一千一百二十四、辰申一千一百二十五、辰酉一千一百二十六、辰戌一千一百二十七、辰亥一千一百二十八。

The star system known as Ding is responsible for the 94th cycle, overseeing the 1,117th to the 1,128th generations, which corresponds to the 33,481st to the 33,840th years of the first great cycle. The terms day, moon, star, and constellation are not arbitrary; the "General Catalogue of the Four Treasuries" notes that in the "Huang Ji Jing Shi," the trigrams Qian, Dui, Li, and Zhen represent day, moon, star, and constellation respectively, serving as the four images of heaven to mark the four levels of units: yuan, hui, yun, and shi. The卯 (Mao) hui has already passed through 48 generations, spanning 1,440 years, with 26 yuns remaining. Since the beginning of creation, 19 yuns have already passed, spanning 6,840 years.

星戊九十五：辰子一千一百二十九、辰丑一千一百三十、辰寅一千一百三十一、辰卯一千一百三十二、辰辰一千一百三十三、辰巳一千一百三十四、辰午一千一百三十五、辰未一千一百三十六、辰申一千一百三十七、辰酉一千一百三十八、辰戌一千一百三十九、辰亥一千一百四十。

The star戊 (Wu) oversees the 95th cycle, covering the 1,129th to the 1,140th generations, which corresponds to the 33,841st to the 34,200th year of the first great cycle. The卯 (Mao) cycle has already gone through five cycles, sixty generations, and 1,800 years, which is one sixth of the 10,800-year span of one cycle. Shao Yong did not record events but used numbers to determine positions. Readers should convert the numbers into years at any time to avoid viewing this table as a mere collection of heavenly stems and earthly branches. Since the beginning of creation, twenty cycles, 240 generations, and 7,200 years have passed; there are still eighty-five cycles remaining until the first 180 cycles of the reign of Emperor Yao.

星己九十六：辰子一千一百四十一、辰丑一千一百四十二、辰寅一千一百四十三、辰卯一千一百四十四、辰辰一千一百四十五、辰巳一千一百四十六、辰午一千一百四十七、辰未一千一百四十八、辰申一千一百四十九、辰酉一千一百五十、辰戌一千一百五十一、辰亥一千一百五十二。

The star system has already covered 96 generations from the 1,141st to the 1,152nd, which corresponds to the third 34,201st to the 34,560th year of a great cycle. In terms of the entire great cycle, this period accounts for 34,560 years, which is more than a quarter of the total 129,600 years. The卯 cycle has completed six cycles, 72 generations, and 2,160 years, which is exactly one fifth of the entire 30 cycles of the cycle, with 24 cycles remaining. Since the beginning of creation, 21 cycles, 252 generations, and 7,560 years have already passed.

星庚九十七：辰子一千一百五十三、辰丑一千一百五十四、辰寅一千一百五十五、辰卯一千一百五十六、辰辰一千一百五十七、辰巳一千一百五十八、辰午一千一百五十九、辰未一千一百六十、辰申一千一百六十一、辰酉一千一百六十二、辰戌一千一百六十三、辰亥一千一百六十四。

The star stem Geng governs the 97th era, covering the 1,153rd to the 1,164th generations, which corresponds to the 34,561st to the 34,920th years of the first great cycle. The imagery used in the Huang Ji Jing Shi differs from that in the Zhou Changes: in the Zhou Changes, Qian represents Heaven, but in this text it represents the sun; Dui represents a marsh in the Zhou Changes, but here it represents the moon. The summary therefore says that this approach is inevitably forced. However, the entire book's numbering system is established precisely through this system of symbolic representations. The卯 (Mao) has already passed through 84 generations and 2,520 years, with 23 cycles remaining; since the beginning of creation, 22 cycles and 7,920 years have already passed.

星辛九十八：辰子一千一百六十五、辰丑一千一百六十六、辰寅一千一百六十七、辰卯一千一百六十八、辰辰一千一百六十九、辰巳一千一百七十、辰午一千一百七十一、辰未一千一百七十二、辰申一千一百七十三、辰酉一千一百七十四、辰戌一千一百七十五、辰亥一千一百七十六。

The star system Xin is in charge of the 1,165th to the 1,176th generations, which corresponds to the 34,921st to the 35,280th years of the first great cycle. This cycle is the eighth cycle of the卯 (Mao) convergence; each convergence consists of thirty cycles divided into three phases of ten stems each. At this time, the first phase is nearly completed. The name and sequence number of each cycle are listed together so that both the cycle and the total number can be seen. This convergence has already passed 96 generations and 2,880 years, with 22 cycles remaining. Since the beginning of creation, 23 cycles and 8,280 years have already passed. In total, across the entire cycle, 98 cycles, 1,176 generations, and 35,280 years have already been completed.

星壬九十九：辰子一千一百七十七、辰丑一千一百七十八、辰寅一千一百七十九、辰卯一千一百八十、辰辰一千一百八十一、辰巳一千一百八十二、辰午一千一百八十三、辰未一千一百八十四、辰申一千一百八十五、辰酉一千一百八十六、辰戌一千一百八十七、辰亥一千一百八十八。

The star壬 (Ren) oversees the 99th cycle, which spans from the 1,177th to the 1,188th generations, corresponding to the 35,281st to the 35,640th years of the first great cycle. Such cycles near whole tens or hundreds are most suitable for self-checking: the order number of a cycle multiplied by twelve gives the number of generations, and multiplied by three hundred sixty gives the number of years. By comparing both ends, one can determine if there is any misalignment. The association has already passed 108 generations and 3,240 years, with 21 cycles remaining; there are still 81 cycles left until the first 180 cycles of Emperor Yao. In total, across the entire cycle, 99 cycles and 1,188 generations have been passed.

星癸一百：辰子一千一百八十九、辰丑一千一百九十、辰寅一千一百九十一、辰卯一千一百九十二、辰辰一千一百九十三、辰巳一千一百九十四、辰午一千一百九十五、辰未一千一百九十六、辰申一千一百九十七、辰酉一千一百九十八、辰戌一千一百九十九、辰亥一千二百。

The star癸 governs the first thousand one hundred and eighty ninth world to the first thousand second hundredth world, which corresponds to the third ten thousand five hundred and forty first year to the third ten thousand sixth hundredth year of one cycle. The number of cycles here has reached one hundred, the number of worlds has reached one thousand two hundred, and the number of years has reached thirty thousand six hundred. The ratio of these three remains always one to twelve to three hundred sixty. Among the three hundred sixty cycles of one cycle, there are still two hundred sixty cycles remaining. The卯 assembly has already passed one hundred twenty worlds and three thousand six hundred years, which is one third of the entire assembly. Since the beginning of creation, twenty five cycles, three hundred worlds, and nine thousand years have already passed; among the three hundred sixty cycles of the entire cycle, there are still two hundred sixty cycles remaining.

星甲一百一：辰子一千二百一、辰丑一千二百二、辰寅一千二百三、辰卯一千二百四、辰辰一千二百五、辰巳一千二百六、辰午一千二百七、辰未一千二百八、辰申一千二百九、辰酉一千二百十、辰戌一千二百十一、辰亥一千二百十二。

The Star Stem "Jia 111" governs the 1,200th to the 1,212th generations, which corresponds to the 36,001st to the 36,360th years of the first great cycle. The name of the era, "Jia," reappears at the 101st era, marking the eleventh cycle of ten stems. "Jia 111" refers to the 101st era, following the same pattern as "Chen Zi 611," which omits the character "zero." The branch "Mao" has already passed through 132 generations and 3,960 years, with 19 eras remaining.

星乙一百二：辰子一千二百十三、辰丑一千二百十四、辰寅一千二百十五、辰卯一千二百十六、辰辰一千二百十七、辰巳一千二百十八、辰午一千二百十九、辰未一千二百二十、辰申一千二百二十一、辰酉一千二百二十二、辰戌一千二百二十三、辰亥一千二百二十四。

The star 乙 governs 120 generations, covering the 1,213th to the 1,224th generations, which corresponds to the 36,361st to the 36,720th years of the first great cycle. This type of abbreviation is very common in Song and Yuan dynasty printed editions and is not due to missing characters; as long as one remembers the fixed ratio between generations and cycles, one can read the text correctly even with the abbreviations. The卯 cycle has already passed 12 cycles, 144 generations, and 4,320 years, with 18 cycles remaining; since the beginning of creation, 27 cycles and 9,720 years have already passed. The entire cycle of 360 cycles still has 258 cycles remaining.

星丙一百三：辰子一千二百二十五、辰丑一千二百二十六、辰寅一千二百二十七、辰卯一千二百二十八、辰辰一千二百二十九、辰巳一千二百三十、辰午一千二百三十一、辰未一千二百三十二、辰申一千二百三十三、辰酉一千二百三十四、辰戌一千二百三十五、辰亥一千二百三十六。

The star Bing covers 130 generations, governing from the 1,225th to the 1,236th generation, which corresponds to the 36,721st to the 37,080th year of the first great cycle. According to the appendix of this book, "using the cycle to calculate the era" only records up to "generation," with each division representing thirty years; "using the era to calculate the cycle" requires recording down to the year, listing the stem-branch for each year; "using the cycle to calculate the era" could be detailed down to the month, but it is omitted for brevity. The卯 cycle has already passed 156 generations, 4,680 years, with 17 cycles remaining; since the beginning of creation, 28 cycles have already passed, totaling 10,800 years.

星丁一百四：辰子一千二百三十七、辰丑一千二百三十八、辰寅一千二百三十九、辰卯一千二百四十、辰辰一千二百四十一、辰巳一千二百四十二、辰午一千二百四十三、辰未一千二百四十四、辰申一千二百四十五、辰酉一千二百四十六、辰戌一千二百四十七、辰亥一千二百四十八。

The star丁 covers 140 generations, governing the period from the 1,237th to the 1,248th generation, which corresponds to the 37,081st to the 37,440th year of the first great cycle. The structure is divided into three layers, from coarse to fine, which follows the entire book's arrangement: first establishing the framework, then filling in the years, and finally attaching historical events. The entire book consists of 62 chapters, with the first 12 chapters belonging to the coarsest layer. The卯 cycle has already passed 168 generations and 5,040 years, nearly half, with 16 cycles remaining; since the beginning of creation, 29 cycles and 10,440 years have passed; the entire cycle still has 256 cycles and 92,160 years remaining.

星戊一百五：辰子一千二百四十九、辰丑一千二百五十、辰寅一千二百五十一、辰卯一千二百五十二、辰辰一千二百五十三、辰巳一千二百五十四、辰午一千二百五十五、辰未一千二百五十六、辰申一千二百五十七、辰酉一千二百五十八、辰戌一千二百五十九、辰亥一千二百六十。

The star戊 governs 150 years, covering the 1,249th to the 1,260th generations, which corresponds to the third 37,441st to the third 37,800th years of a great cycle. The end of this cycle is exactly at the third 37,800th year, which is the midpoint of the 10,800-year cycle of the卯. This section of thirty cycles has now reached the midpoint, and the following fifteen cycles constitute the latter half of the卯 cycle. So far, this cycle has already passed 180 generations, or 5,400 years, with fifteen cycles remaining. Since the beginning of creation, thirty cycles have already been completed, which is 360 generations or 10,800 years, exactly fulfilling the duration of one cycle.

星己一百六：辰子一千二百六十一、辰丑一千二百六十二、辰寅一千二百六十三、辰卯一千二百六十四、辰辰一千二百六十五、辰巳一千二百六十六、辰午一千二百六十七、辰未一千二百六十八、辰申一千二百六十九、辰酉一千二百七十、辰戌一千二百七十一、辰亥一千二百七十二。

The star system of the first hundred and sixth includes the first twelve thousand and sixty-first to the first twelve thousand and seventy-second generations, which corresponds to the third thirty-seven thousand eight hundred and first to the third thirty-eight thousand one hundred and sixtieth years of a great cycle. The internal structure of each of the twelve cycles is the same: each cycle consists of thirty eras, three thousand six hundred generations, and eleven thousand eight hundred years, divided into three rounds of ten heavenly stems. The symmetry in the middle is exactly the intention of Shao Yong's legislation. The cycle of Mao has already passed one hundred and ninety-two generations and five thousand seven hundred and sixty years, with fourteen eras remaining; since the beginning of creation, thirty-one eras and eleven thousand one hundred and sixty years have already passed.

星庚一百七：辰子一千二百七十三、辰丑一千二百七十四、辰寅一千二百七十五、辰卯一千二百七十六、辰辰一千二百七十七、辰巳一千二百七十八、辰午一千二百七十九、辰未一千二百八十、辰申一千二百八十一、辰酉一千二百八十二、辰戌一千二百八十三、辰亥一千二百八十四。

The star stem Geng governs 170 generations, spanning from the 1,273rd to the 1,284th generation, which corresponds to the third 38,161st to the third 38,520th year of a great cycle. In total, the great cycle comprises 4,320 generations; at this point, less than a third of it has passed. The historical events of over 3,300 years recorded in the latter half of the "Huang Ji Jing Shi" amount to only 110 generations within this framework. The卯 cycle has already passed 204 generations, 6,120 years, with 13 cycles remaining. There are still 73 cycles left until the first 180 cycles of Emperor Yao's era. In total, 107 cycles and 1,284 generations have passed; among the 360 cycles, 253 cycles and 91,080 years remain.

星辛一百八：辰子一千二百八十五、辰丑一千二百八十六、辰寅一千二百八十七、辰卯一千二百八十八、辰辰一千二百八十九、辰巳一千二百九十、辰午一千二百九十一、辰未一千二百九十二、辰申一千二百九十三、辰酉一千二百九十四、辰戌一千二百九十五、辰亥一千二百九十六。

The star Xin covers 180 generations, spanning from the 1,285th to the 1,296th, which corresponds to the 38,521st to the 38,880th year of the first great cycle. This shows that Shao Yong viewed historical events with written records within a much broader temporal framework: the rise and fall of human affairs occupy only a very small portion of this timeline. The period of the卯 (Mao) has already passed 216 generations, or 6,480 years, with 12 cycles remaining. Since the beginning of creation, 33 cycles, or 11,880 years, have already passed. In total, across the entire cycle, 108 cycles, or 1,296 generations, have been completed, leaving 252 cycles, or 90,720 years, remaining out of the total 360 cycles.

星壬一百九：辰子一千二百九十七、辰丑一千二百九十八、辰寅一千二百九十九、辰卯一千三百、辰辰一千三百一、辰巳一千三百二、辰午一千三百三、辰未一千三百四、辰申一千三百五、辰酉一千三百六、辰戌一千三百七、辰亥一千三百八。

The star Ren covers the 19th cycle, governing the 1,297th to 1,308th generations, which corresponds to the 38,881st to 39,240th years of the first great cycle. In the table, "Chen Mao 1,300" refers to the 1,300th generation, which is still an abbreviated form; the sequence of generations has now completed another full hundred. The Mao cycle has already passed 228 generations, amounting to 6,840 years, with 11 cycles remaining. Since the beginning of creation, 34 cycles have already passed, totaling 12,240 years.

星癸一百十：辰子一千三百九、辰丑一千三百十、辰寅一千三百十一、辰卯一千三百十二、辰辰一千三百十三、辰巳一千三百十四、辰午一千三百十五、辰未一千三百十六、辰申一千三百十七、辰酉一千三百十八、辰戌一千三百十九、辰亥一千三百二十。

The star癸 (Gui) of the 110th cycle governs the 1,309th to 1,320th generations, which corresponds to the 39,241st to 39,600th years of the first great cycle. "Star癸 110" refers to the 110th cycle, and "Chen Chou 1,310" refers to the 1,310th generation. The original text may write the number in the tens place as either "110" or "100" and the writing is inconsistent, but the meaning is the same. The卯 (Mao) cycle has already passed 240 generations or 7,200 years, which is two-thirds of the entire cycle, leaving ten cycles remaining.

星甲一百十一：辰子一千三百二十一、辰丑一千三百二十二、辰寅一千三百二十三、辰卯一千三百二十四、辰辰一千三百二十五、辰巳一千三百二十六、辰午一千三百二十七、辰未一千三百二十八、辰申一千三百二十九、辰酉一千三百三十、辰戌一千三百三十一、辰亥一千三百三十二。

The star stem Jiā governs the 1,110 generations from the 1,321st to the 1,332nd, which corresponds to the third period of 39,601 to 39,960 years of a great cycle. Taking the beginning of creation as the 27,001st year, at this time, over 12,000 years have passed since the birth of all things; the era name coincides with the stem Jiā, marking the 12th cycle of the ten heavenly stems. The trigram Mǎo has already passed 252 generations and 7,560 years, with nine more cycles remaining; since the beginning of creation, 36 cycles, 432 generations, and 12,960 years have passed; the entire cycle still has 249 cycles and 89,640 years remaining.

星乙一百十二：辰子一千三百三十三、辰丑一千三百三十四、辰寅一千三百三十五、辰卯一千三百三十六、辰辰一千三百三十七、辰巳一千三百三十八、辰午一千三百三十九、辰未一千三百四十、辰申一千三百四十一、辰酉一千三百四十二、辰戌一千三百四十三、辰亥一千三百四十四。

The star Yi covers 112 generations from the 1,333rd to the 1,344th, which corresponds to the 39,961st to the 40,320th year of the first great cycle. The layer "operating through the ages" connects to the first 180 cycles of the reign of Emperor Yao in Jiachen, occurring in over 64,000 years, with more than 24,000 years remaining until then. Comparing the beginning and end, we can understand the scale of this table. The卯 cycle has already passed 264 generations and 7,920 years, with eight cycles remaining; since the beginning of creation, 37 cycles and 13,320 years have passed; the entire cycle still has 248 cycles and 89,280 years remaining.

星丙一百十三：辰子一千三百四十五、辰丑一千三百四十六、辰寅一千三百四十七、辰卯一千三百四十八、辰辰一千三百四十九、辰巳一千三百五十、辰午一千三百五十一、辰未一千三百五十二、辰申一千三百五十三、辰酉一千三百五十四、辰戌一千三百五十五、辰亥一千三百五十六。

The star Bing governs 113 generations, from the 1,345th to the 1,356th, corresponding to the 40,321st to the 40,680th year of the first cycle. Comparing a cycle to a year, the branch Mao corresponds to the second month, which is the time when all things grow. However, this passage contains no historical events, because although people had already been born, writing had not yet begun, so the era can only be left blank. This cycle has already passed 276 generations and 8,280 years, with seven more cycles remaining. There are still 67 cycles left until the first 180 cycles of Emperor Yao. The entire cycle still has 247 cycles and 88,920 years remaining.

星丁一百十四：辰子一千三百五十七、辰丑一千三百五十八、辰寅一千三百五十九、辰卯一千三百六十、辰辰一千三百六十一、辰巳一千三百六十二、辰午一千三百六十三、辰未一千三百六十四、辰申一千三百六十五、辰酉一千三百六十六、辰戌一千三百六十七、辰亥一千三百六十八。

The star system Ding covers the 1,357th to the 1,368th generations, which corresponds to the 40,681st to the 41,040th years of the first great cycle. The卯 (Mao) cycle has only six remaining generations. It is not until the end of the巳 (Si) cycle, when Emperor Yao ascends the throne, that the record begins to include emperors; prior to this, over 2,100 generations were empty. This cycle has already passed 288 generations and 8,640 years; since the beginning of creation, 39 generations, 468 generations, and 14,040 years have passed; the remaining part of the great cycle still has 246 generations and 88,560 years.

星戊一百十五：辰子一千三百六十九、辰丑一千三百七十、辰寅一千三百七十一、辰卯一千三百七十二、辰辰一千三百七十三、辰巳一千三百七十四、辰午一千三百七十五、辰未一千三百七十六、辰申一千三百七十七、辰酉一千三百七十八、辰戌一千三百七十九、辰亥一千三百八十。

The star戊 governs 115 generations, spanning from the 1,369th to the 1,380th, which corresponds to the fourth forty-one thousand and forty-first year to the fourth forty-one thousand and four hundredth year of a great cycle. At first glance, this appears to be an empty chart, but in reality, it sets the framework for everything that follows: from Volume Three onwards, whenever a particular emperor and year are mentioned, they must be specified with four levels of coordinates: the great cycle, the era, the movement, and the generation. Missing any one level would make it impossible to determine the exact position. The卯 era has already passed through 300 generations and 9,000 years, with five movements remaining; since the beginning of creation, 40 movements, 480 generations, and 14,400 years have already passed; the entire great cycle still has 245 movements and 88,200 years remaining.

星己一百十六：辰子一千三百八十一、辰丑一千三百八十二、辰寅一千三百八十三、辰卯一千三百八十四、辰辰一千三百八十五、辰巳一千三百八十六、辰午一千三百八十七、辰未一千三百八十八、辰申一千三百八十九、辰酉一千三百九十、辰戌一千三百九十一、辰亥一千三百九十二。

The star system "Xing Ji" oversees the 1,381st to 1,392nd generations, corresponding to the 41,401st to 41,760th years of the first great cycle. Four coordinate systems, such as "day Jia, month Ji, star Gui, and hour Wei," are used: the day represents the cycle, the month the assembly, the star the era, and the hour the generation. When these four align, one year can be located within one of the 129,600-year divisions. The卯 assembly has already passed 312 generations and 9,360 years, with four eras remaining; since the beginning of creation, 41 eras, 492 generations, and 14,760 years have already passed.

星庚一百十七：辰子一千三百九十三、辰丑一千三百九十四、辰寅一千三百九十五、辰卯一千三百九十六、辰辰一千三百九十七、辰巳一千三百九十八、辰午一千三百九十九、辰未一千四百、辰申一千四百一、辰酉一千四百二、辰戌一千四百三、辰亥一千四百四。

The star system Geng covers the 1,393rd to the 1,404th generations, which corresponds to the 41,761st to the 42,120th years of the first great cycle. Within the system, "Chen Wei 1,400" refers to the 1,400th generation, and "Chen Shen 1,401" refers to the 1,401st generation, still using the old abbreviated style of omitting the whole number. The卯 (Mao) cycle has already passed 324 generations and 9,720 years, leaving only three cycles remaining; there are still 63 cycles left until the first cycle of Emperor Yao's era. The entire cycle still has 243 cycles and 87,480 years remaining.

星辛一百十八：辰子一千四百五、辰丑一千四百六、辰寅一千四百七、辰卯一千四百八、辰辰一千四百九、辰巳一千四百十、辰午一千四百十一、辰未一千四百十二、辰申一千四百十三、辰酉一千四百十四、辰戌一千四百十五、辰亥一千四百十六。

The star system Xin covers the 1,405th to 1,416th generations, which corresponds to the 42,121st to 42,480th years of the first cycle. The卯 (Mao) phase has already passed 336 generations and 10,800 years, leaving only two phases remaining. At the 4,320th generation of the first cycle, this phase has already passed over 1,400 generations, and there are still more than 700 generations left until the midpoint of the entire cycle. Since the beginning of creation, 43 phases and 15,480 years have already passed; the entire cycle still has 242 phases and 87,120 years remaining.

星壬一百十九：辰子一千四百十七、辰丑一千四百十八、辰寅一千四百十九、辰卯一千四百二十、辰辰一千四百二十一、辰巳一千四百二十二、辰午一千四百二十三、辰未一千四百二十四、辰申一千四百二十五、辰酉一千四百二十六、辰戌一千四百二十七、辰亥一千四百二十八。

The star Ren covers 119 generations from the 1,417th to the 1,428th, which corresponds to the 42,481st to the 42,840th year of the first great cycle. The original text arranges the current cycle and the next cycle in the same line without starting a new line, which is due to the printing style, and in reality they are two separate cycles, not one cycle with 24 generations. The卯 cycle has already passed 348 generations and 10,440 years, leaving only one cycle remaining; since the beginning of creation, 44 cycles, 528 generations, and 15,840 years have already passed.

星癸一百二十：辰子一千四百二十九、辰丑一千四百三十、辰寅一千四百三十一、辰卯一千四百三十二、辰辰一千四百三十三、辰巳一千四百三十四、辰午一千四百三十五、辰未一千四百三十六、辰申一千四百三十七、辰酉一千四百三十八、辰戌一千四百三十九、辰亥一千四百四十。

The star癸 governs 120 units, covering the 1,429th to the 1,440th generations, which corresponds to the fourth 42,841st to the 43,200th years of a great cycle. The卯 phase ends at this point. After the four phases are completed, one great cycle has passed one third: each of the phases 子, 丑, 寅, and 卯 lasts 10,800 years, totaling 43,200 years. The next section moves to the 辰 phase; since the beginning of creation, 45 cycles, 540 generations, and 16,200 years have passed, which is exactly one and a half phases. The entire cycle consists of 360 cycles, with 240 cycles and 86,400 years remaining, which is exactly the same as the total number of cycles from the beginning to the end of creation.

日甲一，月辰五。星甲一百二十一：辰子一千四百四十一、辰丑一千四百四十二、辰寅一千四百四十三、辰卯一千四百四十四、辰辰一千四百四十五、辰巳一千四百四十六、辰午一千四百四十七、辰未一千四百四十八、辰申一千四百四十九、辰酉一千四百五十、辰戌一千四百五十一、辰亥一千四百五十二。

The fifth section of the "Observing Things" chapter transitions into the fifth assembly, the "Chen Assembly." The term "Chen" in "Month and Chen Five" refers to the name of the fifth assembly; it should be noted that this "Chen" is the name of the assembly, not the same as the "Chen" in "Chen Zi" and "Chen Chou," which are merely terms for the earthly branch "Chen" used in different contexts. These are written with the same character but refer to different concepts, and they should not be confused. The star "Jia" 121 is the first cycle of the Chen Assembly, covering the 1,441st to the 1,452nd generations, which corresponds to the years 43,201 to 43,560 of the first great cycle. The original text between "Chen Chou 1,442" and "Chen Yin 1,443" is missing a gap, indicating that these are two separate generations, not one. The Chen Assembly has only completed one cycle and still has twenty-nine more cycles remaining; since the beginning of creation, forty-six cycles have already passed, amounting to 16,560 years.

星乙一百二十二：辰子一千四百五十三、辰丑一千四百五十四、辰寅一千四百五十五、辰卯一千四百五十六、辰辰一千四百五十七、辰巳一千四百五十八、辰午一千四百五十九、辰未一千四百六十、辰申一千四百六十一、辰酉一千四百六十二、辰戌一千四百六十三、辰亥一千四百六十四。

The star system 乙 governs 122 generations, spanning from the 1,453rd to the 1,464th, which corresponds to the 43,561st to the 43,920th year of the first great cycle. The entire cycle of the celestial system consists of thirty great periods, three thousand six hundred generations, and eleven thousand four hundred years. At this point, the cycle has only just begun. Comparing the great cycle to a year, the celestial system is in the third month, a period when all things have already sprouted and are gradually flourishing. This cycle has already passed twenty-four generations and seven hundred twenty years, with twenty-eight great periods remaining. There are fifty-eight great periods left until the first great period of the Emperor Yao's era. The entire cycle still has two hundred thirty-eight great periods and eight thousand five hundred sixty-eight years remaining.

星丙一百二十三：辰子一千四百六十五、辰丑一千四百六十六、辰寅一千四百六十七、辰卯一千四百六十八、辰辰一千四百六十九、辰巳一千四百七十、辰午一千四百七十一、辰未一千四百七十二、辰申一千四百七十三、辰酉一千四百七十四、辰戌一千四百七十五、辰亥一千四百七十六。

The star Bing governs 123 generations, spanning from the 1,465th to the 1,476th, which corresponds to the fourth 43,921st to the fourth 44,280th year of a great cycle. Since the beginning of creation, up to this point, 48 cycles, 576 generations, and 17,280 years have passed, approximately one fifth of the total 86,400 years of existence of all things. The cycle of Chen has already passed 36 generations and 1,080 years, with 27 cycles remaining; when combined with the entire cycle, 4,320 generations have already passed 1,476 generations, leaving 360 cycles, with 237 cycles and 85,320 years remaining.

星丁一百二十四：辰子一千四百七十七、辰丑一千四百七十八、辰寅一千四百七十九、辰卯一千四百八十、辰辰一千四百八十一、辰巳一千四百八十二、辰午一千四百八十三、辰未一千四百八十四、辰申一千四百八十五、辰酉一千四百八十六、辰戌一千四百八十七、辰亥一千四百八十八。

The star system Ding covers 124 generations, from the 1,477th to the 1,488th, corresponding to the 44,281st to the 44,640th year of the first cycle. The four previous cycles have already been completed. In this layer, each grid is merely a coordinate; the actual years and historical events are filled in progressively in the layers "using the cycle to determine the era" and "using the era to determine the world." This cycle has already passed 48 generations and 1,440 years, with 26 remaining cycles; since the beginning of creation, 49 cycles and 17,640 years have already passed; the entire cycle still has 236 remaining cycles and 84,960 years left.

星戊一百二十五：辰子一千四百八十九、辰丑一千四百九十、辰寅一千四百九十一、辰卯一千四百九十二、辰辰一千四百九十三、辰巳一千四百九十四、辰午一千四百九十五、辰未一千四百九十六、辰申一千四百九十七、辰酉一千四百九十八、辰戌一千四百九十九、辰亥一千五百。

The star戊 governs 250 generations, spanning from the 1,489th to the 1,500th generation, which corresponds to the 44,641st to the 45,000th year of the first cycle. The number of generations here reaches 1,500, and the number of years reaches 45,000, maintaining the ratio of one to thirty. The entire cycle consists of 4,320 generations, and by this point, it has passed slightly more than one-third. At points where the count reaches whole numbers, it is most suitable to stop and verify. The cycle has already passed 60 generations and 1,800 years, with 25 remaining cycles; since the beginning of creation, 50 cycles, 600 generations, and 18,000 years have already passed; the entire cycle still has 235 remaining cycles and 84,600 years left.

星己一百二十六：辰子一千五百一、辰丑一千五百二、辰寅一千五百三、辰卯一千五百四、辰辰一千五百五、辰巳一千五百六、辰午一千五百七、辰未一千五百八、辰申一千五百九、辰酉一千五百十、辰戌一千五百十一、辰亥一千五百十二。

The star system "Xing Ji" oversees the 1,260th cycle, covering the 1,501st to the 1,512th generations, which corresponds to the 45,001st to the 45,360th years of the first great cycle. "Chen Zi 1,501" refers to the 1,501st generation, still written without the character "ling" (zero). The "Chen" cycle has already passed six cycles, 72 generations, and 2,160 years, with 24 cycles remaining. There are still 54 cycles left until the first great cycle reaches the era of Emperor Yao. In total, there are still 234 cycles and 84,240 years remaining in the entire cycle.

星庚一百二十七：辰子一千五百十三、辰丑一千五百十四、辰寅一千五百十五、辰卯一千五百十六、辰辰一千五百十七、辰巳一千五百十八、辰午一千五百十九、辰未一千五百二十、辰申一千五百二十一、辰酉一千五百二十二、辰戌一千五百二十三、辰亥一千五百二十四。

The star庚 governs 127 generations, spanning from the 1,513th to the 1,524th, which corresponds to the 45,361st to the 45,720th year of the first great cycle. The celestial cycle has yet 23 cycles remaining before transitioning into the巳 cycle; the end of the巳 cycle marks the point where Emperor Yao comes into the picture, and this is the critical transition point where the entire text shifts from abstraction to concreteness. This cycle has already passed 84 generations and 2,520 years; since the beginning of creation, it has already gone through 52 cycles, 624 generations, and 18,720 years; the entire great cycle still has 233 cycles and 83,880 years remaining.

星辛一百二十八：辰子一千五百二十五、辰丑一千五百二十六、辰寅一千五百二十七、辰卯一千五百二十八、辰辰一千五百二十九、辰巳一千五百三十、辰午一千五百三十一、辰未一千五百三十二、辰申一千五百三十三、辰酉一千五百三十四、辰戌一千五百三十五、辰亥一千五百三十六。

The star Xin governs 128 generations, spanning from the 1,525th to the 1,536th, which corresponds to the 45,721st to the 46,080th year of the first cycle. "The Twelve Chapters of the Great Cycle" consist of twelve chapters, each corresponding to a cycle. This chapter is the fifth cycle, with six more cycles following: Wu, Wei, Shen, You, Xu, and Hai, completing the entire cycle. The cycle of Chen has already passed 96 generations and 2,880 years, with 22 cycles remaining. Since the beginning of creation, 53 cycles and 19,080 years have passed. The entire cycle still has 232 cycles and 83,520 years remaining.

星壬一百二十九：辰子一千五百三十七、辰丑一千五百三十八、辰寅一千五百三十九、辰卯一千五百四十、辰辰一千五百四十一、辰巳一千五百四十二、辰午一千五百四十三、辰未一千五百四十四、辰申一千五百四十五、辰酉一千五百四十六、辰戌一千五百四十七、辰亥一千五百四十八。

The star壬 (Ren) oversees 129 generations from the 1,537th to the 1,548th, corresponding to the years 46,081 to 46,440 of the first great cycle. The year Jiachen (甲辰) when Emperor Yao ascended the throne follows the 180th cycle at the end of the巳 (Si) cycle. The historical events of subsequent dynasties continue up to the 189th cycle of the午 (Wu) cycle, which ends in the sixth year of Xiande during the Later Zhou dynasty. The辰 (Chen) cycle has already passed 108 generations and 3,240 years, with 21 cycles remaining. There are still 51 cycles left from the 180th cycle. In total, 231 cycles and 83,160 years remain in the entire cycle.

星癸一百三十：辰子一千五百四十九、辰丑一千五百五十、辰寅一千五百五十一、辰卯一千五百五十二、辰辰一千五百五十三、辰巳一千五百五十四、辰午一千五百五十五、辰未一千五百五十六、辰申一千五百五十七、辰酉一千五百五十八、辰戌一千五百五十九、辰亥一千五百六十。

The star癸 governs 130 units, covering the 1,549th to the 1,560th generations, which corresponds to the fourth 46,441st to the 46,800th year of a great cycle. The thirty cycles of the辰 have passed through ten cycles, 120 generations, and 3,600 years, which is exactly one third of the entire cycle. The fifth chapter of the Observing Things section has not yet been completed, and the following chapters from the 131st cycle onwards still belong to this section. Since the beginning of creation, fifty-five cycles, 660 generations, and 19,800 years have passed; there remain fifty cycles and 18,000 years until the first 180th cycle when the Emperor Yao took over.

星甲一百三十一：辰子一千五百六十一，辰丑一千五百六十二，辰寅一千五百六十三，辰卯一千五百六十四，辰辰一千五百六十五，辰巳一千五百六十六，辰午一千五百六十七，辰未一千五百六十八，辰申一千五百六十九，辰酉一千五百七十，辰戌一千五百七十一，辰亥一千五百七十二。

The 131st cycle corresponds to the heavenly stem Jia. Shao Yong used "day" to mark the beginning of an era, "month" to mark a convergence, "star" to mark a cycle, and "chén" to mark a world. Thus, "star Jia 131" refers to the 131st cycle, and "chén Zi 1561" refers to the 1561st world, with the earthly branch being Zi. One cycle encompasses twelve worlds. The 131st cycle includes the 1561st to the 1572nd worlds, each assigned in order to the earthly branches Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai. This completes one full cycle. Each world lasts thirty years, so the 131st cycle spans three hundred and sixty years. Within the total of twelve thousand nine hundred and sixty years of one era, this cycle falls between the fourth thousand six hundred and eighty-first year and the fourth thousand seven hundred and sixtieth year.

星乙一百三十二：辰子一千五百七十三，辰丑一千五百七十四，辰寅一千五百七十五，辰卯一千五百七十六，辰辰一千五百七十七，辰巳一千五百七十八，辰午一千五百七十九，辰未一千五百八十，辰申一千五百八十一，辰酉一千五百八十二，辰戌一千五百八十三，辰亥一千五百八十四。

The 132nd cycle is paired with the Heavenly Stem Yi, being the twelfth cycle within the fifth convergence (Chen convergence) of thirty cycles. It encompasses twelve generations, starting from the 1,573rd generation to the 1,584th generation: the Zi generation is the 1,573rd, Chou the 1,574th, followed by Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai in order, with Hai being the 1,584th. The Earthly Branches complete twelve and then begin again, perfectly matching the structure of one cycle encompassing twelve generations. This cycle spans 360 years, and by the end of the Hai generation, 47,520 years have passed within the great cycle.

星丙一百三十三：辰子一千五百八十五，辰丑一千五百八十六，辰寅一千五百八十七，辰卯一千五百八十八，辰辰一千五百八十九，辰巳一千五百九十，辰午一千五百九十一，辰未一千五百九十二，辰申一千五百九十三，辰酉一千五百九十四，辰戌一千五百九十五，辰亥一千五百九十六。

The 133rd cycle, associated with the heavenly stem Bing, is the thirteenth cycle of the辰 (Chen) group. Below it are twelve consecutive generations, starting from the 1585th generation (Zi) and ending at the 1596th generation (Hai). The remaining ten earthly branches, in order, correspond to the generations from 1586th (Chou) to 1595th (Xu). Shao Yong's generation numbers are a continuous sequence throughout the entire cycle, not restarting with each new cycle, so the numbers keep increasing. The earthly branches, however, cycle every twelve generations, indicating only the position without the total count. This cycle spans 360 years, corresponding to the 47,521st to the 47,880th year of the great cycle.

星丁一百三十四：辰子一千五百九十七，辰丑一千五百九十八，辰寅一千五百九十九，辰卯一千六百，辰辰一千六百一，辰巳一千六百二，辰午一千六百三，辰未一千六百四，辰申一千六百五，辰酉一千六百六，辰戌一千六百七，辰亥一千六百八。

The 134th cycle, paired with the heavenly stem Ding, is the fourteenth cycle of the辰 (Chen) group. The twelve generations of this cycle span from the 1,597th to the 1,608th. The first three generations, corresponding to Zi, Chou, and Yin, still fall within the count of 1,500. Starting from the Mao generation, the count reaches 1,600, so it is recorded as "Chen-Mao 1,600" in the table. The following eight generations, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai, follow sequentially from the 1,601st to the 1,608th. This numerical shift is merely a carry-over in a continuous numbering system and does not indicate any change in the year-counting structure. This cycle lasts 360 years, spanning from the 47,881st to the 48,240th year of the first great cycle.

星戊一百三十五：辰子一千六百九，辰丑一千六百十，辰寅一千六百十一，辰卯一千六百十二，辰辰一千六百十三，辰巳一千六百十四，辰午一千六百十五，辰未一千六百十六，辰申一千六百十七，辰酉一千六百十八，辰戌一千六百十九，辰亥一千六百二十。

The 135th cycle, with the heavenly stem Wu, resides in the Chén (Earth Dragon) branch and belongs to the fifteenth cycle. It is exactly halfway through the thirty cycles of that particular group. The twelve generations under this cycle range from the 1609th generation (Zi) to the 1620th generation (Hai). The Yín (Rat) generation is the 1611th, the Mǎo (Ox) generation is the 1612th, and the following generations increase by one each time. When viewed in combination, by the end of this cycle, the fifth group has completed 180 generations and 5,400 years, which is exactly the midpoint of one group's 10,800 years. This cycle itself spans 360 years, corresponding to the period from the 48,241st to the 48,600th year of the great cycle.

星己一百三十六：辰子一千六百二十一，辰丑一千六百二十二，辰寅一千六百二十三，辰卯一千六百二十四，辰辰一千六百二十五，辰巳一千六百二十六，辰午一千六百二十七，辰未一千六百二十八，辰申一千六百二十九，辰酉一千六百三十，辰戌一千六百三十一，辰亥一千六百三十二。

The 136th cycle, with the heavenly stem Ji, corresponds to the 16th cycle. The twelve generations are numbered from the 1,621st to the 1,632nd, each branch of the earthly stems ruling one generation, with none repeating. The ten heavenly stems reach Ji at the sixth position, while the earthly branches complete a full cycle each cycle. Since the heavenly stem name repeats every ten cycles and the earthly branch name repeats every cycle, the same "star Ji" appears only after ten cycles, whereas "Chen Zi" appears at the beginning of each cycle. This cycle lasts 360 years, from the 48,601st to the 48,960th year of a great cycle.

星庚一百三十七：辰子一千六百三十三，辰丑一千六百三十四，辰寅一千六百三十五，辰卯一千六百三十六，辰辰一千六百三十七，辰巳一千六百三十八，辰午一千六百三十九，辰未一千六百四十，辰申一千六百四十一，辰酉一千六百四十二，辰戌一千六百四十三，辰亥一千六百四十四。

The 137th cycle, with the heavenly stem Geng, corresponds to the 17th cycle of the Chen assembly. This cycle encompasses the 1633rd to the 1644th generations: the Zi generation is the 1633rd, followed in order by Chou, Yin, Mao, Chen, Si, and Wu, reaching the Wei generation exactly at the 1640th. Then the generations Shen, You, Xu, and Hai complete the 1641st to the 1644th generations. These twelve generations total 360 years, spanning from the 48,960th to the 49,320th year of the 129,600-year great cycle. There are still thirteen cycles remaining until the Chen assembly concludes.

星辛一百三十八：辰子一千六百四十五，辰丑一千六百四十六，辰寅一千六百四十七，辰卯一千六百四十八，辰辰一千六百四十九，辰巳一千六百五十，辰午一千六百五十一，辰未一千六百五十二，辰申一千六百五十三，辰酉一千六百五十四，辰戌一千六百五十五，辰亥一千六百五十六。

The 138th cycle, with the heavenly stem Xin, corresponds to the eighteenth cycle of the Chen (Earthly Branch). The following twelve generations span from the 1645th to the 1656th generations, beginning with Zi and ending with Hai, each of the twelve earthly branches corresponding to one. Counting by generations, the total of all cycles is 4,320 generations, and by the end of this cycle, 1,656 generations have passed, leaving 2,664 generations remaining. Counting by years, this cycle spans 360 years, corresponding to the 49,321st to the 49,680th year of the first cycle. This kind of table only lists the order numbers; the historical events associated with the years will be recorded in the subsequent cycles of the Wu (Fire) cycle.

星壬一百三十九：辰子一千六百五十七，辰丑一千六百五十八，辰寅一千六百五十九，辰卯一千六百六十，辰辰一千六百六十一，辰巳一千六百六十二，辰午一千六百六十三，辰未一千六百六十四，辰申一千六百六十五，辰酉一千六百六十六，辰戌一千六百六十七，辰亥一千六百六十八。

The 139th cycle, with the heavenly stem paired with Ren, is the nineteenth cycle of the辰 (Chen) convergence. The twelve generations are as follows: the Zi generation is 1,657, the Chou generation is 1,658, the Yin generation is 1,659, the Mao generation is 1,660, and the following generations, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai, each increase by one number, with the final Hai generation being 1,668. The heavenly stems reach Ren, leaving only one stem before completing a full cycle, so this cycle connects with the next "star stem Gui," completing the second round of ten heavenly stems within the辰 (Chen) convergence. This cycle lasts 360 years, from the 49,681st year to the 50,400th year of a great cycle.

星癸一百四十：辰子一千六百六十九，辰丑一千六百七十，辰寅一千六百七十一，辰卯一千六百七十二，辰辰一千六百七十三，辰巳一千六百七十四，辰午一千六百七十五，辰未一千六百七十六，辰申一千六百七十七，辰酉一千六百七十八，辰戌一千六百七十九，辰亥一千六百八十。

The 140th cycle, with the heavenly stem癸 (Gui), corresponds to the second tenth cycle of the辰 (Chen) trine. Gui is the last of the ten heavenly stems; once this cycle ends, the second round of heavenly stems within the辰 trine will be exhausted, and the next cycle will begin again with甲 (Jia). The twelve generations under this cycle span from the 1,669th generation (Zi) to the 1,680th generation (Hai). The generation of Chou reaches exactly 1,670, and the generation of Hai reaches exactly 1,680, both being whole numbers. This cycle lasts 360 years, corresponding to the 50,041st to 50,400th year of the great cycle. At this time, the entire great cycle of 129,600 years has already passed more than one third.

星甲一百四十一：辰子一千六百八十一，辰丑一千六百八十二，辰寅一千六百八十三，辰卯一千六百八十四，辰辰一千六百八十五，辰巳一千六百八十六，辰午一千六百八十七，辰未一千六百八十八，辰申一千六百八十九，辰酉一千六百九十，辰戌一千六百九十一，辰亥一千六百九十二。

The 141st cycle begins with the heavenly stem Jia, marking the second十一 cycle, and the start of the third round of heavenly stems within this cycle. The twelve eras under this cycle span from the 1681st era to the 1692nd era: the Zi era is the 1681st, the Chou era is the 1682nd, the Yin era is the 1683rd, and the subsequent Mao, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai eras follow in order, ending with the Hai era as the 1692nd. Each era lasts thirty years, making the total duration of this cycle three hundred and sixty years, corresponding to the 50,401st to the 50,760th year of the great cycle.

星乙一百四十二：辰子一千六百九十三，辰丑一千六百九十四，辰寅一千六百九十五，辰卯一千六百九十六，辰辰一千六百九十七，辰巳一千六百九十八，辰午一千六百九十九，辰未一千七百，辰申一千七百一，辰酉一千七百二，辰戌一千七百三，辰亥一千七百四。

The 142nd cycle, paired with the heavenly stem Yi, is the second twenty-second cycle of the辰 (Chen) group. The following twelve generations begin from the 1693rd generation. The first seven generations, corresponding to the earthly branches Zi, Chou, Yin, Mao, Chen, Si, and Wu, still belong to the number 1600. By the generation of Wei, the total reaches 1700, and the four generations of Shen, You, Xu, and Hai continue as the 1701st to the 1704th generations. Shao Yong counted generations without distinguishing dynasties or cycles, simply counting continuously from the beginning of the great cycle. Therefore, the occurrence of a full thousand in any branch is merely a result of counting and has no special meaning. This cycle lasts 360 years, corresponding to the 50,761st to the 51,120th year of the great cycle.

星丙一百四十三：辰子一千七百五，辰丑一千七百六，辰寅一千七百七，辰卯一千七百八，辰辰一千七百九，辰巳一千七百十，辰午一千七百十一，辰未一千七百十二，辰申一千七百十三，辰酉一千七百十四，辰戌一千七百十五，辰亥一千七百十六。

The 143rd cycle, with the heavenly stem paired with Bing, is the second十三th cycle of the Chen combination. The twelve generations span from the 1705th to the 1716th, starting with Zi and ending with Hai, completing one full cycle of the earthly branches. The Chen combination, which governs thirty cycles, has already passed twenty-three cycles, leaving seven remaining; in terms of years, the Chen combination spans 10,800 years, of which 8,280 years have already been completed. One generation corresponds to thirty years, which is exactly half of a full Jiazi cycle. Two generations combined form a complete Jiazi cycle, so this cycle's twelve generations correspond to six full Jiazi cycles. The duration of this cycle itself is 360 years, corresponding to the fifth ten-thousand one hundred and twenty-first year to the fifth ten-thousand one hundred and forty-eighth year of the great cycle.

星丁一百四十四：辰子一千七百十七，辰丑一千七百十八，辰寅一千七百十九，辰卯一千七百二十，辰辰一千七百二十一，辰巳一千七百二十二，辰午一千七百二十三，辰未一千七百二十四，辰申一千七百二十五，辰酉一千七百二十六，辰戌一千七百二十七，辰亥一千七百二十八。

The 144th cycle, paired with the heavenly stem Ding, is the second十四th cycle of the辰 (Chen) convergence. It encompasses twelve generations starting from the 1717th generation (Zi) to the 1728th generation (Hai), with the卯 (Mao) generation exactly at the 1720th. One cycle consists of twelve generations, one generation spans thirty years, forming the basic rhythm of Shao Yong's calculations: generation is the smallest unit of time, a cycle is twelve times a generation, a convergence is thirty times a cycle, and a yuan is twelve times a convergence. Multiplying these layers together results in a total of twelve thousand nine hundred sixty years. This cycle spans from the 51,481st year to the 51,840th year within this period.

星戊一百四十五：辰子一千七百二十九，辰丑一千七百三十，辰寅一千七百三十一，辰卯一千七百三十二，辰辰一千七百三十三，辰巳一千七百三十四，辰午一千七百三十五，辰未一千七百三十六，辰申一千七百三十七，辰酉一千七百三十八，辰戌一千七百三十九，辰亥一千七百四十。

The 145th cycle, paired with the heavenly stem Wu, corresponds to the second fifth cycle. This cycle spans twelve generations, from the 1,729th to the 1,740th generation: the Zi generation is the 1,729th, the Chou generation is the 1,730th, and the remaining ten generations from Yin to Hai follow in order, each increasing by one. The Hai generation is the 1,740th. In the table, the earthly branches do not repeat and the numbering is continuous, so any generation number can be used to determine which cycle it belongs to. Subtract one from the generation number, divide by twelve, and add one to get the cycle. This cycle lasts 360 years, from the 51,841st to the 52,200th year of the great cycle.

星己一百四十六：辰子一千七百四十一，辰丑一千七百四十二，辰寅一千七百四十三，辰卯一千七百四十四，辰辰一千七百四十五，辰巳一千七百四十六，辰午一千七百四十七，辰未一千七百四十八，辰申一千七百四十九，辰酉一千七百五十，辰戌一千七百五十一，辰亥一千七百五十二。

The 146th cycle, paired with the heavenly stem Ji, is the second sixth cycle of the Chen meeting. It encompasses twelve generations, from the 1741st to the 1752nd, each earthly branch ruling one generation: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai. The You generation exactly reaches the 1750th. Calculating this: subtract one from the cycle number 146 to get 145, multiply by twelve to get 1740, then add one to reach the first generation of this cycle, the 1741st, which matches exactly with the table. By this point, the Chen meeting's thirty cycles have only four left, and the full meeting will reach 10,800 years. This cycle lasts 360 years, spanning from the 52,201st to the 52,560th year of the 129,600-year great cycle.

星庚一百四十七：辰子一千七百五十三，辰丑一千七百五十四，辰寅一千七百五十五，辰卯一千七百五十六，辰辰一千七百五十七，辰巳一千七百五十八，辰午一千七百五十九，辰未一千七百六十，辰申一千七百六十一，辰酉一千七百六十二，辰戌一千七百六十三，辰亥一千七百六十四。

The 147th cycle, with the heavenly stem paired with Geng, is the second十七th cycle of the辰 (Chen) convergence. The twelve generations span from the 1753rd to the 1764th, with the last generation exactly reaching 1760. The earthly branches take Zi as the first and Hai as the last because Shao Yong used the twelve branches to symbolize the twelve convergences and also to record the twelve generations, employing the same set of symbols both above and below, to signify the cyclical nature, not as the names of the hours. This cycle lasts 360 years, equivalent to six cycles of the sixty Jiazi, spanning from the 52,561st to the 52,920th year of a great cycle.

星辛一百四十八：辰子一千七百六十五，辰丑一千七百六十六，辰寅一千七百六十七，辰卯一千七百六十八，辰辰一千七百六十九，辰巳一千七百七十，辰午一千七百七十一，辰未一千七百七十二，辰申一千七百七十三，辰酉一千七百七十四，辰戌一千七百七十五，辰亥一千七百七十六。

The 148th cycle, paired with the heavenly stem Xin, is the second eighth cycle of the Chen cycle. It covers twelve generations starting from the first thousand seven hundred and sixty-fifth generation to the first thousand seven hundred and seventy-sixth generation. The generations from Zi to Hai are arranged in order, and the generation Si reaches exactly the first thousand seven hundred and seventy. The Chen cycle has now completed twenty-eight cycles and ten thousand and eighty years, leaving only two cycles totaling seven hundred and twenty years before entering the next cycle. In terms of generations, one cycle consists of four thousand three hundred and twenty generations, and one thousand seven hundred and seventy-six generations have already passed, leaving two thousand five hundred and forty-four generations remaining, which is more than the number already passed. This cycle lasts three hundred and sixty years, corresponding to the years fifty-two thousand nine hundred and twenty-one to fifty-three thousand two hundred and eighty of the great cycle.

星壬一百四十九：辰子一千七百七十七，辰丑一千七百七十八，辰寅一千七百七十九，辰卯一千七百八十，辰辰一千七百八十一，辰巳一千七百八十二，辰午一千七百八十三，辰未一千七百八十四，辰申一千七百八十五，辰酉一千七百八十六，辰戌一千七百八十七，辰亥一千七百八十八。

The 149th cycle, with the heavenly stem paired with Ren, is the second ninth cycle of the辰 (Chen) convergence. The twelve generations span from the 1777th to the 1788th, starting with Zi and ending with Hai, with a continuous numbering. The卯 (Mao) generation reaches exactly the 1780th. Once this cycle is completed, the辰 (Chen) convergence has only one cycle left. In terms of the yuan, after 4320 years of one yuan, 1788 years have passed. Shao Yong in his works "Yi Yuan Jing Hui" only discusses up to the generations, while the yearly numbers under each generation are found in "Yi Yun Jing Shi," which continues from the former but with different levels of detail. This cycle lasts 360 years, corresponding to the 53,281st to the 53,640th year of one yuan.

星癸一百五十：辰子一千七百八十九，辰丑一千七百九十，辰寅一千七百九十一，辰卯一千七百九十二，辰辰一千七百九十三，辰巳一千七百九十四，辰午一千七百九十五，辰未一千七百九十六，辰申一千七百九十七，辰酉一千七百九十八，辰戌一千七百九十九，辰亥一千八百。

The 150th cycle, with the heavenly stem癸 (Gui), is the last cycle of the fifth convergence (Chen convergence) which consists of thirty cycles. The twelve generations under this cycle span from the 1789th generation to the 1800th generation: Zi generation is the 1789th, Chou generation the 1790th, followed by Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu in order, and Hai generation exactly reaches the 1800th. This number precisely matches the total of 360 generations in one convergence—five convergences total 1800 generations, or 54,000 years. This cycle lasts 360 years, corresponding to the 53,641st to 54,000th year of one great cycle. At this point, the Chen convergence comes to an end, and the next convergence, Si convergence, begins.

日甲一，月巳六。

"The 'day' marks the great cycle, and the 'month' marks the great division. 'Day Jia one' refers to the first cycle, with the heavenly stem paired with Jia; 'month Si six' refers to the sixth division within the twelve divisions of a great cycle, with the earthly branch belonging to Si. This Si division encompasses thirty cycles, from the 151st to the 180th, and thirty-six hundred generations, from the 1801st to the 2160th, totaling one hundred and eight thousand years. Within the twelve thousand nine hundred and sixty-year great cycle, this period spans from the fifth thousand four hundred and first year to the sixth thousand four hundred and eightieth year. 'Using the cycle as the main thread and the division as the cross thread' means organizing the cycles and generations sequentially according to each division."

星甲一百五十一：辰子一千八百一，辰丑一千八百二，辰寅一千八百三，辰卯一千八百四，辰辰一千八百五，辰巳一千八百六，辰午一千八百七，辰未一千八百八，辰申一千八百九，辰酉一千八百十，辰戌一千八百十一，辰亥一千八百十二。

The 151st cycle, paired with the heavenly stem Jia, is the first cycle of the thirty-cycle assembly. It encompasses twelve generations, starting from the 1801st generation (Zi) to the 1812th generation (Hai), with each earthly branch governing one generation. The last cycle ended at the 1800th generation, and this cycle begins with the 1801st generation, showing that the numbering of generations continues throughout the entire cycle without restarting with each assembly. Each generation lasts thirty years, making this cycle 360 years long, spanning from the 54,001st year to the 54,360th year of the great cycle.

星乙一百五十二：辰子一千八百十三，辰丑一千八百十四，辰寅一千八百十五，辰卯一千八百十六，辰辰一千八百十七，辰巳一千八百十八，辰午一千八百十九，辰未一千八百二十，辰申一千八百二十一，辰酉一千八百二十二，辰戌一千八百二十三，辰亥一千八百二十四。

The 152nd cycle, with the heavenly stem paired with Yi, is the second cycle of the Si (Snake) convergence. The following twelve generations range from the 1813th to the 1824th: the Zi generation is the 1813th, and the Chou, Yin, Mao, Chen, Si, and Wu generations follow in order. The Wei generation exactly reaches the 1820th, and the Shen, You, Xu, and Hai generations continue as the 1821st to the 1824th generations. The Si convergence consists of thirty cycles, and up to this point, two cycles and seven hundred twenty years have passed, still far from completing one convergence. This cycle lasts three hundred sixty years, corresponding to the 54,361st to the 54,720th year of the Great Cycle.

星丙一百五十三：辰子一千八百二十五，辰丑一千八百二十六，辰寅一千八百二十七，辰卯一千八百二十八，辰辰一千八百二十九，辰巳一千八百三十，辰午一千八百三十一，辰未一千八百三十二，辰申一千八百三十三，辰酉一千八百三十四，辰戌一千八百三十五，辰亥一千八百三十六。

The 153rd cycle, with the heavenly stem paired as Bing, is the third cycle in the巳 group. It encompasses twelve generations starting from the 1,825th generation and ending at the 1,836th generation. Each of the twelve branches, from Zi to Hai, is assigned to one generation. The heavenly stem of the cycle name and the earthly branch of the generation name each form their own cycle: the heavenly stem has ten positions, so every ten cycles repeat; the earthly branch has twelve positions, so within each cycle, it forms its own complete cycle. Unlike the sixty Jiazi cycles which alternate, this system is layered, with each level managed separately. Therefore, within one cycle, the twelve generations' earthly branches must necessarily start with Zi and end with Hai, without exception. This cycle lasts 360 years, corresponding to the 54,721st to 55,080th year of a great cycle.

星丁一百五十四：辰子一千八百三十七，辰丑一千八百三十八，辰寅一千八百三十九，辰卯一千八百四十，辰辰一千八百四十一，辰巳一千八百四十二，辰午一千八百四十三，辰未一千八百四十四，辰申一千八百四十五，辰酉一千八百四十六，辰戌一千八百四十七，辰亥一千八百四十八。

The 154th cycle, paired with the heavenly stem Ding, is the fourth cycle of the巳 (Si) group. The twelve generations span from the 1837th to the 1848th, with the卯 (Mao) generation exactly reaching the 1840th. Calculating by the cycle, the巳 (Si) group has lasted 10,800 years, and up to now 1,440 years have passed; calculating by the great cycle, this cycle should last from 55,080 to 55,440 years. The table only marks the order without listing historical events, because this period is far before recorded history, and Shao Yong had no basis for it, so he preserved the numbers without recording the events; from this point onward, more than twenty cycles are only numbered without events, until the beginning of the午 (Wu) group, which connects with the Xia Yu era.

星戊一百五十五：辰子一千八百四十九，辰丑一千八百五十，辰寅一千八百五十一，辰卯一千八百五十二，辰辰一千八百五十三，辰巳一千八百五十四，辰午一千八百五十五，辰未一千八百五十六，辰申一千八百五十七，辰酉一千八百五十八，辰戌一千八百五十九，辰亥一千八百六十。

The 155th cycle corresponds to the heavenly stem Wu, forming the fifth cycle of the巳 (Si) group. It encompasses twelve generations, from the 1849th generation (Zi) to the 1860th generation (Hai). The 1850th generation exactly matches the丑 (Chou) era, and the 1860th generation exactly matches the亥 (Hai) era. The pattern of one cycle encompassing twelve generations is consistent in each section; what changes are the numbering and the assigned heavenly stem. This is precisely the method of Shao Yong's numerical calculations, "using numbers to govern events": first establishing the framework of time, then filling it with historical events. This cycle spans 360 years, corresponding to the 55,441st to 55,800th year of a great cycle.

星己一百五十六：辰子一千八百六十一，辰丑一千八百六十二，辰寅一千八百六十三，辰卯一千八百六十四，辰辰一千八百六十五，辰巳一千八百六十六，辰午一千八百六十七，辰未一千八百六十八，辰申一千八百六十九，辰酉一千八百七十，辰戌一千八百七十一，辰亥一千八百七十二。

The 156th cycle, with the heavenly stem JI, corresponds to the sixth cycle of the Si (Snake) convergence. The twelve generations span from the 1861st to the 1872nd, starting with Zi (Rat) and ending with Hai (Pig), with the You (Rooster) generation completing the 1870th. Among these twelve generations, the first six—Zi, Chou, Yin, Mao, Chen, and Si—belong to the first half, while the latter six—Wu, Wei, Shen, You, Xu, and Hai—belong to the second half, each lasting 180 years. By this point, the Si convergence has completed six of its thirty cycles, which is one fifth of the entire convergence, leaving twenty-four more cycles and 8,640 years remaining. This cycle itself lasts 360 years, spanning from the 55,801st to the 56,160th year of the great cycle.

星庚一百五十七：辰子一千八百七十三，辰丑一千八百七十四，辰寅一千八百七十五，辰卯一千八百七十六，辰辰一千八百七十七，辰巳一千八百七十八，辰午一千八百七十九，辰未一千八百八十，辰申一千八百八十一，辰酉一千八百八十二，辰戌一千八百八十三，辰亥一千八百八十四。

The 157th cycle, with the heavenly stem Geng, corresponds to the seventh cycle of the Si (Snake) group. The twelve generations under this cycle span from the 1873rd to the 1884th: the first seven generations, Zi (Rat), Chou (Ox), Yin (Tiger), Mao (Rabbit), Chen (Dragon), Si (Snake), and Wu (Horse), extend from the 1873rd to the 1879th. The Wei (Goat) generation completes the 1880th, and Shen (Monkey), You (Rooster), Xu (Dog), and Hai (Pig) continue up to the 1884th. The name of the heavenly stem for this cycle and its position within the group can be cross-referenced: Jia, Yi, Bing, Ding, Wu, Ji, Geng. Geng is the seventh among the ten heavenly stems, confirming that this cycle is indeed the seventh of the Si group. The duration of this cycle is 360 years, corresponding to the 56,161st to the 56,520th year of a great cycle.

星辛一百五十八：辰子一千八百八十五，辰丑一千八百八十六，辰寅一千八百八十七，辰卯一千八百八十八，辰辰一千八百八十九，辰巳一千八百九十，辰午一千八百九十一，辰未一千八百九十二，辰申一千八百九十三，辰酉一千八百九十四，辰戌一千八百九十五，辰亥一千八百九十六。

The 158th cycle, with the heavenly stem paired with Xin, corresponds to the eighth cycle of the巳 (Si) group. The twelve generations start from the 1,885th generation to the 1,896th generation, with the earthly branches proceeding from Zi to Hai, completing a full cycle. The Si cycle has reached exactly the 1,890th generation. In the table, each row represents the twelve generations under one cycle, while vertically, thirty cycles make up one period, and twelve periods make up one great cycle. This section is one row of the large table. The Si period, which spans 10,800 years, has already passed 2,880 years, leaving 7,920 years remaining. This cycle lasts 360 years, corresponding to the 56,521st to the 56,880th year of the great cycle.

星壬一百五十九：辰子一千八百九十七，辰丑一千八百九十八，辰寅一千八百九十九，辰卯一千九百，辰辰一千九百一，辰巳一千九百二，辰午一千九百三，辰未一千九百四，辰申一千九百五，辰酉一千九百六，辰戌一千九百七，辰亥一千九百八。

The 159th cycle, with the heavenly stem paired with Ren, corresponds to the ninth cycle of the巳 group. It encompasses twelve generations, from the 1897th to the 1908th, among which the generation of Mao exactly reaches the 1900th. The following eight generations of Chen, Si, Wu, Wei, Shen, You, Xu, and Hai span from the 1901st to the 1908th. The heavenly stem reaches Ren, and in this cycle's first round of ten stems, only one stem remains to complete the cycle. This cycle lasts 360 years, corresponding to the 56,881st to the 57,240th year of the great cycle.

星癸一百六十：辰子一千九百九，辰丑一千九百十，辰寅一千九百十一，辰卯一千九百十二，辰辰一千九百十三，辰巳一千九百十四，辰午一千九百十五，辰未一千九百十六，辰申一千九百十七，辰酉一千九百十八，辰戌一千九百十九，辰亥一千九百二十。

The 160th cycle, with the heavenly stem paired with Gui, is the tenth cycle of the Si (Snake) convergence, and this is the first round of the convergence, during which the heavenly stems are exhausted. The twelve eras span from the 1909th to the 1920th era: the Zi era is the 1909th, the Chou era is completed in the 1910th, and the Hai era is completed in the 1920th. Ten cycles total 3,600 years, which is exactly one third of the 10,800 years of the Si convergence. This cycle lasts 360 years, equivalent to six cycles of the Jiazi (Heavenly Stems and Earthly Branches), and is no different from other cycles. Within the great cycle, it spans from the 57,241st to the 57,600th year.

星甲一百六十一：辰子一千九百二十一，辰丑一千九百二十二，辰寅一千九百二十三，辰卯一千九百二十四，辰辰一千九百二十五，辰巳一千九百二十六，辰午一千九百二十七，辰未一千九百二十八，辰申一千九百二十九，辰酉一千九百三十，辰戌一千九百三十一，辰亥一千九百三十二。

The 161st cycle begins with the heavenly stem Jia, marking the 11th cycle of the fourth phase, and is the first heavenly stem of the second round within this phase. It encompasses twelve generations, from the 1921st to the 1932nd: the first three generations, Zi, Chou, and Yin, correspond to the 1921st to the 1923rd, followed by Mao through Hai, each subsequent generation increasing sequentially. The generation of You reaches exactly the 1930th. Within the cycle, the position corresponds with the heavenly stem name: the 11th cycle's stem is again Jia, as is the 21st, and each cycle of thirty cycles contains three rounds of ten heavenly stems. Each generation spans thirty years, making this cycle 360 years long. Within the great cycle, this period corresponds to the 57,601st to the 57,960th year.

星乙一百六十二：辰子一千九百三十三，辰丑一千九百三十四，辰寅一千九百三十五，辰卯一千九百三十六，辰辰一千九百三十七，辰巳一千九百三十八，辰午一千九百三十九，辰未一千九百四十，辰申一千九百四十一，辰酉一千九百四十二，辰戌一千九百四十三，辰亥一千九百四十四。

The 162nd cycle corresponds to the Heavenly Stem Yi, and is the twelfth cycle within the巳 (Si) group. The twelve generations span from the 1933rd to the 1944th, starting with Zi and ending with Hai, with the Wei generation completing the 1940th. Each thirty cycles form a single group, and each cycle corresponds to twelve generations. This cycle, being the twelfth in the group, coincidentally matches the number of generations in one cycle, but they belong to different levels and should not be confused. The巳 group has already lasted 4,320 years, with the entire group still remaining 6,480 years. This cycle lasts 360 years, corresponding to the 57,961st to 58,320th year of a great cycle.

星丙一百六十三：辰子一千九百四十五，辰丑一千九百四十六，辰寅一千九百四十七，辰卯一千九百四十八，辰辰一千九百四十九，辰巳一千九百五十，辰午一千九百五十一，辰未一千九百五十二，辰申一千九百五十三，辰酉一千九百五十四，辰戌一千九百五十五，辰亥一千九百五十六。

The 163rd cycle, with the heavenly stem paired with Bing, corresponds to the 13th cycle of the巳 (Si) branch. It encompasses twelve generations, from the 1945th to the 1956th, with each earthly branch from Zi to Hai governing one generation. The Si generation exactly reaches the 1950th. Counting the generations, one cycle consists of 4,320 generations. By the end of this cycle, 1,956 generations have been completed, leaving 2,364 generations remaining. Within the 360 years of this cycle, there are six full cycles of the sixty Jiazi. Every two generations form one cycle, spanning from the 58,321st to the 58,680th year of the great cycle.

星丁一百六十四：辰子一千九百五十七，辰丑一千九百五十八，辰寅一千九百五十九，辰卯一千九百六十，辰辰一千九百六十一，辰巳一千九百六十二，辰午一千九百六十三，辰未一千九百六十四，辰申一千九百六十五，辰酉一千九百六十六，辰戌一千九百六十七，辰亥一千九百六十八。

The 164th cycle is paired with the heavenly stem Ding, forming the 14th cycle of the巳 group. The twelve generations start from the first thousand nine hundred and fifty-seventh generation (Zi) and end at the first thousand nine hundred and sixty-eighth generation (Hai), with the Mao generation exactly reaching the first thousand nine hundred and sixtieth. Calculating this: subtract one from the cycle number 164 to get 163, multiply by twelve to get 1956, and add one to reach the first generation of this cycle, which is the first thousand nine hundred and fifty-seventh. This shows that the numbering in the table is consistent. This period still belongs to the remote and undocumented ancient times, where the table does not record imperial era names, but only marks positions by numerical order. This cycle lasts three hundred and sixty years, corresponding to the fifth ten thousand eight hundred and eighty-first year to the fifth ten thousand nine hundred and fourth year of the great cycle.

星戊一百六十五：辰子一千九百六十九，辰丑一千九百七十，辰寅一千九百七十一，辰卯一千九百七十二，辰辰一千九百七十三，辰巳一千九百七十四，辰午一千九百七十五，辰未一千九百七十六，辰申一千九百七十七，辰酉一千九百七十八，辰戌一千九百七十九，辰亥一千九百八十。

The 165th cycle, with the heavenly stem Wu, corresponds to the fifteenth cycle of the Si (Snake) convergence, which is exactly half of the thirty cycles of this convergence. The twelve generations under this cycle span from the 1969th to the 1980th generations: the Zi generation is the 1969th, the Chou generation completes the 1970th, and the Hai generation completes the 1980th. By the end of this cycle, the Si convergence has already lasted 5,400 years, which is exactly the midpoint of the 11,080-year convergence; from this point onward, the next fifteen cycles will complete the Si convergence and transfer it to the Wu convergence. This cycle lasts 360 years, corresponding to the 59,041st to the 59,400th year of the Great Cycle.

星己一百六十六：辰子一千九百八十一，辰丑一千九百八十二，辰寅一千九百八十三，辰卯一千九百八十四，辰辰一千九百八十五，辰巳一千九百八十六，辰午一千九百八十七，辰未一千九百八十八，辰申一千九百八十九，辰酉一千九百九十，辰戌一千九百九十一，辰亥一千九百九十二。

The 166th cycle, with the heavenly stem JI, corresponds to the sixteenth cycle of the fourth phase. The twelve cycles span from the 1981st to the 1992nd generations, with Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai assigned in order. The You cycle reaches the 1990th generation. The Si cycle has already passed 5,760 years out of 10,080, leaving 5,040 years remaining. Since the Si cycle is the sixth of the first great cycle, the end of the cycle occurs at the midpoint of the great cycle, so this number also represents the time from the beginning of this cycle to the midpoint of the great cycle. This cycle lasts 360 years, corresponding to the period from the 59,401st to the 59,760th year of the great cycle.

星庚一百六十七：辰子一千九百九十三，辰丑一千九百九十四，辰寅一千九百九十五，辰卯一千九百九十六，辰辰一千九百九十七，辰巳一千九百九十八，辰午一千九百九十九，辰未二千，辰申二千一，辰酉二千二，辰戌二千三，辰亥二千四。

The 167th cycle, with the heavenly stem Geng, corresponds to the seventeenth cycle of the巳 group. The twelve generations under this cycle span from the 1993rd to the 2004th: the six generations of Zi, Chou, Yin, Mao, Chen, and Si run from the 1993rd to the 1998th, the Wu generation is the 1999th, the Wei generation exactly reaches the 2000th, and the four generations of Shen, You, Xu, and Hai continue from the 2001st to the 2004th. When the number of generations reaches two thousand, it is merely a sequential number increment, with no change in the structure. This cycle lasts 360 years, corresponding to the 59,761st to the 60,120th year of the great cycle.

星辛一百六十八：辰子二千五，辰丑二千六，辰寅二千七，辰卯二千八，辰辰二千九，辰巳二千十，辰午二千十一，辰未二千十二，辰申二千十三，辰酉二千十四，辰戌二千十五，辰亥二千十六。

The 168th cycle, with the heavenly stem paired with Xin, corresponds to the eighteenth cycle of the Si (Snake). The twelve generations span from the 2005th to the 2016th, beginning with Zi and ending with Hai, with continuous numbering. One great cycle consists of 4,320 generations, and by this point, 2,016 generations have passed, still less than half. This shows the vast scale of the time measurement proposed by Shao Yong. This cycle lasts 360 years, corresponding to the 61,201st to the 61,440th year of the great cycle.

星壬一百六十九：辰子二千十七，辰丑二千十八，辰寅二千十九，辰卯二千二十，辰辰二千二十一，辰巳二千二十二，辰午二千二十三，辰未二千二十四，辰申二千二十五，辰酉二千二十六，辰戌二千二十七，辰亥二千二十八。

The 169th cycle, with the heavenly stem壬 (Ren), corresponds to the nineteenth cycle of巳 (Si). It encompasses twelve generations from the 2017th generation (Zi) to the 2028th generation (Hai), with the generation of Mao (卯) reaching its full count in the 2020th generation. When the heavenly stem reaches Ren, it connects with the next cycle's stem Gui (癸), completing the second round of ten heavenly stems. By this point, the cycle of巳 has spanned 6,840 years. This cycle lasts 360 years, corresponding to the sixth ten-thousand and forty-eighth to sixth ten-thousand and eighty-eighth years of a great cycle.

星癸一百七十：辰子二千二十九，辰丑二千三十，辰寅二千三十一，辰卯二千三十二，辰辰二千三十三，辰巳二千三十四，辰午二千三十五，辰未二千三十六，辰申二千三十七，辰酉二千三十八，辰戌二千三十九，辰亥二千四十。

The 170th cycle, with the heavenly stem癸 (Gui), is the second ten-cycle of the巳 (Si) convergence, and in this cycle the heavenly stems are exhausted for the second round of this convergence. The next cycle will begin again with the heavenly stem甲 (Jia). The twelve ages span from the 2029th to the 2040th: the Zi age ends at the 2029th, the Chou age ends at the 2030th, and the Hai age ends at the 2040th. Twenty cycles total 7,200 years, accounting for two-thirds of the 10,800-year巳 (Si) convergence. This cycle lasts 360 years, corresponding to the sixth 60,841st to the 61,200th year of the great cycle.

星甲一百七十一：辰子二千四十一，辰丑二千四十二，辰寅二千四十三，辰卯二千四十四，辰辰二千四十五，辰巳二千四十六，辰午二千四十七，辰未二千四十八，辰申二千四十九，辰酉二千五十，辰戌二千五十一，辰亥二千五十二。

The 171st cycle, with the heavenly stem Jia, corresponds to the second十一th cycle of the巳 group, and the third round of heavenly stems begins here. The twelve generations covered are from the 2041st to the 2052nd, starting with Zi and ending with Hai, each earthly branch representing one generation. The You generation exactly reaches the 2050th. Each generation lasts thirty years, making this cycle 360 years long. Within the first yuán of 12,960,000 years, this cycle spans from the 6,1201st to the 6,1560th year.

星乙一百七十二：辰子二千五十三，辰丑二千五十四，辰寅二千五十五，辰卯二千五十六，辰辰二千五十七，辰巳二千五十八，辰午二千五十九，辰未二千六十，辰申二千六十一，辰酉二千六十二，辰戌二千六十三，辰亥二千六十四。

The 172nd cycle, with the heavenly stem paired with Yi, is the 22nd cycle of the Si (Snake) group. The twelve generations span from the 2053rd to the 2064th, with the last generation exactly reaching the 2060th. After this cycle, the remaining cycles in the Si group amount to eight cycles, or 2,880 years; in terms of the great cycle, the 4,320 generations of one cycle have already passed the 2064th generation. This cycle lasts 360 years, corresponding to the 61,561st to the 61,920th year of one great cycle.

星丙一百七十三：辰子二千六十五，辰丑二千六十六，辰寅二千六十七，辰卯二千六十八，辰辰二千六十九，辰巳二千七十，辰午二千七十一，辰未二千七十二，辰申二千七十三，辰酉二千七十四，辰戌二千七十五，辰亥二千七十六。

The 173rd cycle, with the heavenly stem paired as Bing, corresponds to the second十三th cycle of the巳 group. The twelve generations under this cycle span from the 2065th to the 2076th generations: the five generations of Zi, Chou, Yin, Mao, and Chen reach up to the 2069th generation, the generation of Si is completed at the 2070th generation, and the six generations of Wu, Wei, Shen, You, Xu, and Hai continue from the 2071st to the 2076th generation. This cycle lasts 360 years, corresponding to the 61,921st to the 62,280th year of the Great Cycle.

星丁一百七十四：辰子二千七十七，辰丑二千七十八，辰寅二千七十九，辰卯二千八十，辰辰二千八十一，辰巳二千八十二，辰午二千八十三，辰未二千八十四，辰申二千八十五，辰酉二千八十六，辰戌二千八十七，辰亥二千八十八。

The 174th cycle, paired with the heavenly stem Ding, corresponds to the second十四th cycle of the巳 group. The twelve generations span from the 2077th to the 2088th, beginning with Zi and ending with Hai, completing one cycle of the earthly branches. The卯 cycle exactly reaches the 2080th. Shao Yong created this table to illustrate that "time has a fixed number": the great cycle, the cycle, the cycle of years, and the years are interrelated in layers. Any given generation can be traced back to its cycle, its group, and its great cycle. This cycle lasts 360 years, corresponding to the sixth twenty-two thousand and eighty-first year to the sixth twenty-two thousand and six hundred and fourtieth year of a great cycle.

星戊一百七十五：辰子二千八十九，辰丑二千九十，辰寅二千九十一，辰卯二千九十二，辰辰二千九十三，辰巳二千九十四，辰午二千九十五，辰未二千九十六，辰申二千九十七，辰酉二千九十八，辰戌二千九十九，辰亥二千一百。

The 175th cycle, with the heavenly stem Wu, is the 25th cycle of the Si (Snake) group. The twelve generations under this cycle span from the 2089th to the 2100th: the Zi generation is the 2089th, the Chou generation is full in the 2090th, and the subsequent generations from Yin to Xu follow in order, with the Hai generation completing in the 2100th. This cycle lasts 360 years, corresponding to the 62,641st to 63,000th year of the Great Cycle. By this point, the Si group has already passed 9,000 years, leaving only 1,800 years remaining.

星己一百七十六：辰子二千一百一，辰丑二千一百二，辰寅二千一百三，辰卯二千一百四，辰辰二千一百五，辰巳二千一百六，辰午二千一百七，辰未二千一百八，辰申二千一百九，辰酉二千一百十，辰戌二千一百十一，辰亥二千一百十二。

The 176th cycle, with the heavenly stem Ji, corresponds to the second十六th cycle of the巳 group. The twelve generations under this cycle span from the 2101st to the 2112th generations: the nine generations from Zi to Shen follow in order from the 2101st to the 2109th, the You generation completes the 2110th, and the Xu and Hai generations correspond to the 2111th and 2112th respectively. This cycle lasts 360 years, corresponding to the 63,001st to the 63,360th year of the first great cycle.

星庚一百七十七：辰子二千一百十三，辰丑二千一百十四，辰寅二千一百十五，辰卯二千一百十六，辰辰二千一百十七，辰巳二千一百十八，辰午二千一百十九，辰未二千一百二十，辰申二千一百二十一，辰酉二千一百二十二，辰戌二千一百二十三，辰亥二千一百二十四。

The 177th cycle, with the heavenly stem Geng, is the 27th cycle of the Si (Snake) convergence. The twelve generations span from the 2113th to the 2124th, starting with Zi and ending with Hai, numbered continuously. The last generation exactly reaches the 2120th. The Si convergence has thirty cycles, with three remaining, and will complete 10,800 years to enter the Wu (Dragon) convergence. In terms of years, this convergence has already passed 9,720 years, leaving only 1,080 years. This cycle lasts 360 years, corresponding to the 63,3601st to the 63,720th year of one great cycle.

星辛一百七十八：辰子二千一百二十五，辰丑二千一百二十六，辰寅二千一百二十七，辰卯二千一百二十八，辰辰二千一百二十九，辰巳二千一百三十，辰午二千一百三十一，辰未二千一百三十二，辰申二千一百三十三，辰酉二千一百三十四，辰戌二千一百三十五，辰亥二千一百三十六。

The 178th cycle, with the heavenly stem paired with Xin, is the 28th cycle of the Si (Snake) convergence. It encompasses twelve generations, from the 2225th generation (Zi) to the 2236th generation (Hai). The Si generation exactly reaches 2130. Calculating from the beginning, 4320 generations have passed the 2236th generation, nearly half of a cycle. The remaining part of the Si convergence consists of only two cycles, 720 years. Shao Yong divided each convergence into thirty cycles, so towards the end of each convergence, although the numbering continues sequentially, it has already approached the convergence. This cycle lasts 360 years, corresponding to the 63,721st to 64,080th year of a cycle.

星壬一百七十九：辰子二千一百三十七，辰丑二千一百三十八，辰寅二千一百三十九，辰卯二千一百四十，辰辰二千一百四十一，辰巳二千一百四十二，辰午二千一百四十三，辰未二千一百四十四，辰申二千一百四十五，辰酉二千一百四十六，辰戌二千一百四十七，辰亥二千一百四十八。

The 179th cycle, with the heavenly stem paired with Ren, is the 29th cycle of the巳 (Si) group. The twelve generations span from the 2137th to the 2148th, starting with Zi and ending with Hai, with the卯 (Mao) generation exactly at the 2140th. Once this cycle is completed, the巳 group has only one cycle left. The entire cycle of the group, which is 10,800 years, has already passed 10,440 years. The last four generations of the next cycle will directly follow the time of the Tang Yao and Yu Shun dynasties. Shao Yong's chronology can only be tied to imperial era names from there. This cycle lasts 360 years, corresponding to the 64,081st to the 64,440th year of the first cycle.

星癸一百八十：辰子二千一百四十九，辰丑二千一百五十，辰寅二千一百五十一，辰卯二千一百五十二，辰辰二千一百五十三，辰巳二千一百五十四，辰午二千一百五十五，辰未二千一百五十六，辰申二千一百五十七、唐堯二十一，辰酉二千一百五十八、唐堯五十一，辰戌二千一百五十九、虞舜九，辰亥二千一百六十、虞舜三十九。

The 180th cycle, with the heavenly stem癸 (Gui), is the final cycle of the thirty cycles of巳 (Si). It encompasses twelve generations, from the 2,149th to the 2,160th. The亥 (Hai) generation is exactly at the 2,160th, which marks the total accumulation of 360 years for each of the six cycles; thus, the cycle of巳 (Si) comes to an end, and one cycle of ten thousand eight hundred years has been completed, exactly half of a full cycle. Most notable in this section is the beginning of the record of imperial reign years in the latter four generations: the申 (Shen) generation at the 2,157th notes "the twenty-first year of Tang Yao," the酉 (You) generation at the 2,158th notes "the fifty-first year of Tang Yao," the戌 (Xu) generation at the 2,159th notes "the ninth year of Yu Shun," and the亥 (Hai) generation at the 2,160th notes "the thirty-ninth year of Yu Shun." These notes indicate the number of years the emperor was in power at the beginning of each generation. From this point on, Shao Yong's calculations align with the official historical records of imperial lineage in China. This cycle spans 360 years, corresponding to the period from the 64,441st to the 64,800th year of one cycle.

日甲一，月午七。

"The term 'day Jia one' still refers to the first initial as the first element, with the heavenly stem paired as Jia; 'month Wu seven' refers to the recorded cycle being the seventh of the twelve cycles in the first era, with the earthly branch belonging to Wu. The Wu cycle encompasses thirty ages from the 181st to the 210th, and thirty-six hundred generations from the 2161st to the 2520th, totaling one hundred and eight thousand years, spanning from the 6,480,1st to the 7,560,0th year of the first era. The documented imperial lineage of China, starting from the Xia Yu at the beginning of this cycle, is progressively recorded in the table, differing clearly from the previous six cycles which had only numbers without events."

星甲一百八十一：辰子二千一百六十一、夏禹八，辰丑二千一百六十二、夏太康二，辰寅二千一百六十三、夏仲康二，辰卯二千一百六十四、夏王相二十，辰辰二千一百六十五、夏少康二十三，辰巳二千一百六十六、夏少康五十三，辰午二千一百六十七、夏王槐四，辰未二千一百六十八、夏芒八，辰申二千一百六十九、夏不降四，辰酉二千一百七十、夏不降三十四，辰戌二千一百七十一、夏扄五，辰亥二千一百七十二、夏廑十四。

The 181st cycle, with the heavenly stem Jia, is the first cycle of the thirty-cycle period of the午 (Wu) branch. It encompasses twelve generations, from the 2161st to the 2172nd. Below each generation is noted the emperor who reigned in the first year of that generation and the number of years he reigned: the Zi generation was the eighth year of Xia Yu, the Chou generation was the second year of Xia Tai Kang, the Yin generation was the second year of Xia Zhong Kang, the Mao generation was the twentieth year of Xia Wang Xiang, the Chen generation was the twenty-third year of Xia Shao Kang, the Si generation was the fifty-third year of Xia Shao Kang, the Wu generation was the fourth year of Xia Wang Hui, the Wei generation was the eighth year of Xia Mang, the Shen generation was the fourth year of Xia Bu Jiang, the You generation was the thirty-fourth year of Xia Bu Jiang, the Xu generation was the fifth year of Xia Jing — "Jing" is Xia Emperor Jing, and the Hai generation was the fourteenth year of Xia Jin. Each generation spans thirty years, so those who reigned over thirty years are noted for two generations, such as Shao Kang and Bu Jiang. This cycle totals three hundred and sixty years, corresponding to the years 64,801 to 65,160 of the Great Cycle, which coincides with the period of Xia Dynasty from Yu to Jin.

星乙一百八十二：辰子二千一百七十三、夏孔甲二十三，辰丑二千一百七十四、夏發十一，辰寅二千一百七十五、夏癸二十二，辰卯二千一百七十六、夏癸五十二，辰辰二千一百七十七、商太甲十七，辰巳二千一百七十八、商沃丁十四，辰午二千一百七十九、商太庚十五，辰未二千一百八十、商雍巳三，辰申二千一百八十一、商太戊二十一，辰酉二千一百八十二、商太戊五十一，辰戌二千一百八十三、商仲丁六，辰亥二千一百八十四、商亶甲八。

The 182nd cycle, with the heavenly stem paired with Yi, corresponds to the second cycle of the午 (Wu) phase. It encompasses twelve generations, spanning from the 2173rd to the 2184th. The first generation, Zi, corresponds to the 23rd year of King Kongjia of Xia. The second generation, Chou, corresponds to the 11th year of King Fa of Xia. The third and fourth generations, Yin and Mao, both correspond to the 22nd and 52nd years of King Jia of Xia. From the fifth generation, Chen onwards, it shifts to the Shang dynasty, corresponding to the 17th year of King Taijia of Shang. The sixth generation, Si, corresponds to the 14th year of King Wudi of Shang. The seventh generation, Wu, corresponds to the 15th year of King Taogeng of Shang. The eighth generation, Wei, corresponds to the 3rd year of King Yongsi of Shang. The ninth and tenth generations, Shen and You, both correspond to the 21st and 51st years of King Taowu of Shang. The eleventh generation, Xu, corresponds to the 6th year of King Zhongdi of Shang. The twelfth generation, Hai, corresponds to the 8th year of King Danjia of Shang. Whenever a ruler's name appears in two generations, it is because their reign spanned across two generations, and the years noted in the two instances will always differ by thirty. For example, the 22nd and 52nd years of King Jia of Xia, and the 21st and 51st years of King Taowu of Shang. The transition from Xia to Shang occurred precisely within this cycle. This cycle spans 360 years, corresponding to the 65,161st to the 65,550th year of the Great Cycle.

星丙一百八十三：辰子二千一百八十五、商祖辛八十，辰丑二千一百八十六、商沃甲二十四，辰寅二千一百八十七、商祖丁二十九，辰卯二千一百八十八、商陽甲二，辰辰二千一百八十九、商盤庚二十五，辰巳二千一百九十、商小乙六，辰午二千一百九十一、商武丁八，辰未二千一百九十二、商武丁二十八，辰申二千一百九十三、商祖甲二，辰酉二千一百九十四、商祖甲三十二，辰戌二千一百九十五、商武乙二，辰亥二千一百九十六、商帝乙二十五。

The 183rd cycle, with the heavenly stem Jia, corresponds to the third cycle of the午 (Wu) group. It encompasses twelve generations, from the 2185th to the 2196th, all falling within the Shang dynasty. The first generation is noted as the 80th year of King Xin of Shang (the text states this, but the number does not match the known reign years of King Xin, suggesting a possible error or omission). The second generation is the 24th year of King Wu Ji of Shang, the third generation is the 29th year of King Zhu Di of Shang, the fourth generation is the 2nd year of King Yang Jia of Shang, the fifth generation is the 25th year of King Pan Geng of Shang, the sixth generation is the 6th year of King Xiao Yi of Shang. The seventh and eighth generations are both noted as the 8th and 28th years of King Wu Ding of Shang. The ninth and tenth generations are both noted as the 2nd and 32nd years of King Zhu Jia of Shang. The eleventh generation is the 2nd year of King Wu Yi of Shang, and the twelfth generation is the 25th year of King Di Yi of Shang. In this cycle, King Wu Ding and King Zhu Jia each account for two generations, while the other eight kings each account for one generation, totaling exactly twelve. This cycle spans 360 years, corresponding to the 65,521st to the 65,880th year of the great cycle.

星丁一百八十四：辰子二千一百九十七、商受辛十八，辰丑二千一百九十八、周成王九，辰寅二千一百九十九、周康王二，辰卯二千二百、周昭王六，辰辰二千二百一、周昭王三十六，辰巳二千二百二、周穆王十五，辰午二千二百三、周穆王四十五，辰未二千二百四、周懿王八，辰申二千二百五、周考王十三，辰酉二千二百六、周厲王十二，辰戌二千二百七、周厲王四十二，辰亥二千二百八、周宣王二十一。

The 184th cycle, with the heavenly stem paired with Ding, corresponds to the fourth movement of the午 (Wu) cycle. It encompasses twelve generations, from the 2197th to the 2208th, which coincides with the end of the Shang dynasty and the beginning of the Zhou dynasty. The first generation notes the 18th year of King Zhou Xun (Shang King Di Xin), the second generation begins the Zhou dynasty, corresponding to the 9th year of King Cheng of Zhou, the third generation is the 2nd year of King Kang of Zhou, the fourth and fifth generations are both noted as the 6th and 36th years of King Zhao of Zhou, the sixth and seventh generations are both noted as the 15th and 45th years of King Mu of Zhou, the eighth generation is the 8th year of King Yi of Zhou, the ninth generation notes the 13th year of King Xiao of Zhou (King Xiao lived at the end of the Warring States period, which does not fit with this sequence, so it is likely a mistake for King Xiao's reign, which should be King Xiao of Zhou), the tenth and eleventh generations are both noted as the 12th and 42nd years of King Li of Zhou, and the twelfth generation is the 21st year of King Xuan of Zhou. Among these, the fourth generation exactly reaches the 2200th generation. This cycle lasts 360 years, corresponding to the 65,881st to the 66,240th year of the first cycle.

星戊一百八十五：辰子二千二百九、周幽王五，辰丑二千二百十、周平王二十四，辰寅二千二百十一、周桓王二，辰卯二千二百十二、周莊王十，辰辰二千二百十三、周惠王二十，辰巳二千二百十四、周襄王二十五，辰午二千二百十五、周定王十，辰未二千二百十六、周靈王五，辰申二千二百十七、周景王八，辰酉二千二百十八、周敬王十三，辰戌二千二百十九、周敬王四十三，辰亥二千二百二十、周貞王二十三。

The 185th cycle, with the heavenly stem paired with Wu, corresponds to the fifth cycle of the午 (Wu) group. It encompasses twelve generations, spanning from the 2,209th to the 2,220th. Within this cycle, the period covers the end of the Western Zhou dynasty and the entire Spring and Autumn period. The first generation is marked by the fifth year of King You of Zhou, the second by the 24th year of King Ping of Zhou—when King Ping moved the capital eastward, marking the beginning of the Spring and Autumn period; the third generation is the second year of King Huan of Zhou, the fourth the tenth year of King Zhuang of Zhou, the fifth the twentieth year of King Hui of Zhou, the sixth the twenty-fifth year of King Xiang of Zhou, the seventh the tenth year of King Ding of Zhou, the eighth the fifth year of King Ling of Zhou, the ninth the eighth year of King Jing of Zhou, and the tenth and eleventh generations both correspond to the thirteenth and forty-third years of King Jing of Zhou. The twelfth generation is marked by the twenty-third year of King Zhen of Zhou. Among these twelve generations, King Jing of Zhou appears twice, while the others each correspond to a single ruler. This clearly shows the number of changes in the royal throne during the more than two hundred years of the Spring and Autumn period. This cycle lasts 360 years, corresponding to the 66,241st to the 66,600th year of a great cycle.

星己一百八十六：辰子二千二百二十一、周威烈九，辰丑二千二百二十二、周安王十五，辰寅二千二百二十三、周顯王十六，辰卯二千二百二十四、周顯王十七，辰辰二千二百二十五、周赧王十八，辰巳二千二百二十六、周赧王四十八，辰午二千二百二十七、秦始皇十，辰未二千二百二十八、漢高祖元，辰申二千二百二十九、漢文帝四，辰酉二千二百三十、漢景帝十，辰戌二千二百三十一、漢武帝二十四，辰亥二千二百三十二、漢武帝五十四。

The 186th cycle, with the heavenly stem JI, corresponds to the sixth cycle of the午 (Wu) group. It covers twelve generations, from the 2221st to the 2232nd, spanning the Warring States, Qin, and Western Han dynasties. The first generation is noted to the ninth year of King Wei of Zhou, the second to the fifteenth year of King An of Zhou, the third to the sixteenth year of King Xian of Zhou, and the fourth also to the seventeenth year of King Xian of Zhou—these two generations are actually thirty years apart, suggesting a possible error in the original text. The fifth and sixth generations are both noted to the eighteenth and forty-eighth years of King Nian of Zhou. The seventh generation is noted to the tenth year of the Qin Shi Huang, the eighth to the first year of Emperor Gaozu of Han, the ninth to the fourth year of Emperor Wen of Han, the tenth to the tenth year of Emperor Jing of Han, and the eleventh and twelfth generations both noted to the twenty-fourth and fifty-fourth years of Emperor Wu of Han. Kings Xian, Nian, and Wu of Zhou and Han each occupy two generations, while the other six kings each occupy one generation. This cycle spans the decline of Zhou, the rise of Qin, and the flourishing of Han, covering three successive dynasties. The duration of this cycle is 360 years, corresponding to the sixth-six-thousand-six-hundred-first to the sixth-six-thousand-nine-hundred-sixtieth year of the great cycle.

星庚一百八十七：辰子二千二百三十三、漢宣帝十七，辰丑二千二百三十四、漢成帝六，辰寅二千二百三十五、漢平帝四，辰卯二千二百三十六、漢光武十一，辰辰二千二百三十七、漢明帝七，辰巳二千二百三十八、漢和帝六，辰午二千二百三十九、漢安帝十八，辰未二千二百四十、漢桓帝八，辰申二千二百四十一、漢靈帝十七，辰酉二千二百四十二、漢獻帝二十五，辰戌二千二百四十三、魏帝芳五、蜀帝禪三十二、吳帝權二十二，辰亥二千二百四十四、晉武帝十、吳帝皓十二。

The 187th cycle, with the heavenly stem paired with Geng, corresponds to the seventh cycle of the午 (Wu) branch. It encompasses twelve generations, spanning from the 2,233rd to the 2,244th, covering the middle period of the Western Han Dynasty through the Eastern Han Dynasty, then into the Three Kingdoms and the Western Jin Dynasty. The sub-periods are noted as follows: the Zi generation corresponds to the 17th year of Emperor Xuandi of Han, the Chou generation to the 6th year of Emperor Chengdi of Han, the Yin generation to the 4th year of Emperor Pingdi of Han, the Mao generation to the 11th year of Emperor Guangwu of Han, the Chen generation to the 7th year of Emperor Mingdi of Han, the Si generation to the 6th year of Emperor Hedi of Han, the Wu generation to the 18th year of Emperor An Di of Han, the Wei generation to the 8th year of Emperor Huan Di of Han, the Shen generation to the 17th year of Emperor Ling Di of Han, and the You generation to the 25th year of Emperor Xian Di of Han. From the Xu generation onwards, the world became divided, so one generation notes the rulers of the three states in parallel: the 5th year of Emperor Fang of Wei, the 32nd year of Emperor Chen of Shu, and the 22nd year of Emperor Quan of Wu. The Hai generation notes the 10th year of Emperor Wu of Jin and the 12th year of Emperor Hao of Wu, showing that Jin had already replaced Wei while Wu had not yet been conquered. This section of the cycle represents the shift of legitimacy from Han to Wei, Shu, and Wu in parallel, and then back to Jin, so the annotations change from one ruler to three rulers and then to two, adjusting according to the situation. This is the most variable part of the entire table's structure. This cycle lasts 360 years, corresponding to the 66,961st to the 67,320th year of the Great Cycle.

星辛一百八十八：辰子二千二百四十五、晉惠帝十四，辰丑二千二百四十六、晉成帝九，辰寅二千二百四十七、晉哀帝三，辰卯二千二百四十八、晉武帝二十二、後魏道武一，辰辰二千二百四十九、宋帝義隆元、後魏太武元，辰巳二千二百五十、宋武帝二、後魏文成三，辰午二千二百五十一、齊武帝二、後魏孝文十四，辰未二千二百五十二、梁武帝十三、後魏宣武十五，辰申二千二百五十三、梁武帝四十三、西魏文帝十一，辰酉二千二百五十四、陳宣帝七、後周武帝十五，辰戌二千二百五十五、隋煬帝元，辰亥二千二百五十六、唐太宗九。

The 188th cycle, with the heavenly stem paired with Xin, corresponds to the eighth cycle of the午 (Wu) group. It encompasses twelve generations, from the 2245th to the 2256th, spanning the Eastern and Western Jin dynasties, the Southern and Northern Dynasties, and into the early Tang dynasty. The first generation notes the 14th year of Emperor Hui of the Jin dynasty. The second generation notes the 9th year of Emperor Cheng of the Jin dynasty. The third generation notes the 3rd year of Emperor Ai of the Jin dynasty. The fourth generation notes the 22nd year of Emperor Wu of the Jin dynasty (which should be Emperor Xiaowu of the Jin dynasty according to the sequence) and the first year of Emperor Daowu of the Northern Wei dynasty. From the fourth generation onwards, both Southern and Northern dynasties coexisted, so each generation notes the years of two emperors: the fifth generation notes the first year of Emperor Yilong of the Southern Song dynasty and the first year of Emperor Taowu of the Northern Wei dynasty—Emperor Yilong is Emperor Wen of the Southern Song dynasty; the sixth generation notes the second year of Emperor Wudi of the Southern Song dynasty and the third year of Emperor Wencheng of the Northern Wei dynasty; the seventh generation notes the second year of Emperor Wudi of the Southern Qi dynasty and the fourteenth year of Emperor Xiaowen of the Northern Wei dynasty; the eighth generation notes the thirteenth year of Emperor Wudi of the Southern Liang dynasty and the fifteenth year of Emperor Xuanwu of the Northern Wei dynasty; the ninth generation notes the forty-third year of Emperor Wudi of the Southern Liang dynasty and the eleventh year of Emperor Wen of the Western Wei dynasty; the tenth generation notes the seventh year of Emperor Xuan of the Southern Chen dynasty and the fifteenth year of Emperor Wudi of the Northern Zhou dynasty. By the eleventh generation, the empire reunified, so only the first year of Emperor Yang of the Sui dynasty is noted. The twelfth generation notes the ninth year of Emperor Taizong of the Tang dynasty. This cycle spans 360 years, corresponding to the 67,321st to the 67,680th year of the great cycle.

星壬一百八十九：辰子二千二百五十七、唐高宗十五，辰丑二千二百五十八、唐中宗十一，辰寅二千二百五十九、唐玄宗十三，辰卯二千二百六十、唐玄宗四十三，辰辰二千二百六十一、唐德宗五，辰巳二千二百六十二、唐憲宗九，辰午二千二百六十三、唐武宗四，辰未二千二百六十四、唐僖宗元，辰申二千二百六十五、唐昭宗十六，辰酉二千二百六十六，辰戌二千二百六十七、宋太祖五，辰亥二千二百六十八、宋太宗十九。

The 189th cycle, with the heavenly stem paired with Ren, corresponds to the ninth cycle of the午 (Wu) group. It encompasses twelve generations, from the 2257th to the 2268th. This period spans the flourishing Tang Dynasty, the middle and late Tang Dynasty, and enters the Song Dynasty. The first generation is marked by the fifteenth year of Emperor Gaozong of Tang, the second by the eleventh year of Emperor Zhongzong of Tang, the third and fourth generations both correspond to the thirteenth and forty-third years of Emperor Xuanzong of Tang, the fifth to the fifth year of Emperor Dezong of Tang, the sixth to the ninth year of Emperor Xianzong of Tang, the seventh to the fourth year of Emperor Wuzong of Tang, the eighth to the first year of Emperor Xizong of Tang, the ninth to the sixteenth year of Emperor Zhaozong of Tang. The tenth generation, corresponding to the 2266th, does not have a specific reign year noted, as this time was during the transition between the Five Dynasties, when there was no established legitimate dynasty, hence it is omitted; the eleventh generation is marked by the fifth year of Emperor Taizu of Song, and the twelfth by the nineteenth year of Emperor Taizong of Song. The Tang emperors from Gaozong to Zhaozong are noted across nine generations; the Song Dynasty begins with Taizu, connecting to the next cycle's Emperor Renzong. This cycle lasts 360 years, corresponding to the 67,681st to the 68,040th year of the great cycle.

星癸一百九十：辰子二千二百六十九、宋仁宗二，辰丑二千二百七十、宋仁宗三十二，辰寅二千二百七十一，辰卯二千二百七十二，辰辰二千二百七十三，辰巳二千二百七十四，辰午二千二百七十五，辰未二千二百七十六，辰申二千二百七十七，辰酉二千二百七十八，辰戌二千二百七十九，辰亥二千二百八十。

The 190th cycle, with the heavenly stem癸 (Gui), corresponds to the tenth cycle of the午 (Wu) group. It encompasses twelve generations, from the 2,269th to the 2,280th. The子 (Zi) generation is associated with the second year of Emperor Renzong of Song, and the丑 (Chou) generation with the thirty-second year of Emperor Renzong. The subsequent ten generations,寅 (Yin) through亥 (Hai), have no annotations. Shao Yong lived during the reigns of Emperor Renzong, Emperor Yingzong, and Emperor Shen zong. The second thousand two hundred and seventy year of the丑 (Chou) generation corresponds to the period around his birth. The chronology up to this point has entered the contemporary era, and the following periods belong to the future, for which there is no historical record. Therefore, only the numbers are recorded without events. All the blank lines below this table are due to this reason, not omissions. This cycle spans 360 years, corresponding to the 68,401st to the 68,400th year of the great cycle.

星甲一百九十一：辰子二千二百八十一，辰丑二千二百八十二，辰寅二千二百八十三，辰卯二千二百八十四，辰辰二千二百八十五，辰巳二千二百八十六，辰午二千二百八十七，辰未二千二百八十八，辰申二千二百八十九，辰酉二千二百九十，辰戌二千二百九十一，辰亥二千二百九十二。

The 191st cycle, with the heavenly stem Jia, corresponds to the 11th cycle of the午 (Wu) group. The second round of heavenly stems begins from this point. The twelve generations covered are from the 2281st to the 2292nd generations. The first three generations, Zi, Chou, and Yin, are the 2281st to the 2283rd generations. The following nine generations from Mao to Hai follow in order, each increasing by one, with the You generation reaching exactly the 2290th. The following numbers are all after Shao Yong's time and are not annotated with imperial era names in the table, only numbered for future reference. Each generation lasts thirty years, making this cycle last three hundred and sixty years, spanning from the 68,401st to the 68,760th year of the great cycle.

星乙一百九十二：辰子二千二百九十三，辰丑二千二百九十四，辰寅二千二百九十五，辰卯二千二百九十六，辰辰二千二百九十七，辰巳二千二百九十八，辰午二千二百九十九，辰未二千三百，辰申二千三百一，辰酉二千三百二，辰戌二千三百三，辰亥二千三百四。

The 192nd cycle, paired with the heavenly stem Yi, is the twelfth cycle of the午 (Wu) group. The twelve generations span from the 2293rd to the 2304th: the seven generations from Zi to Wu successively correspond to the 2293rd to the 2299th, the Wei generation exactly reaches the 2300th, and the four generations of Shen, You, Xu, and Hai continue from the 2301st to the 2304th. The thirty cycles of the Wu group have already passed twelve cycles, spanning 4320 years. This cycle lasts 360 years, corresponding to the 68,761st to the 69,120th year of the great cycle.

星丙一百九十三：辰子二千三百五，辰丑二千三百六，辰寅二千三百七，辰卯二千三百八，辰辰二千三百九，辰巳二千三百十，辰午二千三百十一，辰未二千三百十二，辰申二千三百十三，辰酉二千三百十四，辰戌二千三百十五，辰亥二千三百十六。

The 193rd cycle, with the heavenly stem paired as Bing, corresponds to the 13th cycle of the午 (Wu) group. The twelve generations under this cycle span from the 2,305th to the 2,316th generations. Each earthly branch from Zi to Hai governs one generation. The Wu group, which lasts 10,800 years, has already passed 4,680 years; the first 4,320 generations of a single cycle have exceeded 2,316 generations, surpassing half by a little. This cycle lasts 360 years, corresponding to the 69,121st to the 69,480th year of a single cycle.

星丁一百九十四：辰子二千三百十七，辰丑二千三百十八，辰寅二千三百十九，辰卯二千三百二十，辰辰二千三百二十一，辰巳二千三百二十二，辰午二千三百二十三，辰未二千三百二十四，辰申二千三百二十五，辰酉二千三百二十六，辰戌二千三百二十七，辰亥二千三百二十八。

The 194th cycle, paired with the heavenly stem Ding, corresponds to the 14th cycle of the午 (Wu) group. The twelve world cycles span from the 2,317th to the 2,328th generation, with the卯 (Mao) cycle exactly reaching the 2,320th. Shao Yong compiled this table not to predict specific events in particular years, but to show people that time has its own order: regardless of whether there is historical record or not, the numbers of the great cycles, great years, cycles, and world cycles proceed in sequence. The Wu group has already passed 5,040 years out of its 10,080-year span. This cycle lasts 360 years, corresponding to the 69,481st to the 69,840th year of the great cycle.

星戊一百九十五：辰子二千三百二十九，辰丑二千三百三十，辰寅二千三百三十一，辰卯二千三百三十二，辰辰二千三百三十三，辰巳二千三百三十四，辰午二千三百三十五，辰未二千三百三十六，辰申二千三百三十七，辰酉二千三百三十八，辰戌二千三百三十九，辰亥二千三百四十。

The 195th cycle, with the heavenly stem Wu, corresponds to the 15th cycle of the午 (Wu) group, and is exactly in the middle of the thirty cycles of this group. The twelve generations under this cycle span from the 2,329th generation to the 2,340th generation: the Zi generation is the 2,329th, the Chou generation is full at the 2,330th, and the Hai generation is full at the 2,340th. By the end of this cycle, the Wu group has passed 5,400 years, which is exactly half of the 10,800 years of one group. The total of the 129,600 years of one great cycle has already passed 70,200 years, exceeding half by an additional 5,400 years. This cycle lasts 360 years, corresponding to the period from the 69,841st year to the 70,200th year of the great cycle.

星己一百九十六：辰子二千三百四十一，辰丑二千三百四十二，辰寅二千三百四十三，辰卯二千三百四十四，辰辰二千三百四十五，辰巳二千三百四十六，辰午二千三百四十七，辰未二千三百四十八，辰申二千三百四十九，辰酉二千三百五十，辰戌二千三百五十一，辰亥二千三百五十二。

The 196th cycle, with the heavenly stem Ji, corresponds to the 16th cycle of the午 (Wu) group. The twelve cycles span from the 2,341st to the 2,352nd generations: the nine generations from Zi to Shen proceed in order up to the 2,349th generation, the You generation fills the 2,350th generation, and the Xu and Hai generations are the 2,351st and 2,352nd respectively. The Wu group has already completed sixteen of its thirty cycles, which amount to 5,760 years, leaving fourteen cycles and 5,040 years remaining. The cycle number reaches 196, with 164 cycles remaining out of the 360 cycles in a great cycle. This cycle lasts 360 years, corresponding to the period from the 70,201st to the 70,560th year of the great cycle.

星庚一百九十七：辰子二千三百五十三，辰丑二千三百五十四，辰寅二千三百五十五，辰卯二千三百五十六，辰辰二千三百五十七，辰巳二千三百五十八，辰午二千三百五十九，辰未二千三百六十，辰申二千三百六十一，辰酉二千三百六十二，辰戌二千三百六十三，辰亥二千三百六十四。

The 197th cycle, with the heavenly stem Geng, corresponds to the 17th cycle of the午 (Wu) group. The twelve generations under this cycle span from the 2,353rd to the 2,364th, beginning with Zi and ending with Hai, with consecutive numbering. The final generation exactly reaches the 2,360th. The heavenly stem in the cycle name merely indicates the order, without implying auspiciousness or inauspiciousness; similarly, the earthly branch in the generation name is also purely indicative of order and is unrelated to the nayin sound elements used in divination. In terms of generations, one great cycle of 4,320 generations has already passed the 2,364th, leaving 1,956 generations remaining. This cycle lasts 360 years, corresponding to the 70,561st to the 70,920th year of the great cycle.

星辛一百九十八：辰子二千三百六十五，辰丑二千三百六十六，辰寅二千三百六十七，辰卯二千三百六十八，辰辰二千三百六十九，辰巳二千三百七十，辰午二千三百七十一，辰未二千三百七十二，辰申二千三百七十三，辰酉二千三百七十四，辰戌二千三百七十五，辰亥二千三百七十六。

The 198th cycle, paired with the heavenly stem Xin, is the eighteenth cycle of the午 (Wu) group. The twelve cycles span from the 2,365th to the 2,376th generation, with the巳 (Si) generation exactly reaching 2,370. The remaining twelve cycles of the午 (Wu) group, along with 4,320 years, are left. In terms of generations, one cycle consists of 4,320 generations, which have already passed the 2,376th generation. All entries in the table include three numbers: the cycle number, the generation number, and the number of years. Readers can derive any one of these from the others. This cycle lasts 360 years, corresponding to the 70,921st to the 71,280th year of the great cycle.

星壬一百九十九：辰子二千三百七十七，辰丑二千三百七十八，辰寅二千三百七十九，辰卯二千三百八十，辰辰二千三百八十一，辰巳二千三百八十二，辰午二千三百八十三，辰未二千三百八十四，辰申二千三百八十五，辰酉二千三百八十六，辰戌二千三百八十七，辰亥二千三百八十八。

The 199th cycle, with the heavenly stem paired with Ren, corresponds to the nineteenth cycle of the午 (Wu) group. The twelve generations under this cycle range from the 2,377th generation (Zi) to the 2,388th generation (Hai), completing the twelve earthly branches. The卯 (Mao) generation exactly reaches 2,380. The heavenly stems reach Ren, connecting with the next cycle's stem Gui, thus completing the second round of ten heavenly stems in this cycle. The午 (Wu) cycle, which spans 10,800 years, has already passed 6,840 years, leaving 3,960 years and eleven cycles remaining. The number of cycles following this will reach 200, forming a neat node in the entire table. This cycle lasts 360 years, corresponding to the seventh cycle of the great cycle from the 71,281st year to the 71,640th year.

星癸二百：辰子二千三百八十九，辰丑二千三百九十，辰寅二千三百九十一，辰卯二千三百九十二，辰辰二千三百九十三，辰巳二千三百九十四，辰午二千三百九十五，辰未二千三百九十六，辰申二千三百九十七，辰酉二千三百九十八，辰戌二千三百九十九，辰亥二千四百。

The second hundred years, the heavenly stem is paired with Gui, corresponding to the twenty-first year of the午 cycle, and this is the second round of heavenly stems, which are exhausted here. The twelve generations span from the 2,389th to the 2,400th: the Zi generation is the 2,389th, the Chou generation completes at the 2,390th, followed by Yin to Xu in order, and the You generation reaches exactly the 2,400th. At this point, the number of years reaches exactly two hundred. Half of the 360 years of one cycle have passed, and the number of years also reaches 72,000. The午 cycle, which is 10,800 years, has already passed 7,200 years. This cycle of 360 years corresponds to the 71,641st to the 72,000th year of one cycle.

星甲二百一：辰子二千四百一，辰丑二千四百二，辰寅二千四百三，辰卯二千四百四，辰辰二千四百五，辰巳二千四百六，辰午二千四百七，辰未二千四百八，辰申二千四百九，辰酉二千四百十，辰戌二千四百十一，辰亥二千四百十二。

The 201st cycle begins with the heavenly stem Jia, marking the 21st cycle of the午 (Wu) group, and the third round of heavenly stems starts here. The twelve generations covered are from the 2401st to the 2412th: the ten generations from Zi to You correspond to the 2401st to the 2410th, while the two generations Xu and Hai correspond to the 2411th and 2412th. Each generation lasts thirty years, making this cycle 360 years long, spanning from the 72,001st to the 72,360th year of a great cycle.

星乙二百二：辰子二千四百十三，辰丑二千四百十四，辰寅二千四百十五，辰卯二千四百十六，辰辰二千四百十七，辰巳二千四百十八，辰午二千四百十九，辰未二千四百二十，辰申二千四百二十一，辰酉二千四百二十二，辰戌二千四百二十三，辰亥二千四百二十四。

The 202nd cycle, with the heavenly stem paired as Yi, is the 22nd cycle of the午 (Wu) group. The twelve generations span from the 2413th to the 2424th, starting with Zi and ending with Hai, with the Wei cycle exactly reaching the 2420th. The thirty cycles of the Wu group have only eight cycles left, amounting to 2880 years, meaning it is about to enter the Wei group. In terms of generations, four thousand three hundred twenty generations have already passed, exceeding the 2424th. This cycle is the second among the ten heavenly stems in the third round of the Wu group. This cycle lasts 360 years, covering the 72,361st to the 72,720th year of the great cycle.

星丙二百三：辰子二千四百二十五，辰丑二千四百二十六，辰寅二千四百二十七，辰卯二千四百二十八，辰辰二千四百二十九，辰巳二千四百三十，辰午二千四百三十一，辰未二千四百三十二，辰申二千四百三十三，辰酉二千四百三十四，辰戌二千四百三十五，辰亥二千四百三十六。

The 203rd cycle, with the heavenly stem paired as Bing, corresponds to the 23rd cycle of the午 (Wu) group. It encompasses twelve generations, spanning from the 2,425th to the 2,436th generation. Each earthly branch corresponds to one generation, with the巳 (Si) generation exactly reaching the 2,430th. In terms of generations, one great cycle of 4,320 generations has passed 2,436 generations, leaving 1,884 generations remaining; in terms of years, the 8,280 years of the午 (Wu) group have been completed out of 10,800, leaving 2,520 years remaining. This cycle lasts 360 years, corresponding to the 72,721st to the 73,080th year of the great cycle.

星丁二百四：辰子二千四百三十七，辰丑二千四百三十八，辰寅二千四百三十九，辰卯二於四百四十，辰辰二千四百四十一，辰巳二千四百四十二，辰午二千四百四十三，辰未二千四百四十四，辰申二千四百四十五，辰酉二千四百四十六，辰戌二千四百四十七，辰亥二千四百四十八。

The 204th cycle, with the heavenly stem paired with Ding, corresponds to the 24th cycle of the午 (Wu) group. It encompasses twelve generations, from the 2437th to the 2448th. Among these, the generation of卯 (Mao) is recorded in the original text as "二于四百四十," where "于" is a mistake for "千" (thousand), and it should be read as the 2440th generation. The original text remains unchanged. The other generations follow the order of 子 (Zi), 丑 (Chou), 寅 (Yin) first, and 辰 (Chen), 巳 (Si), 午 (Wu), 未 (Wei), 申 (Shen), 酉 (You), 戌 (Xu), 亥 (Hai) later, with numbers increasing sequentially without interruption. By this point, the午 (Wu) group has completed twenty-four cycles, spanning 8,640 years. This cycle lasts 360 years, corresponding to the 73,081st to the 73,440th year of the great cycle.

星戊二百五：辰子二千四百四十九，辰丑二千四百五十，辰寅二千四百五十一，辰卯二千四百五十二，辰辰二千四百五十三，辰巳二千四百五十四，辰午二千四百五十五，辰未二千四百五十六，辰申二千四百五十七，辰酉二千四百五十八，辰戌二千四百五十九，辰亥二千四百六十。

The 205th cycle, with the heavenly stem Wu, corresponds to the 25th cycle of the午 (Wu) group. The twelve cycles span from the 2,449th world to the 2,460th world: the Zi cycle is the 2,449th, the Chou cycle completes at the 2,450th, and the Hai cycle completes at the 2,460th. Whenever a number reaches a multiple of ten or a hundred, it is naturally incremented in sequence as a continuous numbering, without any relation to the paired earthly branch. The remaining five cycles in the午 (Wu) group span 1,800 years; while the entire cycle of 360 cycles has already passed 205 cycles. This cycle lasts 360 years, corresponding to the 73,441st to the 73,800th year of the great cycle.

星己二百六：辰子二千四百六十一，辰丑二千四百六十二，辰寅二千四百六十三，辰卯二千四百六十四，辰辰二千四百六十五，辰巳二千四百六十六，辰午二千四百六十七，辰未二千四百六十八，辰申二千四百六十九，辰酉二千四百七十，辰戌二千四百七十一，辰亥二千四百七十二。

The 206th cycle, with the heavenly stem JI, corresponds to the 26th cycle of the Wu group. It encompasses twelve generations, from the 2461st generation (Zi) to the 2472nd generation (Hai). The You generation falls exactly at the 2470th. By this point, the Wu group has only four cycles left, amounting to 1,440 years. In terms of generations, one cycle of 43,200 generations has passed 2,472 generations, leaving 1,848 generations remaining. Shao Yong referred to a "cycle" as 10,800 years, which is exactly one twelfth of the 129,600-year cycle. This cycle lasts 360 years, corresponding to the 73,801st to the 74,160th year of the great cycle.

星庚二百七：辰子二千四百七十三，辰丑二千四百七十四，辰寅二千四百七十五，辰卯二千四百七十六，辰辰二千四百七十七，辰巳二千四百七十八，辰午二千四百七十九，辰未二千四百八十，辰申二千四百八十一，辰酉二千四百八十二，辰戌二千四百八十三，辰亥二千四百八十四。

The 207th cycle, paired with the heavenly stem Geng, is the 27th cycle of the午 (Wu) assembly. The twelve cycles span from the 2,473rd to the 2,484th generation, beginning with Zi and ending with Hai, with the exact generation reaching 2,480. After this cycle, the next three cycles will complete the 10,800 years of the午 (Wu) assembly, marking the end of this phase. The next phase will transition to the eighth cycle of the yuan jing assembly; this assembly has already passed 9,720 years, leaving 1,080 years remaining, which corresponds exactly to the duration of three cycles. In terms of generations, 4,320 generations of one yuan have already passed the 2,484th generation. This cycle lasts 360 years, corresponding to the 74,161st to the 74,520th year of one yuan.

星辛二百八：辰子二千四百八十五，辰丑二千四百八十六，辰寅二千四百八十七，辰卯二千四百八十八，辰辰二千四百八十九，辰巳二千四百九十，辰午二千四百九十一，辰未二千四百九十二，辰申二千四百九十三，辰酉二千四百九十四，辰戌二千四百九十五，辰亥二千四百九十六。

The 208th cycle, with the heavenly stem paired with Xin, is the 28th cycle of the午 (Wu) group. It covers twelve generations, from the 2485th to the 2496th, with the Si (Si) generation exactly reaching 2490. In terms of years, the Wu group has already passed 10,080 years out of 10,080 years, leaving 720 years remaining; in terms of generations, 4,320 generations of a single cycle have passed the 2496th generation. This cycle is the eighth among the ten heavenly stems in the third round of the Wu group, with ten cycles separating it from the previous two Xin cycles. This cycle lasts 360 years, corresponding to the 74,521st to the 74,880th year of a single cycle.

星壬二百九：辰子二千四百九十七，辰丑二千四百九十八，辰寅二千四百九十九，辰卯二千五百，辰辰二千五百一，辰巳二千五百二，辰午二千五百三，辰未二千五百四，辰申二千五百五，辰酉二千五百六，辰戌二千五百七，辰亥二千五百八。

The 209th cycle, with the heavenly stem壬 (Ren), corresponds to the 29th cycle of the午 (Wu) group. The twelve cycles begin from the 2,497th generation, with the Zi, Chou, and Yin generations being the 2,497th to the 2,499th. The Mao generation exactly reaches the 2,500th. Following this, the Chen to Hai generations span from the 2,501st to the 2,508th. The remaining cycles of the Wu group consist only of this cycle and the next one. This cycle lasts 360 years, corresponding to the 74,881st to the 75,240th year of the great cycle.

星癸二百十：辰子二千五百九，辰丑二千五百十，辰寅二千五百十一，辰卯二千五百十二，辰辰二千五百十三，辰巳二千五百十四，辰午二千五百十五，辰未二千五百十六，辰申二千五百十七，辰酉二千五百十八，辰戌二千五百十九，辰亥二千五百二十。

The 210th cycle, with the heavenly stem Gui, is the final cycle of the thirty cycles of the午会. It governs twelve generations, from the 2509th to the 2520th, with the亥 generation exactly reaching the 2520th. This marks the accumulated total of 360 generations for each of the seven cycles. The午会 consists of thirty cycles, 360 generations, and 10,800 years, the same as the previous six cycles; it now concludes, completing a total of 75,600 years for one cycle. This cycle itself lasts 360 years, spanning from the 75,241st to the 75,600th year of the cycle, after which it transitions to the未会.

日甲一，月未八。

"The 'Day Jia One' refers to the first unit of the original cycle, with the heavenly stem paired with Jia; 'Month Wei Eight' refers to the eighth division within the twelve divisions of the first cycle, with the earthly branch belonging to Wei. The Wei division encompasses thirty cycles from the 211th to the 240th, and thirty-six hundred generations from the 2521st to the 2880th, totaling one thousand and eighty years, spanning from the 75,601st to the 86,400th year of the first cycle. This division entirely occurs after Shao Yong's time, so the entire text only lists the numbers without recording historical events."

星甲二百十一：辰子二千五百二十一，辰丑二千五百二十二，辰寅二千五百二十三，辰卯二千五百二十四，辰辰二千五百二十五，辰巳二千五百二十六，辰午二千五百二十七，辰未二千五百二十八，辰申二千五百二十九，辰酉二千五百三十，辰戌二千五百三十一，辰亥二千五百三十二。

The 211st cycle, paired with the heavenly stem Jia, is the first cycle of the thirty-cycle period. It encompasses twelve generations, from the 2521st to the 2532nd, with each earthly branch ruling one generation. The generation of You ends at the 2530th. The previous cycle ended at the 2520th generation, and this cycle continues from the 2521st, maintaining the same lineage without restarting. Each generation lasts thirty years, making this cycle 360 years long, spanning from the 75,601st to the 75,960th year of a great cycle.

星乙二百十二：辰子二千五百三十三，辰丑二千五百三十四，辰寅二千五百三十五，辰卯二千五百三十六，辰辰二千五百三十七，辰巳二千五百三十八，辰午二千五百三十九，辰未二千五百四十，辰申二千五百四十一，辰酉二千五百四十二，辰戌二千五百四十三，辰亥二千五百四十四。

The 212th cycle, with the heavenly stem paired as Yi, corresponds to the second cycle of the Wei conjunction. The twelve generations span from the 2,533rd to the 2,544th, with the Wei cycle exactly completing at the 2,540th. It takes thirty cycles and seven hundred twenty years for the Wei conjunction to reach this point, and there remain twenty-eight cycles and ten thousand eight hundred years until the full completion of the conjunction. The name of this cycle, Yi, is the second among the ten heavenly stems, matching its position within the conjunction. In terms of the entire great cycle, at this point about five fifths have passed, with more than five thousand three hundred years remaining. This cycle lasts three hundred and sixty years, spanning from the 75,961st to the 76,320th year of the great cycle.

星丙二百十三：辰子二千五百四十五，辰丑二千五百四十六，辰寅二千五百四十七，辰卯二千五百四十八，辰辰二千五百四十九，辰巳二千五百五十，辰午二千五百五十一，辰未二千五百五十二，辰申二千五百五十三，辰酉二千五百五十四，辰戌二千五百五十五，辰亥二千五百五十六。

The 213th cycle is associated with the heavenly stem Bing, and it is the third cycle of the Wei hội. The twelve generations under this cycle span from the 2,545th to the 2,556th generation. The earthly branches cycle through Zi to Hai, completing one full cycle, with the exact year reaching 2,550. According to Shao Yong's method, cycles are named by heavenly stems and not by earthly branches, while generations are named by earthly branches and not by heavenly stems. Each system operates independently, so cycles repeat every ten and generations every twelve. By this point, three cycles and 1,080 years have been completed in the Wei hội, leaving twenty-seven cycles remaining. This cycle lasts 360 years, corresponding to the 76,321st to the 76,680th year of the great cycle.

星丁二百十四：辰子二千五百五十七，辰丑二千五百五十八，辰寅二千五百五十九，辰卯二千五百六十，辰辰二千五百六十一，辰巳二千五百六十二，辰午二千五百六十三，辰未二千五百六十四，辰申二千五百六十五，辰酉二千五百六十六，辰戌二千五百六十七，辰亥二千五百六十八。

The 214th cycle, with the heavenly stem paired with Ding, corresponds to the fourth cycle of the Wei conjunction. The twelve cycles span from the 2557th to the 2568th generation, with the Mao generation exactly reaching the 2560th. The Wei conjunction has already gone through four cycles, spanning 1,440 years. In terms of generations, 4,320 generations have passed, with 2,568 generations already completed, leaving 1,752 generations remaining. The numbers recorded in the table, although referring to the future, are calculated in the same way as those of the past, without any difference. This cycle lasts 360 years, corresponding to the 76,681st to the 77,040th year of the great cycle.

星戊二百十五：辰子二千五百六十九，辰丑二千五百七十，辰寅二千五百七十一，辰卯二千五百七十二，辰辰二千五百七十三，辰巳二千五百七十四，辰午二千五百七十五，辰未二千五百七十六，辰申二千五百七十七，辰酉二千五百七十八，辰戌二千五百七十九，辰亥二千五百八十。

The 215th cycle, with the heavenly stem Wu, corresponds to the fifth cycle of the Earthly Branch Wei. The twelve generations under this cycle span from the 2,569th to the 2,580th: the Zi generation is the 2,569th, the Chou generation is full at the 2,570th, and the subsequent generations from Yin to Xu follow in order, with the Hai generation completing at the 2,580th. The Wei cycle, which lasts 10,800 years, has already passed 1,800 years, leaving 9,000 years remaining. The entire cycle of 129,600 years has already passed 77,400 years, leaving 52,200 years. This cycle lasts 360 years, corresponding to the 77,441st to the 77,400th year of the great cycle.

星己二百十六：辰子二千五百八十一，辰丑二千五百八十二，辰寅二千五百八十三，辰卯二千五百八十四，辰辰二千五百八十五，辰巳二千五百八十六，辰午二千五百八十七，辰未二千五百八十八，辰申二千五百八十九，辰酉二千五百九十，辰戌二千五百九十一，辰亥二千五百九十二。

The 216th cycle, with the heavenly stem JI, corresponds to the sixth cycle of Wei. The twelve cycles span from the 2581st to the 2592nd generation, beginning with Zi and ending with Hai, with the You cycle exactly reaching the 2590th. By the end of this cycle, the Wei cycle has completed one fifth of the full cycle: 10,800 years have already passed, 2,160 years have been completed, leaving 8,640 years remaining; 4,320 generations of the Yuan have already passed, with 2,592 generations having been completed. The 216th cycle is exactly three fifths of the 360 cycles of the Yuan. This cycle lasts 360 years, from the 77,401st to the 77,760th year of the Yuan.

星庚二百十七：辰子二千五百九十三，辰丑二千五百九十四，辰寅二千五百九十五，辰卯二千五百九十六，辰辰二千五百九十七，辰巳二千五百九十八，辰午二千五百九十九，辰未二千六百，辰申二千六百一，辰酉二千六百二，辰戌二千六百三，辰亥二千六百四。

The 217th cycle, with the heavenly stem paired with Geng, is the seventh cycle of Wei. It encompasses twelve generations from the 2593rd to the 2604th: the seven generations from Zi to Wu correspond to the 2593rd to the 2599th, the Wei generation exactly reaches the 2600th, and the four generations of Shen, You, Xu, and Hai continue from the 2601st to the 2604th. The thirty cycles of Wei have already passed seven cycles and 2520 years. This cycle lasts 360 years, corresponding to the 77,761st to the 78,120th year of a great cycle.

星辛二百十八：辰子二千六百五，辰丑二千六百六，辰寅二千六百七，辰卯二千六百八，辰辰二千六百九，辰巳二千六百十，辰午二千六百十一，辰未二千六百十二，辰申二千六百十三，辰酉二千六百十四，辰戌二千六百十五，辰亥二千六百十六。

The 218th cycle, with the heavenly stem paired with Xin, corresponds to the eighth cycle of the Wei cycle. The twelve generations span from the 2605th to the 2616th, starting with Zi and ending with Hai, with numbers increasing sequentially. The table does not include era names, but only uses the number of generations to mark time, which is precisely the meaning of "using numbers to govern affairs": numbers precede events, and when events occur, the numbers are already complete. By this point, the Wei cycle has already gone through eight cycles, totaling 2,880 years, leaving 22 cycles remaining. This cycle lasts 360 years, covering the 78,121st to the 78,480th year of the Great Cycle.

星壬二百十九：辰子二千六百十七，辰丑二千六百十八，辰寅二千六百十九，辰卯二千六百二十，辰辰二千六百二十一，辰巳二千六百二十二，辰午二千六百二十三，辰未二千六百二十四，辰申二千六百二十五，辰酉二千六百二十六，辰戌二千六百二十七，辰亥二千六百二十八。

The 219th cycle, with the heavenly stem paired with Ren, corresponds to the ninth cycle of Wei. It encompasses twelve generations from the 2617th generation (Zi) to the 2628th generation (Hai), with the Mao generation exactly at the 2620th. The heavenly stem reaches Ren, needing only one more to complete the first round of ten stems in this cycle. The Wei cycle, which spans 10,800 years, has already passed 3,240 years, leaving 7,560 years remaining. One yuan, which consists of 4,320 generations, has already passed the 2,628th generation, leaving 1,692 generations remaining. This cycle lasts 360 years, corresponding to the 78,481st to the 78,840th year of one yuan.

星癸二百二十：辰子二千六百二十九，辰丑二千六百三十，辰寅二千六百三十一，辰卯二千六百三十二，辰辰二千六百三十三，辰巳二千六百三十四，辰午二千六百三十五，辰未二千六百三十六，辰申二千六百三十七，辰酉二千六百三十八，辰戌二千六百三十九，辰亥二千六百四十。

The 220th cycle, with the heavenly stem癸 (Gui), is the tenth cycle of the Wei (Earthly Branch) convergence, and this is the first round of the heavenly stems, which are now exhausted. The twelve cycles span from the 2629th to the 2640th generations: the Zi generation is the 2629th, the Chou generation is completed in the 2630th, and the Hai generation is completed in the 2640th. The ten cycles total 3,600 years, which is one third of the 10,800 years of the Wei convergence. By the time of this cycle, 220 out of the 360 cycles of the Great Cycle have been completed, leaving 140 cycles remaining. This cycle lasts 360 years, corresponding to the 78,841st to the 79,200th year of the Great Cycle.

星甲二百二十一：辰子二千六百四十一，辰丑二千六百四十二，辰寅二千六百四十三，辰卯二千六百四十四，辰辰二千六百四十五，辰巳二千六百四十六，辰午二千六百四十七，辰未二千六百四十八，辰申二千六百四十九，辰酉二千六百五十，辰戌二千六百五十一，辰亥二千六百五十二。

The 221st cycle begins with the heavenly stem Jia, marking the start of the second round of the 11th convergence. This cycle encompasses twelve generations, spanning from the 2641st to the 2652nd: the ten generations from Zi to You correspond to the 2641st to the 2650th, while the two generations of Xu and Hai correspond to the 2651st and 2652nd. The 11th convergence has already lasted 3,960 years out of its total 10,800 years, with 6,840 years remaining. Each generation lasts 30 years, making this cycle 360 years long, covering the 79,201st to the 79,560th year of the great cycle.

星乙二百二十二：辰子二千六百五十三，辰丑二千六百五十四，辰寅二千六百五十五，辰卯二千六百五十六，辰辰二千六百五十七，辰巳二千六百五十八，辰午二千六百五十九，辰未二千六百六十，辰申二千六百六十一，辰酉二千六百六十二，辰戌二千六百六十三，辰亥二千六百六十四。

The 222nd cycle, with the heavenly stem paired as Yi, belongs to the twelfth cycle of the Wei. The twelfth cycle spans from the 2653rd to the 2664th generation, with the Wei generation exactly reaching the 2660th. One cycle encompasses twelve generations, and one cycle of cycles encompasses thirty cycles, thus totaling three hundred and sixty generations. The Wei cycle begins from the 2521st generation and, by the end of this cycle, has counted a total of one hundred and forty-four generations. In terms of years, this cycle has already passed four thousand three hundred and twenty years, and there remain one thousand and eighty years until the halfway point of the cycle. This cycle lasts three hundred and sixty years, corresponding to the 79,561st to the 79,920th year of the great cycle.

星丙二百二十三：辰子二千六百六十五，辰丑二千六百六十六，辰寅二千六百六十七，辰卯二千六百六十八，辰辰二千六百六十九，辰巳二千六百七十，辰午二千六百七十一，辰未二千六百七十二，辰申二千六百七十三，辰酉二千六百七十四，辰戌二千六百七十五，辰亥二千六百七十六。

The 223rd cycle, with the heavenly stem Jia, corresponds to the 13th cycle of the Wei cycle. The twelve generations under this cycle span from the 2665th generation (Zi) to the 2676th generation (Hai), with the generation Si exactly reaching 2670. The Wei cycle consists of thirty cycles, of which thirteen have already passed, amounting to 4680 years, leaving seventeen cycles and 6120 years remaining. In terms of generations, one cycle comprises 4320 generations, which have already passed the 2676th generation. This cycle lasts 360 years, covering the 79,921st to the 80,280th year of the Great Cycle. The number of 80,000 years of the Great Cycle is surpassed within this cycle.

星丁二百二十四：辰子二千六百七十七，辰丑二千六百七十八，辰寅二千六百七十九，辰卯二千六百八十，辰辰二千六百八十一，辰巳二千六百八十二，辰午二千六百八十三，辰未二千六百八十四，辰申二千六百八十五，辰酉二千六百八十六，辰戌二千六百八十七，辰亥二千六百八十八。

The 224th cycle, with the heavenly stem paired with Ding, corresponds to the 14th cycle of the Wei conjunction. The twelve cycles span from the 2677th to the 2688th generation, with the Mao generation exactly reaching the 2680th. The Wei conjunction has already gone through 14 of its 30 cycles, leaving 16 cycles, or 5760 years. In terms of generations, 4320 generations of the great cycle have passed, with 2688 generations already completed, leaving 1632 generations remaining. This cycle is the fourth among the ten heavenly stems in the second round of the Wei conjunction, and it is separated from the previous Ding cycle by ten cycles. This cycle lasts 360 years, from the 80,281st to the 80,640th year of the great cycle.

星戊二百二十五：辰子二千六百八十九，辰丑二千六百九十，辰寅二千六百九十一，辰卯二千六百九十二，辰辰二千六百九十三，辰巳二千六百九十四，辰午二千六百九十五，辰未二千六百九十六，辰申二千六百九十七，辰酉二千六百九十八，辰戌二千六百九十九，辰亥二千七百。

The 225th cycle, with the heavenly stem Wu, corresponds to the 15th cycle of the Wei conjunction, and it is exactly halfway through the thirty cycles of the conjunction. The twelve generations under this cycle span from the 2,689th generation to the 2,700th generation: the Zi generation is the 2,689th, the Chou generation completes the 2,690th, and the subsequent generations from Yin to Xu follow in order, with the Hai generation completing the 2,700th. By the end of this cycle, the Wei conjunction has already passed 5,400 years, which is exactly halfway through the conjunction. The entire cycle of 129,600 years has also progressed to 81,000 years, exceeding half by an additional 16,200 years. This cycle of 360 years corresponds to the 80,641st to the 81,000th year of the great cycle.

星己二百二十六：辰子二千七百一，辰丑二千七百二，辰寅二千七百三，辰卯二千七百四，辰辰二千七百五，辰巳二千七百六，辰午二千七百七，辰未二千七百八，辰申二千七百九，辰酉二千七百十，辰戌二千七百十一，辰亥二千七百十二。

The 226th cycle, with the heavenly stem Ji, corresponds to the 16th cycle of the hexagram. The twelve generations span from the 2,701st to the 2,712th: the nine generations from Zi to Shen are respectively the 2,701st to the 2,709th, the You generation completes the 2,710th, and the Xu and Hai generations are the 2,711th and 2,712th. This cycle lasts 360 years, corresponding to the 81,001st to the 81,360th year of the great cycle.

星庚二百二十七：辰子二千七百十三，辰丑二千七百十四，辰寅二千七百十五，辰卯二千七百十六，辰辰二千七百十七，辰巳二千七百十八，辰午二千七百十九，辰未二千七百二十，辰申二千七百二十一，辰酉二千七百二十二，辰戌二千七百二十三，辰亥二千七百二十四。

The 227th cycle, with the heavenly stem Geng, corresponds to the 17th cycle of the Wei. It covers twelve generations from the 2713th to the 2724th, starting with Zi and ending with Hai. The Wei generation exactly reaches the 2720th. Considering the total of 4320 generations in one cycle, at this point 2724 generations have passed, leaving 1596 generations remaining. The Wei cycle has already gone through 17 out of 30 cycles, which is 6120 years, leaving 13 cycles. This cycle lasts 360 years, corresponding to the 81361st to the 81720th year of one cycle.

星辛二百二十八：辰子二千七百二十五，辰丑二千七百二十六，辰寅二千七百二十七，辰卯二千七百二十八，辰辰二千七百二十九，辰巳二千七百三十，辰午二千七百三十一，辰未二千七百三十二，辰申二千七百三十三，辰酉二千七百三十四，辰戌二千七百三十五，辰亥二千七百三十六。

The 228th cycle, with the heavenly stem paired with Xin, corresponds to the 18th cycle of the Earthly Branch Wei. The twelve generations span from the 2725th to the 2736th, with the Si cycle exactly reaching the 2730th. Shao Yong's list ends here, with both before and after being numbers waiting for events: the past is recorded with historical facts, while the future is awaited through numbers, maintaining a consistent format. The Wei cycle has already passed 6,480 years out of 10,800, leaving 4,320 years remaining; the 360 years of this cycle fall within the 81,721st to the 82,080th year of the great cycle.

星壬二百二十九：辰子二千七百三十七，辰丑二千七百三十八，辰寅二千七百三十九，辰卯二千七百四十，辰辰二千七百四十一，辰巳二千七百四十二，辰午二千七百四十三，辰未二千七百四十四，辰申二千七百四十五，辰酉二千七百四十六，辰戌二千七百四十七，辰亥二千七百四十八。

The 229th cycle, with the heavenly stem paired with Ren, corresponds to the nineteenth cycle of the Wei period. It encompasses twelve generations, from the 2737th generation (Zi) to the 2748th generation (Hai). The generation of Mao is exactly at the 2740th, while the other generations increase sequentially by one. The heavenly stem reaches Ren, connecting to the next cycle's stem Gui, completing the second round of ten stems. The Wei period has now completed nineteen cycles and 6,840 years, leaving eleven cycles remaining. In terms of generations, the first cycle of four thousand three hundred twenty generations has passed the 2748th generation. This cycle lasts 360 years, from the 82,081st to the 82,440th year of the first cycle.

星癸二百三十：辰子二千七百四十九，辰丑二千七百五十，辰寅二千七百五十一，辰卯二千七百五十二，辰辰二千七百五十三，辰巳二千七百五十四，辰午二千七百五十五，辰未二千七百五十六，辰申二千七百五十七，辰酉二千七百五十八，辰戌二千七百五十九，辰亥二千七百六十。

The 230th cycle, with the heavenly stem癸, corresponds to the 20th cycle of the Wei hội. This is the second round of heavenly stems, which are exhausted here, and the next cycle will begin again with 甲. The twelve ages span from the 2749th to the 2760th age: the Zi age is the 2749th, the Chou age is full in the 2750th, and the Hai age is full in the 2760th. Twenty cycles total 7200 years, accounting for two-thirds of the 10,800 years of the Wei hội. By this point, 230 out of 360 cycles of the Yuan have been completed. This cycle lasts 360 years, corresponding to the 82,441st to the 82,800th year of the Yuan.

星甲二百三十一：辰子二千七百六十一，辰丑二千七百六十二，辰寅二千七百六十三，辰卯二千七百六十四，辰辰二千七百六十五，辰巳二千七百六十六，辰午二千七百六十七，辰未二千七百六十八，辰申二千七百六十九，辰酉二千七百七十，辰戌二千七百七十一，辰亥二千七百七十二。

The 231st cycle, with the heavenly stem Jia, corresponds to the 21st cycle of Wei, and the third round of heavenly stems begins here. The twelve generations under this cycle span from the 2761st to the 2772nd: the first three generations, Zi, Chou, and Yin, cover the 2761st to the 2763rd, followed by Mao to Hai in order, each generation increasing by one. The You generation reaches the 2770th. The Wei cycle has already passed 7,560 years out of 10,800, leaving 3,240 years and nine cycles. Each generation is 30 years, making this cycle 360 years long, covering the 82,801st to the 83,160th year of the great cycle.

星乙二百三十二：辰子二千七百七十三，辰丑二千七百七十四，辰寅二千七百七十五，辰卯二千七百七十六，辰辰二千七百七十七，辰巳二千七百七十八，辰午二千七百七十九，辰未二千七百八十，辰申二千七百八十一，辰酉二千七百八十二，辰戌二千七百八十三，辰亥二千七百八十四。

The 232nd cycle, with the heavenly stem paired as Yi, corresponds to the 22nd cycle of the Wei conjunction. The twelve cycles span from the 2773rd to the 2784th generation, with the Wei generation exactly reaching 2780. The remaining cycles of the Wei conjunction amount to only eight cycles, or 2880 years, and will soon transition into the Shen conjunction. In terms of generations, one great cycle has already passed 2784 generations, leaving 1536 generations remaining; in terms of years, the entire great cycle has already progressed 83,520 years. This cycle lasts 360 years, covering the 83,160th to the 83,520th year of the great cycle.

星丙二百三十三：辰子二千七百八十五，辰丑二千七百八十六，辰寅二千七百八十七，辰卯二千七百八十八，辰辰二千七百八十九，辰巳二千七百九十，辰午二千七百九十一，辰未二千七百九十二，辰申二千七百九十三，辰酉二千七百九十四，辰戌二千七百九十五，辰亥二千七百九十六。

The 233rd cycle, with the heavenly stem paired as Bing, corresponds to the second thirty-third cycle. The twelve generations under this cycle range from the 2785th generation (Zi) to the 2796th generation (Hai), with the generation of Si exactly reaching 2790. In terms of years, from the beginning of the great cycle to the end of this cycle, 83,880 years have passed, which is approximately six and a half tenths of the entire cycle. Of the thirty cycles in the unification, twenty-three have already passed, leaving seven cycles and 2,520 years, which is already close to the time of meeting. This cycle spans 360 years, corresponding to the years 83,521 to 83,880 of the great cycle.

星丁二百三十四：辰子二千七百九十七，辰丑二千七百九十八，辰寅二千七百九十九，辰卯二千八百，辰辰二千八百一，辰巳二千八百二，辰午二千八百三，辰未二千八百四，辰申二千八百五，辰酉二千八百六，辰戌二千八百七，辰亥二千八百八。

The 234th cycle, with the heavenly stem paired with Ding, corresponds to the 24th cycle of the Earthly Branches. The twelve generations span from the 2,797th to the 2,808th: the three generations of Zi, Chou, and Yin cover the 2,797th to the 2,799th, the Mao generation exactly reaches the 2,800th, and the subsequent eight generations from Chen to Hai span from the 2,801st to the 2,808th. This cycle lasts 360 years, corresponding to the 83,881st to the 84,240th year of the Great Cycle.

星戊二百三十五：辰子二千八百九，辰丑二千八百十，辰寅二千八百十一，辰卯二千八百十二，辰辰二千八百十三，辰巳二千八百十四，辰午二千八百十五，辰未二千八百十六，辰申二千八百十七，辰酉二千八百十八，辰戌二千八百十九，辰亥二千八百二十。

The 235th cycle, with the heavenly stem Wu, corresponds to the 25th cycle of the Earthly Branch Wei. It governs twelve generations, from the 2809th to the 2820th: the Zi generation is the 2809th, the Chou generation completes the 2810th, and the subsequent generations from Yin to Xu follow in order, with the Hai generation completing the 2820th. In terms of years, the Wei cycle has already passed 9,000 years out of 10,080, leaving 1,800 years remaining. This cycle lasts 360 years, spanning from the 84,241st to the 84,600th year of the Great Cycle. The remaining part of the Wei cycle consists of only five cycles.

星己二百三十六：辰子二千八百二十一，辰丑二千八百二十二，辰寅二千八百二十三，辰卯二千八百二十四，辰辰二千八百二十五，辰巳二千八百二十六，辰午二千八百二十七，辰未二千八百二十八，辰申二千八百二十九，辰酉二千八百三十，辰戌二千八百三十一，辰亥二千八百三十二。

The 236th cycle, with the heavenly stem Ji, corresponds to the 26th cycle of the hexagram. The twelve cycles span from the 2,821st to the 2,832nd generation, starting with Zi and ending with Hai, numbered continuously without interruption. The You cycle exactly reaches the 2,830th. All these records were预先 established by Shao Yong for future generations: the numbers were already determined, and events would come to pass accordingly. The remaining four cycles of the hexagram, totaling 1,440 years, remain. The entire cycle of 4,320 generations has already passed the 2,832nd generation, leaving 1,488 generations remaining. This cycle lasts 360 years, corresponding to the 84,601st to the 84,960th year of the great cycle.

星庚二百三十七：辰子二千八百三十三，辰丑二千八百三十四，辰寅二千八百三十五，辰卯二千八百三十六，辰辰二千八百三十七，辰巳二千八百三十八，辰午二千八百三十九，辰未二千八百四十，辰申二千八百四十一，辰酉二千八百四十二，辰戌二千八百四十三，辰亥二千八百四十四。

The 237th cycle, with the heavenly stem paired with Geng, corresponds to the 27th cycle of the Wei period. The twelve generations under its jurisdiction span from the 2833rd to the 2844th generations, with the Wei generation exactly reaching the 2840th. The thirty cycles of the Wei period have only three left, and one thousand and eight decades make up a full period. In terms of years, the full cycle of twelve thousand nine hundred and sixty years has already passed eight thousand five hundred and thirty-two years, leaving four thousand four hundred and eighty years remaining; the three hundred and sixty cycles of one cycle have already passed two hundred and thirty-seven cycles. This cycle lasts three hundred and sixty years, corresponding to the 84,961st to the 85,320th year of one cycle.

星辛三百三十八：辰子二千八百四十五，辰丑二千八百四十六，辰寅二千八百四十七，辰卯二千八百四十八，辰辰二千八百四十九，辰巳二千八百五十，辰午二千八百五十一，辰未二千八百五十二，辰申二千八百五十三，辰酉二千八百五十四，辰戌二千八百五十五，辰亥二千八百五十六。

This section originally had the title "Star Xin 338," while the preceding and succeeding sections are the 237th and 239th cycles respectively. This indicates that "three hundred" is a mistake for "two hundred," and it actually refers to the 238th cycle, with the heavenly stem Xin paired, located in Wei, corresponding to the 28th cycle. The original text is retained without alteration. The twelve generations covered are from the 2845th to the 2856th, starting with Zi and ending with Hai, with the generation of Si exactly reaching 2850. This cycle lasts 360 years, spanning from the 85,321st to the 85,680th year of the great cycle.

星壬二百三十九：辰子二千八百五十七，辰丑二千八百五十八，辰寅二千八百五十九，辰卯二千八百六十，辰辰二千八百六十一，辰巳二千八百六十二，辰午二千八百六十三，辰未二千八百六十四，辰申二千八百六十五，辰酉二千八百六十六，辰戌二千八百六十七，辰亥二千八百六十八。

The 239th cycle, with the heavenly stem paired with Ren, corresponds to the second十九th cycle. The twelve generations under this cycle range from the 2857th generation (Zi) to the 2868th generation (Hai), with the Mao generation exactly at 2860. Once this cycle is completed, the Wei cycle will only have one cycle left. In terms of generations, one cycle of 4320 generations has passed 2868 generations, leaving 1452 generations remaining; in terms of years, the Wei cycle of 10,800 years has already passed 10,440 years, leaving only 360 years. This cycle of 360 years corresponds to the 85,681st to 86,040th year of the great cycle.

星癸二百四十：辰子二千八百六十九，辰丑二千八百七十，辰寅二千八百七十一，辰卯二千八百七十二，辰辰二千八百七十三，辰巳二千八百七十四，辰午二千八百七十五，辰未二千八百七十六，辰申二千八百七十七，辰酉二千八百七十八，辰戌二千八百七十九，辰亥二千八百八十。

The 240th cycle, with the heavenly stem癸 (Gui), is the final cycle of the thirty cycles of the Wei (Earthly Branch). It encompasses twelve generations, from the 2,869th generation to the 2,880th generation: the Zi generation is the 2,869th, the Chou generation is full at the 2,870th, and the Hai generation is fully completed at the 2,880th. This number exactly equals the accumulation of 8 cycles, each governing 360 generations. The Wei cycle ends here, and one cycle of 86,400 years has been completed, matching the number of the 8 cycles. This cycle itself lasts 360 years, spanning from the 86,401st year to the 86,400th year of the cycle, after which it transitions into the Shen cycle.

日甲一，月申九。

"The 'Day Jia One' still refers to the original beginning as the first unit, with the heavenly stem paired with Jia; 'Month Shen Nine' means the recorded cycle is the ninth of the twelve cycles in one unit, with the earthly branch belonging to Shen. The Shen cycle encompasses thirty ages from the 241st to the 270th, and thirty-six thousand and eighty-one generations from the 2881st to the 3240th, totaling eleven thousand and eight hundred years, which corresponds to the period from the 86,401st to the 97,200th year of one unit. The twelve cycles begin with the Zi cycle, and Shen is the ninth. After that come the You, Xu, and Hai cycles, completing one unit."

星甲二百四十一：辰子二千八百八十一，辰丑二千八百八十二，辰寅二千八百八十三，辰卯二千八百八十四，辰辰二千八百八十五，辰巳二千八百八十六，辰午二千八百八十七，辰未二千八百八十八，辰申二千八百八十九，辰酉二千八百九十，辰戌二千八百九十一，辰亥二千八百九十二。

The 241st cycle, with the heavenly stem Jia, is the first cycle of the thirty cycle period of the Sheng (Metal) cycle. It covers twelve generations, from the 2881st to the 2892nd: the first three generations, Zi, Chou, and Yin, correspond to the 2881st to the 2883rd, followed by Mao to Hai in order, each generation increasing by one. The You generation exactly reaches the 2890th. The previous cycle ended at the 2880th generation, and this cycle begins at the 2881st. Each generation is thirty years, making this cycle 360 years long, spanning the 86,401st to the 86,760th year of the Great Cycle.

星乙二百四十二：辰子二千八百九十三，辰丑二千八百九十四，辰寅二千八百九十五，辰卯二千八百九十六，辰辰二千八百九十七，辰巳二千八百九十八，辰午二千八百九十九，辰未二千九百，辰申二千九百一，辰酉二千九百二，辰戌二千九百三，辰亥二千九百四。

The 242nd cycle, with the heavenly stem paired with Yi, corresponds to the second cycle of the Shēn (Monkey) conjunction. The twelve generations span from the 2893rd to the 2904th: the seven generations from Zi to Wu successively cover the 2893rd to the 2899th, the Wei generation exactly reaches the 2900th, and the four generations of Shēn, You, Xū, and Hài continue from the 2901st to the 2904th. The Shēn conjunction requires thirty cycles to complete two cycles and seven hundred twenty years. This cycle lasts three hundred sixty years, corresponding to the 86,761st to the 87,120th year of a great cycle.

星丙二百四十三：辰子二千九百五，辰丑二千九百六，辰寅二千九百七，辰卯二千九百八，辰辰二千九百九，辰巳二千九百十，辰午二千九百十一，辰未二千九百十二，辰申二千九百十三，辰酉二千九百十四，辰戌二千九百十五，辰亥二千九百十六。

The 243rd cycle, with the heavenly stem Jia, corresponds to the third cycle of the Metal element. It encompasses twelve generations, from the 2905th generation (Zi) to the 2916th generation (Hai), each earthly branch representing one generation. The generation of Si coincides exactly with the 2910th. Counting by generations, four thousand three hundred twenty generations of one cycle remain at this point, leaving one thousand four hundred and four generations. Counting by years, the full cycle of twelve thousand nine hundred and sixty years has already passed two-thirds. This cycle lasts three hundred and sixty years, corresponding to the 87,120th to the 87,480th year of one cycle.

星丁二百四十四：辰子二千九百十七，辰丑二千九百十八，辰寅二千九百十九，辰卯二千九百二十，辰辰二千九百二十一，辰巳二千九百二十二，辰午二千九百二十三，辰未二千九百二十四，辰申二千九百二十五，辰酉二千九百二十六，辰戌二千九百二十七，辰亥二千九百二十八。

The 244th cycle, with the heavenly stem paired with Ding, corresponds to the fourth cycle of the Shēn (Monkey) convergence. The twelve cycles span from the 2917th to the 2928th generation, with the Mǎo (Rabbit) generation exactly reaching the 2920th. The Shēn convergence has already gone through four cycles, totaling 1,440 years, leaving 26 cycles remaining. In terms of generations, one great cycle of 4,320 generations has passed the 2,928th generation, leaving 1,392 generations remaining; in terms of years, the entire great cycle has already passed 87,840 years. This cycle lasts 360 years, corresponding to the 87,481st to the 87,840th year of the great cycle.

星戊二百四十五：辰子二千九百二十九，辰丑二千九百三十，辰寅二千九百三十一，辰卯二千九百三十二，辰辰二千九百三十三，辰巳二千九百三十四，辰午二千九百三十五，辰未二千九百三十六，辰申二千九百三十七，辰酉二千九百三十八，辰戌二千九百三十九，辰亥二千九百四十。

The 245th cycle, with the heavenly stem Wu, corresponds to the fifth cycle of the Metal Monkey. The twelve generations under this cycle span from the 2929th to the 2940th: the Zi generation is the 2929th, the Chou generation is full in the 2930th, followed by Yin to Xu in order, and the Hai generation is full in the 2940th. The Metal Monkey cycle, which lasts 10,800 years, has already passed 1,800 years, leaving 9,000 years remaining. Out of the 360 cycles in a great cycle, 245 have already passed, leaving 115 cycles remaining. This cycle lasts 360 years, corresponding to the 87,841st to the 88,200th year of the great cycle.

星己二百四十六：辰子二千九百四十一，辰丑二千九百四十二，辰寅二千九百四十三，辰卯二千九百四十四，辰辰二千九百四十五，辰巳二千九百四十六，辰午二千九百四十七，辰未二千九百四十八，辰申二千九百四十九，辰酉二千九百五十，辰戌二千九百五十一，辰亥二千九百五十二。

The 246th cycle, with the heavenly stem JI, corresponds to the sixth cycle of the Sheng hội. The twelve generations span from the 2941st to the 2952nd, starting with Zi and ending with Hai, numbered continuously: the 2941st generation is Zi, the 2942nd is Chou, the 2943rd is Yin, followed by Mao, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai in order, increasing sequentially until the 2952nd. The You generation exactly reaches 2950. The Sheng hội completes six cycles, which is one fifth of the full thirty cycles. This cycle lasts 360 years, corresponding to the 88,201st to the 88,560th year of the first yuán.

星庚二百四十七：辰子二千九百五十三、辰丑二千九百五十四、辰寅二千九百五十五、辰卯二千九百五十六、辰辰二千九百五十七、辰巳二千九百五十八、辰午二千九百五十九、辰未二千九百六十、辰申二千九百六十一、辰酉二千九百六十二、辰戌二千九百六十三、辰亥二千九百六十四。

In Shao Yong's calendar, "star" serves as a substitute for "epoch" or "cycle." This line refers to the 247th epoch within a single cycle. According to the rotation of the heavenly stems, it corresponds to the "Geng" position, belonging to the seventh epoch of the ninth group, "Shen group." One epoch encompasses twelve generations, so the following twelve "Chen" are the generations from the 2,953rd to the 2,964th of the entire cycle. The names of "Chen" are arranged in the order of the twelve earthly branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai. When the sequence is completed, it starts anew. One generation spans thirty years, making the duration of this epoch three hundred and sixty years, which falls within the twelve thousand nine hundred and sixty-year cycle from the 88,561st to the 88,920th year.

星辛二百四十八：辰子二千九百六十五、辰丑二千九百六十六、辰寅二千九百六十七、辰卯二千九百六十八、辰辰二千九百六十九、辰巳二千九百七十、辰午二千九百七十一、辰未二千九百七十二、辰申二千九百七十三、辰酉二千九百七十四、辰戌二千九百七十五、辰亥二千九百七十六。

Following the previous cycle, this is the 248th cycle within one yuan, with the heavenly stem reaching "Xin." It is the eighth cycle within the thirty cycles of Shen. The twelve generations in this cycle are numbered from the 2,965th to the 2,976th, with the earthly branches starting again from "Chen Zi" and ending at "Chen Hai," seamlessly connecting with the previous cycle's twelve generations without any overlap. Converted into years, this cycle spans 360 years, from the 88,921st to the 89,280th year of one yuan. At this time, the Shen cycle has progressed more than a quarter of the way. The Shen cycle is the ninth of the twelve cycles in one yuan, and later generations paired it with the twelve message hexagrams, corresponding to the hexagram "Pu" (Obstruction).

星壬二百四十九：辰子二千九百七十七、辰丑二千九百七十八、辰寅二千九百七十九、辰卯二千九百八十、辰辰二千九百八十一、辰巳二千九百八十二、辰午二千九百八十三、辰未二千九百八十四、辰申二千九百八十五、辰酉二千九百八十六、辰戌二千九百八十七、辰亥二千九百八十八。

This is the second hundred and forty-ninth cycle of the Great Cycle, with the heavenly stem paired as "Ren," ranking ninth in the申 cycle. The twelve "Chen" within the table represent the twelve generations under its jurisdiction, numbered from twenty-nine thousand seven hundred seventy-seven to twenty-nine thousand eight hundred eighty-eight. Shao Yong used the terms day, month, star, and辰 to represent the Great Cycle, the cycle, the era, and the generation respectively. Therefore, under "star," "Chen" must necessarily be listed, just as under a month, its days must be listed. This era lasts for three hundred and sixty years, spanning from the eighty-nine thousand two hundred eighty-first year to the eighty-nine thousand six hundred and fourtieth year of the Great Cycle. If we break it down into generations, the first generation, "Chen Zi" (twenty-nine thousand seven hundred seventy-seven), corresponds to the eighty-nine thousand two hundred eighty-first year to the eighty-nine thousand three hundred and tenth year. Each subsequent generation follows in order, advancing by thirty years each time, with the last generation, "Chen Hai" (twenty-nine thousand eight hundred eighty-eight), ending in the eighty-nine thousand six hundred and fourtieth year.

星癸二百五十：辰子二千九百八十九、辰丑二千九百九十、辰寅二千九百九十一、辰卯二千九百九十二、辰辰二千九百九十三、辰巳二千九百九十四、辰午二千九百九十五、辰未二千九百九十六、辰申二千九百九十七、辰酉二千九百九十八、辰戌二千九百九十九、辰亥三千。

This is the second hundred and fiftieth cycle of the first era. The heavenly stem has reached the last of the ten stems, "Gui," marking the completion of the first ten cycles of the "Shen" cycle. The next cycle will begin anew with "Jia." The twelve generations under this cycle range from the 2,989th generation to the 3,000th generation. The final generation is noted as "Chen Hai San Qian," meaning exactly the 3,000th generation, which is a whole number milestone within the total of 4,320 generations of the entire era. In terms of years, this cycle spans from the 89,641st year to the 90,000th year of the first era. The final generation, the 3,000th generation of Chen and Hai, precisely ends at the 90,000th year. The "Shen" cycle consists of thirty cycles, and ten cycles have already passed, leaving twenty cycles and 7,200 years before the "You" cycle begins.

星甲二百五十一：辰子三千一、辰丑三千二、辰寅三千三、辰卯三千四、辰辰三千五、辰巳三千六、辰午三千七、辰未三千八、辰申三千九、辰酉三千十、辰戌三千十一、辰亥三千十二。

The second hundred and fifty-first cycle of the Great Cycle begins with the Heavenly Stem returning to "Jia." This marks the start of the second round of ten Heavenly Stems, placing it as the eleventh among the thirty cycles. The corresponding twelve generations begin from the thirty-first thousand and first year and end at the thirty-first thousand and twelfth year. The original text writes "three thousand one" up to "three thousand twelve," which are abbreviations of "three thousand" with the zero omitted, not a separate numbering system. This cycle spans three hundred and sixty years, covering the period from the ninth thousand and first year to the ninth thousand and three hundred and sixtieth year, which is exactly the first three hundred and sixty years following nine thousand years.

星乙二百五十二：辰子三千十三、辰丑三千十四、辰寅三千十五、辰卯三千十六、辰辰三千十七、辰巳三千十八、辰午三千十九、辰未三千二十、辰申三千二十一、辰酉三千二十二、辰戌三千二十三、辰亥三千二十四。

The second hundred and fifty-second movement of the first cycle is paired with the heavenly stem "Yi", and it is the twelfth movement of the Sheng union. The twelve generations under its jurisdiction are numbered from three thousand and thirteen to three thousand and twenty-four. The twelve earthly branches still cycle through Zi to Hai in order. If we look at a broader perspective: one cycle consists of twelve unions, each union has thirty movements, each movement has twelve generations, and each generation spans thirty years. Multiplying these four layers together gives exactly twelve thousand nine hundred and sixty years. This movement corresponds to the period from nine thousand and three hundred and sixty-one years to nine thousand and seven hundred and twenty years within these twelve thousand nine hundred and sixty years.

星丙二百五十三：辰子三千二十五、辰丑三千二十六、辰寅三千二十七、辰卯三千二十八、辰辰三千二十九、辰巳三千三十、辰午三千三十一、辰未三千三十二、辰申三千三十三、辰酉三千三十四、辰戌三千三十五、辰亥三千三十六。

The second hundred and fifty-third cycle of the Great Cycle has the heavenly stem "Bing". Within the thirty cycles of the Sheng period, it is the thirteenth. It still has two cycles to reach the midpoint. The twelve generations under this cycle span from the third thousand and second fifth generation to the third thousand and thirty-sixth generation. Shao Yong arranged this table so that looking horizontally shows the order of the twelve generations within one cycle, and looking vertically shows the progression of the thirty cycles within one period. The interweaving of these two directions forms the fabric of time. This cycle lasts three hundred and sixty years, corresponding to the ninth ten thousand and seven hundred and twenty-first year to the ninth ten thousand and one hundred and eightieth year of the Great Cycle.

星丁二百五十四：辰子三千三十七、辰丑三千三十八、辰寅三千三十九、辰卯三千四十、辰辰三千四十一、辰巳三千四十二、辰午三千四十三、辰未三千四十四、辰申三千四十五、辰酉三千四十六、辰戌三千四十七、辰亥三千四十八。

The second hundred and fifty-fourth cycle of the Great Cycle is associated with the Heavenly Stem 'Ding', and is the fourteenth cycle of the Sheng Hui. The twelve generations under this cycle span from the thirty-first thousand and thirty-seventh generation to the thirty-first thousand and forty-eighth generation. The twelve sections are marked as Chen Zi, Chen Chou, Chen Yin, Chen Mao, Chen Chen, Chen Si, Chen Wu, Chen Wei, Chen Shen, Chen You, Chen Xu, and Chen Hai; the names of the Earthly Branches are used only to indicate the order, and are not related to the following numbers of generations. This cycle lasts for three hundred and sixty years, corresponding to the period from the ninth thousand one hundred and eighty-first year to the ninth thousand one hundred and forty-fourth year of the Great Cycle.

星戊二百五十五：辰子三千四十九、辰丑三千五十、辰寅三千五十一、辰卯三千五十二、辰辰三千五十三、辰巳三千五十四、辰午三千五十五、辰未三千五十六、辰申三千五十七、辰酉三千五十八、辰戌三千五十九、辰亥三千六十。

The second hundred and fifty-fifth cycle of the Great Cycle is governed by the heavenly stem Wu. This corresponds to the midpoint of the thirty cycle of Shen. Beyond this point, the latter half of the Shen cycle begins. The twelve cycles numbered from 3049 to 3060. Calculated by year, this cycle spans from the ninth hundred and fourteen thousand and forty-first year to the ninth hundred and eighteen thousandth year. The Shen cycle began in the eighth hundred and sixty-four thousand and first year, and has already lasted five thousand four hundred years. It still has five thousand four hundred years left before the You cycle begins. The twelve cycles start with Zi, and Shen is the ninth among them.

星己二百五十六：辰子三千六十一、辰丑三千六十二、辰寅三千六十三、辰卯三千六十四、辰辰三千六十五、辰巳三千六十六、辰午三千六十七、辰未三千六十八、辰申三千六十九、辰酉三千七十、辰戌三千七十一、辰亥三千七十二。

The second hundred and fifty-sixth cycle of the Great Cycle is governed by the Heavenly Stem "Ji", which is the first cycle of the latter half of the Shēn (Metal) phase. In the table, the twelve generations range from the thirty thousand and sixty-first generation to the thirty thousand and seventy-second generation. Here, "Chén" does not refer to the twelve hours of a day, but rather Shao Yong used the four terms "sun, moon, stars, and constellations" to establish his system, using "Chén" specifically to denote "generation". One generation is thirty years, and twelve generations total three hundred and sixty years, forming one cycle. This cycle spans from the ninth thousand one hundred and eighty-first year to the ninth thousand two hundred and sixtieth year of the Great Cycle.

星庚二百五十七：辰子三千七十三、辰丑三千七十四、辰寅三千七十五、辰卯三千七十六、辰辰三千七十七、辰巳三千七十八、辰午三千七十九、辰未三千八十、辰申三千八十一、辰酉三千八十二、辰戌三千八十三、辰亥三千八十四。

The second hundred and fifty-seventh cycle of the Great Cycle, when the heavenly stem meets "Geng" again, is exactly ten cycles away from the beginning of this section, the second hundred and forty-seventh cycle. This shows that the ten heavenly stems and ten cycles form a complete cycle. This cycle governs the thirty-first thousand and seventy-third generation to the thirty-first thousand and eighty-fourth generation, a total of twelve generations. The earthly branches, from Zi to Hai, each occupy one position. In terms of years, this cycle corresponds to the ninth twenty-one thousand and sixty-first year to the ninth twenty-one thousand and five hundred and twentieth year of the Great Cycle. It is the seventeenth cycle within the Sheng (Metal) combination and still falls within the section described in "The Observing Things Chapter Nine · Using the Great Cycle to Measure the Combinations Nine."

星辛二百五十八：辰子三千八十五、辰丑三千八十六、辰寅三千八十七、辰卯三千八十八、辰辰三千八十九、辰巳三千九十、辰午三千九十一、辰未三千九十二、辰申三千九十三、辰酉三千九十四、辰戌三千九十五、辰亥三千九十六。

The second hundred and fifty-eighth cycle of the Great Cycle is associated with the Heavenly Stem 'Xin', and within the Shēn (Monkey) group it is the eighteenth. The twelve generations under this cycle are numbered from 3,085 to 3,096, starting with Chén (Dragon) and Zi (Rat) and ending with Chén (Dragon) and Hai (Pig). The entire Great Cycle consists of 4,320 generations, and by this point, more than seven-tenths have passed. This cycle lasts 360 years, from the 92,521st to the 92,880th year of the Great Cycle. There are still twelve cycles and 4,320 years remaining until the end of the Shēn (Monkey) group.

星壬二百五十九：辰子三千九十七、辰丑三千九十八、辰寅三千九十九、辰卯三千一百、辰辰三千一百一、辰巳三千一百二、辰午三千一百三、辰未三千一百四、辰申三千一百五、辰酉三千一百六、辰戌三千一百七、辰亥三千一百八。

The second hundred and fifty-ninth cycle of the Great Cycle has the heavenly stem "Ren" and is the nineteenth in the group of the Monkey (Shen). It encompasses twelve generations, from the three thousand and ninth十七th generation to the three thousand and one hundred and eighth generation. When counting to the fourth section "Chen Mao", it exactly reaches the three thousand and one hundredth generation, and the original text jumps from "three thousand nine hundred ninety" to "three thousand one hundred". All subsequent sections are then added to "three thousand one hundred" with additional numbers. This cycle lasts three hundred and sixty years, from the ninth hundred and twenty-eight thousand and eighty-first year to the ninth hundred and thirty-two thousand and fourtieth year of the Great Cycle. In terms of centuries, the first generation, "Chen Zi" (three thousand and ninth十七th), governs from the ninth hundred and twenty-eight thousand and eighty-first year to the ninth hundred and twenty-nine thousand and tenth year, while the last generation, "Chen Hai" (three thousand and one hundred and eighth), governs from the ninth hundred and thirty-two thousand and eleventh year to the ninth hundred and thirty-two thousand and fourtieth year.

星癸二百六十：辰子三千一百九、辰丑三千一百十、辰寅三千一百十一、辰卯三千一百十二、辰辰三千一百十三、辰巳三千一百十四、辰午三千一百十五、辰未三千一百十六、辰申三千一百十七、辰酉三千一百十八、辰戌三千一百十九、辰亥三千一百二十。

The second hundred and sixtieth cycle of the Great Cycle, the heavenly stem meets "Gui" again. The second round of ten heavenly stems in the Shēn (Metal) cycle has now completed, and the full thirty cycles have passed twenty cycles. This cycle oversees twelve generations numbered from three thousand one hundred and nine to three thousand one hundred and twenty. The original text "three thousand one hundred nine" and the following sections omit the character "zero." In terms of years, this cycle spans from the ninth million three hundred and twenty-four thousand and one year to the ninth million three thousand six hundred year. The first generation, Chen Zi, number three thousand one hundred and nine, corresponds to the ninth million three hundred and twenty-four thousand and one year to the ninth million three hundred and twenty-seven thousand year. The last generation, Chen Hai, number three thousand one hundred and twenty, corresponds to the ninth million three thousand five hundred and seventy-one year to the ninth million three thousand six hundred year. The Shēn cycle begins counting from the eighth million six thousand four hundred and one year, and by this point, it has passed seven thousand two hundred years, leaving ten cycles of three thousand six hundred years remaining.

星甲二百六十一：辰子三千一百二十一、辰丑三千一百二十二、辰寅三千一百二十三、辰卯三千一百二十四、辰辰三千一百二十五、辰巳三千一百二十六、辰午三千一百二十七、辰未三千一百二十八、辰申三千一百二十九、辰酉三千一百三十、辰戌三千一百三十一、辰亥三千一百三十二。

The second hundred and sixty-first cycle of the Great Cycle, the Heavenly Stem turns back to "Jia" for the third time, and Shen enters the final round of ten stems, occupying the twenty-first position in the thirty cycle. The subordinate twelve generations span from the third thousand one hundred and twenty-first generation to the third thousand one hundred and thirty-second generation, with the Earthly Branches continuing from Zi to Hai as before. Converted to years, this cycle spans from the ninth thousand three hundred and sixty-first year to the ninth thousand three hundred and ninety-sixtieth year of the Great Cycle; the first generation, Chen Zi (third thousand one hundred and twenty-first), leads from the ninth thousand three hundred and sixty-first year to the ninth thousand three hundred and sixtieth year, while the last generation, Chen Hai (third thousand one hundred and thirty-second), leads from the ninth thousand three hundred and ninety-third year to the ninth thousand three hundred and ninety-sixtieth year. The original text has a missing space between the two characters "Chen Chou" and "Chen Yin," which is due to the cramped layout of the carved edition and does not affect the reading.

星乙二百六十二：辰子三千一百三十三、辰丑三千一百三十四、辰寅三千一百三十五、辰卯三千一百三十六、辰辰三千一百三十七、辰巳三千一百三十八、辰午三千一百三十九、辰未三千一百四十、辰申三千一百四十一、辰酉三千一百四十二、辰戌三千一百四十三、辰亥三千一百四十四。

The second hundred and sixty-second cycle of the Great Cycle is associated with the Heavenly Stem "Yi". It is the twenty-second cycle of the Shēn (Monkey) convergence. The twelve generations under this cycle are numbered from thirty-one thousand three hundred thirty-three to thirty-one thousand three hundred forty-four. This table marks the cycles with "Star" and the generations with "Chén". The names of the cycles include the Heavenly Stem, while the names of the generations include the Earthly Branch. One system is based on tens, the other on dozens, and they do not interfere with each other, each following its own order. This cycle spans three hundred and sixty years, that is, from the ninety-third thousand nine hundred and sixty-first year to the ninety-fourth thousand three hundred and twentieth year of the Great Cycle. The first generation begins in the ninety-third thousand nine hundred and sixty-first year and ends in the ninety-third thousand nine hundred and ninetieth year, while the last generation begins in the ninety-fourth thousand two hundred and ninety-first year and ends in the ninety-fourth thousand three hundred and twentieth year.

星丙二百六十三：辰子三千一百四十五、辰丑三千一百四十六、辰寅三千一百四十七、辰卯三千一百四十八、辰辰三千一百四十九、辰巳三千一百五十、辰午三千一百五十一、辰未三千一百五十二、辰申三千一百五十三、辰酉三千一百五十四、辰戌三千一百五十五、辰亥三千一百五十六。

The second hundred and sixty-third cycle of the Great Cycle has the heavenly stem "Bing" and is the twenty-third in the Sheng (Metal) group. Its twelve generations range from the three thousand one hundred forty-fifth to the three thousand one hundred fifty-sixth. The sixth division "Chen Si" corresponds exactly to the three thousand one hundred fiftieth generation, which is another whole number. This cycle lasts three hundred and sixty years, covering the period from nine million four thousand three hundred twenty-one to nine million four thousand six hundred eighty. The first generation, Chen Zi (Earth Rat), the three thousand one hundred forty-fifth, governs from nine million four thousand three hundred twenty-one to nine million four thousand three hundred fifty. The last generation, Chen Hai (Earth Pig), the three thousand one hundred fifty-sixth, governs from nine million four thousand six hundred fifty-one to nine million four thousand six hundred eighty. At this point, the Sheng group has only seven more cycles left to be calculated.

星丁二百六十四：辰子三千一百五十七、辰丑三千一百五十八、辰寅三千一百五十九、辰卯三千一百六十、辰辰三千一百六十一、辰巳三千一百六十二、辰午三千一百六十三、辰未三千一百六十四、辰申三千一百六十五、辰酉三千一百六十六、辰戌三千一百六十七、辰亥三千一百六十八。

The second hundred and sixty-fourth cycle of the Great Cycle is paired with the heavenly stem 'Ding', and is the twenty-fourth cycle of the Sheng (metal) trine. The numbering of the twelve generations ranges from thirty-one thousand five hundred seventy-one to thirty-one thousand one hundred sixty-eight. Shao Yong's method of calculating time is based on the principle that the Great Cycle encompasses the Great Cycle, the Great Cycle encompasses the cycle, the cycle encompasses the generation, and the generation encompasses the year, like the way the day encompasses the month and the month encompasses the day. Therefore, when reading this table, one must first determine the level to which one is referring, and then look at the numbers in the grid. This cycle lasts three hundred and sixty years, from the ninth million four hundred and sixty-eight thousand and one year to the ninth million five thousand and forty year of the Great Cycle. When divided into generations, the first generation spans from the ninth million four hundred and sixty-eight thousand and one year to the ninth million four hundred and seventy-one thousand and ten year, and the twelfth generation spans from the ninth million five thousand and eleven years to the ninth million five thousand and forty years.

星戊二百六十五：辰子三千一百六十九、辰丑三千一百七十、辰寅三千一百七十一、辰卯三千一百七十二、辰辰三千一百七十三、辰巳三千一百七十四、辰午三千一百七十五、辰未三千一百七十六、辰申三千一百七十七、辰酉三千一百七十八、辰戌三千一百七十九、辰亥三千一百八十。

The second hundred and sixty-fifth cycle of the Great Cycle has the heavenly stem "Wu". Within the thirty cycles of the Shen (Metal) group, it has reached the twenty-fifth cycle, having completed five-sixths of the journey. The twelve generations under its jurisdiction are numbered from three thousand one hundred sixty-nine to three thousand one hundred eighty. Converted into years, this cycle spans from the ninety-five thousand and forty-first year to the ninety-five thousand and four hundredth year of the Great Cycle: the first generation, Chen Zi (Dragon-Mouse) number three thousand one hundred sixty-nine, corresponds to the years from ninety-five thousand and forty-one to ninety-five thousand and seventy; the last generation, Chen Hai (Dragon-Water) number three thousand one hundred eighty, corresponds to the years from ninety-five thousand three hundred seventy-one to ninety-five thousand four hundred. At this point, there are still five cycles and one thousand eight hundred years remaining until the end of the Shen (Metal) group, which is the ninety-seven thousand two hundredth year of the Great Cycle.

星己二百六十六：辰子三千一百八十一、辰丑三千一百八十二、辰寅三千一百八十三、辰卯三千一百八十四、辰辰三千一百八十五、辰巳三千一百八十六、辰午三千一百八十七、辰未三千一百八十八、辰申三千一百八十九、辰酉三千一百九十、辰戌三千一百九十一、辰亥三千一百九十二。

The second hundred and sixty-sixth cycle of the Great Cycle is governed by the Heavenly Stem "Ji", which is the twenty-sixth cycle of the Sheng Hui. It spans the thirty-first thousand eight hundred and eleventh to the thirty-first thousand nine hundred and twelfth generations, a total of twelve generations lasting three hundred and sixty years, that is, from the ninth hundred and fifty-four thousand and first year to the ninth hundred and fifty-seven thousand and sixtieth year of the Great Cycle. The first generation, "Chen Zi" (Dragon and Rat), governs from the ninth hundred and fifty-four thousand and first year to the ninth hundred and fifty-four thousand and thirtieth year, while the last generation, "Chen Hai" (Dragon and Pig), governs from the ninth hundred and fifty-seven thousand and thirty-first year to the ninth hundred and fifty-seven thousand and sixtieth year. The two characters "Chen Chou" (Dragon and Ox) and "Chen Yin" (Dragon and Tiger) in this passage are also connected in the original text and have not been separated; when reading, they should be divided according to the fixed order of the twelve Earthly Branches.

星庚二百六十七：辰子三千一百九十三、辰丑三千一百九十四、辰寅三千一百九十五、辰卯三千一百九十六、辰辰三千一百九十七、辰巳三千一百九十八、辰午三千一百九十九、辰未三千二百、辰申三千二百一、辰酉三千二百二、辰戌三千二百三、辰亥三千二百四。

The second hundred and sixty-seventh cycle of the Great Cycle has the heavenly stem paired with "Geng," which is the twenty-seventh in the group of the Monkey (Shen). Starting from the third thousand one hundred and ninety-third generation, when reaching the eighth position "Chen Wei," the total reaches three thousand two hundred generations. The following four positions are added sequentially to reach three thousand two hundred and fourth generation. This cycle lasts three hundred and sixty years, spanning from the ninth million five thousand seven hundred and sixty-first year to the ninth million six thousand one hundred and twentieth year. The first and last generations respectively correspond to the ninth million five thousand seven hundred and sixty-first to the ninth million five thousand seven hundred and ninetieth year, and the ninth million six thousand ninety-first to the ninth million six thousand one hundred and twentieth year. The entire Great Cycle consists of four thousand three hundred and twenty generations, and at this point, there are still over one thousand one hundred generations remaining.

星辛二百六十八：辰子三千二百五、辰丑三千二百六、辰寅三千二百七、辰卯三千二百八、辰辰三千二百九、辰巳三千二百十、辰午三千二百十一、辰未三千二百十二、辰申三千二百十三、辰酉三千二百十四、辰戌三千二百十五、辰亥三千二百十六。

The second hundred and sixty-eighth cycle of the Great Cycle is paired with the Heavenly Stem 'Xin', and is the twenty-eighth cycle of the Shēn (Metal) convergence. It belongs to the twelfth generation, spanning the 3,205th to the 3,216th generations. The original text's first five sections are written as 'three thousand two hundred and five' to 'three thousand two hundred and nine', omitting the zero in the middle. In terms of years, this cycle spans from the 96,121st to the 96,480th year of the Great Cycle. The first generation ends at the 96,150th year, and the last generation begins at the 96,451st year. The Shēn convergence will end after two more cycles.

星壬二百六十九：辰子三千二百十七、辰丑三千二百十八、辰寅三千二百十九、辰卯三千二百二十、辰辰三千二百二十一、辰巳三千二百二十二、辰午三千二百二十三、辰未三千二百二十四、辰申三千二百二十五、辰酉三千二百二十六、辰戌三千二百二十七、辰亥三千二百二十八。

The second hundred and sixty-ninth cycle of the Great Cycle has the heavenly stem "Ren" and is the twenty-ninth cycle within the Shen cycle, being the second-to-last cycle of this group. The twelve generations are numbered from three thousand two hundred and seventeen to three thousand two hundred and twenty-eight, with the earthly branches still following the sequence Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai. This cycle lasts three hundred and sixty years, from the ninth million six thousand four hundred and eighty-first year to the ninth million six thousand eight hundred and fortieth year of the Great Cycle: the first generation, Chen-Zi, numbered three thousand two hundred and seventeen, spans from the ninth million six thousand four hundred and eighty-first year to the ninth million six thousand five hundred and tenth year, while the last generation, Chen-Hai, numbered three thousand two hundred and twenty-eight, spans from the ninth million six thousand eight hundred and eleventh year to the ninth million six thousand eight hundred and fortieth year.

星癸二百七十：辰子三千二百二十九、辰丑三千二百三十、辰寅三千二百三十一、辰卯三千二百三十二、辰辰三千二百三十三、辰巳三千二百三十四、辰午三千二百三十五、辰未三千二百三十六、辰申三千二百三十七、辰酉三千二百三十八、辰戌三千二百三十九、辰亥三千二百四十。

The second hundred and seventh cycle of the first era ends with the heavenly stem "Gui," which is also the last cycle of the thirty cycles in the Shen cycle. It covers the third thousand two hundred and twenty ninth world to the third thousand two hundred and fortyth world, with the final world, Chen and Hai, the third thousand two hundred and fortyth world, spanning from the ninth thousand seven hundred and seventy first year to the ninth thousand seven hundred and two hundred year. Thus, the entire Shen cycle is completed: this cycle consists of thirty cycles, three hundred and sixty worlds, and one ten thousand and eight hundred years, beginning from the eighth thousand six hundred and forty first year of the first era, and ending at the ninth thousand seven hundred and two hundred year. The following text will start a new section, transitioning to the tenth cycle, You cycle.

星甲二百七十一：辰子三千二百四十一、辰丑三千二百四十二、辰寅三千二百四十三、辰卯三千二百四十四、辰辰三千二百四十五、辰巳三千二百四十六、辰午三千二百四十七、辰未三千二百四十八、辰申三千二百四十九、辰酉三千二百五十、辰戌三千二百五十一、辰亥三千二百五十二。

This passage begins with the phrase "日甲一，月酉十": "日" refers to the beginning, with "甲" being the first beginning; "月" refers to the assembly, with "酉" being the tenth assembly of this beginning. The line "星甲二百七十一" refers to the first cycle of the "酉" assembly, which is also the 271st cycle of the entire beginning, starting after the 270th cycle. The heavenly stem begins again from "甲". It encompasses twelve generations, from the 3241st to the 3252nd, with each earthly branch (Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai) occupying one section. This cycle lasts 360 years, spanning from the 9,7201st to the 9,7560th year of the beginning. The first generation, "辰子" (3241st), governs from the 9,7201st to the 9,7230th year, while the last generation, "辰亥" (3252nd), governs from the 9,7531st to the 9,7560th year.

星乙二百七十二：辰子三千二百五十三、辰丑三千二百五十四、辰寅三千二百五十五、辰卯三千二百五十六、辰辰三千二百五十七、辰巳三千二百五十八、辰午三千二百五十九、辰未三千二百六十、辰申三千二百六十一、辰酉三千二百六十二、辰戌三千二百六十三、辰亥三千二百六十四。

The second hundred seventy-second cycle of the Great Cycle is paired with the Heavenly Stem "Yi", and is the second cycle within the thirty cycles of You. It belongs to the 12th generation numbered from 3,253 to 3,264, following immediately after the last generation of the previous cycle, which was the 3,252nd generation. Each generation is thirty years, and twelve generations total 360 years, so this cycle spans from 97,561 to 97,920 years of the Great Cycle. The first generation, Chen Zi (3,253rd generation), corresponds to the years 97,561 to 97,590, and the last generation, Chen Hai (3,264th generation), corresponds to the years 97,891 to 97,920.

星丙二百七十三：辰子三千二百六十五、辰丑三千二百六十六、辰寅三千二百六十七、辰卯三千二百六十八、辰辰三千二百六十九、辰巳三千二百七十、辰午三千二百七十一、辰未三千二百七十二、辰申三千二百七十三、辰酉三千二百七十四、辰戌三千二百七十五、辰亥三千二百七十六。

The second hundred and seventy-third movement of the Great Cycle is governed by the heavenly stem "Bing," and it is the third in the You (Metal) group. It oversees the 3,265th to the 3,276th generations. When reading the table, note that the number of the movement "two hundred and seventy-three" is a continuous count from the beginning of the Great Cycle, not a number within the You group. The You group starts from the 271st movement, and subtracting 270 gives the position within the group. This movement lasts for 360 years, corresponding to the 97,921st to the 98,280th year of the Great Cycle. The first generation ends in the 97,950th year, and the last generation begins in the 98,251st year.

星丁二百七十四：辰子三千二百七十七、辰丑三千二百七十八、辰寅三千二百七十九、辰卯三千二百八十、辰辰三千二百八十一、辰巳三千二百八十二、辰午三千二百八十三、辰未三千二百八十四、辰申三千二百八十五、辰酉三千二百八十六、辰戌三千二百八十七、辰亥三千二百八十八。

The second hundred and seventy-fourth cycle of the Great Cycle is paired with the Heavenly Stem "Ding," and is the fourth cycle of the You (Metal) Converging Cycle. Its twelve generations range from the thirty-second thousand and seventh hundred and seventh generation to the thirty-second thousand and eighth hundred and eighth generation. The numbering of generations is also continuous: take the order number of the cycle, subtract one, multiply by twelve, and add one to get the number of the first generation of the cycle; then add eleven to get the number of the last generation. This cycle lasts for three hundred and sixty years, corresponding to the ninth hundred and eighty-first year to the ninth hundred and six hundred and fourtieth year of the Great Cycle. The first generation, Chen Zi (Earth Rat) thirty-second thousand and seventh hundred and seventh generation, spans from the ninth hundred and eighty-first year to the ninth hundred and eighty-third tenth year. The last generation, Chen Hai (Earth Pig) thirty-second thousand and eighth hundred and eighth generation, spans from the ninth hundred and six hundred and eleventh year to the ninth hundred and six hundred and fourtieth year.

星戊二百七十五：辰子三千二百八十九、辰丑三千二百九十、辰寅三千二百九十一、辰卯三千二百九十二、辰辰三千二百九十三、辰巳三千二百九十四、辰午三千二百九十五、辰未三千二百九十六、辰申三千二百九十七、辰酉三千二百九十八、辰戌三千二百九十九、辰亥三千三百。

The second hundred and seventy-fifth cycle of the Great Cycle has the heavenly stem "Wu" and is the fifth cycle within the You Hui. The twelve generations under this cycle begin at the thirty-second thousand and eight hundred and ninety-first generation and end at the thirty-three thousand and third generation, which marks the full completion of the thirty-three thousand generation. This is another whole number milestone within the full cycle of four thousand three hundred and twenty generations. This cycle lasts three hundred and sixty years, spanning the ninth hundred and eighty-six thousand and forty-first year to the ninth hundred and ninety-thousandth year: the first generation, the thirty-second thousand and eight hundred and ninety-first generation, corresponds to the ninth hundred and eighty-six thousand and forty-first year to the ninth hundred and eighty-six thousand and seventy-thousandth year, while the last generation ends exactly at the ninth hundred and ninety-thousandth year, only one thousand years short of the tenth thousand year.

星己二百七十六：辰子三千三百一、辰丑三千三百二、辰寅三千三百三、辰卯三千三百四、辰辰三千三百五、辰巳三千三百六、辰午三千三百七、辰未三千三百八、辰申三千三百九、辰酉三千三百十、辰戌三千三百十一、辰亥三千三百十二。

The second hundred and seventy-sixth cycle of the Great Cycle has the Heavenly Stem at "Ji," which is the sixth cycle of the You (Metal) combination, occurring exactly one fifth of the full thirty cycles. The twelve generations numbered from three thousand three hundred and one to three thousand three hundred and twelve are abbreviated in the original text as "three thousand three hundred and one" and the following sections. This cycle lasts three hundred and sixty years, from the ninth million nine hundred and first year to the ninth million nine thousand three hundred and sixtieth year. The first generation, Chen Zi (Earth Rat), numbered three thousand three hundred and one, governs from the ninth million nine hundred and first year to the ninth million nine hundred and thirtieth year. The last generation, Chen Hai (Earth Pig), numbered three thousand three hundred and twelfth, governs from the ninth million nine thousand three hundred and thirty-first year to the ninth million nine thousand three hundred and sixtieth year.

星庚二百七十七：辰子三千三百十三、辰丑三千三百十四、辰寅三千三百十五、辰卯三千三百十六、辰辰三千三百十七、辰巳三千三百十八、辰午三千三百十九、辰未三千三百二十、辰申三千三百二十一、辰酉三千三百二十二、辰戌三千三百二十三、辰亥三千三百二十四。

The second hundred and seventy-seventh cycle of the Great Cycle has the heavenly stem "Geng" and is the seventh in the酉 group. It spans from the 3,313th world to the 3,324th world, with the twelve earthly branches continuing their regular cycle. This cycle lasts 360 years, covering the period from 99,361 to 99,720 years of the Great Cycle: the first world spans from 99,361 to 99,390 years, and the last world spans from 99,691 to 99,720 years. When moving to the next cycle, the number of years will cross over ten thousand.

星辛二百七十八：辰子三千三百二十五、辰丑三千三百二十六、辰寅三千三百二十七、辰卯三千三百二十八、辰辰三千三百二十九、辰巳三千三百三十、辰午三千三百三十一、辰未三千三百三十二、辰申三千三百三十三、辰酉三千三百三十四、辰戌三千三百三十五、辰亥三千三百三十六。

The second hundred and seventy-eighth cycle of the Great Cycle has the heavenly stem "Xin" and is the eighth cycle of the You hexagram. It encompasses twelve generations numbered from 3,325 to 3,336. This cycle spans across the ten-thousand-year boundary: it begins in the 99,721st year of the Great Cycle and ends in the 100,080th year. The tenth thousand year falls within the third thousand and three hundred and thirty-fourth generation of the Chen and You cycle. The first generation, Chen Zi 3,325, spans from the 99,721st to the 99,750th year. The last generation, Chen Hai 3,336, spans from the 100,051st to the 100,080th year.

星壬二百七十九：辰子三千三百三十七、辰丑三千三百三十八、辰寅三千三百三十九、辰卯三千三百四十、辰辰三千三百四十一、辰巳三千三百四十二、辰午三千三百四十三、辰未三千三百四十四、辰申三千三百四十五、辰酉三千三百四十六、辰戌三千三百四十七、辰亥三千三百四十八。

The second hundred and seventy-ninth cycle of the Great Cycle is paired with the heavenly stem "Ren," and is the ninth cycle of the You (Metal) group. The twelve generations span from the thirty-third hundred and thirty-seventh generation to the thirty-third hundred and forty-eighth generation. This cycle lasts three hundred and sixty years, from the tenth ten-thousand and eighty-first year to the tenth ten-thousand and four hundred and fortyth year of the Great Cycle. The first generation, Chen Zi (Dragon-Mouse) of the thirty-third hundred and thirty-seventh generation, governs from the tenth ten-thousand and eighty-first year to the tenth ten-thousand and one hundred and tenth year. The last generation, Chen Hai (Dragon-Water) of the thirty-third hundred and forty-eighth generation, governs from the tenth ten-thousand and four hundred and eleventh year to the tenth ten-thousand and four hundred and fortyth year. The total duration of the Great Cycle is twelve thousand nine hundred and sixty years, and by this point, seven and seven-tenths of it has passed, leaving less than three thousand years remaining.

星癸二百八十：辰子三千三百四十九、辰丑三千三百五十、辰寅三千三百五十一、辰卯三千三百五十二、辰辰三千三百五十三、辰巳三千三百五十四、辰午三千三百五十五、辰未三千三百五十六、辰申三千三百五十七、辰酉三千三百五十八、辰戌三千三百五十九、辰亥三千三百六十。

The second hundred and eightieth cycle of the Great Cycle ends with the heavenly stem "Gui," completing the first round of ten heavenly stems in the酉 cycle. This cycle spans the third thousand three hundred and forty-ninth to the third thousand three hundred and sixtieth generations. The final term "Chen Hai three thousand three hundred and sixty" is another whole number. This cycle lasts three hundred and sixty years, corresponding to the tenth ten-thousand and four hundred and forty-first year to the tenth ten-thousand and eight hundredth year of the Great Cycle. The first generation, "Chen Zi" third thousand three hundred and forty-ninth, corresponds to the tenth ten-thousand and four hundred and forty-first year to the tenth ten-thousand and four hundred and seventy-first year, while the last generation ends at the tenth ten-thousand and eight hundredth year. The酉 cycle began in the ninth thousand seven hundred and twenty-first year and has now passed three thousand six hundred years.

星甲二百八十一：辰子三千三百六十一、辰丑三千三百六十二、辰寅三千三百六十三、辰卯三千三百六十四、辰辰三千三百六十五、辰巳三千三百六十六、辰午三千三百六十七、辰未三千三百六十八、辰申三千三百六十九、辰酉三千三百七十、辰戌三千三百七十一、辰亥三千三百七十二。

The second hundred and eighty-first cycle of the Great Cycle begins with the Heavenly Stem returning to Jia. The Metal element, represented by You, thus enters the second round of the Ten Heavenly Stems, occupying the eleventh position in the thirty-cycle sequence. This cycle belongs to the third thousand three hundred and sixty-first to the third thousand three hundred and seventy-second generations of the twelve generations, still starting from Chen Zi and ending at Chen Hai. This cycle lasts for three hundred and sixty years, spanning from the tenth thousand and eighth hundred and first year to the tenth thousand and one thousand and one hundred and sixtieth year of the Great Cycle. The first generation, Chen Zi, the third thousand three hundred and sixty-first, corresponds to the tenth thousand and eighth hundred and first year to the tenth thousand and eighth hundred and thirtieth year. The last generation, Chen Hai, the third thousand three hundred and seventy-second, corresponds to the tenth thousand and one thousand and thirty-first year to the tenth thousand and one thousand and sixtieth year.

星乙二百八十二：辰子三千三百七十三、辰丑三千三百七十四、辰寅三千三百七十五、辰卯三千三百七十六、辰辰三千三百七十七、辰巳三千三百七十八、辰午三千三百七十九、辰未三千三百八十、辰申三千三百八十一、辰酉三千三百八十二、辰戌三千三百八十三、辰亥三千三百八十四。

The second hundred and eighty-second cycle of the Great Cycle is paired with the Heavenly Stem "Yi", and is the twelfth cycle of the You (Metal) cycle. It encompasses twelve generations numbered from 3,373 to 3,384, with each of the twelve Earthly Branches corresponding to one generation. Each generation lasts thirty years, making the total duration of this cycle 360 years. This cycle spans from 11,161 to 11,520 years of the Great Cycle, which is 129,600 years in total. The first generation, Chén Zǐ (Dragon-Mouse), numbered 3,373, spans from 11,161 to 11,190 years. The last generation, Chén Hài (Dragon-Horse), numbered 3,384, spans from 11,491 to 11,520 years.

星丙二百八十三：辰子三千三百八十五、辰丑三千三百八十六、辰寅三千三百八十七、辰卯三千三百八十八、辰辰三千三百八十九、辰巳三千三百九十、辰午三千三百九十一、辰未三千三百九十二、辰申三千三百九十三、辰酉三千三百九十四、辰戌三千三百九十五、辰亥三千三百九十六。

The second hundred and eighty-third cycle of the One Origin system has the heavenly stem "Bing" and is the thirteenth in the酉 group. It covers the third thousand three hundred and eighty-fifth world to the third thousand three hundred and ninety-sixth world. Shao Yong established this table to flatten the four levels of time from the origin to the year into a sequence of numbers, allowing historians to fill in events according to the grid. Therefore, each row only records the number without any commentary. This cycle lasts for three hundred and sixty years, from the tenth thousand one hundred and fifty-second year to the tenth thousand one hundred and eighty-eighth year of the One Origin. The first world ends in the tenth thousand one hundred and fifty-fifth year, and the last world begins from the tenth thousand one hundred and eighty-fifth year.

星丁二百八十四：辰子三千三百九十七、辰丑三千三百九十八、辰寅三千三百九十九、辰卯三千四百、辰辰三千四百一、辰巳三千四百二、辰午三千四百三、辰未三千四百四、辰申三千四百五、辰酉三千四百六、辰戌三千四百七、辰亥三千四百八。

The second hundred and eighty-fourth cycle of the Great Cycle is paired with the Heavenly Stem "Ding," and it is the fourteenth cycle of the酉 (You) convergence. The twelve generations begin from the thirty-third thousand and nine hundred and seventy-first generation, and reach the fourth division "Chen Mao" at the thirty-four thousandth generation. After that, each division adds sequentially to "thirty-four hundred" until reaching the thirty-four thousand and eighth generation. This cycle lasts three hundred and sixty years, from the tenth thousand one hundred and eighty-eighth year to the tenth thousand two hundred and twenty-fourth year of the Great Cycle. The first generation, "Chen Zi" at thirty-three thousand nine hundred and seventy-first, corresponds to the tenth thousand one hundred and eighty-eighth year to the tenth thousand one hundred and ninety-tenth year. The last generation, "Chen Hai" at thirty-four thousand and eighth, corresponds to the tenth thousand two hundred and twenty-first year to the tenth thousand two hundred and twenty-fourth year.

星戊二百八十五：辰子三千四百九、辰丑三千四百十、辰寅三千四百十一、辰卯三千四百十二、辰辰三千四百十三、辰巳三千四百十四、辰午三千四百十五、辰未三千四百十六、辰申三千四百十七、辰酉三千四百十八、辰戌三千四百十九、辰亥三千四百二十。

The second hundred and eighty-fifth cycle of the Great Cycle has the heavenly stem "Wu," which corresponds to the midpoint of the thirtyrd cycle of You. After this point, the latter half of the cycle begins. The twelve generations under this cycle are numbered from thirty-four thousand and nine to thirty-four thousand and twenty. In terms of years, this cycle spans from ten thousand two hundred and forty-one to ten thousand two thousand six hundred years. The first generation ends at ten thousand two hundred and seventy years, and the last generation begins at ten thousand two thousand five hundred and seventy-one years. The cycle of You starts at nine thousand seven hundred and one years and ends at ten thousand eight hundred years, with this point being exactly the midpoint.

星己二百八十六：辰子三千四百二十一、辰丑三千四百二十二、辰寅三千四百二十三、辰卯三千四百二十四、辰辰三千四百二十五、辰巳三千四百二十六、辰午三千四百二十七、辰未三千四百二十八、辰申三千四百二十九、辰酉三千四百三十、辰戌三千四百三十一、辰亥三千四百三十二。

The second hundred and eighty-sixth cycle of the Great Cycle is the first cycle of the latter half of the You (Metal) cycle. The twelve generations under this cycle span from the thirty-four thousand two hundred and twenty-first generation to the thirty-four thousand two hundred and thirty-second generation. Since each cycle is named after the ten Heavenly Stems and each session consists of thirty cycles, the ten Heavenly Stems complete three full cycles within one session. Therefore, the Heavenly Stem "Ji" appears for the second time in this session. This cycle lasts three hundred and sixty years, from the ten thousand two hundred and sixth year to the ten thousand two thousand and nine hundred and sixtieth year of the Great Cycle. The first generation begins in the ten thousand two hundred and sixth year and ends in the ten thousand two hundred and sixty-third year, while the last generation begins in the ten thousand two thousand and ninety-third year and ends in the ten thousand two thousand and ninety-sixth year.

星庚二百八十七：辰子三千四百三十三、辰丑三千四百三十四、辰寅三千四百三十五、辰卯三千四百三十六、辰辰三千四百三十七、辰已三千四百三十八、辰午三千四百三十九、辰未三千四百四十、辰申三千四百四十一、辰酉三千四百四十二、辰戌三千四百四十三、辰亥三千四百四十四。

The second hundred and eighty-seventh cycle of the Great Cycle is associated with the heavenly stem "Geng," and in the酉 group it is the seventeenth. It encompasses twelve generations, from the thirty-four thousand three hundred and thirty-third generation to the thirty-four thousand four hundred and forty-fourth generation. The sixth section originally reads "Chen Yi," but "Yi" is a homonym for "Si" due to a similar character, and according to the fixed order of the twelve earthly branches, it should be "Chen Si." The original character is retained without alteration. This cycle lasts three hundred and sixty years, spanning from the tenth thousand two hundred and ninety-sixth year to the tenth thousand three hundred and thirty-second year of the Great Cycle; the first generation ends at the tenth thousand two hundred and ninety-tenth year, and the last generation begins at the tenth thousand three hundred and twenty-ninth year.

星辛二百八十八：辰子三千四百四十五、辰丑三千四百四十六、辰寅三千四百四十七、辰卯三千四百四十八、辰辰三千四百四十九、辰巳三千四百五十、辰午三千四百五十一、辰未三千四百五十二、辰申三千四百五十三、辰酉三千四百五十四、辰戌三千四百五十五、辰亥三千四百五十六。

The second hundred and eighty-eighth cycle of the Great Cycle has the heavenly stem "Xin," which is the eighteenth cycle of the You (Metal) convergence. The twelve world numbers range from 3,445 to 3,456, with the sixth division "Chen Si" completing the 3,450th world. The entire Great Cycle consists of 4,320 worlds. By the end of this cycle, 3,456 worlds have been completed, which is about eight parts. This cycle lasts 360 years, from the 103,321st to the 103,680th year of the Great Cycle. The first world of this cycle spans from the 103,321st to the 103,350th year, and the last world spans from the 103,651st to the 103,680th year.

星壬二百八十九：辰子三千四百五十七、辰丑三千四百五十八、辰寅三千四百五十九、辰卯三千四百六十、辰辰三千四百六十一、辰巳三千四百六十二、辰午三千四百六十三、辰未三千四百六十四、辰申三千四百六十五、辰酉三千四百六十六、辰戌三千四百六十七、辰亥三千四百六十八。

The second hundred and eighty-ninth cycle of the Great Cycle has the heavenly stem "Ren" and is the nineteenth in the酉 (You) group. The twelve generations under this cycle range from the thirty-four thousand five hundred and seventy-first generation to the thirty-four thousand six hundred and eightieth-eighth generation, with the earthly branches continuing in their regular cycle. This cycle lasts three hundred and sixty years, from the ten thousand three hundred and sixty-eighth first year to the ten thousand four hundred and fourth year of the Great Cycle: the first generation, Chen Zi (Chen and Zi), the thirty-four thousand five hundred and seventy-first, governs from the ten thousand three hundred and sixty-eighth first year to the ten thousand three hundred and seventy-first tenth year; the last generation, Chen Hai (Chen and Hai), the thirty-four thousand six hundred and eightieth-eighth, governs from the ten thousand four hundred and eleventh first year to the ten thousand four hundred and fourth year. To find the end year of a generation, multiply the generation number by thirty, which is the most convenient method for verifying calculations in this table.

星癸二百九十：辰子三千四百六十九、辰丑三千四百七十、辰寅三千四百七十一、辰卯三千四百七十二、辰辰三千四百七十三、辰巳三千四百七十四、辰午三千四百七十五、辰未三千四百七十六、辰申三千四百七十七、辰酉三千四百七十八、辰戌三千四百七十九、辰亥三千四百八十。

The second hundred ninetyth cycle of the Great Cycle ends with the heavenly stem "Gui." The second round of ten heavenly stems in the You (Metal) cycle has now been completed, and the entire cycle has gone through twenty cycles. This cycle encompasses the thirty-four hundred sixty-ninth to thirty-four hundred eightieth generations. This cycle lasts three hundred and sixty years, corresponding to the ten-thousand four hundred and forty-first to ten-thousand four hundred and forty years of the Great Cycle. The first generation, Chen Zi (Dragon-Mouse), the thirty-four hundred sixty-ninth generation, spans from the ten-thousand four hundred and forty-first to the ten-thousand four hundred and seventy years. The last generation, Chen Hai (Dragon-Water), the thirty-four hundred eightieth generation, spans from the ten-thousand four hundred and thirty-seven first to the ten-thousand four hundred and forty years. The You (Metal) cycle still has ten remaining cycles, lasting three thousand six hundred years, after which it transitions into the Xu (Earth Dog) cycle.

星甲二百九十一：辰子三千四百八十一、辰丑三千四百八十二、辰寅三千四百八十三、辰卯三千四百八十四、辰辰三千四百八十五、辰巳三千四百八十六、辰午三千四百八十七、辰未三千四百八十八、辰申三千四百八十九、辰酉三千四百九十、辰戌三千四百九十一、辰亥三千四百九十二。

The second hundred ninety-first cycle of the Great Cycle, the Heavenly Stem cycles back to "Jia" for the third time, marking the beginning of the final ten Heavenly Stems in the酉 cycle, which is the twenty-first position in the thirty-cycle sequence. The third thousand four hundred eighty-first to third thousand four hundred ninety-second generations of the twelve generations. This cycle lasts three hundred and sixty years, spanning from the tenth thousand four hundred and forty-first year to the tenth thousand four thousand seven hundred and sixtieth year of the Great Cycle: the first generation, Chén Zǐ (third thousand four hundred eighty-first), corresponds to the tenth thousand four hundred and forty-first year to the tenth thousand four hundred and forty-third year; the last generation, Chén Hài (third thousand four hundred ninety-second), corresponds to the tenth thousand four thousand seven hundred and thirty-first year to the tenth thousand four thousand seven hundred and sixtieth year.

星乙二百九十二：辰子三千四百九十三、辰丑三千四百九十四、辰寅三千四百九十五、辰卯三千四百九十六、辰辰三千四百九十七、辰巳三千四百九十八、辰午三千四百九十九、辰未三千五百、辰申三千五百一、辰酉三千五百二、辰戌三千五百三、辰亥三千五百四。

The second hundred and ninety-second cycle of the Great Cycle is paired with the Heavenly Stem "Yi", and is the twenty-second cycle of the You (Metal) convergence. The twelve generations begin from the thirty-fourth hundred and ninety-third generation, with the eighth division "Chen Wei" completing exactly at the thirty-fifth hundred generation, and the last division being the thirty-fifth hundred and fourth generation. This cycle lasts three hundred and sixty years, corresponding to the period from ten thousand four hundred and seventy-six years to ten thousand five hundred and twelve years of the Great Cycle. The first generation spans from ten thousand four hundred and seventy-six years to ten thousand four hundred and ninety years, while the last generation spans from ten thousand five hundred and nine years to ten thousand five hundred and twelve years.

星丙二百九十三：辰子三千五百五、辰丑三千五百六、辰寅三千五百七、辰卯三千五百八、辰辰三千五百九、辰巳三千五百十、辰午三千五百十一、辰未三千五百十二、辰申三千五百十三、辰酉三千五百十四、辰戌三千五百十五、辰亥三千五百十六。

The second hundred and ninety-third cycle of the Great Cycle has the heavenly stem "Bing" and is the twenty-third in the酉 group. It belongs to the third thousand five hundred and fifth to third thousand five hundred and sixteenth generations. The original text before it writes "three thousand five hundred five" and "three thousand five hundred six," which are written by omitting the zero. This cycle lasts three hundred and sixty years, from the tenth thousand five hundred and twenty-first year to the tenth thousand five hundred and forty-eighth year of the Great Cycle. The first generation ends at the tenth thousand five hundred and fiftieth year, and the last generation begins at the tenth thousand five hundred and fifty-first year.

星丁二百九十四：辰子三千五百十七、辰丑三千五百十八、辰寅三千五百十九、辰卯三千五百二十、辰辰三千五百二十一、辰巳三千五百二十二、辰午三千五百二十三、辰未三千五百二十四、辰申三千五百二十五、辰酉三千五百二十六、辰戌三千五百二十七、辰亥三千五百二十八。

The second hundred and ninety-fourth cycle of the Great Cycle has the heavenly stem "Ding" and is the twenty-fourth cycle of the You (Metal) group. It encompasses twelve generations numbered from 3,517 to 3,528, arranged in the order of the twelve earthly branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai. This cycle lasts 360 years, from the ten-thousand fifth hundred and forty-first year to the ten-thousand fifth hundred and eightieth fourth year of the Great Cycle. The first generation, Chen-Zi number 3,517, governs from the ten-thousand fifth hundred and forty-first year to the ten-thousand fifth hundred and fifty-first year. The last generation, Chen-Hai number 3,528, governs from the ten-thousand fifth hundred and eighty-first year to the ten-thousand fifth hundred and eightieth fourth year.

星戊二百九十五：辰子三千五百二十九、辰丑三千五百三十、辰寅三千五百三十一、辰卯三千五百三十二、辰辰三千五百三十三、辰巳三千五百三十四、辰午三千五百三十五、辰未三千五百三十六、辰申三千五百三十七、辰酉三千五百三十八、辰戌三千五百三十九、辰亥三千五百四十。

The second hundred and ninety-fifth cycle of the Great Cycle has the heavenly stem "Wu" and is the twenty-fifth in the You (Metal) cycle. The twelve generations span from the thirty-fifth thousand and two hundred and ninety-first year to the thirty-fifth thousand and forty-first year. In terms of years, this cycle spans from ten thousand five hundred and eighty-four years to ten thousand six hundred and twenty years. The first generation covers from ten thousand five hundred and eighty-four years to ten thousand five hundred and seventy years, and the last generation covers from ten thousand six hundred and seventy-one years to ten thousand six hundred and twenty years. The You cycle ends at ten thousand eight hundred years, leaving only five cycles and one thousand eight hundred years remaining. In the thirty cycles recorded in "The Ten Chapters of Observing Things · Ten Cycles According to the Great Cycle," this cycle is already the sixth from the end.

星己二百九十六：辰子三千五百四十一、辰丑三千五百四十二、辰寅三千五百四十三、辰卯三千五百四十四、辰辰三千五百四十五、辰巳三千五百四十六、辰午三千五百四十七、辰未三千五百四十八、辰申三千五百四十九、辰酉三千五百五十、辰戌三千五百五十一、辰亥三千五百五十二。

The second hundred and ninety-sixth cycle of the Great Cycle, with the heavenly stem reaching "Ji," corresponds to the twenty-sixth cycle of the You (Metal) convergence. It encompasses the thirty-fifth thousand and forty-first world to the thirty-fifth thousand and fifty-second world. The tenth division "Chen You" completes the thirty-fifth thousand and fifty world. This cycle lasts three hundred and sixty years, from the tenth ten-thousand and six hundred and twenty-first year to the tenth ten-thousand and six hundred and fifty-sixth year. The first world, Chen Zi, the thirty-fifth thousand and forty-first world, corresponds to the tenth ten-thousand and six hundred and twenty-first year to the tenth ten-thousand and six hundred and twenty-third year. The last world, Chen Hai, the thirty-fifth thousand and fifty-second world, corresponds to the tenth ten-thousand and six hundred and fifty-third year to the tenth ten-thousand and six hundred and fifty-sixth year.

星庚二百九十七：辰子三千五百五十三、辰丑三千五百五十四、辰寅三千五百五十五、辰卯三千五百五十六、辰辰三千五百五十七、辰巳三千五百五十八、辰午三千五百五十九、辰未三千五百六十、辰申三千五百六十一、辰酉三千五百六十二、辰戌三千五百六十三、辰亥三千五百六十四。

The second hundred and ninety-seventh cycle, with the heavenly stem "Geng," is the twenty-seventh in the You group. It oversees twelve generations numbered from 3,553 to 3,564. Each line of this table follows the same format: first the name and total sequence of the cycle, then the total sequence of the twelve generations. Both cycles and generations are counted continuously from the beginning of the first yuán. Readers can check the numbers anywhere. This cycle lasts 360 years, from the tenth-six-thousand-five-hundred-and-sixty-first year to the tenth-six-thousand-nine-hundred-and-twentieth year of the first yuán. The first generation ends at the tenth-six-thousand-five-hundred-and-ninetieth year, and the last generation begins at the tenth-six-thousand-eight-hundred-and-ninety-first year.

星辛二百九十八：辰子三千五百六十五、辰丑三千五百六十六、辰寅三千五百六十七、辰卯三千五百六十八、辰辰三千五百六十九、辰巳三千五百七十、辰午三千五百七十一、辰未三千五百七十二、辰申三千五百七十三、辰酉三千五百七十四、辰戌三千五百七十五、辰亥三千五百七十六。

The second hundred and ninety-eighth cycle of the Great Cycle has the heavenly stem "Xin," which is the twenty-eighth cycle of the You (Metal) Confluence. The twelve generations run from the thirty-fifth thousand sixth hundred and fifteenth generation to the thirty-fifth thousand sixth hundred and sixteenth generation. The sixth division "Chen Si" is fully completed at the thirty-fifth thousand sixth hundred and seventieth generation. This cycle lasts three hundred and sixty years, from the ten thousand six hundred and ninety-first year to the ten thousand seven hundred and twenty-eighth year of the Great Cycle; the first generation spans from the ten thousand six hundred and ninety-first year to the ten thousand six hundred and fiftieth year, and the last generation spans from the ten thousand seven hundred and twenty-fifth year to the ten thousand seven hundred and twenty-eighth year. The You Confluence has only two cycles remaining.

星壬二百九十九：辰子三千五百七十七、辰丑三千五百七十八、辰寅三千五百七十九、辰卯三千五百八十、辰辰三千五百八十一、辰巳三千五百八十二、辰午三千五百八十三、辰未三千五百八十四、辰申三千五百八十五、辰酉三千五百八十六、辰戌三千五百八十七、辰亥三千五百八十八。

The second hundred and ninety-ninth cycle of the Great Cycle is associated with the Heavenly Stem "Ren," which is the twenty-ninth in the酉 (You) group, making it the second-to-last cycle of this group. This cycle governs twelve generations numbered from 3,577 to 3,588. This cycle lasts 360 years, from the 107,281st to the 107,640th year of the Great Cycle. The first generation, Chén Zǐ (辰子) numbered 3,577, governs from the 107,281st to the 107,310th year. The last generation, Chén Hài (辰亥) numbered 3,588, governs from the 107,611th to the 107,640th year.

星癸三百：辰子三千五百八十九、辰丑三千五百九十、辰寅三千五百九十一、辰卯三千五百九十二、辰辰三千五百九十三、辰巳三千五百九十四、辰午三千五百九十五、辰未三千五百九十六、辰申三千五百九十七、辰酉三千五百九十八、辰戌三千五百九十九、辰亥三千六百。

The third hundred cycle of the first era ends with the heavenly stem "Gui," which marks a whole number boundary and also the final cycle of the thirty cycles of the You (酉) period. It encompasses the 3,589th to the 3,600th generations, and the final pattern "Chen Hai 3,600" completes the 3,600th generation, ending exactly at ten thousand eight hundred years. Thus, the tenth period, the You period, is completed: this period consists of thirty cycles, three hundred sixty generations, and ten thousand eight hundred years, beginning from the ninth thousand seven hundred and twenty-first year of the first era and ending at ten thousand eight hundred years. The next volume transitions to the eleventh period, the Xu (戌) period. Later scholars paired the twelve message hexagrams with the twelve periods, and the You period corresponds to the hexagram "Guan" (Observation), symbolizing the growth of yin and the retreat of yang.

星甲三百一：辰子三千六百一、辰丑三千六百二、辰寅三千六百三、辰卯三千六百四、辰辰三千六百五、辰巳三千六百六、辰午三千六百七、辰未三千六百八、辰申三千六百九、辰酉三千六百十、辰戌三千六百十一、辰亥三千六百十二。

In volume two, part two, the text begins with 「day Jia one, month Xu eleven」, meaning the eleventh cycle of the Xu cycle within the first cycle of Jia. Shao Yong discussed the generation and transformation of a cycle, stating that all things begin in the Yin cycle and close in the Xu cycle. Therefore, the following thirty cycles correspond to the period when the heavens and earth transition from flourishing to gathering in. 「Star Jia three hundred and one」 is the first cycle of the Xu cycle, with the heavenly stem starting again from Jia. The twelve generations under this cycle span from the 3,601st to the 3,612th generations. This cycle lasts 360 years, corresponding to the 108,001st to the 108,360th year of the cycle. The first generation, Chen Zi (3,601st), leads the 108,001st to the 108,030th year, while the last generation, Chen Hai (3,612th), leads the 108,331st to the 108,360th year.

星乙三百二：辰子三千六百十三、辰丑三千六百十四、辰寅三千六百十五、辰卯三千六百十六、辰辰三千六百十七、辰巳三千六百十八、辰午三千六百十九、辰未三千六百二十、辰申三千六百二十一、辰酉三千六百二十二、辰戌三千六百二十三、辰亥三千六百二十四。

The third hundredth cycle's 302nd phase is paired with the Heavenly Stem 'Yi', being the second phase of the Xu combination. The twelve world numbers range from 3,613 to 3,624, connecting with the last world of the previous phase, which was the 3,612th world. This phase lasts 360 years, from the 108,361st to the 108,720th year of the first cycle. The first world spans from the 108,361st to the 108,390th year, and the last world spans from the 108,691st to the 108,720th year.

星丙三百三：辰子三千六百二十五、辰丑三千六百二十六、辰寅三千六百二十七、辰卯三千六百二十八、辰辰三千六百二十九、辰巳三千六百三十、辰午三千六百三十一、辰未三千六百三十二、辰申三千六百三十三、辰酉三千六百三十四、辰戌三千六百三十五、辰亥三千六百三十六。

The third hundred and third cycle of the Great Cycle is governed by the Heavenly Stem "Bing." In the戌 (Xu) cycle, it is the third. The twelve generations under this cycle span from the 3,625th generation to the 3,636th generation. The戌 (Xu) cycle is the eleventh cycle of the Great Cycle, encompassing thirty cycles and 360 generations, spanning from 108,001 to 118,800 years. This particular cycle covers the period from 108,720 to 109,080 years, with the first generation ending at 108,750 years and the last generation beginning at 109,051 years. The corresponding message hexagram for this cycle is the "Splitting" hexagram.

星丁三百四：辰子三千六百三十七、辰丑三千六百三十八、辰寅三千六百三十九、辰卯三千六百四十、辰辰三千六百四十一、辰巳三千六百四十二、辰午三千六百四十三、辰未三千六百四十四、辰申三千六百四十五、辰酉三千六百四十六、辰戌三千六百四十七、辰亥三千六百四十八。

The third hundred and fourth cycle of the Great Cycle has the heavenly stem paired with "Ding," and is the fourth cycle of the Xu combination. Its twelve generations span from the thirty-six thousand third hundred and seventy-first generation to the thirty-six thousand third hundred and forty-eighth generation. The earthly branches cycle through Zi to Hai again. This cycle lasts three hundred and sixty years, corresponding to the period from ten thousand nine hundred and eighty-one years to ten thousand nine hundred and four hundred and forty years of the Great Cycle. The first generation, Chen Zi (Earth Dog, Water Rat), the thirty-six thousand third hundred and seventy-first generation, governs from ten thousand nine hundred and eighty-one years to ten thousand nine hundred and one hundred and ten years of the Great Cycle. The last generation, Chen Hai (Earth Dog, Water Pig), the thirty-six thousand third hundred and forty-eighth generation, governs from ten thousand nine thousand four hundred and eleven years to ten thousand nine thousand four hundred and forty years of the Great Cycle.

星戊三百五：辰子三千六百四十九、辰丑三千六百五十、辰寅三千六百五十一、辰卯三千六百五十二、辰辰三千六百五十三、辰巳三千六百五十四、辰午三千六百五十五、辰未三千六百五十六、辰申三千六百五十七、辰酉三千六百五十八、辰戌三千六百五十九、辰亥三千六百六十。

The third hundred and fifth cycle of the Great Cycle has the heavenly stem "Wu," which is the fifth cycle of the Xu combination. It encompasses twelve generations numbered from 3,649 to 3,660, with the twelve earthly branches assigned in order from Zi to Hai. Each generation lasts thirty years, making the total duration of this cycle 360 years, spanning from the 109,441st to the 109,800th year of the Great Cycle. The first generation, Chén Zǐ (3,649th), governs from the 109,441st to the 109,470th year, while the last generation, Chén Hài (3,660th), governs from the 109,771st to the 109,800th year.

星己三百六：辰子三千六百六十一、辰丑三千六百六十二、辰寅三千六百六十三、辰卯三千六百六十四、辰辰三千六百六十五、辰巳三千六百六十六、辰午三千六百六十七、辰未三千六百六十八、辰申三千六百六十九、辰酉三千六百七十、辰戌三千六百七十一、辰亥三千六百七十二。

The third hundred and sixth cycle of the first era has the heavenly stem "Ji" and is the sixth cycle of the "Xu" group. It spans the thirty-six hundred and sixty-first to the thirty-six hundred and seventy-second generations. This cycle lasts three hundred and sixty years, from the ten thousand nine hundred and eighty-first year to the eleven thousand and one hundred and sixtieth year of the first era, thus crossing into the eleven thousand era. The first generation begins in the ten thousand nine hundred and eighty-first year to the ten thousand nine hundred and eighty-third year, and the last generation ends in the eleven thousand one hundred and thirty-first year to the eleven thousand one hundred and sixtieth year. The "Xu" group consists of thirty cycles, and this cycle is only the sixth, still in its early stage.

星庚三百七：辰子三千六百七十三、辰丑三千六百七十四、辰寅三千六百七十五、辰卯三千六百七十六、辰辰三千六百七十七、辰巳三千六百七十八、辰午三千六百七十九、辰未三千六百八十、辰申三千六百八十一、辰酉三千六百八十二、辰戌三千六百八十三、辰亥三千六百八十四。

The third hundred and seventh cycle of the Great Cycle has the heavenly stem "Geng" and is the seventh in the戌 group. It encompasses twelve generations, from the 3,673rd to the 3,684th. The "Chen" listed under "Star" in this table merely refers to the twelve generations within one cycle being registered according to the earthly branches, not indicating a separate set of hours. This cycle lasts 360 years, spanning from the 110,161st to the 110,520th year of the Great Cycle. The first generation ends at the 110,190th year, and the last generation begins at the 110,491st year.

星辛三百八：辰子三千六百八十五、辰丑三千六百八十六、辰寅三千六百八十七、辰卯三千六百八十八、辰辰三千六百八十九、辰巳三千六百九十、辰午三千六百九十一、辰未三千六百九十二、辰申三千六百九十三、辰酉三千六百九十四、辰戌三千六百九十五、辰亥三千六百九十六。

The third hundred and eighth cycle of the Yiyuan system has the heavenly stem "Xin," which is the eighth cycle of the Xu union. The twelve world numbers range from 3,685 to 3,696. The sixth division "Chen Si" has reached the 3,690th world. This cycle lasts 360 years, spanning the 110,521st to the 110,880th year of the Yiyuan. The first world spans from the 110,521st to the 110,550th year, and the last world spans from the 110,851st to the 110,880th year. The Xu union began in the 108,001st year and has now progressed 2,880 years.

星壬三百九：辰子三千六百九十七、辰丑三千六百九十八、辰寅三千六百九十九、辰卯三千七百、辰辰三千七百一、辰巳三千七百二、辰午三千七百三、辰未三千七百四、辰申三千七百五、辰酉三千七百六、辰戌三千七百七、辰亥三千七百八。

The third hundred and ninth cycle of the Great Cycle has the Heavenly Stem paired with "Ren," which is the ninth in the戌 (Xu) group. The twelve generations start from the three thousand six hundred and ninety-seventh generation, counting to the fourth position "Chen and Mao" to reach the three thousand seventh generation. After that, each subsequent position adds sequentially to three thousand seven hundred, with the last generation being the three thousand seven hundred and eighth generation. This cycle lasts three hundred and sixty years, corresponding to the eleventh ten thousand and eight hundred and eightieth year to the eleventh ten thousand and one hundred and twenty-fourth year of the Great Cycle. The first generation ends at the eleventh ten thousand and ninety-first year, and the last generation begins at the eleventh ten thousand and one hundred and twenty-first year.

星癸三百一十：辰子三千七百九、辰丑三千七百十、辰寅三千七百十一、辰卯三千七百十二、辰辰三千七百十三、辰巳三千七百十四、辰午三千七百十五、辰未三千七百十六、辰申三千七百十七、辰酉三千七百十八、辰戌三千七百十九、辰亥三千七百二十。

The third hundred and tenth cycle of the Great Cycle ends with the heavenly stem "Gui." This marks the completion of the first round of ten heavenly stems in the "Xu" combination. It covers the 3,709th to the 3,720th generations, with the base text abbreviated as "three thousand seven hundred and nine." This cycle lasts 360 years, corresponding to the 111,241st to the 111,600th year of the Great Cycle. The first generation of this cycle governs the 111,241st to the 111,270th year, while the last generation governs the 111,571st to the 111,600th year. The "Xu" combination consists of thirty cycles, and at this point, it has just completed one third.

星甲三百一十一：辰子三千七百二十一、辰丑三千七百二十二、辰寅三千七百二十三、辰卯三千七百二十四、辰辰三千七百二十五、辰巳三千七百二十六、辰午三千七百二十七、辰未三千七百二十八、辰申三千七百二十九、辰酉三千七百三十、辰戌三千七百三十一、辰亥三千七百三十二。

The third hundred and eleventh cycle begins with the Heavenly Stem returning to Jia. The戌 cycle thus enters the second round of ten stems, occupying the eleventh position in the thirty cycle. It belongs to the twelfth world series numbered from 3,721 to 3,732. This cycle spans 360 years, covering the eleventh thousand one hundred and sixty-first year to the eleventh thousand one hundred and ninety-sixth year of the first cycle. The first world of this cycle, the third thousand seven hundred and twenty-first, corresponds to the eleventh thousand one hundred and sixty-first year to the eleventh thousand one hundred and sixty-third year. The last world of this cycle, the third thousand seven hundred and thirty-second, corresponds to the eleventh thousand one hundred and ninety-third year to the eleventh thousand one hundred and ninety-sixth year.

星乙三百一十二：辰子三千七百三十三、辰丑三千七百三十四、辰寅三千七百三十五、辰卯三千七百三十六、辰辰三千七百三十七、辰巳三千七百三十八、辰午三千七百三十九、辰未三千七百四十、辰申三千七百四十一、辰酉三千七百四十二、辰戌三千七百四十三、辰亥三千七百四十四。

The third hundred and twelfth cycle of the Yuan is paired with the Heavenly Stem "Yi", and is the twelfth cycle of the Xu combination. The twelve generations span from the thirty-seventh thousand three hundred and thirty-third generation to the thirty-seventh thousand three hundred and forty-fourth generation. In total, the Yuan consists of forty-three thousand two hundred generations, and up to this point, thirty-seven thousand three hundred and forty-four generations have passed, leaving only five hundred and seventy-six generations remaining. Converted into cycles, the Xu cycle still has most of its generations left, while the Hai cycle has not yet begun. This cycle lasts three hundred and sixty years, corresponding to the eleventh thousand one hundred and ninety-sixth year to the eleventh thousand two hundred and thirty-second year of the Yuan. The first generation begins in the eleventh thousand one hundred and ninety-sixth year, and the last generation ends in the eleventh thousand two hundred and thirty-second year.

星丙三百一十三：辰子三千七百四十五、辰丑三千七百四十六、辰寅三千七百四十七、辰卯三千七百四十八、辰辰三千七百四十九、辰巳三千七百五十、辰午三千七百五十一、辰未三千七百五十二、辰申三千七百五十三、辰酉三千七百五十四、辰戌三千七百五十五、辰亥三千七百五十六。

The third hundred and thirteenth cycle of the Great Cycle has the heavenly stem "Bing" and is the thirteenth in the戌 group. It encompasses twelve generations from the thirty-seventh thousand four hundred and fifty-first to the thirty-seventh thousand five hundred and sixteenth. The sixth division "Chen Si" reaches the thirty-seventh thousand five hundredth generation. This cycle lasts three hundred and sixty years, spanning from the eleventh million two hundred and thirty-second first year to the eleventh million two thousand and six hundred and eightieth year. The first generation spans from the eleventh million two hundred and thirty-second first year to the eleventh million two hundred and thirty-fifth year, and the last generation spans from the eleventh million two thousand and sixty-fifth first year to the eleventh million two thousand and sixty-eighth year.

星丁三百一十四：辰子三千七百五十七、辰丑三千七百五十八、辰寅三千七百五十九、辰卯三千七百六十、辰辰三千七百六十一、辰巳三千七百六十二、辰午三千七百六十三、辰未三千七百六十四、辰申三千七百六十五、辰酉三千七百六十六、辰戌三千七百六十七、辰亥三千七百六十八。

The third hundred and fourteenth cycle of the first yuán is paired with the heavenly stem "Ding," and it is the fourteenth cycle of the Xuè combination, also the last cycle of the first half of this combination. The twelve world-numbering cycles range from the third thousand seven hundred and fifty-seventh to the third thousand seven hundred and sixty-eighth. This cycle lasts three hundred and sixty years, corresponding to the eleventh ten thousand two hundred and eighty-first year to the eleventh ten thousand three hundred and fourth year of the first yuán. The first world-numbering cycle, Chén Zǐ (third thousand seven hundred and fifty-seventh), governs from the eleventh ten thousand two hundred and eighty-first year to the eleventh ten thousand two hundred and seventy-tenth year. The last world-numbering cycle, Chén Hài (third thousand seven hundred and sixty-eighth), governs from the eleventh ten thousand three hundred and eleventh year to the eleventh ten thousand three hundred and fourth year.

星戊三百一十五：辰子三千七百六十九、辰丑三千七百七十、辰寅三千七百七十一、辰卯三千七百七十二、辰辰三千七百七十三、辰巳三千七百七十四、辰午三千七百七十五、辰未三千七百七十六、辰申三千七百七十七、辰酉三千七百七十八、辰戌三千七百七十九、辰亥三千七百八十。

The third hundred and fifteenth cycle of the Great Unity is governed by the Heavenly Stem 'Wu', which is exactly at the midpoint of the thirty cycle of Xu. Shao Yong believed that all things begin in the cycle of Yin and end in the cycle of Xu. The boundary of 'closing things' falls in this cycle: this cycle begins on the eleven thousand three hundred and forty-first year of the Great Unity and ends on the eleven thousand three hundred and forty-thousandth year, precisely at the midpoint of the ten thousand and eight hundred years of the Xu cycle. The twelve generations under this cycle span from the third thousand seven hundred and sixty-ninth generation to the third thousand seven hundred and eightieth generation. The first generation covers the years from the eleven thousand three hundred and forty-first to the eleven thousand three hundred and seventy-first year, while the last generation covers the years from the eleven thousand three hundred and thirty-seventh year to the eleven thousand three hundred and forty-thousandth year.

星己三百一十六：辰子三千七百八十一、辰丑三千七百八十二、辰寅三千七百八十三、辰卯三千七百八十四、辰辰三千七百八十五、辰巳三千七百八十六、辰午三千七百八十七、辰未三千七百八十八、辰申三千七百八十九、辰酉三千七百九十、辰戌三千七百九十一、辰亥三千七百九十二。

The third hundred and sixteenth cycle of the first great cycle, the heavenly stem reaches "Ji," which is the first cycle of the latter half of the Xu combination, and also the first cycle following the closure of the previous cycle. It spans from the 3,781st world to the 3,792nd world. This cycle lasts 360 years, corresponding to the 113,401st to the 113,760th year of the first great cycle; the first world spans from the 113,401st to the 113,430th year, and the last world spans from the 113,731st to the 113,760th year. The latter half of the Xu combination's fifteen cycles begins with this cycle.

星庚三百一十七：辰子三千七百九十三、辰丑三千七百九十四、辰寅三千七百九十五、辰卯三千七百九十六、辰辰三千七百九十七、辰巳三千七百九十八、辰午三千七百九十九、辰未三千八百、辰申三千八百一、辰酉三千八百二、辰戌三千八百三、辰亥三千八百四。

The third hundred and seventeenth cycle of the Great Cycle is associated with the Heavenly Stem "Geng." It is the seventeenth in the sequence of the Earthly Branch "Xu." The twelve generations under this cycle begin from the thirty-seventh thousand and ninth hundred and third year, and when counting to the eighth division "Chen Wei," it reaches exactly the thirty-eighth thousand year. The following four divisions are added sequentially to reach the thirty-eighth thousand and fourth year. Each generation lasts thirty years, making the total duration of this cycle three hundred and sixty years, spanning from the eleventh thousand three hundred and seventy-sixth year to the eleventh thousand four hundred and twentieth year. The first generation covers from the eleventh thousand three hundred and seventy-sixth year to the eleventh thousand three hundred and ninety-third year, and the last generation covers from the eleventh thousand four hundred and ninth year to the eleventh thousand four hundred and twentieth year.

星辛三百一十八：辰子三千八百五、辰丑三千八百六、辰寅三千八百七、辰卯三千八百八、辰辰三千八百九、辰巳三千八百一十、辰午三千八百一十一、辰未三千八百一十二、辰申三千八百一十三、辰酉三千八百一十四、辰戌三千八百一十五、辰亥三千八百一十六。

The third hundred and eighteenth cycle of the One Cycle, with the heavenly stem being "Xin," is the eighteenth cycle of the Xu combination. The twelve generations are numbered from three thousand eight hundred and five to three thousand eight hundred and sixteen. In the original text, the first five sections state "three thousand eight hundred and five" and below, while from the sixth section onward, it states "three thousand eight hundred and ten" and below. Both forms, including and excluding zero, are found in the text, but the numbers referred to are consistent. This cycle lasts three hundred and sixty years, corresponding to the eleventh ten thousand four hundred and twenty-first year to the eleventh ten thousand four hundred and eightieth year of the One Cycle, ending with the eleventh ten thousand four hundred and eightieth year.

星壬三百一十九：辰子三千八百一十七、辰丑三千八百一十八、辰寅三千八百一十九、辰卯三千八百二十、辰辰三千八百二十一、辰巳三千八百二十二、辰午三千八百二十三、辰未三千八百二十四、辰申三千八百二十五、辰酉三千八百二十六、辰戌三千八百二十七、辰亥三千八百二十八。

The third hundred and nineteenth cycle of the Great Cycle is associated with the Heavenly Stem "Ren," which is the nineteenth in the sequence of the Earthly Branches. This cycle governs twelve generations, from the thirty-eighth thousand and one hundred seventeenth generation to the thirty-eighth thousand and twenty-eighth generation. Each Earthly Branch from Zi to Hai occupies one position. This cycle lasts three hundred and sixty years, spanning the eleventh thousand four hundred and eighty-first year to the eleventh thousand four hundred and eighty-tenth year of the Great Cycle. The first generation, Chen Zi (third thousand eight hundred and seventeenth generation), corresponds to the eleventh thousand four hundred and eighty-first year to the eleventh thousand four hundred and fifty-tenth year. The last generation, Chen Hai (third thousand eight hundred and twenty-eighth generation), corresponds to the eleventh thousand four hundred and eighty-first year to the eleventh thousand four hundred and eighty-tenth year.

星癸三百二十：辰子三千八百二十九、辰丑三千八百三十、辰寅三千八百三十一、辰卯三千八百三十二、辰辰三千八百三十三、辰巳三千八百三十四、辰午三千八百三十五、辰未三千八百三十六、辰申三千八百三十七、辰酉三千八百三十八、辰戌三千八百三十九、辰亥三千八百四十。

The third hundred and twentieth cycle of the Great Cycle ends with the heavenly stem "Gui". The second round of ten heavenly stems in the戌 cycle is now completed, and the entire cycle has gone through twenty cycles. The twelve world periods numbered from 3,829 to 3,840. This cycle lasts 360 years, from the eleventh thousand four hundred and eighty-first year to the eleventh thousand five hundred and twenty-first year of the Great Cycle: the first world period spans from the eleventh thousand four hundred and eighty-first year to the eleventh thousand four hundred and seventy-first year, and the last world period spans from the eleventh thousand five hundred and seventy-first year to the eleventh thousand five hundred and twentieth year. The戌 cycle still has ten remaining cycles, each lasting 360 years, after which it will transition to the final cycle,亥 cycle.

星甲三百二十一：辰子三千八百四十一、辰丑三千八百四十二、辰寅三千八百四十三、辰卯三千八百四十四、辰辰三千八百四十五、辰巳三千八百四十六、辰午三千八百四十七、辰未三千八百四十八、辰申三千八百四十九、辰酉三千八百五十、辰戌三千八百五十一、辰亥三千八百五十二。

The third hundred and twenty-first cycle of the Great Cycle, the Heavenly Stems cycle once again reaches 'Jia' for the third time, and the戌 cycle enters the final set of ten stems, occupying the twenty-first position in the thirty cycle. The twelve generations under this cycle span from the third thousand eight hundred and forty-first generation to the third thousand eight hundred and fifty-second generation. The tenth division 'Chen You' completes the third thousand eight hundred and fiftieth generation. This cycle lasts three hundred and sixty years, corresponding to the eleventh thousand five hundred and twenty-first year to the eleventh thousand five hundred and fifty-sixth year of the Great Cycle; the first generation ends at the eleventh thousand five hundred and twenty-third year, and the last generation begins at the eleventh thousand five hundred and thirty-first year. The戌 cycle spans thirty cycles, this being the twenty-first, with only nine cycles remaining.

星乙三百二十二：辰子三千八百五十三、辰丑三千八百五十四、辰寅三千八百五十五、辰卯三千八百五十六、辰辰三千八百五十七、辰巳三千八百五十八、辰午三千八百五十九、辰未三千八百六十、辰申三千八百六十一、辰酉三千八百六十二、辰戌三千八百六十三、辰亥三千八百六十四。

The third hundred and twenty-second cycle of the Great Cycle is paired with the Heavenly Stem 'Yi', being the twenty-second cycle of the Xu combination. The twelve generations span from the thirty-eighth thousand five hundred and fifty-third generation to the thirty-eighth thousand six hundred and fourteenth generation. The arrangement of this table is consistent: adding one to the cycle number adds twelve to the generation number, and adding one to the generation number adds thirty to the years, with each level following the previous without confusion. This cycle lasts three hundred and sixty years, corresponding to the eleventh thousand five hundred and sixty-first year to the eleventh thousand five hundred and ninety-second year of the Great Cycle. The first generation ends at the eleventh thousand five hundred and ninety-first year, and the last generation begins at the eleventh thousand five hundred and eighty-first year. By this point, the Xu combination has only eight cycles remaining, totaling two thousand eight hundred and eighty years.

星丙三百二十三：辰子三千八百六十五、辰丑三千八百六十六、辰寅三千八百六十七、辰卯三千八百六十八、辰辰三千八百六十九、辰巳三千八百七十、辰午三千八百七十一、辰未三千八百七十二、辰申三千八百七十三、辰酉三千八百七十四、辰戌三千八百七十五、辰亥三千八百七十六。

The third hundred and twenty-third cycle of the One Origin, the Heavenly Stem is "Bing," and in the戌 group it is the twenty-third. It governs twelve generations numbered from 3,865 to 3,876. The sixth division "Chen Si" reaches the 3,870th generation. This cycle lasts 360 years, from the 11,5921st year to the 11,6280th year of the One Origin. The first generation, Chén Zǐ (3,865th), governs from the 11,5921st year to the 11,5950th year. The last generation, Chén Hài (3,876th), governs from the 11,6251st year to the 11,6280th year.

星丁三百二十四：辰子三千八百七十七、辰丑三千八百七十八、辰寅三千八百七十九、辰卯三千八百八十、辰辰三千八百八十一、辰巳三千八百八十二、辰午三千八百八十三、辰未三千八百八十四、辰申三千八百八十五、辰酉三千八百八十六、辰戌三千八百八十七、辰亥三千八百八十八。

The third hundred and twenty-fourth cycle of the Great Cycle is paired with the Heavenly Stem "Ding," and it is the twenty-fourth cycle of the Xu combination. The twelve generations span from the thirty-eighth thousand seven hundred and seventy-seventh generation to the thirty-eighth thousand eight hundred and eighteenth generation. This cycle lasts three hundred and sixty years, corresponding to the eleventh million six hundred and twenty-eighth year to the eleventh million six thousand and six hundred and fortieth year of the Great Cycle; the first generation spans from the eleventh million six hundred and twenty-eighth year to the eleventh million six hundred and thirty-first year, and the last generation spans from the eleventh million six thousand and one hundred and eleventh year to the eleventh million six thousand and six hundred and fortieth year. The Xu combination has only six remaining cycles, lasting two thousand one hundred and sixty years.

星戊三百二十五：辰子三千八百八十九、辰丑三千八百九十、辰寅三千八百九十一、辰卯三千八百九十二、辰辰三千八百九十三、辰巳三千八百九十四、辰午三千八百九十五、辰未三千八百九十六、辰申三千八百九十七、辰酉三千八百九十八、辰戌三千八百九十九、辰亥三千九百。

The third hundred and twenty-fifth cycle of the Yuan is governed by the Heavenly Stem "Wu," which is the twenty-fifth in the Xu combination. It encompasses the 3,889th to the 3,900th generations. The final section "Chen Hai Three Thousand Nine Hundred" completes the 3,900th generation, marking another whole number within the full Yuan of 4,320 generations. This cycle lasts 360 years, corresponding to the 116,641st to the 116,700th year of the Yuan. The first generation covers the 116,641st to the 116,670th year, while the last generation ends exactly at the 116,700th year. The Xu combination has only five remaining cycles, totaling 1,800 years.

星己三百二十六：辰子三千九百一、辰丑三千九百二、辰寅三千九百三、辰卯三千九百四、辰辰三千九百五、辰巳三千九百六、辰午三千九百七、辰未三千九百八、辰申三千九百九、辰酉三千九百一十、辰戌三千九百一十一、辰亥三千九百一十二。

The third hundred and twenty-sixth cycle of the Great Cycle has the heavenly stem "Ji" and is the twenty-sixth cycle of the "Xu" combination. It covers twelve generations from the thirty-ninth thousand and first to the thirty-ninth thousand and twelfth. The first nine columns of the original text omit the zero, and the tenth column begins to add "shi" (ten). This cycle lasts three hundred and sixty years, that is, from the eleventh thousand seven hundred and first year to the eleventh thousand seven hundred and three hundred and sixtieth year. The first generation spans from the eleventh thousand seven hundred and first year to the eleventh thousand seven hundred and thirtieth year, and the last generation spans from the eleventh thousand seven hundred and thirty-first year to the eleventh thousand seven hundred and three hundred and sixtieth year.

星庚三百二十七：辰子三千九百一十三、辰丑三千九百一十四、辰寅三千九百一十五、辰卯三千九百一十六、辰辰三千九百一十七、辰巳三千九百一十八、辰午三千九百一十九、辰未三千九百二十、辰申三千九百二十一、辰酉三千九百二十二、辰戌三千九百二十三、辰亥三千九百二十四。

The third hundred and twenty-seventh cycle of the Great Cycle is paired with the heavenly stem "Geng" and is the twenty-seventh in the戌 group. The twelve world generations range from the third thousand nine hundred and thirteenth to the third thousand nine hundred and twenty-fourth. This cycle lasts three hundred and sixty years, spanning from the eleventh thousand seven hundred and three hundred and sixtieth-first year to the eleventh thousand seven hundred and seven hundred and twentieth year of the Great Cycle. The first generation, the third thousand nine hundred and thirteenth generation, begins the eleventh thousand seven hundred and three hundred and sixtieth-first year and ends on the eleventh thousand seven hundred and three hundred and ninety-first year. The last generation, the third thousand nine hundred and twenty-fourth generation, begins on the eleventh thousand seven hundred and six hundred and ninety-first year and ends on the eleventh thousand seven hundred and seven hundred and twentieth year. By this point, the entire Great Cycle of twelve thousand nine hundred and six hundred years has already progressed by more than nine parts.

星辛三百二十八：辰子三千九百二十五、辰丑三千九百二十六、辰寅三千九百二十七、辰卯三千九百二十八、辰辰三千九百二十九、辰巳三千九百三十、辰午三千九百三十一、辰未三千九百三十二、辰申三千九百三十三、辰酉三千九百三十四、辰戌三千九百三十五、辰亥三千九百三十六。

The third hundred and twenty-eighth cycle of the Great Cycle is governed by the heavenly stem Xin, which is the twenty-eighth cycle of the Xu conjunction. The twelve generations under this cycle span from the thirty-ninth thousand and two hundred and fifth generation to the thirty-ninth thousand and thirty-sixth generation. The sixth division "Chen Si" completes in the thirty-ninth thousand and thirty-third generation. This cycle lasts three hundred and sixty years, corresponding to the eleventh million seven hundred and seventy-second year to the eleventh million eight hundred and eighth year of the Great Cycle. The first generation ends in the eleventh million seven hundred and fiftieth year, and the last generation begins in the eleventh million eight hundred and fifty-first year. Only two cycles remain before the end of the Xu conjunction, which is the eleventh million eight hundred and eightieth year. The entire cycle of three hundred and sixty cycles is reduced to only thirty-two cycles remaining.

星壬三百二十九：辰子三千九百三十七、辰丑三千九百三十八、辰寅三千九百三十九、辰卯三千九百四十、辰辰三千九百四十一、辰巳三千九百四十二、辰午三千九百四十三、辰未三千九百四十四、辰申三千九百四十五、辰酉三千九百四十六、辰戌三千九百四十七、辰亥三千九百四十八。

The third hundred and twenty-ninth cycle of the Great Cycle is associated with the Heavenly Stem "Ren," which is the twenty-ninth in the sequence of the Xu branch, making it the second-to-last cycle of this branch. The twelve generations under its jurisdiction are numbered from thirty-nine hundred thirty-seven to thirty-nine hundred forty-eight. Each earthly branch from Zi to Hai corresponds to one generation. Each generation lasts thirty years, so this cycle spans three hundred and sixty years, covering the years eleven thousand eight hundred and eighty-one to eleven thousand eight hundred and forty. The first generation covers the years eleven thousand eight hundred and eighty-one to eleven thousand eight hundred and one ten, while the last generation covers the years eleven thousand eight hundred and forty-one to eleven thousand eight hundred and forty.

星癸三百三十：辰子三千九百四十九、辰丑三千九百五十、辰寅三千九百五十一、辰卯三千九百五十二、辰辰三千九百五十三、辰巳三千九百五十四、辰午三千九百五十五、辰未三千九百五十六、辰申三千九百五十七、辰酉三千九百五十八、辰戌三千九百五十九、辰亥三千九百六十。

The third hundredth cycle of the first era ends with the heavenly stem "Gui," which is also the final cycle of the戌 (Xu) convergence. It spans from the 3,949th to the 3,960th generation, with the last generation, 辰亥 (Chen Hai), covering the years 118,771 to 118,800. Thus, the戌 (Xu) convergence is completed, spanning thirty cycles, 3,600 generations, and 10,800 years, beginning from the 108,001st year of the first era and ending at the 118,800th year. The next section moves to the亥 (Hai) convergence, which is the final convergence among the twelve convergences of the first era.

星甲三百三十一：辰子三千九百六十一、辰丑三千九百六十二、辰寅三千九百六十三、辰卯三千九百六十四、辰辰三千九百六十五、辰巳三千九百六十六、辰午三千九百六十七、辰未三千九百六十八、辰申三千九百六十九、辰酉三千九百七十、辰戌三千九百七十一、辰亥三千九百七十二。

This passage begins with 「日甲一，月亥十二」, indicating the twelfth cycle of the亥 (Hai) cycle within the first yuan's twelve cycles, which is the concluding cycle of the first yuan. Once this cycle is completed, the first yuan comes to an end and begins anew. 「星甲三百三十一」 refers to the first movement of the亥 (Hai) cycle, where the heavenly stems start again from 甲 (Jia). This movement encompasses twelve generations, from the 3,961st to the 3,972nd. This movement spans 360 years, corresponding to the 118,801st to the 119,160th year of the first yuan. The first generation covers the 118,801st to the 118,830th year, while the last generation covers the 119,131st to the 119,160th year.

星乙三百三十二：辰子三千九百七十三、辰丑三千九百七十四、辰寅三千九百七十五、辰卯三千九百七十六、辰辰三千九百七十七、辰巳三千九百七十八、辰午三千九百七十九、辰未三千九百八十、辰申三千九百八十一、辰酉三千九百八十二、辰戌三千九百八十三、辰亥三千九百八十四。

The third hundred and thirty-second cycle of the Great Cycle is paired with the Heavenly Stem 'Yi', and is the second cycle of the亥 (Hai) convergence. The twelve world numbers range from the third thousand nine hundred and seventy-third to the third thousand nine hundred and eighty-fourth, immediately following the last world of the previous cycle, the third thousand nine hundred and seventy-second. This cycle lasts three hundred and sixty years, from the eleventh million nine hundred and sixty-first year to the eleventh million nine thousand and five hundred and twentieth year. The first world, 辰子 (Chen Zi), the third thousand nine hundred and seventy-third, corresponds to the eleventh million nine hundred and sixty-first year to the eleventh million nine hundred and ninety year. The last world, 辰亥 (Chen Hai), the third thousand nine hundred and eighty-fourth, corresponds to the eleventh million nine thousand four hundred and ninety-first year to the eleventh million nine thousand and five hundred and twentieth year.

星丙三百三十三：辰子三千九百八十五、辰丑三千九百八十六、辰寅三千九百八十七、辰卯三千九百八十八、辰辰三千九百八十九、辰巳三千九百九十、辰午三千九百九十一、辰未三千九百九十二、辰申三千九百九十三、辰酉三千九百九十四、辰戌三千九百九十五、辰亥三千九百九十六。

The third hundred and thirty-third cycle of the Great Cycle has the heavenly stem "Bing" and is the third in the亥 (Hai) cycle. It governs twelve generations from the thirty-ninth thousand eight hundred and fifth to the thirty-ninth thousand nine hundred and sixteenth, only four generations short of reaching forty thousand. This cycle lasts three hundred and sixty years, spanning from the eleventh thousand nine hundred and fifty-first year to the eleventh thousand nine hundred and eighty-eighth year of the Great Cycle. The first generation of this cycle covers from the eleventh thousand nine hundred and fifty-first year to the eleventh thousand nine hundred and fiftieth year, while the last generation covers from the eleventh thousand nine hundred and eighty-fifth year to the eleventh thousand nine hundred and eighty-eighth year. The亥 (Hai) cycle consists of thirty cycles, and this cycle is only three-quarters of the way through.

星丁三百三十四：辰子三千九百九十七、辰丑三千九百九十八、辰寅三千九百九十九、辰卯四千、辰辰四千一、辰巳四千二、辰午四千三、辰未四千四、辰申四千五、辰酉四千六、辰戌四千七、辰亥四千八。

The third hundred and thirty-fourth cycle of the Great Cycle is paired with the Heavenly Stem "Ding," and it is the fourth cycle of the亥 (Hai) convergence. From the 3,997th generation, counting to the fourth section "Chen and Mao," it exactly reaches the 4,000th generation, after which each section follows sequentially adding to "four thousand," with the final generation being the 4,008th. In terms of years, this cycle spans from the 119,881st year to the 120,240th year of the Great Cycle, and within this cycle, the number of years crosses over twelve ten-thousand. The first year ends at the 119,910th year, and the last year begins at the 120,211th year.

星戊三百三十五：辰子四千九、辰丑四千一十、辰寅四千一十一、辰卯四千一十二、辰辰四千一十三、辰巳四千一十四、辰午四千一十五、辰未四千一十六、辰申四千一十七、辰酉四千一十八、辰戌四千一十九、辰亥四千二十。

The third hundred and thirty-fifth cycle of the Yuan, with the heavenly stem "Wu," is the fifth in the亥 (Hai) group. It oversees twelve generations numbered from four thousand and nine to four thousand and twenty, with the first column omitting the zero and written as "four thousand nine," and subsequent columns adding "ten." In total, the Yuan consists of four thousand three hundred and twenty generations, leaving only three hundred remaining by this point. This cycle lasts three hundred and sixty years, corresponding to the twelve million and two hundred forty-first year to the twelve million and six hundredth year of the Yuan, ending precisely at the twelve million and six hundredth year.

星己三百三十六：辰子四千二十一、辰丑四千二十二、辰寅四千二十三、辰卯四千二十四、辰辰四千二十五、辰巳四千二十六、辰午四千二十七、辰未四千二十八、辰申四千二十九、辰酉四千三十、辰戌四千三十一、辰亥四千三十二。

The third hundred and thirty-sixth cycle of the Great Cycle is governed by the Heavenly Stem "Ji," which is the sixth cycle of the亥 (Hai) group, occurring after one fifth of the thirty cycles of this group. It spans the forty-first thousand and twenty-first world to the forty-first thousand and thirty-second world. This cycle lasts three hundred and sixty years, corresponding to the twelve thousand and sixty-first year to the twelve thousand and ninety-sixth year of the Great Cycle. The first world governs from the twelve thousand and sixty-first year to the twelve thousand and sixty-third year, and the last world governs from the twelve thousand and ninety-thirty-first year to the twelve thousand and ninety-sixth year.

星庚三百三十七：辰子四千三十三、辰丑四千三十四、辰寅四千三十五、辰卯四千三十六、辰辰四千三十七、辰巳四千三十八、辰午四千三十九、辰未四千四十、辰申四千四十一、辰酉四千四十二、辰戌四千四十三、辰亥四千四十四。

The third hundred and thirty-seventh cycle of the Great Cycle is associated with the Heavenly Stem "Geng" and is the seventh in the亥 (Hai) cycle. It encompasses twelve generations, from the forty-thousand and thirty-third generation to the forty-thousand and forty-fourth generation, still beginning with the辰 (Chen) and ending with the亥 (Hai). This cycle lasts three hundred and sixty years, corresponding to the twelve-thousand and ninety-sixty-first year to the twelve-thousand and one hundred and thirty-second year of the Great Cycle. The first generation spans from the twelve-thousand and ninety-sixty-first year to the twelve-thousand and ninety-ninety year, while the last generation spans from the twelve-thousand and one hundred and twenty-ninety-first year to the twelve-thousand and one hundred and thirty-second year.

星辛三百三十八：辰子四千四十五、辰丑四千四十六、辰寅四千四十七、辰卯四千四十八、辰辰四千四十九、辰巳四千五十、辰午四千五十一、辰未四千五十二、辰申四千五十三、辰酉四千五十四、辰戌四千五十五、辰亥四千五十六。

The third hundred and thirty-eighth cycle of the first era has the heavenly stem "Xin," which is the eighth cycle of the亥 (Hai) cycle. The twelve world numbers range from four thousand and forty-five to four thousand and fifty-six. The sixth division "Chen Si" has reached four thousand and fifty world numbers. The Hai cycle begins at the eleventh thousand eight hundred and first year of the first era, and this cycle spans from the twelve thousand one hundred and thirty-second year to the twelve thousand one hundred and sixty-eighth year, covering a total of eleven thousand eight hundred years, of which twenty-eight hundred years have already passed.

星壬三百三十九：辰子四千五十七、辰丑四千五十八、辰寅四千五十九、辰卯四千六十、辰辰四千六十一、辰巳四千六十二、辰午四千六十三、辰未四千六十四、辰申四千六十五、辰酉四千六十六、辰戌四千六十七、辰亥四千六十八。

The third hundred and thirty-ninth cycle of the Great Cycle has the heavenly stem "Ren" and is the ninth in the亥 (Hai) group. It governs twelve generations, from the fourth thousand and fifth十七th generation to the fourth thousand and sixty-eighth generation. This cycle lasts three hundred and sixty years, spanning the twelve million one thousand six hundred and eighty-first year to the twelve million two thousand and forty-first year of the Great Cycle. The first generation governs from the twelve million one thousand six hundred and eighty-first year to the twelve million one thousand seven hundred and tenth year, while the last generation governs from the twelve million two thousand and eleventh year to the twelve million two thousand and forty-first year.

星癸三百四十：辰子四千六十九、辰丑四千七十、辰寅四千七十一、辰卯四千七十二、辰辰四千七十三、辰巳四千七十四、辰午四千七十五、辰未四千七十六、辰申四千七十七、辰酉四千七十八、辰戌四千七十九、辰亥四千八十。

The third hundred and fortyth cycle of the Great Cycle ends with the heavenly stem "Gui." The first round of the ten heavenly stems in the亥 cycle has now been completed. The entire cycle of thirty cycles has passed ten cycles. The twelve generations under this cycle are numbered from 4069 to 4080. Each earthly branch from Zi to Hai corresponds to one generation. Each generation lasts thirty years, making this cycle total three hundred and sixty years. This cycle spans from the 122,041st year to the 122,400th year of the Great Cycle. The first generation covers from the 122,041st year to the 122,070th year, and the last generation covers from the 122,371st year to the 122,400th year.

星甲三百四十一：辰子四千八十一、辰丑四千八十二、辰寅四千八十三、辰卯四千八十四、辰辰四千八十五、辰巳四千八十六、辰午四千八十七、辰未四千八十八、辰申四千八十九、辰酉四千九十、辰戌四千九十一、辰亥四千九十二。

The third hundred and forty-first cycle of the Great Cycle begins with the Heavenly Stem "Jia," and the亥 (Hai) cycle enters the second round of ten stems, occupying the eleventh position in the thirty-cycle sequence. The twelfth world spans from the fourth thousand and eighth first world to the fourth thousand and ninety-second world. This cycle lasts three hundred and sixty years, corresponding to the twelve million two thousand and forty-first year to the twelve million two thousand seven hundred and sixtieth year of the Great Cycle. The first world, Chen Zi (Chen and Zi), the fourth thousand and eighty-first, corresponds to the twelve million two thousand and forty-first year to the twelve million two thousand and forty-third year. The last world, Chen Hai (Chen and Hai), the fourth thousand and ninety-second, corresponds to the twelve million two thousand seven hundred and thirty-first year to the twelve million two thousand seven hundred and sixtieth year.

星乙三百四十二：辰子四千九十三、辰丑四千九十四、辰寅四千九十五、辰卯四千九十六、辰辰四千九十七、辰巳四千九十八、辰午四千九十九、辰未四千一百、辰申四千一百一、辰酉四千一百二、辰戌四千一百三、辰亥四千一百四。

The third hundred and forty-second cycle of the first yuán is paired with the Heavenly Stem "Yi", and is the twelfth cycle of the亥 (Hai) combination. The twelfth generation begins from the four thousand and ninth十三th generation, and the eighth position "Chen Wei" reaches the four thousand and first generation. After that, the next four positions are added sequentially to reach the four thousand and first four generations. This cycle lasts for three hundred and sixty years, corresponding to the twelve twenty-seven thousand and sixtieth-one to twelve thirty thousand and one hundred and tenth year of the first yuán. The first generation ends at the twelve twenty-seven thousand and ninety year, and the last generation begins at the twelve thirty thousand and ninety-first year.

星丙三百四十三：辰子四千一百五、辰丑四千一百六、辰寅四千一百七、辰卯四千一百八、辰辰四千一百九、辰巳四千一百一十、辰午四千一百一十一、辰未四千一百一十二、辰申四千一百一十三、辰酉四千一百一十四、辰戌四千一百一十五、辰亥四千一百一十六。

The third hundred and forty-third cycle of the One Cycle system is governed by the Heavenly Stem "Bing." It is the thirteenth in the亥 (Hai) cycle. The twelve generations under this cycle are numbered from 4,105 to 4,116. In the original text, the first five sections omit the zero and write "four thousand one hundred five" and below, while from the sixth section onward, it is written as "four thousand one hundred ten" and below. Within the same cycle, both writing styles coexist and the numbers follow consecutively. This cycle lasts 360 years, corresponding to the years 123,121 to 123,480 of the One Cycle. The last generation ends in the year 123,480.

星丁三百四十四：辰子四千一百一十七、辰丑四千一百一十八、辰寅四千一百一十九、辰卯四千一百二十、辰辰四千一百二十一、辰巳四千一百二十二、辰午四千一百二十三、辰未四千一百二十四、辰申四千一百二十五、辰酉四千一百二十六、辰戌四千一百二十七、辰亥四千一百二十八。

The third hundred and forty-fourth cycle of the Great Cycle is paired with the Heavenly Stem "Ding," and it is the fourteenth cycle of the亥 (Hai) combination, also the last cycle of the first half of this combination. The twelve generations span from the fourth thousand one hundred and seventeen to the fourth thousand one hundred and twenty-eighth generation. This cycle lasts three hundred and sixty years, covering the twelve thousand three hundred and forty-eighth year to the twelve thousand three thousand eight hundred and forty year of the Great Cycle; the first generation, Chen Zi (Chen and Zi), the fourth thousand one hundred and seventeen generation, governs from the twelve thousand three hundred and forty-eighth year to the twelve thousand three hundred and fifty-tenth year, while the last generation, Chen Hai (Chen and Hai), the fourth thousand one hundred and twenty-eighth generation, governs from the twelve thousand three thousand eight hundred and eleventh year to the twelve thousand three thousand eight hundred and forty year.

星戊三百四十五：辰子四千一百二十九、辰丑四千一百三十、辰寅四千一百三十一、辰卯四千一百三十二、辰辰四千一百三十三、辰巳四千一百三十四、辰午四千一百三十五、辰未四千一百三十六、辰申四千一百三十七、辰酉四千一百三十八、辰戌四千一百三十九、辰亥四千一百四十。

The third hundred and forty-fifth cycle of the first era has the heavenly stem "Wu," which corresponds to half of the thirty cycles of the亥 (Hai) conjunction. The twelve generations under this cycle are numbered from forty-one thousand two hundred ninety to forty-one thousand four hundred. The first generation begins in the year twelve thousand three hundred and forty-one. This cycle ends at twelve thousand four hundred and twenty years of the first era, which is the midpoint of the ten thousand and eight hundred years of the亥 (Hai) conjunction; beyond this point, the last five thousand four hundred years of the twelve conjunctions of the first era begin, with the final generation, the fourth thousand and four hundredth generation of the辰 (Chen) and亥 (Hai) conjunction, ending exactly at twelve thousand four hundred and twenty years. The thirty cycles of the亥 (Hai) conjunction are divided at this point, with the first fifteen cycles already completed and the latter fifteen cycles just beginning.

星己三百四十六：辰子四千一百四十一、辰丑四千一百四十二、辰寅四千一百四十三、辰卯四千一百四十四、辰辰四千一百四十五、辰巳四千一百四十六、辰午四千一百四十七、辰未四千一百四十八、辰申四千一百四十九、辰酉四千一百五十、辰戌四千一百五十一、辰亥四千一百五十二。

The third hundred and forty-sixth cycle of the Great Cycle is the first cycle of the latter half of the亥 (Hai) cycle. It covers the fourth thousand one hundred forty-first world to the fourth thousand one hundred fifty-second world, with the tenth division「辰酉」(Chen You) completing the fourth thousand one hundred fifty world. This cycle lasts three hundred and sixty years, from the twelfth thousand four hundred and twenty-first year to the twelfth thousand four hundred and five hundred and sixtieth year. The first world covers the twelfth thousand four hundred and twenty-first year to the twelfth thousand four hundred and thirty-first year, and the last world covers the twelfth thousand four hundred and fifty-third year to the twelfth thousand four hundred and sixty year. There are still fourteen cycles remaining in the亥 (Hai) cycle.

星庚三百四十七：辰子四千一百五十三、辰丑四千一百五十四、辰寅四千一百五十五、辰卯四千一百五十六、辰辰四千一百五十七、辰巳四千一百五十八、辰午四千一百五十九、辰未四千一百六十、辰申四千一百六十一、辰酉四千一百六十二、辰戌四千一百六十三、辰亥四千一百六十四。

The third hundred and forty-seventh cycle of the Yuan, with the heavenly stem "Geng," is the seventeenth in the亥 cycle. It governs twelve generations, from the four thousand one hundred and fifty-third to the four thousand one hundred and sixty-fourth. The entire Yuan consists of four thousand three hundred and twenty generations, with one hundred and fifty-six remaining to be calculated. This cycle lasts three hundred and sixty years, corresponding to the twelve thousand four hundred and fifty-sixth to the twelve thousand four hundred and ninety-second years of the Yuan. The first generation ends at the twelve thousand four hundred and fifty-ninth year, and the last generation begins at the twelve thousand four hundred and eighty-ninth year. By the seventeenth cycle of the亥 cycle, thirty cycles have passed, and the corresponding message hexagram is the hexagram of坤, symbolizing pure yin.

星辛三百四十八：辰子四千一百六十五、辰丑四千一百六十六、辰寅四千一百六十七、辰卯四千一百六十八、辰辰四千一百六十九、辰巳四千一百七十、辰午四千一百七十一、辰未四千一百七十二、辰申四千一百七十三、辰酉四千一百七十四、辰戌四千一百七十五、辰亥四千一百七十六。

The third hundred and forty-eighth cycle of the first yuán is marked by the heavenly stem 'Xin', which is the eighteenth cycle of the亥 (Hai) convergence. The twelve generations are numbered from four thousand one hundred sixty-five to four thousand one hundred seventy-six, with the sixth division 'Chen Si' completing the four thousand one hundred seventy-thousandth generation. This cycle lasts three hundred and sixty years, spanning the twelve million four thousand nine hundred twenty-first to the twelve million five thousand two hundred eightieth year of the first yuán. Within this cycle, the number of years crosses twelve million five thousand; the first generation ends in the twelve million four thousand nine hundred fiftieth year, and the last generation begins in the twelve million five thousand two hundred fifty-first year. The entire yuán consists of three hundred and sixty cycles, and after this, only twelve cycles remain.

星壬三百四十九：辰子四千一百七十七、辰丑四千一百七十八、辰寅四千一百七十九、辰卯四千一百八十、辰辰四千一百八十一、辰巳四千一百八十二、辰午四千一百八十三、辰未四千一百八十四、辰申四千一百八十五、辰酉四千一百八十六、辰戌四千一百八十七、辰亥四千一百八十八。

The third hundred and forty-ninth cycle of the Great Cycle is governed by the heavenly stem "Ren," which is the nineteenth in the亥 (Hai) cycle. This cycle oversees twelve generations, from the forty-first thousand one hundred seventy-seventh generation to the forty-first thousand one hundred eighty-eighth generation, still beginning with the辰 (Chen) and ending with the亥 (Hai). This cycle lasts three hundred and sixty years, corresponding to the twelve thousand five hundred and twenty-eighth year to the twelve thousand five thousand six hundred and fortyth year of the Great Cycle. The first generation governs from the twelve thousand five hundred and twenty-eighth year to the twelve thousand five hundred and thirty-first year, while the last generation governs from the twelve thousand five thousand six hundred and eleventh year to the twelve thousand five thousand six hundred and fortyth year. By this point, the thirty cycles of the亥 (Hai) cycle have already progressed nineteen, leaving eleven cycles remaining.

星癸三百五十：辰子四千一百八十九、辰丑四千一百九十、辰寅四千一百九十一、辰卯四千一百九十二、辰辰四千一百九十三、辰巳四千一百九十四、辰午四千一百九十五、辰未四千一百九十六、辰申四千一百九十七、辰酉四千一百九十八、辰戌四千一百九十九、辰亥四千二百。

The third hundred and fiftieth cycle of the Great Cycle ends with the heavenly stem "Gui". The second round of ten heavenly stems in the亥 cycle is completed, and the entire cycle has gone through twenty cycles. It encompasses the fourth thousand one hundred and eighty ninth world to the fourth thousand second world. The ending mark "Chen Hai four thousand two hundred" exactly completes the fourth thousand second world. This cycle lasts three hundred and sixty years, from the twelve thousand five hundred and sixty first year to the twelve thousand six hundredth year of the Great Cycle. The first world begins at the twelve thousand five hundred and sixty first year, and the last world ends at the twelve thousand six hundredth year exactly. After this, only ten cycles of three thousand six hundred years remain, and the Great Cycle will then reach its end.

星甲三百五十一：辰子四千二百一、辰丑四千二百二、辰寅四千二百三、辰卯四千二百四、辰辰四千二百五、辰巳四千二百六、辰午四千二百七、辰未四千二百八、辰申四千二百九、辰酉四千二百一十、辰戌四千二百一十一、辰亥四千二百一十二。

The third hundred and fifty-first cycle of the Great Cycle, the Heavenly Stem turns for the third time to "Jia," and the亥 branch enters the final round of the ten Heavenly Stems, occupying the twenty-first position in the thirty cycle. The twelve generations under this cycle are numbered from four thousand two hundred and one to four thousand two hundred and twelve. The first nine columns of the original text omit the zero, and from the tenth column onwards, "ten" is added. This cycle lasts three hundred and sixty years, from the twelve million six thousand and first year to the twelve million six thousand and three hundred and sixtieth year of the Great Cycle, with the last generation ending on the twelve million six thousand and three hundred and sixtieth year.

星乙三百五十二：辰子四千二百一十三、辰丑四千二百一十四、辰寅四千二百一十五、辰卯四千二百一十六、辰辰四千二百一十七、辰巳四千二百一十八、辰午四千二百一十九、辰未四千二百二十、辰申四千二百二十一、辰酉四千二百二十二、辰戌四千二百二十三、辰亥四千二百二十四。

The third hundred and fifty-second cycle of the Great Cycle is paired with the Heavenly Stem 'Yi', and is the twenty-second cycle of the亥 (Hai) combination. The twelve generations span from the four thousand two hundred and thirteen-th to four thousand two hundred and twenty-fourth generations. This cycle lasts three hundred and sixty years, corresponding to the twelve thousand six hundred and thirty-six first to twelve thousand six hundred and seventy-second years of the Great Cycle; the first generation covers the twelve thousand six hundred and thirty-six first to twelve thousand six hundred and thirty-ninth years, and the last generation covers the twelve thousand six hundred and sixty-ninety-first to twelve thousand six hundred and seventy-second years. There are still eight cycles remaining until the end of the Great Cycle, which is twelve thousand nine hundred and sixty years away.

星丙三百五十三：辰子四千二百二十五、辰丑四千二百二十六、辰寅四千二百二十七、辰卯四千二百二十八、辰辰四千二百二十九、辰巳四千二百三十、辰午四千二百三十一、辰未四千二百三十二、辰申四千二百三十三、辰酉四千二百三十四、辰戌四千二百三十五、辰亥四千二百三十六。

The third hundred and fifty-third cycle of the Great Cycle has the heavenly stem "Bing" and is the twenty-third in the亥 cycle. It encompasses twelve generations numbered from 4,225 to 4,236. Each earthly branch from Zi to Hai corresponds to one generation. Each generation lasts thirty years, making the total duration of this cycle 360 years. This cycle spans from the 126,721st to the 127,080th year of the Great Cycle. The first generation covers the years 126,721 to 126,750, and the last generation covers the years 127,051 to 127,080.

星丁三百五十四：辰子四千二百三十七、辰丑四千二百三十八、辰寅四千二百三十九、辰卯四千二百四十、辰辰四千二百四十一、辰巳四千二百四十二、辰午四千二百四十三、辰未四千二百四十四、辰申四千二百四十五、辰酉四千二百四十六、辰戌四千二百四十七、辰亥四千二百四十八。

The third hundred and fifty-fourth cycle of the Great Cycle is paired with the Heavenly Stem 'Ding', and is the twenty-fourth cycle of the亥 (Hai) convergence. The twelve generations span from the four thousand two hundred thirty-seventh generation to the four thousand two hundred forty-eighth generation. This cycle lasts three hundred and sixty years, corresponding to the twelve million seven thousand and eighty-first year to the twelve million seven thousand four hundred and fortieth year of the Great Cycle. The first generation, Chen Zi (Chen and Zi), the four thousand two hundred thirty-seventh generation, corresponds to the twelve million seven thousand and eighty-first year to the twelve million seven thousand one hundred and tenth year. The last generation, Chen Hai (Chen and Hai), the four thousand two hundred forty-eighth generation, corresponds to the twelve million seven thousand four hundred and eleventh year to the twelve million seven thousand four hundred and fortieth year. In total, only six cycles remain in the entire Great Cycle.

星戊三百五十五：辰子四千二百四十九、辰丑四千二百五十、辰寅四千二百五十一、辰卯四千二百五十二、辰辰四千二百五十三、辰巳四千二百五十四、辰午四千二百五十五、辰未四千二百五十六、辰申四千二百五十七、辰酉四千二百五十八、辰戌四千二百五十九、辰亥四千二百六十。

The third hundred and fifty-fifth cycle of the Great Cycle has the heavenly stem "Wu" and is the twenty-fifth in the亥 cycle. It governs twelve generations numbered from four thousand two hundred forty-nine to four thousand two hundred sixty. The second division "Chen Chou" completes the four thousand two hundred fiftyth generation. This cycle lasts three hundred and sixty years, corresponding to the twelve million seven thousand four hundred forty-first year to the twelve million seven thousand eight hundredth year of the Great Cycle. The first generation covers the twelve million seven thousand four hundred forty-first year to the twelve million seven thousand four hundred seventy-first year, and the last generation covers the twelve million seven thousand seven hundred seventy-first year to the twelve million seven thousand eight hundredth year. The remaining five cycles in the亥 cycle amount to one thousand eight hundred years.

星己三百五十六：辰子四千二百六十一、辰丑四千二百六十二、辰寅四千二百六十三、辰卯四千二百六十四、辰辰四千二百六十五、辰巳四千二百六十六、辰午四千二百六十七、辰未四千二百六十八、辰申四千二百六十九、辰酉四千二百七十、辰戌四千二百七十一、辰亥四千二百七十二。

The third hundred and fifty-sixth cycle of the Great Cycle has the heavenly stem "Ji," which is the twenty-sixth cycle of the亥 cycle. This cycle governs twelve generations, from the four thousand two hundred sixty-first generation to the four thousand two hundred seventy-second generation. This cycle lasts three hundred and sixty years, that is, from the twelve million seven thousand eight hundred and first year to the twelve million eight thousand one hundred and sixtieth year of the Great Cycle. The number of years in this cycle crosses twelve million eight thousand; the first generation ends at the twelve million seven thousand eight hundred and thirty-first year, and the last generation begins at the twelve million eight thousand one hundred and thirty-first year. Twenty-six of the thirty cycles in the亥 cycle have already passed, leaving four cycles with a total of one thousand four hundred and forty years remaining in the full cycle.

星庚三百五十七：辰子四千二百七十三、辰丑四千二百七十四、辰寅四千二百七十五、辰卯四千二百七十六、辰辰四千二百七十七、辰巳四千二百七十八、辰午四千二百七十九、辰未四千二百八十、辰申四千二百八十一、辰酉四千二百八十二、辰戌四千二百八十三、辰亥四千二百八十四。

The third hundred and fifty-seventh cycle of the Great Cycle is paired with the heavenly stem "Geng" and is the twenty-seventh in the亥 cycle. The twelve world numbers range from four thousand two hundred seventy-three to four thousand two hundred eighty-four. In total, the Great Cycle consists of four thousand three hundred twenty cycles, with only thirty-six remaining to be calculated, which corresponds to the number of three cycles. This cycle lasts three hundred and sixty years, spanning from the twelve million eight thousand one hundred sixty-first year to the twelve million eight thousand five hundred twentieth year of the Great Cycle. The first year of this cycle ends at the twelve million eight thousand one hundred ninety-first year, and the last year begins at the twelve million eight thousand four hundred ninety-first year. By this point, the亥 cycle has already passed twenty-seven cycles, leaving only three cycles remaining.

星辛三百五十八：辰子四千二百八十五、辰丑四千二百八十六、辰寅四千二百八十七、辰卯四千二百八十八、辰辰四千二百八十九、辰巳四千二百九十、辰午四千二百九十一、辰未四千二百九十二、辰申四千二百九十三、辰酉四千二百九十四、辰戌四千二百九十五、辰亥四千二百九十六。

The third hundred and fifty-eighth cycle of the first era has the heavenly stem 'Xin' and is the twenty-eighth cycle of the亥 (Hai) convergence. It encompasses twelve generations from the four thousand two hundred eighty-fifth to the four thousand two hundred ninety-sixth. The sixth division 'Chen Si' is completed in the four thousand two hundred ninety-first year. This cycle lasts three hundred and sixty years, spanning the twelve million eight thousand five hundred twenty-first to the twelve million eight thousand eight hundred eightieth year of the first era. The first generation governs from the twelve million eight thousand five hundred twenty-first to the twelve million eight thousand five hundred fiftieth year, while the last generation governs from the twelve million eight thousand eight hundred fifty-first to the twelve million eight thousand eight hundred eightieth year.

星壬三百五十九：辰子四千二百九十七、辰丑四千二百九十八、辰寅四千二百九十九、辰卯四千三百、辰辰四千三百一、辰巳四千三百二、辰午四千三百三、辰未四千三百四、辰申四千三百五、辰酉四千三百六、辰戌四千三百七、辰亥四千三百八。

The third hundred and fifty-ninth cycle of the Great Cycle has the heavenly stem "Ren" and is the twenty-ninth in the亥 (Hai) group, being the second-to-last cycle of the entire Great Cycle. The twelfth generation begins from the four thousand two hundred ninety-seventh generation, with the fourth position "Chen-Mao" completing at the four thousand three hundredth generation, and the last generation being the four thousand three hundred eighth generation. This cycle lasts three hundred and sixty years, corresponding to the twelve million eight thousand eight hundred and eightieth-first to the twelve million nine thousand two hundred and forty-first year of the Great Cycle; the first generation ends at the twelve million eight thousand nine hundred and tenth year, and the last generation begins at the twelve million nine thousand two hundred and eleventh year.

星癸三百六十：辰子四千三百九、辰丑四千三百一十、辰寅四千三百一十一、辰卯四千三百一十二、辰辰四千三百一十三、辰巳四千三百一十四、辰午四千三百一十五、辰未四千三百一十六、辰申四千三百一十七、辰酉四千三百一十八、辰戌四千三百一十九、辰亥四千三百二十。

The third hundred and sixtieth cycle of the first yuán ends with the heavenly stem "Gui," which is also the final cycle of the thirty cycle of the亥 (Hai) convergence and the last cycle of the entire three hundred and sixty cycles of the first yuán. The twelve generations under its jurisdiction are numbered from four thousand three hundred and nine to four thousand three hundred and twenty. The first generation begins in the year twelve thousand nine hundred and forty-one, and the last generation marked "Chen Hai four thousand three hundred and twenty" corresponds exactly to the fourth thousand three hundred and twentieth generation of the entire yuán, ending in the year twelve thousand nine hundred and sixty. At this point, the twelve convergences, three hundred and sixty cycles, four thousand three hundred and twenty generations, and twelve thousand nine hundred and sixty years are all completed. The four tables of "yuán through convergence" are now complete. Once the first yuán ends, the next yuán begins again with the convergence of "Jia" and the generation of "Zi."

開物始月寅之中。經星之己七十六、經星之庚七十七、經星之辛七十八、經星之壬七十九、經星之癸八十、經星之甲八十一、經星之乙八十二、經星之丙八十三、經星之丁八十四、經星之戊八十五、經星之己八十六、經星之庚八十七、經星之辛八十八、經星之壬八十九、經星之癸九十。

From this point on, the method used is "using the convergence of the great cycles": the beginning of the text "the first day of the first cycle, Jia" refers to the first cycle, Jia, and "the third month of the third convergence, Yin" refers to the third convergence, Yin. The following "star cycles" listed are the cycles under this convergence. The Yin convergence originally covers the sixty-first to the ninety-first cycles, but the table starts from the seventy-sixth cycle, because "the creation of things begins in the middle of the Yin convergence" — Shao Yong believed that the generation of heaven and earth began in the middle of the Yin convergence, and the first half was still in chaos, so it is not included in the calendar. The listed cycles from seventy-sixth onwards total fifteen cycles. The heavenly stems start from Ji, then proceed to Geng, Xin, Ren, Gui, and then return to Jia, Yi, Bing, Ding, Wu, and again go through Ji, Geng, Xin, Ren, Gui in a full cycle. Each cycle spans twelve generations, each lasting three hundred and sixty years. The first cycle, the seventy-sixth, spans from the second thousand seven hundred and first year to the second thousand seven hundred and thirty-sixth year of the first cycle. The last cycle, the ninety-first, spans from the third thousand two hundred and forty-first year to the third thousand two hundred and fourth year. The fifteen cycles together span five thousand four hundred years.

經星之甲九十一、經星之乙九十二、經星之丙九十三、經星之丁九十四、經星之戊九十五、經星之己九十六、經星之庚九十七、經星之辛九十八、經星之壬九十九、經星之癸一百、經星之甲一百一、經星之乙一百二、經星之丙一百三、經星之丁一百四、經星之戊一百五。

"The 'Mo' fourth phase of the 'Jingyue' refers to the fourth phase of the 'Mo' in the cycle of the Jia stem. This phase encompasses the 91st to the 120th cycles. This table lists the cycles in order starting from the 91st. Here only the names of the cycles are marked, without further division into twelve generations, because the 'Huijingyun' system is specifically designed for recording events. Each cycle leaves a space for filling in the rise and fall of generations. The listed cycles from Jia 91 to Wu 105 cover fifteen cycles. The Heavenly Stems complete one full cycle in half a cycle, which is 360 years per cycle, making fifteen cycles total 5,400 years. This period corresponds to the 32,401st to the 37,800th year of the first cycle."

經星之己一百六、經星之庚一百七、經星之辛一百八、經星之壬一百九、經星之癸一百十、經星之甲一百十一、經星之乙一百十二、經星之丙一百十三、經星之丁一百十四、經星之戊一百十五、經星之己一百十六、經星之庚一百十七、經星之辛一百十八、經星之壬一百十九、經星之癸一百二十。

Continuing from the 106th cycle "Ji", to the 120th cycle "Gui", these fifteen cycles form the latter half of the Mao cycle. The original text omits the character "zero" in entries such as "one hundred and six", "one hundred and seven", and so on, and from "one hundred and ten" onwards, it simply writes "ten" instead of "one ten". Although the writing style varies, the sequence remains clear. These fifteen cycles total 5,400 years, corresponding to the third 37,801 to the fourth 43,200 years of a great cycle. The first cycle, the 106th, spans from the third 37,801 to the third 38,160 years. The final cycle, the 120th, spans from the fourth 42,841 to the fourth 43,200 years. By the end of the 120th cycle, the entire 10,080 years of the Mao cycle are completed.

經星之甲一百二十一、經星之乙一百二十二、經星之丙一百二十三、經星之丁一百二十四、經星之戊一百二十五、經星之己一百二十六、經星之庚一百二十七、經星之辛一百二十八、經星之壬一百二十九、經星之癸一百三十、經星之甲一百三十一、經星之乙一百三十二、經星之丙一百三十三、經星之丁一百三十四、經星之戊一百三十五。

"The fifth meeting of the month in the cycle of the five moons" refers to the fifth meeting of the Chen (Earthly Branch) in the Jia (Heavenly Stem) cycle, encompassing the 121st to 150th cycles. This section first lists the 15 cycles following Jia 121, with the heavenly stems continuing in the order of Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui, repeating cyclically. The Chen meeting begins in the fourth year 43,201 of the first cycle, with the 121st cycle spanning from year 43,201 to 43,560, and the 135th cycle from year 48,241 to 48,600. These 15 cycles span a total of 5,400 years, ending in year 48,600. Later scholars who followed the tradition of Zhao (Shao) associated the twelve message hexagrams with the twelve meetings. The Chen meeting corresponds to the hexagram "Gua," which signifies the time when yang is nearly at its peak.

經星之己一百三十六、經星之庚一百三十七、經星之辛一百三十八、經星之壬一百三十九、經星之癸一百四十、經星之甲一百四十一、經星之乙一百四十二、經星之丙一百四十三、經星之丁一百四十四、經星之戊一百四十五、經星之己一百四十六、經星之庚一百四十七、經星之辛一百四十八、經星之壬一百四十九、經星之癸一百五十。

From the 136th cycle "Ji" to the 150th cycle "Gui", these fifteen cycles constitute the latter half of the Chen hội. In this table, each section only records "the number of the celestial star", without any explanatory words, leaving it to be interpreted according to the events of each cycle: Shao Yong's "Huang Ji Jing Shi" was originally intended to use this structure to arrange the rise and fall of governance from the time of the Xia and Yao dynasties. These fifteen cycles span a total of five thousand four hundred years, corresponding to the fourth eighty-six hundred and first year to the fifth four thousand years of a great cycle; among them, the 136th cycle covers the fourth eighty-six hundred and first year to the fourth eighty-nine hundred and sixtieth year, and the 150th cycle covers the fifth three thousand six hundred and forty-first year to the fifth four thousand year. The Chen hội is thus completed here.

經星之甲一百五十一、經星之乙一百五十二、經星之丙一百五十三、經星之丁一百五十四、經星之戊一百五十五、經星之己一百五十六、經星之庚一百五十七、經星之辛一百五十八、經星之壬一百五十九、經星之癸一百六十、經星之甲一百六十一、經星之乙一百六十二。

"The 'Si' hexad of the month is the sixth hexad of Jia's cycle, governing the 151st to the 180th cycles. This section first lists the twelve cycles following Jia 151, ending at Yi 162. The 'Si' hexad begins in the fifth year forty-one of the first cycle, with the 151st cycle spanning from the fifth year forty-one to the fifth year four thousand and thirty, and the 162nd cycle from the fifth year seven thousand nine hundred and sixty-one to the fifth year eight thousand three hundred and twenty. These twelve cycles total four thousand three hundred and twenty years. Among the twelve hexads, the 'Si' hexad has the strongest yang energy. After this, when the 'Wu' hexad begins, the heavenly way begins to shift from growth to decline."

經星之丙一百六十三、經星之丁一百六十四、經星之戊一百六十五、經星之己一百六十六、經星之庚一百六十七、經星之辛一百六十八、經星之壬一百六十九、經星之癸一百七十、經星之甲一百七十一、經星之乙一百七十二、經星之丙一百七十三、經星之丁一百七十四。

Starting from the 163rd cycle "Bing" and counting sequentially to the 174th cycle "Ding", there are another twelve cycles, spanning four thousand three hundred twenty years, covering the fifth cycle of one era from five thousand eight hundred thirty-one to six thousand two hundred sixty years: the 163rd cycle governs from five thousand eight hundred thirty-one to five thousand eight hundred sixty-eight years, and the 174th cycle governs from six thousand two hundred twenty-eight to six thousand two hundred sixty years. So far, thirty cycles have been completed, and twenty-four cycles have already passed, leaving six cycles and two thousand one hundred sixty years before the next cycle, "Wu", begins.

經星之戊一百七十五。經星之己一百七十六。經星之庚一百七十七。經星之辛一百七十八。經星之壬一百七十九。

The Five Phases are the titles of the 175th to 179th cycles in the "Table of Converging Cycles and Years" from the "Yihui Jingyun." "Cycle" is a term used to refer to "Year." Shao Yong divided one "Origin" into twelve "Convergences," each Convergence into thirty "Cycles," and each Cycle into twelve "Generations," each Generation spanning thirty years. Therefore, one Cycle corresponds exactly to 360 years. The titles of the Cycles are determined by rotating the Heavenly Stems and adding a continuous sequence number. "Jingxing Wu 175" refers to the 175th Cycle, followed by Ji 176, Wu 177, Xin 178, and Ren 179. These five Cycles all belong to the sixth Convergence, known as the "Snake Convergence." Converted into the Gregorian calendar, this period corresponds to approximately 4377 BCE to 2578 BCE, a span of about 1,800 years. The table only lists the names of the Cycles, without listing Generations, years, or historical events, because according to Shao Yong's chronological system, this period falls within the era before human civilization began, when there were no historical records. The spaces are left blank for future filling in when historical materials become available.

觀物篇十四，以會經運二。經日之甲一，經月之巳六。經星之癸一百八十。經辰之子二千一百四十九：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經辰之丑二千一百五十：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑、甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

Chapter 14 of "Guānwù Piān" belongs to the second section of "Yi Huì Jīng Yùn." The first three lines serve as coordinates for this chronological table: "Jing Ri Zhi Jia Yi" refers to the first great cycle, with the cycle marked by the heavenly stem, Jia being first, hence called Jia Yi; "Jing Yue Zhi Si Liu" refers to the sixth division within this cycle, that is, the Si division; "Jing Xing Zhi Gui Bai Shiqi" refers to the 180th cycle, which is the last of the thirty cycles under the Si division. One cycle comprises twelve generations, and each generation spans thirty years, so the 180th cycle totals 360 years, corresponding to the years from 2577 BCE to 2218 BCE. Under each cycle, the twelve earthly branches divide it into twelve generations, each generation having a consecutive number in the entire text: the Zi generation is the 2149th, the Chou generation is the 2150th, continuing in order until the Hai generation, which is the 2160th. The 2149th generation begins with the Jiazi year, proceeding through thirty years with one year per stem, ending with the Guisi year, covering the years from 2577 BCE to 2548 BCE; the 2150th generation begins with the Jiawu year, proceeding through thirty years ending with the Guihai year, covering the years from 2547 BCE to 2518 BCE. These two generations only list the stem and branch years, with no additional characters beneath each year, indicating that Shao Yong believed there were no verifiable historical events at that time to include.

經辰之寅二千一百五十一：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經辰之卯二千一百五十二：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑、甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經辰之辰二千一百五十三：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The third, fourth, and fifth generations under the 180th cycle follow. The Yin generation is the 2151st, spanning from the Jiazi year to the Guisi year, corresponding to the period from 2517 to 2488 BC; the Mao generation is the 2152nd, spanning from the Jiawu year to the Guihai year, corresponding to the period from 2487 to 2458 BC; the Chen generation is the 2153rd, spanning from the Jiazi year to the Guisi year, corresponding to the period from 2457 to 2428 BC. Since one generation is exactly thirty years, which is half of the sixty-year Jiazi cycle, the starting heavenly stem and earthly branch of each generation alternate between Jiazi and Jiawu: odd-numbered generations begin with Jiazi and end with Guisi, while even-numbered generations begin with Jiawu and end with Guihai. The transition between two generations completes a full sixty-year Jiazi cycle. These three generations are also recorded only with heavenly stem and earthly branch for years, without any historical events. These three generations cover a total of ninety year positions, with more than seventy years remaining until the Jiachen year of Emperor Yao's reign. In Shao Yong's view, although Fuxi, Shen Nong, and the Yellow Emperor are mentioned in legends, their exact dates are uncertain. It is better to leave them blank rather than speculate, so the year records are arranged as usual, but the historical events are entirely missing.

經辰之巳二千一百五十四：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑、甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經辰之午二千一百五十五：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經辰之未二千一百五十六：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰，唐堯。乙巳二、丙午三、丁未四、戊申五、己酉六、庚戌七、辛亥八、壬子九、癸丑十、甲寅十一、乙卯十二、丙辰十三、丁巳十四、戊午十五、己未十六、庚申十七、辛酉十八、壬戌十九、癸亥二十。

These three generations belong to the sixtieth, seventh, and eighth of the 180th cycle. The fourth generation is the 2154th, spanning from Jiawu to Guihai, corresponding to the years 2427 to 2398 BC; the fifth generation is the 2155th, spanning from Jiazi to Guisi, corresponding to the years 2397 to 2368 BC; the sixth generation is the 2156th, spanning from Jiawu to Guihai, corresponding to the years 2367 to 2338 BC. The first two generations still have empty entries for the heavenly stems and earthly branches. It was not until the eleventh year of the sixth generation, Jiachen, that the first occurrence of the title "Tang Yao" appeared in the table. This Jiachen year is the year established by Shao Yong as the first year of Yao's reign, i.e., 2357 BC, which also marks the true beginning of the entire chronological history in the book "Huang Ji Jing Shi." From this year onward, the years under the heavenly stems and earthly branches began to be annotated with the number of years the ruler reigned: Yisi is the second year of Yao, Bingwu is the third year, and so on, continuing up to the final year of this generation, Guihai, which is the twentieth year of Yao, corresponding to 2338 BC. After this, whenever a new emperor succeeded, the new ruler's name would be noted beside the heavenly stem and earthly branch, and the count would restart from "one." It can also be seen that the first ten entries in the sixth generation, from Jiawu to Guimao, remained empty, indicating the ten years Shao Yong left for the period before Yao's reign. From Jiachen onward, the entire book transitioned from empty chronological entries to a real historical chronology with names and events.

經辰之申二千一百五十七：甲子二十一、乙丑二十二、丙寅二十三、丁卯二十四、戊辰二十五、己巳二十六、庚午二十七、辛未二十八、壬申二十九、癸酉三十、甲戌三十一、乙亥三十二、丙子三十三、丁丑三十四、戊寅三十五、己卯三十六、庚辰三十七、辛巳三十八、壬午三十九、癸未四十、甲申四十一、乙酉四十二、丙戌四十三、丁亥四十四、戊子四十五、己丑四十六、庚寅四十七、辛卯四十八、壬辰四十九、癸巳五十。

The Shengshi period is the ninth generation of the 180th cycle, and the total number of generations in the entire book is 2157. It spans from the Jiazi year to the Guisi year, corresponding to the years from 2337 BC to 2308 BC. These thirty years fall entirely within the reign of Yao. The starting Jiazi year is the 21st year of Yao's reign, and each subsequent year follows in order, ending with the Guisi year, which is the 50th year of Yao's reign. This period does not record any historical events, but instead fills each grid with the number of years in office. This clearly shows the style of Shao Yong's table-making— even when there are no events to record, the years must not be left blank, because the number of grids for each generation and year is fixed by the numerical system of the yuan, hui, yun, and shi, and must be connected from beginning to end without any missing year. Converted into the Gregorian calendar, the starting Jiazi year corresponds to 2337 BC, and the ending Guisi year corresponds to 2308 BC. The accounts in the Book of Documents, the Yao Dian chapter, regarding Yao's command to Xi He to manage the four seasons, to determine the four seasons by the stars in the middle of the two halves of the year, and to set the length of a year at 366 days with an intercalary month to regulate the four seasons, mostly took place within the fifty years before Yao's reign. However, this table does not record these events, and only leaves the years in place.

經辰之酉二千一百五十八：甲午五十一、乙未五十二、丙申五十三、丁酉五十四、戊戌五十五、己亥五十六、庚子五十七、辛丑五十八、壬寅五十九、癸卯六十、甲辰六十一，洪水方割，命鯀治之。乙巳六十二、丙午六十三、丁未六十四、戊申六十五、己酉六十六、庚戌六十七、辛亥六十八、壬子六十九、癸丑七十，徵舜登庸。甲寅七十一、乙卯七十二，薦舜於天命之位。丙辰一，虞舜。正月上日，舜受命於文祖。丁巳二、戊午三、己未四、庚申五、辛酉六、壬戌七、癸亥八。

The era of You is the 2158th generation, spanning from Jiawu to Guihai, corresponding to the years from 2307 to 2278 BCE, which is the critical first generation of the transition from the Xia to the Shang dynasty. Jiawu was the 51st year of Yao. In the year Jiachen, which was the 61st year of Yao, 2297 BCE, the first historical event recorded is "the flood was still cutting through the land," taken from the "Book of Documents: Yao's Classic," stating that the great floods were causing widespread harm, and Yao thus ordered Gun to manage the waters. Guichou was the 70th year of Yao, 2288 BCE, when Yao issued an edict to seek out virtuous talents and summoned Yu Shun to take office. Yimao was the 72nd year of Yao, 2286 BCE, when Yao officially recommended Shun to Heaven, allowing him to act as regent in place of the Son of Heaven. The following year, Bingchen, the title of the ruler was changed to "Yu Shun," and the count of years began anew, with this year being 2285 BCE; the phrase "on the first day of the first lunar month, Shun received his mandate at the Temple of the Ancestral Rites" is also taken from the "Book of Documents: Shun's Classic," stating that on the first day of the first month, Shun received his mandate at the temple of Yao's ancestors. Afterwards, Dingsi was the second year of Shun, and in sequence, Guihai was the eighth year of Shun. The two reigns of Yao and Shun met at the entry of Bingchen, with Yao still alive and Shun having already begun a new era, indicating that Shao Yong established a new era based on the year Shun was entrusted with the mandate.

經辰之戌二千一百五十九：甲子九、乙丑十、丙寅十一、丁卯十二、戊辰十三、己巳十四、庚午十五、辛未十六、壬申十七、癸酉十八、甲戌十九、乙亥二十、丙子二十一、丁丑二十二、戊寅二十三、己卯二十四、庚辰二十五、辛巳二十六、壬午二十七、癸未二十八，帝堯殂落。甲申二十九、乙酉三十、丙戌三十一，月正元日，舜格於文祖。丁亥三十二、戊子三十三、己丑三十四、庚寅三十五、辛卯三十六、壬辰三十七、癸巳三十八。

The Xū shì is the two thousand one hundred and fifty-ninth generation, spanning from Jiazi to Guisi, corresponding to the years from 2277 to 2248 BC, all falling within the Yu Shun era. The starting Jiazi is the ninth year of Shun. Guiwei corresponds to the twenty-eighth year of Shun, which is 2258 BC, marked with the note "the death of the Emperor Yao," taken from the Shangshu·Shun Dian, which states, "Twenty-eight years later, the Emperor died," referring to the death of Emperor Yao in the twenty-eighth year of Shun's regency. After the three-year mourning period, we reach Bingxu, which is the thirty-first year of Shun, 2255 BC, noted as "the first day of the first month, Shun went to the temple of his ancestor," also from the Shun Dian, indicating that on the first day of the first month Shun went to the temple of his ancestor to offer sacrifices, marking his transition from regent to emperor. Following this, Dinghai is the thirty-second year of Shun, continuing up to Guisi, the thirty-eighth year of Shun. This generation places the two major events of Emperor Yao's death and Shun's ascension to the throne within the stem-branch calendar, exactly as Shao Yong intended people to observe: historical events are not merely scattered and listed, but are placed in the predetermined positions of the yuan, hui, yun, and shi calculations.

經辰之亥二千一百六十：甲午三十九、乙未四十、丙申四十一、丁酉四十二、戊戌四十三、己亥四十四、庚子四十五、辛丑四十六、壬寅四十七、癸卯四十八、甲辰四十九、乙巳五十、丙午五十一、丁未五十二、戊申五十三、己酉五十四、庚戌五十五、辛亥五十六、壬子五十七、癸丑五十八、甲寅五十九、乙卯六十、丙辰六十一，薦禹於天命之位。丁巳，夏禹。正月朔旦，受命於神宗。戊午二、己未三、庚申四、辛酉五、壬戌六、癸亥七。

The Hài world era is the two thousand one hundred and sixtieth era, also the last era of the one hundred and eightieth cycle. From Jiawu to Guihai, it spans from 2247 to 2218 BCE. The beginning Jiawu corresponds to the thirty-ninth year of Shun. Bingchen is the sixty-first year of Shun, which is 2225 BCE, noted as "recommending Yu to the heavenly mandate position," meaning Shun imitated the way Yao treated him and recommended Yu to Heaven so that Yu could take over. The following year, Dingsi, is marked as "the first year of Xia Yu," which is 2224 BCE; "on the first day of the first lunar month, receiving the mandate from the divine ancestor" is a direct quote from the Book of Documents, the Great Yu Oath, referring to Yu receiving the mandate in Shun's ancestral temple on the first day of the first lunar month. The following Wuwu is the second year of Yu, continuing in order until Guihai, which is the seventh year of Yu, completing the one hundred and eightieth cycle of three hundred and sixty years. Once this cycle is completed, the thirty cycles of the Si cycle will also end, and the next section will transition to the first cycle of the Wu cycle.

觀物篇十五，以會經運三。經日之甲一，經月之午七。經星之甲一百八十一。經辰之子二千一百六十一：甲子八、乙丑九、丙寅十、丁卯十一、戊辰十二、己巳十三、庚午十四、辛未十五、壬申十六、癸酉十七，舜陟方乃死。甲戌十八、乙亥十九、丙子二十、丁丑二十一、戊寅二十二、己卯二十三、庚辰二十四、辛巳二十五、壬午二十六、癸未二十七，東巡至於會稽崩。甲申，夏啟。乙酉二、丙戌三、丁亥四、戊子五、己丑六、庚寅七、辛卯八、壬辰九、癸巳，夏太康。

The fifteenth chapter of "Observing Things" is the third chapter on "coinciding with the great cycles." The coordinate system remains the first element, but the cycle has advanced from the巳 cycle to the seventh cycle of the "month" called 午, which is the 午 cycle; "the hundred eighty-first cycle of the stars" refers to the hundred eighty-first great cycle, which is the first cycle of the thirty cycles of the 午 cycle, covering twelve generations numbered from 2161 to 2172, totaling 360 years, corresponding to the period from 2217 BC to 1858 BC. The first generation, 子 generation, numbered 2161, spans from Jiazi to Guisi, corresponding to the years from 2217 BC to 2188 BC, beginning with the Jiazi year, which is the eighth year of the Xia Yu. Guiyou corresponds to the seventeenth year of Yu, 2208 BC, with a note stating "Shun went on a southern tour and died," using the original words from the "Book of Documents · Shun Classic," which says that the Yu Shun died during his southern tour. Guiwei corresponds to the tenth year after Guiyou, which is the twenty-seventh year of Yu, 2198 BC, when Yu toured the eastern regions and died at Mount Huiji. The following year, Jiashen is reclassified as the first year of Xia Qi, which is 2197 BC, when Yu's son Qi succeeded to the throne, thus beginning the hereditary system. Yiyou is the second year of Qi, continuing up to Renchen, which is the ninth year of Qi. At the end of the generation, Guisi is reclassified as the first year of Xia Taikang, which is 2188 BC.

經辰之丑二千一百六十二：甲午二、乙未三、丙申四、丁酉五、戊戌六、己亥七、庚子八、辛丑九、壬寅十、癸卯十一、甲辰十二、乙巳十三、丙午十四、丁未十五、戊申十六、己酉十七、庚戌十八、辛亥十九、壬子二十、癸丑二十一、甲寅二十二、乙卯二十三、丙辰二十四、丁巳二十五、戊午二十六、己未二十七、庚申二十八、辛酉二十九，太康失邦，有窮后羿拒於河而死。壬戌，夏仲康。癸亥二。

The second thousand and sixtieth generation began in the year Jiawu, which corresponds to the second year of Xiang of the Xia dynasty, dating from 2187 BCE to 2158 BCE. The first year Jiawu was the second year of Taikang of the Xia dynasty. The year Xinyou was the twenty-ninth year of Taikang, which was 2160 BCE, marking a significant event: Taikang lost the state, and the leader of the Youqiong clan, Houyi, blocked him at the Yellow River and prevented him from returning, leading to Taikang's death outside the country. This is recorded in the "Zuo Zhuan" and "Shiji" as "Taikang losing the state." Soon after the founding of the Xia dynasty, the power was taken over by the eastern Yi clan, the Youqiong. The following year, Renxu, was renamed "Zhongkang" and marked the first year of Zhongkang, which was 2159 BCE, when Houyi installed Taikang's brother Zhongkang as a puppet king. The year Guihai was the second year of Zhongkang, marking the end of this generation. Houyi took over the Xia dynasty, and the Mandate of Heaven for the Xia dynasty was thus suspended for forty years.

經辰之寅二千一百六十三：甲子三、乙丑四、丙寅五、丁卯六、戊辰七、己巳八、庚午九、辛未十、壬申十一、癸酉十二、甲戌十三、乙亥，夏相。丙子二、丁丑三、戊寅四、己卯五、庚辰六、辛巳七、壬午八、癸未九、甲申十、乙酉十一、丙戌十二、丁亥十三、戊子十四、己丑十五、庚寅十六、辛卯十七、壬辰十八、癸巳十九。

The Yin era corresponds to the 2163rd generation, spanning from Jiazi to Guisi, which covers the period from 2157 to 2128 BC. The initial Jiazi year was the third year of Xia Zhongkang. The Jiaxu year was the thirteenth year of Zhongkang, which was 2147 BC, marking the end of Zhongkang's reign. The following year, Yihai, was renamed as the first year of Xiang, i.e., 2146 BC, when Zhongkang's son Xiang succeeded to the throne. In reality, Xiang remained a refugee among his fellow clansmen, the Zhengguan and Zhengxun. The subsequent years, Bingzi to Guisi, correspond to the second to nineteenth years of Xiang's reign. This era does not record other historical events, but merely continues the sequence of years after the Xia dynasty lost its power.

經辰之卯二千一百六十四：甲午二十、乙未二十一、丙申二十二、丁酉二十三、戊戌二十四、己亥二十五、庚子二十六、辛丑二十七、壬寅二十八，寒浞殺有窮后羿，代立。使子澆及豷伐斟灌、斟鄩氏，滅相，封澆於過，封豷於戈。相之臣靡逃於有鬲氏，相之後緡還於有仍氏。始生少康。癸卯，夏少康始生。甲辰二、乙巳三、丙午四、丁未五、戊申六、己酉七、庚戌八、辛亥九、壬子十、癸丑十一、甲寅十二、乙卯十三、丙辰十四、丁巳十五、戊午十六、己未十七、庚申十八、辛酉十九、壬戌二十、癸亥二十一。

The second thousand and sixty-fourth generation began with Jiawu, spanning from Jiawu to Guihai, corresponding to the years from 2127 to 2098 BCE. The initial Jiawu was the twentieth year of the reign of King Xiang of the Xia dynasty. The year Renyin was the twenty-eighth year of King Xiang's reign, which was 2119 BCE, marking the beginning of a significant historical event recorded in the Zuo Zhuan, chapters Xianggong 4 and Aigong 1. Hanyu, a minister of Houyi, killed the Xia king Yu of the Qiu clan and took the throne himself. He sent his sons Jiao and Yi to attack the two Xia states of Zhen Guan and Zhen Xun, killing King Xiang. Jiao was given the territory of Guo, and Yi was given the territory of Ge. Xiang's old minister Mi fled to Youge to avoid persecution, while Xiang's wife Hounian returned to her maternal home at Youling and gave birth to a son, who was later known as Xiaokang. The next year, Guimao is noted as "Xiaokang was born," which was 2118 BCE. The following years do not refer to the years of Xiaokang's reign, but rather his age. Jiachen corresponds to two years old, and the years are counted sequentially until Guihai, which corresponds to twenty-one years old. At this time, the Xia dynasty had no reigning king. Shao Yong used Xiaokang's age to represent the year, showing that he preferred to associate a single person with a year rather than allow the chronological sequence to be broken.

經辰之辰二千一百六十五：甲子二十二、乙丑二十三、丙寅二十四、丁卯二十五、戊辰二十六、己巳二十七、庚午二十八、辛未二十九、壬申三十、癸酉三十一、甲戌三十二、乙亥三十三、丙子三十四、丁丑三十五、戊寅三十六、己卯三十七、庚辰三十八、辛巳三十九、壬午，夏少康立。夏之臣靡自鬲收斟灌、斟鄩之燼以滅浞，而立少康。少康既立，遂滅澆於過，滅豷於戈，以絕有窮氏之族。癸未二、甲申三、乙酉四、丙戌五、丁亥六、戊子七、己丑八、庚寅九、辛卯十、壬辰十一、癸巳十二。

The Chén dynasty was the 2165th dynasty, spanning from Jiazi to Guisi, corresponding to the years from 2097 to 2068 BC. The initial Jiazi year was when Xia's Shao Kang was 22 years old. The Renwu year was 2079 BC, noted as "Shao Kang was established as king," marking the beginning of the restoration of the Xia dynasty. The old minister Mi, from Youge氏, gathered the remaining descendants of Zhen Guan and Zhen Xun, raised an army to eliminate Han Zhuo, and established Shao Kang as the king of Xia. After Shao Kang's ascension, he subsequently defeated Jiao in Guo and Hu Yi in Ge, completely eliminating the Youqiong clan. This is known in history as the "Shao Kang Revival," which restored the Xia dynasty four decades after its loss. Starting from the Renwu year, the count of years changed from Shao Kang's age to his years on the throne. Guwei was the second year of Shao Kang's reign, and in sequence, Guisi was the twelfth year. From 2160 BC when Tai Kang lost the kingdom to 2079 BC when Shao Kang regained the throne, there were 81 years during which the Xia ancestral temple and state were not in the hands of the Xia royal family. Throughout this period, the chronology always recorded Zhong Kang and Xiang's years on the throne along with Shao Kang's age, clearly showing that Shao Yong's chronology only recognized the legitimate Xia dynasty and refused to include the usurpers in the official calendar.

經辰之巳二千一百六十六：甲午十三、乙未十四、丙申十五、丁酉十六、戊戌十七、己亥十八、庚子十九、辛丑二十、壬寅二十一、癸卯二十二、甲辰，夏杼。乙巳二、丙午三、丁未四、戊申五、己酉六、庚戌七、辛亥八、壬子九、癸丑十、甲寅十一、乙卯十二、丙辰十三、丁巳十四、戊午十五、己未十六、庚申十七、辛酉，夏槐。壬戌二、癸亥三。

The fourth world began in the 2166th generation, from Jiawu to Guihai, spanning from 2067 BC to 2038 BC. The initial Jiawu was the 13th year of Xia Xiaokang. Gui Mao was the 22nd year of Xia Xiaokang, when he died. The next year, Jiachen was changed to "Xia Zhu," marking the first year of Zhu's reign, which was 2057 BC. Zhu reigned for seventeen years, ending with Gengshen. In the following year, Xinyou was changed to "Xia Huai," marking the first year of Huai's reign, which was 2040 BC. Renxu was the second year of Huai, and Guihai was the third year. During this world, two successive Xia kings were recorded only by their titles and years, without any details of their deeds. Zhu, also known as Yu, is said to have invented armor and spears, and he led military campaigns as far as the East Sea, making him the most active ruler of the Xia dynasty after Xiaokang.

經辰之午二千一百六十七：甲子四、乙丑五、丙寅六、丁卯七、戊辰八、己巳九、庚午十、辛未十一、壬申十二、癸酉十三、甲戌十四、乙亥十五、丙子十六、丁丑十七、戊寅十八、己卯十九、庚辰二十、辛巳二十一、壬午二十二、癸未二十三、甲申二十四、乙酉二十五、丙戌二十六、丁亥，夏芒。戊子二、己丑三、庚寅四、辛卯五、壬辰六、癸巳七。

The fifth generation is the 2167th generation, from Jiazi to Guisi, spanning from 2037 BC to 2008 BC. The initial Jiazi corresponds to the fourth year of the reign of Xia Hui. Hui reigned for 26 years, ending with Bingxu in 2015 BC. The following year, Dinghai, was renamed as the first year of the reign of Xia Mang, i.e., 2014 BC, when Mang succeeded Hui. Wuzi is the second year of Mang's reign, continuing in order until Guisi, which is the seventh year of Mang's reign. Mang is also known as Huang. The Bamboo Annals mention that he once hunted eastward to the sea and caught a large fish. During the middle period of the Xia dynasty, these generations were times of peace with no significant historical events. Shao Yong simply recorded the imperial lineage and the years, leaving the rest blank. In thirty generations, the imperial title was changed only once, and the rest were merely numbers, which read monotonously, but this was exactly the effect Shao Yong intended: the number of years did not increase or decrease according to the density of historical events.

經辰之未二千一百六十八：甲午八、乙未九、丙申十、丁酉十一、戊戌十二、己亥十三、庚子十四、辛丑十五、壬寅十六、癸卯十七、甲辰十八、乙巳，夏洩。丙午二、丁未三、戊申四、己酉五、庚戌六、辛亥七、壬子八、癸丑九、甲寅十、乙卯十一、丙辰十二、丁巳十三、戊午十四、己未十五、庚申十六、辛酉，夏不降。壬戌二、癸亥三。

The sixth dynasty is the two thousand one hundred and sixty-eighth dynasty, from Jiawu to Guihai, corresponding to the years from 2007 to 1978 BC. The beginning Jiawu is the eighth year of the reign of King Mang. Mang reigned for eighteen years, ending with Jiachen. Yisi is then recorded as the first year of the reign of King Xie, who succeeded Mang, corresponding to 1996 BC. Xie reigned for sixteen years, ending with Gengshen. Xinyou is then recorded as the first year of the reign of King Bujiang, corresponding to 1980 BC; Renxu is the second year of Bujiang's reign, and Guihai is the third year. This dynasty only changes the imperial title and continues the count of years, without recording any specific events. The "Bamboo Annals" mention that during Xie's reign, he ordered the nine夷 to pay homage, and Bujiang once led an army to attack the nine Yuans, which were events during these thirty years. However, since there are no exact years to associate with, they are not included in the table.

經辰之申二千一百六十九：甲子四、乙丑五、丙寅六、丁卯七、戊辰八、己巳九、庚午十、辛未十一、壬申十二、癸酉十三、甲戌十四、乙亥十五、丙子十六、丁丑十七、戊寅十八、己卯十九、庚辰二十、辛巳二十一、壬午二十二、癸未二十三、甲申二十四、乙酉二十五、丙戌二十六、丁亥二十七、戊子二十八、己丑二十九、庚寅三十、辛卯三十一、壬辰三十二、癸巳三十三。

The Shēn Shì is the two thousand one hundred and sixty-ninth generation, spanning from Jiazi to Guisi, corresponding to the period from 1977 B.C. to 1948 B.C., a total of thirty years within the reign of the Xia ruler Bujiang. The starting Jiazi year corresponds to the fourth year of Bujiang's reign, and the ending Guisi year corresponds to the thirty-third year of his reign. Converted into the Gregorian calendar, the starting Jiazi year is 1977 B.C., and the ending Guisi year is 1948 B.C. Bujiang reigned for a total of fifty-nine years, the longest reign in the Xia dynasty. This generation accounts for only thirty of those years. The text contains no words, and readers can only imagine the peaceful times from the length of the years. This matches Shao Yong's method of "numbers preceding events"—first calculating the year structure through the concepts of the Great Cycle, Great Period, Great Movement, and Great Generation, then filling in historical events. If there were events, they would be recorded; if not, they would be left blank.

經辰之酉二千一百七十：甲午三十四、乙未三十五、丙申三十六、丁酉三十七、戊戌三十八、己亥三十九、庚子四十、辛丑四十一、壬寅四十二、癸卯四十三、甲辰四十四、乙巳四十五、丙午四十六、丁未四十七、戊申四十八、己酉四十九、庚戌五十、辛亥五十一、壬子五十二、癸丑五十三、甲寅五十四、乙卯五十五、丙辰五十六、丁巳五十七、戊午五十八、己未五十九、庚申，夏扃。辛酉二、壬戌三、癸亥四。

The reign of the Western Xia dynasty began in the 2170th generation, starting from Jiawu to Guihai, corresponding to the years from 1947 BC to 1918 BC. The initial Jiawu year was the 34th year of Xunwang. Xunwang reigned for a total of 59 years, ending with Jiwei in 1922 BC. The following year, Gengshen, marked the beginning of the reign of Xiong, known as Xiong's first year, which was 1921 BC, when Xunwang passed the throne to his younger brother Xiong. Xinyou was Xiong's second year, Renxu was the third, and Guihai was the fourth. The Xia dynasty's imperial succession changed from father to son to brother to brother for the first time. Shao Yong recorded the sequence according to the order in the "Records of the Grand Historian: Xia Dynasty," only noting the names without making any commentary. Converted to the Gregorian calendar, the initial Jiawu year corresponds to 1947 BC, the year Gengshen when Xunwang passed the throne to his younger brother corresponds to 1921 BC, and the final Guihai year corresponds to 1918 BC. Xunwang, having reigned for a long time, later abdicated in favor of his younger brother and did not pass the throne to his son. Both the "Records of the Grand Historian" and the "Bamboo Annals" record this, making it a unique case in the succession of the Xia dynasty's throne.

經辰之戌二千一百七十一：甲子五、乙丑六、丙寅七、丁卯八、戊辰九、己巳十、庚午十一、辛未十二、壬申十三、癸酉十四、甲戌十五、乙亥十六、丙子十七、丁丑十八、戊寅十九、己卯二十、庚辰二十一、辛巳，夏廑。壬午二、癸未三、甲申四、乙酉五、丙戌六、丁亥七、戊子八、己丑九、庚寅十、辛卯十一、壬辰十二、癸巳十三。

The 2171st generation begins with Jiazi and ends with Guisi, spanning from 1917 BC to 1888 BC. The initial Jiazi year corresponds to the fifth year of Xia Xiang. Xiang reigned for twenty-one years, ending with Gengchen. The year Xinsi is recorded as the first year of Xia Jin, which began in 1900 BC, when Xiang's son Jin succeeded to the throne. Renwu is the second year of Jin, and continuing in order, Guisi is the thirteenth year. Jin is also written as Yunjia, and in the Records of the Grand Historian, he is listed before Kongjia. This generation still lacks historical records. The Bamboo Annals mention that during Jin's reign, ten suns appeared together, and it also states that his capital was located in Xihé. From Kongjia onwards, although the Xia dynasty did not undergo major changes, its strength was gradually declining. The empty year arrangement of this generation reflects that period of quiet decline.

經辰之亥二千一百七十二：甲午十四、乙未十五、丙申十六、丁酉十七、戊戌十八、己亥十九、庚子二十、辛丑二十一、壬寅，夏孔甲。癸卯二、甲辰三、乙巳四、丙午五、丁未六、戊申七、己酉八、庚戌九、辛亥十、壬子十一、癸丑十二、甲寅十三、乙卯十四、丙辰十五、丁巳十六、戊午十七、己未十八、庚申十九、辛酉二十、壬戌二十一、癸亥二十二。

The Hài world is the two thousand one hundred seventy-second world, also the last world of the one hundred eighty-first cycle, spanning from Jiawu to Guihai, corresponding to the period from 1887 to 1858 BC. The initial Jiawu is the fourteenth year of Xia Jin. Jin reigned for twenty-one years, ending with Xinchou. In the following Rennyin, it is recorded as the first year of Xia Kongjia, meaning Kongjia succeeded his father, Bing, to the throne in 1879 BC. Guimao is the second year of Kongjia, continuing in order until Guihai, which is the twenty-second year of Kongjia. The Records of the Grand Historian, Summer Annals, states that Kongjia enjoyed worshiping ghosts and spirits and indulged in licentiousness, leading to the decline of the Xia dynasty's virtue. Many feudal lords rebelled, and the decline of the Xia dynasty actually began from this time. The one hundred eighty-first cycle ends here with a total of three hundred sixty years, and the next section moves on to the one hundred eighty-second cycle.

觀物篇十六，以會經運四。經日之甲一，經月之未八。經星之乙一百八十二。經辰之子二千一百七十三：甲子二十三、乙丑二十四、丙寅二十五、丁卯二十六、戊辰二十七、己巳二十八、庚午二十九、辛未三十、壬申三十一、癸酉，夏皋。甲戌二、乙亥三、丙子四、丁丑五、戊寅六、己卯七、庚辰八、辛巳九、壬午十、癸未十一、甲申，夏發。乙酉二、丙戌三、丁亥四、戊子五、己丑六、庚寅七、辛卯八、壬辰九、癸巳十。

The sixteenth chapter of "Observing Things" is the fourth chapter of "Meeting the Cycle of the Heaven and Earth," recording the 182nd cycle, which includes the 2173rd to 2184th generations, a total of 360 years, corresponding to the period from 1857 BCE to 1498 BCE. The beginning of the chapter is written as "the eighth month of the cycle," but according to the 182nd cycle, it actually belongs to the seventh cycle's wu phase. The original text here is written as "wu eight," which is inconsistent with the "wu seven" in the previous and subsequent chapters, indicating a possible error in the printed version. The first generation, or the 2173rd generation, starts from Jiazi to Guisi, covering the period from 1857 BCE to 1828 BCE. The initial Jiazi corresponds to the 23rd year of King Kongjia of Xia. Kongjia reigned for 31 years, ending at Renshen. Guiyou is then titled as "Xia Gao," marking the first year of Gao's reign, which is 1848 BCE, when Gao, Kongjia's son, ascended the throne and reigned for 11 years. Jiashen is then titled as "Xia Fa," marking the first year of Fa's reign, which is 1837 BCE; Yiyou is the second year of Fa's reign, and so on, continuing in order until Guisi, which is the tenth year of Fa's reign.

經辰之丑二千一百七十四：甲午十一、乙未十二、丙申十三、丁酉十四、戊戌十五、己亥十六、庚子十七、辛丑十八、壬寅十九、癸卯，夏癸。甲辰二、乙巳三、丙午四、丁未五、戊申六、己酉七、庚戌八、辛亥九、壬子十、癸丑十一、甲寅十二、乙卯十三、丙辰十四、丁巳十五、戊午十六、己未十七、庚申十八、辛酉十九、壬戌二十、癸亥二十一。

The second thousand and seventieth fourth generation is the Chou generation, spanning from Jiawu to Guihai, corresponding to the period from 1827 BCE to 1798 BCE. The initial Jiawu is the eleventh year of Xia Fa. Fa reigned for nineteen years, ending with RENYIN. The year Guimao is recorded as the first year of Xia Gui, i.e., 1818 BCE. Xia Gui is historically known as Xia Jie, the last ruler of the Xia dynasty, named Lü Gui. Shao Yong, following the "Records of the Grand Historian: Xia Dynasty," directly uses his name instead of the title Jie, which is a neutral approach typical of annalistic writing. Subsequently, Jiachen is the second year of Jie, and the years are listed sequentially until Guihai, which is the twenty-first year of Jie. Lü Gui ascended the throne in 1818 BCE, and fifty-two years later, Shang Tang overthrew the Xia dynasty.

經辰之寅二千一百七十五：甲子二十二、乙丑二十三、丙寅二十四、丁卯二十五、戊辰二十六、己巳二十七、庚午二十八、辛未二十九、壬申三十、癸酉三十一、甲戌三十二、乙亥三十三、丙子三十四、丁丑三十五、戊寅三十六、己卯三十七、庚辰三十八、辛巳三十九、壬午四十、癸未四十一、甲申四十二、乙酉四十三、丙戌四十四、丁亥四十五、戊子四十六、己丑四十七、庚寅四十八、辛卯四十九、壬辰五十、癸巳五十一。

The Yin era corresponds to the 2,175th generation, spanning from Jiazi to Guisi, which falls entirely within the reign of King Jie of the Xia dynasty, from approximately 1797 BC to 1768 BC. The starting Jiazi year corresponds to the 22nd year of Jie's reign, and the ending Guisi year corresponds to the 51st year. Converted to the Common Era, the starting Jiazi year is 1797 BC, and the ending Guisi year is 1768 BC. King Jie is the longest-reigning tyrant recorded in this chronology. However, this generation contains no historical events; it only lists the years in order. It is said that Jie built the Qingsheng Palace and Youtai Palace, favored his concubine Mishi, and imprisoned Tang at Xiatai. Meanwhile, the power of Tang was quietly growing during these thirty years. However, since these accounts lack precise dates, Shao Yong did not record them. His purpose in compiling the chronology was first to establish the framework of years, and then to attach historical events. Since there were no events to attach in this generation, he simply continued to list the years in order.

經辰之卯二千一百七十六：甲午五十二、乙未，商湯。丙申二、丁酉三、戊戌四、己亥五、庚子六、辛丑七、壬寅八、癸卯九、甲辰十、乙巳十一、丙午十二、丁未十三、戊申，商太甲。己酉二、庚戌三、辛亥四、壬子五、癸丑六、甲寅七、乙卯八、丙辰九、丁巳十、戊午十一、己未十二、庚申十三、辛酉十四、壬戌十五、癸亥十六。

The second thousand and seventeenth generation is the卯世, spanning from Jiawu to Guihai, corresponding to the period from 1767 BC to 1738 BC, which marks the transition from the Xia to the Shang dynasty. Jiawu is the fifty-second year of King Jie of Xia, which was 1767 BC, also the last year of the Xia dynasty. The next year, Yiwei, is titled as the first year of King Tang of Shang, which was 1766 BC, when King Tang expelled King Jie and established his rule, thus beginning the Shang dynasty. King Tang reigned for thirteen years, ending with Dingwei. In the year Wushen, the title was changed to "Shang Taijia," marking the first year of Taijia, which was 1753 BC. Taijia was the eldest grandson of King Tang, and at the beginning of his reign, he did not follow King Tang's laws and was exiled by Yi Yin to the桐宫. After three years of reflection, he returned to govern. The Book of Documents contains three chapters about Taijia, but this table only records the era name without detailing the events. Jiyou is the second year of Taijia, and continuing in order, the year Guihai is the sixteenth year of Taijia.

經辰之辰二千一百七十七：甲子十七、乙丑十八、丙寅十九、丁卯二十、戊辰二十一、己巳二十二、庚午二十三、辛未二十四、壬申二十五、癸酉二十六、甲戌二十七、乙亥二十八、丙子二十九、丁丑三十、戊寅三十一、己卯三十二、庚辰三十三、辛巳，商沃丁。壬午二、癸未三、甲申四、乙酉五、丙戌六、丁亥七、戊子八、己丑九、庚寅十、辛卯十一、壬辰十二、癸巳十三。

The Chén world is the 2,177th world, spanning from Jiazi to Guisi, corresponding to the years from 1737 BC to 1708 BC. The starting Jiazi corresponds to the 17th year of King Taijia of the Shang dynasty. Taijia reigned for 33 years, ending with Gengchen. Xinsi is recorded as the first year of King Wudi of Shang, which is 1720 BC, when Wudi, the son of Taijia, succeeded the throne. It is said that I Yin died during the reign of Wudi, who buried him with the rites of a Son of Heaven. The following year Renwu is the second year of Wudi's reign, and so on, continuing in order until Guisi, which is the thirteenth year of Wudi's reign. Converted to the Common Era, the starting Jiazi corresponds to 1737 BC, the Xinsi year when Wudi began his reign corresponds to 1720 BC, and the ending Guisi corresponds to 1708 BC. I Yin served as regent for five successive kings: Chengtang, Waijing, Zhongren, Taijia, and Wudi. This period marks the final years of his governance.

經辰之巳二千一百七十八：甲午十四、乙未十五、丙申十六、丁酉十七、戊戌十八、己亥十九、庚子二十、辛丑二十一、壬寅二十二、癸卯二十三、甲辰二十四、乙巳二十五、丙午二十六、丁未二十七、戊申二十八、己酉二十九、庚戌，商太庚。辛亥二、壬子三、癸丑四、甲寅五、乙卯六、丙辰七、丁巳八、戊午九、己未十、庚申十一、辛酉十二、壬戌十三、癸亥十四。

The fourth generation is the 2178th generation, from Jiawu to Guihai, corresponding to the years from 1707 BC to 1678 BC. The starting Jiawu is the 14th year of King Wuding of the Shang dynasty. Wuding reigned for 29 years, ending at Jiyou. Gengxu is reclassified as the first year of King Taigeng, who was Wuding's younger brother, thus beginning in 1691 BC. During the early Shang dynasty, the throne was often passed between brothers, with both elder brother succession and father-son succession practiced. This passage clearly illustrates this characteristic. Xinhai is the second year of Taigeng, and continuing in order, Guihai is the 14th year of Taigeng. Converted to the common era, the starting Jiawu corresponds to 1707 BC, the beginning of Taigeng's reign in Gengxu corresponds to 1691 BC, and the ending Guihai corresponds to 1678 BC.

經辰之午二千一百七十九：甲子十五、乙丑十六、丙寅十七、丁卯十八、戊辰十九、己巳二十、庚午二十一、辛未二十二、壬申二十三、癸酉二十四、甲戌二十五、乙亥，商小甲。丙子二、丁丑三、戊寅四、己卯五、庚辰六、辛巳七、壬午八、癸未九、甲申十、乙酉十一、丙戌十二、丁亥十三、戊子十四、己丑十五、庚寅十六、辛卯十七、壬辰，商雍巳。癸巳二。

The fifth dynasty is the 2179th dynasty, spanning from Jiazi to Guisi, corresponding to the years from 1677 BC to 1648 BC. The initial Jiazi is the fifteenth year of King Tai Geng of Shang. Tai Geng reigned for twenty-five years, ending with Jiaxu. Yihai is recorded as the first year of Xiao Jia, the son of Tai Geng, who succeeded to the throne, reigning for seventeen years. Renchen is recorded as the first year of Yong Si, i.e., 1649 BC; Yong Si is the same as Yong Ji in the "Records of the Grand Historian: Annals of Yin," where the characters "Si" and "Ji" are similar and interchangeable, with the original text reading Yong Si. Guisi is the second year of Yong Ji, who reigned for twelve years in total. According to the "Records of the Grand Historian: Annals of Yin," the Shang dynasty began to decline from Yong Ji, with some feudal lords no longer coming to pay homage.

經辰之未二千一百八十：甲午三、乙未四、丙申五、丁酉六、戊戌七、己亥八、庚子九、辛丑十、壬寅十一、癸卯十二、甲辰，商太戊。乙巳二、丙午三、丁未四、戊申五、己酉六、庚戌七、辛亥八、壬子九、癸丑十、甲寅十一、乙卯十二、丙辰十三、丁巳十四、戊午十五、己未十六、庚申十七、辛酉十八、壬戌十九、癸亥二十。

The twenty-first dynasty was the second thousand and eightieth dynasty, from Jiawu to Guihai, corresponding to the years from 1647 to 1618 BC. The beginning Jiawu was the third year of the reign of Shang King Yongji. Yongji reigned for twelve years, ending at Guimao. Jiachen is then recorded as the first year of Taiwu, the reign of Taiwu, who was Yongji's younger brother. Taiwu appointed Yizhe and Wuxian as his ministers. The Book of Documents contains chapters named "Xianyi" and "Yizhe," and during Taiwu's reign, the Shang dynasty was revived, with the feudal lords returning to allegiance. Later generations honored him as the Middle Ancestral King. He reigned for seventy-five years. Following this, Yisi was the second year of Taiwu's reign, and so on, until Guihai, which was the twentieth year of Taiwu's reign. From Woding downwards, the Shang dynasty saw several generations of brothers succeeding each other on the throne, with frequent changes in royal authority. It was only during Taiwu's reign that the Shang dynasty regained stability.

經辰之申二千一百八十一：甲子二十一、乙丑二十二、丙寅二十三、丁卯二十四、戊辰二十五、己巳二十六、庚午二十七、辛未二十八、壬申二十九、癸酉三十、甲戌三十一、乙亥三十二、丙子三十三、丁丑三十四、戊寅三十五、己卯三十六、庚辰三十七、辛巳三十八、壬午三十九、癸未四十、甲申四十一、乙酉四十二、丙戌四十三、丁亥四十四、戊子四十五、己丑四十六、庚寅四十七、辛卯四十八、壬辰四十九、癸巳五十。

The Shēn Dynasty is the two thousand one hundred and eighty-first dynasty, spanning from Jiazi to Guisi, which corresponds to the years from 1617 BCE to 1588 BCE, entirely within the reign of King Taiwu of the Shang Dynasty. The first Jiazi year is the twenty-first year of Taiwu's reign, and the last Guisi year is the fiftieth year of his reign. Taiwu reigned for seventy-five years, making him the longest-reigning monarch of the Shang Dynasty. This dynasty is listed only by year and not by events, following the same method as the previous dynasty of Xia Jie. Converted to the Gregorian calendar, the first Jiazi year corresponds to 1617 BCE, and the last Guisi year corresponds to 1588 BCE. The "Records of the Grand Historian: Annals of Yin" states that during Taiwu's reign, the capital Bo had two mulberry trees growing together in the court, which grew to a large size overnight. Yi Zhi considered this an omen of ill omen, advising Taiwu to reform his governance. Later, the mulberry trees withered and died, and the Yin dynasty was revived, with the feudal lords coming to pay homage. All these events occurred within this dynasty, but they are not recorded in the table, as the old records do not provide exact years. Shao Yong preferred to leave the entry blank rather than force events without specific years into a chronological table.

經辰之酉二千一百八十二：甲午五十一、乙未五十二、丙申五十三、丁酉五十四、戊戌五十五、己亥五十六、庚子五十七、辛丑五十八、壬寅五十九、癸卯六十、甲辰六十一、乙巳六十二、丙午六十三、丁未六十四、戊申六十五、己酉六十六、庚戌六十七、辛亥六十八、壬子六十九、癸丑七十、甲寅七十一、乙卯七十二、丙辰七十三、丁巳七十四、戊午七十五、己未，商仲丁。庚申二、辛酉三、壬戌四、癸亥五。

The eighth generation is the two thousand one hundred and eighty-second generation, spanning from Jiawu to Guihai, corresponding to the years from 1587 BCE to 1558 BCE. The starting Jiawu is the fifty-first year of King Taiwu of Shang. Taiwu reigned for seventy-five years, ending at Wuwu in 1563 BCE. Jiwei is reclassified as the first year of King Zhongding, who succeeded Taiwu as his son, in 1562 BCE. Zhongding moved the capital to Ao and launched military campaigns against the Lan Yi, marking the beginning of a period of frequent capital relocations and disputes over the throne in the Shang dynasty. Gengshen is the second year of Zhongding, and continuing in order, Guihai is the fifth year of Zhongding. Converted to the common era, the starting Jiawu corresponds to 1587 BCE, the reclassification of Jiwei as the first year of Zhongding corresponds to 1562 BCE, and the ending Guihai corresponds to 1558 BCE. The seventy-five years of peace during the reign of the Middle King came to an end, and the Shang dynasty subsequently began its decline.

經辰之戌二千一百八十三：甲子六、乙丑七、丙寅八、丁卯九、戊辰十、己巳十一、庚午十二、辛未十三、壬申，商外壬。癸酉二、甲戌三、乙亥四、丙子五、丁丑六、戊寅七、己卯八、庚辰九、辛巳十、壬午十一、癸未十二、甲申十三、乙酉十四、丙戌十五、丁亥，商河亶甲。戊子二、己丑三、庚寅四、辛卯五、壬辰六、癸巳七。

The 2183rd generation is the Xuxi generation, spanning from Jiazi to Guisi, corresponding to the years 1557 BC to 1528 BC. The initial Jiazi year was the sixth year of King Zhongding of Shang. Zhongding reigned for thirteen years, ending with the Xinwei year. The Renshen year was renamed as the first year of King Wairen, the brother of Zhongding, who reigned for fifteen years. The Dinghai year was renamed as the first year of King Hedanjia, the brother of Wairen, who reigned and moved the capital to Xiang. After Zhongding, there was contention among his sons, leading to frequent disorder, and the feudal lords did not pay homage. This period is known as the "Nine Generations of Chaos," and this generation marks the beginning of the turmoil. The Wuzi year was the second year of Hedanjia, and continuing in order, the Guisi year was the seventh year.

經辰之亥二千一百八十四：甲午八、乙未九、丙申，商祖乙。丁酉二、戊戌三、己亥四、庚子五、辛丑六、壬寅七、癸卯八、甲辰九、乙巳十、丙午十一、丁未十二、戊申十三、己酉十四、庚戌十五、辛亥十六、壬子十七、癸丑十八、甲寅十九、乙卯，商祖辛。丙辰二、丁巳三、戊午四、己未五、庚申六、辛酉七、壬戌八、癸亥九。

The Hài Shì era is the two thousand one hundred eighty-fourth era, and the last era of the one hundred eighty-second cycle. From Jiawu to Guihai, this period spans from 1527 BC to 1498 BC. The first year Jiawu is the eighth year of King He Dianjia of the Shang dynasty. King He Dianjia reigned for nine years, ending with Yiwei. In Bingshen, the era is renamed as the first year of King Zu Yi, who succeeded his father He Dianjia. King Zu Yi moved the capital to Xing and appointed Wu Xian as his prime minister, reviving the Yin dynasty. He is later mentioned together with Taowu and Wudi. King Zu Yi reigned for nineteen years, ending with Jiayin. In Yimao, the era is renamed as the first year of King Zu Xin, which is 1506 BC. Bingchen is the second year of King Zu Xin, and the sequence continues up to Guihai as the ninth year of King Zu Xin. The one hundred eighty-second cycle is thus completed over a span of three hundred and sixty years.

皇極經世書卷三下。觀物篇十七，以會經運五。經日之甲一，經月之午七。經星之丙一百八十三。經辰之子二千一百八十五：甲子十、乙丑十一、丙寅十二、丁卯十三、戊辰十四、己巳十五、庚午十六、辛未，商沃甲。壬申二、癸酉三、甲戌四、乙亥五、丙子六、丁丑七、戊寅八、己卯九、庚辰十、辛巳十一、壬午十二、癸未十三、甲申十四、乙酉十五、丙戌十六、丁亥十七、戊子十八、己丑十九、庚寅二十、辛卯二十一、壬辰二十二、癸巳二十三。

This is the beginning of volume three of The Supreme Principles Governing the World. It is the seventeenth chapter, "Observing Things," the fifth chapter under the section "Converging the Heavenly Mandate and the Earthly Cycle," recording the 183rd cycle. It still belongs to the seventh division of the first great cycle, the午 division, covering the 2,185th to 2,196th generations, totaling 360 years, from 1497 to 1138 BCE. The first generation, the 2,185th, spans from Jiazi to Guisi, from 1497 to 1468 BCE. The initial Jiazi year is the tenth year of King Zuxin of Shang. Zuxin reigned for sixteen years, ending at Gengwu. Xinwei is marked as the first year of the reign of King Guo Jia, also known as King Kaima, the brother of Zuxin. Following this, Renshen is the second year of Kaima's reign, and so on, in order, until Guisi, which is the twenty-third year of Kaima's reign. Zuxin passed the throne to his brother rather than his son, which was still the common method of succession in the Shang dynasty.

經辰之丑二千一百八十六：甲午二十四、乙未二十五、丙申，商祖丁。丁酉二、戊戌三、己亥四、庚子五、辛丑六、壬寅七、癸卯八、甲辰九、乙巳十、丙午十一、丁未十二、戊申十三、己酉十四、庚戌十五、辛亥十六、壬子十七、癸丑十八、甲寅十九、乙卯二十、丙辰二十一、丁巳二十二、戊午二十三、己未二十四、庚申二十五、辛酉二十六、壬戌二十七、癸亥二十八。

The second thousand and one hundred and eight-sixth generation is the Chou generation, spanning from Jiawu to Guihai, corresponding to the years from 1467 to 1438 BCE. The initial Jiawu year is the twenty-fourth year of the reign of Wang Jia of the Shang dynasty. Wang Jia reigned for twenty-five years, ending with the Yiwei year. The Bingshen year is recorded as the first year of the reign of Zu Ding, the son of Zu Xin, making it 1465 BCE. From the middle of Ding during the reign of Ding, the Shang dynasty experienced a period of succession struggles between the sons of brothers, and Zu Ding's ascension, following his uncle Wang Jia, exemplifies this "nine-generation chaos." The Dingyou year is the second year of Zu Ding's reign, and continuing in order, the Guihai year is the twenty-eighth year of his reign. Converted to the Gregorian calendar, the initial Jiawu year corresponds to 1467 BCE, the Bingshen year, when Zu Ding began his reign, corresponds to 1465 BCE, and the final Guihai year corresponds to 1438 BCE.

經辰之寅二千一百八十七：甲子二十九、乙丑三十、丙寅三十一、丁卯三十二、戊辰，商南庚。己巳二、庚午三、辛未四、壬申五、癸酉六、甲戌七、乙亥八、丙子九、丁丑十、戊寅十一、己卯十二、庚辰十三、辛巳十四、壬午十五、癸未十六、甲申十七、乙酉十八、丙戌十九、丁亥二十、戊子二十一、己丑二十二、庚寅二十三、辛卯二十四、壬辰二十五、癸巳，商陽甲。

The second thousand and eight十七th generation begins with Jiazi and ends with Guisi, spanning from 1437 to 1408 BCE. The initial Jiazi corresponds to the twenty-ninth year of King Zuding of the Shang dynasty. Zuding reigned for thirty-two years, ending with Dingmao. Wuchen is then recorded as the first year of King Nangeng of the Shang, which was 1433 BCE. Nangeng, son of Wuji, succeeded to the throne and moved the capital to Yan, ruling for twenty-five years. The final Guisi is recorded as the first year of King Yangjia of the Shang, which was 1408 BCE. Yangjia, son of Zuding, succeeded to the throne. The Records of the Grand Historian: The Annals of Yin states that during the reign of King Yangjia, the Yin dynasty declined. Since Zhongding, the succession was abandoned in favor of other sons, and these sons often competed for the throne, leading to chaos over nine generations. Thus, the feudal lords ceased to pay homage. Nangeng reigned for twenty-five years.

經辰之卯二千一百八十八：甲午二、乙未三、丙申四、丁酉五、戊戌六、己亥七、庚子，商盤庚。辛丑二、壬寅三、癸卯四、甲辰五、乙巳六、丙午七、丁未八、戊申九、己酉十、庚戌十一、辛亥十二、壬子十三、癸丑十四、甲寅十五、乙卯十六、丙辰十七、丁巳十八、戊午十九、己未二十、庚申二十一、辛酉二十二、壬戌二十三、癸亥二十四。

The second thousand one hundred and eighty-eighth generation is the卯世, spanning from Jiawu to Guihai, corresponding to the years 1407 to 1378 BCE. The initial Jiawu is the second year of King Yangjia of Shang. Yangjia reigned for seven years, ending with Jihai. The year Gengzi is reclassified as the first year of King Banggeng, marking the beginning of the reign of King Banggeng, who was the younger brother of Yangjia. King Banggeng moved the capital southward from Yan to Yin, curbed the grievances of the nobles, and implemented the policies of King Chengtang, thus reviving the Shang dynasty. The feudal lords came to pay homage, and the Book of Documents contains three chapters, Upper, Middle, and Lower, detailing the events of this relocation. The Shang dynasty was then referred to as Yin from this point onward. This table only lists the reign titles under the stem-branch combinations, without separately noting the year of the relocation to Yin. Xinchou is the second year of King Banggeng, and the sequence continues up to Guihai, which is the twenty-fourth year of King Banggeng's reign.

經辰之辰二千一百八十九：甲子二十五、乙丑二十六、丙寅二十七、丁卯二十八、戊辰，商小辛。己巳二、庚午三、辛未四、壬申五、癸酉六、甲戌七、乙亥八、丙子九、丁丑十、戊寅十一、己卯十二、庚辰十三、辛巳十四、壬午十五、癸未十六、甲申十七、乙酉十八、丙戌十九、丁亥二十、戊子二十一、己丑，商小乙。庚寅二、辛卯三、壬辰四、癸巳五。

The Chén dynasty was the 2189th dynasty, spanning from Jiazi to Guisi, corresponding to the years from 1377 BCE to 1348 BCE. The initial Jiazi year was during the 25th year of King Pan Geng of Shang. Pan Geng reigned for 28 years, ending with the Dingmao year. The Wuchen year was changed to "Shang Xiao Xin," marking the first year of Xiao Xin, which was 1373 BCE. Xiao Xin, the brother of Pan Geng, succeeded to the throne and reigned for 21 years; according to the Records of the Grand Historian, after Xiao Xin's ascension, the Yin dynasty once again declined, and the people missed Pan Geng. Thus, someone composed the essay "Pan Geng." The Jichou year was changed to "Shang Xiao Yi," marking the first year of Xiao Yi, which was 1352 BCE. Xiao Yi, the brother of Xiao Xin, succeeded to the throne and was the father of Wu Ding. The Gengyin year was the second year of Xiao Yi, continuing in sequence until the Guisi year, which was the fifth year.

經辰之巳二千一百九十：甲午六、乙未七、丙申八、丁酉九、戊戌十、己亥十一、庚子十二、辛丑十三、壬寅十四、癸卯十五、甲辰十六、乙巳十七、丙午十八、丁未十九、戊申二十、己酉二十一、庚戌二十二、辛亥二十三、壬子二十四、癸丑二十五、甲寅二十六、乙卯二十七、丙辰二十八、丁巳，商武丁。戊午二、己未三、庚申四、辛酉五、壬戌六、癸亥七。

The fourth era, known as the Jiawu era, corresponds to the 2190th generation, spanning from Jiawu to Guihai, which dates from 1347 BCE to 1318 BCE. The beginning of the Jiawu era was the sixth year of Xiao Yi of the Shang dynasty. Xiao Yi reigned for 28 years, ending with the Bingchen era. The Dingsi era is marked as the first year of Wu Ding, the son of Xiao Yi, who succeeded to the throne. Wu Ding initially remained silent for three years, with state affairs decided by the Grand Minister. Later, he had a dream of Fu Yue, who was working with rammed earth, and appointed him as his prime minister. Under Fu Yue's guidance, the Shang dynasty experienced great prosperity. Wu Ding also launched a three-year campaign against the Gufang people and defeated them. He reigned for 59 years and was later known as the High Ancestor. The Shang dynasty's Book of Documents contains three chapters titled "Sayings of Fu Yue" and another chapter titled "The High Ancestor's Day of Sacrifice," which recount these events. The Wuwu era corresponds to the second year of Wu Ding's reign, and continuing in order, the Guihai era is the seventh year of Wu Ding's reign.

經辰之午二千一百九十一：甲子八、乙丑九、丙寅十、丁卯十一、戊辰十二、己巳十三、庚午十四、辛未十五、壬申十六、癸酉十七、甲戌十八、乙亥十九、丙子二十、丁丑二十一、戊寅二十二、己卯二十三、庚辰二十四、辛巳二十五、壬午二十六、癸未二十七、甲申二十八、乙酉二十九、丙戌三十、丁亥三十一、戊子三十二、己丑三十三、庚寅三十四、辛卯三十五、壬辰三十六、癸巳三十七。

The fifth world era is the 2191st era, spanning from Jiazi to Guisi, corresponding to the years from 1317 BCE to 1288 BCE, all thirty years falling within the reign of King Wu Ding of the Shang dynasty. The beginning Jiazi corresponds to the eighth year of Wu Ding, and the ending Guisi corresponds to the thirty-seventh year of Wu Ding. Converted into the Common Era, the beginning Jiazi is 1317 BCE, and the ending Guisi is 1288 BCE. This was the period of greatest strength for the Shang dynasty, historically known as the "Wu Ding Revival." Events such as obtaining Fu Yue from the construction site and appointing him as prime minister, and the three-year campaign against the Gufang people which resulted in victory, as recorded in the Book of Documents, the Shuoying and the I Ching, all occurred within these thirty years. However, old historical records do not provide exact years for these events. This table does not associate any specific events, but merely fills out the number of years in the reign. This shows that Shao Yong's emphasis was not on the quantity of events, but on whether the number of years fits the structure of the yuan, hui, yun, and shi systems.

經辰之未二千一百九十二：甲午三十八、乙未三十九、丙申四十、丁酉四十一、戊戌四十二、己亥四十三、庚子四十四、辛丑四十五、壬寅四十六、癸卯四十七、甲辰四十八、乙巳四十九、丙午五十、丁未五十一、戊申五十二、己酉五十三、庚戌五十四、辛亥五十五、壬子五十六、癸丑五十七、甲寅五十八、乙卯五十九、丙辰，商祖庚。丁巳二、戊午三、己未四、庚申五、辛酉六、壬戌七、癸亥，商祖甲。

The sixth world era is the second thousand and nineteenth era, spanning from Jiawu to Guihai, corresponding to the years from 1287 to 1258 BCE. The starting point, Jiawu, is the thirty-eighth year of King Wu Ding of the Shang dynasty. Wu Ding reigned for fifty-nine years, ending with Yimao, which corresponds to 1266 BCE. Bingchen is then recorded as the first year of King Zu Geng, Wu Ding's son, who reigned for seven years. At the end of the era, Guihai is recorded as the first year of King Zu Jia, Zu Geng's younger brother, who reigned from 1258 BCE. The Book of Documents, "Wuyi," mentions Zu Jia alongside Ta Wu and Wu Ding, stating that he was once a common person who understood the hardships of farming and could protect and benefit the people. However, the Records of the Grand Historian says that King Jia was licentious and caused the Shang dynasty to decline again. These two accounts differ, so this table only lists the titles of the kings without making judgments. Zu Geng reigned for seven years in total.

經辰之申二千一百九十三：甲子二、乙丑三、丙寅四、丁卯五、戊辰六、己巳七、庚午八、辛未九、壬申十、癸酉十一、甲戌十二、乙亥十三、丙子十四、丁丑十五、戊寅十六、己卯十七、庚辰十八、辛巳十九、壬午二十、癸未二十一、甲申二十二、乙酉二十三、丙戌二十四、丁亥二十五、戊子二十六、己丑二十七、庚寅二十八、辛卯二十九、壬辰三十、癸巳三十一。

The Shēn dynasty was the two thousand one hundred and ninety-third dynasty, spanning from Jiazi to Guisi, which corresponds to the years 1257 to 1228 BCE, entirely during the reign of King Zujia of Shang. The first Jiazi year was the second year of Zujia's reign, and the last Guisi year was the thirty-first year. Converted to the Common Era, the first Jiazi year corresponds to 1257 BCE, and the last Guisi year corresponds to 1228 BCE. Zujia reigned for thirty-three years, during which many of the Shang dynasty's institutions and regulations were reformed. The Zhou people, in their later accounts of Shang kings, still listed him among the virtuous rulers who ruled for a long time. Since Pan Geng moved the capital to Yin, the Shang dynasty did not move its capital again. The three generations of Wu Ding, Zu Geng, and Zu Jia succeeded each other for over a hundred years, which was the most prosperous period of the Shang capital. However, these details are known only through later unearthed oracle bones. The old historical records from the Song dynasty only provided a list of kings and their reign years. This table contains all the information known at that time. This dynasty had no notable events, so it was recorded only by the reign year.

經辰之酉二千一百九十四：甲午三十二、乙未三十三、丙申，商廩辛。丁酉二、戊戌三、己亥四、庚子五、辛丑六、壬寅，商庚丁。癸卯二、甲辰三、乙巳四、丙午五、丁未六、戊申七、己酉八、庚戌九、辛亥十、壬子十一、癸丑十二、甲寅十三、乙卯十四、丙辰十五、丁巳十六、戊午十七、己未十八、庚申十九、辛酉二十、壬戌二十一、癸亥，商武乙。

The Youshi dynasty is the 2194th dynasty, spanning from Jiawu to Guihai, corresponding to the years from 1227 to 1198 BCE. The beginning Jiawu is the 32nd year of King Zujia of Shang. Zujia reigned for 33 years, ending with Yiwei. In Bingshen, it is changed to "Shang Linxin," marking the first year of Linxin, which is 1225 BCE, when Linxin, the son of Zujia, succeeded to the throne and reigned for six years. In Renyin, it is changed to "Shang Gengding," marking the first year of Gengding, which is 1219 BCE; Gengding, also known as Kangding in the Records of the Grand Historian, is the brother of Linxin and reigned for twenty-one years. At the end of the dynasty, Guihai is changed to "Shang Wuyi," marking the first year of Wuyi, which is 1198 BCE, when Wuyi, the son of Gengding, succeeded to the throne. Wuyi was a tyrant, and he was said to have shot at the sky, an act known as "shooting the heavens." Later, while hunting between the rivers He and Wei, he was struck by a thunderbolt and killed. The Records of the Grand Historian describe this event in detail, but it is not included in this table.

經辰之戌二千一百九十五：甲子二、乙丑三、丙寅四、丁卯，商太丁。戊辰二、己巳三、庚午，商帝乙。辛未二、壬申三、癸酉四、甲戌五、乙亥六、丙子七、丁丑八、戊寅九、己卯十、庚辰十一、辛巳十二、壬午十三、癸未十四、甲申十五、乙酉十六、丙戌十七、丁亥十八、戊子十九、己丑二十、庚寅二十一、辛卯二十二、壬辰二十三、癸巳二十四。

The 2195th generation begins with the Jiazi cycle, spanning from the year before 1197 BCE to the year before 1168 BCE. The initial Jiazi year corresponds to the second year of King Wu Yi of Shang. Wu Yi reigned for four years, ending with the Bingyin year. The Dingmao year is then recorded as the first year of King Tai Ding of Shang, who succeeded Wu Yi. Tai Ding, also known as Wen Ding in oracle bone inscriptions, reigned for three years and was killed by King Ji Li of the Zhou. The Gengwu year is then recorded as the first year of King Di Yi of Shang, who succeeded Tai Ding. He was the father of King Zhou. Xinwei is the second year of Di Yi's reign, and the years are counted sequentially until Guisi, which is the 24th year of Di Yi's reign.

經辰之亥二千一百九十六：甲午二十五、乙未二十六、丙申二十七、丁酉二十八、戊戌二十九、己亥三十、庚子三十一、辛丑三十二、壬寅三十三、癸卯三十四、甲辰三十五、乙巳三十六、丙午三十七、丁未，商受辛。戊申二、己酉三、庚戌四、辛亥五、壬子六、癸丑七、甲寅八、乙卯九、丙辰十、丁巳十一、戊午十二、己未十三、庚申十四、辛酉十五、壬戌十六、癸亥十七，錫周文王命為西伯。

The Hài world is the two thousand one hundred and ninety-sixth world, also the last world of the one hundred and eighty-third cycle, spanning from Jiawu to Guihai, corresponding to the years from 1167 to 1138 BC. The beginning Jiawu is the twenty-fifth year of King Di Yi of the Shang dynasty. King Di Yi reigned for thirty-seven years, ending with Bingwu. In Dingwei, the title changes to "Shang Shousheng," marking the first year of Shousheng, which is 1154 BC. Shousheng is King Zhou of Shang, named Shou, with the title Di Xin, the last ruler of the Shang dynasty. Shao Yong, following convention, records his name directly without using the title Zhou. The end of the world, Guihai, is the seventeenth year of Shousheng, 1138 BC, which corresponds to the historical event of the Shang king granting a mandate to King Wen of Zhou, Ji Chang, appointing him as the leader of the western feudal lords, known as Xiboshi. From this point, the Zhou dynasty gained the authority to wage war independently and to win the hearts of the people, setting the stage for the transition from the Shang to the Zhou dynasty. The one hundred and eighty-third cycle is thus completed, and the next cycle enters the era of the fall of Shang and the rise of Zhou.

觀物篇十八，以會經運六。經日之甲一，經月之午七。經星之丁一百八十四。經辰之子二千一百九十七：甲子十八、乙丑十九、丙寅二十、丁卯二十一、戊辰二十二、己巳二十三，周文王沒，武王即位。庚午二十四、辛未二十五、壬申二十六、癸酉二十七、甲戌二十八、乙亥二十九、丙子三十、丁丑三十一、戊寅三十二、己卯，周武王。庚辰二、辛巳三、壬午四、癸未五、甲申六、乙酉七、丙戌，周成王。丁亥二、戊子三、己丑四、庚寅五、辛卯六、壬辰七、癸巳八。

The eighteenth chapter of "Observing Things" is the sixth chapter of "Meeting the Heavenly Mandate," recording the 184th cycle, still belonging to the first great cycle's seventh division, the午 division. It covers the 2,197th to 2,208th generations, totaling 360 years, corresponding to the period from 1137 BCE to 778 BCE. The first generation, the 2,197th, spans from Jiazi to Guisi, from 1137 BCE to 1108 BCE. The initial Jiazi is the eighteenth year of King Xin of Shang. Jisi is the twenty-third year of King Xin, i.e., 1132 BCE, marking the time when King Wen of Zhou died and King Wu took the throne. This refers to the death of King Wen, Ji Chang, and his son Ji Fa succeeding as the ruler of Zhou, who later became King Wu. At this time, King Zhou of Shang was still in power, so the years were still counted from King Zhou. Jimao is the thirty-second year of King Xin, i.e., 1122 BCE, which is titled "King Wu of Zhou" in the table, with the years starting anew, marking the year when King Wu attacked Shang, conquered the Shang dynasty, and established the Zhou dynasty. The Shang dynasty's era ended at this point. Yiyou is the seventh year of King Wu. Bingxu is titled "King Cheng of Zhou," being the first year of King Cheng, i.e., 1115 BCE. Dinghai is the second year of King Cheng, continuing in sequence until Guisi, which is the eighth year of King Cheng.

經辰之丑二千一百九十八：甲午九、乙未十、丙申十一、丁酉十二、戊戌十三、己亥十四、庚子十五、辛丑十六、壬寅十七、癸卯十八、甲辰十九、乙巳二十、丙午二十一、丁未二十二、戊申二十三、己酉二十四、庚戌二十五、辛亥二十六、壬子二十七、癸丑二十八、甲寅二十九、乙卯三十、丙辰三十一、丁巳三十二、戊午三十三、己未三十四、庚申三十五、辛酉三十六、壬戌三十七、癸亥，周康王。

The second thousand and nineteenth generation begins with Jiawu and ends with Guihai, spanning from 1107 BCE to 1078 BCE. The first year, Jiawu, corresponds to the ninth year of King Cheng of Zhou. King Cheng's reign coincided with the time when the Duke of Zhou was acting as regent, building Luoyi, and establishing rituals and music. However, this table does not record any events, only listing thirty-seven years up to Renxu. At the end, the year Guihai is labeled as the first year of King Kang of Zhou, which is 1078 BCE, when King Cheng's son Zhao succeeded to the throne. The period of King Cheng and King Kang was a time of peace and stability, with laws and punishments not needed for over forty years, marking the height of the Zhou dynasty. Converted to the Common Era, the first year Jiawu corresponds to 1107 BCE, and the year Guihai when King Kang began his reign corresponds to 1078 BCE. The Duke of Zhou acted as regent for seven years before returning power to King Cheng. The construction of Luoyi, the creation of rituals and music, and the large-scale enfeoffment of fellow-surname feudal lords all occurred during King Cheng's reign. The texts "Zhao Gao," "Luoyi Gao," "Duoshi," and "Wuyi" in the Book of Documents record these events. However, the table does not mention them, following the old practice of not including years without precise dates.

經辰之寅二千一百九十九：甲子二、乙丑三、丙寅四、丁卯五、戊辰六、己巳七、庚午八、辛未九、壬申十、癸酉十一、甲戌十二、乙亥十三、丙子十四、丁丑十五、戊寅十六、己卯十七、庚辰十八、辛巳十九、壬午二十、癸未二十一、甲申二十二、乙酉二十三、丙戌二十四、丁亥二十五、戊子二十六、己丑，周昭王。庚寅二、辛卯三、壬辰四、癸巳五。

The Yin era is the two thousand one hundred and ninety-ninth era, spanning from Jiazi to Guisi, corresponding to the years from 1077 BC to 1048 BC. The initial Jiazi year is the second year of King Kang of Zhou. King Kang reigned for twenty-six years, ending with the Wu Zi year. The Jichou year is marked as the first year of King Zhao of Zhou, who succeeded his father, King Kang's son Xia, in 1052 BC. Records in the "Records of the Grand Historian: The Annals of Zhou" state that during King Zhao's reign, the way of the king was gradually declining. He went on a southern tour but did not return, dying on the river. The decline of the Zhou dynasty began with him. The Geng Yin year is the second year of King Zhao, and continuing in order, the Guisi year is the fifth year of King Zhao. Converted into the Common Era, the initial Jiazi year corresponds to 1077 BC, the Jichou year when King Zhao began his reign corresponds to 1052 BC, and the final Guisi year corresponds to 1048 BC.

經辰之卯二千二百：甲午六、乙未七、丙申八、丁酉九、戊戌十、己亥十一、庚子十二、辛丑十三、壬寅十四、癸卯十五、甲辰十六、乙巳十七、丙午十八、丁未十九、戊申二十、己酉二十一、庚戌二十二、辛亥二十三、壬子二十四、癸丑二十五、甲寅二十六、乙卯二十七、丙辰二十八、丁巳二十九、戊午三十、己未三十一、庚申三十二、辛酉三十三、壬戌三十四、癸亥三十五。

The second thousand and second hundred world period begins with the year of Mao and ends with Guihai, spanning from 1047 BCE to 1018 BCE, a period of thirty years entirely within the reign of King Zhao of Zhou. The first year, Jiawu, corresponds to the sixth year of King Zhao, and the last year, Guihai, corresponds to the thirty-fifth year of King Zhao. This period marks a complete number of two thousand and two hundred, making it a convenient and memorable point in the entire table. Converted to the Common Era, the first year, Jiawu, corresponds to 1047 BCE, and the last year, Guihai, corresponds to 1018 BCE. King Zhao of Zhou launched a southern campaign against Jingchu, crossed the Han River, and lost six armies; he himself perished along with the Duke of Ji in the river. The Zhou people concealed this incident and did not inform the feudal lords, so the old histories do not provide detailed dates for this event. Since there is no accurate year to associate with, the table continues with an empty entry. The transition from the flourishing era of King Cheng and King Kang to the decline under King Zhao and King Mu began precisely during this period.

經辰之辰二千二百一：甲子三十六、乙丑三十七、丙寅三十八、丁卯三十九、戊辰四十、己巳四十一、庚午四十二、辛未四十三、壬申四十四、癸酉四十五、甲戌四十六、乙亥四十七、丙子四十八、丁丑四十九、戊寅五十、己卯五十一、庚辰，周穆王。辛巳二、壬午三、癸未四、甲申五、乙酉六、丙戌七、丁亥八、戊子九、己丑十、庚寅十一、辛卯十二、壬辰十三、癸巳十四。

The Chén shì is the two thousand two hundred and first era, from Jiazi to Guisi, spanning from 1017 B.C. to 988 B.C. The starting Jiazi corresponds to the thirty-sixth year of King Zhao of the Zhou dynasty. King Zhao reigned for fifty-one years, ending with Jimao. Gengchen is then designated as the first year of King Mu of Zhou, who succeeded his father, King Zhao's son Man. King Mu campaigned west against the Qian Rong, east against Xu Yan Wang, and ordered Lü Hou to compile the "Lü Criminal Code." He reigned for fifty-five years, making him the longest-reigning monarch of the Western Zhou dynasty. Xinsi is the second year of King Mu, and the years are counted sequentially up to Guisi, which is the fourteenth year of King Mu. Converted to the Common Era, the starting Jiazi is 1017 B.C., the year Gengchen when King Mu began his reign is 1001 B.C., and the ending Guisi is 988 B.C. From this point, the chronology of the Zhou dynasty enters the tenth century B.C.

經辰之巳二千二百二：甲午十五、乙未十六、丙申十七、丁酉十八、戊戌十九、己亥二十、庚子二十一、辛丑二十二、壬寅二十三、癸卯二十四、甲辰二十五、乙巳二十六、丙午二十七、丁未二十八、戊申二十九、己酉三十、庚戌三十一、辛亥三十二、壬子三十三、癸丑三十四、甲寅三十五、乙卯三十六、丙辰三十七、丁巳三十八、戊午三十九、己未四十、庚申四十一、辛酉四十二、壬戌四十三、癸亥四十四。

The fourth generation is the two thousand and twenty-second, from Jiawu to Guihai, spanning the years from 987 to 958 BCE, thirty years all falling within the reign of King Mu of Zhou. The beginning Jiawu corresponds to the fifteenth year of King Mu, and the end Guihai corresponds to the forty-fourth year. During these thirty years, King Mu ordered Zhao Fu to drive the chariot on a western tour to Kunlun, and also launched an eastern campaign against the Xu戎, and ordered Lü Hou to compose the "Lü Criminal Code" to elaborate on the laws, all of which occurred within this period. The "Record of the Travels of King Mu of Zhou" records many of his journeys across the land, often mixed with supernatural elements, making the dates uncertain. Shao Yong preferred to leave the entire generation blank rather than include these legendary accounts in the year sequence. This is also the general approach used in the entire table for handling historical records of the Three Dynasties: preferring a rough but accurate account over a false one, and preferring to leave gaps rather than fabricate. If there is an event without a year, even if the event is well known, it is not recorded; if there is a year without an event, even if the entry is empty, it is not deleted. Thus, the prosperity and decline of the Western Zhou Dynasty during this period are compressed into thirty consecutive heavenly stems and earthly branches.

經辰之午二千二百三：甲子四十五、乙丑四十六、丙寅四十七、丁卯四十八、戊辰四十九、己巳五十、庚午五十一、辛未五十二、壬申五十三、癸酉五十四、甲戌五十五、乙亥，周恭王。丙子二、丁丑三、戊寅四、己卯五、庚辰六、辛巳七、壬午八、癸未九、甲申十、乙酉十一、丙戌十二、丁亥，周懿王。戊子二、己丑三、庚寅四、辛卯五、壬辰六、癸巳七。

The fifth era is the two thousand and twenty-third era, from Jiazi to Guisi, spanning from 957 BC to 928 BC. The starting Jiazi is the forty-fifth year of King Mu of Zhou. King Mu reigned for fifty-five years, ending with Jiaxu. Yihai is changed to the first year of King Gong of Zhou, which is 946 BC, when King Mu's son Yi Hu succeeded to the throne and reigned for twelve years. Dinghai is changed to the first year of King Yi of Zhou, which is 934 BC, when King Gong's son Jian succeeded to the throne. The Records of the Grand Historian say that during King Yi's reign, the royal house began to decline, and poets started to compose satirical poems. The signs of the decline of the Western Zhou dynasty from prosperity to decline became evident at this time. Wuzi is the second year of King Yi, and continuing in order, Guisi is the seventh year of King Yi.

經辰之未二千二百四：甲午八、乙未九、丙申十、丁酉十一、戊戌十二、己亥十三、庚子十四、辛丑十五、壬寅十六、癸卯十七、甲辰十八、乙巳十九、丙午二十、丁未二十一、戊申二十二、己酉二十三、庚戌二十四、辛亥二十五、壬子，周孝王。癸丑二、甲寅三、乙卯四、丙辰五、丁巳六、戊午七、己未八、庚申九、辛酉十、壬戌十一、癸亥十二。

The twelfth thousand and fourth generation began in Jiawu and ended in Guihai, spanning from 927 BC to 898 BC. The first year, Jiawu, corresponds to the eighth year of King Yi of the Zhou dynasty. King Yi reigned for twenty-five years, ending in Xinhai. The next year, Renzi, is marked as the first year of King Xiao of the Zhou dynasty, which was 909 BC, when King Yi's uncle, Bi Fang, succeeded to the throne. King Xiao appointed Feizi to raise horses between the Qian and Wei rivers. The horses multiplied greatly, and Feizi was granted the territory of Qin, becoming a vassal state, thus marking the origin of the state of Qin. The year Guichou is the second year of King Xiao's reign, and continuing in order, Guihai is the twelfth year. Converted to the Common Era, the first year Jiawu corresponds to 927 BC, the year Renzi when King Xiao began his reign corresponds to 909 BC, and the final year Guihai corresponds to 898 BC.

經辰之申二千二百五：甲子十三、乙丑十四、丙寅十五、丁卯，周夷王。戊辰二、己巳三、庚午四、辛未五、壬申六、癸酉七、甲戌八、乙亥九、丙子十、丁丑十一、戊寅十二、己卯十三、庚辰十四、辛巳十五、壬午十六、癸未，周厲王。甲申二、乙酉三、丙戌四、丁亥五、戊子六、己丑七、庚寅八、辛卯九、壬辰十、癸巳十一。

The Shēn dynasty is the 2205th dynasty, spanning from Jiazi to Guisi, corresponding to the years 897 to 868 BC. The initial Jiazi year was the 13th year of King Xiaowang of the Zhou dynasty. King Xiaowang reigned for 15 years, ending with Bingyin. In Dingmao, the title was changed to "King Yiwang of Zhou," marking the first year of Yiwang's reign, which was 894 BC, when Xie, the son of King Yi, succeeded to the throne. King Yiwang once descended from his hall to meet the feudal lords, signaling the decline of the Son of Heaven's rituals. He also boiled the Duke of Qi, Ai Gong, in a cauldron. In Guisi, the title was changed again to "King Lìwang of Zhou," marking the first year of Lìwang's reign, which was 878 BC, when Hu, the son of King Yi, ascended the throne. King Lìwang was tyrannical and greedy for profit, appointing Rong Yigong to monopolize resources and employing Wei Wu to monitor slander. The people could only look at each other in the streets, eventually leading to the uprising of the common people. Jiashen marks the second year of Lìwang's reign, and continuing in order, Guisi is the eleventh year of Lìwang's reign.

經辰之酉二千二百六：甲午十二、乙未十三、丙申十四、丁酉十五、戊戌十六、己亥十七、庚子十八、辛丑十九、壬寅二十、癸卯二十一、甲辰二十二、乙巳二十三、丙午二十四、丁未二十五、戊申二十六、己酉二十七、庚戌二十八、辛亥二十九、壬子三十、癸丑三十一、甲寅三十二、乙卯三十三、丙辰三十四、丁巳三十五、戊午三十六、己未三十七、庚申三十八、辛酉三十九、壬戌四十、癸亥四十一。

The year酉世 is the two thousand and twenty-sixth year, from Jiawu to Guihai, spanning from 867 to 838 BCE, a period entirely within the reign of King Li of Zhou: the beginning Jiawu corresponds to the twelfth year of King Li, and the end Guihai corresponds to the forty-first year. In between, in 841 BCE, the people rose up and expelled King Li, who fled to Zhì. Zhou and Zhao jointly ruled, an era known as the "Reign of the Republic." This is when China's accurate chronological record began. However, this table does not establish a separate entry for the Republic, and instead continues to count these years within the reign of King Li. This shows that Shao Yong's chronology only recognizes the sovereign and not the regent. Converted to the Common Era, the beginning Jiawu corresponds to 867 BCE, and the end Guihai corresponds to 838 BCE. Since the term "Republic" is not included in the table, the year when China's accurate chronology began is merely a common year entry labeled "Jisi forty-one" in this table.

經辰之戌二千二百七：甲子四十二、乙丑四十三、丙寅四十四、丁卯四十五、戊辰四十六、己巳四十七、庚午四十八、辛未四十九、壬申五十、癸酉五十一、甲戌，周宣王。乙亥二、丙子三、丁丑四、戊寅五、己卯六、庚辰七、辛巳八、壬午九、癸未十、甲申十一、乙酉十二、丙戌十三、丁亥十四、戊子十五、己丑十六、庚寅十七、辛卯十八、壬辰十九、癸巳二十。

The 2207th generation begins with Jiazi and ends with Guisi, spanning from 837 to 808 BCE. The initial Jiazi corresponds to the 42nd year of King Li of Zhou. The count of King Li's years continues until the 51st year, which is Guiyou, corresponding to 828 BCE. The next year, Jiaxu, is marked as the first year of King Xuan of Zhou, who succeeded his father King Li's son Jing. King Xuan reformed internal affairs, repelled the Huaiyi tribes, and appointed officials such as Fangshu, Zhaohu, and Yijingfu. He campaigned south against the Jingman and north against the Xianyun, temporarily restoring the prosperity of the early Zhou dynasty, known as the "Xuanwang Zhongxing." The poems "Liyue," "Caiyi," and "Chugong" in the Book of Songs describe these events. The following years, starting from Yihai as the second year of King Xuan, continue in order until the twentieth year, which is Guisi.

經辰之亥二千二百八：甲午二十一、乙未二十二、丙申二十三、丁酉二十四、戊戌二十五、己亥二十六、庚子二十七、辛丑二十八、壬寅二十九、癸卯三十、甲辰三十一、乙巳三十二、丙午三十三、丁未三十四、戊申三十五、己酉三十六、庚戌三十七、辛亥三十八、壬子三十九、癸丑四十、甲寅四十一、乙卯四十二、丙辰四十三、丁巳四十四、戊午四十五、己未四十六、庚申，周幽王。辛酉二、壬戌三、癸亥四。

The Hài shì is the two thousand two hundred and eighth generation, also the last generation of the one hundred and eightieth-fourth cycle, spanning from Jiawu to Guihai, corresponding to the years from 807 to 778 BCE. The beginning Jiawu is the twenty-first year of King Xuan of Zhou. King Xuan reigned for forty-six years, ending with Jiwei in 782 BCE. Gengshen marks the beginning of the reign of King You of Zhou, the first year, which is 781 BCE, when King Xuan's son, King You, succeeded the throne. King You favored Bao Si, deposed Shenhou, and falsely raised the beacon fires to amuse the feudal lords. He was killed by the Qianrong people in the Li Mountains after ruling for eleven years, leading to the fall of the Western Zhou dynasty. Xinyou is the second year of King You's reign, Renxu is the third year, and Guihai is the fourth year. The one hundred and eightieth-fourth cycle thus completes three hundred and sixty years. Converted into the Gregorian calendar, the beginning Jiawu corresponds to 807 BCE, the start of King You's reign in Gengshen corresponds to 781 BCE, and the end Guihai corresponds to 778 BCE.

皇極經世書卷四上。觀物篇十九，以會經運七。經日之甲一，經月之午七。經星之戊一百八十五。經辰之子二千二百九。經辰之丑二千二百一十。經辰之寅二千二百一十一。經辰之卯二千二百一十二。經辰之辰二千二百一十三。經辰之巳二千二百一十四。經辰之午二千二百一十五。經辰之未二千二百一十六。經辰之申二千二百一十七。經辰之酉二千二百一十八。經辰之戌二千二百一十九。經辰之亥二千二百二十。

This is the beginning of volume four of The Supreme Principles Governing the World. It is the nineteenth chapter, "Observing Things," which is the seventh chapter under the section "Meeting the Heavenly Mandate." It records the 185th cycle, still within the seventh division of the first great cycle, the午 cycle. It covers the 2,209th to the 2,220th generations, totaling twelve generations, each lasting thirty-six years, corresponding to the period from 777 BCE to 418 BCE. These thirty-six years encompass the fall of King You of Zhou, the eastward migration of King Ping of Zhou, the Spring and Autumn period of 242 years, and the early Warring States period. Events such as the hegemony of Qi Huan and Jin Wen, the birth and death of Confucius, and the division of Jin into three states are all included in this period. However, the original text under this cycle only lists the names of the twelve generations and their overall titles in sequence, from 子 generation 2,209 to 亥 generation 2,220. Under each generation, there are no entries of the heavenly stems and earthly branches, nor are there any historical events recorded. The entire thirty-six years of this cycle are left blank. This omission is likely due to transmission errors in the text, not because Shao Yong's original table was like this. Readers can infer the format based on the examples of other cycles.

觀物篇二十，以會經運八。經日之甲一，經月之午七。經星之己一百八十六。經辰之子二千二百二十一。經辰之丑二千二百二十二。經辰之寅二千二百二十三。經辰之卯二千二百二十四。經辰之辰二千二百二十五。經辰之巳二千二百二十六。經辰之午二千二百二十七。經辰之未二千二百二十八。

The twenty-first chapter of the "Observing Things" section is the eighth chapter of "Using the Converging of the Classics and the Movement of the Ages," recording the 186th movement, which includes the 2,221st to the 2,232nd generations, totaling 360 years, from 417 to 58 BCE. The first eight generations of this movement only list the generation names and general titles without the heavenly stems and earthly branches or historical events: from the Zi generation (2,221st) to the Wei generation (2,228th), covering 240 years, from 417 to 178 BCE. During this period, the seven warring states contended, Qin unified the world, the Chu-Han contention occurred, and the founding of the Western Han dynasty all took place within this gap. The text resumes listing the heavenly stems and earthly branches along with the era names from the next generation, Shen, indicating that the original text may have missing parts here.

經辰之申二千二百二十九：甲子四、乙丑五、丙寅六、丁卯七、戊辰八、己巳九、庚午十、辛未十一、壬申十二、癸酉十三、甲戌十四、乙亥十五、丙子十六、丁丑十七、戊寅，後元。己卯二、庚辰三、辛巳四、壬午五、癸未六、甲申七、乙酉，漢景帝。丙戌二、丁亥三、戊子四、己丑五、庚寅六、辛卯七、壬辰，中元。癸巳二。

Shen Shi is the 2229th generation, from Jiazi to Guisi, corresponding to the years from 177 BC to 148 BC. The text here resumes, beginning with the Jiazi stem marked only with the character 'four' without an imperial title, because the previous generations are empty, making it impossible to associate the titles. This 'four' refers to the fourth year of Emperor Wen's reign. This indicates that the table takes the year of Emperor Wen's accession in 180 BC as the first year. After Dingchou 17, Wuyin is changed to 'Houyuan', which is the first year of the Houyuan period of Emperor Wen, 163 BC. Emperor Wen removed the old title and re-established the era name, Jimao being the second year of the Houyuan period. Yiyou is changed to 'Han Jingdi', which is the first year of Emperor Jing's reign, 156 BC. Renchen is again changed to 'Zhongyuan', which is the first year of the Zhongyuan period of Emperor Jing, 149 BC. Guisi is the second year of the Zhongyuan period. From this point on, the text under the heavenly stems and earthly branches no longer refers to the years of the emperors' reigns, but instead mostly refers to era names. This change in notation is due to the frequent changes of era names during the Han dynasty.

經辰之酉二千二百三十：甲午三、乙未四、丙申五、丁酉六、戊戌，後元。己亥二、庚子三、辛丑，漢武帝建元。壬寅二、癸卯三、甲辰四、乙巳五、丙午六、丁未，元光。戊申二、己酉三、庚戌四、辛亥五、壬子六、癸丑，元朔。甲寅二、乙卯三、丙辰四、丁巳五、戊午六、己未，元狩。庚申二、辛酉三、壬戌四、癸亥五。

The Youshi era is the two thousand two hundred and thirty-first era, spanning from Jiawu to Guihai, covering the period from 147 to 118 BCE. The first year Jiawu corresponds to the third year of Emperor Jingdi's Zhongyuan period of the Han dynasty. In sequence, Dingyou is the sixth year of Zhongyuan. In the year Wuxu, the era title was changed to "Houyuan," which refers to the first year of Houyuan period of Emperor Jingdi, 143 BCE. In the year Xinchou, the era title was changed to "Hanwudi Jianyuan," which refers to the first year of Jianyuan period of Emperor Wu of Han, 140 BCE; Jianyuan was the first official era title in Chinese history, and from then on, the imperial era was uniformly recorded with era titles. This table also changed to the format of era titles followed by numerical order. The following year Dingwei is the first year of Yuanguang period, 134 BCE; Gui Chou is the first year of Yuanshuo period, 128 BCE; Jiwei is the first year of Yuanshou period, 122 BCE; and Guihai is the fifth year of Yuanshou period. During Emperor Wu's reign, the era title was changed approximately every six years, and this table sequentially lists these changes, clearly demonstrating this pattern.

經辰之戌二千二百三十一：甲子六、乙丑，元鼎。丙寅二、丁卯三、戊辰四、己巳五、庚午六、辛未，元封。壬申二、癸酉三、甲戌四、乙亥五、丙子六、丁丑，太初。戊寅二、己卯三、庚辰四、辛巳，天漢。壬午二、癸未三、甲申四、乙酉，太始。丙戌二、丁亥三、戊子四、己丑，徵和。庚寅二、辛卯三、壬辰四、癸巳，後元。

The Xiu shi era corresponds to the 2,231st generation, spanning from Jiazi to Guisi, which corresponds to the period from 117 BCE to 88 BCE, a total of thirty years during the reign of Emperor Wu of Han. This era is the one with the most frequent changes of era names in the table. Jiazi began in the sixth year of Yuanshou, 117 BCE. Yichou began in the first year of Yuanding, 116 BCE. Xinwei began in the first year of Yuanfeng, 110 BCE, the year Emperor Wu ascended Mount Tai for a sacrificial ceremony. Dingchou began in the first year of Taichu, 104 BCE, the same year the Taichu calendar was promulgated and the first month was established as the beginning of the year. Xinsi began in the first year of Tianhan, 100 BCE. Yiyou began in the first year of Taishi, 96 BCE. Jichou began in the first year of Zhenhe, 92 BCE, during which the Wugǔ incident occurred. Guisi began in the first year of Huiyuan, 88 BCE. Seven era names are arranged within the thirty grids of this era, clearly dividing the months and years of Emperor Wu's later reign.

經辰之亥二千二百三十二：甲午二、乙未，漢昭帝始元。丙申二、丁酉三、戊戌四、己亥五、庚子六、辛丑，元鳳。壬寅二、癸卯三、甲辰四、乙巳五、丙午六、丁未，元平。戊申，漢宣帝本始。己酉二、庚戌三、辛亥四、壬子，地節。癸丑二、甲寅三、乙卯四、丙辰，元康。丁巳二、戊午三、己未四、庚申，神爵。辛酉二、壬戌三、癸亥四。

The Hài Shì is the two thousand and twenty-third generation, also the last generation of the one hundred and eighty-sixth cycle, spanning from Jiawu to Guihai, covering the period from 87 BCE to 58 BCE. Jiawu corresponds to the second year of Houyuan in the reign of Emperor Wu of the Han dynasty, 87 BCE, when Emperor Wu died in that year. Yiwei marks the beginning of the first year of Shiyuan in the reign of Emperor Zhao of the Han dynasty, 86 BCE. Xinchou marks the beginning of Yuanfeng in the reign of Emperor Zhao, 80 BCE. Dingwei marks the beginning of Yuanping in the reign of Emperor Zhao, 74 BCE, when Emperor Zhao died in that year. Wushen marks the beginning of the first year of Benshi in the reign of Emperor Xuandi of the Han dynasty, 73 BCE. Renzi marks the beginning of Dijie in the reign of Emperor Xuandi, 69 BCE. Bingchen marks the beginning of Yuankang in the reign of Emperor Xuandi, 65 BCE. Gengshen marks the beginning of Shenjue in the reign of Emperor Xuandi, 61 BCE. Guihai is the fourth year of Shenjue. The one hundred and eighty-sixth cycle is thus completed with a total of three hundred and sixty years.

皇極經世書卷四中。觀物篇二十一，以會經運九。經日之甲一，經月之午七。經星之庚一百八十七。經辰之子二千二百三十三：甲子，五鳳。乙丑二、丙寅三、丁卯四、戊辰，甘露。己巳二、庚午三、辛未四、壬申，黃龍。癸酉，漢元帝初元。甲戌二、乙亥三、丙子四、丁丑五、戊寅，永光。己卯二、庚辰三、辛巳四、壬午五、癸未建昭。甲申二、乙酉三、丙戌四、丁亥五、戊子，竟寧。己丑，漢成帝建始。庚寅二、辛卯三、壬辰四、癸巳，河平。

This is the beginning of Volume Four of The Supreme Principles Governing the World. It is the twenty-first chapter of the "Observing Things" section, the ninth chapter of "Using the Convergence of the Great Cycle," recording the 187th cycle, still belonging to the seventh division of the first great cycle, the午会, which includes the 2,233rd to 2,244th generations, totaling 360 years, corresponding to the period from 57 BCE to 303 CE, spanning the late Western Han Dynasty, the Xin Dynasty, the Eastern Han Dynasty, and the Three Kingdoms period up to the unification under the Jin Dynasty. The 2,233rd generation, the子世, starts from Jiazi to Gui Si, corresponding to the period from 57 BCE to 28 BCE. The Jiazi cycle begins with "Wufeng," referring to the first year of Wufeng in the reign of Emperor Xuandi of Han; the Wuchen cycle begins with "Ganlu," 53 BCE; the Renshen cycle begins with "Huanglong," 49 BCE, the year of Emperor Xuandi's death. The Guiyou cycle is titled "Hanyu Chuyuan," referring to the first year of Chuyuan in the reign of Emperor Yuan of Han, 48 BCE; the Wuyin cycle begins with "Yongguang," 43 BCE; the Guiwei cycle begins with "Jianzhao," 38 CE; the Wuzi cycle begins with "Jingning," 33 CE, the year of Emperor Yuan's death. The Jichou cycle is titled "Hancheng Jiashi," referring to the first year of Jiashi in the reign of Emperor Cheng of Han, 32 CE; the Guisi cycle begins with "He Ping," 28 BCE.

經辰之丑二千二百三十四：甲午二、乙未三、丙申四、丁酉，陽朔。戊戌二、己亥三、庚子四、辛丑，鴻嘉。壬寅二、癸卯三、甲辰四、乙巳，永始。丙午二、丁未三、戊申四、己酉，元延。庚戌二、辛亥三、壬子四、癸丑，綏和。甲寅二、乙卯，漢哀帝建平。丙辰二、丁巳三、戊午四、己未五，元壽。庚申六、辛酉，漢平帝元始。壬戌二、癸亥三。

The second thousand and twenty-fourth era is the era of Chou. It spans from Jiawu to Guihai, covering the period from 27 BCE to 3 CE. Jiawu corresponds to the second year of He Ping of Emperor Cheng of the Han dynasty. Dingyou marks the beginning of Yangshuo, 24 BCE; Xinchou marks the beginning of Hongjia, 20 BCE; Yisi marks the beginning of Yongshi, 16 BCE; Jiyou marks the beginning of Yuanyan, 12 BCE; and Guichou marks the beginning of Sihuo, 8 BCE, when Emperor Cheng died in the second year of Sihuo. Yimao marks the beginning of the first year of Jianping of Emperor Ai of the Han dynasty, which is 6 BCE; the following years are counted in the reign of Emperor Ai. Jiwei is the fifth year, which is 2 BCE, when the era was changed to Yuanshou. Gengshen is the sixth year, which is 1 BCE, when Emperor Ai died. Xinyou marks the beginning of the first year of Yuanshi of Emperor Ping of the Han dynasty, which is 1 CE, the first year in the Common Era recorded in the table. Renxu is the second year of Yuanshi, and Guihai is the third year.

經辰之寅二千二百三十五：甲子四、乙丑五、丙寅，漢孺子居攝。丁卯二、戊辰，初始。己巳，漢王莽稱新室，改建國元年。庚午二、辛未三、壬申四、癸酉五、甲戌，天鳳。乙亥二、丙子三、丁丑四、戊寅五、己卯六、庚辰，地皇。辛巳二、壬午三、癸未，劉玄稱更始。甲申，漢光武帝封蕭王。乙酉二稱帝稱建武。丙戌三、丁亥四、戊子五、己丑六、庚寅七、辛卯八、壬辰九、癸巳十。

The era of Yín is the 2,235th generation, spanning from Jiazi to Guisi, corresponding to the years 4 to 33 CE, a period of transition between the Western Han and Eastern Han dynasties. Jiazi corresponds to the fourth year of Emperor Ping of the Western Han, Yuanshi 4. Bingyin marks the beginning of the "Han Shushizi Juyi" era, which refers to the first year of Juyi of Shushizi, Emperor Yings, in 6 CE, when Wang Mang began to rule as regent emperor. Wuchen marks the beginning of the "Chuxi" era in 8 CE. In the year Jisi, which is 9 CE, Wang Mang declared himself the founder of the Xin dynasty and began the "JianGuo" era, marking the end of the Western Han dynasty. Jiaxu marks the beginning of the "Tianfeng" era in 14 CE. Gengchen marks the beginning of the "Dihuang" era in 20 CE. Guwei corresponds to 23 CE, when Liu Xuan was proclaimed emperor and the "Gengshi" era began, leading to the fall of the Xin dynasty. Jiashen corresponds to 24 CE, when the Gengshi Emperor granted Liu Xiu the title of Xiao Wang, and from this point onward, the title "Han Guangwu Emperor" was used, starting the count from this year. The following year, Yiyou, which is the second year, saw Liu Xiu proclaim himself emperor at Hao Nan, beginning the "Jianwu" era in 25 CE, marking the founding of the Eastern Han dynasty. The subsequent year, Bingxu, is the third year, and the years are counted sequentially up to Guisi, which is the tenth year, corresponding to 33 CE.

經辰之卯二千二百三十六：甲午十一、乙未十二、丙申十三、丁酉十四、戊戌十五、己亥十六、庚子十七、辛丑十八、壬寅十九、癸卯二十、甲辰二十一、乙巳二十二、丙午二十三、丁未二十四、戊申二十五、己酉二十六、庚戌二十七、辛亥二十八、壬子二十九、癸丑三十、甲寅三十一、乙卯三十二、丙辰，中元。丁巳二、戊午，漢明帝永平。己未二、庚申三、辛酉四、壬戌五、癸亥六。

The second thousand and twenty-third generation begins with Jiawu and ends with Guihai, spanning from the years 34 to 63 AD. The starting year Jiawu corresponds to the eleventh year of Emperor Guangwu's reign, which is the tenth year of the Jianwu era, 34 AD. Counting sequentially, Yimao is the thirty-second year, 55 AD. Bingchen marks the beginning of the Zhongyuan era, the first year of the Zhongyuan period, 56 AD, when Emperor Guangwu performed the ceremony of worshiping at Mount Tai. Dingsi is the second year of the Zhongyuan era, the year Emperor Guangwu died. Wuwu marks the beginning of the Yongping era of Emperor Huanwu, the first year of the Yongping era, 58 AD. Jiwei is the second year of Yongping, and continuing in order, Guihai is the sixth year of Yongping. Emperor Guangwu reigned for thirty-three years and was posthumously honored as Emperor Taizu. The reigns of Emperor Guangwu and Emperor Huanwu are collectively known as "Guangwu Zhongxing" and "Mingzhang Zhizhi," respectively, and the Han dynasty was at its peak during this period.

經辰之辰二千二百三十七：甲子七、乙丑八、丙寅九、丁卯十、戊辰十一、己巳十二、庚午十三、辛未十四、壬申十五、癸酉十六、甲戌十七、乙亥十八、丙子，漢章帝建初。丁丑二、戊寅三、己卯四、庚辰五、辛巳六、壬午七、癸未八、甲申，元和。乙酉二、丙戌三、丁亥，章和。戊子二、己丑，漢和帝永元。庚寅二、辛卯三、壬辰四、癸巳五。

The Chén world is the two thousand two hundred and thirty-seventh world, from Jiazi to Guisi, corresponding to the years 64 to 93 CE. Jiazi was the seventh year of the Yongping era of Emperor Ming of the Han dynasty; the Yongping era lasted eighteen years, ending with Yihai in 75 CE. Bingzi began the era of Jianchu under Emperor Zhang, which was the first year of Jianchu, 76 CE; Jiashen began the era of Yuanhe, 84 CE; Dinghai began the era of Zhanghe, 87 CE, and Emperor Zhang died in the second year of Zhanghe. Jichou began the era of Yongyuan under Emperor He, which was the first year of Yongyuan, 89 CE; Gengyin was the second year of Yongyuan, and so on up to Guisi, which was the fifth year of Yongyuan. During this world, events such as Ban Zhao's administration of the Western Regions, Ban Biao's compilation of the Book of Han, and the conference on the White Tiger Treatise took place, but these are not recorded in the table; only the era names and their sequence numbers are indicated.

經辰之巳二千二百三十八：甲午六、乙未七、丙申八、丁酉九、戊戌十、己亥十一、庚子十二、辛丑十三、壬寅十四、癸卯十五、甲辰十六、乙巳十七，元興。丙午，漢殤帝延平。丁未，漢安帝永初。戊申二、己酉三、庚戌四、辛亥五、壬子六、癸丑七、甲寅，元初。乙卯二、丙辰三、丁巳四、戊午五、己未六、庚申，永寧。辛酉，建元。壬戌，延光。癸亥二。

The fourth dynasty is the two thousand and twenty-third dynasty. From Jiawu to Guihai, it spans from the year 94 to 123 AD. Jiawu corresponds to the sixth year of the Yongyuan era of Emperor He of the Han dynasty. After the seventeenth year of Yongyuan, in the year 105 AD, Emperor He died, and the era name was changed to "Yuanxing." In the year 106 AD, the era name was changed to "Yanping" of Emperor Shang of the Han dynasty, which was the first year of Emperor Shang's reign, but he died before the year was completed. In the year 107 AD, the era name was changed to "Yongchu" of Emperor An of the Han dynasty, which was the first year of Emperor An's reign. In the year 114 AD, the era name was changed to "Yuanchu." In the year 120 AD, the era name was changed to "Yongning." In the year 121 AD, the era name was changed to "Jianyuan," but according to historical records, Emperor An actually changed the era name to "Jianguang" that year, which was likely a mistake in the carved text due to similarity in appearance. In the year 122 AD, the era name was changed to "Yuan Guang," and the year Guihai was the second year of the "Yuan Guang" era. From Emperor He and Emperor Shang onwards, the Han dynasty saw young emperors ascending the throne, with empress dowagers ruling in their place, and alternating power between the maternal relatives and eunuchs, indicating the beginning of decline.

經辰之午二千二百三十九：甲子三、乙丑四、丙寅，漢順帝永建。丁卯二、戊辰三、己巳四、庚午五、辛未六、壬申，陽嘉。癸酉二、甲戌三、乙亥四、丙子，永和。丁丑二、戊寅三、己卯四、庚辰五、辛巳六、壬午，漢安。癸未二、甲申，建康。乙酉，漢沖帝永嘉。丙戌，漢質帝本初。丁亥，漢桓帝建和。戊子二、己丑三、庚寅，和平。辛卯，元嘉。壬辰二、癸巳，永興。

The fifth world corresponds to the 2,239th era, from the next Jiazi following Jiawu up to Guisi, covering the years 124 to 153 CE. Jiazi corresponds to the third year of Han Emperor An's Yanyang reign. Bingyin is changed to "Yongjian" of Han Emperor Shun, which is the first year of Yongjian, 126 CE. Renshen begins with Yangjia, 132 CE. Bingzi begins with Yonghe, 136 CE. Renwu begins with Han Emperor An's reign, 142 CE. Jiashen begins with Jiankang, 144 CE, when Emperor Shun died that year. Yiyou is changed to "Yongjia" of Han Emperor Chong, 145 CE, when Emperor Chong ascended the throne at the age of two and died at three. Bingxu is changed to "Benchu" of Han Emperor Zhi, 146 CE, when Emperor Zhi was poisoned to death by General Liang Ji. Dinghai is changed to "Jianhe" of Han Emperor Huan, 147 CE; Gengyin begins with Pinghe, 150 CE; Xinmao begins with Yuangya, 151 CE; and Guisi begins with Yongxing, 153 CE. Within one era, three emperors succeeded each other, and the era names changed as frequently as horses galloping. The chaos of the Eastern Han dynasty is clearly visible in these successive era names.

經辰之未二千二百四十：甲午二、乙未，永壽。丙申二、丁酉三、戊戌，延熹。己亥、庚子三、辛丑四、壬寅五、癸卯六、甲辰七、乙巳八、丙午九、丁未，永康。戊申，漢靈帝建寧。己酉二、庚戌三、辛亥四、壬子，熹平。癸丑三、甲寅三、乙卯四、丙辰五、丁巳六、戊午，光和。己未二、庚申三、辛酉四、壬戌五、癸亥六。

The sixth world is the two thousand and twenty-fourth world, from Jiawu to Guihai, corresponding to the years 154 to 183 AD. Jiawu is the second year of the Yongxing period of Emperor Huan of the Han dynasty. Yiwei begins the Yongshou period, which started in 155 AD. Wuxu begins the Yanyi period, which started in 158 AD. The Yanyi period lasted nine years, during which the Party Persecution Incident occurred. Dingwei begins the Yongkang period, which started in 167 AD, the year Emperor Huan died. Wushen changes to the first year of the Jianning period of Emperor Ling, which started in 168 AD. Renzi begins the Xiping period, which started in 172 AD, and in the fourth year of Xiping, the stone classics were established in the Taixue. Wuwu begins the Guanghe period, which started in 178 AD. Guihai is the sixth year of Guanghe, which was 183 AD. The sequence of this world has two errors: the second year of Yanyi, which is Ji Hai, is missing the years, and under Xiping, the entries for Guichou and Jiayin are both marked as three. It should be that Guichou is two years and Jiayin is three years.

經辰之申二千二百四十一：甲子，中平。乙丑二、丙寅三、丁卯四、戊辰五、己巳，光熹，又昭又寧，永漢。庚午，漢獻帝初平。辛未二、壬申三、癸酉四、甲戌，興平。乙亥二、丙子，建安。丁丑二、戊寅三、己卯四、庚辰五、辛巳六、壬午七、癸未八、甲申九、乙酉十、丙戌十一、丁亥十二、戊子十三、己丑十四、庚寅十五、辛卯十六、壬辰十七、癸巳十八。

The Shēn dynasty is the two thousand two hundred forty-first dynasty, spanning from Jiazi to Guisi, corresponding to the years 184 to 213 AD. The Jiazi era began with the "Zhongping" era, which was the first year of Zhongping during the reign of Emperor Ling of Han, in 184 AD. This was the year when Zhang Jiao raised an army and the Yellow Turban Rebellion broke out, causing great chaos throughout the country. The Jisi era corresponds to 189 AD, a year in which three different era names were changed within a single year: after Emperor Ling's death, Emperor Shao, Liu Bian, was enthroned and the era was changed to Guangxi, then to Zhao Ning. Later, Dong Zhuo deposed Emperor Shao and enthroned Emperor Xian, changing the era again to Yonghan. The official document used the six characters "Guangxi, Zhao Ning, Yonghan" to record the turmoil of that year. The Gengwu era was changed to "Han Emperor Xian's Chuping" era, which was the first year of Chuping during the reign of Emperor Xian, in 190 AD, when the warlords in the eastern part of the country rose up against Dong Zhuo. The Jiaxu era began with Xingping, in 194 AD; the Bingzi era began with Jian'an, in 196 AD, when Cao Cao brought Emperor Xian to the capital Xu, marking the start of the Jian'an era, which lasted for twenty-five years. This dynasty reached Guisi in the eighteenth year of Jian'an, in 213 AD, which was the year when Cao Cao was granted the title of Duke of Wei.

經辰之酉二千二百四十二：甲午十九、乙未二十、丙申二十一、丁酉二十二、戊戌二十三、己亥二十四。經辰之戌二千二百四十三。經辰之亥二千二百四十四。

The Youshi era corresponds to the 2,242nd generation, which should have begun from Jiawu and proceeded to Jihai, covering the years from 214 to 243 AD. However, the table only lists the first six entries: Jiawu corresponds to the 19th year of Jian'an, 214 AD; following in order, Jihai is the 24th year of Jian'an, 219 AD, the year when Guan Yu was defeated and died, and Cao Cao, having already become the Duke of Wei, was in his later years. The next entry, Gengzi, corresponds to 220 AD, the year when Cao Pi succeeded the Han dynasty and the Three Kingdoms era began. However, the table abruptly stops here, leaving the next twenty-four years blank. The subsequent Xushih era, the 2,243rd generation (244–273 AD), and Haishi era, the 2,244th generation (274–303 AD), only have the era names and general numbers, with no entries for the heavenly stems and earthly branches. The 187th cycle ends here, and the period of the Three Kingdoms and Western Jin is left blank in the original text, likely due to a loss during transmission.

觀物篇二十二，以會經運十。經日之甲一，經月之午七。經星之辛一百八十八。經辰之子二千二百四十五。經辰之丑二千二百四十六。經辰之寅二千二百四十七。經辰之卯二千二百四十八。經辰之辰二千二百四十九。經辰之巳二千二百五十。經辰之午二千二百五十一。經辰之未二千二百五十二。經辰之申二千二百五十三。經辰之酉二千二百五十四。

The twenty-second chapter of the "Observing Things" section is the tenth chapter of "using the convergence of the classics to govern the era," recording the 188th era, which includes the 2,245th to 2,256th generations, totaling 360 years, corresponding to the years 304 to 663 CE. The first ten generations of this era only list the generation names and general numbers without the stem-branch combinations: the Zi generation, starting from the 2,245th generation in 304 CE, ends with the You generation, the 2,254th generation in 603 CE, spanning 300 years. These 300 years correspond to the period of the Five Humors and the Sixteen Kingdoms, the migration of the Eastern Jin to the south, the confrontation between the Northern and Southern Dynasties, and the unification by Emperor Wen of the Sui. The original text has no characters assigned, and this gap is similar to the missing text at the end of the previous era. The table resumes recording years and months only in the next generation, the Xu generation.

經辰之戌二千二百五十五：甲子，隋煬帝。乙丑二，大業。丙寅三、丁卯四、戊辰五、己巳六、庚午七、辛未八、壬申九、癸酉十、甲戌十一、乙亥十二、丙子十三、丁丑，隋亡帝侑義寧。戊寅，唐高祖武德。己卯二、庚辰三、辛巳四、壬午五、癸未六、甲申七、乙酉八、丙戌，唐太宗。丁亥二，貞觀。戊子三、己丑四、庚寅五、辛卯六、壬辰七、癸巳八。

The 2255th generation is the Xuxi generation, spanning from Jiazi to Guisi, corresponding to the years 604 to 633 CE, which marks the transition from the Sui to the Tang dynasty. From this generation onward, the original text was revised to list one stem-branch pair per year, each entry including the year number and the emperor's title and era name. The Jiazi entry is titled "Sui Yangdi," referring to 604 CE, the year when Sui Wen帝 died and Yangdi ascended the throne. The Yichou entry is the second year, with the era name "Daye," corresponding to 605 CE, when the Grand Canal was started and the three expeditions against Goguryeo began, leading to widespread chaos across the land. The Dingchou entry is titled "Sui亡帝 You Yining," referring to 617 CE, when Li Yuan entered Chang'an, established Dabang Wang Yang You as emperor, and changed the era name to Yining. "Wangdi" refers to the fact that the Sui dynasty had already ended. The Wuyin entry is titled "Tang Gaozu Wude," referring to the first year of Tang Gaozu Wude, 618 CE, when Li Yuan accepted the imperial mandate and became emperor, marking the founding of the Tang dynasty. The Bingxu entry is titled "Tang Taizong," referring to 626 CE, when Taizong ascended the throne after the Xuanwu Gate Incident. The Dinghai entry is the second year, with the era name "Zhen'gao," corresponding to 627 CE. The Wuzi entry is the third year, continuing in sequence until the Guisi entry, which is the eighth year, corresponding to 633 CE.

經辰之亥二千二百五十六：甲午九、乙未十、丙申十一、丁酉十二、戊戌十三、己亥十四、庚子十五、辛丑十六、壬寅十七、癸卯十八、甲辰十九、乙巳二十、丙午二十一、丁未二十二、戊申二十三、己酉二十四、庚戌，唐高宗永徽。辛亥二、壬子三、癸丑四、甲寅五、乙卯六、丙辰七，顯慶。丁巳八、戊午九、己未十、庚申十一、辛酉十二，龍朔。壬戌十三、癸亥十四。

The Hài world is the two thousand and twenty-sixth world, also the last world of the one hundred and eighty-eighth cycle, spanning from Jiawu to Guihai, corresponding to the years 634 to 663 AD. Jiawu is the ninth year of Emperor Taizong of Tang, which is the eighth year of the Zhen Guan era, 634 AD. The sequence number is counted from the year Taizong ascended the throne, so it is one year behind the Zhen Guan era. Taizong reigned for twenty-four years, ending at Jiyou, which is 649 AD. Gengxu is changed to the first year of the Yonghui era under Emperor Gaozong, which is 650 AD; the sequence number continues to count the years of Gaozong's reign. Bingchen is the seventh year, when the era name was changed to Xianqing, which is 656 AD; Xinyou is the twelfth year, when the era name was changed to Longshuo, which is 661 AD; Guihai is the fourteenth year, which is 663 AD. The Zhen Guan era and the Yonghui era are connected, marking the peak of the Tang dynasty's power.

皇極經世書卷四下。觀物篇二十三，以會經運十一。經日之甲一，經月之午七。經星之壬一百八十九。經辰之子二千二百五十七：甲子十五，麟德。乙丑十六、丙寅十七，乾封。丁卯十八、戊辰十九，總章。己巳二十、庚午二十一，咸亨。辛未二十二、壬申二十三、癸酉二十四、甲戌二十五，上元。乙亥二十六、丙子二十七，儀鳳。丁丑二十八、戊寅二十九、己卯三十，調露。庚辰三十一，永隆。辛巳三十二，開耀。壬午三十三，永淳。癸未三十四，弘道。甲申，唐中宗嗣聖，武后廢帝為廬陵王，遷之均，立豫章王旦，改元文明，再改元光宅。乙酉二，武后徙帝於房陵，改元垂拱。丙戌三、丁亥四、戊子五、己丑六，武后改元永昌。庚寅七，武后改元載初，又改國為周，元曰天授，豫章王旦為皇嗣。辛卯八、壬辰九，武后改元如意，再改長壽。癸巳十。

This is the beginning of Volume Four of The Supreme Principles Governing the World. It is the twenty-third section of the "Observing Things" chapter, the eleventh section under the theme "coinciding with the great cycle," recording the 189th great cycle, which includes the 2,257th to 2,268th generations, totaling 360 years, corresponding to the years 664 to 1023 CE. The first generation, the 2,257th, spans from Jiazi to Guisi, corresponding to the years 664 to 693 CE. Jiazi is the fifteenth year of Emperor Taizong of the Tang Dynasty, known as the Linede era, 664 CE. Following this, the ten reign titles of the subsequent years are listed in order: Ganfeng, Zongzhang, Xianheng, Shangyuan, Yifeng, Diaolü, Yonglong, Kaiyao, Yongchun, and Hongdao. Guiwei corresponds to the thirty-fourth year of Emperor Taizong, the first year of the Hongdao era, 683 CE, the year when Emperor Taizong died. Jia Shen corresponds to 684 CE, marked in the table as "the continuation of Emperor Zhongzong's reign," with a long annotation detailing the events: Empress Wu had Emperor Zhongzong deposed and made him the Prince of Luling, then sent him to the state of Junzhou, and installed Prince Yuzhang, Li Dan, as emperor, first changing the era name to Wenming, then to Guangzhi. Yi You corresponds to the next year, 685 CE, when Empress Wu again exiled Emperor Zhongzong to Fangling and changed the era name to Chui Gong. Jichou corresponds to the sixth year, 689 CE, when the era name was changed to Yongchang. Geng Yin corresponds to the seventh year, 690 CE, when Empress Wu changed the era name to Zai Chu and immediately changed the state name to Zhou, establishing the era name Tian Shou. She reduced Prince Yuzhang, Li Dan, to the title of Imperial Successor, marking the end of the Tang Dynasty and the beginning of the Zhou Dynasty under Empress Wu. Ren Chen corresponds to the ninth year, 692 CE, when the era name was first changed to Ruyi and then to Changle. Gui Si corresponds to the tenth year, 693 CE. It is important to note that the numbering in the table still starts from the continuation of Emperor Zhongzong's reign, clearly indicating that Shao Yong did not recognize the Zhou Dynasty as legitimate, but instead recorded it as a change within the Tang Dynasty.

經辰之丑二千二百五十八：甲午十一，武后改元延載。乙未十二，武后改元證聖，再改天冊萬歲。丙申十三，武后改元萬歲登封，再改萬歲通天。丁酉十四，武后改元神功。戊戌十五，武后改元聖歷，召帝房陵復政。己亥十六、庚子十七，武后改元久視。辛丑十八，武后改元大足，再改元長安。壬寅十九、癸卯二十、甲辰二十一、乙巳二十二，武后改元神龍。丙午二十三、丁未二十四，景龍。戊申二十五、己酉二十六、庚戌，唐睿宗景雲。辛亥二、壬子，唐玄宗先天。癸丑二，開元。甲寅三、乙卯四、丙辰五、丁巳六、戊午七、己未八、庚申九、辛酉十、壬戌十一、癸亥十二。

The second thousand and twenty-eighth dynasty began in the year Jiawu, corresponding to the year 694 AD, and ended in the year Guihai, corresponding to the year 723 AD. The sequence continues from the lineage of Zhongzong's successor. Jiawu was the eleventh year, 694 AD, when Wu Zhou changed the era name to Yanzai. In the second year, Yiwei, she changed it to Zhengsheng, then to Tiancaiwansui, in 695 AD. In the third year, Bingshen, she changed it to Wan Su Dengfeng, then to Wan Su Tongtian, in 696 AD. In the fourth year, Dingyou, she changed it to Shen Gong, in 697 AD. Wuxu was the fifteenth year, 698 AD, when Wu Zhou changed the era name to Shengli and summoned Zhongzong back from Fangling to the capital, restoring his position as crown prince. The text mentions "Summoning the Emperor from Fangling and restoring the government." In the seventh year, Gengzi, she changed it to Jiushi, in 700 AD. In the eighth year, Xinchou, she changed it to Dazhu, then to Chang'an, in 701 AD. Yisi was the twenty-second year, 705 AD, when Wu Zhou changed the era name to Shenlong, which was the year when Zhang Jianzhi and others launched a coup, forcing Wu Zhou to abdicate and Zhongzong to restore the throne, marking the end of the Wu Zhou dynasty. In the seventh year, Dingwei, she changed it to Jinglong, in 707 AD. In the ninth year, Gengxu, the era name was changed to "Tang Ruizong Jingyun," in 710 AD, when Wei Hou poisoned Zhongzong, and Li Longji, the Prince of Lingzhi, rose up against her, and Ruizong was enthroned. In the eleventh year, Renzi, the era name was changed to "Tang Xuanzong Xiantian," in 712 AD. In the twelfth year, Guichou, the era name was changed to Kaiyuan, in 713 AD. From then on, the years were listed in order until Guihai, the twelfth year, in 723 AD.

經辰之寅二千二百五十九：甲子十三、乙丑十四、丙寅十五、丁卯十六、戊辰十七、己巳十八、庚午十九、辛未二十、壬申二十一、癸酉二十二、甲戌二十三、乙亥二十四、丙子二十五，楊妃入宮。丁丑二十六、戊寅二十七、己卯二十八、庚辰二十九、辛巳三十、壬午三十一，天寶。癸未三十二、甲申三十三、乙酉三十四、丙戌三十五、丁亥三十六、戊子三十七、己丑三十八、庚寅三十九、辛卯四十、壬辰四十一、癸巳四十二。

The Yin era corresponds to the 2,259th generation. It spans from Jiazi to Guisi, covering the years from 724 to 753 AD. The entire thirty-year period falls within the reign of Emperor Xuanzong of the Tang dynasty. The count begins from the first year of Xuanzong's reign, known as the Xian Tian era. Jiazi is the 13th year, which corresponds to the 12th year of the Kaiyuan era, 724 AD. Bingzi is the 25th year, 736 AD, marking an important historical event: Yang Fei entered the palace, referring to Yang Yuhuan being favored by Emperor Xuanzong and later ennobled as the Consort Yang. Shao Yong highlighted this event as a pivotal moment in the decline of the Tang dynasty, implying that the root of the An Lushan Rebellion originated in this year. Renwu is the 31st year, when the era name was changed to Tianbao, 742 AD. Subsequently, the years are listed in order until Guisi, which is the 42nd year, 753 AD. The peak of the Kaiyuan era and the decadence of the late Tianbao period are both included within the thirty grids of this era.

經辰之卯二千二百六十：甲午四十三、乙未四十四、丙申，唐肅宗至德。丁酉二、戊戌三，乾元。己亥四、庚子五，上元。辛丑六、壬寅七，寶應。癸卯，唐代宗廣德。甲辰二、乙巳三，永泰。丙午四，大曆。丁未五、戊申六、己酉七、庚戌八、辛亥九、壬子十、癸丑十一、甲寅十二、乙卯十三、丙辰十四、丁巳十五、戊午十六、己未十七、庚申，唐德宗建中。辛酉二、壬戌三、癸亥四。

The second thousand and twenty-sixth generation is the卯世, spanning from Jiawu to Guihai, corresponding to the years 754 to 783 CE. Jiawu is the forty-third year of Xuanzong, which is the thirteenth year of the Tianbao era, 754 CE; Yisi is the forty-fourth year, 755 CE, when An Lushan raised his rebellion in Fanyang in winter of that year. Bingshen marks the change to the "Zhidé" era under Emperor Suzong, 756 CE, when Xuanzong fled to Sichuan and the crown prince Li Heng ascended the throne in Lingwu, initiating the Zhidé era. Wuxu marks the change to the "Ganyuan" era, 758 CE; Gengzi marks the change to the "Shangyuan" era, 760 CE; Rennyin marks the change to the "Baoying" era, 762 CE, when both Xuanzong and Suzong died. Guimao marks the change to the "Guangde" era under Emperor Daizong, 763 CE, the year when Shi Chaoyi died and the Anshi Rebellion was quelled, but the Tibetans briefly captured Chang'an. Yisi marks the change to the "Yongtai" era, 765 CE; Bingwu marks the change to the "Dali" era, 766 CE, after which the situation of regional warlords became established. Gengshen marks the change to the "Jianzhong" era under Emperor Dezong, 780 CE, the same year when the dual taxation system was implemented; Xinyou is the second year, and Guihai is the fourth year, 783 CE, when the Jingyuan mutiny occurred that year.

經辰之辰二千二百六十一：甲子五，興元。乙丑六，貞元。丙寅七、丁卯八、戊辰九、己巳十、庚午十一、辛未十二、壬申十三、癸酉十四、甲戌十五、乙亥十六、丙子十七、丁丑十八、戊寅十九、己卯二十、庚辰二十一、辛巳二十二、壬午二十三、癸未二十四、甲申二十五、乙酉二十六，順宗不及年，永貞。丙戌，唐憲宗元和。丁亥二、戊子三、己丑四、庚寅五、辛卯六、壬辰七、癸巳八。

The Chén dynasty is the 2,261st dynasty, spanning from Jiazi to Guisi, corresponding to the years 774 to 813 CE. Jiazi was the fifth year of Emperor Dezong of Tang, when he changed the era name to Xingyuan, and in 774 CE, Emperor Dezong fled to Fengtian to avoid chaos and later returned to the capital. In Yichou, he changed the era name to Zhenyuan, and the Zhenyuan era lasted twenty-one years. The table lists each year in sequence, with Yiyou being the twenty-sixth year, which corresponds to 805 CE. Yiyou refers to the six words "Shunzong reigned for a short time, Yongzhen," meaning that after Emperor Dezong's death, Emperor Shunzong ascended the throne and changed the era name to Yongzhen, but he reigned less than a year before abdicating due to illness, leading to the failure of the Yongzhen reforms, hence the phrase "reigned for a short time." In Bingxu, the era name was changed to "Tang Xianzong Yuanhe," referring to the first year of Xianzong's Yuanhe era in 806 CE. Dinghai was the second year, and continuing in order, Guisi was the eighth year, corresponding to 813 CE. Xianzong suppressed the Huaixi region and various warlords gradually submitted, and this period is known as the "Yuanhe Revival."

經辰之巳二千二百六十二：甲午九、乙未十、丙申十一、丁酉十二、戊戌十三、己亥十四、庚子十五、辛丑，唐穆宗長慶。壬寅二、癸卯三、甲辰四、乙巳，唐敬宗寶曆。丙午二、丁未，唐文宗太和。戊申二、己酉三、庚戌四、辛亥五、壬子六、癸丑七、甲寅八、乙卯九、丙辰十、丁巳十一、戊午十二、己未十三、庚申十四、辛酉，唐武宗會昌。壬戌二、癸亥三。

The fourth era, Yisi, corresponds to the 2,262nd dynasty, spanning from Jiawu to Guihai, covering the years 814 to 843 CE. Jiawu corresponds to the ninth year of Emperor Xianzong of Tang, the ninth year of the Wenhui era, 814 CE. The Wenhui era lasted fifteen years, ending in Gengzi, 820 CE, when Emperor Xianzong was assassinated by eunuchs. In Xinchou, the era title changed to Changqing of Emperor Muzong, 821 CE. In Yisi, it changed to Baoli of Emperor Jingzong, 825 CE. Emperor Jingzong reigned for two years and was also assassinated by eunuchs. In Dingwei, the era title changed to Tahe of Emperor Wenzong, 827 CE. During Emperor Wenzong's reign, there was the Ganlu Incident, an attempt to eliminate the eunuchs which failed, and the emperor was ultimately controlled by his servants. In Xinyou, the era title changed to Huichang of Emperor Wuzong, 841 CE. Renxu was the second year, and Guihai the third year, 843 CE. From Emperor Muzong onwards, eunuchs frequently deposed and installed emperors, while factions fought each other continuously, and the Tang dynasty had already reached a point of no return.

經辰之午二千二百六十三：甲子四、乙丑五、丙寅六、丁卯，唐宣宗大中。戊辰二、己巳三、庚午四、辛未五、壬申六、癸酉七、甲戌八、乙亥九、丙子十、丁丑十一、戊寅十二、己卯十三、庚辰，唐懿宗咸通。辛巳二、壬午三、癸未四、甲申五、乙酉六、丙戌七、丁亥八、戊子九、己丑十、庚寅十一、辛卯十二、壬辰十三、癸巳十四。

The 2263rd dynasty is the "Wushì" dynasty, spanning from Jiazi to Guisi, corresponding to the years 844 to 873 AD. Jiazi corresponds to the fourth year of Emperor Wuzong's reign, the "Hui Chang" period, in 844 AD. In the fifth year of Hui Chang, there was a campaign against Buddhism, and Emperor Wuzong died in the sixth year of Hui Chang. In the year Dingmao, the era name was changed to "Dazhong" of Emperor Xuanzong, which was the first year of the "Dazhong" period in 847 AD. Emperor Xuanzong was known for his efforts to rectify official conduct and to recover the regions of Hehuang. He was temporarily called the "Little Taizong" and reigned for thirteen years, ending in the year Jimao, which was 859 AD. In the year Gengchen, the era name was changed to "Xiantong" of Emperor Yizong, which was the first year of the "Xiantong" period in 860 AD. Xinsi was the second year, and the years were sequentially numbered up to Guisi, which was the fourteenth year, in 873 AD, when Emperor Yizong died that year. Emperor Yizong was extravagant and indulgent, and the Pongxun Rebellion began in Xuzhou, accelerating the decline of the Tang dynasty.

經辰之未二千二百六十四：甲午，唐僖宗乾符。乙未二、丙申三，王仙芝陷淮南。丁酉四，黃巢陷沂鄆。戊戌五、己亥六、庚子七，廣明，黃巢陷兩京，稱齊，全統。辛丑八，中和。壬寅九、癸卯十，黃巢走藍關。甲辰十一、乙巳十二，光啟。經辰之申二千二百六十五。經辰之酉二千二百六十六。經辰之戌二千二百六十七。經辰之亥二千二百六十八。

The sixth world is the two thousand and twenty-sixth world, which should be arranged as Guihai, corresponding to the year 903 CE, but the table only lists up to the twelfth section. Jiawu is changed to "Tang Xizong Ganyu," meaning the first year of Xizong's Ganyu era, 874 CE. Bingshen corresponds to the third year, 876 CE, when Wang Xianzhi captured Huanan. Dingyou is the fourth year, 877 CE, when Huang Chao captured Yizhou and Yunzhou. Gengzi is the seventh year, changed to the era name Guangming, 880 CE, when Huang Chao captured the two capitals of Luoyang and Chang'an, Xizong fled to Sichuan, and Huang Chao proclaimed himself emperor, establishing the state name Daqi and the era name Jintong; the text "Quantong" is likely a miswriting of Jintong. Xinchou is the eighth year, changed to the era name Zhonghe, 881 CE. Guimao is the tenth year, 883 CE, when Huang Chao's forces were defeated and he withdrew from Chang'an, heading east through Lantian Pass. Yisi is the twelfth year, changed to the era name Guangqi, 885 CE, and the text stops here. The following sections, the second thousand and twenty-sixth world, the second thousand and twenty-seventh world, the second thousand and twenty-eighth world, and the second thousand and twenty-ninth world, correspond to the years 904 to 1023 CE, only listing the world names and general era names without the heavenly stem and earthly branch: the period of the Five Dynasties and Ten Kingdoms and the early years of the Northern Song Dynasty, which span 120 years, are also blank in the original text. The 189th cycle is thus completed.

觀物篇二十四，以會經運十二。經日之甲一，經月之午七。經星之癸一百九十。經辰之子二千二百六十九。經辰之丑二千二百七十。經辰之寅二千二百七十一：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The twenty-fourth chapter of "Guānwù Piān" is the twelfth chapter of "yi hui jing yun," recording the 190th cycle, which includes the 2,269th to 2,280th generations, totaling 360 years, corresponding to the years 1024 to 1383 CE. The first two generations only have names and no dates: the 2,269th generation, "zi shi," corresponds to 1024 to 1053 CE, and the 2,270th generation, "chou shi," corresponds to 1054 to 1083 CE. These sixty years exactly coincide with the lifetime of Shao Yong, who was born in 1011 CE and died in 1077 CE. Historical events of this dynasty are supposed to be recorded in the original text, but they are entirely missing in the current version, clearly due to an omission. Starting from the 2,270th generation, "yin shi," the text lists the heavenly stems and earthly branches, from Jiazi to Guisi, corresponding to the years 1084 to 1113 CE. However, no characters are written below the years, because these years are after Shao Yong's death, and there were no historical records to compile. Therefore, the years were simply left blank in the table, waiting for future generations to fill in.

經辰之卯二千二百七十二：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑、甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經辰之辰二千二百七十三：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經辰之己二千二百七十四：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑、甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

This refers to the fourth, fifth, and sixth generations of the 190th cycle. The second thousand two hundred and seventy-second generation, the卯 generation, spans from Jiawu to Guihai, corresponding to the years 1114 to 1143 CE; the second thousand two hundred and seventy-third generation, the辰 generation, spans from Jiazi to Guisi, corresponding to the years 1144 to 1173 CE; the next generation is titled "Jing Chen Zhi Ji" 2274, following the order of the twelve earthly branches, after Chen comes Si, so "Ji" is a mistake for "Si". This generation spans from Jiawu to Guihai, corresponding to the years 1174 to 1203 CE. The three generations total ninety years, only listing the heavenly stems and earthly branches without any events. In actual history, there were major events such as the Jingkang Incident, the southward migration of the Song Dynasty, and the Jin Dynasty's occupation of the Central Plains, but Shao Yong could not have known these in advance, hence the empty spaces. This clearly shows that the year table in the "Huang Ji Jing Shi" is first determined by numbers to establish the positions of the years, and then historical events are filled in, rather than historical events being used to fit the numbers. The starting heavenly stems of the three generations still alternate between Jiawu and Jiazi: the卯 generation starts with Jiawu, the辰 generation starts with Jiazi, and the巳 generation again starts with Jiawu, exactly the same as the arrangement in previous cycles. Since the year grid is determined by numbers, the presence or absence of events is not the responsibility of this table.

經辰之午二千二百七十五：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經辰之未二千二百七十六：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑、甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經辰之申二千二百七十七：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

This refers to the seventh, eighth, and ninth generations of the 190th cycle. The fifth generation spans from Jiazi to Guisi, corresponding to the years 1204 to 1233 AD; the sixth generation spans from Jiawu to Guihai, corresponding to the years 1234 to 1263 AD; the seventh generation spans from Jiazi to Guisi, corresponding to the years 1264 to 1293 AD. All three generations only use the sixty Jiazi cycles for the years, alternating between Jiazi and Jiawu for each generation. The transition between two generations exactly completes one Jiazi cycle. The pattern of thirty years per generation and twelve generations per cycle has repeated twelve times. Readers can see Shao Yong's intention from this unchanging arrangement: historical events may be discontinuous, but the number of years is continuous. The years and months in heaven and earth have fixed numbers, and human affairs are merely the content filled within these fixed numbers. In actual history, during these ninety years, there were major events such as the rise of the Mongols, the fall of the Jin dynasty, the crisis of the Song dynasty, and finally the unification of the world after the fall of the Southern Song at Yashan. However, these events are not mentioned in the table. The rise and fall of the world two hundred years after Shao Yong's death were already predicted in his three lines of dry and branch symbols.

經辰之酉二千二百七十八：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑、甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經辰之戌二千二百七十九：甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉、甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未、甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經辰之亥二千二百八十：甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑、甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

This is the tenth, eleventh, and twelfth generations of the one hundred and nineteenth cycle, also marking its conclusion. The eighth generation, starting from Jiawu to Guihai, spans from 1294 to 1323 AD; the ninth generation, starting from Jiazi to Guisi, spans from 1324 to 1353 AD; the tenth generation, starting from Jiawu to Guihai, spans from 1354 to 1383 AD. The twelve generations are now complete, and the one hundred and nineteenth cycle ends here after three hundred and sixty years. Since the one hundred and eightieth cycle, the chronological table has filled every position from 2577 BC to 1383 AD. The earlier part filled the imperial lineages and historical events of Yao, Shun, Xia, Shang, Zhou, Qin, Han, Tang; the later part, however, only has empty positions for the heavenly stems and earthly branches. Thus, this chronology shifts from recording past history to anticipating future numbers. In actual history, during these ninety years, the Yuan dynasty declined from its peak, and the Red Turbans rose up, and by the end of the tenth generation, Ming Taizu had already established his rule. These events occurred three hundred years after Shao Yong, so the table naturally has only empty spaces.

經星之甲一百九十一。經星之乙一百九十二。經星之丙一百九十三。經星之丁一百九十四。經星之戊一百九十五。經星之己一百九十六。經星之庚一百九十七。經星之辛一百九十八。經星之壬一百九十九。經星之癸二百。經星之甲二百一。經星之乙二百二。經星之丙二百三。經星之丁二百四。經星之戊二百五。經星之己二百六。經星之庚二百七。經星之辛二百八。經星之壬二百九。經星之癸二百十。

From this point on, the table does not list generations or years, only the names of the cycles are listed one after another. The following list covers the 191st to the 200th cycle, then the 210th cycle, making a total of twenty cycles. Each cycle lasts 360 years, so twenty cycles amount to 7,200 years, covering the period from the year 1384 to 8583. The 210th cycle is the last of the thirty cycles in the seventh division, the 'Wuhui' division. From the 181st cycle to the 210th cycle, the entire 10,800 years of the Wuhui division are fully accounted for. According to Shao Yong's calculations, all historical events since the time of Yao and Shun are confined to the first half of the Wuhui division, while the latter half of the Wuhui division and the subsequent cycles remain as empty names, waiting for the sun and moon to pass through them naturally.

經日之甲一，經月之未八。經星之甲二百一十一。經星之乙二百一十二。經星之丙二百一十三。經星之丁二百一十四。經星之戊二百一十五。經星之己二百一十六。經星之庚二百一十七。經星之辛二百一十八。經星之壬二百一十九。經星之癸二百二十。經星之甲二百二十一。經星之乙二百二十二。經星之丙二百二十三。經星之丁二百二十四。經星之戊二百二十五。

This line 「The first Jia of the day, the eighth Wei of the month」 marks a new coordinate: still within the first cycle, having already transitioned from the seventh cycle Wu cycle to the eighth cycle Wei cycle. Each cycle encompasses thirty transitions, totaling eleven thousand and eight hundred years; the Wei cycle covers the 211st to the 240th transitions, beginning in the year 8584 AD. Here, the first fifteen transitions, from the 211st to the 225th, amounting to five thousand four hundred years, are listed, corresponding to the years 8584 AD to 13983 AD. The twelve cycles rotate in the order of Zi, Chou, Yin, Mao, and so on. Once the Wu cycle is completed, the vital energy of heaven and earth begins to shift from its peak to decline, which Shao Yong referred to as 「when yang reaches its extreme, yin arises」; however, the table does not make any explicit judgment, merely listing the names of the transitions in sequence, allowing readers to observe the changes through the progression of numbers.

經星之己二百二十六。經星之庚二百二十七。經星之辛二百二十八。經星之壬二百二十九。經星之癸二百三十。經星之甲二百三十一。經星之乙二百三十二。經星之丙二百三十三。經星之丁二百三十四。經星之戊二百三十五。經星之己二百三十六。經星之庚二百三十七。經星之辛二百三十八。經星之壬二百三十九。經星之癸二百四十。

Following the fifteen cycles of the "Wei" phase, which spans from the 226th to the 240th cycle, totaling 5,400 years, corresponding to the years 13984 to 19383 AD. The names of the cycles are marked by the ten heavenly stems in sequence, with each ten cycles forming a complete cycle. When the stem "Gui" is reached, it completes a full cycle of ten. For example, the 230th and 240th cycles are both titled "Jingxing zhi Gui" (癸 of the Star Path), and by referring to the stem and branch, one can determine their position within a ten-year period. Converted to the Gregorian calendar, the 226th cycle begins in 13984 AD, the 230th cycle begins in 14424 AD, and the 240th cycle ends in 19383 AD. Once the 240th cycle is completed, the 10,800 years of the "Wei" phase are exhausted, and the next phase, the ninth cycle of the "Shen" phase, begins with a new coordinate system.

經日之甲一，經月之申九。經星之甲二百四十一。經星之乙二百四十二。經星之丙二百四十三。經星之丁二百四十四。經星之戊二百四十五。經星之己二百四十六。經星之庚二百四十七。經星之辛二百四十八。經星之壬二百四十九。經星之癸二百五十。經星之甲二百五十一。經星之乙二百五十二。經星之丙二百五十三。經星之丁二百五十四。經星之戊二百五十五。

"The 'Jing Ri' (Heavenly Stem) Jia and the 'Jing Yue' (Monthly) Shen Ji" refers to the fact that we are still in the first cycle, but have already progressed to the ninth cycle, the Shen cycle. The Shen cycle governs the 241st to 270th eras, beginning in the year 19384. Here we first list the first fifteen eras, from the 241st to the 255th, totaling 5,400 years, corresponding to the years 19384 to 24783. According to Shao Yong's theory, one cycle consists of twelve cycles, totaling 129,600 years, just as a year has twelve months and a day has twelve hours. Heaven was created in the Zi cycle, Earth was formed in the Chou cycle, and humans appeared in the Yin cycle. All things were created in the 76th era of the Yin cycle and ended in the 315th era of the Xiu cycle. The Shen cycle comes after Wu and Wei cycles, representing the period when the cycle of energy transitions from growth to decline. The actual rise and fall of people during this time cannot be predicted by Shao Yong, so this table only lists the names of the cycles."

經星之己二百五十六。經星之庚二百五十七。經星之辛二百五十八。經星之壬二百五十九。經星之癸二百六十。經星之甲二百六十一。經星之乙二百六十二。經星之丙二百六十三。經星之丁二百六十四。經星之戊二百六十五。經星之己二百六十六。經星之庚二百六十七。經星之辛二百六十八。經星之壬二百六十九。經星之癸二百七十。

This is the fifteenth cycle of the Shēn (申) Great Period, i.e., the 256th to 270th cycles, lasting 5,400 years, from the year 2478 to 3018. When the 270th cycle is completed, the entire 10,800 years of the ninth Great Period of Shēn will be finished. The entire table is arranged in such a systematic manner to clearly demonstrate the proportional relationship among the four levels: one Yuan consists of twelve Great Periods, one Great Period consists of thirty cycles, one cycle consists of twelve Eras, and one Era lasts thirty years. Multiplying these levels together results in exactly 129,600 years. Converted into the Gregorian calendar, the 256th cycle begins in the year 2478, the 260th cycle begins in 2622, and the 270th cycle ends in 3018.

經日之甲一，經月之酉十。經星之甲二百七十一。經星之乙二百七十二。經星之丙二百七十三。經星之丁二百七十四。經星之戊二百七十五。經星之己二百七十六。經星之庚二百七十七。經星之辛二百七十八。經星之壬二百七十九。經星之癸二百八十。經星之甲二百八十一。經星之乙二百八十二。經星之丙二百八十三。經星之丁二百八十四。經星之戊二百八十五。經星之己二百八十六。經星之庚二百八十七。經星之辛二百八十八。

"The passage 'The day stem Jia and the month branch You ten' refers to the first cycle, which has already progressed to the tenth cycle of You. The period covered by the You cycle spans from the 271st to the 300th cycle, beginning in the year 30184 AD. Here, the 271st to the 288th cycles, totaling eighteen cycles or 6,480 years, are listed, covering the period from 30184 AD to 36663 AD. After the You cycle comes the Xu cycle, and Shao Yong believed that all things would close at the 315th cycle of the Xu cycle, with the heavens and earth returning to chaos. Then, after a period, a new cycle would begin. Therefore, the You cycle is already a time of convergence. The text continues to list the remaining cycles one by one, proceeding in order until all twelve cycles and 360 cycles are completed. The final cycle, the 288th, is converted into the Gregorian calendar, starting in 36304 AD and ending in 36663 AD; the following cycles follow the same pattern."

經星之壬二百八十九、經星之癸二百九十、經星之甲二百九十一、經星之乙二百九十二、經星之丙二百九十三、經星之丁二百九十四、經星之戊二百九十五、經星之己二百九十六、經星之庚二百九十七、經星之辛二百九十八、經星之壬二百九十九、經星之癸三百。

This section continues from the end of the "Meeting of the Celestial and Terrestrial" table. "Jing Xing" refers to "Yun," with one Yun spanning 360 years, continuously numbered from the beginning of the Ben Yuan; "Jing Xing Zhi Ren 289" corresponds to the 289th Yun of the Ben Yuan, which covers the years 103,681 to 104,040 of the Ben Yuan. Following this, the next Yins are: Gui 290, Jia 291, Yi 292, Bing 293, Ding 294, Wu 295, Ji 296, Geng 297, Xin 298, Ren 299. Each subsequent Yun adds another 360 years. When reaching "Jing Xing Zhi Gui 300," it marks the 300th Yun, which exactly fills the "Jing Hui Zhi You 10" cycle. One cycle consists of thirty Yuns, totaling 10,080 years, and the You cycle ends here. These twelve Yuns are only labeled with their names and not associated with any historical events, as they all lie far in the future after Shao Yong's time and are merely empty spaces calculated numerically.

經日之甲一，經月之戌十一。經星之甲三百一、經星之乙三百二、經星之丙三百三、經星之丁三百四、經星之戊三百五、經星之己三百六、經星之庚三百七、經星之辛三百八、經星之壬三百九、經星之癸三百一十、經星之甲三百一十一、經星之乙三百一十二、經星之丙三百一十三、經星之丁三百一十四、經星之戊三百一十五。閉物，經月戌之終。

"The phrase 'passing through the day's Jia one' indicates that the record is still within the first cycle, the Jia cycle; 'passing through the month's Xu eleven' indicates entering the eleventh phase, which is the Xu phase. Each phase governs thirty cycles, and the Xu phase covers the 301st to the 330th cycles. In the table, the stars are listed in order: Jia 301, Yi 302, Bing 303, Ding 304, Wu 305, Ji 306, Geng 307, Xin 308, Ren 309, Gui 310, Jia 311, Yi 312, Bing 313, Ding 314, up to Wu 315. Shao Yong believed that all living things in the world 'begin to manifest in the star Ji seventy-six,' which is in the Yin phase, where they start to grow and multiply; by the 315th cycle, 'the closure of all things' occurs, meaning the cessation of vitality and the gathering in of all things, thus closing the cycle of life and death within the first cycle. The original text's record of the Xu phase ends here, hence it is said 'the end of the month's Xu.'"

皇極經世書卷五上。觀物篇二十五，以運經世一。經元之甲一，經會之巳六。經運之癸一百八十。經世之子二千一百四十九、經世之丑二千一百五十、經世之寅二千一百五十一、經世之卯二千一百五十二、經世之辰二千一百五十三、經世之巳二千一百五十四、經世之午二千一百五十五。

Starting from this volume, the structure of The Supreme Principles Governing the World changes from "using the 'he' to govern the 'yuan'" to "using the 'yuan' to govern the world": each "yuan" (360 years) becomes the main framework of a chapter, and under each "yuan" there are twelve "shi" (each 30 years). Each year is marked with the heavenly stem and earthly branch, and historical events are linked to the corresponding stem and branch. "Jing Yuan Zhi Jia Yi" indicates that the recorded events are still within the first "yuan"; "Jing Hui Zhi Si Liu" refers to the sixth "hui" of the "si" type; "Jing Yun Zhi Gui Bai Ba Shi" means the 180th "yuan" of the current "yuan," which is also the last "yuan" of the "si" hui, covering the period from 64,441 to 64,800 years of the current "yuan," equivalent to 2577 BCE to 2218 BCE. The "shi" also start numbering continuously from the beginning of the "yuan," with one "yuan" containing 4,320 "shi." In this "yuan," the 2,149th to 2,160th "shi" are included. Among these, the 2,149th "shi" (Zi), 2,150th (Chou), 2,151st (Yin), 2,152nd (Mao), 2,153rd (Chen), 2,154th (Si), and 2,155th (Wu) "shi" correspond to the period from 2577 BCE to 2368 BCE. These seven "shi" only list the name of the "shi" without marking the heavenly stem and earthly branch or recording historical events, because Shao Yong's chronological system officially began with the year when Yao the Great Emperor ascended the throne.

經世之未二千一百五十六。甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰，唐帝堯肇位於平陽，號陶唐氏，命羲和欽若昊天，曆象日月星辰，敬授人時，期三百六旬有六日，以閏月定四時，成歲曰載，建寅月為始。允釐百工，庶績咸熙。乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The 2156th generation belongs to the Yiwei era, spanning from 2367 to 2338 BCE. These thirty years began with the sequence of the Heavenly Stems and Earthly Branches: Jiawu, Yiwei, Bingshen, Dingyou, Wuxu, Jihai, Gengzi, Xinchou, Rennyin, Guimao. There are no notable events recorded during this period. In the year Jiachen, which was 2357 BCE, Emperor Yao of the Tang dynasty established his capital at Pingyang and ascended the throne, founding the state of Taotang. The Chinese chronology from the Huangji Jingshi begins with this year. Yao appointed the Xi and He families to diligently follow the heavenly laws, observing and calculating the movements of the sun, moon, and stars, and announcing the seasons to the people. He set a year at 366 days and used intercalary months to correct the four seasons, aligning the calendar with the natural seasons. At that time, the term 'year' was called 'zai', and the first month of the Xia calendar, which is now the lunar January, was considered the beginning of the year. Yao also thoroughly organized the duties of the officials, and as a result, all government affairs flourished. The following nine years from Yisi to Guichou and the next ten years from Jiayin to Guihai are only listed by their Heavenly Stems and Earthly Branches, with no significant events recorded in historical records.

經世之甲二千一百五十七。甲子，唐帝堯二十一年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

In the 2157th generation, the original title is "Jingshi zhi Jia." According to the order of the twelve earthly branches, this should be the Shen generation, corresponding to the period from 2337 to 2308 BCE. The starting year, Jiazi, is 2337 BCE, which is the 21st year of Tang Yao's reign. The following years from Yichou to Guiyou span nine years, from Jiaxu to Guiwei span ten years, and from Jiashen to Guisi span ten years, all listed year by year with the heavenly stems and earthly branches. During these thirty years, Yao ruled the world in peace and stability, and no historical events are recorded in the table.

經世之酉二千一百五十八。甲午，唐帝堯五十一年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥。壬子，鯀治水，績用弗成。癸丑，帝堯求禪，明明揚側陋，始徵舜登庸。歷試諸難，釐降二女於溈汭，作嬪於虞，以觀法焉。

The 2158th generation belongs to the You era, spanning from 2307 BCE to 2278 BCE. The Jiawu year, 2307 BCE, was the 51st year of the reign of Emperor Yao. The years from Yiwei to Guimao lasted nine years, and from Jiachen to Xinhai lasted eight years, all without significant events. The Renzi year, 2289 BCE, was when Emperor Yao sent Gun to manage the floods. Gun used the method of blocking, but after many years, there was no success. The Guichou year, 2288 BCE, was when Emperor Yao intended to pass on the rule of the world to a virtuous person. He asked his ministers to recommend a person of moral excellence, regardless of their humble origin or low status, so that none would be overlooked. Thus, Yu Shun was first summoned and appointed. Emperor Yao tested Yu Shun in many ways, making him experience various difficult situations. He also married his two daughters, Emperor Huan and Empress Yv, to the area around the bend of the Gui River, so that they could live as wives in Yu Shun's family, thereby observing his methods of managing the household and governing within.

甲寅。乙卯，舜言底可績，帝以德薦於天，而命之位。丙辰，正月上日，舜受命於文祖，用璇璣玉衡，以齊七政，類於上帝，禋於六宗，望于山川，遍於群神，輯五瑞五玉，班於群后。肇十有二州，封十有二山。四時行巡狩，協時月正日，同律度量衡，修五禮象以典刑，流共工於幽州，放驥兜於崇山，竄三苗於三危，殛鯀於羽山。四罪正而天下咸服。丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The year Jiayin, which corresponds to 2287 BCE, had no significant events. In the year Yimao, which was 2286 BCE, Shun reported that all the affairs he was entrusted with were successfully completed. Yu, the emperor, recommended Shun's virtue to heaven and officially appointed him as regent. In the year Bingchen, which was 2285 BCE, on a propitious day in the first lunar month, Shun received his official appointment in the ancestral temple of Yu. He used the astronomical instruments "Xuanji Yuheng" to measure the movements of seven celestial bodies: the sun, moon, and five planets. He performed the "Lai" sacrifice to the heavenly deities, the "Yin" sacrifice to the six ancestral gods, offered sacrifices to the mountains and rivers from afar, and worshipped all the deities. He collected the five sacred jade objects held by the feudal lords and distributed them to the various regions. He divided the land into twelve states and designated a sacred mountain for each state. He traveled the country according to the four seasons, standardizing the calculation of time, months, and days, unifying the musical scale, and setting standards for measurement. He established five types of rituals and depicted punishments as illustrations to serve as warnings. He exiled Gonggong to Youzhou, sent Huan Dou to Chongshan, drove the Sanmiao to Sanwei, and executed Gun for his failure in flood control at Yu Mountain. These four individuals were properly dealt with, and the people across the land were convinced and pleased. From the year Dingsi to Guihai, which spanned seven years from 2284 BCE to 2278 BCE, there were no significant events.

經世之戌二千一百五十九。甲子，虞帝舜九年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉。丙戌，月正元日，舜格於文祖，號有虞氏，都蒲坂。詢四嶽，闢四門，明四目，達四聰。諮十有二牧，命九官。以伯禹為司空，稷司農，契司徒，皋陶司士，垂司工，益司虞，夷司禮，夔典樂，龍司言。此九人使宅百揆，三載考績，黜陟幽明，庶績其凝。丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2159th generation belongs to the Xu era, spanning from 2277 to 2248 BCE. The Jiazi year, 2277 BCE, was the ninth year of Yu Shun's regency. From Yichou to Guiyou, Jiaxu to Guiwei, and Jiashen to Yiyou, a total of twenty-two years were peaceful. In the year Bingxu, which was the first month of 2255 BCE on a propitious day, Shun officially ascended the throne in the ancestral temple of Yao, becoming the Son of Heaven. The state was named "Youyu Shi" and its capital was located at Pusan. He consulted the leaders of the four directions, opened the gates of the four directions to welcome talents, clarified the eyes of the four directions to observe affairs, and listened to the voices of the four directions. He also asked the governors of the twelve states about governance and appointed nine ministers: Bo Yu as the Minister of Works to manage earthworks, water conservancy, and construction, Ji as the Minister of Agriculture to oversee farming, Xi as the Minister of Education to manage moral instruction, Gao Yao as the Minister of Justice to handle legal matters, Chui as the Minister of Industry to supervise artisans, Yi as the Minister of Forestry to manage mountains, rivers, lakes, and marshes, Boyi as the Minister of Rituals, Kui as the Minister of Music, and Long as the Minister of Communication to convey the royal commands. These nine officials occupied the positions of the heads of various government departments. They were assessed every three years. Those who were incompetent were demoted, and those who were virtuous were promoted. Thus, all affairs became stable and successful. From Dinghai to Guisi, a period of seven years, from 2254 to 2248 BCE, was also peaceful.

經世之亥二千一百六十。甲午，虞舜帝三十九年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯。丙辰，帝舜求代，以功薦禹於天，而命之位。丁巳，正月朔旦，禹受命於神宗，正天下水土，分九州九山九川九澤，會於四海，修其六府，咸則三壤，成賦中邦。戊午、己未、庚申、辛酉、壬戌、癸亥。

The second thousand one hundred and sixtieth generation belongs to the亥 (Hai) era, spanning from 2247 to 2218 BCE, and is the final generation of the one hundred and eightieth cycle, ending with the巳 (Si) phase. The Jiawu year, 2247 BCE, was the thirty-ninth year of Yu Shun's reign. From Yiwei to Guimao, Jiachen to Guichou, and Jiayin and Yimao, a total of twenty-two years were peaceful. The Bingchen year, 2225 BCE, saw Shun seeking a successor, and because Da Yu had made great achievements in controlling the floods, he was recommended to heaven and given the position of regent. The Dingsi year, 2224 BCE, on the first day of the first lunar month, Yu received his appointment in the ancestral temple of Shun, known as "Shen Zong." He then began to manage the water and soil of the world, dividing the nine provinces, clearing the nine mountains, opening the nine rivers, and repairing the nine lakes, so that all rivers would flow into the four seas. He also organized the benefits of gold, wood, water, fire, soil, and grain, the "six granaries," and set tax rates according to the quality of the land, divided into upper, middle, and lower grades. Thus, the system of tribute and taxation in the Central Plains was established. From Wuwu to Guihai, six years, from 2223 to 2218 BCE, were peaceful.

觀物篇二十六，以運經世二。經元之甲一，經會之午七。經運之甲一百八十一。經世之子二千一百六十一。甲子，夏王禹八年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申。癸酉，帝舜陟方，乃死。甲戌，禹都安邑，徙居陽翟，大會諸侯於塗山，執玉帛者萬國。防風氏後至，戮焉。乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午。癸未，夏王禹東巡狩，至於會稽，崩。元子啟踐位。甲申，啟與有扈戰於甘之野。乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯。壬辰，夏王啟崩，元子太康踐位。癸巳。

This passage remains within the first great cycle, but the count has advanced from the "巳" cycle to the "经会之午七" cycle, which is the seventh cycle of the "午" cycle. The "午" cycle encompasses the 181st to 210th cycles, and Shao Yong believed that his era was in the middle of the first great cycle. The "经运之甲一百八十一" refers to the 181st cycle of this great cycle, which spans from 2217 BC to 1858 BC. The twelve generations following this cycle begin with the 2161st generation. The first generation, the 2161st, spans from 2217 BC to 2188 BC. The year Jiazi, which is 2217 BC, marks the eighth year of King Yu of Xia's reign. From Yi Chou to Ren Shen, there were eight years of inactivity. The year Gui You, 2208 BC, was when the Emperor Yu of the Yu dynasty died during his southern tour. The year Jia Xu, 2207 BC, was when Yu established his capital at Anyi, later moved to Yangdi, and convened the feudal lords at Tusun, where the tribes bringing jade and silk to pay homage were said to number ten thousand. The Fengfeng clan was late and was executed by Yu. From Yi Hai to Ren Wu, there were eight years of inactivity. The year Gui Wei, 2198 BC, was when King Yu of Xia traveled east for inspection and died at Huiji Mountain, with his eldest son Qi succeeding him. The year Jia Shen, 2197 BC, was when Qi fought the Hu氏 clan at Gan in the outskirts of Gan, which is the battle recorded in the Book of Documents, the "Gan Shi." From Yi You to Xin Mao, there were seven years of inactivity. The year Ren Chen, 2189 BC, was when King Qi of Xia died, and his eldest son Taokang succeeded him. The year Gui Si had no events.

經世之丑二千一百六十二。甲午，夏王太康二年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申。辛酉，夏王太康失邦，盤遊無度，畋於有洛之表，十旬不返。有窮后羿因民不忍距於河而死。子仲康立。壬戌，命胤侯徵羲氏、和氏。癸亥。

The 2162nd generation belongs to the Chou branch, spanning from 2187 BCE to 2158 BCE. The year Jiawu, which was 2187 BCE, was the second year of King Taikang of the Xia dynasty. From Yiwei to Guimao, Jiachen to Guichou, and Jiayin to Gengshen, a total of twenty-seven years were peaceful. The year Xinyou, which was 2160 BCE, marked the loss of the Xia kingdom by King Taikang. He indulged in hunting excessively, fleeing to the south of the Luo River for hunting and did not return to the capital for one hundred days. The leader of the Youqiu clan, Houyi, took advantage of the people's frustration and blocked Taikang's passage across the Yellow River, ultimately leading to Taikang's death outside the country. His son Zhongkang was then established as the ruler, but actual power had already fallen into Houyi's hands. The year Renxu, which was 2159 BCE, saw Zhongkang ordering Yinhou to attack Xi Shi and He Shi, the officials in charge of celestial phenomena, because they indulged in alcohol and neglected the calendar, failing to report solar eclipses. This event is recorded in the Book of Documents, the "Yin Zhi" section. The year Guihai was peaceful.

經世之寅二千一百六十三。甲子，夏王仲康三年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌，夏王仲康崩，子相繼立，依同姓諸侯斟灌、斟鄩氏。乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2163rd generation belongs to the Year of Yin, spanning from 2157 BCE to 2128 BCE. The Year of Jiazi, which was 2157 BCE, marks the third year of King Zhongkang of the Xia dynasty. From the Year of Yichou to the Year of Guiyou, there were nine years with no recorded events. The Year of Jiaxu, which was 2147 BCE, saw the death of King Zhongkang of Xia, and his son Jie succeeded him. At this time, Houyi held power, and Jie could not remain in the capital, so he had to rely on his fellow clan, the Zhengguan and Zhengxun clans, and reside with them. From the Year of Yihai to the Year of Guiwei, and from the Year of Jiashen to the Year of Guisi, there were twenty years during which only the heavenly stems and earthly branches were recorded, with no historical events. During this period, the Xia dynasty was in a low point, with the Qiong clan seizing power and the royal lineage declining.

經世之卯二千一百六十四。甲午，夏王相二十年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑。壬寅，寒浞殺有窮后羿，使子澆及殪伐斟灌、斟鄩氏，以滅相。相之臣靡逃於有鬲氏，相之後還於有仍氏，遂生少康。癸卯、甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The 2164th generation belongs to the Mao era, which corresponds to the period from 2127 BCE to 2098 BCE. The Jiawu year, 2127 BCE, was the twentieth year of King Xiang of the Xia dynasty. From Yiwei to Xinchou, there were seven years of inactivity. The Renyin year, 2119 BCE, saw Hanzhuo, a loyal follower of Houyi, kill the leader of the Youqiong clan, Houyi, and seize his position. He then sent his sons Jiao and Yi to attack the Zhen Guan and Zhen Xun clans separately, eventually eliminating King Xiang of Xia who had taken refuge there. Xiang's former minister Mi fled to the Youge clan for safety, while Xiang's queen, the daughter of the Yuren clan, returned to her maternal home in the Yuren clan, where she gave birth to her unborn son Shao Kang. This preserved the remaining lineage of the Xia dynasty. From Guimao to Guichou, there were eleven years of inactivity, and from Jiayin to Guihai, there were ten years of inactivity.

經世之辰二千一百六十五。甲子，夏王少康生二十三年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳。壬午，夏之遺臣靡自有鬲氏收斟灌鄩二國之燼，以滅寒浞，而立少康。少康立，滅澆於過，滅殪於戈，以絕有窮氏之族。癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2165th generation belongs to the Chen era, spanning from 2097 BCE to 2068 BCE. The Jiazi year was 2097 BCE, the year when Xia King Shao Kang was already twenty-three years old. At that time, the throne was still occupied by Han Zhuo, so the record does not mention the years of his reign but instead states "he was twenty-three years old." From Yichou to Guiyou and from Jiaxu to Xinsi, a total of seventeen years, there were no significant events. The Renwu year was 2079 BCE, when the loyal minister Mi of the Xia dynasty, starting from Youge, gathered the remaining forces of the states of Zhen Guan and Zhen Xun, and defeated Han Zhuo in one campaign, establishing Shao Kang as king. After Shao Kang's ascension, he eliminated Han Zhuo's son Jiao in the place of Guo, and his son Yi in the place of Ge, completely removing the Yuqiong clan. This period is known as the "Shao Kang Revival," and the legitimate lineage of the Xia dynasty was thus restored. The Guiwei year and the ten years from Jiashen to Guisi had no significant events.

經世之巳二千一百六十六。甲午，夏王少康五十三年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅。癸卯，夏王少康崩，子杼踐位。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未。庚申，夏王杼崩，子槐踐位。辛酉、壬戌、癸亥。

The 2166th generation belongs to the Si era, spanning from 2067 BCE to 2038 BCE. The Jiawu year, 2067 BCE, was the 53rd year after the birth of Xia King Shao Kang. The years Yiwei to Renyin lasted eight years with no significant events. The Guimao year, 2058 BCE, saw the death of Xia King Shao Kang, and his son Zhu succeeded him. Zhu invented armor and launched military campaigns against the Eastern夷, making him a capable ruler of the Xia dynasty. The years Jiachen to Guichou lasted ten years, and Jiayin to Jiwei lasted six years with no significant events. The Gengshen year, 2041 BCE, marked the death of Xia King Zhu, and his son Huai succeeded him. The years Xinyou, Renxu, and Guihai lasted three years with no significant events.

經世之午二千一百六十七。甲子，夏王槐四年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉。丙戌，夏王槐崩，子芒踐位。丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2167th generation belongs to the Wu era, spanning from 2037 BCE to 2008 BCE. The Jiazi year, 2037 BCE, was the fourth year of King Hui of Xia. From Yichou to Guiyou, Jiaxu to Guiwei, and Jiashen and Yiyou, a total of twenty-two years were peaceful. The Bingxu year, 2015 BCE, marked the death of King Hui of Xia, and his son Mang succeeded him. From Dinghai to Guisi, seven years were peaceful. During this era, the Xia dynasty was stable, with no major events except for the succession of the throne. This shows that Shao Yong's chronology only recorded significant events concerning the rise and fall of the dynasty.

經世之未二千一百六十八。甲午，夏王芒八年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰，夏王芒崩，子洩踐位。乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未。庚申，夏王洩崩，子不降踐位。辛酉、壬戊、癸亥。

The 2168th generation belongs to the Jiwei era, spanning from 2007 BCE to 1978 BCE. The year Jiawu, 2007 BCE, was the eighth year of King Mang of Xia. From Yiwei to Guimao, a period of nine years, there was nothing significant. The year Jiachen, 1997 BCE, was the year King Mang of Xia died, and his son Xie succeeded him. From Yisi to Guichou, nine years, and from Jiayin to Jiwei, six years, there was nothing significant. The year Gengshen, 1981 BCE, was the year King Xie of Xia died, and his son Bujiang succeeded him. The last three years were originally recorded as 'Xinyou, Renwu, Guihai', among which 'Renwu' is likely a clerical error for 'Renxu'. These three years had nothing significant.

經世之申二千一百六十九。甲子，夏王不降四年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經世之酉二千一百七十。甲午，夏王不降三十四年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午。己未，夏王不降崩，弟扃立。庚申、辛酉、壬戌、癸亥。

The 2169th generation belongs to the Shen (Monkey) era, spanning from 1977 BC to 1948 BC. The first year, Jiazi, which was 1977 BC, was the fourth year of King Buchang's reign. The following nine years from Yichou to Guiyou, ten years from Jiaxu to Guiwei, and ten years from Jiashen to Guisi, making thirty years in total, had a well-ordered sequence of heavenly stems and earthly branches, yet no historical events are recorded, making it the most peaceful period of the middle Xia dynasty. The next 2170th generation belongs to the You (Rooster) era, spanning from 1947 BC to 1918 BC. The year Jiawu, which was 1947 BC, was the 34th year of King Buchang's reign. The following nine years from Yiwei to Guimao, ten years from Jiachen to Guichou, and five years from Jiayin to Wuwu, totaling twenty-five years, were also peaceful. The year Jiwei, which was 1922 BC, marked the death of King Buchang, who reigned for fifty-nine years, the longest reign of any Xia king. He did not pass the throne to his son Kongjia, but instead passed it to his brother Hong, an unusual case of brother succeeding brother in the Xia dynasty. The years Gengshen to Guihai, four years in total, were also peaceful.

經世之戌二千一百七十一。甲子，夏王扃五年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯。庚辰，夏王扃崩，子廑踐位。辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2171st generation belongs to the Xu era, spanning from 1917 BCE to 1888 BCE. The Jiazi year, 1917 BCE, was the fifth year of King Hong of Xia. From Yichou to Guiyou, and from Jiaxu to Jimao, a total of fifteen years had no significant events. The Gengchen year, 1901 BCE, marked the death of King Hong of Xia, and his son Jin succeeded him. From Xinsi to Guiwei, three years had no significant events, and from Jiashen to Guisi, ten years had no significant events. This generation also records only one change of kingship, indicating that since the middle of the Xia Dynasty's Shaoke revival, the Xia Dynasty has experienced a long period of maintaining the established order across several generations.

經世之亥二千一百七十二。甲午，夏王廑十四年。乙未、丙申、丁酉、戊戌、己亥、庚子。辛丑，夏王廑崩，不降子孔甲立。壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戊、癸亥。

The second thousand one hundred and seventy-second generation belongs to the Hai era, spanning from 1887 BC to 1858 BC, which is the last generation of the 181st cycle. The year Jiawu, 1887 BC, was the fourteenth year of King Jǐn of Xia. From Yiwei to Gengzi, a period of six years, there was nothing significant. The year Xinchou, 1880 BC, marked the death of King Jǐn of Xia, and the throne returned to the branch of Bujiang, with his son Kongjia ascending the throne. Kongjia had a fondness for ghosts and spirits and enjoyed licentiousness, and the decline of the Xia dynasty began with him. The years Renyin and Guimao, followed by Jiachen to Guichou over ten years, and Jiayin to Guihai over another ten years, all had no significant events. The term 'Renwu' in the final section is still a homonym error for 'Renxu'. By this point, the 360 years of the 181st cycle were completed.

觀物篇二十七，以運經世三。經元之甲一，經會之午七。經運之乙一百八十二。經世之子二千一百七十三。甲子，夏王孔甲二十三年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未。壬申，夏王孔甲崩，子皋踐位。癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午。癸未，夏王皋崩，子發踐位。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

This passage remains within the first yuan Jia yuan and the seventh combination Wu combination. "The ying yun of Yi 182" refers to the 182nd yun of this yuan, which spans from 1857 BC to 1498 BC, covering the 2173rd to 2184th generations. The 2173rd generation, corresponding to the Zi generation, spans from 1857 BC to 1828 BC. The Jiazi year, 1857 BC, marks the 23rd year of King Kongjia of Xia. From Yi Chou to Xin Wei, a period of seven years, there were no significant events. The Renshen year, 1849 BC, marks the death of King Kongjia of Xia, and his son Gao succeeded him. The Guiyou year and the period from Jiaxu to Renwu, spanning nine years, had no significant events. The Guiwei year, 1838 BC, marks the death of King Gao of Xia, and his son Fa succeeded him. From Jiashen to Guisi, a period of ten years, had no significant events. During this generation, the Xia dynasty changed rulers three times, which was the prelude to its decline.

經世之丑二千一百七十四。甲午，夏王發十一年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑。壬寅，夏王發崩，子癸踐位，是謂之桀。癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The 2174th generation belongs to the Chou branch, spanning from 1827 BCE to 1798 BCE. The year Jiawu, which corresponds to 1827 BCE, was the 11th year of King Fa of Xia. From Yiwei to Xinchou, which spans seven years, there were no significant events. The year Renyin, corresponding to 1819 BCE, marked the death of King Fa of Xia, and his son Gui succeeded to the throne, becoming the infamous tyrant King Jie of Xia. During the year Guimao, and from Jiachen to Guichou, which spans ten years, and from Jiayin to Guihai, which also spans ten years, there were no notable events. The four hundred and forty-year reign of the Xia dynasty began its final fifty years from this point.

經世之寅二千一百七十五。甲子，夏王癸二十二年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌。乙亥，始嬖妹喜。丙子。丁丑，成湯即諸侯位，自商丘徙至亳，始用伊尹。戊寅，成湯徵葛。己卯，成湯薦伊尹於夏王。庚辰、辛巳。壬午，伊尹丑夏，復歸於亳。癸未。甲申，桀囚成湯於夏臺。乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2175th generation belongs to the Year of the Tiger, spanning from 1797 BC to 1768 BC. The year Jiazi, 1797 BC, was the 22nd year of King Gou of Xia, also known as King Jie. From Yichou to Jiaxu, there were ten years of peace. In the year Yihai, 1786 BC, Jie began to favor his concubine Miao Xi, and thus began his tyrannical rule. In the year Dingchou, 1784 BC, King Tang of Shang succeeded as the leader of the states, moved the capital from Shangqiu to Bo, and began to appoint Yi Yin as his chief minister. In the year Wuyin, 1783 BC, King Tang attacked the neighboring state Gebo, which was the first battle of the Shang against the remnants of the Xia. In the year Jimao, 1782 BC, King Tang recommended Yi Yin to King Jie, hoping to correct the governance of Xia. In the year Renwu, 1779 BC, Yi Yin believed that the Xia dynasty was beyond salvation and felt ashamed, so he returned to the capital Bo to assist King Tang. In the year Jiashen, 1777 BC, King Jie imprisoned King Tang in Xitai, but later released him, and the conflict between Shang and Xia had become a matter of life and death. From Yiyou to Guisi, there were nine years of peace.

經世之卯二千一百七十六。甲午，夏王癸五十二年。乙未，伊尹相成湯，伐桀。升自陑遂與桀戰於鳴條之野，桀敗走三朡。遂伐三朡，俘厥寶玉，放桀於南巢。還至大垧，仲虺作《誥》，歸至亳，乃大誥萬方，南面朝諸侯，建國曰商，以丑月為歲，始曰祀，與民更始。丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午。丁未，商王成湯崩，元子太甲踐位，不明，伊尹放之桐宮。戊申、己酉。庚戌，商王太甲思庸，伊尹冕服奉嗣王於亳，返政。辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The 2176th generation belongs to the卯 (Mao) era, spanning from 1767 BC to 1738 BC, which was the era when the Xia and Shang dynasties changed. The year Jiawu (甲午) was 1767 BC, the 52nd year of King Jie of Xia. The year Yiwei (乙未) was 1766 BC, when Yi Yin assisted King Tang of Shang in launching a military campaign against Jie. The army crossed the river from the place called Erdi, and fought Jie on the plains of Mingtiao. Jie was defeated and fled to Sanzhong. The Shang army then captured Sanzhong, seized its precious jade, and finally exiled Jie to Nanchao. On their return to Dashiang, Minister Zhonghui wrote the "Zhonghui's Mandate" to explain the justification for the campaign to King Tang. Upon returning to Bo, King Tang announced a great decree to the world, facing south to receive the homage of the feudal lords, and established the state name as "Shang." He changed the beginning of the year to the Chou month, which is now the twelfth lunar month, and renamed "year" as "si" (祀), renewing the customs with the people. From丙申 (Bingshen) to癸卯 (Guimao), and from甲辰 (Jiachen) to丙午 (Bingwu), there were ten years of peace. The year Dingwei (丁未) was 1754 BC, when King Tang of Shang died, and his grandson Taijia succeeded to the throne. Due to his confusion and disorder, he was exiled by Yi Yin to the Tong Palace near King Tang's tomb for self-reflection. The year Gengxu (庚戌) was 1751 BC, when Taijia repented and thought of the constant Dao. Yi Yin prepared the ceremonial robe and crown, and brought the king back to Bo, restoring the power. From Xinhai (Xinhai) to Guichou (Guichou), and from Jiayin (Jiayin) to Guihai (Guihai), there were thirteen years of peace.

經世之辰二千一百七十七。甲子，商王太甲十七年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯。庚辰，商王太甲崩，子沃丁踐位。辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2177th generation belongs to the Chen era, spanning from 1737 BCE to 1708 BCE. The Jiazi year, 1737 BCE, was the 17th year of King Taijia of Shang. From Yichou to Guiyou and from Jiaxu to Jimao, a total of fifteen years were peaceful. The Gengchen year, 1721 BCE, marked the death of King Taijia of Shang, and his son Woding succeeded to the throne. From Xinsi to Guiwei, three years were peaceful, and from Jiashen to Guisi, ten years were peaceful. After King Taijia's repentance at the Tonggong, he finally became a capable ruler, and the Shang dynasty entered its most stable period since its establishment.

經世之巳二千一百七十八。甲午，商王沃丁十四年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申。己酉，商王沃丁崩，弟太庚立。庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The 2178th generation belongs to the Si era, spanning from 1707 BCE to 1678 BCE. The Jiawu year, 1707 BCE, was the 14th year of King Wu Ding of Shang. From Yiwei to Guimao and from Jiachen to Wushen, a total of fourteen years were peaceful. The Jiyou year, 1692 BCE, marked the death of King Wu Ding of Shang, and his brother Tai Geng succeeded him. The Shang dynasty throne often passed among brothers, and this practice of "brother succeeding brother" became the source of frequent internal power struggles and rebellions later on. From Gengxu to Guichou, four years were peaceful, and from Jiayin to Guihai, ten years were also peaceful.

經世之午二千一百七十九。甲子，商王太庚十五年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌，商王太庚崩，子小甲踐位。乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅。辛卯，商王小甲崩，弟雍己立。壬辰、癸巳。

The 2179th generation belongs to the Wu era, which spans from 1677 BCE to 1648 BCE. The Jiazi year, 1677 BCE, marks the fifteenth year of King Tai Geng of Shang. From Yichou to Guiyou, a period of nine years, there were no significant events. The Jiaxu year, 1667 BCE, saw the death of King Tai Geng, and his son Xiao Jia succeeded him. From Yihai to Guiwei, and from Jia Shen to Geng Yin, a total of sixteen years passed without notable events. The Xin Mao year, 1650 BCE, marked the death of King Xiao Jia, and his brother Yong Ji took the throne. The Ren Chen and Gui Si years had no significant events. From Xiao Jia and Yong Ji onwards, the Shang dynasty began to decline, and the tribute from the feudal lords was not as abundant as before.

經世之未二千一百八十。甲午，商王雍己三年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅。癸卯，商王雍己崩，弟太戊立，是謂中宗。伊陟臣扈，格於上帝。巫咸乂王家，大修成湯之政。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The second thousand one hundred and eighty world belongs to the Wei era, spanning from 1647 BC to 1618 BC. The Jiawu year, 1647 BC, was the third year of King Youji of Shang's reign. From Yiwei to RENYIN, there were eight years of peace. The Guimao year, 1638 BC, saw the death of King Youji, and his brother Taowu succeeded him, with the temple name "Zhongzong." Taowu appointed the virtuous ministers Yizhe and Chenhu, whose virtue could communicate with the heavenly deities; he also employed Wu Xian to govern the royal household and thoroughly restored the policies of the time of Chengtang. Through this reform, the declining Shang dynasty was revived, and this period is known as the Zhongzong revival. From Jiachen to Guichou, there were ten years of peace, and from Jiayin to Guihai, another ten years of peace.

經世之申二千一百八十一。甲子，商王太戊二十一年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經世之酉二千一百八十二。甲午，商王太戊五十一年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳。戊午，商王中宗崩，子仲丁踐位，遷於囂。己未、庚申、辛酉、壬戌、癸亥。

The 2181st dynasty belongs to the Shen (Metal) era, spanning from 1617 BCE to 1588 BCE. The initial Jiazi year, 1617 BCE, marks the 21st year of King Taiwu of Shang's reign. The following nine years from Yichou to Guiyou, ten years from Jiaxu to Guiwei, and ten years from Jiashen to Guisi, totaling thirty years, are fully filled with the stem-branch calendar, yet no historical events are recorded. This reflects the peace and stability of Taiwu's reign under the assistance of Yi Zhi and Wu Xian. The 2182nd dynasty belongs to the You (Metal) era, spanning from 1587 BCE to 1558 BCE. The Jiawu year, 1587 BCE, marks the 51st year of Taiwu's reign. The following nine years from Yiwei to Guimao, ten years from Jiachen to Guichou, and four years from Jiayin to Dingsi, totaling twenty-four years, also have no recorded events. The Wuwu year, 1563 BCE, marks the death of Taiwu, who reigned for seventy-five years, the longest reign in the Shang dynasty. His son Zhongding succeeded him and moved the capital from Bo to Xiao. This was the first recorded relocation of the capital during the early Shang dynasty, which frequently moved due to river floods and internal conflicts. The following five years from Jiwei to Guihai had no recorded events.

經世之戌二千一百八十三。甲子，商王仲丁六年。乙丑、丙寅、丁卯、戊辰、己巳、庚午。辛未，商王仲丁崩，國亂，弟外壬立。壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉。丙戌，商王外壬崩，國復亂。弟河亶甲立，徙居相。丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2183rd generation belongs to the戌 (Xu) era, spanning from 1557 BCE to 1528 BCE. The year Jiazi (甲子) was 1557 BCE, the sixth year of King Zhongding of the Shang dynasty. From Yichou (乙丑) to Gengwu (庚午) over six years there were no significant events. In the year Xinwei (辛未), which was 1550 BCE, King Zhongding died, and the country experienced great turmoil due to a succession struggle, with his younger brother Waini (外壬) ascending the throne. During the years Renshen (壬申) and Guiyou (癸酉), and from Jiaxu (甲戌) to Guiwei (癸未) over ten years, there were no major events. In the year Bingxu (丙戌), which was 1535 BCE, King Waini died, and the country again experienced turmoil, with his younger brother Hedanji (河亶甲) ascending the throne and moving the capital to Xiang (相). From King Zhongding onwards, within nine generations, the throne was frequently contested and the capital was frequently relocated, leading to the decline of the Shang dynasty. This is what the "Records of the Grand Historian" (史记) refers to as the "Nine Generations of Chaos" (九世之乱). From Dinghai (丁亥) to Guisi (癸巳) over seven years there were no significant events.

經世之亥二千一百八十四。甲午，商王河亶甲八年。乙未，商王河亶甲崩，子祖乙踐位，圯於耿，徙居邢，巫賢為相。丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The 2184th generation belongs to the Hai generation, spanning from 1527 BCE to 1498 BCE, which is the final generation of the 182nd cycle. The year Jiawu, 1527 BCE, was the eighth year of King He Danjia of the Shang dynasty. The year Yiwei, 1526 BCE, was when King He Danjia died and his son Zuyi succeeded him. Zuyi first moved the capital to Geng, but due to flooding from the river destroying the city, he moved again to Xing. He appointed Wu Xian's son Wu Xian as his prime minister. With the assistance of this capable minister, Zuyi restored the state's governance, and the Shang dynasty experienced a brief revival. From Bingshen to Guimao, Jiachen to Guichou, Jiayin to Guihai, a total of 28 years were peaceful. By this time, the 182nd cycle's 360 years were fully accounted for.

觀物篇二十八，以運經世四。經元之甲一，經會之午七。經運之丙一百八十三。經世之子二千一百八十五。甲子，商王祖辛十年。乙丑、丙寅、丁卯、戊辰、己巳。庚午，商王祖辛崩，弟沃甲立。辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

This passage remains within the first yuan Jia yuan and the seventh combination Wu combination. "The 183rd movement of the Jia movement" refers to the 183rd movement of this yuan, which spans from 1497 BC to 1138 BC, covering the 2185th to the 2196th generations. The entire late Shang Dynasty is included in this movement. The 2185th generation, corresponding to the Zi era, spans from 1497 BC to 1468 BC. The Jiazi year, 1497 BC, marks the tenth year of King Zu Xin's reign. Zu Xin was the son of Zu Yi, and his ascension to the throne was not recorded at the end of the previous generation in this table. From the Yi Chou year to the Ji Si year, there were five years with no significant events. The Geng Wu year, 1491 BC, marks the death of King Zu Xin, and his brother Wu Jia succeeded him. From the Xin Wei year to the Gui You year, there were three years with no significant events. From the Jia Xu year to the Gui Wei year, there were ten years with no significant events. From the Jia Shen year to the Gui Si year, there were ten years with no significant events.

經世之丑二千一百八十六。甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經世之寅二千一百八十七。甲子，商王祖丁二十九年。乙丑、丙寅。丁卯，商王祖丁崩，國亂。沃甲之子南庚立。戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰。癸巳，商王南庚崩，國亂。祖丁之子陽甲立，諸侯不朝。

The 2186th dynasty belongs to the Chou era, spanning from 1467 to 1438 BCE; this dynasty, from Jiawu to Guihai over thirty years, only lists the heavenly stems and earthly branches, without mentioning the king's name, making it the most blank entry in this table. The following 2187th dynasty belongs to the Yin era, spanning from 1437 to 1408 BCE. The year Jiazi, 1437 BCE, was the 29th year of King Zuding of Shang; Zuding was the son of Zuxin and succeeded the throne after Woji. The years Yichou and Bingyin had no significant events. The year Dingmao, 1434 BCE, was when King Zuding died, causing internal chaos over the succession, and finally Nan Geng, the son of Woji, ascended the throne. From Wuchen to Guiwei, Jiaxu to Guiwei, and Jiashen to Renchen, totaling twenty-five years, had no significant events. The year Guisi, 1408 BCE, was when King Nan Geng died, causing another internal turmoil, and finally Yang Jia, the son of Zuding, ascended the throne; at this time, the royal authority had greatly declined, and the feudal lords no longer came to pay homage.

經世之卯二千一百八十八。甲午，商王陽甲二年。乙未、丙申、丁酉、戊戌。己亥，商王陽甲崩，弟盤庚立，復歸於亳，改號曰殷。庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The 2188th generation belongs to the卯 (Mao) era, spanning from 1407 BCE to 1378 BCE. The year Jiawu (甲午) was 1407 BCE, the second year of King Yangjia of Shang. From Yiwei (乙未) to Wuxu (戊戌), which is four years, there were no events. The year Jihai (己亥), 1402 BCE, was when King Yangjia died and his younger brother Banggeng succeeded him. Despite opposition from the nobles, Banggeng led the people to migrate south across the river and returned to the old capital of Chengtang, Bo, and changed the state name to "Yin." The three chapters of the "Pan Geng" in the Book of Documents were the announcements he made to his subjects when he moved the capital. From then on, the capital of Yin remained unchanged for over two hundred seventy years, and the Shang dynasty transitioned from decline to prosperity. From Gengzi (庚子) to Guimao (癸卯), from Jiachen (甲辰) to Guichou (癸丑), and from Jiayin (甲寅) to Guihai (癸亥), there were twenty-four years with no events.

經世之辰二千一百八十九。甲子，商王盤庚二十五年。乙丑、丙寅。丁卯，商王盤庚崩，弟小辛立。戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥。戊子，商王小辛崩，弟小乙立。己丑、庚寅、辛卯、壬辰、癸巳。

The 2189th generation belongs to the Chen era, spanning from 1377 BCE to 1348 BCE. The Jiazi year, 1377 BCE, was the 25th year of King Pan Geng's reign. The years Yichou and Bingyin had no significant events. The Dingmao year, 1374 BCE, saw the death of King Pan Geng, and his brother Xiao Xin succeeded him. Xiao Xin was of average ability, and the people of Yin began to miss the achievements of King Pan Geng again. From Wuchen to Guiyou, and from Jiaxu to Guiwei, and from Jiashen to Dinghai, a total of twenty years had no significant events. The Wuzi year, 1353 BCE, marked the death of King Xiao Xin, and his brother Xiao Yi succeeded him. From Jichou to Guisi, five years had no significant events.

經世之巳二千一百九十。甲午，商王小乙六年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯。丙辰，商王小乙崩，子武丁踐位，是謂高宗。甘盤為相，以夢求傅說，得之於傅巖。丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。

The 2190th generation belongs to the Si era, spanning from 1347 BCE to 1318 BCE. The year Jiawu, which was 1347 BCE, was the sixth year of King Xiao Yi's reign. From Yiwei to Guimao, from Jiachen to Guichou, and from Jiayin to Yimao, a total of twenty-two years were peaceful. The year Bingchen, which was 1325 BCE, marked the death of King Xiao Yi, and his son Wu Ding succeeded him, with the temple name "Gaozong." Wu Ding appointed his old teacher Gan Pan as prime minister. He also dreamed that heaven had bestowed upon him a virtuous minister, so he searched for someone resembling the dream's description. Eventually, he found a slave who was building a wall in Fu Rock and appointed him as prime minister. Because he was discovered in Fu Rock, he was given the surname Fu, known as Fu Yue. Under Fu Yue's assistance, Wu Ding governed the world well, known as the "Wu Ding Revival," which was the most prosperous period of the Shang dynasty. From Dingsi to Guihai, seven years were peaceful.

經世之午二千一百九十一。甲子，商王武丁八年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。經世之未二千一百九十二。甲午，商王武丁三十八年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅。乙卯，商王高宗崩，弟祖庚立。丙辰、丁巳、戊午、己未、庚申、辛酉。壬戌，商王祖庚崩，弟祖甲立。癸亥。

The 2191st dynasty belongs to the Wu era, spanning from 1317 BCE to 1288 BCE. The Jiazi year, 1317 BCE, was the eighth year of King Wu Ding of Shang's reign. This era lasted thirty years with no recorded events, reflecting the prosperous and peaceful period of Wu Ding's rule. The following 2192nd dynasty belongs to the Wei era, spanning from 1287 BCE to 1258 BCE. The Jiawu year, 1287 BCE, was the thirty-eighth year of Wu Ding's reign. From Yiwei to Guimao, Jiachen to Guichou, and Jiayin, a total of twenty-one years had no events. The Yimao year, 1266 BCE, marked the death of King Wu Ding, who reigned for about fifty-nine years, succeeded by his brother Zuge. According to the "Records of the Grand Historian," Zuge was Wu Ding's son, but this table refers to him as his brother, indicating a difference between the source's genealogy and the "Records of the Grand Historian." The Renxu year, 1259 BCE, marked the death of King Zuge, succeeded by Zujia. The Guihai year had no recorded events.

經世之申二千一百九十三。甲子，商王祖甲二年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰。癸巳，周文王生。

The 2193rd generation belongs to the Shen (申) era, spanning from 1257 to 1228 BCE. The Jiazi (甲子) year, 1257 BCE, was the second year of King Zujia of the Shang dynasty. From Yichou (乙丑) to Guiyou (癸酉), Jiaxu (甲戌) to Guiwei (癸未), and Jiashen (甲申) to Renchen (壬辰), a total of twenty-eight years were peaceful. The GuiSi (癸巳) year, 1228 BCE, was the birth year of King Wen of the Zhou dynasty, Ji Chang. At this time, the Zhou people were merely a state in the Wei River basin. However, this record deliberately places King Wen's birth year within the chronology of Shang kings, indicating that the seeds of the Zhou replacing the Shang had already been sown. According to later records, King Wen became a feudal lord in 1182 BCE and died in 1132 BCE, living to be ninety-seven years old.

經世之酉二千一百九十四。甲午，商王祖甲三十二年。乙未，商王祖甲崩，子廩辛踐位。丙申、丁酉、戊戌、己亥、庚子。辛丑，商王廩辛崩，弟庚丁立。壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉。壬戌，商王庚丁崩，子武乙踐位，徙居河北。癸亥。

The 2194th generation belongs to the You era, spanning from 1227 BCE to 1198 BCE. The year Jiawu, 1227 BCE, was the 32nd year of King Zujia of Shang. The year Yiwei, 1226 BCE, was the year King Zujia died and his son Linshen succeeded him. From Bingshen to Gengzi, a span of five years, there were no significant events. The year Xinchou, 1220 BCE, was the year King Linshen died and his brother Gengding succeeded him. During the years Rennyin and Guimao, and from Jiachen to Guichou, a span of ten years, and from Jiayin to Xinyou, a span of eight years, there were no significant events. The year Renxu, 1199 BCE, was the year King Gengding died and his son Wuyi succeeded him, and the capital was moved north of the Yellow River. The year Guihai, 1198 BCE, had no significant events. After King Zujia, successive kings had short reigns and the Shang dynasty declined once more.

經世之戌二千一百九十五。甲子，商王武乙二年。乙丑。丙寅，商王武乙震死，子太丁立。丁卯、戊辰。己巳，商王太丁崩，子帝乙踐位。庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅。己卯，周文王始即諸侯位。庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2195th generation belongs to the Xū period, spanning from 1197 BCE to 1168 BCE. The year Jiazi, which was 1197 BCE, was the second year of King Wuyi of the Shang dynasty. The year Yichou had no significant events. The year Bingyin, which was 1195 BCE, saw King Wuyi die from being struck by lightning; according to the Records of the Grand Historian, Wuyi had made wooden idols called "Heavenly Spirits" to play with, and had also filled a leather bag with blood and hung it high to shoot at it, calling it "Shooting the Heaven." Later, while hunting between the Yellow River and Wei River, he was struck by lightning and died. The ancients regarded this as divine punishment for defying heaven. His son Taoding succeeded him. The years Dingmao and Wuchen had no significant events. The year Jisi, which was 1192 BCE, saw King Taoding die, and his son King Yibei succeeded him. From Gengwu to Guiyou and from Jiaxu to Wuyin, a total of nine years had no significant events. The year Jimao, which was 1182 BCE, marked the beginning of King Wen of Zhou taking over the position of Western Duke, officially becoming the leader of a regional lord. From Gengchen to Guiwei, four years had no significant events, and from Jiashen to Guisi, ten years had no significant events.

經世之亥二千一百九十六。甲午，商王帝乙二十五年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳。丙午，商王帝乙崩，次子受辛立，是謂之紂。丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅，始嬖妲己。乙卯、丙辰、丁巳、戊午、己未、庚申。辛酉，商囚文王於羑里。壬戌。癸亥，商王紂放文王歸於國，錫命為西方諸侯伯。

The second thousand one hundred and ninety-sixth generation belongs to the亥 generation, spanning from 1167 BCE to 1138 BCE, which is the last generation of the 183rd cycle. The year Jiawu, which was 1167 BCE, was the twenty-fifth year of King Di Yi of the Shang dynasty. From Yiwei to Guimao and Jiachen to Yisi, a total of eleven years were peaceful. The year Bingwu, which was 1155 BCE, marked the death of King Di Yi of Shang, and his second son, Shouxin, succeeded him, becoming King Zhou of Shang in history. From Dingwei to Guichou, seven years were peaceful. The year Jiayin, which was 1147 BCE, saw King Zhou begin to favor Daji, and the policies of wine pools and meat forests started at this time. From Yimao to Gengshen, six years were peaceful. The year Xinyou, which was 1140 BCE, saw King Zhou imprison King Wen of Zhou in Youli. It is said that King Wen compiled the eight trigrams into sixty-four trigrams while in prison, and the hexagram statements of the Zhou Changes were formed at this time. The year Guihai, which was 1138 BCE, saw King Zhou release King Wen and send him back to his country, granting him bows and arrows and axes, and appointing him as the leader of the western feudal lords, known as the "Western Duke." At this point, the 360 years of the 183rd cycle were completed.

皇極經世書卷五下。觀物篇二十九，以運經世五。經元之甲一，經會之午七。經運之丁一百八十四。經世之子二千一百九十七。甲子，商王受辛十八年，西伯伐崇，自岐徙居豐。乙丑，周西伯伐密須。丙寅，周西伯戡黎。丁卯，周西伯伐邘。戊辰。

Volume Five, Part Two continues with the method of "using the cycle to govern the world." "The 184th cycle of the heavenly stem and earthly branch" is the first 184th cycle of the original cycle, spanning from 1137 BCE to 778 BCE, covering the 2197th to the 228th generations; the fall of the Shang dynasty and the entire Western Zhou dynasty are included in this cycle. The 2197th generation corresponds to the period from 1137 BCE to 1108 BCE. The year Jiazi, which is 1137 BCE, was the eighteenth year of King Zhou of Shang, who was known as Shang Jia. In this year, King Wen of Zhou, the Western Duke, attacked the state of Chou Hou Hu, and later moved the capital from below Mount Qi to Feng. The year Yichou, which is 1136 BCE, saw King Wen of Zhou attack the state of Misi. The year Bingyin, which is 1135 BCE, saw King Wen of Zhou conquer the state of Li, and his forces approached the capital of Yin, causing fear among the Shang people. The event is recorded in the Book of Documents, "King Wen of Zhou Conquers Li." The year Dingmao, which is 1134 BCE, saw King Wen of Zhou attack the state of Yu. The year Wuchen, which is 1133 BCE, had no significant events. By this time, the situation for the Zhou people to overthrow the Shang had already taken shape.

己巳，周文王沒，元子發踐位，是謂武王。葬文王於畢。庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子。丁丑，周武王東觀兵於孟津。戊寅，商王紂殺太師比干，囚箕子，微子以祭器奔周。己卯，呂尚相武王，伐商，師逾孟津，大陳兵於商郊，敗之於牧野，殺紂，立其子武庚為後，還師。在豐踐天子位，南面朝諸侯，大誥天下，以子月為歲，始曰年，與民更始。庚辰，命管叔、蔡叔、霍叔守邶、墉、衛之三邑，謂之三監。辛巳、壬午、癸未。甲申。

The year Jisi (己巳) was 1132 BCE, when King Wen of Zhou died at the age of ninety-seven. His eldest son Ji Fa succeeded him and became King Wu of Zhou. King Wen was buried in Bi Original. From Gengwu (庚午) to Guiyou (癸酉), and from Jiaxu (甲戌) to Bingzi (丙子), there were seven years of peace. In the year Dingchou (丁丑), which was 1124 BCE, King Wu traveled east to Mengjin to gather the feudal lords and inspect his army, testing the support of the people, an event known as "Mengjin military review." In the year Wuyin (戊寅), which was 1123 BCE, King Zhou Shang killed the Grand Tutor Bi Gan, imprisoned Ji Zi, and Wei Zi fled with the ancestral temple vessels to the Zhou state, leading to the complete collapse of the Shang dynasty. In the year Jimao (己卯), which was 1122 BCE, Lü Shang (Jiang Taigong) assisted King Wu in raising an army to attack the Shang. The army crossed Mengjin and formed an array near the capital of Shang, defeating the Shang army at Muyi, killing King Zhou, and establishing Zhou's son Wugeng as the successor of Yin to honor the former kings. Then King Wu returned to his capital. King Wu established his rule in Feng, facing south to receive the homage of the feudal lords, and issued the Great Edict to the world. He changed the first month of the year to the eleventh lunar month, and renamed the term for recording years from "si" to "nian," renewing the state together with the people. In the year Gengchen (庚辰), which was 1121 BCE, King Wu ordered Guan Shu, Cai Shu, and Huo Shu to govern Bei, Yong, and Wei respectively, to monitor Wugeng, known as the "Three Supervisors." From Xinsi (辛巳) to Guiwei (癸未), and Jia Shen (甲申), there were four years of peace.

乙酉，周武王崩，元子誦踐位，是謂成王。周公為太師，召公為太保。二公分治陝、洛，受顧命，率天下諸侯夾輔王室，葬武王於畢。丙戌，三監及淮夷叛，周公東征，大誥天下。丁亥。戊子，三監平，治黜商命，殺武庚。命微子啟於宋，代商侯，封康叔於衛，以保商民；命箕子於高麗，闢管叔於商，囚蔡叔於郭鄰，降霍叔為庶人，不齒。東征淮夷，魯侯伯禽誓師於費，淮夷平。遂踐奄，肅慎來賀。己丑。庚寅，往營成周，命召公相宅。辛卯。壬辰，成周既成，周公分正成周東郊，以王命誥多士。癸巳。

The year Yiyou corresponds to 1116 BCE, when King Wu of Zhou died, and his eldest son Ji Shu succeeded to the throne, becoming King Cheng of Zhou. Duke Zhou Gong served as the Grand Tutor, and Duke Zhao Gong Shi served as the Grand Guardian. The two officials divided their rule between the east and west of the river Shaan, accepting King Wu's final instructions, and led the feudal lords to assist the royal house on both sides. King Wu was buried at Bi Original. The year Bingxu corresponds to 1115 BCE, when the Three Supervisors joined Wu Geng and the Huaiyi tribes in rebellion. Duke Zhou personally led an eastern campaign and issued the Great诰 to the world. The "Great诰" in the Book of Documents is this text. The year Dinghai had no significant events. The year Wuzi corresponds to 1113 BCE, when the rebellion of the Three Supervisors was quelled. Duke Zhou revoked the heavenly mandate of the Shang dynasty, executed Wu Geng, and reformed the Shang lineage. He granted Wei Zi Qi, the younger brother of King Zhou, the fief of Song to continue the Shang ancestral line; he granted Kang Shu the fief of Wei to pacify the remnants of the Shang people; he granted Ji Zi the fief of Gao Li (Korea); he executed Guan Shu in the Shang territory; he imprisoned Cai Shu in Guo Lin; he demoted Ho Shu to commoner status, removing him from the royal lineage. He also launched an eastern campaign against the Huaiyi tribes. Duke Bo Qin of Lu took the oath at Fei to suppress the Huaiyi tribes, and the Huaiyi were pacified. Then he attacked and destroyed the state of Yan. The distant people of Sushen came to pay homage. The year Jichou had no significant events. The year Gengyin corresponds to 1111 BCE, when the Zhou dynasty began to construct the eastern capital Chengzhou, and ordered Duke Zhao to first inspect the land and select a site for the capital. The year Xinmao had no significant events. The year Renchen corresponds to 1109 BCE, when Chengzhou was completed. Duke Zhou personally rectified the affairs of the eastern suburbs of Chengzhou and issued an edict to the relocated Shang remnants in the name of King Cheng. The "Many People" in the Book of Documents is this text. The year Guisi had no significant events.

經世之丑二千一百九十八。甲午，周成王九年。乙未。丙申，周公沒，命君陳分正成周東郊，葬周公於畢。丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉。壬戌，周成王崩，召公、畢公受顧命，輔元子釗踐位，是謂康王。癸亥，周康王元年，命畢公代君陳分正成周東郊。

The 2198th generation belongs to the Chou branch, spanning from 1107 BCE to 1078 BCE. The year Jiawu, which was 1107 BCE, was the ninth year of King Cheng of Zhou's reign. The year Yiwei had no significant events. The year Bingshen, which was 1105 BCE, saw the death of Duke Zhou, and King Cheng appointed Jun Chen to take over and rectify the affairs of the eastern suburbs of Chengzhou. Duke Zhou was buried at Bi Original, where he was laid to rest with King Wen and King Wu. From Dingyou to Guimao, and from Jiachen to Guichou, and from Jiayin to Xinyou, there were twenty-five years with no notable events. The year Renxu, which was 1079 BCE, marked the death of King Cheng. Shao Gong and Bi Gong accepted his final instructions and assisted his eldest son Ji Zhao in ascending the throne, who became King Kang of Zhou. The year Guihai, which was 1078 BCE, was the first year of King Kang's reign. King Kang appointed Bi Gong to replace Jun Chen in rectifying the affairs of the eastern suburbs of Chengzhou, as recorded in the Book of Documents, the "Bi Ming." During the period of King Cheng and King Kang, there were forty years without the use of punishment, making it the most prosperous time of the Western Zhou dynasty.

經世之寅二千一百九十九。甲子，周康王二年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥。戊子，周康王崩，子瑕踐位，是謂昭王。己丑、庚寅、辛卯、壬辰、癸巳。

The 2199th generation belongs to the Year of the Tiger, spanning from 1077 BCE to 1048 BCE. The year Jiazi, 1077 BCE, was the second year of King Kang of Zhou's reign. From Yichou to Guiyou, Jiaxu to Guiwei, and Jiashen to Dinghai, a total of twenty-three years were peaceful, reflecting the prosperity of "Kang's Reign" when the world was at peace. The year Wuzi, 1053 BCE, marked the death of King Kang of Zhou, and his son Ji Xia succeeded him, becoming King Zhao of Zhou. From Jichou to Guisi, five years were peaceful.

經世之卯二千二百。甲午，周昭王六年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經世之辰二千二百一。甲子、乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅。己卯，周昭王南巡不返，子滿立，是謂穆王。庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 2200th generation belongs to the卯 (Mao) era, spanning from 1047 to 1018 BCE. The year Jia Wu (甲午) in 1047 BCE was the sixth year of King Zhao of Zhou's reign. The following nine years from Yi Wei (乙未) to Gui Mao (癸卯), ten years from Jia Chen (甲辰) to Gui Chou (癸丑), and another ten years from Jia Yin (甲寅) to Gui Hai (癸亥) make up thirty years of the sexagenary cycle with no recorded events. The 2201st generation belongs to the辰 (Chen) era, spanning from 1017 to 988 BCE. The ten years from Jia Zi (甲子) to Gui You (癸酉) and five years from Jia Xu (甲戌) to Wu Yin (戊寅) total fifteen years with no recorded events. The year Ji Mao (己卯), which was 1002 BCE, marked King Zhao of Zhou's southern tour to the territory of Chu. While crossing the Han River, the ship he was on broke apart and sank, and he did not return. The six divisions of his army were also lost. His son Ji Man succeeded to the throne, becoming King Mu of Zhou. The loss of the army in the southern lands marked the first crack in the decline of the Western Zhou dynasty. The Zhou people concealed this event, so the record only states "the southern tour did not return," without mentioning where he died. The years from Geng Chen (庚辰) to Gui Wei (癸未) span four years, and from Jia Shen (甲申) to Gui Si (癸巳) span ten years, totaling fourteen years with no recorded events.

經世之巳二千二百二。甲午，周穆王十五年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經世之午二千二百三。甲子，周穆王四十五年。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌，周穆王崩，子繄扈踐位，是謂共王。乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉。丙戌，周共王崩，子囏踐位，是謂懿王。丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The second thousand two hundred and second generation belongs to the巳 (Si) era, spanning from 987 to 958 BCE. The year Jiawu (甲午), which was 987 BCE, was the fifteenth year of King Mu of Zhou's reign. The following nine years from Yiwu (乙未) to Guimao (癸卯), ten years from Jichen (甲辰) to Guichou (癸丑), and ten years from Jiayin (甲寅) to Guihai (癸亥), totaling thirty years, only recorded the heavenly stems and earthly branches without any events. There are accounts of King Mu's western campaign against the Qiong Rong, his commissioning of Lü Hou to compile the "Lü Criminal Code," and his travels across the land, but these are not included in this table, showing Shao Yong's strict selection of events. The next second thousand two hundred and third generation belongs to the午 (Wu) era, spanning from 957 to 928 BCE. The year Jiazi (甲子), which was 957 BCE, was the forty-fifth year of King Mu's reign. The following nine years from Yichou (乙丑) to Guiyou (癸酉) had no events. The year Jiaxu (甲戌), which was 947 BCE, marked the death of King Mu of Zhou, who reigned for fifty-five years, the longest in the Zhou dynasty. His son Ji Yi Hu succeeded him, becoming King Gong of Zhou. The years Yihai (乙亥) to Kuwei (癸未) span nine years, and two years from Jiashen (甲申) to Yiyou (乙酉), totaling eleven years, had no events. The year Bingxu (丙戌), which was 935 BCE, marked the death of King Gong of Zhou, and his son Ji Jian succeeded him, becoming King Yi of Zhou. The years Dinghai (丁亥) to Guisi (癸巳) span seven years with no events.

經世之未二千二百四。甲午、乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌。辛亥，周懿王崩，穆王子闢方立，是謂孝王。壬子、癸丑。甲寅、乙卯、丙辰、丁巳、戊午、己未、庚申、辛酉、壬戌、癸亥。經世之申二千二百五。甲子，周孝王十三年。乙丑。丙寅，周孝王崩，懿王子燮立，是謂夷王。周自此衰矣。丁卯、戊辰、己巳、庚午、辛未、壬申、癸酉。甲戌、乙亥、丙子、丁丑、戊寅、己卯、庚辰、辛巳。壬午，周夷王崩，子胡踐位，是謂厲王。癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 224th generation belongs to the Wei era, spanning from 927 to 898 BCE. From Jiawu to Guimao, and from Jiachen to Gengxu, a total of seventeen years were peaceful. In the year Xinhai, which was 910 BCE, King Yi Wang of the Zhou dynasty died. His son did not succeed him; instead, his son-in-law, Prince Pifang, son of King Mu, ascended the throne as King Xiao Wang. This marked the first time the throne of the Western Zhou dynasty was not passed down from father to son. From Renzi to Guihai, twelve years were peaceful. The next generation, the 225th, belongs to the Shen era, spanning from 897 to 868 BCE. The year Jiazi, which was 897 BCE, was the thirteenth year of King Xiao Wang's reign. The year Bingyin, which was 895 BCE, saw the death of King Xiao Wang, and the throne was restored to Prince Ji Xie, son of King Yi, who became King Yi Wang. The text here specially notes, "From this point, the Zhou dynasty began to decline," marking the beginning of the decline of the Western Zhou dynasty. King Yi Wang once went down to meet the feudal lords and had the Duke of Qi, Ai Gong, executed. The authority of the royal house was greatly weakened. From Dingmao to Guiyou, and from Jiaxu to Xinsi, a total of fifteen years were peaceful. The year Renwu, which was 879 BCE, saw the death of King Yi Wang. His son, Ji Hu, succeeded him as King Li Wang. From Guiwei to Jia Shen and to Guisi, a total of eleven years were peaceful.

經世之酉二千二百六。甲午，周厲王十二年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰、乙巳、丙午、丁未、戊申、己酉、庚戌、辛亥、壬子。癸丑，厲王好利，以榮公為卿。甲寅、乙卯。丙辰，殺諫臣以為謗己者。丁巳、戊午。己未，周厲王為國人所逐，出奔彘。周、召二伯行政，謂之共和。太子靖匿於召公家。文武之德自此盡矣。庚申、辛酉、壬戌、癸亥。

The 226th generation belongs to the You era, spanning from 867 to 838 BCE. The year Jiawu, which corresponds to 867 BCE, was the twelfth year of King Li of Zhou's reign. From Yiwei to Guimao, and from Jiachen to Renzi, a total of eighteen years were peaceful. The year Guichou, which corresponds to 848 BCE, saw King Li of Zhou coveting wealth and appointing Rong Yigong, who loved accumulating riches, as his chief minister. He took all the revenues from mountains, forests, rivers, and lakes and made them belong to the royal family. The people were resentful. In the year Bingchen, which corresponds to 845 BCE, King Li executed those who gave him advice, considering them as slandering him. He also sent Wei Wu to spy on the people. Thus, "the people dared not speak, and they looked at each other with their eyes." In the year Jiwei, which corresponds to 842 BCE, the people of the capital rose up to expel King Li of Zhou, who fled to Zhi. After that, Duke of Zhou and Zhao Gong, both senior ministers, jointly ruled the country, an era known as "the Republic." The first year of the Republic, 841 BCE, marks the first definite chronological record in Chinese annals. Crown Prince Ji Jing was hidden in Zhao Gong's house and thus survived. This table asserts that "the virtue of Wen and Wu has now been exhausted," implying that the virtue accumulated by King Wen and King Wu had been used up by this year. From Gengshen to Guihai, four years were peaceful.

經世之戌二千二百七。甲子，周厲王四十二年，在彘。乙丑、丙寅、丁卯、戊辰、己巳、庚午、辛未、壬申。癸酉，周厲王死於彘，周、召二伯立太子靖，是謂宣王。有仲山甫、尹吉甫、方叔、申伯為輔，大修文武之功。甲戌，宣王北伐獫狁，至於太原。吉甫為將。乙亥，宣王南征荊蠻，方叔為將。丙子、丁丑、戊寅、己卯、庚辰、辛巳、壬午、癸未。甲申、乙酉、丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The 227th generation belongs to the Xū period, spanning from 837 to 808 BCE. The Jiazi year, 837 BCE, was the 42nd year of King Li of Zhou's reign, during which he was still in exile at Zhì. From Yichou to Renshen, there were eight years of inaction. The Guiyou year, 828 BCE, saw the death of King Li of Zhou at Zhì, and the two elder ministers, Zhou Gong and Zhao Gong, supported Prince Ji Jing to ascend the throne, who became King Xuan of Zhou. King Xuan was assisted by virtuous ministers such as Zhongshanfu, Yijingfu, Fangshu, and Shenbo, who greatly restored the achievements of King Wen and King Wu, an era known as the "Xuanwang Zhongxìng" or "Middle Revival of King Xuan." The Jiaxu year, 827 BCE, was when King Xuan launched a northern campaign against the Xianyun, advancing as far as Taiyuan, with Yijingfu as the main general. The poem "Liyue" in the Book of Songs describes this campaign. The Yihai year, 826 BCE, was when King Xuan conducted a southern campaign against the Jingman, with Fangshu as the main general, and the poem "Caiyi" in the Book of Songs refers to this campaign. From Bingzi to Guimi and from Jiashen to Guisi, there were eighteen years of inaction.

經世之亥二千二百八。甲午，周宣王二十一年。乙未、丙申、丁酉、戊戌、己亥、庚子、辛丑、壬寅、癸卯。甲辰。乙巳，伐魯，立孝公。丙午、丁未、戊申、己酉、庚戌、辛亥。壬子，伐姜戎，師敗於千畝，遂失南國。癸丑，料民於太原。甲寅、乙卯、丙辰、丁巳、戊午。己未，周宣王崩，太子湦踐位，是謂幽王。庚申、辛酉。壬戌，始嬖褒姒。癸亥。

The second thousand and twenty-eighth generation belongs to the亥 generation, spanning from 807 to 778 BCE, and is the last generation of the 184th cycle. The year Jiawu, 807 BCE, was the twenty-first year of King Xuan of Zhou's reign. From Yiwei to Guimao and Jiachen, a total of ten years, there were no significant events. In the year Yisi, 796 BCE, King Xuan launched an army to attack Lu State, interfering in its succession and establishing Duke Xiaogong of Lu. From then on, the feudal lords began to disregard the king's orders. In the year Renzi, 789 BCE, King Xuan attacked the Jiang Rong, suffering a great defeat at the Battle of Qianmu, losing even the armies of the southern states. In the year Guichou, 788 BCE, King Xuan conducted a census in Taiyuan to replenish his military forces, but Zhongshanfu advised against it and was ignored, thus ending the momentum of revival. From Jiayin to Wuwu, five years passed without significant events. In the year Jiwei, 782 BCE, King Xuan died, and his son Ji Shen succeeded him, becoming King You of Zhou. In the years Gengshen and Xinyou, there were no significant events. In the year Renxu, 779 BCE, King You began to favor Bao Si, planting the seeds of the downfall of the Western Zhou. In the year Guihai, there were no significant events, and the 360 years of the 184th cycle were thus completed.

觀物篇三十，以經運世六。經元之甲一，經會之午七。經運之戊一百八十五。經世之子二千二百九。甲子，周幽王五年，廢申後及太子宜臼，以褒姒為後，伯服為太子，虢石父為卿。乙丑、丙寅、丁卯、戊辰、己巳。庚午，申侯以犬戎伐周，敗幽王於驪山，殺之。晉秦率鄭衛之君逐犬戎，立太子宜臼，是謂平王。東徙居洛邑，是謂東周。辛未，周平王錫晉文侯、襄公命，秦分岐西，晉分河內。壬申，秦立西畤，祠白帝。魯惠公即位。癸酉。甲戌。乙亥，秦文公即位。丙子、丁丑、戊寅。己卯，秦東徙，居汧渭之間。庚辰、辛巳、壬午。癸未，衛莊公即位。甲申。乙酉，秦作鄜畤。丙戌、丁亥、戊子、己丑、庚寅、辛卯、壬辰、癸巳。

The original title of this section is "以经运世六", but following the conventions of the preceding sections, it should be "以运经世六". "经运之戊一百八十五" refers to the 185th cycle of the system, which corresponds to the period from 777 BCE to 418 BCE, encompassing the 2292nd to the 2220th generations. The fall of the Western Zhou, the establishment of the Eastern Zhou, and the entire Spring and Autumn period all occurred within this cycle. The 2292nd generation corresponds to the years 777 BCE to 748 BCE. The year Jiazi, which is 777 BCE, marks the fifth year of King You of Zhou's reign. In this year, King You deposed Shen Hou and Prince Yi Jiu, and instead appointed Bao Si as the queen and Bo Fu as the crown prince. He also appointed Guo Shi Fu, who was adept at flattery, as the minister. From the year Yi Chou to Jisi, there were no significant events. The year Geng Wu, which is 771 BCE, saw Shen Hou's father, Shen Hou, lead the Qian Rong tribes to invade, defeating King You and killing him at Li Mountain, thus marking the end of the Western Zhou. The states of Jin and Qin, along with the kings of Zheng and Wei, drove out the Qian Rong tribes and installed Prince Yi Jiu as the new king, who became King Ping of Zhou. King Ping moved the capital of the Zhou dynasty eastward to Luoyi, and thus the Zhou dynasty was known as the Eastern Zhou. The year Xin Wei, which is 770 BCE, saw King Ping bestow titles upon Jin Wen Hou and Qin Xiang Gong, granting the western part of the Qishan Mountains to Qin and the area around the He River to Jin. The year Ren Shen, which is 769 BCE, saw Qin establish the Xizhou Temple to worship the White Emperor; Duke Hui of Lu ascended the throne. The year Yi Hai, which is 766 BCE, saw Duke Wen Gong of Qin ascend the throne. The year Ji Mao, which is 762 BCE, saw the Qin people move eastward, settling between the Qian River and the Wei River. The year Gui Wei, which is 758 BCE, saw Duke Zhuang Gong of Wei ascend the throne. The year Yi You, which is 756 BCE, saw Qin construct the Fuzhou Temple. There were no significant events in the remaining years.

經世之丑二千二百十。甲午，周平王二十四年。乙未，晉昭侯即位。丙申，晉昭侯封弟成師於曲沃。丁酉，鄭莊公即位。戊戌，鄭莊公封弟段於京城。己亥。庚子，衛公子州籲阻兵。辛丑，楚亂，熊通弒其君，代立。壬寅，晉亂，大夫潘父弒其君昭侯，入曲沃桓叔不克。國人殺潘父，而立君之弟平，是謂孝侯。癸卯。甲辰、乙巳、丙午、丁未。戊申，衛州籲出奔。己酉。庚戌，晉曲沃桓叔卒，子莊伯繼。齊莊公卒，子釐公立。辛亥。壬子，宋桓公卒，讓其弟穆公。癸丑。

The 2210th generation belongs to the Chou branch, spanning from 747 BCE to 718 BCE. The year Jiawu, 747 BCE, was the 24th year of King Ping of the Zhou dynasty. The year Yiwei, 746 BCE, was the year when Duke Zhao of Jin ascended the throne. The year Bingshen, 745 BCE, was when Duke Zhao of Jin enfeoffed his uncle Chengshi at Quwo. Quwo was larger than the capital of Jin, Yixian, and thus the sixty-seven year civil war in Jin began. The year Dingyou, 744 BCE, was the year when Duke Zhuang of Zheng ascended the throne. The year Wuxu, 743 BCE, was when Duke Zhuang of Zheng enfeoffed his younger brother Gongshu Duan at Jingcheng. The incident described in the opening of the "Zuo Zhuan" as "Duke Zheng defeated Duan at Yan" originated here. The year Gengzi, 741 BCE, was when Prince Zhou Xu of Wei, who favored military prowess, was not restrained by Duke Zhuang of Wei. The year Xinchou, 740 BCE, was when Chu experienced internal strife, and Xiong Tong killed the king and took the throne, later known as King Wu of Chu. The year RENYIN, 739 BCE, was when internal strife occurred in Jin, and the minister Pan Fu killed King Zhao of Jin, attempting to invite Quwo Huan Shu to take the throne but failing. The people killed Pan Fu and reestablished Duke Zhao's younger brother Ping as king, known as Duke Xiao of Jin. The year Wushen, 733 BCE, was when Prince Zhou Xu of Wei fled. The year Gengxu, 731 BCE, was when Quwo Huan Shu of Jin died, and his son Zhuang Bo succeeded him; at the same time, Duke Zhuang of Qi died, and his son Xi Gong succeeded him. The year Renzi, 729 BCE, was when the ruler of Song died and passed the throne to his younger brother Mu Gong—according to the "Spring and Autumn Annals," this was considered the transfer from Huan Gong to Xuan Gong, but the original text refers to Huan Gong. There were no significant events in the other years.

甲寅、乙卯、丙辰。丁巳，晉曲沃莊伯入翼，殺其君孝侯。國人逐莊伯，立孝侯子，是謂鄂侯。戊午。己未，魯隱公立。庚申。辛酉，周平王崩，其孫林立，是謂桓王，與鄭交惡。宋穆公病，讓其兄之子殤公，世子馮奔鄭。壬戌，衛公子州籲作難，弒其君桓公，代立。宋會陳、蔡、衛三國之師伐衛，殺州籲於濮，國人迎公之弟晉於邢而立之，是謂宣公。癸亥，晉曲沃莊伯以鄭邢之師攻翼。王使尹氏、武氏為之助。翼侯出奔隨，莊伯叛王。王使虢伐莊伯。莊伯復奔曲沃。晉人及虢侯立翼侯子光，是謂哀侯。鄭伐宋。

From Jiayin to Bingchen, there were three years of peace. In the year Dingsi, which was 724 BCE, Duke Zhuo of Quwo attacked the capital of Jin, Yicheng, and killed King Xiaohou. The people of Jin expelled Zhuo and reinstalled Xiaohou's son, who became Duke Ehou of Jin. In the year Jiwei, which was 722 BCE, Duke Yin Gong of Lu ascended the throne—this is when the chronicle "Spring and Autumn" began, and later generations referred to this as the beginning of the "Spring and Autumn era." In the year Xinyou, which was 720 BCE, King Ping of Zhou died. Since his son had died earlier, his grandson Ji Lin succeeded him, becoming King Huan of Zhou. From then on, King Huan and Duke Zhuang of Zheng became hostile. In the same year, Duke Mu of Song was seriously ill and passed the throne back to his uncle's son, Wuyi, who became Duke Shang of Song. His son, Prince Feng, fled to Zheng. In the year Renxu, which was 719 BCE, Prince Zhou Xu of Wei rebelled, killed King Huan of Wei, and took the throne himself. Song, together with Chen, Cai, and Wei, formed an alliance to attack Wei, and defeated Zhou Xu at Pu. The people of Wei went to Xing to bring back Huan's brother, Jin, who became King Xuan of Wei. In the year Guihai, which was 718 BCE, Duke Zhuo of Quwo used the armies of Zheng and Xing to attack Yicheng. King Huan of Zhou sent the Yinsi and Wushi families to assist. The Duke of Yicheng fled to SuizhOU. Soon after, Zhuo rebelled against King Huan, and King Huan sent Duke Guo to attack Zhuo. Zhuo fled back to Quwo. The people of Jin and Duke Guo of Guo installed the son of Duke Yicheng, Guang, as king, who became Duke Ai of Jin. In the same year, Zheng attacked Song.

經世之寅二千二百一十一。甲子，周桓王三年，晉翼侯自隨入於鄂，是謂鄂侯。乙丑，晉曲沃莊伯卒，子稱繼，是謂武公。丙寅，宋、齊、衛之君盟於瓦屋。丁卯，秦自汧渭之間徙居郿。戊辰，齊會魯、鄭之師伐宋。己巳，魯亂，公子翬殺其君隱公，立惠公之子，是謂桓公，翬為之輔。庚午。辛未，宋亂，太宰華督殺司馬孔父，及弒其君殤公，迎穆公子馮於鄭而立之，是謂莊公。壬申，晉曲沃武公敗晉師於汾旁，獲哀侯。晉人立其子，是謂小子侯。癸酉，晉曲沃武公弒其君哀侯於曲沃。

The 2211st generation belongs to the Year of the Tiger, spanning from 717 BCE to 688 BCE. The Year of Jiazi, 717 BCE, was the third year of King Huan of Zhou's reign, when the exiled Duke Yi of Jin returned from Su to E, hence becoming Duke E. The Year of Yichou, 716 BCE, saw the death of Duke Zhuolu ZHUANGBO of Jin, with his son Cheng succeeding him as Duke WUGONG of Jin. The Year of Bingyin, 715 BCE, was when the kings of Song, Qi, and Wei held a meeting at Wawu. The Year of Dingmao, 714 BCE, marked the relocation of the capital of Qin from the area between Qian and Wei to Mei. The Year of Wuchen, 713 BCE, was when the armies of Qi, Lu, and Zheng jointly attacked Song. The Year of Jisi, 712 BCE, was when a civil war broke out in Lu, with公子Hui killing Duke Yin and replacing him with the son of Duke Hui, Yong, who became Duke Huan of Lu, and公子Hui became his prime minister. The Year of Xinwei, 710 BCE, was when a civil war occurred in Song, with Grand Minister Hua Du killing the Minister of War Kong Fu Jia, then killing Duke Shanggong, and bringing back Feng, the son of Duke Mu, from Zheng to be the new king, known as Duke ZHUANGGONG of Song. The Year of Renshen, 709 BCE, was when Duke WUGONG of Jin defeated the Jin army by the Fen River, captured Duke Ai, and the people of Jin then established Duke Ai's son as the new king, known as Duke Xiaohou of Jin. The Year of Guiyou, 708 BCE, was when Duke WUGONG of Jin killed the captured Duke Ai of Jin in Quwo.

甲戌，周桓王以蔡、衛、陳之師伐鄭，不利，矢中王肩。乙亥，蔡人殺陳佗，北戎伐齊，鄭使公子忽救之。楚伐隨，俾請王之號於周。丙子，晉曲沃武公入翼，殺小子侯。王使虢仲伐稱，稱復歸曲沃。虢仲立哀侯弟緡。丁丑，秦亂，寧公卒，三父廢世子而更立出子。是年楚熊通伐隨，東開地至濮上，遂稱王，是謂武王。戊寅、己卯。庚辰，鄭莊公卒，世子忽繼。宋執鄭祭仲立突，是謂厲公。忽奔衛。祭仲專政。衛宣公殺其二子伋、壽。辛巳，衛宣公卒，子朔立，是謂惠公。壬午，齊會宋、衛、燕伐魯，不利。癸未，秦三父殺出子，而立世子，是謂武公。齊釐公卒，世子諸兒繼，是謂襄公。宋會齊、蔡、陳伐鄭。

The year of Jiaxu, which was 707 BCE, saw King Huán of the Zhou dynasty leading armies from the states of Cai, Wei, and Chen to attack the state of Zheng. They suffered a defeat at the Battle of Xu Ge, where Zheng general Zhu Dan shot an arrow into King Huán's shoulder. From then on, the authority of the Son of Heaven was greatly diminished, and the era of the feudal lords vying for supremacy officially began. In the year of Yihai, which was 706 BCE, the people of Cai killed Chen Tu. The northern Rong attacked Qi, and Zheng sent Prince Hu to lead an army for relief. The state of Chu attacked Suo, forcing it to request the title of king from the Son of Heaven on its behalf. In the year of Bingzi, which was 705 BCE, Ji Wuwang of Jin captured Yicheng and killed Xiaozi Hou. King Huán of Zhou sent Guo Zhong to attack Wuwang, who retreated to Quwu. Guo Zhong then installed the younger brother of Ai Hou, Mi, as the ruler of Jin. In the year of Dingchou, which was 704 BCE, there was internal strife in Qin, with Ning Gong dying. The great elder brother San Fu deposed the crown prince and installed Chushì as the ruler. In the same year, the ruler of Chu, Xiong Tong, attacked Suo, expanding eastward to the area around Pu Water, and thus declared himself king, becoming King Wugong of Chu. This marked the beginning of the feudal lords claiming the title of king. In the year of Gengchen, which was 701 BCE, Duke Zhuang of Zheng died, and his son Hu succeeded him. The state of Song detained Zheng's chief minister Ji Zhong, forcing him to replace Prince Tu as the ruler of Zheng, who became Duke Lì of Zheng. Hu fled to the state of Wei, and Ji Zhong then held power. At the same time, Duke Xuan of Wei killed his two sons Ji and Shou. In the year of Xinsi, which was 700 BCE, Duke Xuan of Wei died, and his son Shuo succeeded him, becoming Duke Hui of Wei. In the year of Renwu, which was 699 BCE, the state of Qi, together with Song, Wei, and Yan, attacked Lu but failed to achieve victory. In the year of Guiwei, which was 698 BCE, the three fathers of Qin killed Chushì and reinstated the original crown prince, who became Duke Wugong of Qin. Duke Xi of Qi died, and his son Zhu'er succeeded him, becoming Duke Xiang of Qi. The state of Song, together with Qi, Cai, and Chen, attacked Zheng.

甲申，周桓王崩，太子佗嗣立，是謂莊王。鄭祭仲殺雍糾而逐厲公，迎忽反政，是謂昭公。秦伐彭戲氏於華山。齊襄公削公子無知祿。宋會魯、衛、陳伐鄭。乙酉，衛公子伋、壽傅逐惠公，立伋之弟黔牟。公出奔齊。宋會魯、衛、陳、蔡伐鄭。丙戌，秦夷三父族。鄭高渠彌弒其君昭公，立其弟子亹，渠彌專政。丁亥，周有黑肩之難。齊襄公殺魯桓公於濼，立其子同，是謂莊公。又會諸侯於首止，殺鄭子亹，高渠彌逃歸，與祭仲迎公子嬰於陳，立之。戊子，周王姬下嫁於齊。己丑，周葬桓王。庚寅。辛卯，周伐隨，責尊楚也。齊伐紀，紀侯大去其國。楚王帥師伐隨，子貲繼，是謂文王，始都郢。壬辰，齊會宋、魯、陳、蔡伐衛，入惠公。癸巳，衛惠公復入，殺二公子傅，黔牟奔周。

The year Jiashen, which is 697 BCE, saw the death of King Huian of the Zhou dynasty, and his son Ta succeeded to the throne, becoming King Zhuang of Zhou. In the State of Zheng, the minister Jizi killed his son-in-law Yongjiao and expelled King Liji of Zheng, then restored his son Hu to the throne, becoming King Zhao of Zheng. The State of Qin attacked the Pengxi family in the area of Huashan. The Duke of Qi, Xianggong, reduced the salary of his younger brother, Prince Wuzhi, sowing the seeds of future rebellion by Wuzhi. The State of Song joined with Lu, Wei, and Chen to attack Zheng. In the year Yiyou, which is 696 BCE, the teachers of Prince Ji and Shou of the State of Wei expelled King Huigong of Wei and installed Ji's younger brother Qianmo as the new king, forcing Huigong to flee to Qi. The State of Song joined with Lu, Wei, Chen, and Cai to attack Zheng. In the year Bingxu, which is 695 BCE, the State of Qin executed the three fathers' family. In the State of Zheng, the minister Gaoqumi killed King Zhao of Zheng and installed his son, Zi Wei, as the new king, thus gaining power. In the year Dinghai, which is 694 BCE, the Zhou royal family experienced the rebellion of Zhou Gong Hejian. The Duke of Qi, Xianggong, killed Duke Huan of Lu at the place of Luo, and the Lu people installed his son Tong as the new ruler, becoming Duke Zhuang of Lu. The Duke of Qi also met the feudal lords at Shouzhi, killing Prince Zi Wei of Zheng, and Gaoqumi fled back, while Jizi and Gaoqumi brought back Prince Ying from Chen to become the new king of Zheng. In the year Wuzi, which is 693 BCE, the princess of the Zhou royal family married into the State of Qi. In the year Jichou, which is 692 BCE, the Zhou royal family buried King Huian, five years after his death, indicating the decline of the royal family. In the year Xinmao, which is 690 BCE, the Zhou dynasty attacked the State of Su, accusing it of showing respect to the King of Chu. The State of Qi attacked the State of Ji, forcing the Duke of Ji to leave his country forever. King Wuwang of Chu personally led his army to attack Su, died in battle, and his son Zi succeeded to the throne, becoming King Wen of Chu, and began to build his capital at Ying. In the year Renchen, which is 689 BCE, the State of Qi joined with Song, Lu, Chen, and Cai to attack Wei, and escorted King Huigong back to his country. In the year Guisi, which is 688 BCE, King Huigong returned to his country, killed the teachers of Prince Ji and Shou, and Qianmo fled to the Zhou royal court.

經世之卯二千二百一十二。甲午，周莊王十年，秦滅小虢。乙未，齊公子無知以葵丘之戍卒入弒襄公，代立。公子糾奔魯，小白奔莒。丙申，齊人殺無知，公子小白入，是謂桓公。糾後入，不克。齊伐魯，殺糾，其傅召忽死之。管仲請囚，又相桓公。丁酉，魯敗齊師於長勺，敗宋師於乘丘。楚敗蔡師於莘，以蔡侯獻舞歸。自是江漢之國皆服於楚。戊戌。己亥，周莊王崩，太子胡齊嗣位，是謂釐王。宋亂，南宮萬弒其君湣公及其大夫仇牧，太宰華督，立公子游，群公子奔蕭，攻萬。及殺遊，立公弟御說，是謂桓公。

The second thousand two hundred and twelfth generation belongs to the卯 (Mao) generation, spanning from 687 BCE to 658 BCE. The year Jiawu (甲午) was 687 BCE, the tenth year of King Zhuangwang of the Zhou dynasty, when the State of Qin destroyed the small state of Guo. The year Yiwei (乙未) was 686 BCE, when Prince Wuzhi of the State of Qi led soldiers stationed at Kuiqiu into the capital, killing King Xianggong and taking the throne himself; Prince Jiu fled to Lu, while Prince Xiaobai fled to Ju. The year Bingshen (丙申) was 685 BCE, when the people of Qi killed Wuzhi, and Prince Xiaobai returned to the state first and ascended the throne, becoming King Huan of Qi; Prince Jiu arrived later and failed to succeed. Qi sent troops to attack Lu, forcing the Lu people to kill Prince Jiu. Jiu's tutor Zhaohu died for him, while his other tutor Guanzhong requested to be imprisoned and sent back to Qi, later becoming the prime minister of King Huan of Qi. The year Dingyou (丁酉) was 684 BCE, when Lu defeated the Qi army at Changshuo, which is the Battle of Changshuo mentioned in the Guliuzhuan, and also defeated the Song army at Chengqiu; the State of Chu defeated the army of the State of Cai at Xin, captured Duke Xianwu of Cai and brought him back, from then on the small states in the area of the Yangtze and Han rivers submitted to Chu. The year Jihai (己亥) was 682 BCE, when King Zhuangwang of Zhou died, and his son Huqi succeeded him, becoming King Liji of Zhou; internal strife occurred in the State of Song, where Nan Gong Wan killed the king Min Gong and the ministers Que Mu and Taizai Huadu, and installed Prince You as the new ruler; the other princes fled to Xiao and raised an army to attack Nan Gong Wan, killing Prince You and installing Min Gong's younger brother Yushuo as the new ruler, who became King Huan of Song.

庚子，齊會宋、陳、蔡、邾之師伐魯，三敗之，取遂。又會魯於柯，遂復其侵地，曹沫劫盟故也。辛丑，齊會陳、曹及王人伐宋。楚師入蔡。壬寅，齊桓公會宋、陳、衛、鄭之君，盟於鄄。晉曲沃武公滅翼，以重寶入周，得請為諸侯。癸卯，齊桓公會陳、宋、魯、衛、鄭、許、滑、滕之君，盟於幽。秦武公卒，弟德公立。楚滅鄧。甲辰，周釐王崩，太子閬嗣位，是謂惠王。晉武公卒，子獻公詭諸繼。秦徙居雍。楚文王卒，世子囏繼，是謂杜敖。乙巳，秦德公卒，子宣公繼。

The year Gengzi, which was 681 BCE, saw the state of Qi join forces with Song, Chen, Cai, and Zhu to attack Lu, achieving three victories and capturing the city of Sui. Afterwards, Qi and Lu held a meeting at Ke, where Qi returned the land it had seized. This was because Lu's general Cao Mo seized King Huan of Qi on the altar during the meeting and demanded the return of the land. King Huan was forced to agree, but later followed the advice of Guan Zhong and kept his word, thus earning the trust and respect of the world. In the year Xinchou, which was 680 BCE, Qi joined forces with Chen, Cao, and the envoys of the Son of Heaven to attack Song. Meanwhile, the Chu army invaded the state of Cai. In the year Renyin, which was 679 BCE, King Huan of Qi convened the rulers of Song, Chen, Wei, and Zheng at the meeting at Juan, thereby establishing Qi's hegemony. In the same year, Duke Quwo Wugong of Jin destroyed the city of Yique, the ruler of Jin, and presented the spoils to the Son of Heaven, thus being officially recognized as a vassal king. The internal war of sixty-seven years between Quwo and Yique came to an end. In the year Guimao, which was 678 BCE, King Huan of Qi convened the rulers of Chen, Song, Lu, Wei, Zheng, Xu, Hua, and Teng at the meeting at You. At the same time, Duke Wu Gong of Qin died, and his younger brother De Gong succeeded him. The state of Chu destroyed the state of Deng. In the year Jiachen, which was 677 BCE, King Li of Zhou died, and his son Lang succeeded him, becoming King Hui of Zhou. Duke Wu Gong of Jin died, and his son Gui Zhu succeeded him. Qin moved its capital to Yong. Duke Wen of Chu died, and his son Jian succeeded him, becoming Duke Du Ao. In the year Yisi, which was 676 BCE, Duke De Gong of Qin died, and his son Xuan Gong succeeded him.

丙午。丁未，周有五大夫之難。邊伯、石速、蘇國以蔡衛之師攻王。立弟頹。王出居鄭之櫟。戊申，鄭厲公及虢叔入王於成周，殺頹，而執仲父及五大夫，難遂平。己酉，秦作密畤，敗晉師於河。晉伐驪，獲女以為姬。陳公子完奔齊。楚亂，弟惲殺其君囏，代立，是謂成王。庚戌，楚修好於周及諸侯。辛亥，衛惠公卒，子懿公繼。壬子，晉有驪姬之難，殺群公子，自翼徙居絳。癸丑，晉伐虢，責內群公子也。

In the year of Bingwu, there were no incidents. In the year of Dingwei, which was 674 BCE, the royal court of the Zhou dynasty experienced the incident of the Five Ministers: Bianbo, Shi Su, and Su Guo used the armies of the states of Cai and Wei to attack King Hui, and they supported King Hui's younger brother Tu as the new king. King Hui was forced to flee to the city of Yizhou in the state of Zheng. In the year of Wushen, which was 673 BCE, Zheng Li Gong and Guo Shu escorted King Hui back to Chengzhou, killed Prince Tu, and captured the leading minister Zhongfu and the five ministers. The turmoil in the royal court was thus quelled. In the year of Jiyou, which was 672 BCE, the state of Qin built a secret temple to worship heaven, and also defeated the army of Jin on the banks of the Yellow River. Jin attacked Li Rong, captured Li Ji and made her his concubine. The prince of Chen, Biao (Tian Wan), fled to the state of Qi, becoming the ancestor of the Tian family who later replaced the Qi dynasty. In the state of Chu, there was internal strife, and Du Ao's younger brother Yun killed the king Jian and took the throne, becoming King Cheng of Chu. In the year of Gengxu, which was 671 BCE, Chu made peace with the Zhou royal court and the central states. In the year of Xinhai, which was 670 BCE, King Hui of Wei died, and his son Yi Gong succeeded him. In the year of Renzi, which was 669 BCE, Jin experienced the incident of Li Ji. King Xian Gong of Jin believed the slander of Li Ji, and killed all the younger brothers of the king. He also moved the capital from Yi to Jang. In the year of Guichou, which was 668 BCE, Jin attacked the state of Guo, accusing it of harboring the exiled sons of Jin.

甲寅，周惠王錫齊桓公，命為伯。乙卯，晉城曲沃及蒲。楚伐鄭。丙辰。丁巳，齊伐山戎，至於孤竹，以救燕，俾修貢天子。秦宣公卒，弟成公立，楚殺令尹子元，以斗谷、於菟為令尹。戊午。己未，魯亂，叔牙弒其君莊公，開立，是謂湣公。季友立世子班，不克，奔陳。庚申，晉滅霍、魏、耿，以耿封趙夙，以魏封畢萬。辛酉，魯亂，慶父以莊姜弒湣公，代立。季友逐慶父，而立公子申，是謂僖公。狄滅衛，殺懿公。齊桓公攘戎狄，而立戴公，東徙渡河，野處漕邑。戴公卒，弟毀立。是謂文公，自漕邑徙居楚丘。晉伐東山皋落氏。秦成公卒，弟任好立，是謂穆公。壬戌，秦伐茅津，齊會宋、鄭、魯、曹、邾之君於檉。癸亥，齊城楚丘，以居衛，又會江、黃之君於貫。晉滅虢。

The year of Jiayin, which was 667 BCE, saw King Hui of the Zhou dynasty bestow a mandate upon Duke Huan of Qi, officially appointing him as the leader of the feudal lords, thereby recognizing his status as a hegemon. In the year of Yimao, which was 666 BCE, Jin State constructed Quwu and Pucheng; Chu State attacked Zheng State. In the year of Dingsi, which was 664 BCE, Qi State attacked the Shanrong, advancing all the way to Guzhu, in order to rescue Yan State and restore Yan State's tribute to the Son of Heaven; Qin Xuan Gong died, and his younger brother Cheng Gong succeeded him; Chu State killed Lord Yuyuan, and replaced him with Duguyutu, who was Lord Ziwén. In the year of Jiwei, which was 662 BCE, there was internal strife in Lu State, where Shuyá participated in the assassination of King Zhuang Gong, and Gongke was enthroned as the king, known as Duke Min of Lu; Ji You originally intended to support Crown Prince Ban but failed, and thus fled to Chen State. In the year of Gengshen, which was 661 BCE, Jin State destroyed the three states of Huo, Wei, and Geng, and granted the land of Geng to Zhao Su and the land of Wei to Bi Wan, thus establishing the foundations of the Zhao and Wei families. In the year of Xinyou, which was 660 BCE, Lu State experienced another turmoil, where Qing Fu used Aijiang's power to kill Duke Min and proclaim himself king; Ji You expelled Qing Fu and reinstalled Gong Shen as the king, known as Duke Xi of Lu; in the same year, the Di people destroyed Wei State, killing Duke Yi Gong; Duke Huan of Qi led his troops to expel the Rong and Di, and restored Duke Dai Gong of Wei, who then moved east across the Yellow River, camping at Cao, where Duke Dai Gong died, and his younger brother Hu succeeded him, known as Duke Wen of Wei, and moved his capital from Cao to Chuo; Jin State attacked the Eastern Mountain Gaoluo clan; Qin Cheng Gong died, and his younger brother Ren Hao succeeded him, known as Duke Mu of Qin. In the year of Renxu, which was 659 BCE, Qin State attacked the Maojin Rong; Qi State held a meeting with the kings of Song, Zheng, Lu, Cao, and Zhu at Chengdi. In the year of Guihai, which was 658 BCE, Qi State built Chuoqiu City for Wei State to ensure its stability, and also held a meeting with the kings of Jiang and Huang at Guandi; Jin State destroyed the Guo State.

經世之辰二千二百一十三。甲子，周惠王二十年，齊會江、黃之君於陽穀。乙丑，齊會宋、魯、衛、鄭、許、曹之師伐蔡，遂入楚，盟於召陵，執陳轅濤塗。晉殺世子申生，公子重耳走蒲，夷吾奔屈。秦娶晉女為夫人。丙寅，齊桓公會陳、宋、魯、衛、鄭、許、曹之君，及王世子，盟於首止。晉伐蒲，重耳奔翟。又伐虞及虢，虢君奔周。是年，秦始得志於諸侯，百里奚、蹇叔為之輔。楚滅弦。丁卯，齊伐鄭。晉伐屈，夷吾奔梁。戊辰。

The 2213rd generation belongs to the Chen era, spanning from 657 to 628 BCE, which was the thirty-year period of the hegemonies of Duke Huan of Qi and Duke Wen of Jin. The Jiazi year, 657 BCE, was the twentieth year of King Huibang's reign, when the rulers of Qi, Jiang, and Huang met in Yanggu to form an alliance. The Yichou year, 656 BCE, saw Qi leading an army of Song, Lu, Wei, Zheng, Xu, and Cao to attack the state of Cai, then advancing directly into Chu territory and forming an alliance with Chu at Zhao Ling, while capturing the Chen minister Yuan Taotu. In the same year, Duke Xiangong of Jin killed his son Sheng, forcing Prince Chong'er to flee to Pucheng and Prince Yiwu to flee to Quyi. Meanwhile, Qin married a daughter of Jin, thus beginning the alliance between Qin and Jin. The Bingyin year, 655 BCE, saw Duke Huan of Qi convene the rulers of Chen, Song, Lu, Wei, Zheng, Xu, and Cao, along with the crown prince of the Zhou royal family, in Shouzhi for an alliance. Jin attacked Pucheng, forcing Chong'er to flee to the state of Diao. Jin also used the strategy of "borrowing the path to attack Guo" to conquer Yu and Guo, with the ruler of Guo fleeing to the Zhou royal court. In the same year, Qin began to gain influence among the feudal states, with Bili Xi and Jian Shu serving as its ministers. Chu also conquered the state of Xian. The Dingmao year, 654 BCE, saw Qi attack Zheng, while Jin attacked Quyi, forcing Yiwu to flee to Liang. The Wuchen year had no significant events.

己巳，周惠王崩，太子鄭嗣位，是謂襄王。太叔作難。齊帥宋、衛、許、曹、陳、會王入於洮。晉伐翟，不利於桑。庚午，齊桓公會宰孔、周公及宋、衛、鄭、許、曹之君於葵丘。宋襄公立。晉獻公卒，公子奚齊立，大夫裡克及丕鄭殺之，大夫荀息立其弟卓子。辛未，晉裡克殺其君卓子及大夫荀息，而納夷吾。夷吾入，是謂惠公。惠公既立，殺裡克而絕秦。壬申，周亂，叔帶以戍伐周，秦、晉來救。癸酉，齊使管仲平周難。楚滅黃。

The year Jisi, which was 652 BCE, saw the death of King Hui of Zhou, and his son Zheng succeeded to the throne, becoming King Xiang of Zhou. Hui's younger son, Tai叔Tai, rebelled and contested the throne. Qi led the states of Song, Wei, Xu, Cao, and Chen to meet King Xiang at Tao and stabilized his position. In the same year, Jin attacked the Di people but suffered a defeat at Sang. The year Gengwu, which was 651 BCE, saw Duke Huan of Qi convening with the Zhou envoy Zai Kong, the Duke of Zhou, and the kings of Song, Wei, Zheng, Xu, and Cao at Kuiqiu, an event known as the Kuiqiu Conference, marking the peak of Duke Huan's hegemony. At the same time, Duke Xiang of Song ascended the throne. King Xian of Jin died, and his son Xi Qi was enthroned, but was later killed by the minister Li Ke and Pi Zheng. Minister Xun Xi then installed Xi Qi's younger brother Zhuo Zi. In the year Xinwei, which was 650 BCE, Jin's Li Ke killed the king Zhuo Zi and the minister Xun Xi, and invited Yi Wu back, who then became King Hui of Jin. After consolidating his position, King Hui turned against Li Ke and killed him, while also breaking his earlier promise to cede land and cutting off relations with Qin. In the year Renshen, which was 649 BCE, the Zhou court experienced turmoil, and Tai叔Tai led his troops to attack the capital. Qin and Jin both sent armies to rescue the capital. In the year Guiyou, which was 648 BCE, Duke Huan of Qi sent Guan Zhong to quell the turmoil in the Zhou court. Meanwhile, Chu conquered the state of Huang.

甲戌，齊桓公會宋、陳、魯、衛、鄭、許、曹之君，盟於滷。晉飢，秦輸之粟。乙亥，秦飢，晉閉之糴，而又伐之。楚滅英。丙子，齊桓公會宋、陳、魯、衛、鄭、許、曹之君，盟於葵丘，以救徐。管仲卒，易牙專政。秦伐晉，敗之於韓原，獲其君夷吾，夷吾獻河西地，乃得還。仍以世子圉為質。丁丑，戎攻周，齊會諸侯師戍周，又會宋、魯、陳、鄭、許、邢、曹之君於淮，以全鄫。戊寅，齊桓公卒，五公子爭國。公子無詭立，易牙專政，世子昭出奔宋。己卯，宋會曹、衛、邾伐齊，敗殺無詭，四公子，立世子昭，是謂孝侯。狄伐衛。庚辰，秦滅梁。辛巳。壬午，宋襄公會楚、陳、蔡、鄭、許、曹六國之君於盂。楚成王執宋襄公於會以伐宋，盟而釋之。癸未，齊入王叔帶於周，秦晉徙陸渾之戎於伊川。宋會衛、許、滕伐鄭，不利。晉公子圉自秦逃歸，楚救鄭，大敗宋師於泓。

The year of Jiaxu, which was 647 BCE, saw Duke Huan of Qi convene the kings of Song, Chen, Lu, Wei, Zheng, Xu, and Cao at the site of Hu to form an alliance. In the same year, Jin experienced a famine, and Qin sent a fleet of ships to deliver grain to relieve the crisis, an event known as the "Fleet Campaign." In the year of Yihai, which was 646 BCE, Qin suffered a famine, but Jin refused to sell grain and instead sent troops to attack Qin. Meanwhile, Chu destroyed the state of Ying. In the year of Bingzi, which was 645 BCE, Duke Huan of Qi convened the feudal lords again at Kuiqiu to assist the state of Xu. At this time, Guan Zhong died, and the佞臣 Yi Ya began to dominate the court. Qin attacked Jin and defeated Jin's army at Han Yuan, capturing Duke Hui of Jin, Yiwu. Yiwu offered the western river region as tribute to be released, and also had to send his son, Prince Yu, as a hostage. In the year of Dingchou, which was 644 BCE, the Rong people attacked the Zhou royal court. Qi convened the feudal lords to defend the capital, and also met with the kings of Song, Lu, Chen, Zheng, Xu, Xing, and Cao at the site of Huai to protect the state of Zeng. In the year of Wuyin, which was 643 BCE, Duke Huan of Qi died. Five of his sons competed for the throne, and Prince Wugui became the king. Yi Ya dominated the court, while Prince Zhao fled to the state of Song. The hegemony of Qi thus came to an end. In the year of Jimao, which was 642 BCE, the state of Song allied with Cao, Wei, and Zhu to attack Qi, defeating and killing Wugui and the other four contenders for the throne, and installed Prince Zhao as the king, known as Duke Xiaogong in the original text, although it is referred to as "Xiaohou" in some sources. In the same year, the Di people attacked the state of Wei. In the year of Gengchen, which was 641 BCE, Qin destroyed the state of Liang. In the year of Renwu, which was 639 BCE, Duke Xiang of Song convened the kings of Chu, Chen, Cai, Zheng, Xu, and Cao at the site of Mu. At the meeting, King Cheng of Chu arrested Duke Xiang of Song and advanced to attack Song. After the alliance was formed, Duke Xiang was released. In the year of Guiwei, which was 638 BCE, Qi sent Prince Baidai back to the Zhou royal court. Qin and Jin relocated the Lu hun Rong people to the area of Yichuan. Song allied with Wei, Xu, and Teng to attack Zheng but failed. Duke Yu of Jin secretly fled back from Qin. Chu rescued Zheng and defeated the Song army at Hong Water. Duke Xiang of Song was seriously injured due to his adherence to the principle of "not attacking until the enemy is properly arranged."

甲申，周頹叔桃子以狄師伐鄭，遂以狄女隗氏為後。宋襄公卒，子成公壬臣繼。齊伐宋，楚伐陳。乙酉，周襄王廢狄後，頹叔桃子以狄師攻周。王出居鄭之汜，叔帶代立，與狄後居於溫。晉有郄芮之難。惠公卒，世子圉繼，是謂懷公。秦穆公使人殺之，而立公子重耳，是謂文公。趙衰為原大夫，專政。丙戌，秦晉之師滅王叔帶於溫，而納王於成周。王享晉文公於郟，而命益之河內地。衛文公卒，世子成公鄭繼。楚圍陳，以入頓子。丁亥，宋背楚親晉，楚滅夔伐宋，又伐齊。戊子，齊孝公卒，弟潘父殺世子，代立，是謂昭公。晉救宋，作三軍。楚使子玉伐宋。己丑，周襄王狩於河陽。晉會齊、宋、蔡、秦之師伐衛，大敗楚師於城濮，遂會齊、宋、蔡、鄭、魯、衛之君，盟於踐土。楚救鄭，不利，殺令尹子玉得臣。庚寅，晉會王人及諸侯於翟泉。辛卯，衛成公自陳如周，周請晉納成公於衛，而誅大夫元咺及公子瑕。秦、晉圍鄭。壬辰，魯取濟西田，衛徙居帝丘。癸巳，晉文公卒，世子歡繼，是謂襄公。

The year of Jiashen, which was 637 BCE, saw the Zhou official Tuishi and Taozǐ leading the Di army to attack the State of Zheng. King Xiang of Zhou then married the Di woman Wei as his queen. Meanwhile, King Xiong of Song died from injuries sustained at the Battle of Hong Water, and his son Chenggong Renchen succeeded him. The State of Qi attacked Song, while the State of Chu attacked Chen. The year of Yiyou, which was 636 BCE, saw King Xiang of Zhou deposing his Di queen. Tuishi and Taozǐ again led the Di army to attack the Zhou royal court. King Xiang fled to Fendi in the State of Zheng, while Shuoda proclaimed himself king and lived with the Di queen in Wen. In Jin, there was the incident involving Xi Rui, and King Hui died. His son Yu succeeded as Duke Hui of Jin. However, Duke Mu of Qin sent men to kill Duke Hui and supported the exiled公子 Chong'er, who became Duke Wen of Jin. Zhao Cai became the governor of Yuan and held power. The year of Bingxu, which was 635 BCE, saw a joint army of Qin and Jin defeating Prince Badi at Wen and returning King Xiang to Chengzhou. King Xiang held a banquet for Duke Wen of Jin at Jia and granted him the territory of He Nei. Thus, Jin's hegemony was established. Meanwhile, Duke Wen of Wei died, and his son Chenggong Zheng succeeded him. The State of Chu besieged Chen and sent Dun Zi back to his homeland. The year of Dinghai, which was 634 BCE, saw the State of Song turning from Chu to Jin. Chu destroyed the State of Kui and attacked Song, and then attacked Qi. The year of Wuzi, which was 633 BCE, saw King Xiao of Qi die, and his younger brother Pan killed the crown prince and took the throne, becoming King Zhao of Qi. Jin sent an army to rescue Song and expanded its military forces into three divisions: upper, middle, and lower. Chu sent Zi Yu to attack Song. The year of Jichou, which was 632 BCE, saw King Xiang of Zhou touring the river Yang, which was actually an invitation by Duke Wen of Jin, and the Spring and Autumn Annals recorded it as a tour. Jin joined forces with Qi, Song, Cai, and Qin to attack Wei. They defeated the Chu army at Chengpu. Later, Jin joined with the rulers of Qi, Song, Cai, Zheng, Lu, and Wei at Jiantu to hold a meeting, and Duke Wen of Jin officially became the hegemon. Chu's attempt to rescue Zheng failed, and the commander of the Chu army, Zi Yu Chengdechen, committed suicide. The year of Gengyin, which was 631 BCE, saw Jin, the Zhou royal envoys, and the feudal lords meet at Zhaiquan. The year of Xinmao, which was 630 BCE, saw Duke Chenggong of Wei return from Chen to Zhou. King Xiang of Zhou requested Jin to send Duke Chenggong back to Wei to resume his throne and executed the minister Yuan Xuan and the prince Xiao. In the same year, Qin and Jin jointly besieged Zheng, which was the incident of Zhu Zhi Wu persuading Qin to withdraw. The year of Renchen, which was 629 BCE, saw Lu gaining the land of Jixi and Wei moving its capital to Diqu. The year of Guisi, which was 628 BCE, saw Duke Wen of Jin die, and his son Huan succeeded, becoming Duke Xiang of Jin.

經世之巳二千二百一十四。甲午，周襄王二十五年，秦穆公伐鄭，晉敗秦師於殽，獲其帥孟明視、西乞術、白乙丙。魯僖公卒，世子興繼，是謂文公。乙未，晉歸秦三帥。楚亂，世子商臣殺其君惲，代立，是謂穆王。丙申，秦伐晉，不利於彭衙。丁酉，秦伐晉，取王官。楚伐江，晉師來救。戊戌，秦伐西戎，破國十二。楚滅江。己亥，晉趙成子衰卒，子盾繼，事楚滅六。

The second thousand two hundred and fourteenth generation belongs to the Si era, which corresponds to the period from 627 BCE to 598 BCE. The year Jiawu, 627 BCE, was the twenty-fifth year of King Xiangwang of the Zhou dynasty. Duke Mugu of Qin, ignoring the advice of Jianshu, crossed the state of Jin to attack Zheng. On his way back, his army was ambushed by the Jin forces at the Xiaoshan Mountains, resulting in the complete destruction of his army. The three generals, Mengmingshi, Xique, and Baiyijing, were all captured. In the same year, Duke Xilu of Lu died, and his son Xing succeeded him, becoming Duke Weng of Lu. The year Yiwei, 626 BCE, saw the release of the three generals of Qin by Jin. In Chu, there was internal strife, and the crown prince Shangchen killed King Chengwang Yongyang and took the throne, becoming Duke Mu of Chu. The year Bingshen, 625 BCE, saw Qin attack Jin but suffered defeat at Pengya. The year Dingyou, 624 BCE, saw Qin attack Jin again and captured Wangguo. Meanwhile, Chu attacked Jiang, and the Jin forces came to rescue Jiang. The year Wuxu, 623 BCE, saw Qin turn westward and attack the Western Rong tribes, defeating twelve states, thus establishing dominance over the Western Rong. Meanwhile, Chu destroyed Jiang. The year Jihai, 622 BCE, saw the death of Zhao Chengzi Zhao Cai of Jin, and his son Zhao Dun inherited his position and took charge of the state affairs. Meanwhile, Chu destroyed six states.

庚子，秦穆公卒，世子罃繼，是謂康公。葬穆公，三良為殉。晉襄公卒。辛丑，晉世子夷皋繼，是謂靈公。宋成公卒，國亂，弟御殺世子，代立。國人殺御，公立子杵臼，是謂昭公。齊率宋、衛、陳、鄭、許、曹之君，會趙盾於扈。壬寅，周襄王崩，太子壬臣嗣位，是謂頃王。癸卯，周葬襄王。晉會諸侯入救鄭。秦伐晉，取武遂。甲辰，晉伐秦，取少梁。秦伐晉，取比徵。乙巳，魯敗狄於滷，獲其帥喬如。丙午，秦伐晉，取羈馬。

The year Gengzi (621 BCE) saw the death of King Mu of Qin, with his son Ying succeeding him as King Kang of Qin. When burying King Mu, three virtuous ministers of the Zhao family were sacrificed as殉葬 (burial offerings). The poem "Huangnü" from the Book of Songs laments this event, which weakened the power of the Qin state. In the same year, King Xiang of Jin died. In the year Xinchou (620 BCE), Prince Yigao of Jin succeeded as King Ling of Jin. In the same year, King Cheng of Song died, causing domestic turmoil. His younger brother, Prince Yu, killed the crown prince and claimed the throne, but the people later killed Yu and restored Prince Choujiu, the son of King Cheng, as King Zhao of Song. In the same year, the State of Qi convened with rulers of Song, Wei, Chen, Zheng, Xu, and Cao at the site of Hu to meet with Zhao Dun, the chief minister of Jin. In the year RENYIN (619 BCE), King Xiang of Zhou died, and his son Renchen succeeded as King Qin of Zhou. In the year Guimao (618 BCE), the Zhou court buried King Xiang. Jin convened with other states to send troops to rescue Zheng. Qin attacked Jin and captured Wushui. In the year Jiachen (617 BCE), Jin attacked Qin and captured Shaoliang. Qin attacked Jin and captured Bize. In the year Yisi (616 BCE), Lu defeated the Di people at Hu, capturing their commander, Chang Di Qiaorú. In the year Bingwu (615 BCE), Qin attacked Jin and captured Jima.

丁未，楚穆王卒，世子莒繼，是謂莊王。戊申，周頃王崩，國亂，公卿爭權。晉趙盾平周亂，而立王子班，是謂匡王。宋及諸侯盟於新城。齊昭公卒，國亂，公子商人殺世子舍，代立，是謂懿公。己酉，秦伐蔡，齊伐魯。庚戌，齊修郪丘之盟。宋人弒其君昭公，弟鮑立，是謂文公。楚滅庸。辛亥，晉會衛、陳、鄭伐宋。壬子，魯文公卒於臺下，襄仲殺世子惡而立公子倭，是謂宣公，三桓專政。秦康公卒，世子稻繼，是謂共公。齊亂，大夫丙歜弒其君懿公，立公子元，是謂惠公。宋亂，群公子作難。癸丑，齊取魯濟西田，晉伐鄭，楚侵陳及宋。

The year Dingwei, which was 614 BCE, saw the death of King Mu of Chu, and his son Ju succeeded to the throne, later known as King Chu Zhaungwang who would later strive for dominance in the Central Plains. The year Wushen, which was 613 BCE, saw the death of King Qing of the Zhou dynasty, leading to internal disorder in the royal court, with the ministers vying for power; Zhao Dun, the chief minister of Jin, intervened to quell the chaos, supporting Prince Ban, who became King Kuang of Zhou; the State of Song held a conference with the feudal lords at the new city; King Zhao of Qi died, causing internal turmoil, and his son Shangren killed his brother, Prince She, and took the throne, becoming King Yi of Qi. The year Jiyou, which was 612 BCE, saw Qin attacking the State of Cai, and Qi attacking Lu. The year Gengxu, which was 611 BCE, saw Qi renewing the alliance at Qiqiu; the people of Song killed their king, Zhao Gong, and his younger brother Bao succeeded, becoming King Wen of Song; Chu conquered the State of Yong. The year Xinhai, which was 610 BCE, saw Jin, Wei, Chen, and Zheng jointly attacking Song. The year Renzi, which was 609 BCE, saw Duke Wen of Lu die on the terrace; his son Su (Xiangzhong) killed his son, Prince E, and replaced him with his son, Prince Wei, who became Duke Xuan of Lu, from then on the three families, Ji Sun, Su Sun, and Meng Sun, monopolized the government of Lu; King Kang of Qin died, and his son Dao succeeded, becoming King Gong of Qin; Qi experienced internal disorder, and the minister Bingchu killed King Yi, and replaced him with his son, Prince Yuan, who became King Hui of Qi; Song also had internal strife, with the younger brothers of the king rebelling. The year Guichou, which was 608 BCE, saw Qi seizing the land of Ji Xi in Lu; Jin attacked Zheng; Chu invaded Chen and Song.

甲寅，周匡王崩，弟瑜立，是謂定王。鄭敗宋師於大棘，獲其太宰華元。晉伐鄭，秦伐晉，晉趙盾弒其君靈公。迎襄公弟黑臀於周，立之，是謂成公。乙卯，周葬匡王。楚伐陸渾之戎，遂觀兵於周郊。丙辰，鄭亂，公子作難。丁巳，晉伐陳以救鄭。秦共公卒，子稻繼，是為桓公。戊午，晉趙盾、衛孫免，侵陳。己未，晉會諸侯於黑壤。庚申，晉伐秦，楚滅舒蓼。辛酉，晉侯會宋、衛、陳、鄭於扈。陳不至，遂伐陳。晉成公卒於扈，公子據立，是謂景公。趙盾卒，子朔繼事。壬戌，齊歸魯濟西田，齊惠公卒，子無野立，是謂頃公。大夫崔杼奔衛。陳亂，夏徵舒弒其君靈公。晉伐鄭，楚師來救；楚伐鄭，晉師來救。癸亥，楚伐陳，誅夏徵舒，納公孫寧、儀行父於陳。

The year Jiayin (607 BCE) saw the death of King Kuang of the Zhou dynasty, and his younger brother Yu succeeded him, becoming King Ding of Zhou. The State of Zheng defeated the army of the State of Song at Dají and captured the chief minister Hua Yuan of Song. The State of Jin attacked Zheng, while the State of Qin attacked Jin. The clan of Zhao Dun, the chief minister of Jin, assassinated King Ling of Jin; in fact, it was Zhao Chuan who carried out the act, but the official Dong Hu recorded it as "Zhao Dun assassinated his king," which Confucius called "the virtue of an ancient historian." Afterwards, the State of Jin brought back Duke Xiang of Jin's younger brother He Tui to be the new king, who became Duke Cheng of Jin. The year Yimao (606 BCE) saw the burial of King Kuang of Zhou. King Chu Zhuangwang attacked the Rong people of Luhun, and then stationed his troops near the capital of Zhou to show strength. He also asked the official Wang Sun Man about the weight of the Nine Tripods, an event known as "asking about the tripod of Central Plains." The year Bingchen (605 BCE) saw disorder in the State of Zheng, with a prince starting a rebellion. The year Dingsi (604 BCE) saw the State of Jin attack Chen to rescue Zheng. Duke Gong of Qin died, and his son Dao succeeded him, becoming Duke Huan of Qin. The year Wuwu (603 BCE) saw Zhao Dun of Jin and Sun Mian of Wei attack Chen. The year Jiwei (602 BCE) saw the meeting of the feudal lords at Heirang. The year Gengshen (601 BCE) saw Jin attack Qin, while Chu destroyed the state of Shu Liao. The year Xinyou (600 BCE) saw Duke Jin meet with the kings of Song, Wei, Chen, and Zheng at Hu. Chen did not attend, so Jin attacked Chen. Duke Cheng of Jin died at Hu, and his son Ju succeeded him, becoming Duke Jing of Jin. Zhao Dun died, and his son Zhao Shuo took over his affairs. The year Renxu (599 BCE) saw Qi return the land of Jixi to Lu. Duke Hui of Qi died, and his son Wuye succeeded him, becoming Duke Qing of Qi. The official Cui Zhu fled to Wei. There was disorder in Chen, where Xia Zhengshu killed King Ling of Chen. Jin attacked Zheng, and Chu came to rescue Zheng, while Chu attacked Zheng and Jin came to rescue Zheng, marking the beginning of the rivalry between Jin and Chu over Zheng. The year Guihai (598 BCE) saw Chu attack Chen, executed Xia Zhengshu, and returned the exiled Prince Gong Sun Ning and Yi Xing Fu to Chen.

經世之午二千二百一十五。甲子，周定王十年。楚伐鄭，大敗晉師於河上。晉屠岸賈作難於下宮，殺趙朔及其族。朔妻匿於公宮，生武。乙丑，楚伐宋。丙寅，楚圍宋。丁卯，周定王殺二伯，晉滅狄及潞氏。戊辰，周宣王榭火，晉滅申氏，又平王室之亂。己巳，晉會諸侯之君於斷道。

The 2215th generation belongs to the Wu era, which spans from 597 to 568 BCE. The year Jiazi, which was 597 BCE, marked the tenth year of King Ding of the Zhou dynasty's reign. During this year, King Chu Zhuangwang attacked the State of Zheng and defeated the Jin army in the Battle of Bie, thereby establishing Chu as the dominant power replacing Jin. In the same year, Tu Anjia of Jin launched an attack at Xiaogong, killing Zhao Shuo and his entire family. Zhao Shuo's wife, Zhuangji, took refuge in the palace and gave birth to her unborn son Zhao Wu, the origin of the story of "The Orphan of Zhao." The year Yichou, which was 596 BCE, saw Chu attack Song. The year Bingyin, which was 595 BCE, witnessed Chu surrounding Song, with the Song people enduring nine months of siege, resorting to "exchanging children for food and burning bones for cooking." The year Dingmao, which was 594 BCE, saw King Ding of Zhou kill two marquises; Jin destroyed the Di people and the Lu氏. The year Wuchen, which was 593 BCE, saw a fire at the temple of King Xuan of Zhou; Jin destroyed the Shen氏 and quelled disturbances within the royal court. The year Jisi, which was 592 BCE, saw Jin gathering the feudal lords at Duandao.

庚午，魯宣公卒，世子黑肱繼，是謂成公。晉伐齊。楚莊王卒，世子審繼，是謂共王。辛未，周伐茅戎，不利。壬申，齊伐衛，敗魯、衛之師於新築。晉會諸侯之師救衛，大敗齊師於鞍。宋文公卒，子瑕繼，是謂共公，華元專國，兩盟於晉楚，會十國之人於蜀。癸酉，晉會宋、衛、魯、曹伐鄭，鄭兩伐許。甲戌，晉伐楚救鄭。

The year Gengwu corresponds to 591 BCE, when Duke Xuan of Lu died, and his son He Geng succeeded him, becoming Duke Cheng of Lu; Jin attacked Qi; Duke Zhuang of Chu died, and his son Shen succeeded him, becoming Duke Gong of Chu, and the hegemony of Chu declined after Duke Zhuang's death. The year Xinwei corresponds to 590 BCE, when the Zhou royal court attacked Mao Rong but suffered a great defeat. The year Renshen corresponds to 589 BCE, when Qi attacked Wei and defeated the allied forces of Lu and Wei at Xin Zhu; Jin gathered the armies of the feudal lords to rescue Wei and defeated the Qi army at An, which is known as the Battle of An, and Jin reasserted its dominance over Qi; in the same year, Duke Wen of Song died, and his son Xia succeeded him, becoming Duke Gong of Song, and the minister Hua Yuan held power, forming alliances with both Jin and Chu, and held a meeting of ten representatives at Shu, setting the precedent for the later Peace of the Heqin. The year Guiyou corresponds to 588 BCE, when Jin, together with Song, Wei, Lu, and Cao, attacked Zheng; Zheng twice attacked Xu. The year Jiaxu corresponds to 587 BCE, when Jin attacked Chu to rescue Zheng.

乙亥，周定王崩，太子夷嗣位，是謂簡王。晉會齊、宋、衛、魯、鄭、曹、邾、杞八國之君，盟於蟲牢。楚伐鄭。丙子，楚伐鄭，晉救鄭。是年，壽夢稱王於吳。丁丑，晉會齊、宋、魯、衛、曹、邾、莒八國之君於馬陵，以救鄭。吳王壽夢始通好中國。戊寅，晉殺大夫趙同、趙括。己卯，晉會齊、宋、魯、衛、鄭、曹、邾、杞八國之君，盟於蒲。齊頃公卒，子環繼，是謂靈公。晉伐鄭，秦伐晉，楚伐莒，入鄆。庚辰，晉景公有疾，授世子州蒲位，是謂厲公。景公卒，程嬰攻屠岸賈於公宮，滅其族，復趙武、趙朔之封邑，程嬰請死。辛巳，秦晉修夾河之盟。壬午，晉楚同盟於宋，晉敗狄於交剛。癸未，魯成公朝於周，晉會齊、宋、魯、衛、鄭、曹、邾、滕八國之師伐秦，敗之麻隧。

The year of Yihai, which was 586 BCE, saw the death of King Ding of the Zhou dynasty, with his son Yi succeeding him as King Jian of Zhou; the states of Jin, Qi, Song, Wei, Lu, Zheng, Cao, Zhu, and Qi held a meeting at Chonglao; and Chu attacked Zheng. The year of Bingzi, which was 585 BCE, saw Chu attack Zheng again, while Jin rescued Zheng; in this year, Shoudmeng declared himself king of Wu, and the people of Wu, who were located in the southeast, began to appear on the central plains stage. The year of Dingchou, which was 584 BCE, saw Jin meet with the kings of Qi, Song, Lu, Wei, Cao, Zhu, and Ju at Maling to rescue Zheng; King Shoudmeng of Wu had his first friendly contact with the feudal lords of the central plains, and Jin adopted the strategy of "forming an alliance with Wu to contain Chu." The year of Wuyin, which was 583 BCE, saw Jin kill the ministers Zhao Tong and Zhao Kuai. The year of Jimao, which was 582 BCE, saw Jin meet with the kings of eight states at Pu to hold a meeting; Qi Qinggong died, and his son Huan succeeded him as Qi Linggong; Jin attacked Zheng, Qin attacked Jin, and Chu attacked Ju and captured the city of Yun. The year of Gengchen, which was 581 BCE, saw King Jing of Jin fall ill and pass the throne to his son Zhou Pu, who became King Lige of Jin; after King Jing's death, Chengying attacked the palace and killed Tu Anjia, exterminating his family, thus clearing the name of the Zhao family, restoring the fiefs of Zhao Wu and Zhao Shuo, and Chengying then requested to die himself in return for the previous trust shown to him by Gongsun Chujiu. The year of Xinsi, which was 580 BCE, saw Qin and Jin renew their alliance at the Jihe region. The year of Renwu, which was 579 BCE, saw Jin and Chu establish an alliance in the state of Song, which was the first peace agreement promoted by Hua Yuan; Jin defeated the Di people at Jiajiang. The year of Guiwei, which was 578 BCE, saw Duke Chenggong of Lu pay homage to the King of Zhou; Jin met with the armies of eight states, including Qi, Song, Lu, Wei, Zheng, Cao, Zhu, and Teng, to attack Qin, and defeated the Qin army at Matisui.

甲申，秦桓公卒，子景公繼。乙酉，晉會諸侯之君於戚。宋共公卒，國亂，大司馬唐山殺世子肥，右師華元、左師魚石誅唐山，而立公子成，是謂平公。楚遷許於葉。吳大會諸侯之君於鍾離。丙戌，晉伐鄭，大敗楚師於鄢陵。楚救鄭，不克，矢中王目，誅令尹側。丁亥，晉會諸侯盟於柯陵。是年，晉殺三郤。戊子，晉亂，欒書弒其君厲公，迎公子周於周，立之，是謂悼公。魯成公卒，子午繼，是謂襄公。楚會鄭，伐宋彭城。晉侯會宋公、魯仲孫蔑、衛侯、邾子、齊崔杼同盟於虛朾。己丑，周簡王崩，太子洩心嗣位，是謂靈王。晉會諸侯之師伐宋，圍彭城。庚寅，周葬簡王，晉伐鄭，會諸侯之師於戚，以成虎牢。辛卯，晉會八國之君，盟於雞澤。楚伐吳，至於衡山。壬辰，晉用魏絳。楚伐陳。癸巳，晉會諸侯之師於戚城，又救陳。吳會魯、衛之君於善道。

The year Jiashen corresponds to 577 BCE, when King Huan of Qin died and his son Jinggong succeeded him. The year Yiyou corresponds to 576 BCE, when the State of Jin held a great assembly of the feudal lords at Qi; Duke Gong of Song died, causing internal disorder, and the Grand司马 Tanshang killed the crown prince Fei. The Right Minister Hua Yuan and the Left Minister Yu Shi killed Tanshang, and then installed Prince Gongcheng as the new ruler, who became Duke Ping of Song. The State of Chu moved the State of Xu to Ye. The State of Wu held a great assembly of the feudal lords at Zhongli. The year Bingxu corresponds to 575 BCE, when the State of Jin attacked Zheng and defeated the Chu army at Yancheng. The Chu State failed to rescue Zheng, and King Gong of Chu was shot in the eye. Upon returning home, he executed the Minister of State Zi Fan (whose name was Ce), and thus Jin reasserted its dominance over the Central Plains. The year Dinghai corresponds to 574 BCE, when the State of Jin held a great assembly of the feudal lords at Keling. In the same year, Duke Liji of Jin executed the three ministers Xi Qi, Xi Chou, and Xi Zhi, an event known as "Jin killed the three Xis." The year Wuzi corresponds to 573 BCE, when the State of Jin experienced internal disorder, and Luan Shu killed Duke Liji, then invited Prince Zhou from the Zhou royal court to become the new ruler, who became Duke Dao of Jin. Duke Cheng of Lu died, and his son Wu succeeded him, who became Duke Xiang of Lu. The State of Chu allied with Zheng to attack Pengcheng of Song. Duke Jin and Duke Song, Duke Xiang of Lu, Duke Wei, Duke Zhu, and Duke Cui Zhu of Qi held an alliance at Xun. The year Jichou corresponds to 572 BCE, when King Jian of Zhou died, and his son Xie Xin succeeded him, who became King Ling of Zhou. The State of Jin assembled the feudal lords' armies to attack Song, surrounding Pengcheng. The year Gengyin corresponds to 571 BCE, when the Zhou court buried King Jian. The State of Jin attacked Zheng and held an assembly of the feudal lords at Qi, and built the city of Hulao to pressure Zheng. The year Xinmao corresponds to 570 BCE, when the State of Jin held an assembly of eight feudal lords at Jize. The State of Chu attacked Wu, reaching as far as Hengshan. The year Renchen corresponds to 569 BCE, when Duke Dao of Jin appointed Wei Jie, and implemented the policy of "harmonizing with the Hu people." The State of Chu attacked Chen. The year Guisi corresponds to 568 BCE, when the State of Jin held an assembly of the feudal lords' armies at Qicheng, and also sent troops to rescue Chen. The State of Wu met with the rulers of Lu and Wei at Shandao.

經世之未二千二百一十六。甲午，周靈王五年。乙未，晉會七國之君於鄬。丙申，晉會諸國之君於邢丘，鄭子駟殺群公子。丁酉，秦伐晉。晉會十一國之君伐鄭，楚亦伐鄭。兩盟晉楚。戊戌，晉率十一國之君會吳壽夢於柤，以滅偪陽；又會十一國之師伐鄭，又伐秦。楚伐宋，又救鄭。己亥，晉兩會十一國之師伐鄭，賜魏絳食採安邑。秦伐晉救鄭。魯三桓分軍。楚伐鄭，又伐宋。

The second thousand two hundred and sixteenth generation belongs to the year of Wei, which corresponds to the period from 557 to 538 BCE, a time when Duke Zhao of Jin re-established his hegemony and Xiang Xu mediated peace between the states. The year Jiawu, which was 557 BCE, was the fifth year of King Ling of Zhou's reign. The year Yiwei, which was 556 BCE, saw the meeting of seven state rulers at the place of Wei. The year Bingshen, which was 555 BCE, saw the meeting of rulers from various states at Xingqiu; at the same time, Zi Shi, the chief minister of Zheng, killed a group of princes. The year Dingyou, which was 554 BCE, saw Qin attacking Jin; Jin gathered eleven states to attack Zheng, while Chu also attacked Zheng, forcing Zheng, which was caught in between, to make alliances with both sides. The year Wuxu, which was 553 BCE, saw Jin leading eleven states to meet with King Shoumeng of Wu at the place of Zha, jointly defeating Biyang; Jin also gathered eleven states' armies to attack Zheng, then attacked Qin; Chu attacked Song, and later rescued Zheng. The year Jihai, which was 552 BCE, saw Jin twice gathering eleven states' armies to attack Zheng, and granted Anyi to Wei Jie as a fief; Qin attacked Jin to rescue Zheng; at the same time, the three families of Ji Sun, Shu Sun, and Meng Sun in Lu divided the royal army, which is known as the 'Division of the Royal Army'; Chu attacked Zheng and then attacked Song.

庚子，楚會秦，伐宋。吳壽夢卒，長子諸樊繼。辛丑，楚共王卒，子昭廢世子代立，是謂康王。吳伐楚不利。壬寅，晉率齊、宋、魯、衛、鄭、曹、莒、邾、滕、薛、杞、小邾十二國之君，會吳諸樊於向，又會諸侯之師伐秦。衛亂，孫林父、寧殖作難，衛侯出奔齊。楚伐吳有功。癸卯，晉悼公卒，子彪繼，是謂平公。甲辰，晉侯會宋、魯、衛、鄭、曹、莒、邾、薛、杞、小邾十國之君，盟於溴梁，執莒子、邾子以歸；又伐楚，至於方城。乙巳。

The Gengzi year was 551 BCE, when the State of Chu joined forces with Qin to attack Song; King Shoumeng of Wu died, and his eldest son Zhu Fan succeeded to the throne. The Xinchou year was 550 BCE, when King Gong of Chu died, and his son Zhao deposed the originally designated crown prince and took the throne himself, becoming King Kang of Chu; Wu took advantage of the mourning period to attack Chu, but suffered a defeat. The Rennyin year was 549 BCE, when the State of Jin led the rulers of Qi, Song, Lu, Wei, Zheng, Cao, Ju, Zhu, Teng, Xue, Qi, and Xiaozhu to meet at Xiang, and also joined forces with the armies of the feudal lords to attack Qin; disorder arose in Wei, and Sun Linfu and Ning Zhi rebelled, forcing Duke Xian Gong of Wei to flee to Qi; Chu attacked Wu and achieved a victory. The Guimao year was 548 BCE, when Duke Diao Gong of Jin died, and his son Biao succeeded to the throne, becoming Duke Ping of Jin; from this point on, Jin's hegemony gradually shifted from the royal family to the six great ministers. The Jiachen year was 547 BCE, when Duke Jin met the rulers of Song, Lu, Wei, Zheng, Cao, Ju, Zhu, Xue, Qi, and Xiaozhu at Boliang, and captured Duke Ju and Duke Zhu, bringing them back; they also launched an attack on Chu, advancing all the way to Fangcheng. The Yisi year had no significant events.

丙午，晉用範中行，會宋、衛、魯、鄭、曹、莒、邾、滕、薛、杞、小邾十一國之師伐齊，敗之於靡下，進圍臨淄。齊靈公奔莒。丁未，齊廢世子光，以公子牙為世子。崔杼復廢牙，立光為世子。靈公卒，光繼，是謂莊公。崔杼當國。鄭簡公誅大夫子孔，以子產當國。戊申，晉侯會十二國之君，盟於澶淵。己酉，晉侯會八國諸侯，盟於商壬。欒盈奔楚。庚戌，晉會十一國之君，盟於沙隨。楚殺令尹子南。晉欒盈自楚適齊。辛亥，欒盈自齊復入於晉，不克，死。範中行滅欒氏之族。齊伐晉，取朝歌。

The year Bingwu corresponds to 555 BCE, when the state of Jin appointed the families of Fan and Zhonghang as regents. They joined forces with the armies of eleven states: Song, Wei, Lu, Zheng, Cao, Ju, Zhu, Teng, Xue, Qi, and Xiaozhu, to attack Qi. They defeated the Qi army at Mǐxià and then surrounded Linzi. King Ling of Qi fled to the state of Ju. The year Dingwei corresponds to 554 BCE, when Qi abolished Prince Guang as heir and instead appointed Prince Ya. Later, Cui Zhu deposed Ya and restored Guang as heir. After King Ling of Qi died, Guang succeeded to the throne, becoming King Zhuang of Qi. From then on, Cui Zhu controlled the government of Qi. In the same year, Duke Jian of Zheng executed the minister Zi Kong and appointed Zi Chuan as regent, thus obtaining a famous minister of the Spring and Autumn period. The year Wushen corresponds to 553 BCE, when the Duke of Jin convened twelve rulers at Chanyuan for a treaty. The year Jiyou corresponds to 552 BCE, when the Duke of Jin convened eight feudal lords at Shangren for a meeting; at the same time, the Jin noble Luan Ying fled to the state of Chu. The year Gengxu corresponds to 551 BCE, when the Duke of Jin convened eleven rulers at Shasi for a meeting; the state of Chu killed the minister Linyi Zinan; Luan Ying then moved from Chu to Qi. The year Xinhai corresponds to 550 BCE, when Luan Ying secretly returned to Jin from Qi and attempted a coup, but failed and died. The families of Fan and Zhonghang took the opportunity to destroy the Luan family. From then on, the consolidation among the six great families of Jin intensified; Qi attacked Jin and captured Chaoguo.

壬子，晉會十一國之君於夷儀。楚伐吳，又會諸侯伐鄭。癸丑，齊亂，崔杼弒其君莊公，立異母弟杵臼，是謂景公，崔杼為右相，慶封為左相。晉敗齊師於高堂。楚會陳伐鄭，及滅舒鳩。吳伐楚，不利，諸樊死，弟餘祭立，封季札於延陵。甲寅，衛亂，寧喜、孫林父爭權，林父不勝，奔晉。寧喜弒其君剽，晉執寧喜，求衛侯於齊而納之，封林父於宿。齊慶封夷崔杼族而專國。鄭封子產六邑。楚會陳、蔡伐鄭。乙卯，晉用趙武為正卿，是為文子，與韓宣子起、魏武子絳同執國命。會諸侯之大夫於宋。衛殺寧喜。晉、楚、齊、秦同會於宋，從向戌之請，將弭兵也。

The year Renzi, which corresponds to 549 BCE, saw the state of Jin gathering the rulers of eleven states at Yiyi. Meanwhile, the state of Chu attacked Wu, and later joined the feudal lords in attacking Zheng. The year Guichou, which corresponds to 548 BCE, witnessed disorder in the state of Qi. Cui Zhu killed the king of Qi, Duke Zhuang, because he had an improper relationship with Cui Zhu's wife, and instead installed Zhuang's half-brother Chujiu as the new king, who became Duke Jing of Qi. Cui Zhu served as the right chancellor, and Qing Feng as the left chancellor. The brothers of the Qi historian, due to their straightforward recording of "Cui Zhu killed his sovereign," died one after another, marking a famous episode of historians upholding their integrity. In the same year, the state of Jin defeated the Qi army at Gao Tang. The state of Chu, together with Chen, attacked Zheng and destroyed Shujiu. Wu attacked Chu but failed, with King Zhu Fan of Wu dying in battle. His younger brother Yu Ji succeeded him and enfeoffed Ji Zha at Yingle. The year Jiayin, corresponding to 547 BCE, saw disorder in the state of Wei. Ning Xi and Sun Linfu competed for power, and Sun Linfu, defeated, fled to Jin. Ning Xi killed King Biao of Wei, and Jin arrested Ning Xi, while also bringing back Duke Xian of Wei from Qi to restore him to the throne, and enfeoffed Sun Linfu at Su. In Qi, Qing Feng destroyed the Cui Zhu clan and seized control of the state. The state of Zheng enfeoffed six cities to Zi Chan. The state of Chu, together with Chen and Ci, attacked Zheng. The year Yimao, corresponding to 546 BCE, saw Jin appoint Zhao Wu as the chief minister, known as Zhao Wenzǐ, who together with Han Qi (Xuanzi) and Wei Jie (Wuzǐ) took control of the state, marking the formal transfer of Jin's power to Han, Zhao, and Wei. In the same year, a meeting of the ministers of various states was held in Song. The state of Wei killed Ning Xi. The four major states, Jin, Chu, Qi, and Qin, met in Song, accepting the proposal of Song's minister Xiang Xu to cease hostilities, an event known as the "Xiang Xu Ce Wu" (Ce Wu refers to ceasing war). After this, the Central Plains experienced over forty years of relative peace without major wars.

丙辰，周靈王崩，太子貴嗣位，是謂景王。齊慶封弛政，其子舍及田鮑、高欒之徒逐之。慶封奔魯，又適吳。楚康王卒，世子麋繼，是謂郟敖。丁巳，晉智伯會十國諸侯，入城杞。楚用叔圍為令尹。吳亂，餘祭遇弒，弟餘昧立，季札使魯、齊、鄭、晉。戊午，蔡亂，世子弒其君，代立。鄭亂，群公子爭寵。宋災。晉會諸侯，入於澶淵。己未，魯襄公卒，世子又卒，國人立齊歸之子裯，是謂昭公，季武子專政。庚申，晉趙武會諸侯之大夫於虢。楚亂，令尹圍弒其君麋，代立，是謂靈王。公子比奔晉，薳罷為令尹。辛酉，晉韓宣子起使魯。壬戌，魯昭公朝晉，齊晏嬰使晉，鄭伯朝晉，又朝楚。癸亥，楚會十一國之君於申，執徐子於會，又會七國諸侯，伐吳之朱方，以誅齊慶封。吳拔楚三邑。

The year Bingchen, which was 545 BC, saw the death of King Ling of Zhou, and his son Gui succeeded him, becoming King Jing of Zhou. At the same time, Qi's Qing Feng neglected state affairs, and his son Qing She, along with the families of Tian, Bao, Gao, and Luan, drove him out. Qing Feng first fled to Lu, then to Wu. Meanwhile, King Kang of Chu died, and his son Mi succeeded him, becoming King Jia Ao of Chu. In the year Dingsi, which was 544 BC, Zhong Bo of Jin gathered ten states to build a city for Qi. Chu appointed Prince Wei as Minister of State. Wu experienced internal disorder, and King Yu Ji was murdered. His younger brother Yu Mei succeeded him. Ji Zha traveled to Lu, Qi, Zheng, and Jin, observing the Zhou music and evaluating the customs of the states, which became a famous story. In the year Wuwu, which was 543 BC, there was turmoil in the state of Ci, where the crown prince killed the king and took the throne. In Zheng, the younger brothers vied for power. A fire broke out in Song. Jin gathered the states and entered Chanyuan to discuss relief measures. In the year Jiwei, which was 542 BC, Duke Xiang of Lu died, and his son died soon after. The people then chose the son of Qi Gui, Chao, as the ruler, who became Duke Zhao of Lu. From then on, Ji Wu Zi controlled Lu's government. In the year Gengshen, which was 541 BC, Zhao Wu of Jin met the ministers of the states at Guo. In Chu, Minister of State Prince Wei killed King Mi and took the throne, becoming King Ling of Chu. Prince Bi fled to Jin, and Wenyi became the Minister of State. In the year Xinyou, which was 540 BC, Han Xuanzi Han Qi visited Lu, saw the "Yi Xiang" and "Lu Chunqiu", and exclaimed, "The Zhou rites are entirely in Lu." In the year Renxu, which was 539 BC, Duke Zhao of Lu visited Jin. Yan Ying of Qi visited Jin. Duke Zheng first paid homage to Jin, then to Chu. In the year Guihai, which was 538 BC, Chu gathered the rulers of eleven states at Shen, arrested Xu Zi, and then gathered seven states to attack Wu's Zhu Fang, killing Qing Feng who had fled there. Wu then captured three cities of Chu.

經世之申二千二百一十七。甲子，周景王八年，楚會諸侯伐吳。秦景公卒，世子繼，是謂哀公。乙丑，齊北伐燕，楚東伐吳，吳敗楚師於乾溪。丙寅，楚起章華臺。丁卯，楚滅陳，執其公子招，放之於越。戊辰。己巳，晉平公卒，世子夷繼，是謂昭公。齊陳鮑逐欒高氏於魯，分其室。

The 2217th generation belongs to the year of Shen, which spans from 537 BCE to 508 BCE. The year Jiazi, 537 BCE, was the eighth year of King Jing of Zhou's reign, when the State of Chu joined other feudal states to attack Wu. King Jing of Qin died, and his son succeeded him, becoming King Ai of Qin. The year Yichou, 536 BCE, saw Qi attacking Yan to the north, and Chu attacking Wu to the east. Wu defeated the Chu army at Ganxi. The year Bingyin, 535 BCE, was when King Ling of Chu greatly expanded construction on the Zhanghua Terrace, indulging in extravagance, which led to the depletion of the state's strength. The year Dingmao, 534 BCE, was when Chu destroyed the State of Chen, capturing the prince of Chen, Zhao, and exiling him to the State of Yue. The year Jisi, 532 BCE, was the year King Ping of Jin died, and his son Yi succeeded him, becoming King Zhao of Jin. Meanwhile, the O氏 (Tian氏) of Qi, together with the Bao氏, drove out the Luan氏 and Gao氏, expelling them to Lu, and divided their property, thus establishing the growing power of the Tian氏.

庚午，晉韓起會齊、宋、魯、衛、鄭、曹、杞之大夫於厥憖。楚誘蔡侯於申，殺之。公子棄疾滅蔡，守之，執其世子有歸用之。辛未，魯朝晉，楚伐徐。壬申，晉昭公會齊、衛、鄭、曹、莒、邾、滕、薛、杞、小邾之君，盟於平丘。魯不得與，執季孫意如以歸。楚公子棄疾殺比代立，是謂平王，釋陳、蔡二君歸國。吳滅州來。癸酉，楚復諸侯侵地，觀從用政。甲戌，晉伐鮮虞。楚費無忌為太子建逆婦於秦。吳餘昧卒，季札逃，國人立餘昧子僚。乙亥，晉昭公卒，子去疾立，是謂頃公。楚誘戎蠻子，殺之。丙子，晉滅陸渾之戎，吳伐楚。丁丑，周鑄大錢。宋、衛、陳、鄭災。楚遷許於白羽。

The year Gengwu, which corresponds to 531 BCE, saw Han Qi of the State of Jin meeting with officials from Qi, Song, Lu, Wei, Zheng, Cao, and Qi at Ju Yin. King Ling of Chu lured the Marquis of Ci to Shen and killed him, after which his son Ji Ji destroyed the State of Ci and remained there, capturing the太子 of Ci to use as a human sacrifice. In the year Xinwei, which was 530 BCE, the State of Lu paid homage to Jin. Chu attacked Xu. In the year Renshen, which was 529 BCE, King Zhao of Jin convened the rulers of Qi, Wei, Zheng, Cao, Ju, Zhu, Teng, Xue, Qi, and Xiao Zhu at Pingqiu for a meeting, while Lu was excluded and its chief minister Ji Sun Yi Ru was detained. In the same year, Prince Ji Ji of Chu killed Prince Bi and took the throne, becoming King Ping of Chu. He released the rulers of Chen and Ci to return to their states in order to gain support. Wu destroyed Zhoulai. In the year Guiyou, which was 528 BCE, Chu returned lands that had been seized from the feudal lords, and Guan Cong took charge of state affairs. In the year Jiaxu, which was 527 BCE, Jin attacked Xianyu. Fei Wujie of Chu went to Qin to marry a new wife for Prince Jian, but advised King Ping to take her himself, setting the stage for future calamity. King Yu Mei of Wu died, and according to the principle of seniority, the throne should have passed to Ji Zha, but Ji Zha refused and fled, leading the people to instead support Yu Mei's son Liao. In the year Yihai, which was 526 BCE, King Zhao of Jin died, and his son Qu Ji succeeded him, becoming King Qing of Jin. Chu lured and killed Rong Manzi. In the year Bingzi, which was 525 BCE, Jin destroyed the Rong of Luhun. Wu attacked Chu. In the year Dingchou, which was 524 BCE, King Jing of Zhou cast large coins, and Shan Mu Gong advised against it but was ignored. At the same time, fires broke out in the states of Song, Wei, Chen, and Zheng. Chu moved the State of Xu to Baiyu.

戊寅，楚用費無忌專政，放太子建於城父。己卯，齊景公與大夫晏嬰入魯問禮。宋有華氏之難，大夫華亥、華定、向寧奔陳。楚世子建自城父奔宋，又適鄭，又適晉。楚殺其傅伍奢及其子尚，伍員奔吳。庚辰，宋華亥、華定、向寧入宋南里，叛。辛巳，周景王崩，葬景王。王室亂，三王子爭國，國人立猛，是謂悼王。王子朝殺猛，代立。晉逐朝而入丐，是謂敬王。宋華亥、華定、向寧奔楚。世子建及晉師襲鄭，不克，死。其子勝奔吳。壬午，召氏、尹氏入王子朝於成周。單子、劉子以王出奔狄泉。楚徙都鄂，囊瓦子常為令尹。吳伐楚，敗陳、蔡、頓、胡、沈之師於雞父，滅胡、沈，獲陳夏□。楚建之子勝啟之也。癸未，楚城郢。吳公子光伐楚，拔巢及鍾離，二子爭桑故也。

The year of Wuyin, which was 523 BCE, saw King Ping of Chu entrust Fei Wujī with great power, allowing him to dominate the government, and sending the crown prince Jian to Chengfu to take charge. The year of Jimao, which was 522 BCE, saw Duke Jing of Qi and the minister Yan Ying visit Lu state to learn about rituals. At this time, Confucius was thirty years old, and their meeting took place then. In the state of Song, the House of Hua faced difficulties, and the ministers Hua Hài, Hua Ding, and Xiang Ning fled to the state of Chen. The crown prince Jian of Chu fled from Chengfu to Song, then to Zheng and Jin. King Ping of Chu had the master of the crown prince Wu She and his eldest son Wu Shang executed, while his second son Wu Yuan, also known as Wu Zǐxū, fled to Wu. Thus began the decades of bloody warfare between Wu and Chu. The year of Gengchen, which was 521 BCE, saw Hua Hài, Hua Ding, and Xiang Ning occupy Nanli and rebel. The year of Xinsi, which was 520 BCE, saw King Jing of Zhou die and be buried, causing great turmoil in the royal court. Three princes competed for the throne. The common people supported Prince Meng, who became King Zhao of Zhou. Prince Chao killed Meng and took the throne himself. Jin state sent troops to expel Prince Chao and sent Prince Gai to the capital, who became King Jing of Zhou. The ministers Hua Hài and others of Song fled to Chu. The crown prince Jian of Chu conspired with Jin troops to attack Zheng, but the plot failed and Jian was killed. His son, Bái Gōng Shèng, fled to Wu. The year of Renwu, which was 519 BCE, saw the House of Zhao and the House of Yin deliver Prince Chao to Chengzhou. The ministers Danzi and Liu Zi protected King Jing and fled to Diquan. Chu moved its capital to E. Nangwa Zichang became the minister of state. Wu attacked Chu and defeated the allied forces of Chen, Ci, Dun, Hu, Shen, and five other states at Jīfù, and destroyed the states of Hu and Shen. It captured a minister of Chen named Xia. The original text here is missing one character, and the name referred to is likely Xia Nie. This battle was facilitated by Wu Zǐxū's son, Sheng, who guided Wu. The year of Guiwei, which was 518 BCE, saw Chu build the city walls of Yingdu. Wu's prince Guang attacked Chu, capturing the town of Chao and Zhongli. The cause was merely a dispute over picking mulberry leaves between women from the border towns of Wu and Chu.

甲申，魯有三桓之難，昭公奔齊。齊景公唁之於野井。晉趙鞅會宋、魯、衛、曹、邾、滕、薛、小邾之人於冀父。乙酉，晉趙鞅會諸侯之師，入王於成周。召、尹二氏之族以王子朝奔楚。楚平王卒，世子珍繼，是謂昭王。丙戌，晉韓、趙、魏三家大滅公族祁氏、羊舌氏，分其地。楚令尹子常誅費無忌。吳季札使晉，公子光弒其君僚代立，是謂闔廬，專諸、伍員為相。丁亥，魯昭公自鄆如晉，次於乾侯。楚大夫伯嚭奔吳。戊子。己丑，晉頃公卒，世子午繼，是謂定公。吳滅徐，以侵楚。庚寅，晉定公使大夫荀躒納魯昭公，不克。吳伐楚，拔舒。辛卯，晉韓不信會齊、宋、魯、曹、鄭、莒、薛、杞、小邾之師，城成周。魯昭公卒於乾侯，三桓立其弟宋，是謂定公。吳伐越。壬辰，晉人執宋仲幾於京師。楚令尹子常敗吳師於豫章。癸巳，吳敗楚師於豫章。

The year of Jiashen, which was 517 BCE, saw the occurrence of the Three Houses' troubles in the state of Lu. Duke Zhao of Lu failed to defeat the House of Ji and fled to the state of Qi. Duke Jing of Qi visited him at the well of Yijing. Confucius also went to the state of Qi in this year. In the state of Jin, Zhao Yang met with representatives from the states of Song, Lu, Wei, Cao, Zhu, Teng, Xue, and Xiaozhu. The year of Yiyou, which was 516 BCE, saw Zhao Yang gathering the armies of the states to escort King Jing of Zhou back to Chengzhou. The clans of Zhao and Yin led Prince Chao to flee to the state of Chu, and the turmoil of Prince Chao began to subside. Duke Ping of Chu died, and his son Zhen succeeded to the throne, becoming Duke Zhao of Chu. The year of Bingxu, which was 515 BCE, saw the powerful clans of Han, Zhao, and Wei in Jin greatly suppressing the clans of Qi and Yangshe, and dividing their territories, thus the situation of the division of Jin among the three families became evident. In the state of Chu, the Minister of State Zichang executed Fei Wujie to appease the people. In the state of Wu, Ji Zha visited the state of Jin. At the same time, Prince Guang of Wu sent Zuan Zhu to assassinate the king, Liao, and took the throne, becoming King Helu of Wu, with Zuan Zhu's brother and Wu Zishu as his ministers. The year of Dinghai, which was 514 BCE, saw Duke Zhao of Lu traveling from Yun to the state of Jin and temporarily residing at Ganhou. A minister of Chu, Bo Pi, fled to the state of Wu. The year of Jichou, which was 512 BCE, saw the death of Duke Qing of Jin, with his son Wu succeeding to the throne, becoming Duke Ding of Jin. The state of Wu conquered the state of Xu and used it to invade Chu. The year of Gengyin, which was 511 BCE, saw Duke Ding of Jin sending the minister Xun Li to escort Duke Zhao of Lu back to his state, but the mission failed. The state of Wu attacked Chu and captured the town of Shu. The year of Xinmao, which was 510 BCE, saw Han Buxin of Jin gathering armies from Qi, Song, Lu, Cao, Zheng, Ju, Xue, Qi, and Xiaozhu to rebuild the city of Chengzhou for the Zhou royal family. Duke Zhao of Lu died in Ganhou, and the Three Houses established his younger brother Song as the new ruler, becoming Duke Ding of Lu. The state of Wu began to attack Yue. The year of Renchen, which was 509 BCE, saw the people of Jin capturing Zhong Ji of Song in the capital. The Minister of State Zichang of Chu defeated the Wu army at Yuzhang. The year of Guisi, which was 508 BCE, saw the state of Wu defeating the Chu army at Yuzhang.

經世之酉二千二百一十八。甲午，周敬王十三年。乙未，晉定公會劉、子、宋、蔡、魯、衛、陳、鄭、許、曹、莒、邾、頓、胡、滕、薛、杞、小邾之君及齊大夫於召陵，以伐楚。楚昭公北伐蔡，吳師入郢，令尹子常奔鄭，昭王奔鄖，又奔隨，使申包胥求救於秦。許徙君容城。吳子闔廬敗楚師於柏舉，五戰及郢，遂入其國，燒其宮，平其墓。伍子胥為之也。丙申，魯陽貨囚季氏，秦救楚，敗吳師於稷。楚昭王自鄖復歸於郢，封吳夫概於堂溪。越乘虛破吳，入其國。吳王弟夫概自堂溪亡歸，代立。闔廬逐夫概，夫概奔楚。丁酉，周有儋翩之難，王出居姑蕕。楚去郢，復都鄀。鄭滅許。

The 2218th generation belongs to the You (You) era, spanning from 507 to 478 BCE. The year Jiawu (Jia Wu) was 507 BCE, the thirteenth year of King Jingwang of the Zhou dynasty. The year Yiwei (Yi Wei) was 506 BCE, when Duke Dinggong of Jin convened the rulers of Liu, Song, Chen, Lu, Wei, Chen, Zheng, Xu, Cao, Ju, Zhu, Dun, Hu, Teng, Xue, Qi, and Xiaozhu, as well as the officials of Qi, to plan an attack on Chu. King Zhao Wang of Chu, originally recorded as 'Zhao Gong', moved north to attack Chen. The Wu army took advantage of the situation and attacked the capital of Chu directly. The chief minister Zichang fled to Zheng. King Zhao Wang first fled to Yun, then to Su, and sent Shen Bao Xu to Qin for help. Shen Bao Xu wept for seven days and nights in the Qin court. The state of Xu moved its ruler to Rongcheng. King Helu of Wu defeated the Chu army at Bajiu, won five battles in succession, and reached Yingdu, the capital of Chu. He burned the palaces and levelled the tombs. All of this was made possible by Wu Zixu, who sought revenge for his father and brothers. The year Bingshen (Bing Shen) was 505 BCE, when Yanghu of Lu imprisoned Ji Shi. Qin sent troops to rescue Chu and defeated the Wu army at Ji. King Zhao Wang of Chu returned to Yingdu from Yun, and enfeoffed Wu's younger brother Fugai at Tangxi. Yue took advantage of Wu's weakness and attacked it. Wu's younger brother Fugai fled from Tangxi and proclaimed himself king. King Helu returned to drive him out, and Fugai fled to Chu. The year Dingyou (Ding You) was 504 BCE, when the Zhou royal family experienced the Danpian incident, and King Jingwang moved to Guoyou. Chu moved its capital from the ruined Yingdu to Ruo. Zheng destroyed the state of Xu.

戊戌，晉師入周敬王於成周。齊取鄆，為陽虎邑。己亥，魯有陽虎之難，攻三桓，不克，竊寶玉、大弓走陽關。庚子，秦哀公卒，子惠公繼。辛丑，魯以孔丘為司寇，從定公會齊景公於夾谷。齊復魯侵地。晏嬰在會。壬寅，宋公之弟辰及大夫仲陀、石彄、公子地自陳入於蕭，以叛。鄭子產卒。癸卯，孔子去魯適衛。

The year of Wuxu, which was 503 BCE, saw the Jin army return King Jing of Zhou to Chengzhou. In the year of Jihai, which was 502 BCE, there was the incident of Yang Hu in Lu. Yang Hu attacked the three families of Ji Sun, Su Sun, and Meng Sun but failed, then stole the national jade, the璧, and the great bow and fled to Yangguan. In the year of Gengzi, which was 501 BCE, King Ai of Qin died, and his son Hui Gong succeeded him. In the year of Xinchou, which was 500 BCE, Lu appointed Confucius as the Minister of Justice. Confucius accompanied Duke Ding of Lu to meet King Jing Gong of Qi at Jia Gu, where he used propriety to subdue the Qi people. Qi returned the land it had previously occupied in Lu, and Yan Ying also participated in this meeting. In the year of Rennyin, which was 499 BCE, Prince Chen, the younger brother of King Jing Gong of Song, along with the ministers Zhong Tu, Shi Ku, and Gong Zi Di, entered Xiao City from Chen to rebel. At the same time, Zheng's famous statesman Zǐchǎn died, and Confucius lamented him as "the remaining virtue of the ancients." In the year of Guimao, which was 498 BCE, after Confucius failed in the campaign to dismantle the three cities of Lu, he left Lu and went to Wei, thus beginning his fourteen-year travels among the states.

甲辰，魯孔子在衛。晉六卿相攻。乙巳，衛世子蒯聵奔宋。魯孔子自衛之宋，又如陳。楚會吳伐陳，滅頓。吳王闔廬伐越不利，死，子夫差立，以伯嚭為太宰。是年，于越勾踐敗吳師於槜李，稱王於會稽。丙午，魯定公卒，子蔣繼，是謂哀公。楚滅胡。丁未，晉趙鞅圍範、中行氏於朝歌，中行走邯鄲。楚會陳、隨、許圍蔡。吳敗越於夫椒，伏而釋之。越王勾踐伐吳，不利，使大夫文種行成，委質以臣妾，遂棲於會稽。

The year Jiachen, which corresponds to 497 BCE, saw Confucius in the state of Wei. At the same time, the six ministers of Jin were warring with each other, and the royal house of Jin was merely a name without real power. In the year Yisi, which corresponds to 496 BCE, the太子 Kuaike of the state of Wei fled to the state of Song after his plot to kill Nanzi failed. Confucius traveled from the state of Wei to the state of Song, then to the state of Chen. Meanwhile, the state of Chu allied with the state of Wu to attack Chen and destroyed the state of Dun. The king of Wu, Gou Lü, failed in his campaign against Yue, was wounded by an arrow, and died. His son Fu Cha succeeded him and appointed Bo Pi as the Grand Minister. In the same year, the king of Yue, Gou Jie, defeated the Wu army at Zui Li and declared himself king in Huiji. Thus, the rivalry between Wu and Yue began. In the year Bingwu, which corresponds to 495 BCE, Duke Ding of Lu died, and his son Jiang succeeded him, becoming Duke Ai of Lu. The state of Chu destroyed the state of Hu. In the year Dingwei, which corresponds to 494 BCE, Zhao Yan of Jin surrounded Fan and Zhonghang in Chaohe, and Zhonghang fled to Handan. The state of Chu allied with Chen, Sai, and Xu to besiege the state of Cai. King Fu Cha of Wu defeated the Yue army at Fu Jiao, avenged his father's death, but he believed the words of Bo Pi and chose to spare Gou Jie instead of killing him. Gou Jie then launched a counterattack but failed. He sent his minister Wen Zhong to negotiate peace, and offered to serve Wu as a vassal, humbly retreating to Huiji Mountain. The story of Gou Jie sleeping on a pile of firewood and tasting bile to remember his humiliation began at this time.

戊申，衛靈公卒，其孫輒立。晉趙鞅會陽虎，以師入衛世子蒯聵，不克，居之於戚城。魯孔子復過宋。楚伐蔡，吳徙蔡於州來。放越范蠡歸國。己酉，秦惠公卒，子悼公繼。魯孔子在陳。庚戌，魯孔子之蔡。辛亥，齊伐宋，晉伐衛。齊景公卒，子荼繼，是謂孺子。晉韓、趙、魏敗範、中行氏於邯鄲。壬子，齊亂，田乞弒其君孺子，迎公子陽生於魯而立之，是謂悼公。高昭子死國，惠子奔莒。魯孔子復至陳。楚昭王救陳，軍於城父，卒於師。世子章繼，是謂惠王。吳伐陳，魯伐邾，宋伐曹。

The year of Wushen, which was 493 BCE, saw the death of Duke Ling of the State of Wei. Since the crown prince Kuaike was abroad, his grandson Zhe succeeded to the throne, becoming Duke Chūgōng of Wei. Thus, the conflict between father and son over the state began. In the same year, Zhao Ying of the State of Jin joined Yang Hu and led an army to escort Kuaike back to Wei, but failed. They had to settle him in the city of Qi. Confucius passed by the State of Song again, practiced the rites under a large tree, and was attacked by Huan Tu. Meanwhile, the State of Chu attacked the State of Cai, and the State of Wu moved the State of Cai to Zhoulai. Fan Li of the State of Yue was released back to his own country. In the year of Jiyou, which was 492 BCE, Duke Hui of the State of Qin died, and his son Duke Dao succeeded him. Confucius was in the State of Chen. In the year of Gengxu, which was 491 BCE, Confucius went to the State of Ci. In the year of Xinhai, which was 490 BCE, the State of Qi attacked the State of Song, and the State of Jin attacked the State of Wei. Duke Jing of Qi died, and his son Tu succeeded him, becoming Duke Ruxi of Qi. The families of Han, Zhao, and Wei in the State of Jin defeated the Fan and Zhonghang families in Handan. In the year of Renzi, which was 489 BCE, the State of Qi experienced internal disorder. Tian Qi killed the king, Duke Ruxi, and invited Prince Yangsheng from the State of Lu to become the king, known as Duke Daogong of Qi. The power of the Tian family in Qi was firmly established. Gao Zhaozi died for his country, and Huizi fled to the State of Ju. Confucius returned to the State of Chen again. The period of starvation in Chen and Cai occurred around this time. Duke Zhao of Chu led an army to rescue Chen, stationed at Chengfu, and died in the army. His son Zhang succeeded him, becoming Duke Hui of Chu. The State of Wu attacked Chen, the State of Lu attacked Zhu, and the State of Song attacked Cao.

癸丑，吳會魯於鄫，以伐齊，徵百牢於魯。甲寅，宋滅曹。楚令尹子西召平王世子建之子勝於吳，以為巢大夫，號白公。吳伐魯，盟於城下而還。乙卯，宋伐鄭，楚伐陳，吳伐齊。丙辰，齊田乞卒，子常繼事，是謂成子。齊亂，鮑子弒其君悼公，立其子壬，是謂簡公。田常專國。魯孔子自陳復至於衛。楚伐陳。吳會魯伐齊以救陳，殺大夫伍員。丁巳，孔子自衛返魯，子貢使齊及吳、越、晉。齊伐魯，吳救魯，敗齊師於艾陵。越朝吳。

The year Guichou corresponds to 488 BCE, when the State of Wu and the State of Lu met at the place of Zeng to plan an attack on the State of Qi, and demanded from Lu the hundred oxen ceremony, an act of great disrespect. Zi Gong once argued for the observance of the Zhou rites. In the year Jiayin, which was 487 BCE, the State of Song destroyed the State of Cao; the Chief Minister of Chu, Zi Xi, recalled the son of Prince Jian, the grandson of King Ping of Chu, named Sheng, from Wu and appointed him as the governor of Chao, known as Bai Gong, which was like bringing the source of trouble into the house. Wu attacked Lu, and with the army at the gates of the city, they concluded an engagement and returned. In the year Yimao, which was 486 BCE, Song attacked Zheng, Chu attacked Chen, and Wu attacked Qi. In the year Bingchen, which was 485 BCE, Tian Qi of Qi died, and his son Tian Chang took over, who was known as Tian Chengzi; chaos arose in Qi, where the Bao family killed King Dao Gong of Qi and installed his son Ren, known as King Jian of Qi, and Tian Chang thus took control of Qi's government. Confucius returned from the State of Chen to the State of Wei; Chu attacked Chen; Wu joined forces with Lu to attack Qi in order to rescue Chen, and in this year, Fu Chai granted the death sentence to the minister Wu Yuan, known as Wu Zǐxū, who had strongly advised against the war. In the year Dingsi, which was 484 BCE, Confucius ended his fourteen-year journey and returned to Lu from the State of Wei. After this, he edited the Book of Poetry and the Book of Documents, revised the rites and music, arranged the Zhou Changes, and compiled the Spring and Autumn Annals. His disciple Zi Gong traveled to Qi, Wu, Yue, and Jin, making persuasive arguments to preserve Lu. In the same year, Qi attacked Lu, and Wu sent troops to rescue Lu, defeating the Qi army in the great battle of Ailing. King Goujia of Yue personally paid homage to King Wu of Wu, but secretly he was gathering strength to overthrow Wu.

戊午　楚白公勝復奔吳，子西復召之。吳會魯、衛之君於橐皋，移兵攻晉。　己未　晉定公及諸侯會吳夫差於黃池。越伐吳，入其郛，執其世子友而還。　庚申　魯西狩獲麟。齊田常殺相闞止，及弒其君簡公於舒州，立其弟驁，是謂平公，割安平以東，自為封邑。孔子請討，不克。秦悼公卒，子厲公繼。晉伐鄭。宋桓魋出奔衛，又奔齊。楚巢大夫白公勝殺令尹子西，逐其君，代立。

In the year of Wuwu, around 483 BCE, it was the end of the Spring and Autumn period. Bai Gongsheng was the son of the murdered Prince Jian of Chu and the grandson of King Ping of Chu. He had been in exile earlier and that year fled to the state of Wu again. The chancellor of Chu, Zi Xi, the son of King Ping and the brother of King Zhao, recalled him again and stationed him in Chao, a city bordering Wu. That same year, King Fuchai of Wu met with Duke Ai Gong of Lu and Duke Chu Gong of Wei at Tuogao, near present-day Chao Lake in Anhui. Then he turned his army northward to attack Jin. In the year of Jiwei, 482 BCE, Duke Dinggong of Jin and the feudal lords of the Central Plains met with King Fuchai of Wu at Huangchi, near present-day Fengqiu in Henan, to form an alliance and compete for supremacy. Meanwhile, King Goujia of Yue took advantage of the fact that Wu's elite troops were all out fighting, and launched an attack on Wu, capturing the outer city of Wu's capital, capturing Wu's crown prince You, and then withdrew. In the year of Gengshen, 481 BCE, the state of Lu hunted in the western part of its capital and captured a qilin, and the Spring and Autumn Annals ended its records at this point, later known as the "Ending at the Capture of the Qilin." Meanwhile, the minister Tian Chang (Chen Chengzi) of the state of Qi killed the other minister who shared power with him, Ji Zhi, and later killed Duke Jian of Qi in Shuzhou, and installed Duke Jian's younger brother, Maoyi, as the new king, who became Duke Ping of Qi. He also allocated the land east of Anping as his own fief, thus establishing the dominance of the Tian clan in Qi. Upon hearing this, Confucius requested that Lu send an army to attack, but his request was not accepted. Duke Dao of Qin died, and his son Duke Li succeeded him. Jin attacked Zheng. The minister Huan Tui of Song fled to Wei, then to Qi. Bai Gongsheng, the minister of Chao in Chu, rebelled, killed Zi Xi, the chancellor, and expelled King Hui of Chu, declaring himself king.

辛酉　魯使子服景伯使齊，子貢為介。齊歸魯侵地。衛世子蒯聵自戚入，是謂莊公，輒出奔魯。楚葉公以兵入，誅白公，而迎章復位，滅陳而縣之。　壬戌　魯孔子卒。　癸亥　晉伐衛，莊公出奔，國人立公子班師。齊伐衛，執班師而立公子起。越敗吳師於笠澤。

In the Xinyou year (480 BCE), the state of Lu sent the official Zifubing Jingbo on a mission to the state of Qi, with Confucius' disciple Zigong as his deputy. Using his eloquent arguments, Zigong succeeded in persuading Qi to return the territory it had previously occupied from Lu. Meanwhile, the exiled crown prince Kuaike of Wei secretly returned from Qi to seize the throne, becoming King Zhuanggong of Wei. His son, Zhe, fled to Lu. For over ten years, there had been a struggle between father and son for the throne in Wei, but at this time the situation changed. In the same year, Ye Gong Shen Zhuliang of Chu led his troops into Ying to quell the rebellion, killing the rebel Bai Gongsheng, and restoring King Huiwang Xiong Zhang to the throne. Chu also conquered the state of Chen, and transformed the territory of Chen into a county of Chu. In the Renxu year (479 BCE), Confucius died in Lu at the age of seventy-three. In the Guihai year (478 BCE), Jin attacked Wei. King Zhuanggong of Wei fled, and the people of Wei installed Gongbishī as their new ruler. Soon after, Qi attacked Wei and captured Gongbishī, replacing him with Gongqi. Meanwhile, the King of Yue, Goujia, defeated the Wu army in Lize (in the area of Wuxi in present-day Jiangsu), and Wu never recovered from this defeat.

甲子　周敬王四十三年，衛石圃逐其君起，而迎輒復位。起奔齊。　乙丑　周敬王崩，太子嗣位，是謂元王。齊田常卒，子盤繼事，是謂襄子。吳會齊、晉之師伐楚。越伐吳。　丙寅　晉定公卒，子鑿繼之。智伯伐鄭，取九邑。越人伐吳。　丁卯　越伐吳，圍其國。

The Jiazi year was the forty-third year of King Jingwang of the Zhou dynasty, which corresponds to 477 BCE. This marks the beginning of the "world" period, which lasts thirty years. In that year, the nobleman Shi Pu of the State of Wei expelled the king, Gongzi Qi, and reinstalled the exiled Duke Zhé of Wei on the throne, who had fled to the State of Qi. In the Yichou year (476 BCE), King Jingwang of Zhou died, and his son succeeded him, becoming King Yuanwang of Zhou. Meanwhile, Tian Chang of the State of Qi died, and his son Tian Pan took over the government, becoming Tian Xiangzi. This established the pattern of the Tian family succeeding in governing the state. The State of Wu allied with the armies of Qi and Jin to attack Chu, while Yue took advantage of Wu's weakness to attack it. In the Bingyin year (475 BCE), Duke Dinggong of Jin died, and his son Zao succeeded him, becoming Duke Chūgong of Jin. The Jin minister Zhìbo (Sūn Yáo) attacked Zheng and captured nine cities. Yue again attacked Wu. In the Dingmao year (474 BCE), Yue attacked Wu again and besieged the capital of Wu, Gu Su.

戊辰　越滅吳，破姑蘇，殺其王並其大夫，北會諸侯于徐，致貢於周。太宰范蠡辭祿，遊五湖。殺大夫文種，遂兼有吳地。　己巳　庚午　辛未　周元王崩，太子介嗣位，是謂貞定王。　壬申　癸酉　魯季康子卒，三桓作難，弒其君哀公，立其子寧，是謂悼公。　甲戌　乙亥　丙子　丁丑　晉伐鄭。　戊寅　己卯　庚辰　秦伐大荔。　辛巳　壬午

In the year of Wuchen (473 BCE), the State of Yue destroyed Wu, captured its capital Gusu, and King Fuchai of Wu committed suicide; Wu's ministers were executed. King Goujia of Yue went north to hold a meeting of feudal lords at Xuzhou and presented tribute to the Son of Heaven, becoming the last hegemon of the late Spring and Autumn period. The meritorious general Fan Li resigned his fief and sailed away on a boat, disappearing from sight; another meritorious official Wen Zhong was ordered to commit suicide by Goujia. Thus, Yue controlled all of Wu's territory. In the years of Jisi (472 BCE) and Gengwu (471 BCE), there were no notable events. In the year of Xinwei (470 BCE), King Yuanwang of Zhou died, and his son Jie succeeded him, becoming King Zhen Ding of Zhou. In the year of Renshen (469 BCE), there were no events. In the year of Guiyou (468 BCE), the ruler of Lu, Ji Kangzi, died. The three families of Ji Sun, Shu Sun, and Meng Sun (known as the "Three Huan") rebelled, killed Duke Ai of Lu, and installed his son Ning as the new ruler, who became Duke Dao of Lu. From the year of Jiaxu (467 BCE) to Bingzi (465 BCE), there were no notable events. In the year of Dingchou (464 BCE), Jin attacked Zheng. In the years of Wuyin (463 BCE) and Jimao (462 BCE), there were no events. In the year of Gengchen (461 BCE), Qin attacked the western Rong tribe of Dalai. In the years of Xinsi (460 BCE) and Renwu (459 BCE), there were no events.

癸未　晉趙簡子鞅卒，子毋恤繼，是謂襄子，同知伯、韓康子、魏桓子滅範、中行氏，四分其地，及逐其君，立公孫驕，是謂哀公。秦取晉武城。　甲申　晉伐秦，復武城。　乙酉　齊平公卒，子積繼，是謂靈公。晉知伯及韓魏二家兵攻趙襄子於晉陽。　丙戌　晉三家兵圍晉陽。　丁亥　晉韓康子、魏桓子復合趙襄之兵攻知伯，滅之於晉陽，三分其地。齊田盤卒，子白繼事，是謂莊子。　戊子　己丑　庚寅　辛卯　壬辰　癸巳

In the year Guiwei (before 458 BCE), Zhao Jianzi (Zhao Yan), the chief minister of Jin, died, and his son Wu Xu succeeded him, becoming Zhao Xiangzi. He, along with Zhì Bo, Han Kangzi, and Wei Huanzi, jointly destroyed the Fan and Zhonghang families, divided their territories, and expelled Jin Chugong, replacing him with Gongsun Jiao as the ruler, who became Jin Aigong. Qin captured Wu Cheng from Jin. In the year Jiashen (before 457 BCE), Jin attacked Qin and recovered Wu Cheng. In the year Yiyou (before 456 BCE), King Qinggong of Qi died, and his son Ji succeeded him, becoming King Linggong. Zhì Bo, along with Han and Wei, led an army to besiege Zhao Xiangzi in Jin Yang (modern Taiyuan, Shanxi). In the year Bingxu (before 455 BCE), the armies of the three families continued to besiege Jin Yang, and Zhì Bo led water to flood the city. In the year Dinghai (before 454 BCE), Han Kangzi and Wei Huanzi switched sides, joining Zhao Xiangzi to attack Zhì氏 in Jin Yang, thereby destroying the Zhì family. The three families divided the territory of Zhì氏—this event is known as the "Three Families Dividing Jin," marking the beginning of the Warring States period. In the same year, Tian Pan of Qi died, and his son Tian Bai took over the government, becoming Tian Zhuangzi. From the year Wuzi (before 453 BCE) to Guisi (before 448 BCE), there were no notable events recorded.

甲午　周貞定王二十三年，楚滅蔡。　乙未　秦厲公卒，子躁公繼。　丙申　秦伐義渠，獲其王以歸。楚滅杞，東開地至泗上。　丁酉　戊戌　己亥　周貞定王崩，太子去疾嗣位，是謂哀王。王叔襲殺哀王，代立，是謂思王。　庚子　周亂，少弟嵬殺其王叔，代立，是謂考王。　辛丑　晉哀公疾，子柳繼，是謂幽公。公室止有絳及曲沃。

The year Jiawu corresponds to the 23rd year of King Zhending of the Zhou dynasty, which was 447 BCE, and this "world" begins from this year. The state of Chu destroyed the state of Cai. In the year Yiwei (446 BCE), King Ligu of Qin died, and his son Zao was enthroned as King Zhao. In the year Bingshen (445 BCE), Qin attacked the Yiqu Ru in the northwest, captured the king of Yiqu, and returned triumphantly. Chu destroyed the state of Qi and expanded its territory eastward to the area around the Si River. In the years Dingyou (444 BCE) and Wuxu (443 BCE), there were no significant events. In the year Jihai (442 BCE), King Zhending of Zhou died, and his son Qijie succeeded him as King Ai. However, King Ai's younger brother Shu killed King Ai and took the throne, becoming King Si. In the year Gengzi (441 BCE), the Zhou royal house experienced another upheaval, and the youngest brother Wei killed King Si and took the throne, becoming King Kao. Within a year, the throne changed hands three times. In the year Xinchou (440 BCE), King Ai of Jin became seriously ill, and his son Liu succeeded him as King You. At this time, the direct territory of the Jin royal house was reduced to only two places, Jie and Quwo, while the rest was controlled by the three families, Han, Zhao, and Wei.

壬寅　癸卯　甲辰　乙巳　丙午　丁未　戊申　己酉　秦躁公卒，弟懷王立。楚惠王卒，子中繼，是謂簡王。　庚戌　魯悼公卒，子元公繼。楚滅莒。　辛亥　壬子　癸丑　秦庶長黽弒其君懷公，立躁公孫，是謂靈公。　甲寅　乙卯　周考王崩，太子午嗣位，是謂威烈王。河南惠公封其少子於鞏，稱東周君。

From Renyin (439 BCE) to Wushen (433 BCE), there were seven years with nothing noteworthy. In Jiyou (432 BCE), King Zhao of Qin died, and his brother Huai succeeded him; King Hui of Chu died, and his son Zhong succeeded him, becoming King Jian of Chu. In Gengxu (431 BCE), King Dao of Lu died, and his son Yuan succeeded him; Chu destroyed the state of Ju. In Xinhai (430 BCE) and Renzi (429 BCE), there were no notable events. In Guichou (428 BCE), a noble of Qin named Ying Meng, a庶长, assassinated King Huai of Qin and installed Zhao's grandson as king, who became King Ling of Qin. In Jiayin (427 BCE), there were no notable events. In Yimao (426 BCE), King Kaowang of Zhou died, and his son Wu succeeded him, becoming King Weilie of Zhou; the Zhou royal relative Hui Gong, who resided in the capital of Henan, enfeoffed his youngest son in Gongyi, and he was called the Duke of Eastern Zhou. From then on, the remaining territory of the Zhou royal family was divided into two small states, Eastern and Western Zhou.

丙辰　晉趙襄子卒，兄之子浣繼事，是謂獻子，治中牟。魏桓子卒，子斯繼事，是謂文侯。　丁巳　趙桓子卒，國人殺其子，而迎獻子復位。　戊午　秦攻魏少梁。　己未　秦作上下畤。　庚申　辛酉　魏文侯殺晉幽公，立其弟止，是謂烈公。　壬戌　癸亥

In the year Bingchen (425 BC), Zhao Xiangzi died, and his nephew Zhao Huan took over the family affairs, becoming Zhao Xianzi, with his capital at Zhongmu. Meanwhile, Wei Huanzi died, and his son Wei Si succeeded him, who later became the reforming and strong-minded Wei Wenhou. In the year Dingsi (424 BC), Zhao Huanzi, who had seized power midway, died, and the people of Zhao killed Huanzi's son, then restored Zhao Xianzi to the throne. In the year Wuwu (423 BC), the state of Qin attacked the city of Shaoliang (now in Fengxiang County, Shaanxi Province) of Wei. In the year Jiwei (422 BC), the state of Qin built two altars, Shangzhi and Xiaozhi, to worship the heavenly emperor. In the year Gengshen (421 BC), there were no significant events. In the year Xinyou (420 BC), Wei Wenhou killed Jin Yougong and installed Yougong's younger brother Zhi as the new king, known as Jin Liegong—the succession and removal of the Jin king from then on were entirely controlled by the three families. In the years Renxu (419 BC) and Guihai (418 BC), there were no significant events.

甲子　周威烈王九年，魏城少梁。　乙丑　秦靈公卒，季父立，是謂簡公。　丙寅　丁卯　魏伐秦，韓伐鄭。　戊辰　齊伐晉，魏伐中山。　己巳　庚午　齊田莊子卒，子太公和繼。趙城平城。　辛未　魯元公卒，子顯繼，是謂穆公。　壬申　晉韓武子卒，子景侯虔繼。趙獻子卒，子烈侯籍繼。魏伐秦。

The Jiazi year was the ninth year of King Wu of Zhou's reign, which corresponds to 417 BCE, and this "world" begins from this year. The State of Wei built a city and set up defenses at Shaoliang. In the Yichou year (416 BCE), King Ling of Qin died, and his uncle succeeded him, becoming King Jian of Qin. In the Bingyin year (415 BCE), there were no significant events. In the Dingmao year (414 BCE), the State of Wei attacked Qin, and the State of Han attacked Zheng. In the Wuchen year (413 BCE), the State of Qi attacked Jin, and the State of Wei attacked the State of Zhongshan. In the Jisi year (412 BCE), there were no significant events. In the Gengwu year (411 BCE), Tian Zhuangzi of Qi died, and his son Tian He took over the state's affairs, who later became the King of Qi; the State of Zhao built a city at Pingcheng. In the Xinwei year (410 BCE), Duke Yuan of Lu died, and his son Xian succeeded him, becoming Duke Mu of Lu. In the Renshen year (409 BCE), Han Wuzi died, and his son Han Qian succeeded him, becoming King Jing of Han; Zhao Xianzi died, and his son Zhao Ji succeeded him, becoming King Lie of Zhao; the State of Wei attacked Qin again, advancing into the Western River region.

癸酉　韓伐鄭，取雍邱。魏滅中山。楚簡王卒，子當繼，是謂聲王。　甲戌　鄭伐韓，取負黍。　乙亥　宋昭公卒，子悼公購繼。趙以田公仲為相。　丙子　齊宣公卒，子康公貸繼。田惠以廩邱叛。　丁丑　戊寅　晉韓、趙、魏求為諸侯於周。　己卯　周威烈王崩，太子驕嗣位，是謂安王。楚聲王遇盜卒，子疑立，是謂悼王。　庚辰　秦攻魏陽狐。

In the year Guiyou (408 BCE), the State of Han attacked Zheng and captured Yongqiu; the State of Wei sent Lü Yang to destroy the State of Zhongshan; King Chen of Chu died, and his son succeeded him, becoming King Sheng of Chu. In the year Jiaxu (407 BCE), Zheng attacked Han again and captured Fushu. In the year Yihai (406 BCE), King Zhao of Song died, and his son Guo succeeded him, becoming King Dao of Song; the State of Zhao appointed Tian Gongzhong as their prime minister. In the year Bingzi (405 BCE), King Xuan of Qi died, and his son Dai succeeded him, becoming King Kang of Qi; the Qi minister Tian Hui rebelled against Qi, taking Linqiu and joining Zhao. In the year Dingchou (404 BCE), there were no significant events. In the year Wuyin (403 BCE), the three states of Han, Zhao, and Wei requested the Son of Heaven to formally recognize them as诸侯, and King Wei Lie of Zhou granted them the title—historians often regard this year as the beginning of the Warring States period. In the year Jimao (402 BCE), King Wei Lie of Zhou died, and his son Jiao succeeded him, becoming King An of Zhou; King Sheng of Chu was killed by bandits, and his son Yi succeeded him, becoming King Dao of Chu. In the year Gengchen (401 BCE), the State of Qin attacked Yanghu of the State of Wei.

辛巳　秦簡公卒，子惠公繼。韓景侯卒，子烈侯繼。趙烈侯卒，弟武侯立。魏文侯以卜子夏、段乾木為師。西門豹為將，守鄴。吳起為將，守西河。田成子為相，樂羊為將，同韓、趙伐楚，至於乘丘。　壬午　癸未　甲申　韓盜殺相俠累。　乙酉　丙戌　晉烈公卒，子孝公繼。　丁亥　戊子　魏伐鄭，取酸棗，又敗秦軍於注。楚伐韓，取負黍。　己丑

In the year Xinsi (400 BCE), King Qinggong of Qin died, and his son Hui Gong succeeded him; King Jinghou of Han died, and his son Liehou succeeded him; King Liehou of Zhao died, and his younger brother Wuhou succeeded him. King Wenhou of Wei honored Confucius' disciple Bo Zixia and the hermit Duan Ganmu as his teachers, appointed Ximen Bao as general to defend Yecheng, and appointed Wu Qi as general to defend Xihexi against the strong state of Qin. He also appointed Tian Chengzi as prime minister and Yue Yang as general, and allied with Han and Zhao to attack Chu, with their army reaching Chengqiu. Thus, Wei became the strongest state in the early Warring States period. In the years Renwu (399 BCE) and Guiwei (398 BCE), there were no significant events. In the year Jiashen (397 BCE), the minister Xie Lei of Han was assassinated in the court by an assassin, who was Nie Zheng. In the year Yiyou (396 BCE), there were no significant events. In the year Bingxu (395 BCE), King Liegong of Jin died, and his son Xiaogong succeeded him. In the year Dinghai (394 BCE), there were no significant events. In the year Wuzi (393 BCE), Wei attacked Zheng, captured Suanjiao, and defeated the Qin army at Zhu. Chu attacked Han and regained Fushu. In the year Jichou (392 BCE), there were no significant events.

庚寅　齊田和徙其君康公於海上，食一城。秦伐韓宜陽，拔六城。韓、趙大敗楚師於大梁。　辛卯　魯敗齊於平陸。齊伐魏，取襄陵。　壬辰　秦伐魏，侵晉。　癸巳　齊田和會魏文侯於濁澤，求為諸侯。魏請於周及諸侯，皆許之。

In the year Gengyin (391 BCE), the ruler of the state of Qi, Tian He, moved the king of Qi, King Kang, to the seaside and left him only one city to collect taxes and support himself. The Tian clan had effectively taken over Qi, lacking only the official title. The state of Qin attacked the city of Yiyang in the state of Han and captured six cities. A coalition of Han and Zhao defeated the Chu army at Daliang. In the year Xinmao (390 BCE), the state of Lu defeated the Qi army at Pinglu; Qi then turned to attack Wei and captured Xiangling. In the year Renchen (389 BCE), Qin attacked Wei and advanced into the territory of Jin. In the year Guisi (388 BCE), Tian He met with Wei Wenhou at Zuzhe, requesting recognition as a feudal lord. Wei Wenhou represented him before the Son of Heaven and the other states, and all granted approval. The Qi state of the Jiang clan thus lost both its name and its actual sovereignty.

甲午　周安王十五年，秦惠公卒，出子悼公繼。韓烈侯卒，子文侯繼。魏文侯卒，子武侯繼。趙武侯卒，烈侯子敬侯繼。　乙未　田和稱諸侯於齊，列於周紀。魏攻趙邯鄲。　丙申　韓伐鄭，取陽城。伐宋，執宋公於彭城。魏城安邑及王垣。趙師破齊於靈丘。齊太公和卒，子桓公午繼。秦庶長改殺出子及其母，迎靈公之子於河西，立之，是謂獻公。

The Jiawu year was the fifteenth year of King Zhou Anwang, corresponding to 387 BCE, from which this "generation" begins. At this time, King Qinghuigong of Qin died, and his young son Chuzi succeeded him; King Hanliehou died, and his son Wenhou succeeded him; King Wenhou of Wei died, and his son Wuhou succeeded him; King Wuhou of Zhao died, and his son Jinghou, the son of Liehou, succeeded him—thus all four dominant states experienced a change of rulers simultaneously. In the Yiwei year (386 BCE), Tian He officially became a feudal lord of the state of Qi and was recorded in the list of feudal lords of the Zhou dynasty, marking the transition from the Jiang Qi to the Tian Qi dynasty; the state of Wei attacked the capital of Zhao, Handan. In the Bingshen year (385 BCE), the state of Han attacked Zheng, capturing Yangcheng, and also attacked Song, capturing the king of Song at Pengcheng; the state of Wei built cities at Anyi and Wangyuan; the Zhao army defeated the Qi army at Lingqiu. Tian He, the Duke of Qi, died, and his son Wu succeeded him, who became Duke Huan of Qi, Tian Wu. The庶长 Ying Gai of Qin killed Chuzi and his mother, and brought back the son of King Ling of Qin from the Western River region to ascend the throne, becoming King Xian of Qin—thus ending decades of turmoil in the throne of Qin, after which Duke Xiao of Qin was able to implement the reforms of Shang Yang.

丁酉　趙破齊師於廩丘。　戊戌　魏敗趙師於兔臺。　己亥　齊、魏以衛伐趙，取剛平。　庚子　趙會楚伐魏，取棘蒲。楚悼王卒，誅殺相吳起，王子繼，是謂肅王，誅害吳起者七十餘家。　辛丑　齊伐燕，取桑丘。　壬寅　齊康公死於海上，齊桓侯卒，子因齊立，是謂威王。

In the year Dingyou (384 BCE), the State of Zhao defeated the State of Qi's army at Linqiu. In the year Wuxu (383 BCE), the State of Wei defeated the State of Zhao's army at Tuti. In the year Jihai (382 BCE), the States of Qi and Wei jointly attacked Zhao under the name of the State of Wei, capturing Gangping. In the year Gengzi (381 BCE), the State of Zhao allied with the State of Chu to attack Wei, capturing Jipu. King Dao of Chu died, and the chancellor Wu Qi, who had led the reforms, was killed by the old aristocrats with arrows at the king's tomb. The crown prince succeeded to the throne, becoming King Su of Chu. Later, the king investigated the crime of accidentally shooting the dead king's body during the incident, and executed over seventy families. Although the new laws were abolished, the old aristocracy of Chu was greatly weakened. In the year Xinchou (380 BCE), the State of Qi attacked Yan and captured Sangqu. In the year Rennyin (379 BCE), King Kang of Qi, who had been exiled to the coastal area, died, thus ending the clan lineage of the Jiang surname Lu family. King Huai of Qi, also known as Tian Wu, also died, and his son, Tian因齐, succeeded to the throne, becoming King Wei of Qi.

癸卯　晉孝公卒，子靜公俱酒繼。韓、趙、魏伐齊，至於靈丘。　甲辰　韓文侯卒，子哀侯繼。趙攻中山，戰於房子。魯穆公卒，子共公繼。　乙巳　周安王崩，太子喜嗣位，是謂烈王。魏武侯、韓哀侯、趙敬侯同滅晉，而三分其地。以靜公為家人，食端氏一城。　丙午　韓滅鄭，徙都之。趙敬侯卒，子成侯繼。宋休公卒，子闢公繼。　丁未

In the year of Guimao (378 BC), King Xiaogong of Jin died, and his son Jujiu succeeded him, becoming King Jinggong of Jin; the states of Han, Zhao, and Wei attacked Qi, and their army reached Lingqiu. In the year of Jiachen (377 BC), King Wenhou of Han died, and his son Ai Hou succeeded him; Zhao attacked the State of Zhongshan, and the battle took place at Fazhi; King Mugu of Lu died, and his son Gonggong succeeded him. In the year of Yisi (376 BC), King Anwang of Zhou died, and his son Xi succeeded him, becoming King Liewang of Zhou; King Wuhou of Wei, King Ai Hou of Han, and King Jinghou of Zhao jointly destroyed the State of Jin, divided its territory into three parts, and reduced King Jinggong of Jin to commoner status, leaving him only the city of Duanshi for his sustenance—the State of Jin, which had ruled for over six hundred years, thus officially ceased to exist. In the year of Bingwu (375 BC), the State of Han destroyed the State of Zheng and moved its capital to Xinzheng; King Chenghou of Zhao succeeded King Jinghou; King Xiugong of Song died, and his son Pigu succeeded him. In the year of Dingwei (374 BC), there were no significant events.

戊申　魯伐齊，入陽關。趙伐齊，至博陵。　己酉　衛拔齊薛陵，攻趙北藺。趙拔衛卿邑七十三。宋闢公卒，子剔成繼。　庚戌　韓嚴弒其君哀侯，立其子懿侯。魏武侯卒，公子爭國。趙伐魏，立公子罃，是謂惠王。趙敗秦軍於鄗安。

In the year of Wushen (373 BCE), the state of Lu attacked Qi and captured Yangguan; the state of Zhao attacked Qi and advanced to Boling. In the year of Jiyou (372 BCE), the state of Wei captured Xueling of Qi and also attacked Linyi in the northern territory of Zhao; Zhao retaliated and captured seventy-three towns from Wei; Song Pigu died, and his son Ticheng succeeded him. In the year of Gengxu (371 BCE), the Korean minister Han Yan assassinated Han Ai Hou, and established Han Yi Hou as the king, who was the son of Ai Hou; King Wu Hou of Wei died without appointing a crown prince, and the princes disputed the throne; Zhao sent troops to intervene and supported Prince Ying, who became King Hui Wang of Wei; Zhao also defeated the Qin army at Zhao'an.

辛亥　趙伐齊，至鄄。魏敗趙師於覃懷。齊威王烹阿夫夫，封即墨大夫萬家。楚肅王卒，弟良夫繼，是謂宣王。　壬子　周烈王崩，弟扁嗣位，是謂顯王。齊西敗趙、魏之師於濁澤，趙輸長城，魏入觀齊。魏敗韓於馬陵。　癸丑　韓、魏攻周。　甲寅　趙、韓分周為二。

In the Xinhai year (370 BCE), the State of Zhao attacked Qi, reaching the city of Juan; the State of Wei defeated the Zhao army at Tanhuai. King Wei of Qi executed the official of the city of A, who had a good reputation but poor governance, and rewarded the official of Jimo, who had a bad reputation but good governance, with a fiefdom of ten thousand households, which revitalized the administration of Qi. King Su of Chu died, and his younger brother Liangfu succeeded him, becoming King Xuan of Chu. In the Renzi year (369 BCE), King Lie of Zhou died, and his younger brother Bian succeeded him, becoming King Xian of Zhou; Qi defeated the allied forces of Zhao and Wei at Zuzhe in the western territory, and Zhao ceded a strip of territory along the Great Wall, while Wei surrendered the city of Guan to Qi; Wei also defeated the army of Han at Maling. In the Guichou year (368 BCE), the States of Han and Wei attacked the royal house of Zhou. In the Jiayin year (367 BCE), the States of Zhao and Han divided the territory of the Son of Heaven in two, and the Son of Heaven was henceforth completely controlled by the feudal lords.

乙卯　魏會趙攻秦，不利於洛陽。　丙辰　齊攻秦，不利於石門。魏伐宋，取儀臺。　丁巳　周顯王西賀秦獻公，魏與秦會於杜平。　戊午　己未　秦獻公卒，子孝公繼，敗魏師於少梁。魏敗韓師於澮。　庚申　魏拔趙皮牢。　辛酉　致文武胙於秦孝公。東周君惠公卒，子傑繼。韓、趙、魏伐齊。　壬戌　秦用衛鞅。韓懿侯卒，子昭侯繼。　癸亥

In the year of Yimao (366 BCE), the State of Wei allied with the State of Zhao to attack Qin, but suffered defeat in the area around Luoyang. In the year of Bingchen (365 BCE), the State of Qi attacked Qin and suffered defeat at Shimen; Wei attacked Song and captured Yitai. In the year of Dingsi (364 BCE), the Qin army defeated the three states of Jin (Zhao, Wei, and Han) greatly at Shimen. King Xuan of Zhou sent envoys westward to congratulate Duke Xiao of Qin. Wei and Qin held a meeting at Duping. In the year of Wuwu (363 BCE), there was no significant event. In the year of Jiwei (362 BCE), Duke Xian of Qin died, and his son succeeded him, who became Duke Xiao of Qin. At the beginning of his reign, he defeated the Wei army at Shaoliang. Wei also defeated the Han army at the Hui River. In the year of Gengshen (361 BCE), Wei captured Pilaou from Zhao. In the year of Xinyou (360 BCE), the Son of Heaven bestowed the sacrificial meat of King Wen and King Wu upon Duke Xiao of Qin as a mark of respect. King Hui of the Eastern Zhou died, and his son Jie succeeded him. The states of Han, Zhao, and Wei attacked Qi. In the year of Renxu (359 BCE), Qin appointed Wei Yang, who was later known as Shangyang, to initiate reforms. King Yi Hou of Han died, and his son Zhao Hou succeeded him. In the year of Guihai (358 BCE), there was no significant event.

甲子　周顯王十二年，宋取韓黃池。齊封鄒忌為成侯。　乙丑　趙會燕於河上，會齊於平陸。魯、衛、宋、鄭朝魏。　丙寅　魯共公卒，子康公繼。齊會趙於郊，會魏於平陸，會秦於杜平。　丁卯　秦攻魏師於元裡，取少梁。魏圍趙邯鄲。

The Jiazi year was the twelfth year of King Xianwang of Zhou, which corresponds to 357 BCE, from which this "world" begins. In this year, the State of Song captured Huangchi from the State of Han. King Wei of Qi enfeoffed Zou Ji, who had rendered meritorious service in assisting the regency, as the Marquis of Cheng. In the Yichou year (356 BCE), the State of Zhao met the King of Yan by the Yellow River and also met the King of Qi at Pinglu; the kings of Lu, Wei, Song, and Zheng all paid homage to King Huiwang of Wei, and the State of Wei was at the height of its power. In the Bingyin year (355 BCE), Duke Gong of Lu died, and his son Duke Kanggong succeeded him; the State of Qi met the kings of Zhao, Wei, and Qin separately at Jiao, Pinglu, and Duping. In the Dingmao year (354 BCE), the State of Qin attacked the army of Wei at Yuanli and captured Shaoliang; the State of Wei sent troops to besiege the capital of Zhao, Handan.

戊辰　韓攻東周君，取陵觀及邢邱。齊田忌、孫臏救趙，敗魏於桂陵。是年，齊始稱王。　己巳　秦大良造衛鞅會韓、趙之師，圍魏襄陵。　庚午　韓用申不害為相。秦、趙伐魏，魏歸趙邯鄲，盟於漳水之上。　辛未　趙成侯卒，世子繼，是謂肅侯。秦開阡陌，大築冀闕於咸陽，自雍徙都之。

In the year of Wuchen (353 BC), the State of Han attacked the Eastern Zhou ruler, capturing Lingguan and Xingqiu. The State of Qi sent Tian Ji as general and Sun Bin as military advisor to rescue Zhao, using the strategy of "surrounding Wei to save Zhao" and defeated the Wei army at Guiling. That year, the ruler of Qi began to claim the title of king. In the year of Jisi (352 BC), Wei Yangzao Wei Yan joined the armies of Han and Zhao to besiege the city of Xiangling in the State of Wei. In the year of Gengwu (351 BC), Han Zhaohou appointed Shen Buhai as prime minister, focusing on using "techniques" to control the officials. The states of Qin and Zhao attacked Wei, forcing Wei to return the capital of Zhao, Handan, and the two states formed an alliance on the banks of the Zhang River. In the year of Xinwei (350 BC), Zhao Chenghou died, and his son succeeded him, becoming Zhao Suhou. The State of Qin implemented its second reform, abolishing the well-field system and opening the ridges and furrows, building grand palaces and gates in Xianyang, and moving the capital from Yongcheng to Xianyang.

壬申　癸酉　趙奪晉君端氏，徙之屯留。秦初為賦。　甲戌　乙亥　魯康公卒，子景公繼。　丙子　丁丑　戊寅　周顯王錫秦孝公命為伯。齊威王卒，子宣王闢疆繼。　己卯　諸侯西賀秦。　庚辰　齊人救韓，田忌、田嬰、孫臏大敗魏師於馬陵，獲將龐涓及世子申。

In the year Renshen (349 BCE), there were no significant events. In the year Guiyou (348 BCE), the State of Zhao seized the endpoint territory of the last ruler of the State of Jin, moving him to Tunliu. The State of Qin began to collect taxes based on household registration. In the year Jiaxu (347 BCE), there were no significant events. In the year Yihai (346 BCE), the Duke Kang of Lu died, and his son Jinggong succeeded him. In the years Bingzi (345 BCE) and Dingchou (344 BCE), there were no significant events. In the year Wuyin (343 BCE), King Xianwang of Zhou officially appointed King Xiaogong of Qin as the hegemon among the feudal lords, thereby recognizing his status as a hegemon. King Wubing of Qi died, and his son Bixiang succeeded him, becoming King Xuanwang of Qi. In the year Jimao (342 BCE), the feudal lords traveled west to pay homage to Qin. In the year Gengchen (341 BCE), the State of Qi sent troops to rescue Han. Tian Ji and Tian Ying served as generals, and Sun Bin as military advisor. They used the strategy of reducing the number of cooking fires to lure the enemy and defeated the Wei army decisively at Maling, forcing the death of Wei general Pang Juan and capturing Wei's crown prince Shen. From this point, the hegemonic power of Wei began to collapse.

辛巳　楚宣王卒，子威王繼。秦奪魏河西七百里。魏去安邑，徙都大梁。　壬午　癸未　秦孝公卒，子惠文君繼，是謂惠文王。商鞅奔魏，魏不受，入於秦。　甲申　秦惠文君夷商鞅族。蘇秦入秦，秦不受。　乙酉　周顯王西賀秦，孟軻為魏卿。

In the Xinsi year (340 BCE), King Xuan of Chu died, and his son succeeded him, becoming King Wu of Chu; Qin captured seven hundred miles of land in the western river region from Wei; Wei was forced to abandon its old capital, Anyi, and moved east to Daliang, which is now Kaifeng in Henan. In the Renwu year (339 BCE), there were no significant events. In the Guiwei year (338 BCE), King Xiao of Qin died, and his son succeeded him, known as Prince Huiwen, later King Huiwen; after losing his support, Shang Yang fled to Wei, but the Wei people refused to take him in, so he returned to the Qin territory. In the Jiashen year (337 BCE), King Huiwen of Qin had Shang Yang executed by carniolation and had his family destroyed; Su Qin went west to Qin to advocate the policy of horizontal alliance, but it was not adopted. In the Yiyou year (336 BCE), King Xianwang of Zhou traveled west to Qin to offer congratulations; Meng Ke was appointed as a minister in Wei, and he explained the principles of benevolence and righteousness to King Huiwang of Wei.

丙戌　秦拔韓宜陽。魏惠王卒，子襄王繼。齊宣王會魏襄王於鄄。　丁亥　蘇秦會趙、燕、韓、魏、齊、楚六國之師，盟於洹水之上，以攻秦。至於函谷。韓作高門。是年，楚滅越，獲王無疆，盡取其地，東開地至浙江。魏始稱王，田嬰為相。

In the year of Bingxu (335 BCE), the state of Qin captured Yiyang of the state of Han; King Wei of Wei died, and his son succeeded him, becoming King Xiang of Wei; King Xuan of Qi and King Xiang of Wei held a meeting at the place of Juan. In the year of Dinghai (334 BCE), Su Qin's strategy of combined resistance was implemented, and the armies of the states of Zhao, Yan, Han, Wei, Qi, and Chu were united at the river Huan water, where they took an oath of mutual alliance to attack Qin. The allied forces advanced to the pass of Hangu. The state of Han extensively constructed a high gate. In this same year, the state of Chu destroyed the state of Yue, captured King Wujiang of Yue, and took over all the territory of Yue, expanding eastward to the area around Zhejiang. The state of Wei officially declared itself a kingdom, and the state of Qi appointed Tianying as its prime minister.

戊子　燕文公卒，子易王立。韓昭侯卒，子惠王立。楚敗齊師于徐州。齊田嬰詐楚，故不利。　己丑　齊會魏伐趙，又伐燕，取十城。　庚寅　秦伐魏。　辛卯　宋亂，公弟偃弒其君，代立，是謂元王。　壬辰　楚威王卒，子懷王槐繼。魏伐楚，取陘山。秦伐魏，取汾陰。　癸巳　秦用張儀為相。陳軫適楚。楚滅蜀，魏輸秦上郡。

In the year of Wuzi (333 BC), Yan Wen Gong died, and his son succeeded him, becoming Yan Yi Wang; Han Zhao Hou died, and his son succeeded him, becoming Han Hui Wang; Chu defeated the Qi army in Xuzhou, which was caused by the deceit of Qi's prime minister Tian Ying towards the Chu envoys, leading to their defeat. In the year of Jichou (332 BC), Qi allied with Wei to attack Zhao, and then attacked Yan, capturing ten cities. In the year of Gengyin (331 BC), Qin attacked Wei. In the year of Xinmao (330 BC), there was a rebellion in Song, where the king's younger brother Yan killed the king and took the throne, becoming King Yuan of Song, later known as King Kang of Song. In the year of Renchen (329 BC), King Wei of Chu died, and his son Xiong Huai succeeded him, becoming King Huai of Chu; Wei attacked Chu and captured Xing Mountain; Qin attacked Wei and captured Fen Yin. In the year of Guisi (328 BC), Qin appointed Zhang Yi as prime minister, and the policy of connecting with the west was implemented from then on; the strategist Chen Zhen switched allegiance to Chu; Chu destroyed Shu, and Wei was forced to surrender the Shangjun to Qin.

甲午　周顯王四十二年，齊會魏攻韓之桑邱。　乙未　趙肅侯卒，子定繼，是謂武靈王。齊用孟軻為上卿。　丙申　孟軻去齊。　丁酉　秦始稱王。齊宣王卒，子湣王地繼。秦築上郡塞。　戊戌　韓、燕稱王。楚破魏襄陵，入城，移兵攻齊。秦張儀會齊、楚執政於桑。

The Jiawu year was the 42nd year of King Xianwang of Zhou, which corresponds to 327 BCE, and this "world" begins from this year. Qi and Wei allied to attack Han's Sanqiu. In the Yiwei year (326 BCE), King Xushou of Zhao died, and his son succeeded him, who later implemented the Hu Fu Qi She reforms as King Wuling of Zhao; Qi appointed Meng Ke as a high minister. In the Bingshen year (325 BCE), Meng Ke left Qi because his ideas were not adopted. In the Dingyou year (324 BCE), Qin began to use the title of King; King Xuanwang of Qi died, and his son succeeded him, who became King Min of Qi; Qin built border fortifications in Shangjun. In the Wuxu year (323 BCE), Han and Yan also successively adopted the title of King; Chu captured Xiangling of Wei, occupied the city, and then moved troops to attack Qi; Qin's chancellor Zhang Yi held a meeting with the officials of Qi and Chu at Niesang.

己亥　秦張儀出相魏、燕，會韓、魏二君於區鼠。　庚子　周顯王崩，子定嗣位，是謂慎靚王。是年，趙始稱王。齊封田嬰於薛，盜殺蘇秦於齊。蘇代復相燕。燕王卒，子噲繼，子之專國。蘇代使齊。　辛丑　宋伐楚，取地三百里，始稱王。秦、齊交婚。　壬寅　魏襄王卒，子哀王繼。張儀復相秦。

In the Jihai year (322 BC), Zhang Yi left Qin and successively served as the prime minister of Wei and Yan. He promoted the policy of horizontal alliance for Qin, and also met with the kings of Han and Wei at the place called Qu Shu. In the Gengzi year (321 BC), King Xianwang of Zhou died, and his son Ding succeeded to the throne, becoming King Shenjingtian of Zhou. In this year, the State of Zhao also began to use the title of king. The State of Qi granted the territory of Xue to Tianying, who was the father of Mengchang Jun. Su Qin was killed by an assassin in Qi, and his younger brother Su Dai once again served as the prime minister of Yan. The king of Yan died, and his son Kuai succeeded to the throne, with the minister Zi Zhi controlling the government. Su Dai went on a diplomatic mission to Qi. In the Xinchou year (320 BC), the State of Song attacked Chu, seizing 300 li of land and also began to use the title of king. The States of Qin and Qi formed a marital alliance. In the Rennyin year (319 BC), King Xiangwang of Wei died, and his son succeeded to the throne, becoming King Aiwang of Wei. Zhang Yi returned to Qin and once again served as prime minister.

癸卯　楚會齊、趙、韓、魏、燕攻秦，不利。齊獨後。秦樗裡疾大敗六國之師，獲將申差及韓、魏二公子。　甲辰　齊敗魏師於觀津，與秦爭雌雄。魯景公卒，子平公繼。秦敗韓師於濁澤，韓請割名都一以助伐楚，既而背之。秦又伐韓，敗韓師於岸門。楚救不至。燕王噲以國屬子之。　乙巳　齊伐燕，秦伐趙，拔中都及西陽。

In the year of Guimao (318 BCE), the State of Chu allied with Qi, Zhao, Han, Wei, and Yan to attack Qin. Their campaign was not successful, with Qi sending its troops last. The Qin general Chu Li Ji defeated the allied forces of the six states, capturing the Han general Shen Cha and the sons of Han and Wei. In the year of Jiachen (317 BCE), Qi defeated the Wei army at Guanjin and competed with Qin for supremacy. Lu Jing Gong died, and his son Ping Gong succeeded him. Qin defeated the Han army at Zuzuo. Han requested to cede a famous city and assist Qin in attacking Chu in order to make peace, but later broke the agreement. Qin attacked Han again and defeated the Han army at Anmen. The rescue force from Chu never arrived. Yan Wang Kui imitated Yao and Shun's abdication, handing over state affairs to Zi Zhi, thus sowing the seeds of chaos in Yan. In the year of Yisi (316 BCE), Qi took advantage of the turmoil in Yan to attack Yan. Qin attacked Zhao and captured Zhongdu and Xiyang.

丙午　周慎靚王崩，子延繼，是謂赧王，稱西周君。秦拔義渠二十五城，又取韓之石章。　丁未　楚齊和親。燕亂，將市被攻子之不克，返攻世子，又不克，死。　戊申　楚攻秦，不利。秦伐齊，楚救不至。秦張儀結楚，樗裡疾攻趙。己酉　楚懷王大伐秦，不利；又伐，又不利。秦庶長魏章會齊、韓之師，大敗楚師於藍田，又敗之於丹水之陽，獲其將屈丐，遂取漢中地，置黔中郡。韓宣王卒，世子蒼繼，是謂襄王。齊以五都兵攻燕，燕亂，國人立太子平，是謂昭王。

In the year of Bingwu (315 BCE), King Shenling of the Zhou dynasty died, and his son Yan succeeded to the throne, becoming King Nan of Zhou, also known as the Lord of the Western Zhou because he resided in the capital. The State of Qin captured twenty-five cities of Yiqu, and also seized the territory of Shizhang from the State of Han. In the year of Dingwei (314 BCE), the States of Chu and Qi formed an alliance of marriage. In Yan, there was internal strife; General Shi Bei raised an army to attack Zi Zhi but failed to defeat him. He then turned back to attack the crown prince but also failed, and eventually died in battle. In the year of Wushen (313 BCE), the State of Chu suffered a defeat against Qin; Qin attacked Qi, but the promised aid from Chu did not arrive. The chancellor of Qin, Zhang Yi, lured Chu into breaking its alliance with Qi by offering the territory of Shangyu, which was six hundred li in size. At the same time, Chi Li Ji led Qin's army to attack Zhao. In the year of Jiyou (312 BCE), King Huai of Chu realized he had been deceived and launched a large-scale attack on Qin, but failed. He tried again, but again failed. The civilian leader Wei Zhang of Qin, together with the armies of Qi and Han, defeated the Chu army in Lantian, and then defeated them again at the north of Dan Water, capturing the Chu general Qu Ce. Thus, Qin gained the Hanzhong region and established the Qianzhong Commandery. King Xuan of Han died, and his son Cang succeeded to the throne, becoming King Xiang of Han. Qi mobilized the armies of the five cities to attack Yan, causing great disorder in Yan. The people of Yan then proclaimed the crown prince Ping as king, who later became King Zhao of Yan, known for his efforts to attract talents and strengthen the state.

庚戌　楚屈原使齊，秦張儀使楚，會楚、齊、韓、趙、魏、燕六國西事秦，至咸陽，而秦惠王卒，子武王繼。燕起金臺，以禮郭槐。樂毅自魏至，鄒衍自齊至，劇辛自趙至。　辛亥　秦會魏於臨晉。張儀、魏章適魏，樗裡疾、甘茂為相。　壬子　楚合齊以善韓。　癸丑　秦武王會魏哀王於應，會韓襄王於臨晉。

In the Gengxu year (311 BCE), the State of Chu sent Qu Yuan to Qi to improve relations, while the State of Qin sent Zhang Yi to Chu to persuade it. Zhang Yi succeeded in getting Chu, Qi, Han, Zhao, Wei, and Yan to turn westward and submit to Qin. When the envoys arrived at Xianyang, King Huiwang of Qin had already died, and his son succeeded him, becoming King Wuzhang of Qin. King Zhao of Yan built the Golden Platform to attract talented men with generous rewards. Thus, Yue Yi came from Wei, Zhu Yan from Qi, and Ju Xin from Zhao, causing a sudden flourishing of talent in Yan. In the Xinhai year (310 BCE), Qin and Wei held a meeting in Linjin. Zhang Yi and Wei Zhang lost power and left for Wei. Chu Li Ji and Gan Mao were appointed as ministers of Qin. In the Renzi year (309 BCE), Chu allied with Qi to be friendly with Han. In the Guichou year (308 BCE), King Wuzhang of Qin met King Ai of Wei at Ying and also met King Xiang of Han at Linjin.

甲寅　東西二周君相攻。楚圍韓之雍邱。秦甘茂拔韓之宜陽。武王舉周鼎，絕臏而死。國人迎母弟稷於趙而立之，是謂昭襄王，太后臨朝稱制，魏冉專政。趙武靈王改用胡服。　乙卯　秦復韓武遂，嚴君疾、向壽為相。甘茂適魏。　丙辰　楚絕齊以善秦。

In the year Jiayin (307 BCE), the Duke of the Eastern Zhou and the Duke of the Western Zhou attacked each other. The State of Chu surrounded Yongqiu of the State of Han; the Qin general Gan Mao captured Yiyang of Han, opening a passage for the Qin army to move eastward into the Central Plains. King Wugzhang of Qin was always fond of displaying his strength, and when he went to the Zhou royal court to lift the Nine Tripods, he broke his leg under the weight of the tripods and died. The Qin people then brought back his younger brother Ying Ji from the State of Zhao to be the king, who became King Zhaoxiang of Qin. His mother, the Dowager Xuan, ruled the court, and her brother Wei Ran controlled the government. In the year Yimao (306 BCE), the State of Qin returned the territory of Wusui to Han, and appointed Yanjun Chulij and Xiangshou as ministers; Gan Mao fled to the State of Wei. In the year Bingchen (305 BCE), the State of Chu cut off relations with the State of Qi and became allied with Qin.

丁巳　秦昭王與楚懷王會於黃棘，復之上庸。　戊午　齊、韓、魏攻楚，楚求救於秦。魯平公卒，子文公賈繼。秦取韓武遂，拔魏蒲坂。　己未　秦復魏蒲坂，會韓於武遂。　庚申　楚伐秦，不利。秦昭襄王會齊、韓、魏伐楚，敗之於重邱。　辛酉　齊孟嘗君入秦為質。

In the year Dingsi (304 BCE), King Zhaoxiang of Qin met with King Huai of Chu at Huangji to conclude a treaty, and Qin returned the territory of Shangyong to Chu. In the year Wuwu (303 BCE), the states of Qi, Han, and Wei jointly attacked Chu, accusing it of breaking the alliance, and Chu sought aid from Qin; Lu Pinggong died, and his son Jia succeeded him, becoming King Wengong of Lu. Qin seized Wu sui from Han and captured Pusan from Wei. In the year Jiwei (302 BCE), Qin returned Pusan to Wei and held a meeting with Han at Wu sui. In the year Gengshen (301 BCE), Chu failed in its attack on Qin; King Zhaoxiang of Qin allied with Qi, Han, and Wei to attack Chu and defeated the Chu army at Chongqiu. In the year Xinyou (300 BCE), Tian Wen, the Prince Mengchang of Qi, went to Qin as a hostage, and later was appointed as the chancellor of Qin by King Zhaoxiang.

壬戌　楚懷王放大夫屈原於江濱，與秦昭襄王會於武關，不復。國人迎太子橫於齊而立之，是謂頃襄王，其弟子蘭為令尹。齊歸秦涇陽君，孟嘗君自秦逃歸。秦會齊、魏伐楚，取八城。趙拔燕中山，攘地北至燕代，西至九源。　癸亥　齊會韓、魏伐秦，至於函谷。秦伐楚，取十六城，趙武靈王稱主父，會群臣於東宮，廢太子章，而授庶子何立，是謂惠文王，以肥義為之相，北略地，南入秦，稱使者。

In the year Renxu (299 BCE), King Huai of Chu exiled the minister Qu Yuan, who had strongly advised against trusting the Qin, to the riverbank. Meanwhile, King Huai himself met with King Zhaoxiang of Qin at the Wu Pass, but was captured by Qin and never returned. The people of Chu brought back the crown prince Xing from Qi to become the new king, known as King Qingxiang of Chu, and appointed his nephew Zi Lan as the prime minister. Qi returned the Qin general Jingyang Jun, who had been held as a hostage in Qi, and Mengchang Jun escaped back from Qin. Qin allied with Qi and Wei to attack Chu, capturing eight cities. Zhao attacked Yan territory and Zhongshan, expanding its territory north to Yan and Dai, and west to Jiuyuan. In the year Guihai (298 BCE), Qi allied with Han and Wei to attack Qin, advancing to the Hangu Pass. Qin attacked Chu again, capturing sixteen cities. King Wuling of Zhao declared himself "Zufu," equivalent to an emperor in retirement, held a grand assembly of officials in the eastern palace, deposed the crown prince Zhang, and instead made his younger son He the king, known as King Huwen of Zhao, appointing Fei Yi as chancellor. The Zufu himself devoted himself to military campaigns, expanding territory to the north, and also disguised himself as an envoy to secretly observe Qin's situation.

甲子　周赧王十八年，楚懷王於秦逃歸，不克。　乙丑　楚懷王卒於秦，楚遂絕秦。魏哀王卒，子昭王繼。齊會韓、魏、趙、宋五國之兵攻秦，至鹽氏而還。秦與韓、魏河北及封陵以和。韓襄王卒，子釐王繼。趙主父滅中山，徙其王於膚施，封廢太子章於代，號安陽君，使田不禮為之相。

The Jiazi year was the eighteenth year of King Nangwang of Chu, that is, 297 BCE, from which the "world" period began. The imprisoned King Huai of Chu attempted to escape from Qin but failed. In the Yichou year (296 BCE), King Huai of Chu died in exile in Qin, and the people of Chu were all filled with sorrow and anger. Thus, Chu completely cut off diplomatic relations with Qin. King Ai of Wei died, and his son succeeded him, becoming King Zhao of Wei. The State of Qi allied with the States of Han, Wei, Zhao, and Song to attack Qin, advancing as far as Yanshi before returning. Qin returned the region of Hebei and the city of Fengling to Han and Wei in order to seek peace. King Xiang of Han died, and his son succeeded him, becoming King Li of Han. King Zhu Fu of Zhao destroyed the State of Zhongshan, exiling King Zhongshan to Fushī; he also granted the deposed crown prince Zhang the territory of Dai, naming him King Angyang, and assigned Tian Buli to assist him—this arrangement set the stage for the disaster of the Shāqiū incident the following year.

丙寅　秦免樓緩相，穰侯魏冉復相，率師攻魏。趙安陽君及田不禮作難，公子成及大夫李兌平之，主父死於沙邱宮。　丁卯　秦向壽伐韓，拔武始。　戊辰　楚與秦復和。韓伐秦，不利。秦左庶長白起大敗韓及諸侯之師於伊闕，取城五，坑軍二十四萬，獲將公孫喜。

In the year Bingyin (295 BCE), the state of Qin removed Lou Kang from his position as chancellor and reinstated Wang Hou Wei Ran as chancellor, leading an army to attack Wei. In the state of Zhao, Anyang Lord Zhang and Tian Buli raised an army in rebellion. Prince Cheng and the minister Li Dui suppressed the rebellion and later besieged the Shashu Palace for three months, resulting in the death of King Wuling of Zhao from starvation within the palace. In the year Dingmao (294 BCE), the Qin general Xiang Shou attacked Han, capturing Wushi. In the year Wuchen (293 BCE), the state of Chu and Qin renewed their peace treaty; Han's attack on Qin failed; the Qin left庶long Bai Qi defeated the allied forces of Han and other states in Yie, capturing five cities, killing 240,000 surrendered soldiers, and capturing the Han general Gongsun Xi—thus Bai Qi earned the nickname "Man Slaughterer."

己巳　楚逆婦於秦。秦魏冉免相，大良造白起伐魏，取垣；攻楚，拔宛。　庚午　秦魏冉復相，封陶邑。司馬錯伐韓軹及鄧。　辛未　齊有田甲之難，免孟嘗君相。魏獻河東地方四百里入秦。韓獻武遂二百里入秦。趙會齊伐韓。　壬申　齊復孟嘗君相。秦伐韓，拔六十一城。

In the year of Jisi (292 BC), the state of Chu married a woman from the state of Qin. The state of Qin dismissed Wei Ran from his position as prime minister, and the general Bai Qi of Qin attacked Wei, capturing the walled city of Yuan; he also attacked Chu and captured the city of Wan. In the year of Gengwu (291 BC), Wei Ran was appointed prime minister again and was granted the territory of Tao. The general Sima Cuo of Qin captured the cities of Jizi and Deng from the state of Han. In the year of Xinwei (290 BC), a coup occurred in the state of Qi, where Tian Jia seized King Min of Qi, and Meng Changjun was implicated and dismissed from his position as prime minister; the state of Wei ceded 400 square miles of land east of the River to Qin, and the state of Han ceded 200 square miles of Wusui to Qin; the state of Zhao allied with Qi to attack Han. In the year of Renshen (289 BC), Qi restored Meng Changjun to his position as prime minister; Qin attacked Han and captured 61 cities in succession.

癸酉　齊秦約稱東西帝，復罷。　甲戌　齊孟嘗君謝病。秦昭襄王巡漢中及上郡、河北，拔魏新垣及曲陽。　乙亥　齊滅宋，至於泗上，十二諸侯、鄒魯之君皆稱臣。南取楚之淮北，西侵韓、趙、魏。魏獻秦安邑。秦伐魏之河內，攻韓之夏山。

In the Guiyou year (before 288 BC), the states of Qi and Qin jointly proclaimed themselves as the Eastern and Western Emperors respectively. However, because the other feudal states did not submit, they soon both abandoned the title of Emperor. In the Jiaxu year (before 287 BC), the Marquis Mengchang of Qi resigned from his post due to illness. Meanwhile, King Zhaoxiang of Qin toured the Hanzhong and Shangjun regions as well as the northern Hebei area, and captured the cities of Xinyuan and Quyang from the state of Wei. In the Yihai year (before 286 BC), the state of Qi destroyed the state of Song, extending its influence to the area around the Si River. The twelve feudal states along the Si River as well as the rulers of Zou and Lu all submitted to Qi. Qi also advanced southward to take control of the northern part of the Huai River from the state of Chu, and westward to invade the states of Han, Zhao, and Wei. At this time, Qi reached its peak in power, but also faced widespread resentment. The state of Wei presented the city of Anyi to Qin, and Qin attacked the region of Henan in Wei and the mountain area of Xia Shan in Han.

丙子　齊孟嘗君以薛屬魏。秦昭襄王會楚頃襄王於宛，會趙惠文王於中陽，伐齊，拔九城。　丁丑　燕樂毅會秦、楚、韓、魏五國之師伐齊，大敗齊師於濟西，遂入臨淄，拔城七十，拜樂毅上卿，封昌國君，留圍齊即墨及莒。齊湣王保莒，楚使淖齒救齊，殺齊湣王於莒。莒人立其子法章，是謂襄王。荀卿行祭酒。

In the year Bingzi (285 BCE), Master Mengchang led the territory of Xue to submit to the state of Wei. At the same time, King Zhaoxiang of Qin met King Qingxiang of Chu at the place of Wan, and met King Huwen of Zhao at Zhongyang. He also sent troops to attack Qi, capturing nine cities. In the year Dingchou (284 BCE), the general Yue Yi of Yan, together with the armies of Qin, Chu, Han, and Wei, launched a joint attack on Qi. They defeated the Qi army in a great battle west of the Ji River, advancing directly to the capital of Qi, Linzi, and captured more than seventy cities in total. King Zhao of Yan appointed Yue Yi as Grand Minister and granted him the title of Lord of Changguo, leaving troops to surround the remaining two cities of Jimo and Ju. King Min of Qi fled to Ju for self-preservation. The state of Chu sent Chao Chi, who pretended to come to rescue Qi, but instead killed King Min of Qi in Ju. The people of Ju then proclaimed King Min's son Fa Zhang as king, who became King Xiang of Qi. Xun Qing served as the chief master of the Ji Xia Academy in Qi, overseeing the academic affairs.

戊寅　楚頃襄王會秦昭襄王於鄢。秦穰侯伐魏，至於國。　己卯　秦昭襄王會韓釐王於新城，會魏昭王於新名，伐趙，拔二城；伐韓，取六邑。　庚辰　楚會魏、趙伐秦。秦伐楚，魏冉復相。趙使藺相如入秦獻璧。　辛巳　楚割上庸及漢中，請和於秦。秦白起拔趙二城，司馬錯拔楚上庸。燕昭王卒。子惠王繼，以騎劫代樂毅。樂毅奔趙。趙惠文王與秦昭襄王會於澠池，藺相如相。

In the year of Wuyin (283 BC), King Qingxiang of Chu met King Zhaoxiang of Qin at Yan; at the same time, the Qin chancellor Wei Ran attacked Wei, and advanced as far as the capital of Wei. In the year of Jimao (282 BC), King Zhaoxiang of Qin met King Xili of Han at Xincheng and King Zhaoxiang of Wei at Xinming; he also attacked Zhao, capturing two cities; and attacked Han, taking six territories. In the year of Gengchen (281 BC), Chu allied with Wei and Zhao to attack Qin; Qin retaliated by attacking Chu, and Wei Ran once again became chancellor. Zhao sent Lin Xiangru with the He氏璧 to Qin to negotiate, and eventually the jade was returned to Zhao. In the year of Xinsi (280 BC), Chu ceded Shangyong and Hanzhong to Qin and sought peace; Qin general Bai Qi captured two cities of Zhao, while Sima Cuo captured Shangyong from Chu. King Zhao of Yan died, and his son succeeded him as King Huiwang of Yan. He fell for the counter-intelligence plot by the QI people, and replaced Lü Yi with Qi Jie. Lü Yi fled to Zhao. King Huwen of Zhao met King Zhaoxiang of Qin at Mianchi, and Lin Xiangru accompanied him, successfully resolving the crisis. After that, Lin Xiangru was appointed as chancellor.

壬午　齊田單大敗燕君於即墨，獲將騎劫，復城七十，迎襄王自莒入臨淄。封田單安平君。秦白起拔楚西陵。　癸未　楚頃襄王出奔陳，郢陷於秦。大良造白起破楚入郢，燒夷陵，以郢為南郡。封起武安君。　甲申　秦拔楚巫及黔中，作黔中郡。魏昭王卒，子安釐王繼。

In the Renwu year (279 BCE), the Qi general Tian Dan used the fire ox formation at Jimo to achieve a great defeat against the Yan army, killing the Yan general Qi Jie, and recaptured over seventy cities. He brought the Qi Xiang Wang back from Ju City to take residence in Linzi, and the state of Qi conferred the title of Anping Jun upon Tian Dan. Meanwhile, the Qin general Bai Qi captured the western fortress of Chu, Xiling. In the Guiwei year (278 BCE), King Qingxiang of Chu fled to Chen City, and the capital Yingshang fell — Bai Qi, the great commander of Chu, broke through into Yingshang, burned the tombs of the former kings of Chu located in Yiling, and established the southern commandery of Jun. The Qin rewarded Bai Qi with the title of Wusan Jun for his achievements. When Qu Yuan heard of the fall of Yingshang, he committed suicide by drowning in the Miluo River at this time. In the Jiashen year (277 BCE), the state of Qin captured the territory of Wu and Qianzhong of Chu, establishing the commandery of Qianzhong. King Zhao of Wei died, and his son succeeded him, becoming King Anxi of Wei.

乙酉　楚東取江旁十五邑以扞秦。魏拔秦二城，封無忌信陵君。　丙戌　秦兵圍大梁，魏入溫請和。秦以穰侯為相國。韓暴鳶救魏不利。趙廉頗拔魏房子、安陽。　丁亥　魏芒卯攻韓，不利。秦師救韓，敗趙、魏之師十五萬於華陽。魏入南陽請和，以其地為南陽郡。

In the year Yiyou (276 BCE), the State of Chu took fifteen towns along the Yangtze River to the east to resist the Qin army; the State of Wei captured two cities of Qin and conferred the title of Xingling Jun upon Prince Wuji. In the year Bingxu (275 BCE), the Qin army besieged the capital of Wei, Daliang, and Wei surrendered the territory of Wen to seek peace; Qin appointed Wei Ran as Chancellor; the Korean general Bao Yuan failed to rescue Wei; and the Zhao general Lian Po captured the towns of Fazhong and Anyang from Wei. In the year Dinghai (274 BCE), the Wei general Mangmo failed to defeat Korea; the Qin army, under the pretense of aiding Korea, launched an attack and defeated the allied forces of Zhao and Wei numbering fifteen thousand at Huayang; Wei surrendered the territory of Nanyang to seek peace, and Qin established this area as the Prefecture of Nanyang.

戊子　韓釐王卒，子桓惠王繼。趙取東胡地。　己丑　楚黃歇奉太子完入秦為質，求平，又取韓。魏伐燕，田單拔燕中陽。秦會楚、韓、趙、魏伐燕。燕惠王卒，子武成王繼。趙藺相如伐齊。　庚寅　秦穰侯伐齊，取剛壽，以廣陶邑。范雎自魏入秦。　辛卯　秦師伐韓以逼周。　壬辰　秦中更胡傷攻趙閼與，趙奢擊之，有功，封馬服君，與廉頗同位。秦人為之少懼。　癸巳　秦拔魏懷義。

In the year of Wuzi (273 BCE), King Huan of Han died, and his son succeeded him, becoming King Huanhui of Han; the State of Zhao captured the land of Donghu. In the year of Jichou (272 BCE), Prince Wan of Chu was accompanied by Huang Xie to the State of Qin as a hostage to seek peace, and the State of Chu also captured land from Han; the State of Wei attacked Yan, and Tian Dan captured Zhongyang from Yan; Qin allied with Chu, Han, Zhao, and Wei to attack Yan; King Hui of Yan died, and his son succeeded him, becoming King Wucheng of Yan; and Lian Xiangru of Zhao led troops to attack Qi. In the year of Gengyin (271 BCE), the Qin chancellor Wang Ruan attacked Qi, capturing the regions of Gang and Shou to expand his fiefdom at Tao; Fan Ju fled from Wei to Qin and later advised King Zhao of Qin to adopt the strategy of "distant alliances and close attacks." In the year of Xinmao (270 BCE), the Qin army attacked Han to pressure the Zhou royal house. In the year of Renchen (269 BCE), the Qin general Hu Shang attacked Yanyu in Zhao, and Zhao She led his troops to relieve the siege, defeating the Qin army in a great battle, and was granted the title of Master of Ma Fu, holding a position equal to Lian Po; from then on, the Qin showed some fear of Zhao. In the year of Guisi (268 BCE), the Qin captured Huayi from Wei.

甲午　周赧王四十八年，秦太子卒於魏。　乙未　秦拔魏郪邱，罷穰侯相國及宣太后權，以客卿范雎為相，封應侯。魏冉就國。趙惠文王卒，子丹繼，是謂孝成王，太后專政。　丙申　齊襄王卒，子建繼。田單攻趙。秦以安國君為太子，宣太后卒。拔趙三城，進圍邯鄲。趙出長安君，為質於齊，求救趙。勝為相，封平原君。

The Jiawu year was the forty-eighth year of King Nanhao of Zhou, which corresponds to 267 BCE, and this "world" begins from this year. The太子 of Qin, who was held as a hostage in Wei, died in Wei. In the Yiwei year (266 BCE), Qin captured Qiqiu of Wei; King Zhaoxiang of Qin adopted Fan Sui's strategy, dismissed Wei Ran as chancellor, took back the authority of Queen Zhao太后, and appointed Fan Sui, the guest minister, as chancellor, granting him the title of Yinghou. Wei Ran was sent back to his fiefdom—thus, the power of Qin came under the control of the king. King Huiwen of Zhao died, and his son Dan succeeded him, becoming King Xiaocheng of Zhao, with Zhao太后 ruling the country. In the Bingshen year (265 BCE), King Xiang of Qi died, and his son Jian succeeded him; Tian Dan led his troops to attack Zhao. Qin appointed Angong as the crown prince, and Queen Zhao太后 died; Qin's army captured three cities of Zhao and encircled Handan; Zhao sent their young son, Chang'an Jun, to Qi as a hostage in exchange for military aid, an event described by Chu Long in his conversation with Zhao太后; Zhao Sheng was appointed as chancellor and granted the title of Pingyuan Jun.

丁酉　齊用田單為相。秦白起伐韓，拔九城。　戊戌　楚頃襄王卒，太子完自秦亡歸繼，是謂考烈王。以左徒黃歇為令尹，號春申君，封於吳。食淮北地。秦白起拔韓南郡。　己亥　楚獻地於秦，乞和。秦五大夫賁伐韓，拔十五城，以絕太行路。韓馮亭以上黨入於趙，趙受韓上黨，廉頗軍長平。

In the year of Dingyou (264 BCE), the state of Qi appointed Tian Dan as its prime minister; the Qin general Bai Qi attacked the state of Han, capturing nine cities. In the year of Wuxu (263 BCE), King Qingxiang of Chu died, and his son Wán fled from Qin to succeed to the throne, becoming King Kaoliang of Chu, who appointed Huang Xie as his chancellor, known as Chunshen Jun, and granted him the territory of Wu, collecting taxes from the northern part of the Huai River. The Qin general Bai Qi captured the southern commandery of Han. In the year of Jihai (262 BCE), the state of Chu offered land to Qin in an attempt to make peace; the Qin official Weng Ben attacked Han, capturing fifteen cities and cutting off the pass through the Taihang Mountains; the governor of Shangdang, Feng Ting, refused to submit to Qin and presented Shangdang to the state of Zhao, which accepted it, and sent Lian Po to garrison Changping—thus the spark was lit for the great battle between Qin and Zhao at Changping.

庚子　楚伐魯，取徐州。秦白起攻趙長平。　辛丑　秦武安君大敗趙軍於長平，進圍邯鄲。趙以趙括代廉頗將，長平遂陷，兵四十萬為秦所坑。　壬寅　秦分軍為三，罷武安君白起將，以王齕代，攻趙，拔趙武安及皮牢。司馬梗北定上黨。趙使蘇代使秦。

In the Gengzi year (261 BCE), the State of Chu attacked Lu and captured Xuzhou; General Bai Qi of Qin attacked the State of Zhao at Changping. In the Xinchou year (260 BCE), the Wudi Jun Bai Qi defeated the Zhao army at Changping and then besieged Handan. King Zhao Xiaocheng of Zhao fell for the Qin's reverse strategy, replacing the experienced General Lian Po with Zhao Kuang, who was only skilled in paper strategy. As a result, the Changping defense collapsed, and 400,000 surrendered soldiers were killed by the Qin army, causing great damage to Zhao. In the RENYIN year (259 BCE), the Qin divided its army into three routes, removed General Bai Qi's command, and appointed Wang He as the new general to attack Zhao. The Qin captured Wusan and Pilaou in Zhao. Sima Geng advanced north to pacify Shangdang. Zhao sent Su Dai to Qin to persuade Fan Ju to cease the war.

癸卯　秦加范雎相國，王齕圍邯鄲，張唐攻魏。燕武成王卒，子孝王繼。趙平原君求救於楚、魏。　甲辰　楚春申君、魏信陵君救趙。秦起武安君白起。不克，殺之於杜郵。　乙巳　周赧王會齊、韓、趙、魏兵，出伊闕攻秦。不利，西奔秦。秦昭王滅周，盡入其地三十六城，徙其王於憚狐。楚滅魯，以齊荀卿為蘭陵令。

In the year of Guimao (258 BCE), the state of Qin appointed Fan Sui as prime minister; Wang He surrounded Handan, while Zhang Tang attacked Wei. King Wu Cheng of Yan died, and his son succeeded him, becoming King Xiao of Yan. The marquis Pingyuan of Zhao sent envoys to seek help from both Chu and Wei, and Ma Suì volunteered to accompany them at this time. In the year of Jiachen (257 BCE), the chancellor Chunshen of Chu and the marquis Xingling of Wei both led their armies to rescue Zhao. Xingling stole the military credentials to take command of the army, and the Qin army suffered a great defeat at Handan. The king of Qin then recalled Wu Anjun Bai Qi again, but Bai Qi claimed illness and refused to go, and was eventually executed at Du You. In the year of Yisi (256 BCE), King Nan of Zhou combined the armies of Qi, Han, Zhao, and Wei, and attacked Qin from Yique, but failed, and had to travel west to Qin to apologize. King Zhao of Qin then destroyed the Zhou dynasty, took all thirty-six cities, and moved King Nan to Danhu. The Zhou dynasty, which had ruled for eight hundred years, thus came to an end. The state of Chu conquered Lu; Xun Qing of Qi was appointed as the magistrate of Langle in Chu.

丙午　秦徙周民及九鼎於咸陽，蔡澤自燕入秦，代范雎相。燕孝王卒，子喜繼。　丁未　楚、齊、韓、燕、趙皆服於秦。魏獨後，秦使將軍樛伐之，取吳城。　戊申　秦郊上帝於雍邱。趙徙都鉅鹿。　己酉　趙平原君卒。　庚戌　秦昭襄王卒，太子安國繼，是謂孝王。立三日，又卒，子楚立，是謂莊襄王，以華陽夫人為後，子政為太子，呂不韋為丞相，封文信侯，食河南十萬戶。楚春申君入吊於秦。燕將栗腹攻趙，不利。趙廉頗破燕軍於鄗，封信平侯。

In the year Bingwu (255 BC), the state of Qin moved the remnants of the Zhou dynasty and the symbolic symbol of royal power, the Nine Tripods, to Xianyang. Cai Ze came from Yan to Qin and replaced Fan Sui as prime minister. King Xiao of Yan died, and his son Xi succeeded him. In the year Dingwei (254 BC), the states of Chu, Qi, Han, Yan, and Zhao all submitted to Qin, but Wei delayed. Qin sent General Liu to attack and captured the city of Wu. In the year Wushen (253 BC), Qin performed a sacrificial ceremony to the Supreme Deity at the outskirts of Yong. Zhao moved its capital to Julu. In the year Jiyou (252 BC), the Marquis Pingyuan of Zhao died. In the year Gengxu (251 BC), King Zhaoxiang of Qin died, and his son Angguo Jun succeeded him, becoming King Xiaowen of Qin, who died three days after his coronation. His son Zi Chu succeeded him, becoming King Zhuangxiang of Qin. He appointed Huayang Fu as queen, appointed Ying Zheng as crown prince, appointed Lu Buwei as chancellor, and granted him the title of Wenxin Hou with a fief of ten thousand households in Henan. Chunshen Jun of Chu came to Qin to mourn. The Yan general Li Fu attacked Zhao but failed. Zhao general Lian Po defeated the Yan army decisively at the site of Hao, and was granted the title of Xinpingshou for his merit.

辛亥　東周君會諸侯攻秦，不利，沒於秦。秦丞相呂不韋平東周，盡入其地，置三川郡，徙其君於陽人。趙廉頗伐燕，圍其國。　壬子　秦蒙驁拔趙太原，拔韓滎陽及成皋。　癸丑　秦蒙驁拔魏高都，又舉趙三十城。楚、齊、魏、韓、燕、趙攻秦，不利。

In the Xinhai year (250 BCE), the King of the Eastern Zhou allied with the feudal lords to attack Qin but failed and was annexed by Qin. The Qin chancellor Li Si quelled the Eastern Zhou, took all its territories, established the Sanchuan Commandery, and moved the King of Eastern Zhou to Yangren聚 — thus ending the last remnants of the Zhou dynasty. General Lian Po of Zhao attacked Yan and besieged the capital of Yan. In the Renzi year (249 BCE), the Qin general Meng Ao captured Taiyuan of Zhao, and also captured Xingyang and Chenggao of Han. In the Guichou year (248 BCE), Meng Ao captured Gaodu of Wei and took thirty cities of Zhao; the six states of Chu, Qi, Wei, Han, Yan, and Zhao joined forces to attack Qin but failed to achieve victory.

甲寅　秦莊襄王卒，太子政繼，是謂始皇帝。以呂不韋為相國，號仲父，同太后專政。李斯為舍人。齊田單屠聊城。魏無忌自趙歸國，率楚、齊、韓、趙、燕五國之師，敗秦軍於河外，走蒙驁，追至函谷。　乙卯　秦蒙驁平晉陽。　丙辰　趙孝成王卒，子偃繼，是謂悼襄王，以樂乘代廉頗將。頗奔魏。

In the year Jiayin (247 BCE), King Zhengxiang of the State of Qin died, and his son Ying Zheng succeeded to the throne, who later became the First Emperor of Qin. Li Si was still only a minor official in the household of Wu Weyi, the Chancellor. General Tian Dan of Qi destroyed the city of Licheng. Prince Wuji of Wei, known as Lord Xinling, returned from the State of Zhao to his homeland and led armies from the States of Chu, Qi, Han, Zhao, and Yan. He defeated the Qin army in the south of the Yellow River, forcing Meng Ao to retreat, and pursued the enemy all the way to the pass of Hangu. This was the last victory of the Six States in a joint effort. In the year Yimao (246 BCE), the Qin general Meng Ao subdued Jinyang. In the year Bingchen (245 BCE), King Xiaocheng of Zhao died, and his son Yan succeeded to the throne, becoming King Daoxiang of Zhao. He replaced Lian Po with Yue Cheng as general, and Lian Po was angry and fled to the State of Wei.

丁巳　秦蒙驁攻魏，拔二城；攻韓，拔十二城。　戊午　魏釐王卒，子景愍王卒，信陵君亦卒。趙將李牧取燕二城。　己未　秦拔魏二十城，置東郡。趙伐燕，獲將劇辛。　庚申　楚考烈王會齊、韓、趙、魏、燕五國之兵伐秦，至於函谷，不利，東徙都壽春。春申君就國於吳。　辛酉　秦拔魏之汲，趙拔魏之鄴。　壬戌　秦封嫪毐長信侯，關政於內。韓桓惠王卒，子安繼。　癸亥　長信侯嫪毐作難，攻鄿年宮，不克，伏誅。徙太后於雍，流蜀者四千家。楚考烈王卒，子幽王悍繼。

In the year of Dingsi (244 BCE), the Qin general Meng Ao attacked Wei, capturing two cities; he then attacked Han, capturing twelve cities. In the year of Wuwu (243 BCE), King Xilie of Wei died, and his son King Jingmin succeeded to the throne— the original text here reads '卒', but later in the year Guiyou it is again recorded that King Jingmin died, which is likely a mistake; at the same time, the marquis Xinling, Wei Wuji, died in sorrow. The general Li Mu of Zhao captured two cities from Yan. In the year of Jiwei (242 BCE), Qin captured twenty cities of Wei and established the commandery of Dongjun, thus separating the three Jin states from Qi and Chu. Zhao attacked Yan and captured the general Ju Xin. In the year of Gengshen (241 BCE), King Kaolie of Chu combined the armies of Qi, Han, Zhao, Wei, and Yan to attack Qin, advancing to the pass of Hangu and suffering defeat, and then moved the capital eastward to Shouchun; Chunshen Jun returned to his fiefdom in Wu. In the year of Xinyou (240 BCE), Qin captured Ji of Wei, and Zhao captured Yè of Wei. In the year of Renxu (239 BCE), Qin enfeoffed Lao'ai as the Grand Commandant of Longxin, entrusting him with the administration of the palace; King Huanhui of Han died, and his son An succeeded to the throne. In the year of Guihai (238 BCE), Lao'ai raised an armed rebellion, attacked the Qilian Palace, and failed, being executed; the king moved his mother the dowager to Yongcheng for seclusion, and as a result of this case, over four thousand families were exiled to Shu. King Kaolie of Chu died, and his son Han succeeded to the throne, who became King You of Chu.

甲子　秦始皇帝十年，呂不韋坐嫪毐事免相，李斯為相。齊趙來置酒，復華陽太后於甘泉宮。　乙丑　秦王翦、桓拔趙九城。趙悼襄王卒，子遷繼。秦兵攻鄴。　丙寅　秦會魏伐楚及韓。文信侯呂不韋自殺。　丁卯　秦桓大敗趙軍十萬於平陽。韓公子非使秦，不還。

The Jiazi year was the tenth year of Qin Shi Huang, that is, 237 BCE, from which this "world" begins. Li Si took over as prime minister after Lu Buwei was removed from office due to the case involving Lao Ai. Envoys from the states of Qi and Zhao came to Qin for a banquet to establish friendly relations. The King of Qin brought the Huayang太后 back to the Ganquan Palace. In the Yichou year (236 BCE), the Qin general Wang Jian and Huan Yi captured nine cities of Zhao; King Zhao Daxiang of Zhao died, and his son Zhi succeeded him; Qin troops attacked the city of Ye. In the Bingyin year (235 BCE), the state of Qin allied with Wei to attack Chu and Han; Wen Xìn Hou Lu Buwei, fearing guilt, committed suicide by drinking poison. In the Dingmao year (234 BCE), the Qin general Huan Yi defeated a hundred thousand Zhao troops at Pingyang; the prince of the state of Han, Han Fei, was sent to Qin as an envoy but was falsely accused by Li Si and died in a Qin prison, without returning.

戊辰　秦桓破趙宜安及赤麗，韓王安朝秦。　己巳　秦伐趙，一軍攻鄴，一軍攻狼孟。燕太子丹自秦逃歸。趙李牧扞秦有功。　庚午　魏獻秦麗邑。　辛未　秦內史騰滅韓，獲其王，以其地為潁川郡。　壬申　秦王翦下井陘，大破趙軍，進圍鉅鹿。趙以趙蔥代李牧、顏聚代司馬尚將。

In the year of Wuchen (233 BCE), the Qin general Han Yī captured Yī'ān and Chìlì of the State of Zhao; King An of Han entered the Qin court and had already submitted. In the year of Jisi (232 BCE), the Qin attacked Zhao, capturing Yè and Wángměng; the Yan crown prince Dan, who was held as a hostage in Qin, escaped back to his own state; the Zhao general Li Mù resisted the Qin and achieved military success, repelling the Qin forces twice. In the year of Gengwu (231 BCE), the State of Wei presented Lìyì to Qin. In the year of Xinwei (230 BCE), the Qin's internal historian Téng destroyed the State of Han, captured King An of Han, and established the territory of Han as the Yīngchuān commandery—the State of Han was the first of the six states to be destroyed. In the year of Renshen (229 BCE), the Qin general Wang Jiǎ captured Jingxíng, defeated the Zhao army in a great battle, and advanced to surround Jùlù; King Zhao of Zhao fell for a counter-spy plot, replacing Li Mù with Zhao Cōng and replacing Sima Shàng with Yan Jù as generals, thus destroying his own defenses.

癸酉　秦王翦滅趙，獲其王，以其地為趙郡。楚幽王卒，母弟猶立，庶兄負芻殺猶，代立。魏景愍王卒，子假繼。趙亡太子嘉稱王於代，會燕軍於上谷。　甲戌　秦王翦破燕軍於易水。燕荊軻使秦，不還。　乙亥　秦王翦、王賁滅燕，獲其太子丹。翦謝病還，拔楚十城。

In the Guiyou year (228 BCE), Wang Jian destroyed the State of Zhao, captured King Zhao Wangqian, and reorganized the territory of Zhao into Zhao Jun. The King of Chu, Youshou, died, and his younger brother You succeeded to the throne. However, his elder brother Fuchou killed You and took the throne himself. The King of Wei, Jingmin, died, and his son Jia succeeded to the throne. The exiled太子 Jiaga of Zhao, who had fled, proclaimed himself king in the area of Dai, and joined forces with the Yan army at Shanggu, making a final stand. In the Jiaxu year (227 BCE), Wang Jian defeated the Yan army at Yishui. The Yan kingdom sent Jingke to enter the Qin kingdom under the pretense of presenting the map of Dugang, but Jingke attempted to assassinate the king of Qin and failed, dying and never returning. In the Yihai year (226 BCE), Wang Jian and Wang Ben destroyed Yan, captured Yan's crown prince Dan; Wang Jian claimed illness and returned to his hometown, while the Qin army captured ten cities of Chu.

丙子　秦王賁滅魏，決河灌大梁，獲其王。　丁丑　秦王翦破楚，殺其將項燕。楚喪師於蘄，走壽春。　戊寅　秦王翦、蒙武滅楚，獲其王，以其地為楚郡。　己卯　秦王賁平遼東，獲燕王。平代，獲趙太子。王翦定越，以其地為會稽郡。

In the year Bingzi (225 BCE), Qin general Wang Ben destroyed the state of Wei and broke the Yellow River's embankment to flood Daliang, capturing King Jia of Wei. In the year Dingchou (224 BCE), Wang Jian defeated the Chu army heavily, killing the Chu general Xiang Yan, who was the grandfather of Xiang Yu. The Chu army collapsed at Qili and retreated to Shouchun. In the year Wuyin (223 BCE), Wang Jian and Meng Wu conquered Chu, capturing King Fuchu of Chu, and reorganized the Chu territory into the commandery of Chu. In the year Jimao (222 BCE), Wang Ben pacified the eastern part of Liaodong, capturing King Xi of Yan; he also pacified the area of Dai, capturing King Jia of Zhao's territory in Dai; Wang Jian pacified the Baiyue, and reorganized the Yue territory into the commandery of Kuaiji.

庚辰　秦王翦滅齊，獲其王，以其地為齊郡，東至海及朝鮮，西至臨洮、羌中，南至北向戶，北至陰山、遼東，分天下地為三十六郡，罷侯置守，鑄天下兵為十二金人，徙天下豪富十二萬戶於咸陽，大建宮室，作阿房，為萬世業，稱始皇帝。更以建亥月為歲首。

In the Gengchen year (221 BCE), Wang Jian destroyed the state of Qi, captured King Jian of Qi, and reorganized the territory of Qi into the commandery of Qi. Thus, all the six states were completely destroyed. The Qin dynasty's territory extended east to the sea and Chosun, west to Lintao and Qiangzhong, south to Beixianghu—the area in southern China where the sun shines to the north—and north to Yenshan and Liaodong. The First Emperor divided the empire into thirty-six commanderies, abolished the feudal system and established commandery governors, confiscated all weapons throughout the country to cast into twelve golden men, moved twelve thousand wealthy families to Xianyang, built many palaces and constructed the Afang Palace, and believed that he could establish a dynasty for ten thousand generations. Therefore, he called himself the "First Emperor." In terms of the calendar, he changed the beginning of the year to the tenth month of the Xia calendar, which is the month of Ji Hai.

辛巳　西巡狩，至於隴右、北地。及回中，乃復。　壬午　東巡狩，至於鄒嶧，封太山，禪梁甫，南登琅邪。丞相隗林、王綰，卿士李斯、王戊，五大夫趙嬰，將軍楊樛及九侯，勒帝功於金石，表於海上。遂南至於衡山，浮江自南郡由武關，乃復。　癸未　東巡狩，至博浪沙中遇盜，遂登之罘，刻石紀功。北由上黨，乃復。　甲申　乙酉

In the Xinsi year (220 BCE), the First Emperor traveled westward, visiting Longyou and Beidi, passing through Huizhong and returning. In the Renwu year (219 BCE), he toured eastward, reaching Zou Yishan, performing a ceremony of enfeoffment on Mount Taishan and a ritual of worship on Liangfu Mountain, then proceeding south to Langya Terrace. Accompanied by his chancellor Wei Lin, Wang Wan, the minister Li Si, Wang Wu, the five great men Zhao Ying, the general Yang Liu, and nine marquises, they inscribed the Emperor's achievements on metal and stone, erected steles by the sea. They then proceeded south to Hengshan, sailed along the river, passed through Nanjun, and exited Wuguan to return. In the Guiwei year (218 BCE), he toured eastward again, and on his way to Bolangsha, he encountered an assassination attempt by a bandit, which was the incident where Zhang Liang sent a strong man to strike him with an iron hammer. After that, he climbed Mount Zhifoshan to inscribe his achievements on stone, then traveled north through Shangdang and returned. In the Jiashen year (217 BCE) and Yiyou year (216 BCE), there were no significant events.

丙戌　北巡狩，至於碣石。由上郡，乃復。使蒙恬擊胡，取河南地。　丁亥　南取陸梁地，為桂林象郡。又北斥匈奴，自榆中並河以東屬之陰山，為三十四縣，城河上為塞。又使蒙恬渡河，取高闕、陶山，北假中築亭障。　戊子　置酒咸陽宮，聚天下書焚之。　己丑　聚天下學士於驪山，坑之。廣阿房宮，自咸陽達於渭南。庚寅

In the year of Bingxu (215 BCE), Emperor Shihuang began his northern tour, visiting Jieshi, then went through Shangjun and returned. He sent Mengtian to attack the Xiongnu in the north, taking control of the area south of the He Tao region. In the year of Dinghai (214 BCE), he conquered the area of Luliang, which is now the Guangdong and Guangxi regions, establishing the Guilin and Xiang commanderies. He also drove the Xiongnu northward, from Yuzhong along the Yellow River eastward to Yinshan, setting up thirty-four counties and building fortifications along the river. He also ordered Mengtian to cross the Yellow River and attack Gaoque and Taoshan, constructing watchtowers and fortifications in the area of Beijia. In the year of Wuzi (213 BCE), Emperor Shihuang held a banquet in the Xianyang Palace. Because the scholar Doctor Chunyu Yue advocated for the restoration of the feudal system, Li Si proposed the prohibition of private schools, so he gathered all the poetry and writings of the hundred schools throughout the land and burned them. In the year of Jichou (212 BCE), he gathered all the alchemists and Confucian scholars throughout the land and executed them at Lishan, which is known as the 'burning of books and burying of scholars'. At the same time, he expanded the Afang Palace, connecting it from Xianyang all the way to the south of the Wei River. In the year of Gengyin (211 BCE), there was nothing significant.

辛卯　南巡狩，至於雲夢。右丞相馮去疾留守，左丞相李斯從行。少子胡亥請行，至九疑浮江，東至於會稽，又北至於琅邪，由平原達沙丘，崩。左丞相李斯、宦氏趙高假帝書，更立少子胡亥，賜上郡太子、將軍蒙恬死，遂還咸陽。胡亥立，是謂二世皇帝。葬始皇帝驪山。

In the year Xinmao (210 BCE), Emperor Shihuang traveled south to Yunmeng Lake. The right chancellor Feng Qudi remained in Xianyang, while the left chancellor Li Si accompanied the emperor. The young son Hu Hai requested to join the journey. They went to Jiuyi Mountain, sailed down the Yangtze River to Kuizhi, then traveled north to Langya, and took the route through Pingyuan Jin. When they reached the Shashu Platform, the emperor died of illness. The left chancellor Li Si and the eunuch Zhao Gao forged a will, appointing the young son Hu Hai as the successor. They ordered the death of the eldest son Fusu, who was stationed at Shangjun, and the general Meng Tian. They then returned to Xianyang. Hu Hai ascended the throne as the second emperor of the Qin dynasty. The emperor was buried in the Lishan Mountains.

壬辰　宦氏趙高為中郎令，專政。東巡狩，至於會稽，北又至於遼東，乃復。大殺王族及群臣，復廣阿房，徵天下材士，以五萬人為屯衛，咸陽三百里不得食其谷。戍卒陳勝稱王於楚，關東郡邑皆殺其令長，以應陳勝，而西攻秦。陳勝將武臣稱王於趙，魏咎稱王於魏，狄人田儋稱王於齊，楚人項梁舉兵會稽，徐人劉季稱兵豐沛，陳勝兵西攻秦，至於戲。

In the Renchen year (209 BCE), the eunuch Zhao Gao became the Middle Officer and took control of the government. The Second Emperor toured east to Huaiji and then north to Liao Dong before returning. He killed many royal family members and officials, continued to expand the Afang Palace, and conscripted people throughout the empire. He stationed fifty thousand strong men to guard the capital, and forbade the people within three hundred li of Xianyang from eating the grain they themselves had grown. A military officer named Chen Sheng raised a rebellion and declared himself king in the Chu region. The commanderies east of the Hangu Pass killed their local officials and joined Chen Sheng's rebellion, turning their forces westward against the Qin. Chen Sheng's general Wu Chen declared himself king in the Zhao region, Wei Jiao in the Wei region, Tian Dan in the Qi region, and Xiang Liang in Huaiji. Meanwhile, Liu Ji, who later became Liu Bang, raised a rebellion in Feng and Pei. Chen Sheng's army advanced westward against the Qin, reaching Xi Water and approaching Xianyang.

癸巳　秦殺右丞相馮去疾、將軍馮劫，及囚左丞相李斯，諫罷阿房故也。將軍章邯滅陳勝於城父，破項梁於定陶，平田儋於臨濟，渡河北攻趙。田儋死，其弟榮立儋子市為王。陳勝將秦嘉立勝子景駒為王，項梁殺景駒，求楚懷王孫心，立之保盱臺。項梁死，其子羽軍彭城，其將劉季軍碭山。楚王心收項梁軍，自盱臺徙彭城，以劉季為碭郡長，封武安侯，俾南略地而西攻秦。以項羽為魯國公，封長安侯，俾北救趙而西攻秦。約先入關者王。

In the year Guisi (208 BCE), the Second Emperor of Qin executed the Right Chancellor Feng Qudi and the general Feng Jie, and imprisoned the Left Chancellor Li Si, merely because they advised the emperor to stop building the Afang Palace. The Qin general Zhang Han defeated Chen Sheng at Chengfu, defeated Xiang Liang at Dingtuo, and pacified Tian Dan at Linji, then crossed the Yellow River northward to attack Zhao. Tian Dan died in battle, and his brother Tian Rong established Tian Shi, the son of Tian Dan, as the King of Qi. Chen Sheng's general Qin Jia established Jing Ju, the son of Chen Sheng, as the king. Xiang Liang killed Jing Ju, then sought out the grandson of the former King of Chu, Xiong Xin, and made him the King of Chu, establishing his capital at Xu Tai. After Xiang Liang's death, his son Xiang Yu (who was actually Xiang Liang's nephew) stationed his troops at Pengcheng, while his general Liu Ji stationed his troops at Dangshan. The King of Chu, Xiong Xin, reorganized Xiang Liang's former troops, moved the capital from Xu Tai to Pengcheng, appointed Liu Ji as Governor of Dang Commandery, granted him the title of Wusan Hou, and ordered him to advance southward to take territory and then westward to attack Qin; he also appointed Xiang Yu as the Duke of Lu, granted him the title of Chang'an Hou, and ordered him to advance northward to rescue Zhao and then westward to attack Qin. He also made an agreement with the generals: whoever was the first to enter the pass of Guanzhong would be the King of Guanzhong.

甲午　秦二世三年，中郎令趙高稱丞相，殺李斯，及弒其君胡亥於望夷宮，代立不克，立二世兄之子嬰為王，嬰立，夷趙高三族。沛公兵十萬，由武關入，至咸陽。秦子嬰降於軹道，收圖籍，封宮室府庫，示眾人以約法三章，還軍灞上，以待東諸侯；項羽北救趙，殺大將軍宋義，至鉅鹿，大敗章邯軍於洹水，秦軍降者二十萬，悉坑之於新安。合齊、趙、魏、韓、燕五國之兵四十萬，由函谷而入，會沛公於戲，而屠咸陽，殺子嬰，收子女玉帛，焚宮室府庫。

The year Jiawu was the third year of Qin Ershi, that is, 207 BCE, from which the term "world" begins. Zhonglang Ling Zhao Gao claimed the title of chancellor, first killing Li Si, then murdering Qin Ershi Hu Hai in the Wangyi Palace. He wanted to establish himself as emperor, but the ministers did not accept him, so he had Ziying, the son of Qin Ershi's elder brother, crowned as King of Qin. After Ziying took the throne, he devised a plan to kill Zhao Gao and had his three clans exterminated. Pei Gong Liu Bang led an army of ten thousand troops through the Wuguan Pass, advancing directly to Xianyang. Qin King Ziying surrendered on the roadside of Zhidao. Liu Bang collected the state's documents and archives, sealed the palace and treasury, and made a three-article agreement with the elders of Guanzhong: whoever kills someone shall die, whoever injures someone or steals shall be punished accordingly. Then he withdrew his troops to Bashi, waiting for the feudal lords from the eastern regions. Xiang Yu went north to rescue Zhao, first killing the general Song Yi who hesitated to advance, then arrived at Julu, and defeated Zhang Han's army in the Han water, with twenty thousand surrendered Qin troops being坑杀 at Xin'an. Xiang Yu gathered an army of forty thousand troops from the states of Qi, Zhao, Wei, Han, and Yan, entering the pass of Hangu through the Hangu Pass. He met Pei Gong at Xishui, and then later destroyed Xianyang, killing Ziying, seizing the women, children, treasures, and burning the palaces and treasuries.

乙未　項羽渝約，自主封建，立楚王心為義帝，徙之江南，都郴；封沛公季為漢王，遷之漢中，都南鄭；分秦關中為三，一封降將章邯為雍王，都廢邱；一封降將司馬欣為塞王，都櫟陽；一封降將董翳為翟王，都高奴。

In the year Yiwei (206 BCE), Xiang Yu violated the old agreement of "he who first enters the pass shall be king," and took charge of dividing the empire among himself. He honored Chu King Xiong Xin as the virtuous emperor, but moved him to the south of the Yangtze River, establishing his capital at Chen County, giving him a title but actually depriving him of power. He also appointed Pei Gong Liu Ji, who had first entered the pass, as the King of Han, and moved him to the remote Hanzhong region, establishing his capital at Nan Zheng. Furthermore, he divided the former Qin territory in the pass area into three parts, assigning them to three surrendered Qin generals to guard, thus blocking the Han King's path eastward. He appointed Zhang Han as the King of Yong, with his capital at Fei Qiu; Sima Xin as the King of Sai, with his capital at Luyang; and Dong Yi as the King of Zhai, with his capital at Gao Nu. This division became known in later times as the "Three Qins."

分齊為三，一封齊將田都為臨淄王，都臨淄；一封齊將田安為濟北王，都博陽；一封齊王田市為膠東王，都即墨。分楚為三，一封楚將英布為九江王，都六；一封楚將共敖為臨江王，都江陵；一封番君吳芮為衡山王，都邾。分趙為二，一封楚將張耳為常山王，都襄國；一封趙王歇為代王，都雁門；分韓為二，一封楚將申陽為河南王，都洛陽；一封韓成為韓王，都陽翟。分魏為二，一封趙將司馬卯為殷王，都朝歌；一封魏王豹為魏王，都平陽。分燕為二，一封燕將臧荼為燕王，都薊；一封燕王韓廣為遼東王，都無終。

Xiang Yu again divided the state of Qi into three parts: he appointed the Qi general Tian Du as the King of Linzi, with his capital at Linzi; the Qi general Tian An as the King of Jibei, with his capital at Boyang; and the former King of Qi Tian Shi was reappointed as the King of Jiaodong, with his capital at Jimo. He also divided the land of Chu into three parts: he appointed the Chu general Ying Bu as the King of Jiujiang, with his capital at Lüxian; the Chu general Gong Ao as the King of Linge, with his capital at Jiangling; and the county magistrate of Fan County Wu Rui as the King of Hengshan, with his capital at Zhu. He divided the state of Zhao into two parts: he appointed the Chu general Zhang Er as the King of Changshan, with his capital at Xiangguo; and the former King of Zhao Xie was reappointed as the King of Dai, with his capital at Yamen. He divided the state of Han into two parts: he appointed the Chu general Shen Yang as the King of Henan, with his capital at Luoyang; and Han Cheng was appointed as the King of Han, with his capital at Yangdi. He divided the state of Wei into two parts: he appointed the Zhao general Sima Mao as the King of Yin, with his capital at Chaoguo; and the former King of Wei Bao was reappointed as the King of Wei, with his capital at Pingyang. He divided the state of Yan into two parts: he appointed the Yan general Zang Te as the King of Yan, with his capital at Ji; and the former King of Yan Han Guang was reappointed as the King of Liao Dong, with his capital at Wuzhong. This pattern of division was to elevate his generals who had followed him into the pass to power, while moving the former kings of the six states to remote areas, thus causing resentment to grow.

封吳芮將梅鋗十萬戶侯，趙歇將陳餘環三縣，田市將田榮不及封。羽自稱西楚伯王，王梁地九郡，都彭城。諸王之在戲下者，咸遣罷兵就國。羽亦東出，使人殺義帝於江上，殺韓王成，以鄭昌代之。臧荼殺韓廣於燕，並有其地；田榮殺田都、田安、田市於齊，並有其地，稱齊王，彭越受榮符以覆梁地，陳餘受榮兵以破常山。趙王歇自代遷都鉅鹿，張耳走漢。項羽北破田榮於齊，榮死，弟橫立榮子廣，復保城陽。

Xiang Yu again granted Mei Xuan, a general of Wu Rui, the title of a marquis with ten thousand households, and gave Chen Yu, a general of Zhao Xie, three counties surrounding the area of Shiyi. However, Tian Rong, a general of Tian Shi, received no reward. Xiang Yu proclaimed himself the Western Chu Overlord, controlling nine commanderies in the Liang region, and established his capital at Pengcheng. All the kings who received their titles under the banner of Xi Xia were sent back to their respective states to take their thrones. Xiang Yu then returned eastward, had someone kill the virtuous emperor on the river, and also killed Han Wang Cheng, replacing him with Zheng Chang. Thus, rebellions broke out everywhere: Zang Te killed Han Guang and took over Yan region; Tian Rong killed Tian Du, Tian An, and Tian Shi in Qi region, took over the three Qis and proclaimed himself King of Qi, and issued orders to Peng Yue to stir up the Liang region, and sent troops to Chen Yu to break through Changshan; Zhao Wang Xie moved back from Dai to JuLu, while Zhang Er was defeated and fled to Han Wang. Xiang Yu marched north to attack Qi, defeated Tian Rong, who died in defeat. His brother Tian Heng established Tian Guang, the son of Tian Rong, as the king, and retreated to Chengyang to continue resistance. Xiang Yu was stuck in Qi region and could not leave, which provided the opportunity for Han Wang to move eastward.

丙申　漢王自南鄭東收三秦、二韓五侯兵，合三河士五十六萬東伐楚，入彭城，取重寶美女，為置酒高會。項羽至自伐齊，大敗漢軍於睢水，殺十餘萬，並獲漢王父母妻子。漢王退保滎陽，築甬道以通敖倉粟，使將韓信、張耳攻魏趙。丞相蕭何兵至自關中，自此日戰於京索間。

In the year Bingshen (205 BCE), the Han King Liu Bang advanced eastward from Nan Zheng, taking control of the Three Qins and Two Hans. He joined forces with five princes and soldiers from the three rivers, totaling 560,000 troops, to march east against the state of Chu. He captured Pengcheng, seized treasures and beautiful women, and held daily feasts. Xiang Yu, returning from the campaign against Qi, defeated the Han army at the Sui River, killing over 100,000 Han soldiers and capturing the parents, wife, and children of the Han King. The Han King retreated to Yingyang, building a walled corridor to transport grain from Ao Cang. He sent Han Xin and Zhang Er to attack Wei and Zhao in the north. Meanwhile, the chancellor Xiao He continuously supplied troops from the pass of Guanzhong. From then on, the Han and Chu armies fought daily between Jing and Suo, entering a stalemate situation.

丁酉　楚圍漢於滎陽，拔之，紀信、周苛、樅公死之。漢退師，保成皋。九江王英布降於漢，彭越破楚軍於下邳，韓信、張耳平魏、趙，還軍修武。漢王自成皋北渡河，至修武，使張耳收兵越地，韓信伐齊，盧綰、劉賈南渡白馬津，會彭越攻楚。楚又拔漢成皋。　戊戌　漢復取成皋，與楚對兵廣武。韓信平齊，乞封假王。項羽請和，約分天下於鴻溝，歸漢王父母妻子，還軍至陽夏。漢軍復至，楚復敗漢軍。漢又大會韓信、彭越、英布及諸侯兵於垓下。

In the year Dingyou (204 BCE), the Chu army surrounded the Han King at Xingyang and captured the city. Ji Xin pretended to be the Han King and was killed by the Chu, while Zhou Ke and Zong Gong also died with him. The Han King retreated to Chenggao. The King of Jiujiang, Ying Bu, surrendered to the Han King. Peng Yue defeated the Chu army at Xiaopi. Han Xin and Zhang Er pacified the states of Wei and Zhao and returned to Xiugwu. The Han King went north across the Yellow River from Chenggao to Xiugwu, took the military seal from Han Xin, ordered Zhang Er to gather troops in Zhao, and ordered Han Xin to attack the state of Qi to the east. He also sent Lu Wan and Liu Jia south across the Baima River to join Peng Yue and harass the rear of the Chu army. The Chu army then recaptured Chenggao. In the year Wuxu (203 BCE), the Han army regained Chenggao and faced the Chu army across the Guangwu Stream. Han Xin pacified the state of Qi and requested to be made acting King of Qi. Xiang Yu, in a desperate situation, proposed peace. Both sides agreed to divide the world along the Honggou River, with the Chu returning the Han King's parents and wife. Xiang Yu then led his troops east to Yangxia. The Han army broke the agreement and pursued the Chu, but was defeated by the Chu. The Han King then gathered Han Xin, Peng Yue, Ying Bu, and the other feudal lords at Gaixia.

己亥　漢滅楚，項羽死於東城。漢王以魯國公禮，葬羽於穀城。楚之諸侯而王者並降封侯，封齊王韓信為楚王，治下邳；建成侯彭越為梁王，治定陶；九江王英布為淮南王，治廣陵；韓王信為韓王，治陽翟；衡山王吳芮為長沙王，治臨湘。肇帝位於汜水之陽，西都長安，大建宮室。燕王臧荼不恭命，攻下代郡。往平之，獲臧荼。以太尉盧綰為燕王。齊王田廣卒，叔橫立，入於海。

In the Jihai year (202 BCE), the Han army defeated the Chu forces in the decisive battle at Gaixia. Xiang Yu fled to Dongcheng and eventually committed suicide at Wujiang. The Han emperor conferred the rites of a marquess of Lu upon Xiang Yu and buried him in Gucheng. All the vassal kings who had originally belonged to the Chu side and had claimed kingship were reduced in rank to marquesses. The former King of Qi, Han Xin, was reappointed as King of Chu, governing Dexi; the Marquess of Chengjiao, Peng Yue, was made King of Liang, governing Dingtuo; the King of Jiujiang, Ying Bu, was made King of Huainan, governing Guangling; the King of Han, Han Xin, remained as King of Han, governing Yangdi; and the King of Hengshan, Wu Rui, was made King of Changsha, governing Linxiang. Liu Bang proclaimed himself emperor north of the Fushui River, faced west, and established his capital at Chang'an, building grand palaces and halls. The King of Yan, Zang Tu, did not obey the imperial decree and attacked Dajun. The emperor personally led an expedition to quell the rebellion, captured Zang Tu, and appointed Lu Wuan, the Grand Commandant, as King of Yan. The King of Qi, Tian Guang, had already died, and his younger brother Tian Heng succeeded him, leading his five hundred followers to flee to an island.

庚子　帝遊雲夢，會諸侯於陳，執楚王韓信歸，降為淮陰侯，分其地為二，一封劉賈為荊王，治淮東；一封弟交為楚王，治淮西。別封子肥為齊王，徙韓王信為太原王。匈奴寇馬邑，韓王信以眾叛。帝尊父太公為太上皇。　辛丑　帝北征韓王信於銅鞮，信走匈奴。遂及匈奴，至於平城。匈奴圍帝於平城七日。樊噲北定代，以兄仲為代王。

In the Gengzi year (201 BCE), Emperor Gao of Han pretended to tour Yunmeng and held a great assembly of the feudal lords at Chen. He took the opportunity to arrest the King of Chu, Han Xin, and brought him back, demoting him to the Marquess of Huaiyin. He divided the former Chu territory into two parts: he granted his cousin Liu Jia the title of King of Jing, ruling the eastern part of the Huai River; and he granted his younger brother Liu Jiao the title of King of Chu, ruling the western part of the Huai River. He also granted his eldest son Liu Fei the title of King of Qi, and changed Han Xin's fiefdom from Han to Taiyuan. The Xiongnu attacked Ma邑, and Han Xin led his troops to defect to the Xiongnu. Emperor Gao honored his father, Taigong, as the Supreme Emperor. In the Xinchou year (200 BCE), Emperor Gao marched north to suppress Han Xin at Tongdi. Han Xin fled to the Xiongnu. The Han army pursued the Xiongnu to Pingcheng, where they were surrounded by Xiongnu cavalry at Baideng Mountain for seven days. They managed to escape through a plan devised by Chen Ping. After that, they changed their strategy to adopt the policy of marriage alliances. Fan Kuai pacified the area of Dai, and Emperor Gao appointed his elder brother Liu Zhong as the King of Dai.

壬寅　建未央宮。代王劉仲自雁門逃歸，廢為合陽侯。以陳豨為代王。　癸卯　大朝諸侯於未央宮。趙相貫高事覺。　甲辰　太上皇及太上後崩。陳豨以雁門叛，帝北征，誅淮陰侯韓信，並夷三族。以蕭何為相國。　乙巳　梁王彭越以定陶叛，平之，夷三族。淮南王英布以廣陵叛，兼有淮東西地。

In the year Renyin (199 BCE), the palace of Weiyang was constructed. The Duke of Dai, Liu Zhong, abandoned his state and fled back to Yanshan Gate due to the invasion by the Xiongnu, and was demoted to the Marquis of Hegyang. Chen Xi was appointed as the Duke of Dai. In the year Guimao (198 BCE), a grand assembly of feudal lords was held in the palace of Weiyang; the Chancellor of Zhao, Guan Gao, plotted to assassinate the High Emperor but was discovered. In the year Jiachen (197 BCE), the former Emperor and the former Empress Dowger both passed away; Chen Xi raised rebellion in Yanshan Gate, the High Emperor marched north to suppress him, and the Empress Dowger and Xiao He devised a plan to execute the Marquis of Huaiyin, Han Xin, in the Palace of Changle, and to exterminate his entire family. Xiao He was appointed as the Chancellor. In the year Yisi (196 BCE), the Prince of Liang, Peng Yue, was accused of plotting rebellion in Dingtao and was executed, with his entire family exterminated; the Prince of Huainan, Ying Bu, raised rebellion in Guangling, and conquered the regions of Huaidong and Huixi.

丙午　帝征淮南，平之，夷英布三族。周勃平代，獲陳豨於當城。帝崩，太子盈踐位，是謂惠帝，太后呂氏臨朝稱制。蕭何、曹參、陳平、周勃輔政，葬高祖於長陵。盧綰以燕叛。　丁未　太后殺趙王如意，及其母夫人戚氏。齊王肥獻陽城，為魯元公主湯沐邑。

In the year of Bingwu (195 BCE), Emperor Gao of Han personally led an expedition against the state of Huainan, quelling the rebellion of Ying Bu, and exterminated his three families. Zhou Bo pacified the area of Dai, capturing Chen Xi in Dangcheng. Emperor Gao died due to an arrow wound sustained in battle, and his son Liu Ying succeeded to the throne, becoming Emperor Hui of Han. His mother, the Empress Dowager Lu, took control of the government. Xiao He, Cao Can, Chen Ping, and Zhou Bo jointly assisted in governance. Emperor Gao was buried in Changling. Prince Wang Lu Wan feared punishment and rebelled, fleeing to the Xiongnu. In the year of Dingwei (194 BCE), Empress Dowager Lu poisoned Prince Liu Ruyi, the son of the King of Zhao, and cruelly mistreated his mother Qi Fu. Prince Liu Fei, the King of Qi, offered the Yangcheng Prefecture as a monthly tribute territory for Princess Lu Yuan, the daughter of Empress Dowager Lu, to avoid disaster.

戊申　相國蕭何卒，曹參為相國。　己酉　城長安。　庚戌　除挾書律。　辛亥　相國曹參卒，王陵為右丞相，陳平為左丞相。　壬子　太尉樊噲卒，周勃為太尉。　癸丑　惠帝崩，立無名子為帝，葬惠帝於安陵，封呂氏四人為王，六人為侯，罷王陵相，進陳平右丞相，以審食其為左丞相，關政於內。太后專制，名雉。

In the year of Wushen (193 BCE), the chancellor Xiao He died, and Cao Can succeeded him as chancellor, continuing all previous policies, which is known as "Xiao's regulations followed by Cao." In the year of Jiyou (192 BCE), the city walls of Chang'an were built. In the year of Gengxu (191 BCE), the Qin dynasty's law prohibiting private bookkeeping was abolished, allowing the ancient texts to gradually reappear. In the year of Xinhai (190 BCE), the chancellor Cao Can died, and Wang Ling became the right chancellor, while Chen Ping became the left chancellor. In the year of Renzi (189 BCE), the general Fan Kuai died, and Zhou Bo succeeded him as general. In the year of Guichou (188 BCE), Emperor Hui of Han died, and the Empress Dowager Lu established an unknown child as emperor, known as the Former Young Emperor. Emperor Hui was buried in Anling. The Empress Dowager Lu made four of her sons kings and six of them marquises, dismissed Wang Ling for speaking against her, promoted Chen Ping to right chancellor, and appointed Shen Shiyi as left chancellor to manage palace affairs. The Empress Dowager Lu held absolute power, and her name was called "Chicken."

甲寅　乙卯　丙辰　丁巳　幽無名子於永巷，殺之，立恆山王義為帝。　戊午　尉佗稱帝南越。　己未　匈奴寇狄道。　庚申　太后殺趙王友，以梁王呂產為相國，趙王呂祿為上將軍，分統南北軍。　辛酉　太后呂氏崩，丞相陳平、太尉周勃、朱虛侯劉章、曲周侯酈商及子寄誅呂祿、呂產，獲南北軍，夷呂氏三族，廢恆山王義，迎高祖中子代王恆於雁門，立之，是謂文帝。以宋昌為衛將軍，專南北軍。丞相陳平讓周勃右丞相，而為左丞相。灌嬰為太尉，張武為中郎。　壬戌　以皇子啟為皇太子。周勃免相，陳平兼左右丞相。　癸亥　丞相陳平卒，周勃復相。始作銅虎符。

From Jiayin (187 BCE) to Bingchen (185 BCE), there were no significant events. In Dingsi year (184 BCE), the young emperor began to grow and started to express grievances, so the Empress Dowager Lu imprisoned him in the Yongxiang and later executed him, then established Liu Yi, the Prince of Hengshan, as the new emperor, known as the Later Young Emperor. In Wuwu year (183 BCE), Zhao Tuo declared himself emperor in Nan Yue. In Jiwei year (182 BCE), the Xiongnu raided Dido. In Gengshen year (181 BCE), the Empress Dowger Lu executed Prince Liu You, and appointed Liang Prince Liu Chan as Grand Chancellor and Zhao Prince Liu Lu as Supreme General, controlling the southern and northern armies in the capital. In Xinyou year (180 BCE), the Empress Dowger Lu died. Chancellor Chen Ping, Grand General Zhou Bo, Prince Zhu Xu Liu Zhang, Prince Qu Zhou Li Shi, and his son Li Ji conspired to kill Liu Lu and Liu Chan, regain control of the southern and northern armies, exterminate the three families of the Lius, depose Prince Liu Yi of Hengshan, and bring back Prince Liu Heng, the middle son of Emperor Gaozu, to be emperor, known as Emperor Wen of Han. They appointed Song Chang as the Commander of the Imperial Guards. Chen Ping gave up the position of Grand Chancellor to Zhou Bo, and took the position of Left Chancellor. Gan Ying became Grand General, Zhang Wu became Middle Commander. In Renxu year (179 BCE), they established Liu Qi, the son of the emperor, as the crown prince. Zhou Bo was removed from his position as Chancellor, and Chen Ping took charge of both Left and Right Chancellors. In Guihai year (178 BCE), Chancellor Chen Ping died, and Zhou Bo was reinstated as Chancellor. The court began to cast bronze tiger tokens as credentials for military command.

甲子　漢孝文皇帝三年，免周勃相，以灌嬰為相。王興居以濟北叛，平之。匈奴寇北地。　乙丑　絳侯周勃下廷尉。　丙寅　丁卯　王長以淮南叛，徙之蜀。放賈誼於長沙。　戊辰　己巳　庚午　辛未　壬申　癸酉　甲戌　除肉刑。　乙亥　丙子　祀上帝。　丁丑　戊寅　改稱元年，是謂後元。

The year Jiazi corresponds to the third year of Emperor Wen of Han, which was 177 BCE. This "world" begins from this year. Emperor Wen removed Zhou Bo from the position of chancellor and appointed Guan Ying instead; Prince Liu Xingju of Jibei rebelled but was eventually suppressed; the Xiongnu invaded the northern commandery of Beidi. In the year Yichou (176 BCE), General Zhou Bo was accused of plotting rebellion and was handed over to the court for trial. In the year Bingyin (175 BCE), there were no significant events. In the year Dingmao (174 BCE), Prince Liu Chang of Huainan plotted rebellion and was exiled to Shu, dying on the way; Jia Yi was also demoted to the position of Grand Tutor to the Prince of Changsha around this time. From the year Wuchen (173 BCE) to Guiyou (168 BCE), there were no significant events. In the year Jiaxu (167 BCE), Emperor Wen issued an edict to abolish the corporal punishments of branding, nose-cutting, and foot amputation, following the petition of Tiying to save her father. In the year Yihai (166 BCE), there were no significant events. In the year Bingzi (165 BCE), worship of the heavenly deities was conducted. In the year Dingchou (164 BCE), there were no significant events. In the year Wuyin (163 BCE), the era name was changed and the year was renamed as the first year of the "Houyuan" period.

己卯　庚辰　辛巳　壬午　癸未　匈奴寇雲中上郡，命六將屯備。周亞夫軍細柳。　甲申　文帝崩，太子啟踐位，是謂孝景皇帝，葬太宗於灞陵。　乙酉　與匈奴約和親。　丙戌　丁亥　吳王濞、膠西王卯、楚王戊、趙王遂、濟南王闢光、菑川王賢、膠東王雄渠七國連叛，誅御史大夫晁錯，七國平。梁孝王霸有東土。　戊子　以皇子榮為皇太子。　己丑　以公主嬪於匈奴。　庚寅　辛卯　廢皇太子榮，以膠東王徹為皇太子，太尉周亞夫為丞相。　壬辰　改稱元年，是謂中元。　癸巳

From the year Jimao (before 162) to Renwu (before 159), there were no incidents. In the year Guiwei (before 158), the Xiongnu invaded Yunzhong and Shangjun, and the court ordered six generals to garrison troops for defense. Zhou Yafu was stationed at Xilu Camp, and his strict military discipline impressed Emperor Wen. In the year Jiashen (before 157), Emperor Wen died, and his son Liu Qi succeeded the throne, becoming Emperor Jing of Han; Emperor Wen's temple name was Taizong, and he was buried at Bali Ling. In the year Yiyou (before 156), an agreement of marriage was made with the Xiongnu. In the year Bingxu (before 155), there were no incidents. In the year Dinghai (before 154), due to Chao Cuo's suggestion to reduce the power of the feudal princes, the King of Wu Liu Bi, the King of Jiao Xi Liu Mao, the King of Chu Liu Wu, the King of Zhao Liu Sui, the King of Jining Liu Bi Guang, the King of Zichuan Liu Xian, and the King of Jiaodong Liu Xiongqu all rebelled together; the court executed the Grand Censor Chao Cuo to appease the feudal lords, but the rebels did not retreat, and eventually Zhou Yafu led the troops for three months to quell the rebellion; Liu Xiao Wang defended Shuyang and rendered great service, and thus became powerful in the east. In the year Wuzi (before 153), the prince Liu Rong was appointed as the crown prince. In the year Jichou (before 152), a princess was married to the Xiongnu Chanyu. In the year Gengyin (before 151), there were no incidents. In the year Xinmao (before 150), the crown prince Liu Rong was removed, and Liu Che, the King of Jiaodong, was appointed as the new crown prince; the Grand Marshal Zhou Yafu was promoted to Chancellor. In the year RENCHEN (before 149), the era name was changed and the year was renamed as the first year, known as "Zhongyuan". In the year Guisi (before 148), there were no incidents.

甲午　漢孝景皇帝十年，周亞夫免相。　乙未　丙申　丁酉　戊戌　再改元年，是謂後元。周亞夫下獄死。　己亥　庚子　景帝崩，皇太子徹踐位，是謂孝武皇帝，葬景帝於陽陵。　辛丑　改建元元年。　壬寅　竇嬰免相，田蚡免太尉。　癸卯　甲辰　乙巳　丙午　丁未　改元元光，始令郡國貢孝廉。董仲舒起焉。

The Jiawu year was the tenth year of Emperor Jing of Han, which corresponds to 147 BCE, and this "world" period began from this year. Chancellor Zhou Yafu was dismissed from office. From the Yiwei year (146 BCE) to the Dingyou year (144 BCE), there were no significant events. In the Wuxu year (139 BCE), a new era name was adopted, called "Houyuan." Zhou Yafu was accused of plotting rebellion because his family secretly purchased funeral goods, and after being imprisoned, he died from starvation and vomiting blood. In the Jihai year (142 BCE), there were no major events. In the Gengzi year (141 BCE), Emperor Jing died, and his son Liu Che, the crown prince, ascended the throne as Emperor Wu of Han. Emperor Jing was buried in Yangling. In the Xinchou year (140 BCE), a new era name was adopted, called "Jianyuan," which marked the beginning of the use of era names in China. In the Rennyin year (139 BCE), Dowager Empress Dou favored the Yellow-Lao philosophy and disliked Confucianism, leading to the dismissal of Chancellor Dou Ying and Grand Marshal Tian Fan. From the Guimao year (138 BCE) to the Bingwu year (135 BCE), there were no significant events. In the Dingwei year (134 BCE), a new era name was adopted, called "Yuanguang." The government began to order the commanderies and states to recommend filial sons and honest officials. Dong Zhongshu submitted the "Three Answers on Heaven and Man" and was appointed, marking the beginning of Confucianism's exclusive dominance.

戊申　命將兵三十萬，大伐匈奴，不利。　己酉　庚戌　竇嬰棄市。田蚡卒。　辛亥　廢皇后陳氏，以衛夫人為皇后，弟青為將軍。　壬子　命將四大伐匈奴，無功。　癸丑　改元元朔。　甲寅　衛青伐匈奴，有功，收河南，置朔方、五原郡。　乙卯　丙辰　匈奴寇上郡。

In the year of Wushen (133 BCE), Emperor Wu ordered generals to lead an army of three hundred thousand troops to set an ambush at Madi and launch a large-scale attack on the Xiongnu. However, the plan was leaked and the mission failed. From this year, the Han and Xiongnu shifted from a policy of marriage alliances to warfare. In the year of Jiyou (132 BCE), there were no significant events. In the year of Gengxu (131 BCE), Weiqi Hou Douying was executed publicly, and Wu'an Hou Tian Fen also died in the same year. In the year of Xinhai (130 BCE), Empress Chen was deposed, and Wei Fu, the wife of Wei Zif, was appointed as empress. Her brother Wei Qing was appointed general. In the year of Renzi (129 BCE), the emperor ordered four generals to launch a large-scale campaign against the Xiongnu, but it was not successful. In the year of Guichou (128 BCE), the era name Yuanshuo was adopted. In the year of Jiayin (127 BCE), Wei Qing defeated the Xiongnu and recovered the region of Henan, which refers to the area around the Hetao region. He established two commanderies, Shuofang and Wuyuan. In the year of Yimao (126 BCE), there were no significant events. In the year of Bingchen (125 BCE), the Xiongnu raided Shangjun.

丁巳　匈奴寇雁門，衛青伐之，有功，拜大將軍。公孫弘為丞相，封平津侯。　戊午　衛青征匈奴，大有功。霍去病為驃姚校尉。張騫通西域，有功，封博望侯。　己未　改元元狩，獲白麟故也。淮南王安、衡山王賜二國叛，平之。冊據為皇太子。　庚申　霍去病征匈奴，至於居延，拜驃騎將軍。李廣征匈奴，無功，謫為庶人。　辛酉　壬戌　衛青、霍去病、李廣大伐匈奴，李廣自殺。　癸亥　丞相李蔡自殺。

In the Dingsi year (114 BCE), the Xiongnu invaded Yanzhun, and Wei Qing defeated them and was appointed as Grand General; Gongsun Hong, who started from commoner status, became Chancellor and was granted the title of Pingjin Marquis. In the Wuwu year (113 BCE), Wei Qing defeated the Xiongnu with great success; Huo Qubing was first appointed as Piao Yao Xiaoli; Zhang Qian returned from his mission to the Western Regions and was granted the title of Bowang Marquis. In the Jiwei year (112 BCE), the era name Yuanshou was changed, because a white deer was captured that year; the princes of Huainan, Liu An, and Hengshan, Liu Ci, plotted rebellion and were suppressed; Liu Ju was appointed as Crown Prince. In the Gengshen year (111 BCE), Huo Qubing defeated the Xionggu with great success, reaching Juyan, and was appointed as Piaoqi General; Li Guang failed in his campaign against the Xiongnu and was demoted to commoner status. In the Xinyou year (110 BCE), there were no significant events. In the Renxu year (109 BCE), Wei Qing, Huo Qubing, and Li Guang launched a large-scale campaign against the Xiongnu, which was the Battle of the Mongolian Steppes; Li Guang died by suicide due to getting lost and missing the deadline. In the Guihai year (108 BCE), the Chancellor Li Cai committed a crime and committed suicide.

甲子　漢孝武皇帝二十四年，大司馬霍去病卒。　乙丑　改元元鼎。　丙寅　丞相翟青下獄死。　丁卯　徙函谷關於新安。　戊辰　封方士欒大為樂通侯。　己巳　南越王相呂嘉叛，諸侯坐酎金輕，奪爵者一百六十人。丞相趙周下獄死，樂通侯欒大坐誣罔，棄市。西羌及匈奴寇五原。

The Jiazi year was the 24th year of Emperor Wu of Han, i.e., 117 BCE, from which the "world" period began. At this time, the Grand Commandant Huo Qubing died at the age of twenty-four. In the Yichou year (116 BCE), the era name was changed to Yuan Ding. In the Bingyin year (115 BCE), the chancellor Zhai Qing was imprisoned and died. In the Dingmao year (114 BCE), the pass of Hangu was moved eastward to Xin'an, expanding the territory of Guanzhong. In the Wuchen year (113 BCE), the alchemist Luandai was enfeoffed as the Marquis of Lutong, and the emperor's pursuit of immortality reached its peak. In the Jisi year (112 BCE), the chancellor of the Southern Yue state, Lü Jia, rebelled; the court seized the titles of one hundred and sixty people for failing to provide sufficient purity in the gold offered for the sacrificial ceremony; the chancellor Zhao Zhou was imprisoned and died; the Marquis of Lutong Luandai was executed for deceiving the emperor; and the Western Qiang and the Xiongnu invaded Wuyuan.

庚午　南寇平，東越王餘善叛。卜式為御史大夫。　辛未　改元元封，帝征匈奴，至於北海。東越殺餘善降。有事於東、西、中三嶽，及禪梁甫，東巡狩至於碣石，西曆九原，歸於甘泉。　壬申　復巡太山，作瓠子堤。朝鮮寇遼東。　癸酉　朝鮮殺其王右渠以降。祀汾陰后土。　甲戌

In the Gengwu year (111 BCE), the rebellion of the southern Yue was quelled, and the Han dynasty established a commandery there; the king of the eastern Yue, Yu Shan, again rebelled; Bu Shi was appointed as Grand Censor. In the Xinwei year (110 BCE), the era name was changed to Yuanfeng; the emperor personally led an expedition against the Xiongnu, reaching the northern sea; the people of the eastern Yue killed Yu Shan and surrendered. In this year, the emperor performed sacrifices at the eastern, western, and central mountains, and also performed the ceremony of worshiping the earth at Liangfu. He toured eastward to Jieshi, westward through Jiuyuan, and returned to Ganquan Palace—the grand ceremony of worshiping heaven and earth was held in this year. In the Renshen year (109 BCE), he toured Mount Taishan again and built a dike to block the breach of the Yellow River at Housi; the kingdom of Chosun invaded Liao Dong. In the Guiyou year (108 BCE), the people of Chosun killed their king Wei Youqu and surrendered; the Han dynasty established a commandery there; they worshipped the earth deity at Fen Yin. In the Jiaxu year (107 BCE), there were no significant events.

乙亥　南巡狩，至於盛唐。大司馬衛青卒。　丙子　西幸回中，及祀汾陰后土。　丁丑　改元太初，東巡太山，更以建寅月為歲首。西伐大宛，起建章。　戊寅　北幸河東，祀后土。騎二萬征匈奴，不復。　己卯　東巡海上。匈奴寇張掖、酒泉。　庚辰　李廣利平大宛，獲其王及汗血馬。

In the year Yihai (106 BCE), Emperor Wu traveled south to Shengtang and the Grand General Wei Qing died. In the year Bingzi (105 BCE), he went west to Huizhong and then to Fen Yin to worship the Earth Deity. In the year Dingchou (104 BCE), he changed the era name to Taichu, toured east to Mount Taishan, promulgated the Taichu Calendar, and changed the beginning of the year to the first month of the summer calendar, which has been followed by subsequent dynasties; he also launched a western campaign against the Duanwan and built the Jianzhang Palace. In the year Wuyin (103 BCE), he traveled north to Hedong to worship the Earth Deity again; he sent two ten-thousand cavalry to attack the Xiongnu, but the entire army was destroyed and did not return. In the year Jimao (102 BCE), he toured the sea area eastward; the Xiongnu raided Zhangye and Jiashui. In the year Gengchen (101 BCE), General Li Guangli of Ershi subdued Duanwan, captured the King of Duanwan, and obtained the Heavenly Horse.

辛巳　改元天漢。中郎將蘇武使匈奴。北幸河東。　壬午　東巡至於海上，又西幸回中。將軍李陵征匈奴，不還。　癸未　東巡太山，又北幸常山。匈奴寇雁門。　甲申　大伐匈奴，不利。朝諸侯於甘泉宮。　乙酉　改元太始。　丙戌　西幸回中。　丁亥　東巡海上。　戊子　東巡太山。

In the Xinsi year (100 BCE), the era name was changed to Tianhan; the middle general Su Wu was sent on a mission to the Xiongnu but was detained at the northern sea pasturing sheep for nineteen years without yielding. The emperor Wu traveled north to Hedong. In the Renwu year (99 BCE), he toured east to the sea and then west back to Zhong; General Li Ling led five thousand infantry deep into the Xiongnu territory, eventually exhausting his strength and surrendering to the enemy, never to return. Sima Qian was subjected to castration for defending Li Ling. In the Guiwei year (98 BCE), he toured east to Taishan and then north to Changshan; the Xiongnu raided Yamen. In the Jiashen year (97 BCE), a large-scale campaign against the Xiongnu was launched but failed; the emperor met the feudal lords at Ganquan Palace. In the Yiyou year (96 BCE), the era name was changed to Taishi. In the Bingxu year (95 BCE), he traveled west back to Zhong. In the Dinghai year (94 BCE), he toured east to the sea. In the Wuzi year (93 BCE), he toured east to Taishan.

己丑　改元徵和，巫蠱事起。　庚寅　太子殺江充，丞相劉屈氂攻太子，戰於長安。太子敗，死。皇后自殺，諸邑公主皆坐巫蠱死。　辛卯　大伐匈奴。巫蠱事覺，誅丞相劉屈氂。　壬辰　東巡海上，天下疲於兵革。　癸巳　改元后元。重合侯馬通叛。

In the year Jichou (before the 92nd year), the era name was changed to Zhenhe; the witchcraft conspiracy, which involved burying wooden effigies to curse the emperor, began. In the year Gengyin (before the 91st year), the crown prince Liu Ju was falsely accused by the harsh official Jiang Chong, and he raised an army to kill Jiang Chong. The chancellor Liu Qu Mo was ordered to attack the prince, and the two sides fought for five days in the streets of Chang'an, resulting in the prince's defeat and suicide. The empress dowager Wei also committed suicide, and other princesses and members of the royal family were executed due to the witchcraft case. In the year Xinmao (before the 90th year), a large-scale campaign against the Xiongnu was launched; the injustice of the witchcraft case was revealed, and the emperor executed the chancellor Liu Qu Mo. Later, he built the Sisiyuan Palace to express his regret. In the year Renchen (before the 89th year), the emperor toured the eastern sea; continuous warfare had exhausted the country, so the emperor issued the Luntai Edict to apologize. In the year Guisi (before the 88th year), the era name was changed to Houyuan; the Marquis of Chonghe Ma Tong plotted rebellion.

甲午　漢孝武皇帝五十四年，冊皇子弗陵為皇太子。帝幸盩厔五柞宮，崩。大司馬霍光受顧命。太子弗陵嗣皇帝位，是謂昭帝。葬世宗於茂陵。大將軍霍光專政。　乙未　改元始元。　丙申　丁酉　戊戌　己亥　庚子　辛丑　改元元鳳，誅鄂邑長公主及燕王旦。左將軍上官桀謀害霍光，事覺故也。

The Jiawu year was the fifty-fourth year of Emperor Wu of Han, which corresponds to 127 BCE. This year marks the beginning of the "world" era. Emperor Wu appointed his young son Liu Fuling as the crown prince and then traveled to the Wuzuo Palace in Zhongzhi, where he died. The Grand Commandant Huo Guang was entrusted with governing the state according to the imperial decree. Prince Fuling ascended the throne, becoming Emperor Zhao of Han. Emperor Wu's posthumous temple name was "Shizong," and he was buried in Maoling. Grand General Huo Guang held sole power over the government. In the Yiwei year (126 BCE), the era name was changed to Shiyuan. From the Bingshen year (125 BCE) to the Gengzi year (121 BCE), there were no significant events. In the Xinchou year (120 BCE), the era name was changed to Yuanfeng. The Empress Dowager Eyi Princess and Prince Yan Wang Liu Dan were executed because the Left General Shangguan Jie conspired with them to harm Huo Guang, but the plot was uncovered.

壬寅　癸卯　甲辰　丞相田千秋卒。　乙巳　丞相王欣卒。　丙午　丁未　改元元平，帝崩。昌邑王賀立，葬昭帝於平陵。賀立不明，大將軍霍光廢之，迎戾太子孫詢立之，是為孝宣皇帝，丙吉為相。　戊申　改元本始。　己酉　命將五兵十五萬大伐匈奴。

Renyin (79 BCE) and Guimao (78 BCE) had no significant events. In Jiachen (77 BCE), the chancellor Tian Qianqiu died. In Yisi (76 BCE), the chancellor Wang Xin died. Bingwu (75 BCE) had no significant events. In Dingwei (74 BCE), the era name was changed to Yuanping; Emperor Zhao died, and the Prince of Changyi Liu He succeeded to the throne, Emperor Zhao was buried in Pingling; Liu He acted recklessly and was deposed by the Grand General Ho Guang after twenty-seven days on the throne, and the crown was then offered to Liu Xun, the grandson of the disgraced Crown Prince Liu Ju, who became Emperor Xuan of Han, with Cheng Ji as chancellor. In Wushen (73 BCE), the era name was changed to Benshi. In Jiyou (72 BCE), five generals were ordered to lead fifteen thousand troops, and they joined the Usun in a large-scale campaign against the Xiongnu.

庚戌　辛亥　皇后許氏遇毒崩，霍光以女上皇后。　壬子　改元地節。　癸丑　大司馬大將軍霍光卒，子禹繼事。　甲寅　冊皇子奭為皇太子。　乙卯　大司馬霍禹謀逆，事覺，夷三族，廢皇后霍氏。　丙辰　改元元康。　丁巳　冊王氏為皇后。　戊午　太子太傅疏廣、太子少傅疏受謝病，歸東海。　己未　庚申　改元神雀。趙充國伐西羌。　辛酉　壬戌　蕭望之為御史大夫。　癸亥　潁川太守黃霸賜爵關內侯，河南太守嚴延年棄市。

In the year Gengxu (71 BCE), there were no events. In the year Xinhai (70 BCE), Empress Xu was poisoned by a female physician at the instigation of the wife of Huo Guang, and Huo Guang then sent his daughter into the palace to be made empress. In the year Renzi (69 BCE), the era name was changed to Dijie. In the year Guichou (68 BCE), the Grand General and Grand Commandant Huo Guang died, and his son Huo Yu took over the power. In the year Jiayin (67 BCE), the prince Liu Shi was appointed as the crown prince. In the year Yimao (66 BCE), Grand General Huo Yu plotted rebellion, but the plot was discovered and he was executed, along with his three clans, and the Huo family was thus destroyed. In the year Bingchen (65 BCE), the era name was changed to Yuan Kang. In the year Dingsi (64 BCE), Wang Shi was appointed as empress. In the year Wuwu (63 BCE), the Grand Tutor Shu Guang and the Deputy Grand Tutor Shu Zhuo, uncle and nephew, both resigned from their posts on the same day, retreating to the Eastern Sea, and were praised by contemporaries for their contentment and willingness to step down. In the year Jiwei (62 BCE), there were no events. In the year Gengshen (61 BCE), the era name was changed to Shenjue; the veteran general Zhao Chongguo led an expedition against the Western Qiang and advocated the policy of garrison farming to weaken the enemy. In the year Xinyou (60 BCE), there were no events. In the year Renxu (59 BCE), Xiao Wangzhi was appointed as Grand Censor. In the year Guihai (58 BCE), the governor of Yingchuan, Huang Ba, was granted the title of Marquis of Guan Nei for outstanding governance, while the governor of Henan, Yan Yanian, was executed for his harsh legal measures.

甲子　漢孝宣皇帝十七年，改元五鳳。左馮翊太守韓延壽棄市，貶蕭望之為太子太傅，坐慢丞相邴吉也。平通侯楊惲棄市，坐怨望也。　乙丑　丙寅　丞相邴吉卒，黃霸為相。　丁卯　戊辰　改元甘露。　己巳　庚午　匈奴呼韓邪單于來朝，於定國為相。　辛未

The year of Jiazi was the seventeenth year of the reign of Emperor Xuandi of the Han dynasty, which corresponds to 57 BCE. This era began from this year, and in this year the era name was changed to Wufeng. Han Yanshou, the governor of the Left Reckoning Prefecture, was executed in the market. Xiao Wangzhi was demoted to the position of Grand Tutor to the Crown Prince, charged with being disrespectful to the Chancellor Bing Ji. Yang Yun, the Marquess Pingtong, was executed in the market, charged with harboring resentment. He was the grandson-in-law of Sima Qian, and this case originated from his famous letter "Reply to Sun Huizong." In the year Yichou (56 BCE), there were no significant events. In the year Bingyin (55 BCE), Chancellor Bing Ji died, and Huang Ba succeeded him as Chancellor. In the year Dingmao (54 BCE), there were no significant events. In the year Wuchen (53 BCE), the era name was changed to Ganlu. In the year Jisi (52 BCE), there were no significant events. In the year Gengwu (51 BCE), the Xiongnu ruler Huhanye submitted to the Han court, marking the end of over a hundred years of warfare between the Han and Xiongnu; Yu Dingguo was appointed Chancellor. In the year Xinwei (50 BCE), there were no significant events.

壬申　改元黃龍。宣帝崩於未央宮，皇太子奭踐位，是謂孝元皇帝。　癸酉　改元初元，葬中宗於杜陵。　甲戌　冊皇子驁為皇太子，盜殺蕭望之。　乙亥　丙子　幸河東。　丁丑　戊寅　改元永光。　己卯　西羌叛。韋元成為相。　庚辰　西羌平。　辛巳　壬午

In the Renshen year (49 BCE), the era name was changed to Huanglong; Emperor Xuandi died in the Weiyang Palace, and his son Liu Shi became emperor, known as Emperor Huan of Han. In the Guiyou year (48 BCE), the era name was changed to Chuyuan; Emperor Xuandi's temple name was Zhongzong, and he was buried in Du Ling. In the Jiaxu year (47 BCE), the crown prince Liu Ao was appointed as the crown prince; the Grand Tutor Xiao Wangzhi was killed—according to the "Book of Han," it was actually the eunuch Shi Xian who framed him, forcing him to drink poison and commit suicide. In the Yihai year (46 BCE), there were no significant events. In the Bingzi year (45 BCE), Emperor Huan visited Hedong. In the Dingchou year (44 BCE), there were no significant events. In the Wuyin year (43 BCE), the era name was changed to Yongguang. In the Jimao year (42 BCE), the Western Qiang rebelled; Wei Yuancheng was appointed as the Chancellor. In the Gengchen year (41 BCE), the Western Qiang were pacified. In the Xinsi year (40 BCE) and the Renwu year (39 BCE), there were no significant events.

癸未　改元建昭。　甲申　乙酉　匡衡為相。　丙戌　丁亥　戊子　改元竟寧，帝崩，皇太子驁踐位，是謂孝成皇帝，葬高宗於渭陵。王鳳為大司馬、大將軍專政。　己丑　改元建始。　庚寅　辛卯　王商、薛宣免相，匡衡為庶人。　壬辰　河大決，王商為相。　癸巳　改元河平。

In the Guiwei year (38 years before), the reign title was changed to Jianzhao. In the Jiashen year (37 years before), there were no significant events. In the Yiyou year (36 years before), Kang Heng was appointed as Chancellor. In the Bingxu year (35 years before) and the Dinghai year (34 years before), there were no significant events. In the Wuzi year (33 years before), the reign title was changed to Jingning. That year, Hu Hanye Chanyu came to court, Wang Zhaojun went to the frontier for marriage alliance, hence the meaning of "border peace and stability." Emperor Yuan died, and his son Liu Ao succeeded the throne, becoming Emperor Cheng of Han. Emperor Yuan was posthumously honored as Gaozong, and was buried in Weiling. Wang Feng held the positions of Grand Commandant and Grand General, monopolizing the government, and thus the Wang clan began to dominate the court. In the Jichou year (32 years before), the reign title was changed to Jianshi. In the Gengyin year (31 years before), there were no significant events. In the Xinmao year (30 years before), Wang Shang and Xue Xuan were dismissed from their positions as Chancellors, and Kang Heng was demoted to commoner status. In the Renchen year (29 years before), the Yellow River broke its banks; Wang Shang was appointed as Chancellor. In the Guisi year (28 years before), the reign title was changed to He Ping.

甲午　漢孝成皇帝六年。　乙未　丙申　丁酉　改元陽朔。京兆尹王章下獄死，張禹為相。　戊戌　王音為御史大夫。　己亥　大司馬王鳳卒，弟音繼事。　庚子　辛丑　改元鴻嘉。　壬寅　幸雲陽。　癸卯　廢皇后許氏。　甲辰　乙巳　改元永始，封王莽新都侯，冊趙飛燕為皇后。

The Jiawu year was the sixth year of Emperor Cheng of Han, which corresponds to 27 BCE, and this "era" began from this year. The Yiwei year (26 BCE) and the Bingshen year (25 BCE) had no significant events. In the Dingyou year (24 BCE), the era name was changed to Yangshuo; the governor of Jingzhao, Wang Zhang, was imprisoned and died after accusing Wang Feng of monopolizing power; Zhang Yu was appointed as chancellor. In the Wuxu year (23 BCE), Wang Yin was appointed as the Grand Censor. In the Jihai year (22 BCE), the Grand Marshal Wang Feng died, and his younger brother Wang Yin took over the power. The Gengzi year (21 BCE) had no significant events. In the Xinchou year (20 BCE), the era name was changed to Hongjia. In the Rennyin year (19 BCE), Emperor Cheng visited Yunyang. In the Guimao year (18 BCE), Consort Xu was deposed. The Jiachen year (17 BCE) had no significant events. In the Yisi year (16 BCE), the era name was changed to Yongshi; Wang Mang was enfeoffed as the Marquess of Xinju, and Zhao Feiyan was appointed as empress.

丙午　大司馬王音卒，王商為大司馬，翟方進為相，孔光為御史大夫。丁未　戊申　大司馬王商免，王根為大司馬。　己酉　改元元延。　庚戌　辛亥　壬子　癸丑　改元綏和。　甲寅　成帝崩，皇太子欣踐位，是謂孝哀皇帝，太后王氏臨朝稱制，大司馬王根專政。葬成帝於延陵。王根罪免，丁明為大司馬，孔光為丞相。

In the year Bingwu (15 BCE), the Grand Commandant Wang Yin died, and Wang Shang succeeded him as Grand Commandant. Zhai Fangjin became Chancellor, and Kong Guang became the Grand Censor. In the year Dingwei (14 BCE), there were no significant events. In the year Wushen (13 BCE), Grand Commandant Wang Shang was dismissed from office, and Wang Gen took over as Grand Commandant—thus the Wang brothers succeeded each other in power, and the court's authority had fully passed into the hands of the maternal relatives. In the year Jiyou (12 BCE), the era name was changed to Yuanchan. From the year Gengxu (11 BCE) to Renzi (9 BCE), there were no significant events. In the year Guichou (8 BCE), the era name was changed to Suihe. In the year Jiayin (7 BCE), Emperor Cheng died suddenly, and his son Liu Xin ascended the throne, becoming Emperor Ai of Han. The Empress Dowager Wang took control of the government, and Grand Commandant Wang Gen held power. Emperor Cheng was buried in Yanling. Soon after, Wang Gen was accused of wrongdoing and dismissed from office, and the maternal relative Ding Ming was appointed as Grand Commandant, while Kong Guang became Chancellor.

乙卯　改元建平，冊傅氏為皇后，傅喜為大司馬，朱博為大司空。　丙辰　傅喜免，丁明覆為大司馬，孔光免，朱博自殺。　丁巳　相王商薨，王嘉為相。　戊午　息夫躬下獄死。　己未　改元元壽。相王嘉下獄死，大司馬丁明免。　庚申　三公分職，董賢為大司馬，孔光為大司徒，彭宣為大司空。帝崩，太皇太后王氏稱制，罷董賢大司馬，以王莽為大司馬，錄尚書事。廢太后趙氏，迎元帝庶孫中山王衍立之，是謂平帝。葬哀帝於義陵。王莽專政。　辛酉　改元元始，封大司馬王莽安漢公。　壬戌　癸亥

In the year Yimao (six years before), the era name was changed to Jianping; the Fu family was appointed as the empress, Fu Xi as Grand Commandant, and Zhu Bo as Grand Minister of Works—Emperor Ai's rise to power was entirely due to the support of the Fu and Ding families, so their power quickly increased. In the year Bingchen (five years before), Fu Xi was dismissed from office, Ding Ming was reinstated as Grand Commandant, and Kong Guang was dismissed; Zhu Bo, fearing guilt, committed suicide. In the year Dingsi (four years before), Chancellor Wang Shang died, and Wang Jia succeeded him as Chancellor. In the year Wuwu (three years before), Xi Fu Gong was imprisoned and died. In the year Jiwei (two years before), the era name was changed to Yuanshou; Chancellor Wang Jia was imprisoned and died, and Ding Ming was dismissed from office. In the year Gengshen (one year before), the system of the Three Grand Ministers was reformed, and the favored minister Dong Xian was appointed as Grand Commandant, Kong Guang as Grand Minister of State, and Peng Xuan as Grand Minister of Works. After Emperor Ai's death, Dowager Empress Wang took control of the government and immediately dismissed Dong Xian, appointing her nephew Wang Mang as Grand Commandant and in charge of the Secretariat; she also deposed Zhao Dowager and invited Yuan Emperor's distant grandson, Prince Liu Yan of Zhongshan, to ascend the throne, who became Emperor Ping of Han. Emperor Ai was buried in Yilin. From then on, Wang Mang held power. In the year Xinyou (year one of the Yuanshi era), the era name was changed to Yuanshi, and Grand Commandant Wang Mang was granted the title of Anhan Gong. In the years Renxu (year two) and Guihai (year three), there were no significant events.

甲子　漢孝平皇帝四年，王莽以女上皇后。　乙丑　王莽弒帝於未央宮，立元帝孫孺子嬰，莽加九錫。　丙寅　王莽改元居攝。　丁卯　王莽稱假皇帝，翟義立嚴鄉侯信於東都，莽將王邑滅之。　戊辰　王莽改元初始。　己巳　王莽竊國命，改國為新室，元曰始建國，降孺子嬰為定安公。

The Jiazi year was the fourth year of Emperor Ping of Han, which corresponds to 4 CE, and this "era" began from this point. Wang Mang sent his daughter into the palace to be made empress. In the Yichou year (5 CE), Wang Mang poisoned Emperor Ping in the Weiyang Palace and instead installed Liu Ying, the grandson of Emperor Yuan, who was only two years old, as emperor, known as "Infant Prince Liu Ying." Wang Mang was granted the Nine Bestowments. In the Bingyin year (6 CE), Wang Mang changed the era name to Jusi. In the Dingmao year (7 CE), Wang Mang claimed the title of "Provisional Emperor," meaning he acted as the emperor on behalf of the Son of Heaven. In the Wuchen year (8 CE), Wang Mang changed the era name to Chashou. In the Jisi year (9 CE), Wang Mang seized the mandate of heaven, changed the state name to "Xin," and established the era name Shiguo. He demoted Infant Prince Liu Ying to the title of Deng'an Marquis, marking the end of the Western Han dynasty.

庚午　王莽大殺宗室，校書郎揚雄投天祿閣，不克死。　辛未　壬申　癸酉　甲戌　王莽改元天鳳，四夷交侵中國。　乙亥　丙子　丁丑　群盜起。　戊寅　己卯　校書郎揚雄卒。　庚辰　王莽改元地皇，兵起綠林。　辛巳　壬午　劉玄稱兵宛、鄴，劉秀及兄伯升稱兵舂陵。

In the Gengwu year (10th year), Wang Mang killed many members of the Liu family. Yang Xiong, a scholar, feared being implicated and jumped from the Tianlu Pavilion but did not die. From the Xinwei year (11th year) to the Guiyou year (13th year), there was no incident. In the Jiaxu year (14th year), Wang Mang changed the era name to Tianfeng. Because he arbitrarily altered the titles of the four barbarian states and reduced their kings to marquises, the Xiongnu, the Western Regions, and the Southwest tribes all attacked the Han dynasty. In the Yihai year (15th year) and the Bingzi year (16th year), there was no incident. In the Dingchou year (17th year), bandits rose up everywhere. In the Wuyin year (18th year), there was no incident. In the Jimao year (19th year), Yang Xiong died. In the Gengchen year (20th year), Wang Mang changed the era name to Diwang. Starving people in the Green Forest Mountains gathered to rebel, which was the Green Forest Army. In the Xinsi year (21st year), there was no incident. In the Renwu year (22nd year), Liu Xuan raised troops in the areas of Wan and Ye. Liu Xiu and his elder brother Liu BoSheng raised troops in Chongling, and members of the Liu family joined the rebellion against Wang Mang.

癸未　劉玄稱帝，元曰更始，以劉伯升為司徒，劉秀為太常偏將軍。是年，大破莽將王尋、王邑軍於昆陽、三輔，遂滅莽於漸臺。劉玄拜劉秀破虜大將軍，行大司馬事，使持節巡撫河北。王郎以王子林稱帝邯鄲。　甲申　劉玄西入長安，殺漢孺子嬰。大將軍劉秀北徇薊，還拔邯鄲，誅王郎，受玄封蕭王，又敗銅馬賊於□，又敗赤眉賊於射犬。赤眉西攻長安，劉永擅命睢陽，公孫述稱王巴蜀，李憲稱王淮南，秦豐稱王黎邱，張步稱兵琅玡，董憲稱兵東海，延岑稱兵漢中，田戎稱兵夷陵。

In the Guiwei year (23 ce), Liu Xuan proclaimed himself emperor, establishing the era name "Gengshi." He appointed Liu Bosheng as the Minister of Works and Liu Xiu as a general under the Minister of Rites. That year, the Han army achieved a great victory at Kunyang, defeating the over forty-thousand-strong army of Wang Xun and Wang Yi, generals of Wang Mang. The three commanderies subsequently responded, and finally, at the Jiantai, they killed Wang Mang, leading to the fall of the Xin dynasty. Liu Xuan appointed Liu Xiu as the General Who Destroys the Enemy and temporarily held the duties of the Grand Commandant, with the authority to pacify the region of Hebei. Meanwhile, Wang Lang proclaimed Prince Lin as emperor in Handan. In the Jiashen year (24 ce), Liu Xuan moved west to Chang'an, killing the already surrendered Prince Ruosi, who had been reduced to the title of Ding'an Marquis. The Grand General Liu Xiu captured Jishi, then returned to attack Handan, killing Wang Lang, and was granted the title of Xiao Wang by Liu Xuan. He also defeated the Tongma army (the text here is missing a place name, so it is marked as '□' for uncertainty), and later defeated the Chimei army at Sheqian. At this time, the Chimei army advanced west to attack Chang'an. Liu Yong acted independently in Suyang, Guan Sunshu proclaimed himself king in Bashu, Li Xian proclaimed himself king in Huainan, Qin Feng proclaimed himself king in Lichou, Zhang Bu raised an army in Langye, Dong Xian raised an army in Donghai, Yan Cen raised an army in Hanzhong, and Tian Rong raised an army in Yiling—thus the world once again split into factions.

乙酉　蕭王肇帝位於河朔之鄗，國曰漢，元曰建武。南拔洛陽，都之。赤眉陷長安，稱帝，殺劉玄。公孫述稱帝成都，元曰龍興。劉永稱帝睢陽，隗囂稱兵隴右，盧芳稱兵安定，彭寵稱兵薊門。　丙戌　赤眉焚長安宮室陵寢。銅馬赤犢尤來立孫登為帝於上郡，其將樂方殺之。　丁亥　赤眉降漢於宜陽，長安平。蓋延平劉永於睢陽。隗囂以西州格命，李憲稱帝淮南。

In the year Yiyou (25 CE), Xiao Wang Liu Xiu proclaimed himself emperor in the city of Bao in Hebei, continuing the state name as Han and adopting the era name Jianwu, thus becoming Emperor Guangwu of Han. He then moved south to capture Luoyang and established his capital there, historically known as the Eastern Han. The Red Eyebrow army captured Chang'an, and another emperor, Liu Pengzi, was enthroned, with the former emperor Liu Xuan of the Later Han being killed. Gong Sun Shu declared himself emperor in Chengdu, adopting the era name Longxing; Liu Yong proclaimed himself emperor in Suyang; Wei Xiao controlled military forces in Longyou; Lu Fang held power in Dingzhou; and Peng Cheng controlled forces at Jimen. In the year Bingxu (26 CE), the Red Eyebrow army burned the palaces and tombs of the Han dynasty in Chang'an. The groups of Tongma, Chidu, and Youlai established Sun Deng as emperor in Shangjun, but his general Lefang later killed him. In the year Dinghai (27 CE), the Red Eyebrow army surrendered to the Han forces at Yiyang, and Chang'an was pacified; Gai Yan subdued Liu Yong in Suyang; Wei Xiao resisted the imperial orders from the west; and Li Xian proclaimed himself emperor in Huainan.

戊子　己丑　彭寵為家奴所殺，來安撫，封不義侯，薊門平。朱祐平秦豐於黎邱，滅張步於臨淄。盧芳稱帝五原。帝徵嚴光，不起。　庚寅　馬成平李憲於淮南，吳漢平董憲於東海。隗囂以入西州入於蜀。　辛卯　壬辰　西征，馮異、竇融破隗囂於隴右。　癸巳　隗囂死，子純立。來歙、馮異伐蜀，入天水。

In the year Wuzi (28th year), there were no incidents. In the year Jichou (29th year), Peng Chong was killed by his servant, who then brought his head to surrender. The court comforted him and granted him the title of Duke of Injustice, thus pacifying Jitemen. Zhu You pacified Qin Feng in Lique and defeated Zhang Bu in Linshi. Lu Fang proclaimed himself emperor in Wuyuan. Emperor Guangwu summoned his old friend Yan Guang to the court, but Yan Guang refused to serve and retreated to fish by the Fu Chun River. In the year Gengyin (30th year), Ma Cheng pacified Li Xian in Huainan, and Wu Han defeated Dong Xian in Donghai; Wei Xiao held out in Xizhou but later submitted to Gongsun Shu in Shu. In the year Xinmao (31st year), there were no incidents. In the year Renchen (32nd year), Emperor Guangwu marched westward, while Feng Yi and Dou Rong defeated Wei Xiao in Longyou. In the year Guisi (33rd year), Wei Xiao died of grief and anger, and his son Wei Chun succeeded him; Li Xie and Feng Yi turned to attack Shu, entering Tianshui.

甲午　漢光武皇帝十年，西征，滅隗純於隴右。　乙未　西征蜀，至於南陽。吳漢、岑彭大破蜀軍於荊門。　丙申　吳漢拔成都，誅公孫述及將田戎、岑延。　丁酉　盧芳自五原亡入匈奴。　戊戌　天下平。　己亥　大司徒歐陽歙下獄死。　庚子　交趾女徵側叛。青、徐、幽、冀盜起。

The Jiawu year was the tenth year of Emperor Guangwu of Han, corresponding to 34 CE, from which the "world" period began. Emperor Guangwu marched westward to suppress the rebels in Longyou, defeating Wei Chun and pacifying the entire region of Longyou. In the Yiwei year (35 CE), he advanced westward to attack Shu, and his troops reached Nanyang. Wu Han and Cen Peng defeated the Shu army in Jingmen. In the Bingshen year (36 CE), Wu Han captured Chengdu, executed Gongsun Shu and his generals Tian Rong and Cen Yan, ending the Shu Han regime that had ruled Bashu for twelve years. In the Dingyou year (37 CE), Lu Fang fled from Wuyuan to the Xiongnu. In the Wuxu year (38 CE), the country was pacified—after more than a decade of warfare since the chaos of the Xin Dynasty, the realm was once again unified. In the Jihai year (39 CE), the Grand Minister of the Imperial College, Ouyang Xi, was imprisoned and died due to corruption in land measurement. In the Gengzi year (40 CE), a woman named Zheng Ce in Jiaozhi rebelled; at the same time, the four states of Qing, Xu, You, and Ji became turbulent due to the land survey decree.

辛丑　南巡，廢皇后郭氏為中山太后，冊貴人陰氏為皇后。　壬寅　西巡。史歆以成都叛，吳漢復平之。馬援伐交趾。幸長安。　癸卯　南巡。馬援平交趾，封新息侯。廢皇太子強為東海王，以東海王陽為皇太子，改名莊。　甲辰　大司徒戴涉下獄死。　乙巳　丙午　丁未　戊申

In the Xinchou year (41), Emperor Guangwu toured the southern regions; he deposed Empress Guo and made her the太后 of Zhongshan, and appointed the Noblewoman Yin Lihua as empress. In the Renyin year (42), he toured the western regions; Shi Xin rebelled in Chengdu, and Wu Han subdued him again; Ma Yuan was sent to campaign in Jiaozhi; the emperor visited Chang'an. In the Guimao year (43), he toured the southern regions again; Ma Yuan pacified Jiaozhi and was granted the title of Marquis of Xinxi. Because Empress Guo was deposed, the crown prince Liu Qiang was stripped of his title and made the King of Donghai, and the King of Donghai Liu Yang was appointed as the new crown prince, renamed Zhuang. In the Jiachen year (44), Dai She, the Grand Minister of State, was imprisoned and died. From Yisi (45) to Wushen (48), there were no events.

己酉　馬援破武陵蠻。　庚戌　作壽陵。　辛亥　壬子　癸丑　甲寅　東巡狩。　乙卯　丙辰　東封太山，禪梁甫，改元中元。西幸長安。馮房為司空。　丁巳　帝崩，皇太子莊踐位，是謂孝明皇帝。葬世祖於原陵。　戊午　改元永平。　己未　庚申　辛酉　壬戌　北巡，至於鄴。　癸亥　東巡，至於岱。

In the Jiyou year (1949), Ma Yuan defeated the Wuling barbarians. In the Gengxu year (1950), the Shouling was constructed. From the Xinhai year (1951) to the Guichou year (1953), there were no events. In the Jiayin year (1954), the eastern inspection tour took place. In the Yimao year (1955), there were no events. In the Bingchen year (1956), Emperor Guangwu ascended Mount Tai in the east to perform the rites of enfeoffment, performed the rites of sacrifice at Liangfu, changed the era name to Zhongyuan, and then traveled west to Chang'an; Feng Fang was appointed as the Minister of Works. In the Dingsi year (1957), Emperor Guangwu died, and his son Liu Zhuang, the crown prince, succeeded the throne, becoming Emperor Han Mingdi; Emperor Guangwu's temple name was posthumously given as Shizu, and he was buried in Yuanling. In the Wuwu year (1958), the era name was changed to Yongping. From the Jiwei year (1959) to the Xinyou year (1961), there were no events. In the Renxu year (1962), he toured north to Yecheng. In the Guihai year (1963), he toured east to Daishan.

甲子　漢孝明皇帝七年。　乙丑　丙寅　丁卯　南巡狩。　戊辰　己巳　牟融為司空。　庚午　河大決。　辛未　壬申　東巡狩。　癸酉　司徒邢穆、駙馬都尉韓光下獄死。　甲戌　乙亥　帝崩，皇太子炟踐位，是謂孝章皇帝。葬顯宗於節陵。　丙子　改元建初。

The year of Jiazi is the seventh year of the reign of Emperor Ming of the Han dynasty, which corresponds to 64 AD, and this "world" is counted from this year. In the year Yichou (65 AD) and Bingyin (66 AD), there were no significant events. In the year Dingmao (67 AD), the emperor conducted a southern tour. In the year Wuchen (68 AD), there were no significant events. In the year Jisi (69 AD), Mo Rong was appointed as the Minister of Works. In the year Gengwu (70 AD), the Yellow River broke its banks. In the year Xinwei (71 AD), there were no significant events. In the year Renshen (72 AD), the emperor conducted an eastern tour. In the year Guiyou (73 AD), the Minister of State Xing Mu and the Commandant of the Imperial Secretariat Han Guang were imprisoned and executed. In the year Jiaxu (74 AD), there were no significant events. In the year Yihai (75 AD), Emperor Ming died, and his son, the crown prince Liu Da, ascended the throne, becoming Emperor Zhang of the Han; Emperor Ming's posthumous temple name was "Xianzong," and he was buried in Jie Ling. In the year Bingzi (76 AD), the era name was changed to Jianchu.

丁丑　戊寅　己卯　鮑昱為太尉，桓虞為司徒。詔於白虎觀議《五經》異同。　庚辰　辛巳　壬午　廢皇太子慶為清河王，冊皇子肇為皇太子。北幸鄴，西幸長安。　癸未　東巡狩。　甲申　改元元和，南巡狩。鄭弘為太尉。　乙酉　東巡狩。　丙戌　北巡狩。　丁亥　改元章和。南巡狩。

In the years of Dingchou (177 CE) and Wuyin (178 CE), there were no incidents. In the year of Jimao (179 CE), Bao Yu was appointed Grand Commandant and Huang Yu was appointed Minister of Works. Emperor Zhang issued an edict to convene a gathering of scholars at the White Tiger Hall to discuss the differences and similarities among the Five Classics. Ban Gu compiled the "White Tiger Treatise" based on the records of the meeting. In the years of Gengchen (180 CE) and Xinsi (181 CE), there were no incidents. In the year of Renwu (182 CE), the crown prince Liu Qing was demoted to the Prince of Qinghe, and the son of the emperor Liu Zhao was appointed crown prince. The emperor traveled north to Yecheng and west to Chang'an. In the year of Guiwei (183 CE), the emperor conducted an eastern tour. In the year of Jiashen (184 CE), the era name was changed to Huanhe, and the emperor conducted a southern tour. Zheng Hong was appointed Grand Commandant. In the year of Yiyou (185 CE), the emperor conducted an eastern tour. In the year of Bingxu (186 CE), the emperor conducted a northern tour. In the year of Dinghai (187 CE), the era name was changed to Zhanghe, and the emperor conducted a southern tour.

戊子　帝崩，皇太子肇踐位，是謂孝和皇帝，太后竇氏臨朝稱制。竇憲為車騎將軍，專政。葬肅宗於敬陵。鄧彪為太尉，錄尚書事。　己丑　改元永元。竇憲敗匈奴於稽落，勒功燕然，還，為大將軍。　庚寅　辛卯　帝加元服。班超平西域。　壬辰　竇憲作逆，事覺伏誅。帝始親萬機。　癸巳

In the year of Wuzi (88), Emperor Zhang died, and his ten-year-old son, Liu Zhao, succeeded to the throne, becoming Emperor He of Han. Empress Dowager Dou took control of the government. The maternal uncle of the empress dowager, Dou Xian, was appointed as Grand Commandant and held power over the government, marking the beginning of the alternation between the powerful maternal relatives and eunuchs in the Eastern Han dynasty. Emperor Zhang's temple name was Shuzong, and he was buried in Jingling. Deng Biao served as Grand Minister and was in charge of the Secretariat. In the year of Jichou (89), the era name was changed to Yongyuan. Dou Xian defeated the Northern Xiongnu at Jiluo Mountain and inscribed his achievements on the Yanyan Mountain, which is recorded in Ban Gu's "Yanyan Mountain Inscription." After returning to the capital, he was appointed as Grand General. In the year of Gengyin (90), there were no significant events. In the year of Xinmao (91), Emperor He performed the coming-of-age ceremony. Ban Chao pacified the Western Regions. In the year of Renchen (92), Dou Xian plotted treason, but the plot was discovered, leading to his forced suicide. Emperor He then personally took charge of state affairs. In the year of Guisi (93), there were no significant events.

甲午　漢孝和皇帝六年。　乙未　丙申　丁酉　司徒劉方有罪，自殺。　戊戌　己亥　庚子　張酺罷太尉，張禹為太尉。　辛丑　魯恭為司徒。　壬寅　廢皇后陰氏，冊貴人鄧氏為皇后。徐防為司空。　癸卯　南巡。　甲辰　司徒魯恭罷免，徐防為司徒，陳寵為司空。

The Jiawu year was the sixth year of the Han He Di reign, which corresponds to 94 CE, and this "world" begins from this year. The Yiwei year (95 CE) and the Bingshen year (96 CE) had no significant events. In the Dingyou year (97 CE), the Minister of Works Liu Fang was convicted of a crime and committed suicide. The Wuxu year (98 CE) and the Jihai year (99 CE) had no significant events. In the Gengzi year (100 CE), Zhang Pu was removed from the position of Grand Commandant, and Zhang Yu took over. In the Xinchou year (101 CE), Lu Gong was appointed Minister of Works. In the RENYIN year (102 CE), the Empress Yin was deposed, and the Nobleman Deng Su was appointed as the new Empress. Xu Fang was appointed Minister of the Works. In the Guimao year (103 CE), the emperor toured the southern regions. In the Jiachen year (104 CE), Lu Gong was dismissed from the position of Minister of Works, Xu Fang was appointed Minister of Works, and Chen Cheng was appointed Minister of the Works.

乙巳　改元元興。帝崩，皇子隆立，是謂殤帝。太后鄧氏臨朝稱制，車騎將軍鄧騭專政。　丙午　改元延平，葬穆宗於慎陵。帝又崩，鄧騭迎章帝孫祜立之，是謂孝安皇帝。葬殤帝於康陵。尹勤為司空。　丁未　改元永初。魯恭為司徒，張禹為太尉，張敏為司空。周章謀廢立不克，自殺。

In the year Yisi (105), the era name was changed to Yuanxing; Emperor He died, and his son Liu Long, who was only a few months old, succeeded to the throne, becoming Emperor Shang; Empress Dowager Deng took control of the government, and her brother, General of the Carriage Division Deng Zhi, held power. In the year Bingwu (106), the era name was changed to Yanzheng; Emperor He was posthumously honored as Mu宗, and was buried in Shenling. Emperor Shang also died young, and Deng Zhi then installed Liu Hu, the grandson of Emperor Zhang, as emperor, who became Emperor Han An; Emperor Shang was buried in Kangling; Yin Qin was appointed as the Minister of Works. In the year Dingwei (107), the era name was changed to Yongchou; Lu Gong was appointed as the Minister of State, Zhang Yu as the Grand Commandant, and Zhang Min as the Minister of Works; Zhou Zhang plotted to depose the emperor but failed and committed suicide.

戊申　鄧騭為大將軍。　己酉　帝加元服。　庚戌　海寇亂。　辛亥　西羌入寇。張禹免太尉。　壬子　太后鄧氏有事於太廟。劉愷為司空。　癸丑　甲寅　改元元初。司馬苞為太尉。　乙卯　冊閻氏為皇后，劉愷為司徒，袁敞為司空。　丙辰　李咸為司空。　丁巳　戊午　己未　庚申　改元永寧。楊震為司徒。　辛酉　改元建光。太后鄧氏崩，帝始親政事。特進鄧騭，度遼將軍鄧遵，下獄死。　壬戌　改元延光。　癸亥　司徒楊震為太尉。

In the year of Wushen (108), Deng Zhi was promoted to Grand General. In the year of Jiyou (109), Emperor An performed the coming-of-age ceremony. In the year of Gengxu (110), bandits along the coast caused disturbances. In the year of Xinhai (111), the Western Qiang invaded; Zhang Yu was dismissed from his position as Grand Commandant. In the year of Renzi (112), Deng太后 performed a sacrifice at the Imperial Ancestral Temple; Liu Kai was appointed as Minister of Works. In the year of Guichou (113), there were no significant events. In the year of Jiayin (114), the era name was changed to Yuanchou; Sima Bao was appointed as Grand Commandant. In the year of Yimao (115), Yan氏 was crowned as empress; Liu Kai was transferred to serve as Minister of State, and Yuan Chang was appointed as Minister of Works. In the year of Bingchen (116), Li Xian was appointed as Minister of Works. From the year of Dingsi (117) to Jiwei (119), there were no significant events. In the year of Gengshen (120), the era name was changed to Yongning; Yang Zhen was appointed as Minister of State. In the year of Xinyou (121), the era name was changed to Jianguang; Deng太后 died, Emperor An began to govern personally, and soon afterwards he purged the Deng clan, with the special status holder Deng Zhi and the Commander of the Western Army Deng Zun both imprisoned and executed. In the year of Renxu (122), the era name was changed to Yanyang. In the year of Guihai (123), Yang Zhen was promoted to Grand Commandant.

甲子　漢孝安皇帝十八年，東巡。廢皇太子保為濟陰王，楊震罷太尉，馮石為太尉。　乙丑　帝南巡，崩於葉。太后閻氏臨朝稱制，閻顯為車騎將軍，專政，立章帝玄孫北鄉侯懿，誅大將軍耿寶，葬恭宗於恭陵。懿又卒，車騎將軍閻顯及大長秋江京閉宮門，擇立它子。中黃門孫程十九人殺江京，迎濟陰王，立之，是謂孝順皇帝。顯兵入北宮，不勝。孫程取閻顯及江京之黨殺之，亂乃定。以王禮葬北鄉侯。馮石為太傅，劉喜為太尉，李郃為司徒。

The year Jiazi was the eighteenth year of the reign of Emperor Huan of Han, which corresponds to 124 AD, from which the "world" is calculated. Emperor Huan toured the east; he believed in slanderous words and deposed his crown prince Liu Bao, the son of Emperor Huan, as the Prince of Jiyin. Yang Zhen was dismissed from the position of Grand Commandant, and in anger he drank poison and died. Feng Shi succeeded Yang Zhen as Grand Commandant. In the year Yichou (125 AD), Emperor Huan toured the south and died in Ye County. The Yan太后 took over the government and ruled as regent. Her brother Yan Xian became the Grand Commander of the Carriage and held power, and he established Liu Yi, the great-grandson of Emperor Zhang, as the Prince of Beixiang. He was made emperor, and he had the general commander Geng Bao executed. Emperor Huan's temple name was posthumously given as Gongzong, and he was buried in Gongling. Liu Yi reigned for several months and then died. The Grand Commander Yan Xian and the Grand Attendant Jiang Jing closed the palace gates and selected another member of the royal family to support as emperor. Nineteen middle palace attendants, led by Sun Cheng, launched a coup and killed Jiang Jing. They then brought back Prince Liu Bao of Jiyin and made him emperor, who became Emperor Shun of Han. Yan Xian led his troops to attack the northern palace but failed to win. Sun Cheng killed Yan Xian and the remaining followers of Jiang Jing, thus ending the chaos. The Prince of Beixiang was buried with the funeral rites of a prince. After this, Feng Shi became the Grand Tutor, Liu Xi became the Grand Commandant, and Li He became the Minister of Works.

丙寅　改元永建。皇太后閻氏崩。桓焉為太傅，朱寵為太尉，朱倀為司徒。　丁卯　戊辰　己巳　帝加元服，龐參為太尉，王龔為司空，劉崎為司徒。　庚午　班始棄市。　辛未　壬申　改元陽嘉，冊梁氏為皇后。　癸酉　施延為太尉。　甲戌　黃尚為司徒，王卓為司空。乙亥

In the year Bingyin (126), the era name was changed to Yongjian; the Yan太后 died; Huan Yan became the Grand Tutor, Zhu Cheng became the Grand Commandant, and Zhu Chang became the Minister of Works. In the year Dingmao (127) and Wuchen (128), there were no significant events. In the year Jisi (129), Emperor Shun performed the coming-of-age ceremony; Pang Can became the Grand Commandant, Wang Gong became the Minister of Works, and Liu Qi became the Minister of Works. In the year Gengwu (130), Ban Shi was executed by being put to death in the market. In the year Xinwei (131), there were no significant events. In the year Renshen (132), the era name was changed to Yangjia; Lady Liang was appointed as the Empress, and thus the disaster caused by the Liang clan's relatives was sown. In the year Guiyou (133), Shi Yan became the Grand Commandant. In the year Jiaxu (134), Huang Shang became the Minister of Works, and Wang Zhuo became the Minister of Works. In the year Yihai (135), there were no significant events.

丙子　改元永和。王龔為太尉。　丁丑　郭虔為司空。　戊寅　劉壽為司徒。　己卯　誅中常侍張逵。　庚辰　辛巳　趙誠為司空，梁冀為大將軍。　壬午　改元漢安。遣張綱等八使持節巡行天下。廣陵寇亂。趙峻為太尉，胡廣為司徒。　癸未　彭門寇亂。

In the year Bingzi (136), the era name was changed to Yonghe; Wang Gong was appointed as Grand Commandant. In the year Dingchou (137), Guo Qian was appointed as Minister of Works. In the year Wuyin (138), Liu Shou was appointed as Minister of State. In the year Jimao (139), the eunuch Zhang Kui was executed. In the year Gengchen (140), there were no notable events. In the year Xinsi (141), Zhao Cheng was appointed as Minister of Works; Liang Ji, the brother of Empress Liang Hui, was appointed as Grand General, and he dominated the court for nearly twenty years. In the year Renwu (142), the era name was changed to Han'an; Emperor Zhang sent Zhang Gang and seven other envoys with the imperial seal to tour the country, inspecting officials and the people's conditions; bandits in Guangling caused disturbances; Zhao Jun was appointed as Grand Commandant, and Hu Guang as Minister of State. In the year Guiwei (143), bandits caused disturbances in Pengmen.

甲申　改元建康。帝崩，皇太子炳踐位，是謂沖帝。太后梁氏臨朝稱制，大將軍梁冀專政。葬敬宗於憲陵。盜發憲陵。免尚書欒巴為庶人。　乙酉　改元永嘉。帝崩，太后梁氏、大將軍梁冀迎肅宗孫纘立之，是謂質帝。葬沖帝於懷陵。江淮寇亂，九江賊稱黃帝，歷陽賊稱黑帝。　丙戌　改元本初。梁冀弒帝，迎肅宗曾孫志立之，是謂桓帝。李固罷免，梁冀專政。

In the year Jiashen (144), the era name was changed to Jiankang; Emperor Shun died, and his two-year-old son Liu Bing succeeded to the throne, becoming Emperor Chong; Empress Dowager Liang took control of the government, and General Liang Ji held power. Emperor Shun's posthumous title was Jingzong, and he was buried in Xianling; soon after, Xianling was looted; the official Luan Ba was dismissed and reduced to commoner status. In the year Yiyou (145), the era name was changed to Yongjia; Emperor Chong also died young, and Empress Dowager Liang and General Liang Ji invited Liu Zuan, the grandson of Emperor Zhang, to ascend the throne, becoming Emperor Zhi; Emperor Chong was buried in Huailing. Bandits caused disturbances in the Jianghuai region, and the leader of the bandits in Jiujiang claimed to be the Yellow Emperor, while the leader of the bandits in Lixiang claimed to be the Black Emperor. In the year Bingxu (146), the era name was changed to Benchu; Emperor Zhi, though young, openly called General Liang Ji the "Rebellious General," and was poisoned to death by Liang Ji; Liang Ji then invited Liu Zhi, the great-grandson of Emperor Zhang, to become emperor, known as Emperor Huan of Han; the Grand Minister Li Kuo, who insisted on appointing a virtuous ruler, was dismissed, and Liang Ji thus controlled the government alone.

丁亥　改元建和。梁冀以女上皇后，杜喬為太尉。胡廣罷免。李固、杜喬下獄死。　戊子　帝加元服。趙戒為太尉，袁湯為司徒。　己丑　庚寅　改元和平。太后梁氏崩。　辛卯　改元元嘉。黃瓊為司空，尋罷免。　壬辰　癸巳　改元永興。袁成、逢隗為三公。

In the year Dinghai (147), the era name was changed to Jianhe; Liang Ji sent his sister into the palace to be made empress, Du Qiao became Grand Commandant, and Hu Guang was dismissed. Soon after, Li Gu and Du Qiao were both imprisoned and executed. In the year Wuzi (148), Emperor Huan performed the coming-of-age ceremony; Zhao Ji became Grand Commandant and Yuan Tang became Minister of Works. In the year Jichou (149), there were no significant events. In the year Gengyin (150), the era name was changed to Pinghe; the Empress Dowager Liang died. In the year Xinmao (151), the era name was changed to Yuanjia; Huang Qiong became Minister of State, but was soon dismissed. In the year Renchen (152), there were no significant events. In the year Guisi (153), the era name was changed to Yongxing; Yuan Cheng and Feng Wei were appointed to the Three Excellencies.

甲午　漢孝桓帝八年，黃瓊為太尉，尹頌為司徒。　乙未　改元永壽。韓為司空。　丙申　丁酉　戊戌　改元延熹。　己亥　皇后梁氏崩，大將軍梁冀謀逆，事覺，夷三族。黃門單超擅命，胡廣、韓減死。　庚子　白馬令李雲直諫，死於獄。太山及長沙寇亂。　辛丑　武庫火。　壬寅　癸卯

The year Jiawu corresponds to the eighth year of Emperor Huan of Han, which was 154 CE, and this "world" begins from this year; Huang Qiong was the Grand Minister, and Yin Song was the Minister of Works. In the year Yiwei (155 CE), the era name was changed to Yongshou; a man of the Han surname was appointed as the Minister of Works, but the name is missing one character in the original text. In the years Bingshen (156 CE) and Dingyou (157 CE), there were no events. In the year Wuxu (158 CE), the era name was changed to Yanyi. In the year Jihai (159 CE), the Empress Dowager Liang died, and the Grand General Liang Ji plotted rebellion, but the plot was discovered and he was executed along with his three families; Emperor Huan managed to eliminate the Liang family with the help of five eunuchs, namely Chen Chao, and after that, Chen Chao controlled the government, while Hu Guang and that Han surname official were implicated and received reduced sentences. In the year Gengzi (160 CE), the county magistrate of Baima, Li Yun, submitted a direct remonstrance and died in prison; bandits caused disturbances in the areas of Taishan and Changsha. In the year Xinchou (161 CE), the imperial armory caught fire. In the years Rennyin (162 CE) and Guimao (163 CE), there were no events.

甲辰　南巡，楊秉為太尉。　乙巳　廢皇后鄧氏，冊貴人竇氏為皇后。陳蕃為太尉，竇武為大將軍。　丙午　黨錮事起，司隸李膺等三百人下獄。　丁未　改元永康。帝崩，太后竇氏臨朝稱制。　戊申　竇氏迎肅宗玄孫解瀆亭侯宏立之，是謂靈帝。竇武隸尚書事，專政。改元建寧。葬威宗於宣陵。中常侍曹節、王甫殺太傅陳蕃、大將軍竇武，及尚書尹勳、侍中劉瑜、屯騎校尉馮述，夷其族，徙太后竇氏於南宮。謀誅宦氏不克故也。胡廣為太尉，劉寵為司徒。

In the year Jiachen (164), Emperor Huan toured southern regions; Yang Bing served as Grand Commandant. In the year Yisi (165), the Empress Deng was deposed, and the Noblewoman Dou was appointed as empress; Chen Fan became Grand Commandant, and Dou Wu was appointed Grand General. In the year Bingwu (166), the first incident of the Party Persecution began, and the governor of the commandery of Si-li, Li Ying, and 300 others were arrested. In the year Dingwei (167), the era name was changed to Yongkang; Emperor Huan died, and Dowager Dou took control of the court. In the year Wushen (168), Dou's family installed Liu Hong, the great-grandson of Emperor Zhang and the Marquess of Xie Du Ting, as emperor, who became Emperor Ling of Han; Dou Wu, as Grand General, took charge of the Secretariat and the government, and the era name was changed to Jianning; Emperor Huan's posthumous title was established as Emperor Wei Zong, and he was buried in Xuan Ling. The eunuchs Cao Jie and Wang Fu acted first, killing the Grand Tutor Chen Fan, Grand General Dou Wu, and officials such as the Minister of the Secretariat Yin Xun, the Attendant of the Imperial Court Liu Yu, and the Commander of the Mounted Infantry Feng Shu, and exterminating their families. Dowager Dou was then moved to the southern palace and imprisoned. The cause was that Dou Wu and Chen Fan plotted to eliminate the eunuchs but failed to act secretly. Afterwards, Hu Guang became Grand Commandant, and Liu Peng became Minister of the Secretariat.

己酉　朋黨事復起，殺李膺等百人。　庚戌　辛亥　帝加元服，冊宋氏為皇后。　壬子　改元熹平。太后竇氏崩，誣構事大起。　癸丑　段熲為太尉，楊賜為司空。　甲寅　李咸為太尉。　乙卯　《五經》文皆刻石於太學。袁隗為司徒。　丙辰　劉寬為太尉，楊賜為司徒。　丁巳　大伐鮮卑。孟戫為太尉，陳耽為司空。

In the year Jiyou (169), the party persecution resurged, and Li Ying and over a hundred others were executed. In the year Gengxu (170), there were no significant events. In the year Xinhai (171), Emperor Ling performed the coming-of-age ceremony and appointed the Song family as empress. In the year Renzi (172), the era name was changed to Xiping; Dowager Dou died, and the风气 of false accusations by eunuchs became widespread. In the year Guichou (173), Duan Jing was appointed as Grand Minister, and Yang Ci as Minister of Works. In the year Jiayin (174), Li Xian was appointed as Grand Minister. In the year Yimao (175), the texts of the Five Classics were all carved onto stone and erected in the Imperial Academy, known as the "Xiping Stone Classics"; Yuan Wei was appointed as Minister of State. In the year Bingchen (176), Liu Kuan was appointed as Grand Minister, and Yang Ci as Minister of Works. In the year Dingsi (177), a large-scale campaign was launched against the Xianbei, but it ended in failure; Meng Tan was appointed as Grand Minister, and Chen Dan as Minister of Works.

戊午　改元光和。合浦、交趾內寇。廢皇后宋氏，大鬻爵，至三公。袁滂為司徒。　己未　諸貴臣下獄死者相繼，宦氏誣故也。劉郃為司徒，段熲為太尉，張濟為司空。　庚申　陳耽為司徒。冊何氏為皇后。　辛酉　作宮市。帝遊，以驢為駕。　壬戌　癸亥

In the year Wuwu (178), the era name was changed to Guanghe; there was internal disorder in the areas of Heping and Jiaozhi; the Empress Dowager Song was deposed; the court openly sold official positions, even the posts of the Three Excellencies could be purchased with money. Yuan Pang became the Minister of Works. In the year Jiwei (179), many high-ranking officials in the court were arrested and executed one after another, all due to accusations fabricated by eunuchs; Liu He became the Minister of Works, Duan Jing became the Grand Commandant, and Zhang Ji became the Minister of Public Works. In the year Gengshen (180), Chen Dan became the Minister of Works; the Empress He was enfeoffed as the Empress. In the year Xinyou (181), Emperor Ling set up a "palace market" as a performance in the palace, ordering palace attendants to dress as merchants for trade, and himself riding in a donkey cart among them. In the years Renxu (182) and Guihai (183), there were no events.

甲子　改元中平。漢孝靈皇帝十七年，黃巾寇起，鄧盛為太尉，張溫為司空。侍中向栩、張鈞下獄死。閹人大起誣構。黃巾平。　乙丑　黑山賊起。崔烈為司徒，張延為太尉，許相為司空。三輔寇亂，陳耽、劉陶坐直言死。　丙寅　張溫為太尉。江夏兵起。前太尉張延下獄死。　丁卯　賣官至關內侯。曹嵩為太尉。三輔盜起，漁陽賊稱帝。　戊辰　天下群盜起，黃巾賊復寇，郡國稱帝。置八校尉，以捕天下群盜。馬日為太尉，曹操為典軍校尉，袁紹為中軍校尉，董重為驃騎將軍。

In the year of Jiazi, the era name was changed to Zhongping, which was the seventeenth year of Emperor Ling of the Han dynasty, corresponding to 184 AD. This marked the beginning of the "world" period. Zhang Jiao led the Taiping Dao followers in a rebellion, wearing yellow turbans, and eight regions responded simultaneously, causing great unrest throughout the country. Deng Sheng became the Grand Minister, Zhang Wen became the Minister of Works; the attendants Xiang Xu and Zhang Jun were imprisoned and executed; eunuchs took the opportunity to widely fabricate accusations and frame people. Within the year, the main forces of the Yellow Turban rebels were suppressed. In the year of Yichou (185 AD), the Black Mountain bandits rose up in the Taihang Mountains; Cui Lie became the Grand Minister, Zhang Yan became the Grand Minister, and Xu Xiang became the Minister of Works; bandit disturbances occurred in the three auxiliary regions, and Chen Dan and Liu Tao were executed for speaking out frankly. In the year of Bingyin (186 AD), Zhang Wen became the Grand Minister; there was a military mutiny in Jiangxia; the former Grand Minister Zhang Yan was imprisoned and executed. In the year of Dingmao (187 AD), selling official positions had reached the rank of Grand Commandant; Cao Song, who was the father of Cao Cao, paid money to obtain the position of Grand Minister; bandits again rose up in the three auxiliary regions, and the leader of the bandits in Yuyang claimed to be emperor. In the year of Wuchen (188 AD), bandits all over the country rose up, and the remnants of the Yellow Turban rebels again rebelled; people in various commanderies and states claimed to be emperors; the court established eight military commanders to capture the bandits throughout the country. Ma Ri became the Grand Minister, Cao Cao became the Commander of the Military School, Yuan Shao became the Commander of the Central Military School, and Dong Zhong became the General of the骠骑. These figures who would later dominate the late Han dynasty had already begun to appear.

己巳　帝崩，皇太子辯踐位。皇太后何氏臨朝稱制，大將軍何進專政，改元光熹，封皇弟協為渤海王，殺上軍校尉蹇碩。驃騎將軍董重及皇太后董氏議立協故也。徙協為陳留王。中常侍張讓、段珪殺大將軍何進。中郎袁術以兵攻東宮。張讓、段珪以帝及陳留王走北宮。何苗攻北宮。司隸校尉袁紹兵入，大殺閹豎。讓、珪以帝及陳留王出走小平津。尚書盧植兵追及之，讓、珪投於河死，盧植以帝及陳留王還宮。改元昭寧。董卓自太原入，廢帝為弘農王，立陳留王協，是謂獻帝。徙太后何氏於永安宮。改元永漢。卓弒太后何氏及弘農王辯於永安宮，稱相國，專制。黃琬為太尉，楊彪為司徒，荀爽為司空。袁紹入冀州。

The year Jisi was the sixth year of the middle period of the Eastern Han dynasty, 189 AD. Emperor Ling of Han died, and his son, Liu Bian, ascended the throne as the young emperor. His mother, He Shi, became the empress dowager and took control of the government. Her brother, General-in-Chief He Jin, seized power, changed the era name to "Guangxi," and appointed Ling Di's second son, Liu Xie, the younger brother of the young emperor, as King of Bohai. He also killed General-in-Chief Jian Shuo, who commanded the imperial guards, because General-in-Chief Dong Zhong and the faction led by Empress Dowager Dong, Ling Di's biological mother, had previously plotted to replace Liu Xie as emperor. Liu Xie was later reappointed as King of Chenliu. The eunuchs Zhang Leng and Duan Gui acted first, killing He Jin in the palace. He Jin's subordinate, General-in-Chief Yuan Shao, led troops to attack the eastern palace in retaliation. Zhang Leng and Duan Gui took the young emperor and King of Chenliu to the northern palace. He Jin's younger brother, He Miao, then attacked the northern palace. General-in-Chief Yuan Shao led his troops into the palace and killed the eunuchs. Zhang Leng and Duan Gui took the two princes and fled to the river crossing at Xiaopingjin. General Lu Zhizhi pursued them and they both drowned in the river. Lu Zhizhi escorted the young emperor and King of Chenliu back to the palace and changed the era name to "Zhao Ning." At this time, Governor of Bingzhou Dong Zhuo led his troops from the Taiyuan direction into the capital, deposed the young emperor as King of Hongnong, and appointed King of Chenliu Liu Xie as emperor, known as Emperor Xian of Han. He moved Empress Dowager He to the Yong'an Palace and changed the era name to "Yonghan." Soon after, he killed Empress Dowager He and the deposed emperor Liu Bian in the Yong'an Palace, claiming the title of Chancellor, monopolizing the government, and appointing Huang Wan as Grand Minister, Yang Biao as Minister of Works, and Xun Shuang as Minister of Civil Affairs to appear as if the court was intact. Yuan Shao then fled to Jizhou, and the movement to oppose Dong Zhuo from the eastern provinces began to take shape.

庚午　改元初平。天下兵起，群校尉推袁紹為主，同攻董卓。卓大殺宗室及官屬，遷帝西都長安。孫堅兵起荊州。白波賊寇東郡。劉虞為太傅，種拂為司空。辛未　董卓稱太師，大焚洛陽宮闕，及徙居民於長安。孫堅敗董卓兵於陽人，入洛，修完諸帝陵寢，引軍還魯陽。黑山賊寇常山，黃巾賊擾太山。壬申　董卓將王允、呂布誅卓於長安，夷三族。卓將李傕、郭汜陷長安，殺王允。呂布走袁紹。傕、汜擅政，以皇甫嵩為太尉，淳于嘉為司徒。曹操破黃巾於壽張。孫堅卒，子策代總其眾。

The year Gengwu was the first year of the Chuping era, corresponding to 190 CE. The governors of the eastern regions raised armies to attack Dong Zhuo. The generals jointly elected Yuan Shao as their leader and launched a joint attack on Dong Zhuo. Dong Zhuo killed many members of the royal family and officials of the Han court, forced Emperor Xian to move west to Chang'an, making it the capital. Sun Jian, the governor of Changsha, raised an army in Jingzhou to support the campaign. The Bai Bo army raided Dongjun; the court appointed Liu Yu as Grand Tutor and Zhong Fu as Minister of Works. In the year Xinwei, which was 191 CE, Dong Zhuo claimed the title of Grand Tutor, set fire to the palaces of Luoyang, and forcibly moved the residents of Luoyang west to Chang'an. Sun Jian defeated Dong Zhuo's army at Yangrenju, entered Luoyang, restored the tombs of the Han emperors that had been looted, and then withdrew his troops to Luyang. The Hei Shan army attacked Changshan, and remnants of the Huangjin rebels harassed Taishan. In the year Renshen, which was 192 CE, Wang Yun, the Minister of Works under Dong Zhuo, and his adopted son Lü Bu killed Dong Zhuo in Chang'an and destroyed his three families. Soon after, former generals of Dong Zhuo, Li Jue and Guo Fan, captured Chang'an, killed Wang Yun, and Lü Bu fled to Yuan Shao. Li Jue and Guo Fan took control of the government, appointing Hu Fu Song as Grand Minister and Chun Yu Jia as Minister of Works. Cao Cao defeated the Huangjin rebels at Shouzhang, recruited their elite troops as the Qingzhou army, and thus began his career. Sun Jian died in battle, and his son Sun Ce took over his remaining forces.

癸酉　李傕、郭汜屠三輔。朱儁為太尉，趙溫為司空。袁紹、袁術交兵東方。甲戌　改元興平。帝加元服。楊彪為太尉。孫策據有江南。乙亥　李傕、郭汜爭權，相攻於長安。楊定、楊奉、董丞以帝東還。曹操破呂布於定陶，遂有兗州。布走劉備。丙子　帝還洛陽，改元建安。曹操徙帝都許昌。丁丑　袁術稱帝九江，並袁紹大將軍。曹操破袁術於揚州，呂布襲劉備於下邳。劉備走曹操。

The year Guiyou corresponds to the year 193 AD, when Li Jue and Guo Si committed great massacres in the Guanzhong region and the three auxiliary areas. The court appointed Zhu Jun as Grand Commandant and Zhao Wen as Minister of Works. In the east, the brothers Yuan Shao and Yuan Shu were engaged in battle. In the year Jiaxu, 194 AD, the era name was changed to "Xingping," and Emperor Xian completed his coming-of-age ceremony. Yang Biao was appointed Grand Commandant. Sun Ce crossed the Yangtze River and controlled the Jiangnan region. In the year Yihai, 195 AD, Li Jue and Guo Si vied for power, fighting each other in Chang'an. Generals Yang Ding, Yang Feng, and Dong Cheng (the original text reads Dong Zheng) escorted Emperor Xian eastward. Cao Cao defeated Lü Bu in Dingtuo and took control of Yanzhou, forcing Lü Bu to flee to Liu Bei. In the year Bingzi, 196 AD, Emperor Xian returned to the ruined Luoyang and changed the era name to "Jian'an." Cao Cao then moved Emperor Xian to Xuchang, making it the capital, thus using the emperor's authority to command the world. In the year Dingchou, 197 AD, Yuan Shu declared himself emperor in Jiangjiu, while Yuan Shao was appointed Grand General. Cao Cao defeated Yuan Shu in Yangzhou. Lü Bu took advantage of the situation to attack Xipin, which belonged to Liu Bei. Liu Bei then turned to Cao Cao.

戊寅　曹操平呂布於下邳，兼有徐州。己卯　袁術死，袁紹破曹操將公孫瓚於易水。孫策破劉勳於廬江。庚辰　曹操大敗袁紹於官渡，劉備去曹操，奔劉表於荊州。江南孫策卒，弟權繼事。辛巳。壬午　袁紹卒，子尚繼事，以弟譚為將軍。癸未　袁尚、袁譚相攻，譚敗，奔曹操。

The year Wuyin (198 CE), Cao Cao defeated Lu Bu in Xiaopi and took control of Xu Prefecture. In the year Jimao (199 CE), Yuan Shu died from illness and despair; Yuan Shao defeated Gongsun Zan in the area around Yishui River. Shao Yong referred to Gongsun Zan as Cao Cao's general, but in reality, Gongsun Zan had long ruled Youzhou independently. Sun Ce defeated Liu Xun, the governor of Lujiang. In the year Gengchen (200 CE), Cao Cao defeated Yuan Shao with fewer troops in Guandu, establishing the foundation for unifying the north; Liu Bei left Cao Cao and went to Jingzhou to serve Liu Biao; Sun Ce was assassinated in Jiangdong, and his younger brother Sun Quan took over. The year Xinsi (201 CE) had no notable events. In the year Renwu (202 CE), Yuan Shao died, and his young son Yuan Shang inherited his position, appointing his elder brother Yuan Tan as general. In the year Guiwei (203 CE), Yuan Shang and Yuan Tan fought against each other, and Yuan Tan was defeated, then surrendered to Cao Cao.

甲申　曹操破袁尚於鄴，兼有冀州。尚走青州，譚復奔尚。乙酉　曹操滅袁氏於青州，譚死，尚走烏丸。丙戌　曹操破高乾於太原，乾走荊州。丁亥　曹操破烏丸於聊城，袁尚走遼東，死。戊子　曹操殺太中大夫孔融，遂領丞相。荊州劉表卒，子琮繼事。劉備起諸葛亮於南陽，亮以吳周瑜兵大破曹操於赤壁，遂有荊州，稱牧，治公安。

The year Jiashen corresponds to the year 204 AD, when Cao Cao captured Ye City and defeated Yuan Shang, thereby annexing Ji州. Yuan Shang fled north to Qizhou, while Yuan Tan later returned to join Yuan Shang. In the year Yiyou, 205 AD, Cao Cao eliminated the remaining forces of the Yuan family in Qizhou, where Yuan Tan died in battle and Yuan Shang fled to the Huai people. In the year Bingxu, 206 AD, Cao Cao defeated Gao Gan, the nephew of Yuan Shao, in Taiyuan, and Gao Gan fled south to Jingzhou. In the year Dinghai, 207 AD, Cao Cao marched north to defeat the Huai people and won, forcing Yuan Shang to flee to Liao Dong, where he was killed by Gongsun Kang, thus bringing Hebei under complete control. In the year Wuzi, 208 AD, Cao Cao executed the renowned scholar and official Kong Rong, and soon afterwards assumed the position of Chancellor. At the same time, the governor of Jingzhou, Liu Bei, died, and his son Liu Cong succeeded him and surrendered to Cao Cao. Meanwhile, Liu Bei visited Zhuge Liang three times in Nanyang and invited him out of seclusion. Zhuge Liang then allied with Sun Quan, borrowed Zhou Yu's troops, and defeated Cao Cao at Chibi. As a result, Liu Bei controlled Jingzhou and claimed the title of Governor of Jingzhou, establishing his headquarters in Gongan.

己丑　孫權會劉備於京口，劉備表孫權為徐州牧，孫權表劉備為荊州牧。庚寅　曹操起銅爵臺於鄴。孫權南牧交州。辛卯　曹操平關中。益州劉璋會劉備於葭萌。孫權自京口徙治秣陵。壬辰　曹操割河以北屬鄴。孫權城石頭，改秣陵為建業。癸巳　曹操以冀之十郡稱魏國公，加九錫。劉備攻劉璋於成都。孫權捍曹操於濡須。

The year Jichou, which corresponds to the year 209 AD, saw Sun Quan and Liu Bei meeting in Jingkou. Liu Bei submitted a memorial recommending Sun Quan as the governor of Xu Prefecture, while Sun Quan submitted a memorial recommending Liu Bei as the governor of Jingzhou. This established the alliance between Sun and Liu. In the year Gengyin, 210 AD, Cao Cao built the Copper雀 Tower in Yecheng. Sun Quan expanded his influence to the south, reaching Jiao State. In the year Xinmao, 211 AD, Cao Cao subdued Ma Chao and Han Sui in Gansu. The governor of Yizhou, Liu Zhang, met Liu Bei at Jiameiguan and invited him to enter Sichuan to resist Zhang Lu, which set the stage for his later loss of the state. Sun Quan moved his capital from Jingkou to Mo Ling. In the year Renchen, 212 AD, Cao Cao assigned the prefectures north of the Yellow River under the jurisdiction of Yecheng. Sun Quan built the Stone City, renamed Mo Ling to Jianye, which later became Nanjing. In the year Guisi, 213 AD, Cao Cao was granted the title of Duke of Wei with ten commanderies in Jizhou and received the Nine Bestowments, clearly indicating his move toward replacing the Han dynasty. Liu Bei turned his forces against Liu Zhang, advancing toward Chengdu. Sun Quan defended against Cao Cao's southern advance at Ruxi Mouth.

甲午　漢獻帝二十六年，曹操殺皇后伏氏及二皇子，又破張魯米賊於漢中。劉備克成都，據有巴蜀。孫權取劉備三郡。乙未　曹操以女上皇后，又平張魯於漢中。孫權、劉備連兵攻曹操。丙申　曹操進爵為魏王，南伐吳。丁酉　曹操用天子服器。孫權稱表曹操，報以婚禮。

The year Jiawu was the twenty-sixth year of the reign of Emperor Xian of Han, corresponding to 214 AD. Cao Cao killed the Empress Fu and her two sons, and defeated Zhang Lu, the leader of the Five Bushels of Rice sect, in Hanzhong. Liu Bei captured Chengdu and took control of Bashu and Sichuan. Sun Quan demanded the three commanderies of Changsha, Lingling, and Guiyang from Liu Bei. In the year Yiwei (215 AD), Cao Cao sent his daughter Cao Jie into the palace to be crowned empress, and completely subdued Zhang Lu in Hanzhong. Sun Quan and Liu Bei temporarily ceased their disputes and allied against Cao Cao. In the year Bingshen (216 AD), Cao Cao was elevated from the Marquess of Wei to the King of Wei and launched a southern campaign against Wu. In the year Dingyou (217 AD), Cao Cao began to use imperial ceremonial vehicles and attire. Sun Quan submitted to Cao Cao with a memorial, and Cao Cao rewarded him by arranging a marriage alliance.

戊戌　少府耿紀、司直韋晃殺曹操不克，伏誅。操攻劉備，進攻漢中。己亥　劉備取曹操漢中，稱王。孫權取劉備荊州，稱牧。關羽死之。庚子　改元建康。曹操卒，子丕繼事。是年，丕代漢命於鄴，是謂文帝，改國曰魏，元曰黃初。降帝為山陽公，葬太祖曹操於西陵。自鄴徙都洛陽。

In the Wuxu year (218 CE), the Han court's Lesser Minister Geng Ji and the Inspector Wei Huang raised an army in Xuchang to plot the assassination of Cao Cao, but the plot failed and they were executed. Cao Cao then turned his forces against Liu Bei, advancing towards Hanzhong. In the Jihai year (219 CE), Liu Bei captured Hanzhong and declared himself the King of Hanzhong. Sun Quan took advantage of the situation to attack the荆州 that Liu Bei controlled, claiming the title of Governor of Jingzhou. The Shu general Guan Yu was defeated and killed. The alliance between Shu and Wu thus collapsed. In the Gengzi year (220 CE), the era name was changed to "Jiankang." That year Cao Cao died, and his son Cao Pi inherited the throne. Later that same year, Cao Pi received the imperial abdication in Yecheng, becoming the Emperor Wen of Wei. The state's name was changed to "Wei," and the era name was set as "Huangchu." The former emperor, Emperor Xian of Han, was reduced to the title of Shanyang Marquis. Cao Pi also buried his father, the Grand Duke Cao Cao, in Xilin. He then moved the capital from Yecheng to Luoyang. The Han dynasty, which had lasted for four hundred years, thus came to an end.

辛丑　魏郊祀天地。是年劉備稱帝成都，建國曰蜀，元曰章武，諸葛亮為相。孫權自建業徙都鄂，改鄂為武昌。壬寅　魏加兵於吳。蜀伐吳，不利，敗於虢亭。是年，孫權稱王武昌，是謂文帝，建國曰吳，元曰黃武，通使於蜀，以修前好。癸卯　蜀主備卒於白帝城，太子禪繼，是謂後主，改元建興。魏與蜀和親。

In the year Xinchou (221 CE), Wei Wen帝 conducted worship ceremonies at the northern and southern temples to show that he had received the mandate of heaven. In the same year, Liu Bei proclaimed himself emperor in Chengdu, continuing the state name Han, though historians refer to it as Shu, with the era name "Zhangwu," and appointed Zhuge Liang as chancellor. Sun Quan moved his capital from Jianye to E County, renaming it Wuchang. In the year Renyin (222 CE), Wei launched an attack on Wu; Shu Han's eastern campaign against Wu ended in defeat, suffering a great defeat at Xiangting (the original text says Guoting) due to a fire attack by Lu Sun. In the same year, Sun Quan proclaimed himself King of Wu in Wuchang, Shao Yong referred to him as the King of Wu, established the state name Wu, with the era name "Huangwu," and sent envoys to Shu to restore the old alliance before the Battle of Yiling. In the year Guimao (223 CE), Shu's emperor Liu Bei died in Baidi City, and his son Liu Shan succeeded him, becoming the later emperor of Shu Han, changing the era name to "Jianxing," and entrusting all state affairs to Zhuge Liang. Wei and Shu also had a marriage alliance at one time.

甲辰　魏伐吳。乙巳　魏伐吳，治兵廣陵。蜀諸葛亮平四郡蠻。丙午　魏帝丕終，太子叡嗣位，是謂明帝。司馬懿為驃騎大將軍。丁未　魏改元太和，有事於南郊及明堂。蜀諸葛亮出師漢中。戊申　蜀諸葛亮圍魏陳倉，吳破魏石亭。己酉　蜀克魏武都，吳孫權稱帝，改元黃龍，自武昌復徙都建業。

In the year Jiachen (224 CE), the state of Wei launched an attack on Wu. In the year Yisi (225 CE), Wei launched another attack on Wu, holding a large naval review in Guangling; at the same time, Zhuge Liang of Shu Han led a southern campaign, suppressing the rebellion of the Yis in the four southern commanderies, thus removing a threat from the rear. In the year Bingwu (226 CE), Emperor Wen of Wei, Cao Pi, died, and his son Cao Rui succeeded him as Emperor Ming of Wei, appointing Sima Yi as Grand General of the Cavalry. In the year Dingwei (227 CE), Wei changed its era name to "Taihe," and held a grand ceremony at the southern altar and the Bright Hall; Zhuge Liang moved his forces to Hanzhong and submitted the "Letter of Departure" to prepare for a northern campaign. In the year Wushen (228 CE), Zhuge Liang besieged Chengyang in Wei, while Eastern Wu defeated the Wei army in Shiteng. In the year Jiyou (229 CE), the Shu forces captured Wudu in Wei; Sun Quan officially declared himself emperor, changing the era name to "Huanglong," and moved the capital back from Wuchang to Jianye, thus completing the tripartite division of the Three Kingdoms.

庚戌　魏伐蜀，假司馬懿黃鉞。蜀諸葛亮攻魏天水。辛亥　蜀圍魏祁山。壬子　蜀息軍黃沙。吳改元嘉和。癸丑　魏改元青龍。蜀伐魏，師出褒斜。甲寅　魏南伐吳，至於壽春；西伐蜀，至於渭南。蜀諸葛亮卒於師。吳伐魏，師出合肥。是年，漢山陽公卒。乙卯　魏大起洛陽宮室。司馬懿為太尉。蜀以蔣琬為大將軍，專國事。

In the year Gengxu (230 CE), the state of Wei sent troops to attack Shu and appointed Sima Yi with the yellow axe to command military campaigns. At the same time, Zhuge Liang of Shu attacked Tian Shui in Wei. In the year Xinhai (231 CE), the Shu army besieged Qishan in Wei. In the year Renzi (232 CE), the Shu army stationed at Huangsha to rest and stockpile grain; the state of Wu changed its era name to "Jiahe" (the original text says "Jiahe"). In the year Guichou (233 CE), Wei changed its era name to "Qinglong"; Shu sent troops to attack Wei through the Baoxie Valley. In the year Jiayin (234 CE), Wei launched a southern campaign against Eastern Wu, reaching Shouchun, and resisted Shu in Weining; Zhuge Liang died of illness at Wuzhangyuan, and the northern campaign was abandoned. At the same time, Wu also launched an attack on Feihe against Wei. In the same year, the retired Emperor Xian of Han, Mount Shan Yang Gong Liu Xie, died. In the year Yimao (235 CE), Wei greatly expanded construction on the palaces in Luoyang, and Sima Yi was promoted to the position of Taiwei; Shu appointed Jiang Wan as the Grand General to oversee state affairs.

丙辰。丁巳　魏改元景初。公孫淵以遼東叛，稱王。戊午　魏司馬懿平遼東。蜀改元延熙，吳改元赤烏。己未　魏明帝叡終，齊王芳繼，司馬懿及曹爽輔政。庚申　魏改元正始。辛酉　吳全琮伐魏，軍出淮南。壬戌　蜀姜維伐魏，軍出漢中。癸亥　魏帝加元服。司馬懿伐吳，至於舒。蜀蔣琬伐魏，軍出漢中。吳伐魏，軍出六安。

In the year Bingchen (236 AD), there were no notable events to record. In the year Dingsi (237 AD), the state of Wei changed its era name to "Jingchu"; the governor of Liao Dong, Gongsun Yüan, rebelled against Wei and declared himself King of Yan. In the year Wuwu (238 AD), Wei's Grand Minister Sima Yi led his troops to suppress Liao Dong and executed Gongsun Yüan; Shu Han changed its era name to "Yanxi", and Eastern Wu changed its era name to "Chiwu". In the year Jiwei (239 AD), Wei's Emperor Ming Di Cao Rui died, and his adopted son Prince Zi Wang Cao Fang succeeded to the throne. Sima Yi and General Cao Shuang were both entrusted with the regency by the late emperor's decree, thus beginning the confrontation between the two factions within the state of Cao Wei. In the year Gengshen (240 AD), Wei changed its era name to "Zhengshi". In the year Xinyou (241 AD), Wu general Quan Cong launched an attack on Wei, advancing into the region of Huainan. In the year Renxu (242 AD), Shu Han general Jiang Wei attacked Wei, advancing into Hanzhong. In the year Guihai (243 AD), Emperor Cao Fang of Wei performed the coming-of-age ceremony; Sima Yi launched an attack on Wu, advancing to Shuxian; Shu Han general Jiang Wan attacked Wei, advancing into Hanzhong; Eastern Wu also launched an attack on Wei, advancing into Lü' an.

甲子　魏主芳五年，蜀主禪二十一年，吳主權二十三年。魏曹爽伐蜀，無功。乙丑　蜀伐魏，費褘師出漢中。吳將馬茂作難，夷三族。丙寅。丁卯　魏曹爽專政，何晏秉機。司馬懿稱病。戊辰　蜀伐魏，費褘師出漢中。己巳　魏曹爽奉其君謁高平陵，太傅司馬宣王稱兵於內，夷大將軍曹爽及其支黨曹義、曹訓、曹彥、何晏、丁謐、鄧彪、畢軌、李勝、桓范、張當三族，迎帝還宮，改元嘉平，復皇太后。懿加九錫，專國事。

The year of Jiazi was the fifth year of Emperor Cao Fang's reign in Wei, the twenty-first year of Liu Shan, the Shu Han emperor, and the twenty-third year of Sun Quan, the ruler of Wu, corresponding to 244 CE. Wei's Grand General Cao Shang launched an attack on Shu but failed to achieve any success. In the year of Yichou (245 CE), Fei Yi of Shu Han led an expedition from Hanzhong against Wei. Meanwhile, Wu general Ma Mao plotted rebellion, but his plot was discovered and he was executed along with his entire family. The year of Bingyin (246 CE) had no significant events. In the year of Dingmao (247 CE), Cao Shang held exclusive control over the government, while the esteemed scholar He Yan managed the key affairs. The Grand Tutor Sima Yi pretended to be ill and stayed out of court, but secretly prepared for future actions. In the year of Wuchen (248 CE), Fei Yi launched another expedition from Hanzhong against Wei. In the year of Jisi (249 CE), Cao Shang accompanied the emperor on a visit to the Gao Ping Ling. Sima Yi took advantage of the empty capital to launch a coup in Luoyang, killing Cao Shang and his associates Cao Xi, Cao Xun, Cao Yan, He Yan, Ding Mi, Deng Yang, Bi Gui, Li Sheng, Huan Fan, and Zhang Dang, along with their entire families. He then escorted the emperor back to the palace, changed the era name to "Jiaping," and restored the title of the previously imprisoned Guo太后. Sima Yi was granted the nine treasures, and he took full control of the state affairs. From this point on, the military power of Cao Wei came under the control of the Sima family.

庚午　魏伐吳南郡。辛未　魏司馬懿宣王卒，子師繼事。吳改元太元。壬申　魏伐吳，不利。吳改元神鳳。權卒，子亮繼，改元建興。癸酉　吳、蜀伐魏。甲戌　魏亂，司馬師廢其君芳，立高貴鄉公髦，改元正元。師假黃鉞，專制，稱景王。蜀伐魏，姜維拔魏三城。吳改元五鳳。乙亥　魏司馬師伐吳，平淮南，還許昌，卒。弟昭繼事，為大將軍，隸尚書事，專制。蜀姜維敗魏軍於臨洮。吳孫峻敗魏軍於壽春。

In the year Gengwu (250 CE), the state of Wei launched an attack on the southern commandery of Dongwu. In the year Xinwei (251 CE), Wei's Grand Minister Sima Yi died, posthumously honored as the King of Xuan, and his eldest son Sima Shi inherited his authority; the state of Wu changed its era name to "Taiyuan." In the year Renshen (252 CE), Wei launched another attack on Wu, but suffered a defeat at Dongxingt; Wu changed its era name to "Shenfeng," King Sun Quan died, and his young son Sun Liang succeeded to the throne, changing the era name to "Jianxing." In the year Guiyou (253 CE), armies from both Wu and Shu launched attacks on Wei. In the year Jiaxu (254 CE), the Wei court experienced internal strife, and Sima Shi deposed Emperor Cao Fang of Wei, replacing him with Gaoxianggong Cao Mao, changing the era name to "Zhengyuan." Sima Shi was given the authority of the yellow钺, ruling the state independently, and was honored as King Jing. Shu general Jiang Wei attacked Wei, capturing three cities; Wu changed its era name to "Wufeng." In the year Yihai (255 CE), Sima Shi launched an eastern campaign to suppress the rebellion led by Guan Qiu Jian in Huainan, but died en route back to Xuchang. His younger brother Sima Zhao took over the power, serving as Grand General and in charge of the Ministry of State Affairs, monopolizing the government. Shu general Jiang Wei defeated the Wei army in Lintao, while Wu general Sun Jun repelled the Wei forces in Shouchun.

丙子　魏改元甘露，大敗蜀軍於上邽。司馬昭稱文王，假黃鉞。吳改元太平，大將軍孫峻卒，國亂。丁丑　魏大將軍諸葛誕以揚州叛，入於吳。蜀伐魏，姜維師出駱谷。吳主亮始親政事。戊寅　魏司馬昭伐吳，拔壽春，誅諸葛誕。蜀改元景耀，宦氏黃皓專政。吳亂，大將軍孫□廢其君亮，立亮弟休，改元永安。作逆，伏誅。己卯。庚辰　魏亂，司馬昭弒其君髦，立常道鄉公璜，改元景元。昭加九錫，稱晉國公，專制。

In the year Bingzi (256 CE), the state of Wei changed its era name to "Ganlu" and defeated the Shu army in Shanggui; Sima Zhao was given the title of King Wen, and received the yellow axe; the state of Wu changed its era name to "Taiping," and the minister general Sun Jun died, causing chaos in the country. In the year Dingchou (257 CE), the Grand General of the Eastern Expedition of Wei, Zhuge Dan, rebelled in Yangzhou and submitted to the Eastern Wu; Jiang Wei led an expedition from Luogu against Wei; the King of Wu, Sun Liang, began to govern personally. In the year Wuyin (258 CE), Sima Zhao attacked Wu, captured Shouchun, and executed Zhuge Dan; Shu Han changed its era name to "Jingyao," and the eunuch Huang Hao began to dominate; a coup occurred in Wu, and the general Sun Chen deposed Sun Liang, and installed Sun Liang's brother Sun Xiu as the new king, changing the era name to "Yongan," and Sun Chen later plotted rebellion and was executed. In the year Jimao (259 CE), there were no significant events. In the year Gengchen (260 CE), Wei experienced great turmoil, and Sima Zhao assassinated the unwilling Wei emperor Cao Mao, and installed Cao Huang, the Prince of Changdaoxiang, as the new emperor, i.e., Emperor Cao Huan of Wei, changing the era name to "Jingyuan"; Sima Zhao was granted nine ceremonial gifts, made the Duke of Jin, and controlled the government alone.

辛巳。壬午　魏鄧艾、鍾會伐蜀。癸未　魏滅蜀，徙其君於洛陽。蜀改元炎興。是年，國亡。吳出軍壽春，救蜀不克。甲申　司馬昭進爵為晉王，增郡二十，用天子服器。改元咸熙，以檻車徵鄧艾。鍾會以蜀叛。吳孫休卒。濮陽王興、中軍張布廢休子，而立權廢子和之子皓，改元元興。皓立，誅興及布。乙酉　魏司馬昭卒，子炎繼事。是年，炎代魏命，是謂武帝，改國為晉，元曰太始。降其君璜為陳留王，徙於鄴。吳徙都武昌，改元甘露。

In the year of Xinsi (261 AD), there were no significant events. In the year of Renwu (262 AD), the Wei general Deng Ai and Zhong Hui led separate campaigns against Shu. In the year of Guiwei (263 AD), Wei conquered Shu Han, and moved the Shu emperor Liu Shan to Luoyang. Shu changed its era name to "Yan Xing," and the state fell that same year. Eastern Wu sent troops to Shouchun to aid Shu, but they did not reach their destination. In the year of Jiashen (264 AD), Sima Zhao was elevated to the title of Prince of Jin, received an additional twenty commanderies, and used the imperial chariot and robes. He changed the era name to "Xianxi," and summoned Deng Ai to the capital in a cage. Zhong Hui rebelled against Wei in Shu. The ruler of Wu, Sun Hui, died. Pu Yang Xing and General Left Zhang Bu deposed Sun Hui's son, and instead installed Sun Hao, the son of Sun He, the previously deposed crown prince of Sun Quan, as the new ruler, changing the era name to "Yuan Xing." Sun Hao immediately executed Pu Yang Xing and Zhang Bu. In the year of Yiyou (265 AD), Sima Zhao died, and his son Sima Yan succeeded him. That same year, Sima Yan accepted the imperial mandate from Wei, becoming Emperor Wu of Jin, and changed the state's name to "Jin," with the era name "Tai Shi" (the original text says "Tai Shi"), demoted the Wei emperor Cao Huan to the Marquis of Chenliu, and moved him to Yecheng. Eastern Wu moved its capital to Wuchang and changed its era name to "Gan Lu."

丙戌　吳改元寶鼎，復還建業。丁亥　晉立子衷為皇太子。戊子　吳伐晉。己丑　吳改元建衡，南伐交阯。庚寅　吳孫秀奔晉。辛卯　吳平交阯。蜀劉禪卒於晉。壬辰　晉賈充以女上太子妃，遂為司空。吳改元鳳凰。癸巳　晉何曾為司徒。吳師寇晉弋陽。

In the year of Bingxu (266 CE), Wu changed its era name to "Bao Ding" and moved its capital back to Jianye. In the year of Dinghai (267 CE), Emperor Wu of Jin appointed his second son Sima Zhong as crown prince, who later became Emperor Hui of Jin. In the year of Wuzi (268 CE), Wu launched an attack against Jin. In the year of Jichou (269 CE), Wu changed its era name to "Jian Heng" and launched a southern campaign against Jiaozhi. In the year of Gengyin (270 CE), a member of Wu's royal family, Sun Xiu, fearing the suspicion and executions of Sun Hao, surrendered to Jin. In the year of Xinmao (271 CE), Wu pacified Jiaozhi; the former Shu Han emperor Liu Chan, who had surrendered to Jin, died in Luoyang. In the year of Renchen (272 CE), Jin official Jia Chong married his daughter Jia Nanfeng to the crown prince, and soon after was promoted to the position of Grand Master of State Affairs—this marriage later led to great troubles during Emperor Hui's reign; Wu changed its era name to "Feng Hua." In the year of Guisi (273 CE), Jin appointed He Ceng as Grand Minister of State Affairs; Wu forces invaded Jin's Yiyang.

甲午　晉武帝十年，吳王皓十年。晉分幽州，城平州。乙未　晉改元咸寧，吳改元天冊。丙申　晉東西夷十七國內附。丁酉　晉四夷內附。吳改元天紀，將邵凱、夏祥逃入於晉。戊戌　吳將劉翻、祖始逃入於晉。己亥　晉命賈充督楊渾、琅玡王伸、王戎、胡奮、杜預、唐彬、王浚七將兵二十萬，伐吳。是年，汲人發魏襄王冢，得書七十五卷。

The year Jiawu was the tenth year of Emperor Wu of Jin's reign and the tenth year of King Sun Hao of Wu, corresponding to 274 CE. In Jin, the region of Youzhou was divided, and Pingzhou was established separately. In the year Yiwei (275 CE), Jin changed its era name to "Xianning," and Wu changed its era name to "Tiance." In the year Bingshen (276 CE), seventeen foreign states from the east and west submitted to the Jin dynasty. In the year Dingyou (277 CE), various barbarian tribes again submitted to Jin; Wu changed its era name to "Tianji," and Wu generals Shao Kai and Xia Xiang defected to Jin. In the year Wuxu (278 CE), Wu generals Liu Fan and Zu Shi also fled to Jin. King Sun Hao's rule was tyrannical, causing the people's hearts to disperse. In the year Jihai (279 CE), Emperor Wu of Jin ordered Jia Chong to command Wang Hun (the original text says Yang Hun), Prince Lángyá Wang Sima Zhu (the original text says Shen), Wang Rong, Hu Fen, Du Yu, Tang Bin, and Wang Jun, seven armies totaling 200,000 troops, to attack Wu. That same year, a person from Ji City dug up the tomb of King Xiangwang of Wei and discovered 75 scrolls of ancient bamboo books, known later as the "Jizhong Books." The "Zhu Shu Ji Nian" (Chronicles of the Bamboo Annals) originated from this discovery.

庚子　晉平吳，徙孫皓於洛陽，改元太康。辛丑。壬寅　東西夷二十九國修貢。山濤為司徒，衛瓘為司空。賈充卒。癸卯　孫皓卒。魏舒為司徒。甲辰　乙巳　丙午　丁未　戊申。己酉　汝南王亮為司馬，假黃鉞。庚戌　改元太熙。武帝崩，太子衷踐位，是謂惠帝，冊妃賈氏為皇后，改元永熙。葬武帝於峻陵。王渾為司徒，何邵為太師，裴楷為少師，和嶠為少保，王戎為少傅，衛瓘為太保，石鑑為司空。

In the Gengzi year (280 CE), the Jin dynasty destroyed Wu, moved Sun Hao to Luoyang, and changed the era name to "Tai Kang." The division since the end of the Han dynasty, lasting nearly a century, was thus reunified. In the Xinchou year (281 CE), there were no significant events. In the Rennyin year (282 CE), twenty-nine states from the east and west sent tributes; Shan Tao was appointed Grand Minister, Wei Gua was appointed Grand Marshal, and the powerful minister Jia Chong died. In the Guimao year (283 CE), Sun Hao died in Luoyang; Wei Shu was appointed Grand Minister. In the Jiachen and Yisi years (284-285 CE), and the Bingwu, Dingwei, and Wushen years (286-288 CE), there were no major events, which marked the peaceful era of Tai Kang. In the Jiyou year (289 CE), the Prince of Runan, Sima Liang, was appointed Grand Marshal and received the yellow钺. In the Gengxu year (290 CE), the era name was changed to "Tai Xi." Emperor Wu of Jin died, and his son Sima Zhong ascended the throne, becoming Emperor Hui of Jin. He appointed Jia Nanfeng as empress, changed the era name to "Yong Xi," and buried Emperor Wu in Junyang Mausoleum (the original text says Jun Mausoleum). The court appointed Wang Hun as Grand Minister, He Shao as Grand Teacher, Pei Kai as Junior Teacher, He Qiao as Junior Guardian, Wang Rong as Junior Counselor, Wei Gua as Grand Guardian, and Shi Jian as Grand Marshal.

辛亥　改元永平。皇后賈氏專制，夷十二大臣族，太傅楊駿、太保衛瓘、汝南王亮皆被戮焉。廢太后楊氏為庶人，徙之金墉。遣諸王就國。改元元康。趙王倫為征西將軍。壬子　賈后弒皇太后楊氏於金墉。癸丑　甲寅。乙卯　武庫火。丙辰　張華為司空。秦雍寇亂，齊萬年稱兵涇陽，楊茂搜稱兵百頃。丁巳　王戎為司徒，何劭為僕射。戊午。

In the Xinhai year (AD 291), the era name was changed to "Yongping." Empress Jia controlled the government, and in succession she executed twelve ministers, including the Grand Tutor Yang Jun, the Grand Guardian Wei Guan, and the Prince of Ru'nan, Sima Liang, who were all among those killed. She also deposed the Yang太后, the consort of Emperor Wu, reducing her to a commoner and imprisoning her in the Jin Yong City. She ordered the various princes to return to their fiefs. In the same year, the era name was changed to "Yuan Kang," and Prince Sima Lun was appointed as the Commander of the Western Expedition. The seeds of the Eight Princes' Rebellion were thus sown. In the Renzi year (292), Empress Jia killed the Yang太后 in Jin Yong City. In the Guichou and Jiayin years (293 and 294), there were no events. In the Yimao year (295), a fire broke out in the Luoyang military storehouse, and the treasures of previous dynasties were burned to ashes. In the Bingchen year (296), Zhang Hua was appointed as the Minister of State. In the regions of Qinzhou and Yongzhou in the Central Plains where Han and Hu people lived together, a great turmoil broke out. The Di chieftain Qi Wanyan raised an army in Jingyang, and Yang Maosou, the chieftain of the Qiongchi Di, raised an army in Baiqing. In the Dingsi year (297), Wang Rong was appointed as the Minister of State, and He Shao was appointed as the Chief Secretary of the Ministry of Works. In the Wuwu year (298), there were no events.

己未　賈后廢皇太子遹為庶人，及其二子送之金墉。裴□為僕射。庚申　改元永康。皇后賈氏徙皇庶人於許昌，殺之。趙王倫、梁王彤廢皇后賈氏為庶人，送金墉，殺之。誅宰相張華，及僕射裴□、侍中賈謐，又誅嵇康、呂安、石崇、潘岳於東市。倫假黃鉞，稱國相，專制。以彤為太宰，冊羊氏為皇后。賈氏黨趙廞以成都叛。

In the Jiwei year (AD 299), Lady Jia plotted to falsely accuse and depose the crown prince Sima Yu as a commoner, and she also had his two sons imprisoned and sent to the Jin Yong City. Pi Wei served as the Minister of the Imperial Secretariat. In the Gengshen year (AD 300), the era name was changed to "Yongkang." Lady Jia moved the already deposed prince to Xuchang to carry out further harm. The Prince of Zhao, Sima Lun, and the Prince of Liang, Sima Tong, then used this as an excuse to raise an army, deposed Lady Jia as a commoner, sent her to Jin Yong City where she was given poison to die, and executed the chancellor Zhang Hua, the Minister of the Imperial Secretariat Pi Wei, and the Attendant-in-Attendance Jia Mi. They also executed the famous scholars Shi Chong and Pan Yue in the Eastern Market. The text mentions Ji Kang and Lü An alongside them, but in reality, Ji Kang and Lü An died during the late Cao Wei period. Shao Yong's dating here is incorrect. Sima Lun received the yellow axe, declared himself Chancellor, and took sole control of the government, appointing Sima Tong as Grand Tutor and crowning Yang氏 as the empress. The faction of the Jia family, Zhao Xin, rebelled in Chengdu by occupying the territory.

辛酉　趙王倫竊命，徙帝於金墉，改元建始。齊王冏、成都王穎、河間王顒兵入，誅趙王倫及其黨，迎帝反正。冏大司馬，專制，以穎為大將軍，顒為太尉，改元永寧。流人李特殺趙廞於成都。張軌以梁州叛。壬戌　長沙王乂、河間王顒、成都王穎、新野王歆、范陽王虓兵入，誅齊王冏，送其族於金墉，殺之。乂稱太尉，專制，改元太安。流人李特以六郡稱牧廣漢。癸亥　河間王顒、成都王穎、東海王越執長沙王乂，送之金墉，殺之。顒稱太宰，專制於長安。陸機、陸云兵死。石冰以揚、徐亂。李特攻成都不克，死，子雄繼。

In the year Xinyou (AD 301), Prince Sima Lun of the House of Zhao seized the throne, moved Emperor Hui of Jin to Jin Yong City, and began the era name "Jianshi." Prince Sima Jiong of Qi, Prince Sima Ying of Chengdu, and Prince Sima You of Hejian raised armies and entered the capital, killing Sima Lun and his followers, and restoring Emperor Hui to the throne. Sima Jiong was appointed Grand Master of State and held power, while Sima Ying was made Grand General and Sima You was appointed Grand Minister. The era name was changed to "Yongning." The leader of the migrant population, Li Te, killed Zhao Xun in Chengdu. Zhang Guo controlled the state and declared himself independent (the original text says "rebelled against the state," but in reality he was the governor of Liangzhou), and the later Former Liang state originated from this. In the year Renxu (AD 302), Prince Sima Yi of Changsha, Prince Sima You of Hejian, Prince Sima Ying of Chengdu, Prince Sima Xin of Xinye, and Prince Sima Xiao of Fanyang raised armies and entered the capital, killing Prince Sima Jiong and sending his family to Jin Yong City where they were executed. Sima Yi claimed the title of Grand Minister, monopolized the government, and changed the era name to "Tai'an." Li Te claimed the title of Governor of Yizhou, ruling over Guanghan with the six commanderies of Bashu. In the year Guihai (AD 303), Prince Sima You of Hejian, Prince Sima Ying of Chengdu, and Prince Sima Yue of Donghai conspired to capture Prince Sima Yi of Changsha, sending him to Jin Yong City where he was killed. Sima You claimed the title of Grand Minister and controlled the court from Chang'an. The scholar-officials Lu Ji and Lu Yun died in battle. Shi Bing caused disturbances in Yangzhou and Xuzhou. Li Te attacked Chengdu but failed and died in battle; his son Li Xiong took over the remaining forces.

甲子　晉惠帝十四年，河間王顒廢皇后羊氏及皇太子覃，徙之金墉，表成都王穎為太弟，加九錫，鎮鄴。改元永安。右衛將軍陳軫復羊氏皇后及覃太子，大會司徒王戎及東海王越、高密王簡、平昌公模、吳王晏、豫章王熾、襄陽王范、左僕射荀藩八部兵，奉帝北伐鄴，師敗於湯陰，嵇紹死之。帝如北軍，穎以帝歸鄴，改元建武。顒將張方入洛，復廢皇后羊氏及覃太子。安北將軍王浚、東瀛公騰以烏丸兵攻鄴，穎師敗，帝還洛陽。河間王使張方徙帝西都長安，亦復羊氏皇后及永安年號，廢穎太弟，以豫章王熾為太弟，改元永興。王戎豫朝政。始分東西臺。是年，李雄逐羅尚於成都，稱王；單于左賢王劉淵稱王離石，國曰漢，元曰元熙。

The year of Jiazi was the fourteenth year of Emperor Hui's reign, in the year 304 CE. The Prince of Hejian, Sima Yong, deposed Queen Yang and the crown prince Sima Tan, imprisoning them in the Jin Yong City, and submitted a memorial to appoint Prince Sima Ying of Chengdu as the crown prince, granting him the Nine Grants, and stationed him in Yecheng. Right Guards General Chen Zhen (the original text reads Chen Zhen) restored the titles of Queen Yang and Prince Sima Tan, and gathered eight armies led by Sima Rong, Prince of Donghai, Sima Yue, Prince of GaoMi, Sima Jian, Prince of Ping昌, Sima Mo, Prince of Ping昌, Sima Yan, Prince of Wu, Sima Chi, Prince of Yu Zhang, Sima Fan, Prince of Xiangyang, and Xun Fan, Left Chancellor, to march north to attack Yecheng. However, they suffered a great defeat at Tangyin. The attendant middle minister Ji Shao died shielding the emperor with his body. Emperor Hui was captured by the enemy forces, and Sima Ying brought him back to Yecheng, changing the era name to "Jianwu." Sima Yong's subordinate Zhang Fang attacked Luoyang, and again deposed Queen Yang and the crown prince. General Wang Jun, Commander of the Northern Army, and Prince Sima Teng of Dongying, using the cavalry of the Huai people, attacked Yecheng. Sima Ying was defeated, and Emperor Hui was able to return to Luoyang. Sima Yong again sent Zhang Fang to take Emperor Hui to Chang'an, reinstalled the Yang family as queen, restored the era name "Yong'an," and removed Sima Ying's title as crown prince, appointing Prince Sima Chi of Yu Zhang as the new crown prince, changing the era name to "Yongxing." Sima Rong participated in government affairs, and the court began to establish the Eastern and Western Two Palaces. Also in this year, Li Xiong drove out the governor of Yizhou, Luo Shang, in Chengdu, and declared himself King of Chengdu. The Xiongnu chieftain, Left Grand Son of the Single Chief, Liu Yuan, proclaimed himself king in Lishi, establishing the state name "Han" and the era name "Yuanxi." Thus began the chaos of the Five Barbarians and Sixteen Kingdoms.

乙丑　東海王越嚴兵徐方，范陽王虓抗師許昌，成都王穎擁兵河間北，河間王顒又復廢羊氏皇后，以穎為大將軍，都督河北。虓、越將周權入洛，又復羊氏皇后。洛陽令何喬殺周權，又廢羊氏皇后。虓、越兵攻穎不已，穎敗，棄鄴，走洛陽。虓、越攻洛陽。穎奔顒於長安。漢劉淵攻晉劉琨於板橋，不利。丙寅　東海王越、范陽王虓兵攻長安。河間王顒、成都王穎走南山。虓、越將祁弘、宋胄以帝東還洛陽，復以羊氏為皇后，改元光熙。越稱太傅，錄尚書事，專制。虓為司空，卒。越遂弒帝，立太弟熾，是謂懷帝。引溫羨為司徒，王衍為司空。顒、穎野死。李雄稱帝成都，國曰蜀，元曰太武，謂之後蜀。

In the year Yichou (公元 305), Prince Sima Yu of the Eastern Sea gathered troops in Xuzhou, while Prince Sima Xiao of Fanyang held out in Xuchang. Prince Sima Ying of Chengdu stationed his army in the Yellow River region, and Prince Sima Yong of Hejian once again deposed Queen Yang. Sima Ying was appointed Grand General and Commander-in-Chief of the Yellow River region. Sima Xiao and Sima Yu's generals, Zhou Quan, captured Luoyang and reinstalled the Yang family as queen. However, Luoyang Magistrate He Qiao killed Zhou Quan, and Queen Yang was deposed again. Sima Xiao and Sima Yu continued to attack Sima Ying, who was defeated and abandoned the city of Ye, fleeing to Luoyang. Sima Xiao and Sima Yu then attacked Luoyang, forcing Sima Ying to flee to Chang'an where Sima Yong was. Liu Yuan, the Han Prince, attacked Liu Kun, a Jin general, at Banqiao but failed to make progress. In the year Bingyin (306), Sima Yu and Sima Xiao joined forces to attack Chang'an, while Sima Yong and Sima Ying fled into Zhongnanshan. Sima Xiao and Sima Yu's generals, Qi Hong and Song Zhou, escorted Emperor Hui back to Luoyang, reinstalled the Yang family as queen, and changed the era name to "Guangxi." Sima Yu claimed the title of Grand Tutor and Chief Minister, monopolizing the government. Sima Xiao, who had just been appointed Grand Minister, died shortly after. Sima Yu then poisoned Emperor Hui and installed the Crown Prince Sima Chi as emperor, who became Emperor Huai of Jin. He appointed Wen Xian as Grand Minister and Wang Yan as Grand Minister. Sima Yong and Sima Ying also died in the wilderness. The sixteen-year conflict known as the Eight Princes' Rebellion ended at this time. In the same year, Li Xiong declared himself emperor in Chengdu, establishing the state name "Dacheng" and the era name "Taiwu," historically known as Chenghan, which is referred to as the Later Shu in the text.

丁卯　晉改元永嘉。東海王越稱大丞相，鎮許昌。以後父梁芬為太尉。成都王黨汲桑陷鄴。王彌稱兵青、徐。漢劉淵破晉河東諸郡。晉劉琨獨保晉陽。戊辰　劉淵稱帝蒲子，改元永鳳，拔晉平陽，居之。王彌、石勒附於漢。石勒攻常山，王彌攻洛陽，焚建春門。己巳　東海王越入洛，殺大臣十餘人，以左僕射山簡徵東大將軍，都督荊州，南鎮襄陽。漢劉淵改元河瑞。石勒兵出鉅鹿，王彌兵出上黨，劉聰兵出壺關，同攻晉洛陽。

In the year Dingmao (AD 307), the Jin dynasty changed its era name to "Yongjia." The Marquess of Donghai, Sima Yue, claimed the title of Grand Chancellor, and moved his headquarters to Xuchang. He appointed Liang Fen, the father-in-law of the Emperor Huai, as Grand Minister. Ji Sang, a former follower of the Duke of Chengdu, captured the city of Ye; Wang Mi raised an army in the states of Qingzhou and Xuzhou; and Liu Yuan, the ruler of the Han state, captured several prefectures in the River East region of the Jin. Liu Kun, the governor of Bingzhou, defended Jinyang alone, becoming the only remaining stronghold of the Jin dynasty in the north. In the year Wuchen (308), Liu Yuan proclaimed himself emperor in Puzi and changed the era name to "Yongfeng," capturing Pingyang and moving the capital there. Wang Mi and the Jie chieftain Shi Le both submitted to the Han state. Shi Le attacked Changshan, while Wang Mi attacked Luoyang, burning the Jianchun Gate. In the year Jisi (309), Sima Yue entered Luoyang and executed more than ten court officials at once. He appointed Shan Jian, the Left Chancellor, as General of the Eastern Expedition and Commander of Jingzhou, and stationed him in the south to guard Xiangyang. The Han dynasty changed its era name to "He Rui." Shi Le advanced from Jilu, Wang Mi from Shangtang, and Liu Cong from Huguan, attacking Luoyang from three directions. From this year onwards, the capital of the Western Jin was surrounded every year.

庚午　東海王越徵兵天下，諸侯咸無從者，自率兵出許昌。漢劉淵卒，子和繼。叔楚王聰殺和代立，改元光興，以北海王義為皇太弟，劉曜為相國，石勒為大將軍。辛未　天下亂。晉詔兗州苟晞會諸侯兵伐許昌，會東海王越卒，乃止。是年，洛陽陷。王衍為軍帥，王師十二敗，帝及傳國六璽皆沒於寇。長安亦陷，南陽王模亦沒於寇。漢劉曜、王彌、石勒拔晉洛陽，俘其帝於平陽，改元嘉平。劉曜拔晉長安，保之。石勒害王彌於己吾，而並其眾。蜀李雄拔晉梓潼及涪城，改元玉衡。

In the year Gengwu (公元 310), Prince Sima Yue of the Eastern Sea summoned troops throughout the empire, but no state or commandery responded. He had to personally lead his forces to驻屯 at Xuchang. After the death of the Han ruler Liu Yuan, his son Liu He succeeded him, but his uncle Prince Chu Liu Cong killed Liu He and took the throne, changing the era name to "Guangxings" and appointing Prince Beihai Liu Yi as the Crown Prince, while appointing Liu Yao as Chancellor and Shi Le as Grand General. In the year Xinwei (311), chaos spread throughout the empire. The Jin court issued an edict ordering Governor Guo Xi of Yanzhou to join forces with other generals to attack Sima Yue's forces at Xuchang. However, Sima Yue died of illness, and the campaign was abandoned. That year, Luoyang fell: Wang Yan led the Jin army, but the Jin forces lost all twelve battles, and Emperor Hui of Jin along with the imperial seals were captured by the enemy. Chang'an also fell, and Prince Nanyang Sima Mo was captured. Han generals Liu Yao, Wang Mi, and Shi Le captured Luoyang, capturing Emperor Hui of Jin and taking him to Pingyang. The Han dynasty changed its era name to "Japing," an event known as the "Yongjia Chaos." Liu Yao then captured and occupied Chang'an. Shi Le killed Wang Mi at Jiwu and absorbed his troops. Li Xiong of Chenghan captured Zitong and Fucheng of the Jin dynasty, and changed the era name to "Yuheng."

壬申　晉懷帝在平陽。賈疋逐劉曜於長安三輔，與閻鼎、梁芬、梁綜、曲允共奉秦王鄴為皇太子，以入長安。鎮東將軍琅玡王睿帥亡眾大集壽春。苟晞保蒙城，不利，降於石勒。劉琨保晉陽，不利，奔常山。拓跋猗盧以兵六萬來救，大敗劉曜、劉粲於狼猛。劉琨復保陽曲。漢劉聰納劉殷女二人為皇后，孫四人為貴妃，拔晉太原，復失之。癸酉　晉懷帝死於平陽，皇太子鄴稱帝長安，是謂愍帝，改元建興。以梁芬為司徒，曲允為使持節領軍、錄尚書事，索為尚書左僕射，琅玡王睿為左丞相，都督陝東諸軍事。南陽王保為右丞相，都督陝西諸軍事。山東郡縣悉陷於寇。漢石勒鎮襄國。曹嶷攻下三齊，據有廣固。

In the year Renshen (公元 312), Emperor Huai of the Jin was still held captive in Pingyang. Jin minister Jia Pi drove Liu Yao out of the area around Chang'an, and together with Yan Ding, Liang Fen, Liang Zong, and Qu Yun (the original text reads Qu Yun), they jointly proclaimed Prince Sima Ye of the Qin as the crown prince, and escorted him to Chang'an. General of the Eastern Expedition, Prince Langye Sima Rui gathered the displaced people and held a great assembly in Shoucheng, which marked the beginning of the establishment of the Eastern Jin dynasty. Guo Xi held the fortress of Mengcheng but failed, and surrendered to Shi Le; Liu Kun defended Jinyang but failed, and fled to Changshan. The Dai king Tuoba Yilu raised an army of 60,000 men to rescue him, and defeated Liu Yao and Liu Can at Langmeng, allowing Liu Kun to retreat and take refuge in Yangqu. The Han chief Liu Cong once married two daughters of Liu Yin as empresses and four granddaughters as imperial concubines, indulging in debauchery and excess. He captured the Jin's Taiyuan, but soon lost it again. In the year Guiyou (313), Emperor Huai was killed in Pingyang, and Crown Prince Sima Ye ascended the throne in Chang'an, becoming Emperor Min of the Jin, and changed the era name to "Jianxing." He appointed Liang Fen as Grand Minister, Qu Yun as Commander with the Authority of the Imperial Seal and Commander of the Army, and in charge of the Ministry of State Affairs, Su Cun (the original text lacks the character Cun) as Left Chancellor of the Ministry of Works, and Prince Langye Sima Rui as Left Chancellor and Commander of the Military Affairs in the Eastern Shaanxi, while Prince Nanyang Sima Bao was appointed Right Chancellor and Commander of the Military Affairs in the Western Shaanxi. All the prefectures and counties east of the Xiaoshan Mountains were lost. Han general Shi Le was stationed in Xiangguo; Cao Yi captured three prefectures in Qi, and occupied Guanggu.

甲戌　晉以琅玡王睿為大司馬，苟組為司空，劉琨為大將軍，封涼州張軌為太尉。西平郡王軌卒，子寔繼，稱西河王，國曰涼，元曰永興，城姑臧，是謂前涼。漢劉聰立三皇后，改元建元。劉曜圍晉長安，石勒圍晉幽州。乙亥　晉進左丞相琅蚜王睿都督中外諸軍事，右丞相南陽王保為相國，司空苟組為太尉，大將軍劉琨為司空。陶侃平江表，獲杜弢。漢劉聰立七皇后，授石勒專命俾徵，伐晉。勒拔晉濮陽。

In the year of Jiaxu (公元 314), the Jin dynasty appointed the Prince of Langye, Sima Yu, as Grand General, Xun Guo as Minister of Works, and Liu Kun as Grand General. They also granted the title of Grand General to Zhang Guo, the governor of Liangzhou. After the death of Zhang Guo, the Prince of Xiping, Zhang Shi, succeeded him and established the state of Liang, taking the era name Yongxing. He built Guchang as the capital, thus establishing the Former Liang. The Han ruler Liu Cong once appointed three empresses at the same time and changed the era name to Jianyuan. Liu Yao besieged Chang'an, while Shi Le besieged Youzhou. In the year of Yihai (315), the Jin dynasty promoted the Prince of Langye, Sima Yu, as Commander-in-Chief of all military affairs, and the Prince of Nanyang, Sima Bao, as Chancellor. Xun Guo was appointed Grand General, and Liu Kun as Minister of Works. Tao Kan pacified Jiangnan and captured Du Tao, the leader of the migrant population. The Han ruler Liu Cong again appointed seven empresses at the same time and granted Shi Le the authority to campaign against the Jin. Shi Le captured Puyang.

丙子　晉長安陷於寇，帝出降於豆田中。漢劉曜拔晉長安，俘其帝於平陽，改元麟嘉。石勒拔晉太原，劉琨走幽州，依段匹□。丁丑　晉帝在平陽。琅玡王睿渡江，稱晉王於建康，元曰建武。以西陽王羕為太尉，王敦為大將軍，王導都督中外。帝死於平陽。戊寅　晉王睿稱帝於建康，改元太興，以子紹為太子，是謂東晉元帝。劉琨為段匹所害。王敦稱牧荊州，王導開府建康。漢劉聰卒，子粲繼，改元漢昌。將靳準殺粲代立，相國劉曜自長安入，至赤壁，稱帝，改元光初，加大將軍勒九錫，封趙國公。國人誅靳准以迎曜。

In the year Bingzi (316 AD), Chang'an was surrounded and ran out of food, leading to its fall. Emperor Siming of Jin surrendered in a bean field outside the city. Han general Liu Yao captured Chang'an and took Siming to Pingyang. The Han dynasty then changed its era name to "Lingjia," marking the end of the Western Jin. Shi Le captured Taiyuan, and Liu Kun fled north to Youzhou, seeking refuge with the Xianbei general Duan Pishan (the character here is missing in the original text). In the year Dingchou (317 AD), Siming continued to suffer humiliation in Pingyang. Prince Lyang Wang Sima Rui crossed the Yangtze River and established himself as King of Jin in Jiankang, adopting the era name "Jianwu." He appointed Prince Xiyang Wang Sima Yang as Grand General, Wang Dun as Grand General, and Wang Dao as Commander of both internal and external affairs, laying the foundation for the establishment of the Eastern Jin. Soon after, Siming was later killed in Pingyang. In the year Wuyin (318 AD), Sima Rui officially became emperor in Jiankang, changing the era name to "Taixing," and appointed his son Sima Shao as crown prince, who became the first emperor of the Eastern Jin. Liu Kun was killed by Duan Pishan. Wang Dun was appointed as Governor of Jingzhou, while Wang Dao established his own government in Jiankang. Thus, the situation of "Wang and Ma ruling the world together" was formed. Meanwhile, the Han ruler Liu Cong died, and his son Liu Can succeeded him, changing the era name to "Han Chang." A general named Jin Zhuan assassinated Liu Can and declared himself emperor. The Chancellor Liu Yao advanced eastward from Chang'an, proclaimed himself emperor at Chibi, changing the era name to "Guangchu," and granted Shi Le the Nine Titles and the title of Marquis of Zhao. The people of Han killed Jin Zhuan and welcomed Liu Yao back.

己卯　晉南陽王保保祁山，稱晉王。漢劉曜還長安，改國曰趙，是謂前趙。殺石勒使者王循。石勒稱王襄國，國曰趙，元曰趙，是謂後趙。以張賓為之相，號大執法。以弟虎為之將，號元輔。庚辰　晉南陽王保走桑城，死。涼亂，殺張寔，寔弟茂代領其眾。辛巳　晉王導為司空，錄尚書事。幽州陷，段匹沒於石勒。鮮卑慕容廆受晉持節，都督遼東、遼西。

In the year of Jimao (公元 319), the Jin Dynasty's Prince of Nanyang, Sima Bao, retreated to Qishan and claimed the title of King of Jin. Liu Yao returned to Chang'an and changed the state name from "Han" to "Zhao," known as the Former Zhao. He killed Wang Xun, an envoy of Shi Le, and thus the two became bitter enemies. Shi Le then established himself as King of Zhao in Xiangguo, also naming the state "Zhao" with the era name "Zhao," known as the Later Zhao. He appointed strategist Zhang Bin as prime minister, known as the Great Chancellor, and his brother Shi Hu as a general, known as the Great Assistant. In the year of Gengchen (320), Prince Sima Bao of Nanyang fled to Sangcheng and died. Internal strife occurred in the Former Liang, where Zhang Shi was killed, and his brother Zhang Mao took over the leadership. In the year of Xinsi (321), the Eastern Jin appointed Wang Dao as the Minister of State and in charge of the Secretariat. The Yuzhou region fell, and Duan Pibei was captured by Shi Le. The Xianbei leader Murong Wei accepted the imperial commission from the Jin Dynasty to oversee Liao Dong and Liao Xi, thus formally entering the political scene of the Central Plains.

壬午　晉改元永昌。大將軍王導以武昌叛，破石頭，自為丞相，都督中外。太保西陽王羕進位太宰，加司空。王導進位尚書令。石虎寇太山。梁碩以淮陰叛。帝憂憤死，皇太子紹嗣位，是謂明帝。石勒拔劉曜河南。癸未　晉改元太寧。王敦假黃鉞。劉曜、石勒皆入寇。趙劉曜拔晉陳安，收隴城、陝西城及上邽；趙石勒滅晉曹嶷於廣固。涼張茂稱藩於前趙。

In the year Renwu (公元 322), the Eastern Jin dynasty changed its era name to "Yongchang." General Wang Dun (the original text mistakenly writes Wang Dao here) raised an army from Wuchang and rebelled, capturing the Stone City. He assumed the position of Chancellor and Commander-in-Chief of both internal and external affairs. The Grand Guardian, Prince Wei Yang Wang Sima Yang, was promoted to Grand Minister and added the title of Minister of Works, while Wang Dao was promoted to Chancellor of the Secretariat. Shi Hu invaded Taishan; Liang She rebelled in Huaiyin. Emperor Sun Wu of Jin died from grief and anger, and his crown prince Sima Shao succeeded to the throne, becoming Emperor Ming of Jin. Shi Le captured the territories of Liu Yao's River Region. In the year Guiwei (323), the Eastern Jin dynasty changed its era name to "Taining." Wang Dun received the yellow钺, and his power grew even greater. Liu Yao and Shi Le both launched southern invasions: Liu Yao of the Former Zhao defeated the Jin general Chen An, capturing Longcheng, Shangqiu, and Shangui; Shi Le of the Later Zhao destroyed Cao Yi, who was loyal to Jin, in Guanggu. Zhang Mao of the Former Liang turned to the Former Zhao and submitted as a vassal to preserve himself.

甲申　晉王敦寇江寧，帝御六軍，敗敦于越城。敦死於蕪湖。王導為太保。蜀李雄以兄之子班為太子。涼張茂卒，兄子駿立，改元太光。乙酉　晉以子衍為皇太子。石勒入寇。以陶侃為徵西大將軍，都督荊、湘、梁、雍。明帝終，太子衍嗣位。是謂成帝。太后庾氏稱制，司徒王導錄尚書事，同中書令庾亮輔政。遼西亂，段遼殺其主自立。趙石勒拔晉荊、兗、豫三州，及劉曜新安、許昌。

In the year Jiashen (公元 324), Wang Dun once again raised an army and advanced toward Jiangning. Emperor Ming of Jin personally led six armies and defeated Wang Dun's forces at Yuecheng. Wang Dun died of illness in Wuhu, and the rebellion was quelled. Wang Dao was promoted to the position of Taibao. In the state of Chenghan, Li Xiong established his nephew Li Ban as crown prince. In the state of Qianliang, Zhang Mao died, and his nephew Zhang Jun succeeded him, changing the era name to "Taiyuan" (the original text says "Taiguang"). In the year Yiyou (325), the Eastern Jin dynasty appointed Prince Sima Yan as crown prince. Shi Le invaded the south, and Jin appointed Tao Kan as General of the Western Expedition, overseeing the four states of Jing, Xiang, Liang, and Yong. Emperor Ming died, and his son Prince Sima Yan succeeded him as Emperor Cheng of Jin, as he was young, the Empress Dowager Yu took over the government, and Sima Dao, the Minister of State, was in charge of the administration, together with the Chancellor Yu Liang, assisting in governance. In the Western Liang, internal disorder occurred, and Duan Liao killed his master and proclaimed himself emperor. In the state of Hou Zhao, Shi Le captured the three states of Jing, Yan, and Yu from Jin, and also captured Xinnan and Xuchang from the state of Qian Zhao, Liu Yao.

丙戌　晉改元咸和，進王導大司馬，假黃鉞，都督中外軍事。蜀李雄攻晉涪城，趙石勒攻晉汝南。丁亥　晉豫州祖約、歷陽蘇峻、彭城王雄、章武王休連兵犯建業，司馬流拒戰，不克，死於慈湖。戊子　晉蘇峻敗王師於西陵，入宮，稱驃騎將軍。錄尚書事，徙帝於石頭。虞潭、庾冰、王舒稱義三吳，會征西將軍陶侃、平南將軍溫嶠、平北將軍魏該圍峻於白石，滅之。峻弟逸代總其眾。韓晃寇宣城，祖約奔石勒。大敗劉曜於洛陽，獲之，遂滅前趙。以徐光為中書令。

In the year of Bingxu (AD 326), the Eastern Jin dynasty changed its era name to "Xianhe," promoted Wang Dao to the position of Grand Commander, granted him the authority of the Yellow Halberd, and made him the commander of military affairs both within and outside the capital. At the same time, Li Xiong of Chenghan attacked Fucheng in the Jin dynasty. Shi Le of Later Zhao attacked Runan in the Jin dynasty. In the year of Dinghai (AD 327), the governor of Yu州, Zu Jie, and the chief of Lixiang, Su Jun, joined forces with Prince Sima Xiong of Pengcheng and Prince Zhangwu Sima Xiu to launch an attack on Jianye. The Jin general Sima Liu failed to resist and died in Cihu Lake. In the year of Wuzi (AD 328), Su Jun defeated the Jin army at Xilin and entered the imperial city, declaring himself Grand Commander of the Western Cavalry and Chancellor of the Secretariat, and took Emperor Cheng as a hostage to Shitou City. Yu Tan, Yu Bing, and Wang Shu raised an army in the three Wu regions, and together with General Tao Kan of the Western Expedition, General Wen Qiao of the Southern Pacification, and General Wei Gai of the Northern Pacification, they surrounded Su Jun at Baishi and defeated him. Su Jun's younger brother Su Yi took command of the remaining troops, while his general Han Huang raided Xuancheng. Zu Jie fled north and surrendered to Shi Le. Later, Later Zhao defeated and captured Liu Yao of the Former Zhao in Luoyang, leading to the fall of the Former Zhao. Shi Le appointed Xu Guang as the Minister of the Secretariat.

己丑　晉蘇逸拔石頭，帝野次。滕含敗逸於石頭。逸退保吳興。王允之敗逸於溧陽，滅之。趙（闕）安。石虎破上邽，殺劉熙、劉胤三千人。庚寅　晉陸玩、孔愉為左右僕射。起新宮於苑，陶侃擒郭默於潯陽。蜀李雄攻晉巴東。涼張駿稱藩於石勒。趙石勒稱帝，自襄國徙都鄴，改元建平。辛卯　晉以陸玩為尚書令。

In the year Jichou (AD 329), Su Yi captured the Stone City, and Emperor Cheng of the Jin dynasty once camped outdoors. Jin general滕含 defeated Su Yi at the Stone City, forcing him to retreat to Wuxing. Wang Yunzhi then defeated and destroyed Su Yi at Lixiang. The original text of the Later Zhao mentions a missing part, only preserving the words "Zhao (missing) An." It refers to the campaign of Shi Hu's western expedition: Shi Hu captured Shangui, killing Liu Xi and Liu Yin, among more than three thousand people of the former Zhao, thus eliminating the remnants of the former Zhao. In the year Gengyin (AD 330), the Eastern Jin appointed Lu Wan and Kong Yu as left and right Chancellor, respectively, and constructed a new palace within the palace grounds; Tao Kan captured the rebel general Guo Mo in Xunyang. Li Xiong of Chenghan attacked the Jin's Badong; Zhang Jun of the Former Liang turned to Shi Le as a vassal. Shi Le of the Later Zhao officially declared himself emperor, moved the capital from Xiangguo to Ye, and initiated the era name "Jianping." In the year Xinmao (AD 331), the Eastern Jin appointed Lu Wan as Minister of the Secretariat.

壬辰　晉徙居新宮，進太尉陶侃大將軍。趙石勒卒，子弘繼，改元延熙，加石虎九錫，專政，稱丞相魏（王），殺中書令徐光及右長史程遐。癸巳　晉遼東公慕容廆卒，子皝繼。蜀李雄卒，子班繼，叔父壽專政。趙亂，石弘出奔譙城。石朗稱兵洛陽，石生抗軍長安，石虎咸滅之。

In the year of Renchen (公元 332), Emperor Cheng of the Eastern Jin moved into his new palace and promoted Tao Kan, the Grand Tutor, to the position of Grand General. Later Zhao's Shi Le died, and his son Shi Hong succeeded to the throne, changing the era name to "Yanxi." Shi Hu was granted the Nine Treasures, monopolized the government, and claimed the title of Chancellor and King of Wei (the character "King" was added by the proofreader). He also executed Xu Guang, the Middle Secretary, and Cheng Xia, the Right Chancellor, the two regents who had been entrusted with the affairs of state. In the year of Guisi (333), Murong Hui, the Duke of Liao Dong enfeoffed by the Eastern Jin, died, and his son Murong Huang succeeded him. Li Xiong, the founder of Cheng Han, died, and his son Li Ban succeeded him, while his uncle Li Shou seized power. Later Zhao descended into chaos, with Shi Hong fleeing to Qiao City. Shi Lang raised an army in Luoyang, and Shi Sheng gathered troops in Chang'a to defy the central government, but both were eventually eliminated by Shi Hu.

甲午　東晉成帝九年。蜀李班為庶兄越所殺，立雄子期，改元玉恆，越專政。涼張駿受晉大將軍命。乙未　晉改元咸康。石虎入寇，假大司馬王導黃鉞，出兵戍慈湖、牛渚、蕪湖。趙亂，石虎殺弘代立，稱攝天王，改元建武。丙申。丁酉　鮮卑慕容皝稱王遼東，趙石虎稱趙天王。

The year Jiawu (334 CE) was the ninth year of Emperor Chengdi's reign in the Eastern Jin dynasty. In this year, Li Ban, a minor brother of the state of Chenghan, was killed by his half-brother Li Yue, who then installed Li Qi, the son of Li Xiong, as the new ruler and changed the era name to "Zuheng." Li Yue gained power. Zhang Jun of the Former Liang accepted the title of Grand General conferred by the Eastern Jin dynasty. In the year Yiwei (335 CE), the Eastern Jin dynasty changed its era name to "Xiankang." Shi Hu invaded the south, and the court appointed Wang Dao as Grand General with the authority of the Yellow Axe, ordering him to station troops at three key river defense locations: Cihu Lake, Niuzhu, and Wuhu. Internal strife occurred in the Later Zhao dynasty, and Shi Hu killed Shi Hong and took the throne, declaring himself Regent King and changing the era name to "Jianwu." In the year Bingshen (336 CE), there were no notable events. In the year Dingyou (337 CE), Modu Chao of the Xianbei established the state of Yan in Liao Dong, marking the founding of the Former Yan. Meanwhile, Shi Hu of the Later Zhao changed his title to Great King of the Zhao dynasty.

戊戌　單于冒頓拓跋什翼犍稱王定襄，國曰代，元曰建國。蜀亂，李壽自漢中入，殺期代立，改國為漢，元曰漢興。慕容皝攻後趙。己亥　晉王導卒。伐蜀。庚子　晉陸玩為司空。遼東慕容皝獻伐石虎之捷。漢李壽拔晉丹州。辛丑　晉慕容皝求為假燕王，徙居和龍。

In the year of Wuxu (公元 338), the leader of the Xianbei Tuoba tribe, Tuoba Shiyi Jian, proclaimed himself king in Dingshang, establishing the state name as "Dai" and the era name as "Goubu", which became the precursor of the Northern Wei (the original text attributes it to the Xiongnu Moudun single chief system, which was the old view of the origin of northern tribes at that time). The state of Chenghan experienced internal strife, with Li Shou leading his troops from Hanzhong into Chengdu, killing Li Qi and proclaiming himself emperor, changing the state name to "Han" and the era name to "Hanxing". Murong Hao launched an attack on the Later Zhao. In the year of Jihai (339), the famous chancellor Wang Dao of Eastern Jin died; the Jin dynasty launched an expedition against Shu. In the year of Gengzi (340), the Eastern Jin appointed Lu Wan as the Minister of State; Murong Hao submitted a report to the Jin court about his victory over Shi Hu. Li Shou captured Danzhou of the Jin. In the year of Xinchou (341), Murong Hao requested the Jin court to formally grant him the title of King of Yan and moved his capital to He Long.

壬寅　晉成帝崩，母弟琅玡王嶽立，是謂康帝。封成帝二子丕為琅玡王，弈為東海王。中書監庾冰、中書令何充參錄尚書事，諸葛恢輔政。漢李壽卒，子勢繼，改元太和。癸卯　晉改元建元。甲辰　晉康帝崩，太子聃繼，是謂穆帝。太后稱制。趙石虎伐涼，不利；伐燕，有功。乙巳　晉改元永和。會稽王昱為撫軍大將軍，錄尚書六條事，專政。

In the year Renyin (公元 342), Emperor Cheng of Jin died, and his younger brother, Prince Lángyé Wang Sima Yu, succeeded to the throne, becoming Emperor Kang of Jin. He was granted the title of Prince Lángyé to his son Sima Pi and Prince Donghai to his son Sima Yi. Yu Bing, the Grand Secretary of the Secretariat, and He Chong, the Chief Secretary, were both involved in the administration of the Secretariat, and Zhuge Huai assisted in governing the state. The ruler of Chenghan, Li Shou, died, and his son Li Shi succeeded him, changing the era name to "Taihe." In the year Guimao (公元 343), Eastern Jin changed its era name to "Jianyuan." In the year Jiachen (公元 344), Emperor Kang of Jin died, and his son, Prince Sima Dan, succeeded to the throne as Emperor Mu of Jin, who was only two years old, with Chuzhou太后 ruling the court on his behalf. Later Zhao's Shi Hu failed in his western campaign against the Former Liang, but achieved some success in his northern campaign against the Former Yan. In the year Yisi (公元 345), Eastern Jin changed its era name to "Yonghe." Prince Weiyu, the Prince of Kuaiji, was appointed as the Commander of the Pacifying General and involved in the administration of the Secretariat, beginning to take control of the government.

丙午　晉桓溫伐蜀。漢李勢平李弈，改元嘉寧。涼張駿卒，子重華繼，改元永樂。趙石虎攻涼金城。丁未　晉桓溫滅蜀，徙李勢於建康。蜀復亂，範賁稱帝成都。涼張重華敗石虎於枹罕。戊申　晉桓溫為徵西大將軍，入長安，至於灞上。遼東慕容皝卒，子雋繼。趙石虎攻晉竟陵。

In the year Bingwu (公元 346), the Eastern Jin's governor of Jingzhou, Huan Wen, launched an expedition against Shu. The Chenghan ruler Li Shi quelled the rebellion led by Li Yi and changed the era name to "Jianing". The Former Liang ruler Zhang Jun died, and his son Zhang Chonghua succeeded him, changing the era name to "Yongle". The Later Zhao ruler Shi Hu attacked the Former Liang's Jincheng. In the year Dingwei (公元 347), Huan Wen destroyed Chenghan, moved Li Shi to Jiankang, and his prestige greatly increased; chaos broke out again in Shu, with Fan Ben proclaiming himself emperor in Chengdu. Zhang Chonghua defeated Shi Hu's forces at Baohan. In the year Wushen (公元 348), Huan Wen was promoted to Grand General of the Western Campaign and led his army into the pass, reaching Ba-shang near Chang'an (this campaign actually took place several years later, Shao Yong dated it to this year). Mo Di of Liao Dong died, and his son Mo Juan succeeded him. Shi Hu attacked Jingling of the Jin.

己酉　晉平蜀亂。鮮卑慕容雋稱王遼東，國曰燕，元曰燕元，是謂前燕。趙石虎稱帝，改元太寧。虎卒，子世繼，張豺為相，專制。內難作，石遵自關右入，殺世及張豺，代立。石冰自薊門入，殺遵不克。石閔殺遵，立石鑑，改元青龍，閔稱大將軍，專政。苻洪稱兵廣川。

In the year Jiyou (公元 349), the Eastern Jin dynasty quelled the remaining unrest in Shu. Xianbei Murong Juan established himself as king in Liao Dong, founding the state of Yan with the era name Yan Yuan, known as the Former Yan. Hou Zhao Shi Hu became emperor, changing the era name to Ta Ning, but soon died, and his young son Shi Shi succeeded him. Zhang Cai, the chancellor, seized power. The internal conflicts among the Shi family continued: Shi Zun entered Yeh from Guan Yu and killed Shi Shi and Zhang Cai to proclaim himself emperor; Shi Bing entered Yeh from Jimo to plot against Shi Zun but failed; Yang Sun Shi Min, a man of Han origin, also known as Ran Min, killed Shi Zun and proclaimed Shi Jian as emperor, changing the era name to Qinglong, and claimed the title of Grand General, monopolizing the government. The氐 chieftain Fu Hong raised an army in Guangchuan, thus marking the beginning of the Former Qin's rise.

庚戌　趙石鑑殺大將軍閔及李農，不克。閔殺鑑，代立，複姓冉氏，改國曰魏，元曰永興，大滅石氏宗室。鑑弟祗稱帝襄國，以將劉顯南攻冉氏，不克，殺祗以降。閔破襄國，誅顯，滅其族。將苻健自枋頭入關，逐杜洪於長安，據之。將魏統以兗州，冉遇以豫州，樂弘以荊州，鄭繫以洛州，入於晉。劉淮以幽州入於燕。燕南略地至幽、冀。

In the year Gengxu (公元 350), Shi Jian of the Later Zhao plotted to kill the Grand General Shi Min and Li Nong, but failed. Shi Min then killed Shi Jian and proclaimed himself emperor, restoring his original surname Rán and changing the state's name to "Wei" with the era name "Yongxing." He also carried out a large-scale massacre of the Shi clan, an event known as the Rán Wei. Shi Jian's younger brother Shi Zhi declared himself emperor in Xiangguo, and sent his general Liu Xian south to attack Rán Wei. However, Liu Xian's forces were defeated, and he then killed Shi Zhi and surrendered. Rán Min then advanced to capture Xiangguo, executed Liu Xian and destroyed his family. The Later Zhao thus came to an end. At the same time, the氐 chieftain Fu Jian entered the pass from Fangtou, drove out Du Hong who was occupying Chang'an, and took control of Guanzhong. Former Later Zhao generals Wei Tong with Yanzhou, Rán Yu with Yuzhou, Yue Hong with Jingzhou, and Zheng Xi with Luozhou submitted to Eastern Jin. Liu Zhun (the original text says Liu Huai) with Youzhou submitted to the Former Yan. The Former Yan then took advantage of the situation and attacked and captured Youzhou and Jizhou.

辛亥　趙將周成以廩丘，高昌以野王，樂立以許昌，李歷以衛州，請附於晉。劉啟、姚弋仲亦奔於晉。魏冉閔攻燕不利，死，國亡。石虎將苻健稱天王於長安，國曰秦，元曰皇始，是謂前秦，敗晉軍於五丈原。燕慕容雋南伐魏，滅冉閔於昌城。壬子　晉武陵王晞為太宰，會稽王昱為司徒，大將軍桓溫為太尉。魏冉智以鄴降燕，慕容雋稱帝，自和龍徙居中山，改元天璽。秦苻健稱帝長安。

In the Xinhai year (公元 351), former generals of the Later Zhao, Zhou Cheng occupied Linyou, Gao Chang occupied Yiwang, Le Li occupied Xuchang, and Li Li occupied Weizhou, all requesting to submit to the Eastern Jin. Liu Qi and Yao Yizhong also surrendered to the Jin dynasty. At that time, Hebei had no clear leader. Ran Wei's Ran Min attacked the Former Yan but failed, suffered a defeat and was killed, leading to the fall of Ran Wei. Fu Jian, an old general of Shi Hu, proclaimed himself Heavenly King in Chang'an, established the state name as "Qin" and the era name as "Huangshi", which was the Former Qin. He defeated the Jin army at Wuzhangyuan. The Former Yan's Murong Juan launched a southern campaign against Ran Wei and destroyed Ran Min's forces in Changcheng. In the Renzi year (352), the Eastern Jin appointed Wang Simi as Grand Tutor, Wang Sunyu as Minister of State, and General Huan Wen as Grand General. Ran Wei's crown prince Ran Zhi surrendered the capital Yecheng to the Yan, so Murong Juan proclaimed himself emperor, moved the capital from Hedong to Zhongshan, and changed the era name to "Tianxi". Fu Jian also proclaimed himself emperor in Chang'an.

癸丑　涼秦相攻。涼張重華卒，子曜靈繼，伯父祚殺曜靈代立，改元和平。甲寅　晉太尉桓溫伐秦，至灞上。秦苻健敗晉軍於白鹿原，又敗之於子午谷。乙卯　晉將段龕敗燕軍於狼山。右軍王羲之辭官歸。涼宋混、張瓘殺張祚，立曜靈弟玄靚，改元大始。燕南攻晉，不利。秦苻健卒，子生繼。

In the year Guichou (公元 353), the Former Liang and Former Qin attacked each other. The Former Liang ruler Zhang Chonghua died, and his son Zhang Yaoling succeeded to the throne. However, his uncle Zhang Zuo killed Yaoling and took the throne himself, changing the era name to "He Ping." In the year Jiayin (354), the Eastern Jin general Huan Wen launched a northern campaign against Former Qin, advancing to Basi near Chang'an, but eventually retreated due to lack of supplies. Former Qin's Fu Jian defeated the Jin army at BaiLu Yuan, and then again defeated the Jin forces at Zishu Valley. In the year Yimao (355), Jin general Duan Kan defeated the Yan army at Lang Mountain. The Right General Wang Xizhi resigned and retired from official life. In the Former Liang, Song Hun and Zhang Guan killed Zhang Zuo, and reinstalled Zhang Yaoling's younger brother Zhang Xuanjingt as the ruler, changing the era name to "Tai Shi." The Former Yan failed in its southern attack on the Eastern Jin. Former Qin's Fu Jian died, and his son Fu Sheng succeeded to the throne.

丙辰　晉桓溫敗姚襄軍於伊水，遂復洛陽。秦苻生改元壽光。丁巳　晉改元昇平，帝加元服。王彪之為左僕射。燕改元光壽，自中山徙都鄴。秦苻生虐用其人，雄子堅殺生代立，去帝號，稱天王，改元永興，以王猛、呂婆、樓強、汪梁、平老為之輔。戊午　晉將馮鴦以眾入於燕。燕拔晉上黨。

In the year Bingchen (356 CE), Huan Wen defeated the Qiang chieftain Yao Xiang at the Yi River and recaptured Luoyang. The Former Qin ruler Fu Sheng changed the era name to "Shouguang." In the year Dingsi (357 CE), the Eastern Jin dynasty changed its era name to "Shengping," and Emperor Mu of Jin performed the coming-of-age ceremony and took personal control of the government. Wang Biaozhi was appointed as Left Chancellor. The Former Yan dynasty changed its era name to "Guangshou" and moved its capital from Zhongshan to Ye. Fu Sheng of Former Qin was cruel and tyrannical towards the people. His son Fu Jian killed Fu Sheng and took the throne, abandoning the title of emperor and only calling himself Heavenly King. He changed the era name to "Yongxiong" and appointed Wang Meng as well as Lü Po, Lou Qiang, Wang Wang, and Liang Pinglao as his advisors (the original text lists the names as "Lü Po, Lou Qiang, Wang Wang, and Pinglao," which may be incorrect). In the year Wuwu (358 CE), the Jin general Feng Yang led his troops to submit to the Former Yan. The Former Yan captured Shangdang from the Jin dynasty.

己未　晉伐燕不利，燕敗晉於東阿。秦改元甘露，以王猛為中書令，尹京兆。庚申　晉仇池公楊駿卒，子世繼。燕慕容雋卒，子繼，改元建熙，慕容恪為太宰，專政。慕容評為太傅。慕容根為太師，慕容垂為河南大都督。根作逆伏誅。辛酉　晉穆帝終，立成帝子琅玡王丕，是謂哀帝。壬戌　晉改元隆和。燕師攻晉洛陽。癸亥　晉改元興寧。桓溫為大司馬，假黃鉞，都督中外軍事，北伐。涼張天錫殺玄靚代立，改元太清。燕將慕容評攻晉許昌。

In the year Jiwei (359 ce), the Eastern Jin dynasty failed in its campaign against the Yan state, and the Yan army defeated the Jin forces at Dong'a. The Former Qin state changed its era name to "Ganlu" and appointed Wang Meng as Chancellor and Chief of the Capital Region, and the Qin government gradually became more organized. In the year Gengshen (360 ce), Yang Jun, the Duke of Chouchi appointed by the Eastern Jin, died, and his son Yang Shi succeeded him. The ruler of the Former Yan, Murong Juan, died, and his son Murong Wei succeeded him (the original text lacks the character Wei), changing the era name to "Jianxi." Murong Ge was appointed Grand Chancellor, Murong Ping as Grand Tutor, Murong Gen as Grand Preceptor, and Murong Chui as Grand Commander of the Henan region; Murong Gen plotted rebellion and was executed. In the year Xinyou (361 ce), Emperor Mu of Jin died, and the throne was passed to Prince Lángyá Wang Sima Pi, the son of Emperor Cheng, who became Emperor Ai of Jin. In the year Renxu (362 ce), the Eastern Jin changed its era name to "Longhe," and the Yan army attacked Luoyang of Jin. In the year Guihai (363 ce), the Eastern Jin changed its era name to "Xingning," and Huan Wen was appointed Grand General, received the yellow钺, and was in charge of military affairs both inside and outside the empire, leading an expedition northward. In the Former Liang state, Zhang Tianxi killed Zhang Xuanliang and took the throne, changing the era name to "Taiqing." The Yan general Murong Ping attacked Xuchang of Jin.

甲子　東晉哀帝三年，餌丹，有疾，太后稱制。燕、秦入寇洛陽。乙丑　晉哀帝終於餌丹，母弟琅玡王弈立。洛陽陷於燕。司馬勳以梁州叛，稱成都王。秦改元建元。匈奴左右賢王以朔方叛，平之。丙寅　晉改元太和。會稽王昱為丞相。燕、秦入寇。涼張天錫受晉命，大將軍都督隴右。燕拔晉魯郡。秦拔晉南鄉。

The year of Jiazi was the third year of Emperor Ai of the Eastern Jin Dynasty, corresponding to 364 AD. Emperor Ai fell ill due to taking elixirs, and Empress Dowager Chu took over the government again. The Former Yan and Former Qin states simultaneously attacked Luoyang. In the year of Yichou (365 AD), Emperor Ai died from taking elixirs, and his younger brother, Prince Langye Wang Sima Yi, succeeded to the throne. Luoyang fell to the Former Yan. The governor of Liangzhou, Sima Xun, rebelled and claimed the title of Prince of Chengdu. The Former Qin changed their era name to "Jianyuan." The Xiongnu left and right chieftains rebelled against the Former Qin in Shuofang, but were soon suppressed. In the year of Bingyin (366 AD), the Eastern Jin changed their era name to "Taihe," and Prince Huaiji Wang Sima Yu was appointed as Chancellor. The states of Yan and Qin continued their attacks. Zhang Tianxi of the Former Liang accepted the appointment from the Jin Dynasty, serving as Grand General and Commander of the Western Regions. The Former Yan captured the Jin's Lu Commandery, and the Former Qin captured the Jin's Nanxiang.

丁卯　燕攻晉竟陵，秦攻晉涼州。戊辰　秦苻雙以上邽、苻柳以蒲坂叛，王猛悉平之。己巳　晉大司馬桓溫北伐燕，不利，歸罪袁真。袁真以壽陽入於燕。燕大將慕容垂敗晉師於枋頭，以眾降秦，評害功故也。秦救燕有功，取燕之金墉，責無信也。

In the year Dingmao (AD 367), the Former Yan attacked the Jin's Jingling, and the Former Qin attacked the Jin's Liangzhou. In the year Wuchen (368), the clan of the Former Qin, Fu Shuang, occupied Shangui and Fu Liu occupied Pusan, both rebelling against the state, but both were quelled by Wang Meng. In the year Jisi (369), the Eastern Jin's Grand司马 Huan Wen launched a northern campaign against the Former Yan but failed, blaming his subordinate general Yuan Zhen for the defeat. Yuan Zhen, in anger, surrendered the city of Shouyang to the Yan. The Yan general Murong Chui defeated the Jin army at Fangtou, but due to the jealousy of the Grand Tutor Murong Ping, who falsely accused him, Murong Chui had to lead his troops to surrender to the Former Qin. The Former Qin sent troops to aid the Yan and were rewarded, but later seized the Yan's Jinyang City, claiming that the Yan had broken their previous agreement to cede territory.

庚午　晉壽陽袁真卒，子瑾繼。桓溫敗瑾於壽陽。廣漢及成都寇亂。王猛滅燕於鄴，徙慕容於長安，收郡五十七。猛留鎮鄴。辛未　晉桓溫平壽陽，獲袁瑾以歸，廢其君弈為海西王，立會稽王昱，改元咸安，是謂文帝，溫稱丞相，鎮姑熟，專制，殺太宰武陵王晞、新蔡王晃，仍降海西王為公，及害其二子與母。

In the year Gengwu (公元 370), Yuan Zhen died in Shouyang, and his son Yuan Jin succeeded him. Huan Wen defeated Yuan Jin in Shouyang. There were uprisings in Guanghan and Chengdu areas. Former Qin's Wang Meng destroyed the Former Yan in Yecheng, moved the Yan ruler Murong Wei to Chang'an, and gained fifty-seven counties. Wang Meng remained stationed in Yecheng. The northern half of the region was largely under Former Qin's control. In the year Xinwei (371), Huan Wen pacified Shouyang, captured Yuan Jin and brought him back to the capital. He then deposed Emperor Sima Yi as the Prince of Haixi, and installed Prince Sima Yu of Kuaiji as the new emperor, changing the era name to "Xian'an," which was the reign of Emperor Sima Yu of Jin, known as Emperor Jianwen. Huan Wen claimed the title of Chancellor, and stationed himself in Gumuxu to control the court. He killed the Grand Tutor Wuling Prince Sima Xi and the Prince of Xincai Sima Huang. He also reduced the Prince of Haixi to the title of Prince of Haixi and killed his two sons and his mother.

壬申　晉命百濟餘句為鎮東將軍，領樂浪守。庾希以海陵叛，入於京口。文帝昱終，子曜嗣，是謂武帝。桓溫還姑熟。秦王猛平慕容桓於遼東，滅仇池公楊纂於秦州。癸酉　晉改元寧康。大司馬桓溫卒，太后稱制，王彪之為尚書令，謝安為尚書僕射，專制。張天錫貢方物。秦拔晉成都及梓潼。

In the Renshen year (公元 372), the Eastern Jin appointed the King of Baekje, Yu Ju, as General of the Eastern Army and governor of Lelang. Yu Xi rebelled at Hailing and attacked Jingkou. Emperor Sima Yu of the Jin dynasty died, and his son Sima Yao succeeded the throne, becoming Emperor Xiaowu of Jin; Huan Wen retreated to Gushu. The Former Qin's Wang Meng subdued the general Mo Yu Huan of Yan in Liao Dong, and also destroyed the ruler Yang Zuan of Qiucheng in Qinzhou. In the Guiyou year (373), the Eastern Jin changed its era name to "Ningkang." The great general Huan Wen died, thus eliminating the threat of usurpation; the Dowager Empress Chongde took control of the court, with Wang Biaozhi as Chancellor and Xie An as Deputy Chancellor, jointly governing the state. The Former Liang's Zhang Tianxi presented tribute to the Jin. The Former Qin captured Chengdu and Zitong of the Jin.

甲戌　晉桓石破秦軍於墊江。張育稱王於蜀，秦復平之。乙亥　秦大將軍王猛卒。丙子　晉改元太元，帝加元服。皇太后委政桓沖，桓豁為將軍，謝安為尚書鑑，錄尚書事。秦滅前涼，徙張天錫於姑臧，又平朔方，獲拓跋什翼犍，徙之長安。丁丑　晉秦二國抗衡天下。

In the year of Jiaxu (公元 374), General Huan Shiqian of the Jin defeated the Qin army at Dianjiang; Zhang Yu proclaimed himself king in Shu but was later subdued by the Former Qin. In the year of Yihai (375), the great general and chancellor Wang Meng of the Former Qin died, and Fu Jian thus lost his pillar of support. In the year of Bingzi (376), the Eastern Jin changed its era name to "Taiyuan," and Emperor Xiaowu performed the coming-of-age ceremony to take personal control of the government; the Dowager Empress Chongde returned power to the emperor, with Huan Chong in charge of military affairs, Huan Huo as general, and Xie An as Minister of Works and Chief Secretary. The Former Qin conquered the Former Liang, moved Zhang Tianxi of Guchang to Chang'an, and subdued Shuofang, capturing the chieftain of the Dai Kingdom, Tuoba Shiyijian, and transporting him to Chang'an. Thus, the northern regions were fully incorporated into Fu Jian's control. In the year of Dingchou (377), the world became divided between the Jin and the Qin, north and south facing each other.

戊寅　晉作新宮。己卯　晉敗秦軍於淮南，遂拔秦襄陽。庚辰　晉李遜以交阯叛，秦苻洛以和龍叛。辛巳　晉謝石為尚書僕射。桓石攻秦有功。四夷六十二國修貢於秦。壬午。癸未　晉伐蜀，敗秦軍於武當。秦苻堅舉國南伐。晉謝安帥謝琰、謝玄、桓沖、桓伊大敗秦師於肥水，進圍洛陽。秦苻堅喪師壽陽，秦苻融沒於戰，諸將咸叛。慕容垂稱王滎陽，北居中山，國曰燕，元曰燕元，是謂後燕。攻苻丕於鄴。丁零翟斌以行唐叛。仇池公楊世入於晉。

In the year of Wuyin (AD 378), the Eastern Jin dynasty constructed a new palace. In the year of Jimao (379), the armies of Jin and Qin clashed in the Huainan region, and Xiangyang fell into Qin's hands (actually, it was the Former Qin who captured Xiangyang that year, and the original text mistakenly reversed the roles of host and guest). In the year of Gengchen (380), Jin general Li Xun rebelled in thanh, and a member of the Former Qin royal family, Fu Luo, rebelled in Helong. In the year of Xinsi (381), the Eastern Jin appointed Xie Shi as Minister of the Imperial Secretariat, and Huan Shiqian made military achievements against Qin. Sixty-two states from all over the country presented tribute to Former Qin, and Fu Jian's power reached its peak. In the year of Renwu (382), there were no notable events. In the year of Guiwei (383), the Jin dynasty launched an attack on Shu, defeating the Qin army at Wuchang. Fu Jian mobilized the entire country's forces for a southern campaign, but Xie An led Xie Yan, Xie Xuan, Huan Chong, Huan Yi, and others to decisively defeat the Qin army at Bishui. They then advanced to besiege Luoyang. Fu Jian suffered a defeat at Shouyang, his younger brother Fu Rong died in battle, and many of his generals defected. Murong Chui proclaimed himself king in Xingyang, occupied Zhongshan, and established the state of Yan with the era name Yan Yuan, which became Later Yan, and attacked the city of Yecheng held by Fu Pi. The Di people Zhao Bin raised an army in Xingtao. The ruler of Qiu Chi, Yang Shi, also submitted to the Eastern Jin.

甲申　晉假謝安黃鉞，都督軍事，鎮廣陵，領荊、江十五州，復襄陽。秦苻朗以青州降，秦苻堅來，乞師，遣劉牢之救鄴。秦將姚萇稱王萬年，國曰秦，元曰白雀，是謂後秦。慕容沖稱王阿房，慕容泓稱王華池，慕容永稱王長子，呂光稱王酒泉。萇、沖稱兵進逼長安。燕北伐高句麗，復遼東故也。

In the year Jiashen (公元 384), the Eastern Jin dynasty appointed Xie An as commander-in-chief with the authority to lead military operations, and he was stationed at Guangling, commanding fifteen states including Jing and Jiang, and recaptured Xiangyang. Fu Lang of the Former Qin surrendered the Qingzhou region to the Jin. Fu Jian sent envoys to the Jin for aid, and the Jin sent Liu Laozi to rescue the city of Ye. A Qiang general of the Former Qin, Yao Chang, proclaimed himself king in Wannian, establishing the state of "Qin" with the era name "Baique," which became the Later Qin. Murong Chong proclaimed himself king in Afang, Murong Hong in Huachi, and Murong Yong in Changzi. Liu Guang proclaimed himself king in Jiuquan. After the Battle of Feishui, the northern territories unified by Fu Jian collapsed instantly. Yao Chang and Murong Chong each launched military campaigns to attack Chang'an. The Later Yan launched an invasion of Goguryeo in order to reclaim the old territory of Liao Dong.

乙酉　晉謝安救秦，至於長安，復洛陽而還，卒。秦苻堅沒於姚萇，子丕自鄴攻晉陽，稱帝，改元太安。慕容沖屠長安。秦將乞伏國仁稱牧洮罕，國曰秦，元曰建義，是謂西秦。燕慕容垂南平鄴，徙都之。秦姚萇獲苻堅於五將山，歸殺之於新市。是年，冒頓拓跋什翼珪稱王定襄之成樂，國曰魏，元曰登國，是謂後魏道武皇帝。

In the year Yiyou (公元 385), the Eastern Jin dynasty sent troops to rescue the state of Qin, advancing to the area around Chang'an, recovering Luoyang, and then returning. Xie An also died in this year. Fu Ji of the Former Qin was captured by Yao Chang and later his son Fu Pi launched an attack from Yecheng to Jiuyang, then proclaimed himself emperor and changed the era name to "Tai'an." Murong Chong entered Chang'an and committed great massacres. A Former Qin general, Qifu Guoren, claimed the title of governor (the original text says "Taohan," but the actual location was Yuanchuan), established the state name "Qin," and the era name "Jianyi," which is the Western Qin. Later Yan's Murong Chui moved south to pacify Yecheng and moved the capital there. Yao Chang captured Fu Ji on Wujiang Mountain and brought him back to Xinping where he was executed by hanging. Also in this year, Tuoba Gui proclaimed himself king in Shengle, a place in Dinxia, established the state name "Wei," and the era name "Dengguo," which is the Northern Wei's Dao Wu Emperor. This became the beginning of the force that would later unify the north.

丙戌　秦苻丕為慕容永所敗，走晉東垣，為晉將馮該所殺。其眾奔杏城。苻登稱帝於隴東，改元太初。苻堅將呂光稱牧姑臧，國曰涼，元曰太安，是謂後涼。燕慕容垂稱帝於鄴，改元建興。慕容沖為將段隨、韓延所害，其眾奔垂。慕容永稱帝長子。秦姚萇稱帝，徙居長安，改元建初。

In the year of Bingxu (AD 386), Fu Pi of the Former Qin was defeated by Murong Yong and fled into the eastern territory of the Eastern Jin Dynasty to Dongyuan, where he was killed by the Jin general Feng Gai. His followers scattered to Xingcheng. Fu Deng proclaimed himself emperor in Longdong and changed the era name to "Taichu," continuing the Former Qin dynasty. Fu Jian's old general Lü Guang declared himself Marquis of Liangzhou in Guchang, establishing the state of Liang with the era name "Tai'an," which became the Later Liang. Murong Chui of the Later Yan proclaimed himself emperor in Ye and changed the era name to "Jianxing." Murong Chong was killed by his generals Duansui and Han Yan, and his remaining followers sought refuge with Murong Chui. Murong Yong proclaimed himself emperor in Changzi, becoming the Western Yan. Yao Chang of the Later Qin proclaimed himself emperor, moved his capital to Chang'an, and changed the era name to "Jianchu." In this year, several states in the north existed simultaneously, and the situation was the most chaotic.

丁亥　晉以子德宗為太子，敗翟遼於洛口。秦苻登東攻姚萇，封乞伏國仁為苑川王。戊子　秦苻登攻姚萇不利，秦乞伏國仁卒，弟乾歸立，稱河南王，改元太初，徙都金城。己丑　晉陸納為尚書令。彭城妖賊亂。翟遼圍滎陽。秦姚萇西攻苻登。涼呂光稱三河王，改元麟嘉。

In the year Dinghai (387 CE), the Eastern Jin dynasty appointed Prince Sima Dezong as crown prince and defeated the Dingling Zhao Liao at Luokou. Fu Deng of the Former Qin launched an eastern attack against Yao Chang, and granted Guo Ren of the Western Qin the title of Prince of Yuanchuan as an ally. In the year Wuzi (388 CE), Fu Deng's attack on Yao Chang failed. Guo Ren of the Western Qin died, and his brother Guo Guilai succeeded him, claiming the title of King of Henan and initiating the era name "Taichu," moving the capital to Jincheng. In the year Jichou (389 CE), the Eastern Jin appointed Lu Na as Chancellor. There was a disturbance in Pengcheng caused by a group gathering through supernatural practices. Zhao Liao besieged Xingyang. Yao Chang of the Later Qin attacked Fu Deng to the west. Lü Guang of the Later Liang proclaimed himself King of Sanhe and initiated the era name "Lingjia."

庚寅　晉敗翟遼於滑臺。永嘉寇亂。秦苻登攻姚萇不利。辛卯　晉王珣為左僕射，謝琰為右僕射。壬辰　晉蔣喆以青州亂。慕容垂平丁零翟釗於滑臺。西秦乞伏乾歸開地至巴及隴。癸巳　秦苻登攻姚萇，不利。秦姚萇卒，子興繼，去帝稱王。

In the year Gengyin (公元 390), the Jin army defeated Zhai Liao at Huatai; there was banditry in Yongjia area; Fu Deng of the Former Qin attacked Yao Chang but failed again. In the year Xinmao (391), the Eastern Jin appointed Wang Xun as Left Chancellor and Xie Yan as Right Chancellor. In the year Renchen (392), Jiang Zhe caused chaos in Qingzhou; the Later Yan Mu Dui pacified Dingling Zhai Zhao at Huatai, leading to the fall of the Zhai Wei state; the Western Qin Qiguo Qiangui expanded his territory, reaching as far east as Ba region and as far north as Longyou. In the year Guisi (393), Fu Deng attacked Yao Chang again but failed. Yao Chang of the Later Qin died, and his son Yao Xing succeeded him, temporarily abandoning the title of emperor and only claiming the title of king.

甲午　東晉孝武帝二十二年，後魏道武皇帝十年，秦苻登攻姚興不利，戰死，子崇立，奔湟中，稱帝，改元延初，為乞伏乾歸所滅。燕慕容垂平慕容永於長子。秦姚興復稱帝槐裡，改元皇初。涼呂光徙居樂都。乙未　燕慕容垂攻魏，不利。魏破燕師於參合陂。

The year Jiawu was the twenty-second year of Emperor Xiaowu of the Eastern Jin Dynasty and the tenth year of Emperor Daowu of the Northern Wei Dynasty, corresponding to 394 AD. Fu Deng of the Former Qin attacked Yao Xing of the Later Qin but failed and died in battle. His son Fu Chong succeeded him, fled to Hengzhong, and declared himself emperor, changing the era name to "Yanchu." Soon after, he was defeated and killed by Qigufu Qiangui of the Western Qin, leading to the fall of the Former Qin. The Later Yan's Murong Chui defeated his eldest son, eliminating Murong Yong of the Western Yan. Yao Xing of the Later Qin restored the imperial title in Huaili and changed the era name to "Huachu." Lü Guang of the Later Liang moved the capital to Lodu. In the year Yiwei (395 AD), Murong Chui of the Later Yan attacked the Northern Wei but failed. The Northern Wei defeated the Yan army decisively at Cenhe陂, killing tens of thousands of surrendered soldiers. From then on, the power balance between Yan and Wei reversed.

丙申　晉武帝泛舟於泉池，沒，太子德宗嗣位，是謂安帝。會稽王道子專政。燕慕容垂拔魏平城。垂卒於上谷，子寶繼，改元永康。太原陷於魏。魏拔燕幷州，圍中山，稱帝，改元皇始。涼呂光稱天王，改元龍飛。丁酉　晉改元隆安。兗州王恭、豫州庾楷、吳郡王欽各以城叛。燕慕容寶北走龍城。慕容詳稱帝中山，慕容麟殺詳代立。慕容德自丁零入，又殺麟代立，徙居鄴。中山陷於魏。呂光寇西秦，自金城復徙居苑川。涼呂光將禿髮烏孤稱王廉川，國曰涼，元曰太初，是謂南涼。涼呂光將沮渠蒙遜立段業為牧於張掖，國曰涼，元曰神璽，是謂北涼。

In the year of Bingshen (396 CE), Emperor Xiaowu of the Jin Dynasty died after boating in a spring pool (historical records state he was killed by his favored concubine, Zhang Guiren). His son, Sima Dezong, succeeded to the throne and became Emperor An of the Jin. Emperor An was weak and ineffective, while Prince Sima Daowu, the Marquess of Kuaiji, seized power. Later Yan's Murong Chui captured Pingcheng from Northern Wei, but died on the way back from the campaign in Shanggu. His son Murong Bao succeeded him and changed the era name to "Yongkang." Taiyuan was then captured by Northern Wei. Northern Wei took control of Later Yan's Bingzhou, surrounded Zhongshan, and Tuoba Gui proclaimed himself emperor, changing the era name to "Huangshi." Later Liang's Lü Guang proclaimed himself Heavenly King and changed the era name to "Longfei." In the year of Dingyou (397 CE), Eastern Jin changed its era name to "Long'an." The Marquess of Yanzhou Wang Gong, the Marquess of Yu zhou (prefecture) Yu Kai, and the Marquess of Wujun Wang Xian each rebelled in their respective states. Later Yan's Murong Bao fled north to Longcheng; Murong Xiang proclaimed himself emperor in Zhongshan, but was later killed by Murong Lin, who then proclaimed himself emperor. Murong De, from the Dingling region, entered Zhongshan, killed Murong Lin, and proclaimed himself emperor, then moved to Yecheng. Zhongshan was eventually captured by Northern Wei. Lü Guang attacked Western Qin, and Western Qin moved back from Jincheng to Yuanchuan. Lü Guang's general Tuofa Wugū proclaimed himself king in Lianchuan, establishing the state of "Liang" with the era name "Taichu," which became Southern Liang. Another general, Juqu Mengsun, proclaimed Duanye as the governor of Liangzhou in Zhangye, establishing the state of "Liang" with the era name "Shenxi," which became Northern Liang.

戊戌　晉北伐燕，師敗於管城。兗州王恭、豫州庾楷、荊州桓玄兵犯建業，敗內師於白石。假會稽王道子黃鉞。玄師敗走潯陽。杜冏以京口亂。燕慕容寶南伐，至於黎陽乃復。將蘭汗殺寶代立於龍城，稱昌黎王，改元青龍。寶子盛誅蘭汗，稱王，改元建平，稱帝，再改元長樂。鄴陷於魏。范陽王慕容德自鄴南走滑臺，稱王，改元年，是謂南燕。魏拔燕之鄴及信都，改元大興，自盛樂徙居平城。涼禿髮烏孤克金城，敗呂光於街亭，稱武威天王。

In the year of Wuxu (公元 398), after the Eastern Jin launched a northern campaign against the Northern Yan, they suffered a defeat at Guan Cheng. Prince Wang Gong of Yanshou, Prince Yu Kai of Yu, and Prince Huan Xuan of Jingzhou raised troops to attack Jianye, and defeated the capital's forces at Baishi; the court granted the Prince of Kuaiji, Sima Daozi, the authority of the Yellow Axe to resist, and Huan Xuan's forces were defeated and he retreated to Xunyang. Du Jiong also rebelled at Jingkou. The Northern Yan's Murong Bao launched a southern campaign, but retreated after reaching Liyang; his general Lan Han killed Murong Bao in Longcheng and proclaimed himself King of Changli, changing the era name to "Qinglong"; Murong Bao's son Murong Sheng killed Lan Han, first declaring himself king and changing the era name to "Jianping", then becoming emperor and changing the era name to "Changle". The city of Ye was captured by the Northern Wei, and Prince Fanyang, Murong De, fled south from Ye to Huatai and proclaimed himself king, establishing the Southern Yan. The Northern Wei captured Ye and Xindu from the Northern Yan, changing the era name to "Tianxing" (the original text says "Daxing"), and moved the capital from Shengle to Pingcheng. The Southern Liang's Tuofa Wugū captured Jincheng, defeated Lü Guang at Jiating, and proclaimed himself King of Wuwu.

己亥　秦姚興拔晉洛陽，燕慕容德拔晉青州。仇池楊盛稱藩於晉。妖賊孫恩陷晉會稽，晉謝琰、劉牢之往伐。劉裕始參軍政。秦姚興去帝號稱王，改元洪始。魏南攻滑臺。涼呂光傳子紹位，稱太上皇。光卒，兄纂殺紹代立。涼禿髮烏孤徙居樂都，烏孤卒，弟利鹿孤立，又徙居西平，仍附於姚興。涼段業稱天王，改元天璽，大將沮渠蒙遜出守西安。燕慕容德逐闢閭渾於廣固，徙居之滑臺。沒於魏。

In the Jihai year (公元 399), the Later Qin ruler Yao Xing captured Luoyang from the Jin dynasty. The Southern Yan ruler Murong De captured the Qingzhou region from the Jin. Yang Sheng of the Qiongchi state submitted to the Jin as a vassal. The leader of the Five-Dou Religion, Sun En, raised an army and captured the city of Kuaiji. The Jin dynasty sent Xie Yan and Liu Laozi to suppress the rebellion; Liu Yu began to participate in military and political affairs during this campaign, and later became the person who replaced the Jin dynasty and established the Song dynasty. Yao Xing of the Later Qin removed the title of emperor and only called himself a king, and initiated the era name "Hongshi" (the original text says "Hongshi"). The Northern Wei attacked and captured Huatai. Lü Guang of the Later Liang dynasty passed on his throne to his son Lü Shao, and declared himself the "Supreme Sovereign". After Lü Guang's death, Lü Shao's brother Lü Zuan killed Lü Shao and took the throne himself. Tuofa Wugū of the Southern Liang moved his capital to Lodu. After Wugū's death, his brother Tuofa Lilu Gu took the throne and moved the capital to Xiping, still relying on Yao Xing. Duanye Duan Ye declared himself the "Heavenly King" and initiated the era name "Tianxi". His general Juqu Mengxun was stationed in Xianyang. Murong De of the Southern Yan drove out Bielu Hun from Guangguo and moved there, while the original capital of Huatai fell into the hands of the Northern Wei.

庚子　晉司馬劉裕敗孫恩於臨海，以揚州元顯為十六州都督。燕慕容盛去帝號，稱庶人天王，破高句麗。秦姚興破西秦，俘其王乞伏乾歸於長安。涼呂纂改元咸寧，大司馬呂宏殺纂，不克。涼利鹿孤改元建和。涼將李暠稱牧秦州，國曰涼，元曰庚子，是謂西涼。燕慕容德稱帝廣固，改元建平。辛丑　晉平孫恩，劉裕出守下邳。燕慕容盛將段璣行殺盛，叔父熙誅璣，稱帝，改元光始。秦姚興放乞伏乾歸還苑川。涼呂超殺其君纂，立其兄隆，改元神鼎，稱藩於姚興。涼禿髮利鹿孤稱河西王。涼大將沮渠蒙遜自西安入，殺段業，代立，改元永安。

In the Gengzi year (公元 400), General Liu Yu of the Jin dynasty defeated Sun En at Linhai; the court appointed Sima Yuanxian as the governor of the sixteen states. Later Yan's Murong Sheng removed the title of emperor and called himself a commoner heavenly king, then launched an attack and defeated Goguryeo. Later Qin's Yao Xing defeated Western Qin and captured the king of Western Qin, Qian Gui, and brought him to Chang'an. Later Liang's Lü Cuan changed the era name to "Xianning," and the Grand Master Lü Hong attempted to assassinate Lü Cuan but failed. Southern Liang's Li Lugu changed the era name to "Jianhe." General Li Hao of Liang claimed the title of governor of Qinzhou (in fact, he controlled Dunhuang), established the state name as "Liang," and used the era name "Gengzi," which was Western Liang. Southern Yan's Murong De proclaimed himself emperor in Guanggu and changed the era name to "Jianping." In the Xinchou year (401), Eastern Jin quelled the rebellion led by Sun En, and Liu Yu was assigned to govern Xiaopi. Later Yan's Duan Ji assassinated Murong Sheng; Sheng's uncle Murong Xi killed Duan Ji and proclaimed himself emperor, changing the era name to "Guangshi." Later Qin's Yao Xing released Qian Gui back to Yuanchuan. Later Liang's Lü Chao killed his king Lü Cuan and installed his brother Lü Long as the new ruler, changing the era name to "Shen Ding," and submitted to Yao Xing. Southern Liang's Tuofa Li Lugu changed his title to the King of Hexi. Northern Liang's general Juqu Mengxun entered Zhangye from Xianyang, killed Duan Ye, and proclaimed himself emperor, changing the era name to "Yong'an."

壬寅　晉改元元興。桓玄據荊州建牙夏口。假揚州元顯黃鉞，顯軍敗，玄入於建業，稱侍中丞相，錄尚書事，又稱太尉，總百揆，乃殺都督元顯及會稽王道子，以琅玡王德文為太宰，改元大亨。劉軌以冀州叛。秦姚興伐呂光有功，拒魏不利。魏敗秦軍於蒙坑。涼禿髮利鹿孤卒，弟傉檀立，改元弘昌，徙居樂都。涼沮渠蒙遜稱藩於姚興。癸卯　晉加桓玄九錫，稱相國、楚王，用天子器服。玄竊命，徙其帝於永安宮，降為平固王，遷之潯陽，改國曰楚，元曰永始。

In the year of RENYIN (公元 402), the Eastern Jin dynasty changed its era name to "Yuanxing." The governor of Jingzhou, Huan Xuan, raised an army at Xia Kou. The court appointed the governor of Yangzhou, Sima Yuanxian, to receive the yellow钺 (a symbol of imperial authority) to fight against Huan Xuan. Yuanxian's army was defeated, and Huan Xuan entered Jianye, claiming the titles of Chancellor, Grand Secretary, and Chief of the Secretariat, and also calling himself the Grand General and Commander-in-Chief. He killed the military governor Sima Yuanxian and the Prince of Kuaiji, Sima Daowu, and appointed Prince of Langya, Sima Dewen, as Grand Tutor. He changed the era name to "Daheng." Liu Gui rebelled in Jizhou. Yao Xing of the Later Qin defeated the Later Liang and was rewarded, but failed to resist the Northern Wei, who defeated the Qin army at Mengkeng. The Southern Liang's Tuofa Liku孤 died, and his brother Tuofa Nushan succeeded him, changing the era name to "Hongchang" and moving the capital to Lodu. Juqu Mengxun of the Northern Liang submitted to Yao Xing as a vassal. In the year of GUIMA (403), the Eastern Jin granted Huan Xuan nine grants of authority, appointing him as Chancellor and King of Chu, allowing him to use the imperial regalia. Soon after, Huan Xuan usurped the throne, moved the Jin Emperor An to the Yong'an Palace, reducing him to the Prince of Pinggu, then moving him to Xunyang. He changed the state name to "Chu" and established the era name "Yongshi."

甲辰　晉帝在潯陽。劉裕唱義，帥沛國劉毅、東海何無忌二州兵，大破桓玄兵於京口，又敗玄將桓宏於廣陵、吳甫之於江乘、皇甫敷於羅落。玄逼帝走江陵。裕又敗玄兵於湓口。玄復逼帝東下。裕又敗玄兵於崢嶸洲，又破之於覆舟山，迎帝入江陵。玄敗死於枚洄洲、其將桓振復陷江陵，幽帝。譙縱以成都叛，稱王。秦姚興入十二郡，修貢於晉。魏改元天錫。涼呂隆奔姚興，國亡。涼傉檀去王號，求姑臧於姚興。燕慕容德卒，兄之子超立。

In the year of Jiachen (公元 404), Emperor Jian'an of the Jin Dynasty was imprisoned in Xunyang. Liu Yu raised the banner of righteousness, leading troops from two states, including Liu Yi from Peiguo and He Wujie from Donghai, and defeated the army of Huan Xuan at Jingkou. He then successively defeated Huan Hóng at Guangling, Wu Fuzhi at Jiangcheng, and Huangfu Fu at Luoluo Bridge. Huan Xuan took Emperor Jian'an westward to Jiangling. Liu Yu then defeated Huan Xuan's army at Penukou. Huan Xuan again took Emperor Jian'an eastward, but Liu Yu defeated him at Zhenrongzhou and Fuzhou Mountain, and welcomed Emperor Jian'an into Jiangling. Huan Xuan was defeated and died at Meihuizhou. His general Huan Zhen then captured Jiangling and imprisoned Emperor Jian'an. Qiao Zong rebelled in Chengdu, declaring himself king, establishing the state of Qiaoshu. Later Qin's Yao Xing took control of twelve commanderies and simultaneously sent tribute to the Jin. The Northern Wei changed their era name to "Tianci" (the original text says "Tianshi"). Later Liang's Lü Long fled to Yao Xing, leading to the fall of Later Liang. Southern Liang's Tuofa Nantán removed his royal title and requested the territory of Gucang from Yao Xing. Southern Yan's Murong De died, and his nephew Murong Chao succeeded him as king.

乙巳　晉平桓振，帝自江陵還建業，改元義熙。劉裕都督中外、錄尚書事，還鎮丹徒。涼傉檀受姚興命，徙姑臧。燕慕容超改元太上。涼李暠徙居酒泉，改元建初，稱藩於晉。丙午　晉伐蜀，敗譙縱於白帝。孔安國為尚書左僕射，大將軍劉裕開府京口。仇池楊盛稱藩。燕慕容超三將奔晉。燕慕容熙將馮跋殺熙，立慕容云，複姓高氏，稱王，改元正始。秦姚興將赫連勃勃稱天王於朔方，國曰夏，元曰龍升。

In the year of Yisi (405 ce), the Eastern Jin dynasty quelled the rebellion of Huan Zhen, and Emperor An of Jin returned from Jiangling to Jianye, initiating the era name "Yixi." Liu Yu was appointed as the commander-in-chief of all military affairs both inside and outside the court and as the chief minister of the Secretariat, and he returned to control Dantu, thus consolidating military power in the Eastern Jin under Liu Yu. The Southern Liang's Tuofa Nantan accepted the command of Yao Xing and moved his capital to Guchang. The Southern Yan's Murong Chao changed his era name to "Tai Shang." The Western Liang's Li Hao moved his capital to Jiuquan and initiated the era name "Jianchu," submitting to the Eastern Jin as a vassal state. In the year of Bingwu (406 ce), the Eastern Jin launched an attack on Shu, defeating Qiao Zhong at Baidi City; Kong Anguo was appointed as the Left Chancellor of the Secretariat, and the Grand General Liu Yu established his own government in Jingkou. Yang Sheng of the Qishui submitted to the Jin dynasty as a vassal. Three generals from the Southern Yan's Murong Chao's army defected to the Jin dynasty. The Later Yan's Feng Ba killed Murong Xi and enthroned Murong Yun; Yun originally bore the surname Gao, so he restored his original surname and became the Heavenly King, initiating the era name "Zhengshi," which is known as the Northern Yan. Feng Ba's subordinate of the Later Qin's Yao Xing, Helian Bolu, proclaimed himself Heavenly King in Shuofang, establishing the state name "Xia" and the era name "Longsheng," which is known as Helian Xia.

丁未　晉劉裕入朝，殺東陽太守殷仲文、南蠻校尉殷叔文、晉陵太守殷道叔、永嘉太守駱求。姚興攻禿髮傉檀及赫連勃勃。乞伏乾歸復稱王苑川，改元更始。涼禿髮傉檀攻沮渠蒙遜及赫連勃勃。戊申　晉劉裕入總朝政，北敗慕容超於臨朐，出大峴，進圍廣固。魏國亂，後萬人同子申殺其君珪，次子紹誅萬人及申，自立，是謂明帝。秦乾歸南攻姚興。涼傉檀復稱王姑臧，改元嘉平。夏勃勃南攻姚興。

In the year Dingwei (公元 407), Liu Yu entered the court, executed the former officials of Huan Xuan's faction such as Yin Zhongwen, the governor of Dongyang, Yin Shuwén, the commander of the Southern Man, Yin Daoshu, the governor of Jinling, and Luo Qiu, the governor of Yongjia. The Later Qin ruler Yao Xing sent troops to attack Tuofa Nantán of the Southern Liang and Helian Bolie of the Xia state. Qian Gui of the Western Qin restored his royal title in Yuan川 and changed the era name to "Gengshi," thus reestablishing the Western Qin state. Tuofa Nantán of the Southern Liang attacked on both sides, launching campaigns against Juqu Mengxun of the Northern Liang and Helian Bolie. In the year Wushen (408), Liu Yu entered the court to take charge of state affairs, then launched a northern campaign, defeating Murong Chao of the Southern Yan at Linqu, crossing the Daxian Mountains, and surrounding Guanggu. Internal strife broke out in the Northern Wei, with Emperor Daowu Tuoba Gui being murdered (the text here is corrupted and difficult to understand). His son Tuoba Si eliminated the rebels and ascended the throne, becoming Emperor Mingyuan of the Northern Wei. Qian Gui of the Western Qin launched a southern attack on Yao Xing; Tuofa Nantán of the Southern Liang redeclared himself King of Liang in Guchang and changed the era name to "Jiaping"; Helian Bolie of the Xia also launched a southern attack on Yao Xing, causing the Later Qin to be besieged on all sides.

己酉　晉劉裕滅南燕，徙慕容超於建業。後燕國亂，苻將馮跋用倖臣離班殺云，代立，稱天王，改元太平，是謂北燕。魏改元永興。秦乾歸平袍罕。夏赫連勃勃（魏史雲賀大人及子如弒珪），攻姚興。庚戌　晉始興賊盧循兵寇建業，劉裕大破之。循走潯陽，再破之於豫章。裕假黃鉞。蜀兵陷巴東。秦乞伏乾歸為兄之子公府所殺，子熾盤誅公府而自立，改元永康。涼沮渠蒙遜攻李暠有功，夏赫連勃勃攻姚興不利。

In the year Jiyou (公元 409), Liu Yu destroyed the Southern Yan and had Murong Chao executed in Jianye. Later Yan experienced internal strife, and Feng Ba killed Gao Yun with the help of his favorite minister Li Ban and established himself as the Heavenly King, changing the era name to "Taiping," which was the Northern Yan. The Northern Wei changed their era name to "Yongxing." The Western Qin ruler Qian Gui of Gao Ping pacified Bao Han (the original text reads "Pao Han"). The Summer state He Lian Bao Bo continued to attack Yao Xing. The original text here has a note: "The Wei History says that the father and son of He Da Ren were killed by the son of Gui," which is a supplement from the "Wei Shu" about the assassination of Tuoba Gui. In the year Gengxu (410), Sun En's remaining followers Lu Xun started a rebellion and attacked Jianye, but Liu Yu defeated them. Lu Xun fled to Xunyang and was defeated again in Yuzhang. Liu Yu was awarded the Yellow Axe for his achievements. The Shu army captured Badong. Qian Gui of the Western Qin was killed by his nephew Qifu Gongfu, and his son Qifu Chipan killed Gongfu and established himself as the ruler, changing the era name to "Yongkang." The Northern Liang ruler Ju Qu Mengxun made achievements in attacking the Western Liang ruler Li Hao. The Summer state He Lian Bao Bo had difficulty in attacking Yao Xing.

辛亥　晉劉裕南敗盧循，盧循走交州，死。劉毅以江陵叛。涼沮渠蒙遜攻禿髮傉檀有功，夏赫連勃勃攻姚興不克。壬子　晉劉裕殺劉藩及謝琨，遂平劉毅於江陵。涼傉檀徙居樂都，姑臧陷於沮渠蒙遜。涼蒙遜拔禿髮傉檀姑臧，徙居之，稱西河王，改元弘始。癸丑　晉朱齡石平蜀。魏改元神瑞，與秦姚興和親。秦熾盤破土谷渾於澆河。涼傉檀攻蒙遜不利。夏改元鳳翔，城統萬。

In the Xinhai year (AD 411), Liu Yu advanced southward and defeated Lu Xun, who fled to Jiaozhou and eventually died in defeat. Liu Yi rebelled at Jiangling. The Northern Liang ruler Juqu Mengsun defeated Tuofa Nantan of the Southern Liang and achieved military success. The Xia ruler Helian Bolu attacked Yao Xing of the Western Qin but failed to conquer him. In the Renzi year (AD 412), Liu Yu killed Liu Fan and Xie Hun (the original text says Xie Kun), and then suppressed Liu Yi's rebellion at Jiangling. Tuofa Nantan of the Southern Liang moved his capital to Lodu, and Guchang fell. Juqu Mengsun of the Northern Liang captured Guchang and moved there, declaring himself the King of Hexi (the original text says Xihexi), and changed the era name to "Xuanshi" (the original text says "Hongshi"). In the Guichou year (AD 413), the Jin general Zhu Lingshi pacified the Shu region, leading to the fall of the Qiao Shu state. The Northern Wei changed its era name to "Shenru," and formed an alliance with Yao Xing of the Later Qin. The Western Qin ruler Qifu Chipan defeated the Tuyuhun in the Jiaohé region. Tuofa Nantan of the Southern Liang failed to defeat Mengsun. The Xia changed its era name to "Fengxiang" and began building the city of Tongwan as its capital.

甲寅　秦乞伏熾盤滅南涼禿髮傉檀。乙卯　晉荊州刺史司馬休之、雍州刺史魯宗之叛裕，攻破之，逐之於江陵。劉穆之為尚書左僕射。秦姚興卒，子浤繼。弟弼作亂，不克。魏改元太常。丙辰　晉劉裕北伐姚泓。拔洛陽，進逼潼關。加裕九錫，總百揆，封宋國公。秦姚泓改元永和。洛陽陷於晉。姚懿、姚恢內叛，兵逼長安，姚紹平之。秦乞伏熾磐拔沮渠蒙遜河湟，夏赫連勃勃拔姚泓陰密。

In the year Jiayin (AD 414), the Western Qin ruler Qifu Chiqian destroyed the Southern Liang and captured Tuofa Nantán. In the year Yimao (AD 415), the Eastern Jin's governor of Jingzhou, Sima Xiuzhi, and the governor of Yongzhou, Lu Zongzhi, raised an army against Liu Yu, but were defeated by Liu Yu and driven out of Jiangling; Liu Mu Zhi was appointed as the Left Chancellor of the Ministry of Works. The Later Qin ruler Yao Xing died, and his son Yao Hong succeeded him (the original text says 浤), while his brother Yao Bi attempted a rebellion but failed. The Northern Wei changed its era name to "Taichang" (the original text says 太常). In the year Bingchen (AD 416), Liu Yu launched a northern campaign against Yao Hong, captured Luoyang, and advanced to Tongguan; the court granted Liu Yu the Nine Bestowals, made him the overall commander of state affairs, and granted him the title of Duke of Song. The Later Qin changed its era name to "Yonghe," and Luoyang finally fell to the Jin; Yao Yi and Yao Hui raised an internal rebellion to attack Chang'an, but were suppressed by Yao Shao. The Western Qin ruler Qifu Chiqian captured the Hexi region of the Northern Liang, while the Xia ruler He Lian Bofu captured Yinmi from the Later Qin.

丁巳　晉劉裕平長安，滅後秦，執姚泓以歸，以子義真守長安。裕加宋王。魏南攻晉，兵敗於河西。涼李暠卒，子歆立，改元嘉興。戊午　晉劉裕弒其君德宗，立其弟琅玡王德文，是謂恭帝。長安陷於夏。涼李歆稱藩於晉。夏赫連勃勃拔晉之長安稱帝，改元武昌。己未　晉改元元熙。宋王劉裕自揚州入，用天子服器。秦乞伏熾磐改元建弘。夏赫連勃勃還居統萬，改元真興。

In the year Dingsi (417 CE), Liu Yu pacified Chang'an, destroyed the Later Qin, captured Yao Hong and returned, leaving his second son Liu Yizhen to govern Chang'an. Liu Yu was elevated to the Marquess of Song. The Northern Wei attacked southern Jin but suffered defeat in the Western River region. Li Hao of Xiliang died, and his son Li Xin succeeded him, changing the era name to "Jiangxi." In the year Wuwu (418 CE), Liu Yu assassinated Emperor Shima Dezong of Jin and installed his younger brother, Prince Langye Shima Dewen, as the new emperor, known as Emperor Gong of Jin. Chang'an was captured by the Xia, and Helian Bolu took over Chang'an and became emperor, changing the era name to "Changwu" (the original text says "Wuchang"). Li Xin of Xiliang submitted to Jin as a vassal. In the year Jiwei (419 CE), Eastern Jin changed its era name to "Yuanxi." The Marquess of Song, Liu Yu, went to the capital from Yangzhou, using the imperial carriages and ceremonial objects, indicating that the trend of replacing Jin was already established. The Western Qin ruler Qifu Chipan changed his era name to "Jianhong." Helian Bolu returned to his capital, Tongwan, and changed the era name to "Zhenxings."

庚申　劉裕代晉命於揚州，是謂武帝，改國號曰宋，元曰永初，降其君德文為零陵王。辛酉　宋零陵王德文卒。壬戌　宋武帝劉裕終，子義符繼。魏攻宋滑臺。癸亥　宋改元景平。魏攻宋金墉。明帝終，太子燾繼，是謂太武皇帝。涼沮渠蒙遜滅西涼，執李歆歸於姑臧。

In the year Gengshen (公元 420), Liu Yu received the imperial mandate from the Jin dynasty in Yangzhou and became the emperor of the Song dynasty, taking the era name "Yongchu." The Jin Emperor Shiwu Sima De wen was reduced to the title of Lingling Wang. The Jin dynasty, which had ruled for over a hundred years, thus came to an end, and the Southern Dynasties era began. In the year Xinyou (421), Lingling Wang Sima De wen was killed. In the year Renxu (422), Emperor Wu of Song, Liu Yu, died, and his son Liu Yifu succeeded him. The Northern Wei took advantage of the mourning period to attack the city of Huatai in the Song dynasty. In the year Guihai (423), the Song dynasty changed its era name to "Jingping." The Northern Wei attacked the city of Jinyong in the Song dynasty. The Wei Mingyuan Emperor died, and his son Tuoba Taotou succeeded him, becoming Emperor Taowu of Wei. Meanwhile, the Northern Liang ruler Juqu Mengxun destroyed the Western Liang and captured Li Xin, bringing him back to Guchang.

甲子　宋帝義符二年，臣徐羨之、傅亮行弒，立其弟義隆，是謂文帝，還都建業，改元元嘉。魏太武元年改元始光。乙丑　魏武帝以崔浩為相。赫連勃勃卒，子昌繼，改元承先。丙寅　宋文帝誅執政徐羨之及傅亮，謝晦以荊州叛，平之。魏拔夏之長安。丁卯　魏西破夏赫連昌。

The year Jiazi was the second year of Liu Yifu's reign as emperor of the Song dynasty, corresponding to 424 AD. Grand Minister Xu Xianzhi and Fu Liang murdered the emperor and installed his younger brother Liu Yilong, who became Emperor Wen of Song, and moved the capital back to Jianye, changing the era name to "Yuanjia." The following nearly thirty years were known as the "Yuanjia era of governance." In the first year of Emperor Taiwu of Northern Wei, the era name was changed to "Shiguang." In the year Yichou (425 AD), Emperor Taiwu of Northern Wei appointed Cui Hao as prime minister, relying on him as his chief strategist. The Summer Kingdom's ruler Helian Bobo died, and his son Helian Chang succeeded him, changing the era name to "Chengguang" (the original text says "Chengxian"). In the year Bingyin (426 AD), Emperor Wen of Song executed the ruling ministers Xu Xianzhi and Fu Liang, and Shae Hui rebelled in Jingzhou but was eventually suppressed, after which Emperor Wen took personal control of the government. Northern Wei captured the city of Chang'an from the Summer Kingdom. In the year Dingmao (427 AD), Northern Wei launched a western campaign and defeated Helian Chang, the ruler of the Summer Kingdom, in a major battle.

戊辰　魏改元神□。武帝破夏於統萬，俘赫連昌以歸，西北開地三千里。秦乞伏熾磐卒，子慕末繼，改元永嘉。涼沮渠蒙遜改元承玄。夏之統萬陷於魏，弟定代立，徙居平涼，改元勝光。己巳。庚午　宋之金墉陷於魏。燕馮跋卒，弟弘殺跋子翼代立，改元太興。魏拔宋洛陽。涼沮渠蒙遜改元義和。夏赫連定攻秦慕末。

In the year of Wuchen (AD 428), the Northern Wei changed its era name to "Shenjia" (the original text is missing this character). Emperor Taiwu of the Northern Wei defeated the Xia army in the city of Tungwan, captured Helian Chang, and returned, expanding the northern frontier by three thousand li. The Western Qin ruler Qifu Chipan died, and his son Qifu Mumei succeeded him, changing the era name to "Yonghong" (the original text says "Yongjia"). The Northern Liang ruler Juqu Mengsun changed his era name to "Chengxuan". The capital of Xia, Tungwan, fell to the Northern Wei, and Helian Chang's brother Helian Ding succeeded him, moving the capital to Pingliang and changing the era name to "Shengguang". In the year of Jisi (AD 429), there were no notable events. In the year of Gengwu (AD 430), the city of Jinyang in the Southern Song fell to the Northern Wei. Emperor Feng Ba of the Northern Yan died, and his brother Feng Hong killed Feng Yi, the son of Feng Ba, and took the throne, changing the era name to "Taixing". The Northern Wei captured Luoyang from the Southern Song. Juqu Mengsun of the Northern Liang changed his era name to "Yihuo". Helian Ding of Xia attacked Qifu Mumei of the Western Qin.

辛未　宋之滑臺陷於魏。夏滅西秦於苑川，俘其君乞伏慕末。魏滅夏於平涼，俘其君赫連定。壬申　宋謝靈運棄市於廣州。魏改元延和。遼西內附。癸酉　宋謝惠連卒。涼沮渠蒙遜卒，子牧健繼，改元永和。甲戌　魏南開地至漢中。乙亥　魏改元太延。丙子　宋誅檀道濟。魏滅北燕，虜馮弘於遼西。

In the year Xinwei (431 CE), the city of Huatai in the Southern Song fell to the Northern Wei. In the summer, Xia conquered Xiqin in Yuan川, capturing its king Qifu Mumei; the Northern Wei also defeated Xia in Pingliang, capturing its king Helian Ding. Both countries perished in the same year. In the year Renshen (432 CE), the Southern Song poet Xie Lingyun was executed in Guangzhou; the Northern Wei changed their era name to "Yanhé"; Liaoxi submitted to the Northern Wei. In the year Guiyou (433 CE), the Southern Song scholar Xie Huiian died. The Northern Liang ruler Juqu Mengxun died, and his son Juqu Mujian succeeded him, changing the era name to "Yonghe". In the year Jiaxu (434 CE), the Northern Wei expanded southward, extending their territory to Hanzhong. In the year Yihai (435 CE), the Northern Wei changed their era name to "Taiyan". In the year Bingzi (436 CE), the Southern Song Emperor Wen killed the famous general Tan Daoji, destroying his own defenses; the Northern Wei destroyed the Northern Yan, capturing Feng Hong in Liaoxi.

丁丑　戊寅。己卯　魏伐北涼於姑臧，獲沮渠牧健以歸。庚辰　魏改元太平真君，與宋稱南北朝。辛巳　壬午。癸未　魏克仇池。甲申　乙酉。丙戌　魏毀經像佛教。丁亥　魏攻長安。戊子　己丑。庚寅　魏南伐，開地江淮，夷宰相崔浩三族。辛卯　魏改元正平，伐宋，至於瓜步。

In the years of Dingchou and Wuyin (437 and 438 CE), there were no notable events. In the year of Jimao (439 CE), the Northern Wei launched a western campaign against the Northern Liang, captured Guchang, and captured Juqu Mugan, thus ending the fragmented situation of the Sixteen Kingdoms and restoring unity in the north. In the year of Gengchen (440 CE), the Northern Wei changed its era name to "Taiping Zhenjun," and from then on, it was referred to as the Northern and Southern Dynasties together with the Southern Song. In the years of Xinsi and Renwu (441 and 442 CE), there were no notable events. In the year of Guiwei (443 CE), the Northern Wei captured Qiu Chi. In the years of Jiashen and Yiyou (444 and 445 CE), there were no notable events. In the year of Bingxu (446 CE), Emperor Taowu of Northern Wei ordered the destruction of Buddhism, burning scriptures and destroying Buddha statues, which marked the first instance of the "Three Emperors' Suppression of Buddhism." In the year of Dinghai (447 CE), the Northern Wei launched an attack on Chang'an. In the years of Wuzi and Jichou (448 and 449 CE), there were no notable events. In the year of Gengyin (450 CE), the Northern Wei launched a southern campaign, expanding into the Yangtze River region, and at the same time, executed the three families of the chancellor Cui Hao. In the year of Xinmao (451 CE), the Northern Wei changed its era name to "Zhengping," and launched another campaign against the Southern Song, with its forces reaching as far as Guabu on the northern bank of the Yangtze River.

壬辰　魏國亂，中常侍宗愛弒其君武帝，立南安王餘，改元承平，又殺之。群臣迎武帝孫濬立之，是謂文成皇帝，改元興安，夷宗愛三族，元壽樂為太宰，都督中外，錄尚書事。癸巳　宋國亂，太子劭弒其君文帝，代立，改元太初。少子武陵王駿稱帝新亭，克建康，誅元兇，改元孝武，是謂孝武皇帝。

In the Renchen year (AD 452), Northern Wei experienced internal strife. The eunuch Zhongchangshi Zong Ai murdered Emperor Taiwu and installed Prince Nan'an Wang Tuoba Yu as emperor, changing the era name to "Chengping." Soon after, Zong Ai killed Tuoba Yu. The ministers then welcomed Emperor Taiwu's grandson Tuoba Jun, who became Emperor Wencheng of Northern Wei, changing the era name to "Xing'an." Zong Ai's three families were executed, and Tuoba Shoulue (the original text says Yuan Shoulue) was appointed as Grand Minister, Commander of all military forces, and Chancellor. In the Guisi year (AD 453), Liu Song also experienced internal turmoil. Crown Prince Liu Shao murdered Emperor Wen of Liu Song and declared himself emperor, changing the era name to "Taichu." Emperor Wen's younger son, Prince Wuling Wang Liu Jun, raised an army at Xinting and became emperor, capturing Jiankang, eliminating the culprit, and changing the era name to "Xiaojian," which is Emperor Xiaowu of Liu Song.

甲午　宋孝武帝二年。魏文成皇帝三年，改元興光。乙未　魏改元太安。丙申。丁酉　宋改元大明。戊戌　己亥。庚子　魏改元和平。辛丑　壬寅　癸卯。甲辰　宋孝武帝終，太子業嗣位，改元景和。乙巳　宋改元永光。業立不明，臣壽寂之殺之，迎湘東王彧立之，改元太始，是謂明帝。魏文成帝終，太子弘嗣位，是謂獻文皇帝。

The year Jiawu was the second year of Emperor Xiaowu of the Song Dynasty and the third year of Emperor Wencheng of the Northern Wei Dynasty, corresponding to 454 AD, when the Northern Wei changed their era name to "Xingguang." In the year Yiwei (455 AD), the Northern Wei changed their era name to "Tai'an." In the year Bingshen (456 AD), there were no significant events. In the year Dingyou (457 AD), the Song Dynasty changed its era name to "Daming." In the years Wuxu and Jihai (458 and 459 AD), there were no significant events. In the year Gengzi (460 AD), the Northern Wei changed their era name to "Heping." In the years Xinchou, RENYIN, and Guimao (461-463 AD), there were no significant events. In the year Jiachen (464 AD), Emperor Xiaowu of the Song Dynasty died, and his son Liu Ziyue succeeded to the throne, changing the era name to "Jinghe." In the year Yisi (465 AD), the Song Dynasty changed its era name to "Yongguang." Liu Ziyue was cruel and immoral, and his minister Shou Jizi killed him, then welcomed Xiangdong Wang Liu Yu to the throne, changing the era name to "Taishi" (the original text says "Taishi"), which was Emperor Ming of the Song Dynasty. Meanwhile, Emperor Wencheng of the Northern Wei died, and his son Tuoba Hong succeeded to the throne, becoming Emperor Xianwen of the Northern Wei.

丙午　宋晉安王子勳以潯陽叛，稱帝，平之，冊子昱為太子。魏師入寇。魏改元天安，盡取宋江北地。大丞相乙渾謀逆，伏誅。丁未　魏改元皇興。戊申。己酉　魏拔宋青州。庚戌。辛亥　魏獻文授太子宏位，是謂孝文皇帝，弘稱太上皇，改元延興。壬子　宋改元太豫，明帝失道死，太子昱立。

In the year Bingwu (公元 466), Song's Prince Jin'an Liu Zixun rebelled in Xunyang and claimed the throne, but was suppressed by the emperor. The emperor then appointed his son Liu Yu as the crown prince. The Northern Wei took advantage of the internal turmoil in Song and invaded, changing the era name to 'Tian'an' and seizing all of Liu Song's land north of the Yangtze River. The Northern Wei's great chancellor Yi Hun plotted rebellion but was executed. In the year Dingwei (467), the Northern Wei changed the era name to 'Huangxing'. In the year Wushen (468), there were no significant events. In the year Jiyou (469), the Northern Wei captured the Song province of Qingzhou. In the year Gengxu (470), there were no significant events. In the year Xinhai (471), the Wei Xianwen Emperor passed the throne to his son Taibohong, who became Emperor Xiaowen of Wei. The Xianwen Emperor styled himself as the Taishang Huang, and changed the era name to 'Yanxing'. In the year Renzi (472), the Song dynasty changed its era name to 'Taiyu' (the original text says 'Taiyu'), and the emperor died due to his erratic behavior, with his son Liu Yu succeeding him as emperor.

癸丑　宋改元元徽。甲寅　宋桂陽王休範以江州叛，兵犯建業，右衛將軍蕭道成平之。乙卯　魏改元承明。丙辰　宋建平王景素謀殺蕭道成，不克。道成為司空，錄尚書事。魏太后馮氏弒太上皇。丁巳　宋國亂，蕭道成殺其君昱，廢為蒼梧王，立明帝子準，改元升明，道成假黃鉞，稱齊國公，專制，改元太和。

In the year Guichou (473 CE), the Southern Song dynasty changed its era name to "Yuanhui." In the year Jiayin (474 CE), Prince Liu Xiufan of Guiyang rebelled against the capital Jianye with troops from Jiangzhou, and General Xiao Daocheng raised an army to suppress the rebellion, thereby gaining great prestige. In the year Yimao (475 CE), the Northern Wei dynasty changed its era name to "Chengming." In the year Bingchen (476 CE), Prince Liu Jingsu of Jianping plotted to eliminate Xiao Daocheng but failed; Xiao Daocheng was promoted to the position of Grand Minister and Chief of the Secretariat. Meanwhile, Feng Taotuo of the Northern Wei assassinated the former emperor Xiaowen and took control of the government. In the year Dingsi (477 CE), the Southern Song experienced great turmoil. Xiao Daocheng killed the young emperor Liu Yu, deposed him as the Prince of Cangwu, and installed Liu Zhuu, the son of Emperor Ming, as the new emperor, changing the era name to "Shengming." Xiao Daocheng was granted the authority of the yellow钺 and was made the Duke of Qi, holding absolute power. The Northern Wei then changed its era name to "Taihe," marking the beginning of the reforms under Emperor Xiaowen's reign.

戊午。己未　宋相國蕭道成稱王。是年，代宋命於建業，改國曰齊，元曰建元，是謂太祖。以子賾為皇太子，降其君準為汝陰王，殺之。庚申　辛酉。壬戌　齊高帝道成終，太子賾嗣位，是謂武帝，以子懋為太子，攻魏淮南。癸亥　齊改元永明。

In the year Wuwu (AD 478), there was nothing noteworthy. In the year Jiwei (479), Xiao Daocheng, the chancellor of the Southern Song, was elevated to the Marquess of Qi. That same year, he received the imperial mandate from the Southern Song in Jianye and established the state of Qi, with the era name "Jianyuan." He became the first emperor, Wudi, of the Southern Qi. He appointed his son Xiao Zetian as crown prince, and had the last emperor of the Southern Song, Liu Jun, reduced to the Marquess of Ruyin and later executed. The Liu Song dynasty, which lasted sixty years, thus came to an end. In the years Gengshen and Xinyou (480 and 481), there was nothing noteworthy. In the year Renxu (482), the high emperor of Qi, Xiao Daocheng, died, and his son Xiao Zetian succeeded him as Emperor Wudi of Qi. He appointed his son Xiao Changmao as crown prince and launched an attack on the northern state of Northern Wei in the region of Huainan. In the year Guihai (483), the Southern Qi changed its era name to "Yongming," and the Southern Dynasty entered the period known as the Yongming Reign.

甲子　齊武帝二年，魏孝文帝十三年。乙丑　丙寅　丁卯　戊辰　己巳　庚午　辛未。壬申　魏伐蠕蠕。癸酉　齊武帝終，太子懋亦卒，其孫昭業立。甲戌　齊改元隆昌。五月，西昌王蕭鸞行弒，廢其君為鬱林王，立其弟昭文，改元延興。鸞假黃鉞，稱宣城王，都督中外，專制。十月，宣城王蕭鸞廢昭文為海陵王，殺之，代立，是謂明帝，改元建武，以子寶卷為太子。魏大伐齊。

The year Jiazi was the second year of the reign of Qi Wu Di and the thirteenth year of the reign of Wei Xiaowen Di, corresponding to the year 484 CE. From Yichou to Xinwei, a period of seven years (485-491 CE), there were no notable events recorded. In the year Renshen (492 CE), Northern Wei launched an expedition against the Rouran, which historical records referred to as the Ruuru. In the year Guiyou (493 CE), Qi Wu Di Xiao Ze died, and his son, the crown prince Xiaolangmao, had already passed away from illness, so his grandson Xiaozhaoye succeeded to the throne. In the year Jiaxu (494 CE), Qi changed its era name to "Longchang." In May, Prince Xichang Hou Xiaoluan committed regicide, deposed Xiaozhaoye as the King of Yulin, and installed his younger brother Xiaozhaowen as the new emperor, changing the era name to "Yanxing." Xiaoluan was granted the authority of the yellow钺, made the Duke of Xuancheng, and took charge of military affairs both within and outside the court, holding sole power over the government. In October, Xiaoluan also deposed Xiaozhaowen as the King of Hailing and killed him, then took the throne himself, becoming Qi Ming Di, changing the era name to "Jianwu," and appointed his son Xiaobaojuan as the crown prince. Meanwhile, Northern Wei took advantage of the internal chaos in Qi and launched a large-scale southern campaign.

乙亥　齊大殺宗室。是年，魏自平城徙都洛陽，用中國禮樂。丙子　魏改姓元氏。丁丑。戊寅　齊改元永泰。明帝鸞終，太子寶卷嗣位。魏伐齊，拔新野。己卯　齊改元永元，以子誦為太子。魏孝文帝終，太子恪嗣位，是謂宣武皇帝，彭城王勰受顧命輔政。

In the year of Yihai (AD 495), the Emperor Ming of the Southern Qi dynasty carried out a large-scale purge of his royal family members to consolidate his position. Also in this year, the Northern Wei moved their capital from Pingcheng to Luoyang and fully adopted the Confucian rites and music systems of the Central Plains. In the year of Bingzi (496), the Northern Wei issued an order to change the surname Tuoba to Yuan, and the Hanization reforms of Emperor Xiaowen were thus completed. In the year of Dingchou (497), there were no significant events. In the year of Wuyin (498), the Southern Qi changed its era name to "Yongtai"; Emperor Xiaoluan of Qi died, and his son Xiao Baojuan succeeded to the throne. The Northern Wei launched an attack on Qi, capturing Xinye. In the year of Jimao (499), the Southern Qi changed its era name to "Yongyuan," and appointed his son Xiao Song as the crown prince. Emperor Xiaowen of Northern Wei died, and his son Yuan Kuo succeeded to the throne, becoming Emperor Xuanwu of Northern Wei, while Prince Pengcheng Yuan Xie was entrusted with the regency.

庚辰　齊崔惠景以廣陵叛，兵犯建業，蕭懿平之。寶卷殺懿，蕭衍稱兵襄陽，蕭穎胄稱兵荊州。魏改元景明。彭城王勰拔齊壽春。辛巳　齊蕭衍立南康王寶融於江陵，以兵圍臺城，國人殺寶卷，而入寶融於建業，是謂和帝，改元中興，衍稱相國、司空，假黃鉞，錄尚書事，專制，廢寶卷為東昏侯，蕭寶夤奔魏。

In the year Gengchen (公元 500), the general Cui Huijing of the Northern Qi occupied Guangling and rebelled, his troops attacking Jianye, but were quelled by Xiao Yi. However, the Prince of Donghunhou Xiao Baquan instead killed the meritorious general Xiao Yi. Xiao Yi's younger brother Xiao Yan then raised an army in Xiangyang, while Xiao Yingzhou in Jingzhou responded in support. The Northern Wei changed its era name to "Jingming," and Prince Pengcheng Wang Yuan Xie captured Shouchun of the Southern Qi. In the year Xinsi (501), Xiao Yan proclaimed the Prince of Nanxiang Wang Xiao Baorong as emperor in Jiangling, and advanced to surround Jiankang Taicheng. The people within the city killed Xiao Baquan and opened the gates to surrender, welcoming Xiao Baorong into Jianye, who became the emperor of the Southern Qi, with the era name "Zhongxings." Xiao Yan claimed the title of Grand General and Minister of Works, was given the authority of the Yellow Sword, and was entrusted with the affairs of the state, thus monopolizing the government. He later posthumously deposed Xiao Baquan as the Prince of Donghunhou. The royal family of the Southern Qi, Xiao Baoyin, fled to the Northern Wei.

壬午　齊蕭衍被九錫，封梁王，四月，衍代齊命於建業，是謂武帝，改國為梁，元曰天監，以子統為皇太子，降其君寶融為巴陵王，殺之於姑熟。癸未。甲申　魏改元正始。乙酉　丙戌。丁亥　東西夷四十國修貢於魏。戊子　魏改元永平，殺太師元勰。己丑　戎夷二十四國修貢於魏。庚寅。辛卯　東西夷二十九國修貢於魏。壬辰　魏改元延昌。癸巳。

In the year Renwu (AD 502), Xiao Yan received the Nine Grants and was made the King of Liang; in April, Xiao Yan took the throne in Jianye, succeeding the Southern Qi dynasty, becoming Emperor Wu of Liang, and changed the state name to "Liang" and the era name to "Tianjian." He appointed his son Xiao Tong, the Prince Zhao Ming, as the crown prince. He reduced the Emperor Xiaowu of Qi, Xiao Baorong, to the Duke of Baling and later killed him in Gushu. The Southern Qi dynasty thus ended after twenty-four years. In the year Guiwei (503), there were no significant events. In the year Jiashen (504), the Northern Wei changed their era name to "Zhengshi." In the years Yiyou (505) and Bingxu (506), there were no significant events. In the year Dinghai (507), forty states from the east and west presented tribute to the Northern Wei. In the year Wuzi (508), the Northern Wei changed their era name to "Yongping" and killed the Grand Tutor Yuan Xie. In the year Jichou (509), twenty-four barbarian states presented tribute to the Northern Wei. In the year Gengyin (510), there were no significant events. In the year Xinmao (511), twenty-nine states from the east and west presented tribute to the Northern Wei. In the year Renchen (512), the Northern Wei changed their era name to "Yanchang." In the year Guisi (513), there were no significant events.

甲午　梁武帝十三年，魏武帝十五年。乙未　魏宣武終，太子詡嗣位，是謂孝明皇帝，太后胡氏稱制，劉騰、元義為輔相。丙申　魏改元熙平。丁酉。戊戌　魏改元神龜。己亥。庚子　梁改元普通。魏改元正光，幽靈太后胡氏於北宮。辛丑　壬寅　癸卯　甲辰。

The year Jiawu was the thirteenth year of Emperor Wu of Liang's reign and the fifteenth year of Emperor Xuanwu of the Northern Wei, corresponding to 514 AD. In the year Yiwei (515 AD), Emperor Xuanwu of the Northern Wei died, and his son Yuan Xu succeeded to the throne, becoming Emperor Xiaoming of the Northern Wei. Since he was young, Empress Dowager Hu ruled on his behalf. Liu Teng and Yuan Yi (the original text reads Yuan Yi) assisted in governance. In the year Bingshen (516 AD), the Northern Wei changed its era name to "Xiping." In the year Dingyou (517 AD), there were no significant events. In the year Wuxu (518 AD), the Northern Wei changed its era name to "Shen Gui." In the year Jihai (519 AD), there were no notable events. In the year Gengzi (520 AD), the Southern Liang changed its era name to "Tongping," and the Northern Wei changed its era name to "Zhengguang." Liu Teng and Yuan Yi launched a coup, imprisoning Empress Dowager Hu in the Northern Palace. From the year Xinchou to Jiachen (521 to 524 AD), there were no recorded events.

乙巳　魏改元孝昌，相劉騰、元義罪，免為庶人，迎太后胡氏於北宮，還政。中山、上谷、彭城寇亂。丙午。丁未　梁帝衍，沒身於同泰寺，改元大通。魏諸郡寇亂。戊申　魏改元武泰，太后胡氏殺其帝詡，立無名子。大都督爾朱榮自太原入，殺無名子及太后胡氏、諸王貴臣於河陰，得長樂王攸，是謂莊帝，改元建義，又改元永安。榮都督中外諸軍事，稱太原王，還晉陽，專制。

In the year of Yisi (525 CE), the Northern Wei dynasty changed its era name to "Xiaochang." It investigated the crimes of the chancellor Liu Teng and Yuan Yi, exiled them as commoners, and brought the Empress Dowager Hu from the Northern Palace back to restore the throne. Bandits rose up in Zhongshan, Shanggu, and Pengcheng, and the remnants of the Six Garrisons Rebellion were spreading. In the year of Bingwu (526 CE), there were no major events. In the year of Dingwei (527 CE), Emperor Xiao Yan of Liang offered himself as a lay Buddhist monk at Tongtai Temple, and changed the era name to "Datuang." The Northern Wei experienced continuous banditry in all its prefectures. In the year of Wushen (528 CE), the Northern Wei changed its era name to "Wutai." The Empress Dowager Hu poisoned Emperor Xiaoming Yuan Xu, and instead enthroned an unnamed young boy. The commander of the Qiehu forces, Erjue Rong, rose up from Taiyuan, entered Luoyang, and drowned the young emperor, the Empress Dowager Hu, and various princes and ministers in the He Yin River, an event known as the "He Yin Incident." Afterwards, he enthroned Prince Yuan Ziyou as emperor, who became Emperor Xiaozhuang of Wei, and changed the era name to "Jianyi," then to "Yongan." Erjue Rong was appointed commander of all military affairs inside and outside the court, was granted the title of Prince of Taiyuan, and returned to Jinyang to control the government from a distance.

己酉　梁改元中大通，衍復沒身於同泰寺，群臣以錢億萬購衍還政。元顥自梁入洛，稱帝，改元建武，徙攸於河北。爾朱榮自晉陽入，逐元顥，迎攸返政。庚戌　魏帝攸殺爾朱榮於洛陽宮。爾朱兆自晉陽入，徙攸於河東，殺之。爾朱世隆立長廣王曄於長子，改元建明。

In the year Jiyou (AD 529), the Liang dynasty changed its era name to "Zhongdatong." Emperor Wu of Liang once again gave himself up to the Taomi Temple, and the ministers contributed one hundred million coins to redeem him and restore his rule. A member of the Northern Wei royal family, Yuan Hao, used Liang troops to enter Luoyang and declared himself emperor, changing the era name to "Jianwu," forcing Emperor Xiaozhuang of Wei, Yuan Zisou, to flee to Hebei. Erzhu Rong led his troops from Jinyang into Luoyang, drove Yuan Hao away, and welcomed Emperor Xiaozhuang back to the capital to resume his position. In the year Gengxu (530), Emperor Xiaozhuang could no longer tolerate being controlled, and he personally killed Erzhu Rong in the palace of Luoyang. Erzhu Rong's nephew Erzhu Zhao entered Luoyang from Jinyang to avenge his uncle, moved Emperor Xiaozhuang to Hedong and had him killed; while Erzhu Shilong established the Prince Changguang of Wei, Yuan Ye, as emperor in Changzi, changing the era name to "Jianming."

辛亥　梁昭明太子統卒，晉安王綱為太子。魏爾朱兆廢曄，立廣陵王子恭於洛陽，是謂節愍，改元普太，還鎮晉陽。冀州刺史高歡稱兵信都，立章武王子渤海太守朗於信都，改元中興，歡稱丞相。壬子　魏高歡據鄴叛，敗爾朱兆於韓陵西平幷州，南入洛，廢恭，殺之。又廢朗於河陽，殺之，立平陽王修於洛陽，改元太昌，再改元永熙，還鎮鄴，專制。爾朱兆走秀容，死。修立，是謂武帝。

In the Xinhai year (公元 531), the Liang Dynasty's Prince Xiao Tong, the son of Emperor Wu, died, and Prince Xiao Gang was appointed as the crown prince. In the Northern Wei Dynasty, Er Zhu Zhao deposed Yuan Ye and installed Yuan Gong, the son of Guangling Prince, in Luoyang, who became Emperor Jie Min, and changed the era name to "Putai" (the original text says "Putai"). Soon after, he returned to control Jinyang. The governor of Jizhou, Gao Huan, raised an army in Xindu and supported Yuan Lang, the son of Zhangwu Prince and the governor of Bohai, and changed the era name to "Zhongxīng". Gao Huan claimed the title of Chancellor and opposed the Er Zhu family. In the Renzi year (532), Gao Huan occupied Yecheng and raised an army, defeating Er Zhu Zhao at Hanling, capturing the western plains of Pingzhou, and advancing south to Luoyang, where he deposed and killed Emperor Jie Min Yuan Gong. He also deposed Yuan Lang, whom he had supported, in Heyang, and installed Yuan Xiu, the Prince of Pingyang, in Luoyang, changing the era name to "Ta昌" and later to "Yongxi". Gao Huan returned to control Yecheng and took control of the government. Er Zhu Zhao fled to Xiurong and committed suicide. Yuan Xiu ascended the throne, becoming Emperor Xiaowu of the Northern Wei.

癸丑　魏高歡平爾朱氏。甲寅　魏高歡之洛，帝修西走長安。歡立清河王子善見，是謂靜帝，改元天平，徙洛陽四十萬戶於鄴，都之，是謂東魏。歡鎮太原，都督中外，專制。宇文泰廢修於長安，殺之，立南陽王寶炬，是謂文帝，改元大統，是謂西魏。泰都督中外，專制。

In the year Gui Chou (公元 533), Gao Huan completely eliminated the remaining forces of the Er Zhu clan. In the year Jia Yin (534), Gao Huan led his troops into Luoyang, and Emperor Xiaowu Yuan Xiu fled west to Chang'an to seek refuge with Yuwen Tai. Gao Huan then established Yuan Shanjian, the son of Qinghe Prince Yuan, as the new emperor, who became Emperor Xiaojing of the Northern Wei, and changed the era name to "Tianping." He moved forty thousand households from Luoyang to Yecheng and established his capital there, forming the Eastern Wei. Gao Huan himself remained stationed in Taiyuan, overseeing both internal and external affairs from a distance and controlling the government. Meanwhile, Yuwen Tai abolished Emperor Xiaowu in Chang'an and installed Yuan Baoyu, the Prince of Nanyang, as the new emperor, who became Emperor Wudi of the Western Wei, and changed the era name to "Dadun," forming the Western Wei. Yuwen Tai also controlled both internal and external affairs, holding all power. The Northern Wei thus split into two courts, laying the foundation for the later Northern Qi and Northern Zhou dynasties.

乙卯　梁改元大同。丙辰　侯景為東魏右僕射南行臺。丁巳　西魏宇文泰大破東魏高歡軍於沙苑。戊午　東魏改元元象，高歡大破西魏宇文泰兵於洛陽。己未　東魏改元興和。庚申　辛酉　壬戌。癸亥　東魏改元武定，高歡大破西魏宇文泰軍於邙山，遂拔洛陽。

In the year Yimao (AD 535), the state of Liang changed its era name to "Dadong." In the year Bingchen (536), Hou Jing was appointed as the Right Chancellor and commander of the southern campaign for the Eastern Wei, marking the beginning of his military dominance, which would later lead to the downfall of the Southern Liang. In the year Dingsi (537), Yuwen Tai of the Western Wei defeated the Eastern Wei forces led by Gao Huan at Shayan. In the year Wuwu (538), the Eastern Wei changed its era name to "Yuanxiang," and Gao Huan defeated the Western Wei troops at Luoyang. In the year Jiwei (539), the Eastern Wei changed its era name to "Xinghe." In the years Gengshen, Xinyou, and Renxu (540-542), there were no notable events. In the year Guihai (543), the Eastern Wei changed its era name to "Wuding," and Gao Huan defeated the Western Wei army at Mt. Mang, subsequently capturing Luoyang. The Eastern and Western Wei were engaged in continuous warfare, with alternating victories and defeats.

甲子　梁武帝四十三年，西魏文帝十一年，東魏靜帝十一年。乙丑。丙寅　梁武帝三失身於同泰，改元中大同。群臣及皇太子畢會於同泰。是夜，同泰大火。丁卯　梁改元太清。東魏渤海王高歡卒於晉陽，子澄繼事。侯景以河南十三州叛，慕容紹宗敗侯景於長社。景南走壽春，附於梁，封為河南王。

The year of Jiazi was the forty-third year of Emperor Wu of Liang's reign, the eleventh year of Emperor Wen of Western Wei, and the eleventh year of Emperor Xiaojing of Eastern Wei, corresponding to the year 544 AD. The year of Yichou (545 AD) had no significant events. In the year of Bingyin (546 AD), Emperor Wu of Liang for the third time sacrificed himself at the Temple of Tongtaishan, and he changed the era name to "Zhongdatong." Officials and the crown prince gathered at the Temple of Tongtaishan to redeem the imperial carriage. That night, the Temple of Tongtaishan caught fire and was destroyed. In the year of Dingmao (547 AD), Liang changed its era name to "Taiqing." In Eastern Wei, Prince Beihai Gao Huān died in Jin yang, and his son Gao Chen took over the power. Hou Jing then rebelled in thirteen states in the Henan region. Eastern Wei sent Mu Cang Zhaozong to defeat Hou Jing at Changshe, but Hou Jing fled south to Shouchun and later surrendered to Southern Liang. Emperor Wu of Liang granted him the title of Prince of Henan. Thus, the seeds of calamity for the Southern Dynasties were sown.

戊辰　侯景兵犯梁建業，立蕭正德於南關。己巳　侯景破梁臺城，殺衍，立太子綱，是謂文帝。景稱大丞相，都督中外軍事，專政。湘東王繹開府江陵。將王僧辯、陳霸先率兵討侯景。東魏盜殺高澄於晉陽，弟洋自鄴還晉陽，繼事。

In the year of Wuchen (公元 548), Hou Jing raised an army to attack the capital of Liang, Jianye, and installed a member of the royal family, Xiao Zhengde, as a puppet ruler at the southern pass. In the year of Jisi (549), Hou Jing captured the Taicheng palace, and Emperor Xiao Yan of Liang died from starvation and exhaustion. Hou Jing then proclaimed the crown prince Xiao Gang as emperor, who became Emperor Jiansheng of Liang. Hou Jing claimed the title of Grand Chancellor and Commander of all military forces, monopolizing the government. As a result, the southern regions were devastated, and this event is known as the "Hou Jing Rebellion." Xiao Dongwang, Xiao Yey, established his government in Jiangling, and his generals Wang Shengbian and Chen Baixian led armies to suppress Hou Jing. Meanwhile, the powerful minister Gao Chen of the Eastern Wei was assassinated by his servant in Jin Yang. His younger brother Gao Yang returned from Yecheng to Jin Yang to take over the government.

庚午　梁改元太寶，侯景稱相國、漢王，逼綱走西州。西魏拔梁之安陸，取漢中地。東魏高洋入總百揆，進爵為齊王，五月，洋代東魏命，是謂宣帝，改國為齊，元曰天寶，降其君善見為中山王。辛未　侯景廢梁帝綱，又殺之，立豫章王棟，改元天正，又廢之，代立，改國為漢，元曰太始。西魏文帝寶炬卒，子欽繼。

In the year Gengwu (550 CE), the Liang dynasty changed its era name to "Dabao" (the original text says "Tai Bao"). Hou Jing proclaimed himself as Chancellor and King of Han, forcing the Emperor Jianwen Xiao Gang to move to the Western State. The Western Wei took advantage of the chaos to capture Anlu of the Liang and seize the Hanzhong region. In the Eastern Wei, Gao Yang entered the court to take charge of all affairs, and was promoted to the Marquess of Qi. In May, Gao Yang accepted the abdication of the Eastern Wei and became the Wenxuan Emperor of the Northern Qi dynasty, changing the state name to "Qi" and the era name to "Tianbao" (the original text says "Tianbao"), and reducing the Eastern Wei Emperor Xiaojing Yuan Shanjian to the Marquess of Zhongshan. In the year Xinwei (551 CE), Hou Jing deposed Emperor Jianwen Xiao Gang and killed him, then installed Yuzhang Prince Xiao Dong as the new emperor, changing the era name to "Tianzheng". Soon afterwards, Hou Jing deposed Xiao Dong and proclaimed himself emperor, changing the state name to "Han" and the era name to "Taishi". The Western Wei Emperor Yuan Baoju died, and his son Yuan Qin succeeded to the throne.

壬申　梁湘東王繹平侯景，使將朱買臣殺棟，稱帝江陵，是謂元帝，改元承聖，以陳霸先為徵北大將軍，王僧辯為揚州刺史。武陵王紀稱帝成都，年用天正。西魏稱元年。癸酉　梁平武陵王於蜀。西魏宇文泰殺尚書元烈。

In the year Renshen (公元 552), Liang's Prince Xiangdong Wang Xiao Yi pacified the rebellion led by Hou Jing, ordered his general Zhu Mai Chen to kill the deposed emperor Xiao Dong, and established himself as emperor in Jiangling, known as Liang Yuan Di. He changed the era name to "Chengsheng," appointing Chen Baixian as General of the Northern Expedition and Wang Shengbian as Governor of Yangzhou. At the same time, Prince Wuling Wang Xiao Ji declared himself emperor in Chengdu, continuing the era name "Tianzheng." The Liang court saw internal conflict among brothers. The Western Wei also reestablished their era name that year. In the year Guiyou (553), the Liang dynasty subdued the Wuling Prince Xiao Ji in Sichuan, and Sichuan was soon annexed by the Western Wei. Western Wei's Yuwen Tai killed the Minister of the Secretariat Yuan Lie and eliminated the remaining remnants of the Northern Wei dynasty.

甲戌　梁蕭詧引西魏兵陷江陵，殺繹及諸王。大將軍陳霸先、揚州刺史王僧辯立繹之子晉安王方智於潯陽，是謂恭帝，還都建業。王僧辯為太尉，居內；陳霸先為司空，鎮丹徒。西魏宇文泰弒其君欽，立齊王廓，改元元年。泰用蕭詧南征，拔江陵，殺繹，徙其民於長安。

In the year of Jiaxu (公元 554), Xiao Chua, a member of the royal family of the Liang dynasty, led troops from the Western Wei to capture Jiangling, killing the Liang emperor Xiao Yi and various princes. The 140,000 volumes of books collected by Emperor Xiao Yi were burned. General Chen Baixian and the governor of Yangzhou Wang Shengbian proclaimed Xiao Fangzhi, the son of Xiao Yi, as the new emperor, known as Emperor Jingdi of Liang, and restored the capital to Jianye. Wang Shengbian was appointed as Grand General and remained in the central government, while Chen Baixian was appointed as Minister of War and stationed at Dantu. Meanwhile, Yuwen Ta of the Western Wei assassinated Emperor Wenqin of the Northern Wei and installed Prince Qilang Wenkuo as the new emperor, initiating a new era. Yuwen Ta then used the name of Xiao Chua to launch a southern campaign, captured Jiangling, killed Emperor Xiao Yi, and transported over 100,000 civilians from Jiangling to Chang'an.

乙亥　梁貞陽侯蕭明自齊入，至東關，太尉王僧辯拒之，不勝，遂迎蕭明入建業，立之，降方智為太子，改元天成。司空陳霸先自丹徒入，殺王僧辯，廢蕭明為司徒，封建安公，復立方智，改元紹泰。霸先為尚書，都督中外，專制。是年，蕭詧稱帝江陵，改元大定，北附於宇文氏，是謂後南梁。

In the year Yihai (555 CE), Liang's Prince Zhenyang Hou Xiao Yuanying was supported by the Northern Qi and advanced southward to Dongguan. The Grand Minister Wang Shengbian confronted him but was defeated, so he had to welcome Xiao Yuanying into Jianye and proclaim him emperor, demoting Xiao Fangzhi to crown prince and changing the era name to "Tiancheng." Meanwhile, the Grand Minister of the Military Chen Baixian raised an army from Dantu and entered the capital, killing Wang Shengbian, deposing Xiao Yuanying as Grand Minister of the State and granting him the title of Feian Gong, and re-establishing Xiao Fangzhi as emperor, changing the era name to "ShaoTai." Chen Baixian was appointed as Minister of the Secretariat and Commander of the Military, thus monopolizing the government. Also in this year, Xiao Chua declared himself emperor in Jiangling, changing the era name to "Dadeng," and turned northward to rely on the Western Wei's Yuwen clan, establishing the Later Liang, which is referred to as the Later Southern Liang in the text.

丙子　梁改元太平，陳霸先稱相國，敗齊軍於江上。西魏宇文泰卒，子覺繼事。是年，覺代西魏命於長安，是謂閔帝，改國為周，是謂後周，元稱元年，降其君廓為宋國公。丁丑　相國陳霸先進爵為陳王。十月，陳霸先代梁命於建業，是謂武帝，改國為陳，元曰永定。降其君方智為江陰王。周亂，宇文護殺其君覺，立宇文毓，是謂明帝，稱元年。護為太宰，專制。

In the year Bingzi (556 CE), the Liang dynasty changed its era name to "Taiping," and Chen Baxian claimed the title of Grand Chancellor. He defeated the Northern Qi army on the Yangtze River. In the same year, Yuwen Ta of the Western Wei died, and his son Yuwen Jue inherited his power. Yuwen Jue was later enthroned in Chang'an by the Western Wei, becoming Emperor Xiaomin of Zhou. The state was renamed "Zhou," historically known as Northern Zhou, and a new era began. The Western Wei Emperor Yuan Kuang was reduced to the title of Prince of Song. In the year Dingchou (557 CE), Grand Chancellor Chen Baxian was elevated to the Marquess of Chen. In October, Chen Baxian was enthroned in Jianye by the Liang dynasty, becoming Emperor Wudi of Chen. The state was renamed "Chen," with the era name "Yongding." The Liang Emperor Xiaozhi Xiao Fangzhi was reduced to the title of Prince of Jiangyin. Internal turmoil occurred in Northern Zhou, and the powerful minister Yuwen Hu killed Yuwen Jue, then installed Yuwen Yu as emperor, known as Emperor Ming of Zhou. A new era began, and Yuwen Hu was appointed Grand Tutor, holding absolute power over the government.

戊寅　梁蕭莊以郢州稱帝，救援於齊。己卯　陳武帝霸先殂，兄臨川王蒨立，是謂文帝，以子伯宗為太子。周宇文毓稱天王，改元武成。齊宣王洋卒，子殷繼於晉陽，以諸父演為太師，湛為司馬，元氏宗室無少長皆殺之，投於漳水。

In the year of Wuyin (AD 558), Xiao Zhuang, a member of the royal family of the Liang dynasty, proclaimed himself emperor in Yingzhou and sought aid from the Northern Qi to restore his kingdom. In the year of Jimao (559), Chen Wudi Chen Baixian died, and his nephew Chen Qian, the son of his brother, succeeded to the throne as Chen Wen Di, establishing his son Chen Bozong as crown prince. The Northern Zhou's Yuwen Yu changed his title to Heavenly King and began the era name "Wucheng." The Northern Qi's Wenxuan Emperor Gao Yang died, and his son Gao Yin succeeded him in Jinyang, with his uncle Gao Yan appointed as Grand Tutor and his cousin Gao Zhan as Commander of the Staff. The Northern Qi executed all members of the Tuoba royal family regardless of age, throwing their bodies into the Zhang River, thus ending the Tuoba clan.

庚辰　陳改元天嘉。周亂，宇文護弒其君毓，立其弟邕，是為武帝。齊改元乾明，太師高演弒其君殷，代立，是謂昭帝，改元皇建。辛巳　周改元保定。齊帝演卒於晉陽，大司馬湛立，改元大寧，是謂武成。壬午　齊改元清河，還都鄴。後南梁蕭詧卒，子巋繼，改元天保。

In the year Gengchen (公元 560), Chen changed its era name to "Tianjia." In the Northern Zhou, there was internal turmoil, and Yuwen Hu killed Emperor Ming of Zhou, Yuwen Yu, and installed his younger brother Yuwen Yong, who later became Emperor Wu of Zhou, and eventually conquered Qi and unified the north. In the Northern Qi, the era name was changed to "Ganming," and the Grand Master Gao Yan killed the young emperor Gao Yin and took the throne, becoming Emperor Xiaozhao of Qi, and later changed the era name to "Huangjian." In the year Xinsi (561), the Northern Zhou changed its era name to "Bǎodìng." Emperor Xiaozhao of Qi, Gao Yan, died in Jinyang, and the Grand General Gao Zhan succeeded him, changing the era name to "Daming," becoming Emperor Wucheng of Qi. In the year Renwu (562), the Northern Qi changed its era name to "Heqing" (the original text says "Qinghe"), and returned the capital to Yecheng. After the death of Xiao Cha, the ruler of the Later Liang, his son Xiao Kui succeeded him, changing the era name to "Tianbao."

癸未。甲申　周齊戰於洛陽。乙酉　齊高湛傳子緯位，改元天統。丙戌　陳改元天康。文帝蒨終，太子伯宗嗣位，庶兄頊錄尚書，都督中外軍事，專制。周改元天和。丁亥　陳改元光大。戊子　陳亂，安成王陳頊弒其君伯宗，代立，是謂宣帝。己丑　陳改元太建，以子叔寶為太子。庚寅　齊改元武平。辛卯。壬辰　陳將吳明徹伐齊，有功。周襲封李淵為唐國公，誅太宰晉公護，改元昌德。癸巳　陳伐齊，有功。

In the year Guiwei (553), there was nothing noteworthy. In the year Jiashen (554), a major battle took place between Northern Zhou and Northern Qi in Luoyang. In the year Yiyou (555), the Northern Qi emperor Wu Chengdi Gao Zhan passed the throne to his son Gao Wei, changed the era name to "Tian Tong", and styled himself as Taishang Huang. In the year Bingxu (556), Chen changed its era name to "Tiankang"; Chen Wen帝 Chen Qian died, and his son Chen Bozong succeeded the throne. His younger half-brother, Prince Ancheng Wang Chen Xu, was appointed as Chief Minister and commander of military affairs, and held actual power. Northern Zhou changed its era name to "Tianhe". In the year Dinghai (557), Chen changed its era name to "Guangda". In the year Wuzi (558), there was internal turmoil in Chen, and Prince Ancheng Wang Chen Xu murdered Emperor Chen Bozong and took the throne, becoming Emperor Chen Xuan. In the year Jichou (559), Chen changed its era name to "Taijian", and appointed his son Chen Shubao as crown prince. In the year Gengyin (560), Northern Qi changed its era name to "Wuping". In the year Xinmao (561), there was nothing noteworthy. In the year Renchen (562), Chen general Wu Mingche defeated Northern Qi and achieved military success; Northern Zhou granted Li Yuan the title of Marquis of Tang, who later became the Tang Taizu. In the same year, Emperor Wu of Northern Zhou executed the regent, Grand Chancellor Jin Gong Yuwen Hu, who had ruled for over ten years, and changed the era name to "Jiande" (the original text says "Changde"), thus beginning to rule personally. In the year Guisi (563), Chen again attacked Northern Qi and achieved military success, recovering the area of Huainan.

甲午　陳宣帝頊七年，周武帝邕十五年，齊武帝緯十年，後南梁蕭巋十二年。乙未　周大伐齊，圍其晉州及洛陽。丙申　周拔齊平陽及晉陽。齊拒周，不利，晉州陷於周，緯走幷州。周圍幷州。緯走鄴，改元隆化。兄德王延宗稱帝幷州，改元昌德。幷州又陷於周。

The year Jiawu (574 CE) was the seventh year of Chen Xu's reign as emperor of Chen, the fifteenth year of Yuwen Yuan's reign as emperor of Northern Zhou, the tenth year of Gao Wei's reign as emperor of Northern Qi, and the twelfth year of Xiao Kui's reign as emperor of Later Liang. In the year Yiwei (575 CE), Northern Zhou launched a large-scale campaign against Northern Qi, besieging Jinzhou and Luoyang in Qi. In the year Bingshen (576 CE), Northern Zhou captured Pingyang and Jinyang in Qi. Northern Qi resisted but failed, and Jinzhou fell. Emperor Gao Wei of Qi fled to Bingzhou. The Northern Zhou forces then besieged Bingzhou, and Gao Wei fled again to Yecheng, where he changed the era name to "Longhua." His brother, Prince Ande Wang Gao Yanzong, declared himself emperor in Bingzhou, changing the era name to "Dechang" (the original text says "Changde"), but Bingzhou soon fell to Northern Zhou. The Northern Qi dynasty was on the verge of collapse.

丁酉　周軍圍齊之鄴。緯傳子恆位，改元承光。緯走青州，恆又禪丞相任城王湝，稱守國天王。鄴又陷於周，國遂亡，緯亦就禽於青州。戊戌　周改元宣政。帝邕卒於伐齊，子贇繼，是謂宣帝。以楊堅為上柱國大司馬，都督揚州。改元大成。

In the year Dingyou (577 CE), the army of the Northern Zhou surrounded the capital city of Beiqi, Yeh. The Later Zhao emperor Gao Wei passed the throne to his young son Gao Heng, and changed the era name to "Chengguang." He himself fled to Qingzhou. Gao Heng then abdicated the throne to his chancellor, the Prince of Rencheng, Gao Jie, and took the title of "Shouguo Tianwang." Yeh was finally captured by the Northern Zhou, and the Beiqi dynasty was extinguished. Gao Wei was captured in Qingzhou. After more than forty years of division between the north and the south, the region was reunified. In the year Wuxu (578 CE), the Northern Zhou changed its era name to "Xuanzheng." Emperor Wudi Yuyun died during his northern campaign, and his son Yuyun Yun succeeded the throne, becoming Emperor Xuan of the Northern Zhou. Emperor Xuan appointed Yang Jian as the Grand Commandant, Grand General, and Commander of the Military in Yangzhou, and changed the era name to "Dacheng." Yang Jian was the father-in-law of Emperor Xuan, and thus the seeds for the replacement of the Northern Zhou by the Sui dynasty were sown.

己亥　陳將吳明徹伐周，不利於呂梁，淮南之地盡沒於周。周帝贇傳子衍位，是謂靜帝，贇稱天元大帝，改元大象。　庚子　周大帝贇終，大司馬楊堅自揚州入，繼朝政，假黃鉞，都督中外軍事，專制。堅召宇文宗室在藩者六王至長安，皆殺之。天下兵起。尉遲迥稱兵相州，宇文胄稱兵榮州，石遜稱兵建州，席毗稱兵沛郡，席義羅稱兵兗州，王謙稱兵益州，堅悉平之，進爵為隋王，用天子服器。鄖州蕭難以八州入於陳。

The year Jihai was the 11th year of the reign of Emperor Chen Shun of the Southern Dynasty and the first year of the reign of Emperor Yuwen Yuan of the Northern Zhou Dynasty (579 AD). General Wu Mingche of the Chen Dynasty led his troops to attack the Northern Zhou, but suffered a defeat and was captured at Lüliang (now southeast of Xuzhou, Jiangsu Province), resulting in the entire Huainan region falling under the control of the Northern Zhou. Emperor Yuwen Yuan of the Northern Zhou passed the throne to his son Yuwen Yanzheng, who became Emperor Jingdi of Zhou. Yuwen Yuan then claimed the title of "Tianyuan Dadi" and changed the era name to "Daxiang." In the year Gengzi (580 AD), Emperor Tianyuan Yuwen Yuan died. Yang Jian, the Grand Master of the Army, entered the capital from Yangzhou to take control of the government, was granted the "huang yue" (golden axe), and was given command of all military forces both within and outside the capital, thus monopolizing power. Yang Jian summoned six relatives of the Yuwen clan who were stationed outside the capital to Chang'an and executed them all, leading to uprisings across the country: Yuchi Jiugong raised an army in Xiangzhou, Yuwen Zhaoyu in Rongzhou, Shi Xun in Jianzhou, Xi Pi in Peijun, Xi Yiluo in Yanzhou, and Wang Qian in Yizhou. Yang Jian suppressed all these rebellions one by one. Yang Jian was then elevated to the title of "Sui Wang" and was allowed to use the imperial robes and ceremonial vehicles. Xiao Nan, the governor of Yunzhou, led eight states to submit to the Southern Chen.

辛丑　周改元大定。是年隋王楊堅代後周命於長安，是謂文帝，改國曰隋，元曰開皇，以高熲、虞慶則、李德林、康世康、暉、元巖、長孫毗、楊尚希、楊惠十人為之輔，冊妃獨孤氏為皇后，子勇為太子，廣為晉王，降其君衍為介國公，殺之。　壬寅　陳宣帝頊終，子叔寶繼，是謂後主。隋起新宮於龍首崗。　癸卯　陳改元至德。隋徙居新宮。　甲辰　後南梁蕭巋朝隋。　乙巳　後南梁蕭巋卒，子琮繼。

In the year Xinchou (581), the Northern Zhou changed its era name to "Dadeng." That year, the Duke of Sui, Yang Jian, took over the Northern Zhou in Chang'an and became emperor, known as Emperor Wen of Sui. The state was renamed "Sui," and the era name was set as "Kaixiang." He appointed ten ministers to assist in governance, including Gao Jing, Yu Qingze, Li Deline, Kang Shikang, Hui, Yuan Yan, Changsun Pi, Yang Shangxi, and Yang Hui (the names listed in the source have errors or omissions, making the number less than ten). He also enfeoffed his wife Dugu as empress, his eldest son Yang Yong as crown prince, and his second son Yang Guang as Prince Jinwang. The last emperor of Northern Zhou, Yuwen Yan, was demoted to the Marquess of Jieguo and was later executed. In the year Renyin (582), Emperor Xu of Chen died, and his son Chen Shubao succeeded him, becoming Emperor Houzhu of Chen. The Sui dynasty began constructing a new capital at Longshougang in the southeast of Chang'an. In the year Guimao (583), the Chen dynasty changed its era name to "Zide." The Sui dynasty moved into the newly built Daxing City. In the year Jiachen (584), the ruler of Houliang, Xiao Kui, paid homage to the Sui dynasty. In the year Yisi (585), Xiao Kui of Houliang died, and his son Xiao Cong succeeded him.

丙午　隋成國公梁士彥、杞國公宇文忻、舒國公劉昉謀興復，不克，伏誅。梁蕭琮改元廣運。　丁未　陳改元禎明。梁蕭琮納國於隋。太傅安平王蕭巖、荊州刺史蕭瓛降於陳。　戊申　隋命晉王廣、秦王俊、清河公楊素，督總管九十、兵五十一萬，為八路，大伐陳。以壽春為行臺府。　己酉　隋師滅陳，以陳後主叔寶歸於長安。　庚戌　蘇、越、饒、泉、婺、樂安、蔣山、永嘉、餘杭、交阯未服，楊素悉平之。　辛亥　壬子　癸丑　甲寅　東巡，封泰山。　乙卯　丙辰　丁巳　戊午　伐高麗無功。　己未　庚申　廢太子勇，冊晉王廣為皇太子。　辛酉　改元仁壽，命十六使巡行天下。　壬戌　命七大臣定禮。　癸亥

In the year Bingwu (586), the Northern Zhou dynasty was overthrown by a conspiracy led by Chengguo Gong Liang Shiyuan, Qiguo Gong Yuwen Xin, and Shuguo Gong Liu Fang. The plot was discovered and all three were executed. After this, the Later Liang dynasty's Xiao Cong changed the era name to "Guangyun." In the year Dingwei (587), the Chen dynasty changed its era name to "Zhenming." Xiao Cong surrendered the Later Liang territory to the Sui dynasty, leading to the fall of the Later Liang. His Taifu Anping Wang Xiao Yan and the governor of Jingzhou Xiao Wan then surrendered to the Chen dynasty. In the year Wushen (588), Emperor Wen of Sui ordered Prince Yanguang, Prince Qianwang, and Qinghe Gong Yang Su to lead ninety governors and 510,000 troops, divided into eight routes, to launch a major campaign against Chen. The headquarters was set in Shoucheng, which was the location of the front command. In the year Jiwei (589), the Sui army defeated Chen, captured Chen Shubao, the last emperor of Chen, and brought him back to Chang'an. The division of the Northern and Southern Dynasties, which had lasted nearly three hundred years, ended at this point. In the year Gengshen (590), the areas of Suzhou, Yuezhou, Raozhou, Quanzhou, Wuzhou, Le'an, Jiangshan, Yongjia, Yuhang, and Jiaozhi still refused to submit, and Yang Su led his troops to pacify them one by one. In the years Xinhai, Renzi, and Guichou (591 to 593), there were no notable events. In the year Jiayin (594), Emperor Wen of Sui toured the east and performed the ceremony of ascending the throne at Mount Tai. In the years Yimao, Bingchen, and Dingsi (595 to 597), there were no significant events. In the year Wuwu (598), the Sui dynasty launched an expedition against Goguryeo but failed to achieve any success. In the year Jiwei (599), there were no notable events. In the year Gengshen (600), Crown Prince Yang Yong was deposed, and Prince Yanguang was appointed as the new crown prince. In the year Xinyou (601), the era name was changed to "Renshou," and sixteen envoys were sent to inspect the country. In the year Renxu (602), seven senior officials were ordered to revise the rites and ceremonies. In the year Guihai (603), there were no notable events.

甲子　隋文帝二十四年，皇太子廣行弒於仁壽宮，代立，是謂煬帝。是年，幸洛陽，建東都於郟鄏，以洛州為豫州。　乙丑　改元大業，冊妃蕭氏為皇后，子晉王昭為皇太子，以宇文述為左衛大將軍，郭衍為左武衛大將軍，於仲文為右武衛大將軍，尚書令楊素為太子太師，安德王雄為太子太傅，河間王宏為太子太保。遵河由汴渚達於淮，謂之通濟渠。幸東都。

The year Jiazi (604) was the twenty-fourth year of the reign of Emperor Wen of Sui. The crown prince Yang Guang murdered his father and seized the throne, becoming Emperor Yang of Sui. That year he toured Luoyang, and built the Eastern Capital in Jia Ru (now in the area of Luoyang). He changed the name of Luo State to Yu State. In the year Yichou (605), he changed the era name to "Daye." He appointed Consort Xiao as empress, his son Prince Yang Zhao as crown prince, and appointed Yu Wen Shu as commander of the Left Guards, Guo Yan as commander of the Left Military Guards, Yu Zhongwen as commander of the Right Military Guards, and Grand Secretary Yang Su as tutor to the crown prince. He also appointed Prince Yang Xiong as the prince's chief advisor and Prince Yang Hong as the prince's guardian. He also followed the Yellow River, passed through the Bian River, and connected with the Huai River, digging the "Tongji Canal," which was the middle section of the Grand Canal. Emperor Yang then toured the Eastern Capital.

丙寅　幸江都，還次東都。太子昭卒，封孫侗為越王，侑為代王，浩為秦王。　丁卯　還長安，北巡榆林，作宮於晉陽。光祿賀若弼、禮部郎宇文弼、太常卿高熲伏誅西北，大築亭障。　戊辰　北巡五原，作宮於汾陽。遵河由清水達於海，謂之永濟渠。引沁水南達於河，北通涿郡。　己巳　西幸河右，徵吐谷渾，至於覆袁。　庚午　南幸江都。　辛未　北幸涿郡。

In the year Bingyin (606), Emperor Yang toured Jiangdu, which is today's Yangzhou, and returned to stay at the Eastern Capital. The crown prince Yang Zhao died, and his grandson Yang Tong was made the Prince of Yue, Yang You the Prince of Dai, and Yang Hao the Prince of Qin. In the year Dingmao (607), Emperor Yang returned to Chang'an and then went north to Yulin, building a palace at Jinyang (now Taiyuan). The Grand Master of Food He Ruo Bi, the Minister of Rites Yu Wen Bi, and the Minister of Rites Gao Jing were executed for discussing state affairs. In the northwest region, many watchtowers and fortifications were built, which were the sentry posts and walls along the borders. In the year Wuchen (608), Emperor Yang toured north to Wuyuan, building a palace at Fen Yang. He followed the Yellow River through Qingshui to reach the Bohai Sea, opening the "Yongji Canal." He also diverted the Qinyu River to connect with the Yellow River to the south and reach Zhuju (now the area around Beijing) to the north. In the year Jisi (609), Emperor Yang toured west along the Hexi Corridor, attacking the Tuyuhun, and his army reached Fuyuan Valley. In the year Gengwu (610), Emperor Yang toured south to Jiangdu. In the year Xinwei (611), Emperor Yang toured north to Zhuju, preparing for the campaign against Liao Dong.

壬申　以兵百一十三萬三千八百為二十四軍，分左右道，大伐遼東，不利，全陷九軍。　癸酉　以代王侑留守長安，越王侗留守東都，秦王浩從駕徵遼東，復大集兵於涿郡。天下群盜起。楊玄感以本兵叛於黎陽。　甲戌　高麗請降，乃班師。扶風盜稱帝，延安寇稱王，離石賊稱天子。　乙亥　北巡，至於雁門，為突厥所圍。　丙子　南達江都，群盜李密稱兵河南，竇建德稱兵河北，林士弘稱兵江南，徐圓朗稱兵東山，劉武周稱兵代北，薛舉稱兵隴右。

In the Renshen year (612), Emperor Yang of the Sui mobilized one million one hundred thirty thousand eight hundred soldiers, organized into twenty-four armies, and launched a major campaign against Goguryeo in Liao Dong. The campaign was unsuccessful, and nine armies were completely destroyed. In the Guiyou year (613), Emperor Yang ordered Prince Dayu to remain in Chang'an and Prince Yutong to stay in the Eastern Capital, while Prince Yang Hao accompanied the emperor for another campaign against Liao Dong. At this time, bandits rose up all over the country, and Yang Xuan gan led his troops in rebellion against the Sui in Linyang (now Xinxi County, Henan). In the Jiaxu year (614), Goguryeo surrendered, and the Sui army withdrew. A rebel leader in Fufeng proclaimed himself emperor, a bandit chieftain in Yanchang proclaimed himself king, and a rebel leader in Lishi claimed to be the Son of Heaven. In the Yihai year (615), Emperor Yang toured north to Yamen and was surrounded by the Khitan forces. In the Bingzi year (616), Emperor Yang went south to Jiangdu, and rebels rose up all over the country: Li Mi raised his army in Henan, Dou Jiande in North China, Lin Shihong in Jiangnan, Xu Yuanshang in the East Mountains (now the area around Shandong), and Liu Wuzhou in Daidi, while Xue Jiqi raised his army in Longyou.

丁丑　煬帝在江都。唐公李淵自晉陽入，立代王侑於長安，以江都帝為太上皇，改元義寧。淵稱唐王，專制。群盜竇建德稱王河北。李密進據鞏洛，稱公，國曰魏，元曰永平。薛舉稱帝隴右，國曰秦，元曰秦興。梁師都稱兵夏州，李軌稱兵涼州，蕭銑稱兵巴陵，李子通稱兵海陵，朱粲稱兵寇軍，沈法興稱兵毗陵，杜伏威稱兵歷陽。

In the year of Dingchou (617), Emperor Yang was still detained in Jiangdu. Prince Li Yuan of the Tang state raised an army from Jin Yang and entered Guanzhong, supporting Prince Dai Wang Yang You to ascend the throne in Chang'an, who became Emperor Gong of the Sui dynasty, and respectfully regarded the distant Emperor Yang in Jiangdu as the retired emperor. The era name was changed to "Yining". Li Yuan claimed the title of King of Tang and held power alone. In the north, Dou Jiande proclaimed himself king; Li Mi occupied Gongxian and Luokou areas, claiming the title of Wei Gong, establishing the state of Wei with the era name "Yongping". Xue Ju established the state of Qin with the era name "Qin Xing" in Longyou. In addition, Liang Shidu raised an army in Xiazhou, Li Gui in Liangzhou, Xiao Xi in Baling, Li Zitong in Hailing, Zhu Can gathered a group of bandits, Shen Faxing raised an army in Piling (now Changzhou), and Du Fuwei raised an army in Lixiang (now He County, Anhui). The situation of warlords dividing the land had already formed.

戊寅　五月，唐王李淵代隋命於長安，是謂神堯皇帝，改國曰唐，元曰武德。以裴寂、劉文靜為輔相，世子建成為皇太子，次子世民為秦王。降其君為酅國公。是年，宇文化及弒煬帝於江都，立秦王皓為主，化及稱王，專制，北轉至魏州，化及又殺皓代立，稱帝，國曰許，元曰天壽。又北走聊城。王世充立越王侗於東都，改元皇始，世充稱鄭王，專制。群盜竇建德進有河北，都樂壽。隴右薛舉卒，子仁杲立。劉武周進有河東，稱帝，國曰漢，元曰天興。梁師都進有朔方，稱帝，國曰梁，元曰永隆。李軌進有河右，稱帝，國曰涼，元曰安樂。蕭銑進有江南及嶺表，稱帝，國曰梁，元曰鳳鳴。李子通進有江都，稱帝，國曰吳，元曰明政。朱粲進有山南，稱帝，國曰楚，元曰昌達。沈法興進有江東，稱王，國曰梁，元曰延康。林士弘稱帝虔州，國曰楚，元曰太平。杜伏威進有淮南，受唐封楚王。秦王平隴右，獲薛仁杲。

In the year of Wuyin (618), in the fifth lunar month, the Prince of Tang, Li Yuan, took control of Chang'an and overthrew the Sui dynasty, becoming the first emperor of the Tang dynasty, known posthumously as Emperor Shenyao, with the state name changed to "Tang" and the era name set as "Wude". He appointed Pei Ji and Liu Wencheng as his chief ministers, designated his eldest son Li Jiancheng as the crown prince, and his second son Li Shimin as the Prince of Qin. The former emperor of the Sui, Yang You, was reduced to the title of Prince of Xie and was given the responsibility of continuing the sacrifices to the Sui dynasty. At this time, the Tang dynasty controlled only the regions of Guanzhong and Hedong, while the majority of the country was still in the hands of various warlords. During this year, the general Yuwen Huaji of the Sui Right Garrison led the Xiaoguo army in a mutiny at Jiangdu, assassinated Emperor Yang of the Sui, and proclaimed Yang Hao, the Prince of Qin, as the new emperor, claiming the title of King and seizing power for himself. After retreating north to Weizhou, he killed Yang Hao and declared himself emperor, establishing the state name "Xu" and the era name "Tianshou", then fled further north to Licheng. Wang Shichong proclaimed himself King of Zheng in the eastern capital, enthroned the Prince of Yue, Yang Tong, as emperor, changed the era name to "Huashishi", and seized power for himself. Among the warlords, Dou Jiande controlled Hebei and established his capital at Le Shou; after the death of Xue Ju of Longyou, his son Xue Renqiao succeeded him; Liu Wuzhou controlled Hedong and declared himself emperor, establishing the state name "Han" and the era name "Tianxingtian"; Liang Shidu controlled Shuofang and declared himself emperor, establishing the state name "Liang" and the era name "Yonglong"; Li Guo controlled Hexi and declared himself emperor, establishing the state name "Liang" and the era name "Anle"; Xiao Xian controlled Jiangnan and Lingnan and declared himself emperor, establishing the state name "Liang" and the era name "Fengming"; Li Zitong controlled Jiangdu and declared himself emperor, establishing the state name "Wu" and the era nane "Mingzheng"; Zhu Can controlled Shannan and declared himself emperor, establishing the state name "Chu" and the era name "Changda"; Shen Faxing controlled Jiangdong and proclaimed himself King, establishing the state name "Liang" and the era name "Yankang"; Lin Shihong proclaimed himself emperor in Qianzhou, establishing the state name "Chu" and the era name "Taiping"; Du Fuwei controlled Huainan and accepted the Tang imperial title as the Prince of Chu. Within a single year, over ten groups declared themselves emperors or kings, marking the peak of the fragmentation at the end of the Sui dynasty. Within the same year, Prince Li Shimin of Qin led his troops to suppress Longyou, captured Xue Renqiao, and the threat from the west of the Tang dynasty was first removed.

己卯　唐秦王平河右，獲李軌。李密與王世充相攻，不利，奔唐，復叛，死於桃林。將徐世勣以河南十郡降竇建德，滅宇文化及於聊城，自樂壽徙於洛南，有黎陽之地，稱國曰夏，元曰五鳳。蕭銑滅林士宏於虔州，杜伏威南保江都，李子通西保江陵。王世充殺越王侗於東都，稱帝，國曰鄭，元曰開明。朱粲降於唐，復殺唐使者，奔王世充。　庚辰　唐秦王平河東，劉武周走突厥。李子通滅沈法興於江東，徙居餘杭。工部尚書獨孤懷恩以謀逆伏誅。

In the year of Jimao (619), Tang Prince Li Shimin pacified the Western River region and captured Li Gui. Li Mi and Wang Shichong suffered defeat in the area around Luoyang, and Li Mi led his remaining troops to submit to the Tang dynasty, but soon rebelled again and fled, being pursued and killed by Tang forces in Taolin. Xu Shi Ji, a general of Li Mi, led the ten prefectures of Henan to submit to Dou Jiande; Dou Jiande defeated Yuwen Huaji in Lucheng, held a funeral for Emperor Yang of Sui, moved his capital from Le Shou to south of Luo River, controlled the area around Liyang, and established the state of "Xia" with the era name "Wufeng". Xiao Xian defeated Lin Shihong in Qianzhou; Du Fuwei defended the south at Jiangdu, while Li Zitong took refuge in Jiangling. Wang Shichong killed the puppet prince Yue Wang Yang Tong whom he had supported in the eastern capital, and declared himself emperor, establishing the state of "Zheng" with the era name "Kaiming", thus ending the last remnants of the Sui dynasty. Zhu Can once submitted to the Tang dynasty, but later killed Tang envoys and switched allegiance to Wang Shichong. In the year of Gengchen (620), Tang Prince Li Shimin pacified Hedong, and Liu Wuzhou fled to Tujue. Li Zitong defeated Shen Faxing in the Jiangdong region and moved to Yuhang. Du Guo, the Minister of Works and maternal uncle of Emperor Gaozu, was executed for plotting rebellion.

辛巳　唐秦王平河南、河北，獲王世充及竇建德以歸。杜伏威滅李子通於餘杭。竇建德故將劉黑闥復稱兵河北。　壬午　唐李靖滅蕭銑於金陵，江南及嶺表平。　癸未　唐秦王平河北，獲劉黑闥，又平徐圓朗於曹州。江淮杜伏威來朝。其將輔公佑稱王丹陽，徙國曰宋。　甲申　唐李靖平輔公佑於江淮。　乙酉　唐加秦王中書令。

In the Xinsi year (621), Tang Prince Li Shimin pacified Henan and Hebei, captured Wang Shichong and Dou Jiande, and brought them back to Chang'an, which laid the foundation for the unification of the Tang dynasty. Du Fuwei defeated Li Zitong in Yuhang. Dou Jiande's former general Liu Hetai raised an army again in Hebei. In the Renwu year (622), Tang general Li Jing defeated Xiao Xiam in Jingling, and the Jiangnan and Lingnan regions were pacified. In the Guiwei year (623), Prince Li Shimin pacified Hebei and captured Liu Hetai, and also pacified Xu Yuanyang in Caizhou. Du Fuwei from the Jianghuai region submitted to the court, but his general Fugongyou declared himself king in Danyang and changed the state name to "Song". In the Jiashen year (624), Tang general Li Jing pacified Fugongyou in the Jianghuai region. In the Yiyou year (625), the Tang court conferred the position of Chancellor on Prince Li Shimin.

丙戌　皇太子建成、齊王元吉作難，殺秦王不克。秦王以長孫無忌、尉遲敬德、侯君集、張公謹、王君廓、房玄齡、杜如晦、長孫順德、柴紹、羅藝、劉師元、李世勣、劉宏基、王孝恭平之於玄武門，帝乃授秦王世民位，退居太安宮，稱太上皇。高士廉為侍中，房玄齡為中書令，蕭瑀為尚書右僕射。　丁亥　改元貞觀。尚書封倫卒，蕭瑀為左僕射，長孫無忌為右僕射。　戊子　平梁師都於朔方。

In the year of Bingxu (626), the crown prince Li Jiancheng and the prince Li Yuangji conspired to kill the prince Li Shimin, but failed. Prince Li Shimin relied on Zhongsun Wuxiu, Weilishi Jingde, Hou Junji, Zhang Gongjin, Wang Junguo, Fang Xuanliang, Du Rushui, Zhongsun Shunde, Chao Shao, Luo Yi, Liu Shiyuan, Li Shiji, Liu Hongji, and Wang Xiaogong to launch a coup at the Black Tortoise Gate, eliminating the two princes. This event is known as the "Black Tortoise Gate Incident." The emperor then passed the throne to Prince Li Shimin, who became Emperor Taizong of the Tang Dynasty, while the emperor himself retired to the Taian Palace and became the Grand Emperor. In the court, Gao Shilian was appointed as the Attendant Minister, Fang Xuanliang as the Minister of the Secretariat, and Xiao Yu as the Deputy Minister of the Ministry of Works. In the year of Dinghai (627), the era name was changed to "Zhen Guan." The Minister of the Ministry of Personnel, Shen Fenglun, died, and Xiao Yu was appointed as the Deputy Minister of the Ministry of Works, while Zhongsun Wuxiu was appointed as the Deputy Minister of the Ministry of Works. In the year of Wuzi (628), the region of Shuofang was pacified, ending the last of the warlords from the end of the Sui Dynasty.

己丑　相裴寂以罪免，房玄齡為尚書左僕射，杜如晦為尚書右僕射，李靖為兵部尚書，魏徵守秘書監，參預朝政。　庚寅　李靖平突厥，獲頡利可汗。戴胄、蕭瑀參預朝政，溫彥博為中書令。　辛卯　春大蒐於昆明，冬幸溫湯。　壬辰　祀南郊。　癸巳　魏徵為侍中。頒新定《五經》於天下。

In the Jichou year (629), the chancellor Pei Ji was dismissed for wrongdoing, while Fang Xuanling was appointed as the Left Chancellor, Du Ruoshi as the Right Chancellor, and Li Jing as the Minister of War. In the Gengyin year (630), Li Jing led an expedition to subdue the Eastern Turkic Khaganate, capturing the Khagan Jielie, and from then on, Emperor Taizong was revered by the surrounding peoples as "Heavenly Khagan." Dai Zhou and Xiao Yu participated in state affairs, while Wen Yanbo held the post of Chancellor. In the Xinmao year (631), a large military review was held in the Kunming Pool in spring, known as the "Great Hunt," and in winter, the emperor toured the Warm Spring Palace. In the Renchen year (632), a sacrifice to Heaven was performed at the southern altar. In the Guisi year (633), Wei Zheng was promoted to the position of Attendant Minister. The court also issued the newly compiled "Five Classics," which became the precursor to the later "Five Classics with Commentary."

甲午　唐廣孝皇帝九年。　乙未　李靖平吐谷渾，獲其王。放（闕）。太上皇崩於太安宮，葬高祖於獻陵。　丙申　魏徵遷特進，溫彥博遷右僕射。　丁酉　幸洛陽宮。　戊戌　高士廉為右僕射。　己亥　幸九成宮。荒服十國來修貢。　庚子　侯君集平高昌，獲其王以歸。弘化公主嬪於吐谷渾。至日圓丘祀昊天上帝。

The year Jiawu (634) was the ninth year of the reign of Emperor Taizong (posthumous title Guangxiao Emperor). In the year Yiwei (635), Li Jing pacified the Tuyuhun, capturing its king; the original text here is missing. Emperor Taizong's father, the retired emperor Li Yuan, died in the Taian Palace and was buried in the Xianling Mausoleum. In the year Bingshen (636), Wei Zheng was promoted to the position of Tujin, and Wen Yanbo was promoted to the position of Youpushe. In the year Dingyou (637), Emperor Taizong toured the Luoyang Palace. In the year Wuxu (638), Gao Shilan was appointed to the position of Youpushe. In the year Jihai (639), Emperor Taizong toured the Jiucheng Palace; ten distant states referred to as "huafu" came to pay homage. In the year Gengzi (640), Hou Junji pacified Gaochang, capturing its king and bringing him back; Princess Honghua married the Tuyuhun; on the winter solstice, a sacrifice was made to the Heaven Emperor at the Yuanqiu.

辛丑　幸洛陽。文成公主嬪於吐蕃。　壬寅　幸岐陽。　癸卯　圖二十四功臣於凌煙閣。內難作，皇子齊王祐以齊叛，廢太子承乾為庶人，徙之黔。幽魏王泰於北苑，徙之均。以晉王治為皇太子。誅侯君集。至日祀南郊。　甲辰　岑文本、馬周為中書令。幸洛陽，及親征遼東。　乙巳　平高麗。

In the Xinchou year (641), Emperor Taizong visited Luoyang; Princess Wencheng married the Tibetan king Songtsen Gampo, beginning the marriage alliance between the Tang and Tibetan states. In the Renyin year (642), he visited Qiyang. In the Guimao year (643), he ordered the painting of twenty-four meritorious ministers in the Lingyanshan Hall; court disturbances occurred repeatedly: Prince Zhi Wang Li You rebelled in Qizhou, Crown Prince Li Chengqian was deposed, reduced to commoner status, and exiled to Qianzhou, Prince Wei Wang Li Tai was imprisoned in Beiyuan and later transferred to Junzhou, and Crown Prince Jin Wang Li Zhi was appointed as the new crown prince. On the winter solstice, a sacrifice to heaven was held at the southern suburbs. In the Jiachen year (644), Cen Wenzhen and Ma Zhou were appointed as chancellor; Emperor Taizong visited Luoyang and then personally led an expedition against the Eastern Khitans. In the Yisi year (645), the Tang army defeated Goguryeo, capturing various cities in the Liao Dong region.

丙午　李勣破薛延陁。荒服十一國修貢。　丁未　起翠微宮於終南山。　戊申　阿史郍平龜茲，獲其王以歸。徵松外蠻。司空房玄齡特進。蕭瑀卒，褚遂良為中書令。　己酉　帝崩於翠微宮，皇太子治踐位，葬太宗於昭陵。長孫無忌、褚遂良輔政，復李勣官，仍加特進。于志寧、張行成進侍中，知政事。

In the year Bingwu (646), Li Ji defeated Xue Yantuo and the northern desert tribes submitted; the eleven distant "wild regions" states came to pay homage. In the year Dingwei (647), the Cuiwei Palace was built in Zhongnan Mountain. In the year Wushen (648), Ashina Sero pacified Kucha and captured the Kucha king and brought him back; he also led an army to attack the Songwai Man; the Grand Minister Fang Xuanling was given the special title of "Tiejin"; Xiao Yu died, and Chu Suilang was appointed as the Chancellor. In the year Jiyou (649), Emperor Taizong died in the Cuiwei Palace, and the crown prince Li Zhi ascended the throne, becoming Emperor Gaozong, and Emperor Taizong was buried in the Zhao Ling Mausoleum; Changsun Wuxiu and Chu Suilang assisted in government affairs; Li Ji's official position was restored and he was given the special title of "Tiejin"; Yu Zhining and Zhang Xingcheng were promoted to the position of Chancellor and participated in state affairs.

庚戌　改元永徽。褚遂良罷政。　辛亥　徵賀魯，至於金嶺。至日有事於南郊。　壬子　冊陳王忠為皇太子。韓瑗、來濟為相，宇文節為侍中，柳奭為中書令。　癸丑　駙馬都尉房遺愛、柴令武、薛萬徹、荊王元景及二公主以謀逆伏誅，遂殺吳王恪。褚遂良復為右僕射。睦州女寇亂。　甲寅　築長安羅城。親謁昭陵。

In the Gengxu year (650), Emperor Taizong changed the era name to "Yonghui"; Chu Suiliang was dismissed from government affairs. In the Xinhai year (651), the army advanced to attack Ashina Helu of the Western Turkic Khaganate, reaching Jinling; on the winter solstice, a grand sacrifice to heaven was held at the southern suburbs. In the Renzi year (652), Crown Prince Li Zhong, the son of Prince Chen, was enfeoffed; Han Yuan, Lai Ji, and Yuwen Jie held the positions of chancellor, while Liu Shi served as the chancellor of the middle secretariat. In the Guichou year (653), Prince Fu Ma Du尉 Fang Yigai, Chai Lingwu, Xue Wanchu, Prince Jing Wang Li Yuanning, and two princesses were executed for plotting rebellion; Emperor Taizong's son, Prince Wu Wang Li Ke, was also implicated and executed; Chu Suiliang was reinstated as the right chancellor; Chen Shuozhen, a woman from Muzhou, gathered a group and caused disturbances. In the Jiayin year (654), the outer city of Chang'an was built; Emperor Gaozong personally visited the tomb of Emperor Taizong.

乙卯　廢皇后王氏、良娣蕭氏為庶人，冊昭儀武氏為皇后，罷長孫無忌、褚遂良政事，以許敬宗、李義府為相。武后殺庶人王氏、蕭氏。崔敦禮為中書令。　丙辰　廢皇太子忠為梁王，冊代王弘為皇太子，改元顯慶。杜正倫為相。　丁巳　幸許、洛，以洛陽為東都。李義府進中書令，許敬宗進侍中，貶相韓瑗、來濟為州刺史。

In the year Yimao (655), Emperor Gaozong deposed Empress Wang and the concubine Xiao as commoners and appointed Wu Zetian, the昭仪, as empress. He also dismissed Changsun Wujie and Chu Suiyang from their positions and appointed Xu Jingzong and Li Yifu as chancellors. Later, Wu Zetian had Wang and Xiao, who had already been demoted to commoners, killed. Cui Dunli was appointed as chancellor. In the year Bingchen (656), the crown prince Li Zhong was demoted to the Prince of Liang, and the crown prince was changed to Li Hong, the Prince of Dai. The era name was changed to "Xianqing". Du Zhenglun entered the government as chancellor. In the year Dingsi (657), Emperor Gaozong toured Xuzhou and Luoyang, and designated Luoyang as the eastern capital. Li Yifu was promoted to chancellor, and Xu Jingzong was promoted to the position of attendent-in-attendance. The former chancellors Han Yuan and Lai Ji were demoted to prefects of states. The power of the old families from the Guanlong region thus collapsed.

戊午　蘇定方平賀魯，獲其王。　己未　殺長孫無忌、褚遂良於流所。幸東都。　庚申　廢梁王忠為庶人。蘇定方平百濟，獲其王扶餘。　辛酉　改元龍朔。　壬戌　還長安，建門下、尚書、中書為東、中、西三臺，分侍中、中書令為左右相。造蓬萊宮。許圉師為左相，尋下獄。　癸亥　起含元殿於蓬萊宮。李義府為右相，尋配流嶲州，死。改來年為麟德。

In the Wuwu year (658), Su Dingfang pacified the Western Turkic Khaganate's Ashina Helu and captured him. In the Jiwei year (659), Changsun Wuxiu and Chu Suiyang were executed in their places of exile, and the old ministers of the Taizong era were all removed; Emperor Gaozong visited the eastern capital. In the Gengshen year (660), Li Zhong, the Prince of Liang, was stripped of his status and reduced to commoner status; Su Dingfang pacified Baekje and captured its king Fu Yu Yicí. In the Xinyou year (661), the era name was changed to "Longshuo". In the Renxu year (662), Emperor Gaozong returned to Chang'an, and renamed the Door Down Province, the Ministry of Works, and the Secretariat as the Eastern Hall, the Central Hall, and the Western Hall, respectively; he also renamed the Chancellor and the Minister of the Secretariat as Left Chancellor and Right Chancellor; he constructed the Penglai Palace, which later became the Daming Palace; Xu Yusi was appointed as Left Chancellor, but was soon imprisoned. In the Guihai year (663), the Xuan Yuan Hall was built in the Penglai Palace; Li Yifu was appointed as Right Chancellor, but was soon exiled to Xishu State and died there; an edict was issued to change the era name for the following year to "Linden".

甲子　唐弘孝皇帝十五年，殺西臺侍中上官儀，又殺庶人忠於流所。竇德玄為左相，劉祥道為右相。　乙丑　帝同皇后巡東海，封泰山。陸敦信為右相。　丙寅　帝同皇后至自泰山，改元乾封。劉仁軌為右相。　丁卯　禁工商乘馬。戴至德、李安期、張文瓘並同東西臺三品。　戊辰　李勣平高麗，獲其王。祀明堂，改元總章。

The year Jiazi (664) was the fifteenth year of the reign of Emperor Gaozong (posthumous title Hongxiao Emperor). In this year, the Western Platform Attendant Middle Minister Shangguan Yi was executed, and the deposed crown prince, the commoner Li Zhong, was also executed in his place of exile. Shangguan Yi was punished by Wu Zhou for drafting an edict to depose the empress. After this, the government gradually came under the control of Wu Zhou. Dou Dexuan served as the Left Chancellor, and Liu Xiangdao as the Right Chancellor. In the year Yichou (665), Emperor Gaozong and Wu Zhou toured eastward to the coastal area, ascending Mount Tai to perform the grand ceremony of the heavenly mandate. Lu Dunren served as the Right Chancellor. In the year Bingyin (666), the emperor and empress returned from Mount Tai and changed the era name to "Ganfeng." Liu Rengui served as the Right Chancellor. In the year Dingmao (667), an edict was issued prohibiting merchants and artisans from riding horses. Dai Zide, Li Anqi, and Zhang Wenguan jointly participated in state affairs under the title "Same Eastern and Western Platform Third Grade Officials." In the year Wuchen (668), Li Ji defeated the Goguryeo kingdom, capturing its king Gao Cang. A sacrifice was held in the Bright Hall, and the era name was changed to "Zongzhang."

己巳　帝同皇后幸九成宮。張文瓘同東西臺三品。李勣卒。　庚午　改元咸亨。薛仁貴徵吐蕃不利。　辛未　帝同皇后幸東都及許昌。皇太子弘監國。中書令閻立本、黃門侍郎郝處俊從行。　壬申　帝及皇后至自東都。　癸酉　帝及皇后幸九成宮。　甲戌　皇后稱天后，以帝為天皇，改元上元。帝同皇后幸東都，帝有疾。

In the year Jisi (669), Emperor Gaozong and Empress Wu visited the Jiucheng Palace; Zhang Wenguan participated in government affairs as "Tong Dongsixi Taiming"; and the famous general Li Ji died. In the year Gengwu (670), the era name was changed to "Xianheng"; General Xue Renge led an expedition against the Tubo, but suffered a disastrous defeat at Dafuichuan. In the year Xinwei (671), the emperor and empress toured the eastern capital and Xuchang, while the crown prince Li Hong remained in charge of state affairs; the chancellor Yanliben and the imperial counselor Hao Chujun accompanied the imperial tour. In the year Renshen (672), the emperor and empress returned from the eastern capital to Chang'an. In the year Guiyou (673), the emperor and empress visited the Jiucheng Palace again. In the year Jiaxu (674), Empress Wu was honored as "Heavenly Empress," and Emperor Gaozong was honored as "Heavenly Emperor," and they were jointly called "the Two Saints." The era name was changed to "Shangyuan." The emperor and empress toured the eastern capital again, and at this time Emperor Gaozong had already fallen ill with a wind condition.

乙亥　皇太子弘卒，以雍王賢為皇太子。　丙子　帝及皇后自東都還，改元儀鳳。來恆、薛元超、李義琰、高智周並同中書門下三品。李敬玄、劉仁軌為中書令。　丁丑　戊寅　改來年為通乾。　己卯　甘露降，改元調露。帝同皇后幸東都。裴行儉大伐突厥。

In the year Yihai (675), Crown Prince Li Hong died, and the Prince of Yong, Li Xian, was appointed as the new Crown Prince. In the year Bingzi (676), the Emperor and Empress returned from the Eastern Capital to the capital, and the era name was changed to "Yifeng". Lai Heng, Xue Yuanchao, Li Yian, and Gao Zhihou were all appointed as "Tong Zhongshu Menxia Sanpin" to participate in government affairs. Li Jingxuan and Liu Renjia were appointed as Zhongshu Ling. In the year Dingchou (677), there were no notable events. In the year Wuyin (678), an edict was issued to change the era name for the following year to "Tonggan". In the year Jimao (679), due to the appearance of the "Ganlu" omen, the era name was changed to "Tiaolü"; the Emperor and Empress toured the Eastern Capital; Pei Xingjian launched a large-scale campaign against the Tujue.

庚辰　廢皇太子賢為庶人，以英王哲為皇太子。帝、皇后幸汝陽及嵩嶽。裴炎、崔知溫、王德真並同中書門下三品。改元永隆。帝及皇后至自東都。　辛巳　裴行儉平突厥，獲其王伏念。改元開耀。裴炎進侍中，崔知溫、薛元超進中書令。　壬午　改元永淳。帝及皇后幸東都，起奉天宮於嵩之陽。劉景先、郭待舉、郭正一、岑長倩、魏玄同並同中書門下平章事。

In the Gengchen year (680), the crown prince Li Xian was stripped of his title and reduced to commoner status, known later as the Prince of Zhanghuai, and Li Zhe, the Prince of Ying, who later became Emperor Zhongzong Li Xian, was appointed as the new crown prince; the emperor and empress toured Yuyang and Songshan Mountain; Pei Yan, Cui Zhiwen, and Wang Dezhen jointly participated in government affairs as "same officials of the Zhongshu Menxia" (same rank as Zhongshu Menxia); the era name was changed to "Yonglong"; the emperor and empress returned to the capital from the eastern capital. In the Xinsi year (681), Pei Xingjian pacified the Turkic people, capturing their self-proclaimed leader Ashina Funian; the era name was changed to "Kaiyao"; Pei Yan was promoted to the position of Chief Attendant, while Cui Zhiwen and Xue Yuanchao were promoted to the position of Chancellor. In the Renwu year (682), the era name was changed to "Yongchun"; the emperor and empress again toured the eastern capital, and they constructed the Fentian Palace south of Songshan Mountain, with extensive labor involved; Liu Jingxian, Guo Da ju, Guo Zhengyi, Cen Changqian, and Wei Xuanzhi jointly participated in government affairs as "same officials of the Zhongshu Menxia with equal status." At this time, Emperor Gaozong's illness had become severe, and actual government affairs were decided by Wu Zhao, the Heavenly Empress.

癸未　改元弘道。帝崩於東都。皇太子哲嗣位，是謂昭孝皇帝，天后稱制。劉仁軌進尚書左僕射，岑長倩進兵部尚書，魏玄同進黃門侍郎，劉齊賢進侍中，裴炎進中書令。　甲申　改元嗣聖。天后廢帝為廬陵王，遷之均，立豫王旦，改元文明。侍中裴炎進爵為侯，王德真進侍中，劉褘之、武承嗣進中書平章事。葬高宗於乾陵，再改元光宅。徐敬業以揚州叛，南拔潤州，平之。殺宰相裴炎。又改來年為垂拱。來俊臣、周興大行誣構，謂之羅織。

In the year Guiwei (683), the era name was changed to "Hongdao"; Emperor Gaozong of Tang died in the eastern capital Luoyang, and the crown prince Li Zhe ascended the throne, becoming Emperor Zhongzong of Tang (posthumously known as Emperor Zhaoxiao), while the Heavenly Empress Wu Zhongzhi took control of the government, holding actual power. Liu Ren Gui was promoted to the position of Left Chancellor, Cen Changqian to Minister of War, Wei Xuantong to Attendant of the Gate of the Palace, Liu Qixian to Chancellor, and Pei Yan to Grand Secretary. In the year Jiashen (684), the era name was changed to "Sisheng"; the Heavenly Empress immediately deposed Emperor Zhongzong as the Prince of Lulin and exiled him to Junzhou, then installed Yuwang Li Dan as the emperor, who became Emperor Ruizong of Tang, and changed the era name again to "Wenming". Pei Yan was promoted to the rank of Marquis, Wang Dezhen to Attendant of the Gate of the Palace, and Liu Yizhi and Wu Chenshi participated in government affairs as Grand Secretaries. Emperor Gaozong was buried in Qianling. Within the same year, the era name was changed again to "Guangzhi". Xu Jingye raised an army in Yangzhou to oppose Wu Zhongzhi, advanced southward to capture Runzhou, but was soon suppressed. The chancellor Pei Yan was executed for his remonstrance. An edict was issued to change the next year's era name to "Chui-gong". The cruel officials Lai Junchen and Zhou Xing extensively fabricated charges against officials, creating false accusations, which were referred to as "luozhi".

乙酉　武后徙帝居房陵，改中書門下為鳳閣鸞臺。　丙戌　蘇良嗣為文昌左相，韋待賈為文昌右相，並同鳳閣鸞臺三品。　丁亥　武后賜宰相劉禕之死，張光輔為鳳閣侍郎。　戊子　武后稱聖母。關東八王謀興復。博州琅玡王沖及父蔡州越王貞先發，悉平之，大夷王室。

In the year Yiyou (685), Wu Hou moved the deposed Emperor Li Xian to Fangling for安置, and renamed the Zhongshu Province and Menxia Province as "Fengge" and "Luantai" respectively. In the year Bingxu (686), Su Liangsi served as the Left Chancellor of Wenchang, and Wei Dajia served as the Right Chancellor of Wenchang, both holding the title of "Tong Fengge Luntai Sipin" for participation in government. In the year Dinghai (687), Wu Hou ordered the宰相 Liu Yizhi to commit suicide, and Zhang Guangfu served as the Deputy Chancellor of Fengge. In the year Wuzi (688), Wu Hou claimed the title of "Shengmu Shenhuang". At the same time, eight Kaitang royal princes in the Pass of the East plotted to restore the Tang dynasty, but the Prince of Langye, Li Chong, who was the military governor of Boshan, and his father, the military governor of Cai Prefecture, Prince Yewang Li Zhen, launched a rebellion first, but both were suppressed. Wu Hou took this opportunity to severely punish the Kaitang royal family.

己丑　武后改元永昌，稱聖皇，大殺王族，又殺納言魏玄同及內史張光輔，引王本立、範履冰、邢文偉為相。　庚寅　武后改元載初，以建子月為歲首，祀明堂，以明空為曌，以詔為制，大殺王族，改國為周，元曰天授，稱皇帝。降豫王旦為皇嗣，立武氏七廟，封武氏三人為王。引傅遊藝為相。改魚為龜。

In the year Jichou (689), Wu Hou changed the era name to "Yongchang," styled herself as "Sheng Huang," and launched a large-scale purge of the Li Taung dynasty's royal family. She also executed the chancellor Wei Xuantong and the chancellor Zhang Guangfu, and appointed Wang Benli, Fan Lubi, and Xing Wenwei as chancellors. In the year Gengyin (690), Wu Hou changed the era name to "Zaic hu," adopted the Zhou calendar with the first month being the eleventh lunar month, and held worship ceremonies in the Bright Hall. She also created a new character by combining "ming" and "kong" to form "zhao" as her name, and changed "zhao" to "zhi." She continued to eliminate members of the Li Taung royal family. That year she changed the state name to "Zhou" and the era name to "Tianshou," officially declaring herself emperor, known in history as Wu Zhou. She reduced Emperor Ruizong Li Dan to the title of "Huangsi," established seven temples for the Wu clan, and granted three members of the Wu clan the title of king. She appointed Fu Youyi as chancellor; the symbols worn by officials were also changed from fish-shaped to turtle-shaped.

辛卯　武后祀明堂，格輔元、樂思晦並同鳳閣鸞臺平章事，歐陽通為納言。殺宰相岑長倩、格輔元及納言歐陽通，用狄仁傑為相。　壬辰　武后祀明堂，改元如意，再改元長壽。楊執柔、崔元綜、李昭德、姚璹、李元素為相，狄仁傑下獄。　癸巳　武后祀明堂，稱金輪皇帝，引豆盧欽望、韋巨源、陸元方為相，婁師德亦相。

In the year Xinmao (691), Wu Hou worshipped in the Bright Hall; Ge Fu Yuan and Yue Si Hui both participated in government as "Tong Fengge Luan Tai Ping Zhangshi". Ouyang Tong was appointed as Nayan. In the same year, Wu Hou executed the chancellors Cen Changqian, Ge Fu Yuan, and Nayan Ouyang Tong, all of whom were condemned for opposing the designation of Wu Chengsi as crown prince. Soon after, Di Renjie was appointed as chancellor. In the year Renchen (692), Wu Hou worshipped in the Bright Hall again, and changed the era name to "Ruyi". Within the same year, she changed it again to "Changshou". Yang Zhirou, Cui Yuanzong, Li Zhaode, Yao Shu, and Li Yushen successively became chancellors. Di Renjie was falsely accused by the harsh official Lai Junchen and imprisoned, but was spared death and demoted to the position of Pengze County Magistrate. In the year Guisi (693), Wu Hou worshipped in the Bright Hall once more, and added the title "Jinlun Huangdi", which was taken from the Buddhist concept of "Zhuolun Shengwang" to deify herself. She also appointed Doulu Qinyang, Wei Juyuan, and Lu Yuanfang as chancellors, and Lou Shide also entered the government as chancellor.

甲午　唐昭孝皇帝十一年，在房陵，武后祀明堂，改元延載，引蘇味道、王孝傑、楊再思、杜景儉、李元素、周允元相繼為相。　乙未　武后改元證聖，明堂火。稱天冊，再改元天冊萬歲。　丙申　武后封中嶽，改元萬歲登封，祀明堂，再改元萬歲通天。契丹李盡忠以孫萬榮叛，陷營、冀，命二十八將討之，不利。引王方慶、李道廣為相。

In the year Jiawu (694), which was the eleventh year of the nominal reign of Emperor Zhaoxiao of the Tang dynasty, the emperor was still in seclusion at Fangling. In that year, Wu Hou worshipped at the Bright Hall, changed the era name to "Yanzai," and successively appointed Su Dawei, Wang Xiaojie, Yang Zaisi, Du Jingjian, Li Yuzhen, and Zhou Yunyuan as chancellors. In the year Yiwei (695), Wu Hou changed the era name to "Zhengsheng." The Bright Hall caught fire and was destroyed. She added the title "Tiance Jinlun Shengshen Huangdi" and changed the era name again to "Tiance Wan sui." In the year Bingshen (696), Wu Hou performed the ceremony of the heavenly journey at Mount Song in the central mountains, changed the era name to "Wansui Dengfeng," and again worshipped at the Bright Hall, changing the era name once more to "Wansui Tongtian." The leader of the Qidan, Li Jinzhong and his son Sun Wanrong, raised an army against the Zhou dynasty, capturing Yingshou and Jizhou. The court sent twenty-eight generals to suppress the rebellion, but the military campaigns were not successful. Wu Hou then appointed Wang Fangqing and Li Daoguang as chancellors.

丁酉　武后祀明堂。河朔平。再用婁師德為相。魏王武承嗣、梁王武三思並同鳳閣鸞臺三品。改元神功。狄仁傑、杜景儉復相。誅司業少卿來俊臣，遂及內史李昭德。　戊戌　武后祀明堂，改元聖歷，召帝於房陵，返政。突厥執武延秀及行人閻知微，以破媯檀，定趙。用姚元崇、李嶠為相。

In the year Dingyou (697), Wu Hou worshipped at the Bright Hall; the rebellion of the Khitan in the River-Horse region was quelled; Lou Shide was again appointed as prime minister; Wei Wang Wu Chengsi and Liang Wang Wu Sizhi were both granted the title of "Same Fengge Luantai Sipin"; the era name was changed to "Shenggong"; Di Renjie and Du Jingjian were reinstated as prime ministers; the cruel official Lai Junchen was executed, and the chancellor Li ZhaoDe was also put to death. In the year Wuxu (698), Wu Hou worshipped at the Bright Hall again, and changed the era name to "Shengli"; she recalled Emperor Zhongzong Li Xian from Fangling and reestablished him as the crown prince, setting the stage for the restoration of the Li Tang dynasty. The Turkic forces detained Wu Yanshui, who had gone to marry, and Yan Zhimi, the envoy, and then attacked and captured Yuyu Prefecture and Tan Prefecture, with their forces reaching as far as Zhao Prefecture. Yao Yancun, also known as Yao Chong, and Li Qiao were appointed as prime ministers.

己亥　武后幸嵩山，封皇嗣旦為相王，引魏元忠、吉頊為相，又引王及善、豆盧欽望為左右相。　庚子　武后幸汝陽，建三陽宮於嵩山之陽，改元久視，復舊正朔。張錫、韋安石為相，武三思為特進，相吉頊配流嶺表，內史狄仁傑卒。　辛丑　改元大足。武后幸嵩之三陽宮，又改元長安。李懷遠、顧琮、李迥秀為相。

In the Jihai year (699), Empress Wu toured Songshan Mountain, changing the imperial heir Li Dan's title to Prince of Xiang. She appointed Wei Yuanzhong and Ji Xu as chancellors, and also appointed Wang Jisan and Dou Lu Qinwang as left and right chancellors. In the Gengzi year (700), Empress Wu toured Ruyang, and built the Sanyang Palace south of Songshan Mountain. She changed the era name to "Joushi" and restored the Tang dynasty's traditional calendar, reestablishing the summer calendar's first month as the beginning of the year. Zhang Xi and Wei Anshi became chancellors, and Wu Sansi was granted the title of special advisor. Chancellor Ji Xu was exiled to Lingnan. The chancellor Di Renjie died, who had strongly advocated restoring power to the Li Tang dynasty and recommended virtuous officials, being the most important pillar in the later years of the Wu Zhou dynasty. In the Xinchou year (701), the era name was changed to "Dazhu". Empress Wu toured the Sanyang Palace in Songshan Mountain again, then went west back to Chang'an, and changed the era name again to "Chang'an". Li Huian, Gu Cong, and Li Jiongxiu entered the chancellorship.

壬寅　武后祀南郊。　癸卯　武后幸東都，朱敬則為相。　甲辰　韋嗣立、宗楚客、崔玄暉、張柬之同平章事，韋安石納言，李嶠內史。　乙巳　武后改元神龍。張柬之、崔玄暉、桓彥范、敬暉、袁恕己平張易之及昌宗之亂，徙武后於上陽宮，除周國號，以相王旦為安國王，太平公主為鎮國公主，賞定亂功也。韋氏復正皇后位，武三思進位司空相。武后崩於東都之上陽宮。祝欽明、唐休璟為相。

In the year Renyin (702), Wu Hou performed a sacrifice to Heaven at the southern suburbs. In the year Guimao (703), Wu Hou toured the eastern capital, and Zhu Jingze entered the government as a chancellor. In the year Jiachen (704), Wei Sili, Zong Chuke, Cui Xuanhui, and Zhang Jianzhi were all appointed as chancellors, Wei Anshi served as the Minister of the Secretariat, and Li Qiao served as the Minister of the Imperial Council. In the year Yisi (705), Wu Hou changed the era name to "Shenlong." Wu Hou was old and ill, and her favored brothers Zhang Yizhi and Zhang Changzong controlled the inner court. Zhang Jianzhi, Cui Xuanhui, Han Yanfan, Jing Hui, and Yuan Suxi launched a coup, killed the two brothers, and moved Wu Hou to the Shangyang Palace, forcing her to pass the throne to Zhongzong, and abolished the state name "Zhou," restoring the Tang dynasty, an event known as the "Shenlong Revolution." Prince Wang Li Dan was granted the title of An King, and Taiping Princess was granted the title of Zhen Guo Princess, both as rewards for their contributions to quelling the rebellion. Wei's family was restored to the position of queen, and Wu Sanshi was promoted to the position of Minister of State and became a chancellor. That same winter, Wu Zetian, who was eighty-two years old, died in the Shangyang Palace in the eastern capital. Zhu Qincheng and Tang Xiujing entered the government as chancellors.

丙午　帝還長安，附武后於乾陵，以宮人上官婉兒為昭容。武三思居中用事，封張柬之、桓彥范、崔玄暉、袁恕己、敬暉五人為王，尋貶為州司馬，殺之於流所。進魏元忠、李嶠為中書令，李懷遠同中書平章事，冊衛王重俊為皇太子，開長寧、安樂二公主府，大行斜封墨制，於惟謙為相，蘇瓌進侍中。

In the year Bingwu (706), Emperor Zhongzong of the Tang returned to Chang'an and had Empress Wu Zetian interred together with him in the Qianling Mausoleum. He also promoted the palace lady Shangguan Wan'er to the rank of Zhaorong. Wu Sansi held power in the palace, first promoting Zhang Jianzhi, Huan Yanyan, Cui Xuanhui, Yuan Suxi, and Jing Hui, five meritorious officials, to the rank of king, then later demoting them to the position of governor of a commandery, and finally having them killed in their places of exile. Wei Yuanzhong and Li Qiao were promoted to the position of chancellor, and Li Huayuan was appointed as co-chancellor. The crown prince Li Chongjun was established, and the two princesses Changning and Anle were granted the status of princesses with their own households. At this time, many official positions were directly appointed by the emperor through secret imperial edicts, bypassing the formal procedures of the Zhongshu Menxia, and were known as "xiaofeng officials." Yu Weiqian entered the government as chancellor, and Su Wei was promoted to the position of Shizhong.

丁未　李多祚以羽林兵誅武三思，又殺皇后韋氏不克，敗，死。太子重俊出奔，野死。宗楚客、紀處訥、蕭至忠為相，改元景龍。　戊申　安樂公主假皇后車服出，敕武延秀、張仁亶為相。　己酉　作宮市。韋嗣立、崔湜、韋溫、鄭愔、蘇瓌、趙彥昭相繼為相，李嶠為特進。

In the year Dingwei (707), General Li Duozuo led the Yulin army to kill Wu Sanzhi, and then intended to kill Empress Wei, but failed and was defeated and killed. The crown prince Li Chongjun fled and died in the wilderness. Zong Chuke, Ji Chune, and Xiao Zhitong entered the government, and the era name was changed to "Jinglong". In the year Wushen (708), Princess Anle used the imperial queen's carriage and clothing for travel. An edict was issued appointing Wu Yanzhui and Zhang Ren Dan as ministers. In the year Jiyou (709), the "Gongshi" system was established, with eunuchs forcing the purchase of goods in the market. Wei Sili, Cui Shi, Wei Wen, Zheng Yin, Su Wei, and Zhao Yanzhao successively became ministers, and Li Qiao was granted the title of special attendant.

庚戌　殺諫臣燕欽融於殿庭。皇后韋氏及安樂公主行弒於內寢，立溫王重茂為嗣，改元唐隆，以裴談、張錫、張嘉福、岑羲為相。臨淄王隆基以劉幽求、薛崇簡、鍾紹京、麻嗣宗兵入，誅韋溫、紀處訥、宗楚客、武延秀、馬秦客、葉靜能、趙履冰、楊均及皇后韋氏、安樂公主、上官昭容，葬中宗於定陵，臨淄王隆基稱平王，降重茂嗣，尊父相王旦為帝，是謂興孝皇帝。既踐位，以鍾紹京、劉幽求、薛崇簡、崔日用為相，冊平王隆基為皇太子，改元景云，追廢皇后韋氏、安樂公主為庶人。姚元之為相。

In the year Gengxu (710), the advisory official Yan Qinrong was executed in the palace court for submitting a memorial exposing the Consort Wei. The Consort Wei and Princess Anle intended to emulate Wu Zetian, plotting to poison Emperor Zhongzong within the inner palace and to install the young Prince Wenwang Li Chongmao as emperor, changing the era name to "Tanglong." They appointed Pei Tan, Zhang Xi, Zhang Jiafu, and Cen Xi as chancellors, while the Consort Wei's relatives took control of the imperial guards. Prince Lingshi Li Longji, together with Liu Youqiu, Xue Chongjian, Zhong Shaojing, and Ma Sizong, led troops into the palace, killing Wei Wen, Ji Chu'ne, Zong Chuke, Wu Yanshuo, Ma Qinyu, Ye Jingneng, Zhao Lubi, Yang Jun, as well as the Consort Wei, Princess Anle, and Consort Shangguan, also known as Shangguan Wan'er. This event is known as the "Tanglong Coup." Emperor Zhongzong was buried in Dingling. Li Longji changed his title to Pingwang, deposed Li Chongmao's position as heir, and elevated his father, Prince Xiangwang Li Dan, to emperor, who became Emperor Ruizong (posthumously known as Emperor Xingxiao). This was Emperor Ruizong's second reign. After ascending the throne, Emperor Ruizong appointed Zhong Shaojing, Liu Youqiu, Xue Chongjian, and Cui Ruyong as chancellors, and enfeoffed Prince Pingwang Li Longji as crown prince, changing the era name to "Jingyun." He posthumously demoted the Consort Wei and Princess Anle to commoners. Yao Yuanzhi, also known as Yao Chong, was appointed as chancellor.

辛亥　皇太子隆基監國，郭元振、張說、竇懷貞、陸象先、魏知古為相，劉幽求進侍中相。　壬子　祀南郊，改元太極。祀北郊，改元延和。帝傳位於皇太子隆基，是謂明孝皇帝。既踐位，改元先天，黜劉幽求、鍾紹京、張暉官。

In the Xinhai year (711), the crown prince Li Longji was entrusted with governing the state; Guo Yuanzhen, Zhang Yue, Dou Huazhen, Lu Xiangxian, and Wei Zhigu entered the government as ministers. In the Renzi year (712), Emperor Ruizong performed a sacrifice to Heaven at the southern altar and changed the era name to "Taiji"; he also performed a sacrifice to Earth at the northern altar and changed the era name to "Yanhé". Within the same year, Emperor Ruizong abdicated the throne to his crown prince Li Longji, who became Emperor Xuanzong (posthumous title: Mingxiao Emperor). After Xuanzong's ascension, he changed the era name to "Xian Tian" and dismissed the official positions of Liu Youqiu, Zhong Shaoying, and Zhang Hui. At this time, Princess Taiping still held great power, and Xuanzong's position was not yet secure.

癸丑　太平公主、竇懷貞、岑羲、蕭至忠、常元楷、薛稷、賈膺福、李慈、李欽、李猷、崔湜、盧藏用、傅孝忠、僧惠範作逆伏誅，進姜皎、李令問、王毛仲、王守一官，復劉幽求、鍾紹京、張暉官，令知政事。講武於驪山，改元開元。用盧懷慎、姚崇為相，改中書為紫微。　甲寅　乙卯　冊郢王嗣謙為皇太子。　丙辰　太上皇崩，葬睿宗於喬陵。源乾曜、蘇頲為相。姚崇讓宋璟為相。　丁巳　幸洛陽，嬪永樂公主於契丹。　戊午　至自東都。　己未　庚申　張嘉貞為相。　辛酉　相姚崇卒。　壬戌　幸東都長安，竊發。　癸亥

In the year Gui Chou (713), Princess Taiping, along with Dou Huazhen, Cen Xi, Xiao Zhi Zhong, Chang Yuankai, Xue Ji, Jia Yingfu, Li Ci, Li Qin, Li You, Cui Shi, Lu Cangyong, Fu Xiaozhong, and the monk Hui Fan, plotted rebellion. Emperor Xuanzong took the initiative and eliminated them all. Jiang Jiao, Li Lingwen, Wang Maozhong, and Wang Shouyi were promoted, while Liu Youqiu, Zhong Shaoying, and Zhang Hui were restored to office and participated in state affairs. Emperor Xuanzong held a grand military review at Lishan Mountain, changed the era name to "Kaiyuan," and appointed Lu Huaishen and Yao Chong as chancellors, renaming the Zhongshu Province as the Ziwēi Province. In the year Jiayin (714), there were no notable events. In the year Yimao (715), the prince Yingshang, Li Siquan, was appointed as the crown prince. In the year Bingchen (716), the former emperor Ruizong died and was buried in Qiaoling. Yuan Qianyao and Su Ting were appointed as chancellors. Yao Chong recommended Song Jing to take his place as chancellor. In the year Dingsi (717), Emperor Xuanzong toured Luoyang and arranged the marriage of the Princess Yongle to the Khitan. In the year Wuwu (718), he returned to the capital from the eastern capital. In the year Jiwei (719), there were no notable events. In the year Gengshen (720), Zhang Jiaze was appointed as chancellor. In the year Xinyou (721), Chancellor Yao Chong died. In the year Renxu (722), Emperor Xuanzong toured the eastern capital again, and some people in Chang'an rebelled during the chaos. In the year Guihai (723), there were no notable events.

甲子　唐明孝皇帝十三年，廢皇后王氏為庶人。幸東都。宋璟守長安。　乙丑　封泰山，用源乾曜、張說為左右相。　丙寅　李元紘、杜暹為相。還東都。　丁卯　至自東都。　戊辰　蕭嵩為相。　己巳　張說、宋璟為左右相。謁橋、定、獻、昭、乾五陵。裴光庭為相。　庚午　北討契丹。　辛未　幸東都。　壬申　至自東都。宋璟免相。

The year Jiazi (724) was the thirteenth year of Emperor Xuanzong's reign (posthumous title Mingxiao). In this year, Empress Wang was demoted to a commoner; Emperor Xuanzong visited the eastern capital, leaving Song Jing to govern Chang'an. In the year Yichou (725), Emperor Xuanzong performed the ceremony of worshiping heaven and earth on Mount Tai, appointing Yuan Qianyao and Zhang Shuo as left and right chancellors. In the year Bingyin (726), Li Yuangong and Du Xian entered the chancellor positions; Emperor Xuanzong returned to the eastern capital. In the year Dingmao (727), he returned from the eastern capital to the capital. In the year Wuchen (728), Xiao Song became chancellor. In the year Jisi (729), Zhang Shuo and Song Jing held the positions of left and right chancellors; Emperor Xuanzong visited the five ancestral tombs: Qiaoling, Dingling, Xuanling, Zhao ling, and Qianling; Pei Guangting became chancellor. In the year Gengwu (730), Emperor Xuanzong launched a northern campaign against the Khitan. In the year Xinwei (731), he visited the eastern capital. In the year Renshen (732), he returned from the eastern capital to the capital; Song Jing was removed from his chancellor position.

癸酉　韓休、張九齡、裴耀卿為相。　甲戌　幸東都。李林甫為相。　乙亥　丙子　至自東都。牛仙客為相。是年，太真楊氏入宮，李林甫用事。　丁丑　廢皇太子瑛為庶人，罷張九齡相，仍黜之。相宋璟卒。監察御史周子諒言牛仙客事，杖死於朝。　戊寅　冊忠王璵為皇太子。相李林甫領隴右、河西節度使，牛仙客領河東節度使。

In the year Guiyou (733), Han Xiu, Zhang Jiuling, and Pei Yaoceng were appointed as chancellors. In the year Jiaxu (734), Emperor Xuanzong toured the eastern capital; Li Linfu was appointed as chancellor. In the year Yihai (735), there were no notable events. In the year Bingzi (736), the emperor returned from the eastern capital to the capital; Niu Xianke was appointed as chancellor. In this year, Yang Yuhuan, who was later known as Yang Taizhen, was brought into the palace. Li Linfu began to dominate the court, and the decline of the Kaiyuan era of prosperity began. In the year Dingchou (737), the crown prince Li Ying was stripped of his title and reduced to a commoner; Zhang Jiuling was dismissed from his chancellorship and exiled from the court; the former chancellor Song Jing died; and the censor Zhou Zilang accused Niu Xianke, but was beaten to death in court. In the year Wuyin (738), the prince Zhongwang, who later became Emperor Suzong Li Heng, was appointed as crown prince; Chancellor Li Linfu was also in charge of the military commands of Longyou and Hexi, and Niu Xianke was also in charge of Hedong. The precedent of chancellors being in charge of border military commands was established from this time.

己卯　平突厥，獲其王，追封孔宣父為文宣王，顏回為兗國公，餘哲併為侯。　庚辰　辛巳　命安祿山為平盧軍節度使。　壬午　改元天寶。李適之為相，開《莊》、《文》、《列》、《庚桑子》四學。裴耀卿進尚書右僕射。　癸未　甲申　改元為載，命安祿山為范陽節度使，作太真妃楊氏養子。　乙酉　冊太真妃楊氏為貴妃。契丹殺公主，叛。

In the year Jimao (739), the Turkic tribes were subdued and their khagan captured; Confucius was posthumously honored as the Duke of Wenxuan, Yan Hui as the Marquess of Yanguo, and other earlier sages were enfeoffed as marquises. In the year Gengchen (740), there was nothing noteworthy. In the year Xinsi (741), An Lushan was appointed as the military governor of the Pinglu Commandery. In the year Renwu (742), the era name was changed to Tianbao; Li Shu-zhi entered the government as chancellor; the court established the study of four Daoist classics: the Zhuangzi, Wenzǐ, Liezi, and Gengsangzi; and Pei Yaoguang was promoted to the position of Right Chancellor of the Ministry of Personnel. In the year Guiwei (743), there was nothing noteworthy. In the year Jiashen (744), the term "year" was changed to "zai"; An Lushan was appointed as the military governor of Fanyang and was made to adopt Yang Shengzhen, the Consort Taizhen, as his foster mother. In the year Yiyou (745), Consort Taizhen was enfeoffed as the Imperial Consort; the Khitan killed the princess sent for marriage and rebelled against the Tang dynasty.

丙戌　陳希烈為左相。右相李林甫大行誣構，首陷韋堅。　丁亥　改溫泉為華清宮。　戊子　以宦人高力士為驃騎大將軍，關中外。賜安祿山鐵券。幸華清宮。　己丑　幸華清宮。　庚寅　幸華清宮，權歸韓國、虢國、秦國三夫人及鴻臚卿楊銛、宰相楊國忠五家。安祿山進封東平郡王。　辛卯　幸華清宮。安祿山入朝，乞兼河東。討雲南不利。　壬辰　幸華清宮。李林甫卒，楊國忠為右相。　癸巳　幸華清宮。楊國忠大行誣構，進封哥舒翰西平郡王。

In the year of Bingxu (746), Chen Xilie held the position of Left Chancellor; the Right Chancellor Li Linfu fabricated many charges against rivals, starting with Wei Jian. In the year of Dinghai (747), the Hot Spring Palace at Lishan was renamed "Huqing Palace." In the year of Wuzi (748), the eunuch Gao Lishi was appointed as General of the Horse, handling all official documents both inside and outside the court; the emperor granted An Lushan an iron certificate, which served as a death exemption; and the emperor toured Huqing Palace. In the year of Jichou (749), he toured Huqing Palace again. In the year of Gengyin (750), he toured Huqing Palace once more; the power of the court was controlled by three concubines, the Princesses of Han, Guo, and Qin, and Yang Tuan, the Minister of Ceremonies, and the Chancellor Yang Guozhong. An Lushan was promoted to the Marquess of Dongping. In the year of Xinmao (751), the emperor toured Huqing Palace again; An Lushan entered the court, requesting to also govern Hedong; the campaign against the Nanzhao was unsuccessful. In the year of Renchen (752), the emperor toured Huqing Palace again; Li Linfu died, and Yang Guozhong became the Right Chancellor. In the year of Guisi (753), the emperor toured Huqing Palace again; Yang Guozhong also fabricated many charges against others; Geshu Han was promoted to the Marquess of Xiping.

甲午　唐明孝皇帝四十三年，受朝於華清宮。韋見素為相，始以詩賦取士。楊國忠進位守司空。　乙未　安祿山以范陽叛，兵陷東都。皇太子璵為元帥，監國。高仙芝、封常清軍敗。以哥舒翰將兵二十萬守潼關。　丙申　潼關不守，帝西幸蜀，至馬嵬，兵亂，殺宰相楊國忠及貴妃楊氏。祿山陷長安，稱帝東都，國曰燕，元曰聖武。皇太子西至靈武，即皇帝位，是謂宣孝皇帝，改元至德，以廣平王俶為元帥，裴冕為相。尊蜀中帝為太上皇。移軍彭原。恆山陷，顏杲卿死於東都。

In the year Jiawu (754), which was the forty-third year of Emperor Xuanzong's reign, he received the homage of officials at the Huaqing Palace; Wei Jiansu was appointed to the position of chancellor; the imperial examination began to select candidates based on poetry and prose; Yang Guozhong was promoted to the position of Grand Secretary. In the year Yiwei (755), An Lushan raised an army in Fanyang and rebelled against the Tang dynasty, his forces capturing the eastern capital Luoyang, marking the outbreak of the "Anshi Rebellion." The crown prince Li Yu was appointed as the commander-in-chief of the entire army and remained in charge of the capital; famous generals Gao Xianzhi and Feng Changqing suffered defeat and were killed. The court ordered Geshu Han to lead twenty thousand troops to defend Tongguan Pass. In the year Bingshen (756), Tongguan Pass fell, and Emperor Xuanzong fled westward to Sichuan. On the way to Mawei Yizhi, the imperial guards mutinied, killing the chancellor Yang Guozhong and forcing the death of the concubine Yang Yuhuan. An Lushan captured Chang'an and proclaimed himself emperor in Luoyang, establishing the state name "Yan" and the era name "Shengwu." The crown prince moved north to Lingwu and was proclaimed emperor, becoming Emperor Suzong (posthumous title Xuanxiao Emperor), changing the era name to "Zide." He appointed Prince Li Chu as commander-in-chief of the army and Pei Mi as chancellor, and remotely honored Emperor Xuanzong in Sichuan as the retired emperor. The army then moved to Pengyuan. Changshan fell, and the loyal official Yan Gaoqing was executed in Luoyang.

丁酉　朔方節度使郭子儀、太原節度使李光弼兵入，逐安祿山將，大敗之於香積，遂復兩京。帝還長安，太上皇至自成都，封廣平王俶為成王，苗晉卿代韋見素為左相。安祿山為子慶緒所殺，代立，退保相州，改元天成。　戊戌　唐改元乾元，以成王俶為皇太子，李揆、王璵為相。九節度圍安慶緒於相州，軍潰。祿山將史思明殺安慶緒，稱帝魏州。

In the year Dingyou (757), General Guo Ziyi of the Shuofang Circuit and General Li Guangbi of the Taiyuan Circuit led their armies to counterattack, drove out the rebel generals, and defeated the enemy heavily at Xiangji Temple, recapturing the two capitals of Chang'an and Luoyang. Emperor Suzong returned to Chang'an, and the former emperor Xuanzong returned from Chengdu. The prince Guangping Wang Li Chu was enfeoffed as the Prince Cheng, and Miao Jinqing succeeded Wei Jianshu as the Left Chancellor. An Lushan was killed by his son An Qingsheng, who then took the throne, retreated to Xiangzhou for defense, and changed the era name to "Tiancheng." In the year Wuxu (758), the Tang dynasty changed its era name to "Ganyuan," established Prince Cheng Wang Li Chu as the crown prince, and Li Kui and Wang Yu entered the chancellorship. The nine circuit commanders surrounded An Qingsheng in Xiangzhou, but due to lack of unified command, the entire army dispersed. An Lushan's former general Shi Siming killed An Qingsheng and proclaimed himself emperor in Weizhou.

己亥　唐改元順天。李峴、呂諲、第五琦為相。史思明覆陷東都。　庚子　唐改元上元。宦人李輔國逼太上皇入西宮。劉展以揚州叛。　辛丑　太上皇崩於西宮，帝亦不豫，皇太子俶監國，苗晉卿行冢宰。史思明為子朝義所殺，代立，保東都。

In the Jihai year (759), the era name was changed to "Shuntian"; in fact, "Shuntian" was the era name established by Shi Siming when he declared himself emperor, but the record was attributed to the Tang dynasty, which still used "Ganyuan" at that time. Li Xian, Lü Yin, and Wu Qi entered government service as chancellors. Shi Siming recaptured the eastern capital, Luoyang. In the Gengzi year (760), the Tang dynasty changed its era name to "Shangyuan"; eunuch Li Fuguo forced the former emperor, Emperor Xuanzong, to move into the western palace; Liu Zhen rebelled in Yangzhou. In the Xinchou year (761), Emperor Xuanzong died in the western palace, and Emperor Suzong was also seriously ill. The crown prince, Li Chu, acted as regent, while Miao Jinqing served as the acting chief minister. Shi Siming was killed by his son Shi Chaoyi, who then succeeded him and took control of Luoyang.

壬寅　改元寶應，皇后張氏謀立越王繫，內臣李輔國、程元振幽皇后張氏於別殿，殺之。帝崩，皇太子俶踐位，是謂孝武皇帝，以雍王適為元帥，元載為相，程元振為驃騎大將軍，居中用事。復東都及河朔。史朝義走幽州，幽人殺之以獻。　癸卯　吐蕃犯長安，別立武王宏。帝出居郟。郭子儀收京城，帝還長安，放武王宏於華州，葬玄宗於秦陵，葬肅宗於建陵，改元廣德。僕固懷恩以汾州叛，罷苗晉卿、裴遵度相，以李峴為相。

In the year RENYIN (762), the era name was changed to "Baoying." The queen, Consort Zhang, plotted to replace the crown prince, Li Xi, with the prince of Yue, but eunuchs Li Fuguo and Cheng Yuanzhen imprisoned her in a separate palace and killed her. After Emperor Suzong's death, his son Li Chu became emperor, known as Emperor Daizong (posthumous title: Xiaowu Emperor). He appointed Yong Wang Li Que as commander-in-chief of the military, Yuan Zai as prime minister, and Cheng Yuanzhen as general of the骠骑, who held power in the palace. The Tang army recaptured the eastern capital and the region of Hebo. Shi Chaoyi fled to Youzhou, where he was killed by the local commander and his head was presented. The Anshi Rebellion, which lasted eight years, ended at this time. In the year GUIMA (763), the Tibetan forces entered Chang'an and installed Prince Guangwu Li Chenghong as emperor. Emperor Daizong fled to Shanzhou. Guo Ziyi recaptured the capital, and Emperor Daizong returned to Chang'an, exiling Li Chenghong to Huazhou. He buried Emperor Xuanzong in Tailing and Emperor Suzong in Jianling. He changed the era name to "Guangde." Pu Gu Huai'en rebelled in Fenzhou. He dismissed Miao Jinqing and Pei Zunduo from their positions as prime ministers and appointed Li Xian as prime minister.

甲辰　以雍王為皇太子。吐蕃寇邠及奉天。王縉、杜鴻漸代劉晏、李峴為相。　乙巳　改元永泰。吐蕃大掠畿甸。帝御六軍屯於範，命九節度以本軍討賊。吐蕃會回紇，寇奉天，僕固懷恩啟之也。郭子儀復以回紇隨白元光破吐蕃於靈武。崔旴以西川亂。　丙午　改元大曆。周智光以華叛。

In the year Jiachen (764), the crown prince Li Kuo was appointed; the Tibetans invaded Binzhou and Fengtian; Wang Jin and Du Hongjian succeeded Liu Yan and Li Xian as chancellors. In the year Yisi (765), the era name was changed to "Yongtai"; the Tibetans raided the capital region extensively; the emperor personally led six armies to驻扎, ordering the nine military governors to lead their troops to suppress the rebels. The Tibetans allied with the Uighurs to attack Fengtian, which was caused by Pu Gu Huai'en, a hero in suppressing the Anshi Rebellion, who was suspected by the court and thus rebelled; after Pu Gu Huai'en died in the army, Guo Ziyi persuaded the Uighurs, and together with Bai Yuanguang defeated the Tibetans at Lingwu. Cui Xu rebelled in Xichuan. In the year Bingwu (766), the era name was changed to "Dali"; Zhou Zhigu rebelled in Huazhou. After the Anshi Rebellion, there were external threats from Tibet and the Uighurs, and internal unrest from the warlords, so the Tang dynasty had no peace.

丁未　吐蕃大寇靈武。郭子儀鎮涇陽。　戊申　吐蕃再寇靈武。　己酉　裴冕為相。　庚戌　臧玠以潭州叛。　辛亥　壬子　回紇掠京城，朱泚節度幽州。　癸丑　郭子儀大敗吐蕃於靈武。　甲寅　乙卯　魏博節度田承嗣擅取洺、衛、磁、相。郟州軍亂。

In the year of Dingwei (767), the Tubo launched a major invasion against Lingwu, and Guo Ziyi defended Jingyang to resist the enemy. In the year of Wushen (768), the Tubo invaded Lingwu again. In the year of Jiyou (769), Pei Man entered the government as prime minister. In the year of Gengxu (770), Zang Jie rebelled in Tanzhou. In the year of Xinhai (771), there were no notable events. In the year of Renzi (772), the Huige soldiers looted the capital city, and Zhu Ci was appointed as the governor of Youzhou. In the year of Guichou (773), Guo Ziyi defeated the Tubo greatly in Lingwu. In the year of Jiayin (774), there were no significant events. In the year of Yimao (775), Tian Chengsi, the governor of Weibozhou, seized the states of Mengzhou, Weizhou, Cizhou, and Xiangzhou without permission, and the powerful and independent regional warlords in the Hebo region had already taken shape; there was also a military mutiny in Jiaozhou.

丙辰　淄清李正己擅取齊海、登、萊、沂、密、德、棣、曹、濮、兗、鄆，請命封隴西王。李寶臣封隴西王，李忠臣封西平王，段秀實封張掖王。崔寧破吐蕃。河陽軍亂。　丁巳　誅宰相元載，並夷其族。貶相王縉括州刺史。楊綰、常袞為相。　戊午　回紇寇太原，吐蕃寇靈武。

In the year Bingchen (776), Li Zhengji, the military governor of Ziqing, seized control of the states of Qi, Hai, Deng, Lai, Yi, Mi, De, Di, Cao, Pu, Yan, and Yun, and requested the imperial court's approval to be granted the title of Duke of Longxi. Li Baocen was granted the title of Duke of Longxi, Li Zhongchen that of Duke of Xiping, and Duanshuxi that of Duke of Zhangye. The court could only rely on titles to pacify the warlords. Cui Ning defeated the Tibetans; a mutiny occurred in Heyang. In the year Dingsi (777), the prime minister Yuan Zai and his entire family were executed. Prime minister Wang Jin was demoted to the governor of Kuozhou. Yang Wan and Chang Gun entered the government. In the year Wuwu (778), the Uighurs invaded Taiyuan, and the Tibetans invaded Lingwu.

己未　汴州軍亂，皇太子適監國。帝崩，皇太子適踐位，是謂孝文皇帝。葬代宗於元陵，貶相常袞，以崔祐甫為相，郭子儀為尚父。　庚申　改元建中。朱泚領四鎮節度使。劉文喜以涇亂。冊宣王誦為皇太子，楊炎為相。貶相劉晏自殺。

In the Jiwei year (779), a military revolt occurred in Bianzhou; the crown prince Li Kuo acted as regent. After the death of Emperor Taizong of the Tang dynasty, the crown prince Li Kuo ascended the throne, becoming Emperor Dezong (posthumous title Xiaowen Emperor). Emperor Dezong buried Taizong in Yuanling; he demoted the chancellor Chang Gun and appointed Cui Youfu as chancellor; he honored Guo Ziyi as "Shangfu." In the Gengshen year (780), the era name was changed to "Jianzhong"; Zhu Ci was appointed to lead the four military commands; Liu Wenxi rebelled in Jingzhou; the crown prince Xuan Wang Li Song was appointed as the crown prince; Yang Yan entered the government and implemented the dual taxation system; the former chancellor Liu Yan was demoted and later executed.

辛酉　盧杞為相，貶相楊炎崖州司馬。尚父郭子儀卒。淄青李正己、魏博、田悅，恆定李惟嶽，各擁本部兵叛。李希烈平梁崇義於襄陽，封之為南平王。河東馬燧、澤潞李抱真破田悅於洹水。　壬戌　宣武劉洽、神策曲環破李納于徐州。幽州朱滔平李惟嶽於束鹿。朱滔、田悅、王武俊、李納、李希烈稱王，相推為盟主。關播始相。

In the Xinyou year (781), Lu Qi entered the government as chancellor, and Chancellor Yang Yan was demoted to the position of司马 in Yajia. The veteran general Guo Ziyi died. Li Zhengji of Zijing, Tian Yue of Weibo, and Li Weiye of Hengding each led their own troops in rebellion, thus starting the "Four Commanderies Rebellion" in the Hebo region. Li Xilie defeated Liang Chongyi in Xiangyang and was granted the title of Nanping Wang. The Hedong Circuit Governor Ma Sui and the ZeLu Circuit Governor Li Baozhen defeated Tian Yue at Huan Water. In the Renxu year (782), General Liu Qie of Xuanwu Circuit and General Qu Huán of the Shenshe Army defeated Li Na in Xuzhou. General Zhu Tao of Youzhou defeated Li Weiye in Shulu. Subsequently, Zhu Tao, Tian Yue, Wang Wujun, Li Na, and Li Xilie each claimed the title of king, elected a leader among themselves, and openly opposed the imperial court. Guan Bo began to serve as chancellor.

癸亥　李希烈陷汝州，太師顏真卿宣撫淮寧軍事，不還。哥舒曜以鳳翔、邠寧、涇原軍大伐於東，師喪扈潤。命涇州姚令言以本軍衛東都，兵至滻水，返戈入長安，立朱泚為帝於含元殿。渾瑊奉帝出居奉天，朱泚兵頓乾陵，朔方節度使李懷光以本兵救奉天。朱泚退保京城。李懷光以本軍叛。李希烈陷襄陽、許、鄭及汴州。哥舒曜走洛陽。貶宰相盧杞新州司馬，蕭復、劉從一、姜公輔為相。

In the Guihai year (783), Li Xilie captured Ruozhou. Grand Master Yan Zhenqing was ordered to go to Huaining to comfort the military situation, but he never returned and was eventually killed. Geshuyao led the troops from Fengxiang, Binning, and Jingyuan to march eastward, suffering heavy losses at Hudun. The court ordered General Yao Lingyan of Jingzhou to guard the eastern capital, but when his troops reached the Chanshui River, they rebelled due to insufficient rewards and entered Chang'an, proclaiming Zhu Ci emperor at Hanyuan Hall, which is known as the "Jingyuan Rebellion." Hun Jian protected Emperor Dezong as he fled to Fentian, while Zhu Ci's forces camped near Qianling Mausoleum. The Shuofang Military Governor Li Huiguang led his troops to relieve Fentian, forcing Zhu Ci to retreat to the capital. Soon after, Li Huiguang also rebelled with his own troops. Li Xilie captured Xiangyang, Xuzhou, Zhengzhou, and Biaozhou. Geshuyao retreated to Luoyang. Chancellor Lu Qi was demoted to Xinzhou Shiyi, while Xiaofu, Liu Congyi, and Jiang Gongfu were appointed as chancellors.

甲子　唐孝文皇帝五年，在奉天，改元興元。王武俊格命。李懷光走河中。帝移軍梁州。渾瑊及吐蕃敗朱泚於武功。李晟收京城，迎帝還宮。田希鑑殺馮河清，以涇州叛。行軍司馬田緒殺田悅，以魏博降李抱真。王武俊平朱泚於涇城。淄清李納格命。田希鑑殺姚令言，以涇州降。李晟平涇州亂，殺田希鑑。李希烈將李澄以滑州格命。劉洽、曲環敗李希烈於陳州。盧翰為相。　乙丑　改元貞元。李希烈陷南陽。渾瑊平李懷光於河中。

The year Jiazi (784) was the fifth year of Emperor Dezong's reign. He was still taking refuge at Fengtian, changed the era name to "Xingyuan," and issued an edict of self-reproach based on the proposals of Lu Zhi, pardoning all rebel warlords except Zhu Ci. The situation thus turned around. Wang Wujun accepted the imperial order and submitted; Li Huaguang fled to Hezhong; Emperor Dezong moved his court to Liangzhou. Hun Yan defeated Zhu Ci together with Tibetan troops at Wugong; Li Sheng recovered the capital city, welcomed Emperor Dezong back to the palace, and Zhu Ci was defeated and died. Tian Xijian killed Feng Heqing, took control of Jingzhou, and rebelled; Wei Bo Xingjun司马 Tian Xu killed Tian Yue, led Wei Bo to submit to Li Baozhen; Wang Wujun eliminated the remaining forces of Zhu Ci in Jingcheng; Zi Qing Li Na also obeyed the imperial order and submitted; Tian Xijian later killed Yao Lingyan and surrendered Jingzhou; Li Sheng quelled the rebellion in Jingzhou and executed Tian Xijian. Li Xilie's subordinate Li Cheng surrendered the city of Huazhou to the court; Liu Qie and Qu Huanshan defeated Li Xilie at Chenzhou. Lu Han entered the government as chancellor. In the year Yichou (785), the era name was changed to "Zhenyuan"; Li Xilie captured Nanyang; Hun Yan suppressed Li Huaguang in Hezhong.

丙寅　劉滋、崔造、齊映、李勉相繼為相。陳仙奇殺李希烈，以蔡州降。陳仙奇為蔡州刺史。吳少誠又殺陳仙奇，以蔡州請命。復以吳少誠為蔡州刺史。吐蕃寇涇隴。　丁卯　張延賞、柳渾、李泌為相。渾瑊會吐蕃於平涼。吐蕃竊發於會，渾瑊逃歸。馬燧請之謬也。　戊辰　福建軍亂，邠寧軍亦亂。李晟、馬燧、李泌連相，因徵夏縣處士陽城為諫議大夫。

In the year Bingyin (786), Liu Zi, Cui Zhao, Qi Ying, and Li Mian took turns serving as prime ministers. Chen Xianqi killed Li Xiheli and surrendered the city of Cai to the court, and was appointed as the governor of Cai. However, Wu Shaocheng later killed Chen Xianqi and claimed the city of Cai, forcing the court to appoint Wu Shaocheng as the governor of Cai. From then on, the region of Huaixi was long controlled by the military governors. The Tibetans invaded Jingzhou and Longzhou. In the year Dingmao (787), Zhang Yanshang, Liu Hun, and Li Bi became prime ministers. Hun Jian held a meeting with the Tibetans at Pingliang, but the Tibetans suddenly attacked during the meeting, and Hun Jian escaped alone. This was a mistake caused by Ma Sui's insistence on negotiating peace with the Tibetans. In the year Wuchen (788), there was a military mutiny in the Fujian army, and also a mutiny in the Binming army. Li Sheng, Ma Sui, and Li Bi successively became prime ministers, and Li Bi therefore summoned Yang Cheng, a reclusive scholar from Xiaxian, to serve as a censorial advisor.

己巳　董晉、竇參為相。韋皋破吐蕃於巂州。　庚午　吐蕃陷北庭。　辛未　壬申　襄州軍亂。趙璟、陸贄為相，貶相竇參郴州別駕。吐蕃入寇。　癸酉　賈耽、盧邁為相。宣武軍亂。　甲戌　南詔異牟尋破吐蕃於神州，韋皋破吐蕃於峨和。元誼以田緒叛於洺，黃少卿以邢叛。　乙亥

In the year Jisi (789), Dong Jin and Dou Can became chancellors; the military governor of Jiannan defeated the Tibetans in the state of Xizhou. In the year Gengwu (790), the Tibetans captured the Beiting Protectorate, and the Tang Dynasty's operations in the Western Regions came to an end. In the year Xinwei (791), there were no notable events. In the year Renshen (792), there was a military revolt in Xiangzhou; Zhao Jing and Lu Zhi became chancellors, and Chancellor Dou Can was demoted to be the deputy governor of Chengzhou; the Tibetans invaded. In the year Guiyou (793), Jia Dan and Lu Mai became chancellors; there was a military revolt in the Xuanwu Army. In the year Jiaxu (794), the King of Nanzhao, Yimu Xun, defeated the Tibetans in Zhongshu and renewed the alliance with the Tang Dynasty; Wei Gao defeated the Tibetans in Ehe; Yuan Yi betrayed Tian Xu and occupied Mingshou, while Huang Shaoqing rebelled in Xingzhou. In the year Yihai (795), there were no notable events.

丙子　崔損、趙宗儒為相。　丁丑　韋皋破吐蕃於州。　戊寅　鄭餘慶為相。栗鍠殺刺史，以明州叛。　己卯　汴州軍亂。吳少誠以陳、蔡叛。伐淮西，不利。　庚辰　伐蔡不利；又伐，又不利。徐州軍亂。貶相鄭餘慶郴州司馬。齊抗為相。蔡州吳少誠順命。　辛巳　韋皋大破吐蕃於雅州，封皋南康郡王。　壬午　癸未　高郢為相。吐蕃請和。　甲申　吐蕃、南詔、日本修貢。

In the year Bingzi (796), Cui Sun and Zhao Zongru became chancellors. In the year Dingchou (797), Wei Gao defeated the Tibetans in a certain state, but the name of the state is missing in the original text. In the year Wuyin (798), Zheng Yuqing became chancellor; Li Huan killed the governor and rebelled in the state of Mingzhou. In the year Jimao (799), there was a military mutiny in Bianzhou; Wu Shaocheng rebelled in Chenzhou and Caizhou, and the court failed to subdue the Huaiwest region. In the year Gengchen (800), another attempt to subdue Caizhou failed, and another military campaign was launched, but it still failed; there was a military mutiny in Xuzhou; Chancellor Zheng Yuqing was demoted to the position of Cenchou Shima, and Qi Kang became chancellor; Wu Shaocheng in Caizhou submitted again. In the year Xinsi (801), Wei Gao defeated the Tibetans greatly in Yazhou and was granted the title of Nan Kang Jun Wang. In the year Renwu (802), there was nothing noteworthy. In the year Guiwei (803), Gao Ying became chancellor; the Tibetans sent envoys to request peace. In the year Jiashen (804), the Tibetans, the Nanzhao, and Japan all sent envoys to present tribute.

乙酉　正月，帝崩。皇太子誦踐位，王叔文、王伾用事，韋執誼、賈眈、鄭珣瑜、高郢、杜祐為相，罷官市物。貶京兆尹李實通州長史，削民故也。冊廣陵王純為皇太子，罷鄭珣瑜、高郢相，以杜黃裳、袁滋為相。帝不豫，八月，授位於太子，徙居興慶宮。皇太子純踐位，是謂章武皇帝。葬德宗於崇陵，貶王伾開州司馬，王叔文渝州司馬，韋執誼崖州司戶。以鄭餘慶、鄭為相。

In the year of Yiyou (805), in the first lunar month, Emperor Dezong of the Tang dynasty died, and his crown prince Li Song ascended the throne, becoming Emperor Shunzong. Wang Shuweng and Wang Pi took power, while Wei Zhiyi, Jia Dan, Zheng Xunyu, Gao Ying, and Du You served as chancellors. They abolished the corrupt practice of eunuchs forcing the purchase of goods through "gongshi." The governor of Jingzhao, Li Shi, was demoted to the position of chief historian of Tongzhou due to his exploitation of the people. The prince Guangling, Li Chun, was appointed as crown prince; Zheng Xunyu and Gao Ying were removed from their chancellor positions, and Du Huangchang and Yuan Zi were appointed as chancellors. Emperor Shunzong later suffered a stroke and was unable to govern, and in the eighth lunar month, he passed the throne to his crown prince, moving to the Xingqing Palace. The crown prince Li Chun ascended the throne, becoming Emperor Xianzong (posthumous title: Zhangwu Emperor). Emperor Dezong was buried in the Chongling Mausoleum; Wang Pi was demoted to the position of chief magistrate of Kaizhou, and Wang Shuweng was demoted to the position of chief magistrate of Yuzhou. The short-lived "Yongzhen Reform" thus failed. Zheng Yuqing and Zheng Yin were appointed as chancellors.

丙戌　改元元和。太上皇崩於興慶宮。杜祐行冢宰事。葬順宗於豐陵。王士真為相。劉闢以西川叛，高崇文平之。誅王叔文於貶所。　丁亥　武元衡、李吉甫為相。李錡以潤州叛，平之。　戊子　裴垍為相。　己丑　冊鄧王寧為皇太子。王承宗以鎮叛。蔡州吳少誠卒，弟少陽繼事。　庚寅　用權德輿為相。　辛卯　罷李藩相，用李吉甫、李絳為相。皇太子寧卒。　壬辰　冊遂王恆為皇太子。魏博軍亂。　癸巳　振武軍亂。

In the year Bingxu (806), the era name was changed to "Yuanhe"; the former emperor, Emperor Shunzong, died in the Xingqing Palace, and Du You acted as the chief minister, burying Emperor Shunzong in Fengling; Wang Shizhen entered the government; Liu Bi rebelled in Xichuan, and Gao Chongwen led troops to suppress the rebellion; Wang Shuweng was executed in his place of exile. In the year Dinghai (807), Wu Yuanheng and Li Jifu entered the government; Li Ji rebelled in Runzhou and was suppressed. In the year Wuzi (808), Pei Ji entered the government. In the year Jichou (809), the crown prince Deng Wang Li Ning was enfeoffed as the crown prince; Wang Chengzong rebelled in Chengde Commandery; Wu Shaocheng of Caizhou died, and his brother Wu Shaoyang took over the military and administrative affairs. In the year Gengyin (810), Quan Deyu was appointed as the chief minister. In the year Xinmao (811), Li Fan was dismissed from his position, and Li Jifu and Li Jiang were appointed as chief ministers; Crown Prince Li Ning died. In the year Renchen (812), the crown prince Sui Wang Li Heng was enfeoffed as the crown prince; a rebellion occurred in Weibos Army, and Tian Hongzheng submitted to the court. In the year Guisi (813), a rebellion occurred in the Zhenwu Army.

甲午　唐章武皇帝九年，蔡州吳少陽卒，子元濟繼事，以淮西逆命。　乙未　伐淮西。盜殺宰相武元衡，以裴度為相，會兵伐王承宗於鎮。淄青李師道以嵩僧叛，會兵伐淄青。　丙申　大伐淮西及鎮陽。李逢吉、王涯為相。黃洞蠻屠巖州，宿州軍亂。

The year Jiawu (814) was the ninth year of Emperor Xianzong's reign. Wu Shaoyang of Chaozhou died, and his son Wu Yuanji took over military and administrative control, occupying Huaixi and refusing to pay homage to the court. In the year Yiwei (815), the court launched an army to attack Huaixi; an assassin killed the chancellor Wu Yuanheng in the capital, and Emperor Xianzong replaced Wu with Pei Du as chancellor, gathering all the armies to attack Wang Chengzong of Chengde. Meanwhile, Li Shidao of Zijing sent a Buddhist monk from Songshan as an inside agent to cause unrest, prompting the court to send another army to attack Zijing. In the year Bingshen (816), a large-scale campaign was launched against Huaixi and Zhenyang; Li Fengji and Wang Ya entered the chancellorship; the Huangdong Miao attacked and destroyed Yanzhou, and there was a military mutiny in Suzhou.

丁酉　崔群、李鄘為相，裴度大伐淮西，將李愬入蔡，獲吳元濟以獻，淮西平。裴度復相。　戊戌　鎮州王承宗、淄青李師道順命。李夷簡、皇甫鎛、程異為相。　己亥　劉悟殺李師道，以淄青十二州降。令狐楚為相。沂及安南軍亂。以方士柳泌為台州刺史。帝餌金石，有疾。

In the Dingyou year (817), Cui Qun and Li Yong were appointed as chancellors; Pei Du personally went to the front to supervise the military campaign against the Huaixi region. His general Li Sun launched a surprise attack on Caizhou under the cover of snow at night and captured Wu Yuanji, presenting him to the court, which marked a crucial victory in the "Yuanhe Revival." Pei Du was then recalled to the capital and reappointed as chancellor. In the Wuxu year (818), Wang Chengzong of Chengde and Li Shidao of Zijing both submitted to the court. Li Yijian, Huangfu Bo, and Cheng Yi were appointed as chancellors. In the Jihai year (819), Li WU, a general, killed Li Shidao and surrendered the twelve states of Zijing to the court; Linghu Chu was appointed as chancellor; military uprisings occurred in Yizhou and Annan. Emperor Xianzong appointed the alchemist Liu Mi as the governor of Taizhou in search of elixirs, and he became ill from consuming metal and stone medicines.

庚子　帝崩，皇太子恆踐位，是謂文恩皇帝。段文昌、崔植為相，貶皇甫鎛崖州司戶。安南平。葬憲宗於景陵。鎮王承宗卒，弟承元繼事。　辛丑　改元長慶。杜元穎、王播為相。劉總棄幽州，以張弘靖代之。幽州軍亂，逐弘靖，立朱克融為留後。鎮州軍亂，殺田弘正，立王廷湊為留後。瀛州軍亂，幽軍拔瀛州。鎮軍圍深州。相州軍亂。

In the Gengzi year (820), Emperor Xianzong of the Tang Dynasty died, actually murdered by eunuchs; the crown prince Li Heng ascended the throne, becoming Emperor Muzong (posthumous title Wen'en Emperor). Du Wanying and Cui Zhi entered the government as chancellors, while Huang Fu Bo was demoted to the position of county magistrate in Yajiao. The Annan region was pacified, and Emperor Xianzong was buried in Jingling. Wang Chengzong of Chengde died, and his younger brother Wang Chengyuan took over the military and administrative affairs. In the Xinchou year (821), the era name was changed to "Changqing." Du Yuanying and Wang Bo entered the government as chancellors. Liu Zong surrendered the Youzhou region and went to the capital, and the court appointed Zhang Hongjing to take over. However, a military revolt occurred in Youzhou, driving out Zhang Hongjing and proclaiming Zhu Kexiong as the acting military governor. A rebellion also broke out in Chengde, killing the military governor Tian Hongzheng and proclaiming Wang Tingzou as the acting military governor. A revolt occurred in Yingzhou, with the Youzhou troops capturing Yingzhou. The Chengde army besieged Shenzhou, and a rebellion also took place in Xiangzhou. The three towns of the Hebo region once again separated from the imperial court, and the achievements of the Yuanhe revival were lost.

壬寅　冊景王湛為皇太子。幽州朱克融陷滄州，會鎮州王廷湊兵攻深州。王智興逐崔群，以徐州亂。元稹、裴度、李逢吉為相。李岕逐李願，以汴州亂。鎮兵救鐃陽及博野。王國清以浙西叛，德州軍亂。　癸卯　牛僧孺為相。　甲辰　帝崩，皇太子湛踐位，是謂昭武皇帝。貶侍郎李紳端州司馬。李逢吉、牛僧孺為相。又以李程、竇易直為相。葬穆宗於光陵。

In the year of Renyin (822), Prince Jingwang Li Zhan was appointed crown prince. Zhu Kerong of Youzhou captured Cangzhou, and joined forces with Wang Tingcu of Chengde to attack Shenzhou. Wang Zhixing expelled Cui Qun and caused unrest in Xuzhou. Yuan Zhen, Pei Du, and Li Fengji entered the government as chancellors. Li Jian expelled Li Yuan and caused unrest in Bianzhou. The troops of Chengde advanced to support Raoyang and Boye. Wang Guoqing rebelled in Zhejiang West. There was also a military mutiny in Dezhou. Within a single year, several military towns rebelled, and the court was no longer able to suppress them. In the year of Guimao (823), Niu Shengru entered the government as chancellor. In the year of Jiachen (824), Emperor Xuanzong died at the age of sixteen due to consuming gold and stone medicines, and his crown prince Li Zhan succeeded to the throne, becoming Emperor Jingzong (posthumous title: Zhao Wu Emperor). Censor Li Shen was demoted to the governor of Duanzhou. Li Fengji and Niu Shengru were chancellors, and Li Cheng and Dou Yizhi were also appointed as chancellors. Emperor Xuanzong was buried in the Guangling Mausoleum.

乙巳　改元寶曆。牛僧孺免相。　丙午　裴度復相。內命亂，宮人殺帝於飲所，群臣誅賊，立江王昴，是謂昭獻皇帝。以韋處厚為相。幽州軍亂，殺其帥朱克融。　丁未　改元太和。貶相李逢吉，葬敬宗於莊陵。　戊申　鎮州王廷湊逆命，安南軍亂。路隋為相。

In the year Yisi (825), the era name was changed to "Baoli"; Niu Shengru was removed from his position as chancellor. In the year Bingwu (826), Pei Du was reinstated as chancellor; there was a disturbance in the palace, where Emperor Jingzong was assassinated by palace attendants during a banquet. The ministers killed the凶手, and supported Jiang Wang Li Ang to ascend the throne, who became Emperor Wenzong of Tang (posthumous title: Zhaoxian Emperor). Wei Chuhou was appointed as chancellor; there was a military revolt in Youzhou, where the commander Zhu Kefeng was killed. In the year Dingwei (827), the era name was changed to "Taihe"; Chancellor Li Fengji was demoted; Emperor Jingzong was buried in Zhuangling. In the year Wushen (828), Wang Tingcuo of Chengde refused to attend court, and there was a military revolt in Annan; Lu Sui was appointed as chancellor.

己酉　魏博軍亂，殺節度使史憲誠，立何進滔為留後。李宗閔為相。南詔蠻陷東都。　庚戌　興元軍亂，殺節度使李絳，溫造平之。牛僧孺、宋申錫為相。　辛亥　幽州軍亂。貶相宋申錫開州司馬，內臣王守澄誣故也。　壬子　癸丑　李德裕、王涯為相，罷李宗閔相，冊魯王永為皇太子。　甲寅　幽州軍亂。復李宗閔相。

In the year Jiyou (829), there was a rebellion in Weibozhou, where the military governor Shi Xiancheng was killed and He Jintao was proclaimed as the acting governor. Li Zongmin entered the government. The Nanzhao forces invaded and captured Chengdu, although the original text says "East Capital," it should be a mistake for "Chengdu." In the year Gengxu (830), there was a rebellion in Xingyuan, where the military governor Li Jiang was killed, and Wen Zhao led troops to quell the rebellion. Niu Shengru and Song Shenshi entered the government. In the year Xinhai (831), there was a rebellion in Youzhou. The chancellor Song Shenshi was demoted to be the governor of Kaizhou, due to the false accusations by the eunuch Wang Shoucheng. In the year Renzi (832), there was nothing noteworthy. In the year Guichou (833), Li Deyu and Wang Ya entered the government, and Li Zongmin was removed from his position. The crown prince Li Yong was appointed as the crown prince. In the year Jiayin (834), there was a rebellion in Youzhou again. Li Zongmin was reinstated as chancellor. The constant alternation between the Niang and Li factions reflected the political situation of the time.

乙卯　鄭注、李訓用事，貶李德裕袁州長史，罷李宗閔相，貶為潮州司戶。用李訓、賈、李固言、舒元輿為相，出鄭注為鳳翔尹。李訓誅宦氏，不克，走南山。中尉仇士良屠宰相李訓、王涯、賈、舒元輿，及王播、郭行餘、羅立言、李孝本、韓約十餘人。監軍張仲清屠鄭注於鳳翔。李訓野死。引鄭覃、李石為相。中尉仇士良、魚弘志併為大將軍，遣內養馳四方，交殺州縣官吏。

In the year Yimao (835), Zheng Zhu and Li Xun were in power. Li Deyu was demoted to the position of Chief of the Yuanzhou Prefecture, and Li Zongmin was dismissed from his post as chancellor and demoted to the position of County Officer in Chaozhou. Li Xun, Jia Su, Li Guyan, and Shu Yuanyu were appointed as chancellors, while Zheng Zhu was sent to serve as the Governor of Fengxiang. Li Xun secretly plotted to eliminate the eunuchs, but the plot failed and he fled into the southern mountains. This event is known as the "Ganlu Incident." The commander of the Shen Ce Army, Chou Shiliang, carried out a massacre, killing more than ten people including the chancellors Li Xun, Wang Ya, Jia Su, Shu Yuanyu, Wang Bo, Guo Xingyu, Luo Liyang, Li Xiaoben, and Han Yue. The supervisor of the military, Zhang Zhongqing, killed Zheng Zhu in Fengxiang. Li Xun died in the wilderness. After this, Zheng Tan and Li Shi were appointed as chancellors. Chou Shiliang and Yu Hongzhi were both promoted to the rank of Grand General. Eunuchs were sent to travel throughout the country, and they alternately executed officials at the prefectural and county levels, resulting in the complete control of the government by the eunuchs.

丙辰　改元開成。李固言為相。　丁巳　陳夷行為相。河陽軍亂。　戊午　盜殺宰相李石於親仁裡。楊嗣復、李珏為相。易定軍亂。皇太子有罪，卒於少陽院。　己未　崔鄲為相。冊陳王成美為皇太子，監國。　庚申　帝有疾，中尉仇士良、魚弘志冊潁王瀍為皇太子，廢皇太子成美復為陳王。帝崩，皇太子瀍立，是謂昭肅皇帝。楊嗣復行冢宰，殺陳王成美、安王溶於邸。二中尉封國公。崔鄲、崔珙、陳夷行為相。葬文宗於章陵。楊嗣復、李珏罷相，李德裕復相。　辛酉　改元會昌，用李紳為相，貶相楊嗣復、李珏為州司馬。幽州軍亂。　壬戌　李德裕專政。　癸亥　劉稹以澤潞叛。

In the year Bingchen (836), the era name was changed to "Kaicheng"; Li Guyan entered the government as prime minister. At this time, the Ganlu Incident had just occurred, and Emperor Wenzong was controlled by eunuchs, living like a prisoner. In the year Dingsi (837), Chen Yixing entered the government as prime minister; there was a military revolt in Heyang. In the year Wuwu (838), an assassin killed the prime minister Li Shi in Qinren Lane; Yang Sifu and Li Jue entered the government as prime ministers; there was a military revolt in Yideng; Crown Prince Li Yong was accused of wrongdoing and died in Shaoyang Yuan. In the year Jiwei (839), Cui Dan entered the government as prime minister; Emperor Chengmei, the Prince of Chen, was appointed Crown Prince and regent. In the year Gengshen (840), Emperor Wenzong was seriously ill, and the military commander-in-chief of the Shanzheng Army, Chou Shilian and Yu Hongzhi,擅自 changed the Crown Prince to Prince Yingwang Li Chian, deposing Li Chengmei and sending him back to be the Prince of Chen; Emperor Wenzong died, and Li Chian ascended the throne, becoming Emperor Wuzong (posthumous name Zhao Su), with the power of succession now entirely in the hands of the eunuchs. Yang Sifu acted as the chief minister; Prince Chengmei and Prince Anwang Li Rong were killed in their palaces; both eunuchs were granted the title of State Marquis; Cui Dan, Cui Gong, and Chen Yixing were prime ministers; Emperor Wenzong was buried in Zhangling; Yang Sifu and Li Jue were removed from office, and Li Deyu was restored as prime minister. In the year Xinyou (841), the era name was changed to "Huichang"; Li Shen was appointed prime minister, while former prime ministers Yang Sifu and Li Jue were demoted to prefectural magistrates; there was a military revolt in Youzhou. In the year Renxu (842), Li Deyu held sole power in the government, and the emperor and ministers worked well together, known as the "Huichang Government." In the year Guihai (843), Liu Zhen rebelled in ZeLu.

甲子　唐昭肅皇帝四年，太原軍亂。邢、洺、磁三州叛，澤潞二州平。杜悰、崔鉉為相，貶相崔珙為州司馬。　乙丑　罷崔鉉、杜悰相，李回、崔元式、鄭肅為相。大除象教。　丙寅　帝餌金石，有疾，命光王怡為皇太叔。帝崩，太叔怡立，是謂獻文皇帝，用白敏中、盧商、韋琮為相。葬武宗於端陵。

The year Jiazi (844) was the fourth year of Emperor Wuzong's reign. There was a military rebellion in Taiyuan; three states, Xingzhou, Mingshou, and Cizhou, rebelled, while two states, Zhezhou and Lüzhou, were pacified. Du Cong and Cui Xuan were appointed as chancellors, while Chancellor Cui Gong was demoted to the position of state military commander. In the year Yichou (845), Cui Xuan and Du Cong were removed from their chancellor positions, and Li Hui, Cui Yuanshi, and Zheng Su were appointed as chancellors. A large-scale suppression of Buddhism took place, with temples being destroyed and monks and nuns forced to return to secular life, an event known as the "Willow Spring Buddhist Persecution." In the year Bingyin (846), Emperor Wuzong fell ill due to consuming metal and stone elixirs. He appointed his uncle Guang Wang Li Yi as the Imperial Uncle. After Emperor Wuzong's death, the Imperial Uncle Li Yi ascended the throne, becoming Emperor Xuanzong (posthumous title: Xianwen Emperor). He appointed Bai Minzhong, Lu Shang, and Wei Cong as chancellors, and Emperor Wuzong was buried in the Duandeng Mausoleum.

丁卯　改元大中。貶相李德裕潮州司馬。　戊辰　周墀、馬植、崔龜從為相。　己巳　罷周墀、馬植相，再貶李德裕崖州司戶。崔鉉、魏扶為相。幽州軍亂。　庚午　魏扶罷相，令狐綯為相。　辛未　魏謨為相。　壬申　裴休為相。　癸酉　鄭朗為相。　甲戌　乙亥　丙子　丁丑　魏謨出尹成都，崔慎由、蕭鄴為相。　戊寅　劉瑑、夏侯孜為相。宣洪寇亂。

In the year Dingmao (847), the era name was changed to "Dazhong"; Chancellor Li Deyu was demoted to the position of司马 in Chaozhou. In the year Wuchen (848), Zhou Chi, Ma Zhi, and Cui Guilong were appointed as chancellors. In the year Jisi (849), Zhou Chi and Ma Zhi were removed from their positions, and Li Deyu was further demoted to the position of司户 in Yajia, marking the complete decline of the Li faction in the struggle between the Li and Wang factions. Cui Xuan and Wei Fu were appointed as chancellors; there was a military rebellion in Youzhou. In the year Gengwu (850), Wei Fu was removed from his position, and Li Tongruo was appointed as chancellor. In the year Xinwei (851), Wei Mo was appointed as chancellor. In the year Renshen (852), Pei Xiu was appointed as chancellor. In the year Guiyou (853), Zheng Lang was appointed as chancellor. In the years Jiaxu, Yihai, and Bingzi (854-856), there were no notable events. In the year Dingchou (857), Wei Mo was appointed as the governor of Chengdu, and Cui Shenyou and Xiao Ye were appointed as chancellors. In the year Wuyin (858), Liu Zuan and Xiahou Zi were appointed as chancellors; there were bandit disturbances in Xuanzhou and Hongzhou.

己卯　蔣伸為相。冊鄆王溫為皇太子。帝崩，皇太子溫踐位，是謂恭惠皇帝。令狐綯行冢宰。　庚辰　葬宣宗於貞陵。令狐綯出尹河中，杜審權、杜悰為相。改元咸通。宜洪寇亂。　辛巳　相蕭鄴出尹太原，蔣伸罷相。林邑蠻入寇。　壬午　徐州軍亂。林邑蠻陷交阯及安南都護。

In the year of Jimao (859), Jiang Shen was appointed as chancellor; the prince of Yun was enfeoffed as crown prince. After Emperor Xuanzong's death, the crown prince Li Wen ascended the throne, becoming Emperor Yizong (posthumous title Gonghui Emperor). Li Tong served as acting prime minister. In the year of Gengchen (860), Emperor Xuanzong was buried in the Zhenling Mausoleum; Li Tong was appointed governor of Hezhong, while Du Shenyuan and Du Cong were appointed as chancellors; the era name was changed to "Xiantong"; bandits emerged again in the areas of Xuzhou and Hongzhou. In the year of Xinsi (861), Chancellor Xiao Ye was appointed as governor of Taiyuan, while Jiang Shen was dismissed from his post; the Nanyue barbarians invaded. In the year of Renwu (862), there was a military mutiny in Xuzhou; the Nanyue barbarians captured Jiaozhi, and the Annan Commandery was lost.

癸未　楊收、曹確、高璩為相。蠻陷安南州。　甲申　杜審權出刺潤州，蕭寘為相。蠻寇邕管。　乙酉　徐商為相，高駢平林邑蠻，復安南都護。　丙戌　夏侯孜出尹成都，路巖為相。　丁亥　楊收觀察浙西，於琮為相。　戊子　湘潭戍軍亂，立龐勳為帥，陷徐、宿、滁、和、濠五州。貶楊收端州司馬，移歡州，賜死。

In the Guiwei year (863), Yang Shou, Cao Que, and Gao Qu entered government as chancellors; the Southern barbarians captured various states of Annan. In the Jiashen year (864), Du Shenquan was appointed governor of Runzhou, and Xiao Zhi entered government as chancellor; the Southern barbarians invaded Yunguan. In the Yiyou year (865), Xu Shang entered government as chancellor; Gao Pian pacified the Linyi barbarians and recovered the Annan Commandery. In the Bingxu year (866), Xiahou Zi was appointed governor of Chengdu, and Lu Yan entered government as chancellor. In the Dinghai year (867), Yang Shou was appointed governor of Zhexi Circuit, and Yu Cong entered government as chancellor. In the Wuzi year (868), the garrison soldiers at Xiangtan in the south rebelled, elected Pang Xun as their commander, and captured five states: Xuzhou, Suzhou, Chuzhou, Hezhou, and Haozhou, marking the beginning of great chaos at the end of the Tang dynasty; Yang Shou was demoted to the position of military司马 in Duanshan, then transferred to Huanshan, and eventually executed.

己丑　蔣伸罷相，劉瞻為相。徐商出尹江陵，命十八將伐徐，以康成訓為軍帥。徐寇平。蠻復寇東西二川。　庚寅　相曹確病免，韋保衡為相。大黜官吏，王鐸為相。　辛卯　相路巖出尹成都。　壬辰　劉鄴出刺幽州，於琮出刺襄州，趙隱為相。大行黜陟。命沙陀李國昌移鎮雲中。國昌以大同阻命。　癸巳　徵李國昌、蕭仿為相，冊普王儼為皇太子，韋保衡行冢宰。帝崩，皇太子儼踐位，是謂恭定皇帝。兩軍中尉居中用事，黜冢宰韋保衡，仍賜死，復前之官吏。

In the year Jichou (869), Jiang Shen was dismissed from his position as chancellor and Liu Zhan was appointed as chancellor; Xu Shang was appointed as governor of Jiangling; the court ordered eighteen generals to campaign against Xuzhou, with Kang Chengxun as the overall commander, and the rebellion led by Pang Xun was quelled; the southern barbarians again invaded the eastern and western circuits. In the year Gengyin (870), Chancellor Cao Que was dismissed due to illness and Wei Baoheng was appointed as chancellor; many officials were dismissed, and Wang Duo was appointed as chancellor. In the year Xinmao (871), Chancellor Lu Yan was appointed as governor of Chengdu. In the year Renchen (872), Liu Ye was appointed as governor of Youzhou, Yu Cong was appointed as governor of Xiangzhou, and Zhao Yin was appointed as chancellor; the court carried out extensive promotions, demotions, and appointments; the court ordered the leader of the Shatuo tribe, Li Guochang, to move his headquarters to Yunzhong, but Li Guochang refused to obey in Datong. In the year Guisi (873), the court sent troops to campaign against Li Guochang; Xiao Fang was appointed as chancellor; the crown prince Pu Wang Li Yan was officially recognized as the crown prince, and Wei Baoheng acted as the chief minister. Emperor Taizong died, and the crown prince Li Yan ascended the throne, becoming Emperor Xizong (posthumous title Gongding Emperor). The two middle generals of the Left and Right Shen Ce armies held power in the palace, dismissed Wei Baoheng the chief minister and had him executed, and restored all officials who had been previously demoted.

甲午　唐恭定皇帝元年，葬懿宗於簡陵。崔彥昭、鄭畋、盧攜為相。改元乾符。蠻寇兩川。　乙未　浙西及曹濮寇亂，王鐸復相。　丙申　相蕭效病免。浙西寇平。曹濮、王仙芝陷江淮南北十五州，至江南。乞符節於朝，不聽。李蔚為相。

The year Jiawu (874 CE) was the first year of Emperor Xizong's reign. The emperor buried Emperor Yizong in Jianling; Cui Yanzhao, Zheng Tian, and Lu Xie were appointed as chancellors; the era name was changed to "Ganfu"; and the southern barbarians invaded the eastern and western circuits. In the year Yiwei (875 CE), banditry broke out in Zhexi and the areas of Caizhou and Puzhou, and Wang Duo was reappointed as chancellor. In the year Bingshen (876 CE), Chancellor Xiao Xiang was dismissed due to illness; the bandits in Zhexi were subdued; Wang Xianzhi, who had started the rebellion in Caizhou and Puzhou, captured fifteen states in the north and south of the Jianghuai region, advancing as far as Jiangnan, and requested the court to grant him the authority of a military governor, but the court refused; Li Wei was appointed as chancellor.

丁酉　冤句寇黃巢陷沂、鄆，南會王仙芝。將尚讓、於蔡之查牙山，破隋及江陵。沙陀李國昌寇朔州。　戊戌　江陵寇平。黃巢擾淮北、淮南及江南、廣南。李國昌陷岢嵐。昭義軍亂。鄭從讜為相，李蔚出守東都。　己亥　黃巢據嶺表，乞符節於朝，不聽。罷盧攜、鄭畋相，以崔沆豆、盧瑑為相，盧攜復相。

In the year Dingyou (877), Huang Chao, who had started a rebellion in Yuanju, captured Yizhou and Yunzhou, then moved south to join Wang Xianzhi. His general Shang Rang operated in the area around Chayashan in Caizhou, attacking Suzhou and Jiangling. The Shatuo Li Guochang invaded Shuozhou. In the year Wuxu (878), the rebels in Jiangling were subdued; Huang Chao moved through the northern Huai River region, southern Huai River region, Jiangnan, and Lingnan. Li Guochang captured Kelinglan; there was a mutiny in the Zhaoyi military command; Zheng Congdang became chancellor, and Li Wei was appointed as the governor of the Eastern Capital. In the year Jihai (879), Huang Chao controlled Lingnan and requested a military commission from the court, but was still not granted it; Lu Xie and Zheng Tian were dismissed from their chancellor positions, and Cui Hang and Dou Lu Zuan were appointed as chancellors, but Lu Xie was later reinstated as chancellor.

庚子　改元廣明。鄭從讜出尹太原。沙陀軍敗北。黃巢軍北逾五嶺，破湖、湘及江淮揚州。高駢距之，不利。發徐、兗、許軍赴殷水，以捍東都。殷水軍潰。黃巢陷東都，西攻郟虢，潼關失守。罷盧攜相，王徽、裴徹為相。黃巢陷長安，稱帝，國曰齊，元曰金統。帝出南山。　辛丑　帝移軍興元。蕭遘為相，鄭畋為都統，楊復光為監軍，羽書飛天下。沙陀順命，請勤王。黃巢攻鳳翔。帝移幸成都，改元中和，以韋昭度為相。河中王重榮軍屯沙苑。涇原唐弘夫軍屯渭北，易定王處存軍屯渭橋，鄜延托跋思恭軍屯武功，鳳翔鄭畋軍屯盩庢，邠寧朱玫軍屯興平，荊襄王鐸軍至自行在，王徽都督潞州。

In the Gengzi year (880), the era name was changed to "Guangming"; Zheng Congdang was appointed as the governor of Taiyuan; the Shatuo army suffered a defeat and retreated northward. Huang Chao's forces crossed the Wu岭 mountains to the north, captured Hunan, Xiangzhong, and Yangzhou in the Jianghuai region. The governor of Huainan, Gao Pian, failed to resist effectively and thereafter remained in Yangzhou without making any further military moves. The court summoned troops from Xuzhou, Yanzhou, and Xuzhou to defend Yinsui water to protect the eastern capital, but the Yinsui forces dispersed. Huang Chao captured the eastern capital, then advanced westward to attack Jiacheng and Guozhou, and the pass of Tongguan was lost. Lu Xie was dismissed from his position as chancellor, and Wang Hui and Pei Che took his place. Huang Chao captured Chang'an, proclaimed himself emperor, established the state name as "Qi", and adopted the era name "Jintong". Emperor Xizong fled hastily to Nanshan, and the Tang dynasty thus ceased to exist in reality. In the Xinchou year (881), Emperor Xizong moved his court to Xingyuan; Xiao Guo became chancellor, Zheng Tian was appointed as the overall commander of the various circuits' military campaigns, and Yang Fuguang served as the military supervisor. Recruitment orders spread throughout the country; the Shatuo army submitted to the court and requested to assist in quelling the rebellion. Huang Chao sent troops to attack Fengxiang. Emperor Xizong moved his court again to Chengdu, changed the era name to "Zhonghe", and appointed Wei Zhaodu as chancellor. Various forces assisting the court gradually gathered: Wang Chongrong stationed his troops at Shayuan, Tang Hongfu of Jingyuan stationed his troops at Weibei, Wang Chuxun of Yideng stationed his troops at Weiqiao, Tuoyan Tuosigong stationed his troops at Wugong, Zheng Tian of Fengxiang stationed his troops at Zhongzhi, Zhu Mei of Binning stationed his troops at Xingping, and Wang Duo from Jingxiang arrived at the court. Wang Hui was appointed as the governor of Luxi.

壬寅　帝在成都。黃巢保長安，其將朱溫以同州降，錫名全忠。沙陀李克用自代北至，軍屯梁田。　癸卯　帝在成都。諸將合攻，大破巢軍於渭南。巢走藍關，遂收京城，以李克用為河東節度使，朱全忠為宣武軍節度使。巢軍東走，圍陳、蔡。蔡州秦宗權以城降賊，合巢兵攻陳州，以舂磨圍陳三百日。陳刺堅守，不陷。　甲辰　帝在成都。以鄭昌圖為相。汴州朱全忠及關東諸侯鎮帥兵會河東。李克用兵大破巢軍於太康及西華，又北破之於中牟，又東滅之於冤句。巢寇平，朱全忠圖李克用於汴之上元驛，不克。自此二師交惡，朝廷封李克用隴西郡王以和解之。

In the year of Renyin (882), Emperor Xizong was still in Chengdu. Huang Chao held Chang'an, and his subordinate Zhu Wen surrendered to the Tang dynasty in Tongzhou, and the court gave him the name "Quanzhong." This man later became the founder of the Liang dynasty, the Liang Ta Zu. Shatuo Li Keyong led his cavalry from the northern frontier to the south, encamped at Liangtian, and his army, clad in black clothes and armor, was known as the "Yajun." In the year of Guimao (883), Emperor Xizong was still in Chengdu. The generals jointly attacked and defeated Huang Chao's army in Weining, forcing Huang Chao to retreat through Languan. The Tang army recaptured the capital. Li Keyong was appointed as the governor of Hedong, and Zhu Quanzhong as the governor of Xuanwu. Huang Chao's remaining forces moved eastward, besieging Chenzhou and Caizhou. Qin Zongquan of Caizhou surrendered the city to the rebels and joined forces to attack Chenzhou, surrounding it for three hundred days using the "chongmo" method, eating people in order to sustain the siege. The governor of Chenzhou held out and the city did not fall. In the year of Jiachen (884), Emperor Xizong was still in Chengdu, with Zheng Changtu as prime minister. Zhu Quanzhong in Banzhou and the armies of the eastern commanderies joined forces with the Hedong forces. Li Keyong defeated Huang Chao's army at Taikang and Xihua, then defeated them again to the north at Zhongmu, and finally destroyed Huang Chao's forces at Yuanju, ending the Huang Chao rebellion. Zhu Quanzhong set a trap at Yuan Yuan Yizhi to plot the assassination of Li Keyong, but failed. From then on, the two families harbored mutual resentment. The court bestowed the title of Lord of Longxi on Li Keyong to mediate, which marked the beginning of the decades-long struggle between the Liang and Jin dynasties.

乙巳　帝至自成都，改元光啟。秦宗權保逆陳蔡，王鎔專兵鎮陽，李昌符抗兵鳳翔，王重榮擅兵蒲郟，諸葛爽擁兵孟洛，孟方立控兵邢洛，李克用阻兵並代，朱全忠瀆兵汴滑，時溥弄兵徐泗，朱瑾窮兵齊鄆，王敬武握兵淄青，高駢玩兵淮南，劉漢宏恃兵浙東，王處存結兵易定，李可舉堅兵幽薊。中尉田令孜取河中王重榮解州、監池，不克，引邠寧師伐河中。重榮會太原師攻令孜。京師軍亂。邠將朱玫敗，歸邠，引神策軍大掠都市。令孜以帝幸鳳翔，封宣武節度朱全忠為沛郡王。錢鏐始受封為杭州刺史。

In the year of Yisi (885), Emperor Xizong returned from Chengdu to the capital and changed the era name to "Guangqi." At this time, the country had already fallen into a state of division and regional control: Qin Zongquan controlled Chen and Cai as a rebel force, Wang Rong held military power in Zhenyang, Li Changfu controlled the military in Fengxiang, Wang Chongrong held military power in Pu and Jia, Zhuge Shuang controlled the military in Mengzhou and Luoyang, Meng Fangli controlled the military in Xingmeng, Li Keyou controlled the military in Bingzhou and Dazhou, Zhu Quanzhong controlled the military in Bian and Hua, Shi Pu controlled the military in Xu and Si, Zhu Jin controlled the military in Qi and Yun, Wang Jingwu controlled the military in Zi and Qing, Gao Pian controlled the military in Huainan, Liu Hanhong controlled the military in Zhe Dong, Wang Chuxun controlled the military in Yidings, and Li Keju held firm in Youji. The eunuch commander Tian Lingzi wanted to seize the Jiezhou salt pond from Wang Chongrong in Hezhong, but failed, so he led the Bin Ning forces to attack Hezhong. Wang Chongrong joined forces with Li Keyou from Taiyuan to counterattack Tian Lingzi, causing great chaos in the capital. The general of Binzhou, Zhu Mei, retreated to Binzhou after his defeat and led the Shen Ce army to plunder the markets in the capital. Tian Lingzi took Emperor Xizong and fled to Fengxiang, and he conferred the title of Peijun Wang upon Zhu Quanzhong, the commander of the Xuanwu Circuit. Qian Liu was appointed as the governor of Hangzhou in this year, thus beginning the foundation of the Wuyue state.

丙午　帝在風翔。河中王重榮條罪攻田令孜，令孜以帝移幸興元。相蕭遘、裴徹、鄭昌圖召邠軍，迎帝還都。朱玫軍至自鳳翔。令孜以帝移軍過散關。朱玫追帝不及，至遵途獲皇子襄王熅。興元節度使石君涉合朱玫軍，破棧以絕帝歸路。帝至興元。石君涉棄城走朱玫軍。帝以孔緯、杜讓能為相，出田令孜為劍南節度使。李鋌、楊守亮、楊守宗敗朱玫軍於鳳翔。朱玫逼蕭遘，立襄王熅，幸鳳翔，玫稱大丞相，率百官還京，奉熅稱帝，改元建貞。罷蕭遘相，以鄭昌圖、裴徹為相，宣諭四方，加諸鎮官。常山、太原、宣武、河中不受命。王重榮、李克用敗朱玫將王行瑜於鳳翔。行瑜退，攻興元，以邠軍還長安，殺朱玫，大掠京城。裴徹、鄭昌圖以襄王熅奔河中。王重榮殺襄王熅以獻。蔡將孫儒陷鄭及許、洛、懷、孟、陝、虢。巢將諸葛爽據河陽，李罕之據澤州，張宗奭據懷州，秦宗權稱帝陳蔡，王潮據福州。

In the year of Bingwu (886), Emperor Xizong was detained in Fengxiang. Wang Chongrong of Hezhong listed the crimes of Tian Lingzi and led his troops to attack. Tian Lingzi, who had been regarded as the "father" by Emperor Xizong since childhood, took the emperor to Xingyuan. The emperor appointed Kong Wei and Du Rangneng as chancellors, and exiled Tian Lingzi to the Jiangnan Circuit. Li Ting, Yang Shouliang, and Yang Shouzong defeated Zhu Mei's troops at Fengxiang. Zhu Mei forced Xiao Guo, and proclaimed Prince Xiangwang Li Yun as emperor, stationed his forces in Fengxiang, and claimed the title of Grand Chancellor. He led the officials back to the capital and proclaimed Li Yun as emperor, changing the era name to "Jianzhen." He dismissed Xiao Guo from his post and appointed Zheng Changtu and Pei Che as chancellors. He issued edicts to the whole country and conferred titles and ranks on the various circuits, but the four circuits of Changshan, Taiyuan, Xuanshu, and Hezhong did not comply. Wang Chongrong and Li Kexiu defeated Zhu Mei's general Wang Xingyu at Fengxiang. Wang Xingyu retreated to attack Xingyuan, then led his troops back to Chang'an, killed Zhu Mei, and looted the capital. Zheng Changtu and Pei Che led Prince Xiangwang Li Yun to flee to Hezhong. Wang Chongrong killed Li Yun and surrendered his head to the court. This false dynasty established by a military governor lasted only a few months. General Sun Ru of Caizhou captured Zhengzhou and the regions of Xu, Luo, Huai, Meng, Shan, and Guo. Old general Zhuge Shuang of Huang Chao occupied Heyang. Li Hanzhi occupied Zezhou. Zhang Zongshi occupied Huaizhou. Qin Zongquan proclaimed himself emperor in Chen and Cai. Wang Chao occupied Fuzhou.

丁未　帝自興元移軍鳳翔，以張浚為相。揚州軍亂，牙將畢師鐸囚帥高駢，召秦宗權之宣州觀察。秦彥為揚州節度使。蔡兵攻汴。兗、鄆之師合兵，大破其軍。蔡將孫儒棄鄭及許、洛、懷、孟、陝、虢。張宗奭取洛陽，李罕之取河陽，同附於全忠。張宗奭賜名全義。京師楊守立、李昌符爭道，戰於通衢。昌符敗走隴州。河中軍亂，牙將常行儒殺其帥王重榮，立其弟重盈為留後。楊行密與蔡將孫儒爭揚州，行密拔揚州。秦彥、畢師鐸奔孫儒於高郵，復攻行密。行密求救於汴，汴軍授行密於淮口。東川顧彥朗、壁州王建攻成都。

In the year of Dingwei (887), Emperor Xizong moved his court from Xingyuan to Fengxiang, appointing Zhang Jun as prime minister. A military revolt occurred in Yangzhou, where the military officer Bi Shiduo imprisoned the commander Gao Pian and summoned the appointed governor of Xuanzhou by Qin Zongquan, allowing Qin Yan to serve as the military governor of Yangzhou. Gao Pian was a famous general who had subdued the Nanzhao and resisted Huang Chao, but in his later years he became obsessed with alchemy and lost the support of his troops, eventually being imprisoned and dying. The army of Caizhou attacked Banzhou, and the armies of Yanzhou and Yuntzhou joined forces to defeat the Caizhou troops. The general Sun Ru of Caizhou abandoned Zhengzhou and the regions of Xu, Luo, Huai, Meng, San, and Guo. Zhang Zongshi captured Luoyang, and Li Hanzhi captured Heyang, both joining Zhu Quanzhong. Zhang Zongshi was granted the name "Quanyi." In the capital, Yang Shuli and Li Changfu fought over the road, battling on the main street, with Li Changfu defeated and fleeing to Longzhou. A military revolt occurred in Hezhong, where the military officer Chang Xingru killed the commander Wang Chongrong and proclaimed his brother Wang Chongying as the acting governor. Yang Xingmi fought against Sun Ru of Caizhou for control of Yangzhou, capturing it and becoming the founder of the state of Wu later on. Qin Yan and Bi Shiduo fled to Sun Ru in Gaoyou and later attacked Yang Xingmi again. Yang Xingmi sought aid from Banzhou, and the Banzhou troops met him at Huai Kou. Gu Yanyang of Dongchuan and Wang Jian of Bishan joined forces to attack Chengdu.

戊申　帝至自鳳翔，改元文德。觀軍容使楊復恭專命，李鋌為相，冊壽王傑為皇太弟。帝崩，皇太弟傑踐位，是謂景文皇帝。韋昭度行冢宰。魏州軍亂，殺帥樂彥貞，小校羅宗弁為留後。張全義拔河陽，李罕之走澤州。蔡將孫儒拔揚州，楊行密走宣城。朱全忠攻徐州，蔡將趙謹以荊、襄降於汴，全忠敗蔡人於龍坂。蔡將申叢執秦宗權，降於汴。淮西平，朱全忠兼領蔡州節度使。王建大寇劍南。韋昭度出尹成都。葬僖宗于靖陵。　己酉　改元龍紀，以劉崇望為相，封朱全忠東平王。王建陷成都，稱留後。太原李克用攻邢、洺。杭州錢鏐拔宣城，獲劉浩。

In the year of Wushen (888), Emperor Xizong returned to the capital from Fengxiang and changed the era name to "Wende." The military commander Guan Yansong held exclusive control over the imperial orders, while Li Ting served as chancellor. The prince of Shou, Li Jie, was crowned as the crown prince. After Emperor Xizong's death, the crown prince Li Jie ascended the throne, becoming Emperor Zhaozong (posthumously known as Emperor Jingwen). Emperor Zhaozong had aspirations for revival, but he was entirely controlled by the regional warlords, and his entire life was constrained by others. Wei Zhao du managed the affairs of the prime minister. A rebellion broke out in Weizhou, killing the commander-in-chief Yue Yanzhen, and a minor officer Luo Zongbian became the acting governor. Zhang Quanyi captured Heyang, while Li Hanzhi fled to Zezhou. The general Sun Ru of the state of Cai captured Yangzhou, forcing Yang Xingmi to retreat to Xucheng. Zhu Quanzhong attacked Xuzhou; the general Zhao Jin of Cai surrendered Jiangzhou and Xiangzhou to the state of Bian. Zhu Quanzhong defeated the Cai army at Longban. The general Shen Cong of Cai captured Qin Zongquan and surrendered him to Bianzhou, where Qin Zongquan was sent to Chang'an and executed, thus ending the rebellion in Huaiwest. Wang Jian launched a large-scale invasion of Jiannan; Wei Zhao du was appointed as the governor of Chengdu. Emperor Xizong was buried in Jingling. In the year of Jiyou (889), the era name was changed to "Longji," and Liu Chongwang was appointed as chancellor. Zhu Quanzhong was granted the title of Eastern Ping Wang. Wang Jian captured Chengdu and declared himself acting governor, thus laying the foundation for the Former Shu state. Li Kexiu of Taiyuan attacked Xingzhou and Mengzhou; the ruler of Hangzhou, Qian Liu, captured Xucheng and captured Liu Hao.

庚戌　改元大順。孟遷以邢入於太原。李克用攻雲州。幽州援之，敗李克用於蔚州。幽州李匡威、雲州赫連鐸會汴兵，攻太原李克用。潞州軍亂，殺李克恭，降於汴。克用將安建以邢、洺、磁三州降於全忠。宰相張浚帥京兆孫揆，華州韓建出陰地關，會汴將葛從周兵入潞州。太原兵攻潞州，幽雲兵攻雁門。太原將匡君立入潞州，克用敗幽雲之兵於雁門，將李存信又敗張浚、韓建兵於陰地，遂拔晉絳。朝廷復克用官，貶張浚連州刺史。崔昭緯、徐彥若為相。克用將李存孝以邢入於汴。

In the Gengxu year (890), the era name was changed to "Dashun." Meng Qian submitted the Xingzhou to Taiyuan. Li Keyou attacked Yunzhou, and the Youzhou forces came to the rescue, defeating Li Keyou in Weizhou. The Youzhou general Li Kuangwei and the Yunzhou general He Lian Duo joined forces with the Bianzhou troops to attack Taiyuan's Li Keyou. A mutiny occurred in Luxi, where Li Ke Gong was killed and the city surrendered to Bianzhou. Li Keyou's general An Jian surrendered the three states of Xing, Meng, and Ci to Zhu Quanzhong. Chancellor Zhang Jun strongly advocated for attacking Hedong, leading the troops of Jingzhang Sun Kui and Huazhou Han Jian out of Yindi Pass, and joining forces with the Bian general Ge Congzhou to enter Luxi. The Taiyuan forces counterattacked Luxi, while the Youzhou and Yunzhou troops attacked Yamen. The Taiyuan general Kuang Junli recaptured Luxi. Li Keyou defeated the Youzhou and Yunzhou forces at Yamen. His general Li Cunxin then defeated Zhang Jun and Han Jian at Yindi, and proceeded to capture Jinzhou and Jiezhou. The court suffered a great defeat, and thus restored Li Keyou's official rank and title, while demoting Zhang Jun to the governor of Lianzhou. The central government's authority to suppress the regional warlords was thereby completely undermined. Cui Zhaowei and Xu Yanruo were appointed as chancellors. Li Keyou's adopted son and brave general Li Cunxiao also surrendered Xingzhou to Bian.

辛亥　命中尉楊復恭致政，復恭不受命，陳兵於昌化裡。命天威軍使李順節討之，不利。兩軍中尉劉景宣、西門重遂殺天威軍使李順節於銀臺門，順節兵散，大掠京城。復恭奔興元。鄭延昌為相。太原李克用攻邢州，責叛己也。宣武朱全忠攻魏州，責不助討也。鎮州援邢州。克用攻鎮州，幽兵援鎮州。汴兵攻宿州，幽鎮兵攻定州。處存求救於太原。宣州楊行密滅孫儒，據有揚州。封行密為淮南王。　壬子　改元景福。鳳翔李茂貞、邠州王行瑜、華州韓建、同州王行約，泰州李茂莊兵陷興元，殺楊守亮及楊復恭。左軍中尉西門重遂殺天威軍使賈德晟於京師，部下奔鳳翔。太原李克用會易、定兵，敗鎮兵於堯山。

In the Xinhai year (891), Emperor Zhaozong ordered the eunuch Yang Fugong, who had supported his ascension to the throne, to retire. However, Yang refused to comply and stationed his troops in Changhua Lane in Chang'an to resist. The court then ordered Li Shunjie, the commander of the Tianwei Army, to attack him, but failed to defeat Yang. Meanwhile, the two eunuchs in charge of the military, Liu Jingxuan and Ximen Chongshui, killed Li Shunjie inside the Yintaimen gate, and after his troops scattered, they looted the capital. Yang Fugong fled to Xingyuan and sought refuge with his adopted son Yang Shouliang. Zheng Yanchang was appointed to the chancellorship. Li Keyou of Taiyuan attacked Xingzhou, which was an act of reprimand against Li Cunxiao for his betrayal. Zhu Quanzhong of Xuanwu attacked Weizhou, blaming him for not assisting in the campaign. The military of Zhenzhou sent troops to aid Xingzhou, and Li Keyou turned to attack Zhenzhou. The military of Youzhou also sent troops to aid Zhenzhou. The troops of Bian attacked Suzhou, while the troops of Youzhou and Zhenzhou attacked Dingzhou. Wang Chuxian sought help from Taiyuan. The various warlords attacked each other in a chain reaction, leaving the court powerless to control them. Yang Xingmi of Xuanchou defeated Sun Ru and took control of Yangzhou, and the court granted him the title of Prince of Huainan. In the Renzi year (892), the era name was changed to "Jingfu." Li Maozheng of Fengxiang, Wang Xingyu of Binxzhou, Han Jian of Huazhou, Wang Xingyue of Tongzhou, and Li Maozhuang of Taizhou joined forces to attack Xingyuan, killing Yang Shouliang and Yang Fugong. Ximen Chongshui, the commander of the Left Army, killed Jia Desheng, the commander of the Tianwei Army, in the capital. His subordinates fled to Fengxiang. Li Keyou, together with the troops of Yizhou and Dingzhou, defeated the military of Zhenzhou at Yaoshan.

癸丑　鳳翔李茂貞舉兵犯闕，敗覃王兵於盩厔。帝誅中軍西門重遂、李周僮，貶相杜讓能，岐兵乃止。進茂貞中書令，封秦王。以王行瑜為尚父，王博為相。成都王建興、李茂貞爭東川。幽軍亂，逐其帥李匡威於鎮，以其弟匡籌為留後。汴兵滅徐，兼領其鎮。李克用敗鎮州王鎔於中山，鎔乞盟，遂許盟而退。　甲寅　改元乾寧。崔徹為相，王博出鎮湖南。李茂貞擁山南十五州以抗王室。汴兵敗兗、鄆之師於東阿。朱瑄、朱瑾求救於太原。李克用拔邢州，獲李存孝；拔雲州，獲赫連鐸；拔幽州，獲李匡籌。其幽人請以匡籌將劉仁恭為留後。

In the year of Guichou (893), Li Maozheng of Fengxiang raised an army to attack the capital, defeating the imperial troops led by Prince Tan in Zhongli. Emperor Zhaozong was forced to execute the eunuchs Ximen Chong sui and Li Zhoucang, and also ordered the death of the chancellor Du Rangneng, who advocated military action. Only then did the forces of Qishi withdraw. The court, in turn, promoted Li Maozheng to the position of Chancellor and granted him the title of Prince of Qin, and appointed Wang Xingyu as the Supreme Military Advisor, while Wang Bo became chancellor. The authority of the emperor was almost completely lost. Wang Jian of Chengdu and Li Maozheng fought over the eastern commandery of Xichuan. A rebellion broke out in Youzhou, forcing the commander Li Kuangwei to flee to Zhenzhou, and his brother Li Kuangchou was appointed as the acting governor. The forces of Bian defeated the armies of Yanzhou and Yunzhou at Donga, prompting Zhu Xuan and Zhu Jin to seek help from Taiyuan. Li Keyou captured Xingzhou, captured the rebel general Li Cunxiao and executed him by splitting his body, captured He Lian Duo in Yunzhou, and captured Li Kuangchou in Youzhou. The people of Youzhou requested that Liu Renong, an old commander of Li Kuangchou, be appointed as the acting governor.

乙卯　河中王重盈卒，太原李克用請以王琦襲重盈封於朝。邠州王行瑜、鳳翔李茂貞、華州韓建請以王珙襲重盈封於朝。朝廷先許克用。陝州王珙、絳州王瑤以兵攻琦於河中。王行瑜、李茂貞兵入長安，行廢不克，殺宰相韋昭度及李磎，各以兵二千留京師而去。李克用渡河稱討。同州王行實棄郡奔京師，與兩軍中尉駱全珍、劉璟宣逼帝西幸。帝以李筠、李君實兵出次南山，都官畢從命延王戒丕、丹王允從李克用西討。封淮南楊行密弘農王。亦從西討。克用敗邠軍於犁園，帝還京，邠州平。行瑜野死。封克用為晉王。克用還太原。崔昭緯罷相，徐彥若為相。董昌以浙東叛，稱王，國曰羅平，元曰大聖。

In the year Yimao (895), the ruler of Hezhong, Wang Chongying, died. Taiyuan's Li Keyou petitioned the court to have Wang Qi, also known as Wang Ke, inherit the title. However, the rulers of Binzhou, Wang Xingyu, Fengxiang, Li Maozheng, and Huazhou, Han Jian, petitioned for Wang Gong to inherit instead. The court first agreed to Li Keyou's request, causing resentment among the three regions. Wang Gong of Shanzhou and Wang Yao of Jiezhou raised armies to attack Wang Ke in Hezhong. Wang Xingyu and Li Maozheng's troops entered Chang'an, attempting to depose Emperor Zhaozong but failed, killing the chancellors Wei Zhao du and Li Shi. They each left two thousand soldiers in the capital and departed. Li Keyou crossed the Yellow River to declare a campaign against them. Wang Xingshi of Tongzhou abandoned his territory and fled to the capital, joining the two eunuchs, Luo Quanzhen and Liu Jingxuan, in forcing Emperor Zhaozong to flee westward. Emperor Zhaozong led his troops, including Li Yun and Li Junshi, to take up residence in Nanshan. Bu Congming, along with the Prince of Dun, Li Jiepi, and the Prince of Dan, Li Yun, followed Li Keyou westward to campaign. The court also granted the title of Hongnong King to Yang Xingmi of Huainan, who also joined the western campaign. Li Keyou defeated the Bin army at Lilu, allowing Emperor Zhaozong to return to the capital, and the Bin region was pacified, with Wang Xingyu dying in the wilderness. The court then granted Li Keyou the title of Prince of Jin, and Li Keyou returned to Taiyuan. This "Jin" became the foundation for the Later Tang state. Cui Zhaowei was dismissed from his chancellor position, and Xu Yanyu was appointed as chancellor. Dou Chang rebelled in the eastern Zhejiang region, declaring himself emperor and establishing the state of Luoping with the era name Dashi.

丙辰　岐兵犯長安，韓建逼帝幸華州。建進封中書令，兼兩京尹。陸扆、王博、崔胤、孫偓為相。魏州羅弘信敗太原之師於莘，以絕李克用兗、鄆之援。克用攻魏，下十城。湖南軍亂，立馬殷為留後。錢鏐平浙東，獲董昌。授鏐中書令。相王博觀察浙東，陸扆出刺陝州。

In the year Bingchen (896), troops from Qizhou attacked Chang'an. Han Jian of Huazhou seized Emperor Zhaozong and took him to Huazhou. Han Jian was promoted to Grand Secretary and concurrently served as the governor of both capital cities. Lu Yi, Wang Bo, Cui Yun, and Sun Wo became chancellors. Luo Hongxin of Weizhou defeated the Taiyuan forces at Xin County, cutting off Li Kuyou's supply line to rescue Yan and Yun. Li Kuyou attacked Weizhou and captured ten cities in succession. A military revolt occurred in Hunan, and Ma Yin was proclaimed as the military governor, thus beginning the foundation of the Chu state. Qian Liu pacified the eastern Zhe region and captured Dong Chang. The court appointed him as Grand Secretary. Chancellor Wang Bo was assigned as the governor of the Zhe East Circuit, and Lu Yi was appointed as the governor of Shaanzhou.

丁巳　帝在華州，孫偓罷相，鄭綮為相。冊德王裕為皇太子，封韓建為昌黎王。鄭綮病免，朱樸為相。韓建殺禁衛李筠，以散衛兵罷八王兵柄，仍殺之，貶相朱樸，殺帝侍衛馬殷、許巖士。帝封兩浙錢鏐吳王，俾救難王室。汴將龐師古拔鄆州，朱瑄野死。汴將葛從周拔兗州，朱瑾奔淮南，兗、鄆、曹、濮、齊、棣、沂、密、徐、宿、陳、蔡、許、鄭、滑盡入於汴。全忠以八郡兵攻淮南。朱瑾以淮南兵敗汴兵於清口，獲將龐師古，又敗汴軍於淠河，走葛從周。楊行密遂據有江淮。幽州劉仁恭敗李克用於安塞。福州王潮卒，弟審知繼事。

In the year Dingsi (897), Emperor Zhaozong was still detained in Hua State. Sun Wo was dismissed from his post as chancellor, and Zheng Qi was appointed as chancellor; the prince of De, Li Yu, was proclaimed crown prince, and Han Jian was granted the title of Changli King. Zheng Qi was relieved of his post due to illness, and Zhu Pu became chancellor. Han Jian killed the palace guard general Li Yun, thereby dispersing the guards and removing the military power of the eight princes, and later executed the eight princes, so the Tang royal family had no soldiers left. Zhu Pu was then demoted, and the bodyguards of Emperor Zhaozong, Ma Yin and Xu Yanshi, were executed. Emperor Zhaozong conferred the title of Prince of Wu upon Qian Liu of the Two Zhe region, hoping he would rescue the imperial court. Pang Shigǔ, a general of the Bian army, captured Yunzhou, and Zhu Xuan died in the wilderness; Guo Congzhou, another general of the Bian army, captured Yanzhou, and Zhu Jin fled to the Huainan region. All the states of Yan, Yun, Cao, Pu, Qi, Di, Yi, Mi, Xu, Su, Chen, Cai, Xu, Zheng, and Hua were incorporated into Bianzhou. Zhu Quanzhong led an army of eight prefectures to attack Huainan, and Zhu Jin led the Huainan forces to defeat the Bian army at Qingkou, capturing the commanding general Pang Shigǔ, and then defeated the Bian army again at the Pihé River, forcing Guo Congzhou to retreat. This battle halted Zhu Quanzhong's advance to the south, allowing Yang Xingmi to firmly control the Jianghuai region. Liu Renong of Youzhou defeated Li Kuyoung at Anse. Wang Chao of Fuzhou died, and his brother Wang Shenzhi took over the military and administrative affairs.

戊午　帝在華州，以崔遠為相，冊何氏為皇后。帝還長安，改元光化，以華州為興德府。韓建進封潁川王。汴將葛從周拔李克用之邢、洺、磁，氏叔琮拔趙匡凝之隨、唐、鄧，澤州李罕之拔克用之上黨，歸於汴。幽州劉守文拔汴之滄州。魏博羅弘信卒，子紹威稱留後。　己未　復陸扆相。蔡軍以崔珙奔淮南，幽兵寇趙魏，魏引汴兵破之。汴將氏叔琮攻太原，不利。陝州軍亂，牙將殺其帥王珙，立李璠為留後，又殺之，降於汴。青州王師範將牛從毅以海州入於淮南。

In the year Wuwu (898), Emperor Zhaozong was still in Huazhou, with Cui Yuan as chancellor, and he crowned He氏 as empress. Within the year, Emperor Zhaozong finally returned to Chang'an, changing the era name to "Guanghua," elevating Huazhou to Xingde Fu, and promoting Han Jian to the title of Yingchuan Wang. Although the emperor had returned to the capital, his situation remained unchanged. The general Ge Congzhou of the Bian army captured the three states of Xing, Meng, and Ci belonging to Li Kexiong; Shi Shucong captured the three states of Su, Tang, and Deng belonging to Zhao Kuangning; Li Hanzhi of Zezhou captured the state of Shangtang belonging to Li Kexiong and submitted to Bianzhou; Liu Shouwen of Youzhou captured the state of Cangzhou belonging to Bianzhou; Luo Hongxin of Weibozuo died, and his son Luo Shaowei claimed the position of Liuhou, making it common for warlords to pass their titles to their sons. In the year Jiwei (899), Lu Yi was reinstated as chancellor. The army of Caizhou, led by Cui Gong, surrendered to Huainan. The army of Youzhou invaded Zhaozhou and Weizhou, but Weizhou called upon Bian troops and defeated them. The Bian general Shi Shucong attacked Taiyuan but failed to succeed. A mutiny occurred in Shanzhou, where a military officer killed the commander Wang Gong and established Li Fan as Liuhou, but soon afterwards killed Li Fan and surrendered the entire state to Bian. The general Niu Congyi of Wang Fasheng's army in Qingzhou surrendered the state of Haizhou to Huainan. By this time, most of the central plains had fallen under Zhu Quanzhong's control.

庚申　相崔胤誣殺宰相王博、樞密使宋道弼、景務修。朱全忠會魏軍攻幽之滄、德州，李克用拔汴之邢州，又以三鎮兵攻鎮州。王鎔乞和，乃還。汴將張存敬攻幽之滄州，又拔祁州，又敗定州王處直於沙河，進攻定州。處直以定州降於全忠。罷崔遠相，以裴贄、裴樞為相，徐彥若觀察青海。中尉兩軍劉季述、王仲先幽帝於東內，令皇太子裕監國。相崔胤、張浚告難於全忠，全忠自定還汴護駕，將孫德昭、周承誨、董彥誅劉季述、王仲先，帝自幽所還政。

In the Gengshen year (900), Chancellor Cui Yun falsely accused and killed Chancellor Wang Bo and the secretaries of state Song Daobi and Jing Wuxiu. Zhu Quanzhong joined forces with the Weibo army to attack Cangzhou and Dezhou under the control of Youzhou. Li Kuyou captured Xingzhou in Bianzhou and then led the armies of three states to attack Zhenzhou, where Wang Rong requested peace and withdrew. General Zhang Cunjing of Bianzhou attacked Cangzhou in Youzhou, captured Qizhou, defeated Wang Chuzhi of Dingzhou at Shaha River, and then besieged Dingzhou, where Wang Chuzhi surrendered to Zhu Quanzhong. Cui Yuan was dismissed from his post, and Pei Zui and Pei Shu were appointed as chancellors, while Xu Yanruo was appointed as the governor of the Qinghai Circuit. At the end of the year, the two eunuchs Liu Jishu and Wang Zhongxian imprisoned Emperor Zhaozong in the Eastern Palace and ordered Crown Prince Li Yu to act as regent. Chancellor Cui Yun and Zhang Jun urgently appealed to Zhu Quanzhong for help, so Zhu Quanzhong returned from Dingzhou to Bianzhou to protect the emperor. Generals Sun Dexiao, Zhou Chenghui, and Dong Yanzhu killed Liu Jishu and Wang Zhongxian, allowing Emperor Zhaozong to be released from imprisonment and resume his rule. Cui Yun, in an attempt to remove the eunuchs, invited the warlords' armies into the capital, thereby ending the last bit of autonomy left to the Tang dynasty.

辛酉　誅神策使季師度、徐彥回，窘帝故也。降皇太子裕為德王，改元天復。汴將張存敬由含山路拔李克用之河中及晉、絳。朱全忠兼領河中節度，進封梁王。梁軍大舉攻晉之太原，晉將孟遷以澤入於梁。梁將氏叔琮長驅出圍柏，屯軍洞渦；葛從周以趙魏兵入土門，陷承天。會天大雨，乃復。宰相崔胤受全忠旨，逼帝幸東都。未及行，中尉韓全誨以李茂貞兵劫帝幸鳳翔，罷崔胤相。崔胤至三原，促全忠西攻。全忠以四鎮兵破華州，由京城西圍鳳翔，又破邠州，獲李繼徽，以絕其援。

In the Xinyou year (901), the emperor executed the military commanders of the Shen Ce army, Ji Shidu and Xu Yanhui, because they had once embarrassed the emperor. The crown prince Li Yu was demoted to the Duke of De, and the era name was changed to "Tianfu." The general Zhang Cunjing of the Bian army captured Hezhong and Jinzhou, and Jiaozhou from the forces of Li Keyou through the Hanzhong pass. Zhu Quanzhong was appointed as the governor of Hezhong and was granted the title of King of Liang. The Liang army launched a major attack on the capital of the Jin forces, Taiyuan. The Jin general Meng Qian surrendered the state of Zezhou to Liang. The Liang general Shi Shucong advanced directly to encircle Ba, and stationed his troops at Dongwu. Ge Congzhou led the troops from Zhao and Wei into Tumen and captured Chengtian army, but retreated due to heavy rain, allowing Li Keyou to remain unharmed. The chancellor Cui Yun followed the will of Zhu Quanzhong and forced the emperor to move to the eastern capital. However, before this could be carried out, the eunuchs Han Quanhuai seized the emperor and took him to Fengxiang with the help of Li Maozheng's forces. Cui Yun was dismissed from his post as chancellor. At this point, the eunuchs took the emperor to Qishi, while the chancellors took the emperor to Bian, and both sides openly competed for the throne. Cui Yun went to Sanyuan and urged Zhu Quanzhong to attack westward. Zhu Quanzhong led the four military divisions to capture Huazhou, encircled Fengxiang from west of the capital, and captured Binxian, capturing Li Jihui, thus cutting off Fengxiang's external support.

壬戌　帝在鳳翔，封淮南楊行密吳王、兩浙錢鏐越王，俾救難王室，皆不至。李克用南攻。朱全忠自鳳翔至河中，命將拔晉之汾州，進圍太原，不利。全忠自河中復至鳳翔。鄜州節度使李周彝以兵援鳳翔。汴將孔勳乘虛陷鄜州，周彝以兵降全忠，邠寧鄜坊又入於梁。鳳翔李茂貞逐誅宦氏韓全誨，以解全忠之圍。

In the year Renxu (902), Emperor Zhaozong was confined in Fengxiang. He issued an edict bestowing the title of King of Wu upon Yang Xingmi of Huainan and King of Yue upon Qian Liu of Liangzhe, hoping they would come to his aid and assist in quelling the rebellion. However, neither came to help, and the emperor's orders could no longer escape the siege. Li Kexiu advanced southward to attack. Zhu Quanzhong moved from Fengxiang to Hezhong, sent generals to capture the city of Fen, and advanced to surround Taiyuan but failed to achieve victory. He then returned from Hezhong to Fengxiang. Li Zhouyi, the military governor of Fuzhou, led his troops to relieve Fengxiang. However, the general Kong Xun of the Later Liang took advantage of the situation and captured Fuzhou. Li Zhouyi was forced to surrender to Zhu Quanzhong. The regions of Binming and Fufang also fell under the control of the Later Liang. Within the walls of Fengxiang, food supplies ran out, and people resorted to eating each other. Li Maozheng was compelled to execute the eunuchs Han Quanhui and others, in an attempt to remove the siege by Zhu Quanzhong.

癸亥　帝還長安，進朱全忠元帥，復崔胤相。全忠誅宦氏七百人，罷陸扆相，以裴樞、王溥為相。青州王師範拔梁之兗州。全忠東攻青州。成都王建寇李茂貞之秦隴，以修好於全忠。王師範會淮南兵，敗梁軍於臨淄。梁將楊師厚敗青軍於臨昭，王師範以青州降。淮南楊行密攻鄂州，荊南成汭救鄂，澧朗軍乘虛陷江陵，趙匡凝乘虛陷荊州。成汭憤死。岐兵逼長安，梁軍屯河中。全忠逼帝都洛陽，殺宰相崔胤、六軍使鄭仁規、皇城使王建勳、飛龍使陳班、閣門使王建襲、客省使王建義、左僕射張浚，緩遷故也。柳璨、崔遠代相。

In the Guihai year (903), Emperor Zhaozong returned to Chang'an, promoted Zhu Quanzhong as commander-in-chief of all military forces, and reinstated Cui Yun as chancellor. Zhu Quanzhong killed seven hundred eunuchs, thus ending the eunuchs' monopoly over the Tang court for over a hundred years. However, the emperor was then completely under Zhu Quanzhong's control. He dismissed Lu Yi from his post and appointed Pei Shu and Wang Pu as chancellors. Wang Shifan of Qingzhou captured the Yanzhou region from the Liang dynasty, prompting Zhu Quanzhong to launch an eastern campaign against Qingzhou. Wang Jian of Chengdu attacked the Qinzhou and Longzhou regions of Li Mocheng, thereby improving relations with Zhu Quanzhong. Wang Shifan defeated the Liang army at Linshi with the help of the Huai Nan forces. However, the Liang general Yang Shitou later defeated the Qingzhou forces at Linzhao, leading Wang Shifan to surrender Qingzhou. Yang Xingmi of Huai Nan attacked Ezhou, and Cheng Qie of Jingnan went to rescue it. Meanwhile, the military forces of Lian and Lang seized Jiangling, and Zhao Kuangning seized Jingzhou, causing Cheng Qie to die in anger. The forces of Qi approached Chang'an, while the Liang army stationed itself at Hezhong. Zhu Quanzhong forced Emperor Zhaozong to move the capital to Luoyang, and due to the delay in the relocation, he executed the chancellor Cui Yun, the commander of the Six Armies, Zheng Ren Gui, the palace commander Wang Jianxun, the dragon flight commander Chen Ban, the gate commander Wang Jianxi, the guest chamber commander Wang Jiayi, and the left deputy chancellor Zhang Jun. Cui Yun had invited a wolf into the fold, and finally died at the hands of the very people he had invited. Liu Cang and Cui Yuan took over as chancellors.

甲子　唐景文皇帝十六年，東徙至谷水，梁王朱全忠坑帝侍從三百人。至洛陽，改元天祐，以張漢瑜為相。楊崇本以邠兵寇關輔。全忠西攻，行殺於別宮，立輝王祚，是謂哀帝。李克用以本部兵據太原。　乙丑　梁王全忠逼帝授禪，殺宰相裴樞、崔遠、陸扆及九王，用張文蔚、楊涉為相，盡出朝廷官吏。太原李克用、鳳翔李茂貞、成都王建、襄陽趙匡凝同謀興復。梁將楊師厚敗趙匡凝於江湄，進拔襄陽。匡凝將王建武以荊南兵眾降，唐、鄧、復、郢、隨、襄、荊南又入於梁。匡凝奔淮南。朱全忠加九錫，總百揆，天下元帥，進封魏王，不受。再逼授禪，殺樞密使蔣玄暉、豐德庫使應頊、尚食使朱建武，及宰相柳璨、太常卿張廷範、太常少卿裴磵、溫變、知制誥張茂昭及皇后何氏。淮南楊行密卒，子渥繼事。太原李克用會契丹阿保機於雲州，進兵河北。

The year of Jiazi (904) was the sixteenth year of the reign of Emperor Zhaozong of the Tang Dynasty (posthumously known as Emperor Jingwen). The imperial court moved eastward, reaching Gu Shui, where Wang Liang, the Prince of Liang, had all three hundred of Emperor Zhaozong's attendants killed. Upon arriving in Luoyang, they changed the era name to "Tianyou" and appointed Zhang Hanyu as chancellor. Yang Chongben led troops from Binxian to harass Guanzhong, and Wang Liang attacked westward. At this time, he sent men to another palace to assassinate Emperor Zhaozong, and then installed Prince Huibo Li Zuo as emperor, who became Emperor Ai of the Tang. Li Kexiu held Taiyuan with his own forces and refused to obey the orders of the Liang. In the year Yichou (905), Wang Liang forced Emperor Ai to abdicate, killing the chancellors Pei Shu, Cui Yuan, Lu Yi, and nine princes, and expelling all the former officials of the court. He appointed Zhang Wenwei and Yang She as chancellors, an event known as the "White Horse Tragedy" where the officials of the clear stream were thrown into the Yellow River. Li Kexiu of Taiyuan, Li Maozheng of Fengxiang, Wang Jian of Chengdu, Zhao Kuangning of Xiangyang, and others plotted to restore the Tang Dynasty. However, General Yang Shitou of the Liang defeated Zhao Kuangning on the riverbank and captured Xiangyang. Zhao Kuangning's general Wang Jiandu led his troops from Jingnan to surrender, and the regions of Tang, Deng, Fu, Ying, Su, Xiang, and Jingnan were incorporated into the Liang. Zhao Kuangning fled to the southern Huai region. Wang Liang was granted the nine ceremonial gifts, took overall command of all officials, was appointed commander-in-chief of the entire army, and was elevated to the title of Prince of Wei, but he refused all these honors and again forced Emperor Ai to abdicate. He also killed the chief military advisor Jiang Xuanhui, the head of the Fengde Treasury, Ying Xu, the chief food officer Zhu Jiandu, and the chancellors Liu Cang, the Minister of Rites Zhang Tingfan, the Deputy Minister of Rites Pei Jian, Wen Bian, the imperial edict writer Zhang Maozhao, and Empress He. Yang Xingmi of the southern Huai died, and his son Yang Wo took over the military and administrative affairs. Li Kexiu of Taiyuan allied with the Khitan leader Abaoji at Yunzhou and advanced into the region of Hebei.

丙寅　魏州牙兵亂，朱全忠坑之。進圍幽之滄州。幽人求救於太原。李克用會幽軍攻上黨，梁將丁會以澤潞降。全忠自長蘆還大梁。　丁卯　朱全忠代唐命於汴，改國曰梁，元曰開平，薛貽矩、韓建為相，降帝為濟陰王，徙之曹河東。晉王李克用、淮南吳王楊渥、劍南蜀王王建、山東秦王李茂貞、兩浙越王錢鏐、荊南渤海王高季昌、湖南楚王馬殷、泉南閩王王審知、廣南南海王劉隱並行唐年。

In the year Bingyin (906), the soldiers of Wei State rebelled in the capital, and Zhu Quanzhong had them all executed. He then advanced to surround Cangzhou, which belonged to Youzhou. Youzhou sought help from Taiyuan, and Li Keyou joined forces with the Youzhou army to attack Shangdang. The general Ding Hui of the Liang dynasty surrendered Zezhou and Luxi to the Liang. Zhu Quanzhong returned from Changlu to Daliang. In the year Dingmao (907), Zhu Quanzhong established himself as emperor in Bianzhou, replacing the Tang dynasty and founding the state of Liang with the era name "Kaiqing." The Tang dynasty thus came to an end, and the era of the Five Dynasties and Ten Kingdoms began. He appointed Xue Yiju and Han Jian as chancellors, and reduced the Tang Emperor Ai to the title of Jiyin Wang, moving him to Caizhou. The Prince of Hedong, Li Keyou; the Prince of Huainan, Yang Wo; the Prince of Jiannan, Wang Jian; the Prince of Shandong, Li Maozheng; the Prince of Liangzhe, Qian Liu; the Prince of Jingnan, Gao Jichang; the Prince of Hunan, Ma Yin; the Prince of Quannan, Wang Shenzi; and the Prince of Guangnan, Liu Yin all continued to use the Tang era names and did not recognize the legitimacy of the Liang dynasty.

戊辰　梁攻河東，用於兢、張榮為相，殺濟陰王於曹州。荊南高季昌、湖南馬殷、兩浙錢鏐附於梁。是年，劍南王建稱帝成都，國曰蜀，元曰武康；河東李克用、淮南楊渥、山南李茂貞、泉南王審知、南海劉隱行唐年。河東李克用卒，子存勖繼，誅亂，命李克寧、李存顥敗梁軍於潞之三垂崗。淮南楊渥為部將張顥所殺，代立。大將徐溫自金陵入，誅顥，立渥弟渭溫專制。　己巳　梁自汴徙都洛陽，郊祀天地。趙光逢、杜曉為相。張奉以沙州亂，劉知俊以同州叛。丹襄軍亂。泉南王審知、南海劉隱附於梁。劉隱卒，弟巖立。河東李存勖、淮南楊渭、山南李茂貞行唐年。

In the year of Wuchen (908), the Liang dynasty attacked Hedong, with Yu Jing and Zhang Rong serving as prime ministers. They killed the Prince of Jiyin, who was the Tang Emperor Ai, in Caizhou. Gao Jichang of Jingnan, Ma Yin of Hunan, and the two Zhe regions, Qian Liu, submitted to Liang. That year, Wang Jian established himself as emperor in Chengdu, establishing the state name as "Shu" and the era name "Wukang," which marked the beginning of the Former Shu. Li Kuangyou of Hedong, Yang Wo of Huainan, Li Maozheng of Shannan, Wang Shenzhi of Quanning, and Liu Yin of Nanhai still used the Tang era names. Li Kuangyou died, and his son Li Cunxu succeeded him. He quelled internal disturbances, and those who plotted rebellion, such as Li Kuning and Li Cunhao, were executed. Later, he defeated the Liang army in the great battle at Luzhou's Sanchigang. Yang Wo was killed by his general Zhang Hao, who then proclaimed himself emperor. However, general Xu Wen entered Jinling, killed Zhang Hao, and installed Yang Wo's brother Yang Wei as emperor, after which Xu Wen began to hold power. In the year of Jisi (909), the Liang dynasty moved its capital from Bianzhou to Luoyang and held a ceremony to worship heaven and earth in the outskirts. Zhao Guangfeng and Du Xiao served as prime ministers. Zhang Feng rebelled in Shazhou, Liu Zhijun rebelled in Tongzhou, and there were uprisings in Danzhou and Xiangzhou. Wang Shenzhi of Quanning and Liu Yin of Nanhai submitted to Liang. Liu Yin died, and his brother Liu Yan succeeded him. Li Cunxu of Hedong, Yang Wei of Huainan, and Li Maozheng of Shannan still used the Tang era names.

庚午　梁之鎮州王錇、定州王處直請附於晉。河東李存勖東下河北。　辛未　梁改元乾祐，北攻鎮定軍，敗於柏鄉。蜀改元永平。是年李存勖將劉守光稱帝幽州。　壬申　梁北攻鎮定，屠棗強，乃復。六月，郢王友珪行弒代立，改元鳳歷，殺博王友文於汴。冀王友謙以河中入於晉。許州軍亂。晉王李存勖敗燕軍於龍崗，進圍幽州。

In the year Gengwu (910), the rulers of Zhuzhou, Wang Rong, and Dingzhou, Wang Chuzhi, who originally belonged to the Liang dynasty, requested to submit to the Jin dynasty. Li Cunxu of Hedong led his troops eastward into Hebei. In the year Xinwei (911), the Liang dynasty changed its era name to "Ganyou," although the original text says "Ganhua"; the Liang forces attacking Zhuzhou and Dingzhou were defeated at Baxiang, reversing the strength and weakness between the Liang and Jin dynasties. The Shu dynasty changed its era name to "Yongping." In this year, Liu Shouguang declared himself emperor in Youzhou, establishing the state of Yan. In the year Renshen (912), the Liang dynasty launched another northern attack on Zhuzhou and Dingzhou, destroying Zaoqiang and returning. In June, Prince Ying Wang Zhu Yougui assassinated his father to seize the throne, changing the era name to "Fengli," and killed Prince Bo Wang Zhu Youwen in Bianzhou. Prince Ji Wang Zhu Youqian submitted the river middle region to the Jin dynasty. The Prince Jin Wang Li Cunxu defeated the Yan army at Longgang and then besieged Youzhou.

癸酉　梁六軍殺友珪，立均王友貞於汴，復乾祐三年。晉李存勖平幽州，獲劉守光及父仁恭以歸。 甲戌　梁將王殷以徐叛，附於吳。晉李存勖開霸府於太原。 乙亥　梁改元貞明。鄴王楊師厚卒，分其地六州為兩鎮。魏軍遂亂，囚其帥賀德倫，以六州人於晉。蜀拔山南之秦鳳。階成宮大火。晉李存勖東下，大會兵於魏郊。 丙子　梁之河北皆入於晉。趙光逢、鄭珏為相，攻晉，不利。蜀改元通正，拔山南之隴州。晉李存勖敗梁軍於故元城。吳封相徐溫為齊國公，屬之以金陵、丹陽、毗陵、宣城、新安、池陽六郡，鎮金陵。

In the year Guiyou (公元 913), the military forces of the Later Liang executed Zhu Yougui, who had murdered his father and usurped the throne, and in Bianliang, they enthroned Zhu Youzhen, the third son of Zhu Wen, as the new emperor, known as the Last Emperor of the Later Liang. He abolished the era name of Zhu Yougui and restored the old one, calling it the third year of Qianhua (the original text says 'Qianyou', which is likely a mistake for 'Qianhua'). Li Sunxu, the Prince of Jin (son of Li Keryou, later the Emperor Zhuangzong of the Later Tang), pacified Youzhou, capturing both Liu Shouguang, who had falsely claimed the title of Great Yan Emperor, and his father Liu Renong. In the year Jiaxu (914), a Later Liang general, Wang Yin, rebelled in Xuzhou and defected to the southern state of Yangwu. Li Sunxu established a military and political headquarters in Taiyuan, which was the military administration of the Prince of Jin. In the year Yihai (915), the Later Liang changed their era name to Zhenming. Yang Shihou, the military governor of the Tianxiong Circuit and the Prince of Ye, died, and the court took the opportunity to split the six states under his command into two circuits, which caused a rebellion among the troops of Fobei. The soldiers imprisoned their commander He Delun and submitted the six states to the Jin. The Former Shu captured the cities of Qinzhou and Fengzhou in southern Shan Nan, and the palaces of Jiezhou and Chengzhou were burned down. Li Sunxu led his army eastward and held a great assembly of the armies outside Weizhou. In the year Bingzi (916), all the territories of the Later Liang north of the Yellow River fell into the hands of the Jin. The Later Liang appointed Zhao Guangfeng and Zheng Jue as chancellors, but their military campaign against the Jin was unsuccessful. The Former Shu changed their era name to Tongzheng and captured the city of Longzhou in southern Shan Nan. Li Sunxu defeated the Later Liang army in Gu Yuan Cheng. The state of Yangwu conferred the title of Duke of Qi upon Chancellor Xu Wen and assigned him jurisdiction over six prefectures: Jingling, Danyang, Piling, Xuancheng, Xin'an, and Chiyang, and stationed him in Jingling.

丁丑　梁冊兩浙錢鏐為天下兵馬元帥。是年，劉巖以南海稱帝，國曰漢，元曰乾亨。蜀改元天漢，誅降將劉知俊於炭市。晉李存勖拔梁之楊劉城。 戊寅　梁之鄆、濮陷於晉。蜀改元天光，建遇毒死，子衍立。晉李存勖擁太原、魏博、幽、滄、鎮、定、邢、洺、麟勝、雲朔十鎮之師，大閱於魏郊，敗梁軍於胡柳。 己卯　梁張守進以兗入於晉。蜀改元乾德。晉逼梁之河南。是年，楊渭稱帝淮南，國曰吳，元曰武義，徐溫為大丞相，都督中外，封東海王。 庚辰　梁李琪為相，陳州妖寇亂。晉兵入寇。吳楊渭卒，弟溥立。晉存勖拔梁之同州。

In the year of Dingchou (917), the Later Liang dynasty conferred the title of Commander-in-Chief of the Army of the Whole Country upon钱Liu of the Two Zhe region. In the same year, Liu Yan, the military governor of Qinghaijun, proclaimed himself emperor in Nanhai (Guangzhou), establishing the state of Han, historically known as Nanhan, with the era name Ganhen. The Former Shu dynasty changed its era name to Tianhan and executed the surrendered general Liu Zhijun who had defected from the Later Liang to the Former Shu in the charcoal market of Chengdu. Li Cunxu captured the key fortress of Yangliu City at the Yellow River crossing from the Later Liang. In the year of Wuyin (918), the cities of Yunzhou and Puzhou in the Later Liang fell to the Jin. The Former Shu dynasty changed its era name to Guangtian (originally written as 'Tian Guang', with the two characters reversed), and the Shu ruler Wang Jian died from poisoning, with his son Wang Yan succeeding to the throne. Li Cunxu led the armies of ten commanderies including Taiyuan, Weibozhou, Youzhou, Cangzhou, Zhuzhou, Dingzhou, Xingzhou, Mengzhou, Linzhou, Shengzhou, Yunzhou, and Shuozhou, held a grand military review outside Fuzhou, and defeated the Liang army at Hulu陂. In the year of Jimao (919), Zhang Shou of the Later Liang surrendered the city of Yanzhou to the Jin. The Former Shu dynasty changed its era name to Gande. The Jin army advanced towards the Henan region of the Later Liang. In the same year, Yang Wei (i.e., Yang Longyan) established a state in the Huai region, proclaiming himself emperor, with the state name Wu and the era name Wuyi. Xu Wen was appointed as the Grand Chancellor and Commander-in-Chief of all military and civil affairs, and was granted the title of King of Donghai. In the year of Gengchen (920), the Later Liang appointed Li Qi as chancellor, and a rebellion of 'yao kou' (heretical rebels) broke out in Chuzhou, sparked by religious heresy. The Jin army invaded. The ruler of Wu, Yang Wei, died, and his brother Yang Pu succeeded him. Li Cunxu captured the city of Tongzhou from the Later Liang.

辛巳　梁改元龍德。惠王友能以陳叛吳，改元順義。晉鎮定亂，契丹犯幽州。 壬午　晉李存勖平鎮定，又敗契丹於易水。 癸未　河東晉王存勖稱帝魏州，是謂莊宗，國曰唐，元曰同光，是謂後唐。以豆盧革為相，郭崇韜樞密使。自魏由鄆，而南敗梁將王彥章於中都，長驅入汴，殺友貞於降國樓，降之為庶人。潞州軍亂，淮南楊溥、兩浙錢鏐、山南李茂貞、湖南馬殷請附。吳楊溥去帝號稱王。荊南高季興、泉南王審知行梁年。

In the year Xinsi (921), the Later Liang dynasty changed its era name to Longde. Prince Hui Wang Zhu Youneng rebelled in Chenzhou; the Wu state changed its era name to Shunyi. In Zhuzhou and Dingzhou of the Jin state, there were military uprisings. Zhang Wenli killed the commander of the Chengde military region Wang Rong and took control of Zhuzhou, and the Khitan took advantage of the situation to attack Youzhou. In the year Renwu (922), Li Cunxu pacified Zhuzhou and Dingzhou, and defeated the Khitan in the area of Yishui. In the year Guiwei (923), Li Cunxu, the Prince of Hedong and Jin state, proclaimed himself emperor in Weizhou, becoming the Taizong of the Later Tang dynasty, with the state name Tang and the era name Tongguang. Historians refer to this as the Later Tang. He appointed Dou Lu Ge as prime minister and Guo Chongtao as the chief military secretary. From Weizhou, he passed through Yuzhou and advanced southward, defeating the major general Wang Yanzhang of the Later Liang at the capital, and proceeded to attack Biance. The last emperor of the Later Liang, Zhu Youzhen, died in the palace of surrender, and was posthumously demoted to commoner status, marking the end of the Later Liang dynasty. Subsequently, there was another military rebellion in Luxi. In the southern regions, Yang Pu of the Huai Nan, Qian Liu of the Two Zhe, Li Maozheng of the Southern Mountains, and Ma Yin of the Hunan all submitted petitions requesting allegiance. The ruler of Wu, Yang Pu, removed the imperial title and changed to king. Gao Jixing of Jingnan and Wang Shenzhi of Quannan continued to use the era names of the Later Liang.

甲申　唐自汴徙都洛陽，平上黨。 乙酉　唐帝存勖北巡魏郊，以樞密使郭崇韜同魏王繼岌伐蜀，七旬平之，獲其主王衍以歸，至秦川驛族殺之。以孟知祥鎮成都。荊南高季興請附。蜀改元咸康，國亡。漢改元曰龍。泉南王審知為子延翰所殺，代立。 丙戌　唐內命亂。皇后劉氏使人殺樞密使郭崇韜於蜀，魏軍變，以鎮帥李嗣源代之。嗣源至，魏軍又變。二軍奉李嗣源入汴。唐帝存勖東征，至萬勝乃復。內軍又變，殺存勖於絳霄殿。嗣源入洛稱帝，是謂明宗，改元天成，誅宰相豆盧革、韋說，以鄭珏、任圜為相，安重誨為樞密使。魏王繼岌自成都入，至渭橋，殺之。荊南逆命，泉南稱附。泉南王延翰為弟王延鈞所殺，代立。

In the year Jiashen (924), the Later Tang moved its capital from Bianliang to Luoyang and pacified Shangdang. In the year Yiyou (925), Zhuangzong Li Cunxu toured the outskirts of Weizhou, ordering the Grand Secretary Guo Chongtao and the Prince of Wei Li Jiji to attack the Former Shu. They pacified the Shu region in seventy days, captured the Shu ruler Wang Yan and brought him north, but on the way to Qin Chuan Yizhi, they executed the entire Wang family. They also appointed Meng Zhixiang to govern Chengdu. Gao Jixing of Jingnan requested submission. The Former Shu changed its era name to Xiankang and soon afterwards fell. Nanhan changed its era name to Bailong. Wang Shenzhi of Quannan died at the hands of his son Wang Yenhan, who then took over the position (historical records mostly state that Wang Shenzhi died of illness, but this account presents an alternative version). In the year Bingxu (926), internal chaos erupted in the Later Tang: Empress Liu had Tuo Chongtao, the Grand Secretary, killed in the Shu region, causing the Weibo troops to mutiny. The court sent the commander of Zhenzhou, Li Siyuan, to suppress the rebellion; upon his arrival, the troops again mutinied, and the two armies jointly pushed Li Siyuan southward to Bian. Zhuangzong went east to attack, but returned after reaching Wangsheng Town. The palace guards also rebelled, and Zhuangzong was killed in the Jiaoxiao Hall. Li Siyuan advanced to Luoyang and became emperor, known as the Mingzong of Later Tang. He changed the era name to Tiancheng, executed the chancellors Dou Lu Ge and Wei Shuo, and appointed Zheng Jue and Ren Huan as chancellors, and An Zhonghui as Grand Secretary. Prince Li Jiji, the Prince of Wei, returned east from Chengdu, but was killed by his subordinates at Weiqiao Bridge. Jingnan refused to obey, while Fujian expressed submission. The ruler of Fujian, Wang Yenhan, was killed by his brother Wang Yenjun, who then took over the position.

丁亥　唐以馮道、崔協為相。盧臺及浚義軍亂。淮南楊溥復稱帝，改元乾貞。宰相徐貞卒，養子知誥繼事於金陵，稱王。是年，北狄耶律德光稱帝潢水，國曰契丹，元曰天顯。 戊子　唐以王建立為相。王都以定叛，高季興以荊南入於吳。漢改元大有。 己丑　唐以趙鳳為相，安重誨專政。吳改元大和。 庚寅　唐改元長興。河中兵亂，西川孟知祥、東川董璋連叛。

In the year of Dinghai (927), the Later Tang appointed Feng Dao and Cui Xie as chancellors. Military disturbances occurred in Lu Tai and Junyi. Yang Pu of Huainan reestablished himself as emperor and changed the era name to Qianzhen. Xu Wen, the chancellor of Wu, died, and his adopted son Xu Zhihao took control of power in Jinling, was granted the title of king, and later became the founding emperor of Nan Tang, Li Bie. In the same year, the Khitan emperor Yelü De Guang was crowned emperor by the banks of Huangshui, established the state name as Khitan, and adopted the era name Tianxian. In the year of Wuzi (928), the Later Tang appointed Wang Jianli as chancellor. Wang Du, the Yiwu Circuit Governor, rebelled against the capital in Dingzhou. Gao Jixing led Jingnan to side with Wu. Nanhan changed its era name to Dàyǒu. In the year of Jichou (929), the Later Tang appointed Zhao Feng as chancellor, and An Zhonghui, the chief military commissioner, controlled the government. Wu changed its era name to Dahan. In the year of Gengyin (930), the Later Tang changed its era name to Changxing. Military disturbances occurred in Hezhong, and Meng Zhixiang of Xichuan and Dongchuan Dong Zhang continued to rebel against the court.

辛卯　唐以李愚為相，罷安重誨樞密使，以趙延壽、範延光為樞密使。東西二川相攻。 壬辰　唐孟知祥平東川，獲董璋，稱表，封知祥為蜀王。吳王錢鏐卒，子元瓘繼。福州王延鈞稱帝，國曰閩，元曰光啟。 癸巳　唐以劉煦為相，潞王從珂出尹鳳翔。石敬瑭移鎮太原。帝嗣源病，秦王從榮以河南府兵攻端門，不克，敗死。明宗終，立宋王從厚，是謂閔帝。馮道、李愚為相專政，朱宏昭、馮贇為樞密使。

In the year Xinmao (931), the Later Tang appointed Li Yu as chancellor, dismissed An Zhonghui from his post as chancellor, and appointed Zhao Yanshou and Fan Yangan to take over the chancellor's duties. The Western Circuit and the Eastern Circuit were fighting each other. In the year Renchen (932), Meng Zhixiang pacified the Eastern Circuit, captured Dong Zhang, and then submitted to the imperial court, after which the Later Tang conferred upon him the title of King of Shu. The King of Wuyue, Qian Liu, died, and his son Qian Yuanguang succeeded him. In Fuzhou, Wang Yenjun proclaimed himself emperor, established the state of Min, and used the era name Longqi (the original text says "Guangqi"). In the year Guisi (933), the Later Tang appointed Liu Xu as chancellor, sent the Prince of Lu, Li Congke, to serve as governor of Fengxiang, and assigned Shi Jingtang to take charge of Taiyuan. Emperor Mingzong, Li Siyuan, was seriously ill. Prince Qin, Li Congrong, led the troops from Henan Fu to attack the palace gate, but failed to capture it and was defeated and killed. Emperor Mingzong then died, and the court appointed Prince Song, Li Conghou, as emperor, who became Emperor Min of the Later Tang. Feng Dao and Li Yu held the chancellor's position, while Zhu Hongzhao and Feng Yun served as chancellors.

甲午　後唐閔帝從厚元年，改元應順，以鳳翔潞王從珂移鎮太原。從珂自岐入，逐從厚，代立於洛宮，改元清泰。從厚出奔衛州，就殺之。是年，孟知祥以西川稱帝成都，國曰蜀，元曰明德。知祥卒，子昶繼。 乙未　唐以韓昭裔為相。忻州戍軍亂。吳改元天祚，閩改元永和。臣李仿弒其君延鈞，立其子昶。 丙申　唐以馬裔孫為相，以太原石敬瑭移鎮汶陽。石敬瑭自太原入，以北狄耶律德光稱帝，入洛代唐命，改國為晉，元曰天福。以幷州從事桑維翰、趙瑩為相，馮道依舊相，輸冀氏之北，入於狄。從珂火死於玄武樓。荊南兩浙稱附。閩王昶誅李仿，改元通文。 丁酉　晉以李崧為相。河陽張從賓、魏州範延光、滑州符彥饒、安州盧文進不從命，悉平之。吳大將徐知誥代吳命於金陵，改國曰齊，易號為唐，元曰升元，複姓李氏，易名為昇，以宋齊邱、徐玠為左右相，徙其君于丹徒，殺之。

The year Jiawu (934) was the first year of the reign of Emperor Mingdi Li Conghou of the Later Tang dynasty, with the era name Yingshun. The court intended to weaken the powerful regional governors, and thus transferred the Prince of Fengxiang, Li Congke, to take charge of Taiyuan. Li Congke then raised an army from Fengxiang (ancient Qidi) and marched into the capital, driving out Li Conghou, and proclaimed himself emperor in the Luoyang palace, changing the era name to Qingtai. This was Emperor Muzong of the Later Tang. Li Conghou fled to Weizhou and was soon killed. In the same year, Meng Zhixiang proclaimed himself emperor in Chengdu with the territory of Xichuan, establishing the state of Shu, historically known as the Later Shu, with the era name Mingde. Meng Zhixiang died that year, and his son Meng Chang succeeded him. In the year Yiwei (935), the Later Tang appointed Han Zhaoxin (originally written as Zhaoyi) as prime minister. The garrison troops in Xinzhou rebelled. The Wu state changed its era name to Tianzuo, and the Min state changed its era name to Yonghe. A minister of the Min state, Li Fang, assassinated King Wang Yenjun and installed Wang Chang, the son of Wang Yenjun, as emperor, who later became King Jipeng of the Min state, known as Emperor Kangzong. In the year Bingshen (936), the Later Tang appointed Ma Yinsun as prime minister and transferred the governor of Taiyuan, Shi Jingtang, to take charge of Wenyang. Shi Jingtang then raised an army from Taiyuan, seeking the support of the Khitan ruler Yelü Dehuang, and proclaimed himself emperor, advancing to Luoyang to replace the Later Tang, changing the state name to Jin, historically known as the Later Jin, with the era name Tianfu. He appointed Sang Weihan and Zhao Ying, both from Pingzhou, as prime ministers, and Feng Dao remained in the position of prime minister. He also ceded the region of Jibei, including the Yanyun Sixteen Prefectures, to the Khitan. Li Congke died by self-immolation in the Xuanwu Pavilion. Jingnan and the Two Zhe regions expressed their allegiance. The ruler of the Min state, Wang Chang, executed Li Fang and changed the era name to Tongwen. In the year Dingyou (937), the Later Jin appointed Li Song as prime minister. The rebels Zhang Congbin in Heyang, Fan Yanzhong in Weizhou, Fu Yanyao in Huazhou, and Lu Wencheng in Anzhou successively defied the court, but all were eventually suppressed. The general Xu Zhihao of the Wu state replaced the Wu dynasty in Jinling, initially naming the state Qi, then changing it to Tang, known as the Southern Tang, with the era name Shengyuan. He restored his original surname Li, changed his name to Li Bian, and appointed Song Qixiu and Xu Jie as his left and right prime ministers. He moved the deposed emperor Yang Pu to Dantu and later executed him.

戊戌　晉徙都汴。魏州範延光服命，封高平王，移鎮汶陽。北狄耶律德光改元會同。 己亥　閩亂，連重遇殺其君昶，立其叔父延羲，改元永隆。 庚子　晉用和凝為相。李金全以安叛，命馬全節以十郡之師平之。 辛丑　晉帝石敬瑭北巡鄴。安重進以襄叛，安重榮以鎮叛。兩浙錢元瓘卒。子弘佐繼。 壬寅　晉帝石敬瑭終於鄴。從子齊王重貴立，侍衛將軍耿延廣專政，始貳於狄。漢劉巖卒，子玢繼，改元光大。

In the year of Wuxu (938), the Later Jin moved its capital to Bianliang. Fan Yanzhuan of Weizhou submitted to the imperial court and was granted the title of High Prince of Gao Ping, and was transferred to govern WenYang. The Khitan ruler Yelü De Guang changed the era name to Tonghui. In the year of Jihai (939), there was internal strife in the state of Min. General Lian Chongyu killed the ruler Wang Chang of Min and replaced him with Wang Yanxi, the uncle of Wang Chang, and changed the era name to Yonglong. In the year of Gengzi (940), the Later Jin appointed He Nong as chancellor. Li Jinquan rebelled in Anzhou, and the court ordered Ma Quanjie to lead an army of ten prefectures to suppress the rebellion. In the year of Xinchou (941), the Jin High Emperor Shi Jingtang toured the north to Yedou. An Zongjin (originally written as An Chongjin) rebelled in Xiangzhou, and An Chongrong rebelled in Zhenzhou. Quan Yuanguan of Wuyue died, and his son Quan Hongzuo succeeded him. In the year of Rennyin (942), Shi Jingtang died in Yedou. His nephew, Prince Zhi of Jin, Shi Chonggui, succeeded him and became Emperor Shizong of Jin; the military commander Jing Yan Guang (originally written as耿 Yan Guang) dominated the court, began to adopt a firm stance towards the Khitan, and thus a rift arose between the two states. Liu Yan of Nanhan died, and his son Liu Bin succeeded him, changing the era name to Guangtian (originally written as Guangda).

癸卯　晉楊光遠以青叛，北狄入寇。漢亂，弟晟殺其君玢，代立，改元應乾，再改元乾和。江南李昇卒，子璟繼，改元保大，宋齊邱、周京為相，平白雲蠻於虔州。閩王延羲弟延政亦稱帝建州，國曰殷，元曰天德。 甲辰　晉改元開運，北狄入寇，至於貞博。封晉陽劉知遠為太原王，劉煦為相。閩亂，大將朱文進殺其君延羲，代立，以福州稱附於晉。 乙巳　北狄大入寇晉河朔，至於磁相。封劉知遠北平王，罷和凝、桑維翰相，以馮玉為相，李崧知樞密院事。 丙午　晉大將杜重威、李守貞及裨將張彥澤以軍降狄於中渡，彥澤以兵五百人入汴，為狄清路，幽其君重貴於開封府。南唐平閩之建州，滅王延政。

In the year of Guimao (943), Yang Guangyuan of the Later Jin rebelled in Qingzhou, and the Khitan followed with an invasion. Southern Han experienced internal strife, with Liu Bing's brother Liu Sheng killing his brother and taking the throne. He first changed the era name to Yijing, then to Qianhe. In Jiangnan, the founder of Southern Tang, Li Bian, died, and his son Li Jing succeeded him, changing the era name to Baoda. He appointed Song Qixiu and Zhou Zong (originally written as Zhou Jing) as chancellors and pacified the Baiyun Man in Qianzhou. Also in that year, Wang Yanzhi, the ruler of Min, was killed by his brother Wang Yanzheng, who declared himself emperor in Jianzhou, establishing the state name as Yin and the era name as Tiande. In the year of Jiachen (944), the Later Jin changed its era name to Kaiyun, and the Khitan invaded, advancing as far as the areas around Chanzhou and Boshou. The court enfeoffed Liu Zhiyuan of Jiaying as the Prince of Taiyuan and appointed Liu Xu as chancellor. Min again experienced internal strife, with General Zhu Wenjin killing the ruler Wang Yanzhi and declaring himself emperor, submitting to the Later Jin with Fuzhou. In the year of Yisi (945), the Khitan launched a large-scale invasion into the Hehuo region of Later Jin, reaching as far as Cizhou and Xiangzhou. The court enfeoffed Liu Zhiyuan as the Prince of Beiping, dismissed Huo Neng and Sang Weihan from their chancellor positions, and appointed Feng Yu as chancellor, and Li Song as chief of the Secretariat. In the year of Bingwu (946), Later Jin generals Du Chongwei, Li Shouzhen, and their deputy Zhang Yanzhe surrendered their entire army to the Khitan at Zhongdu. Zhang Yanzhe led five hundred soldiers ahead to open the way for the Khitan into Bianliang, and imprisoned the Later Jin emperor Shi Chonggui in the Kaifeng Prefecture. Southern Tang captured Jianzhou of Min and destroyed Wang Yanzheng's state.

丁未　正月，契丹耶律德光入汴，滅晉，改國曰遼，誅張彥澤，徙其君重貴於北荒，致之龍城。二月，北平王劉知遠稱帝晉陽，年用天福，是謂高祖。五月，契丹潰於汴，耶律德光留相蕭翰守汴。翰求後唐明宗子從益，立之而去。六月，劉知遠留子崇守太原，南入汴代命，建國曰漢，用蘇逢吉、蘇禹珪為相，又以竇貞固、李濤為相，楊邠、郭威為樞密使。相馮道、李崧自欒城至。杜重威以魏州拒命。閩國分為三。荊南、兩浙稱附於漢。吳越錢弘佐卒，弟弘倧立。狄契丹耶律德光還，至欒城卒，兄之子兀欲代立，歸國，廢德光母，改元天祿。

In the year of Dingwei (947), in the first lunar month, the Khitan leader Yelü Dehuang attacked and captured Bianliang, destroyed the Later Jin dynasty, changed the state name to Liao, executed Zhang Yanzhe who had led the way, and exiled Shi Chonggui, the emperor of Later Jin, to a remote northern region, settling him in Longcheng. In the second lunar month, Prince Beiping Liu Zhiyuan declared himself emperor in Jinyang, continuing to use the Tianfu era name of Later Jin, thus becoming the High Ancestor of Later Han. In the fifth lunar month, the Khitan could not hold Bianliang and retreated northward, with Yelü Dehuang leaving Chancellor Xiao Han to guard Bianliang; Xiao Han then brought in Li Congyi, the son of the Later Tang Mingzong emperor, and supported him on the throne before leaving himself. In the sixth lunar month, Liu Zhiyuan left his son Liu Chong to guard Taiyuan, and himself moved south to Bianliang to replace Later Jin, establishing the state name Han, historically known as Later Han, appointing Su Fengji and Su Yugu as chancellors, and adding Dou Zhenyu and Li Tao as chancellors, Yang Bin and Guo Wei as secretaries of state; former chancellor Feng Dao and Li Song also came from Luan Cheng to submit to him. Du Chongwei rebelled in Weizhou. The state of Min split into three. Jingnan and the Two Zhe regions submitted to Later Han. The ruler of Wuyue, Qian Hongzuo, died, and his brother Qian Hongnong succeeded him. Yelü Dehuang returned north, and died of illness in Luan Cheng. His nephew Wuyu, who was the son of his brother, succeeded him as the Emperor Shizong of Liao. Upon returning to the capital, he deposed the empress dowager Shulü and changed the era name to Tianlu.

戊申　漢改元乾祐。帝知遠終，子周王承祐繼，罷李濤相，以楊邠為相，平鄴，誅杜重威。李守貞以河中阻命，王景崇以鳳翔叛，趙思綰以永興抗命，郭威以樞密使西伐之。浙東亂，大將胡思進廢其君弘倧，立其弟俶。 己酉　漢之蒲、雍、岐三叛，平。契丹寇河北，命郭威以樞密使北伐鎮鄴。 庚戌　漢夷宰相楊贇、侍衛將軍史宏肇、三司使王章族，賜澶州王殷、魏州郭威、王峻死。十二月，樞密使郭威以魏兵入，渡河，敗內軍於劉子陂，其主承祐野死。郭威至汴，請宰相馮道，迎其君之弟承珪于徐州，還至澶淵，軍變。復入汴。太后命威監國，降承珪為湘陰公，誅宰相蘇逢吉及劉銖。

In the year of Wushen (948), the Later Han changed its era name to Qianyu. The high emperor Liu Zhiyuan died, and his son, the Prince of Zhou Liu Chengyou, succeeded the throne, becoming the Later Han Hidden Emperor. He dismissed Li Tao from his position as chancellor and appointed Yang Bin as chancellor instead. He quelled the rebellion in Yehu, executed Du Chongwei. Li Shouzhen rebelled in Hezhong, Wang Jingchong rebelled in Fengxiang, and Zhao Siwan rebelled in Yongxing, and the court sent the chancellor-in-waiting Guo Wei to the west to suppress them. There was internal disorder in the eastern Zhejiang region, and the general Hu Jinsī (originally written as 'Hu Sījìn') deposed the King of Wu Yue Qian Hongnong and instead installed his younger brother Qian Hongchu as the new ruler. In the year Jiyou (949), the rebellions in Puzhou, Yongzhou, and Qizhou in the Later Han were all quelled. The Khitan invaded Hebei, and the court ordered Guo Wei to lead an expedition northward as chancellor-in-waiting to defend the capital at Yehu. In the year Gengxu (950), the Later Han executed the chancellors Yang Bin, Shi Hongzhao, and San Si Shi Wang Zhang, and also issued an edict ordering the death of Wang Yin in Chanzhou, Guo Wei in Weizhou, and Wang Jun. In December, Guo Wei led the troops from Weizhou southward, crossed the Yellow River, and defeated the imperial army at Liu Zi陂. The Hidden Emperor Liu Chengyou died in the chaos. After Guo Wei entered Bianliang, he invited the chancellor Feng Dao to Xuzhou to welcome the royal family member Liu Yun (originally written as 'Chenggui') to ascend the throne. However, on the way to Chanyuan, the soldiers mutinied and proclaimed Guo Wei as their leader. Guo Wei then returned to Bianliang. The empress dowager ordered Guo Wei to act as regent, demoted Liu Yun to the title of Xiangyin Marquis, and executed the chancellors Su Fengji and Liu Zhu.

辛亥　正月，監國郭威代漢命於汴，是謂太祖，改國曰周，元曰應順，王峻、范質、馮道為相。湘陰公死於宋州。兗州慕容彥超不受命。荊南、兩浙稱附。太原劉崇稱帝河東，國曰漢，年用乾祐。江南唐平湖南，徙其屬於金陵。北狄亂，契丹兀欲為其族述乾所殺，德光子述律平其亂，代立，改元應歷，易名為璟。 壬子　周平兗州。 癸丑　周冊皇后侄柴榮為皇太子，封晉王，尹開封府，流王峻於商州，王殷於登州，皆殺之。李谷、馮道為相。

In the Xinhai year (951), the regent Guo Wei took control of Bianliang and overthrew the Later Han to establish himself as the founder of the Later Zhou dynasty, with the state name Zhou and the era name Guangshun (originally written as "Yingshun"). He appointed Wang Jun, Fan Zhi, and Feng Dao as chancellors. Prince Xiangyin Liu Yun died in Songzhou. Mu Rong Yanchao in Yanzhou refused to submit. Jingnan and the Two Zhe regions expressed their allegiance. Liu Chong, the brother of Liu Zhiyuan, established himself as emperor in Taiyuan, ruling over Hedong and continuing to use the Han dynasty name, historically known as the Northern Han, with the era name continuing to be Qianyu. The Southern Tang dynasty destroyed the Huaxian Ma clan in Hunan, and moved the descendants of the Chu state to Jinling. The Khitan experienced internal strife, with the Liao Shizong Wuyu being killed by his cousin Cazhe (originally written as "Shuqian"). After Yelü De Guang's son Shu Liuying quelled the rebellion, he ascended the throne, changed the era name to Yingle, and renamed himself Jing, becoming the Liao Mugong. In the Renzi year (952), the Later Zhou subdued Yanzhou. In the Guichou year (953), the Later Zhou appointed Chai Rong, the nephew of the empress dowager of the Taizu, as crown prince, granting him the title of Prince of Jin and concurrently the position of governor of Kaifeng. Wang Jun was exiled to Shangzhou and Wang Yin to Dengzhou, and both were later executed. Li Gu and Feng Dao served as chancellors.

甲寅　周鄭仁誨、王溥為相，改元顯德。太祖威終，晉王榮紹位於汴宮。河東劉崇以契丹之師入寇，周主榮親征，大破劉崇於高平，誅不用命者將校七十人。進攻太原，不克。澤、潞、汾、遼、忻、代、嵐、石迎降。宰相馮道卒於汴州。 乙卯　周大伐江南及蜀。漢劉崇卒，子承鈞繼。 丙辰　周廣汴都外城，南伐，取唐之滁、和，敗其軍於渦口。漢劉承鈞改元天會。 丁巳　周李谷罷相，王樸為樞密使，伐江南有功。唐改元交泰，兵敗於紫金山，請以江北地求和於周。

In the year Jiayin (954), the Later Zhou appointed Zheng Renhui and Wang Pu as chancellors and changed the era name to Xiande. Taizu Guo Wei died, and Prince Jin Wang Chai Rong succeeded on the throne in the Bian Palace, becoming Emperor Shizong of Zhou. The Northern Han's Liu Chong took advantage of the Khitan army to invade, but Shizong personally led the campaign and defeated Liu Chong at Gaoping. After the battle, seventy officers who fled the battlefield were executed. He then advanced to attack Taiyuan but failed to capture it. The states of Ze, Lu, Fen, Liao, Xin, Dai, Lan, and Shi successively surrendered. Chancellor Feng Dao died in Bianzhou. In the year Yimao (955), the Later Zhou launched a large-scale campaign against the southern Tang and the western Later Shu. Liu Chong of the Northern Han died, and his son Liu Chengjun succeeded him. In the year Bingchen (956), the Later Zhou expanded the outer city of Bianliang and launched a southern campaign against the Tang, capturing the Tang cities of Chuzhou and Hezhou. They defeated the Tang army at Weikou. Liu Chengjun of the Northern Han changed the era name to Tianhui. In the year Dingsi (957), the Later Zhou dismissed Li Gu as chancellor and appointed Wang Pu as the chief military commissioner, achieving military success in the campaign against the southern Tang. The southern Tang changed its era name to Jiaotai and suffered a great defeat at Purple Mountain, and was forced to request the cession of the northern Jiang region in order to seek peace with the Later Zhou.

戊午　周受唐江北地。南漢劉晟卒，子鋹繼，改元大寶。唐請附於周，殺宰相宋齊立及陳覺、李知古。 己未　周征契丹，至於瓦橋，取瀛、莫、易，置雄、霸，遂趣幽州、寧雄、瀛、莫迎，有疾，乃還，復冊妃符氏為皇后，子崇訓為皇太子，封梁王，用魏仁溥、范質為相，趙匡胤進位檢校太傅，充殿前都點檢。世宗榮終，皇太子崇訓嗣位。 庚申 辛酉 壬戌 癸亥

In the Wuwu year (958), the Later Zhou received the northern territories ceded by the Southern Tang. The Southern Han ruler Liu Sheng died, and his son Liu Chan succeeded him, changing the era name to Dabao. The Southern Tang submitted to the Later Zhou and became its vassal, while also executing the chancellor Song Qiqlu (originally written as "Song Qilu"), as well as Chen Jue and Li Zhigǔ. In the Jiwei year (959), Emperor Shizong of Later Zhou launched a northern campaign against the Khitan, reaching the Waqiao Pass, and recaptured Yingzhou, Mozhou, and Yizhou. He established Xiongzhou and Bazo, and was about to advance toward Youzhou when Ningzhou and the states of Xiong, Ying, and Mo successively submitted. However, Emperor Shizong fell ill in the army and had to return. Upon his return, he appointed Fu Fei as empress and designated his son Chi Zongxun (originally written as "Chongxun") as crown prince, granting him the title of Prince Liang. He appointed Wei Renpu and Fan Zhi as chancellors, and promoted Zhao Kuangyin to the position of Grand Master of the Imperial Guards, serving as the Commander-in-Chief of the Imperial Guard. Soon after, Emperor Shizong died, and the crown prince succeeded him, becoming Emperor Gongdi of Later Zhou. In the following four years, Gengshen (960), Xinyou, Renxu, and Guihai, the text only lists the heavenly stems and earthly branches without recording specific events. Gengshen was the year of the Chenqiao mutiny, when Zhao Kuangyin replaced the Later Zhou and established the Song dynasty. Shao Yong, being a native of the Song dynasty, omitted historical events after the founding of the Song to show his reluctance to comment on contemporary matters.

日日聲平闢 水水音開清 多良千刀妻 古黑安夫卜東 宮心●●● 乃走思■■■ 日日聲七，下唱地之 水水音九，上和天之 用音一百五十二，是 用聲一百一十二，是 謂平聲闢音。平聲闢 謂開音清聲。開音清 音一千六十四。 聲一千八。 日日聲平之一闢 水水音開之一清 平聲闢唱呂一之一 開音清和律一之一

"The title of the left and right halves of this diagram is 'Daily Sound Level and Water Sound Clear.' Shao Yong assigned 'sound' to Heaven and 'sound' to Earth: Heaven has the sun, moon, and stars, which correspond to the four tones—level, rising, falling, and entering; Earth has water, fire, soil, and stone, which correspond to the four sounds—opening, issuing, gathering, and closing. 'Daily sound' refers to the position of the sun (level tone) in the sky, which is the category of level tones with the mouth open, hence also called 'level opening'; 'Water sound' refers to the position of water (opening sound) on Earth, which is the category of opening sounds with a light and clear tone, hence also called 'opening clear.' The two rows below list the headings used in this diagram: on the sound side, the characters are multiple, good, thousand, knife, wife, palace, heart, totaling seven characters, with three dots following; on the sound side, the characters are ancient, black, peace, husband, divination, east, none, walk, thought, totaling nine characters, with three squares following. These circular, square, black, and white symbols are not missing characters from the original text, but symbols created by Shao Yong: a circle indicates that there is a principle of sound but no corresponding Chinese character; three dots indicate that even sound does not exist, making it a purely empty position; a square indicates that there is a sound but no corresponding character; three squares indicate that there is no sound at all. The sound has ten positions and the sound has twelve positions. The first seven sounds and the first nine sounds are used, while the rest are left as empty positions to complete the total number. The next four lines discuss the numbers used: the category of level tones with opening sound actually has seven tones, which correspond downward to the used sounds on Earth, totaling 152, and seven multiplied by 152 gives 1,064, which is called 'one thousand and sixty-four level opening sounds'; the category of opening sounds with clear tone actually has nine sounds, which correspond upward to the used tones on Heaven, totaling 112, and nine multiplied by 112 gives 1,008, which is called 'one thousand and eight opening clear sounds.' As for the terms 'singing Lu' and 'harmonizing lu,' they are taken from the music system: 'Lu' belongs to the yang and is associated with Heaven, while 'Lu' belongs to the yin and is associated with Earth; the sound from Heaven is above, and what is sung is the sound from Earth, hence called 'singing Lu'; the sound from Earth is below, and what is harmonized is the sound from Heaven, hence called 'harmonizing Lu.' 'One of one' refers to the first diagram's first singing and first harmonizing."

古甲九癸多多多多 古古古古多可個舌 一音 口口近揆多多多多 一音 古古古古禾火化八 一聲 坤巧丘棄多多多多 一聲 古古古古開宰愛○ □□乾蚪多多多多 古古古古回每退○ 黑花香血多多多多 古古古古良兩向○ 二音 黃華雄賢多多多多 一音 古古古古光廣況○ 一聲 五瓦仰□多多多多 二聲 古古古古丁井亙○ 吾牙月堯多多多多 古古古古兄永瑩○ 安亞乙一多多多多 古古古古千典旦○ 三音 □爻壬寅多多多多 一音 古古古古元犬半○ 一聲 母馬美米多多多多 三聲 古古古古臣引艮○ 目貌眉民多多多多 古古古古君允巽○ 夫法□飛多多多多 古古古古刀早孝嶽 四音 父凡□吠多多多多 一音 古古古古毛寶報霍 一聲 武晚□尾多多多多 四聲 古古古古牛斗奏六 文萬□未多多多多 古古古古○○○玉 卜百丙必多多多多 古古古古妻子四日 五音 步白備鼻多多多多 一音 古古古古衰○帥骨 一聲 普撲品匹多多多多 五聲 古古古古○○○德

From this point on, the text is arranged in a tabular form. The left half uses the first tone's aspirated character "duo" as the singing syllable, while the right half uses the first tone's clear character "gu" as the harmonizing syllable. The first four characters in each line are the base characters being paired, and the last four characters are the repeated singing or harmonizing syllables. On the left, for example, "gu jia jiu gui" is paired with "duo duo duo duo," while on the right, "gu gu gu gu" is paired with "duo ke ge she." It is important to distinguish the pronunciation of the four characters on each side: the side with the singing syllables all belong to the same place of articulation and are arranged according to the four categories of opening, releasing, closing, and stopping, corresponding to water, fire, earth, and stone. The characters "gu," "jia," "jiu," and "gui" are compared to the system of rhyme in later times, showing that they all belong to the dental category and are distributed across the four rhyme classes. On the side with the harmonizing syllables, the four characters all belong to the same rhyme and are arranged according to the four tones of level, rising, falling, and entering, corresponding to sun, moon, star, and constellation. The characters "duo," "ke," "ge," and "she" represent the four tones within the same rhyme, from level to entering. The left half begins with "gu jia jiu gui," "jin kui," "kun qiao qiu qi," "qian tuo," then proceeds through "he hua xiang xue," "huang hua xiong xian," "wu wa yang," "wu ya yue yao," then "an ya yi yi," "yao ren yin," "mu ma mei mi," "mu mao mei min," then "fu fa fei," "fu fan fei," "wu wan wei," "wen wan wei," up to "bu bai bing bi," "bu bai bei bi," "pu pu pin pi." The right half begins with "duo ke ge she," "he huohua ba," "kai zai ai," "hui mei tui," then proceeds through "liang liang xiang," "guang guang kuang," "ding jing geng," "xiong yong ying," then "qian dian dan," "yuan quan ban," "chen yin gen," "jun yun xun," then "dao zao xiao yue," "mao bao bao huo," "niu dou zou liu," up to "fu qi si ri," "shuai shuai gu." In the line "jin kui," the original text has two "kou" characters at the beginning, while other similar positions are left as empty blocks, likely due to the carver's mixing of styles. The text is recorded according to the original form of the base text.

旁排平瓶多多多多 古古古古龜水貴北 東丹帝■多多多多 古古古古宮孔眾○ 六音 兌大弟■多多多多 一音 古古古古龍甬用○ 一聲 土貪天■多多多多 六聲 古古古古魚鼠去○ 同覃田■多多多多 古古古古烏虎兔○ 乃你女■多多多多 古古古古心審禁○ 七音 內南年■多多多多 一音 古古古古○○○十 一聲 老冷呂■多多多多 七聲 古古古古男坎欠○ 鹿犖離■多多多多 古古古古○○○妾 走哉足■多多多多 古古古古●●●● 八音 自在匠■多多多多 一音 古古古古●●●● 一聲 草采七■多多多多 八聲 古古古古●●●● 曹才全■多多多多 古古古古●●●● 思三星■多多多多 古古古古●●●● 九音 寺□象■多多多多 一音 古古古古●●●● 一聲 □□□■多多多多 九聲 古古古古●●●● □□□■多多多多 古古古古●●●● ■山手■多多多多 古古古古●●●● 十音 ■士石■多多多多 一音 古古古古●●●● 一聲 ■□耳■多多多多 十聲 古古古古●●●●

This section continues with the sequence. The left half still uses "多" as the initial sound: the parallel arrangement of the five tones ends with the fifth line, "平瓶," which belongs to the five tones. The sixth tone includes "东丹帝, 兑大弟, 土贪天, 同覃田," and the seventh tone includes "乃你女, 内南年, 老冷吕, 鹿荦离," the eighth tone includes "走哉足, 自在匠, 草采七, 曹才全," the ninth tone includes "思三星, 寺象," and the tenth tone includes "山手, 士石, 耳." The fourth character in each of these groups is written as ■, indicating that there are no suitable characters for the "石" class in the category of tongue and dental sounds. The right half still uses "古" as the harmonizing element, first harmonizing the last line of the fifth tone "龟水贵北," then the sixth tone "宫孔众, 龙甬用, 鱼鼠去, 乌虎兔," the seventh tone "心审禁, 男坎欠," and from the eighth tone onwards, all sound positions are empty, so the entire section is marked with ●. By comparing both sides, it is clear that these are two different arrangements for the same moment: the sound comes first as the singing part, and the tone comes after as the harmonizing part. The singer must traverse the forty-eight positions of the twelve tones, while the harmonizer must traverse the forty positions of the ten tones, together forming a complete pairing of every sound and tone. Since the two cycles are of different lengths, the starting points of the left and right sides are offset from each other, so the left and right halves of the same line often belong to different sections. When reading, one must not connect the eight characters of a line into a single sentence. In the original book, the left and right halves were printed on facing pages, with the left page containing the table for singing sounds and the right page containing the table for harmonizing tones. The current version has been compressed into a single line with two columns, leaving only a space in the middle, so each line must be first divided into left and right, and then counted according to the rows of each table to avoid confusion.

■□二■多多多多 古古古古●●●● 開音清和律一之二 ■莊震■多多多多 黑黑黑黑多可個舌 十一音 ■乍□曰多多多多 二音 黑黑黑黑禾火化八 一聲 ■叉赤■多多多多 一聲 黑黑黑黑開宰愛○ ■崇辰■多多多多 黑黑黑黑回每退○ ■卓中■多多多多 黑黑黑黑良兩向○ 十二音 ■宅直■多多多多 二音 黑黑黑黑光廣況○ 一聲 ■拆丑■多多多多 二聲 黑黑黑黑丁井亙○ ■茶呈■多多多多 黑黑黑黑兄永瑩○

On the left side, up to this point, the character "duo" has been paired with the last character of the ten-sound system. Then, the eleven-sound system is paired with the characters zhuang, zhen, zha, cha, chi, chong, chen, and the twelve-sound system with zhuo, zhong, zhai, zhi, chai, chou, cha, cheng. Among these four groups, only the middle two positions have characters, while the first and last positions are marked with ■. The character "zha" is followed by "yue" in the original text, but this does not match the square characters in other positions of the same rank, which suggests it is an error in the carved version. The original form is retained. On the right side, a new section begins: "Kaiyin Qinghe Law Yi Zhi Er" (Opening Sound Clear and Harmonious Law One and Two), which then uses the second sound's clear tone character "hei" as the "he" (harmony), starting again from the first tone. It first pairs "he" with "duo", "ke", "ge", "she", "huo", "hua", "ba", then with "kai", "zai", "ai", "hui", "mei", "tui". Next comes the second tone: "liang", "liang", "xiang", "guang", "guang", "kuang", "ding", "jing", "geng", "xiong", "yong", "ying". The terms "Shiyin" (Eleven Sounds), "Yisheng" (First Tone), "Er Yin" (Second Sound), and "Ersheng" (Second Tone) are not part of the main text but are labels carved on the sides of the characters, indicating their positions. When reading, these should be considered as small notes at the beginning of each line.

平聲闢唱呂一之二 古甲九癸良良良良 黑黑黑黑千典旦○ 一音 □□近揆良良良良 二音 黑黑黑黑元犬半□ 二聲 坤巧丘棄良良良良 三聲 黑黑黑黑臣引艮□ □□乾蚪良良良良 黑黑黑黑君允巽○ 黑花香血良良良良 黑黑黑黑刀早孝嶽 二音 黃華雄賢良良良良 二音 黑黑黑黑毛寶報霍 二聲 五瓦仰□良良良良 四聲 黑黑黑黑牛斗奏六 吾牙月堯良良良良 黑黑黑黑○○○玉 安亞乙一良良良良 黑黑黑黑妻子四日 三音 □爻壬寅良良良良 二音 黑黑黑黑衰○帥骨 二聲 母馬美米良良良良 五聲 黑黑黑黑○○○德 目貌眉民良良良良 黑黑黑黑龜水貴北 夫法□飛良良良良 黑黑黑黑宮孔眾○ 四音 父凡□吠良良良良 二音 黑黑黑黑龍甬用○ 二聲 武晚□尾良良良良 六聲 黑黑黑黑魚鼠去○ 文萬□未良良良良 黑黑黑黑烏虎兔○ 卜百丙必良良良良 黑黑黑黑心審禁○ 五音 步白備鼻良良良良 二音 黑黑黑黑○○○十 二聲 普撲品匹良良良良 七聲 黑黑黑黑男坎欠○ 旁排平瓶良良良良 黑黑黑黑○○○妾

"The 'Ping Sheng Pi Chang Lu Yi Zhi Er' refers to replacing the character 'chang' with the second tone 'pi' sound of the character 'liang'. The left half then starts over from the beginning: for the first tone, the ancient characters are Jia, Ji, Gui, the near ones are Kui, Kun, Qiu, Qi, the Heaven character is Yu, the Dragon character is Yu, the Earth character is Yu; for the second tone, the characters are Hei, Hua, Xiang, Xue, Huang, Hua, Xiong, Xian, Wu, Wa, Yang, Wu, Ya, Yue, Yao; for the third tone, the characters are An, Ya, Yi, Yi, Yao, Renyin, Mu, Ma, Mei, Mi, Mu, Mo, Mei, Min; for the fourth tone, the characters are Fu, Fa, Fei, Fu, Fan, Fei, Wu, Wan, Wei, Wen, Wan, Wei; for the fifth tone, the characters are Bu, Bai, Bing, Bi, Bu, Bai, Bei, Bi, Pu, Pu, Pin, Pi, Pang, Pai, Ping, Ping. Each of these is sung with four 'liang' characters. The right half continues with the second tone 'hei' and harmonizes in sequence to the third tone 'qian', 'dian', 'dan', 'yuan', 'quan', 'ban', 'chén', 'yin', 'gen', 'jun', 'yun', 'xun'; the fourth tone 'dao', 'zao', 'xiao', 'yue', 'mao', 'bao', 'bao', 'huo', 'niu', 'dou', 'zou', 'liu'; the fifth tone 'qi', 'zi', 'si', 'ri', 'shuai', 'shuai', 'gu', 'shui', 'gui', 'bei'; the sixth tone 'gong', 'kong', 'zhong', 'long', 'nong', 'yong', 'yong', 'yong', 'yu', 'shu', 'qu', 'yu', 'shu', 'qu', 'wu', 'hu', 'tu'; and the seventh tone 'xin', 'shen', 'jin', 'nan', 'kan', 'qian'. Among these are the symbols ○ and □, which still indicate positions where there is sound but no character, and where there is a tone but no character. Shao Yong created this diagram not to compile a rhyme book. The scholars of equal rhyme divide consonants and vowels to help in slicing characters; Shao Yong divided ten tones and twelve sounds to help in calculating numbers: the number of uses of tones is 112, the number of uses of sounds is 152, and multiplying these two gives 17,724. He believed that all the sounds in the world are contained within this, and from the numbers of sounds, he could infer the numbers of moving creatures, plants, and flying animals, so he preferred to leave many empty positions rather than leave the structure incomplete."

東丹帝■良良良良 黑黑黑黑●●●● 六音 兌大弟■良良良良 二音 黑黑黑黑●●●● 二聲 土貪天■良良良良 八聲 黑黑黑黑●●●● 同覃田■良良良良 黑黑黑黑●●●● 乃你女■良良良良 黑黑黑黑●●●● 七音 內南年■良良良良 二音 黑黑黑黑●●●● 二聲 老冷呂■良良良良 九聲 黑黑黑黑●●●● 鹿犖離■良良良良 黑黑黑黑●●●● 走哉足■良良良良 黑黑黑黑●●●● 八音 自在匠■良良良良 二音 黑黑黑黑●●●● 二聲 草采七■良良良良 十聲 黑黑黑黑●●●● 曹才全■良良良良 黑黑黑黑●●●●

Continuing from above, the character 'liang' is still used. On the left side, the six-sound section continues with Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian. The seven-sound section includes Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li. The eight-sound section includes Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan. On the right side, it has now reached the eighth, ninth, and tenth tones, which in Shao Yong's framework were originally empty. Therefore, all twelve rows are filled with four ●, forming a contrast with the left side which has characters to read. This method of arranging one side full and the other empty is meant to show that the sounds of Heaven and the tones of Earth each have their usable and unusable numbers: those that can be expressed and have characters are called 'used', while those that have a position but no actual character are called 'empty'. The numbers of used and empty positions combine to form the complete pattern of ten sounds and twelve tones. If the empty positions were deleted, the number of rows on the diagram would be insufficient, making it impossible to proceed with calculations. Therefore, Shao Yong chose to retain the empty positions.

開音清和律一之三 思三星■良良良良 安安安安多可個舌 九音 寺□象■良良良良 三音 安安安安禾火化八 二聲 □□□■良良良良 一聲 安安安安開宰愛○ □□□■良良良良 安安安安回每退○ ■山手■良良良良 安安安安良兩向○ 十音 ■士石■良良良良 三音 安安安安光廣況○ 二聲 ■□耳■良良良良 二聲 安安安安丁井亙○ ■□二■良良良良 安安安安兄永瑩○ ■莊震■良良良良 安安安安千典旦○ 十一音 ■乍□■良良良良 三音 安安安安元犬半○ 二聲 ■叉赤■良良良良 三聲 安安安安臣引艮○ ■崇辰■良良良良 安安安安君允巽○ ■卓中■良良良良 安安安安刀早孝嶽 十二音 ■宅直■良良良良 三音 安安安安毛寶報霍 二聲 ■拆丑■良良良良 四聲 安安安安牛斗奏六 ■茶呈■良良良良 安安安安○○○玉

The left half pairs "liang" with the last four groups: for the ninth tone, "si sanxing", "si xiang"; for the tenth tone, "shan shou", "shi shi", "er", "er"; for the eleventh tone, "zhuang zhen", "zha", "cha chi", "chong chen"; and for the twelfth tone, "zhuo zhong", "zai zhi", "che chou", "cha cheng". By this point, the second tone "liang" has been paired with all forty-eight positions of the twelfth tone. The left half can then move on to the next tone. The right half starts a new section, "kai yin qing he lv yi zhi san", replacing the "he" character with the third tone's clear sound "an", and begins again from the first tone: for the first tone, "duo ke ge she", "he huohua ba", "kai zai ai", "hui mei tui"; for the second tone, "liang liang xiang", "guang guang kuang", "ding jing geng", "xiong yong ying"; for the third tone, "qian dian dan", "yuan quan ban", "chen yin gen", "jun yun xun"; and for the fourth tone, "dao zao xiao yue", "mao bao bao huo", "niu dou zou liu". The character "an" is the third position in the clear sound of the open tone, and it can pair with the same sound positions as the previous two sections. The difference is only in the tone that serves as the harmonizing sound. This clearly shows that in the diagram, only the singing tone and the harmonizing tone are changing, while the forty-eight sound positions and forty tone positions remain constant. The four characters "duo ke ge she" include "duo" as a level tone, "ke" as a rising tone, "ge" as a falling tone, and "she" as a entering tone. All four tones are present within one rhyme, which is the actual content of the four positions of the sun, moon, stars, and constellations. In the diagram, every group of sounds follows this example.

平聲闢唱呂一之三 古甲九癸千千千千 安安安安妻子四日 一音 □□近揆千千千千 三音 安安安安衰○帥骨 三聲 坤巧丘棄千千千千 五聲 安安安安○○○德 □□乾蚪千千千千 安安安安龜水貴北 黑花香血千千千千 安安安安宮孔眾○ 二音 黃華雄賢千千千千 三音 安安安安龍甬用○ 三聲 五瓦仰■千千千千 六聲 安安安安魚鼠去○ 吾牙月堯千千千千 安安安安烏虎兔○ 安亞乙一千千千千 安安安安心審禁○ 三音 ■爻壬寅千千千千 三音 安安安安○○○十 三聲 母馬美米千千千千 七聲 安安安安男坎欠○ 目貌眉民千千千千 安安安安○○○妾 夫法□飛千千千千 安安安安●●●● 四音 父凡□吠千千千千 三音 安安安安●●●● 三聲 武晚□尾千千千千 八聲 安安安安●●●● 文萬□未千千千千 安安安安●●●● 卜百丙必千千千千 安安安安●●●● 五音 步白備鼻千千千千 三音 安安安安●●●● 三聲 普撲品匹千千千千 九聲 安安安安●●●● 旁排平瓶千千千千 安安安安●●●●

"Level tone 'Ping' is paired with the third tone 'Qi' sound 'Qian'. The left half starts again from the beginning: for the first tone, the ancient 'Jia' and 'Jiu' 'Gui', near 'Kui', 'Kun' 'Qiao' 'Qiu' 'Qi', 'Qian' 'Yu'; for the second tone, 'Hei' 'Hua' 'Xiang' 'Xue', 'Huang' 'Hua' 'Xiong' 'Xian', 'Wu' 'Wa' 'Yang', 'Wo' 'Ya' 'Yue' 'Yao'; for the third tone, 'An' 'Ya' 'Yi' 'Yi', 'Yao' 'Ren' 'Yin', 'Mu' 'Ma' 'Mei' 'Mi', 'Mu' 'Mo' 'Mei' 'Min'; for the fourth tone, 'Fu' 'Fa' 'Fei', 'Fu' 'Fa' 'Fei', 'Wu' 'Wan' 'Wei', 'Wen' 'Wan' 'Wei'; for the fifth tone, 'Bu' 'Bai' 'Bing' 'Bi', 'Bu' 'Bai' 'Bei' 'Bi', 'Pu' 'Pu' 'Pin' 'Pi', 'Pang' 'Pai' 'Ping' 'Ping'. Each position is sung with four 'Qian' characters. The right half remains under the third tone 'An', and includes the fifth tone 'Fu' 'Qi' 'Si', 'Shuai' 'Gu', 'Gui' 'Shui' 'Gui' 'Bei', the sixth tone 'Gong' 'Kong' 'Zhong', 'Long' 'Nong' 'Yong', 'Yu' 'Shu' 'Qu', 'Wu' 'Hu' 'Tu', the seventh tone 'Xin' 'Shen' 'Jin', 'Nan' 'Kan' 'Qian'; the eighth and ninth tones have no sounds available, so they are all marked with ●. By observing both sides, it can be seen that the singer goes through forty-eight positions, while the harmonizer goes through forty positions. Therefore, in the diagram, each forty-eight lines correspond to one 'sung' character, and each forty lines correspond to one 'harmonized' character. The two sides are arranged alternately, which is the origin of the term 'sound singing and harmonizing'. The reason the 'sung' character is written four times in succession is because the line being paired has four positions, and each must be matched one by one, so it is written four times to fill the positions, not because a single character is read four times. The four characters 'Ancient Jia Jiu Gui' all belong to the dental sound, with 'Ancient Jia' belonging to the open sound, 'Jia' to the initial sound, 'Jiu' to the closing sound, and 'Gui' to the closed sound, which correspond exactly to the four categories of water, fire, earth, and stone. When viewing the diagram, first recognize the 'sung' and 'harmonized' characters, then identify the character being paired, and finally check the position according to the row number, making the rules clear and distinct."

東丹帝■千千千千 安安安安●●●● 六音 兌大弟■千千千千 三音 安安安安●●●● 三聲 土貪天■千千千千 十聲 安安安安●●●● 同覃田■千千千千 安安安安●●●● 開音清和律一之四 乃你女■千千千千 夫夫夫夫多可個舌 七音 內南年■千千千千 四音 夫夫夫夫禾火化八 三聲 老冷呂■千千千千 一聲 夫夫夫夫開宰愛○ 鹿犖離■千千千千 夫夫夫夫回每退○ 走哉足■千千千千 夫夫夫夫良兩向○ 八音 自在匠■千千千千 四音 夫夫夫夫光廣況○ 三聲 草采七■千千千千 二聲 夫夫夫夫丁井旦○ 曹才全■千千千千 夫夫夫夫兄永瑩○ 思三星■千千千千 夫夫夫夫千典旦○ 九音 寺□象■千千千千 四音 夫夫夫夫元犬半○ 三聲 □□□■千千千千 三聲 夫夫大夫臣引艮○ □□□■千千千千 夫夫夫夫君允巽○ ■山手■千千千千 夫夫夫夫刀早孝嶽 十音 ■士石■千千千千 四音 夫夫夫夫毛寶報霍 三聲 ■□耳■千千千千 四聲 夫夫夫夫牛斗奏六 ■□二■千千千千 夫夫夫夫○○○玉

The left half continues with "Qian" as the starting character, paired with the six-sound characters: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, seven-sound characters: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li, eight-sound characters: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, nine-sound characters: Si San Xing, Si Xiang, ten-sound characters: Shan Shou, Shi Shi, Er. The right half first completes the last two sounds of the third sound "An," with the ninth and tenth sounds being empty, so the line is marked with ●; then "Kai Yin Qing He Lu Yi Si" switches to the fourth sound's clear sound character "Fu" as the harmonizing character, and starts again from the first sound: Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui, second sound characters: Liang Liang Xiang, Guang Guang Kuang, Ding Jing Dan, Xiong Yong Ying, third sound characters: Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, fourth sound characters: Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu. Among these, the line "Ding Jing Dan" is usually written as "Ding Jing Gen," and the character "Da" in the line "Fu Fu Da Fu" should also be read as "Fu," which are errors in transmission from the printed edition; such similar character errors are common in these volumes of tables, and they are all copied as they appear in the original edition without any changes, to preserve the authenticity of the original text. The group "An Ya Yi Yi" belongs to the throat sounds, with the four characters being divided and developed in opening and closing; the groups "Mu Ma Mei Mi" and "Mu Mao Mei Min" belong to the lip sounds, with characters available for each of the four positions. Shao Yong selected characters solely based on their sound, without considering their meaning, so the characters listed in the diagram are mostly common words, and readers should not interpret them as terms, nor seek any subtle meanings within them. Each group consists of four lines, with the "Ji Yin" and "Ji Sheng" labels at the beginning of each group originally written vertically next to the four lines in the original printed edition.

■莊震■千千千千 夫夫夫夫妻子四日 十一音 ■乍□■千千千千 四音 夫夫夫夫衰○帥骨 三聲 ■叉赤■千千千千 五聲 夫夫夫夫○○○德 ■崇辰■千千千千 夫夫夫夫龜水貴北 ■卓中■千千千千 夫夫夫夫宮孔眾○ 十二音 ■宅直■千千千千 四音 夫夫夫夫龍甬用○ 三聲 ■拆丑■千千千千 六聲 夫夫夫夫魚鼠去○ ■茶呈■千千千千 夫夫夫夫烏虎兔○

These eight lines, on the left half, pair the character "qian" with eleven sounds of the ZHUANG tone, ZHEN tone, ZHA sound, CHA sound, CHI sound, CHONG sound, CHEN sound, and twelve sounds of the ZHUO sound, ZHONG sound, ZAI sound, ZHI sound, CHE sound, CHOU sound, CHA sound, CHENG sound. The third tone's round singing ends here. On the right half, it is the fourth sound "fu" and the fifth tone's wife four days, SHUI SHU GU, GUI SHUI GUI BEI, and the sixth tone's GONG KONG ZHONG, LONG YONG YONG, YU SHU QU, WU HU TU. Four-character groups like "wife four days" and "GONG KONG ZHONG" take characters that share the same rhyme in the level, rising, departing, and entering tones respectively. When there are no characters available for a particular position, an "○" is used to fill it, such as the second position in "SHUI SHU GU" and the first three positions in "○○○ DE". Reading this chart, one does not need to connect the four characters in each line into a sentence; they are merely markers on a coordinate system, indicating where a particular tone and sound should fall in the grid.

平聲闢唱呂一之四 古甲九癸刀刀刀刀 夫夫夫夫心審禁○ 一音 □□近揆刀刀刀刀 四音 夫夫夫夫○○○十 四聲 坤巧丘棄刀刀刀刀 七聲 夫夫夫夫男坎欠○ □□乾蚪刀刀刀刀 夫夫夫夫○○○妾 黑花香血刀刀刀刀 夫夫夫夫●●●● 二音 黃華雄賢刀刀刀刀 四音 夫夫夫夫●●●● 四聲 五瓦仰□刀刀刀刀 八聲 夫夫夫夫●●●● 吾牙月堯刀刀刀刀 夫夫夫夫●●●● 安亞乙一刀刀刀刀 夫夫夫夫●●●● 三音 □爻壬寅刀刀刀刀 四音 夫夫夫夫●●●● 四聲 母馬美米刀刀刀刀 九聲 夫夫夫夫●●●● 目貌眉民刀刀刀刀 夫夫夫夫●●●● 夫法□飛刀刀刀刀 夫夫夫夫●●●● 四音 父凡□吠刀刀刀刀 四音 夫夫夫夫●●●● 四聲 武晚□尾刀刀刀刀 十聲 夫夫夫夫●●●● 文萬□未刀刀刀刀 夫夫夫夫●●●●

"Peaceful tone 'Ping' is divided into four parts of 'Lv'." The character '唱' is replaced with the fourth tone '辟' sound '刀'. On the left side, the arrangement starts with the first tone, pairing ancient characters like Jia, Ji, Gui, near揆,坤,巧,丘,弃,乾,蚪. Then comes the second tone, pairing black, flower, fragrance, blood, yellow, flower, strong, wise, five, wa,仰, 'wu' (I), 'ya' (tooth), moon, Yao. Next is the third tone, pairing security, Asia, Yi, one, yao, Renyin, mother, horse, beauty, rice, eye, appearance, eyebrow, people. Finally, the fourth tone pairs husband, law, fly, father, all, bark, Wu, late, tail, Wen, ten thousand, not yet. On the right side, it still belongs to the fourth tone 'fu', and continues to the seventh tone 'xin', 'shen', 'jin'. The eighth, ninth, and tenth tones are all empty positions, so twelve lines are filled with ●. Here we can clearly see Shao Yong's distinction between 'having sound but no character' and 'no sound at all': ○ represents a position where sound can be made but there is no existing character, while ● represents a sound that does not even exist. The former is a deficiency in characters, while the latter is the limit of reason, and they cannot be confused. He uses two different symbols to distinguish them, so that people can know that the possible sounds in the world are more than the existing characters. The first seven tones are called 'used tones' because there are characters available for these seven tones in people's mouths. The last three tones, though empty, still need to be listed, so the total number of correct tones remains at one hundred and sixty, without any deficiency. Removing the forty-eight unused tones, the remaining is 'one hundred and twelve used tones'.

開音清和律一之五 卜百丙必刀刀刀刀 卜卜卜卜多可個舌 五音 步白備鼻刀刀刀刀 五音 卜卜卜卜禾火化八 四聲 普撲品匹刀刀刀刀 一聲 卜卜卜卜開宰愛○ 旁排平瓶刀刀刀刀 卜卜卜卜回每退○ 東丹帝■刀刀刀刀 卜卜卜卜良兩向○ 六音 兌大弟■刀刀刀刀 五音 卜卜卜卜光廣況○ 四聲 土貪天■刀刀刀刀 二聲 卜卜卜卜丁井亙○ 同覃田■刀刀刀刀 卜卜卜卜兄永瑩○ 乃你女■刀刀刀刀 卜卜卜卜千典旦○ 七音 內南年■刀刀刀刀 五音 卜卜卜卜元犬半○ 四聲 老冷呂■刀刀刀刀 三聲 卜卜卜卜臣引艮○ 鹿犖離■刀刀刀刀 卜卜卜卜君允巽○ 走哉足■刀刀刀刀 卜卜卜卜刀早孝嶽 八音 自在匠■刀刀刀刀 五音 卜卜卜卜毛寶報霍 四聲 草采七■刀刀刀刀 四聲 卜卜卜卜牛斗奏六 曹才全■刀刀刀刀 卜卜卜卜○○○玉 思三星■刀刀刀刀 卜卜卜卜妻子四日 九音 寺□象■刀刀刀刀 五音 卜卜卜卜衰○帥骨 四聲 □□□■刀刀刀刀 五聲 卜卜卜卜○○○德 □□□■刀刀刀刀 卜卜卜卜龜水貴北

The left half still uses "dao" as the starting character, paired with five-sound words such as bu bai bei bi, pu pu pin pi, pang pai ping ping, and six-sound words such as dong dan di, dui da di, tu tan tian, tong tan tian. It also includes seven-sound words such as nei ni nv, nei nan nian, lao leng lv, lu luo li, eight-sound words such as zou zai zu, zi zai jiang, cao cai qi, cao cai quan, and nine-sound words such as si san xing, si xiang. The group of five-sound words are all labial sounds, with all four levels of tone present, so all four rows and sixteen positions have characters, making this section the most complete in the entire diagram. As we move to the later sections of tongue and tooth sounds, the number of missing positions increases. The right half starts a new section: "Kai yin qing he lu yi wu" switches to the fifth sound, using the clear sound character "bu" as the starting point, arranged from the first tone to the fifth tone, in sequence: duo ke ge she, he hu hua ba, kai zai ai, hui mei tui, liang liang xiang, guang guang kuang, ding jing gen, xiong yong ying, qian dian dan, yuan quan ban, chen yin gen, jun yun xun, dao zao xiao yue, mao bao bao huo, niu dou zou liu, zi qi si ri, shuai shuai gu, gui shui gui bei. Shao Yong does not use reverse slicing, nor does he label the names of initial consonants and vowels. Instead, he uses characters as positions and positions as numbers: horizontally, four positions represent four tones or four sounds, and vertically, four rows represent clear and浊 sounds or open and close sounds. The intersection of horizontal and vertical lines determines the fixed position of each square. Later scholars who compare this diagram with the classification of tones in the "Qieyun" and "Guangyun" often find it difficult to match, because the two approaches are fundamentally different: the rhyme books are designed for slicing words, while this diagram is designed for numerical calculation, so it is better to leave spaces than to compromise. Once this is understood, the continuous circles and squares on the diagram are no longer obstacles to reading, but rather the key to the entire diagram's numerical structure.

■山手■刀刀刀刀 卜卜卜卜宮孔眾○ 十音 ■士石■刀刀刀刀 五音 卜卜卜卜龍甬用○ 四聲 ■□耳■刀刀刀刀 六聲 卜卜卜卜魚鼠去○ ■□二■刀刀刀刀 卜卜卜卜烏虎兔○ ■莊震■刀刀刀刀 卜卜卜卜心審禁○ 十一音 ■乍□■刀刀刀刀 五音 卜卜卜卜○○○十 四聲 ■叉赤■刀刀刀刀 七聲 卜卜卜卜男坎欠○ ■崇辰■刀刀刀刀 卜卜卜卜○○○妾 ■卓中■刀刀刀刀 卜卜卜卜●●●● 十二音 ■宅直■刀刀刀刀 五音 卜卜卜卜●●●● 四聲 ■拆丑■刀刀刀刀 八聲 卜卜卜卜●●●● ■茶呈■刀刀刀刀 卜卜卜卜●●●●

These twelve lines, on the left, pair the character 「刀」 with the ten-sound mountain hand, shi stone, ear, and two; the eleven-sound Zhuang Zhen, zha, cha chi, and Chong Chen; and the twelve-sound Zhuo Zhong, Zhai Zhi, Che Chou, and Cha Cheng. The fourth tone's single round ends here. All the ■ symbols found at the beginning and end of these groups are markers for empty positions where no sound can be cited, not missing characters from the original text. On the right, it is the fifth sound 「Bu」 and proceeds to the sixth sound's Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, and Wu Hu Tu; the seventh sound's Xin Shen Jin, Nan Kan Qian; then enters the eighth sound, with four lines all marked ●. From this, one can see that in the diagram, the more it proceeds, the more it becomes a continuous block of empty positions. This is not due to copying or carving errors, but rather a deliberate layout by Shao Yong: when the numbers are full but the content is not, this is precisely what he wanted people to understand as 「the form is fixed but the use is infinite.」 In the original text, such symbols appear in multiple places; whenever they appear, they should be compared with corresponding positions in other parts for meaning, and the text should remain as it is, without changing according to other versions, to preserve the value for textual criticism.

平聲闢唱呂一之五 古甲九癸妻妻妻妻 卜卜卜卜●●●● 一音 ■■近揆妻妻妻妻 五音 卜卜卜卜●●●● 五聲 坤巧丘棄妻妻妻妻 九聲 卜卜卜卜●●●● □□乾蚪妻妻妻妻 卜卜卜卜●●●● 黑花香血妻妻妻妻 卜卜卜卜●●●● 二音 黃華雄賢妻妻妻妻 五音 卜卜卜卜●●●● 五聲 五瓦仰□妻妻妻妻 十聲 卜卜卜卜●●●● 吾牙月堯妻妻妻妻 卜卜卜卜●●●●

"Level tone 'Ping' is paired with 'Bi' pronounced in the fifth tone as 'Qi'. On the left side, starting at the beginning, first pair a single-sound character 'Gǔ Jiǎ Jiǔ Guǐ', 'Jìn Kuí', 'Kūn Qiǎo Qiū Qì', 'Qián Yóu', then pair two-sound characters 'Hēi Huā Xiāng Xuè', 'Huáng Huá Xióng Xián', 'Wǔ Wǎ Yǎng', 'Wú Yá Yuè Yáo'. Among these, the first character of 'Jìn Kuí' is carved as two solid square blocks in the original text, while in other similar positions, they are mostly hollow square blocks, indicating that ■ and □ may be confused in transmitted copies; therefore, they are both recorded according to the original text. On the right side, it is the fifth tone 'Bo' and the ninth and tenth tones, since the tone positions are empty, all eight lines are filled with ●. The left side has characters while the right side is completely empty, precisely placing 'sound singing in heaven, tone harmony on earth' with one solid and one empty in the same line."

開音清和律一之六 安亞乙一妻妻妻妻 東東東東多可個舌 三音 □爻壬寅妻妻妻妻 六音 東東東東禾火化八 五聲 母馬美米妻妻妻妻 一聲 東東東東開宰愛○ 目貌眉民妻妻妻妻 東東東東回每退○ 夫法□飛妻妻妻妻 東東東東良兩向○ 四音 父凡□吠妻妻妻妻 六音 東東東東光廣況○ 五聲 武晚□尾妻妻妻妻 二聲 東東東東丁井亙○ 文萬□未妻妻妻妻 東東東東兄永瑩○ 卜百丙必妻妻妻妻 東東東東千典旦○ 五音 步白備鼻妻妻妻妻 六音 東東東東元犬半○ 五聲 普撲品匹妻妻妻妻 三聲 東東東東臣引艮○ 旁排平瓶妻妻妻妻 東東東東君允巽○ 東丹帝■妻妻妻妻 東東東東刀早孝嶽 六音 兌大弟■妻妻妻妻 六音 東東東東毛寶報霍 五聲 土貪天■妻妻妻妻 四聲 東東東東牛斗奏六 同覃田■妻妻妻妻 東東東東○○○玉 乃你女■妻妻妻妻 東東東東妻子四日 七音 內南年■妻妻妻妻 六音 東東東東衰○帥骨 五聲 老冷呂■妻妻妻妻 五聲 東東東東○○○德 鹿犖離■妻妻妻妻 東東東東龜水貴北

The left half still takes "wife" as the starting point, and proceeds to pair it with three tones: Anya Yi, Yao Renyin, Mu Ma Meimi, Mu Mao Meimian, four tones: Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei, five tones: Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping, six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, seven tones: Nie Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li. The right half starts a new section: "Opening tone, clear and harmonious law one of six" changes to the sixth tone's clear sound character "Dong" as the harmonizing element, starting from the first tone, in sequence: He Duo Ke Ge, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui, Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying, Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, until the fifth tone's wife Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei. Sound belongs to heaven and tone belongs to earth; the heavenly sound is above and the earthly tone is below, within one diagram, the numbers of heaven and earth are each arranged separately yet paired with each other; Shao Yong believed that the birth of all things comes from the union of heaven and earth, and the formation of sound also comes from the union of sound and tone, so this diagram is not only a record of sound but also a model of his theory of the mutual interaction between heaven and earth. The four elements of heaven are sun, moon, stars, and planets, paired with level, rising, falling, and entering tones; the four elements of earth are water, fire, soil, and stone, paired with opening, issuing, gathering, and closing tones. Each side multiplies two by two, resulting in sixteen categories, so the sound and tone diagram has a total of sixteen diagrams, from this section to the Observing Things section, fifty in total; this is the first diagram, and the next section is the second diagram. All sixteen diagrams have the same structure, differing only in the characters used for singing and harmonizing.

走哉足■妻妻妻妻 東東東東宮孔眾○ 八音 自在匠■妻妻妻妻 六音 東東東東龍甬用○ 五聲 草采七■妻妻妻妻 六聲 東東東東魚鼠去○ 曹才全■妻妻妻妻 東東東東烏虎兔○ 思三星■妻妻妻妻 東東東東心審禁○ 九音 寺□象■妻妻妻妻 六音 東東東東○○○十 五聲 □□□■妻妻妻妻 七聲 東東東東男坎欠○ □□□■妻妻妻妻 東東東東○○○妾 ■山手■妻妻妻妻 東東東東●●●● 十音 ■士石■妻妻妻妻 六音 東東東東●●●● 五聲 ■□耳■妻妻妻妻 八聲 東東東東●●●● ■□二■妻妻妻妻 東東東東●●●● ■莊震■妻妻妻妻 東東東東●●●● 十一音 ■乍□■妻妻妻妻 六音 東東東東●●●● 五聲 ■叉赤■妻妻妻妻 九聲 東東東東●●●● ■崇辰■妻妻妻妻 東東東東●●●● ■卓中■妻妻妻妻 東東東東●●●● 十二音 ■宅直■妻妻妻妻 六音 東東東東●●●● 五聲 ■折丑■妻妻妻妻 十聲 東東東東●●●● ■茶呈■妻妻妻妻 東東東東●●●●

This passage's left half pairs "wife" with eight tones: walking, free, craftsman, grass, seven, full, nine tones: thinking, three stars, temple, image, ten tones: mountain hand, scholar stone, ear, two, eleven tones: strong shock, sudden, fork red, high morning, twelve tones: outstanding middle, residence straight, split ugly, tea present, fifth tone: one round ends here. The right half is sixth tone "East" and up to sixth tone: palace, crowd, dragon, drum, fish, rat, bird, tiger, rabbit, seventh tone: heart, review, prohibition, male, water, this and the following three tones are all empty, so they are marked with ●. Shao Yong's study of sound and his system of yuan, hui, yun, and shi are actually one system: on one side, it uses twelve hui, thirty yun, and twelve shi multiplied together to cover all time; on the other, it uses ten tones and twelve sounds to cover all sounds. Though the numbers are in different places, the principle is one. Therefore, after compiling historical events in the "Huang Ji Jing Shi," the book immediately follows with these several sound diagrams, not starting anew, but applying the same system of calculation to another category. Each group consists of four lines, with the headings "a few tones" and "a few sounds" originally written vertically next to the four lines. Due to transcription into horizontal lines, these headings are now scattered in the second and third lines of each group. When reading, they should be restored as the heading for the group. Therefore, words like "six tones" and "five sounds," though placed between characters, are not connected to the eight characters in the same line, nor should they be read as "six tones East Dan Di." This is due to the copying format, not the original text. Whenever encountering headings indicating positions, they should be removed first, and then the two columns of main text should be read.

平聲闢唱呂一之六 開音清和律一之七 古甲九癸宮宮宮宮 乃乃乃乃多可個舌 一音 □□近揆宮宮宮宮 七音 乃乃乃乃禾火化八 六聲 坤巧丘棄宮宮宮宮 一聲 乃乃乃乃開宰愛○ □□乾蚪宮宮宮宮 乃乃乃乃回每退○ 黑花香血宮宮宮宮 乃乃乃乃良兩向○ 二音 黃華雄賢宮宮宮宮 七音 乃乃乃乃光廣況○ 六聲 五瓦仰□宮宮宮宮 二聲 乃乃乃乃丁井亙○ 吾牙月堯宮宮宮宮 乃乃乃乃兄永瑩○ 安亞乙一宮宮宮宮 乃乃乃乃千典旦○ 三音 □爻壬寅宮宮宮宮 七音 乃乃乃乃元犬半○ 六聲 母馬美米宮宮宮宮 三聲 乃乃乃乃臣引艮○ 目貌眉民宮宮宮宮 乃乃乃乃君允巽○ 夫法□飛宮宮宮宮 乃乃乃乃刀早孝嶽 四音 父凡□吠宮宮宮宮 七音 乃乃乃乃毛寶報霍 六聲 武晚□尾宮宮宮宮 四聲 乃乃乃乃牛斗奏六 文萬□未宮宮宮宮 乃乃乃乃○○○王 卜百丙必宮宮宮宮 乃乃乃乃妻子四日 五音 步白備鼻宮宮宮宮 七音 乃乃乃乃衰○帥骨 六聲 普撲品匹宮宮宮宮 五聲 乃乃乃乃○○○德 旁排平瓶宮宮宮宮 乃乃乃乃龜水貴北

The entries "Ping Sheng Bi Chang Lu Yi Zhi Liu" and "Kai Yin Qing He Lu Yi Zhi Qi" appear in the same row, indicating that both halves change their initial characters at this point: the left half replaces the character "Chang" with the sixth tone character "Bi" meaning "gong," and the right half replaces "He" with the seventh tone character "Qing" meaning "nai." The left half begins with the first tone characters "Gu Jia Jiu Gui, Ji Kuí, Kun Qiao Qiu Qi, Qian Yu" and proceeds through the second tone characters "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wo Ya Yue Yao," the third tone characters "An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," the fourth tone characters "Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei," and ends with the fifth tone characters "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Páng Pai Ping Ping." The right half starts with the first tone characters "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui" and proceeds through the second, third, and fourth tones, ending with the fifth tone characters "Fu Qi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei." Although the two halves are separated by only one space, they belong to two different tables and have their own row sequences, and should not be read as a continuous sentence. In the line "○○○ Wang," the corresponding position in other lines is "○○○ Yu," which is likely a carving error due to similar characters; we follow the original manuscript. To find a character that matches a particular tone and a particular sound, one should first locate the section in the left table corresponding to that tone, then find the section in the right table corresponding to that sound, and the intersection of these two sections is the position. If there is a character at this position, it is written; if not, a circle is written; if there is no sound, a square is written. Each position must be accurate and not confused. There are a total of 160 correct tones and 192 correct sounds. After excluding the unused ones, there are 112 used tones and 152 used sounds.

東丹帝■宮宮宮宮 乃乃乃乃宮孔眾○ 六音 兌大弟■宮宮宮宮 七音 乃乃乃乃龍甬用○ 六聲 土貪天■宮宮宮宮 六聲 乃乃乃乃魚鼠去○ 同覃田■宮宮宮宮 乃乃乃乃烏虎兔○ 乃你女■宮宮宮宮 乃乃乃乃心審禁○ 七音 內南年■宮宮宮宮 七音 乃乃乃乃○○○十 六聲 老冷呂■宮宮宮宮 七聲 乃乃乃乃男坎欠○ 鹿犖離■宮宮宮宮 乃乃乃乃○○○妾 走哉足■宮宮宮宮 乃乃乃乃●●●● 八音 自在匠■宮宮宮宮 七音 乃乃乃乃●●●● 六聲 草采七■宮宮宮宮 八聲 乃乃乃乃●●●● 曹才全■宮宮宮宮 乃乃乃乃●●●● 思三星■宮宮宮宮 乃乃乃乃●●●● 九音 寺□象■宮宮宮宮 七音 乃乃乃乃●●●● 六聲 □□□■宮宮宮宮 九聲 乃乃乃乃●●●● □□□■宮宮宮宮 乃乃乃乃●●●● ■山手■宮宮宮宮 乃乃乃乃●●●● 十音 ■士石■宮宮宮宮 七音 乃乃乃乃●●●● 六聲 ■□耳■宮宮宮宮 十聲 乃乃乃乃●●●● ■□二■宮宮宮宮 乃乃乃乃●●●●

The left half still uses "gong" as the starting point, paired with six tones: Dong Dan Di (East Dan Emperor), Dui Da Di (Great Brother of Dui), Tu Tan Tian (Earthly Greedy Heaven), Tong Tan Tian (Tong Tan Tian), seven tones: Nie Ni Nu (You Are Female), Nei Nan Nian (Inner South Year), Lao Leng Lv (Old Cold Lu), Lu Luo Li (Deer Luo Li), eight tones: Zou Zai Zu (Walk Zai Foot), Zi Zai Jiang (Free Craftman), Cao Cai Qi (Grass Collection Seven), Cao Cai Quan (Cao Cai Quan), nine tones: Si San Xing (Think Three Stars), Si Xiang (Temple Image), ten tones: Shan Shou (Mountain Hand), Shi Shi (Scholar Stone), Er (Two), and Er (Ear). The right half consists of the seventh tone "Nie" and the sixth tone "Gong Kong Zhong (Gong Kong Zhong), Long Yong Yong (Dragon Yong Yong), Yu Shu Qu (Fish Rat Go), Wu Hu Tu (Crow Tiger Rabbit), seventh tone: Xin Shen Jin (Heart Shen Jin), Nan Kan Qian (Male Kan Qian), and the subsequent eighth, ninth, and tenth tones are all empty, with twelve consecutive rows marked with ●. "Nie" in the tone chart belongs to the seventh tone, and is of the same category as "Nei," "Nan," and "Nian," which are among the last few of the nine tones that have characters; further down, the ten tones, eleven tones, and twelve tones have no characters at all, and can only be marked with ■. This point will be gradually seen in the following sections. Shao Yong's fundamental teaching is "to observe things by observing things," not to impose one's own intentions upon things; this sound chart is the embodiment of this principle in language: if a sound actually exists in people's mouths, it is recorded; if it does not exist, it is left blank, without any addition or subtraction due to the chart's appearance. The total number of correct sounds is 160, and correct tones is 192; after removing the unused parts, the number of used sounds is 112, and used tones is 152; multiplying these two numbers gives 17,280, which he called the number of all moving and growing things, believing that the total catalog of all moving and growing things in the world is contained within it. This is the final conclusion of the entire chart, and also the purpose for which he compiled the sounds into a table.

開音清和律一之八 ■莊震■宮宮宮宮 走走走走多可個舌 十一音 ■乍□■宮宮宮宮 八音 走走走走禾火化八 六聲 ■叉赤■宮宮宮宮 一聲 走走走走開宰愛○ ■崇辰■宮宮宮宮 走走走走回每退○ ■卓中■宮宮宮宮 走走走走良兩向○ 十二音 ■宅直■宮宮宮宮 八音 走走走走光廣況○ 六聲 ■折丑■宮宮宮宮 二聲 走走走走丁井亙○ ■茶呈■宮宮宮宮 走走走走兄永瑩○

The left half has completed the pairing of the "gong" with the eleventh tone's zhuang, zhen, zha, cha, chi, chong, chen, and the twelfth tone's zhuo, zhong, zhai, zhi, chie, chou, cha, cheng. The sixth tone's round has now concluded. The right half begins a new section: "Open sound, clear and harmonious law one of eight" switches to the eighth tone's clear sound character "zou" as the harmonizing element, starting again from the first tone. It first harmonizes with duo ke ge she, he huohua ba, kai zai ai, hui mei tui, then harmonizes with the second tone's liang liang xiang, guang guang kuang, ding jing geng, xiong yong ying. The eight tones take "zou" as their heading, similar to "zai" and "zu," and occupy the "water" position among the four categories. Within the category, instances like "■zhuang zhen■" and "■cha cheng■" where the first and last characters are solid squares indicate that the category has neither sound nor character; when reading the diagram, these should be treated as blank spaces, and should not be mistaken for blurred or damaged characters.

平聲闢唱呂一之七 古甲九癸心心心心 走走走走千典旦○ 一音 □□近揆心心心心 八音 走走走走元犬半○ 七聲 坤巧丘棄心心心心 三聲 走走走走臣引艮○ □□乾蚪心心心心 走走走走君允巽○ 黑花香血心心心心 走走走走刀早孝嶽 二音 黃華雄賢心心心心 八音 走走走走毛寶報霍 七聲 五瓦仰□心心心心 四聲 走走走走牛斗奏六 吾牙月堯心心心心 走走走走○○○玉 安亞乙一心心心心 走走走走妻子四日 三音 □爻壬寅心心心心 八音 走走走走衰○帥骨 七聲 母馬美米心心心心 五聲 走走走走○○○德 目貌眉民心心心心 走走走走龜水貴北 夫法□飛心心心心 走走走走宮孔眾○ 四音 父凡□吠心心心心 八音 走走走走龍甬用○ 七聲 武晚□尾心心心心 六聲 走走走走負鼠去○ 文萬□未心心心心 走走走走烏虎兔○ 卜百丙必心心心心 走走走走心審禁○ 五音 步白備鼻心心心心 八音 走走走走○○○十 七聲 普撲品匹心心心心 七聲 走走走走男坎欠○ 旁排平瓶心心心心 走走走走○○○妾

"The level tone 'Ping' corresponds to the seventh tone 'Qi' with the character 'Xin' replacing 'Chang', which is the last tone position among the ten that has a character to represent it. The tones below this can only be represented by ●. On the left side, starting from the ancient characters Jia, Ji, Gui, near揆, Kun Qiao Qiu Qi, Qian Yu, it proceeds through two tones, three tones, four tones, to five tones such as Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. On the right side, it includes the eighth tone 'Zou', and then the third tone characters Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, the fourth tone characters Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, the fifth tone characters Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei, the sixth tone characters Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, and the seventh tone characters Xin Shen Jin, Nan Kan Qian. Among these, the original text of Yixing reads 'Fu Shu Qu' for the sixth tone, but elsewhere in the same position it is 'Yu Shu Qu'. 'Fu' is likely a homonym for 'Yu' due to a similar character form, so we retain the original text as it is, without changing it according to other instances. This section on the left pairs characters with tones that have no characters, while the right side pairs tones with characters. One real and one virtual alternate to form the text. Shao Yong believed that tones belong to heaven and sounds belong to earth. The sounds of heaven have seven positions available, while the sounds of earth have nine positions available. The rest are empty, but not empty in the sense of nothing; rather, they have positions but no actual content. Once the position is established, the number is there; once the number is there, even without a character, it can be inferred. This is the key to reading the entire diagram. If one treats empty positions as missing characters, the entire system of calculation in the book becomes invalid. Later people misunderstood this diagram, often due to this reason. Therefore, whenever encountering full lines of circles and squares, these are exactly the points that should be focused on, and should not be hastily skipped."

東丹帝■心心心心 走走走走●●●● 六音 兌大弟■心心心心 八音 走走走走●●●● 七聲 土貪天■心心心心 八聲 走走走走●●●● 同覃田■心心心心 走走走走●●●● 乃你女■心心心心 走走走走●●●● 七音 內南年■心心心心 八音 走走走走●●●● 七聲 老冷呂■心心心心 九聲 走走走走●●●● 鹿犖離■心心心心 走走走走●●●● 走哉足■心心心心 走走走走●●●● 八音 自在匠■心心心心 八音 走走走走●●●● 七聲 草采七■心心心心 十聲 走走走走●●●● 曹才全■心心心心 走走走走●●●●

These twelve lines, on the left, still take 'heart' as the leading tone, paired with six tones: Dong Dan Di (East Dan Di), Dui Da Di (Dui Great Brother), Tu Tan Tian (Earth Greedy Heaven), Tong Tan Tian (Tong Tan Tian). On the seven tones: Nie Ni Nu (You You Nu), Nei Nan Nian (Inner South Year), Lao Leng Lv (Old Cold Lv), Lu Luo Li (Deer Luo Li). On the eight tones: Zou Zai Zu (Walk Zai Zu), Zi Zai Jiang (Free自在 Craftsman), Cao Cai Qi (Grass Cai Qi), Cao Cai Quan (Cao Cai Quan). On the right side, it is the eighth tone 'zou' (walk) and the eighth, ninth, and tenth tones. Since the sound positions are empty, all twelve lines are marked with ●. The ten tones of Heaven only use seven, the remaining three are empty but not discarded, still needing to occupy their positions in the diagram. This is the same principle as the twelve tones of Earth, which only use nine, the remaining three also needing to be listed. Shao Yong aims to display the whole number, not just the part that is available in language. The eighth tone 'zou' (walk) and the ninth tone 'si' (think) both belong to the dental sounds; one is the standard dental sound, the other is the fine dental sound. The two tones follow each other in harmony, without disorder in their sequence, which follows the same principle as the previous order of dental, throat, lip, and tongue sounds.

開音清和律一之九 思三星■心心心心 思思思思多可個舌 九音 寺□象■心心心心 九音 思思思思禾火化八 七聲 □□□■心心心心 一聲 思思思思開宰愛○ □□□■心心心心 思思思思回每退○ ■山手■心心心心 思思思思良兩向○ 十音 ■士石■心心心心 九音 思思思思光廣況○ 七聲 ■□耳■心心心心 二聲 思思思思丁井亙○ ■□二■心心心心 思思思思兄永瑩○ ■莊震■心心心心 思思思思千典旦○ 十一音 ■乍□■心心心心 九音 思思思思元犬半○ 七聲 ■叉赤■心心心心 三聲 思思思思臣引艮○ ■崇辰■心心心心 思思思思君允巽○ ■卓中■心心心心 思思思思刀早孝嶽 十二音 ■宅直■心心心心 九音 思思思思毛寶報霍 七聲 ■折丑■心心心心 四聲 思思思思牛斗奏六 ■茶呈■心心心心 思思思思○○○玉

The left half completes the pairing of the heart with the nine tones' thoughts, three stars, the temple, the mountain hand, the scholar, the stone, the ear, and two; the ten tones' zhuang zhen, zha, cha chi, chong chen; the eleven tones' zhuo zhong, zhai zhi, che chou, cha cheng; and the twelve tones' zhuo zhong, zhai zhi, che chou, cha cheng. The seventh tone's one round completes the singing, and the seven sounds of heaven have all been sung. The right half begins another section: "Opening tone, clear and harmonious law one of nine" switches to the ninth tone's clear sound character "si" as harmony, starting from the first tone, sequentially harmonizing with multiple characters, the tongue, the millet, the fire, the eight, the opening, the butcher, the love, the return, the every, the retreat, the good, the two, the direction, the light, the broad, the condition, the ding, the well, the constant, the elder brother, the long, the bright, the thousand, the classic, the dawn, the yuan, the dog, the half, the minister, the lead, the gen, the king, the yun, the xun. "Si" is the last character of the nine tones, and after harmonizing with the ten tones, the sound side will also transition into the position of no characters. Among the ten tones, the first seven have characters, and the last three have none; among the twelve tones, the first nine have characters, and the last three have none. This is the fixed arrangement of the entire diagram. Therefore, from this point on, the characters sung on the left half and the characters harmonized on the right half will gradually be replaced with circles and squares, while the forty-eight tone positions and forty sound positions remain arranged as before, with the number of lines remaining unchanged. Readers at this point may look back at the previous sections to understand the wonderful interplay of reality and emptiness.

平聲闢唱呂一之八 古甲九癸●●●● 思思思思妻子四日 一音 □□近揆●●●● 九音 思思思思衰○帥骨 八聲 坤巧丘棄●●●● 五聲 思思思思○○○德 □□乾蚪●●●● 思思思思龜水貴北 黑花香血●●●● 思思思思宮孔眾○ 二音 黃華雄賢●●●● 九音 思思思思龍甬用○ 八聲 五瓦仰□●●●● 六聲 思思思思魚鼠去○ 吾牙月堯●●●● 思思思思烏虎兔○ 安亞乙一●●●● 思思思思心審禁○ 三音 □爻壬寅●●●● 九音 思思思思○○○十 八聲 母馬美米●●●● 七聲 思思思思男坎欠○ 目貌眉民●●●● 思思思思○○○妾 夫法□飛●●●● 思思思思●●●● 四音 父凡□吠●●●● 九音 思思思思●●●● 八聲 武晚□尾●●●● 八聲 思思思思●●●● 文萬□未●●●● 思思思思●●●● 五音 卜百丙必●●●● 九音 思思思思●●●● 八聲 步白備鼻●●●● 九聲 思思思思●●●● 普撲品匹●●●● 思思思思●●●● 旁排平瓶●●●● 思思思思●●●●

"Level tone 'Ping' is the eighth tone, which is sung. In Shao Yong's framework, there is no character that can take the place of the eighth tone, so the word 'sung' is represented by four dots written together. Nevertheless, the forty-eight positions of the twelve tones must still be arranged one by one. On the left side, the first tone includes ancient characters like Jia, Ji, Gui, and others such as Kun Qiao, Qiu Qi, Qian Tu, and the second tone includes characters like Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao. The third tone includes characters like An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min. The fourth tone includes Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei. The fifth tone includes Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. This is the method of 'empty position but keeping the number': characters may be absent, but positions cannot be missing. On the right side, the ninth tone is 'Si', and the fourth tone includes characters such as Qi Fu Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei, the sixth tone includes characters such as Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, the seventh tone includes characters such as Xin Shen Jin, Nan Kan Qian. After this, the positions become empty and are marked with dots. 'Xin' is the end of the seventh tone, combining with the previous six tones to form the seven tones used in heaven. From 'Du' to 'Xin', each of the seven tones goes through forty-eight rows, totaling three hundred thirty-six rows. The following three tones, though without characters, still go through forty-eight rows each, totaling four hundred eighty rows, completing the left side. On the right side, each of the twelve tones goes through forty rows, also totaling four hundred eighty rows. The number of rows on both sides are equal but the sequence differs, which is the way two sets of numbers run parallel on the same chart. This is the most ingenious arrangement by Shao Yong; if scholars count the rows carefully, they will understand the method themselves."

東丹帝■●●●● 思思思思●●●● 六音 兌大弟■●●●● 九音 思思思思●●●● 八聲 土貪天■●●●● 十聲 思思思思●●●● 同覃田■●●●● 思思思思●●●● 開音清和律一之十 乃你女■●●●● ■■■■多可個舌 七音 內南年■●●●● 十音 ■■■■禾火化八 八聲 老冷呂■●●●● 一聲 ■■■■開宰愛○ 鹿犖離■●●●● ■■■■回每退○ 走哉足■●●●● ■■■■良兩向○ 八音 自在匠■●●●● 十音 ■■■■光廣況○ 八聲 草采七■●●●● 二聲 ■■■■丁井亙○ 曹才全■●●●● ■■■■兄永瑩○ 思三星■●●●● ■■■■千典旦○

The left half continues by singing with the eighth tone's empty position, pairing with six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian; seven tones: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li; eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, and starting with the ninth tone: Si San Xing, Si Xiang. The right half first completes the last few sounds of the ninth tone "Si," as the sound position is empty, so all the lines are filled with ●; then "Kai Yin Qing He Lu Yi Zhi Shi" switches to the tenth tone for harmony. Since the tenth tone has no characters, the position for "He" is written with four ■ in succession. However, it still starts with the first tone: Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui; then proceeds to the second tone: Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying, and moves on to the third tone. On the left, the singing character is empty while the paired characters are real; on the right, the harmony character is empty while the harmonized characters are real. This contrast clearly shows Shao Yong's intention of using both empty and real elements. Shao Yong's learning came from Li Zhicai, tracing back to Chen Tuan's school; he applied the Earlier Heaven numbers to sound, thus creating this diagram. Later scholars who explained Shao's teachings often provided interpretations, and his son Shao Bowen's account is especially detailed.

九音 寺□象■●●●● 十音 ■■■■元犬半○ 八聲 □□□■●●●● 三聲 ■■■■臣引艮○ □□□■●●●● ■■■■君允巽○ ■山手■●●●● ■■■■刀早孝嶽 十音 ■士石■●●●● 十音 ■■■■毛寶報霍 八聲 ■□耳■●●●● 四聲 ■■■■牛斗奏六 ■□二■●●●● ■■■■○○○玉 ■莊震■●●●● ■■■■妻子四日 十一音 ■乍□■●●●● 十音 ■■■■衰○帥骨 八聲 ■叉赤■●●●● 五聲 ■■■■○○○德 ■崇辰■●●●● ■■■■龜水貴北 ■卓中■●●●● ■■■■宮孔眾○ 十二音 ■宅直■●●●● 十音 ■■■■龍甬用○ 八聲 ■拆丑■●●●● 六聲 ■■■■魚鼠去○ ■茶呈■●●●● ■■■■烏虎兔○

This passage's left half completes the eighth tone's empty positions by pairing them with the nine tones' temple images and the following two lines, then pairs the ten tones' mountain hand, scholar stone, ear, and two; the eleven tones' zhuang zhen, zha, cha chi, chong chen; and the twelve tones' zhuo zhong, zhai zhi, che chou, cha cheng. The eighth tone's single round is thus completed. The right half begins with the tenth tone using ■ as the harmony, harmonizing up to the third tone's yuan quan half, chen yin gen, jun yun xun; the fourth tone's dao zao xiao yue, mao bao bao huo, niu dou zou liu; the fifth tone's wife four days, shuai shuai gu, gui shui gui bei; and the sixth tone's gong kong zhong, long yong yong, yu shu qu, wu hu tu. Within the same line, the left side is ● and the right side is ■, thus arranging the two types of empty positions side by side: the round ones belong to sound, the square ones to tone; the round ones with solid centers do not stand for connected sounds, and the square ones with solid centers do not stand for connected tones. Although both are empty positions, they refer to different deficiencies on the heavenly and earthly sides. In the left half, ● is used for singing, and in the right half, ■ is used for harmony, with both types of empty positions appearing within the same line. The round ones belong to heaven and sound, while the square ones belong to earth and tone. Since their shapes are different, what they refer to is also different, making them easy to confuse during copying. As seen in previous texts, examples of ■ and □ being used interchangeably exist, indicating that the transmitted versions have always been prone to errors. Therefore, we have entirely followed the original edition's carving and have not made any uniform adjustments.

平聲闢唱呂一之九 古甲九癸●●●● ■■■■心審禁○ 一音 □□近揆●●●● 十音 ■■■■○○○十 九聲 坤巧丘棄●●●● 七聲 ■■■■男坎欠○ □□乾蚪●●●● ■■■■○○○妾 黑花香血●●●● ■■■■●●●● 二音 黃華雄賢●●●● 十音 ■■■■●●●● 九聲 五瓦仰□●●●● 八聲 ■■■■●●●● 吾牙月堯●●●● ■■■■●●●● 安亞乙一●●●● ■■■■●●●● 三音 □爻壬寅●●●● 十音 ■■■■●●●● 九聲 母馬美米●●●● 九聲 ■■■■●●●● 目貌眉民●●●● ■■■■●●●● 夫法□飛●●●● ■■■■●●●● 四音 父凡□吠●●●● 十音 ■■■■●●●● 九聲 武晚□尾●●●● 十聲 ■■■■●●●● 文萬□未●●●● ■■■■●●●●

"Level tone is divided into the first and ninth tones." This is changed so that the ninth tone becomes the one sung. The ninth tone also has no character, so four dots ● are used instead. It still starts from the first tone's ancient characters Jia, ninth tone Gui, near揆, Kun Qiu Qi, Qian Tu, and proceeds through the second tone's Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao, the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min, to the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei. On the right side, the tenth tone and the seventh tone's Xin Shen Jin, Nan Kan Qian, as well as the eighth, ninth, and tenth tones' empty positions, are all represented by dots ●, making a continuous twelve rows. By this point, the forty rows on the right side are completed, and the tenth tone's first and last have been finished. At this stage, the positions with characters on both sides are few, and most are symbols, yet the number of rows remains unchanged. This is precisely where the entire table is about to conclude, yet the number remains complete. The ten tones of Heaven have now sung through nine positions, leaving only the last one. Both the ninth and tenth tones have no characters, yet their positions remain, so they still need to be sung for forty-eight rows each. Shao Yong believed that the number of tones comes from Heaven. Heaven has ten positions, but humans can only speak of seven. The remaining three are not because people do not wish to speak, but because reason does not reach there. Keeping their positions empty yet their actual content absent shows the limits of human effort, while the completeness of the number is not affected by this. This idea is consistent with the previous diagram's empty positions.

開音清和律一之十一 卜百丙必●●●● ■■■■多可個舌 五音 步白備鼻●●●● 十一音 ■■■■禾火化八 九聲 普撲品匹●●●● 一聲 ■■■■開宰愛○ 旁排平瓶●●●● ■■■■回每退○ 東丹帝■●●●● ■■■■良兩向○ 六音 兌大弟■●●●● 十一音 ■■■■光廣況○ 九聲 土貪天■●●●● 二聲 ■■■■丁井亙○ 同覃田■●●●● ■■■■兄永瑩○ 乃你女■●●●● ■■■■千典旦○ 七音 內南年■●●●● 十一音 ■■■■元犬半○ 九聲 老冷呂■●●●● 三聲 ■■■■臣引艮○ 鹿犖離■●●●● ■■■■君允巽○ 走哉足■●●●● ■■■■刀早孝嶽 八音 自在匠■●●●● 十一音 ■■■■毛寶報霍 九聲 草采七■●●●● 四聲 ■■■■牛斗奏六 曹才全■●●●● ■■■■○○○玉 思三星■●●●● ■■■■妻子四日 九音 寺□象■●●●● 十一音 ■■■■衰○帥骨 九聲 □□□■●●●● 五聲 ■■■■○○○德 □□□■●●●● ■■■■龜水貴北

"The 'Opening Sound Clear Harmony Law No. 11' has the right half replacing the eleventh sound with 'He', which also has no corresponding character, still marked with four ■ symbols. Starting from the first tone's 'Duoke' (multiple), 'Huo' (fire), 'Huo' (fire), 'Huo' (fire), 'Kaizai' (to take), 'Hui mei tui' (return each), proceeding through the second tone's 'Liang liang xiang' (good two directions), 'Guang guang kuang' (bright wide situation), 'Ding jing geng' (Ding well constant), 'Xiong yong ying' (brother long bright), the third tone's 'Qian dian dan' (thousand classic dawn), 'Yuan quan ban' (origin dog half), 'Chen yin gen' (minister lead mountain), 'Jun yun xun' (king allow wind), the fourth tone's 'Dao zao xiao yue' (knife early filial mountain), 'Mao bao bao huo' (hair treasure report fire), 'Niu dou zou liu' (ox star compose six), to the fifth tone's 'Qī zi sì rì' (wife four days), 'Shuai shuai gu' (decline general bone), 'Gui shui gui bei' (turtle water noble north). The left half continues with the ninth tone in singing, continuing to pair with five tones' 'Bu bai bing bi' (calculate hundred definitely must), 'Bu bai bei bi' (step white prepare nose), 'Pu pu pin pi' (general rough item match), 'Pang pai ping ping' (side arrange level bottle), six tones' 'Dong dan di' (east red emperor), 'Dui da di' (lake big brother), 'Tu tan tian' (earth greedy heaven), 'Tong tan tian' (same deep field), seven tones' 'Nai ni nu' (you you woman), 'Nei nan nian' (inner south year), 'Lao leng lv' (old cold lu), 'Lu luo li' (deer rough departure), eight tones' 'Zou zai zu' (go free foot), 'Zi zai jiang' (free self craftsman), 'Cao cao qi' (grass collect seven), 'Cao cai quan' (Cao collect full), nine tones' 'Si san xing' (think three stars), 'Si xiang' (temple image). At this point, the left half's 'singing' character is ●, and the right half's 'He' character is ■, both sides have entered the position without a character, yet the paired characters are still arranged in rows, clearly and distinctly. This clearly shows that Shao Yong valued position and number rather than characters. In his 'Inner Chapter of Observing Things', he said that heaven, earth, and all things have numbers, and where numbers exist, there also exists principle; sound is merely one aspect of things, taking the countable as an example. Therefore, reading these sections need not be regretful about the absence of characters; one only needs to see that the order is not confused and the positions and numbers are not lacking, and thus grasp the main idea. If one insists on finding a character for each section, one would miss the original intention of the author. Those who have interpreted this diagram in the past mostly first clarified this point before proceeding to the details."

■山手■●●●● ■■■■宮孔眾○ 十音 ■士石■●●●● 十一音 ■■■■龍甬用○ 九聲 ■□耳■●●●● 六聲 ■■■■魚鼠去○ ■□二■●●●● ■■■■烏虎兔○ ■莊震■●●●● ■■■■心審禁○ 十一音 ■乍□■●●●● 十一音 ■■■■○○○十 九聲 ■叉赤■●●●● 七聲 ■■■■男坎欠○ ■崇辰■●●●● ■■■■○○○妾 ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十一音 ■■■■●●●● 九聲 ■拆丑■●●●● 八聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●● 平聲闢唱呂一之十 古甲九癸●●●● ■■■■●●●● 一音 □□近揆●●●● 十一音 ■■■■●●●● 十聲 坤巧丘棄●●●● 九聲 ■■■■●●●● □□乾蚪●●●● ■■■■●●●● 黑花香血●●●● ■■■■●●●● 二音 黃華雄賢●●●● 十一音 ■■■■●●●● 十聲 五瓦仰□●●●● 十聲 ■■■■●●●● 吾牙月堯●●●● ■■■■●●●●

The left half completes the ninth tone with ten sounds: mountain hand, scholar stone, ear, two; eleven sounds: Zhuang Zhen, zha, cha chi, Chong Chen; twelve sounds: Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng. Then "level tone Pi Chang Lv Yi Zhi Shi" is assigned to the tenth tone as the singing tone, which is the last of the heavenly tones and has no character, still represented by four dots. First, it is paired with one sound: Gu Jia Jiu Gui, Jin Kui, Kun Qiao Qiu Qi, Qian Yu; then with two sounds: He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao. The right half includes the eleventh sound and down to the sixth sound: Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu; the seventh sound: Xin Shen Jin; and the eighth, ninth, and tenth sounds which are vacant. There are few characters in the corners of these lines; when reading, one only needs to remember that squares represent sounds and circles represent tones. Solid circles indicate that neither the tone nor the sound is established, while hollow circles indicate that the sound and tone can be established but there is no corresponding character. Shao Yong divided tones into ten and sounds into twelve, taking the constant numbers of heaven and earth: ten is the end of the heavenly number, twelve is the end of the earthly number. Each of the ten tones has four lines, each line with four characters, hence a total of 160 standard tones; each of the twelve sounds also has four lines with four characters, hence 192 standard sounds. The heavenly tones are sung above, and the earthly sounds are harmonized below; one sings and one harmonizes, and all sounds are complete. This is the same principle as his explanation of the interaction between heaven and earth and the mutual generation of movement and stillness. Although the diagram is full of circles and blocks, its intention lies entirely in the concept of "interaction." Once this is understood, one knows that both the empty and filled spaces in this diagram are equally important, neither can be missing. The method of calculation also arises from these 480 lines.

開音清和律一之十二 安亞乙一●●●● ■■■■多可個舌 三音 □爻壬寅●●●● 十二音 ■■■■禾火化八 十聲 母馬美米●●●● 一聲 ■■■■開宰愛○ 目貌眉民●●●● ■■■■回每退○ 夫法□飛●●●● ■■■■良兩向○ 四音 父凡□吠●●●● 十二音 ■■■■光廣況○ 十聲 武晚□尾●●●● 二聲 ■■■■丁井亙○ 文萬□未●●●● ■■■■兄永瑩○ 卜百丙必●●●● ■■■■千典旦○ 五音 步白備鼻●●●● 十二音 ■■■■元犬半○ 十聲 普撲品匹●●●● 三聲 ■■■■臣引艮○ 旁排平瓶●●●● ■■■■君允巽○ 東丹帝■●●●● ■■■■刀早孝嶽 六音 兌大弟■●●●● 十二音 ■■■■毛寶報霍 十聲 土貪天■●●●● 四聲 ■■■■牛斗奏六 同覃田■●●●● ■■■■○○○玉 乃你女■●●●● ■■■■妻子四日 七音 內南年■●●●● 十二音 ■■■■衰○帥骨 十聲 老冷呂■●●●● 五聲 ■■■■○○○德

"The 'Opening Sound Clear and Harmonious Law One of Twelve' is the final section of this passage. The right half is now continued by the twelfth tone, which has no characters; the position of the 'harmonious' character is represented by four consecutive ■ symbols. It still proceeds from the first tone's 'many, can, fire, eight, open, take, love, return, each, retreat' to the second tone's 'good, two, direction, light, broad, situation, Ding, well, constant, elder, long, bright,' then to the third tone's 'thousand, classic, dawn, Yuan, dog, half, minister, lead, Gen, king, allow, Xun,' and to the fourth tone's 'knife, early, filial piety, mountain, hair, treasure, report, Huo, ox, star, play, six,' up to the fifth tone's 'wife, four, days, decline, general, bone.' The left half continues with the tenth tone downward, covering three tones: 'security, Ya, Yi, one, yao, Renyin, mother, horse, beauty, Mi, eye, face, eyebrow, people,' four tones: 'husband, method, fly, father, all, bark, Wu, late, tail, Wen, ten, not,' five tones: '卜, Bai, Bing, Pi, Bu, Bai, Bei, Bi, Pu, Pu, Pin, Pi, Pang, Pai, Ping, Ping,' six tones: 'East, Dan, Emperor, Dui, Da, Di, Tu, Tan, Tian, Tong, Tan, Tian,' seven tones: 'Nai, Ni, Nu, Nei, Nan, Nian, Lao, Leng, Lü.' The last three tones of the twelve have no characters, so three sections are used with ■ to represent the harmonious sound; each section still consists of forty lines, with no character omitted. These three sections connect with the left half's tenth tone in a continuous chant, forming a complete set of round and square symbols on the diagram. At first glance, it seems unreadable, but in fact, it is the culmination of the entire table: the sound ends at ten, the tone ends at twelve, and when it ends, it begins again. Therefore, the next passage will use a new set of characters for chanting and harmonizing, starting a new diagram. Shao Yong believed that the numbers of heaven and earth all have a beginning and an end, and when the end comes, it begins again. Hence, the sixteen diagrams follow continuously, which is consistent with the cycle of Yuan, Hui, Yun, and Shi. Readers should view this in conjunction with the previous sections."

鹿犖離■●●●● ■■■■龜水貴北 走哉足■●●●● ■■■■宮孔眾○ 八音 自在匠■●●●● 十二音 ■■■■龍甬用○ 十聲 草采七■●●●● 六聲 ■■■■魚鼠去○ 曹才全■●●●● ■■■■烏虎兔○ 思三星■●●●● ■■■■心審禁○ 九音 寺□象■●●●● 十二音 ■■■■○○○十 十聲 □□□■●●●● 七聲 ■■■■男坎欠○ □□□■●●●● ■■■■○○○妾 ■山手■●●●● ■■■■●●●● 十音 ■士石■●●●● 十二音 ■■■■●●●● 十聲 ■□耳■●●●● 八聲 ■■■■●●●● ■□二■●●●● ■■■■●●●● ■莊震■●●●● ■■■■●●●● 十一音 ■乍□■●●●● 十二音 ■■■■●●●● 十聲 ■叉赤■●●●● 九聲 ■■■■●●●● ■崇辰■●●●● ■■■■●●●● ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十二音 ■■■■●●●● 十聲 ■拆丑■●●●● 十聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●●

This is the final paragraph of the thirty-fifth section of the "Observing Things" chapter. After completing the seventh tones of the left half with the deer's horn, the seventh tone of the "Lù Luó lí" (鹿荦离), it continues with the eighth tones of "zǒu zāi zú" (走哉足), "zì zài jiàng" (自在匠), "cǎo cǎi qī" (草采七), "cáo cái quán" (曹才全), the ninth tones of "sī sān xīng" (思三星), "sì xiàng" (寺象), the tenth tones of "shān shǒu" (山手), "shì shí" (士石), "ěr" (耳), "èr" (二), the eleventh tones of "zhuāng zhèn" (庄震), "zhà" (乍), "chā chì" (叉赤), "chóng chén" (崇辰", and the twelfth tones of "zhuó zhōng" (卓中), "zhái zhí" (宅直), "chāi chǒu" (拆丑), "chá chéng" (茶呈). On the right half, after completing the fifth tones of "guī shuǐ guì běi" (龟水贵北), it continues with the sixth tones of "gōng kǒng zhòng" (宫孔众), "lóng yǒng yòng" (龙甬用), "yú shǔ qù" (鱼鼠去), "wū hǔ tù" (乌虎兔), the seventh tones of "xīn shěn jìn" (心审禁), "nán kǎn qiàn" (男坎欠), and the eighth, ninth, and thirteenth tones of "xū wèi" (虚位). Once the tenth tones are sung and the twelfth tones are harmonized, this sound and harmony chart is complete. The left half has ten tones, each with forty-eight lines, totaling four hundred and eighty lines. The right half has twelve harmonies, each with forty lines, also totaling four hundred and eighty lines. Both halves are exactly matched, with no missing or added lines. When this chart is completed, the next section will change to using the convergence of level tones and the thickness of open tones, forming another chart. From "Rì Rì Shēng Píng Pì" (日日声平辟) onwards, the thirty-fifth section of "Observing Things" concludes with the completion of ten tones and twelve harmonies. In total, the left half has ten tones, each with forty-eight lines, totaling four hundred and eighty lines; the right half has twelve harmonies, each with forty lines, also totaling four hundred and eighty lines. When both halves are engraved together, the lines correspond perfectly. Although there are fewer filled positions and more empty ones, there is no addition or subtraction of a single line. This is the fixed method established by Shao Yong for creating the chart. The next section will use the convergence of level tones and the thickness of open tones, although the characters used in the singing and harmonizing will change, the forty-eight tone positions and forty sound positions remain unchanged. Readers can easily compare the two charts to see the order clearly. The following sixteen charts follow this pattern, with differences only in the selected tone categories and sound categories.

日月聲平翕 水火音開濁 禾光元毛衰 □黃□父步兌 龍○●●● 內自寺■■■ 日月聲七，下唱地之 水火音九，上和天之 用音一百五十二，是 用聲一百一十二，是 謂平聲翕音。平聲翕 謂開音濁聲。開音濁 音一千六十四。 聲一千八。 日月聲平之二翕 水火音開之二濁 平聲翕唱呂二之一 開音濁和律二之一

"The title of the second diagram is 'Day and Moon Sounds are Level and Close' and 'Water and Fire Sounds are Open and Heavy.' It has exactly the same structure as the previous diagram, differing only in the selection of positions: the previous diagram selected the day position from the heavenly day and the water position from the earthly water, corresponding to level tone 'Bi' and open sound 'Qing'; this diagram selects the moon position from the heavenly day and the fire position from the earthly water, corresponding to level tone 'Xi' and open sound 'Zhu.' 'Bi' refers to the mouth opening, while 'Xi' refers to the mouth closing; 'Qing' refers to light breath, while 'Zhu' refers to heavy breath. Therefore, among the level tones, words like Duo, Liang, Qian, Dao, Qi, Gong, Xin are 'Bi,' while words like He, Guang, Yuan, Mao, Shuai, Long are 'Xi.' Among the open sounds, words like Gu, Hei, An, Fu, Bu, Dong, Nie, Zou, Si are 'Qing,' while words like Huang, Fu, Bu, Duì, Nei, Zi, Si are 'Zhu.' When listing the characters in the diagram, the seventh position on the sound side has no character to be listed, so it is written as ○; the first and third positions on the sound side have no characters to be listed, so they are written as □; the next three positions on the sound side are marked with ●, and the next three positions on the sound side are marked with ■, still indicating empty positions. One should note that 'Day and Moon Sounds Seven' and 'Water and Fire Sounds Nine' refer to the number of available sound positions being seven and the number of available sound tones being nine, not that there are seven characters or nine characters: positions are fixed numbers, while characters may or may not exist, so among the seven sounds, one position may be empty, and among the nine sounds, two positions may be empty, yet the numbers remain unchanged—seven multiplied by one hundred fifty-two gives one thousand and six, and nine multiplied by one hundred twelve gives one thousand and eight, exactly the same as the previous diagram. This is the essence of Shao Yong's mathematics: he calculates positions, not characters."

古甲九癸禾禾禾禾 □□□□多可個舌 一音 □□近揆禾禾禾禾 一音 □□□□禾火化八 一聲 坤巧丘棄禾禾禾禾 一聲 □□□□開宰愛○ □□乾蚪禾禾禾禾 □□□□回每退○ 黑花香血禾禾禾禾 □□□□良兩向○ 二音 黃華雄賢禾禾禾禾 一音 □□□□光廣況○ 一聲 五瓦仰□禾禾禾禾 二聲 □□□□丁井亙○ 吾牙月堯禾禾禾禾 □□□□兄永瑩○ 安亞乙一禾禾禾禾 □□□□千典旦○ 三音 □爻壬寅禾禾禾禾 一音 □□□□元犬半○ 一聲 母馬美米禾禾禾禾 三聲 □□□□臣引艮○ 目貌眉民禾禾禾禾 □□□□君允巽○ 夫法□飛禾禾禾禾 □□□□刀早孝嶽 四音 父凡□吠禾禾禾禾 一音 □□□□毛寶報霍 一聲 武晚□尾禾禾禾禾 四聲 □□□□牛斗奏六 文萬□未禾禾禾禾 □□□□○○○玉 卜百丙必禾禾禾禾 □□□□妻子四日 五音 步白備鼻禾禾禾禾 一音 □□□□衰○帥骨 一聲 普撲品匹禾禾禾禾 五聲 □□□□○○○德

From "Ping Sheng Xi Chang Lv Er Zhi Yi" onwards, the left half uses the first tone's Xi sound character "He" as the singing tone, matching it with the twelve tones; from "Kai Yin Zhu He Lv Er Zhi Yi" onwards, the right half uses the first tone's dull sound character as the harmonizing tone, but since there is no character for this sound, the position of the harmonizing character is written as four empty squares. It still harmonizes with the ten tones. The left half starts with the first tone's ancient Jia Ji Gui, near揆, Kun Qiao Qiu Qi, Qian Tu, and proceeds through the second tone's He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao; the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min; the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei; and reaches the fifth tone's Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi. The right half starts with the first tone's Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui, and proceeds through the second tone's Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying; the third tone's Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun; the fourth tone's Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu; and reaches the fifth tone's Fu Qi Si Ri, Shuai Shuai Gu. The forty-eight tone positions and forty tone positions match exactly with the previous diagram, showing that Shao Yong's sixteen diagrams share the same framework, differing only in the singing and harmonizing characters. In the "Guan Wu" chapter thirty-five, sound is taken as "bi" and tone as "qing"; in this chapter, sound is taken as "xi" and tone as "zhu." "Bi" and "xi" refer to the opening and closing of the mouth, while "qing" and "zhu" refer to the lightness and heaviness of breath. Each diagram focuses on one aspect, and the sixteen diagrams cycle through all aspects, ensuring that the sounds of heaven and earth are fully covered. This is the method of arranging the entire sound diagram.

旁排平瓶禾禾禾禾 □□□□龜水貴北 東丹帝■禾禾禾禾 □□□□宮孔眾○ 六音 兌大弟■禾禾禾禾 一音 □□□□龍甬用○ 一聲 土貪天■禾禾禾禾 六聲 □□□□魚鼠去○ 同覃田■禾禾禾禾 □□□□烏虎兔○ 乃你女■禾禾禾禾 □□□□心審禁○ 七音 內南年■禾禾禾禾 一音 □□□□○○○十 一聲 老冷呂■禾禾禾禾 七聲 □□□□男坎欠○ 鹿犖離■禾禾禾禾 □□□□○○○妾 走哉足■禾禾禾禾 □□□□●●●● 八音 自在匠■禾禾禾禾 一音 □□□□●●●● 一聲 草采七■禾禾禾禾 八聲 □□□□●●●● 曹才全■禾禾禾禾 □□□□●●●● 思三星■禾禾禾禾 □□□□●●●● 九音 寺□象■禾禾禾禾 一音 □□□□●●●● 一聲 □□□■禾禾禾禾 九聲 □□□□●●●● □□□■禾禾禾禾 □□□□●●●● ■山手■禾禾禾禾 □□□□●●●● 十音 ■士石■禾禾禾禾 一音 □□□□●●●● 一聲 ■□耳■禾禾禾禾 十聲 □□□□●●●●

The left half still uses "he" as the main character, paired with five tones arranged in parallel bottles, six tones including Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, seven tones including Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li, eight tones including Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, nine tones including Si San Xing, Si Xiang, and ten tones including Shan Shou, Shi Shi, Er. The right half consists of the first浊音 and the last line of the fifth tone,Gui Shui Gui Bei, sixth tone including Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, seventh tone including Xin Shen Jin, Nan Kan Qian, and the following three tones are all empty, marked with ●. In this section, the character "he" on the right half is always represented by four square blocks, with no actual character, yet the forty lines are still fully arranged, which is the same as the method used in the previous diagram from the tenth tone onwards: once the tone positions are established, even if there are no characters to be cited, the line order must be determined, otherwise the number one thousand and eight cannot be calculated. The sound diagram and the tone diagram complement each other in terms of reality and emptiness; by comparing the two diagrams, readers can best understand Shao Yong's distinction between "ti shu" (body number) and "yong shu" (usage number). Since the first浊音 has no character, the entire right half's "he" is represented by square blocks; however, the ten tones it corresponds to are all clearly defined, thus forming the situation where "he" is empty but what it corresponds to is real. The previous diagram from the tenth tone onwards is also the same. By comparing the two diagrams, one can understand that emptiness in the tone corresponds to reality in the sound, and emptiness in the sound corresponds to reality in the tone; the interplay of reality and emptiness is what expresses the presence and absence on both the heavenly and earthly sides. Shao Yong did not create a character just to make it neat, nor did he abandon a position simply because there was no character; his rigor lies precisely here. Later scholars who deleted empty positions in pursuit of simplicity have all lost the original meaning.

■□二■禾禾禾禾 □□□□●●●● 開音濁和律二之二 ■莊震■禾禾禾禾 黃黃黃黃多可個舌 十一音 ■乍□■禾禾禾禾 二音 黃黃黃黃禾火化八 一聲 ■叉赤■禾禾禾禾 一聲 黃黃黃黃開宰愛○ ■崇辰■禾禾禾禾 黃黃黃黃回每退○ ■卓中■禾禾禾禾 黃黃黃黃良兩向○ 十二音 ■宅直■禾禾禾禾 二音 黃黃黃黃光廣況○ 一聲 ■拆丑■禾禾禾禾 二聲 黃黃黃黃丁井亙○ ■茶呈■禾禾禾禾 黃黃黃黃兄永瑩○

The left half first completes the pairing of "he" with the last tone of the ten sounds, then pairs it with the eleven sounds of zhuang, zhen, zha, cha, chi, chong, chen and the twelve sounds of zhuo, zhong, zhai, zhi, che, chou, cha, cheng. The first tone is completed. The right half starts a new section: "open sound,浊 and harmonize with the second sound of two tones" switches to the second sound's浊 sound character "huang" as the harmonizing character, starting from the first tone, first harmonizing with multiple characters such as "duoke", "hemoshuhua", "kaizai'ai", "huimaitui", then harmonizing with the second tone characters "liangliangxiang", "guangguangkuang", "dingjinggen", "xiongyongying". "Huang" is in the same position as the second sound "hei" in the previous diagram but differs in level, one being浊 and the other clear, exactly the model of Shao Yong dividing sounds into two columns of clear and浊: the same articulation site, with light breath entering the clear column and heavy breath entering the浊 column, each column forming a diagram, with the positions corresponding one by one.

平聲翕唱呂二之二 古甲九癸光光光光 黃黃黃黃千典旦○ 一音 □□近揆光光光光 二音 黃黃黃黃元犬半○ 二聲 坤巧丘棄光光光光 三聲 黃黃黃黃臣引艮○ □□乾蚪光光光光 黃黃黃黃君允巽○ 黑花香血光光光光 黃黃黃黃刀早孝嶽 二音 黃華雄賢光光光光 二音 黃黃黃黃毛寶報霍 二聲 五瓦仰□光光光光 四聲 黃黃黃黃牛斗奏六 吾牙月堯光光光光 黃黃黃黃○○○玉 安亞乙一光光光光 黃黃黃黃妻子四日 三音 □爻壬寅光光光光 二音 黃黃黃黃衰○帥骨 二聲 母馬美米光光光光 五聲 黃黃黃黃○○○德 目貌眉民光光光光 黃黃黃黃龜水貴北 夫法□飛光光光光 黃黃黃黃宮孔眾○ 四音 父凡□吠光光光光 二音 黃黃黃黃龍甬用○ 二聲 武晚□尾光光光光 六聲 黃黃黃黃魚鼠去○ 文萬□未光光光光 黃黃黃黃烏虎兔○ 卜百丙必光光光光 黃黃黃黃心審禁○ 五音 步白備鼻光光光光 二音 黃黃黃黃○○○十 二聲 普撲品匹光光光光 七聲 黃黃黃黃男坎欠○ 旁排平瓶光光光光 黃黃黃黃○○○妾

"Peaceful tone harmonizes with the second tone 'Xī' as 'Lǚ' second tone second," replacing the character 'chàng' with the second tone character 'guāng'. The left half starts again from the beginning: one tone includes ancient Jia, ninth Gui, and Kui; near揆, Kun, Qiu, Qi; two tones include Hei, Hua, Xiang, Xue; Huang, Hua, Xiong, Xian; Wu, Wa, Yang; Wu, Ya, Yue, Yao; three tones include An, Ya, Yi, Yi; Yao, Renyin; Mu, Ma, Mei, Mi; Mu, Mo, Mei, Min; four tones include Fu, Fa, Fei; Fu, Fan, Fei; Wu, Wan, Wei; Wen, Wan, Wei; five tones include Bu, Bai, Bing, Bi; Bu, Bai, Bei, Bi; Pu, Pu, Pin, Pi; Pang, Pai, Ping, Ping. The right half remains under the second heavy tone 'Huang', and includes third tone 'Qian', 'Dian', 'Dan'; 'Yuan', 'Quan', 'Ban'; 'Chen', 'Yin', 'Gen'; 'Jun', 'Yun', 'Xun'; fourth tone 'Dao', 'Zao', 'Xiao', 'Yue'; 'Mao', 'Bao', 'Bao', 'Huo'; 'Niu', 'Dou', 'Zou', 'Liu'; fifth tone 'Fu', 'Zi', 'Si', 'Ri'; 'Shuai', 'Shuai', 'Gu'; 'Gui', 'Shui', 'Gui', 'Bei'; sixth tone 'Gong', 'Kong', 'Zhong'; 'Long', 'Nong', 'Yong'; 'Yu', 'Shu', 'Qu'; 'Wu', 'Hu', 'Tu'; seventh tone 'Xin', 'Shen', 'Jin'; 'Nan', 'Kan', 'Qian'. 'Guang' and 'Liang' in the previous diagram both belong to the second tone, one 'xi' and one 'bi', forming a closed mouth and an open mouth, clearly showing that Shao Yong's focus on distinguishing 'xi' and 'bi' was entirely on mouth shape, which is consistent with later scholars' division of 'open' and 'closed' tones. 'Huang' and 'Hei', 'Fu' and 'Fu', 'Bu' and 'Bu', 'Dui' and 'Dong', 'Nei' and 'Nai', 'Zi' and 'Zou', 'Si' and 'Si' are paired, one heavy and one light. The distinction between light and heavy tones lies in the strength of breath, while their positions are exactly the same, so two characters in the same grid often differ only by whether they are aspirated or not. Shao Yong used this to show the two extremes of place of articulation, just as 'xi' and 'bi' show the two extremes of tone, and together they form a diagram.

東丹帝■光光光光 黃黃黃黃●●●● 六音 兌大弟■光光光光 二音 黃黃黃黃●●●● 二聲 土貪天■光光光光 八聲 黃黃黃黃●●●● 同覃田■光光光光 黃黃黃黃●●●● 乃你女■光光光光 黃黃黃黃●●●● 七音 內南年■光光光光 二音 黃黃黃黃●●●● 二聲 老冷呂■光光光光 九聲 黃黃黃黃●●●● 鹿犖離■光光光光 黃黃黃黃●●●● 走哉足■光光光光 黃黃黃黃●●●● 八音 自在匠■光光光光 二音 黃黃黃黃●●●● 二聲 草采七■光光光光 十聲 黃黃黃黃●●●● 曹才全■光光光光 黃黃黃黃●●●●

These twelve lines, the left half still uses "guang" as the leading character, paired with six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian; seven tones: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li; eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan. The right half consists of the second浊音 "huang" and the eighth, ninth, and tenth tones, all marked as ●. Whenever such lines with a solid left and empty right appear, reading them can focus on the left half, treating the right as a placeholder; but Shao Yong would never omit them, because each line in the diagram corresponds to a specific number, and missing a line would result in an incomplete number, making it impossible to proceed with the algorithm of deducing objects from sounds. When the left has characters and the right is all ●, it represents the emptiness of heavenly sounds; later, under the first浊音, the sound is solid but the tone is empty, representing the emptiness of earthly sounds. These two types of empty positions alternate in the diagram, precisely showing the insufficiency of heaven and earth, and also preventing readers from mistaking the empty spaces for missing characters.

開音濁和律二之三 思三星■光光光光 □□□□多可個舌 九音 寺□象■光光光光 三音 □□□□禾火化八 二聲 □□□■光光光光 一聲 □□□□開宰愛○ □□□■光光光光 □□□□回每退○ ■山手■光光光光 □□□□良兩向○ 十音 ■士石■光光光光 三音 □□□□光廣況○ 二聲 ■□耳■光光光光 二聲 □□□□丁井亙○ ■□二■光光光光 □□□□兄永瑩○ ■莊震■光光光光 □□□□千典旦○ 十一音 ■乍□■光光光光 三音 □□□□元犬半○ 二聲 ■叉赤■光光光光 三聲 □□□□臣引艮○ ■崇辰■光光光光 □□□□君允巽○ ■卓中■光光光光 □□□□刀早孝嶽 十二音 ■宅直■光光光光 三音 □□□□毛寶報霍 二聲 ■拆丑■光光光光 四聲 □□□□牛斗奏六 ■茶呈■光光光光 □□□□○○○玉

The left half completes the pairing of "light" with the nine tones' three stars, temple images, the ten tones' mountain hand, scholar stone, ear, two, the eleven tones' Zhuang Zhen, zha, cha chi, Chong Chen, the twelve tones' Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng, and the second tone's one round song finishes. The right half starts a new section: "Open tone浊 and harmony law two three" switches to the third tone as harmony; since there is no character for the third浊 tone, the position of harmony is written as four empty surrounding square blocks, still starting from the first tone's Duo Ke, Ge Fire Hua Ba, Kai Zai Ai, Hui Mei Tui, then the second tone's Liang Liang Xiang, Guang Guang Kuang, Ding Jing Geng, Xiong Yong Ying, the third tone's Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, to the fourth tone's Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu. The empty surrounding square blocks indicate that this tone position is logically valid but has no corresponding character, differing from the solid square blocks which represent tones that do not exist at all. In the diagram, both types appear mixed, so they must be carefully distinguished. The empty surrounding square blocks represent tones with sound but no character, while the solid square blocks represent tones with neither sound nor character. The empty surrounding circles represent sounds without characters, while the solid circles represent neither sound nor character. The four types of symbols are paired oppositely; when reading the diagram, first distinguish between square and circle, then between empty and solid, and the positions will be clear. Occasionally, the carver of the original text mixed up some symbols, as previously mentioned, and all are preserved as they originally were.

平聲翕唱呂二之三 古甲九癸元元元元 □□□□妻子四日 一音 □□近揆元元元元 三音 □□□□衰○帥骨 三聲 坤巧丘棄元元元元 五聲 □□□□○○○德 □□乾蚪元元元元 □□□□龜水貴北 黑花香血元元元元 □□□□宮孔眾○ 二音 黃華雄賢元元元元 三音 □□□□龍甬用○ 三聲 五瓦仰□元元元元 六聲 □□□□魚鼠去○ 吾牙月堯元元元元 □□□□烏虎兔○ 安亞乙一元元元元 □□□□心審禁○ 三音 □爻壬寅元元元元 三音 □□□□○○○十 三聲 母馬美米元元元元 七聲 □□□□男坎欠○ 目貌眉民元元元元 □□□□○○○妾 夫法□飛元元元元 □□□□●●●● 四音 父凡□吠元元元元 三音 □□□□●●●● 三聲 武晚□尾元元元元 八聲 □□□□●●●● 文萬□未元元元元 □□□□●●●● 卜百丙必元元元元 □□□□●●●● 五音 步白備鼻元元元元 三音 □□□□●●●● 三聲 普撲品匹元元元元 九聲 □□□□●●●● 旁排平瓶元元元元 □□□□●●●●

"Level tone harmonizes with the third tone 'Yi' in the second group of three." The character '唱' is replaced with the third tone character '元' (yuan). On the left side, it starts from the first tone's ancient Jia ninth Gui, near Kuí, Kun Qiao Qiu Qi, Qian Yu, proceeding through the second tone's Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao, then the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min, the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei, and reaches the fifth tone's Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. On the right side, the third heavy tone remains in harmony, this tone has no character but the harmonized tone position has characters, harmonizing up to the fifth tone's Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei, the sixth tone's Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, the seventh tone's Xin Shen Jin, Nan Kan Qian, the eighth and ninth tones are all marked with ●. "Yuan" corresponds with the third tone "Qian" in the previous diagram, "Qian" represents "bi" and "Yuan" represents "xi", both are the same tone but differ in mouth shape, one opening and one closing. "Qian" and "Yuan", "Du" and "He", "Liang" and "Guang", "Dao" and "Mao", "Qi" and "Shuai", "Gong" and "Long", each pair corresponds, the former with an open mouth and the latter with a closed mouth. Shao Yong distinguishes "bi" and "xi" based solely on the opening and closing of the lips and mouth during pronunciation, without considering meaning or rhyme; thus, two characters in the same position sometimes appear unrelated, yet in his diagram they are two aspects of one. This point is most similar to the later rhyming scholars who distinguished open and closed mouth pronunciations. Scholars who compare the two diagrams side by side, aligning "bi" and "xi" in rows, will find the principle evident without further explanation. This is precisely the intention behind Shao Yong's creation of the sixteen diagrams.

東丹帝■元元元元 □□□□●●●● 六音 兌大弟■元元元元 三音 □□□□●●●● 三聲 土貪天■元元元元 十聲 □□□□●●●● 同覃田■元元元元 □□□□●●●● 開音濁和律二之四 乃你女■元元元元 父父父父多可個舌 七音 內南年■元元元元 四音 父父父父禾火化八 三聲 老冷呂■元元元元 一聲 父父父父開宰愛○ 鹿犖離■元元元元 父父父父回每退○ 走哉足■元元元元 父父父父良兩向○ 八音 自在匠■元元元元 四音 父父父父光廣況○ 三聲 草采七■元元元元 二聲 父父父父丁井亙○ 曹才全■元元元元 父父父父兄永瑩○ 思三星■元元元元 父父父父千典旦○ 九音 寺□象■元元元元 四音 父父父父元犬半○ 三聲 □□□■元元元元 三聲 父父父父臣引艮○ □□□■元元元元 父父父父丁允巽○ ■山手■元元元元 父父父父刀早孝嶽 十音 ■士石■元元元元 四音 父父父父毛寶報霍 三聲 ■□耳■元元元元 四聲 父父父父牛斗奏六 ■□二■元元元元 父父父父○○○玉

The left half still uses "Yuan" as the starting point, paired with the six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, the seven tones: Nie Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li, the eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, the nine tones: Si San Xing, Si Xiang, and the ten tones: Shan Shou, Shi Shi, Er. The right half first completes the tenth tone by arranging the third heavy tone, then "Kai Yin Zhu He Lu Er Zi Si" switches to the fourth tone's heavy sound character "Fu" as the harmonizing element. It starts with the first tone: Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui Qi, then the second tone: Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying, the third tone: Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, and the fourth tone: Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu. Among these, the last line of the third tone originally reads "Ding Yun Xun," but elsewhere in the same position it reads "Jun Yun Xun." "Ding" is likely a homonym error for "Jun," so the original text is preserved without alteration. "Fu" corresponds to "Fu" in the fourth tone of the previous diagram, one being heavy and the other clear, with the same position. There is no character for the third heavy tone, yet its position cannot be omitted. Shao Yong believed that the twelve tones originate from the twelve lands, just as the twelve hours and the twelve pipes of the scale, the numbers are fixed by heaven and earth, not something humans can add or subtract. If a tone happens to be missing in speech, it is merely a deficiency in human affairs, insufficient to alter the numbers. Therefore, the diagram prefers to leave a blank square rather than reduce the twelve tones to ten. This is consistent with the earlier requirement that the ten tones must occupy ten positions. Comparing these two sections clarifies the meaning further; the method of establishing numbers throughout the entire text is generally like this.

■莊震■元元元元 父父父父妻子四日 十一音 ■乍□■元元元元 四音 父父父父衰○帥骨 三聲 ■叉赤■元元元元 五聲 父父父父○○○德 ■崇辰■元元元元 父父父父龜水貴北 ■卓中■元元元元 父父父父宮孔眾○ 十二音 ■宅直■元元元元 四音 父父父父龍甬用○ 三聲 ■拆丑■元元元元 六聲 父父父父魚鼠去○ ■茶呈■元元元元 父父父父烏虎兔○

These eight lines, on the left half, pair 'yuan' with the eleventh tone's zhuang, zhen, zha, cha, chi, chong, chen, and the twelfth tone's zhuo, zhong, zhai, zhi, chai, chou, cha, cheng. The third tone's cycle is thus completed. On the right half, it is the fourth浊音 'fu' and the fourth day of the fifth tone 'qizi siri', 'shuai shuai gu', 'gui shui gui bei', and the sixth tone's 'gong kong zhong', 'long yong yong', 'yu shu qu', 'wu hu tu'. In the diagram, 'qizi siri' and 'shuai shuai gu' are placed side by side; the former has characters for all four positions, while the latter has no character in the second position. 'San san san de' only has a character in the last position. This unevenness, Shao Yong does not attempt to complete, because what he seeks is the actual presence or absence of sounds in the population, rather than compiling a neat table of characters.

平聲翕唱呂二之四 古甲九癸毛毛毛毛 父父父父心審禁○ 一音 □□近揆毛毛毛毛 四音 父父父父○○○十 四聲 坤巧丘棄毛毛毛毛 七聲 父父父父男坎欠○ □□乾蚪毛毛毛毛 父父父父○○○妾 黑花香血毛毛毛毛 父父父父●●●● 二音 黃華雄賢毛毛毛毛 四音 父父父父●●●● 四聲 五瓦仰□毛毛毛毛 八聲 父父父父●●●● 吾牙月堯毛毛毛毛 父父父父●●●● 安亞乙一毛毛毛毛 父父父父●●●● 三音 □爻壬寅毛毛毛毛 四音 父父父父●●●● 四聲 母馬美米毛毛毛毛 九聲 父父父父●●●● 目貌眉民毛毛毛毛 父父父父●●●● 夫法□飛毛毛毛毛 父父父父●●●● 四音 父凡□吠毛毛毛毛 四音 父父父父●●●● 四聲 武晚□尾毛毛毛毛 十聲 父父父父●●●● 文萬□未毛毛毛毛 父父父父●●●●

"Level tone 'Xī' is replaced by the fourth tone 'Máo'. The left half starts from the first tone's ancient Jia Ji Gui, near揆,坤巧 Qiū,乾蚪, proceeds through the second tone's Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao, then the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mo Mei Min, and reaches the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei. The right half is the fourth heavy tone 'Fu' and proceeds to the seventh tone's Xin Shen Jin, Nan Kan Qian. The eighth, ninth, and thirteenth tones are all empty, so it is made into twelve lines ●. 'Máo' corresponds to the fourth tone 'Dāo' in the previous diagram; 'Dāo' represents 'Bì', 'Máo' represents 'Xī'; when read together, the two diagrams at the same position have one mouth shape opening and one closing, yet both belong to the level tone, which is the actual meaning of 'sound division between Bì and Xī'. The fourth heavy tone 'Fu' and beyond the tenth tone, completes one cycle. From this section onward, the right half will gradually shift to the fifth tone 'Bù', sixth tone 'Duì', and seventh tone 'Nèi', while the left half's '唱' changes from 'Máo' to 'Shuāi' to 'Lóng', each side moving according to its own cycle, without affecting each other. One '唱' covers forty-eight lines, one '和' covers forty lines, and the least common multiple of forty-eight and forty is two hundred forty, so the left and right halves realign every two hundred forty lines."

開音濁和律二之五 卜百丙必毛毛毛毛 步步步步多可個舌 五音 步白備鼻毛毛毛毛 五音 步步步步禾火化八 四聲 普撲品匹毛毛毛毛 一聲 步步步步開宰愛○ 旁排平瓶毛毛毛毛 步步步步回每退○ 東丹帝■毛毛毛毛 步步步步良兩向○ 六音 兌大弟■毛毛毛毛 五音 步步步步光廣況○ 四聲 土貪天■毛毛毛毛 二聲 步步步步丁井亙○ 同覃田■毛毛毛毛 步步步步兄永瑩○ 乃你女■毛毛毛毛 步步步步千典旦○ 七音 內南年■毛毛毛毛 五音 步步步步元犬半○ 四聲 老冷呂■毛毛毛毛 三聲 步步步步臣引艮○ 鹿犖離■毛毛毛毛 步步步步君允巽○ 走哉足■毛毛毛毛 步步步步刀早孝嶽 八音 自在匠■毛毛毛毛 五音 步步步步毛寶報霍 四聲 草采七■毛毛毛毛 四聲 步步步步牛斗奏六 曹才全■毛毛毛毛 步步步步○○○玉 思三星■毛毛毛毛 步步步步妻子四日 九音 寺□象■毛毛毛毛 五音 步步步步衰○帥骨 四聲 □□□■毛毛毛毛 五聲 步步步步○○○德 □□□■毛毛毛毛 步步步步龜水貴北

The left half still uses "mao" as the starting character, paired with five tones: Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping, and six tones: Dong Dan Di, Du Dai Di, Tu Tan Tian, Tong Tan Tian. For seven tones: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li. For eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan. For nine tones: Si San Xing, Si Xiang. The right half starts anew: "Kai Yin Zhu He Lu Er Wu" switches to the fifth tone with the浊 sound character "bu" as the counterpart. It includes first tone: Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui Qi. Second tone: Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying. Third tone: Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun. Fourth tone: Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu. Fifth tone: Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei. "Bu" corresponds with "bu" from the previous diagram in the fifth tone, both being lip sounds, with "bu" being浊 and "bu" being清. "Bu" and "bu" are both lip sounds, one浊 and one清. Lip sounds are the fifth in the twelve tones, with four categories fully represented, so these lines have few empty spaces, making them a rare dense section in the entire diagram. Shao Yong selects characters; whenever a character can be used, he uses it, preferring obscure characters over leaving blanks. Only when there is no suitable character does he use a block at the top. Observing his choices and omissions, we can see that he put great effort into the contemporary spoken sounds and their readings, not making them up out of nowhere. This is why this diagram, although created for numerical calculations, still cannot be ignored by later scholars of phonology, as it has its own intrinsic value.

■山手■毛毛毛毛 步步步步宮孔眾○ 十音 ■士石■毛毛毛毛 五音 步步步步龍甬用○ 四聲 ■□耳■毛毛毛毛 六聲 步步步步魚鼠去○ ■□二■毛毛毛毛 步步步步烏虎兔○ ■莊震■毛毛毛毛 步步步步心審禁○ 十一音 ■乍□■毛毛毛毛 五音 步步步步○○○十 四聲 ■叉赤■毛毛毛毛 七聲 步步步步男坎欠○ ■崇辰■毛毛毛毛 步步步步○○○妾 ■卓中■毛毛毛毛 步步步步●●●● 十二音 ■宅直■毛毛毛毛 五音 步步步步●●●● 四聲 ■拆丑■毛毛毛毛 八聲 步步步步●●●● ■茶呈■毛毛毛毛 步步步步●●●●

These twelve lines, on the left half, complete the pairing of "máo" with the ten tones of the mountain hand, shì shí, ěr, èr, the eleven tones of zhuāng zhèn, zhà, chā chì, chóng chén, and the twelve tones of zhuó zhōng, zhái zhí, chāi chǒu, chá chéng, finishing the fourth tone. On the right half, the fifth浊音 "bù" and the sixth tone's gōng kǒng zhòng, lóng yǒng yòng, yú shǔ qù, wū hǔ tù, the seventh tone's xīn shěn jìn, nán kǎn qiàn, then proceed into the eighth tone marked with ●. Each singing cycle covers forty-eight lines, and each harmonizing cycle covers forty lines. The two cycles are of unequal length, so where the left and right halves switch heads, they are offset from each other. If a reader follows only one side, it may seem that the other side suddenly changes its names, but in fact each has its own rhythm and they do not contradict each other. The cycles of singing and harmonizing are not synchronized, as previously mentioned; here it is even more evident that the left half has only reached the end of the fourth tone, while the right half has already reached the eighth tone below the fifth tone, with the two sides differing by nearly one section. When reading, follow each column separately, and there will be no confusion.

平聲翕唱呂二之五 古甲九癸衰衰衰衰 步步步步●●●● 一音 □□近揆衰衰衰衰 五音 步步步步●●●● 五聲 坤巧丘棄衰衰衰衰 九聲 步步步步●●●● □□乾蚪衰衰衰衰 步步步步●●●● 黑花香血衰衰衰衰 步步步步●●●● 二音 黃華雄賢衰衰衰衰 五音 步步步步●●●● 五聲 五瓦仰□衰衰衰衰 十聲 步步步步●●●● 吾牙月堯衰衰衰衰 步步步步●●●●

"Level tone 'Xī Chàng Lǚ Èr Wǔ'" translates to "Level tone 'Decay' with the fifth tone 'Xī' sound." The left half begins with the initial sound, first pairing a single tone with ancient Jia Ji Gui, near揆, Kun Qiao Qi, Qian Yu, then pairing two tones with Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao. The right half involves the fifth heavy tone 'Bu' and the ninth and tenth tones, where the tone positions are empty, and all eight rows are marked with ●. "Decay" corresponds to the fifth tone "Qī" from the previous diagram, where "Qī" represents "Bi" and "Decay" represents "Xī." By this point, five of the seven "Xī" tones in the second diagram have been used, leaving only the sixth tone "Long" and the seventh tone which has a position but no character marked as ○. Comparing the two diagrams, the number of available characters for "Xī" tones is one less than for "Bi" tones, which is precisely why Shao Yong separated tones from characters for analysis.

開音濁和律二之六 安亞乙一衰衰衰衰 兌兌兌兌多可個舌 三音 □爻壬寅衰衰衰衰 六音 兌兌兌兌禾火化八 五聲 母馬美米衰衰衰衰 一聲 兌兌兌兌開宰愛○ 目貌眉民衰衰衰衰 兌兌兌兌回每退○ 夫法□飛衰衰衰衰 兌兌兌兌良兩向○ 四音 父凡□吠衰衰衰衰 六音 兌兌兌兌光廣況○ 五聲 武晚□尾衰衰衰衰 二聲 兌兌兌兌丁井亙○ 文萬□未衰衰衰衰 兌兌兌兌兄永瑩○ 卜百丙必衰衰衰衰 兌兌兌兌千典旦○ 五音 步白備鼻衰衰衰衰 六音 兌兌兌兌元犬半○ 五聲 普撲品匹衰衰衰衰 三聲 兌兌兌兌臣引艮○ 旁排平瓶衰衰衰衰 兌兌兌兌君允巽○ 東丹帝■衰衰衰衰 兌兌兌兌刀早孝嶽 六音 兌大弟■衰衰衰衰 六音 兌兌兌兌毛寶報霍 五聲 土貪天■衰衰衰衰 四聲 兌兌兌兌牛斗奏六 同覃田■衰衰衰衰 兌兌兌兌○○○玉 乃你女■衰衰衰衰 兌兌兌兌妻子四日 七音 內南年■衰衰衰衰 六音 兌兌兌兌衰○帥骨 五聲 老冷呂■衰衰衰衰 五聲 兌兌兌兌○○○德 鹿犖離■衰衰衰衰 兌兌兌兌龜水貴北

The left half continues with "shuai" as the leading tone, paired with three-syllable words such as An Ya Yi, Yao Renyin, Mu Ma Mei Mi, Mu Mao Mei Min; four-syllable words such as Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei; five-syllable words such as Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping; six-syllable words such as Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian; and seven-syllable words such as Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li. The right half begins a new section: "Kai Yin Zhu He Lu Er Zi Liu" switches to the sixth tone's浊 sound "Dui" as the harmonizing element, starting with first tone words such as Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui Qi, proceeding through second tone words such as Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying, third tone words such as Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, fourth tone words such as Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, and reaching fifth tone words such as Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei. "Dui" corresponds to the sixth浊 sound, contrasting with the previous sixth清 sound "Dong." "Dong" is clear while "Dui" is浊. "Dui" is the sixth浊 sound, contrasting with the previous sixth清 sound "Dong." By this point, six of the twelve harmonies in the second diagram have been used, leaving three more characters "Nei," "Zi," and "Si," as well as the tenth, eleventh, and twelfth positions without characters. On the left, the "xi" sound has only "Long" remaining with a character, while the seventh tone has a position but no character, and the eighth, ninth, and thirteenth tones have no characters. The remaining characters on both sides are few, indicating the diagram is about to conclude. Viewing the entire text, it is evident that usable sounds are few while usable tones are numerous, hence the singing consists of forty-eight lines while the harmonizing consists of forty lines. Singers have longer lines while harmonizers have shorter lines, and the sequence of heaven preceding earth is embedded within this structure.

走哉足■衰衰衰衰 兌兌兌兌宮孔眾○ 八音 自在匠■衰衰衰衰 六音 兌兌兌兌龍甬用○ 五聲 草采七■衰衰衰衰 六聲 兌兌兌兌魚鼠去○ 曹才全■衰衰衰衰 兌兌兌兌烏虎兔○ 思三星■衰衰衰衰 兌兌兌兌心審禁○ 九音 寺□象■衰衰衰衰 六音 兌兌兌兌○○○十 五聲 □□□■衰衰衰衰 七聲 兌兌兌兌男坎欠○ □□□■衰衰衰衰 兌兌兌兌○○○妾 ■山手■衰衰衰衰 兌兌兌兌●●●● 十音 ■士石■衰衰衰衰 六音 兌兌兌兌●●●● 五聲 ■□耳■衰衰衰衰 八聲 兌兌兌兌●●●● ■□二■衰衰衰衰 兌兌兌兌●●●● ■莊震■衰衰衰衰 兌兌兌兌●●●● 十一音 ■乍□■衰衰衰衰 六音 兌兌兌兌●●●● 五聲 ■叉赤■衰衰衰衰 九聲 兌兌兌兌●●●● ■崇辰■衰衰衰衰 兌兌兌兌●●●● ■卓中■衰衰衰衰 兌兌兌兌●●●● 十二音 ■宅直■衰衰衰衰 六音 兌兌兌兌●●●● 五聲 ■拆丑■衰衰衰衰 十聲 兌兌兌兌●●●● ■茶呈■衰衰衰衰 兌兌兌兌●●●●

This passage's left half pairs "shuai" with the eight tones' "zou zai zhu", "zi zai jiang", "cao cai qi", "cao cai quan", the nine tones' "si san xing", "si xiang", the ten tones' "shan shou", "shi shi", "er", the eleven tones' "zhuang zhen", "zha", "cha chi", "chong chen", and the twelve tones' "zhuo zhong", "zai zhi", "che chou", "cha cheng", and the fifth tone's "yi lun chang bi". The right half is the sixth浊音 "dui" and the sixth tone's "gong kong zhong", "long yong yong", "yu shu qu", "wu hu tu", the seventh tone's "xin shen jin", "nan kan qian", and the following three tones are marked with ●. When combining the two diagrams, one can see that the same tone position has characters in the clear series but none in the浊 series, or characters in the浊 series but none in the clear series, clearly showing that the sounds people can produce do not match the characters that can be recorded. Shao Yong does not create characters for the sake of neatness, nor does he abandon positions for lack of characters, which is his consistent approach to handling this table. The ten sound positions take their imagery from heaven, and the twelve tone positions take their imagery from earth; the number of heaven ends at ten, and the number of earth ends at twelve, so sounds stop at ten and tones stop at twelve. Shao Yong believed that the numbers of all things originate from the numbers of heaven and earth: the four heavenly bodies, sun, moon, stars, and planets, are their substance; the ten sounds and twelve tones are their functions; one hundred sixty and one hundred ninety-two are their correct numbers; one hundred twelve and one hundred fifty-two are their functional numbers. Each level is connected, with its own origin. In these sections filled with circles and blocks, although the characters are not visible, the numbers remain unchanged in the slightest, which is exactly what he wants people to understand. This is also the distinctive feature of this diagram compared to ordinary rhyme books.

平聲翕唱呂二之六 開音濁和律二之七 古甲九癸龍龍龍龍 內內內內多可個舌 一音 □□近揆龍龍龍龍 七音 內內內內禾火化八 六聲 坤巧丘棄龍龍龍龍 一聲 內內內內開宰愛○ □□乾蚪龍龍龍龍 內內內內回每退○ 黑花香血龍龍龍龍 內內內內良兩向○ 二音 黃華雄賢龍龍龍龍 七音 內內內內光廣況○ 六聲 五瓦仰□龍龍龍龍 二聲 內內內內丁井亙○ 吾牙月堯龍龍龍龍 內內內內兄永瑩○ 安亞乙一龍龍龍龍 內內內內丁典旦○ 三音 □爻壬寅龍龍龍龍 七音 內內內內元犬半○ 六聲 母馬美米龍龍龍龍 三聲 內內內內臣引艮○ 目貌眉民龍龍龍龍 內內內內君允巽○ 夫法□飛龍龍龍龍 內內內內刀早孝嶽 四音 父凡□吠龍龍龍龍 七音 內內內內毛寶報霍 六聲 武晚□尾龍龍龍龍 四聲 內內內內牛斗奏六 文萬□未龍龍龍龍 內內內內○○○玉 卜百丙必龍龍龍龍 內內內內妻子四日 五音 步白備鼻龍龍龍龍 七音 內內內內衰○帥骨 六聲 普撲品匹龍龍龍龍 五聲 內內內內○○○德 旁排平瓶龍龍龍龍 內內內內龜水貴北

The lines "Ping Sheng Xi Chang Lu Er Zhi Liu" and "Kai Yin Zhu He Lu Er Zhi Qi" are arranged in the same row. On both left and right halves, the heads change simultaneously: the character "Chang" on the left is replaced by the sixth tone character "Long" (dragon), which is the last character with a sound in the Xi tone; the character "He" on the right is replaced by the seventh tone character "Nei" (inner). On the left, starting from the first tone's ancient Jia Ji Gui, near揆, Kun Qiao Qiu Qi, Qian Yu, it proceeds through the second tone's Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao, the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min, the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei, to the fifth tone's Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. On the right, starting from the first tone's Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui, it proceeds through the second, third, and fourth tones, to the fifth tone's Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei. Among these, the third tone's first line originally read "Ding Dian Dan," but elsewhere in the same position it reads "Qian Dian Dan." "Ding" is likely a clerical error for "Qian," and the original form is preserved as per the base text. Among the seven positions of the Xi tone, the seventh position has only a position but no character, marked as "○" at the beginning of the diagram. Therefore, this diagram actually contains six characters in the Xi tone, one less than the previous diagram of the Bi tone, which had seven characters. Although there is one less character, the number of tone positions remains seven. The calculation using numbers remains seven multiplied by 152, resulting in 1064, the same as the previous diagram. This is the clearest example of "positions have a fixed number, but characters may vary in quantity." If counted by characters, the two diagrams would not be equal, and Shao Yong's method would not hold. Therefore, it must be counted by positions, not by characters.

東丹帝■龍龍龍龍 內內內內宮孔眾○ 六音 兌大弟■龍龍龍龍 七音 內內內內龍甬用○ 六聲 土貪天■龍龍龍龍 六聲 內內內內魚鼠去○ 同覃田■龍龍龍龍 內內內內烏虎兔○ 乃你女■龍龍龍龍 內內內內心審禁○ 七音 內南年■龍龍龍龍 七音 內內內內○○○十 六聲 老冷呂■龍龍龍龍 七聲 內內內內男坎欠○ 鹿犖離■龍龍龍龍 內內內內○○○妾 走哉足■龍龍龍龍 內內內內●●●● 八音 自在匠■龍龍龍龍 七音 內內內內●●●● 六聲 草采七■龍龍龍龍 八聲 內內內內●●●● 曹才全■龍龍龍龍 內內內內●●●● 思三星■龍龍龍龍 內內內內●●●● 九音 寺□象■龍龍龍龍 七音 內內內內●●●● 六聲 □□□■龍龍龍龍 九聲 內內內內●●●● □□□■龍龍龍龍 內內內內●●●● ■山手■龍龍龍龍 內內內內●●●● 十音 ■士石■龍龍龍龍 七音 內內內內●●●● 六聲 ■□耳■龍龍龍龍 十聲 內內內內●●●● ■□二■龍龍龍龍 內內內內●●●● 開音濁和律二之八 ■莊震■龍龍龍龍 自自自自多可個舌 十一音 ■乍□■龍龍龍龍 八音 自自自自禾火化八

The left half still uses "long" as the leading note, paired with six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, seven tones: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li, eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, nine tones: Si San Xing, Si Xiang, ten tones: Shan Shou, Shi Shi, Er, and two, and starts with the first tone to reach the eleventh tone: Zhuang, Zhen, Zha. The right half consists of the seventh浊音 "Nei" and the sixth tone: Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, the seventh tone: Xin Shen Jin, Nan Kan Qian, and the eighth, ninth, and tenth tones, which are left empty. Then, "Kai Yin Zhu He Lu Er Zi Bai" switches to the eighth tone's浊音 "Zi" as the harmonizing note, and starts again from the first tone: Duo Ke Ge She, He Huo Hua Ba Pai. This section ends here; the second sound harmony diagram is not yet completed. The remaining sounds of "long," the empty harmonizing notes in the seventh tone, and the harmonizing notes after the eighth tone "Zi" are continued in the following text, to be written by the next group. From the already arranged part, it is clear that the structure of Guanwu Chapter 36 and 35 is exactly the same: the left half has ten tones and the right half has twelve harmonizing notes, each with four hundred eighty lines. The only difference is that the leading notes change from "bi" to "xi" and the harmonizing notes change from clear to浊音. The sixteen diagrams alternate in this way, with the sounds of day, moon, sun, and stars matching the tones of water, fire, earth, and stone, covering all sixteen categories. Shao Yong composed the "Huangji Jingshi," with the first half discussing the changes of the universe, ages, and eras, and the second half using sound harmony to explore the numbers of all things. One speaks in terms of time, the other in terms of things, but both aim to show that nothing in the universe exists outside of numbers, and the reason for numbers lies in principles.

六聲 ■叉赤■龍龍龍龍，一聲 自自自自開宰愛○；■崇辰■龍龍龍龍，自自自自回每退○；■卓中■龍龍龍龍，自自自自良兩向○；十二音 ■宅直■龍龍龍龍，八音 自自自自光廣況○；六聲 ■拆丑■龍龍龍龍，二聲 自自自自丁井亙○；■茶呈■龍龍龍龍，自自自自兄永瑩○。

This passage spans between two diagrams. The left half concludes with "Ping Sheng Xi Chang Lv Er Zhi Liu," ending with the representative character "Long" for the sixth tone in the Ping Sheng Xi position, singing in harmony with the subsequent two lines of the eleventh tone "■ Cha Chi ■" and "■ Chong Chen ■," and the four lines of the twelfth tone "■ Zhuo Zhong ■," "■ Zhai Zhi ■," "■ Che Chou ■," and "■ Cha Cheng ■." The first character of each of these groups is marked with "■," indicating "no sound at this position," not a missing character. The right half begins with "Kai Yin Zhu He Lu Er Zhi Ba," starting with the representative character "Zi" for the eighth tone of water and fire sounds, sequentially matching the latter two lines of the first tone "Kai Zai Ai ○" and "Hui Mei Tui ○," and the four lines of the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," and "Xiong Yong Ying ○." The "○" at the end of each line indicates that there is a sound position but no character to match.

平聲翕唱呂二之七：古甲九癸○○○○，自自自白千典旦○；一音 □□近揆○○○○，八音 自自自自元犬半○；七聲 坤巧丘棄○○○○，三聲 自自自自臣引艮○；□□乾蚪○○○○，自自自自君允巽○；黑花香血○○○○，自自自自刀早孝嶽；二音 黃華雄賢○○○○，八音 自自自自毛寶報霍；七聲 五瓦仰□○○○○，四聲 自自自自牛斗奏六；吾牙月堯○○○○，自自自自○○○玉；安亞乙一○○○○，自自自自妻子四日；三音 □爻壬寅○○○○，八音 自自自自衰○帥骨；七聲 母馬美米○○○○，五聲 自自自自○○○德；目貌眉民○○○○，自自自自龜水貴北。

"The level tone 'Xī Chàng Lǚ Èr Zhī Qī' starts a new diagram. The tones sung are the seventh tones of the sun and moon, which is written as '○', meaning that this tone is present in the grid but there is no character to fill it. It matches one by one with the standard tones: the first tone's four lines are 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu'; the '□' at the beginning of the second and fourth lines indicates there is a tone position but no character. The second tone's four lines are 'Hēi Huā Xiāng Xuè', 'Huáng Huā Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo'; the third tone's four lines are 'Ān Yà Yǐ Yī', '□ Yué Rén Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Méi Mín'. The right half still belongs to 'Kāi Yīn Zhú Hé Lǜ Èr Zhī Bā', harmonizing with the eighth tone of water and fire 'Zì', in sequence matching the standard tone's third tone 'Qiān Diǎn Dàn ○', 'Yuán Quǎn Bàn ○', 'Chén Yǐn Gèn ○', 'Jūn Yǔn Xùn ○'; the fourth tone 'Dāo Zǎo Xiào Yuè', 'Máo Bǎo Bào Huò', 'Niú Dòu Zòu Liù', '○○○ Yù'; the fifth tone 'Zǐ Qī Sì Rì', 'Shuāi ○ Shuài Gǔ', '○○○ Dé', 'Guī Shuǐ Guì Běi'. The last character 'Bái' in the first line 'Zì Zì Zì Bái' is a mistake for the original 'Zì'. Each category in the tone diagram has four lines divided into clear,浊,次清,次浊, and within each line, the four characters are ordered from first to fourth tone class; the sound diagram has four characters per line ordered by level, rising, falling, and入 tone, for example, 'Qiān Diǎn Dàn ○' corresponds to level 'Qiān', rising 'Diǎn', falling 'Dàn', and入 tone with no character."

夫法□飛○○○○，自自自自宮孔眾○；四音 父凡□吠○○○○，八音 自自自自龍甬用○；七聲 武晚□尾○○○○，六聲 自自自自魚鼠去○；文萬□未○○○○，自自自自烏虎兔○；卜百丙必○○○○，自自自自心審禁○；五音 步白備鼻○○○○，八音 自自自自○○○十；七聲 普撲品匹○○○○，七聲 自自自自男坎欠○；旁排平瓶○○○○，自自自自○○○妾；東丹帝■○○○○，自自自自●●●●；六音 兌大弟■○○○○，八音 自自自自●●●●；七聲 土貪天■○○○○，八聲 自自自自●●●●；同覃田■○○○○，自自自自●●●●；乃你女■○○○○，自自自自●●●●。

Continuing "Level Tone Harmony of the Second Category, Seventh Tone". The singing position remains the same, a sound without a character "○". This section harmonizes with the fourth tone's lines "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone's lines "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone's lines "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The last line is the first line of the seventh tone "Nai Ni Nu ■". The third character in each line of the fourth tone has "□", which is a sound without a character. The last character in the sixth and seventh tones has "■", which is a position without a sound. The right half remains "Open Tone Heavy and Harmonic Law of the Second Category, Eighth Tone", with "Zi" as the harmonic character, matching the sixth tone's lines "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the seventh tone's lines "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Jie". Further down, the eighth tone's four lines and the first line of the ninth tone are all "●●●●", indicating that these tones do not even have a sound position. The left column lists four categories: Fu, Bu, Dong, and Nai, which belong to the light lip, heavy lip, tongue, and nasal series respectively. Each category's four lines still follow the order of clear, heavy, secondary clear, and secondary heavy. The line "Gong Kong Zhong ○" on the right is a level tone "Gong", an upper tone "Kong", a falling tone "Zhong", and the entering tone has a position but no character. The line "Xin Shen Jin ○" follows the same pattern.

七音 內南年■○○○○，八音 自自自自●●●●；七聲 老冷呂■○○○○，九聲 自自自自●●●●；鹿犖離■○○○○，自自自自●●●●；走哉足■○○○○，自自自自●●●●；八音 自在匠■○○○○，八音 自自自自●●●●；七聲 草采七■○○○○，十聲 自自自自●●●●；曹才全■○○○○，自自自自●●●●。

It still belongs to 'level tone harmonious singing of the second tone of the second category, seventh tone'. The left half continues with the last three lines of the seventh tone's correct sound, 'inner south year ■', 'old cold lü ■', 'deer luó li ■', and the four lines of the eighth tone 'walk zai foot ■', 'free zai craftsman ■', 'grass collection seven ■', 'cao cai full ■', with the fourth character in each line marked as '■', indicating a position without sound; the corresponding sound is still the seventh tone's silent '○'. The right half belongs to 'open tone turbid harmony of the second tone of the second category, eighth tone'. It uses the eighth tone's sound 'zi' as the harmony, paired with the last three lines of the ninth tone's correct sound and the four lines of the tenth tone, altogether seven lines written as '●●●●'. Shao Yong designated the eighth, ninth, and thirteenth tones as having positions but no sound, so here there are neither characters nor sounds to be read; only black circles are used to occupy the grid positions, showing that the ten tones cannot be missing.

開音濁和律二之九：思三星■○○○○，寺寺寺寺多可個舌；九音 寺□象■○○○○，九音 寺寺寺寺禾火化八；七聲 □□□■○○○○，一聲 寺寺寺寺開宰愛○；□□□■○○○○，寺寺寺寺回每退○；■山手□○○○○，寺寺寺寺良兩向○；十音 ■土石■○○○○，九音 寺寺寺寺光廣況○；七聲 ■□耳■○○○○，二聲 寺寺寺寺丁井亙○；■□二■○○○○，寺寺寺寺兄永瑩○；■莊震■○○○○，寺寺寺寺千典旦○；十一音 ■乍□■○○○○，九音 寺寺寺寺元犬半○；七聲 ■叉赤■○○○○，三聲 寺寺寺寺臣引艮○；■崇辰■○○○○，寺寺寺寺君允巽○。

On the right side, a new diagram begins with 「open tone,浊 and harmonious law two of nine」, using the representative character for the ninth tone of water and fire, 「si」, as the harmonious sound. Starting from the beginning, the first tone is paired as: 「duo ke ge she」, 「he huohua ba」, 「kai zai ai ○」, 「hui mei tui ○」; the second tone is: 「liang liang xiang ○」, 「guang guang kuang ○」, 「ding jing gen ○」, 「xiong yong ying ○」; the third tone is: 「qian dian dan ○」, 「yuan quan ban ○」, 「chen yin gen ○」, 「jun yun xun ○」. The last character in each row, 「○」, represents a sound without a character. On the left side, it remains within 「level tone, harmonious singing law two of seven」, using the seventh tone's 「○」 as the singing sound, paired with the ninth tone's 「si san xing ■」, 「si □ xiang ■」, 「□ □ □ ■」, 「□ □ □ ■」; the tenth tone's 「■ shan shou □」, 「■ tu shi ■」, 「■ □ er ■」, 「■ □ er ■」; and the eleventh tone's 「■ zhuang zhen ■」, 「■ zha □ ■」, 「■ cha chi ■」, 「■ chong chen ■」. 「□」 represents a sound without a character, and 「■」 represents a position without a sound. For the tenth tone, in another diagram it is written as 「■ shi shi ■」. Characters for tones nine and below are the least, with often only one or two characters in a row, the rest being 「□」 and 「■」. On the right side, the line 「duo ke ge she」 has all four characters complete, representing the level tone 「duo」, the rising tone 「ke」, the falling tone 「ge」, and the entering tone 「she」, most clearly showing that the sound diagram arranges the four tones in one row.

■卓中■○○○○，寺寺寺寺刀早孝嶽；十二音 ■宅直■○○○○，九音 寺寺寺寺毛寶報霍；七聲 ■拆丑■○○○○，四聲 寺寺寺寺牛斗奏六；■茶呈■○○○○，寺寺寺寺○○○玉。

"Level tone harmony with the second of the seven tones" concludes here: the left half uses the seventh tone "○" as the singing tone, paired with the twelfth tone of the correct sound, four lines "■Zhuo Zhong ■", "■Zhai Zhi ■", "■Che Chou ■", "■Cha Cheng ■", with the first character of each line being "■", indicating no sound at this position. The right half remains "open tone浊 harmony with the second of the nine tones", using "Si" as the harmony, paired with the fourth tone of the correct sound, four lines "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; the first three characters of the last line are "○", indicating that this category only has the入 tone "Yu" with a character, while the level, rising, and falling tones have sound positions but no characters.

平聲翕唱呂二之八：古甲九癸●●●●，寺寺寺寺妻子四日；一音 □□近揆●●●●，九音 寺寺寺寺衰○帥骨；八聲 坤巧丘棄●●●●，五聲 寺寺寺寺○○○德；□□乾蚪●●●●，寺寺寺寺龜水貴北；黑花香血●●●●，寺寺寺寺宮孔眾○；二音 黃華雄賢●●●●，九音 寺寺寺寺龍甬用○；八聲 五瓦仰□●●●●，六聲 寺寺寺寺魚鼠去○；吾牙月堯●●●●，寺寺寺寺烏虎兔○；安亞乙一●●●●，寺寺寺寺心審禁○；三音 □爻壬寅●●●●，九音 寺寺寺寺○○○十；八聲 母馬美米●●●●，七聲 寺寺寺寺男坎欠○；目貌眉民●●●●，寺寺寺寺○○○妾。

"The eighth tone of the level tone 'Xī Chàng Lǚ èr' starts a new diagram. This diagram sings the eighth tone of the sound of the sun and moon, but the eighth tone has no sound to be produced, so all the diagrams use '●●●●' to represent it. The '●' is the mark for 'this position has no sound'. It is successively paired with the first tone of the standard sound 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu', the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huā Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo', and the third tone 'Ān Yà Yǐ Yī', '□ Yué Rén Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Mí Mín', among which the '□' indicates a phonetic position without a character. The right half still belongs to 'Kāi Yīn Zhú Hé Lǜ èr zhī jiǔ', using 'Sì' as the harmony, paired with the fifth tone of the standard sound 'Zǐ Qī Sì Rì', 'Shuāi ○ Shuài Gǔ', '○○○ Dé', 'Guī Shuǐ Guì Běi', the sixth tone 'Gōng Kǒng Zhòng ○', 'Lóng Yǒng Yòng ○', 'Yú Shǔ Qù ○', 'Wū Hǔ Tù ○', and the seventh tone 'Xīn Shěn Jìn ○', '○○○ Shí', 'Nán Kǎn Qiàn ○', '○○○ Jiè'. According to Shao Yong's example, among the ten tones, the first seven have sound and the last three have no sound; among the twelve tones, the first nine have sound and the last three have no sound. This diagram has already entered the category of soundless tones, yet the forty-eight lines of the twelve tones still need to be listed one by one, precisely to preserve their structural numbers, not to abandon their positions because they are soundless. Sound belongs to the earth and is called Lǚ, while tone belongs to the sky and is called Lǜ. Therefore, sound is sung below and tone is harmonized above."

夫法□飛●●●●，寺寺寺寺●●●●；四音 父凡□吠●●●●，九音 寺寺寺寺●●●●；八聲 武晚□尾●●●●，八聲 寺寺寺寺●●●●；文萬□未●●●●，寺寺寺寺●●●●；卜百丙必●●●●，寺寺寺寺●●●●；五音 步白備鼻●●●●，九音 寺寺寺寺●●●●；八聲 普撲品匹●●●●，九聲 寺寺寺寺●●●●；旁排平瓶●●●●，寺寺寺寺●●●●；東丹帝■●●●●，寺寺寺寺●●●●；六音 兌大弟■●●●●，九音 寺寺寺寺●●●●；八聲 土貪天■●●●●，十聲 寺寺寺寺●●●●；同覃田■●●●●，寺寺寺寺●●●●。

Continuing "Ping Sheng Xi Chang Lv Er Zhi Ba". The left half uses the eighth tone "●●●●" as the singing tone, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The "□" in the fourth tone's three lines represents a sound without a character, and the "■" at the end of the sixth tone represents an empty position. The right half is the latter part of "Kai Yin Zhu He Lu Er Zhi Ji", using the ninth tone "Si" (water and fire sound) as the harmonizing tone, paired with the eighth, ninth, and thirteenth tones, totaling twelve lines, all written as "●●●●". Both tone and sound fall on empty positions, yet the numbers resulting from their multiplication are still counted. This is exactly Shao Yong's intention to use body numbers and application numbers to comprehend all sounds in the world. The left column "Fu Fa □ Fei" belongs to the light lip category, "Bu Bai Bing Bi" to the heavy lip category, and "Dong Dan Di ■" to the tongue category. Each category has four lines arranged in the order of clear, dull, secondary clear, and secondary dull. The right column's twelve lines have neither sound nor character, and are marked with black circles, yet when calculating numbers, these empty positions are still counted as grid numbers, and are subtracted together only when discussing the use of sound and tone at the end.

開音濁和律二之十：乃你女■●●●●，■■■■多可個舌；七音 內南年■●●●●，十音 ■■■■禾火化八；八聲 老冷呂■●●●●，一聲 ■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音 自在匠■●●●●，十音 ■■■■光廣況○；八聲 草采七■●●●●，二聲 ■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音 寺□象■●●●●，十音 ■■■■元犬半○；八聲 □□□■●●●●，三聲 ■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

On the right side, it begins anew with "Kai Yin Zhu He Lu Er Zhi Shi." This diagram corresponds to the tenth tone of water and fire sounds. The tenth tone has no actual sound in the standard tone structure, so the diagram uses "■■■■" to indicate the position, where "■" means "no sound here." It is sequentially paired with the first tone of standard sound "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○," the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○." On the left side, it remains within "Ping Sheng Xi Chen Lv Er Zhi Ba," using the eighth tone "●●●●" as the chant, paired with the seventh tone of standard sound "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," the eighth tone "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■," and the ninth tone "Si San Xing ■," "Si □ Xiang ■," "□□□ ■," "□□□ ■." The four lines of the first tone on the right side represent the four categories of the same tone class, with the four characters in each line following the order of level, rising, falling, and entering tones. On the left side, the ninth tone only has the first two lines with characters, while the last two lines "□□□ ■" are all missing, indicating that as one moves toward dental sounds and the first dental series, the number of characters that can be cited becomes fewer.

■山手■●●●●，■■■■刀早孝嶽；十音 ■士石■●●●●，十音 ■■■■毛寶報霍；八聲 ■□耳■●●●●，四聲 ■■■■牛斗奏六；■□二■●●●●，■■■■□□□玉；■莊震■●●●●，■■■■妻子四日；十一音 ■乍□■●●●●，十音 ■■■■衰○帥骨；八聲 ■叉赤■●●●●，五聲 ■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音 ■宅直■●●●●，十音 ■■■■龍甬用○；八聲 ■拆丑■●●●●，六聲 ■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

"The 'Ping Sheng Xi Chang Lv Er Zhi Ba' ends here: the left half uses the eighth tone '●●●●' as the singing tone, paired with the correct tones of the tenth tone '■ Shan Shou ■', '■ Shi Shi ■', '■ □ Er ■', '■ □ Er ■', the eleventh tone '■ Zhuang Zhen ■', '■ Zha □ ■', '■ Cha Chi ■', '■ Chong Chen ■', and the twelfth tone '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■'. These three categories of correct tones all start with the silent '■', only having characters in the middle two positions. The right half belongs to 'Kai Yin Zhu He Lu Er Zhi Shi', using the silent '■' as the harmonizing tone, paired with the correct tones of the fourth tone 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '□ □ □ Yu', the fifth tone 'Zi Qi Si Ri', 'Shuai ○ Shuai Gu', '○ ○ ○ De', 'Gui Shui Gui Bei', the sixth tone 'Gong Kong Zhong ○', 'Long Yong Yong ○', 'Yu Shu Qu ○', 'Wu Hu Tu ○'; the last line of the fourth tone is written as '○ ○ ○ Yu' in another diagram, but here it is carved as '□ □ □ Yu'. From the tenth tone onwards, the first character of these three categories is all silent, with only the middle two characters remaining, differing greatly from the previous nine tones which have four characters each. The line 'Zi Qi Si Ri' on the right side includes the level tone 'Qi', the rising tone 'Zi', the falling tone 'Si', and the entering tone 'Ri', covering all four tones, which can be contrasted with the sparse arrangement on the left side."

平聲翕唱呂二之九：古甲九癸●●●●，■■■■心審禁○；一音 □□近揆●●●●，十音 ■■■■○○○十；九聲 坤巧丘棄●●●●，七聲 ■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音 黃華雄賢●●●●，十音 ■■■■●●●●；九聲 五瓦仰□●●●●，八聲 ■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音 □爻壬寅●●●●，十音 ■■■■●●●●；九聲 母馬美米●●●●，九聲 ■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

"The level tone 'Ping' is sung in a coordinated manner with the ninth tone of the day and moon tones. This tone also belongs to the category of having a position but no sound, so it is uniformly written as '●●●●'. It is successively paired with the first tone of the standard sound 'Guxia Jiugui', '□□Jin Kui', 'Kun Qiao Qiu Qi', '□□Qian Tu'; the second tone 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; and the third tone 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'. The right half is the latter part of 'Kai tone浊 and harmonized with the second law of ten', using the soundless '■■■■' as the harmonized tone. It first pairs with the seventh tone of the standard sound 'Xin Shen Jin ○', '○○○ Shi', 'Nan Kan Qian ○', '○○○ Qie', where the '○' represents a sound position without a character. Then it pairs with the eighth and ninth tones, totaling eight lines, all written as '●●●●', indicating that the sound position itself is not established. Within a single sound diagram, the singer produces only one tone, while the harmonizer has twelve tones and forty-eight lines; within a single tone diagram, the harmonizer produces only one tone, while the singer has ten tones and forty lines. The number of lines in the two diagrams differs because the standard sound has ten categories while the standard tone has twelve. The lines '○○○ Shi' and '○○○ Qie' only contain characters for the entering tone, while the other three positions remain empty, all marked with '○' to indicate their positions."

夫法□飛●●●●，■■■■●●●●；四音 父凡□吠●●●●，十音 ■■■■●●●●；九聲 武晚□尾●●●●，十聲 ■■■■●●●●；文萬□未●●●●，■■■■●●●●。

It is still "Ping Sheng Xi Chang Lv Er Zhi Jiu," using the ninth tone "●●●●" as the chant, paired with the fourth tone of the standard sound, four lines "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei"; the third character in each line is marked as "□," indicating the presence of this phonetic position but no corresponding character. The right half is the last part of "Kai Yin Zhu He Lu Er Zhi Shí," using the silent "■■■■" as the harmony, paired with the tenth tone of the standard sound, four lines all marked as "●●●●." By this point, the tenth tone's diagram is completed with forty lines, yet the entire diagram contains no actual characters, but the phonetic positions remain fully occupied.

開音濁和律二之十一：卜百丙必●●●●，■■■■多可個舌；五音 步白備鼻●●●●，十一音 ■■■■禾火化八；九聲 普撲品匹●●●●，一聲 ■■■■宰愛○；旁排平瓶●●●●，■■■■回每退○；東丹帝■●●●●，■■■■良兩向○；六音 兌大弟■●●●●，十一音 ■■■■光廣況○；九聲 土貪天■●●●●，二聲 ■■■■丁井亙○；同覃田■●●●●，■■■■兄永瑩○；乃你女■●●●●，■■■■千典旦○；七音 內南年■●●●●，十一音 ■■■■元犬半○；九聲 老冷呂■●●●●，三聲 ■■■■臣引艮○；唐犖離■●●●●，■■■■君允巽○。

On the right side, another line begins with 「Kai yin zhu he lu er zhi shiyi」, using the eleventh tone of water and fire sounds as the harmonious tone; this tone also has no actual sound to refer to, so it is written as 「■■■■」. The corresponding tones are the first tone 「Du ke ge she, he huohua ba, zai ai ○, hui mei tui ○」, the second tone 「Liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○」, and the third tone 「Qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○」. In the third line of the first tone on another diagram, it is written as 「Kai zai ai ○」, but the character 「Kai」 is missing in this version. On the left side, it remains under 「Ping sheng xi chang lv er zhi jiu」, using the ninth tone 「●●●●」 as the chant, paired with the fifth tone 「Bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping」, the sixth tone 「Dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■」, the seventh tone 「Nai ni nu ■, nei nan nian ■, lao leng lv ■, tang luo li ■」, and the last line's character 「Tang」 is written as 「Lu」 in another diagram. The line for the fifth tone 「Bu bai bing bi」 consists of words with labial sounds, with four characters arranged in order from the first to the fourth class. From the sixth tone onwards, the last character is all 「■」, and only three characters remain. In the third tone on the right side, 「Qian dian dan ○」 refers to the level tone 「Qian」, the rising tone 「Dian」, the falling tone 「Dan」, and the entering tone which has a position but no character. The last character of the first and second tones in other lines also often lacks a character.

走哉足■●●●●，■■■■刀早孝嶽；八音 自在匠■●●●●，十一音 ■■■■毛寶報霍；九聲 草采七■●●●●，四聲 ■■■■牛斗奏六；曹才全■●●●●，■■■■○○○玉；思三星■●●●●，■■■■妻子四日；九音 寺□象■●●●●，十一音 ■■■■衰○帥骨；九聲 □□□■●●●●，五聲 ■■■■○○○德；□□□■●●●●，■■■■龜水貴北；■山手■●●●●，■■■■宮孔眾○；十音 ■十石■●●●●，十一音 ■■■■龍甬用○；九聲 ■□耳■●●●●，六聲 ■■■■魚鼠去○；■□二■●●●●，■■■■烏虎兔○；■莊震■●●●●，■■■■心審禁○。

Continuing 「level tone harmonized singing of the second of the two tones of the ninth level」. The left half uses the ninth tone's 「●●●●」 as the singing tone, paired with the eighth tone's correct sound 「zou zai zu ■」, 「zizai jiang ■」, 「cao cai qi ■」, 「cao cai quan ■」, the ninth tone's 「si san xing ■」, 「si ■ xiang ■」, 「■■■■」, 「■■■■」, and the tenth tone's 「■ shan shou ■」, 「■ shi shi ■」, 「■■ er ■」, 「■■ er ■」, with the last line connecting to the first line of the eleventh tone 「■ zhuang zhen ■」; the two lines after the ninth tone only have 「□」, meaning there is a sound but no character, while the tenth tone is represented elsewhere as 「■ shi shi ■」. The right half belongs to 「open tone dull harmonized law of the second of the eleven tones」, using the soundless 「■■■■」 as the harmonized tone, successively paired with the fourth tone's correct sound 「dao zao xiao yue」, 「mao bao bao huo」, 「niu dou zhou liu」, 「○○○ yu」, the fifth tone's 「zi qi si ri」, 「shuai ○ shuai gu」, 「○○○ de」, 「gui shui gui bei」, the sixth tone's 「gong kong zhong ○」, 「long yong yong ○」, 「yu shu qu ○」, 「wu hu tu ○」, and the last line is the seventh tone's first line 「xin shen jin ○」. The last line of the fourth tone only includes the entering tone with characters, while the fifth tone's 「shuai ○ shuai gu」 is missing the rising tone, showing that within the same tone class, the four levels are unevenly dense. On the left side, starting from the tenth tone, the first character is always soundless, clearly different from the first four positions of the previous nine tones which all have characters. This is exactly what Shao Yong referred to, that tones have expansion and contraction, and sounds have clear and dull tones, each matching their respective positions.

十一音 ■乍□■●●●●，十一音 ■■■■○○○十；九聲 ■叉赤■●●●●，七聲 ■■■■男坎欠○；■崇辰■●●●●，■■■■○○○妾；■卓中■●●●●，■■■■●●●●；十二音 ■宅直■●●●●，十一音 ■■■■●●●●；九聲 ■拆丑■●●●●，八聲 ■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

"The level tone 'Ping' sings in harmony with the second of the two 'Lv' tones, the ninth tone." Here the pairing is completed: the left half uses the ninth tone's '●●●●' as the singing tone, matching the last three lines of the eleventh tone's standard sound '■乍□■', '■叉赤■', '■崇辰■', and the four lines of the twelfth tone's standard sound '■卓中■', '■宅直■', '■拆丑■', '■茶呈■'. The right half belongs to 'Kai' tone, the second of the two 'Lu' tones, the eleventh tone, which uses the silent '■■■■' as the harmonizing tone, matching the last three lines of the seventh tone's standard sound '○○○十', '男坎欠○', '○○○妾' and the four lines of the eighth tone's standard sound '●●●●'. The seventh tone only has characters in certain positions, with '○' indicating sound without characters elsewhere; the eighth tone does not even establish sound positions, and is entirely filled with '●'.

平聲翕唱呂二之十：古甲九癸●●●●，■■■■●●●●；一音 □□近揆●●●●，十一音 ■■■■●●●●；十聲 坤巧丘棄●●●●，九聲 ■■■■●●●●；□□乾蚪●●●●，■■■■●●●●；黑花香血●●●●，■■■■●●●●；二音 黃華雄賢●●●●，十一音 ■■■■●●●●；十聲 五瓦仰□●●●●，十聲 ■■■■●●●●；吾牙月堯●●●●，■■■■●●●●。

"Level tone harmonizes with the second of the two tones of the tenth sound." A new diagram is drawn. The sung sound is the tenth sound of the day and moon tones, which has no sound and no character, and is written entirely as "●●●●". It first pairs with the first tone of the correct sound, which has four lines: "Ancient Jia ninth Gui", "□□ near揆", "Kun Qiao Qu Qi", "□□ Qian Tu". Then it pairs with the second tone of the correct sound, which has four lines: "Black flower fragrance blood", "Yellow flower strong virtuous", "Five Wa look up □", "Wu Ya moon Yao". The right half is the conclusion of "Open tone turbid harmony with the second of the eleven tones", ending with the soundless "■■■■" as harmony, pairing with the ninth and tenth tones of the correct sound, totaling eight lines, all written as "●●●●". Within one diagram, both sound and tone sides are empty, clearly showing that Shao Yong established the diagram by first determining the numerical positions and grid positions, then observing whether there were characters or not. On the left side, the four lines of the two correct tones are fully present, forming a contrast with the empty sound position; on the right side, both sound and tone are empty, with no character to be cited throughout.

開音濁和律二之十二：安亞乙一●●●●，■■■■多可個舌；三音 □爻壬寅●●●●，十二音 ■■■■禾火化八；十聲 母馬美米●●●●，一聲 ■■■■開宰愛○；目貌眉民●●●●，■■■■回每退○；夫法□飛●●●●，■■■■良兩向○；四音 父凡□吠●●●●，十二音 ■■■■光廣況○；十聲 武晚□尾●●●●，二聲 ■■■■丁井亙○；文萬□未●●●●，■■■■兄永瑩○；卜百丙必●●●●，■■■■千典旦○；五音 步白備鼻●●●●，十二音 ■■■■元犬半○；十聲 普撲品匹●●●●，三聲 ■■■■臣引艮○；旁排平瓶●●●●，■■■■君允巽○。

The right half begins anew with "Kai Yin Zhuo He Lu Er Zhi Shier," using the twelfth tone of water and fire sounds as the harmonious tone. The twelfth tone also belongs to the category of having a position but no sound, written as "■■■■"; it is paired with the first tone of the standard sound, "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai O," "Hui Mei Tui O," the second tone "Liang Liang Xiang O," "Guang Guang Kuang O," "Ding Jing Gen O," "Xiong Yong Ying O," and the third tone "Qian Dian Dan O," "Yuan Quan Ban O," "Chen Yin Gen O," "Jun Yun Xun O." The left half remains under "Ping Sheng Xi Chen Lu Er Zhi Shi," using the tenth tone's "●●●●" as the singing tone, paired with the third tone of the standard sound "An Ya Yi Yi," "Xiao Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei," and the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping." The four lines of the first tone on the right side are arranged in order from first to fourth class, with the four characters within each line following the order of level, rising, falling, and entering tones, such as "Du Ke Ge She" meaning level "Du," rising "Ke," falling "Ge," and entering "She." The left side's three categories of standard sounds are arranged in order of clear,浊,次清,次浊, and the third position of the four lines in the light lip category is missing. The third tone is led by "An," "Xiao," "Mu," and "Mu" for the four lines, the fourth tone by "Fu," "Fu," "Wu," and "Wen" for the four lines, and the fifth tone by "Bu," "Bu," "Pu," and "Pang" for the four lines, with all characters having four characters fully present.

東丹帝■●●●●，■■■■刀早孝嶽；六音 兌大弟■●●●●，十二音 ■■■■毛寶報霍；十聲 土貪天■●●●●，四聲 ■■■■牛斗奏六；同覃田■●●●●，■■■■○○○玉；乃你女■●●●●，■■■■妻子四日；七音 內南年■●●●●，十二音 ■■■■衰○帥骨；十聲 老冷呂■●●●●，五聲 ■■■■○○○德；鹿犖離■●●●●，■■■■龜水貴北；走哉足■●●●●，■■■■宮孔眾○；八音 自在匠■●●●●，十二音 ■■■■龍甬用○；十聲 草采七■●●●●，六聲 ■■■■魚鼠去○；曹才全■●●●●，■■■■烏虎兔○；思三星■●●●●，■■■■心審禁○。

Continuing "Ping Sheng Xi Chang Lv Er Zhi Shi". The left half uses the tenth tone's "●●●●" as the singing tone, paired with the correct tones of the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■", the seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■", and the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", with the last line connecting to the first line of the ninth tone "Si San Xing ■". These three categories of correct tones all have only the first three characters, with the fourth character being silent "■". The right half is "Kai Yin Zhu He Lu Er Zhi Shiwu", using the silent "■■■■" as the harmonizing tone, successively paired with the correct tones of the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the first line of the seventh tone "Xin Shen Jin ○". The fourth tone "Dao Zao Xiao Yue" has all four characters complete, the fifth tone "Cui ○ Shuai Gu" is missing the rising tone, and the four lines of the sixth tone all have the last character empty, with varying density. The left column has three categories, each with four lines, arranged in order of clear,浊,次清,次浊, with the last character universally silent, which is precisely why in Shao Yong's system, the tongue, nasal, and dental sounds are only divided into three categories.

九音 寺□象■●●●●，十二音 ■■■■○○○十；十聲 □□□■●●●●，七聲 ■■■■男坎欠○；□□□■●●●●，■■■■○○○妾；■山手■●●●●，■■■■●●●●；十音 ■士石■●●●●，十二音 ■■■■●●●●；十聲 ■□耳■●●●●，八聲 ■■■■●●●●；■□二■●●●●，■■■■●●●●；■莊震■●●●●，■■■■●●●●；十一音 ■乍□■●●●●，十二音 ■■■■●●●●；十聲 ■叉赤■●●●●，九聲 ■■■■●●●●；■崇辰■●●●●，■■■■●●●●；■卓中■●●●●，■■■■●●●●；十二音 ■宅直■●●●●，十二音 ■■■■●●●●；十聲 ■拆丑■●●●●，十聲 ■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

This diagram and this passage conclude together. The left half is the final part of "Ping Sheng Xi Chang Lü Er Zhi Shí," still using the tenth tone "●●●●" as the chant, paired with the ninth tone's last three lines "Si □ Xiang ■," "□ □ □ ■," "□ □ □ ■," the tenth tone "■ Shan Shou ■," "■ Shi Shi ■," "■ □ Er ■," "■ □ Er ■," the eleventh tone "■ Zhuang Zhen ■," "■ Zha □ ■," "■ Cha Chi ■," "■ Chong Chen ■," and the twelfth tone "■ Zhuo Zhong ■," "■ Zhai Zhi ■," "■ Che Chou ■," "■ Cha Cheng ■." The right half is the final part of "Kai Yin Zhu He Lu Er Zhi Shí Er," using the silent "■ ■ ■ ■" as the harmony, paired with the seventh tone's last three lines "○ ○ ○ Shi," "Nan Kan Qian ○," "○ ○ ○ Qie" and the eighth, ninth, and thirteenth tones' twelve lines "● ● ● ●." Overall, this passage presents ten diagrams for the sounds of the sun and moon, and twelve diagrams for the sounds of water and fire; each sound diagram is paired with twelve tones and forty-eight lines, while each tone diagram is paired with ten tones and forty lines. Any character that can be cited, the sounds do not exceed seven categories, and the tones do not exceed nine categories; the rest merely exist in their positions. Shao Yong associates sounds with the earth and pairs them with the sun, moon, and stars, while associating tones with the sky and pairing them with water, fire, soil, and stone. Sounds are sung below, and tones are harmonized above, with the numbers of heaven and earth multiplied together, encompassing all the sounds in the world. The diagrams at the end of this passage are almost entirely empty, and readers should not treat them as missing characters to be removed. The four symbols each have specific meanings: "○" has a sound but no character, "●" has neither a sound nor a position, "□" has a tone but no character, and "■" has neither a tone nor a position; they should not be confused with each other.

皇極經世書卷七下。觀物篇三十七：日星聲平闢，水土音開清；開丁臣牛○，坤五母武普土；魚男●●●，老草□■■■；日星聲七，下唱地之；水土音九，上和天之；用音一百五十二，是；用聲一百一十二，是；謂平聲闢音。平聲闢；謂開音清聲。開音清；音一千六十四。聲一千八。日星聲平之三辟，水土音開之三清。

In Volume Seven, Part Two of The Supreme Principles Governing the World, the third十七th section, Observing Things, presents two diagrams side by side. The left diagram is titled "Sun and Stars Sound Level and Separation," and the right diagram is titled "Water and Earth Tone Opening and Clear." The left diagram lists ten representative characters for the ten sounds in the level and separation positions: "Kai," "Ding," "Chen," "Niu," "○," "Yu," "Nan," and three "●," representing sounds one through ten. "○" denotes a sound position without a character, while "●" indicates a position without sound. The right diagram lists twelve representative characters for the twelve tones in the opening and clear positions: "Kun," "Wu," "Mu," "Wu," "Pu," "Tu," "Lao," "Cao," "□," and three "■," representing tones one through twelve. "□" denotes a tone position without a character, while "■" indicates a position without a tone. The annotations below are to be read separately on the left and right sides. The left side states that the sounds of sun and stars actually consist of seven categories, with the lower and earth's use of tones totaling 152, forming "level and separation sounds," totaling 1,640. The right side states that the tones of water and earth actually consist of nine categories, with the upper and heaven's use of sounds totaling 112, forming "opening and clear tones," totaling 1,800. The last two sentences indicate that this section belongs to the third group of four groups of harmonization. The original text arranges the two columns in a single line, so the sentences are cut in half, and must be read separately on the left and right.

平聲闢唱呂三之一，開音清和律三之一：古甲九癸開開開開，坤坤坤坤多可個舌；一音 □□近揆開開開開，一音 坤坤坤坤禾火化八；一聲 坤巧丘棄開開開開，一聲 坤坤坤坤開宰愛○；□□乾蚪開開開開，坤坤坤坤回每退○；黑花香血開開開開，坤坤坤坤良兩向○；二音 黃華雄賢開開開開，一音 坤坤坤坤光廣況○；一聲 五瓦仰□開開開開，二聲 坤坤坤坤丁井亙○；吾牙月堯開開開開，坤坤坤坤兄永瑩○；安亞乙一開開開開，坤坤坤坤千典旦○；三音 □爻壬寅開開開開，一音 坤坤坤坤元犬半○；一聲 母馬美米開開開開，三聲 坤坤坤坤臣引艮○；目貌眉民開開開開，坤坤坤坤君允巽○。

Two diagrams begin simultaneously. The left diagram, titled "Ping Sheng Bi Chang Lv San Zhi Yi," uses the representative character "Kai" from the first tone of the Ping Sheng Bi position, with the first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Yu," the second tone "He Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," and the third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Mi," where "□" indicates a phonetic position without a character, and the "Ma" in "Mu Ma Mei Mi" is the original form of "马." The right diagram, titled "Kai Yin Qing He Lu San Zhi Yi," uses the representative character "Kun" from the first tone of the water and earth sound, with the first tone "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○," and the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○," where "○" indicates a sound without a character. Sound is subordinate to Lu and serves as the main chant, while tone is superior to Lu and serves as the harmony. One chant and one harmony, which is the reason for the term "Sheng Yin Chang He." Each category in the tone diagram has four lines, divided into clear, turbid, sub-clear, and sub-turbid tones, with four characters per line from the first to fourth tone. In the sound diagram, each line has four characters from Ping Sheng to Ru Sheng. The number of lines in the two diagrams differs; the sound diagram has forty-eight lines, while the tone diagram has forty lines.

夫法□飛開開開開，坤坤坤坤刀早孝嶽；四音 父凡□吠開開開開，一音 坤坤坤坤毛寶報霍；一聲 武晚□尾開開開開，四聲 坤坤坤坤牛斗奏六；文萬□未開開開開，坤坤坤坤○○○玉；卜百丙必開開開開，坤坤坤坤妻子四日；五音 步白備鼻開開開開，一音 坤坤坤坤衰○帥骨；一聲 普撲品匹開開開開，五聲 坤坤坤坤○○○德；旁排平瓶開開開開，坤坤坤坤龜水貴北；東丹帝■開開開開，坤坤坤坤宮孔眾○；六音 兌大弟■開開開開，一音 坤坤坤坤龍甬用○；一聲 土貪天■開開開開，六聲 坤坤坤坤魚鼠去○；同覃田■開開開開，坤坤坤坤烏虎兔○；乃你女■開開開開，坤坤坤坤心審禁○。

Continuing "Ping Sheng Bi Chang Lv San Zhi Yi". On the left side, the first tone "Kai" serves as the chant, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The last line connects to the seventh tone's first line "Nai Ni Nu ■". The "□" in the fourth tone represents a sound without a character, while the last positions of the sixth and seventh tones marked "■" are positions without sound. On the right side, continuing "Kai Yin Qing He Lu San Zhi Yi", the first tone "Kun" of the water and earth sounds serves as the harmony, paired with the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the seventh tone's first line "Xin Shen Jin ○". Only the last character of the fourth tone has a character, while the second tone of the fifth tone has no character, both marked with "○" to indicate the position. Both sides have thirteen lines, all belonging to the middle section of one diagram. The left column lists Fu, Bu, and Dong, which belong to the light lip, heavy lip, and tongue sounds respectively, each distinguished by four lines for their clear and浊 (obscure) tones.

七音 內南年■開開開開，一音 坤坤坤坤○○○十；一聲 老冷呂■開開開開，七聲 坤坤坤坤男坎欠○；鹿犖離■開開開開，坤坤坤坤○○○妾；走哉足■開開開開，坤坤坤坤●●●●；八音 自在匠■開開開開，一音 坤坤坤坤●●●●；一聲 草采七■開開開開，八聲 坤坤坤坤●●●●；曹才全■開開開開，坤坤坤坤●●●●；思三星■開開開開，坤坤坤坤●●●●；九音 寺□象■開開開開，一音 坤坤坤坤●●●●；一聲 □□□■開開開開，九聲 坤坤坤坤●●●●；□□□■開開開開，坤坤坤坤●●●●；■山手■開開開開，坤坤坤坤●●●●；十音 ■士石■開開開開，一音 坤坤坤坤●●●●；一聲 ■□耳■開開開開，十聲 坤坤坤坤●●●●；■□二■開開開開，坤坤坤坤●●●●。

"The level tone 'Ping' and the 'Bi' tone are simultaneously concluded in the middle. The left half still uses the first tone 'Kai' as the main tone, paired with the seventh tone's last three lines 'Nai Nan Nian ■', 'Lao Leng Lu ■', 'Lu Luo Li ■', the eighth tone 'Zou Zai Zu ■', 'Zi Zai Jiang ■', 'Cao Cai Qi ■', 'Cao Cai Quan ■', the ninth tone 'Si San Xing ■', 'Si ■ Xiang ■', '■ ■ ■ ■', '■ ■ ■ ■', and the tenth tone '■ Shan Shou ■', '■ Shi Shi ■', '■ ■ Er ■', '■ ■ Er ■'. The last two lines of the ninth tone have phonetic positions but no characters, so three '■' are written in succession. The tenth tone's first position has no sound and is marked as '■'. The right half uses the first tone 'Kun' of the water and earth tones as the harmonizing tone, paired with the seventh tone's last three lines '○○○ Shi', 'Nan Kan Qian ○', '○○○ Qie', as well as twelve lines from the eighth, ninth, and thirteenth tones '●●●●'. The number of tones in the sound diagram: ten categories of main tones, each with four lines and four positions, totaling 160 positions, minus the silent ones, resulting in 112 practical positions. The number of tones in the sound diagram: twelve categories of main tones, totaling 192 positions, minus the silent ones, resulting in 152 practical positions. The beginning of the text says 'the sound of the sun and stars is seven, and the lower singing uses 152 tones of the earth', 'the water and earth tones are nine, and the upper harmonizing uses 112 tones of the sky', referring to these two numbers. The 'level tone 'Ping' and the 'Bi' tone are 164 and 180 respectively, which are exactly the results of multiplying seven by 152 and nine by 112.'"

開音清和律三之二：■莊震■開開開開，五五五五多可個舌；十一音 ■乍□■開開開開，二音 五五五五禾火化八；一聲 ■叉赤■開開開開，一聲 五五五五開宰愛○；■崇辰■開開開開，五五五五回每退○；■卓中■開開開開，五五五五良兩向○；十二音 ■宅直■開開開開，二音 五五五五光廣況○；一聲 ■拆丑■開開開開，二聲 五五五五丁井亙○；■茶呈■開開開開，五五五五兄永瑩○。

On the right side, it begins with "Kaiyin Qinghe Lv San Zhi Er" using the representative character "wu" from the second tone of the water and earth sounds. It pairs this with the first tone "duo ke ge she", "he huohua ba", "kai zai ai ", "hui mei tui " and the second tone "liang liang xiang ", "guang guang kuang ", "ding jing gen ", "xiong yong ying ". On the left side, it is the last eight lines of "Pingsheng Bi Chang Lv San Zhi Yi", still using the first tone "kai" as the starting tone, paired with the eleventh tone "zhuang zhen ", "zha ", "cha chi ", "chong chen " and the twelfth tone "zhuo zhong ", "zha zhi ", "cha chou ", "cha cheng ". Both sets of tones start with " " and end with either " " or " ", indicating that the zhuang and zhuo series in Shao Yong's system only occupy the middle two tones. At this point, the diagram with "kai" as the starting tone is fully completed with twelve tones and forty-eight lines. In the Middle Chinese period, zhuang and zhuo belonged to the correct dental and retroflex sounds, and this system only established the second and third tones, hence the first and last characters are both " ".

平聲闢唱呂三之二：古甲九癸丁丁丁丁，五五五五千典旦○；一音 □□近揆丁丁丁丁，二音 五五五五元犬半○；二聲 坤巧丘棄丁丁丁丁，三聲 五五五五臣引艮○；□□乾蚪丁丁丁丁，五五五五君允巽○；黑花香血了丁丁丁，五五五五刀早孝嶽；二音 黃華雄賢丁丁丁丁，二音 五五五五毛寶報霍；二聲 五瓦仰□丁丁丁丁，四聲 五五五五牛斗奏六；吾牙月堯丁丁丁丁，五五五五○○○玉；安亞乙一丁丁丁了，五五五五妻子四日；三音 □爻壬寅丁丁丁丁，二音 五五五五衰○帥骨；二聲 母馬美米丁丁丁丁，五聲 五五五五○○○德；目貌眉民丁丁丁丁，五五五五龜水貴北。

"Level tone 'Bi Chang Lv San Zhi Er'" starts anew, using the representative character "Ding" for the singing tone, which is the second tone of the day and star sound, and is paired with the first tone of the correct sound "Gu Jia Jiu Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Yuo", the second tone "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", and the third tone "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min"; the character at the beginning of "He Hua Xiang Xue" and the ending character of "An Ya Yi Yi" for the singing tone, which was mistakenly carved as "Liao" in the original text, is actually "Ding". The right half remains "Open tone Clear and Harmonious Law San Zhi Er", using the second tone of the water and earth sound "Wu" as the harmony, paired with the third tone of the correct sound "Qian Dian Dan □", "Yuan Quan Ban □", "Chen Yin Gen □", "Jun Yun Xun □", the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "□□□ Yu", and the fifth tone "Zi Qi Si Ri", "Shuai □ Shuai Gu", "□□□ De", "Gui Shui Gui Bei". The third tone on the right "Qian Dian Dan □" is level tone "Qian", rising tone "Dian", falling tone "Dan", and the entering tone has a position but no character; the fourth tone "Dao Zao Xiao Yue" has all four tones; the fifth tone "Shuai □ Shuai Gu" is missing the rising tone. The left column has three categories of correct sounds, each with four lines, arranged in order of clear, dull, sub-clear, and sub-dull tones, with four characters in each line from the first to the fourth tone.

夫法□飛丁丁丁丁，五五五五宮孔眾○；四音 父凡□吠丁丁丁丁，二音 五五五五龍甬用○；二聲 武晚□尾丁丁丁丁，六聲 五五五五魚鼠去○；文萬□未丁丁丁丁，五五五五烏虎兔○；卜百丙必丁丁丁丁，五五五五心審禁○；五音 步白備鼻丁丁丁丁，二音 五五五五○○○十；二聲 普撲品匹丁丁丁丁，七聲 五五五五男坎欠○；旁排平瓶丁丁丁丁，五五五五○○○妾；東丹帝■丁丁丁丁，五五五五●●●●；六音 兌大弟■丁丁丁丁，二音 五五五五●●●●；二聲 土貪天■丁丁丁丁，八聲 五五五五●●●●；同覃田■丁丁丁丁，五五五五●●●●；乃你女■丁丁丁丁，五五五五●●●●。

Continuing "Ping Sheng Bi Chang Lv San Zhi Er". On the left side, the second tone "Ding" serves as the singing tone, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The last line is the seventh tone's first line "Nai Ni Nu ■". On the right side, it belongs to "Kai Yin Qing He Lu San Zhi Er", with "Wu" as the harmonizing tone, paired with the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", the seventh tone "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie"; below this, the eighth tone has four lines and the ninth tone's first line both marked as "● ● ● ●", which are positions without sound or characters. The "○" at the end of each line in the sixth and seventh tones indicates that there is a tone position but no character can be cited. The fourth tone on the left belongs to the light lip sounds, the fifth tone to the heavy lip sounds, the sixth tone to the tongue sounds, and the seventh tone to the nasal sounds. From the sixth tone onwards, the fourth position in each line is consistently empty, hence marked with "■". On the right side, the fourth position of each line in the sixth tone is marked with "○", while in the seventh tone only the positions of "Xin", "Shen", "Jin", "Shi", "Nan", "Kan", "Qian", and "Qie" have characters, the rest are empty, clearly showing the difference in density between these two tones.

七音 內南年■丁丁丁丁，二音 五五五五●●●●；二聲 老冷呂■丁丁丁丁，九聲 五五五五●●●●；鹿犖離■丁丁丁丁，五五五五●●●●；走哉足■丁丁丁丁，五五五五●●●●；八音 自在匠■丁丁丁了，二音 五五五五●●●●；二聲 草采七■丁丁丁丁，十聲 五五五五●●●●；曹才全■丁丁丁丁，五五五五●●●●。

It still belongs to 'Ping Sheng Bi Chang Lv San Zhi Er'. The left half uses the second tone 'Ding' as the singing tone, paired with the seventh tone's last three lines 'Nei Nan Nian ■', 'Lao Leng Lv ■', 'Lu Luo Li ■' and the eighth tone's four lines 'Zou Zai Zu ■', 'Zi Zai Jiang ■', 'Cao Cai Qi ■', 'Cao Cai Quan ■'; the last line under 'Zi Zai Jiang ■' has the character for 'singing' mistakenly written as 'Liao' in the original, but it should still be read as 'Ding'. The right half concludes the 'Kai Yin Qing He Lu San Zhi Er', using the second tone of water and earth sound 'Wu' as the harmonizing tone, paired with the ninth tone's last three lines and the tenth tone's four lines, totaling seven lines all marked as '●●●●'. The diagram using 'Wu' as the harmonizing tone now completes ten tones and forty lines.

開音清和律三之三：思三星■丁丁丁丁，母母母母多可個舌；九音 寺□象■丁丁丁丁，三音 母母母母禾火化八；二聲 □□□■丁丁丁丁，一聲 母母母母宰愛○；□□□■丁丁丁丁，母母母母回每退○；■山手■丁丁丁丁，母母母母良兩向○；十音 ■士石■丁丁丁丁，三音 母母母母光廣況○；二聲 ■□耳■丁丁丁丁，二聲 母母母母丁井亙○；■□二■丁丁丁丁，母母母母兄永瑩○；■莊震■丁丁丁丁，母母母母千典旦○；十一音 ■乍□■丁丁丁丁，三音 母母母母元犬半○；二聲 ■叉赤■丁丁丁丁，三聲 母母母母臣引艮○；■崇辰■丁丁丁丁，母母母母君允巽○。

The right half begins with "Kai Yin Qing He Lu San Zhi San," using the representative character "mu" from the third tone of water and earth sounds as the harmonizing character. It pairs the first tone "duo ke ge she," "he huoa hua ba," "zai ai o," "hui mei tui o"; the second tone "liang liang xiang o," "guang guang kuang o," "ding jing geng o," "xiong yong ying o"; and the third tone "qian dian dan o," "yuan quan ban o," "chen yin gen o," "jun yun xun o." The first tone's third line in the left half is written as "kai zai ai o," but the character "kai" is missing in the original text. The left half remains under "Ping Sheng Pi Chang Lu San Zhi Er," using the second tone "ding" as the singing character, paired with the ninth tone's standard sound "si san xing ■," "si ■ xiang ■," "■ ■ ■ ■," "■ ■ ■ ■"; the tenth tone "■ shan shou ■," "■ shi shi ■," "■ ■ er ■," "■ ■ er ■"; and the eleventh tone "■ zhuang zhen ■," "■ zha ■ ■," "■ cha chi ■," "■ chong chen ■." In the left column, the ninth tone only has characters in the first two lines, while the last two lines "■ ■ ■ ■" have three missing characters; the first character of the tenth tone and below is missing. The right column's first tone has four lines representing four categories of the same tone, with four characters in each line arranged in the order of level, rising, falling, and entering tones, such as "hui mei tui o" which corresponds to level tone "hui," rising tone "mei," falling tone "tui," and entering tone with a position but no character.

■卓中■丁丁丁丁，母母母母刀早孝嶽；十二音 ■宅直■丁丁丁丁，三音 母母母母毛寶報霍；二聲 ■拆丑■丁丁丁丁，四聲 母母母母牛斗奏六；■茶呈■丁丁丁丁，母母母母○○○玉。

"The 'Ping Sheng Bi Chang Lu San Zhi Er' ends here: the left half uses the second tone 'Ding' as the singing tone, paired with the twelfth tone of the correct sound, four lines '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■', with the first character of each line being the silent '■'. The right half belongs to 'Kai Yin Qing He Lu San Zhi San', using the third tone of water and earth sound 'Mu' as the harmonizing tone, paired with the fourth tone of the correct sound, four lines 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'; the last line has three tones with sound but no characters, so three '○' are written in succession, only the entering tone 'Yu' has a character that can be cited."

平聲闢唱呂三之三：古甲九癸臣臣臣臣，母母母母妻子四日；一音 □□近揆臣臣臣臣，三音 母母母母衰○帥骨；三聲 坤巧丘棄臣臣臣臣，五聲 母母母母○○○德；□□乾蚪臣臣臣臣，母母母母龜水貴北；黑花香血臣臣臣臣，母母母母宮孔眾○；二音 黃華雄賢臣臣臣臣，三音 母母母母龍甬用○；三聲 五瓦仰□臣臣臣臣，六聲 母母母母魚鼠去○；吾牙月堯臣臣臣臣，母母母母烏虎兔○；安亞乙一臣臣臣臣，母母母母心審禁○；三音 □爻壬寅臣臣臣臣，三音 母母母母○○○十；三聲 母馬美米臣臣臣臣，七聲 母母母母男坎欠○；目貌眉民臣臣臣臣，母母母母○○○妾。

"The level tone 'Ping' is divided into three parts of three tones." A new diagram is started, with the third tone of the sound of the sun and stars, represented by the character 'Chen' which corresponds to the level tone 'Ping' position, as the leading tone. It is then paired sequentially with the first tone of the correct sound: "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Yuo"; the second tone: "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao"; the third tone: "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min". Among these, the "□" indicates a phonetic position without a character. The right half remains "Opening tone clear and harmonious law three of three", with the third tone of the water and earth sound "Mu" as the harmonizing tone, paired with the fifth tone of the correct sound: "Zi Qi Si Ri", "Shuai □ Shuai Gu", "□□□ De", "Gui Shui Gui Bei"; the sixth tone: "Gong Kong Zhong □", "Long Yong Yong □", "Yu Shu Qu □", "Wu Hu Tu □"; the seventh tone: "Xin Shen Jin □", "□□□ Shi", "Nan Kan Qian □", "□□□ Jie". All the "○" positions have sound but no characters. Although the sound diagram and the tone diagram are presented in two columns, they are actually independent texts: the left column has one leading tone and twelve harmonizing tones in forty-eight lines, while the right column has one harmonizing tone and ten leading tones in forty lines. The source text is laid out line by line, and when reading, one must look at the left and right columns separately. In the fifth tone on the right column, "Zi Qi Si Ri" has all four characters complete, which are the level tone "Qi", the rising tone "Zi", the falling tone "Si", and the entering tone "Ri". In the sixth tone, the last character of each of the four lines is missing, and in the seventh tone, half of the characters are present.

夫法□飛臣臣臣臣，母母母母●●●●；四音 父凡□吠臣臣臣臣，三音 母母母母●●●●；三聲 武晚□尾臣臣臣臣，八聲 母母母母●●●●；文萬□未臣臣臣臣，母母母母●●●●；卜百丙必臣臣臣臣，母母母母●●●●；五音 步白備鼻臣臣臣臣，三音 母母母母●●●●；三聲 普撲匹品臣臣臣臣，九聲 母母母母●●●●；旁排平瓶臣臣臣臣，母母母母●●●●；東丹帝■臣臣臣臣，母母母母●●●●；六音 兌大弟■臣臣臣臣，三音 母母母母●●●●；三聲 土貪天■臣臣臣臣，十聲 母母母母●●●●；同覃田■臣臣臣臣，母母母母●●●●。

Continuing "Ping Sheng Bi Chang Lu San Zhi San". The left half uses the third tone "Chen" as the starting sound, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei"; the fifth tone "Bu Bai Bei Bi", "Bu Bai Bei Bi", "Pu Pu Pi Pin", "Pang Pai Ping Ping"; and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". In the third line of the fifth tone, the other diagram reads "Pu Pu Pin Pi", but in this text, the characters "Pin" and "Pi" are reversed. The right half is the latter part of "Kai Yin Qing He Lu San Zhi San", using "Mu" as the harmonizing sound, paired with the eighth, ninth, and thirteenth tones, totaling twelve lines, all marked as "●●●●". These three tones, in Shao Yong's system, originally have no sound to be emitted, and harmonizing with any tone can only result in an empty position. However, the structure still needs to be listed, as the multiplication of sounds cannot be lacking. The fourth tone on the left belongs to the light lip sounds, with the third character in each of the four lines being "□"; the fifth tone belongs to the heavy lip sounds, with all four characters complete; the sixth tone belongs to the tongue sounds, with no sound at the end. Although the numbers of these three tones are empty, they still need to be listed first in the structure, and then subtracted when using the sounds. This is the usual practice of Shao Yong, first establishing the overall numbers and then selecting the used numbers. It is not permissible to delete them simply because they have no characters.

開音清和律三之四：乃你女■臣臣臣臣，武武武武多可個舌；七音 內南年■臣臣臣臣，四音 武武武武禾火化八；三聲 老冷呂■臣臣臣臣，一聲 武武武武開宰愛○；鹿犖離■臣臣臣臣，武武武武回每退○；走哉足■臣臣臣臣，武武武武良兩向○；八音 自在匠■臣臣臣臣，四音 武武武武光廣況○；三聲 草采七■臣臣臣臣，二聲 武武武武丁井亙○；曹才全■臣臣臣臣，武武武武兄永瑩○；思三星■臣臣臣臣，武武武武千典旦○；九音 寺□象■臣臣臣臣，四音 武武武武元犬半○；三聲 □□□■臣臣臣臣，三聲 武武武武臣引艮○；□□□■臣臣臣臣，武武武武君允巽○。

The right half begins with "Kai Yin Qing He Law Three of Four," using the representative character "Wu" from the fourth tone of water and earth sounds as the harmonizing character. It is paired with the first tone "Duo Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai," and "Hui Mei Tui," the second tone "Liang Liang Xiang," "Guang Guang Kuang," "Ding Jing Gen," and "Xiong Yong Ying," and the third tone "Qian Dian Dan," "Yuan Quan Ban," "Chen Yin Gen," and "Jun Yun Xun." The left half remains under "Ping Sheng Pi Chang Lu Three of Three," using the third tone "Chen" as the singing character, paired with the seventh tone "Nai Ni Nu," "Nei Nan Nian," "Lao Leng Lu," and "Lu Luo Li," the eighth tone "Zou Zai Zu," "Zi Zai Jiang," "Cao Cai Qi," and "Cao Cai Quan," and the ninth tone "Si San Xing," "Si Xiang Xiang," "□□□," and "□□□." The fourth position of these three categories of standard tones is uniformly marked with "■," indicating no sound at this position. The last two lines of the ninth tone have sound positions but no characters, hence three "□" are written in succession. On the right side, the second tone "Liang Liang Xiang" includes the level tone "Liang," the rising tone "Liang," the falling tone "Xiang," and no character for the entering tone. The third tone "Chen Yin Gen" follows the same pattern. The left side's three categories of standard tones each have four lines, still arranged in the order of clear, dull, secondary clear, and secondary dull tones, with the four characters in each line arranged from the first to the fourth tone class.

■山手■臣臣臣臣，武武武武刀早孝嶽；十音 ■士石■臣臣臣臣，四音 武武武武毛寶報霍；三聲 ■□耳■臣臣臣臣，四聲 武武武武牛斗奏六；■□二■臣臣臣臣，武武武武○○○玉；■莊震■臣臣臣臣，武武武武妻子四日；十一音 ■乍□■臣臣臣臣，四音 武武武武衰○帥骨；三聲 ■叉赤■臣臣臣臣，五聲 武武武武○○○德；■崇辰■臣臣臣臣，武武武武龜水貴北；■卓中■臣臣臣臣，武武武武宮孔眾○；十二音 ■宅直■臣臣臣臣，四音 武武武武龍甬用○；三聲 ■拆丑■臣臣臣臣，六聲 武武武武魚鼠去○；■茶呈■臣臣臣臣，武武武武烏虎兔○。

"The level tone 'Ping' is paired with the third tone 'Bi', forming the third of the three 'Chang' tones. On the left side, the third tone 'Chen' is used as the main tone, matching the tenth tone 'San Shan Shou', 'San Shi Shi', 'Er Er', 'Er Er Er', the eleventh tone 'Zhuang Zhen', 'Zha', 'Cha Chi', 'Chong Chen', and the twelfth tone 'Zhuo Zhong', 'Zhai Zhi', 'Chai Chou', 'Cha Cheng'. The first character of these three categories of tones is an empty symbol '■'. On the right side, it belongs to the 'Kai Yin Qing He' law, the fourth tone 'Shui Tu' as the harmonizing tone, matching the fourth tone 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', 'O O O Yu', the fifth tone 'Zi Qi Si Ri', 'Shuai O Shuai Gu', 'O O O De', 'Gui Shui Gui Bei', and the sixth tone 'Gong Kong Zhong O', 'Long Yong Yong O', 'Yu Shu Qu O', 'Wu Hu Tu O'. Starting from the tenth tone on the left side, the four categories of tones only retain the middle two characters, with the last character either present or missing, differing greatly from the previous nine tones which have four complete characters. In one diagram, the characters and empty positions alternate, which is the true nature of Shao Yong's system. On the right side, the last line of the fourth tone 'O O O Yu' only has characters in the entering tone, the fifth tone 'Shuai O Shuai Gu' is missing the rising tone, and the last character of each line in the sixth tone is empty."

平聲闢唱呂三之四：古甲九癸牛牛牛牛，武武武武心審禁○；一音 □□近揆牛牛牛牛，四音 武武武武○○○十；四聲 坤巧丘棄牛牛牛牛，七聲 武武武武男坎欠○；□□乾蚪牛牛牛牛，武武武武○○○妾；黑花香血牛牛牛牛，武武武武●●●●；二音 黃華雄賢牛牛牛牛，四音 武武武武●●●●；四聲 五瓦仰□牛牛牛牛，八聲 武武武武●●●●；吾牙月堯牛牛牛牛，武武武武●●●●；安亞乙一牛牛牛牛，武武武武●●●●；三音 □爻壬寅牛牛牛牛，四音 武武武武●●●●；四聲 母馬美未牛牛牛牛，九聲 武武武武●●●●；目貌眉民牛牛牛牛，武武武武●●●●。

"Level of level tone, level tone, and level tone of the third and fourth tones" starts anew, using the representative character "niu" (cow) for the fourth tone in the level tone category "pi" (avoid), paired with the first standard tone "gu jia jiu gui" (ancient, Jia, ninth, Gui), "□□ near kuí" (□□ near judgment), "kun qiao qiu qi" (Kun skill hill discard), "□□ qian duo" (□□ Heaven tadpole), the second standard tone "hei hua xiang xue" (black flower fragrance blood), "huang hua xiong xian" (yellow flower strong virtuous), "wu wa yang □" (five wa look □), "wu ya yue yao" (I tooth moon Yao), and the third standard tone "an ya yi yi" (safe, Ya, Yi, one), "□ yao ren yin" (□ line Ren Yin), "mu ma mei wei" (mother horse beauty not), "mu mao mei min" (eye appearance beauty people); in the third line of the third standard tone, the diagram shows "mu ma mei mi" (mother horse beauty rice), but here "mi" (rice) is mistakenly carved as "wei" (not). The right half belongs to "open tone clear and harmonious law third and fourth tones," using "wu" (military) as the harmonizing tone, paired with the seventh standard tone "xin shen jin ○" (heart review prohibition ○), "○○○ shi" (○○○ ten), "nan kan qian ○" (male Kan lack ○), "○○○ qie" (○○○ concubine), as well as the eighth and ninth tones, totaling eight lines "●●●●"; the former refers to having a tone position but no character, while the latter refers to tone positions that are not established. The left column's first tone belongs to dental tones, the second to pharyngeal and dental浊 tones, and the third to shadow and yu tones and lip and nasal tones, each category having four lines divided into clear,浊, sub-clear, and sub-浊, with four characters per line from the first to fourth tone levels; the first two characters in the lines "□□ near kuí" (□□ near judgment) and "□□ qian duo" (□□ Heaven tadpole) are missing, indicating the existence of the tone position but no corresponding character. Among the eight positions of the seventh tone on the right, only five have characters, while the eighth and ninth tones are entirely silent, and this diagram is nearly at its end.

夫法□飛牛牛牛牛，武武武武●●●●；四音 父凡□吠牛牛牛牛，四音 武武武武●●●●；四聲 武晚□尾牛牛牛牛，十聲 武武武武●●●●；文萬□未牛牛牛牛，武武武武●●●●。

It remains "Ping Sheng Bi Chang Lv San Zhi Si," using the fourth tone "Niu" as the chant, paired with the fourth tone of the standard sound in four lines: "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." The third character in each line is marked as "□," indicating that this class has a phonetic position but no corresponding character. On the right side, it is the last part of "Kai Yin Qing He Lu San Zhi Si," using the fourth tone water and earth sound "Wu" as the harmony, paired with the tenth tone standard sound in four lines, all marked as "●●●●." At this point, the diagram using "Wu" as the harmony is completed with ten tones and forty lines.

開音清和律三之五：卜百丙必牛牛牛牛，普普普普多可個舌；五音 步白備鼻牛牛牛牛，五音 普普普普禾火化八；四聲 普撲品匹牛牛牛牛，一聲 普普普普開宰愛○；旁排平瓶牛牛牛牛，普普普普回每退○；東丹帝■牛牛牛牛，普普普普良兩向○；六音 兌大弟■牛牛牛牛，五音 普普普普光廣況○；四聲 土貪天■牛牛牛牛，二聲 普普普普丁井亙○；同覃田■牛牛牛牛，普普普普兄永瑩○；乃你女■牛牛牛牛，普普普普千典旦○；七音 內南年■牛牛牛牛，五音 普普普普元犬半○；四聲 老冷呂■牛牛牛牛，三聲 普普普普臣引艮○；鹿犖離■牛牛牛牛，普普普普君允巽○。

The right half begins with "Kai Yin Qing He Lu San Wu", using the representative character "Pu" of the fifth tone of water and earth sounds. It starts by matching the first tone "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ", "Hui Mei Tui " with "Pu". The second tone includes "Liang Liang Xiang ", "Guang Guang Kuang ", "Ding Jing Gen ", "Xiong Yong Ying ". The third tone includes "Qian Dian Dan ", "Yuan Quan Ban ", "Chen Yin Gen ", "Jun Yun Xun ". The left half remains under "Ping Sheng Pi Chang Lu San Si", using the fourth tone's representative character "Niu" as the starting tone, matching the fifth tone's standard sound "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", the sixth tone's standard sound "Dong Dan Di ", "Dui Da Di ", "Tu Tan Tian ", "Tong Tan Tian ", and the seventh tone's standard sound "Nai Ni Nu ", "Nei Nan Nian ", "Lao Leng Lu ", "Lu Luo Li ". The last characters " " in the sixth and seventh tones are positions without sound. These twelve lines on the right are the starting points of "Pu" sound harmonizing with ten tones. Within each line, the four characters follow the order of level, rising, falling, and entering tones, for example, "Du Ke Ge She" corresponds to level "Du", rising "Ke", falling "Ge", and entering "She". The fifth tone on the left belongs to the heavy lip sounds, with four lines each having four characters. The sixth tone belongs to the tongue sounds, and the seventh tone belongs to the nasal and lateral sounds. Both categories have no sound in the last position, only the first three levels are established.

走哉足■牛牛牛牛，普普普普刀早孝嶽；八音 自在匠■牛牛牛牛，五音 普普普普毛寶報霍；四聲 草采七■牛牛牛牛，四聲 普普普普牛斗奏六；曹才全■牛牛牛牛，普普普普○○○玉；思三星■牛牛牛牛，普普普普妻子四日；九音 寺□象■牛牛牛牛，五音 普普普普衰○帥骨；四聲 □□□■牛牛牛牛，五聲 普普普普○○○德；□□□■牛牛牛牛，普普普普龜水貴北；■山手■牛牛牛牛，普普普普宮孔眾○；十音 ■士石■牛牛牛牛，五音 普普普普龍甬用○；四聲 ■□耳■牛牛牛牛，六聲 普普普普魚鼠去○；■□二■牛牛牛牛，普普普普烏虎兔○；■莊震■牛牛牛牛，普普普普心審禁○。

Continuing "Ping Sheng Bi Chang Lu San Zi Si". The left half uses the fourth tone "Niu" as the starting sound, paired with the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■", and the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■", with the last line connecting to the eleventh tone's first line "■ Zhuang Zhen ■". After the ninth tone, the next two lines only have "■", indicating a phonetic position without a character. From the tenth tone onwards, the first position is all "■", meaning there is no sound at that position. The right half belongs to "Kai Yin Qing He Lu San Zi Wu", using the fifth tone "Pu" as the harmonizing sound, sequentially paired with the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the seventh tone's first line "Xin Shen Jin ○". The last line of the fourth tone only has the entering tone "Yu" with a character, the fifth tone is missing the rising tone, and the sixth tone's last character of each of the four lines is all "○". The left column's eighth tone belongs to the dental initial, the ninth tone belongs to the dental fricative, and the tenth tone belongs to the standard dental and the initial of the day mother, with the characters becoming increasingly sparse as they go further back.

十一音 ■乍□■牛牛牛牛，五音 普普普普○○○十；四聲 ■叉赤■牛牛牛牛，七聲 普普普普男坎欠○；■崇辰■牛牛牛牛，普普普普○○○妾；■卓中■牛牛牛牛，普普普普●●●●；十二音 ■宅直■牛牛牛牛，五音 普普普普●●●●；四聲 ■拆丑■牛牛牛牛，八聲 普普普普●●●●；■茶呈■牛牛牛牛，普普普普●●●●。

"Level tone 'Píng' is paired with the fourth tone 'Niú' as the leading note, matching the eleventh tone's last three lines '■ Zha □ ■', '■ Chā Chi ■', '■ Chóng Chen ■' and the four lines of the twelfth tone '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■'. The right half remains 'Open tone clear and harmonious law three of five', using the fifth tone 'Shu' of water and earth sounds as the harmonizing note, matching the seventh tone's last three lines '○○○ Shí', 'Nán Kan Qian ○', '○○○ Jie' and the four lines of the eighth tone '●●●●'. The seventh tone only has characters for the positions 'Shí', 'Nán', 'Kan', 'Qian', and 'Jie', while the rest are marked with '○' to indicate their tone positions. The eighth tone does not even establish tone positions."

平聲闢唱呂三之五：古甲九癸○○○○，普普普普●●●●；一音 □□近揆○○○○，五音 普普普普●●●●；五聲 坤巧丘棄○○○○，九聲 普普普普●●●●；□□乾蚪○○○○，普普普普●●●●；黑花香血○○○○，普普普普●●●●；二音 黃華雄賢○○○○，五音 普普普普●●●●；五聲 五瓦仰□○○○○，十聲 普普普普●●●●；吾牙月堯○○○○，普普普普●●●●。

"The level tone 'Ping' is divided into the fifth tone of the three tones 'Bi', 'Chang', and 'Lv'. A new diagram is started. The tone sung is the fifth tone of the daily star sound. This tone has sound but no character in the position of the level tone 'Bi', so the sung position is uniformly written as '○○○○'. It first matches the first tone of the correct sound with four lines: 'Gu Jia Jiui Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Yu'. Then it matches the second tone with four lines: 'He Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'. The right half is the conclusion of 'Kai Yin Qing He Lu San Wu', harmonized with the fifth tone of the water and earth sounds 'Pu', matching the ninth and tenth tones of the correct sound, totaling eight lines, all written as '●●●●'. The diagram harmonized with 'Pu' reaches a total of ten tones and forty lines. Although the sung positions have no characters, their sound positions remain, so they correspond one by one with the twelve tones and forty-eight lines. The left column, with four positions of the two categories of correct tones, is generally complete, forming a contrast with the empty sung positions. Readers should not overlook them just because they have no characters."

開音清和律三之六：安亞乙一○○○○，土土土土多可個舌；三音 母馬美米○○○○，六音 土土土土禾火化八；五聲 □爻壬寅○○○○，一聲 土土土土開宰愛○；目貌眉民○○○○，土土土土回每退○；夫法□飛○○○○，土土土土良兩向○；四音 父凡□吠○○○○，六音 土土土土光廣況○；五聲 武晚□尾○○○○，二聲 土土土土丁井亙○；文萬□未○○○○，土土土土兄永瑩○；卜百丙必○○○○，土土土土千典旦○；五音 步白備鼻○○○○，六音 土土土土元犬半○；五聲 普撲品匹○○○○，三聲 土土土土臣引艮○；旁排平瓶○○○○，土土土土君允巽○。

The right half begins with "Kaiyin Qinghe Lv Sanzhi Liu," using the representative character "Tu" (earth) from the sixth tone of water and earth sounds as the harmonizing character. It pairs with the first tone of the standard sound "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai," "Hui Mei Tui," the second tone "Liang Liang Xiang," "Guang Guang Kuang," "Ding Jing Gen," "Xiong Yong Ying," and the third tone "Qian Dian Dan," "Yuan Quan Ban," "Chen Yin Gen," "Jun Yun Xun." The left half remains under "Pingsheng Bi Chang Lv Sanzhi Wu," using the fifth tone's character "○" (a silent character without a written form) as the singing character, paired with the third tone of the standard sound "An Ya Yi Yi," "Mu Ma Mei Mi," "□ Yao Renyin," "Mu Mao Mei Min," the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei," and the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping." The order of the third tone in the other diagram is "An Ya Yi Yi," "□ Yao Renyin," "Mu Ma Mei Mi," "Mu Mao Mei Min," with the middle two lines reversed here. The four-character lines in the right column follow the order of level, rising, falling, and entering tones. The left column consists of three categories, each with four lines, following the order of clear,浊,次清,次浊. The third position in the category "Fu Fa □ Fei" is missing, indicating that the light lip sounds have no corresponding characters in these cases.

東丹帝■○○○○，土土土土刀早孝嶽；六音 兌大弟■○○○○，六音 土土土土毛寶報霍；五聲 土貪天■○○○○，四聲 土土土土牛斗奏六；同覃田■○○○○，土土土土○○○玉；乃你女■○○○○，土土土土妻子四日；七音 內南年■○○○○，六音 土土土土衰○帥骨；五聲 老冷呂■○○○○，五聲 土土土土○○○德；鹿犖離■○○○○，土土土土龜水貴北；走哉足■○○○○，土土土土宮孔眾○；八音 自在匠■○○○○，六音 土土土土龍甬用○；五聲 草采七■○○○○，六聲 土土土土魚鼠去○；曹才全■○○○○，土土土土烏虎兔○；思三星■○○○○，土土土土心審禁○。

Continuing from "level tone 'Ping' with the third tone 'Bi' and the fifth tone 'Pu'". The left half uses the fifth tone's "○" as the main sound, paired with the correct tones of the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■", the seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■", and the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", with the last line connecting to the ninth tone's first line "Si San Xing ■". In these correct tones, the fourth position is always marked with an empty sound "■". The right half belongs to "open tone 'Kai' with clear and harmonious law 'Qing He' and the third tone 'Lv' and sixth tone 'Li'". It uses "Tu" as the harmonizing sound, paired with the correct tones of the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the seventh tone's first line "Xin Shen Jin ○". In the left column, starting from the sixth tone, the fourth position of each line is consistently marked with "■", indicating that the tongue, nasal, and dental sounds are only divided into three categories in this grid. In the right column, the fourth tone's last line only includes the entering tone "Yu", the fifth tone's second line is missing the rising tone, and the last positions of the four lines in the sixth tone are all empty, showing that even among sounds with actual tones, the four categories have different levels of density.

九音 寺□象■○○○○，六音 土土土土○○○十；五聲 □□□■○○○○，七聲 土土土土男坎欠○；□□□■○○○○，土土土土○○○妾；■山手■○○○○，土土土土●●●●；十音 ■士石■○○○○，六音 土土土土●●●●；五聲 ■□耳■○○○○，八聲 土土土土●●●●；■□二■○○○○，土土土土●●●●；■莊震■○○○○，土土土土●●●●；十一音 ■乍□■○○○○，六音 土土土土●●●●；五聲 ■叉赤■○○○○，九聲 土土土土●●●●；■崇辰■○○○○，土土土土●●●●；■卓中■○○○○，土土土土●●●●；十二音 ■宅直■○○○○，六音 土土土土●●●●；五聲 ■拆丑■○○○○，十聲 土土土土●●●●；■茶呈■○○○○，土土土土●●●●。

The phrases "Ping Sheng Bi Chang Lu San Zhi Wu" and "Kai Yin Qing He Lu San Zhi Liu" both conclude simultaneously. The left half uses the fifth tone "○" as the singing tone, paired with the ninth tone's three lines below "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■", the tenth tone's four lines "■ Shan Shou ■", "■ Shi Shi ■", "■ □ Er ■", "■ □ Er ■", the eleventh tone's four lines "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", "■ Chong Chen ■", and the twelfth tone's four lines "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". The right half uses the sixth tone "Tu" (water and earth sound) as the harmonizing tone, paired with the seventh tone's three lines below "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie", as well as the eighth, ninth, and thirteenth tones' twelve lines "● ● ● ●". The left column has fifteen lines and the right column has fifteen lines, making this the densest section of empty spaces in the entire text. The empty spaces in the sound diagram are of two types: "○" represents a sound without a character, and "●" represents no sound and no character. The empty spaces in the tone diagram are also of two types: "□" represents a tone without a character, and "■" represents no tone and no character. Each of the four symbols has a specific meaning and should not be confused with each other, nor should they be considered as missing characters. Shao Yong established these four symbols precisely to indicate the positions where there is a principle but no sound in his established pattern. The numbers of Yuan, Hui, Yun, and Shi, as well as the correspondences with the sun, moon, stars, and the elements of water, fire, earth, and stone, are all calculated using this full grid of numerical patterns. Therefore, the empty spaces are as important as the actual characters. In this section, the singer has no characters, and the harmonizer's corresponding tones are mostly empty sounds, making almost no actual phonetic syllables appear throughout the passage.

平聲闢唱呂三之六，開音清和律三之七：古甲九癸魚魚魚魚，老老老老多可個舌；一音 □□近揆魚魚魚魚，七音 老老老老禾火化八；六聲 坤巧丘棄魚魚魚魚，一聲 老老老老開宰愛○；□□乾蚪魚魚魚魚，老老老老回每退○；黑花香血魚魚魚魚，老老老老良兩向○；二音 黃華雄賢魚魚魚魚，七音 老老老老光廣況○；六聲 五瓦仰□魚魚魚魚，二聲 老老老老丁井亙○；吾牙月堯魚魚魚魚，老老老老兄永瑩○；安亞乙一魚魚魚魚，老老老老千典旦○；三音 □爻壬寅魚魚魚魚，七音 老老老老元犬半○；六聲 母馬美米魚魚魚魚，三聲 老老老老臣引艮○；目貌眉民魚魚魚魚，老老老老君允巽○。

Two diagrams start separately. The left diagram, "Level Tone Sound with the Sixth Tone of the Third Category," uses the representative character "yu" (鱼) from the sixth tone in the level tone category as the singing character, paired with the first standard tone "gu jia jiu gui" (古甲九癸), "□□ jin kui" (□□近揆), "kun qiao qiu qi" (坤巧丘弃), "□□ qian yu" (□□乾蚪); the second tone "hei hua xiang xue" (黑花香血), "huang hua xiong xian" (黄华雄贤), "wu wa yang □" (五瓦仰□), "wu ya yue yao" (吾牙月尧); the third tone "an ya yi yi" (安亚乙一), "□ yao ren yin" (□爻壬寅), "mu ma mei mi" (母马美米), "mu mao mei min" (目貌眉民"). The right diagram, "Open Tone Clear and Harmonious Law of the Seventh Tone of the Third Category," uses the representative character "lao" (老) from the seventh tone in the water and earth tone category as the harmonizing character, paired with the first standard tone "du ke ge she" (多可个舌), "he huohua ba" (禾火化八), "kai zai ai ○" (开宰爱○), "hui mei tui ○" (回每退○); the second tone "liang liang xiang ○" (良两向○), "guang guang kuang ○" (光广况○), "ding jing gen ○" (丁井亘○), "xiong yong ying ○" (兄永莹○); the third tone "qian dian dan ○" (千典旦○), "yuan quan ban ○" (元犬半○), "chén yin gen ○" (臣引艮○), "jun yun xun ○" (君允巽○"). The two diagrams are arranged in different sequences; the left diagram reaches the sixth tone while the right diagram has already reached the seventh tone, because there are only ten categories of tones but twelve categories of sounds. Each category in the sound diagram has four lines, distinguishing clear, dull, secondary clear, and secondary dull tones. Each line in the tone diagram has four characters, dividing them into level, rising, falling, and entering tones. For example, "hui mei tui ○" (回每退○) refers to the level tone "hui" (回), the rising tone "mei" (每), the falling tone "tui" (退), and the entering tone, which has a position but no character. "Yu" (鱼) is the character representing the sixth tone of the day and star sound in the level tone category, while "lao" (老) is the character representing the seventh tone of the water and earth sound in the open tone clear category. Each occupies its own category and is not subordinate to each other.

夫法□飛魚魚魚魚，老老老老刀早孝嶽；四音 父凡□吠魚魚魚魚，七音 老老老老毛寶報霍；六聲 武晚□尾魚魚魚魚，四聲 老老老老牛斗奏六；文萬□未魚魚魚魚，老老老老○○○玉；卜百丙必魚魚魚魚，老老老老妻子四日；五音 步白備鼻魚魚魚魚，七音 老老老老衰○帥骨；六聲 普撲品匹魚魚魚魚，五聲 老老老老○○○德；旁排平瓶魚魚魚魚，老老老老龜水貴北；東丹帝■魚魚魚魚，老老老老宮孔眾○；六音 兌大弟■魚魚魚魚，七音 老老老老龍甬用○；六聲 土貪天■魚魚魚魚，六聲 老老老老魚鼠去○；同覃田■魚魚魚魚，老老老老烏虎兔○；乃你女■魚魚魚魚，老老老老心審禁○。

Continuing from the previous two diagrams. On the left half, 「Ping Sheng Bi Chang Lv San Zhi Liu」 uses the sixth tone's 「Yu」 as the singing tone, paired with the fourth tone's 「Fu Fa □ Fei」「Fu Fan □ Fei」「Wu Wan □ Wei」「Wen Wan □ Wei」, the fifth tone's 「Bu Bai Bing Bi」「Bu Bai Bei Bi」「Pu Pu Pin Pi」「Pang Pai Ping Ping」, and the sixth tone's 「Dong Dan Di ■」「Dui Da Di ■」「Tu Tan Tian ■」「Tong Tan Tian ■」. The last line connects to the seventh tone's first line 「Nai Ni Nu ■」. On the right half, 「Kai Yin Qing He Lu San Zhi Qi」 uses 「Lao」 as the harmonizing tone, paired with the fourth tone's 「Dao Zao Xiao Yue」「Mao Bao Bao Huo」「Niu Dou Zou Liu」「○○○ Yu」, the fifth tone's 「Zi Qi Si Ri」「Cui ○ Shuai Gu」「○○○ De」「Gui Shui Gui Bei」, and the sixth tone's 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」. The last line is the seventh tone's first line 「Xin Shen Jin ○」. On the left column, the fourth tone belongs to the light lip sounds, with the third character missing in all four lines; the fifth tone belongs to the heavy lip sounds, with all four characters complete; the sixth tone belongs to the tongue sounds, with the last character missing; the seventh tone belongs to the nasal sounds, with the last character also missing. In the right column, among the twelve lines, only three lines have all four characters complete, while the others are missing the rising tone or the level, rising, and falling tones, and are marked with 「○」 to indicate the sound position. This section consists of thirteen lines on each side, corresponding to the middle part of the two diagrams.

七音 內南年■魚魚魚魚，七音 老老老老○○○十；六聲 老冷呂■魚魚魚魚，七聲 老老老老男坎欠○；鹿犖離■魚魚魚魚，老老老老○○○妾；走哉足■魚魚魚魚，老老老老●●●●；八音 自在匠■魚魚魚魚，七音 老老老老●●●●；六聲 草采七■魚魚魚魚，八聲 老老老老●●●●；曹才全■魚魚魚魚，老老老老●●●●；思三星■魚魚魚魚，老老老老●●●●；九音 寺□象■魚魚魚魚，七音 老老老老●●●●；六聲 □□□■魚魚魚魚，九聲 老老老老●●●●；□□□■魚魚魚魚，老老老老●●●●；■山手■魚魚魚魚，老老老老●●●●；十音 ■士石■魚魚魚魚，七音 老老老老●●●●；六聲 ■□耳■魚魚魚魚，十聲 老老老老●●●●；■□二■魚魚魚魚，老老老老●●●●。

The left half still belongs to "level tone with the third of the six in the 'Yu' sound," using the sixth tone "Yu" as the starting sound, paired with the seventh tone's later three lines "Nai Nan Nian ■," "Lao Leng Lu ■," "Lu Luo Li ■," the eighth tone "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■," the ninth tone "Si San Xing ■," "Si ■ Xiang ■," "■ ■ ■ ■," "■ ■ ■ ■," and the tenth tone "■ Shan Shou ■," "■ Shi Shi ■," "■ ■ Er ■," "■ ■ Er ■." The right half is the conclusion of "open tone with the third of the seventh in the 'Lao' sound," using the seventh tone "Lao" as the harmonizing sound, paired with the seventh tone's later three lines "○○○ Shi," "Nan Kan Qian ○," "○○○ Qie," as well as twelve lines from the eighth, ninth, and thirteenth tones "●●●●." The diagram with "Lao" as the harmonizing sound covers ten tones and forty lines, among which only seven tones have actual characters. This section includes fifteen lines on the left and fifteen on the right; in the left column, the last two lines of the ninth tone have four characters, three of which are missing, leaving only one "■," showing that the dental fricative series is the most difficult to cite in Shao Yong's system. The sound diagram covers twelve tones and forty-eight lines, while the tone diagram covers ten tones and forty lines, resulting in unequal numbers of lines on both sides. Therefore, after the source text arranges them side by side, the same line on both sides often belongs to different diagrams. When reading this section, there is no need to require that the left and right parts of each line correspond. Instead, follow each column according to the headings of "a certain tone" and "a certain sound," reading sequentially, to restore the original two tables.

開音清和律三之八：■莊震■魚魚魚魚，草草草草多可個舌；十一音 ■乍□■魚魚魚魚，八音 草草草草禾火化八；六聲 ■叉赤■魚魚魚魚，一聲 草草草草開宰愛○；■崇辰■魚魚魚魚，草草草草回每退○；■卓中■魚魚魚魚，草草草草良兩向○；十二音 ■宅直■魚魚魚魚，八音 草草草草光廣況○；六聲 ■拆丑■魚魚魚魚，二聲 草草草草丁井亙○；■茶呈■魚魚魚魚，草草草草兄永瑩○。

On the right side, it begins with "Kai Yin Qing He Lu San Zi Ba", using the representative character "cao" (grass) from the eighth tone of water and earth sounds. It pairs this with the first tone of the standard sound "duo ke ge she", "he huohua ba", "kai zai ai ", "hui mei tui " and the second tone "liang liang xiang ", "guang guang kuang ", "ding jing geng ", "xiong yong ying ". On the left side, it is the last eight lines of "Ping Sheng Pi Chang Lv San Zi Liu", using the sixth tone's representative character "yu" (fish) as the chant, paired with the eleventh tone's standard sound "zhuang zhen ", "zha ", "cha chi ", "chong chen " and the twelfth tone's standard sound "zhuo zhong ", "zhai zhi ", "che chou ", "cha cheng ". The chart using "yu" as the chant is thus completed with twelve tones and forty-eight lines. The families of "zhuang" and "zhuo" only establish the middle two levels, so the beginning and end of each line are left blank; the "cao" tone, however, has all four levels fully established, making the contrast between the two sides most clear.

平聲闢唱呂三之七：古甲九癸男男男男，草草草草千典旦○；一音 □□近揆男男男男，八音 草草草草元犬半○；七聲 坤巧丘棄男男男男，三聲 草草草草臣引艮○；□□乾蚪男男男男，草草草草君允巽○；黑花香血男男男男，草草草草刀早孝嶽；二音 黃華雄賢男男男男，八音 草草草草毛寶報霍；七聲 五瓦仰□男男男男，四聲 草草草草牛斗奏六；吾牙月堯男男男男，草草草草○○○玉；安亞乙一男男男男，草草草草妻子四日；三音 □爻壬寅男男男男，八音 草草草草衰○帥骨；七聲 母馬美米男男男男，五聲 草草草草○○○德；目貌眉民男男男男，草草草草龜水貴北。

"Level tone 'Bi Chang Lv San Zi Qi' starts anew, using the representative character 'Nan' for the seventh tone in the level tone 'Bi' position, paired with the first standard tone 'Gu Jia Jiu Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Duo', the second tone 'He Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao', and the third tone 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'; in the lines '□□ Jin Kui', '□□ Qian Duo', 'Wu Wa Yang □', the '□' characters all have phonetic positions but no corresponding characters. The right half remains 'Kai Yin Qing He Lu San Zi Ba', using the eighth tone 'Shui Tu Yin' 'Cao' for harmony, paired with the third standard tone 'Qian Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○', the fourth tone 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu', and the fifth tone 'Zi Qi Si Ri', 'Shuai ○ Shuai Gu', '○○○ De', 'Gui Shui Gui Bei'. The twelve lines on the right are arranged in order of level, rising, falling, and entering tones, with the last line of the fourth tone '○○○ Yu' having only entering tone characters, and the fifth tone line 'Shuai ○ Shuai Gu' missing the rising tone. The left column has three categories of standard tones, each with four lines, divided into clear, dull, secondary clear, and secondary dull tones, with four characters in each line from the first to fourth tone classes.

夫法□飛男男男男，草草草草宮孔眾○；四音 父凡□吠男男男男，八音 草草草草龍甬用○；七聲 武晚□尾男男男男，六聲 草草草草魚鼠去○；文萬□未男男男男，草草草草烏虎兔○；卜百丙必男男男男，草草草草心審禁○；五音 步白備鼻男男男男，八音 草草草草○○○十；七聲 普撲品匹男男男男，七聲 草草草草男坎欠○；旁排平瓶男男男男，草草草草○○○妾；東丹帝■男男男男，草草草草●●●●；六音 兌大弟■男男男男，八音 草草草草●●●●；七聲 土貪天■男男男男，八聲 草草草草●●●●；同覃田■男男男男，草草草草●●●●；乃你女■男男男男，草草草草●●●●。

Continuing "Ping Sheng Bi Chang Lv San Zhi Qi". The left half uses the seventh tone "Nan" as the starting sound, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■", with the last line being the seventh tone's first line "Nai Ni Nu ■". The right half belongs to "Kai Yin Qing He Lu San Zhi Ba", using "Cao" as the harmonizing sound, paired with the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", the seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie"; below that, the eighth tone's four lines and the ninth tone's first line are all "●●●●", indicating places where tone positions are not established. The left column's fourth tone belongs to the light lip sounds, the fifth tone to the heavy lip sounds, the sixth tone to the tongue sounds, and the seventh tone to the nasal sounds. From the sixth tone onward, the end of each line has no sound. The seventh tone only has characters for "Xin", "Shen", "Jin", "Shi", "Nan", "Kan", "Qian", and "Qie", the rest are empty. Shao Yong distinguishes between "○" and "●", indicating the difference between having a sound without a character and having neither a sound nor a character. The right column's fourth line of the sixth tone ends with "○", which is similar in appearance to the "●" in the eighth tone and below, but they refer to entirely different things.

七音 內南年■男男男男，八音 草草草草●●●●；七聲 老冷呂■男男男男，九聲 草草草草●●●●；鹿犖離■男男男男，草草草草●●●●；走哉足■男男男男，草草草草●●●●；八音 自在匠■男男男男，八音 草草草草●●●●；七聲 草采七■男男男男，十聲 草草草草●●●●；曹才全■男男男男，草草草草●●●●。

It still belongs to the category of 'level tone with the third tone of the 'Pí Chàng Lǚ Sān' pattern'. The left half uses the seventh tone 'Nán' as the leading tone, paired with the seventh tone's last three lines 'Nèi Nán Nián ■', 'Lǎo Lěng Lǚ ■', 'Lù Luò Lí ■' and the eighth tone's four lines 'Zǒu Zāi Zú ■', 'Zì Zài Jiàng ■', 'Cǎo Cǎi Qī ■', 'Cáo Cái Quán ■', with each line ending in an unpronounced '■'. The right half concludes the 'Kāi Yīn Qīng Hé Lǜ Sān Zhī Bā' pattern, using the eighth tone 'Cǎo' as the harmonizing tone, paired with the ninth tone's last three lines and the tenth tone's four lines, totaling seven lines all marked as '●●●●'. The diagram using 'Cǎo' as the harmonizing tone completes ten tones and forty lines. The seventh tone belongs to the nasal 'Lái' system, and the eighth tone belongs to the dental 'Tóu' system; these two categories only establish the first three levels here, with the ending marked by '■' to preserve the pattern.

開音清和律三之九：思三星■男男男男，□□□□多可個舌；九音 寺□象■男男男男，九音 □□□□禾火化八；七聲 □□□■男男男男，一聲 □□□□開宰愛○；□□□■男男男男，□□□□回每退○；■山手■男男男男，□□□□良兩向○；十音 ■士石■男男男男，九音 □□□□光廣況○；七聲 ■□耳■男男男男，二聲 □□□□丁井亙○；■□二■男男男男，□□□□兄永瑩○；■莊震■男男男男，□□□□千典旦○；十一音 ■乍□■男男男男，九音 □□□□元犬半○；七聲 ■叉赤■男男男男，三聲 □□□□臣引艮○；■崇辰■男男男男，□□□□君允巽○。

On the right side, it begins again with "Kai Yin Qing He Lu San Zhi Jiū". The tone being harmonized is the ninth tone of water and earth tones. This tone has a tonal position but no character can be cited, so the general chart writes it as "□□□□". It is paired with the first tone of the standard tone "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○"; the second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○"; and the third tone "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○". On the left side, it remains at "Ping Sheng Pi Chang Lv San Zhi Qi", using the seventh tone "Nan" as the singing tone, paired with the ninth tone of the standard tone "Si San Xing ■", "Si □ Xiang ■", "□□□ ■", "□□□ ■"; the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ □ Er ■", "■ □ Er ■"; and the eleventh tone "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", "■ Chong Chen ■". The difference between "□" and "■" is that the former has a tonal position but lacks a character, while the latter does not even establish a tonal position. The four-character entries on the right side are arranged in the order of level, rising, falling, and entering tones; on the left side, as it moves toward the dental tones, the number of characters that can be cited decreases, yet the grid positions still need to be fully filled, without omitting any due to lack of characters. In the last two rows after the ninth tone, three out of the four positions are missing, and in the tones following the tenth, the first position has no tone, making it even more sparse.

■卓中■男男男男，□□□□刀早孝嶽；十二音 ■宅直■男男男男，九音 □□□□毛寶報霍；七聲 ■拆丑■男男男男，四聲 □□□□牛斗奏六；■茶呈■男男男男，□□□□○○○玉。

"The level tone 'Ping' is divided into three parts of seven tones" ends here: the left half uses the seventh tone "Nan" as the singing tone, paired with the twelfth tone's four lines "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■", with the first character of each line being an unpronounced "■". The right half belongs to "Open tone clear and harmonious law three of nine", using the soundless "□□□□" as the harmony, paired with the fourth tone's four lines "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", with the last line only having the entering tone "Yu" with a character, while the level, rising, and falling tones are represented by "○" to indicate their positions.

平聲闢唱呂三之八：古甲九癸●●●●，□□□□妻子四日；一音 □□近揆●●●●，九音 □□□□衰○帥骨；八聲 坤巧丘棄●●●●，五聲 □□□□○○○德；□□乾蚪●●●●，□□□□龜水貴北；黑花香血●●●●，□□□□宮孔眾○；二音 黃華雄賢●●●●，九音 □□□□龍甬用○；八聲 五瓦仰□●●●●，六聲 □□□□魚鼠去○；吾牙月堯●●●●，□□□□烏虎兔○；安亞乙一●●●●，□□□□心審禁○；三音 □爻壬寅●●●●，九音 □□□□○○○十；八聲 母馬美米●●●●，七聲 □□□□男坎欠○；目貌眉民●●●●，□□□□○○○妾。

"Level tone 'Ping' is divided into three parts of eight tones." A new section begins. The tones sung are the eighth tone of the day and star tones. This tone originally has no sound to be pronounced, so the singing position diagram shows "●●●●". It is then sequentially paired with the first tone of the correct tone "Ancient Jia and ninth Gui", "□□ near揆", "Kun clever hill and discard", "□□ Qian and蚪", the second tone "Black flower fragrant blood", "Yellow flower strong virtue", "Five wa look up □", "I tooth moon Yao", the third tone "An Ya Yi one", "□ yao Ren Yin", "Mother horse beautiful rice", "Eye appearance eyebrow people". The right half remains "Open tone clear and harmonious law three of nine", with the harmonizing part being "□□□□" without characters. It is paired with the fifth tone "Spouse four days", "Decline ○ general bone", "○○○ virtue", "Turtle water noble north", the sixth tone "Palace Kong crowd ○", "Dragon Yong use ○", "Fish mouse go ○", "Crow tiger rabbit ○", the seventh tone "Heart review prohibition ○", "○○○ ten", "Male Kan lack ○", "○○○ concubine". In the right column, the fifth tone has four complete lines, the sixth tone has four lines with the last character missing, and the seventh tone has half of the characters. In the left column, the first tone belongs to the dental sound, the second tone belongs to the pharyngeal and dental浊 sound, and the third tone belongs to the shadow and喻 sound and the lip and nasal series. Each category has four lines divided into clear,浊, secondary clear, and secondary浊. The two lines "□□ near揆" and "□□ Qian and蚪" have the first two characters missing, indicating that there is a sound position but no corresponding character in the world.

夫法□飛●●●●，□□□□●●●●；四音 父凡□吠●●●●，九音 □□□□●●●●；八聲 武晚□尾●●●●，八聲 □□□□●●●●；文萬□未●●●●，□□□□●●●●；卜百丙必●●●●，□□□□●●●●；五音 步白備鼻●●●●，九音 □□□□●●●●；八聲 普撲品匹●●●●，九聲 □□□□●●●●；旁排平瓶●●●●，□□□□●●●●；東丹帝■●●●●，□□□□●●●●；六音 兌大弟■●●●●，九音 □□□□●●●●；八聲 土貪天■●●●●，十聲 □□□□●●●●；同覃田■●●●●，□□□□●●●●。

Continuing "Level Tone 'Bi Chang Lu San Zhi Ba'". The left half uses the eighth tone "●●●●" as the chant, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The right half is the latter part of "Open Tone Qing He Lu San Zhi Jiu", using "□□□□" as the harmony, paired with the eighth, ninth, and thirteenth tones, totaling twelve lines, all marked as "●●●●". In this section, there is no sound and no character, and both sides are empty positions; however, in Shao Yong's calculation, empty positions are also included first. After arranging all the correct tones (160 positions) and correct characters (192 lines), the empty positions are subtracted to obtain the actual number of tones (112) and characters (152). This is exactly what the small note at the beginning of this section refers to. The fourth tone on the left has four lines, with the third position in each line marked as "□", the fifth tone has four complete lines, and the sixth tone has no character at the end. Each line is arranged in order of clear,浊, secondary clear, and secondary浊, with the four characters in each line ranging from first to fourth tone. This section, with twelve lines on each side, corresponds to the latter half of the two diagrams.

開音清和律三之十：乃你女■●●●●，■■■■多可個舌；七音 內南年■●●●●，十音 ■■■■禾火化八；八聲 老冷呂■●●●●，一聲 ■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音 自在匠■●●●●，十音 ■■■■光廣況○；八聲 草采七■●●●●，二聲 ■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音 寺□象■●●●●，十音 ■■■■元犬半○；八聲 □□□■●●●●，三聲 ■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

The right half begins with "Kai Yin Qing He Lu San Shi" (Opening Sound, Clear and Harmonious Tone, Third Category, Tenth Tone), using the tenth tone of water and earth sounds as the harmonious tone; since there is no actual tenth tone, the general chart uses "■■■■". It is paired with the first standard tone "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", the second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○", and the third tone "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○". The left half remains under "Ping Sheng Pi Chang Lu San Ba" (Level Tone, Separate Singing, Third Category, Eighth Tone), using the eighth tone's "●●●●" as the singing tone, paired with the seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lu ■", "Lu Luo Li ■", the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", and the ninth tone "Si San Xing ■", "Si □ Xiang ■", "□□□ ■", "□□□ ■". The right column's twelve lines, although they have characters, the tones they harmonize with are empty, so each line's first four characters in the general chart are marked with "■". The left column's three categories end without tones, and the last two lines of the ninth tone only have one "□". The singers have no sound, the harmonizers have no tone, both sides are empty, yet the number of grids remains unchanged. The four-character lines in the right column still follow the order of level, rising, falling, and entering tones, for example, "Liang Liang Xiang ○" corresponds to level "Liang", rising "Liang", falling "Xiang", and entering tone has a position but no character.

■山手■●●●●，■■■■刀早孝嶽；十音 ■士石■●●●●，十音 ■■■■毛寶報霍；八聲 ■□耳■●●●●，四聲 ■■■■牛斗奏六；■□二■●●●●，■■■■○○○玉；■莊震■●●●●，■■■■妻子四日；十一音 ■乍□■●●●●，十音 ■■■■衰○帥骨；八聲 ■叉赤■●●●●，五聲 ■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音 ■宅直■●●●●，十音 ■■■■龍甬用○；八聲 ■拆丑■●●●●，六聲 ■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

"The level tone 'Ping' corresponds to the third of the eight tones in the 'Lu' scale." The left half uses the eighth tone "●●●●" as the singing tone, paired with the first tone "■ mountain hand ■", "■ man stone ■", "■ ear ■", "■ two ■", the second tone "■ Zhuang Zhen ■", "■ Zha ■", "■ cha red ■", "■ Chong Chen ■", and the third tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". The first character of each of these three categories is silent. The right half belongs to the "open tone clear and harmonious law three of ten", using the silent "■■■■" as the harmonizing tone, paired with the fourth tone "knife early filial piety mountain", "hair treasure report Huo", "ox star performance six", "○○○ jade", the fifth tone "wife four day", "decline ○ general bone", "○○○ virtue", "turtle water noble north", and the sixth tone "palace Kong crowd ○", "dragon Yong use ○", "fish mouse go ○", "crow tiger rabbit ○". The left column's three categories contain only the middle two characters, differing greatly from the previous nine tones with four characters each. The fourth tone on the right column's last line only has the character "jade" for the entering tone, the fifth tone "decline ○ general bone" is missing the rising tone, and the last character of each line in the sixth tone is all "○". Pairing the silent positions with the voiced characters still forms a complete line, which is the reason why the singing and harmonizing diagram must be fully filled.

平聲闢唱呂三之九：古甲九癸●●●●，■■■■心審禁○；一音 □□近揆●●●●，十音 ■■■■○○○十；九聲 坤巧丘棄●●●●，七聲 ■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音 黃華雄賢●●●●，十音 ■■■■●●●●；九聲 五瓦仰□●●●●，八聲 ■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音 □爻壬寅●●●●，十音 ■■■■●●●●；九聲 母馬美米●●●●，九聲 ■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

"The level tone 'Ping' is divided into three parts, with the third part being 'Bu Chang Lv San Zhi Jiū'. The singing is based on the ninth tone of the day star, which has a position but no sound, and the singing position is generally marked as '●●●●'. It is then sequentially paired with the first tone of the correct sound: 'Gu Jia Jiū Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Yu'; the second tone: 'He Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; and the third tone: 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'. The right half is the latter part of 'Kai Yin Qing He Lu San Zhi Shi', with the soundless '■■■■' as the harmony. It first pairs with the seventh tone of the correct sound: 'Xin Shen Jin ○', '○○○ Shi', 'Nan Kan Qian ○', '○○○ Qie'; then pairs with the eighth and ninth tones together, totaling eight lines marked as '●●●●'. On the left side, there are three categories of correct sounds, each with four lines, arranged in order of clear, dull, slightly clear, and slightly dull tones. Within each line, the four characters are graded from first to fourth tone, such as 'Gu Jia Jiū Gui' which corresponds to first tone 'Gu', second tone 'Jia', third tone 'Jiu', and fourth tone 'Gui'. Among the eight positions of the seventh tone on the right side, only five have characters, while the rest are marked with '○' to indicate their positions. The eighth and ninth tones have neither sound nor position, so they are marked with '●' in the book. The singer has no sound, and the harmonizer also has no sound, so both sides are empty within a section. However, the number of lines cannot be reduced, as reducing them would result in an incorrect number of sounds that should be multiplied together."

夫法□飛●●●●，■■■■●●●●；四音 父凡□吠●●●●，十音 ■■■■●●●●；九聲 武晚□尾●●●●，十聲 ■■■■●●●●；文萬□未●●●●，■■■■●●●●。

It is still "Ping Sheng Bi Chang Lv San Zhi Jiu", using the ninth tone "●●●●" as the chant, paired with the fourth tone of the standard sound, four lines "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", with the third character in each line marked as "□", which has a phonetic position but no character. The right half is the last part of "Kai Yin Qing He Lu San Zhi Shi", using the silent "■■■■" as the harmony, paired with the tenth tone of the standard sound, also with four lines all marked as "●●●●".

開音清和律三之十一：卜百丙必●●●●，■■■■多可個舌；五音 步白備鼻●●●●，十一音 ■■■■禾火化八；九聲 普撲品匹●●●●，一聲 ■■■■開宰愛○；旁排平瓶●●●●，■■■■回每退○；東丹帝■●●●●，■■■■良兩向○；六音 兌大弟■●●●●，十一音 ■■■■光廣況○；九聲 土貪天■●●●●，二聲 ■■■■丁井亙○；同覃田■●●●●，■■■■兄永瑩○；乃你女■●●●●，■■■■千典旦○；七音 內南年■●●●●，十一音 ■■■■元犬半○；九聲 老冷呂■●●●●，三聲 ■■■■臣引艮○；鹿犖離■●●●●，■■■■君允巽○。

On the right side, it begins with "Kai Yin Qing He Lu San Zhi Shiyi", using the eleventh tone of water and earth sounds as the harmonious tone; this tone originally has no actual sound, so it is written as "■■■■". The corresponding tones are the first tone of the standard sound: "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ", "Hui Mei Tui "; the second tone: "Liang Liang Xiang ", "Guang Guang Kuang ", "Ding Jing Gen ", "Xiong Yong Ying "; the third tone: "Qian Dian Dan ", "Yuan Quan Ban ", "Chen Yin Gen ", "Jun Yun Xun ". On the left side, it remains under "Ping Sheng Pi Chang Lv San Zhi Ji", using the ninth tone's "●●●●" as the singing tone, paired with the fifth tone of the standard sound: "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; the sixth tone: "Dong Dan Di ", "Dui Da Di ", "Tu Tan Tian ", "Tong Tan Tian "; the seventh tone: "Nai Ni Nu ", "Nei Nan Nian ", "Lao Leng Lv ", "Lu Luo Li ". The four-character lines on the right side are arranged in order of level, rising, falling, and entering tones, such as "Liang Liang Xiang " which corresponds to level "Liang", rising "Liang", falling "Xiang", and entering tone which has a position but no character. On the left side, the fifth tone belongs to the heavy lip sounds, with all four positions complete; the sixth tone belongs to the tongue sounds, and the seventh tone belongs to the nasal and lateral sounds, with the last positions of both categories having no sound. By matching the positions without sound with the tones with characters, it is clear that this diagram emphasizes the grid positions rather than the actual sounds.

走哉足■●●●●，■■■■刀早孝嶽；八音 自在匠■●●●●，十一音 ■■■■毛寶報霍；九聲 草采七■●●●●，四聲 ■■■■牛斗奏六；曹才全■●●●●，■■■■○○○玉；思三星■●●●●，■■■■妻子四日；九音 寺□象■●●●●，十一音 ■■■■衰○帥骨；九聲 □□□■●●●●，五聲 ■■■■○○○德；□□□■●●●●，■■■■龜水貴北；■山手■●●●●，■■■■宮孔眾○；十音 ■士石■●●●●，十一音 ■■■■龍甬用○；九聲 ■□耳■●●●●，六聲 ■■■■魚鼠去○；■□二■●●●●，■■■■烏虎兔○；■莊震■●●●●，■■■■心審禁○。

Continuing "Ping Sheng Bi Chang Lv San Zhi Jiu". The left half uses the ninth tone "●●●●" as the chant, paired with the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", the ninth tone "Si San Xing ■", "Si □ Xiang ■", "□□□ ■", "□□□ ■", and the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■□ Er ■", "■□ Er ■", with the last line connecting to the eleventh tone's first line "■ Zhuang Zhen ■". The right half belongs to "Kai Yin Qing He Lv San Zhi Shiyi", using the silent "■■■■" as the harmony, paired with the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the last line is the seventh tone's first line "Xin Shen Jin ○". The eighth tone on the left belongs to the dental initial, the ninth tone belongs to the dental fricative, and the tenth tone belongs to the clear dental and the initial of the day. After the ninth tone, the last two lines have three missing characters, and the first position of the tenth tone is silent. This section has thirteen lines on each side, corresponding to the middle part of a diagram. The chant and the harmony each follow their order without confusion. On the right side, the fourth tone has three complete lines, the fifth tone is missing the rising tone, and the sixth tone has four lines with the last character missing.

十一音 ■乍□■●●●●，十一音 ■■■■○○○十；九聲 ■叉赤■●●●●，七聲 ■■■■男坎欠○；■崇辰■●●●●，■■■■○○○妾；■卓中■●●●●，■■■■●●●●；十二音 ■●●●●，十一音 ■■■■●●●●；九聲 ■拆丑■●●●●，八聲 ■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

"The level tone 'Ping' is paired with the third tone 'Bi', the third of the nine tones." Up to this point, the pairing is complete. The left half uses the ninth tone's "●●●●" as the main tone, paired with the eleventh tone's last three lines "■乍□■", "■叉赤■", "■崇辰■" and the twelfth tone's "■卓中■", "■", "■拆丑■", "■茶呈■"; the second line of the twelfth tone in another diagram is "■宅直■", but in this version, only "■" remains, with the middle two characters missing. The right half continues from "Opening tone 'Kai' with clear and harmonious law, the third of the eleventh tones," using the silent "■■■■" as the accompanying tone, paired with the seventh tone's last three lines "○○○十", "男坎欠○", "○○○妾" and the eighth tone's four lines "●●●●".

平聲闢唱呂三之十：古甲九癸●●●●，■■■■●●●●；一音 □□近揆●●●●，十一音 ■■■■●●●●；十聲 坤巧丘棄●●●●，九聲 ■■■■●●●●；□□乾蚪●●●●，■■■■●●●●；黑花香血●●●●，■■■■●●●●；二音 黃華雄賢●●●●，十一音 ■■■■●●●●；十聲 五瓦仰□●●●●，十聲 ■■■■●●●●；吾牙月堯●●●●，■■■■●●●●。

"The level tone 'Ping' is paired with the third tone of the tenth sound, starting a new diagram. The sound sung is the tenth tone of the 'Day Star' sound, which has no sound and no character, and the entire diagram is marked as '●●●●'. It first pairs with the first tone of the correct sound, four lines: 'Ancient Jia nine Gui', '□□ near揆', 'Kun skill Qiu discard', '□□ Qian蚪'. Then it pairs with the second tone of the correct sound, four lines: 'Black flower fragrant blood', 'Yellow flower strong virtuous', 'Five Wa look up □', 'Wu ya moon Yao'. The right half is the conclusion of 'Opening tone clear harmony law third of the eleventh', ending with the silent '■■■■' as harmony, paired with the ninth and tenth tones of the correct sound, totaling eight lines, all marked as '●●●●'. The diagram ending with the eleventh tone is now fully paired with ten tones and forty lines. The left column has four lines of the two types of correct tones, roughly complete, corresponding to the empty sound position; the right column has both sound and tone empty, with no character to cite throughout, yet the number of lines must still be filled out to show the number of forty lines for ten tones."

開音清和律三之十二：安亞乙一●●●●，■■■■多可個舌；三音 □爻王寅●●●●，十二音 ■■■■禾火化八；十聲 母馬美米●●●●，一聲 ■■■■開宰愛○；目貌眉民●●●●，■■■■回每退○；夫法□飛●●●●，■■■■良兩向○；四音 父凡□吠●●●●，十二音 ■■■■光廣況○；十聲 武晚□尾●●●●，二聲 ■■■■丁井亙○；文萬□未●●●●，■■■■兄永瑩○；卜百丙必●●●●，■■■■千典旦○；五音 步白備鼻●●●●，十二音 ■■■■元犬半○；十聲 普撲品匹●●●●，三聲 ■■■■臣引艮○；旁排平瓶●●●●，■■■■君允巽○。

The right half begins anew with "Kaiyin Qinghe Law Three, Twelfth," using the twelfth tone of water and earth sounds as the harmonious tone; this tone originally has no actual sound, so it is marked as "■■■■." The corresponding tones are the first tone of the standard sound "Duo ke ge she," "He huohua ba," "Kai zai ai ○," "Hui mei tui ○," the second tone "Liang liang xiang ○," "Guang guang kuang ○," "Ding jing gen ○," "Xiong yong ying ○," and the third tone "Qian dian dan ○," "Yuan quan ban ○," "Chen yin gen ○," "Jun yun xun ○." The left half remains under "Pingsheng Bi Chang Lv Three, Tenth," using the tenth tone "●●●●" as the chant, paired with the third tone of the standard sound "An ya yi yi," "□ yao wang yin," "Mu ma mei mi," "Mu mao mei min," the fourth tone "Fu fa □ fei," "Fu fan □ fei," "Wu wan □ wei," "Wen wan □ wei," and the fifth tone "Bu bai bing bi," "Bu bai bei bi," "Pu pu pin pi," "Pang pai ping ping." In the second line of the third tone on the right, it is written as "□ yao ren yin," but here "ren" is mistakenly written as "wang." The four-character entries in the right column are arranged in the order of level, rising, falling, and entering tones. The left column's third tone belongs to the shadow and yu sounds and the lip and nasal series, the fourth tone belongs to the light lip series, and the fifth tone belongs to the heavy lip series; in the light lip series, the third character in each of the four lines is "□," indicating the existence of a phonetic position but no corresponding character. This passage contains thirteen lines on each side.

東丹帝■●●●●，■■■■刀早孝嶽；六音 兌大弟■●●●●，十二音 ■■■■毛寶報霍；十聲 土貪天■●●●●，四聲 ■■■■牛斗奏六；同覃田■●●●●，■■■■○○○玉；乃你女■●●●●，■■■■妻子四日；七音 內南年■●●●●，十二音 ■■■■衰○帥骨；十聲 老冷呂■●●●●，五聲 ■■■■○○○德；鹿犖離■●●●●，■■■■龜水貴北；走哉足■●●●●，■■■■宮孔眾○；八音 自在匠■●●●●，十二音 ■■■■龍甬用○；十聲 草采七■●●●●，六聲 ■■■■魚鼠去○；曹才全■●●●●，■■■■烏虎兔○；思三星■●●●●，■■■■心審禁○。

Continuing with 「Ping Sheng Bi Chang Lv San Zhi Shi」. The left half uses the tenth tone's 「●●●●」 as the chant, paired with the sixth tone's correct sound 「Dong Dan Di ■」「Dui Da Di ■」「Tu Tan Tian ■」「Tong Tan Tian ■」, the seventh tone's 「Nai Ni Nu ■」「Nei Nan Nian ■」「Lao Leng Lv ■」「Lu Luo Li ■」, and the eighth tone's 「Zou Zai Zu ■」「Zi Zai Jiang ■」「Cao Cai Qi ■」「Cao Cai Quan ■」. The last line connects to the ninth tone's first line 「Si San Xing ■」. The right half belongs to 「Kai Yin Qing He Lv San Zhi Shier」, using the silent 「■■■■」 as the harmony, paired with the fourth tone's correct sound 「Dao Zao Xiao Yue」「Mao Bao Bao Huo」「Niu Dou Zou Liu」「○○○ Yu」, the fifth tone's 「Zi Qi Si Ri」「Cui ○ Shuai Gu」「○○○ De」「Gui Shui Gui Bei」, and the sixth tone's 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」. The last line is the seventh tone's first line 「Xin Shen Jin ○」. The sixth tone on the left belongs to the tongue, the seventh tone to the nasal lai system, and the eighth tone to the dental head. The three categories have the last position all silent, only establishing the first three ranks. On the right, the fourth tone has three lines with all positions complete, the fifth tone is missing the rising tone, and the sixth tone has four lines with all last positions empty; characters and empty positions alternate to form text, which is the usual pattern of this diagram. Both sides have thirteen lines each, all belonging to the latter half of the two diagrams.

九音 寺□象■●●●●，十二音 ■■■■○○○十；十聲 □□□■●●●●，七聲 ■■■■男坎欠○；□□□■●●●●，■■■■○○○妾；■山手■●●●●，■■■■●●●●；十音 ■士石■●●●●，十二音 ■■■■●●●●；十聲 ■□耳■●●●●，八聲 ■■■■●●●●；■□二■●●●●，■■■■●●●●；■莊震■●●●●，■■■■●●●●；十一音 ■乍□■●●●●，十二音 ■■■■●●●●；十聲 ■叉赤■●●●●，九聲 ■■■■●●●●；■崇辰■●●●●，■■■■●●●●；■卓中■●●●●，■■■■●●●●；十二音 ■宅直■●●●●，十二音 ■■■■●●●●；十聲 ■拆丑■●●●●，十聲 ■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

The diagrams of the thirty-seventh chapter, "Observing Things," are now completed. The left half is the final part of "The Third Ten of the Level Tone 'Píng Shēng' and the Three 'Pí' Sounds of 'Lǚ' (Lv)," with the tenth tone "●●●●" as the singing part, paired with the last three lines of the correct tone's ninth sound "Si□xiàng■," "□□□■," "□□□■," the tenth sound "■shān shǒu■," "■shì shí■," "■□ěr■," "■□èr■," the eleventh sound "■zhuāng zhèn■," "■zhà □■," "■chā chì■," "■chóng chén■," and the twelfth sound "■zhuó zhōng■," "■zhái zhí■," "■chāi chǒu■," "■chá chéng■." The right half is the final part of "The Twelfth of the Clear and Harmonious 'Kāi Yīn' and the Three 'Lǜ' (Lu) Laws," with the silent "■■■■" as the harmonizing part, paired with the last three lines of the correct tone's seventh sound "○○○shí," "nán Kǎn qiàn○," "○○○jiè," as well as the eight, ninth, and thirteenth sounds' twelve lines "●●●●." The entire pattern of the sounds of the sun and stars and the tones of water and earth are now complete. All parts with sound but no characters are marked "○," parts with no sound and no characters are marked "●," parts with sound but no characters are marked "□," and parts with no sound and no characters are marked "■," making four distinct symbols and ensuring no missing sections. This chapter pairs the sounds of the sun and stars with the tones of water and earth. The sounds belong to the earth and are sung below, while the tones belong to the heavens and are harmonized above. There are ten categories of sounds, totaling 160 positions, and twelve categories of tones, totaling 192 positions. After excluding the sections with neither sound nor tone, there are 112 practical sounds and 152 practical tones. Multiplying these by the seven sounds and nine tones respectively gives the numbers of 1,640 and 1,800 mentioned at the beginning of the chapter.

觀物篇三十八：日辰聲平翕，水石音開濁；回兄君○龜，□吾目文旁同；烏○●●●，鹿曹□■■■；日辰聲七，下唱地之；水石音九，上和天之；用音一百五十二，是；用聲一百一十二，是；謂平聲翕音。平聲翕；謂開音濁聲。開音濁；音一千六十四。聲一千八。日辰聲平之四翕，水石音開之四濁。

Observing Things Chapter 38. This chapter still presents two diagrams side by side: the left diagram is titled "Day Branch Sounds in Level Tone and Consonant Harmony," and the right diagram is titled "Water and Stone Sounds in Open Tone and Muddy Tone." The left diagram lists ten representative characters for the sounds in the level tone and consonant harmony positions: "Hui," "Xiong," "Jun," "○," "Gui," "Wu," "○," and three "●," representing sound one to sound ten. The fourth and seventh sounds have sound positions but no characters, so they are marked as "○," while the last three sounds have neither sound positions nor characters, so they are marked as "●." The right diagram lists twelve representative characters for the sounds in the open tone and muddy tone positions: "□," "Wu," "Mu," "Wen," "Pang," "Tong," "Lu," "Cao," "□," and three "■," representing sound one to sound twelve. The first and ninth sounds have sound positions but no characters, so they are marked as "□," while the last three sounds have no actual sounds, so they are marked as "■." The following small notes should be read separately on the left and right sides: the sounds of the Day Branch actually consist of seven categories, which interact with the use of 152 tones on the ground, forming "Level Tone and Consonant Harmony," totaling 1,640. The sounds of water and stone actually consist of nine categories, which interact with the use of 112 tones in the heavens, forming "Open Tone and Muddy Tone," totaling 1,800. The last two sentences indicate that this chapter is the fourth group among four groups of mutual response.

平聲翕唱呂四之一，開音濁和律四之一：古甲九癸回回回回，□□□□多可個舌；一音 □□近揆回回回回，一音 □□□□禾火化八；一聲 坤巧丘棄回回回回，一聲 □□□□開宰愛○；□□乾蚪回回回回，□□□□回每退○；黑花香血回回回回，□□□□良兩向○；二音 黃華雄賢回回回回，一音 □□□□光廣況○；一聲 五瓦仰□回回回回，二聲 □□□□丁井亙○；吾牙月堯回回回回，□□□□兄永瑩○；安亞乙一回回回回，□□□□千典旦○；三音 □爻壬寅回回回回，一音 □□□□元犬半○；一聲 母馬美米回回回回，三聲 □□□□臣引艮○；目貌眉民回回回回，□□□□君允巽○。

Two diagrams start simultaneously. The left diagram, titled "Level Tone 'Xī' Singing 'Lǚ' Fourth One," uses the day branch tone with the first level tone, represented by the character "huí," as the singing tone. It is paired with the first standard tone "gǔ jiǎ jiǔ guǐ," "□□ jìn kuí," "kūn qiǎo qiū qì," "□□ qián yóu," the second standard tone "hēi huā xiāng xuè," "huáng huā xióng xián," "wǔ wǎ yǎng □," "wú yá yuè yáo," and the third standard tone "ān yà yǐ yī," "□ yáo rén yín," "mǔ mǎ měi mǐ," "mù mào méi mín." The right diagram, titled "Open Tone 'Zhú' Harmony 'Lǜ' Fourth One," uses the first harmonic tone of water and stone sound; since this tone has a tone position but no character can be cited, it is written as "□□□□." It is paired with the first standard tone "duō kě gè shé," "hé huǒ huà bā," "kāi zǎi ài ○," "huí měi tuì ○," the second standard tone "liáng liǎng xiàng ○," "guāng guǎng kuàng ○," "dīng jǐng gèng ○," "xiōng yǒng yíng ○," and the third standard tone "qiān diǎn dàn ○," "yuán quǎn bàn ○," "chén yǐn gèn ○," "jūn yǔn xùn ○." This passage takes the "xī" tone position and the "zhú" tone, contrasting with the previous passage's "bì" and "qīng": Shao Yong divides tones into "bì" and "xī," and sounds into "qīng" and "zhú," pairing them accordingly to form the sections on daily tones, daily moon, daily star, and daily branch, as well as water-water, water-fire, water-earth, and water-stone. The left diagram's sound chart has four lines per category, divided into clear, turbid, sub-clear, and sub-turbid, with four characters per line from first to fourth tone level. The right diagram's tone chart has four characters per line, from level tone to入 tone.

夫法□飛回回回回，○○○○刀早孝嶽；四音 父凡□吠回回回回，一音 □□□□毛寶報霍；一聲 武晚□尾回回回回，四聲 □□□□牛斗奏六；文萬□未回回回回，□□□□○○○玉；卜百丙必回回回回，□□□□妻子四日；五音 步白備鼻回回回回，一音 □□□□衰○帥骨；一聲 普撲品匹回回回回，五聲 □□□□○○○德；旁排平瓶回回回回，□□□□龜水貴北；東丹帝■回回回回，□□□□宮孔眾○；六音 兌大弟■回回回回，一音 □□□□龍甬用○；一聲 土貪天■回回回回，六聲 □□□□魚鼠去○；同覃田■回回回回，□□□□烏虎兔○；乃你女■回回回回，□□□□心審禁○。

Continuing from the previous two diagrams. On the left half, 「Ping Sheng Xi Chang Lv Si Zhi Yi」 uses the first tone's 「Hui」 as the singing tone, paired with the fourth tone's standard pronunciation 「Fu Fa □ Fei」「Fu Fan □ Fei」「Wu Wan □ Wei」「Wen Wan □ Wei」, the fifth tone's 「Bu Bai Bing Bi」「Bu Bai Bei Bi」「Pu Pu Pin Pi」「Pang Pai Ping Ping」, and the sixth tone's 「Dong Dan Di ■」「Dui Da Di ■」「Tu Tan Tian ■」「Tong Tan Tian ■」. The last line connects to the seventh tone's first line 「Nai Ni Nu ■」. On the right half, 「Kai Yin Zhu He Lu Si Zhi Yi」 uses the sound without characters 「□□□□」 as the harmonizing tone, paired with the fourth tone's standard pronunciation 「Dao Zao Xiao Yue」「Mao Bao Bao Huo」「Niu Dou Zou Liu」「○○○ Yu」, the fifth tone's 「Zi Qi Si Ri」「Shuai ○ Shuai Gu」「○○○ De」「Gui Shui Gui Bei」, the sixth tone's 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」, and the last line is the seventh tone's first line 「Xin Shen Jin ○」; the line 「Dao Zao Xiao Yue」 has the harmonizing position originally carved as 「○○○○」, which does not match the 「□□□□」 in other lines of the same diagram, likely due to a carving error where the blank symbol from the tone diagram was mistakenly used. In the right column, the last line of the fourth tone only has the character 「Yu」, the fifth tone line 「Shuai ○ Shuai Gu」 is missing the rising tone, and the last character of each line in the sixth tone is all 「○」; on the left column, from the sixth tone onwards, the end of each line has no characters.

七音 內南年■回回回回，一音 □□□□○○○十；一聲 老冷呂■回回回回，七聲 □□□□男坎欠○；鹿犖離■回回回回，□□□□○○○妾；走哉足■回回回回，□□□□●●●●；八音 自在匠■回回回回，一音 □□□□●●●●；一聲 草采七■回回回回，八聲 □□□□●●●●；曹才全■回回回回，□□□□●●●●；思三星■回回回回，□□□□●●●●；九音 寺□象■回回回回，一音 □□□□●●●●；一聲 □□□■回回回回，九聲 □□□□●●●●；□□□■回回回回，□□□□●●●●；■山手■回回回回，□□□□●●●●；十音 ■士石■回回回回，一音 □□□□●●●●；一聲 ■□耳■回回回回，十聲 □□□□●●●●；■□二■回回回回，□□□□●●●●。

The left half still belongs to "level tone harmonious singing of the fourth of the four Lu," with the first tone "hui" as the singing tone, paired with the seventh tone's last three lines "nei nan nian ■," "lao leng lv ■," "lu luo li ■," the eighth tone "zou zai zu ■," "zi zai jiang ■," "cao cai qi ■," "cao cai quan ■," the ninth tone "si san xing ■," "si □ xiang ■," "□ □ □ ■," "□ □ □ ■," and the tenth tone "■ shan shou ■," "■ shi shi ■," "■ □ er ■," "■ □ er ■." The right half is the conclusion of "open tone turbid harmony of the fourth of the four laws," ending with the harmonious tone "□ □ □ □" without characters, paired with the seventh tone's last three lines "○ ○ ○ shi," "nan kan qian ○," "○ ○ ○ jie," as well as twelve lines from the eighth, ninth, and thirteenth tones "● ● ● ●." This section has fifteen lines on the left and fifteen on the right. On the left, the last positions of the seventh to tenth tones are all "■." In the ninth tone's last two lines, among the four positions, three are missing, leaving only one "□." On the right, among the eight positions of the seventh tone, five have characters, and the following tones and positions also have none. In this diagram, the harmonious tone has no characters but has sound, and the paired tones are mostly silent positions. The entire diagram almost has no actual readable syllables, yet the number of lines and positions is complete. Shao Yong created this diagram not to record the actual pronunciation of the time, but to display all the positions of tones and sounds, and then use them to discuss the numbers of heaven and earth. This diagram, which uses this sound as the harmonious tone, completes ten tones and forty lines. The entire diagram has no actual readable syllables, yet its number matches that of other diagrams.

開音濁和律四之二：■莊震■回回回回，吾吾吾吾多可個舌；十一音 ■乍□■回回回回，二音 吾吾吾吾禾火化八；一聲 ■叉赤■回回回回，一聲 吾吾吾吾開宰愛○；■崇辰■回回回回，吾吾吾吾回每退○；■卓中■回回回回，吾吾吾吾良兩向○；十二音 ■宅直■回回回回，二音 吾吾吾吾光廣況○；一聲 ■拆丑■回回回回，二聲 吾吾吾吾丁井亙○；■茶呈■回回回回，吾吾吾吾兄永瑩○。

On the right side, it begins with "Kai Yin Zhuo He Lu Si Zhi Er," using the representative character "wu" for the second tone of water and stone sounds as the harmonizing character. It pairs this with the first tone "duo ke ge she," "he huohua ba," "kai zai ai," "hui mei tui" and the second tone "liang liang xiang," "guang guang kuang," "ding jing gen," "xiong yong ying." On the left side, it is the last eight lines of "Ping Sheng Xi Chang Lv Si Zhi Yi," using the first tone "hui" as the singing character, paired with the eleventh tone "zhuang zhen," "zha zha," "cha chi," "chong chen" and the twelfth tone "zhuo zhong," "zha zhi," "cha chuo," "cha cheng." The diagram using "hui" as the singing character is completed with twelve tones and forty-eight lines. The families of "zhuang" and "zhuo" only establish the middle two levels, with the first and last positions both written as "■," forming a contrast with "wu" which has four positions. This section includes eight lines on the left and eight lines on the right.

平聲翁唱呂四之二：古甲九癸兄兄兄兄，吾吾吾吾千典旦○；一音 □□近揆兄兄兄兄，二音 吾吾吾吾元犬半○；二聲 坤巧丘棄兄兄兄兄，三聲 吾吾吾吾臣引艮○；□□乾蚪兄兄兄兄，吾吾吾吾君允巽○；黑花香血兄兄兄兄，吾吾吾吾刀早孝嶽；二音 黃華雄賢兄兄兄兄，二音 吾吾吾吾毛寶報霍；二聲 五瓦仰□兄兄兄兄，四聲 吾吾吾吾牛斗奏六；吾牙月堯兄兄兄兄，吾吾吾吾○○○玉；安亞乙一兄兄兄兄，吾吾吾吾妻子四日；三音 □爻壬寅兄兄兄兄，二音 吾吾吾吾衰○帥骨；二聲 母馬美米兄兄兄兄，五聲 吾吾吾吾○○○德；目貌眉民兄兄兄兄，吾吾吾吾龜水貴北。

"The second of the second tone in the level tone 'Xī' (harmonious sound)" starts anew, with the title character "Xī" originally carved as "Wēng" in the original edition. This diagram uses the representative character "xiōng" (brother), which corresponds to the second tone in the day branch, as the leading sound, paired with the first tone "gǔ jiǎ jiǔ guǐ" (ancient, Jia, ninth, Gui), "□□ jìn kuí" (□□ near Kuí), "kūn qiǎo qiū qì" (Kun skillful, autumn, discard), "□□ qián dǒu" (□□ Qian, Dǒu), the second tone "hēi huā xiāng xuè" (black, flower, fragrant, blood), "huáng huā xióng xián" (yellow flower, strong, wise), "wǔ wǎ yǎng □" (five, tile, look up □), "wú yá yuè yáo" (I, tooth, moon, Yao), and the third tone "ān yà yǐ yī" (safe, similar, one, one), "□ yáo rén yín" (□ yao Ren Yin), "mǔ mǎ měi mǐ" (mother, horse, beautiful, rice), "mù mào méi mín" (eye, appearance, eyebrow, people). The right half remains "the second of the fourth tone in the open tone 'kāi' (open sound) with the harmonious sound of water and stone, the second tone 'wú' (I) as the accompanying sound, paired with the third tone 'qiān diǎn dàn ○' (thousand, classic, dawn ○), 'yuán quǎn bàn ○' (origin, dog, half ○), 'chén yǐn gèn ○' (minister, lead, Gen ○), 'jūn yǔn xùn ○' (king, allow, Xun ○), the fourth tone 'dāo zǎo xiào yuè' (knife, early, filial, mountain), 'máo bǎo bào huò' (hair, treasure, report, Huo), 'niú dòu zòu liù' (ox, star, perform, six), '○○○ yù' (○○○ jade), and the fifth tone 'qī zǐ sì rì' (wife, child, four, day), 'shuāi ○ shuài gǔ' (decline ○ general, bone), '○○○ dé' (○○○ virtue), 'guī shuǐ guì běi' (turtle, water, precious, north). The third tone on the right 'qiān diǎn dàn ○' is the level tone 'qiān' (thousand), the rising tone 'diǎn' (classic), the falling tone 'dàn' (dawn), and the entering tone has a position but no character; the last line of the fourth tone only has an entering tone character; the fifth tone is missing the rising tone. The left column has three categories of correct tones, each with four lines, arranged in order of clear, dull, secondary clear, and secondary dull, with four characters within each line from the first to the fourth tone, '□□ jìn kuí' and '□□ qián dǒu' have the first two characters missing."

夫法□飛兄兄兄兄，吾吾吾吾宮孔眾○；四音 父凡□吠兄兄兄兄，二音 吾吾吾吾龍甬用○；二聲 武晚□尾兄兄兄兄，六聲 吾吾吾吾魚鼠去○；文萬□未兄兄兄兄，吾吾吾吾烏虎兔○；卜百丙必兄兄兄兄，吾吾吾吾心審禁○；五音 步白備鼻兄兄兄兄，二音 吾吾吾吾○○○十；二聲 普撲品匹兄兄兄兄，七聲 吾吾吾吾男坎欠○；旁排平瓶兄兄兄兄，吾吾吾吾○○○妾；東丹帝■兄兄兄兄，吾吾吾吾●●●●；六音 兌大帝■兄兄兄兄，二音 吾吾吾吾●●●●；二聲 土貪天■兄兄兄兄，八聲 吾吾吾吾●●●●；同覃田■兄兄兄兄，吾吾吾吾●●●●；乃你女■兄兄兄兄，吾吾吾吾●●●●。

Continuing "Ping Sheng Xi Chang Lu Si Zhi Er". On the left side, the second tone "Xiong" serves as the singing tone, paired with the fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The last line is the seventh tone's first line "Nai Ni Nu ■". In the second line of the sixth tone, the diagram reads "Dui Da Di ■", where "Di" is mistakenly written as "Di". On the right side, it belongs to "Kai Yin Zhu He Lu Si Zhi Er", with "Wu" as the harmonizing tone, paired with the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", the seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie". Below this, the eighth tone's four lines and the ninth tone's first line are all "●●●●". On the left column, the fourth tone belongs to the light lip sounds, with the third character in each of the four lines being "□"; the fifth tone belongs to the heavy lip sounds, with all four characters complete; the sixth tone belongs to the tongue sounds, the seventh tone belongs to the nasal and lateral sounds, and the last character in each is silent. On the right column, only the positions "Xin", "Shen", "Jin", "Shi", "Nan", "Kan", "Qian", and "Qie" have characters, the rest are empty; "●" and "○" indicate silence and sound without characters, and should not be confused.

七音 內南年■兄兄兄兄，二音 吾吾吾吾●●●●；二聲 老冷呂■兄兄兄兄，九聲 吾吾吾吾●●●●；鹿犖離■兄兄兄兄，吾吾吾吾●●●●；走哉足■兄兄兄兄，吾吾吾吾●●●●；八音 自在匠■兄兄兄兄，二音 吾吾吾吾●●●●；二聲 草采七■兄兄兄兄，十聲 吾吾吾吾●●●●；曹才全■兄兄兄兄，吾吾吾吾●●●●。

It still belongs to 'level tone harmonious singing of the fourth tone of the second category'. The left half uses the second tone 'xiong' as the leading tone, paired with the seventh tone's last three lines 'nei nan nian ■', 'lao leng lv ■', 'lu luo li ■' and the eighth tone's four lines 'zou zai zu ■', 'zi zai jiang ■', 'cao cai qi ■', 'cao cai quan ■', with each line ending in an unpronounced '■'. The right half concludes with 'open tone heavy and harmonious law of the fourth tone of the second category', using the second tone water and stone sound 'wu' as the harmonizing tone, paired with the ninth tone's last three lines and the tenth tone's four lines, totaling seven lines all marked as '●●●●'. The diagram using 'wu' as the harmonizing tone is completed with ten tones and forty lines. The seventh tone belongs to the nasal lai system, and the eighth tone belongs to the dental head system; these two categories only establish the first three levels in this pattern. This section has seven lines on each side.

開音濁和律四之三：思三星■兄兄兄兄，目目目目多可個舌；九音 寺□象■兄兄兄兄，三音 目目目目禾火化八；二聲 □□□■兄兄兄兄，一聲 目目目目開宰愛○；□□□■兄兄兄兄，目目目目回每退○；■山手■兄兄兄兄，目目目目良兩向○；十音 ■士石■兄兄兄兄，三音 目目目目光廣況○；二聲 ■□耳■兄兄兄兄，二聲 目目目目丁井亙○；■□二■兄兄兄兄，目目目目兄永瑩○；■莊震■兄兄兄兄，目目目目千典旦○；十一音 ■乍□■兄兄兄兄，三音 目目目目元犬半○；二聲 ■叉赤■兄兄兄兄，三聲 目目目目臣引艮○；■崇辰■兄兄兄兄，目目目目君允巽○。

On the right side, a new section begins with "Kai Yin Zhu He Lu Si Zhi San," using the representative character "mu" for the third tone of water and stone sounds as the harmonizing character. It pairs this with the first tone of the standard sound "duo ke ge she," "he huohua ba," "kai zai ai," and "hui mei tui," the second tone "liang liang xiang," "guang guang kuang," "ding jing gen," and "xiong yong ying," and the third tone "qian dian dan," "yuan quan ban," "chen yin gen," and "jun yun xun." On the left side, it remains under "Ping Sheng Xi Chang Lv Si Zhi Er," using the second tone "xiong" as the singing character, paired with the ninth tone of the standard sound "si san xing," "si xiang xiang," "unknown," and "unknown," the tenth tone "shan shou," "shi shi," "er er," and "er er," and the eleventh tone "zhuang zhen," "zha," "cha chi," and "chong chen." After the ninth tone on the left, there are two lines with phonetic positions but no characters, so three "unknown" characters are written in succession. The four-character lines on the right side follow the order of level, rising, falling, and entering tones, such as "xiong yong ying" which corresponds to level "xiong," rising "yong," falling "ying," and entering tone with a position but no character. On the left side, the ninth tone belongs to the dental fricative sound, the tenth tone belongs to the standard dental and the "ri" mother group, and the eleventh tone belongs to the standard dental; starting from the tenth tone, the first character has no sound, indicating that the closer to dental sounds, the fewer characters can be established.

■卓中■兄兄兄兄，目目目目刀早孝嶽；十二音 ■宅直■兄兄兄兄，三音 目目目目毛寶報霍；二聲 ■拆丑■兄兄兄兄，四聲 目目目目牛斗奏六；■茶呈■兄兄兄兄，目目目目○○○玉。

"The level tone 'Xiong' of the second tone serves as the singing tone, paired with the twelfth standard tone's four lines '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■', with the first character of each line being an unpronounced '■'. The right half belongs to 'Open tone zhuo he lü four three', using the third tone water and stone sound 'Mu' as the harmonizing tone, paired with the fourth standard tone's four lines 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu', with the last line only having the entering tone 'Yu' with a character, and the level, rising, and falling tones are represented by '○' to indicate their positions."

平聲翕唱呂四之三：古甲九癸君君君君，目目目目妻子四日；一音 □□近揆君君君君，三音 目目目目衰○帥骨；三聲 坤巧丘棄君君君君，五聲 目目目目○○○德；□□乾蚪君君君君，目目目目龜水貴北；黃華雄賢君君君君，目目目目宮孔眾○；二音 黑花香血君君君君，三音 目目目目龍甬用○；三聲 五瓦仰□君君君君，六聲 目目目目魚鼠去○；吾牙月堯君君君君，目目目目烏虎兔○；安亞乙一君君君君，目目目目心審禁○；三音 □爻壬寅君君君君，三音 目目目目○○○十；三聲 母馬美米君君君君，七聲 目目目目男坎欠○；目貌眉民君君君君，目目目目○○○妾。

"Level tone harmonized singing of the third tone in the fourth category" starts anew, using the representative character "jun" from the third tone in the level tone category, paired with the first tone "gǔ jiǎ jiǔ guǐ", "□□ jìn kuí", "kūn qiǎo qiū qì", "□□ qián yóu"; the second tone "huáng huá xióng xián", "hēi huā xiāng xuè", "wǔ wǎ yǎng □", "wú yá yuè yáo"; and the third tone "ān yà yǐ yī", "□ yáo rén yín", "mǔ mǎ měi mǐ", "mù mào méi mín". In the second tone section, "hēi huā xiāng xuè" comes first, while "huáng huá xióng xián" is second, with the first two lines reversed. The right side remains "open tone dull harmony of the fourth category", using "mù" as the harmonizing character, paired with the fifth tone "qī zǐ sì rì", "shuāi ○ shuài gǔ", "○○○ dé", "guī shuǐ guì běi"; the sixth tone "gōng kǒng zhòng ○", "lóng yǒng yòng ○", "yú shǔ qù ○", "wū hǔ tù ○"; and the seventh tone "xīn shěn jìn ○", "○○○ shí", "nán kǎn qiàn ○", "○○○ qiè". In the right column, the fifth tone "qī zǐ sì rì" has all four characters, the sixth tone has "○" at the end of each of the four lines, and the seventh tone has characters only in half the lines. On the left, the three categories of correct tones each have four lines, arranged in order of clear, dull, sub-clear, and sub-dull tones, with four characters in each line from the first to the fourth tone class; the line "wǔ wǎ yǎng □" has a missing character at the end, and the line "□ yáo rén yín" has a missing character at the beginning.

夫法□飛君君君君，目目目目●●●●；四音 父凡□吠君君君君，三音 目目目目●●●●；三聲 武晚□尾君君君君，八聲 目目目目●●●●；文萬□未君君君君，目目目目●●●●；卜百丙必君君君君，目目目目●●●●；五音 步白備鼻君君君君，三音 目目目目●●●●；三聲 普撲品匹君君君君，九聲 目目目目●●●●；旁排平瓶君君君君，目目目目●●●●；東丹帝■君君君君，目目目目●●●●；六音 兌大弟■君君君君，三音 目目目目●●●●；三聲 土貪天■君君君君，十聲 目目目目●●●●；同覃田■君君君君，目目目目●●●●。

Continuing "Ping Sheng Xi Chang Lv Si Zhi San". The left half uses the third tone "jun" as the leading tone, paired with the fourth tone "fu fa □ fei", "fu fan □ fei", "wu wan □ wei", "wen wan □ wei", the fifth tone "bu bai bei bi", "bu bai bei bi", "pu pu pin pi", "pang pai ping ping", and the sixth tone "dong dan di ■", "dui da di ■", "tu tan tian ■", "tong tan tian ■". The right half is the latter part of "Kai Yin Zhu He Lu Si Zhi San", using the third tone "mu" as the accompanying tone, paired with the eighth, ninth, and thirteenth tones, totaling twelve lines, all marked as "●●●●". The diagram using "mu" as the accompanying tone now completes ten tones and forty lines. Only the first seven tones have actual characters, while the last three tones have structure but no sound, exactly as Shao Yong described, having position but no sound. The left column's fourth tone belongs to the light lip sounds, with the third position in each of the four lines marked as "□"; the fifth tone belongs to the heavy lip sounds, with all four positions complete; the sixth tone belongs to the tongue sounds, with the last position having no sound. In the sound diagram, the empty spaces are marked as "○" and "●", while in the tone diagram, they are marked as "□" and "■": the former has position but no character, the latter has neither position nor character. Each of the four marks has a specific reference, and they should not be read as missing characters or errors. This section has twelve lines on each side, corresponding to the latter half of the two diagrams.

開音濁和律四之四：乃你女■君君君君，文文文文多可個舌；七音 內南年■君君君君，四音 文文文文禾火化八；三聲 老冷呂■君君君君，一聲 文文文文開宰愛○；鹿犖離■君君君君，文文文文回每退○；走哉足■君君君君，文文文文良兩向○；八音 自在匠■君君君君，四音 文文文文光廣況○；三聲 草采七■君君君君，二聲 文文文文丁井亙○；曹才全■君君君君，文文文文兄永瑩○；思三星■君君君君，文文文文千典旦○；九音 寺□象■君君君君，四音 文文文文元犬半○；三聲 □□□■君君君君，三聲 文文文文臣引艮○；□□□■君君君君，文文文文君允巽○。

The right half begins with 「开音浊和律四之四」, using the representative character 「文」 for the fourth tone of water and stone sounds. It is paired with the first tone 「多可个舌」「禾火化八」「开宰爱○」「回每退○」, the second tone 「良两向○」「光广况○」「丁井亘○」「兄永莹○」, and the third tone 「千典旦○」「元犬半○」「臣引艮○」「君允巽○」. The left half remains under 「平声翕唱吕四之三」, using the third tone character 「君」 as the singing tone, paired with the seventh tone 「乃你女■」「内南年■」「老冷吕■」「鹿荦离■」, the eighth tone 「走哉足■」「自在匠■」「草采七■」「曹才全■」, and the ninth tone 「思三星■」「寺□象■」「□□□■」「□□□■」. The four characters in the right column are arranged in the order of level, rising, falling, and entering tones, for example 「多可个舌」 is level 「多」, rising 「可」, falling 「个」, and entering 「舌」. Among the third tones, characters with entering tones appear only in the first tone row, while others are marked with 「○」 to indicate their position. The seventh tone on the left belongs to the nasal and lateral series, the eighth tone belongs to the dental series, and the ninth tone belongs to the dental fricative series. All three categories end with no sound at the last position. The last two rows of the ninth tone only have one 「□」, and three of the four positions are missing.

■山手■君君君君，文文文文刀早孝嶽；十音 ■士石■君君君君，四音 文文文文毛寶報霍；三聲 ■□耳■君君君君，四聲 文文文文牛斗奏六；■□二■君君君君，文文文文○○○玉；■莊震■君君君君，文文文文妻子四日；十一音 ■乍□■君君君君，四音 文文文文衰○帥骨；三聲 ■叉赤■君君君君，五聲 文文文文○○○德；■崇辰■君君君君，文文文文龜水貴北；■卓中■君君君君，文文文文宮孔眾○；十二音 ■宅直■君君君君，四音 文文文文龍甬用○；三聲 ■拆丑■君君君君，六聲 文文文文魚鼠去○；■茶呈■君君君君，文文文文烏虎兔○。

"The level tone 'Jun' of the third tone is used as the main note, matching the tenth tone '■ Shan Shou ■', '■ Shi Shi ■', '■ □ Er ■', '■ □ Er ■'; the eleventh tone '■ Zhang Zhen ■', '■ Zha □ ■', '■ Cha Chi ■', '■ Chong Chen ■'; and the twelfth tone '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■'. The right side belongs to 'open tone, heavy and harmonious law four of four', using the fourth tone 'Wen' as the harmonizing note, matching the fourth tone 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'; the fifth tone 'Zi Qi Si Ri', 'Shuai ○ Shuai Gu', '○○○ De', 'Gui Shui Gui Bei'; and the sixth tone 'Gong Kong Zhong ○', 'Long Yong Yong ○', 'Yu Shu Qu ○', 'Wu Hu Tu ○'. The first characters of the three categories in the left column are all '■', with only the middle two characters remaining, clearly different from the previous nine tones with four characters complete; the last line of the fourth tone on the right side only includes the entering tone, the fifth tone is missing the rising tone, and the last characters of the four lines in the sixth tone are all '○'. Using the 'Wen' tone category to harmonize with the ten tones, by now twenty-four lines have been matched, leaving sixteen lines still unmatched. In the left column, from the tenth to twelfth tones, the middle two characters are either present or missing, and the last characters are mostly blank."

平聲翕唱呂四之四：古甲九癸○○○○，文文文文心審禁○；一音 □□近揆○○○○，四音 文文文文○○○十；四聲 坤巧丘棄○○○○，七聲 文文文文男坎欠○；□□乾蚪○○○○，文文文文○○○妾；黑花香血○○○○，文文文文●●●●；二音 黃華雄賢○○○○，四音 文文文文●●●●；四聲 五瓦仰□○○○○，八聲 文文文文●●●●；吾牙月堯○○○○，文文文文●●●●；安亞乙一○○○○，文文文文●●●●；三音 □爻壬寅○○○○，四音 文文文文●●●●；四聲 母馬美米○○○○，九聲 文文文文●●●●；目貌眉民○○○○，文文文文●●●●。

"The fourth tone of the fourth level of level tones" starts anew. The tones sung are the fourth tone of the day branch. This tone has sound but no character in the position of the level tone, so the singing position is uniformly marked as "○○○○". It is paired with the first tone of the correct tone, "GujiajiuGui", "□□Jin Kui", "Kun QiaoQiuQi", "□□QianTu", the second tone "He HuaXiang Xue", "Huang HuaXiong Xian", "WuWa Yang□", "WuYa YueYao", and the third tone "AnYiaYiYi", "□Yao RenYin", "MuMa MeiMi", "Mu MaoMei Min". The right half belongs to "the fourth level of the fourth tone of open tones with浊 and harmony with 文", paired with the seventh tone of the correct tone "Xin ShenJin○", "○○○Shi", "Nan KanQian○", "○○○Jie", as well as the eighth and ninth tones, totaling eight lines "●●●●". The left column consists of three categories of correct tones, each with four lines, arranged in order of clear,浊, secondary clear, and secondary浊. Within each line, the four characters are from the first to the fourth tone level, for example, "GujiajiuGui" corresponds to the first tone "Gu", the second tone "Jia", the third tone "Jiu", and the fourth tone "Gui"; "□□Jin Kui" and "□□QianTu" have the first two characters missing, indicating that there is an existing tone position but no corresponding character. Since the singing position has sound but no character, and the paired tones often have missing tones, the entire section almost has no actual readable syllables, yet the number of lines cannot be reduced.

夫法□飛○○○○，文文文文●●●●；四音 父凡□吠○○○○，四音 文文文文●●●●；四聲 武晚□尾○○○○，十聲 文文文文●●●●；文萬□未○○○○，文文文文●●●●。

It is still "level tone harmony singing with the fourth tone '○' which has sound but no character," using the fourth tone character '○' with no written character as the singing part, paired with four lines of the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei," where the third character in each line is '□,' which has a phonetic position but no written character. The right half is the last part of "open tone dull harmony with the fourth tone 'Lv' of the fourth tone," using the fourth tone water and stone sound "Wen" as the harmony, paired with four lines of the tenth tone, all written as "●●●●." The singer has no written character, the harmonizer has no sound, and both sides are empty within one section.

開音濁和律四之五：卜百丙必○○○○，旁旁旁旁多可個舌；五音 步白備鼻○○○○，五音 旁旁旁旁禾火化八；四聲 普撲品匹○○○○，一聲 旁旁旁旁開宰愛○；旁排平瓶○○○○，旁旁旁旁回每退○；東丹帝■○○○○，旁旁旁旁良兩向○；六音 兌大弟■○○○○，五音 旁旁旁旁光廣況○；四聲 土貪天■○○○○，二聲 旁旁旁旁丁井亙○；同覃田■○○○○，旁旁旁旁兄永瑩○；乃你女■○○○○，旁旁旁旁千典旦○；七音 內南年■○○○○，五音 旁旁旁旁元犬半○；四聲 老冷呂■○○○○，三聲 旁旁旁旁臣引艮○；鹿犖離■○○○○，旁旁旁旁君允巽○。

The right half begins with "Kai yin zhu he lu si zhi wu", using the representative character "pang" of the fifth tone in water and stone sounds as the harmonizing character. It starts from the beginning with the first tone "du ke ge she", "he hu hua ba", "kai zai ai ", "hui mei tui ". The second tone includes "liang liang xiang ", "guang guang kuang ", "ding jing gen ", "xiong yong ying ". The third tone includes "qian dian dan ", "yuan quan ban ", "chen yin gen ", "jun yun xun ". The left half remains under "Ping sheng xi chang lv si zhi si", using the fourth tone's " " as the singing character, paired with the fifth tone's standard sound "bu bai bing bi", "bu bai bei bi", "pu pu pin pi", "pang pai ping ping". The sixth tone includes "dong dan di ", "dui da di ", "tu tan tian ", "tong tan tian ". The seventh tone includes "nai ni nu ", "nei nan nian ", "lao leng lv ", "lu luo li ". The four-character lines in the right column are arranged in order of level, rising, falling, and entering tones, such as "liang liang xiang " which corresponds to level "liang", rising "liang", falling "xiang", and entering tone which has a position but no character. The fifth tone on the left belongs to the heavy lip sounds, with all four positions complete; the sixth tone belongs to the tongue sounds, and the seventh tone belongs to the nasal and lateral sounds, with both categories lacking characters at the end. The singing position has no character but the sound position has a character, with one side being empty and the other being real, clearly showing Shao Yong's method of matching by tone positions rather than actual pronunciation.

走哉足■○○○○，旁旁旁旁刀早孝嶽；八音 自在匠■○○○○，五音 旁旁旁旁毛寶報霍；四聲 草采七■○○○○，四聲 旁旁旁旁牛斗奏六；曹才全■○○○○，旁旁旁旁○○○玉；思三星■○○○○，旁旁旁旁妻子四日；九音 寺□象■○○○○，五音 旁旁旁旁衰○帥骨；四聲 □□□■○○○○，五聲 旁旁旁旁○○○德；□□□■○○○○，旁旁旁旁龜水貴北；■山手■○○○○，旁旁旁旁宮孔眾○；十音 ■士石■○○○○，五音 旁旁旁旁龍甬用○；四聲 ■□耳■○○○○，六聲 旁旁旁旁魚鼠去○；■□二■○○○○，旁旁旁旁烏虎兔○；■莊震■○○○○，旁旁旁旁心審禁○。

Continuing "Level Tone Harmony Singing of the Fourth Level of the Fourth Category." The left half uses the fourth tone "○" as the singing tone, paired with the eighth tone "Zou Zai Zu ■" "Zi Zai Jiang ■" "Cao Cai Qi ■" "Cao Cai Quan ■," the ninth tone "Si San Xing ■" "Si ■ Xiang ■" "■ ■ ■ ■" "■ ■ ■ ■," and the tenth tone "■ Shan Shou ■" "■ Shi Shi ■" "■ ■ Er ■" "■ ■ Er ■," with the last line connecting to the eleventh tone's first line "■ Zhuang Zhen ■." The right half belongs to "Open Tone Muddy Harmony of the Fourth Level of the Fifth Category," using "Pang" as the harmonizing tone, paired with the fourth tone "Dao Zao Xiao Yue" "Mao Bao Bao Huo" "Niu Dou Zou Liu" "○ ○ ○ Yu," the fifth tone "Zi Qi Si Ri" "Cui ○ Shuai Gu" "○ ○ ○ De" "Gui Shui Gui Bei," the sixth tone "Gong Kong Zhong ○" "Long Yong Yong ○" "Yu Shu Qu ○" "Wu Hu Tu ○," and the last line is the seventh tone's first line "Xin Shen Jin ○." The eighth tone on the left belongs to the dental initial, the ninth tone to the dental fricative, and the tenth tone to the clear dental and the initial of the day mother group; after the ninth tone, the last two lines have three missing characters, and the first position of the tenth tone and below has no sound. On the right, the fourth tone has three complete lines out of four, the fifth tone is missing the rising tone, and the sixth tone has four lines with the last character missing. This section has thirteen lines on each side, fitting the middle part of the two diagrams.

十一音 ■乍□■○○○○，五音 旁旁旁旁○○○十；四聲 ■叉赤■○○○○，七聲 旁旁旁旁男坎欠○；■崇辰■○○○○，旁旁旁旁○○○妾；■卓中■○○○○，旁旁旁旁●●●●；十二音 ■宅直■○○○○，五音 旁旁旁旁●●●●；四聲 ■拆丑■○○○○，八聲 旁旁旁旁●●●●；■茶呈■○○○○，旁旁旁旁●●●●。

"Level tone (Ping Sheng) with a harmonious chant (Xi Chang) of the fourth tone 'Lv Si' (fourth)" has been completed. The left half uses the fourth tone "○" as the chant, matching the last three lines of the eleventh tone's standard sound "■乍□■", "■叉赤■", and "■崇辰■", as well as the four lines of the twelfth tone's standard sound "■卓中■", "■宅直■", "■拆丑■", and "■茶呈■". The right half remains "Open tone with a heavy and harmonious tone (Kai Yin Zhu He) of the fifth tone 'Lv Wu' (five)", harmonizing with the fifth tone "Pang" (water and stone sound). The Zhuang and Zhuo groups only establish the middle two levels, with the first position having no sound; in the seventh tone on the right side, only five positions have characters, while the eighth tone has no sound position at all. The difference between "○" and "●" lies in this.

平聲翕唱呂四之五：古甲九癸龜龜龜龜，旁旁旁旁●●●●；一音 □□近揆龜龜龜龜，五音 旁旁旁旁●●●●；五聲 坤巧丘棄龜龜龜龜，九聲 旁旁旁旁●●●●；□□乾蚪龜龜龜龜，旁旁旁旁●●●●；黑花香血龜龜龜龜，旁旁旁旁●●●●；二音 黃華雄賢龜龜龜龜，五音 旁旁旁旁●●●●；五聲 五瓦仰□龜龜龜龜，十聲 旁旁旁旁●●●●；吾牙月堯龜龜龜龜，旁旁旁旁●●●●。

"Level tone harmonizes with the fifth tone of the day branch" starts a new diagram, using the representative character "guī" (turtle) for the fifth tone in the level tone position. It first pairs with the first tone of the correct sound, four lines: "Gǔ Jiǎ Jiǔ Guǐ", "□□ Jìn Kuí", "Kūn Qiǎo Qiū Qì", "□□ Qián Tóu". Then it pairs with the second tone, four lines: "Hēi Huā Xiāng Xuè", "Huáng Huā Xióng Xián", "Wǔ Wǎ Yǎng □", "Wú Yá Yuè Yáo"; the "□" in "□□ Jìn Kuí", "□□ Qián Tóu", and "Wǔ Wǎ Yǎng □" are all phonetic positions without corresponding characters. The right half concludes with "Open tone, thick sound harmonizes with the fourth tone of the law, fifth tone", using "páng" (side) as the harmonizing sound, paired with the ninth and tenth tones, totaling eight lines, all marked as "●●●●". Although the singing position has a character, the harmonizing sound has already reached the end of this diagram, so the eight lines on the right are all silent positions; the four lines on the left, each with two types of correct tones, are arranged in order of clear, thick, secondary clear, and secondary thick tones, with four characters in each line from the first tone to the fourth tone.

開音濁和律四之六：安亞乙一龜龜龜龜，同同同同多可個舌；三音 □爻壬寅龜龜龜龜，六音 同同同同禾火化八；五聲 母馬美米龜龜龜龜，一聲 同同同同開宰愛○；目貌眉民龜龜龜龜，同同同同回每退○；夫法□飛龜龜龜龜，同同同同良兩向○；四音 父凡□吠龜龜龜龜，六音 同同同同光廣況○；五聲 武晚□尾龜龜龜龜，二聲 同同同同丁井亙○；文萬□未龜龜龜龜，同同同同兄永瑩○；卜百丙必龜龜龜龜，同同同同千典旦○；五音 步白備鼻龜龜龜龜，六音 同同同同元犬半○；五聲 普撲品匹龜龜龜龜，三聲 同同同同臣引艮○；旁排平瓶龜龜龜龜，同同同同君允巽○。

On the right side, a new section begins with "Kai Yin Zhu Zhuo Lu Si Zhi Liu," using the representative character "Tong" from the sixth tone of water and stone sounds as the harmonizing character. It is paired with the first tone of the standard sound "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai," "Hui Mei Tui." The second tone includes "Liang Liang Xiang," "Guang Guang Kuang," "Ding Jing Gen," "Xiong Yong Ying." The third tone includes "Qian Dian Dan," "Yuan Quan Ban," "Chen Yin Gen," "Jun Yun Xun." On the left side, it remains under "Ping Sheng Xi Chang Lv Si Zhi Wu," using the fifth tone "Gui" as the singing character, paired with the third tone standard sound "An Ya Yi Yi," "Xiao Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min." The fourth tone includes "Fu Fa Xiao Fei," "Fu Fan Xiao Fei," "Wu Wan Xiao Wei," "Wen Wan Xiao Wei." The fifth tone includes "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping." The four-character lines on the right side are arranged in the order of level, rising, falling, and entering tones. Among the three tones, only the line "Du Ke Ge She" has all four characters complete, while the others have many missing characters in the entering tone. On the left side, the third tone belongs to the shadow and analogy groups and the labial and nasal series, the fourth tone belongs to the light labial group, and the fifth tone belongs to the heavy labial group. In the light labial group, the third character in each of the four lines is "Xiao," indicating the existence of a phonetic position but no corresponding character in the world. This section consists of thirteen lines on each side, with both the singing and harmonizing characters having corresponding characters, making it one of the more complete sections in this type of diagram.

東丹帝■龜龜龜龜，同同同同刀早孝嶽；六音 兌大弟■龜龜龜龜，六音 同同同同毛寶報霍；五聲 土貪天■龜龜龜龜，四聲 同同同同牛斗奏六；同覃田■龜龜龜龜，同同同同○○○玉；乃你女■龜龜龜龜，同同同同妻子四日；七音 內南年■龜龜龜龜，六音 同同同同衰○帥骨；五聲 老冷呂■龜龜龜龜，五聲 同同同同○○○德；鹿犖離■龜龜龜龜，同同同同龜水貴北；走哉足■龜龜龜龜，同同同同宮孔眾○；八音 自在匠■龜龜龜龜，六音 同同同同龍甬用○；五聲 草采七■龜龜龜龜，六聲 同同同同魚鼠去○；曹才全■龜龜龜龜，同同同同烏虎兔○；思三星■龜龜龜龜，同同同同心審禁○。

Continuing "Level Tone Harmony of the Fourth and Fifth Sounds". The left half uses the fifth tone "Gui" as the starting sound, paired with the sixth tone "Dong Dan Di ■" "Dui Da Di ■" "Tu Tan Tian ■" "Tong Tan Tian ■", the seventh tone "Nai Ni Nu ■" "Nei Nan Nian ■" "Lao Leng Lv ■" "Lu Luo Li ■", and the eighth tone "Zou Zai Zu ■" "Zi Zai Jiang ■" "Cao Cai Qi ■" "Cao Cai Quan ■". The last line connects to the ninth tone's first line "Si San Xing ■". The right half belongs to "Open Tone Muddy Harmony of the Fourth and Sixth Sounds", using "Tong" as the harmony, paired with the fourth tone "Dao Zao Xiao Yue" "Mao Bao Bao Huo" "Niu Dou Zou Liu" "○○○ Yu", the fifth tone "Zi Qi Si Ri" "Cui ○ Shuai Gu" "○○○ De" "Gui Shui Gui Bei", and the sixth tone "Gong Kong Zhong ○" "Long Yong Yong ○" "Yu Shu Qu ○" "Wu Hu Tu ○". The last line is the seventh tone's first line "Xin Shen Jin ○". The left column's sixth tone belongs to the tongue sound, the seventh tone to the nasal and lateral series, and the eighth tone to the dental sound. The three categories' last positions have no sound, only the first three levels are established. The right column's fourth tone has three complete lines, the fifth tone is missing the rising tone, and the sixth tone has four lines with the last position all marked as "○". The sound chart and tone chart are presented side by side but in different sequences. The original text is laid out line by line, and within the same line, the left and right halves often belong to different charts. When reading, they should be viewed separately on the left and right.

九音 寺□象■龜龜龜龜，六音 同同同同○○○十；五聲 □□□■龜龜龜龜，七聲 同同同同男坎欠○；□□□■龜龜龜龜，同同同同○○○妾；■山手■龜龜龜龜，同同同同●●●●；十音 ■士石■龜龜龜龜，六音 同同同同●●●●；五聲 ■□耳■龜龜龜龜，八聲 同同同同●●●●；■□二■龜龜龜龜，同同同同●●●●；■莊震■龜龜龜龜，同同同同●●●●；十一音 ■乍□■龜龜龜龜，六音 同同同同●●●●；五聲 ■叉赤■龜龜龜龜，九聲 同同同同●●●●；■崇辰■龜龜龜龜，同同同同●●●●；■卓中■龜龜龜龜，同同同同●●●●；十二音 ■宅直■龜龜龜龜，六音 同同同同●●●●；五聲 ■拆丑■龜龜龜龜，十聲 同同同同●●●●；■茶呈■龜龜龜龜，同同同同●●●●。

"The level tone 'Gui' of the fifth tone serves as the leading note, paired with the ninth tone's last three lines 'Si□Xiang■', '□□□■', '□□□■', the tenth tone's lines '■Shan Shou■', '■Shi Shi■', '■□Er■', '■□Er■', the eleventh tone's lines '■Zhuang Zhen■', '■Zha□■', '■Cha Chi■', '■Chong Chen■', and the twelfth tone's lines '■Zhuo Zhong■', '■Zhai Zhi■', '■Chai Chou■', '■Cha Cheng■'. On the right side, the sixth tone 'Tong' of the water and stone sound serves as the harmonizing tone, paired with the seventh tone's last three lines '○○○Shi', 'Nan KanQian○', '○○○Jie', as well as twelve lines from the eighth, ninth, and thirteenth tones '●●●●'. The forty-eight lines of the sound diagram and the forty lines of the tone diagram are now fully matched, with one singing and one harmonizing, both filled with four types of blank markers for places where there are no characters or sounds. This section consists of fifteen lines on the left and fifteen lines on the right. On the left, the last two lines of the ninth tone have three missing characters among four positions; the first positions of the following four categories are all '■'. On the right, five positions among the eight of the seventh tone have characters, while the positions of the eighth tone and below have no characters. Shao Yong regarded sound as belonging to earth and tone as belonging to heaven, with sound below as 'Lv' and leading the singing, and tone above as 'Lv' and harmonizing. After one sound is sung, the twelve tones' forty-eight lines harmonize; after one tone is harmonized, the ten sounds' forty lines sing. All '○' have sound but no characters, '●' have neither sound nor position, '□' have tone but no characters, and '■' have neither tone nor position; these blank spaces and actual characters are all counted as grid numbers, and must not be omitted when calculating the numbers of sounds throughout the world."

平聲翕唱呂四之六，開音濁和律四之七：古甲九癸烏烏烏烏，鹿鹿鹿鹿多可個舌；一音 □□近揆烏烏烏烏，七音 鹿鹿鹿鹿禾火化八；六聲 坤巧丘棄烏烏烏烏，一聲 鹿鹿鹿鹿開宰愛○；□□乾蚪烏烏烏烏，鹿鹿鹿鹿回每退○；黑花香血烏烏烏烏，鹿鹿鹿鹿良兩向○；二音 黃華雄賢烏烏烏烏，七音 鹿鹿鹿鹿光廣況○；六聲 五瓦仰□烏烏烏烏，二聲 鹿鹿鹿鹿丁井亙○；吾牙月堯烏烏烏烏，鹿鹿鹿鹿兄永瑩○；安亞乙一烏烏烏烏，鹿鹿鹿鹿千典旦○；三音 □爻壬寅烏烏烏烏，七音 鹿鹿鹿鹿元犬半○；六聲 母馬美米烏烏烏烏，三聲 鹿鹿鹿鹿臣引艮○；目貌眉民烏烏烏烏，鹿鹿鹿鹿君允巽○。

Two diagrams are started separately. The left diagram, titled "Level Tone Harmony Singing of the Sixth Tone in the Fourth Category," uses the representative character "wu" (乌), which represents the sixth tone in the level tone category, as the singing character. It is paired with the first tone of the standard sound, "gǔ jiǎ jiǔ guǐ" (古甲九癸), "□□jìn kuí" (□□近揆), "kūn qiǎo qiū qì" (坤巧丘弃), "□□qián yóu" (□□乾蚪); the second tone, "hēi huā xiāng xuè" (黑花香血), "huáng huā xióng xián" (黄华雄贤), "wǔ wǎ yǎng □" (五瓦仰□), "wú yá yuè yáo" (吾牙月尧); and the third tone, "ān yà yǐ yī" (安亚乙一), "□ yáo rén yín" (□爻壬寅), "mǔ mǎ měi mǐ" (母马美米), "mù mào méi mín" (目貌眉民). The right diagram, titled "Open Tone Muddy Harmony of the Seventh Tone in the Fourth Category," uses the representative character "lù" (鹿), which represents the seventh tone in the water-stone sound category, as the harmonizing character. It is paired with the first tone of the standard sound, "duō kě gè shé" (多可个舌), "hē huǒ huà bā" (禾火化八), "kāi zǎi ài ○" (开宰爱○), "huí měi tuì ○" (回每退○); the second tone, "liáng liǎng xiàng ○" (良两向○), "guāng guǎng kuàng ○" (光广况○), "dīng jǐng gèng ○" (丁井亘○), "xiōng yǒng yíng ○" (兄永莹○); and the third tone, "qiān diǎn dàn ○" (千典旦○), "yuán quǎn bàn ○" (元犬半○), "chén yǐn gèn ○" (臣引艮○), "jūn yǔn xùn ○" (君允巽○). The first category of both diagrams is the sixth and seventh tones respectively, and they are not synchronized, because the standard tones have only ten categories while the standard sounds have twelve categories. Each tone diagram has four lines divided into clear, muddy, sub-clear, and sub-muddy tones, with four characters in each line representing the first to fourth tones. In the sound diagram, each line has four characters representing level, rising, falling, and entering tones, such as "duō kě gè shé" (多可个舌), which means level "duō" (多), rising "kě" (可), falling "gè" (个), and entering "shé" (舌). "Wu" (乌) is the character representing the sixth tone in the day branch category in the level tone category, and "lu" (鹿) is the character representing the seventh tone in the water-stone sound category in the open tone muddy category. Each character is in its own column and not related to the other.

夫法□飛烏烏烏烏，鹿鹿鹿鹿刀早孝嶽；四音 父凡□吠烏烏烏烏，七音 鹿鹿鹿鹿毛寶報霍；六聲 武晚□尾烏烏烏烏，四聲 鹿鹿鹿鹿牛斗奏六；文萬□未烏烏烏烏，鹿鹿鹿鹿○○○玉；卜百丙必烏烏烏烏，鹿鹿鹿鹿妻子四日；五音 步白備鼻烏烏烏烏，七音 鹿鹿鹿鹿衰○帥骨；六聲 普撲品匹烏烏烏烏，五聲 鹿鹿鹿鹿○○○德；旁排平瓶烏烏烏烏，鹿鹿鹿鹿龜水貴北；東丹帝■烏烏烏烏，鹿鹿鹿鹿宮孔眾○；六音 兌大弟■烏烏烏烏，七音 鹿鹿鹿鹿龍甬用○；六聲 土貪天■烏烏烏烏，六聲 鹿鹿鹿鹿魚鼠去○；同覃田■烏烏烏烏，鹿鹿鹿鹿烏虎兔○；乃你女■烏烏烏烏，鹿鹿鹿鹿心審禁○。

Continuing from the previous two diagrams. On the left half, 「Flat tone harmonizing with the sixth tone's "wu"」 uses the sixth tone's "wu" as the singing tone, paired with the fourth tone's standard sound "fu fa □ fei", "fu fan □ fei", "wu wan □ wei", "wen wan □ wei", the fifth tone's "bu bai bei bi", "bu bai bei bi", "pu pu pin pi", "pang pai ping ping", and the sixth tone's "dong dan di ■", "dui da di ■", "tu tan tian ■", "tong tan tian ■". The last line connects to the seventh tone's first line "nai ni nu ■". On the right half, 「Open tone with heavy and harmonizing the fourth tone's seventh tone」 uses "lu" as the harmonizing tone, paired with the fourth tone's standard sound "dao zao xiao yue", "mao bao bao huo", "niu dou zou liu", "○○○ yu", the fifth tone's "zi qi si ri", "shuai ○ shuai gu", "○○○ de", "gui shui gui bei", the sixth tone's "gong kong zhong ○", "long yong yong ○", "yu shu qu ○", "wu hu tu ○", and the last line is the seventh tone's first line "xin shen jin ○". On the left column, the fourth tone belongs to the light lip sounds, with the third character in each of the four lines being "□"; the fifth tone belongs to the heavy lip sounds, with all four characters complete; the sixth tone belongs to the tongue sounds, the seventh tone belongs to the nasal and lateral sounds, with the last character in each case being silent. On the right column, the fourth tone's last line only has the entering tone "yu" with a character, the fifth tone is missing the rising tone, the sixth tone's four lines all end with "○"; among the same categories of sounds, the four levels also differ in their density and spacing.

七音 內南年■烏烏烏烏，七音 鹿鹿鹿鹿○○○十；六聲 老冷呂■烏烏烏烏，七聲 鹿鹿鹿鹿男坎欠○；鹿犖離■烏烏烏烏，鹿鹿鹿鹿○○○妾；走哉足■烏烏烏烏，鹿鹿鹿鹿●●●●；八音 自在匠■烏烏烏烏，七音 鹿鹿鹿鹿●●●●；六聲 草采七■烏烏烏烏，八聲 鹿鹿鹿鹿●●●●；曹才全■烏烏烏烏，鹿鹿鹿鹿●●●●；思三星■烏烏烏烏，鹿鹿鹿鹿●●●●；九音 寺□象■烏烏烏烏，七音 鹿鹿鹿鹿●●●●；六聲 □□□■烏烏烏烏，九聲 鹿鹿鹿鹿●●●●；□□□■烏烏烏烏，鹿鹿鹿鹿●●●●；■山手■烏烏烏烏，鹿鹿鹿鹿●●●●；十音 ■士石■烏烏烏烏，七音 鹿鹿鹿鹿●●●●；六聲 ■□耳■烏烏烏烏，十聲 鹿鹿鹿鹿●●●●；■□二■烏烏烏烏，鹿鹿鹿鹿●●●●。

The left half still belongs to "level tone harmonized singing of the fourth category of six tones," with the sixth tone "wu" as the singing tone, paired with the seventh tone's last three lines "nei nan nian ■," "lao leng lv ■," "lu luo li ■," the eighth tone "zou zai zu ■," "zi zai jiang ■," "cao cai qi ■," "cao cai quan ■," the ninth tone "si san xing ■," "si □ xiang ■," "□ □ □ ■," "□ □ □ ■," and the tenth tone "■ shan shou ■," "■ shi shi ■," "■ □ er ■," "■ □ er ■." The right half is the conclusion of "open tone dull and harmonized law of the fourth category of seven tones," ending with the seventh tone "lu" as the harmonizing tone, paired with the seventh tone's last three lines "○○○ shi," "nan kan qian ○," "○○○ jie," as well as twelve lines from the eighth, ninth, and thirteenth tones "●●●●." With "lu" as the harmonizing tone, this chart completes ten tones and forty lines. This section has fifteen lines on the left and fifteen on the right. On the left, from the seventh tone to the last line of the tenth tone, all are "■," and the last two lines of the ninth tone are only left with one "□." On the right, only five positions in the seventh tone have characters, and there are no characters or tone positions from the eighth tone onwards. A single tone chart covers twelve tones and forty-eight lines, while a single tone chart covers ten tones and forty lines. Since the number of lines on both sides is unequal, when the source text arranges them side by side, the chart on the left often shifts one or two positions relative to the chart on the right. When reading this section, there is no need to require corresponding lines on both sides. Instead, follow each column according to the "tone" and "sound" headings in order to reconstruct the original two tables. The four types of blank markers remain consistent throughout, without changing due to different charts.

開音濁和律四之八：■莊震■烏烏烏烏，曹曹曹曹多可個舌；十一音 ■乍□■烏烏烏烏，八音 曹曹曹曹禾火化八；六聲 ■叉赤■烏烏烏烏，一聲 曹曹曹曹開宰愛○；■崇辰■烏烏烏烏，曹曹曹曹回每退○；■卓中■烏烏烏烏，曹曹曹曹良兩向○；十二音 ■宅直■烏烏烏烏，八音 曹曹曹曹光廣況○；六聲 ■拆丑■烏烏烏烏，二聲 曹曹曹曹丁井亙○；■茶呈■烏烏烏烏，曹曹曹曹兄永瑩○。

On the right side, it begins with "Kai Yin Zhuo He Lu Si Zhi Ba", using the representative character "Cao" for the eighth tone of water and stone sounds. It matches this with the first tone of the standard sound "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai", "Hui Mei Tui", and the second tone "Liang Liang Xiang", "Guang Guang Kuang", "Ding Jing Gen", "Xiong Yong Ying". On the left side, it is the last eight lines of "Ping Sheng Xi Chang Lu Si Liu", using the sixth tone "Wu" as the singing tone, paired with the eleventh tone "Zhuang Zhen", "Zha", "Cha Chi", "Chong Chen" and the twelfth tone "Zhuo Zhong", "Zhai Zhi", "Chai Chou", "Cha Cheng". With "Wu" as the singing tone, this completes twelve tones and forty-eight lines. The families of "Zhuang" and "Zhuo" are only established in the middle two levels here, with the first position having no sound; the "Cao" tone, however, has all four positions, making the contrast particularly clear.

平聲翕唱呂四之七：古甲九癸○○○○，曹曹曹曹千典旦○；一音 □□近揆○○○○，八音 曹曹曹曹元犬半○；七聲 坤巧丘棄○○○○，三聲 曹曹曹曹臣引艮○；□□乾蚪○○○○，曹曹曹曹君允巽○；黑花香血○○○○，曹曹曹曹刀早孝嶽；二音 黃華雄賢○○○○，八音 曹曹曹曹毛寶報霍；七聲 五瓦仰□○○○○，四聲 曹曹曹曹牛斗奏六；吾牙月堯○○○○，曹曹曹曹○○○玉；安亞乙一○○○○，曹曹曹曹妻子四日；三音 □爻壬寅○○○○，八音 曹曹曹曹衰○帥骨；七聲 母馬美米○○○○，五聲 曹曹曹曹○○○德；目貌眉民○○○○，曹曹曹曹龜水貴北。

"The seventh tone of the seventh sound in level tone singing" starts anew. The sound sung is the seventh tone of the day branch, which has a tone but no character in the level tone position. The singing position is generally marked as "○○○○". It is paired with the first tone of the correct sound "Gujiajiu gui", "□□jinxui", "Kunqiao qiu qi", "□□Qian tuo", the second tone "Heihua xiangxue", "Huanghua xiongxian", "Wuwǎ yǎng □", "Wuyá yueyao", and the third tone "Anya yiyi", "□yao Renyin", "Muma meimi", "Mùmào meimian". The right half remains "open tone,浊 and harmonized with the fourth law of the eighth tone", using the eighth tone of water and stone "Cao" as the harmony, paired with the third tone of the correct sound "Qian典dàn○", "Yuan quan ban○", "Chen yin gen○", "Jun yun xun○", the fourth tone "Dao zao xiao yue", "Mao bao bao huo", "Niu dou zou liu", "○○○yu", and the fifth tone "Zi qi si ri", "Shuai○ shuai gu", "○○○de", "Gui shui gui bei". The third tone on the right, "Qian典dàn○", is level tone "qian", rising tone "dian", falling tone "dan", and the entering tone has a position but no character. The last line of the fourth tone only has an entering tone. The three categories of correct tones on the left each have four lines, arranged in order of clear,浊, secondary clear, and secondary浊, with four characters in each line from the first to the fourth tone. The two lines "□□jinxui" and "□□Qian tuo" have the first two characters missing.

夫法□飛○○○○，曹曹曹曹宮孔眾○；四音 父凡□吠○○○○，八音 曹曹曹曹龍甬用○；七聲 武晚□尾○○○○，六聲 曹曹曹曹魚鼠去○；文萬□未○○○○，曹曹曹曹烏虎兔○；卜百丙必○○○○，曹曹曹曹心審禁○；五音 步白備鼻○○○○，八音 曹曹曹曹○○○十；七聲 普撲品匹○○○○，七聲 曹曹曹曹男坎欠○；旁排平瓶○○○○，曹曹曹曹○○○妾；東丹帝■○○○○，曹曹曹曹●●●●；六音 兌大弟■○○○○，八音 曹曹曹曹●●●●；七聲 土貪天■○○○○，八聲 曹曹曹曹●●●●；同覃田■○○○○，曹曹曹曹●●●●；乃你女■○○○○，曹曹曹曹●●●●。

Continuing with 「Ping Sheng Xi Chang Lv Si Zhi Qi」. On the left side, the seventh tone's 「○」 serves as the singing tone, paired with the fourth tone's correct sound 「Fu Fa □ Fei」「Fu Fan □ Fei」「Wu Wan □ Wei」「Wen Wan □ Wei」, the fifth tone's 「Bu Bai Bing Bi」「Bu Bai Bei Bi」「Pu Pu Pin Pi」「Pang Pai Ping Ping」, and the sixth tone's 「Dong Dan Di ■」「Dui Da Di ■」「Tu Tan Tian ■」「Tong Tan Tian ■」. The last line is the first line of the seventh tone 「Nai Ni Nu ■」. On the right side, it belongs to 「Kai Yin Zhu He Lu Si Zhi Ba」, with 「Cao」 as the harmonizing tone, paired with the sixth tone's correct sound 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」, and the seventh tone's 「Xin Shen Jin ○」「○○○ Shi」「Nan Kan Qian ○」「○○○ Jie」; below this, the fourth lines of the eighth tone and the first line of the ninth tone are all 「●●●●」, indicating places where the tone positions are not established. On the left column, the fourth tone belongs to the light lip sounds, with the third position in each of the four lines being 「□」; the fifth tone belongs to the heavy lip sounds, with all four positions complete; the sixth tone belongs to the tongue sounds, the seventh tone belongs to the nasal and lateral sounds, and the last position in each case has no sound. The singing tone has no characters, and the harmonizing tones have many empty positions, with more than half of the positions being vacant within a single section, yet the number of lines and positions remains complete. On the right column, the last position of each of the four lines in the sixth tone is 「○」, while in the seventh tone only the positions of 「Xin」「Shen」「Jin」「Shi」「Nan」「Kan」「Qian」「Jie」 have characters, and these are similar in appearance to the 「●」 in the eighth tone and below, but they refer to entirely different things.

七音 內南年■○○○○，八音 曹曹曹曹●●●●；七聲 老冷呂■○○○○，九聲 曹曹曹曹●●●●；鹿犖離■○○○○，曹曹曹曹●●●●；走哉足■○○○○，曹曹曹曹●●●●；八音 自在匠■○○○○，八音 曹曹曹曹●●●●；七聲 草采七■○○○○，十聲 曹曹曹曹●●●●；曹才全■○○○○，曹曹曹曹●●●●。

It still belongs to the category of 'level tone harmonizing with the seventh tone of the fourth category'. The left half uses the seventh tone '○' as the leading tone, paired with the last three lines of the seventh tone's proper sound 'inner south year ■', 'old cold Lü ■', 'deer luó Li ■' and the four lines of the eighth tone 'walk zai foot ■', 'free self craftsman ■', 'grass collection seven ■', 'Cao cai complete ■', with the last character of each line being the silent '■'. The right half concludes with 'open tone turbid harmony of the fourth category's eighth tone', using the eighth tone water and stone sound 'Cao' as the harmonizing tone, paired with the last three lines of the ninth tone and the four lines of the tenth tone, totaling seven lines all marked as '●●●●'. This diagram, paired with 'Cao' as the harmonizing tone, completes ten tones and forty lines. The seventh tone belongs to the nasal lai system, and the eighth tone belongs to the dental head system; both systems have no sound at the end, only three levels established. This section has seven lines on each side.

開音濁和律四之九：思三星■○○○○，□□□□多可個舌；九音 寺□象■○○○○，九音 □□□□禾火化八；七聲 □□□■○○○○，一聲 □□□□開宰愛○；□□□■○○○○，□□□□回每退○；■山手■○○○○，□□□□良兩向○；十音 ■士石■○○○○，九音 □□□□光廣況○；七聲 ■□耳■○○○○，二聲 □□□□丁井亙○；■□二■○○○○，□□□□兄永瑩○；■莊震■○○○○，□□□□千典旦○；十一音 ■乍□■○○○○，九音 □□□□元犬半○；七聲 ■叉赤■○○○○，三聲 □□□□臣引艮○；■崇辰■○○○○，□□□□君允巽○。

On the right side, a new section begins with "Kai Yin Zhu He Lu Si Zhi Jiū." The sound being matched is the ninth tone of the water and stone tones. This tone has a phonetic position but no corresponding character, so the general diagram writes it as "□□□□." It is paired with the first tone of the standard sound "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○," the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○." On the left side, it remains under "Ping Sheng Xi Chen Lu Si Zhi Qi," using the seventh tone "○" as the singing tone, paired with the ninth tone of the standard sound "Si San Xing ■," "Si □ Xiang ■," "□□□ ■," "□□□ ■," the tenth tone "■ Shan Shou ■," "■ Shi Shi ■," "■ □ Er ■," "■ □ Er ■," and the eleventh tone "■ Zhuang Zhen ■," "■ Zha □ ■," "■ Cha Che ■," "■ Chong Chen ■." The four-character lines on the right side are arranged in the order of level, rising, falling, and entering tones. Although the matching tone has a sound but no character, the paired tones often have characters, creating a contrast between the abstract and the concrete, yet still forming lines. In the left column, among the four positions in the last two lines of the ninth tone, three are missing, and from the tenth tone onwards, the first position has no sound. The closer to the dental sound series, the fewer positions can be established. This section has thirteen lines on each side, with the left column at the end of the old diagram and the right column at the beginning of the new diagram, perfectly offset.

■卓中■○○○○，□□□□刀早孝嶽；十二音 ■宅直■○○○○，九音 □□□□毛寶報霍；七聲 ■拆丑■○○○○，四聲 □□□□牛斗奏六；■茶呈■○○○○，□□□□○○○玉。

"The level tone 'Xī Chàng Lǚ Sì Zhī Qī' ends here: the left half uses the seventh tone, which is a sound without a character '○', as the chant, paired with the twelfth tone's four lines '■ Zhuo Zhong ■', '■ Zhai Zhi ■', '■ Che Chou ■', '■ Cha Cheng ■', with the first character of each line being the silent '■'. The right half belongs to 'Kai Yin Zhu He Lu Four Zhī Jiǔ', using the sound without a character '□□□□' as the harmony, paired with the fourth tone's four lines 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'."

平聲翕唱呂四之八：古甲九癸●●●●，□□□□妻子四日；一音 □□近揆●●●●，九音 □□□□衰○帥骨；八聲 坤巧丘棄●●●●，五聲 □□□□○○○德；□□乾蚪●●●●，□□□□龜水貴北；黑花香血●●●●，□□□□宮孔眾○；二音 黃華雄賢●●●●，九音 □□□□龍甬用○；八聲 五瓦仰□●●●●，六聲 □□□□魚鼠去○；吾牙月堯●●●●，□□□□烏虎兔○；安亞乙一●●●●，□□□□心審禁○；三音 □爻壬寅●●●●，九音 □□□□○○○十；八聲 母馬美米●●●●，七聲 □□□□男坎欠○；目貌眉民●●●●，□□□□○○○妾。

"The eighth tone of the eighth sound of the level tone 'Lv'" starts anew. The sound sung is the eighth tone of the day branch, which originally has no sound to be pronounced; the singing position is marked as "●●●●" in the general diagram. It is paired with the first tone of the correct sound "GujiajiuGui", "□□Jin Kui", "Kun QiaoQiuQi", "□□QianYu", the second tone "He HuaXiang Xue", "Huang HuaXiong Xian", "WuWa Yang□", "WuYa YueYao", and the third tone "AnYaYiYi", "□Yao RenYin", "MuMa MeiMi", "Mu MaoMei Min". The right half remains "the ninth tone of the fourth law of opening tones with浊 and harmonizing", using the sound without characters "□□□□" as the harmony, paired with the fifth tone of the correct sound "ZiQiSiRi", "Shuai○ShuaiGu", "○○○De", "Gui ShuiGui Bei", the sixth tone "Gong KongZhong○", "Long NongYong○", "Yu ShuQu○", "WuHuTu○", and the seventh tone "Xin ShenJin○", "○○○Shi", "Nan KanQian○", "○○○Jie". The left column consists of three categories of correct sounds, each with four lines, arranged in order of clear,浊, secondary clear, and secondary浊 tones. Within each line, the four characters are from the first to fourth tones, such as "GujiajiuGui" which corresponds to the first tone "Gu", the second tone "Jia", the third tone "Jiu", and the fourth tone "Gui". The right column's fifth tone "ZiQiSiRi" has all four characters, the sixth tone's four lines all end with "○", and the seventh tone has characters only in half of them. The singer has no sound, and the harmonizer has no characters, both sides are empty but the positions remain unchanged.

夫法□飛●●●●，□□□□■■■■；四音 父凡□吠●●●●，九音 □□□□■■■■；八聲 武晚□尾●●●●，八聲 □□□□■■■■；文萬□未●●●●，□□□□■■■■；卜百丙必●●●●，□□□□■■■■；五音 步白備鼻●●●●，九音 □□□□■■■■；八聲 普撲品匹●●●●，九聲 □□□□■■■■；旁排平瓶●●●●，□□□□■■■■；東丹帝■●●●●，□□□□■■■■；六音 兌大弟■●●●●，九音 □□□□■■■■；八聲 土貪天■●●●●，十聲 □□□□■■■■；同覃田■●●●●，□□□□■■■■。

Continuing "Level Tone Harmony Singing of the Fourth and Eighth Sounds." The left half uses the eighth tone "●●●●" as the singing tone, paired with the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei," the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping," and the sixth tone "Dong Dan Di ■," "Dui Da Di ■," "Tu Tan Tian ■," "Tong Tan Tian ■." The right half is the latter part of "Open Tone浊 Harmony of the Fourth and Ninth Sounds," using "□□□□" as the harmonizing tone, paired with the eighth, ninth, and thirteenth tones in twelve lines. In these twelve lines, other diagrams use "●●●●," but in this text, they are all carved as "■■■■," which mistakenly replaces the silent tone mark with the toneless mark, referring still to the position without sound or character. The fourth tone on the left belongs to the light lip sounds, with the third position in each of the four lines marked as "□"; the fifth tone belongs to the heavy lip sounds, with all four positions complete; the sixth tone belongs to the tongue sounds, with the last position having no sound. The four types of blank marks each have specific meanings: "○" indicates a sound without a character, "●" indicates neither sound nor position, "□" indicates a tone without a character, and "■" indicates neither tone nor position. Readers can refer to other diagrams to correct the mixed use here, but the original characters should still be preserved as they were, and should not be changed directly.

開音濁和律四之十：乃你女■●●●●，■■■■多可個舌；七音 內南年■●●●●，十音 ■■■■禾火化八；八聲 老冷呂■●●●●，一聲 ■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音 自在匠■●●●●，十音 ■■■■光廣況○；八聲 草采七■●●●●，二聲 ■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音 寺□象■●●●●，十音 ■■■■元犬半○；八聲 □□□■●●●●，三聲 ■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

The right half begins with "Kai Yin Zhu He Lu Si Zhi Shi," using the tenth tone of water and stone sounds as the harmonizing tone; this tone originally has no sound, so the general chart represents it with "■■■■." It is paired with the first tone of the standard sound "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Geng ○," "Xiong Yong Ying ○," and the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○." The left half remains under "Ping Sheng Xi Chang Lv Si Zhi Ba," using the eighth tone's "●●●●" as the singing tone, paired with the seventh tone of the standard sound "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," the eighth tone "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■," and the ninth tone "Si San Xing ■," "Si □ Xiang ■," "□□□ ■," "□□□ ■." The four-character lines in the right column are arranged in order of level, rising, falling, and entering tones, such as "Hui Mei Tui ○" which corresponds to level "Hui," rising "Mei," falling "Tui," and the entering tone has a position but no character. The seventh tone on the left belongs to the nasal lai group, the eighth tone to the dental head group, and the ninth tone to the dental fricative group; all three groups have no sound at the end. The last two lines after the ninth tone only have one "□." The singer has no sound, the harmonizer has no tone, both sides are empty, yet the grid positions must still be filled completely.

■山手■●●●●，■■■■刀早孝嶽；十音 ■士石■●●●●，十音 ■■■■毛寶報霍；八聲 ■□耳■●●●●，四聲 ■■■■牛斗奏六；■□二■●●●●，■■■■○○○玉；■莊震■●●●●，■■■■妻子四日；十一音 ■乍□■●●●●，十音 ■■■■衰○帥骨；八聲 ■叉赤■●●●●，五聲 ■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音 ■宅直■●●●●，十音 ■■■■龍甬用○；八聲 ■拆丑■●●●●，六聲 ■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

"The 'level tone' of the eighth sound '●●●●' is completed here: the left half uses the eighth sound '●●●●' as the singing tone, matching the correct tones of the tenth sound '■ mountain hand ■', '■ scholar stone ■', '■ ear ■', '■ two ■', the eleventh sound '■ Zang Zhen ■', '■ sudden ■', '■ fork red ■', '■ Chong Chen ■', and the twelfth sound '■ Zhuo Zhong ■', '■ residence straight ■', '■ split chou ■', '■ tea present ■'. The right half belongs to 'open tone turbid harmony law four ten', using the silent '■■■■' as the harmony, matching the correct tones of the fourth sound 'knife early filial piety mountain', 'hair treasure report Huo', 'ox star composition six', '○○○ jade', the fifth sound 'wife four day', 'decline ○ general bone', '○○○ virtue', 'turtle water precious north', the sixth sound 'palace Kong crowd ○', 'dragon Yong use ○', 'fish mouse go ○', 'crow tiger rabbit ○'. The first characters of the three categories on the left are all '■', with only the middle two characters remaining, clearly different from the previous nine tones with four characters. The last line of the fourth sound on the right '○○○ jade' only has characters in the entering tone, the fifth sound 'decline ○ general bone' is missing the rising tone, and the last character of each line in the sixth sound is all '○'. The diagram with '■' as the harmony, even though it has no sound and cannot be read, still needs to be matched one by one with the ten tones and forty lines; this is exactly the usual practice of Shao Yong, first establishing the fundamental numbers and then using them."

平聲翕唱呂四之九：古甲九癸●●●●，■■■■心審禁○；一音 □□近揆●●●●，十音 ■■■■○○○十；九聲 坤巧丘棄●●●●，七聲 ■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音 黃華雄賢●●●●，十音 ■■■■●●●●；九聲 五瓦仰□●●●●，八聲 ■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音 □爻壬寅●●●●，十音 ■■■■●●●●；九聲 母馬美米●●●●，九聲 ■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

"The level tone is sung in the ninth tone of the fourth category." A new line begins. The tone sung is the ninth tone of the day branch, which is also a tone with a position but no sound, and the singing position is generally marked as "●●●●". It is paired with the first tone of the correct sound: "Gu Jia Jiu Gui", "□□ Near Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu", the second tone: "Hei Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", the third tone: "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min". The right half is the latter part of "Open tone,浊 and harmonizing with the fourth category's tenth tone", using the soundless "■■■■" for harmony. First, it is paired with the seventh tone of the correct sound: "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie". Then it is paired with the eighth and ninth tones, totaling eight lines of "●●●●". The left column has three categories of correct tones, each with four lines, arranged in order of clear,浊, secondary clear, and secondary浊 tones, with four characters in each line from the first to the fourth tone. The two lines "□□ Near Kui" and "□□ Qian Tu" have the first two characters missing, and the line "Wu Wa Yang □" has the last character missing; these are all tones with positions but no corresponding characters. In the eighth and ninth tones, there are no tone positions, so they are marked as "●" in the general book. This diagram's singer is a sound without sound, and the harmonizer is a tone without sound, and what remains is only the grid structure.

夫法□飛●●●●，■■■■●●●●；四音 父凡□吠●●●●，十音 ■■■■●●●●；九聲 武晚□尾●●●●，十聲 ■■■■●●●●；文萬□未●●●●，■■■■●●●●。

It is still "Ping Sheng Xi Chang Lu Si Zhi Jiu", using the ninth tone "●●●●" as the chant, paired with the fourth tone of the standard sound, four lines "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", with the third character in each line marked as "□", which has a phonetic position but no character. The right half is the last part of "Kai Yin Zhu He Lu Si Zhi Shi", using the silent "■■■■" as the harmony, paired with the tenth tone of the standard sound, also with four lines all marked as "●●●●". The diagram using the tenth tone as harmony is now complete with ten tones and forty lines.

開音濁和律四之十一：卜百丙必●●●●，■■■■多可個舌；五音 步白備鼻●●●●，十一音 ■■■■禾火化八；九聲 普撲品匹●●●●，一聲 ■■■■開宰愛○；旁排平瓶●●●●，■■■■回每退○；東丹帝■●●●●，■■■■良兩向○；六音 兌大弟■●●●●，十一音 ■■■■光廣況○；九聲 土貪天■●●●●，二聲 ■■■■丁井亙○；同覃田■●●●●，■■■■兄永瑩○；乃你女■●●●●，■■■■千典旦○；七音 內南年■●●●●，十一音 ■■■■元犬半○；九聲 老冷呂■●●●●，三聲 ■■■■臣引艮○；鹿犖離■●●●●，■■■■君允巽○。

On the right side, it begins with 「Opening tone,浊 and harmony, law four, number eleven」, using the eleventh tone of water and stone sounds as harmony; this tone also has no actual sound to refer to, so it is marked as 「■■■■」. The corresponding tones are the first tone of the standard sound: 「Du ke ge she」, 「He hu hua ba」, 「Kai zai ai ○」, 「Hui mei tui ○」; the second tone: 「Liang liang xiang ○」, 「Guang guang kuang ○」, 「Ding jing geng ○」, 「Xiong yong ying ○」; the third tone: 「Qian dian dan ○」, 「Yuan quan ban ○」, 「Chen yin gen ○」, 「Jun yun xun ○」. On the left side, it remains under 「Level tone, harmony, singing, law four, number nine」, using the ninth tone marked as 「●●●●」 as singing, paired with the fifth tone of the standard sound: 「Bu bai bing bi」, 「Bu bai bei bi」, 「Pu pu pin pi」, 「Pang pai ping ping」; the sixth tone: 「Dong dan di ■」, 「Dui da di ■」, 「Tu tan tian ■」, 「Tong tan tian ■」; the seventh tone: 「Nai ni nu ■」, 「Nei nan nian ■」, 「Lao leng lv ■」, 「Lu luo li ■」. The four-character lines on the right side are arranged in the order of level, rising, falling, and entering tones, for example, 「Liang liang xiang ○」 refers to level 「Liang」, rising 「Liang」, falling 「Xiang」, and entering tone which has a position but no character. On the left side, the fifth tone belongs to the heavy lip sounds, with all four tones present; the sixth tone belongs to the tongue sounds, and the seventh tone belongs to the nasal and lateral sounds, with the last tones of both categories having no sound. This section has thirteen lines on each side.

走哉足■●●●●，■■■■刀早孝嶽；八音 自在匠■●●●●，十一音 ■■■■毛寶報霍；九聲 草采七■●●●●，四聲 ■■■■牛斗奏六；曹才全■●●●●，■■■■○○○玉；思三星■●●●●，■■■■妻子四日；九音 寺□象■●●●●，十一音 ■■■■衰○帥骨；九聲 □□□■●●●●，五聲 ■■■■○○○德；□□□■●●●●，■■■■龜水貴北；■山手■●●●●，■■■■宮孔眾○；十音 ■士石■●●●●，十一音 ■■■■龍甬用○；九聲 ■□耳■●●●●，六聲 ■■■■魚鼠去○；■□二■●●●●，■■■■烏虎兔○；■莊震■●●●●，■■■■心審禁○。

Continuing "Ping Sheng Xi Chang Lu Si Zhi Jiu". On the left side, the ninth tone "●●●●" serves as the chant, paired with the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■■■■", "■■■■", and the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■■ Er ■", "■■ Er ■". The last line connects to the eleventh tone's first line "■ Zhuang Zhen ■". On the right side, it belongs to "Kai Yin Zhu He Lu Si Zhi Shiyi", with the silent "■■■■" as the harmony, paired with the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", and the seventh tone's first line "Xin Shen Jin ○". The left column's eighth tone belongs to the dental initial, the ninth tone to the dental fricative, and the tenth tone to the clear dental and the initial of the day mother. On the right column, "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu" are all present, "○○○ Yu" only has characters in the入声, and "Shuai ○ Shuai Gu" is missing the rising tone. This section has thirteen lines on each side, located in the middle of the two diagrams, both diagrams are not yet completed, and the following text continues.

十一音 ■乍□■●●●● 十一音 ■■■■○○○十 九聲 ■叉赤■●●●● 七聲 ■■■■男坎欠○ ■崇辰■●●●● ■■■■○○○妾 ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十一音 ■■■■●●●● 九聲 ■拆丑■●●●● 八聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●●

These seven lines follow the previous text. The left half still belongs to "level tone harmonious singing of the fourth tone of the ninth sound," and the right half still belongs to "open tone turbid harmony of the fourth tone of the eleventh sound." The ninth sound sung in the left table is itself written as "●," meaning there is no sound at this position, so four "●" are added at the end of each line. The sound that corresponds to it is the eleventh and twelfth categories of the standard tone. The eleventh tone's fire, earth, and stone lines are successively "■乍□■," "■叉赤■," and "■崇辰■." The twelfth tone's water, fire, earth, and stone lines are successively "■卓中■," "■宅直■," "■拆丑■," and "■茶呈■." Each line has four characters arranged in the order of "open," "initial," "closure," and "closed." The open and closed positions are both marked as "■," indicating no sound at these positions; only the initial and closure positions have actual characters. In the case of "■乍□■," the closure position is marked as "□," indicating that there is a sound position but no character can be paired with it. The eleventh tone on the right half is also marked as "■," and it corresponds to the seventh tone of the heavenly use sound, the three lines of moon, star, and辰 "○○○十," "男坎欠○," and "○○○妾," as well as the four lines of the eighth tone "●●●●." The "○" indicates that there is a sound position but no character can be paired with it, while "●" indicates that there is no sound position at all.

平聲翕唱呂四之十 古甲九癸●●●● ■■■■●●●● 一音 □□近揆●●●● 十一音 ■■■■●●●● 十聲 坤巧丘棄●●●● 九聲 ■■■■●●●● □□乾蚪●●●● ■■■■●●●● 黑花香血●●●● ■■■■●●●● 二音 黃華雄賢●●●● 十一音 ■■■■●●●● 十聲 五瓦仰□●●●● 十聲 ■■■■●●●● 吾牙月堯●●●● ■■■■●●●●

A new diagram is started, singing the tenth tone among the ten tones of the level tone (ping sheng) in the day branch (ri chen). This tone is marked as '●', which has no actual sound, so each line on the left side ends with four '●' symbols, only recording the corresponding phonetic elements. The first tone for the water category is 'gu jia jiu gui', for fire it is '□□ jin kui', for earth it is 'kun qiao qiu qi', and for stone it is '□□ qian tou'. The second tone for water is 'hei hua xiang xue', for fire it is 'huang hua xiong xian', for earth it is 'wu wa yang □', and for stone it is 'wu ya yue yao'. The four categories still follow the order of opening, developing, closing, and closing. The first tone for fire and stone, and the last character of the second tone for earth, are marked as '□', indicating they have phonetic elements but no corresponding characters. On the right side, the eleventh tone '■' is paired with the ninth and tenth tones, both of which have no phonetic elements, so all eight lines are marked as '●●●●'. The right diagram completes the forty phonetic elements of the eleventh tone, while the left diagram still has ten tones remaining to be sung.

開音濁和律四之十二 安亞乙一●●●● ●●●●多可個舌 三音 □爻壬寅●●●● 十二音 ■■■■禾火化八 十聲 母馬美米●●●● 一聲 ■■■■開宰愛○ 目貌眉民●●●● ■■■■回每退○ 夫法□飛●●●● ■■■■良兩向○ 四音 父凡□吠●●●● 十二音 ■■■■光廣況○ 十聲 武晚□尾●●●● 二聲 ■■■■丁井亙○ 文萬□未●●●● ■■■■兄永瑩○ 卜百丙必●●●● ■■■■千典旦○ 五音 步白備鼻●●●● 十二音 ■■■■元犬半○ 十聲 普撲品匹●●●● 三聲 ■■■■臣引艮○ 旁排平瓶●●●● ■■■■君允巽○

"The opening of the浊 and 和 law of the fourth tone, the twelfth sound" refers to the last category of the twelfth sound in the water and stone sounds. This sound is written as "■", which originally had no sound, so there are four empty symbols at the beginning of each line on the right side. The first line of the original text was mistakenly carved as "●●●●", which does not match the "■■■■" in the following lines. Therefore, "■" should be considered correct. The upper part combines with the first, second, and third tones of the heavenly sounds: the first tone includes four lines for the sun, moon, stars, and constellations, which are "duo ke ge she", "he huohua ba", "kai zai ai ", "hui mei tui "; the second tone includes "liang liang xiang ", "guang guang kuang ", "ding jing gen ", "xiong yong ying "; the third tone includes "qian dian dan ", "yuan quan ban ", "chen yin gen ", "jun yun xun "; each line has four characters in the order of level, rising, falling, and entering tones, and the last character often appears as "○", indicating that there is a sound position but no character to match. The left part still sings the third, fourth, and fifth tones from the tenth tone: the third tone includes four lines "an yia yi yi", "□ yao ren yin", "mu ma mei mi", "mu mao mei min"; the fourth tone includes four lines "fu fa □ fei", "fu fan □ fei", "wu wan □ wei", "wen wan □ wei"; the fifth tone includes four lines "bu bai bing bi", "bu bai bei bi", "pu pu pin pi", "pang pai ping ping", where "□" also indicates a sound position without a corresponding character.

東丹帝■●●●● ■■■■刀早孝嶽 六音 兌大弟■●●●● 十二音 ■■■■毛寶報霍 十聲 土貪天■●●●● 四聲 ■■■■牛斗奏六 同覃田■●●●● ■■■■○○○玉 乃你女■●●●● ■■■■妻子四日 七音 內南年■●●●● 十二音 ■■■■衰○帥骨 十聲 老冷呂■●●●● 五聲 ■■■■○○○德 鹿犖離■●●●● ■■■■龜水貴北 走哉足■●●●● ■■■■宮孔眾○ 八音 自在匠■●●●● 十二音 ■■■■龍甬用○ 十聲 草采七■●●●● 六聲 ■■■■魚鼠去○ 曹才全■●●●● ■■■■烏虎兔○ 思三星■●●●● ■■■■心審禁○ 九音 寺□象■●●●● 十二音 ■■■■○○○十 十聲 □□□■●●●● 七聲 ■■■■男坎欠○ □□□■●●●● ■■■■●●●妾

The left half continues with the sixth to ninth tones sung from the tenth tone. The sixth tone has four lines: "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The seventh tone is "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■". The eighth tone is "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", with all the closed positions having no sound. The ninth tone has four lines: "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■", with the closed positions having no sound, and the earth row and stone row having the open, initial, and final positions all marked as "□", indicating there is a phonetic position but no corresponding character. The right half consists of the twelfth tone "■" and the fourth to seventh tones: the fourth tone is "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○ ○ ○ Yu". The fifth tone is "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei". The sixth tone is "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The seventh tone is "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○". The last line originally reads "● ● ● Qie", but following the general convention of the entire text, it should be "○ ○ ○ Qie".

■山手■●●●● ■■■■●●●● 十音 ■士石■●●●● 十二音 ■■■■●●●● 十聲 ■□耳■●●●● 八聲 ■■■■●●●● ■□二■●●●● ■■■■●●●● ■莊震■●●●● ■■■■●●●● 十一音 ■乍□■●●●● 十二音 ■■■■●●●● 十聲 ■叉赤■●●●● 九聲 ■■■■●●●● ■崇辰■●●●● ■■■■●●●● ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十二音 ■■■■●●●● 十聲 ■拆丑■●●●● 十聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●●

The left half has completed pairing the tenth sound with the twelfth tone. The tenth tone has four lines: 「■shan shou■」「■shi shi■」「■□er■」「■□er■」, the eleventh tone is 「■zhuang zhen■」「■zha □■」「■cha chi■」「■chong chen■」, and the twelfth tone is 「■zhuo zhong■」「■zhai zhi■」「■che chou■」「■cha cheng■」: these three categories of tones have all their open and closed positions as silent, with only the initial and final positions having characters. The 「□」 in 「■□er■」「■zha □■」 indicates a position with sound but no character. The right half is the twelfth tone paired with the eighth, ninth, and tenth tones, all three tones having no sound positions, so the twelve lines are all written as 「●●●●」. Thus, the two diagrams of 「Ri Chen sound level and harmony」 and 「water stone sound open and thick」 from the 「Guan Wu Chapter 38」 are completed: the sound diagram has forty-eight lines for each of the twelve tones, and the tone diagram has forty lines for each of the ten sounds. The sound seven multiplied by the earth's use of tones gives one hundred fifty-two, resulting in one thousand sixty-four. The tone nine multiplied by the heaven's use of sounds gives one hundred twelve, resulting in one thousand eight.

皇極經世書卷八上 觀物篇三十九 月日聲上闢 火水音發清 可兩典早子 甲花亞法百丹 孔審●●● 你哉三山莊卓 月日聲七，下唱地之 火水音十二，上和天 用音一百五十二，是 之用聲一百一十二， 謂上聲闢音。上聲闢 是謂發音清聲。發音 音一千六十四。 清聲一千三百四十四。 月日聲上之一闢 火水音發之一清

The Heavenly Stems are: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui. The Earthly Branches are: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai. The Trigrams are: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth). The text from Volume 8, Upper Section, "Observing Things" in The Supreme Principles Governing the World discusses the pairing of "Moon Day Tone Upper" and "Fire Water Sound Clear." "Moon" refers to the rising tone among the four tones, and "Day" refers to the first row of each tone. Taking the rising tone words from the ten tones of the day, we obtain seven characters: "ke, liang, dian, zao, zi, kong, shen." The eighth, ninth, and tenth tones are written as "●," meaning those tone positions do not form actual tones. "Fire" refers to the pronunciation among the four sounds, and "Water" refers to the first row of each sound. Taking the twelve sounds of the water row, we obtain twelve characters: "jia, hua, ya, fa, bai, dan, ni, zai, san, shan, zhuang, zhuo." The original text is divided into two columns: the left column states that the Moon Day tones total seven, and when sung downward for the use of the earth, they amount to 152, which is called the Upper Tone Clear Sound. The total of the Upper Tone Clear Sound is 1,640. The right column states that the Fire Water sounds total twelve, and when harmonized upward for the use of the sky, they amount to 112, which is called the Clear Sound. The total of the Clear Sound is 1,344. Seven multiplied by 152 equals 1,640, and twelve multiplied by 112 equals 1,344. The final line, "Moon Day Tone Upper One Clear" and "Fire Water Sound Clear One Clear," are the titles for the following two diagrams.

上聲闢唱呂一之一 發音清和律一之一 古甲九癸可可可可 甲甲甲甲多可個舌 一音 □□近揆可可可可 一音 甲甲甲甲禾火化八 一聲 坤巧丘棄可可可可 一聲 甲甲甲甲開宰愛○ □□乾蚪可可可可 甲甲甲甲回每退○ 黑花香血可可可可 甲甲甲甲良兩向○ 二音 黃華雄賢可可可可 一音 甲甲甲甲光廣況○ 一聲 五瓦仰□可可可可 二聲 甲甲甲甲丁井亙○ 吾牙月堯可可可可 甲甲甲甲兄永瑩○ 安亞乙一可可可可 甲甲甲甲千典旦○ 三音 □爻壬寅可可可可 一音 甲甲甲甲元犬半○ 一聲 母馬美米可可可可 三聲 甲甲甲甲臣引艮○ 目貌眉民可可可可 甲甲甲甲君允巽○

Two diagrams begin simultaneously. The left diagram is titled 「上声辟唱吕一之一」, which refers to the first tone of the 上声 (Upper Tone) category, specifically the tone 「可」. The right diagram is titled 「发音清和律一之一」, which refers to the first tone of the 清 (Clear) category, specifically the tone 「甲」. On the left side, each line first lists four tones, then repeats 「可」 four times for singing in response. The first tone includes water tones 「古甲九癸」, fire tones 「□□近揆」, earth tones 「坤巧丘弃」, and stone tones 「□□乾蚪」; the second tone includes water tones 「黑花香血」, fire tones 「黄华雄贤」, earth tones 「五瓦仰□」, and stone tones 「吾牙月尧」; the third tone includes water tones 「安亚乙一」, fire tones 「□爻壬寅」, earth tones 「母马美米」, and stone tones 「目貌眉民」. The four tones follow the order of 开 (opening), 发 (emerging), 收 (receiving), and 闭 (closing). The 「□」 indicates a tone position that exists but has no corresponding character, such as the opening and emerging positions in the fire tones of the first tone. On the right side, each line first repeats 「甲」 four times, then lists the four tones. The first tone includes four lines for day, moon, star, and planet: 「多可个舌」「禾火化八」「开宰爱○」「回每退○」; the second tone includes 「良两向○」「光广况○」「丁井亘○」「兄永莹○」; the third tone includes 「千典旦○」「元犬半○」「臣引艮○」「君允巽○」. The four characters follow the order of 平 (level), 上 (rising), 去 (falling), and 入 (entering). The 「○」 indicates a tone position that exists but has no corresponding character.

夫法□飛可可可可 甲甲甲甲刀早孝嶽 四音 父凡□吠可可可可 一音 甲甲甲甲毛寶報霍 一聲 武晚□尾可可可可 四聲 甲甲甲甲牛斗奏六 文萬□未可可可可 甲甲甲甲○○○玉 卜百丙必可可可可 甲甲甲甲妻子四日 五音 步白備鼻可可可可 一音 甲甲甲甲衰○帥骨 一聲 普撲品匹可可可可 五聲 甲甲甲甲○○○德 旁排平瓶可可可可 甲甲甲甲龜水貴北 東丹帝■可可可可 甲甲甲甲宮孔眾○ 六音 兌大弟■可可可可 一音 甲甲甲甲龍甬用○ 一聲 土貪天■可可可可 六聲 甲甲甲甲魚鼠去○ 同覃田■可可可可 甲甲甲甲烏虎兔○ 乃你女■可可可可 甲甲甲甲心審禁○ 七音 內南年■可可可可 一音 甲甲甲甲○○○十 一聲 老冷呂■可可可可 七聲 甲甲甲甲男坎欠○ 鹿犖離■可可可可 甲甲甲甲○○○妾

The left half continues to use the sound "ke" to sing the fourth to seventh tones. The fourth tone has "fu fa fei" for water, "fu fan fei" for fire, "wu wan wei" for earth, and "wen wan wei" for stone, with the ending written as "□", indicating a phonetic position without a character. The fifth tone has "bu bai bing bi", "bu bai bei bi", "pu pu pin pi", and "pang pai ping ping", all with complete characters. The sixth tone has "dong dan di ■", "dui da di ■", "tu tan tian ■", and "tong tan tian ■", and the seventh tone has "nai ni nv ■", "nei nan nian ■", "lao leng lv ■", and "lu luo li ■", with the ending always marked as "■", indicating no phonetic position. On the right half, the sound "jia" is used for the fourth to seventh tones: the fourth tone has "dao zao xiao yue", "mao bao bao huo", "niu dou zhou liu", and "○○○yu"; the fifth tone has "zi qi si ri", "shuai ○ shuai gu", "○○○de", and "gui shui gui bei"; the sixth tone has "gong kong zhong ○", "long yong yong ○", "yu shu qu ○", and "wu hu tu ○"; the seventh tone has "xin shen jin ○", "○○○shi", "nan kan qian ○", and "○○○jie". The "○" in these tones indicates a phonetic position without a matching character, differing from "●", which has no phonetic position at all.

走哉足■可可可可 甲甲甲甲●●●● 八音 自在匠■可可可可 一音 甲甲甲甲●●●● 一聲 草采七■可可可可 八聲 甲甲甲甲●●●● 曹才全■可可可可 甲甲甲甲●●●● 思三星■可可可可 甲甲甲甲●●●● 九音 寺□象■可可可可 一音 甲甲甲甲●●●● 一聲 □□□■可可可可 九聲 甲甲甲甲●●●● □□□■可可可可 甲甲甲甲●●●● ■山手■可可可可 甲甲甲甲●●●● 十音 ■士石■可可可可 一音 甲甲甲甲●●●● 一聲 ■□耳■可可可可 十聲 甲甲甲甲●●●● ■□二■可可可可 甲甲甲甲●●●●

The left half uses the sound "ke" to sing the eighth, ninth, and tenth tones. The eighth tone has four lines: "Zou zai zu ■", "Zi zai jiang ■", "Cao cai qi ■", "Cao cai quan ■", with no sound in the closed position. The ninth tone has four lines: "Si san xing ■", "Si ■ xiang ■", "■ ■ ■ ■", "■ ■ ■ ■", where the first three positions of the earth and stone rows have sound positions but no characters. The tenth tone has four lines: "■ shan shou ■", "■ shi shi ■", "■ ■ er ■", "■ ■ er ■", with no sound in the open and closed positions, and the sound positions in the earth and stone rows are written as "■". The right half uses the sound "Jia" and the eighth, ninth, and tenth tones. These three tones have no sound positions in the upper tone category, so all twelve lines are written as "●●●●". Shao Yong set up so many empty positions to show that in terms of principle, there can be 160 sound positions and 192 tones, but in reality, only 112 and 152 can be assigned characters.

發音清和律一之二 ■莊震■可可可可 花花花花多可個舌 十一音 ■乍□■可可可可 二音 花花花花禾火化八 一聲 ■叉赤■可可可可 一聲 花花花花開宰愛○ ■崇辰■可可可可 花花花花回每退○ ■卓中■可可可可 花花花花良兩向○ 十二音 ■宅直■可可可可 二音 花花花花光廣況○ 一聲 ■拆丑■可可可可 二聲 花花花花丁井亙○ ■茶呈■可可可可 花花花花兄永瑩○

The left half ends with "shàng shēng pì chàng lǚ yī zhī yī" and uses the sound "kě" to sing the eleventh and twelfth tones. The eleventh tone consists of four lines: "■ zhuāng zhèn ■", "■ zhà □ ■", "■ chā chì ■", "■ chóng chén ■". The twelfth tone also consists of four lines: "■ zhuó zhōng ■", "■ zhái zhí ■", "■ chāi chǒu ■", "■ chá chéng ■". The opening and closing positions have no sounds. The closing position of "■ zhà □ ■" is written as "□", indicating a sound position without a character. By this point, the sound "kě" has matched all forty-eight sound positions of the twelve tones. The right half starts with "fā yīn qīng hé lǜ yī zhī èr", using the second clear sound "huā". It first combines with the first tone's four lines: "duō kě gè shé", "hé huǒ huà bā", "kāi zǎi ài ○", "huí měi tuì ○", then combines with the second tone's four lines: "liáng liǎng xiàng ○", "guāng guǎng kuàng ○", "dīng jǐng gèng ○", "xiōng yǒng yíng ○".

上聲闢唱呂一之二 古甲九癸兩兩兩兩 花花花花千典旦○ 一音 □□近揆兩兩兩兩 二音 花花花花元犬半○ 二聲 坤巧丘棄兩兩兩兩 三聲 花花花花臣引艮○ □□乾蚪兩兩兩兩 花花花花君允巽○ 黑花香血兩兩兩兩 花花花花刀早孝嶽 二音 黃華雄賢兩兩兩兩 二音 花花花花毛寶報霍 二聲 五瓦仰□兩兩兩兩 四聲 花花花花牛斗奏六 吾牙月堯兩兩兩兩 花花花花○○○玉 安亞乙一兩兩兩兩 花花花花妻子四日 三音 □爻壬寅兩兩兩兩 二音 花花花花衰○帥骨 二聲 母馬美米兩兩兩兩 五聲 花花花花○○○德 目貌眉民兩兩兩兩 花花花花龜水貴北 夫法□飛兩兩兩兩 花花花花宮孔眾○ 四音 父凡□吠兩兩兩兩 二音 花花花花龍甬用○ 二聲 武晚□尾兩兩兩兩 六聲 花花花花魚鼠去○ 文萬□未兩兩兩兩 花花花花烏虎兔○

The left half starts anew with "Shangsheng Bi Chang Lv Yi Zhi Er," using the second tone of Shangsheng Bi, "Liang," beginning from the first tone: first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," second tone "Hei Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei"; among these, "□" indicates the presence of a tone but no corresponding character. The right half continues with the second tone "Hua" in harmony, continuing to harmonize with the third to sixth tones: third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yun Gen ○," "Jun Yun Xun ○," fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "○○○ Yu," fifth tone "Zi Qi Si Ri," "Shuai ○ Shuai Gu," "○○○ De," "Gui Shui Gui Bei," sixth tone "Gong Kong Zhong ○," "Long Yong Yong ○," "Yu Shu Qu ○," "Wu Hu Tu ○." The left diagram uses tone to sing sound, while the right diagram uses sound to harmonize with tone, with one singing and one harmonizing, embodying the meaning of "sound as law, tone as lu."

卜百丙必兩兩兩兩 花花花花心審禁○ 五音 步白備鼻兩兩兩兩 二音 花花花花○○○十 二聲 普撲品匹兩兩兩兩 七聲 花花花花男坎欠○ 旁排平瓶兩兩兩兩 花花花花○○○妾 東丹帝■兩兩兩兩 花花花花●●●● 六音 兌大弟■兩兩兩兩 二音 花花花花●●●● 二聲 土貪天■兩兩兩兩 八聲 花花花花●●●● 同覃田■兩兩兩兩 花花花花●●●● 乃你女■兩兩兩兩 花花花花●●●● 七音 內南年■兩兩兩兩 二音 花花花花●●●● 二聲 老冷呂■兩兩兩兩 九聲 花花花花●●●● 鹿犖離■兩兩兩兩 花花花花●●●● 走哉足■兩兩兩兩 花花花花●●●● 八音 自在匠■兩兩兩兩 二音 花花花花●●●● 二聲 草采七■兩兩兩兩 十聲 花花花花●●●● 曹才全■兩兩兩兩 花花花花●●●●

The left half uses the "two" sound to continue singing from the fifth to the eighth tone: the fifth tone includes "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; the sixth tone includes "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; the seventh tone includes "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; the eighth tone includes "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The closing position of the sixth, seventh, and eighth tones is all "■", which has no sound. The right half is the "hua" sound and the seventh to tenth tones: the seventh tone includes "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie", where "○" is a position with sound but no character; the eighth, ninth, and tenth tones have no sound positions in the rising tone, so twelve consecutive lines are written as "●●●●". The "hua" sound covers forty sound positions in total, matching the previous round of the "Jia" sound. The left chart stops at the eighth tone, leaving the ninth to twelfth tones unsung; the right chart has completed the "hua" sound, showing that each column progresses according to its own order, hence the title alternates sides at this point.

發音清和律一之三 思三星置兩兩兩兩 亞亞亞亞多可個舌 九音 寺□象■兩兩兩兩 三音 亞亞亞亞禾火化八 二聲 □□□■兩兩兩兩 一聲 亞亞亞亞開宰愛○ □□□■兩兩兩兩 亞亞亞亞回每退○ ■山手■兩兩兩兩 亞亞亞亞良兩向○ 十音 ■士石■兩兩兩兩 三音 亞亞亞亞光廣況○ 二聲 ■□耳■兩兩兩兩 二聲 亞亞亞亞丁井亙○ ■□二■兩兩兩兩 亞亞亞亞兄永瑩○ ■莊震■兩兩兩兩 亞亞亞亞千典旦○ 十一音 ■乍□■兩兩兩兩 三音 亞亞亞亞元犬半○ 二聲 ■叉赤■兩兩兩兩 三聲 亞亞亞亞臣引艮○ ■崇辰■兩兩兩兩 亞亞亞亞君允巽○ ■卓中■兩兩兩兩 亞亞亞亞刀早孝嶽 十二音 ■宅直■兩兩兩兩 三音 亞亞亞亞毛寶報霍 二聲 ■拆丑■兩兩兩兩 四聲 亞亞亞亞牛斗奏六 ■茶呈■兩兩兩兩 亞亞亞亞○○○玉

On the right side, it begins again with "Phonetic clarity and tone one of three," using the third clear tone "Ya," and proceeds in sequence with the first tone "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai O," "Hui Mei Tui O," the second tone "Liang Liang Xiang O," "Guang Guang Kuang O," "Ding Jing Gen O," "Xiong Yong Ying O," the third tone "Qian Dian Dan O," "Yuan Quan Ban O," "Chen Yin Gen O," "Jun Yun Xun O," and the fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "O O O Yu." On the left side, the "Liang" tone sings the last four tones: the ninth tone "Si San Xing Zhi," "Si Fang Xiang Zhi," "Zhi Zhi Zhi Zhi," "Zhi Zhi Zhi Zhi," with the original bottom text mistakenly carving "Zhi" instead of "Zhi"; the tenth tone "Zhi Shan Shou Zhi," "Zhi Shi Shi Zhi," "Zhi Er Er Zhi," "Zhi Er Er Zhi"; the eleventh tone "Zhi Zhuang Zhen Zhi," "Zhi Zha Zhi Zhi," "Zhi Cha Chi Zhi," "Zhi Chong Chen Zhi"; the twelfth tone "Zhi Zhuo Zhong Zhi," "Zhi Zhai Zhi Zhi," "Zhi Che Chou Zhi," "Zhi Cha Cheng Zhi." The opening and closing positions of these four tones are mostly marked with "Zhi," which is exactly the position Shao Yong indicated as having no sound.

上聲闢唱呂一之三 古甲九癸典典典典 亞亞亞亞妻子四日 一音 □□近揆典典典典 三音 亞亞亞亞衰○帥骨 三聲 坤巧丘棄典典典典 五聲 亞亞亞亞○○○德 □□乾蚪典典典典 亞亞亞亞龜水貴北 黑花香血典典典典 亞亞亞亞宮孔眾○ 二音 黃華雄賢典典典典 三音 亞亞亞亞龍甬用○ 三聲 五瓦仰□典典典典 六聲 亞亞亞亞魚鼠去○ 吾牙月堯典典典典 亞亞亞亞烏虎兔○ 安亞乙一典典典典 亞亞亞亞心審禁○ 三音 □爻壬寅典典典典 三音 亞亞亞亞○○○十 三聲 母馬美米典典典典 七聲 亞亞亞亞男坎欠○ 目貌眉民典典典典 亞亞亞亞○○○妾 夫法□飛典典典典 亞亞亞亞●●●● 四音 父凡□吠典典典典 三音 亞亞亞亞●●●● 三聲 武晚□尾典典典典 八聲 亞亞亞亞●●●● 文萬□未典典典典 亞亞亞亞●●●●

The left half starts anew with "Shangsheng Bi Chang Lv Yi Zhi San", switching to the third tone of Shangsheng Bi, "Dian", and begins singing from the first tone: first tone "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Yu"; second tone "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao"; third tone "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min"; fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei". The right half continues with the third tone "Ya" and proceeds to the fifth to eighth tones: fifth tone "Zi Qi Si Ri", "Shuai □ Shuai Gu", "□□□ De", "Gui Shui Gui Bei"; sixth tone "Gong Kong Zhong □", "Long Yong Yong □", "Yu Shu Qu □", "Wu Hu Tu □"; seventh tone "Xin Shen Jin □", "□□□ Shi", "Nan Kan Qian □", "□□□ Qie"; eighth tone has four lines all "●●●●". "○" indicates a tone position with no character, "●" indicates a tone position with no character as well, and neither should be confused with missing characters. At this point, the left side has only sung through sixteen tone positions, while the right side has already matched thirty-two tone positions. The progress of the two columns is unequal, and when reading, one should follow each column separately, without connecting the characters from the left and right sides into sentences.

卜百丙必典典典典 亞亞亞亞●●●● 五音 步白備鼻典典典典 三音 亞亞亞亞●●●● 三聲 普撲品匹典典典典 九聲 亞亞亞亞●●●● 旁排平瓶典典典典 亞亞亞亞●●●● 東丹帝■典典典典 亞亞亞亞●●●● 六音 兌大弟■典典典典 三音 亞亞亞亞●●●● 三聲 土貪天■典典典典 十聲 亞亞亞亞●●●● 同覃田■典典典典 亞亞亞亞●●●●

The left half uses the "典" sound to connect the fifth and sixth tones: for the fifth tone, the four rows "卜百丙必," "步白备鼻," "普扑品匹," and "旁排平瓶" are fully filled; for the sixth tone, the four rows "东丹帝■," "兑大弟■," "土贪天■," and "同覃田■" are all empty. The right half consists of the "亚" sound and the ninth and tenth tones, both of which have no sound positions, with all eight rows written as "●●●●," completing the forty sounds of the "亚" sound. The upper tone has only seven tones with characters, while the eighth to tenth tones are all empty, so each round of tones must be written with twelve lines of empty characters at the end.

發音清和律一之四 乃你女■典典典典 法法法法多可個舌 七音 內南年■典典典典 四音 法法法法禾火化八 三聲 老冷呂■典典典典 一聲 法法法法開宰愛○ 鹿犖離■典典典典 法法法法回每退○ 走哉足■典典典典 法法法法良兩向○ 八音 自在匠■典典典典 四音 法法法法光廣況○ 三聲 草采七■典典典典 二聲 法法法法丁井亙○ 曹才全■典典典典 法法法法兄永瑩○ 思三星■典典典典 法法法法千典旦○ 九音 寺□象■典典典典 四音 法法法法元犬半○ 三聲 □□□■典典典典 三聲 法法法法臣引艮○ □□□■典典典典 法法法法君允巽○ ■山手■典典典典 法法法法刀早孝嶽 十音 ■士石■典典典典 四音 法法法法毛寶報霍 三聲 ■□耳■典典典典 四聲 法法法法牛斗奏六 ■□二■典典典典 法法法法○○○玉

On the right side, it begins anew with "Phonetic Clarity and Rhythm One, Part Four," switching to the fourth tone with the sound "fa," and proceeds in sequence with the first tone "duo ke ge she," "he huohua ba," "kai zai ai," "hui mei tui," the second tone "liang liang xiang," "guang guang kuang," "ding jing gen," "xiong yong ying," the third tone "qian dian dan," "yuan quan ban," "chen yin gen," "jun yun xun," and the fourth tone "dao zao xiao yue," "mao bao bao huo," "niu dou zou liu," "○○○ yu." On the left side, the sound "dian" continues with the seventh to tenth tones: the seventh tone "nai ni nv," "nei nan nian," "lao leng lv," "luo luo li," the eighth tone "zou zai zu," "zi zai jiang," "cao cai qi," "cao cai quan," the ninth tone "si san xing," "si □ xiang," "□□□," "□□□," and the tenth tone "□ shan shou," "□ shi shi," "□□ er," "□□ er." The last two lines of the ninth tone are almost entirely filled with "□," while the tenth tone has all positions filled with "■," representing one case where there is a position without a character and another where there are no characters at all. The sound chart consists of forty-eight lines, while the tone chart has forty lines; the differing number of lines allows each to form its own independent section, a result of the division between twelve tones and ten sounds.

■莊震■典典典典 法法法法妻子四日 十一音 ■乍□■典典典典 四音 法法法法衰○帥骨 三聲 ■叉赤■典典典典 五聲 法法法法○○○德 ■崇辰■典典典典 法法法法龜水貴北 ■卓中■典典典典 法法法法宮孔眾○ 十二音 ■宅直■典典典典 四音 法法法法龍甬用○ 三聲 ■拆丑■典典典典 六聲 法法法法魚鼠去○ ■茶呈■典典典典 法法法法烏虎兔○

The left half begins with the sound "典" and completes the eleventh tone "■庄震■", "■乍□■", "■叉赤■", "■崇辰■", and the twelfth tone "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". The opening and closing positions are all marked with "■", while the only positions with characters are the "only" and "closing" positions. The closing position of "■乍□■" is a position with sound but no character, marked as "□". The sound "典" thus covers forty-eight tone positions. The right half involves the fourth tone "法" and the fifth tone "妻子四日", "衰○帅骨", "○○○德", "龟水贵北" and the sixth tone "宫孔众○", "龙甬用○", "鱼鼠去○", "乌虎兔○".

上聲闢唱呂一之四 古甲九癸早早早早 法法法法心審禁○ 一音 □□近揆早早早早 四音 法法法法○○○十 四聲 坤巧丘棄早早早早 七聲 法法法法男坎欠○ □□乾蚪早早早早 法法法法○○○妾 黑花香血早早早早 法法法法●●●● 二音 黃華雄賢早早早早 四音 法法法法●●●● 四聲 五瓦仰□早早早早 八聲 法法法法●●●● 吾牙月堯早早早早 法法法法●●●● 安亞乙一早早早早 法法法法●●●● 三音 □爻王寅早早早早 四音 法法法法●●●● 四聲 母馬美米早早早早 九聲 法法法法●●●● 目貌眉民早早早早 法法法法●●●● 夫法□飛早早早早 法法法法●●●● 四音 父凡□吠早早早早 四音 法法法法●●●● 四聲 武晚□尾早早早早 十聲 法法法法●●●● 文萬□未早早早早 法法法法●●●●

The left half begins with 「上声辟唱吕一之四」, changing to the fourth tone of 上声 「早」, starting from the first tone: first tone 「古甲九癸」「□□近揆」「坤巧丘弃」「□□乾蚪」, second tone 「黑花香血」「黄华雄贤」「五瓦仰□」「吾牙月尧」, third tone 「安亚乙一」「□爻王寅」「母马美米」「目貌眉民」— the character 「王」 in the fire category is originally a miswritten character, and should be taken as 「壬」 from elsewhere, fourth tone 「夫法□飞」「父凡□吠」「武晚□尾」「文万□未」. The right half continues with the fourth tone 「法」 and the seventh to tenth tones: seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, eighth, ninth, and tenth tones have no positions, and twelve lines of 「●●●●」 are written continuously. The sound chart divides each category into four lines corresponding to day, moon, star, and constellation, while the tone chart divides each category into four lines corresponding to water, fire, earth, and stone. Within each of the four lines, there are again four positions. The entire system of calculation is based on these two layers of four divisions. 「早」 is the fourth 上声 character in the day's ten tones, taken from the fourth tone 「刀早孝岳」, and 「刀」「孝」「岳」 all belong to the same tone, but differ in pitch as level, rising, falling, and entering tones.

發音清和律一之五 卜百丙必早早早早 百百百百多可個舌 五音 步白備鼻早早早早 五音 百百百百禾火化八 四聲 普撲品匹早早早早 一聲 百百百百開宰愛○ 旁排平瓶早早早早 百百百百回每退○ 東丹帝■早早早早 百百百百良兩向○ 六音 兌大弟■早早早早 五音 百百百百光廣況○ 四聲 土貪天■早早早早 二聲 百百百百丁井亙○ 同覃田■早早早早 百百百百兄永瑩○ 乃你女■早早早早 百百百百千典旦○ 七音 內南年■早早早早 五音 百百百百元犬半○ 四聲 老冷呂■早早早早 三聲 百百百百臣引艮○ 鹿犖離■早早早早 百百百百君允巽○ 走哉足■早早早早 百百百百刀早孝嶽 八音 自在匠■早早早早 五音 百百百百毛寶報霍 四聲 草采七■早早早早 四聲 百百百百牛斗奏六 曹才全■早早早早 百百百百○○○玉

On the right side, it begins anew with "Phonetic Clarity and Tone One Five," using the fifth clear tone "bai" (百). It then proceeds in sequence with the first tone "duo ke ge she," "he huohua ba," "kai zai ai," "hui mei tui," the second tone "liang liang xiang," "guang guang kuang," "ding jing gen," "xiong yong ying," the third tone "qian dian dan," "yuan quan ban," "chen yin gen," "jun yun xun," and the fourth tone "dao zao xiao yue," "mao bao bao huo," "niu dou zhou liu," "○○○ yu." On the left side, the tone "zao" continues singing from the fifth to the eighth tones: the fifth tone "bu bai bing bi," "bu bai bei bi," "pu pu pin pi," "pang pai ping ping," the sixth tone "dong dan di," "dui da di," "tu tan tian," "tong tan tian," the seventh tone "nai ni nv," "nei nan nian," "lao leng lv," "lu luo li," and the eighth tone "zou zai zu," "zi zai jiang," "cao cai qi," "cao cai quan." The closed tones in the sixth to eighth tones have no corresponding sounds, while the other three tones have matching characters. "Bai" is the fifth character of the water element in the twelve tones, taken from the fifth tone "bu bai bing bi," which shares the same tone with "bu," "bing," and "bi," differing only in their open, middle, and closed positions.

思三星■早早早早 百百百百妻子四日 九音 寺□象■早早早早 五音 百百百百衰○帥骨 四聲 □□□■早早早早 五聲 百百百百○○○德 □□□■早早早早 百百百百龜水貴北 ■山手■早早早早 百百百百宮孔眾○ 十音 ■士石■早早早早 五音 百百百百龍甬用○ 四聲 ■□耳■早早早早 六聲 百百百百魚鼠去○ ■□二■早早早早 百百百百烏虎兔○ ■莊震■早早早早 百百百百心審禁○ 十一音 ■乍□■早早早早 五音 百百百百○○○十 四聲 ■叉赤■早早早早 七聲 百百百百男坎欠○ ■崇辰■早早早早 百百百百○○○妾 ■卓中■早早早早 百百百百●●●● 十二音 ■宅直■早早早早 五音 百百百百●●●● 四聲 ■圻丑■早早早早 八聲 百百百百●●●● ■茶呈■早早早早 百百百百●●●●

The left half begins with the sound "zao" singing the ninth to twelfth tones: the ninth tone "Si San Xing", "Si Xiang Xiang", "San Xing Xing", "San Xing Xing"; the tenth tone "Shan Shou", "Shi Shi Shi", "Er Er Er"; the eleventh tone "Zhuang Zhen", "Zha Cha", "Cha Chi", "Chong Chen"; the twelfth tone "Zhuo Zhong", "Zhai Zhi", "Qi Chou", "Cha Cheng" — the twelfth tone's original text reads "Qi", but it should be taken as "Chai" from other instances. The sound "zao" completes the singing of forty-eight tone positions. The right half is the fifth tone "bai" and the fifth to eighth tones: the fifth tone "Zi Qi Si Ri", "Shuai Shuai Shuai Gu", "De De De", "Gui Shui Gui Bei"; the sixth tone "Gong Kong Zhong", "Long Yong Yong", "Yu Shu Qu", "Wu Hu Tu"; the seventh tone "Xin Shen Jin", "Shen Shen Shen Shi", "Nan Kan Qian", "Shen Shen Shen Qie"; the eighth tone has four lines all reading "Bu Bu Bu Bu". By this point, the first four tones of the rising tone have each sung through the forty-eight tone positions once, totaling one hundred ninety-two mutual chants. The remaining three tones and three empty positions are handled in sequence, and the total number of the entire diagram is accumulated in this way.

上聲闢唱呂一之五 古甲九癸子子子子 百百百百●●●● 一音 □□近揆子子子子 五音 百百百百●●●● 五聲 坤巧丘棄子子子子 九聲 百百百百●●●● □□乾蚪子子子子 百百百百●●●● 黑花香血子子子子 百百百百●●●● 二音 黃華雄賢子子子子 五音 百百百百●●●● 五聲 五瓦仰□子子子子 十聲 百百百百●●●● 吾牙月堯子子子子 百百百百●●●●

The left half begins with 「Shang Sheng Pi Chang Lü Yi Wu」, switching to the fifth tone of Shang Sheng Pi, 「Zi」. It first sings the first tone 「Gu Jia Ji Gui」, 「□□ Jin Kui」, 「Kun Qiao Qiu Qi」, 「□□ Qian Tu」, and the second tone 「He Hua Xiang Xue」, 「Huang Hua Xiong Xian」, 「Wu Wa Yang □」, 「Wu Ya Yue Yao」. The first tone has the sounds of fire and stone with the opening and initial sounds, and the second tone has the closing sound of earth, all marked as 「□」, indicating there is a phonetic position but no corresponding character. The right half is the fifth tone 「Bai」 and the ninth and tenth tones, which have no phonetic positions, so all eight rows are marked as 「●●●●」. The forty phonetic positions of the 「Bai」 tone are thus completed.

發音清和律一之六 安亞乙一子子子子 丹丹丹丹多可個舌 三音 □爻壬寅子子子子 六音 丹丹丹丹禾火化八 五聲 母馬美米子子子子 一聲 丹丹丹丹開宰愛○ 目貌眉民子子子子 丹丹丹丹回每退○ 夫法□飛子子子子 丹丹丹丹良兩向○ 四音 父凡□吠子子子子 六音 丹丹丹丹光廣況○ 五聲 武晚□尾子子子子 二聲 丹丹丹丹丁井亙○ 文萬□未子子子子 丹丹丹丹兄永瑩○ 卜百丙必子子子子 丹丹丹丹千典旦○ 五音 步白備鼻子子子子 六音 丹丹丹丹元犬半○ 五聲 普撲品匹子子子子 三聲 丹丹丹丹臣引艮○ 旁排平瓶子子子子 丹丹丹丹君允巽○ 東丹帝■子子子子 丹丹丹丹刀早孝嶽 六音 兌大弟■子子子子 六音 丹丹丹丹毛寶報霍 五聲 土貪天■子子子子 四聲 丹丹丹丹牛斗奏六 同覃田■子子子子 丹丹丹丹○○○玉

On the right side, it begins again with "Phonetic clarity and tone one of six," switching to the sixth clear tone "Dan," and proceeds in sequence with the first tone "Duoke ge she," "Hehuohua ba," "Kai zai ai," "Hui mei tui," the second tone "Liang liang xiang," "Guang guang kuang," "Ding jing geng," "Xiong yong ying," the third tone "Qian dian dan," "Yuan quan ban," "Chen yin gen," "Jun yun xun," and the fourth tone "Dao zao xiao yue," "Mao bao bao huo," "Niu dou zou liu," "○○○ yu." On the left side, the tone "Zi" continues singing from the third to sixth tones: the third tone "An ya yi yi," "□ yao ren yin," "Mu ma mei mi," "Mu mao mei min," the fourth tone "Fu fa □ fei," "Fu fan □ fei," "Wu wan □ wei," "Wen wan □ wei," the fifth tone "Bu bai bing bi," "Bu bai bei bi," "Pu pu pin pi," "Pang pai ping ping," and the sixth tone "Dong dan di ■," "Dui da di ■," "Tu tan tian ■," "Tong tan tian ■." The closing positions of the fourth tone's four lines and the opening positions of the third tone's fire line both have phonetic positions but no characters. "Dan" is the sixth phonetic character of the twelve tones' water line, taken from the sixth tone "Dong dan di ■," where the closing position originally had no sound, hence it is written as "■."

乃你女■子子子子 丹丹丹丹妻子四日 七音 內南年■子子子子 六音 丹丹丹丹衰○帥骨 五聲 老冷呂■子子子子 五聲 丹丹丹丹○○○德 鹿犖離■子子子子 丹丹丹丹龜水貴北 走哉足■子子子子 丹丹丹丹宮孔眾○ 八音 自在匠■子子子子 六音 丹丹丹丹龍甬用○ 五聲 草采七■子子子子 六聲 丹丹丹丹魚鼠去○ 曹才全■子子子子 丹丹丹丹烏虎兔○ 思三星■子子子子 丹丹丹丹心審禁○ 九音 寺□象■子子子子 六音 丹丹丹丹○○○十 五聲 □□□■子子子子 七聲 丹丹丹丹男坎欠○ □□□■子子子子 丹丹丹丹○○○妾 ■山手■子子子子 丹丹丹丹●●●● 十音 ■士石■於子子子 六音 丹丹丹丹●●●● 五聲 ■□耳■子子子子 八聲 丹丹丹丹●●●● ■□二■於子子子 丹丹丹丹●●●●

The left half uses the sound "zi" to chant the seventh to tenth tones: the seventh tone "nai ni nv", "nei nan nian", "lao leng lv", "lu luo li"; the eighth tone "zou zai zu", "zi zai jiang", "cao cai qi", "cao cai quan"; the ninth tone "si san xing", "si xiang xiang", " ", " "; the tenth tone "shan shou", "shi shi", "er er", "er er". The "zi zi zi zi" for the fire and stone lines in the tenth tone was mistakenly carved as "yu zi zi zi" in the original text and should be corrected according to the preceding lines. The right half consists of the sixth tone "dan" and the fifth to eighth tones: the fifth tone "qi zi si ri", "shuai shao shuai gu", " ", "guan shui gui bei"; the sixth tone "gong kong zhong ", "long yong yong ", "yu shu qu ", "wu hu tu "; the seventh tone "xin shen jin ", " ", "nan kan qian ", " "; the eighth tone has four lines with no characters. The earth and stone lines in the ninth tone are almost entirely filled with " "; the open positions in the tenth tone are all filled with " ". One case has a phonetic position but no character, and the other has neither a phonetic position nor a character. These two cases appear adjacent in the same diagram and their boundaries should not be confused.

■莊震■子子子子 丹丹丹丹●●●● 十一音 ■乍□■子子子子 六音 丹丹丹丹●●●● 五聲 ■叉赤■子子子子 九聲 丹丹丹丹●●●● ■崇辰■子子子子 丹丹丹丹●●●● ■卓中■子子子子 丹丹丹丹●●●● 十二音 ■宅直■子子子子 六音 丹丹丹丹●●●● 五聲 ■拆丑■於子子子 十聲 丹丹丹丹●●●● ■茶呈■子子子子 丹丹丹丹●●●●

The left half uses the sound "zi" to sing the eleventh tone "Zhuang Zhen," "Zha Zhi," "Cha Chi," and "Chong Chen," and the twelfth tone "Zhuo Zhong," "Zhai Zhi," "Che Chou," and "Cha Cheng." Among these, the twelfth tone, which corresponds to the earth element, has the original text mistakenly written as "Yu Zi Zi Zi" instead of "Zi Zi Zi Zi." Both the opening and closing positions of these two types of tones are marked with "■," which indicates no sound. The right half consists of the "Dan" tone and the ninth and tenth tones, which have no sound positions, so all eight rows are written as "●●●●." The "Dan" tone completes a cycle of forty sound positions at this point.

上聲闢唱呂一之六 發音清和律一之七 古甲九癸孔孔孔孔 你你你你多可個舌 一音 □□近揆孔孔孔孔 七音 你你你你禾火化八 六聲 坤巧丘棄孔孔孔孔 一聲 你你你你開宰愛○ □□乾蚪孔孔孔孔 你你你你回每退○ 黑花香血也孔孔孔 你你你你良兩向○ 二音 黃華雄賢孔孔孔孔 七音 你你你你光廣況○ 六聲 五瓦仰□孔孔孔孔 二聲 你你你你丁井亙○ 吾牙月堯孔孔孔孔 你你你你兄永瑩○ 安亞乙一孔孔孔孔 你你你你千典旦○ 三音 □爻王寅孔孔孔孔 七音 你你你你元犬半○ 六聲 母馬美米孔孔孔孔 三聲 你你你你臣引艮○ 目貌眉民孔孔孔孔 你你你你君允巽○

Two diagrams are presented on the same page. The left diagram is titled "Upper tone 'Bi' with the sixth tone 'Kong'"; the right diagram is titled "Clear and harmonious tone with the seventh tone 'Ni'". On the left side, starting from the first tone: "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Yu", the second tone: "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao" — among these, the original text for the water element "Kong Kong Kong Kong" was mistakenly carved as "Ye Kong Kong Kong"; the third tone: "An Ya Yi Yi", "□ Yao Wang Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min", where "Wang" should be "Ren". On the right side, the tone "Ni" and the first tone: "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", the second tone: "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○", the third tone: "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○".

夫法□飛孔孔孔孔 你你你你刀早孝嶽 四音 父凡□吠孔孔孔孔 七音 你你你你毛寶報霍 六聲 武晚□尾孔孔孔孔 四聲 你你你你牛斗奏六 文萬□未孔孔孔孔 你你你你○○○玉 卜百丙必孔孔孔孔 你你你你妻子四日 五音 步白備鼻孔孔孔孔 七音 你你你你衰○帥骨 六聲 普撲品匹孔孔孔孔 五聲 你你你你○○○德 旁排平瓶孔孔孔孔 你你你你龜水貴北 東丹帝■孔孔孔孔 你你你你宮孔眾○ 六音 兌大弟■孔孔孔孔 七音 你你你你龍甬用○ 六聲 土貪天■孔孔孔孔 六聲 你你你你魚鼠去○ 同覃田■孔孔孔孔 你你你你烏虎兔○ 乃你女■孔孔孔孔 你你你你心審禁○ 七音 內南年■孔孔孔孔 七音 你你你你○○○十 六聲 老冷呂■孔孔孔孔 七聲 你你你你男坎欠○ 鹿犖離■孔孔孔孔 你你你你○○○妾

The left half uses the sound "Kong" to sing the fourth to seventh tones: the fourth tone includes "Fu Fa Fei", "Fu Fan Fei", "Wu Wan Wei", "Wen Wan Wei", with four lines ending at positions with tones but no characters; the fifth tone includes "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; the sixth tone includes "Dong Dan Di ", "Dui Da Di ", "Tu Tan Tian ", "Tong Tan Tian "; the seventh tone includes "Nai Ni Nu ", "Nei Nan Nian ", "Lao Leng Lv ", "Lu Luo Li ". The right half consists of the seventh tone "Ni" and the fourth to seventh tones: the fourth tone includes "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; the fifth tone includes "Zi Qi Si Ri", "Cui ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei"; the sixth tone includes "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○"; the seventh tone includes "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Jie". "Ni" is the seventh character of the water element in the twelve tones, taken from the seventh tone "Nai Ni Nu "; "Kong" is the sixth rising tone character of the ten tones in the day element, taken from the sixth tone "Gong Kong Zhong ○". Each side selects one character as the main one, representing the meaning of singing in harmony.

走哉足■孔孔孔孔 你你你你●●●● 八音 自在匠■孔孔孔孔 七音 你你你你●●●● 六聲 草采七■孔孔孔孔 你你你你●●●● 曹才全■孔孔孔孔 八聲 你你你你●●●● 思三星■孔孔孔孔 你你你你●●●● 九音 寺□象■孔孔孔孔 七音 你你你你●●●● 六聲 □□□■孔孔孔孔 九聲 你你你你●●●● □□□■孔孔孔孔 你你你你●●●● ■山手■孔孔孔孔 你你你你●●●● 十音 ■士石■孔孔孔孔 七音 你你你你●●●● 六聲 ■□耳■孔孔孔孔 十聲 你你你你●●●● ■□二■孔孔孔孔 你你你你●●●●

The left half uses the sound "Kong" to chant the eighth, ninth, and tenth tones: the eighth tone includes "Zou Zai Zu", "Zi Zai Jiang", "Cao Cai Qi", and "Cao Cai Quan"; the ninth tone includes "Si San Xing", "Si Xiang Xiang", "blank blank blank", and "blank blank blank"; the tenth tone includes "blank Shan Shou", "blank Shi Shi", "blank blank Er", and "blank blank Er". The right half consists of the sound "Ni" and the eighth, ninth, and tenth tones. These three tones in the upper tone category have no tone positions, and all twelve rows are written as "●●●●". The original text mistakenly placed the heading "eight tones" on the next line, but in fact, starting from the line "Zou Zai Zu", it has already entered the eighth tone. Continuous writing is used without omission because this diagram requires a complete structure of ten tones and twelve sounds. The "□" in the ninth tone for the earth and stone rows represents a tone position without a character, while the "■" in the tenth tone's opening position represents neither a tone position nor a character.

發音清和律一之八 ■莊震■孔孔孔孔 哉哉哉哉多可個舌 十一音 ■乍□■孔孔孔孔 八音 哉哉哉哉禾火化八 六聲 ■叉赤■孔孔孔孔 一聲 哉哉哉哉開宰愛○ ■崇辰■孔孔孔孔 哉哉哉哉回每退○ ■卓中■孔孔孔孔 哉哉哉哉良兩向○ 十二音 ■宅直■孔孔孔孔 八音 哉哉哉哉光廣況○ 六聲 ■拆丑■孔孔孔孔 二聲 哉哉哉哉丁井亙○ ■茶呈■孔孔孔孔 哉哉哉哉兄永瑩○

On the left side, after completing the eleventh tone "■Zhuang Zhen■", "■Zha □■", "■Cha Chi■", and "■Chong Chen■", the sound "Kong" is paired with forty-eight tone positions. On the right side, a new start is made with "Fayin Qing He Lu Yi Ba", using the eighth clear tone "Zai", first harmonizing the four lines of the first tone: "Day, Moon, Star, and Morning Star" with "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", and "Hui Mei Tui ○", then harmonizing the four lines of the second tone: "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", and "Xiong Yong Ying ○".

上聲闢唱呂一之七 古甲九癸審審審審 哉哉哉哉千典旦○ 一音 □□近揆審審審審 八音 哉哉哉哉元犬半○ 七聲 坤巧丘棄審審審審 三聲 哉哉哉哉臣引艮○ □□乾蚪審審審審 哉哉哉哉君允巽○ 黑花香血審審審審 哉哉哉哉刀早孝嶽 二音 黃華雄賢審審審審 八音 哉哉哉哉毛寶報霍 七聲 五瓦仰□審審審審 四聲 哉哉哉哉牛斗奏六 吾牙月堯審審審審 哉哉哉哉○○○玉 安亞乙一審審審審 哉哉哉哉妻子四日 三音 □爻壬寅審審審審 八音 哉哉哉哉衰○帥骨 七聲 母馬美米審審審審 五聲 哉哉哉哉○○○德 目貌眉民審審審審 哉哉哉哉龜水貴北 夫法□飛審審審審 哉哉哉哉宮孔眾○ 四音 父凡□吠審審審審 八音 哉哉哉哉龍甬用○ 七聲 武晚□尾審審審審 六聲 哉哉哉哉魚鼠去○ 文萬□未審審審審 哉哉哉哉烏虎兔○

The left half begins anew with "Shangsheng Bi Chang Lv Yi Qi Qi", switching to the seventh tone "Shen" of Shangsheng Bi, which is also the last tone in this passage with a character that can be sung. It starts from the first tone: first tone "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu"; second tone "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao"; third tone "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min"; fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei". The right half continues with the eighth tone "Zai" and the third to sixth tones: third tone "Qian Dian Dan □", "Yuan Quan Ban □", "Chen Yin Gen □", "Jun Yun Xun □"; fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "□□□ Yu"; fifth tone "Zi Qi Si Ri", "Shuai □ Shuai Gu", "□□□ De", "Gui Shui Gui Bei"; sixth tone "Gong Kong Zhong □", "Long Yong Yong □", "Yu Shu Qu □", "Wu Hu Tu □". The tone "Shen" is taken from the upper position of the seventh tone "Xin Shen Jin □", being the last tone in the ten tones that can have a character assigned, and the following three tones are left with empty brackets.

卜百丙必審審審審 哉哉哉哉心審禁○ 五音 步白備鼻審審審審 八音 哉哉哉哉○○○十 七聲 普撲品匹審審審審 七聲 哉哉哉哉男坎欠○ 旁排平瓶審審審審 哉哉哉哉○○○妾 東丹帝■審審審審 哉哉哉哉●●●● 六音 兌大弟■審審審審 八音 哉哉哉哉●●●● 七聲 土貪天■審審審審 八聲 哉哉哉哉●●●● 同田覃■審審審審 哉哉哉哉●●●● 乃你女■審審審審 哉哉哉哉●●●● 七音 內南年■審審審審 八音 哉哉哉哉●●●● 七聲 老冷呂■審審審審 九聲 哉哉哉哉●●●● 鹿犖離■審審審審 哉哉哉哉●●●● 走哉足■審審審審 哉哉哉哉●●●● 八音 自在匠■審審審審 八音 哉哉哉哉●●●● 七聲 草采七■審審審審 十聲 哉哉哉哉●●●● 曹才全■審審審審 哉哉哉哉●●●●

The left half uses the "shen" sound to chant the fifth to eighth tones: fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tian Tan ■" — the bottom original reads "Tong Tian Tan" while elsewhere it reads "Tong Tan Tian"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The right half is the "zai" sound and the seventh to tenth tones: seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie"; the eighth, ninth, and tenth tones have no sound positions, and all twelve lines are "●●●●", and the "zai" sound is thus matched with one round. The "zai" sound is taken from the eighth tone "Zou Zai Zu ■" sound position. The right diagram thus completes forty sound positions for the "zai" sound, of which only twenty-eight positions from the first seven tones can form actual syllables, while the twelve positions from the last three tones are entirely imaginary. The actual number of sounds is seven, and the actual number of tones is twelve. The two total numbers in this passage, 1,640 and 1,344, are derived by multiplying these actual numbers of sounds and tones.

發音清和律一之九 思三星■審審審審 三三三三多可個舌 九音 寺□象■審審審審 九音 三三三三禾火化八 七聲 □□□■審審審審 一聲 三三三三開宰愛○ □□□■審審審審 三三三三回每退○ ■山手■審審審審 三三三三良兩向○ 十音 ■士石■審審審審 九音 三三三三光廣況○ 七聲 ■□耳■審審審審 二聲 三三三三丁井亙○ ■□二■審審審審 三三三三兄永瑩○ ■莊震■審審審審 三三三三千典旦○ 十一音 ■乍□■審審審審 九音 三三三三元犬半○ 七聲 ■叉赤■審審審審 三聲 三三三三臣引艮○ ■崇辰■審審審審 三三三三君允巽○ ■卓中■審審審審 三三三三刀早孝嶽 十二音 ■宅直■審審審審 九音 三三三三毛寶報霍 七聲 ■拆丑■審審審審 四聲 三三三三牛斗奏六 ■茶呈■審審審審 三三三三○○○玉

On the right side, it begins again with "Phonetic clarity and tone one of nine," switching to the ninth clear tone "San," which is matched sequentially with the first tone "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai O," "Hui Mei Tui O," the second tone "Liang Liang Xiang O," "Guang Guang Kuang O," "Ding Jing Gen O," "Xiong Yong Ying O," the third tone "Qian Dian Dan O," "Yuan Quan Ban O," "Chen Yin Gen O," "Jun Yun Xun O," and the fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "O O O Yu." On the left side, the "Shen" tone sings the last four tones: the ninth tone "Si San Xing ■," "Si ■ Xiang ■," "■ ■ ■ ■," "■ ■ ■ ■," the tenth tone "■ Shan Shou ■," "■ Shi Shi ■," "■ ■ Er ■," "■ ■ Er ■," the eleventh tone "■ Zhuang Zhen ■," "■ Zha ■ ■," "■ Cha Chi ■," "■ Chong Chen ■," and the twelfth tone "■ Zhuo Zhong ■," "■ Zhai Zhi ■," "■ Che Chou ■," "■ Cha Cheng ■." Once the "Shen" tone has sung, the seven tones with characters are all sung through. The "San" tone is taken from the phonetic position of the ninth tone "Si San Xing ■." By this point, the left diagram has matched the "Shen" tone with all forty-eight phonetic positions, completing one round of the tones with characters.

上聲闢唱呂一之八 古甲九癸●●●● 三三三三妻子四日 一音 □□近揆●●●● 九音 三三三三衰○帥骨 八聲 坤巧丘棄●●●● 五聲 三三三三○○○德 □□乾蚪●●●● 三三三三龜水貴北 黑花香血●●●● 三三三三宮孔眾○ 二音 黃華雄賢●●●● 九音 三三三三龍甬用○ 八聲 五瓦仰□●●●● 六聲 三三三三魚鼠去○ 吾牙月堯●●●● 三三三三烏虎兔○ 安亞乙一●●●● 三三三三心審禁○ 三音 □爻壬寅●●●● 九音 三三三三○○○十 八聲 母馬美米●●●● 七聲 三三三三男坎欠○ 目貌眉民●●●● 三三三三○○○妾 夫法□飛●●●● 三三三三●●●● 四音 父凡□吠●●●● 九音 三三三三●●●● 八聲 武晚□尾●●●● 八聲 三三三三●●●● 文萬□未●●●● 三三三三●●●●

The left half starts with 「上声辟唱吕一之八」. The eighth tone of 「上声辟」 itself is 「●」, and since this position is silent, only four 「●」 can be written at the end of each line. However, the positions of the twelve tones must still be recorded: the first tone 「古甲九癸」「□□近揆」「坤巧丘弃」「□□乾蚪」, the second tone 「黑花香血」「黄华雄贤」「五瓦仰□」「吾牙月尧」, the third tone 「安亚乙一」「□爻壬寅」「母马美米」「目貌眉民」, the fourth tone 「夫法□飞」「父凡□吠」「武晚□尾」「文万□未」. The right half is the ninth tone 「三」 continuing with the fifth to eighth tones: the fifth tone 「妻子四日」「衰○帅骨」「○○○德」「龟水贵北」, the sixth tone 「宫孔众○」「龙甬用○」「鱼鼠去○」「乌虎兔○」, the seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, and the eighth tone has four lines with no sound positions. The positions of silence still need to be drawn, because the layout of ten tones and twelve tones must first be fully established before removing the positions without characters to obtain 112 used tones and 152 used sounds.

卜百丙必●●●● 三三三三●●●● 五音 步白備鼻●●●● 九音 三三三三●●●● 八聲 普撲品匹●●●● 九聲 三三三三●●●● 旁排平瓶●●●● 三三三三●●●● 東丹帝■●●●● 三三三三●●●● 六音 兌大弟■●●●● 九音 三三三三●●●● 八聲 土貪天■●●●● 十聲 三三三三●●●● 同覃田■●●●● 三三三三●●●●

The left half uses the eighth tone's empty position to chant the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", and the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■", with four "●" following each line. The right half consists of the third tone and the ninth and tenth tones, which have no tone positions, and all eight lines are marked as "●●●●". When there is no tone but there is a sound, and when there is a sound but no tone, the empty positions on both sides are offset from each other, clearly showing that Shao Yong first filled in the grid according to the principles, then checked how many grids could actually be filled with actual sounds.

發音清和律一之十 乃你女■●●●● 山山山山多可個舌 七音 內南年■●●●● 十音 山山山山禾火化八 八聲 老冷呂■●●●● 一聲 山山山山開宰愛○ 鹿犖離■●●●● 山山山山回每退○ 走哉足■●●●● 山山山山良兩向○ 八音 自在匠■●●●● 十音 山山山山光廣況○ 八聲 草采七■●●●● 二聲 山山山山丁井亙○ 曹才全■●●●● 山山山山兄永瑩○ 思三星■●●●● 山山山山千典旦○ 九音 寺□象■●●●● 十音 山山山山元犬半○ 八聲 □□□■●●●● 三聲 山山山山臣引艮○ □□□■●●●● 山山山山君允巽○ ■山手■●●●● 山山山山刀早孝嶽 十音 ■士石■●●●● 十音 山山山山毛寶報霍 八聲 ■□耳■●●●● 四聲 山山山山牛斗奏六 ■□二■●●●● 山山山山○○○玉

On the right side, it begins anew with "Phonetic clarity and tone one ten," switching to the tenth tone "Shan" with a clear sound. It proceeds in sequence with the first tone "Duoke ge she," "Hehuohua ba," "Kai zai ai," "Hui mei tui," the second tone "Liang liang xiang," "Guang guang kuang," "Ding jing geng," "Xiong yong ying," the third tone "Qian dian dan," "Yuan quan ban," "Chen yin gen," "Jun yun xun," and the fourth tone "Dao zao xiao yue," "Mao bao bao huo," "Niu dou zou liu," "○○○ yu." The left side still maintains the eighth tone's empty position while singing the seventh to tenth tones: the seventh tone "Nai ni nu," "Nei nan nian," "Lao leng lv," "Lu luo li," the eighth tone "Zou zai zu," "Zi zai jiang," "Cao cai qi," "Cao cai quan," the ninth tone "Si san xing," "Si □ xiang," "□□□," "□□□," and the tenth tone "■ shan shou," "■ shi shi," "■ □ er," "■ □ er." The "Shan" is taken from the tenth tone "■ shan shou," where the opening and closing positions originally had no sound, hence both sides are marked with "■." Although this round on the left side has no sound to sing, the tone positions are still fully arranged without omission, matching exactly with the tones that have characters.

■莊震■●●●● 山山山山妻子四日 十一音 ■乍□■●●●● 十音 山山山山衰○帥骨 八聲 ■叉赤■●●●● 五聲 山山山山○○○德 ■崇辰■●●●● 山山山山龜水貴北 ■卓中■●●●● 山山山山宮孔眾○ 十二音 ■宅直■●●●● 十音 山山山山龍甬用○ 八聲 ■拆丑■●●●● 六聲 山山山山魚鼠去○ ■茶呈■●●●● 山山山山烏虎兔○

The left half ends the eighth tone with the eleventh sound 「■Zhuang Zhen■」「■Zha □■」「■Cha Chi■」「■Chong Chen■」and the twelfth sound 「■Zhuo Zhong■」「■Zhai Zhi■」「■Chai Chou■」「■Cha Cheng■」, with four 「●」at the end of each line. The right half includes the tenth sound 「Shan」and the fifth tone 「Zi Qi Si Ri」「Shuai ○ Shuai Gu」「○○○ De」「Gui Shui Gui Bei」and the sixth tone 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」, where the rising tone position in 「Shuai ○ Shuai Gu」and the level, rising, and falling tone positions in 「○○○ De」are all marked with tones but have no characters.

上聲闢唱呂一之九 古甲九癸●●●● 山山山山心審禁○ 一音 □□近揆●●●● 十音 山山山山○○○十 九聲 坤巧丘棄●●●● 七聲 山山山山男坎欠○ □□乾蚪●●●● 山山山山○○○妾 黑花香血●●●● 山山山山●●●● 二音 黃華雄賢●●●● 十音 山山山山●●●● 九聲 五瓦仰□●●●● 八聲 山山山山●●●● 吾牙月堯●●●● 山山山山●●●● 安亞乙一●●●● 山山山山●●●● 三音 □爻壬寅●●●● 十音 山山山山●●●● 九聲 母馬美米●●●● 九聲 山山山山●●●● 目貌眉民●●●● 山山山山●●●● 夫法□飛●●●● 山山山山●●●● 四音 父凡□吠●●●● 十音 山山山山●●●● 九聲 武晚□尾●●●● 十聲 山山山山●●●● 文萬□未●●●● 山山山山●●●●

The left half begins with "Shang Sheng Pi Chang Lv Yi Ji Jiú", the ninth tone is also "●", which is silent and cannot be sung, yet the twelve tones are still arranged in order: the first tone "Gǔ Jiǎ Jiǔ Guǐ" "□□ Jìn Kuí" "Kūn Qiǎo Qiū Qì" "□□ Qián Tóu", the second tone "Hēi Huā Xiāng Xuè" "Huáng Huā Xióng Xián" "Wǔ Wǎ Yǎng □" "Wú Yá Yuè Yáo", the third tone "Ān Yà Yǐ Yī" "□ Yué Rén Yín" "Mǔ Mǎ Měi Mǐ" "Mù Mào Méi Mín", the fourth tone "Fū Fǎ □ Fēi" "Fù Fán □ Fèi" "Wǔ Wǎn □ Wěi" "Wén Wàn □ Wèi". The right half is the "Shān" tone and the seventh to tenth tones: the seventh tone "Xīn Shěn Jìn ○" "○○○ Shí" "Nán Kǎn Qiàn ○" "○○○ Jiè", the eighth, ninth, and tenth tones are silent positions, and twelve lines are written as "●●●●", and the "Shān" tone is completed here. Once the "Shān" tone is completed, the clear twelve tones have been matched with ten tones, leaving the tones "Zhuāng" and "Zhuó" still unassigned. The ninth tone on the left is like the eighth tone, just a vacant position, but the forty-eight positions of the twelve tones in four rows are still fully arranged, showing that Shao Yong's diagram emphasizes the completeness of numbers rather than the presence or absence of characters. The opening and initial positions of the fire and stone rows in the first tone, and the closing position of the earth row in the second tone, are still positions with sound but without characters, marked as "□".

發音清和律一之十一 卜百丙必●●●● 莊莊莊莊多可個舌 五音 步白備鼻●●●● 十一音 莊莊莊莊禾火化八 九聲 普撲品匹●●●● 一聲 莊莊莊莊開宰愛○ 旁排平瓶●●●● 莊莊莊莊回每退○ 東丹帝■●●●● 莊莊莊莊良兩向○ 六音 兌大弟■●●●● 十一音 莊莊莊莊光廣況○ 九聲 土貪天■●●●● 二聲 莊莊莊莊丁井亙○ 同覃田■●●●● 莊莊莊莊兄永瑩○ 乃你女■●●●● 莊莊莊莊千典旦○ 七音 內南年■●●●● 十一音 莊莊莊莊元犬半○ 九聲 老冷呂■●●●● 三聲 莊莊莊莊臣引艮○ 鹿犖離■●●●● 莊莊莊莊君允巽○

On the right side, it starts again with "Phonetic Clarity and Rhythm One, Number Eleven," using the eleventh tone with clear pronunciation "Zhuang." It first combines with the first tone "Duoke ge she," "Hehuohua ba," "Kai zai ai," "Hui mei tui." Then it combines with the second tone "Liang liang xiang," "Guang guang kuang," "Ding jing geng," "Xiong yong ying." Next, it combines with the third tone "Qian dian dan," "Yuan quan ban," "Chen yin gen," "Jun yun xun." The left side still keeps the ninth tone's empty position for singing the fifth to seventh tones: the fifth tone "Bu bai bing bi," "Bu bai bei bi," "Pu pu pin pi," "Pang pai ping ping," the sixth tone "Dong dan di," "Dui da di," "Tu tan tian," "Tong tan tian," the seventh tone "Nai ni nv," "Nei nan nian," "Lao leng lv," "Lu luo li." The tone "Zhuang" is taken from the eleventh tone "Zhuang zhen," where this tone has no sound in the open and closed positions, so it is marked with "■" before and after.

走哉足■●●●● 莊莊莊莊刀早孝嶽 八音 自在匠■●●●● 十一音 莊莊莊莊毛寶報霍 九聲 草采七■●●●● 四聲 莊莊莊莊牛斗奏六 曹才全■●●●● 莊莊莊莊○○○玉 思三星■●●●● 莊莊莊莊妻子四日 九音 寺□象■●●●● 十一音 莊莊莊莊衰○帥骨 九聲 □□□■●●●● 五聲 莊莊莊莊○○○德 □□□■●●●● 莊莊莊莊龜水貴北 ■山手■●●●● 莊莊莊莊宮孔眾○ 十音 ■士石■●●●● 十一音 莊莊莊莊龍甬用○ 九聲 ■□耳■●●●● 六聲 莊莊莊莊魚鼠去○ ■□二■●●●● 莊莊莊莊烏虎兔○

The left half sings the eighth to tenth tones with the ninth tone's empty position: the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■"; the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■"; the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■". The right half is the eleventh tone "Zhuang" and the fourth to sixth tones: the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei"; the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The fifth tone "Shuai ○ Shuai Gu" has an upward tone position, and the star tone "○○○ De" has the level, upward, and departing tones, all of which have tone positions but no characters, and should not be considered as missing in the reading of the diagram.

■莊震■●●●● 莊莊莊莊心審禁○ 十一音 ■乍□■●●●● 十一音 莊莊莊莊○○○十 九聲 ■叉赤■●●●● 七聲 莊莊莊莊男坎欠○ ■崇辰■●●●● 莊莊莊莊○○○妾 ■卓中■●●●● 莊莊莊莊●●●● 十二音 ■宅直■●●●● 十一音 莊莊莊莊●●●● 九聲 ■拆丑■●●●● 八聲 莊莊莊莊●●●● ■茶呈■●●●● 莊莊莊莊●●●●

The left half ends the ninth tone's empty position with the eleventh tone: "Zhuang Zhen", "Zha Zhi", "Cha Chi", "Chong Chen", and the twelfth tone: "Zhuo Zhong", "Zhai Zhi", "Che Chou", "Cha Cheng". The right half consists of the tone "Zhuang" and the seventh tone: "Xin Shen Jin", "Shi", "Nan Kan Qian", "Jie", "Nv", and the eighth tone with four lines: "●●●●". The seventh tone only has the three characters "Xin Shen Jin" for the day line and "Nan Kan Qian" for the star line actually filled in, while the rest have positions but no characters.

上聲闢唱呂一之十 古甲九癸●●●● 莊莊莊莊●●●● 一音 □□近揆●●●● 十一音 莊莊莊莊●●●● 十聲 坤巧丘棄●●●● 九聲 莊莊莊莊●●●● □□乾蚪●●●● 莊莊莊莊●●●● 黑花香血●●●● 莊莊莊莊●●●● 二音 黃華雄賢●●●● 十一音 莊莊莊莊●●●● 卜聲 五瓦仰□●●●● 十聲 莊莊莊莊●●●● 吾牙月堯●●●● 莊莊莊莊●●●●

The left half begins with "Shang Sheng Pi Chang Lv Yi Zhi Shi," the tenth tone also being "●," which is silent and cannot be sung. It first lists the first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," and the second tone "Hei Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao." The heading for the second tone, originally carved as "Bu Sheng," should be "Shi Sheng." The right half consists of the "Zhuang" tone and the ninth and tenth tones, with two tones being silent. All eight lines are "●●●●." The "Zhuang" tone completes one round. The Shang Sheng and Shi Sheng tones have all been covered in the diagram, with seven tones having characters and the last three tones only having empty positions, none of which were omitted.

發音清和律一之十二 安亞乙一●●●● 卓卓卓卓多可個舌 三音 □爻壬寅●●●● 十二音 卓卓卓卓禾火化八 十聲 母馬美米●●●● 一聲 卓卓卓卓開宰愛○ 目貌眉民●●●● 卓卓卓卓回每退○ 夫法□飛●●●● 卓卓卓卓良兩向○ 四音 父凡□吠●●●● 十二音 卓卓卓卓光廣況○ 十聲 武晚□尾●●●● 二聲 卓卓卓卓丁井亙○ 文萬□未●●●● 卓卓卓卓兄永瑩○ 卜百丙必●●●● 卓卓卓卓千典旦○ 五音 步白備鼻●●●● 十二音 卓卓卓卓元犬半○ 十聲 普撲品匹●●●● 三聲 卓卓卓卓臣引艮○ 旁排平瓶●●●● 卓卓卓卓君允巽○

On the right side, a new section begins with "Clear and Harmonious Tone One, Section Twelve," using the last clear-sounding tone "Zhuo." It first combines with the first tone "Duoke ge she," "Hehuohua ba," "Kai zai ai," "Hui mei tui." Then it combines with the second tone "Liang liang xiang," "Guang guang kuang," "Ding jing geng," "Xiong yong ying." Next, it combines with the third tone "Qian dian dan," "Yuan quan ban," "Chen yin gen," "Jun yun xun." On the left side, the tenth tone's empty position is used for singing the third to fifth tones: the third tone "An ya yi yi," "Xiao yao ren yin," "Mu ma mei mi," "Mu mao mei min," the fourth tone "Fu fa xiao fei," "Fu fan xiao fei," "Wu wan xiao wei," "Wen wan xiao wei," and the fifth tone "Bu bai bing bi," "Bu bai bei bi," "Pu pu pin pi," "Pang pai ping ping." The tone "Zhuo" is taken from the twelfth tone "Zhuo zhong," which is the last position of the twelve clear-sounding tones. This tone has no corresponding sounds for its open and closed positions.

東丹帝■●●●● 卓卓卓卓刀早孝嶽 六音 兌大弟■●●●● 十二音 卓卓卓卓毛寶報霍 十聲 土貪天■●●●● 四聲 卓卓卓卓牛斗奏六 同覃田■●●●● 卓卓卓卓○○○玉 乃你女■●●●● 卓卓卓卓妻子四日 七音 內南年■●●●● 十二音 卓卓卓卓衰○帥骨 十聲 老冷呂■●●●● 五聲 卓卓卓卓○○○德 鹿犖離■●●●● 卓卓卓卓龜水貴北 走哉足■●●●● 卓卓卓卓宮孔眾○ 八音 自在匠■●●●● 十二音 卓卓卓卓龍甬用○ 十聲 草采七■●●●● 六聲 卓卓卓卓魚鼠去○ 曹才全■●●●● 卓卓卓卓烏虎兔○ 思三星■●●●● 卓卓卓卓心審禁○ 九音 寺□象■●●●● 十二音 卓卓卓卓○○○十 十聲 □□□■●●●● 七聲 卓卓卓卓男坎欠○ □□□■●●●● 卓卓卓卓○○○妾

The left half uses the tenth tone's empty position to sing the sixth to ninth tones: sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■"; ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■". The right half is the twelfth tone "Zhuo" and the fourth to seventh tones: fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei"; sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○"; seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Jie". The closing positions for the sixth to eighth tones are all "■". For the ninth tone, the rows of "Tu" and "Shi" have the opening, issuing, and closing positions all marked as "□": the former indicates no tone position, while the latter indicates a tone position but no suitable character could be found. These two types of empty marks alternate in these sixteen lines, clearly showing the density of Shao Yong's punctuation.

■山手■●●●● 卓卓卓卓●●●● 十音 ■士石■●●●● 十二音 卓卓卓卓●●●● 十聲 ■□耳■●●●● 八聲 卓卓卓卓●●●● ■□二■●●●● 卓卓卓卓●●●● ■莊震■●●●● 卓卓卓卓●●●● 十一音 ■乍□■●●●● 十二音 卓卓卓卓●●●● 十聲 ■叉赤■●●●● 九聲 卓卓卓卓●●●● ■崇辰■●●●● 卓卓卓卓●●●● ■卓中■●●●● 卓卓卓卓●●●● 十二音 ■宅直■●●●● 十二音 卓卓卓卓●●●● 十聲 ■拆丑■●●●● 十聲 卓卓卓卓●●●● ■茶呈■●●●● 卓卓卓卓●●●●

The left half concludes the tenth sound with the tenth tone 「■ Mountain hand ■」「■ Scholar stone ■」「■ ■ ear ■」「■ ■ two ■」, the eleventh tone 「■ Zhuang Zhen ■」「■ Zha ■」「■ Cha red ■」「■ Chong Chen ■」, and the twelfth tone 「■ Zhuo Zhong ■」「■ Zhai straight ■」「■ Che丑 ■」「■ Cha Cheng ■」. The right half consists of the sound 「Zhuo」 and the eighth, ninth, and tenth tones, with all three tones having no position, and all twelve lines written as 「●●●●」. At this point, the ten diagrams of 「Moon day sound above division」 from the 「Observing Things Chapter 39」 and the twelve diagrams of 「Fire water sound emit clear」 are fully paired: each sound diagram has forty-eight lines, covering twelve tones; each sound diagram has forty lines, covering ten tones, corresponding exactly to the numbers of one thousand six hundred forty sound divisions and one thousand three hundred forty-four clear sounds. Although the number of lines in the two diagrams differ, the time they are completed is the same, which reflects the mutual connection between twelve multiplied by four and ten multiplied by four, each forming their own numbers.

觀物篇四十 月月聲上翕 火火音發濁 火廣犬寶○ □華爻凡白大 甬○●●● 南在□士乍宅 月月聲七，下唱地之 火火音十二，上和天 用音一百五十二，是 之用聲一百一十二， 謂上聲翕音。上聲翕 是謂發音濁聲。發音 音一千六十四。 濁聲一千三百四十四。 月月聲上之二翕 火火音發之二濁

The Heavenly Stems are: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui. The Earthly Branches are: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai. The Trigrams are: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth). The text refers to "Guanwu Pian Sìshí" (Observing Things Chapter Forty), paired with "Yueyue Sheng Shàng Xī" and "Huohuo Yīn Fā Zhuó." "Yueyue" refers to taking the rising tone (Yue) and matching it with the second line of each tone (Yue line), which belongs to the closed mouth sound, hence called "Xī." The rising tone characters in the ten tones for the Yue line are "Huǒ, Guang, Quǎn, Bǎo, ○, Yǒng, ○," where the fifth and seventh tones are marked with "○," indicating that there are tone positions but no corresponding characters, and the eighth, ninth, and tenth tones are marked with "●," indicating no tone positions. "Huohuo" refers to taking the sound (Huǒ) and matching it with the second line of each sound (Huǒ line), which belongs to the浊 sound, hence called "Zhuó." The sound characters in the twelve sounds for the Huǒ line are "□, Huá, Yáo, Fán, Bái, Dà, Nán, Zài, □, Shì, Zhà, Zhai," where the two "□" indicate that there are sound positions but no corresponding characters. The original text writes both columns: the left column states that the Yueyue tones total seven, and the downward singing of the earth's sounds totals 152, called the rising tone Xī sound, totaling 164; the right column states that the Huohuo sounds total twelve, and the upward harmonizing with the heavens' sounds totals 112, called the sound ZHUO sound, totaling 1344. The final line, "Yueyue Sheng Shàng Zhi Er Xī" and "Huohuo Yīn Fā Zhi Er Zhuó," serves as the general title for the following two diagrams.

上聲翕唱呂二之一 發音濁和律二之一 古甲九癸火火火火 □□□□多可個舌 一音 □□近揆火火火火 一音 □□□□禾火化八 一聲 坤巧丘棄火火火火 一聲 □□□□開宰愛○ □□乾蚪火火火火 □□□□回每退○ 黑花香血火火火火 □□□□良兩向○ 二音 黃華雄賢火火火火 一音 □□□□光廣況○ 一聲 五瓦仰□火火火火 二聲 □□□□丁井亙○ 吾牙月堯火火火火 □□□□兄永瑩○ 安亞乙一火火火火 □□□□千典旦○ 三音 □爻壬寅火火火火 一音 □□□□元犬半○ 一聲 母馬美米火火火火 三聲 □□□□臣引艮○ 目貌眉民火火火火 □□□□君允巽○

Two diagrams start simultaneously: the left diagram "Upper tone rising and singing Lu two one," sings the first tone of the upper tone rising "Fire"; the right diagram "vocalization turbid and harmonizing law two one," harmonizes the first tone of the turbid vocalization, which has a position but no character, so the entire passage is written as "□□□□." The left half uses the "Fire" tone to sing the first tone "Ancient Jia Ji Gui," "□□ near揆," "Kun Qiao Qiu Qi," "□□ Qian Tu," the second tone "Black flower fragrant blood," "Yellow flower strong virtuous," "Five Wa Yang □," "Wu Ya Yue Yao," and the third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mother Ma Mei Mi," "Eye Mao Mei Min." The right half uses that tone without a character to harmonize the first tone "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Geng ○," "Xiong Yong Ying ○," and the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○."

夫法□飛火火火火 □□□□刀早孝嶽 四音 父凡□吠火火火火 一音 □□□□毛寶報霍 一聲 武晚□尾火火火火 四聲 □□□□牛斗奏六 文萬□未火火火火 □□□□○○○玉 卜百丙必火火火火 □□□□妻子四日 五音 步白備鼻火火火火 一音 □□□□衰○帥骨 一聲 普撲品匹火火火火 五聲 □□□□○○○德 旁排平瓶火火火火 □□□□龜水貴北 東丹帝■火火火火 □□□□宮孔眾○ 六音 兌大弟■火火火火 一音 □□□□龍甬用○ 一聲 土貪天■火火火火 六聲 □□□□魚鼠去○ 同覃田■火火火火 □□□□烏虎兔○ 乃你女■火火火火 □□□□心審禁○ 七音 內南年■火火火火 一音 □□□□○○○十 一聲 老冷呂■火火火火 七聲 □□□□男坎欠○ 鹿犖離■火火火火 □□□□○○○妾

The left half uses the sound of "fire" to chant the fourth to seventh tones: the fourth tone includes "Fu Fa Fei," "Fu Fan Fei," "Wu Wan Wei," "Wen Wan Wei"; the fifth tone includes "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping"; the sixth tone includes "Dong Dan Di Yi," "Dui Da Di Di," "Tu Tan Tian Tian," "Tong Tan Tian Tian"; the seventh tone includes "Nai Ni Nu Nu," "Nei Nan Nian Nian," "Lao Leng Lv Lv," "Lu Luo Li Li." The right half still uses the first tone, which is a position without a character "□," to harmonize with the fourth to seventh tones: the fourth tone includes "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "○○○ Yu"; the fifth tone includes "Zi Qi Si Ri," "Shuai ○ Shuai Gu," "○○○ De," "Gui Shui Gui Bei"; the sixth tone includes "Gong Kong Zhong ○," "Long Yong Yong ○," "Yu Shu Qu ○," "Wu Hu Tu ○"; the seventh tone includes "Xin Shen Jin ○," "○○○ Shi," "Nan Kan Qian ○," "○○○ Qie." The ending characters of the four lines in the fourth tone are all "□," while the closing characters of the sixth and seventh tones are all "■." The former has a phonetic position but no character, and the latter has neither a phonetic position nor a character. The tone in the right diagram itself is "□," using a sound without a character to harmonize with a sound with a character, resulting in an empty position, yet the position cannot be missing.

走哉足■火火火火 □□□□●●●● 八音 自在匠■火火火火 一音 □□□□●●●● 一聲 草采七■火火火火 八聲 □□□□●●●● 曹才全■火火火火 □□□□●●●● 思三星■火火火火 □□□□●●●● 九音 寺□象■火火火火 一音 □□□□●●●● 一聲 □□□■火火火火 九聲 □□□□●●●● □□□■火火火火 □□□□●●●● ■山手■火火火火 □□□□●●●● 十音 ■士石■火火火火 一音 □□□□●●●● 一聲 ■口耳■火火火火 十聲 □□□□●●●● ■□二■火火火火 □□□□●●●●

The left half uses the sound of "fire" to chant the eighth, ninth, and tenth tones: the eighth tone is "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■"; the ninth tone is "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■"; the tenth tone is "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■" — the original text of the tenth tone in the earth row reads "■ Kou Er ■", where "Kou" should be a mistake for "■". The right half consists of the first tone and the eighth, ninth, and tenth tones, with three tones having no sound positions, and all twelve rows are marked as "●●●●". On one side, there are sound positions with the character "□" but no corresponding characters, while on the other side, there are no sound positions marked with "●". By comparing these two types of empty positions within the same row, we can best see the intention behind Shao Yong's use of separate symbols. In the "fire" sound diagram with forty-eight rows, forty rows have already been arranged, leaving only the eleventh and twelfth tones to be sung.

發音濁和律二之二 ■莊震■火火火火 華華華華多可個舌 十一音 ■乍□■火火火火 二音 華華華華禾火化八 一聲 ■叉赤■火火火火 一聲 華華華華開宰愛○ ■崇辰■火火火火 華華華華回每退○ ■卓中■火火火火 華華華華良兩向○ 十二音 ■宅直■火火火火 二音 華華華華光廣況○ 一聲 ■拆丑■火火火火 二聲 華華華華丁井亙○ ■茶呈■火火火火 華華華華兄永瑩○

The left half concludes the eleventh sound with the sound "fire" as "Zhuang Zhen," "Zha Zhang," "Cha Che," and "Chong Chen," and the twelfth sound as "Zhuo Zhong," "Zhai Zhi," "Che Chou," and "Cha Cheng," thus completing forty-eight sound positions with the "fire" sound. The right half starts with "emission of a thick and harmonious tone of the second of the second," using the second thick sound "Hua," first harmonizing with the first tone "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai O," "Hui Mei Tui O," then harmonizing with the second tone "Liang Liang Xiang O," "Guang Guang Kuang O," "Ding Jing Gen O," "Xiong Yong Ying O."

上聲翕唱呂二之二 古甲九癸廣廣廣廣 華華華華千典旦○ 一音 □□近揆廣廣廣廣 二音 華華華華元犬半○ 二聲 坤巧丘棄廣廣廣廣 三聲 華華華華臣引艮○ □□乾蚪廣廣廣廣 華華華華君允巽○ 黑花香血廣廣廣廣 華華華華刀早孝嶽 二音 黃華雄賢廣廣廣廣 二音 華華華華毛寶報霍 二聲 五瓦仰□廣廣廣廣 四聲 華華華華牛斗奏六 吾牙月堯廣廣廣廣 華華華華○○○玉 安亞乙一廣廣廣廣 華華華華妻子四日 三音 □爻壬寅廣廣廣廣 二音 華華華華衰○帥骨 二聲 母馬美米廣廣廣廣 五聲 華華華華○○○德 目貌眉民廣廣廣廣 華華華華龜水貴北 夫法□飛廣廣廣廣 華華華華宮孔眾○ 四音 父凡□吠廣廣廣廣 二音 華華華華龍甬用○ 二聲 武晚□尾廣廣廣廣 六聲 華華華華魚鼠去○ 文萬□未廣廣廣廣 華華華華烏虎兔○

The left half begins anew with "Shangsheng Xi Chang Lü Er Zhi Er," switching to the second tone of Shangsheng Xi, "Guang," starting from the first tone: first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," second tone "Hei Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." The right half continues with the second tone "Hua" and the third to sixth tones: third tone "Qian Dian Dan □," "Yuan Quan Ban □," "Chen Yin Gen □," "Jun Yun Xun □," fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "□□□ Yu," fifth tone "Zi Qi Si Ri," "Shuai □ Shuai Gu," "□□□ De," "Gui Shui Gui Bei," sixth tone "Gong Kong Zhong □," "Long Yong Yong □," "Yu Shu Qu □," "Wu Hu Tu □." "Guang" is taken from the second tone "Guang Guang Kuang □" of the Shangsheng Xi, being the second character of the Shangsheng Xi's ten tones corresponding to the moon's movement; "Hua" is taken from the second tone "Huang Hua Xiong Xian," being the second character of the twelve tones of the fire element.

卜百丙必廣廣廣廣 華華華華心審禁○ 五音 步白備鼻廣廣廣廣 二音 華華華華○○○十 二聲 普撲品匹廣廣廣廣 七聲 華華華華男坎欠○ 旁排平瓶廣廣廣廣 華華華華○○○妾 東丹帝■廣廣廣廣 華華華華●●●● 六音 兌大弟■廣廣廣廣 二音 華華華華●●●● 二聲 土貪天■廣廣廣廣 八聲 華華華華●●●● 同覃田■廣廣廣廣 華華華華●●●● 乃你女■廣廣廣廣 華華華華●●●● 七音 內南年■廣廣廣廣 二音 華華華華●●●● 二聲 老冷呂■廣廣廣廣 九聲 華華華華●●●● 鹿犖離■廣廣廣廣 華華華華●●●● 走哉足■廣廣廣廣 華華華華●●●● 八音 自在匠■廣廣廣廣 二音 華華華華●●●● 二聲 草采七■廣廣廣廣 十聲 華華華華●●●● 曹才全■廣廣廣廣 華華華華●●●●

The left half uses the "Guang" sound to chant the fifth to eighth tones: fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The right half is the "Hua" sound and the seventh to tenth tones: seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie"; the eighth, ninth, and tenth tones have no sound positions, and twelve lines of "●●●●" are written continuously. The "Hua" sound covers forty sound positions in one round, completing the matching. The closed positions of the sixth, seventh, and eighth tones are all "■", meaning no sound; the last positions of the four lines in the seventh tone are mostly "○", indicating sound positions without characters. The distinction between the rising tone "Xi" and "Bi" lies only in whether the lunar or solar cycle is taken: the solar cycle is an open mouth and called "Bi", while the lunar cycle is a closed mouth and called "Xi". The matched sound positions and tone positions are identical, so the layout of lines and character order in both texts are entirely consistent.

發音濁和律二之三 思三星■廣廣廣廣 爻爻爻爻多可個舌 九音 寺□象■廣廣廣廣 三音 爻爻爻爻禾火化八 二聲 □□□■廣廣廣廣 一聲 爻爻爻爻開宰愛○ □□□■廣廣廣廣 爻爻爻爻回每退○ ■山手■廣廣廣廣 爻爻爻爻良兩向○ 十音 ■士石■廣廣廣廣 三音 爻爻爻爻光廣況○ 二聲 ■□耳■廣廣廣廣 二聲 爻爻爻爻丁井亙○ ■□二■廣廣廣廣 爻爻爻爻兄永瑩○ ■莊震■廣廣廣廣 爻爻爻爻千典旦○ 十一音 ■乍□■廣廣廣廣 三音 爻爻爻爻元犬半○ 二聲 ■叉赤■廣廣廣廣 三聲 爻爻爻爻臣引艮○ ■崇辰■廣廣廣廣 爻爻爻爻君允巽○ ■卓中■廣廣廣廣 爻爻爻爻刀早孝嶽 十二音 ■宅直■廣廣廣廣 三音 爻爻爻爻毛寶報霍 二聲 ■拆丑■廣廣廣廣 四聲 爻爻爻爻牛斗奏六 ■茶呈■廣廣廣廣 爻爻爻爻○○○玉

On the right side, starting anew with "sound and tone law two of three," it switches to the third tone with a heavy sound "yao." It then proceeds in sequence with the first tone "duo ke ge she," "he huoa ba," "kai zai ai," "hui mei tui," the second tone "liang liang xiang," "guang guang kuang," "ding jing geng," "xiong yong ying," the third tone "qian dian dan," "yuan quan ban," "chén yin gen," "jun yun xun," and the fourth tone "dao zao xiao yue," "mao bao bao huo," "niu dou zhou liu," "○○○ yu." On the left side, the "guang" sound sings the last four tones: the ninth tone "si san xing," "si xiang xiang," "□□□," "□□□," the tenth tone "shan shou," "shi shi," "er er," "er er," the eleventh tone "zhuang zhen," "zha □," "cha chi," "chong chen," and the twelfth tone "zhuo zhong," "zhai zhi," "chai chou," "cha cheng." The "yao" sound is taken from the third tone "□ yao ren yin." In the left diagram, the rows of earth and stone in the ninth tone are almost all "□," and the open and closed positions in the tenth to twelfth tones are all "■." Thus, the "guang" sound covers all forty-eight tone positions.

上聲翕唱呂二之三 古甲九癸犬犬犬犬 爻爻爻爻妻子四日 一音 □□近揆犬犬犬犬 三音 爻爻爻爻衰○帥骨 三聲 坤巧丘棄犬犬犬犬 五聲 爻爻爻爻○○○德 □□乾蚪犬犬犬犬 爻爻爻爻龜水貴北 黑花香血犬犬犬犬 爻爻爻爻宮孔眾○ 二音 黃華雄賢犬犬犬犬 三音 爻爻爻爻龍甬用○ 三聲 五瓦仰□犬犬犬犬 六聲 爻爻爻爻魚鼠去○ 吾牙月堯犬犬犬犬 爻爻爻爻烏虎兔○ 安亞乙一犬犬犬犬 爻爻爻爻心審禁○ 三音 □爻壬寅犬犬犬犬 三音 爻爻爻爻○○○十 三聲 母馬美米犬犬犬犬 七聲 爻爻爻爻男坎欠○ 目貌眉民犬犬犬犬 爻爻爻爻○○○妾 夫法□飛犬犬犬犬 爻爻爻爻●●●● 四音 父凡□吠犬犬犬犬 三音 爻爻爻爻●●●● 三聲 武晚□尾犬犬犬犬 八聲 爻爻爻爻●●●● 文萬□未犬犬犬犬 爻爻爻爻●●●●

The left half starts anew with "Shang Sheng Xi Chang Lv Er Zhi San," switching to the third tone of Shang Sheng Xi, "Quan," and begins singing from the first tone: first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," second tone "He Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." The right half continues with the third tone "Yao" and the fifth to eighth tones: fifth tone "Zi Qi Si Ri," "Shuai □ Shuai Gu," "□□□ De," "Gui Shui Gui Bei," sixth tone "Gong Kong Zhong □," "Long Yong Yong □," "Yu Shu Qu □," "Wu Hu Tu □," seventh tone "Xin Shen Jin □," "□□□ Shi," "Nan Kan Qian □," "□□□ Qie," eighth tone has four lines all "●●●●." The character "Quan" is taken from the third character of "Yuan Quan Ban □" in the Shang Sheng position, which is the third character of the Shang Sheng Xi ten tones monthly sequence. The four lines of the eighth tone all "●" indicate no tone position; the "○" in the fifth tone monthly sequence indicates only a tone position without a character. In the diagram, their shapes are similar but their meanings are different.

卜百丙必犬犬犬犬 爻爻爻爻●●●● 五音 步白備鼻犬犬犬犬 三音 爻爻爻爻●●●● 三聲 普撲品匹犬犬犬犬 九聲 爻爻爻爻●●●● 旁排平瓶犬犬犬犬 爻爻爻爻●●●● 東丹帝■犬犬犬犬 爻爻爻爻●●●● 六音 兌大弟■犬犬犬犬 三音 爻爻爻爻●●●● 三聲 土貪天■犬犬犬犬 十聲 爻爻爻爻●●●● 同覃田■犬犬犬犬 爻爻爻爻●●●●

The left half uses the sound "qian" to connect with the fifth tone "bu bai bing bi", "bu bai bei bi", "pu pu pin pi", and "pang pai ping ping", and the sixth tone "dong dan di ", "dui da di ", "tu tan tian ", "tong tan tian ". All the closing positions in the four lines of the sixth tone have no corresponding sounds. The right half uses the sound "yao" with the ninth and tenth tones, both of which have no corresponding positions, and all eight lines are marked as "●●●●", completing the matching of the "yao" sound. Among the ten tones of the rising tone, only the sounds fire, broad, dog, treasure, and bell have actual characters that can be sung, while the other five positions either have sound positions without characters or have neither sound nor characters.

發音濁和律二之四 乃你女■犬犬犬犬 凡凡凡凡多可個舌 七音 內南年■犬犬犬犬 四音 凡凡凡凡禾火化八 三聲 老冷呂■犬犬犬犬 一聲 凡凡凡凡開宰愛○ 鹿犖離■犬犬犬犬 凡凡凡凡回每退○ 走哉足■犬犬犬犬 凡凡凡凡良兩向○ 八音 自在匠■犬犬犬犬 四音 凡凡凡凡光廣況○ 三聲 草采七■犬犬犬犬 二聲 凡凡凡凡丁井亙○ 曹才全■犬犬犬犬 凡凡凡凡兄永瑩○ 思三星■犬犬犬犬 凡凡凡凡千典旦○ 九音 寺□象■犬犬犬犬 四音 凡凡凡凡元犬半○ 三聲 □□□■犬犬犬犬 三聲 凡凡凡凡臣引艮○ □□□■犬犬犬犬 凡凡凡凡君允巽○ ■山手■犬犬犬犬 凡凡凡凡刀早孝嶽 十音 ■士石■犬犬犬犬 四音 凡凡凡凡毛寶報霍 三聲 ■□耳■犬犬犬犬 四聲 凡凡凡凡牛斗奏六 ■□二■犬犬犬犬 凡凡凡凡○○○玉

On the right side, it begins again with "Phonetic浊 and Law Two, Fourth Tone," using the fourth tone "Fan" with a浊 sound. It follows in sequence with the first tone "Duoke ge she," "Hehuohua ba," "Kai zai ai," "Hui mei tui," the second tone "Liang liang xiang," "Guang guang kuang," "Ding jing geng," "Xiong yong ying," the third tone "Qian dian dan," "Yuan quan ban," "Chen yin gen," "Jun yun xun," and the fourth tone "Dao zao xiao yue," "Mao bao bao huo," "Niu dou zou liu," "○○○ yu." On the left side, the sound "Quan" continues with the seventh to tenth tones: the seventh tone "Nai ni nv," "Nei nan nian," "Lao leng lv," "Lu luo li," the eighth tone "Zou zai zu," "Zi zai jiang," "Cao cai qi," "Cao cai quan," the ninth tone "Si san xing," "Si □ xiang," "□□□," "□□□," and the tenth tone "□ shan shou," "□ shi shi," "□□ er," "□□ er." The sound "Fan" is taken from the fourth tone "Fu fan □ fei," where the sound position has a sound but no character, hence it is written as "□." The empty spaces in the ninth tone's last two lines and the beginning of the tenth tone on the left diagram still distinguish between having a position without a character and having a combined position without a character.

■莊震■犬犬犬犬 凡凡凡凡妻子四日 十一音 ■乍□■犬犬犬犬 四音 凡凡凡凡衰○帥骨 三聲 ■叉赤■犬犬犬犬 五聲 凡凡凡凡○○○德 ■崇辰■犬犬犬犬 凡凡凡凡龜水貴北 ■卓中■犬犬犬犬 凡凡凡凡宮孔眾○ 十二音 ■宅直■犬犬犬犬 四音 凡凡凡凡龍甬用○ 三聲 ■拆丑■犬犬犬犬 六聲 凡凡凡凡魚鼠去○ ■茶呈■犬犬犬犬 凡凡凡凡烏虎兔○

On the left side, after the sound of "dog" is completed, the eleventh tone "■Zhuang Zhen■", "■Zha □■", "■Cha Chi■", and "■Chong Chen■" are sung, and the opening and closing positions of the two tones have no sounds. On the right side, the fourth tone "Fan" and the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei" are present, along with the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The upper tone position of the fifth tone for the moon's movement and the level, rising, and falling tone positions of the star's movement are all marked with "○", indicating that these are tone positions with sound but no corresponding characters.

上聲翕唱呂二之四 古甲九癸寶寶寶寶 凡凡凡凡心審禁○ 一音 □□近揆寶寶寶寶 四音 凡凡凡凡○○○十 四聲 坤巧丘棄寶寶寶寶 七聲 凡凡凡凡男坎欠○ □□乾蚪寶寶寶寶 凡凡凡凡○○○妾 黑花香血寶寶寶寶 凡凡凡凡●●●● 二音 黃華雄賢寶寶寶寶 四音 凡凡凡凡●●●● 四聲 五瓦仰□寶寶寶寶 八聲 凡凡凡凡●●●● 吾牙月堯寶寶寶寶 凡凡凡凡●●●● 安亞乙一寶寶寶寶 凡凡凡凡●●●● 三音 □爻壬寅寶寶寶寶 四音 凡凡凡凡●●●● 四聲 母馬美米寶寶寶寶 九聲 凡凡凡凡●●●● 目貌眉民寶寶寶寶 凡凡凡凡●●●● 夫法□飛寶寶寶寶 凡凡凡凡●●●● 四音 父凡□吠寶寶寶寶 四音 凡凡凡凡●●●● 四聲 武晚□尾寶寶寶寶 十聲 凡凡凡凡●●●● 文萬□未寶寶寶寶 凡凡凡凡●●●●

The left half starts anew with "Shangsheng Xi Chang Lv Er Zi Si" and switches to the fourth tone of Shangsheng Xi, "Bao," beginning from the first tone: first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," second tone "He Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." The right half consists of the "Fan" tone and the seventh to tenth tones: seventh tone "Xin Shen Jin ○," "○○○ Shi," "Nan Kan Qian ○," "○○○ Qie," the eighth, ninth, and tenth tones have no positions, and all twelve rows are written as "●●●●," completing the "Fan" tone round. "Bao" is taken from the fourth tone "Mao Bao Bao Huo" in the Shangsheng position, which is the fourth character of the Shangsheng Xi ten-tone lunar cycle. The right diagram's "Fan" tone round completes forty tone positions, among which only the first seven tones' twenty-eight positions can form syllables. In the left diagram's four tones, the first tone has the open and initial positions of fire and stone rows, the second tone has the closed position of earth row, the third tone has the open position of fire row, and the fourth tone has the closing position of four rows; all these have tone positions but no characters.

發音濁和律二之五 卜百丙必寶寶寶寶 白白白白多可個舌 五音 步白備鼻寶寶寶寶 五音 白白白白禾火化八 四聲 普撲品匹寶寶寶寶 一聲 白白白白開宰愛○ 旁排平瓶寶寶寶寶 白白白白回每退○ 東丹帝□寶寶寶寶 白白白白良兩向○ 六音 兌大弟■寶寶寶寶 五音 白白白白光廣況○ 四聲 土貪天■寶寶寶寶 二聲 白白白白丁井亙○ 同覃田■寶寶寶寶 白白白白兄永瑩○ 乃你女■寶寶寶寶 白白白白乾典旦○ 七音 內南年■寶寶寶寶 五音 白白白白元犬半○ 四聲 老冷呂■寶寶寶寶 三聲 白白白白臣引艮○ 鹿犖離■寶寶寶寶 白白白白君允巽○ 走哉足■寶寶寶寶 白白白白刀早孝嶽 八音 自在匠■寶寶寶寶 五音 白白白白毛寶報霍 四聲 草采七■寶寶寶寶 四聲 白白白白牛斗奏六 曹才全■寶寶寶寶 白白白白○○○玉

On the right side, it begins again with 「Sound and tone of the second fifth」, switching to the fifth tone with a浊 sound 「Bai」, and proceeds to match the first tone 「Du Ke Ge She」, 「He Huo Hua Ba」, 「Kai Zai Ai」, 「Hui Mei Tui」, the second tone 「Liang Liang Xiang」, 「Guang Guang Kuang」, 「Ding Jing Geng」, 「Xiong Yong Ying」, the third tone 「Gan Dian Dan」, 「Yuan Quan Ban」, 「Chen Yin Gen」, 「Jun Yun Xun」—the third tone in the original text reads 「Gan」, but should be taken as 「Qian」 according to other instances, the fourth tone 「Dao Zao Xiao Yue」, 「Mao Bao Bao Huo」, 「Niu Dou Zou Liu」, 「○○○ Yu」. On the left side, the 「Bao」 tone continues to sing the fifth to eighth tones: the fifth tone 「Bu Bai Bing Bi」, 「Bu Bai Bei Bi」, 「Pu Pu Pin Pi」, 「Pang Pai Ping Ping」, the sixth tone 「Dong Dan Di」, 「Dui Da Di」, 「Tu Tan Tian」, 「Tong Tan Tian」—the last character in the water row in the original text reads 「□」, but elsewhere it is written as 「■」, the seventh tone 「Nai Ni Nu」, 「Nei Nan Nian」, 「Lao Leng Lü」, 「Lu Luo Li」, the eighth tone 「Zou Zai Zu」, 「Zi Zai Jiang」, 「Cao Cai Qi」, 「Cao Cai Quan」.

思三星■寶寶寶寶 白白白白妻子四日 九音 寺□象■寶寶寶寶 五音 白白白白衰○帥骨 四聲 □□□■寶寶寶寶 五聲 白白白白○○○德 □□□■寶寶寶寶 白白白白龜水貴北 ■山手■寶寶寶寶 白白白白宮孔眾○ 十音 ■士石■寶寶寶寶 五音 白白白白龍甬用○ 四聲 ■□耳■寶寶寶寶 六聲 白白白白魚鼠去○ ■□二■寶寶寶寶 白白白白烏虎兔○ ■莊震■寶寶寶寶 白白白白心審禁○ 十一音 ■乍□■寶寶寶寶 五音 白白白白○○○十 四聲 ■叉赤■寶寶寶寶 七聲 白白白白男坎欠○ ■崇辰■寶寶寶寶 白白白白○○○妾 ■卓中■寶寶寶寶 白白白白●●●● 十二音 ■宅直■寶寶寶寶 五音 白白白白●●●● 四聲 ■拆丑■寶寶寶寶 八聲 白白白白●●●● ■茶呈■寶寶寶寶 白白白白●●●●

The left half uses the sound "bao" to chant the ninth to twelfth tones: the ninth tone "si san xing", "si xiang xiang", " ", " "; the tenth tone "shan shou", "shi shi shi", "er er", "er er"; the eleventh tone "zhuang zhen", "zha ", "cha chi", "chong chen"; the twelfth tone "zhuo zhong", "zhai zhi", "che chou", "cha cheng". The sound "bao" thus chants through forty-eight tone positions. The right half is the fifth tone "bai" and the fifth to eighth tones: the fifth tone "zi qi si ri", "shuai shuai shuai gu", " ", "guishui guibei"; the sixth tone "gong kong zhong ", "long yong yong ", "yu shu qu ", "wu hu tu "; the seventh tone "xin shen jin ", " ", "nan kan qian ", " "; the eighth tone has four lines with no tone positions. "Bao" is the last tone in the rising tone with a direct character, while the fifth and seventh tones only have "○", and the eighth to tenth tones are marked with "●". The last positions of the four lines in the seventh tone on the right have tone positions but no characters, while the eighth tone has all four lines empty.

上聲翕唱呂二之五 古甲九癸○○○○ 白白白白●●●● 一音 □□近揆○○○○ 五音 白白白白●●●● 五聲 坤巧丘棄○○○○ 九聲 白白白白●●●● □□乾蚪○○○○ 白白白白●●●● 黑花香血○○○○ 白白白白●●●● 二音 黃華雄賢○○○○ 五音 白白白白●●●● 五聲 五瓦仰□○○○○ 十聲 白白白白●●●● 吾牙月堯○○○○ 白白白白●●●●

On the left side, it begins again with "Upper tone rising and singing Lu Er Wu Wu". The fifth tone of "rising tone" is written as "○", indicating there is this tone position but no character can be paired with it. This is different from "●" which is used for the eighth to tenth tones, indicating no tone position at all. It first lists the first tone "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu" and the second tone "He Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", with four "○" at the end of each line. On the right side, it is "Bai" tone and the ninth and tenth tones, which have no tone positions, and all eight lines are written as "●●●●".

發音濁和律二之六 安亞乙一○○○○ 大大大大多可個舌 三音 □爻壬寅○○○○ 六音 大大大大禾火化八 五聲 母馬美米○○○○ 一聲 大大大大開宰愛○ 目貌眉民○○○○ 大大大大回每退○ 夫法□飛○○○○ 大大大大良兩向○ 四音 父凡□吠○○○○ 六音 大大大大光廣況○ 五聲 武晚□尾○○○○ 二聲 大大大大丁井亙○ 文萬□未○○○○ 大大大大兄永瑩○ 卜百丙必○○○○ 大大大大千典旦○ 五音 步白備鼻○○○○ 六音 大大大大元犬半○ 五聲 普撲品匹○○○○ 三聲 大大大大臣引艮○ 旁排平瓶○○○○ 大大大大君允巽○ 東丹帝■○○○○ 大大大大刀早孝嶽 六音 兌大弟■○○○○ 六音 大大大大毛寶報霍 五聲 土貪天■○○○○ 四聲 大大大大牛斗奏六 同覃田■○○○○ 大大大大○○○玉

On the right side, a new section begins with "Sound of浊 and律 two of six," switching to the浊 sixth tone "Da." It follows in sequence with the first tone "Duoke ge she," "Hehuohua ba," "Kai zai ai," "Hui mei tui," the second tone "Liang liang xiang," "Guang guang kuang," "Ding jing geng," "Xiong yong ying," the third tone "Qian dian dan," "Yuan quan ban," "Chen yin gen," "Jun yun xun," and the fourth tone "Dao zao xiao yue," "Mao bao bao huo," "Niu dou zou liu," "○○○ yu." The left side still retains the fifth tone, which is a symbol "○" with position but no character, singing the third to sixth tones: third tone "An yia yi yi," "□ yao ren yin," "Mu ma mei mi," "Mu mao mei min," fourth tone "Fu fa □ fei," "Fu fan □ fei," "Wu wan □ wei," "Wen wan □ wei," fifth tone "Bu bai bing bi," "Bu bai bei bi," "Pu pu pin pi," "Pang pai ping ping," sixth tone "Dong dan di ■," "Dui da di ■," "Tu tan tian ■," "Tong tan tian ■." The "Da" is taken from the sixth tone "Dui da di ■" position, which is a closed position with no sound. Since the left diagram's main tone is the "○" with position but no character, each line's singing is only a hollow pairing, yet the forty-eight tone positions are still listed one by one.

乃你女■○○○○ 大大大大妻子四日 七音 內南年■○○○○ 六音 大大大大衰○帥骨 五聲 老冷呂■○○○○ 五聲 大大大大○○○德 鹿犖離■○○○○ 大大大大龜水貴北 走哉足■○○○○ 大大大大宮孔眾○ 八音 自在匠■○○○○ 六音 大大大大龍甬用○ 五聲 草采七■○○○○ 六聲 大大大大魚鼠去○ 曹才全■○○○○ 大大大大烏虎兔○ 思三星■○○○○ 大大大大心審禁○ 九音 寺□象■○○○○ 六音 大大大大○○○十 五聲 □□□■○○○○ 七聲 大大大大男坎欠○ □□□■○○○○ 大大大大○○○妾 ■山手■○○○○ 大大大大●●●● 十音 ■士石■○○○○ 六音 大大大大●●●● 五聲 ■□耳■○○○○ 八聲 大大大大●●●● ■□二■○○○○ 大大大大●●●●

The left half continues with the fifth tone "○" for the seventh to tenth tones: the seventh tone "Nai ni nv ■", "Nei nan nian ■", "Lao leng lv ■", "Lu luo li ■"; the eighth tone "Zou zai zu ■", "Zi zai jiang ■", "Cao cao qi ■", "Cao cai quan ■"; the ninth tone "Si san xing ■", "Si □ xiang ■", "□ □ □ ■", "□ □ □ ■"; the tenth tone "■ shan shou ■", "■ shi shi ■", "■ □ er ■", "■ □ er ■". The right half is the sixth tone "Da" and the fifth to eighth tones: the fifth tone "Zi qi si ri", "Shuai ○ shuai gu", "○ ○ ○ de", "Gui shui gui bei"; the sixth tone "Gong kong zhong ○", "Long yong yong ○", "Yu shu qu ○", "Wu hu tu ○"; the seventh tone "Xin shen jin ○", "○ ○ ○ shi", "Nan kan qian ○", "○ ○ ○ qie"; the eighth tone has four lines all "● ● ● ●". The closing positions of the seventh and eighth tones are all "■". In the ninth tone, the rows for soil and stone are almost all "□". In the tenth tone, the opening positions are all "■". In the right diagram, the upper tone position of the moon row in the fifth tone and the level, rising, and falling tones of the star row are all "○". The eighth tone has four lines all "● ● ● ●". The positions with sounds but no characters and those with no sound positions are clearly contrasted in these sixteen lines.

■莊震■○○○○ 大大大大●●●● 十一音 ■乍□■○○○○ 六音 大大大大●●●● 五聲 ■叉赤■○○○○ 九聲 大大大大●●●● ■崇辰■○○○○ 大大大大●●●● ■卓中■○○○○ 大大大大●●●● 十二音 ■宅直■○○○○ 六音 大大大大●●●● 五聲 ■拆丑■○○○○ 十聲 大大大大●●●● ■茶呈■○○○○ 大大大大●●●●

The left half uses the fifth tone "○" to complete the eleventh tone "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", and "■ Chong Chen ■", as well as the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", and "■ Cha Cheng ■". The right half consists of the tone "Da" and the ninth and tenth tones, with two tones having no sound positions, and all eight lines written as "●●●●". The tone "Da" is matched with forty sound positions in one round. Sound positions without characters are still required to cover forty-eight sound positions, which is a general rule established by Shao Yong in his diagram. The fifth tone "Xī" thus covers all forty-eight positions of the twelve tones, following exactly the same path as the tones with characters.

上聲翕唱呂二之六 發音濁和律二之七 古甲九癸甬甬甬甬 南南南南多可個舌 一音 □□近揆甬甬甬甬 七音 南南南南禾火化八 六聲 坤巧丘棄甬甬甬甬 一聲 南南南南開宰愛○ □□乾蚪甬甬甬甬 南南南南迴每退○ 黑花香血甬甬甬甬 南南南南良兩向○ 二音 黃華雄賢甬甬甬甬 七音 南南南南光廣況○ 六聲 五瓦仰□甬甬甬甬 二聲 南南南南丁井亙○ 吾牙月堯甬甬甬甬 南南南南兄永瑩○ 安亞乙一甬甬甬甬 南南南南千典旦○ 三音 □爻壬寅甬甬甬甬 七音 南南南南元犬半○ 六聲 母馬美米甬甬甬甬 三聲 南南南南臣引艮○ 目貌眉民甬甬甬甬 南南南南君允巽○

Two diagrams are changed to a new page simultaneously: the left diagram "Upper tone harmonious singing Lu Er Zhi Liu" is changed to the sixth tone of upper tone harmonious singing "Yong"; the right diagram "Speech浊 and harmonious law Er Qi" is changed to the seventh tone of speech浊 "Nan". On the left half, starting from the first tone: "Gu Jia Ji Gui", "□□ Near Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu", the second tone "Hei Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", the third tone "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min". On the right half, using the "Nan" tone with the first tone "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", the second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Geng ○", "Xiong Yong Ying ○", the third tone "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○". The "Yong" tone is taken from the sixth tone "Long Yong Yong ○" in the upper tone position, and the "Nan" tone is taken from the seventh tone "Nei Nan Nian ■" in the speech浊 position.

夫法□飛甬甬甬甬 南南南南刀早孝嶽 四音 父凡□吠甬甬甬甬 七音 南南南南毛寶報霍 六聲 武晚□尾甬甬甬甬 四聲 南南南南牛斗奏六 文萬□未甬甬甬甬 南南南南○○○玉 卜百丙必甬甬甬甬 南南南南妻子四日 五音 步白備鼻甬甬甬甬 七音 南南南南衰○帥骨 六聲 普撲品匹甬甬甬甬 五聲 南南南南○○○德 旁排平瓶甬甬甬甬 南南南南龜水貴北 東丹帝○甬甬甬甬 南南南南宮孔眾○ 六音 兌大弟■甬甬甬甬 七音 南南南南龍甬用○ 六聲 土貪天■甬甬甬甬 六聲 南南南南魚鼠去○ 同覃田■甬甬甬甬 南南南南烏虎兔○ 乃你女■甬甬甬甬 南南南南心審禁○ 七音 內南年■甬甬甬甬 七音 南南南南○○○十 六聲 老冷呂■甬甬甬甬 七聲 南南南南男坎欠○ 鹿犖離■甬甬甬甬 南南南南○○○妾

The left half uses the sound "甬" to chant the fourth to seventh tones: fourth tone "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei"; fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; sixth tone "Dong Dan Di ○", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■" — the water element's last character in the original text is marked as "○", but according to the general rule it should be "■"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■". The right half consists of the seventh tone "Nan" and the fourth to seventh tones: fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei"; sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○"; seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie". The ending characters of the four lines in the fourth tone are all "□", and the closing characters of the sixth and seventh tones are all "■"; in the right diagram, the first three characters of the fourth tone line "Chen" marked as "○○○ Yu" and the ending characters of each line in the seventh tone are all marked with sound positions but without characters.

走哉足■甬甬甬甬 南南南南●●●● 八音 自在匠■甬甬甬甬 七音 南南南南●●●● 六聲 草采七■甬甬甬甬 八聲 南南南南●●●● 曹才全■甬甬甬甬 南南南南●●●● 思三星■甬甬甬甬 南南南南●●●● 九音 寺□象■甬甬甬甬 七音 南南南南●●●● 六聲 □□□■甬甬甬甬 九聲 南南南南●●●● □□□■甬甬甬甬 南南南南●●●● ■山手■甬甬甬甬 南南南南●●●● 十音 ■士石■甬甬甬甬 七音 南南南南●●●● 六聲 ■□耳■甬甬甬甬 十聲 南南南南●●●● ■□二■甬甬甬甬 南南南南●●●●

The left half uses the "甬" sound to sing the eighth, ninth, and tenth tones: the eighth tone includes "Zou Zai Zu", "Zi Zai Jiang", "Cao Cai Qi", and "Cao Cai Quan"; the ninth tone includes "Si San Xing", "Si Xiang Xiang", and two lines with blanks; the tenth tone includes "Shan Shou", "Shi Shi", "Er", and "Er". The right half is the "nan" sound and the eighth, ninth, and tenth tones, with all three tones having no phonetic positions, and twelve lines written continuously as "●●●●". For the ninth tone, the lines for "tu" and "shi" and the tenth tone's opening positions alternate between "□" and "■", clearly showing the distinction between having a phonetic position without a character and having no phonetic position at all. The "甬" sound diagram has passed through forty lines, leaving only the eleventh and twelfth tones. The right diagram's "nan" sound has already filled all forty phonetic positions, with the last three tones' twelve positions being entirely imaginary, leaving only the first seven tones' twenty-eight positions capable of forming syllables.

發音濁和律二之八 ■莊震■甬甬甬甬 在在在在多可個舌 十一音 ■乍□■甬甬甬甬 八音 在在在在禾火化八 六聲 ■叉赤■甬甬甬甬 一聲 在在在在開宰愛○ ■崇辰■甬甬甬甬 在在在在回每退○ ■卓中■甬甬甬甬 在在在在良兩向○ 十二音 ■宅直■甬甬甬甬 八音 在在在在光廣況○ 六聲 ■拆丑■甬甬甬甬 二聲 在在在在丁井亙○ ■茶呈■甬甬甬甬 在在在在兄永瑩○

The left half concludes the eleventh tone with the sound "甬" as "■庄震■", "■乍□■", "■叉赤■", "■崇辰■", and the twelfth tone as "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". The sound "甬" thus covers forty-eight tone positions. The right half starts with "发音浊和律二之八", using the eighth tone with a heavy sound "在", first combining with the first tone "多可个舌", "禾火化八", "开宰爱○", "回每退○", then combining with the second tone "良两向○", "光广况○", "丁井亘○", "兄永莹○".

上聲翕唱呂二之七 古甲九癸○○○○ 在在在在千典旦○ 一音 □□近揆○○○○ 八音 在在在在元犬半○ 七聲 坤巧丘棄○○○○ 三聲 在在在在臣引艮○ □□乾蚪○○○○ 在在在在君允巽○ 黑花香血○○○○ 在在在在刀早孝嶽 二音 黃華雄賢○○○○ 八音 在在在在毛寶報霍 七聲 五瓦仰□○○○○ 四聲 在在在在牛斗奏六 吾牙月堯○○○○ 在在在在○○○玉 安亞乙一○○○○ 在在在在妻子四日 三音 □爻壬寅○○○○ 八音 在在在在衰○帥骨 七聲 母馬美米○○○○ 五聲 在在在在○○○○ 目貌眉民○○○○ 在在在在龜水貴北 夫法□飛○○○○ 在在在在宮孔眾○ 四音 父凡□吠○○○○ 八音 在在在在龍甬用○ 七聲 武晚□尾○○○○ 六聲 在在在在魚鼠去○ 文萬□未○○○○ 在在在在烏虎兔○

The left half begins anew with "Upper tone rising and singing the second of the seventh." The seventh tone of "rising upper tone" is also "○," which has a tone position but no character to match, so four "○" are written at the end of the line. It starts singing from the first tone: first tone "Ancient Jia, ninth Gui," "□□ near揆," "Kun skill Qiu discard," "□□ Qian蚪," second tone "Black flower fragrant blood," "Yellow flower strong virtuous," "Five Wa look up □," "I tooth moon Yao," third tone "An Ya Yi one," "□ yao Renyin," "Mother horse beauty rice," "Eye appearance eyebrow people," fourth tone "He law □ fly," "Father all □ bark," "Wu late □ tail," "Wen ten thousand □ not yet." The right half is the eighth tone "In" continuing with the third to sixth tones: third tone "Thousand classics dawn ○," "Original dog half ○," "Minister lead Gen ○," "King allow Xun ○," fourth tone "Knife early filial mountain," "Hair treasure report Huo," "Ox struggle present six," "○○○ jade," fifth tone "Spouse wife four day," "Decline ○ general bone," "○○○○," "Turtle water noble north" — the original text of the star's manuscript lacks the character "De," it should be "○○○ De," sixth tone "Palace Kong crowd ○," "Dragon Yong use ○," "Fish rat go ○," "Crow tiger rabbit ○."

卜百丙必○○○○ 在在在在心審禁○ 五音 步白備鼻○○○○ 八音 在在在在○○○十 七聲 普撲品匹○○○○ 七聲 在在在在男坎欠○ 旁排平瓶○○○○ 在在在在○○○妾 東丹帝■○○○○ 在在在在●●●● 六音 兌大弟■○○○○ 八音 在在在在●●●● 七聲 土貪天■○○○○ 八聲 在在在在●●●● 同覃田■○○○○ 在在在在●●●● 乃你女■○○○○ 在在在在●●●● 七音 內南年■○○○○ 八音 在在在在●●●● 七聲 老冷呂■○○○○ 九聲 在在在在●●●● 鹿犖離■○○○○ 在在在在●●●● 走哉足■○○○○ 在在在在●●●● 八音 自在匠■○○○○ 八音 在在在在●●●● 七聲 草采七■○○○○ 十聲 在在在在●●●● 曹才全■○○○○ 在在在在●●●●

The left half uses the seventh tone's "○" to chant the fifth to eighth tones: fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The right half is the "Zai" tone and the seventh to tenth tones: seventh tone "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie"; the eighth, ninth, and tenth tones have no sound positions, all twelve rows are "●●●●", and the "Zai" tone completes one round here. The closed positions for the sixth to eighth tones are all "■", which have no sound; the last positions of the four lines in the seventh tone on the right side are marked with "○", indicating a sound position without a character. Among the ten rising tones, the fifth and seventh tones have positions without characters, and the eighth to tenth tones also have no characters. Only the tones of Huo, Guang, Quan, Bao, and Yong can be sung; however, the diagram includes all ten tones to make up the whole number of ten multiplied by forty-eight, providing a basis for the total number of one thousand six hundred and forty rising tones.

發音濁和律二之九 思三星■○○○○ □□□□多可個舌 九音 寺□象■○○○○ 九音 □□□□禾火化八 七聲 □□□■○○○○ 一聲 □□□□開宰愛○ □□□■○○○○ □□□□回每退○ ■山手■○○○○ □□□□良兩向○ 十音 ■士石■○○○○ 九音 □□□□光廣況○ 七聲 ■□耳■○○○○ 二聲 □□□□丁井亙○ ■□二■○○○○ □□□□兄永瑩○ ■莊震■○○○○ □□□□千典旦○ 十一音 ■乍□■○○○○ 九音 □□□□元犬半○ 七聲 ■叉赤■○○○○ 三聲 □□□□臣引艮○ ■崇辰■○○○○ □□□□君允巽○ ■卓中■○○○○ □□□□刀早孝嶽 十二音 ■宅直■○○○○ 九音 □□□□毛寶報霍 七聲 ■拆丑■○○○○ 四聲 □□□□牛斗奏六 ■茶呈■○○○○ □□□□○○○玉

On the right side, it begins with "Phonetic浊 and Law Two of Nine," switching to the ninth phonetic tone which has a position but no character, so the entire passage is written as "□□□□." This tone successively pairs with the first tone "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai O," "Hui Mei Tui O," the second tone "Liang Liang Xiang O," "Guang Guang Kuang O," "Ding Jing Gen O," "Xiong Yong Ying O," the third tone "Qian Dian Dan O," "Yuan Quan Ban O," "Chen Yin Gen O," "Jun Yun Xun O," and the fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "O O O Yu." On the left side, the seventh tone's "O" sings the last four tones: the ninth tone "Si San Xing ■," "Si ■ Xiang ■," "□□□■," "□□□■," the tenth tone "■ Shan Shou ■," "■ Shi Shi ■," "■ □ Er ■," "■ □ Er ■," the eleventh tone "■ Zhuang Zhen ■," "■ Zha □ ■," "■ Cha Chi ■," "■ Chong Chen ■," and the twelfth tone "■ Zhuo Zhong ■," "■ Zhai Zhi ■," "■ Che Chou ■," "■ Cha Cheng ■." Among the twelve phonetic tones with浊 sound, the first and ninth tones are both position-based but have no characters, written as "□," while the remaining ten tones each have their own characters. Therefore, the forty lines before this round are all written as "□□□□."

上聲翕唱呂二之八 古甲九癸●●●● □□□□妻子四日 一音 □□近揆●●●● 九音 □□□□衰○帥骨 八聲 坤巧丘棄●●●● 五聲 □□□□○○○德 □□乾蚪●●●● □□□□龜水貴北 黑花香血●●●● □□□□宮孔眾○ 二音 黃華雄賢●●●● 九音 □□□□龍甬用○ 八聲 五瓦仰□●●●● 六聲 □□□□魚鼠去○ 吾牙月堯●●●● □□□□烏虎兔○ 安亞乙一●●●● □□□□心審禁○ 三音 □爻壬寅●●●● 九音 □□□□○○○十 八聲 母馬美米●●●● 七聲 □□□□男坎欠○ 目貌眉民●●●● □□□□○○○妾 夫法□飛●●●● □□□□●●●● 四音 父凡□吠●●●● 九音 □□□□●●●● 八聲 武晚□尾●●●● 八聲 □□□□●●●● 文萬□未●●●● □□□□●●●●

The left half begins again with 「上声翕唱吕二之八」. The eighth tone is written as 「●」, and there is no connected tone position. At the end of the line, only four 「●」 can be connected, but the twelve tones still need to be arranged one by one: the first tone 「古甲九癸」「□□近揆」「坤巧丘弃」「□□乾蚪」, the second tone 「黑花香血」「黄华雄贤」「五瓦仰□」「吾牙月尧」, the third tone 「安亚乙一」「□爻壬寅」「母马美米」「目貌眉民」, the fourth tone 「夫法□飞」「父凡□吠」「武晚□尾」「文万□未」. The right half is the ninth tone, which is a tone without a character, combined with the fifth to eighth tones: the fifth tone 「妻子四日」「衰○帅骨」「○○○德」「龟水贵北」, the sixth tone 「宫孔众○」「龙甬用○」「鱼鼠去○」「乌虎兔○」, the seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, and the eighth tone has no character position in all four lines. Since the eighth tone has no character position, it can only be paired with a number; this tone in the right diagram is also a position without a character. Both sides are empty but the positions are still listed in order. This clearly shows that this diagram is based on numbers rather than characters. The fixed number of forty-eight lines for the tone diagram and forty lines for the sound diagram never decrease due to empty positions.

卜百丙必●●●● □□□□●●●● 五音 步白備鼻●●●● 九音 □□□□●●●● 八聲 普撲品匹●●●● 九聲 □□□□●●●● 旁排平瓶●●●● □□□□●●●● 東丹帝■●●●● □□□□●●●● 六音 兌大弟■●●●● 九音 □□□□●●●● 八聲 土貪天■●●●● 十聲 □□□□●●●● 同覃田■●●●● □□□□●●●●

The left half uses the eighth tone's empty position to sing the fifth tone with the phrases "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", and "Pang Pai Ping Ping". The sixth tone includes "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", and "Tong Tan Tian ■". The right half consists of the ninth tone and the ninth and tenth tones, which have no sound positions, and all eight lines are written as "●●●●". In this passage, the empty symbols on the left and right have different origins: on the left, there is no sound but there is a tone, while on the right, there is a tone with a position but no character, and both the sound and the position are absent. The closed positions for the four lines of the sixth tone are all marked with "■", which differ again from the origins of the two empty symbols on the right.

發音濁和律二之十 乃你女■●●●● 士士士士多可個舌 七音 內南年■●●●● 十音 士士士士禾火化八 八聲 老冷呂■●●●● 一聲 士士士士開宰愛○ 鹿犖離■●●●● 士士士士回每退○ 走哉足■●●●● 士士士士良兩向○ 八音 自在匠■●●●● 十音 士士士士光廣況○ 八聲 草采七■●●●● 二聲 士士士士丁井亙○ 曹才全■●●●● 士士士士兄永瑩○ 思三星■●●●● 士士士士千典旦○ 九音 寺□象■●●●● 十音 士士士士元犬半○ 八聲 □□□■●●●● 三聲 士士士士臣引艮○ □□□■●●●● 士士士士君允巽○ ■山手■●●●● 士士士士刀早孝嶽 十音 ■士石■●●●● 十音 士士士士毛寶報霍 八聲 ■□耳■●●●● 四聲 士士士士牛斗奏六 ■□二■●●●● 士士士士○○○玉

On the right side, it begins again with "sound is浊 and law two ten," using the tenth sound "shi" which is浊. It is then paired sequentially with the first tone "duo ke ge she," "he huohua ba," "kai zai ai," "hui mei tui," the second tone "liang liang xiang," "guang guang kuang," "ding jing gen," "xiong yong ying," the third tone "qian dian dan," "yuan quan ban," "chen yin gen," "jun yun xun," and the fourth tone "dao zao xiao yue," "mao bao bao huo," "niu dou zou liu," "○○○ yu." On the left side, the eighth tone remains with the empty position in the eighth tone still in the singing of the seventh to tenth tones: the seventh tone "nai ni nu," "nei nan nian," "lao leng lv," "lu luo li," the eighth tone "zou zai zu," "zi zai jiang," "cao cai qi," "cao cai quan," the ninth tone "si san xing," "si □ xiang," "□□□," "□□□," and the tenth tone "□ shan shou," "□ shi shi," "□□ er," "□□ er." The "shi" is taken from the tenth tone "□ shi shi," which has no sound in the open and closed positions. The "□" in the ninth tone's "tu" and "shi" rows on the left side and the "■" in the tenth tone's open position are still considered to have a sound position but no character or no sound position respectively.

■莊震■●●●● 士士士士妻子四日 十一音 ■乍□■●●●● 十音 士士士士衰○帥骨 八聲 ■叉赤■●●●● 五聲 士士士士○○○德 ■崇辰■●●●● 士士士士龜水貴北 ■卓中■●●●● 士士士士宮孔眾○ 十二音 ■宅直■●●●● 十音 士士士士龍甬用○ 八聲 ■拆丑■●●●● 六聲 士士士士魚鼠去○ ■茶呈■●●●● 士士士士烏虎兔○

The left half ends the eighth tone's empty position with the eleventh tone "Zhuang Zhen", "Zha Xie", "Cha Che", "Chong Chen" and the twelfth tone "Zhuo Zhong", "Zhai Zhi", "Che Chou", "Cha Cheng". The right half includes the tenth tone "Shi" and the fifth tone "Zi Qi Si Ri", "Shuai Xiang Shuai Gu", "Xiang Xiang Xiang De", "Gui Shui Gui Bei" and the sixth tone "Gong Kong Zhong Xiang", "Long Yong Yong Xiang", "Yu Shu Qu Xiang", "Wu Hu Tu Xiang", where the upper tone position of "Shuai Xiang Shuai Gu" and the level, rising, and falling tone positions of "Xiang Xiang Xiang De" all have tone positions but no characters.

上聲翕唱呂二之九 古甲九癸●●●● 士士士士心審禁○ 一音 □□近揆●●●● 十音 士士士士○○○十 九聲 坤巧丘棄●●●● 七聲 士士士士男坎欠○ □□乾蚪●●●● 士士士士○○○妾 黑花香血●●●● 士士士士●●●● 二音 黃華雄賢●●●● 十音 士士士士●●●● 九聲 五瓦仰□●●●● 八聲 士士士士●●●● 吾牙月堯●●●● 士士士士●●●● 安亞乙一●●●● 士士士士●●●● 三音 □爻壬寅●●●● 十音 士士士士●●●● 九聲 母馬美米●●●● 九聲 士士士士●●●● 目貌眉民●●●● 士士士士●●●● 夫法□飛●●●● 士士士士●●●● 四音 父凡□吠●●●● 十音 士士士士●●●● 九聲 武晚□尾●●●● 十聲 士士士士●●●● 文萬□未●●●● 士士士士●●●●

The left half starts anew with 「上声翕唱吕二之九」, the ninth tone is also 「●」, which has no sound to sing, so the twelve tones are still arranged in order: the first tone 「古甲九癸」「□□近揆」「坤巧丘弃」「□□乾蚪」, the second tone 「黑花香血」「黄华雄贤」「五瓦仰□」「吾牙月尧」, the third tone 「安亚乙一」「□爻壬寅」「母马美米」「目貌眉民」, the fourth tone 「夫法□飞」「父凡□吠」「武晚□尾」「文万□未」. The right half is the 「士」 tone and the seventh to tenth tones: the seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, the eighth, ninth, and tenth tones are all silent positions, and twelve lines are written as 「●●●●」, completing one round of the 「士」 tone. After one round of the 「士」 tone is completed, the pronunciation of the twelve tones has already matched ten tones, leaving two tones 「乍」 and 「宅」 remaining. The ninth tone on the left and the eighth tone belong to the same category and both have no sound positions, so at the end of the four lines, only 「●」 is written continuously. However, the opening and initial positions of the fire and stone rows in the first tone and the closing position of the earth row in the second tone are still written as 「□」, indicating that those are sound positions without characters. The real sounds are still listed below the empty tones, which is the reason these two diagrams are independent and parallel.

發音濁和律二之十一 卜百丙必●●●● 乍乍乍乍多可個舌 五音 步白備鼻●●●● 十一音 乍乍乍乍禾火化八 九聲 普撲品匹●●●● 一聲 乍乍乍乍開宰愛○ 旁排平瓶●●●● 乍乍乍乍回每退○ 東丹帝■●●●● 乍乍乍乍良兩向○ 六音 兌大弟■●●●● 十一音 乍乍乍乍光廣況○ 九聲 土貪天■●●●● 二聲 乍乍乍乍丁井亙○ 同覃田■●●●● 乍乍乍乍兄永瑩○ 乃你女■●●●● 乍乍乍乍千典旦○ 七音 內南年■●●●● 十一音 乍乍乍乍元犬半○ 九聲 老冷呂■●●●● 三聲 乍乍乍乍臣引艮○ 鹿犖離■●●●● 乍乍乍乍君允巽○

On the right side, a new section begins with "Sound and Law Two, Number Eleven," which uses the eleventh sound with a heavy tone, "zha." It first combines with the first tone: "duo ke ge she," "he huohua ba," "kai zai ai," "hui mei tui." Then it combines with the second tone: "liang liang xiang," "guang guang kuang," "ding jing geng," "xiong yong ying." Next, it combines with the third tone: "qian dian dan," "yuan quan ban," "chen yin gen," "jun yun xun." On the left side, the ninth tone remains, with the empty position in the fifth to seventh sounds: the fifth sound "bu bai bing bi," "bu bai bei bi," "pu pu pin pi," "pang pai ping ping." The sixth sound "dong dan di," "dui da di," "tu tan tian," "tong tan tian." The seventh sound "nai ni nv," "nei nan nian," "lao leng lv," "lu luo li." The sound "zha" is taken from the eleventh sound "zha," which has no sound at the opening position and a sound without a character at the closing position. Within one row, both types of empty symbols appear.

走哉足■●●●● 乍乍乍乍刀早孝嶽 八音 自在匠■●●●● 十一音 乍乍乍乍毛寶報霍 九聲 草采七■●●●● 四聲 乍乍乍乍牛斗奏六 曹才全■●●●● 乍乍乍乍○○○玉 思三星■●●●● 乍乍乍乍妻子四日 九音 寺□象■●●●● 十一音 乍乍乍乍衰○帥骨 九聲 □□□■●●●● 五聲 乍乍乍乍○○○德 □□□■●●●● 乍乍乍乍龜水貴北 ■山手■●●●● 乍乍乍乍宮孔眾○ 十音 ■士石■●●●● 十一音 乍乍乍乍龍甬用○ 九聲 ■□耳■●●●● 六聲 乍乍乍乍魚鼠去○ ■□二■●●●● 乍乍乍乍烏虎兔○

The left half uses the ninth tone's empty position to sing the eighth to tenth tones: the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■"; the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■"; the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■". The right half is the eleventh tone "Zha" and the fourth to sixth tones: the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei"; the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The closed positions and open positions of the eighth to tenth tones are mostly marked with "■", while the earth and stone lines of the ninth tone are written continuously as "□"; the first three positions of the fourth tone in the辰 line and the two missing positions in the fifth tone are all positions with sound but without characters.

■莊震■●●●● 乍乍乍乍心審禁○ 十一音 ■乍□■●●●● 十一音 乍乍乍乍○○○十 九聲 ■叉赤■●●●● 七聲 乍乍乍乍男坎欠○ ■崇辰■●●●● 乍乍乍乍○○○妾 ■卓中■●●●● 乍乍乍乍●●●● 十二音 ■宅直■●●●● 十一音 乍乍乍乍●●●● 九聲 ■拆丑■●●●● 八聲 乍乍乍乍●●●● ■茶呈■●●●● 乍乍乍乍●●●●

The left half ends the ninth tone's empty position with the eleventh tone "Zhuang Zhen," "Zha Zhi," "Cha Chi," "Chong Chen," and the twelfth tone "Zhuo Zhong," "Zhai Zhi," "Che Chou," "Cha Cheng." The right half consists of the tone "Zha" and the seventh tone with four lines "Xin Shen Jin," "Shi," "Nan Kan Qian," "Jie Qie," and the eighth tone with four lines "●●●●." The seventh tone only has the daily line "Xin Shen Jin" and the stellar line "Nan Kan Qian" that actually have characters, while the rest have tone positions but no characters.

上聲翕唱呂二之十 古甲九癸●●●● 乍乍乍乍●●●● 一音 □□近揆●●●● 十一音 乍乍乍乍●●●● 十聲 坤巧丘棄●●●● 九聲 乍乍乍乍●●●● □□乾蚪●●●● 乍乍乍乍●●●● 黑花香血●●●● 乍乍乍乍●●●● 二音 黃華雄賢●●●● 十一音 乍乍乍乍●●●● 十聲 五瓦仰□●●●● 十聲 乍乍乍乍●●●● 吾牙月堯●●●● 乍乍乍乍●●●●

On the left side, it begins with "Shang Sheng Xi Chang Lv Er Zhi Shi," the tenth tone also being "●," which is silent and cannot be sung. It first arranges the first tone "Gu Jia Jiu Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," and the second tone "He Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," with four "●" at the end of each line. On the right side, it is the "Zha" tone and the ninth and tenth tones, with two silent tones, and all eight lines are written as "●●●●." The "Zha" tone covers forty tone positions in one round, completing the matching here. The Shang Sheng Xi ten tones have all been arranged in the diagram, among which five tones have characters, two tones have positions but no characters, and three tones have both positions and no characters, with no position omitted at all.

發音濁和律二之十二 安亞乙一●●●● 宅宅宅宅多可個舌 三音 □爻壬寅●●●● 十二音 宅宅宅宅禾火化八 十聲 母馬美米●●●● 一聲 宅宅宅宅開宰愛○ 目貌眉民●●●● 宅宅宅宅回每退○ 夫法□飛●●●● 宅宅宅宅良兩向○ 四音 父凡□吠●●●● 十二音 宅宅宅宅光廣況○ 十聲 武晚□尾●●●● 二聲 宅宅宅宅丁井亙○ 文萬□未●●●● 宅宅宅宅兄永瑩○ 卜百丙必●●●● 宅宅宅宅千典旦○ 五音 步白備鼻●●●● 十二音 宅宅宅宅元犬半○

On the right side, a new line begins with "The twelfth of the two tones of浊 and 律". It switches to the last浊 tone "zhai", first harmonizing with the first tone "duo ke ge she", "he huohua ba", "kai zai ai", "hui mei tui". Then it harmonizes with the second tone "liang liang xiang", "guang guang kuang", "ding jing gen", "xiong yong ying". Next, it harmonizes with the third tone's day and month lines "qian dian dan", "yuan quan ban". On the left side, the tenth tone's empty position remains, singing the third tone "an ya yi yi", "xiao yao ren yin", "mu ma mei mi", "mu mao mei min", the fourth tone "fu fa xiao fei", "fu fan xiao fei", "wu wan xiao wei", "wen wan xiao wei", and the fifth tone's water and fire lines "bu bai bing bi", "bu bai bei bi". Both diagrams are not yet fully sung and will be continued in the following text.

十聲 普撲品匹●●●● 三聲 宅宅宅宅臣引艮○；旁排平瓶●●●● 宅宅宅宅君允巽○；東丹帝■●●●● 宅宅宅宅刀早孝嶽；六音 兌大弟■●●●● 十二音 宅宅宅宅毛寶報霍；十聲 土貪天■●●●● 四聲 宅宅宅宅牛斗奏六；同覃田■●●●● 宅宅宅宅○○○玉；乃你女■●●●● 宅宅宅宅妻子四日；七音 內南年■●●●● 十二音 宅宅宅宅衰○帥骨；十聲 老冷呂■●●●● 五聲 宅宅宅宅○○○德；鹿犖離■●●●● 宅宅宅宅龜水貴北。

Continuing from the previous two comparison tables 「Upper tone with rising and singing of the second of the tenth tones」 and 「Vocalization with turbid and harmonious tones of the second of the twelfth」. The left half belongs to the correct tone chart: the tones sung are the tenth tone, while the tenth tone such as 「monthly tone rising」 originally has no tone position, so after each line of phonetic characters, 「●●●●」 is added, with all four columns empty. The listed tone positions are the last two levels of the fifth tone 「Pu Pu Pin Pi」, the four levels of the sixth tone 「Dong Dan Di ■」, 「Dui Da Di ■」, 「Tu Tan Tian ■」, 「Tong Tan Tian ■」, the four levels of the seventh tone 「Nai Ni Nu ■」, 「Nei Nan Nian ■」, 「Lao Leng Lv ■」, 「Lu Luo Li ■」; the fourth column of the sixth and seventh tones is uniformly marked as 「■」, indicating that there is no tone position to establish there. The right half belongs to the correct tone chart: the initial 「Zhai Zhai Zhai Zhai」 is the twelfth tone 「Zhai」 being harmonized, followed by the third tone 「Chen Yin Gen ○」, 「Jun Yun Xun ○」, the fourth tone 「Dao Zao Xiao Yue」, 「Mao Bao Bao Huo」, 「Niu Dou Zou Liu」, 「○○○ Yu」, the fifth tone 「Zi Qi Si Ri」, 「Shuai ○ Shuai Gu」, 「○○○ De」, 「Gui Shui Gui Bei」. 「○」 indicates that there is a tone position but no character to match, clearly different from 「●」 which means there is no tone position at all. The correct tone chart has four columns per tone, from left to right corresponding to open, initial, closing, and final; the correct tone chart has four columns per tone, from left to right corresponding to level, rising, falling, and entering. For example, the sixth tone 「Dong Dan Di ■」, Dong is in the open position, Dan is in the initial position, Di is in the closing position, and the final position has no tone; the fourth tone 「Dao Zao Xiao Yue」, Dao is level tone, Zao is rising tone, Xiao is falling tone, Yue is entering tone, with all four columns fully present.

走哉足■●●●● 宅宅宅宅宮孔眾○；八音 自在匠■●●●● 十二音 宅宅宅宅龍甬用○；十聲 草采七■●●●● 六聲 宅宅宅宅魚鼠去○；曹才全■●●●● 宅宅宅宅烏虎兔○；思三星■●●●● 宅宅宅宅心審禁○；九音 寺□象■●●●● 十二音 宅宅宅宅○○○十；十聲 □□□■●●●● 七聲 宅宅宅宅男坎欠○；□□□■●●●● 宅宅宅宅○○○妾。

The two tables continue downward. The chart of correct tones lists four categories under the eighth tone: "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", and "Cao Cai Quan ■", and four categories under the ninth tone: "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", and "□ □ □ ■". At the end of the line, it still ends with "●●●●", indicating that the tenth tone has no position to be assigned. The last two categories of the ninth tone have the first three characters written as "□", meaning that there was a tone position but no corresponding character available; the last character in each of the four categories is marked with "■", indicating that there was no tone position at all. On the right side, it still harmonizes with the twelfth tone "Zhai", sequentially matching the sixth tone's "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", and "Wu Hu Tu ○", and the seventh tone's "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", and "○○○ Qie". The empty spaces in each line of these two tones are all marked with "○", indicating that the tone positions are real but no corresponding characters could be provided at that time. The headings at the beginning of each line, "Ba Yin" and "Jiu Yin", indicate the tone levels on the left table, "Shi Sheng" indicates the tone being sung, and "Shi Er Yin", "Liu Sheng", and "Qi Sheng" indicate the tones being harmonized with and the tones being matched on the right table. Considering the four categories, the eighth tone "Zou Zai Zu ■" has "Zou" belonging to the open position, "Zai" to the initial position, "Zu" to the closing position, and the closed position has no tone; the sixth tone "Gong Kong Zhong ○" has "Gong" as level tone, "Kong" as rising tone, "Zhong" as falling tone, and the entering tone has a position but no corresponding character.

■山手■●●●● 宅宅宅宅●●●●；十音 ■士石■●●●● 十二音 宅宅宅宅●●●●；十聲 ■□耳■●●●● 八聲 宅宅宅宅●●●●；■□二■●●●● 宅宅宅宅●●●●；■莊震■●●●● 宅宅宅宅●●●●；十一音 ■乍□■●●●● 十二音 宅宅宅宅●●●●；十聲 ■叉赤■●●●● 九聲 宅宅宅宅●●●●；■崇辰■●●●● 宅宅宅宅●●●●；■卓中■●●●● 宅宅宅宅●●●●；十二音 ■宅直■●●●● 十二音 宅宅宅宅●●●●；十聲 ■拆丑■●●●● 十聲 宅宅宅宅●●●●；■茶呈■●●●● 宅宅宅宅●●●●。

The last three sounds in the Zhengyin Tu are listed here: the tenth sound 「■shan shou■」「■shi shi■」「■□er■」「■□er■」, the eleventh sound 「■zhuang zhen■」「■zha □■」「■cha chi■」「■chong chen■」, and the twelfth sound 「■zhuo zhong■」「■zhai zhi■」「■che chou■」「■cha cheng■」. The first and last characters of these three sounds are all marked 「■」, indicating that among the four levels, only the middle two can produce sounds, while the ends have no sound positions. Occasionally, the symbol 「□」 appears, such as in 「■□er■」「■□er■」「■zha □■」, which indicates there is a position but no character. The sound sung remains the tenth tone, so the last four characters on the left side are all marked 「●」. On the right side, the twelfth sound 「zhai」 is paired with the eighth, ninth, and thirteenth tones, but these three tones do not produce sounds within the 「shangsheng xi」 series, so after 「zhai zhai zhai zhai」, the four characters are neatly filled with 「●●●●」, with no characters written. The row labels 「shiyin」「shiyin」「shiyin」 indicate the sound level, 「sheng」 indicates the tone sung, and 「basheng」「jusheng」「shusheng」 indicate the tones paired on the right table. The three sounds below the tenth sound only produce sounds at the beginning and end: 「■shi shi■」 has only the characters shi and shi, and 「■zhuo zhong■」 has only the characters zhuo and zhong. The opening and closing ends are all marked 「■」. The sound and harmony diagram from the Guanwu Chapter forty ends here.

月星聲上闢 火土音發清；宰井引斗○ 巧瓦馬晚樸貪；鼠坎●●● 冷採□□義坼；月星聲七，下唱地之 火土音十二，上和天；用音一百五十二，是 之用聲一百一十二， 謂上聲闢音。上聲闢 是謂發音清聲。發音；音一千六十四。 清聲一千三百四十四。 月星聲上之三辟 火土音發之三清。

This passage is divided into two columns. The left column, titled 「月星声上辟」, refers to the ten categories of correct tones, specifically the upper tones in the third row of the star sequence, which corresponds to the open sound 「辟」. The right column, titled 「火土音发清」, refers to the twelve categories of correct sounds, specifically the sound category in the third row of the earth sequence, which corresponds to the clear sound 「清」. Below these titles, the representative characters for each category are listed: the ten sounds of 「上声辟」 are in order 宰, 井, 引, 斗, ○, 鼠, 坎, ●, ●, ●; the twelve sounds of 「发音清」 are in order 巧, 瓦, 马, 晚, 朴, 贪, 冷, 采, □, □, 义, 坼. The symbols have specific meanings: 「○」 indicates a sound position with no corresponding character, 「●」 indicates a position without sound, 「□」 indicates a sound position with no corresponding character, and 「■」 indicates a position without sound. Below these, there are notes that read the two columns together: the left column reads 「月星声七，下唱地之用音一百五十二，是谓上声辟音，上声辟音一千六十四」, meaning that among the ten sounds, there are actually seven sounds, and seven multiplied by 152 gives exactly 1064; the right column reads 「火土音十二，上和天之用声一百一十二，是谓发音清声，发音清声一千三百四十四」, meaning that each of the twelve sounds corresponds to 112 tones, resulting in exactly 1344. The final line 「月星声上之三辟」「火土音发之三清」 indicates that the following tables all belong to the third category, hence their titles are all referred to as 「唱吕三之某」「和律三之某」. The title of the passage 「月星」「火土」 both use two characters: 「月」 refers to the upper tones, and 「星」 refers to the third row of the correct tone diagram; 「火」 refers to the sound category, and 「土」 refers to the third row of the correct sound diagram. Shao Yong paired the rising and falling tones with the sun, moon, and stars, and paired the opening and closing sounds with water, fire, earth, and stone, hence the title of the passage simultaneously indicates tone categories, rows, opening and closing, and clear and浊 sounds.

上聲闢唱呂三之一 發音清和律三之一；古甲九癸宰宰宰宰 巧巧巧巧多可個舌；一音 □□近揆宰宰宰宰 一音 巧巧巧巧禾火化八；一聲 坤巧丘棄宰宰宰宰 一聲 巧巧巧巧開宰愛○；□□乾蚪宰宰宰宰 巧巧巧巧回每退○；黑花香血宰宰宰宰 巧巧巧巧良兩向○；二音 黃華雄賢宰宰宰宰 一音 巧巧巧巧光廣況○；一聲 五瓦仰□宰宰宰宰 二聲 巧巧巧巧丁井亙○；吾牙月堯宰宰宰宰 巧巧巧巧兄永瑩○；安亞乙一宰宰宰宰 巧巧巧巧乾典旦○；三音 □爻壬寅宰宰宰宰 一音 巧巧巧巧元犬半○；一聲 母馬美米宰宰宰宰 三聲 巧巧巧巧臣引艮○；目貌眉民宰宰宰宰 巧巧巧巧君允巽○；夫法□飛宰宰宰宰 巧巧巧巧刀早孝嶽；四音 父凡□吠宰宰宰宰 一音 巧巧巧巧毛寶報霍；一聲 武晚□尾宰宰宰宰 四聲 巧巧巧巧牛斗奏六；文萬□未宰宰宰宰 巧巧巧巧○○○玉。

"The upper tone 'Shangsheng' is divided into three parts, with the first part 'Bì' being the first tone 'Zai', which is used to sing through the correct tone chart, so after each row of tone characters, 'Zai Zai Zai Zai' is added four times; 'Clear tone and law three parts, first part' refers to using the first clear tone 'Qiao' to harmonize with the correct tone chart, so before each row of tone characters, 'Qiao Qiao Qiao Qiao' is added. On the left side, the four levels of the first tone are listed in order: 'Gu Jia Ji Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Tu'; the four levels of the second tone are: 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; the four levels of the third tone are: 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'; the four levels of the fourth tone are: 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'; among these, the '□' in '□□ Jin Kui', '□□ Qian Tu', 'Wu Wa Yang □', '□ Yao Ren Yin', 'Fu Fa □ Fei' indicate that there are tone positions but no corresponding characters. On the right side, the four levels of the first tone are listed in order: 'Du Ke Ge She', 'He Huo Hua Ba', 'Kai Zai Ai ○', 'Hui Mei Tui ○'; the four levels of the second tone are: 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○'; the four levels of the third tone are: 'Gan Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○'; the four levels of the fourth tone are: 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'; the '○' in the rows indicate that there are sound positions but no corresponding characters. The original text for the third tone's first level is 'Gan Dian Dan ○', and 'Gan' is likely a mistake for 'Qian'. The row labels 'One tone' to 'Four tones' refer to the left chart of tone levels, while 'One tone' to 'Four tones' refer to the right chart of tone categories. The four sections of the tone chart are in order: open, release, close, and close, so the first tone should be read as 'Gu' (open), 'Jia' (release), 'Jiu' (close), and 'Gui' (close); the four sections of the sound chart are in order: level, rising, falling, and entering, so the first tone should be read as 'Du' (level), 'Ke' (rising), 'Ge' (falling), and 'She' (entering). The 'Zai' sung in this chart is exactly the third level of the first tone 'Kai Zai Ai ○' in the rising tone category."

卜百丙必宰宰宰宰 巧巧巧巧妻子四日；五音 步白備鼻宰宰宰宰 一音 巧巧巧巧衰○帥骨；一聲 普撲品匹宰宰宰宰 五聲 巧巧巧巧○○○德；旁排平瓶宰宰宰宰 巧巧巧巧龜水貴北；東丹帝■宰宰宰宰 巧巧巧巧宮孔眾○；六音 兌大弟■宰宰宰宰 一音 巧巧巧巧龍甬用○；一聲 上貪天■宰宰宰宰 六聲 巧巧巧巧魚鼠去○；同覃田■宰宰宰宰 巧巧巧巧烏虎兔○；乃你女■宰宰宰宰 巧巧巧巧心審禁○；七音 內南年■宰宰宰宰 一音 巧巧巧巧○○○十；一聲 老冷呂■宰宰宰宰 七聲 巧巧巧巧男坎欠○；鹿犖離■宰宰宰宰 巧巧巧巧○○○妾；走哉足■宰宰宰宰 巧巧巧巧●●●●；八音 自在匠■宰宰宰宰 一音 巧巧巧巧●●●●；一聲 草采七■宰宰宰宰 八聲 巧巧巧巧●●●●；曹才全■宰宰宰宰 巧巧巧巧●●●●。

The same pair of characters 「宰」 and 「巧」 are continued below. The section of the rhyme chart for the fifth tone includes four categories: 「卜百丙必」「步白备鼻」「普扑品匹」「旁排平瓶」. The sixth tone includes four categories: 「东丹帝■」「兑大弟■」「上贪天■」「同覃田■」. The seventh tone includes four categories: 「乃你女■」「内南年■」「老冷吕■」「鹿荦离■」. The eighth tone includes four categories: 「走哉足■」「自在匠■」「草采七■」「曹才全■」. Among these, the third category of the sixth tone originally reads 「上贪天■」, where 「上」 is likely a mistake for 「土」. All four categories of the fifth tone have characters, but for the sixth, seventh, and eighth tones, the fourth category is uniformly marked with 「■」, indicating that there was no sound in the closed position. The section of the rhyme chart for the fifth tone onwards is as follows: 「妻子四日」「衰○帅骨」「○○○德」「龟水贵北」 are the four categories of the fifth tone; 「宫孔众○」「龙甬用○」「鱼鼠去○」「乌虎兔○」 are the four categories of the sixth tone; 「心审禁○」「○○○十」「男坎欠○」「○○○妾」 are the four categories of the seventh tone. For the eighth tone, all four lines are marked with 「●●●●」, because the rising tone is silent from the eighth tone onwards. The 「○」 in 「衰○帅骨」「○○○德」「○○○十」「○○○妾」 indicates cases where there was a position but no character. The 「巧」 used in this chart corresponds to the first tone's third category 「坤巧丘弃」, which is one of the positions. All characters used as headings are taken from a specific column in the chart, and when reading the chart, one can find the corresponding character by following the heading.

思三星■宰宰宰宰 巧巧巧巧●●●●；九音 寺□象■宰宰宰宰 一音 巧巧巧巧●●●●；一聲 □□□■宰宰宰宰 九聲 巧巧巧巧●●●●；□□□■宰宰宰宰 巧巧巧巧●●●●；■山手■宰宰宰宰 巧巧巧巧●●●●；十音 ■士石■宰宰宰宰 一音 巧巧巧巧●●●●；一聲 ■□耳■宰宰宰宰 十聲 巧巧巧巧●●●●；■□二■宰宰宰宰 巧巧巧巧●●●●；發音清和律三之二；■莊震■宰宰宰宰 瓦瓦瓦瓦多可個舌；十一音 ■乍□■宰宰宰宰 二音 瓦瓦瓦瓦禾火化八；一聲 ■叉赤■宰宰宰宰 一聲 瓦瓦瓦瓦開宰愛○；■崇辰■宰宰宰宰 瓦瓦瓦瓦回每退○；■卓中■宰宰宰宰 瓦瓦瓦瓦良兩向○；十二音 ■宅直■宰宰宰宰 二音 瓦瓦瓦瓦光廣況○；一聲 ■拆丑■宰宰宰宰 二聲 瓦瓦瓦瓦丁井亙○；■茶呈■宰宰宰宰 瓦瓦瓦瓦兄永瑩○。

The last four sounds of the Zhengyin Tu are listed here: the ninth sound includes 「Si San Xing ■」, 「Si ■ Xiang ■」, 「■ ■ ■ ■」, and 「■ ■ ■ ■」; the tenth sound includes 「■ Shan Shou ■」, 「■ Shi Shi ■」, 「■ ■ Er ■」, and 「■ ■ Er ■」; the eleventh sound includes 「■ Zhuang Zhen ■」, 「■ Zha ■ ■」, 「■ Cha Chi ■」, and 「■ Chong Chen ■」; the twelfth sound includes 「■ Zhuo Zhong ■」, 「■ Zhai Zhi ■」, 「■ Chai Chou ■」, and 「■ Cha Cheng ■」. These four sounds have many missing characters. The 「□」 indicates a position with no character, while the 「■」 indicates no position at all. The sound being sung remains the first tone 「Zai」. The first eight lines on the right side are the first sound 「Qiao」 harmonizing with the ninth and tenth tones, but these two tones have no positions, so the entire line is written as 「●●●●」. Afterwards, a new section titled 「Fayin Qing He Lu San Zhi Er」 begins, with the second sound 「Wa」 harmonizing with the standard tone: 「Du Ke Ge She」, 「He Huo Hua Ba」, 「Kai Zai Ai ○」, and 「Hui Mei Tui ○」 are the four variations of the first tone, while 「Liang Liang Xiang ○」, 「Guang Guang Kuang ○」, 「Ding Jing Geng ○」, and 「Xiong Yong Ying ○」 are the four variations of the second tone. The left table has forty-eight lines and the right table has forty lines, making the number of lines unequal. Therefore, the tone table is not yet complete while the tone table has already changed to a new section. Subsequent sections follow this pattern of irregular shifts, so there is no need to doubt they are misplaced. From the tenth to the twelfth tones, both open and closed positions are missing, so each line has 「■」 at the beginning and end, with characters only at the start and end positions, making this section the most incomplete among the twelve tones.

上聲闢唱呂三之二；古甲九癸井井井井 瓦瓦瓦瓦千典旦○；一音 □□近揆井井井井 二音 瓦瓦瓦瓦元犬半○；二聲 坤巧丘棄井井井井 三聲 瓦瓦瓦瓦臣引艮○；□□乾蚪井井井井 瓦瓦瓦瓦君允巽○；黑花香血井井井井 瓦瓦瓦瓦刀早孝嶽；二音 黃華雄賢井井井井 二音 瓦瓦瓦瓦毛寶報霍；二聲 五瓦仰□井井井井 四聲 瓦瓦瓦瓦牛斗奏六；吾牙月堯井井井井 瓦瓦瓦瓦○○○玉；安亞乙一井井井井 瓦瓦瓦瓦妻子四日；三音 □爻壬寅井井井井 二音 瓦瓦瓦瓦衰○帥骨；二聲 母馬美米井井井井 五聲 瓦瓦瓦瓦○○○德；目貌眉民井井井井 瓦瓦瓦瓦龜水貴北；夫法□飛井井井井 瓦瓦瓦瓦宮孔眾○；四音 父凡□吠井井井井 二音 瓦瓦瓦瓦龍甬用○；二聲 武晚□尾井井井井 六聲 瓦瓦瓦瓦魚鼠去○；文萬□未井井井井 瓦瓦瓦瓦烏虎兔○。

"Upper tone 'Bi' sings 'Jing' for the second sound, starting a new table. The sound 'Jing' is sung throughout, with each line ending in 'Jing Jing Jing Jing'. The tones sung are the first four levels of the first tone: 'Gu Jia Jiui Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Yu'; the second four levels of the second tone: 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; the third four levels of the third tone: 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'; the fourth four levels of the fourth tone: 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'. These are exactly the same as the previous table, differing only in the sound used, which is changed from 'Zai' to 'Jing'. The right half continues with 'Clear and Harmonious Law Three Two', still using the second sound 'Wa' as the basis, then listing the third tone's four levels: 'Qian Dian Dan □', 'Yuan Quan Ban □', 'Chen Yin Gen □', 'Jun Yun Xun □'; the fourth tone's four levels: 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '□ □ □ Yu'; the fifth tone's four levels: 'Zi Qi Si Ri', 'Shuai □ Shuai Gu', '□ □ □ De', 'Gui Shui Gui Bei'; the sixth tone's four levels: 'Gong Kong Zhong □', 'Long Yong Yong □', 'Yu Shu Qu □', 'Wu Hu Tu □'. All instances marked with '□' indicate that the sound position exists but there is no corresponding character. After finishing one table, another table is started, with the singer advancing one tone while the tones sung remain unchanged. Ten tones are sung in sequence, and the diagram of correct tones is thus sung ten times, which is why it is called 'Singing Lu'."

卜百丙必井井井井 瓦瓦瓦瓦心審禁○；五音 步白備鼻井井井井 二音 瓦瓦瓦瓦○○○十；二聲 普撲品匹井井井井 七聲 瓦瓦瓦瓦男坎欠○；旁排平瓶井井井井 瓦瓦瓦瓦○○○妾；東丹帝■井井井井 瓦瓦瓦瓦●●●●；六音 兌大弟■井井井井 二音 瓦瓦瓦瓦●●●●；二聲 土貪天■井井井井 八聲 瓦瓦瓦瓦●●●●；同覃田■井井井井 瓦瓦瓦瓦●●●●；乃你女■井井井井 瓦瓦瓦瓦●●●●；七音 內南年■井井井井 二音 瓦瓦瓦瓦●●●●；二聲 老冷呂■井井井井 九聲 瓦瓦瓦瓦●●●●；鹿犖離■井井井井 瓦瓦瓦瓦●●●●；走哉足■井井井井 瓦瓦瓦瓦●●●●；八音 自在匠■井井井井 二音 瓦瓦瓦瓦●●●●；二聲 草采七■井井井井 十聲 瓦瓦瓦瓦●●●●；曹才全■井井井井 瓦瓦瓦瓦●●●●。

The character 「井」sings and 「瓦」responds, indicating continuation. The diagram of correct tones lists the fifth tone as 「卜百丙必」「步白备鼻」「普扑品匹」「旁排平瓶」, the sixth tone as 「东丹帝■」「兑大弟■」「土贪天■」「同覃田■」, the seventh tone as 「乃你女■」「内南年■」「老冷吕■」「鹿荦离■」, and the eighth tone as 「走哉足■」「自在匠■」「草采七■」「曹才全■」. In the fourth column of the sixth, seventh, and eighth tones, the character 「■」appears, indicating a closed position with no sound. On the side of the diagram of correct tones, starting from the seventh tone, the entries are 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, and there are still characters that can be cited. However, the eighth, ninth, and thirteenth tones, which total twelve rows, are all marked as 「●●●●」, because the system of rising tones only has sound in the first seven tones, and the last three tones have no sound positions. This aligns with the opening statement 「月星声七」, which means that out of ten tones, seven are actually used. The headings at the beginning of each row, such as 「五音」to 「八音」, indicate the corresponding tones on the left table, while 「二声」indicates that the sung tone is the second tone 「井」. On the right side, the headings such as 「二音」indicate that the responding tone is the second tone 「瓦」, and 「七声」and below indicate the corresponding tones. The left table sings one tone and covers all forty-eight positions of the twelve tones, while the right table responds to one tone and covers all forty positions of the ten tones. Therefore, the left table is always eight rows longer than the right table.

發音清和律三之三；思三星■井井井井 馬馬馬馬多可個舌；九音 寺□象■井井井井 三音 馬馬馬馬禾火化八；二聲 □□□■井井井井 一聲 馬馬馬馬開宰愛○；□□□■井井井井 馬馬馬馬回每退○；■山手■井井井井 馬馬馬馬良兩向○；十音 ■士石■井井井井 三音 馬馬馬馬光廣況○；二聲 ■□耳■井井井井 二聲 馬馬馬馬丁井亙○；■□二■井井井井 馬馬馬馬兄永瑩○；■莊震■井井井井 馬馬馬馬千典旦○；十一音 ■乍□■井井井井 三音 馬馬馬馬元犬半○；二聲 ■叉赤■井井井井 三聲 馬馬馬馬臣引艮○；■崇辰■井井井井 馬馬馬馬君允巽○；■卓中■井井井井 馬馬馬馬刀早孝嶽；十二音 ■宅直■井井井井 三音 馬馬馬馬毛寶報霍；二聲 ■拆丑■井井井井 四聲 馬馬馬馬牛斗奏六；■茶呈■井井井井 馬馬馬馬○○○玉。

"Phonetic clarity and harmony of the third tone three times" starts a new section, changing to the third tone "Ma" for harmonizing with the standard tone, so each line on the right side begins with "Ma Ma Ma Ma". The left side still belongs to the "Well" section, listing the last four tones of the standard phonetic chart: the ninth tone "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■", the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ □ Er ■", "■ □ Er ■", the eleventh tone "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", "■ Chong Chen ■", and the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". On the right side, starting from the first tone, the four categories are: first tone "Da Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○"; second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○"; third tone "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○"; fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○ ○ ○ Yu". The left chart uses "□" and "■", while the right chart uses "○" and "●". These two sets of symbols have distinct functions and cannot be mixed or treated as missing characters to be deleted. From the ninth tone "Si San Xing ■" onwards, any entire line marked as "□ □ □ ■" remains in its position, as the number of sounds is calculated by multiplying according to their positions. Deleting one position would result in an incorrect total.

上聲闢唱呂三之三；古甲九癸引引引引 馬馬馬馬妻子四日；一音 □□近揆引引引引 三音 馬馬馬馬衰○帥骨；三聲 坤巧丘棄引引引引 五聲 馬馬馬馬○○○德；□□乾蚪引引引引 馬馬馬馬龜水貴北；黑花香血引引引引 馬馬馬馬宮孔眾○；二音 黃華雄賢引引引引 三音 馬馬馬馬龍甬用○；三聲 五瓦仰□引引引引 六聲 馬馬馬馬魚鼠去○；吾牙月堯引引引引 馬馬馬馬烏虎兔○；安亞乙一引引引引 馬馬馬馬心審禁○；三音 □爻壬寅引引引引 三音 馬馬馬馬○○○十；三聲 母馬美米引引引引 七聲 馬馬馬馬男坎欠○；目貌眉民引引引引 馬馬馬馬○○○妾；夫法□飛引引引引 馬馬馬馬●●●●；四音 父凡□吠引引引引 三音 馬馬馬馬●●●●；三聲 武晚□尾引引引引 八聲 馬馬馬馬●●●●；文萬□未引引引引 馬馬馬馬●●●●。

"The upper tone 'Shangsheng' is used to sing the third tone 'Yin' three times, and the word 'Yin' is repeated at the end of each line, resulting in 'YinYinYinYin'. The listed words remain the first tone 'GujiajiuGui', '□□Jin Kui', 'Kun QiaoQiuQi', '□□QianYu', the second tone 'Hei HuaXiang Xue', 'Huang HuaXiong Xian', 'WuWa Yang□', 'WuYa YueYao', the third tone 'AnYaYiYi', '□Yao RenYin', 'MuMa MeiMi', 'Mu MaoMei Min', and the fourth tone 'FuFa□Fei', 'Fu Fan□Fei', 'Wu Wan□Wei', 'Wen Wan□Wei'. The right half continues with the third tone 'Ma', listing the fifth tone in four categories 'ZiqiSiri', 'Shuai○ShuaiGu', '○○○De', 'Gui ShuiGui Bei', the sixth tone in four categories 'Gong KongZhong○', 'Long YongYong○', 'Yu ShuQu○', 'WuHuTu○', the seventh tone in four categories 'Xin ShenJin○', '○○○Shi', 'Nan KanQian○', '○○○Jie', and by the eighth tone, all four lines are marked as '●●●●'. The same set of phonetic characters reappear, but the tones they are paired with change progressively, which is the method of 'Changhe' (singing and harmonizing): ten tones take turns singing the twelve phonetic categories, and the twelve phonetic categories take turns harmonizing the ten tones, thus deriving the number of all sounds in the world. 'Yin' refers to the first category of the third tone 'Chen YinGen○', and 'Ma' refers to the first category of the third tone 'MuMa MeiMi', with the headings corresponding directly to the characters in the diagram."

卜百丙必引引引引 馬馬馬馬●●●●；五音 步白備鼻引引引引 三音 馬馬馬馬●●●●；三聲 普撲品匹引引引引 九聲 馬馬馬馬●●●●；旁排平瓶引引引引 馬馬馬馬●●●●；東丹帝■引引引引 馬馬馬馬●●●●；六音 兌大弟■引引引引 三音 馬馬馬馬●●●●；三聲 土貪天■引引引引 十聲 馬馬馬馬●●●●；同覃田■引引引引 馬馬馬馬●●●●；發音清和律三之四；乃你女■引引引引 晚晚晚晚多可個舌；七音 內南年■引引引引 四音 晚晚晚晚禾火化八；三聲 老冷呂■引引引引 一聲 晚晚晚晚開宰愛○；鹿犖離■引引引引 晚晚晚晚回每退○；走哉足■引引引引 晚晚晚晚良兩向○；八音 自在匠■引引引引 四音 晚晚晚晚光廣況○；三聲 草采七■引引引引 二聲 晚晚晚晚丁井亙○；曹才全■引引引引 晚晚晚晚兄永瑩○。

This passage is divided into two parts on either side. The phonetic chart first presents the fifth tone with the phrases "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", and "Pang Pai Ping Ping", and the sixth tone with "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", and "Tong Tan Tian ■", still using the third tone "Yin" for singing. In the middle, it inserts the section "Phonetic Pronunciation Clear and Harmonious, Third and Fourth Laws", indicating that the right chart now shifts to the fourth tone "Wan" for harmony, after which the left chart continues with the seventh tone "Nai Ni Nü ■", "Nei Nan Nian ■", "Lao Leng Lv ■", and "Lu Luo Li ■", and the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", and "Cao Cai Quan ■". The first eight lines on the right side are paired with the third tone "Ma" and the ninth and tenth tones, both of which have no tone positions, so they are all marked as "●●●●". After changing the section, the fourth tone "Wan" starts from the first tone, listing "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", followed by the second tone's "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", and "Xiong Yong Ying ○". The phonetic chart has forty-eight lines and the tone chart forty lines, with uneven lengths, so the section changes always fall within the lines. The section for the fourth tone "Wan" is taken from the third level of the fourth tone "Wu Wan □ Wei" in the phonetic chart; among the four levels of "Wu Wan □ Wei", there are no characters in the receiving position, so it is marked as "□".

思三星■引引引引 晚晚晚晚千典旦○；九音 寺□象■引引引引 四音 晚晚晚晚元犬半○；三聲 □□□■引引引引 三聲 晚晚晚晚臣引艮○；□□□■引引引引 晚晚晚晚君允巽○；■山手■引引引引 晚晚晚晚刀早孝嶽；十音 ■士石■引引引引 四音 晚晚晚晚毛寶報霍；三聲 ■□耳■引引引引 四聲 晚晚晚晚牛斗奏六；■□二■引引引引 晚晚晚晚○○○玉；■莊震■引引引引 晚晚晚晚妻子四日；十一音 ■乍□■引引引引 四音 晚晚晚晚衰○帥骨；三聲 ■叉赤■引引引引 五聲 晚晚晚晚○○○德；■崇辰■引引引引 晚晚晚晚龜水貴北；■卓中■引引引引 晚晚晚晚宮孔眾○；十二音 ■宅直■引引引引 四音 晚晚晚晚龍甬用○；三聲 ■拆丑■引引引引 六聲 晚晚晚晚魚鼠去○；■茶呈■引引引引 晚晚晚晚烏虎兔○。

The "Yin" tone continues to descend with the "Wan" tone. The diagram of correct tones lists the last four tones: the ninth tone "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■"; the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ □ Er ■", "■ □ Er ■"; the eleventh tone "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", "■ Chong Chen ■"; the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". The right half begins with the fourth tone "Wan" in the upper harmony, followed by the third tone with four levels: "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○"; the fourth tone with four levels: "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○ ○ ○ Yu"; the fifth tone with four levels: "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei"; the sixth tone with four levels: "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The tones below the ninth tone mostly use "■", which Shao Yong believed represented positions where sound should not exist. The use of "□" indicates that the positions still exist, but there are no characters to fill them, and they may be filled in the future. The meanings of these symbols are different and should not be confused. The "Wan" harmony stops at the sixth tone "Wu Hu Tu ○", and the next section continues with the seventh tone, showing that one tone must be harmonized across ten tones and forty positions to form one diagram.

上聲闢唱呂三之四；古甲九癸斗斗斗斗 晚晚晚晚心審禁○；一音 □□近揆斗斗斗斗 四音 晚晚晚晚○○○十；四聲 坤巧丘棄斗斗斗斗 七聲 晚晚晚晚男坎欠○；□□乾蚪斗斗斗斗 晚晚晚晚○○○妾；黑花香血斗斗斗斗 晚晚晚晚●●●●；二音 黃華雄賢斗斗斗斗 四音 晚晚晚晚●●●●；四聲 五瓦仰□斗斗斗斗 八聲 晚晚晚晚●●●●；吾牙月堯斗斗斗斗 晚晚晚晚●●●●；安亞乙一斗斗斗斗 晚晚晚晚●●●●；三音 □爻壬寅斗斗斗斗 四音 晚晚晚晚●●●●；四聲 母馬美米斗斗斗斗 九聲 晚晚晚晚●●●●；目貌眉民斗斗斗斗 晚晚晚晚●●●●；夫法□飛斗斗斗斗 晚晚晚晚●●●●；四音 父凡□吠斗斗斗斗 四音 晚晚晚晚●●●●；四聲 武晚□尾斗斗斗斗 十聲 晚晚晚晚●●●●；文萬□未斗斗斗斗 晚晚晚晚●●●●。

The tone "Shang Sheng Pi" is changed to use the fourth tone "Dou" of "Shang Sheng Pi" for singing the correct tone, resulting in "Dou Dou Dou Dou" at the end of each line. The tone positions sung remain the first tone "Gu Jia Ji Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Tu," the second tone "He Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao," the third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min," and the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." In the fourth tone third category "Wu Wan □ Wei," the character "Wan" corresponds exactly to the fourth tone heading in the right table, allowing for cross-reference. The right half still continues with the fourth tone "Wan," starting with the seventh tone fourth category "Xin Shen Jin ○," "○○○ Shi," "Nan Kan Qian ○," "○○○ Qie," followed by the eighth, ninth, and thirteenth tones, totaling twelve lines all marked as "●●●●." This shows that among the ten tones, "Shang Sheng Pi" only has actual tone positions in the first seven categories, while the last three are empty. The table explicitly marks these empty categories rather than omitting them, to clearly calculate the number of tones on the diagram. "Dou" refers to the first category of the fourth tone "Niu Dou Zou Liu." Among the ten tones, the tones "Zai," "Jing," "Yin," and "Dou" have characters, but from the fifth tone onwards, there are positions without characters.

發音清和律三之五；卜百丙必斗斗斗斗 樸樸樸樸多可個舌；五音 步白備鼻斗斗斗斗 五音 樸樸樸樸禾火化八；四聲 普撲品匹斗斗斗斗 一聲 樸樸樸樸開宰愛○；旁排平瓶斗斗斗斗 樸樸樸樸回每退○；東丹帝■斗斗斗斗 樸樸樸樸良兩向○；六音 兌大弟■斗斗斗斗 五音 樸樸樸樸光廣況○；四聲 土貪天■斗斗斗斗 二聲 樸樸樸樸丁井亙○；同覃田■斗斗斗斗 樸樸樸樸兄永瑩○；乃你女■斗斗斗斗 樸樸樸樸千典旦○；七音 內南年■斗斗斗斗 五音 樸樸樸樸元犬半○；四聲 老冷呂■斗斗斗斗 三聲 樸樸樸樸臣引艮○；鹿犖離■斗斗斗斗 樸樸樸樸君允巽○；走哉足■斗斗斗斗 樸樸樸朴刀早孝嶽；八音 自在匠■斗斗斗斗 五音 樸樸樸樸毛寶報霍；四聲 草采七■斗斗斗斗 四聲 樸樸樸樸牛斗奏六；曹才全■斗斗斗斗 樸樸樸樸○○○玉。

A section titled "Phonetic clarity and the third level of the fifth tone" is established separately. The right table is revised to use the fifth tone "Pu" as the standard tone, with each line prefixed by "PuPuPuPu." "Pu" refers to the second character of the third rank in the fifth tone of the standard tone chart, "Pu Pu Pin Pi." The heading at the beginning of the section is marked as "Pu," while within the table it is written as "Pu," representing the same character with different script. The left half still follows the fourth tone "Dou," listing the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping," the sixth tone "Dong Dan Di ■," "Dui Da Di ■," "Tu Tan Tian ■," "Tong Tan Tian ■," the seventh tone "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," and the eighth tone "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■." The right half starts from the first tone: " Duo Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○," the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○," and the fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "○○○ Yu." The lines "Duo Ke Ge She" and "He Huo Hua Ba" contain all four categories of level, tone, and entry. The lines "Kai Zai Ai ○" and "Hui Mei Tui ○" lack characters in the entry tone category, so each is followed by an "○."

思三星■斗斗斗斗 樸樸樸樸妻子四日；九音 寺□象■斗斗斗斗 五音 樸樸樸樸衰○帥骨；四聲 □□□■斗斗斗斗 五聲 樸樸樸樸○○○德；□□□■斗斗斗斗 樸樸樸樸龜水貴北；■山手■斗斗斗斗 樸樸樸樸宮孔眾○；十音 ■士石■斗斗斗斗 五音 樸樸樸樸龍甬用○；四聲 ■□耳■斗斗斗斗 六聲 樸樸樸樸魚鼠去○；■□二■斗斗斗斗 樸樸樸樸烏虎兔○；■莊震■斗斗斗斗 樸樸樸樸心審禁○；十一音 ■乍□■斗斗斗斗 五音 樸樸樸樸○○○十；四聲 ■叉赤■斗斗斗斗 七聲 樸樸樸樸男坎欠○；■崇辰■斗斗斗斗 樸樸樸樸○○○妾；■卓中■斗斗斗斗 樸樸樸樸●●●●；十二音 ■宅直■斗斗斗斗 五音 樸樸樸樸●●●●；四聲 ■拆丑■斗斗斗斗 八聲 樸樸樸樸●●●●；■茶呈■斗斗斗斗 樸樸樸樸●●●●。

The "Dǒu" (a term in divination) sings and the "Pǔ" (another term) harmonizes, continuing the sequence. The diagram of correct tones concludes with the last four tones: the ninth tone includes "Si San Xing", "Si Xiao Xiang", "□□□", and "□□□"; the tenth tone includes "Shan Shou", "Shi Shi Shi", "□□Er", and "□□Er"; the eleventh tone includes "Zhuang Zhen", "Zha □", "Cha Chi", and "Chong Chen"; the twelfth tone includes "Zhuo Zhong", "Zhai Zhi", "Che Chou", and "Cha Cheng". Each ending is followed by "Dǒu Dǒu Dǒu Dǒu". The right half begins with the fifth tone "Pǔ" harmonizing, then lists the four categories of the fifth tone: "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", and "Gui Shui Gui Bei"; the sixth tone includes "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", and "Wu Hu Tu ○"; the seventh tone includes "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", and "○○○ Qie"; the eighth tone consists entirely of "●●●●". The four symbols must be remembered: "○" represents a position with sound but no character, "●" represents a position with no sound at all, "□" represents a position with sound but no character, and "■" represents a position with no sound at all. Among the twelve tones, the first five tones have many complete positions, but from the sixth tone onwards, the closed positions gradually become empty, and from the ninth tone onwards, the open positions also become empty. The more towards the end, the more the gaps increase, which is exactly what Shao Yong meant by the idea that tones have completeness and absence.

上聲闢唱呂三之五；古甲九癸○○○○ 樸樸樸樸●●●●；一音 □□近揆○○○○ 五音 樸樸樸樸●●●●；五聲 坤巧丘棄○○○○ 九聲 樸樸樸樸●●●●；□□乾蚪○○○○ 樸樸樸樸●●●●；黑花香血○○○○ 樸樸樸樸●●●●；二音 黃華雄賢○○○○ 五音 樸樸樸樸●●●●；五聲 五瓦仰□○○○○ 十聲 樸樸樸樸●●●●；吾牙月堯○○○○ 樸樸樸樸●●●●；發音清和律三之六；安亞乙一○○○○ 貪貪貪貪多可個舌；三音 □爻壬寅○○○○ 六音 貪貪貪貪禾火化八；五聲 母馬美米○○○○ 一聲 貪貪貪貪開宰愛○；目貌眉民○○○○ 貪貪貪貪回每退○；夫法□飛○○○○ 貪貪貪貪良兩向○；四音 父凡□吠○○○○ 六音 貪貪貪貪光廣況○；五聲 武晚□尾○○○○ 二聲 貪貪貪貪丁井亙○；文萬□未○○○○ 貪貪貪貪兄永瑩○。

The "upper tone" being sung is the fifth tone of "upper tone," which has a position but no character, so no character is written at the end, only four blanks "○○○○." On the left side, the first tone "Gu Jia Ji Gui," "□□ Jin Kui," "Kun Qiao Qiu Qi," "□□ Qian Yu" and the second tone "Hei Hua Xiang Xue," "Huang Hua Xiong Xian," "Wu Wa Yang □," "Wu Ya Yue Yao" are listed first. In the middle, the section "clear and harmonious tone, third law six" is inserted. On the right side, the sixth tone "Tan" is paired with the first tone, and then the left side continues with the third tone "An Ya Yi Yi," "□ Yao Ren Yin," "Mu Ma Mei Mi," "Mu Mao Mei Min" and the fourth tone "Fu Fa □ Fei," "Fu Fan □ Fei," "Wu Wan □ Wei," "Wen Wan □ Wei." The first eight lines on the right side pair the fifth tone "Pu" with the ninth and tenth tones, but the second tone has no position, so it is written as "●●●●" continuously. After changing the section, "Tan" starts from the first tone, listing "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○" and the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○." Although the fifth tone has no character to cite, its position cannot be removed, otherwise the number of ten tones would be insufficient. Among the ten tones, the fifth tone has a position but no character, and the eighth, ninth, and thirteenth tones also have no positions. Therefore, the actual number of tones used in the "upper tone" is seven, matching the initial statement "moon and star tones seven."

卜百丙必○○○○ 貪貪貪貪千典旦○；五音 步白備鼻○○○○ 六音 貪貪貪貪元犬半○；五聲 普撲品匹○○○○ 三聲 貪貪貪貪臣引艮○；旁排平瓶○○○○ 貪貪貪貪君允巽○；東丹帝■○○○○ 貪貪貪貪刀早孝嶽；六音 兌大弟■○○○○ 六音 貪貪貪貪毛寶報霍；五聲 土貪天■○○○○ 四聲 貪貪貪貪牛斗奏六；同覃田■○○○○ 貪貪貪貪○○○玉；乃你女■○○○○ 貪貪貪貪妻子四日；七音 內南年■○○○○ 六音 貪貪貪貪衰○帥骨；五聲 老冷呂■○○○○ 五聲 貪貪貪貪○○○德；鹿犖離■○○○○ 貪貪貪貪龜水貴北；走哉足■○○○○ 貪貪貪貪宮孔眾○；八音 自在匠■○○○○ 六音 貪貪貪貪龍甬用○；五聲 草采七■○○○○ 六聲 貪貪貪貪魚鼠去○；曹才全■○○○○ 貪貪貪貪烏虎兔○。

The fifth tone (which has a position but no character, hence marked as "○") is sung, and the sixth tone "Tan" is harmonized with it, continuing below. The main tone chart lists the fifth tone as "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; the sixth tone as "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; the seventh tone as "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; the eighth tone as "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". The end of each line still has four "○". The third entry of the sixth tone "Tu Tan Tian ■" contains "Tan", which is exactly the heading of the sixth tone used in the right table. The right half continues with the third tone's fourth entry "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○"; the fourth tone's fourth entry "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu"; the fifth tone's fourth entry "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei"; the sixth tone's fourth entry "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The left table uses "■" to mark closed positions with no sound, while the right table uses "○" to mark positions with no character. The symbols on both sides do not overlap. Within one table, the last four sections on the left side remain the same (this table is four "○"), and the first four sections on the right side also remain the same (this table is four "Tan"). This shows that the singer and the harmonizer remain stationary, while the corresponding positions shift line by line.

思三星■○○○○ 貪貪貪貪心審禁○；九音 寺□象■○○○○ 六音 貪貪貪貪○○○十；五聲 □□□■○○○○ 七聲 貪貪貪貪男坎欠○；□□□■○○○○ 貪貪貪貪○○○妾；■山手■○○○○ 貪貪貪貪●●●●；十音 ■士石■○○○○ 六音 貪貪貪貪●●●●；五聲 ■□耳■○○○○ 八聲 貪貪貪貪●●●●；■□二■○○○○ 貪貪貪貪●●●●；■莊震■○○○○ 貪貪貪貪●●●●；十一音 ■乍□■○○○○ 六音 貪貪貪貪●●●●；五聲 ■叉赤■○○○○ 九聲 貪貪貪貪●●●●；■崇辰■○○○○ 貪貪貪貪●●●●；■卓中■○○○○ 貪貪貪貪●●●●；十二音 ■宅直■○○○○ 六音 貪貪貪貪●●●●；五聲 ■拆丑■○○○○ 十聲 貪貪貪貪●●●●；■茶呈■○○○○ 貪貪貪貪●●●●。

The fifth tone is still being sung, and the sixth tone "Tan" is harmonizing. The diagram of correct tones ends with the last four tones: the ninth tone "Si San Xing", "Si Xiang Xiang", "San Xing Xiang", "San Xing Xiang"; the tenth tone "Shan Shou", "Shi Shi Shi", "Er Er E", "Er Er Er"; the eleventh tone "Zhuang Zhen", "Zha Xiang", "Cha Chi", "Chong Chen"; and the twelfth tone "Zhuo Zhong", "Zhai Zhi", "Chai Chou", "Cha Cheng". On the right side, "Tan" harmonizes with the fourth level of the seventh tone "Xin Shen Jin", "Shen Shen Shen Shí", "Nan Kan Qian", "Qian Qian Qian Qie". Below this, the eighth, ninth, and thirteenth tones, totaling twelve rows, are all marked as "●●●●". The four "○" at the end of each row on the left indicate tones that have a position but no character, while the four "●" at the end of each row on the right indicate tones that have neither position nor character. Although both types of blank spaces appear in the same row, their meanings are entirely different, and it is most important to distinguish them when reading the diagram. The row headings "Nine Tones" to "Twelve Tones" and "Five Tones" and "Six Tones" respectively indicate the tone levels being sung on the left table and the tones being harmonized on the right table. By this point, the sixth tone "Tan" has harmonized with ten tones and forty positions, completing the first table. The next table will switch to the seventh tone "Leng", and thus each of the twelve tones will form one table, exactly matching the twelve harmonized tones.

上聲闢唱呂三之六 發音清和律三之七；古甲九癸鼠鼠鼠鼠 冷冷冷冷多可個舌；一音 □□近揆鼠鼠鼠鼠 七音 冷冷冷冷禾火化八；六聲 坤巧丘棄鼠鼠鼠鼠 一聲 冷冷冷冷開宰愛○；□□乾蚪鼠鼠鼠鼠 冷冷冷冷回每退○；黑花香血鼠鼠鼠鼠 冷冷冷冷良兩向○；二音 黃華雄賢鼠鼠鼠鼠 七音 冷冷冷冷光廣況○；六聲 五瓦仰□鼠鼠鼠鼠 二聲 冷冷冷冷丁井亙○；吾牙月堯鼠鼠鼠鼠 冷冷冷冷兄永瑩○；安亞乙一鼠鼠鼠鼠 冷冷冷冷千典旦○；三音 □爻壬寅鼠鼠鼠鼠 七音 冷冷冷冷元犬半○；六聲 母馬美米鼠鼠鼠鼠 三聲 冷冷冷冷臣引艮○；目貌眉民鼠鼠鼠鼠 冷冷冷冷君允巽○；夫法□飛鼠鼠鼠鼠 冷冷冷冷刀早孝嶽；四音 父凡□吠鼠鼠鼠鼠 七音 冷冷冷冷毛寶報霍；六聲 武晚□尾鼠鼠鼠鼠 四聲 冷冷冷冷牛斗奏六；文萬□未鼠鼠鼠鼠 冷冷冷冷○○○玉。

The lines "Upper tone 'Shi' sings 'Lu' third tone sixth" and "Clear tone 'Feng' harmonizes 'Lv' third tone seventh" start on the same line: the left table uses the sixth tone "Shu" of the upper tone "Shi" to chant the correct tone repeatedly, while the right table uses the seventh tone "Leng" of the clear tone "Feng" to harmonize the correct tone. The left column's first tone includes "Gu Jia Ji Gui", "□□ Ji Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu", the second tone includes "Hei Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", the third tone includes "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min", the fourth tone includes "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", and each line ends with "Shu Shu Shu Shu". The right column's first tone includes "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", the second tone includes "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○", the third tone includes "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○", the fourth tone includes "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", and each line begins with "Leng Leng Leng Leng". Occasionally, the headings of the two tables align on the same line because one table has forty-eight lines and the other forty lines, and they are shifted to align here. In the diagram of the correct tones, among the four lines for each tone, the first and third lines belong to the open "Bi" sound, while the second and fourth lines belong to the closed "Xi" sound; the upper tone "Bi" selects the third line's upper tone, so its ten tones are marked as "Zai Jing Yin Dou ○ Shu Kan ●●●".

卜百丙必鼠鼠鼠鼠 冷冷冷冷妻子四日；五音 步白備鼻鼠鼠鼠鼠 七音 冷冷冷冷衰○帥骨；六聲 普撲品匹鼠鼠鼠鼠 五聲 冷冷冷冷○○○德；旁排平瓶鼠鼠鼠鼠 冷冷冷冷龜水貴北；東丹帝■鼠鼠鼠鼠 冷冷冷冷宮孔眾○；六音 兌大弟■鼠鼠鼠鼠 七音 冷冷冷冷龍甬用○；六聲 土貪天■鼠鼠鼠鼠 六聲 冷冷冷冷魚鼠去○；同覃田■鼠鼠鼠鼠 冷冷冷冷烏虎兔○；乃你女■鼠鼠鼠鼠 冷冷冷冷心審禁○；七音 內南年■鼠鼠鼠鼠 七音 冷冷冷冷○○○十；六聲 老冷呂■鼠鼠鼠鼠 七聲 冷冷冷冷男坎欠○；鹿犖離■鼠鼠鼠鼠 冷冷冷冷○○○妾；走哉足■鼠鼠鼠鼠 冷冷冷冷●●●●；八音 自在匠■鼠鼠鼠鼠 七音 冷冷冷冷●●●●；六聲 草采七■鼠鼠鼠鼠 八聲 冷冷冷冷●●●●；曹才全■鼠鼠鼠鼠 冷冷冷冷●●●●。

The term "mouse" sings in harmony with "cold" as a continuation. The section of the tone chart refers to the fifth tone "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping," the sixth tone "Dong Dan Di ■," "Dui Da Di ■," "Tu Tan Tian ■," "Tong Tan Tian ■," the seventh tone "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," and the eighth tone "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■." The third entry in the seventh tone "Lao Leng Lv ■" with "Leng" corresponds exactly to the seventh tone in the right column, thus confirming each other. In the right column, the fifth tone includes "Zi Qi Si Ri," "Shuai ○ Shuai Gu," "○ ○ ○ De," "Gui Shui Gui Bei," the sixth tone includes "Gong Kong Zhong ○," "Long Yong Yong ○," "Yu Shu Qu ○," "Wu Hu Tu ○," the seventh tone includes "Xin Shen Jin ○," "○ ○ ○ Shi," "Nan Kan Qian ○," "○ ○ ○ Qie," and in the eighth tone all four lines are "● ● ● ●." The third entry in the sixth tone "Yu Shu Qu ○" with "Shu" corresponds exactly to the tone sung in the left column, and can be compared accordingly: the title characters used in the chart are originally taken from within the chart. The three lines below the eighth tone are all "●," indicating that the rising tone has no more tones to sing beyond this point; hence, in all subsequent charts, whenever the eighth, ninth, or thirteenth tones appear, they are all marked with black circles.

思三星■鼠鼠鼠鼠 冷冷冷冷●●●●；九音 寺□象■鼠鼠鼠鼠 七音 冷冷冷冷●●●●；六聲 □□□■鼠鼠鼠鼠 九聲 冷冷冷冷●●●●；□□□■鼠鼠鼠鼠 冷冷冷冷●●●●；■山手■鼠鼠鼠鼠 冷冷冷冷●●●●；十音 ■士石■鼠鼠鼠鼠 七音 冷冷冷冷●●●●；六聲 ■□耳■鼠鼠鼠鼠 十聲 冷冷冷冷●●●●；■□二■鼠鼠鼠鼠 冷冷冷冷●●●●；發音清和律三之八；■莊震■鼠鼠鼠鼠 采采采采多可個舌；十一音 ■乍□■鼠鼠鼠鼠 八音 采采采采禾火化八；六聲 ■叉赤■鼠鼠鼠鼠 一聲 采采采采開宰愛○；■崇辰■鼠鼠鼠鼠 采采采采回每退○；■卓中■鼠鼠鼠鼠 采采采采良兩向○；十二音 ■宅直■鼠鼠鼠鼠 八音 采采采采光廣況○；六聲 ■拆丑■鼠鼠鼠鼠 二聲 采采采采丁井亙○；■茶呈■鼠鼠鼠鼠 采采采采兄永瑩○。

The left half first lists the ninth tone "Si San Xing" "Si Xiang Xiang" "Xiang Xiang Xiang" "Xiang Xiang Xiang" and the tenth tone "Shan Shou" "Shi Shi Shi" "Er Er Er" "Er Er Er", still using the sixth tone "Shu" for singing; in the middle, the item "Fang Yin Qing He Lv San Ba" is inserted. The right table then shifts to the eighth tone "Cai" harmonizing with the first tone, after which the left table continues with the eleventh tone "Zhuang Zhen" "Zha Cha" "Cha Chi" "Chong Chen" and the twelfth tone "Zhuo Zhong" "Zhai Zhi" "Chai Chou" "Cha Cheng". The first eight lines of the right half are the seventh tone "Leng" paired with the ninth and tenth tones, with no position for the second tone, so they are marked as "●●●●". After changing the item, "Cai" starts from the first tone, listing "Du Ke Ge She" "He Huo Hua Ba" "Kai Zai Ai" "Hui Mei Tui" and the second tone's "Liang Liang Xiang" "Guang Guang Kuang" "Ding Jing Gen" "Xiong Yong Ying". The item "Cai" of the eighth tone is the second character of the eighth tone third grade "Cao Cai Qi" in the correct tone diagram. The eleventh and twelfth tones have both open and closed positions missing, among which "Zha Cha" only has the open position character "Zha" and the closed position is marked as "□", meaning there is a position but no character.

上聲闢唱呂三之七；古甲九癸坎坎坎坎 采采采采千典旦○；一音 □□近揆坎坎坎坎 八音 采采采采元犬半○；七聲 坤巧丘棄坎坎坎坎 三聲 采采采采臣引艮○；□□乾蚪坎坎坎坎 采采采采君允巽○；黑花香血坎坎坎坎 采采采采刀早孝嶽；二音 黃華雄賢坎坎坎坎 八音 采采采采毛寶報霍；七聲 五瓦仰□坎坎坎坎 四聲 采采采采牛斗奏六；吾牙月堯坎坎坎坎 采采采采○○○玉；安亞乙一坎坎坎坎 采采采采妻子四日；三音 □爻王寅坎坎坎坎 八音 采采采采衰○帥骨；七聲 母馬美米坎坎坎坎 五聲 采采采采○○○德；目貌眉民坎坎坎坎 采采采采龜水貴北；夫法□飛坎坎坎坎 采采采采宮孔眾○；四音 父凡□吠坎坎坎坎 八音 采采采采龍甬用○；七聲 武晚□尾坎坎坎坎 六聲 采采采采魚鼠去○；文萬□未坎坎坎坎 采采采采烏虎兔○。

"The upper tone 'Shangsheng Bi' is changed to the seventh tone 'Kan' of 'Shangsheng Bi', and the correct pronunciation is sung repeatedly, with 'Kan Kan Kan Kan' at the end of each line. The listed tones are the first tone 'Gu Jia Jiui Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Tu'; the second tone 'He Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; the third tone 'An Ya Yi Yi', '□ Yao Wang Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min'; the fourth tone 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'. The third tone's second variant reads '□ Yao Wang Yin', but 'Wang' is likely a mistake for 'Ren', as elsewhere it is '□ Yao Ren Yin'. The right side begins with the eighth tone 'Cai', followed by the third tone 'Qian Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○'; the fourth tone 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'; the fifth tone 'Zi Qi Si Ri', 'Cui ○ Shuai Gu', '○○○ De', 'Gui Shui Gui Bei'; the sixth tone 'Gong Kong Zhong ○', 'Long Yong Yong ○', 'Yu Shu Qu ○', 'Wu Hu Tu ○'. 'Kan' is both the seventh tone of 'Shangsheng Bi' and the second character of the seventh tone's third variant 'Nan Kan Qian ○' in the correct tone chart. The seventh tone of 'Shangsheng Bi' has now reached the final tone. The eighth, ninth, and thirteenth tones have no corresponding positions, so they cannot be sung. The right side has only reached the eighth tone 'Cai', with four more tones remaining."

卜百丙必坎坎坎坎 采采采采心審禁○；五音 步白備鼻坎坎坎坎 八音 采采采采○○○十；七聲 普撲品匹坎坎坎坎 七聲 采采采采男坎欠○；旁排平瓶坎坎坎坎 采采采采○○○妾；東丹帝■坎坎坎坎 采采采采●●●●；六音 兌大弟■坎坎坎坎 八音 采采采采●●●●；七聲 土貪天■坎坎坎坎 八聲 采采采采●●●●；同覃田■坎坎坎坎 采采采采●●●●；乃你女■坎坎坎坎 采采采采●●●●；七音 內南年■坎坎坎坎 八音 采采采采●●●●；七聲 老冷呂■坎坎坎坎 九聲 采采采采●●●●；鹿犖離■坎坎坎坎 采采采采●●●●；走哉足■坎坎坎坎 采采采采●●●●；八音 自在匠■坎坎坎坎 八音 采采采采●●●●；七聲 草采七■坎坎坎坎 十聲 采采采采●●●●；曹才全■坎坎坎坎 采采采采●●●●。

The trigram "Kan" (Water) continues with the harmonization of "Cai" (采). The correct tone chart lists four categories for the fifth tone: "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", "Cao Cai Qi Qi". For the sixth tone: "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". For the seventh tone: "Nai Ni Nü ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■". For the eighth tone: "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". Each ending is followed by "Kan Kan Kan Kan". On the right side, starting from the eighth tone "Cai", the seventh tone is harmonized first, listing four categories: "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie". Below that, the eighth, ninth, and thirteenth tones, totaling twelve lines, are all written as "●●●●". Among the four categories of the seventh tone, only the characters "Xin", "Shen", "Jin", "Nan", "Kan", "Qian", "Shi", and "Qie" are actual characters, while the rest are positions without characters, so they are marked with "○" instead of "●". By this point, the eighth tone "Cai" has harmonized all ten tones across forty positions, completing the chart. Considering the four categories, for the fifth tone "Bu Bai Bing Bi", "Bu" is in the open position, "Bai" in the initial position, "Bing" in the closing position, and "Bi" in the closed position, all four categories are present. For the sixth tone and below, the closed position is empty, so "Dong Dan Di ■" only has the characters for open, initial, and closing positions. On the right side, the seventh tone "Xin Shen Jin ○", "Xin" is level tone, "Shen" is rising tone, "Jin" is falling tone, and the entering tone has a position but no character, hence it is marked with "○".

發音清和律三之九；思三星■坎坎坎坎 □□□□多可個舌；九音 寺□象■坎坎坎坎 九音 □□□□禾火化八；七聲 □□□■坎坎坎坎 一聲 □□□□開宰愛○；□□□■坎坎坎坎 □□□□回每退○；■山手■坎坎坎坎 □□□□良兩向○；十音 ■士石■坎坎坎坎 九音 □□□□光廣況○；七聲 ■□耳■坎坎坎坎 二聲 □□□□丁井亙○；■□二■坎坎坎坎 □□□□兄永瑩○；■莊震■坎坎坎坎 □□□□千典旦○；十一音 ■乍□■坎坎坎坎 九音 □□□□元犬半○；七聲 ■叉赤■坎坎坎坎 三聲 □□□□臣引艮○；■崇辰■坎坎坎坎 □□□□君允巽○；■卓中■坎坎坎坎 □□□□刀早孝嶽；十二音 ■宅直■坎坎坎坎 九音 □□□□毛寶報霍；七聲 ■拆丑■坎坎坎坎 四聲 □□□□牛斗奏六；■茶呈■坎坎坎坎 □□□□○○○玉。

A separate section is labeled "发音清和律三之九". Among the twelve tones, the ninth tone has a clear sound but no character assigned to it. Since there is no character, it cannot be used as a heading, so each line on the right side can only be prefixed with "□□□□" four squares. Although there is no character, it still counts as a table and is not omitted. The left side continues with the seventh tone "坎" (Water), listing the ninth tone as "思三星■", "寺□象■", "□□□■", "□□□■"; the tenth tone as "■山手■", "■士石■", "■□耳■", "■□二■"; the eleventh tone as "■庄震■", "■乍□■", "■叉赤■", "■崇辰■"; and the twelfth tone as "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". On the right side, starting from the first tone: "多可个舌", "禾火化八", "开宰爱○", "回每退○"; the second tone: "良两向○", "光广况○", "丁井亘○", "兄永莹○"; the third tone: "千典旦○", "元犬半○", "臣引艮○", "君允巽○"; the fourth tone: "刀早孝岳", "毛宝报霍", "牛斗奏六", "○○○玉". The third entry of the ninth tone is "□□□■", and the position for the sound is exactly "□". The right table uses four "□" as a heading, which comes from this. The third entry of the tenth tone "■□耳■" also has the sound position as "□", so the heading of the next table is also "□□□□". These two tables can only be distinguished by their order "和律三之九" and "和律三之十", and should not be confused.

上聲闢唱呂三之八；古甲九癸●●●● □□□□妻子四日；一音 □□近揆●●●● 九音 □□□□衰○帥骨；八聲 坤巧丘棄●●●● 五聲 □□□□○○○德；□□乾蚪●●●● □□□□龜水貴北；黑花香血●●●● □□□□宮孔眾○；二音 黃華雄賢●●●● 九音 □□□□龍甬用○；八聲 五瓦仰□●●●● 六聲 □□□□魚鼠去○；吾牙月堯●●●● □□□□烏虎兔○；安亞乙一●●●● □□□□心審禁○；三音 □爻壬寅●●●● 九音 □□□□○○○十；八聲 母馬美米●●●● 七聲 □□□□男坎欠○；目貌眉民●●●● □□□□○○○妾；東丹帝■●●●● □□□□●●●●；四音 允大第■●●●● 九音 □□□□●●●●；八聲 士貪天■●●●● 八聲 □□□□●●●●；同覃田■●●●● □□□□●●●●。

The "upper tone" is the eighth tone, and the "upper tone" begins from the eighth tone downward with no further tones, so the left half of each line ends with "●●●●", indicating no phonetic position. Yet the entire table must still list all twelve tones and forty-eight positions in order. The sequence of phonetic positions in this table differs from other tables: after the first, second, and third tones, the marked "fourth tone" consists of the group "East Dan Di ■", "Yun Da Di ■", "Shi Tan Tian ■", "Tong Tan Tian ■". In other tables, this group is listed as the sixth tone. The original text here contains errors: "Yun" should be "Dui", "Di" should be "Di", and "Shi" should be "Tu". The right half continues with the ninth tone's empty position "□□□□", and sequentially matches the fourth tone of the fifth tone "Zi Qi Si Ri", "Cui Ou Shuai Gu", "Ou Ou Ou De", "Gui Shui Gui Bei"; the fourth tone of the sixth tone "Gong Kong Zhong Ou", "Long Yong Yong Ou", "Yu Shu Qu Ou", "Wu Hu Tu Ou"; the fourth tone of the seventh tone "Xin Shen Jin Ou", "Ou Ou Ou Shi", "Nan Kan Qian Ou", "Ou Ou Ou Jie"; and the eighth tone has four lines all marked "●●●●". Both sides have empty positions, but the symbols differ: the left side uses "●" to indicate an empty phonetic position, while the right side uses "□" to indicate a position with no character. Careful examination of the four tones: "East Dan Di ■" has East as opening, Dan as initial, and Di as closing, with no sound at the closed position; "Yun Da Di ■" should be "Dui Da Di ■", with Dui as opening, Da as initial, and Di as closing; "Shi Tan Tian ■" should be "Tu Tan Tian ■", with Tu as opening, Tan as initial, and Tian as closing; "Tong Tan Tian ■" has Tong as opening, Tan as initial, and Tian as closing. The original text marks this group as "four tones," which does not match the other tables where it is listed as the sixth tone. This discrepancy is likely due to errors in the printing process, and it is still recorded as is without alteration.

爾你女■●●●● □□□□●●●●；五音 內南年■●●●● 九音 □□□□●●●●；八聲 老冷呂■●●●● 九聲 □□□□●●●●；鹿牽離■●●●● □□□□●●●●；夫法□飛●●●● □□□□●●●●；六音 父凡□吠●●●● 九音 □□□□●●●●；八聲 武晚□尾●●●● 十聲 □□□□●●●●；文萬□末●●●● □□□□●●●●；發音清和律三之十；卜白丙必●●●● □□□□多可個舌；七音 步白備鼻●●●● 十音 □□□□禾火化八；八聲 普樸呂匹●●●● 一聲 □□□□開宰愛○；旁排平瓶●●●● □□□□回每退○；走哉足■●●●● □□□□良兩向○；八音 自在匠■●●●● 十音 □□□□光廣況○；八聲 草采七■●●●● 二聲 □□□□丁井亙○；曹才全■●●●● □□□□兄永瑩○。

Following the previous table, the order of the phonetic positions remains disordered: those marked as 'Five Sounds' are 'er ni nv ■', 'nei nan nian ■', 'lao leng lv ■', 'lu qian li ■', which are listed as the seventh sound in another table, where 'er' should be 'nai' and 'qian' should be 'luo'; those marked as 'Six Sounds' are 'fu fa □ fei', 'fu fan □ fei', 'wu wan □ wei', 'wen wan □ mo', listed as the fourth sound in another table, where 'mo' should be 'wei'; those marked as 'Seven Sounds' are 'bu bai bing bi', 'bu bai bei bi', 'pu pu lv pi', 'pang pai ping ping', listed as the fifth sound in another table, where 'bai' should be 'bai', 'pu' should be 'pu', and 'lv' should be 'pin'; then comes the eighth sound 'zou zai zu ■', 'zi zai jiang ■', 'cao cai qi ■', 'cao cai quan ■'. The tones sung still remain without clear phonetic positions, hence the end of each line is marked with '●●●●'. In between, there is an entry 'Clear Pronunciation and the Third Law of Ten Sounds', where the right table is changed to the tenth sound. The tenth sound has no clear tones, so it still starts with '□□□□', and the first sound 'duo ke ge she', 'he hu hua ba', 'kai zai ai ○', 'hui mei tui ○' and the second sound 'liang liang xiang ○', 'guang guang kuang ○', 'ding jing gen ○', 'xiong yong ying ○' are arranged. Although the order of the fourth to seventh sounds is disordered, the four levels within each group remain intact. Considering the entire context, the table still maintains twelve sounds and forty-eight positions, with none missing; thus, the disorder lies only in the headings and the order, while the number of positions in the chart remains unaffected. This table contains the most errors in the entire text, and it must be cross-referenced with other tables when reading.

思三星■●●●● □□□□千典旦○；九音 寺□象■●●●● 十音 □□□□元犬半○；八聲 □□□■●●●● 三聲 □□□□臣引艮○；□□□■●●●● □□□□君允巽○；■山手■●●●● □□□□刀早孝嶽；十音 ■士石■●●●● 十音 □□□□毛寶報霍；八聲 ■□耳■●●●● 四聲 □□□□牛斗奏六；■□二■●●●● □□□□○○○玉；■莊震■●●●● □□□□妻子四日；十一音 ■乍□■●●●● 十音 □□□□衰○帥骨；八聲 ■叉赤■●●●● 五聲 □□□□○○○德；■崇辰■●●●● □□□□龜水貴北；■卓中■●●●● □□□□宮孔眾○；十二音 ■宅直■●●●● 十音 □□□□龍甬用○；八聲 ■拆丑■●●●● 六聲 □□□□魚鼠去○；■茶呈■●●●● □□□□烏虎兔○。

The eighth tone is sung, and the tenth tone is harmonized, continuing below. The diagram of correct tones is collected in the following four tones: the ninth tone "Think of three stars ■", "Temple ■ image ■", "■ ■ ■ ■", "■ ■ ■ ■", the tenth tone "■ mountain hand ■", "■ person stone ■", "■ ■ ear ■", "■ ■ two ■", the eleventh tone "■ village thunder ■", "■ sudden ■", "■ fork red ■", "■ high morning ■", the twelfth tone "■ outstanding middle ■", "■ residence straight ■", "■ split chou ■", "■ tea present ■", and the end of the line remains "●●●●". On the right side, continuing from the harmonization of the tenth tone, the third tone is "Thousand classics dawn ○", "Origin dog half ○", "Minister lead gen ○", "King yin xun ○", the fourth tone is "Knife early filial mountain", "Hair treasure report hu", "Ox constellation present six", "○○○ jade", the fifth tone is "Wife child four days", "Decline ○ general bone", "○○○ virtue", "Turtle water noble north", the sixth tone is "Palace hole crowd ○", "Dragon yong use ○", "Fish rat go ○", "Crow tiger rabbit ○". The headings on both sides of the table are all empty: the tones sung have no position, the tones harmonized have no characters, yet the number of sung and harmonized tones remains valid, indicating that Shao Yong emphasized position rather than the presence or absence of characters. Dividing into four parts, "Think of three stars ■" has "think" opening, "three" emitting, "star" closing, with no tone at the closed position; "■ mountain hand ■" has nothing at both the opening and closing ends, leaving only the characters "mountain" and "hand"; "■ sudden ■" has not even the character for the closing position, written as "□". On the right side, the four characters "knife early filial mountain" have all four tones level, rising, falling, and entering, fully present, forming a contrast with the incompleteness on the left.

上聲闢唱呂三之九；古甲九癸●●●● □□□□心審禁○；一音 □□近揆●●●● 十音 □□□□○○○十；九聲 坤巧丘棄●●●● 七聲 □□□□男坎欠○；□□乾蚪●●●● □□□□○○○妾；黑花香血●●●● □□□□●●●●；二音 黃華雄賢●●●● 十音 □□□□●●●●；九聲 五瓦仰□●●●● 八聲 □□□□●●●●；吾牙月堯●●●● □□□□●●●●；安亞乙一●●●● □□□□●●●●；三音 □爻壬寅●●●● 十音 □□□□●●●●；九聲 母馬美米●●●● 九聲 □□□□●●●●；目貌眉民●●●● □□□□●●●●；夫法□飛●●●● □□□□●●●●；四音 父凡□吠●●●● 十音 □□□□●●●●；九聲 武晚□尾●●●● 十聲 □□□□●●●●；文萬□未●●●● □□□□●●●●。

"The upper tone 'Shang Sheng' (rising tone) is sung with the ninth tone throughout, and since the ninth tone also lacks a tone position, the end remains '●●●●'. The order of the tone positions in this table has returned to the normal sequence: the first tone 'Gu Jia Ji Gui' ('□□ Near Kui'), 'Kun Qiao Qi Qi', '□□ Qian Yu', the second tone 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao', the third tone 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min', the fourth tone 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei', which can be compared with the previous table's disorder. The right half still continues from the empty position of the tenth tone '□□□□', first listing the fourth level of the seventh tone 'Xin Shen Jin ○', '○○○ Shi', 'Nan Kan Qian ○', '○○○ Qie', followed by the eighth, ninth, and thirteenth tones, which together make twelve lines all marked '●●●●'. The tenth tone table ends here. The entire table is filled with black and white circles throughout, with no single character written, clearly showing the intention of establishing numbers based on positions. Once the upper tone 'Shang Sheng' has exhausted the seven tones, the subsequent eighth, ninth, and thirteenth tables are names with no actual singing, which corresponds with the beginning statement 'Moon and star tones seven, below singing the use of one hundred and fifty-two tones': each of the seven tones sings one hundred and fifty-two tones, totaling one thousand and sixty-four, while the three silent tables are not counted."

發音清和律三之十一；卜百丙必●●●● 義義義義多可個舌；五音 步白備鼻●●●● 十一音 義義義義禾火化八；九聲 普撲品匹●●●● 一聲 義義義義開宰愛○；旁排平瓶●●●● 義義義義回每退○；東丹帝■●●●● 義義義義良兩向○；六音 兌大弟■●●●● 十一音 義義義義光廣況○；九聲 土貪天■●●●● 二聲 義義義義丁井亙○；同覃田■●●●● 義義義義兄永瑩○；乃你女■●●●● 義義義義千典旦○；七音 內南年■●●●● 十一音 義義義義元犬半○；九聲 老冷呂■●●●● 三聲 義義義義臣引艮○；鹿犖離■●●●● 義義義義君允巽○；走哉足■●●●● 義義義義刀早孝嶽；八音 自在匠■●●●● 十一音 義義義義毛寶報霍；九聲 草采七■●●●● 四聲 義義義義牛斗奏六；曹才全■●●●● 義義義義○○○玉。

"The pronunciation is clear and follows the eleventh of the three laws." Start anew, with the right table now based on the eleventh sound "Yi" and the upper part. Each line is prefixed with "YiYiYiYi." "Yi" refers to the third level of the eleventh sound in the correct pronunciation chart, marked as "■叉赤■," indicating the position of the sound. The heading is marked as "Yi," while within the table it is marked as "Chā," which are different forms of the same character. The left half continues with the ninth tone, listing the fifth sound "Bu Bai Bing Bi," "Bu Bai Bei Bi," "Pu Pu Pin Pi," "Pang Pai Ping Ping," the sixth sound "Dong Dan Di ■," "Dui Da Di ■," "Tu Tan Tian ■," "Tong Tan Tian ■," the seventh sound "Nai Ni Nu ■," "Nei Nan Nian ■," "Lao Leng Lv ■," "Lu Luo Li ■," and the eighth sound "Zou Zai Zu ■," "Zi Zai Jiang ■," "Cao Cai Qi ■," "Cao Cai Quan ■," with each line ending with "●●●●." The right half starts with the first tone: "Du Ke Ge She," "He Huo Hua Ba," "Kai Zai Ai ○," "Hui Mei Tui ○," the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," "Xiong Yong Ying ○," the third tone "Qian Dian Dan ○," "Yuan Quan Ban ○," "Chen Yin Gen ○," "Jun Yun Xun ○," and the fourth tone "Dao Zao Xiao Yue," "Mao Bao Bao Huo," "Niu Dou Zou Liu," "○○○ Yu." The most important difference between this table and the previous two is that the right-side heading has changed from an empty square "□" to the actual character "Yi." The ninth and tenth sounds have no clear characters for the clear tones, while the eleventh and twelfth sounds do have characters, so the last two tables can use actual characters as headings without needing to use squares to represent the absence of characters.

思三星■●●●● 義義義義妻子四日；九音 寺□象■●●●● 十一音 義義義義衰○帥骨；九聲 □□□■●●●● 五聲 義義義義○○○德；□□□■●●●● 義義義義龜水貴北；■山手■●●●● 義義義義宮孔眾○；十音 ■士石■●●●● 十一音 義義義義龍甬用○；九聲 ■□耳■●●●● 六聲 義義義義魚鼠去○；■□二■●●●● 義義義義烏虎兔○；■莊震■●●●● 義義義義心審禁○；十一音 ■乍□■●●●● 十一音 義義義義○○○十；九聲 ■叉赤■●●●● 七聲 義義義義男坎欠○；■崇辰■●●●● 義義義義○○○妾；■卓中■●●●● 義義義義●●●●；十二音 ■宅直■●●●● 十一音 義義義義●●●●；九聲 ■拆丑■●●●● 八聲 義義義義●●●●；■茶呈■●●●● 義義義義●●●●。

The ninth tone sings, and the eleventh tone 「Yi」 harmonizes with it, continuing the sequence. The final four tones in the standard tone chart are: the ninth tone 「Si San Xing ■」「Si ■ Xiang ■」「■ ■ ■ ■」「■ ■ ■ ■」, the tenth tone 「■ Shan Shou ■」「■ Shi Shi ■」「■ ■ Er ■」「■ ■ Er ■」, the eleventh tone 「■ Zhuang Zhen ■」「■ Zha ■ ■」「■ Cha Chi ■」「■ Chong Chen ■」, and the twelfth tone 「■ Zhuo Zhong ■」「■ Zhai Zhi ■」「■ Che Chou ■」「■ Cha Cheng ■」. On the right side, from the fifth tone 「Zi Qi Si Ri」「Shuai ○ Shuai Gu」「○ ○ ○ De」「Gui Shui Gui Bei」, the sixth tone 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」, the seventh tone 「Xin Shen Jin ○」「○ ○ ○ Shi」「Nan Kan Qian ○」「○ ○ ○ Qie」, to the eighth tone, all four lines are 「● ● ● ●」. On the left side, the third line of the eleventh tone 「■ Cha Chi ■」 corresponds exactly to the position of the label 「Yi」 on the right side. The two tables align perfectly here, showing that all labels within the chart are derived from the chart itself. Within the four sections of 「■ Cha Chi ■」, the open position and closed position are both 「■」, but the sound position 「Cha」 and the ending position 「Chi」 form the tone. The initial label takes the sound position and writes it as 「Yi」, so 「Yi」 and 「Cha」 actually refer to the same position. On the right side, the fifth tone 「Zi Qi Si Ri」 has all four sections complete, with 「Qi」 being level, 「Zi」 being rising, 「Si」 being departing, and 「Ri」 being entering.

上聲闢唱呂三之十；古甲九癸●●●● 義義義義●●●●；一音 □□近揆●●●● 十一音 義義義義●●●●；十聲 坤巧丘棄●●●● 九聲 義義義義●●●●；□□乾蚪●●●● 義義義義●●●●；黑花香血●●●● 義義義義●●●●；二音 黃華雄賢●●●● 十一音 義義義義●●●●；十聲 五瓦仰□●●●● 十聲 義義義義●●●●；吾牙月堯●●●● 義義義義●●●●；發音清和律三之十二；安亞乙一●●●● 坼坼坼坼多可個舌；三音 □爻王寅●●●● 十二音 坼坼坼坼禾火化八；十聲 母馬美米●●●● 一聲 坼坼坼坼開宰愛○；目貌眉民●●●● 坼坼坼坼回每退○；夫法□飛●●●● 坼坼坼坼良兩向○；四音 父凡□吠●●●● 十二音 坼坼坼坼光廣況○；十聲 武晚□尾●●●● 二聲 坼坼坼坼丁井亙○；文萬□未●●●● 坼坼坼坼兄永瑩○。

"The Upper Tone 'Bì' is sung with the tenth tone, repeating the correct pronunciation throughout. The tenth tone also has no position, and at the end, it is marked as '●●●●'. The left half first lists the first tone 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu' and the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huā Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo'; in the middle, the section 'Clear Pronunciation and the Third Law of Twelve Tones' is inserted. The right table is then changed to the twelfth tone 'Chè' with the first tone, and after that, the left table continues with the third tone 'Ān Yà Yǐ Yī', '□ Yué Wáng Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Méi Mín' and the fourth tone 'Fū Fǎ □ Fēi', 'Fù Fán □ Fèi', 'Wǔ Wǎn □ Wěi', 'Wén Wàn □ Wèi', where the 'Wáng' in '□ Yué Wáng Yín' is still an error for 'Rén'. The first eight lines of the right half are the eleventh tone 'Yì' paired with the ninth and tenth tones, all marked as '●●●●'. After changing the section, 'Chè' starts from the first tone, listing 'Duō Kě Gè Shé', 'Hé Huǒ Huà Bā', 'Kāi Zǎi Ài ○', 'Huí Měi Tuì ○' and the second tone 'Liáng Liǎng Xiàng ○', 'Guāng Guǎng Kuàng ○', 'Dīng Jǐng Gèn ○', 'Xióng Yǒng Yíng ○'. 'Chè' refers to the third category of the twelfth tone '■ Chāi Chǒu ■', marked as 'Chè' in the title but as 'Chāi' in the table. The Upper Tone 'Bì' with ten tones is now completed: the tones of 'Zǎi', 'Jǐng', 'Yǐn', 'Dòu' have characters, the fifth tone has a position but no character, the tones of 'Shǔ', 'Kǎn' have characters, and the tones from the eighth downwards have both positions and no characters, totaling seven positions, matching the number 'seven tones of the moon and stars'; the twelve tones of 'Qīng' are completed up to the twelfth tone."

卜百丙必●●●● 坼坼坼坼千典旦○；五音 步白備鼻●●●● 十二音 坼坼坼坼元犬半○；十聲 普撲品匹●●●● 三聲 坼坼坼坼臣引艮○；旁排平瓶●●●● 坼坼坼坼君允巽○；東丹帝■●●●● 坼坼坼坼刀早孝嶽；六音 兌大弟■●●●● 十二音 坼坼坼坼毛寶報霍；十聲 土貪天■●●●● 四聲 坼坼坼坼牛斗奏六；同覃田■●●●● 坼坼坼坼○○○玉；乃你女■●●●● 坼坼坼坼妻子四日；七音 內南年■●●●● 十二音 坼坼坼坼衰○帥骨；十聲 老冷呂■●●●● 五聲 坼坼坼坼○○○德；鹿犖離■●●●● 坼坼坼坼龜水貴北；走哉足■●●●● 坼坼坼坼宮孔眾○；八音 自在匠■●●●● 十二音 坼坼坼坼龍甬用○；十聲 草采七■●●●● 六聲 坼坼坼坼魚鼠去○；曹才全■●●●● 坼坼坼坼烏虎兔○。

The tenth tone is followed by the twelfth tone 「chāi」, continuing below. The correct tone chart lists the fifth tone as 「bǔ bǎi bǐng bì」「bù bái bèi bì」「pǔ pū pǐn pǐ」「páng pái píng píng」, the sixth tone as 「dōng dān dì ■」「duì dà dì ■」「tǔ tān tiān ■」「tóng tán tián ■」, the seventh tone as 「nǎi nǐ nǚ ■」「nèi nán nián ■」「lǎo lěng lǚ ■」「lù luò lí ■」, and the eighth tone as 「zǒu zāi zú ■」「zì zài jiàng ■」「cǎo cǎi qī ■」「cáo cái quán ■」, with each line ending in 「●●●●」. On the right side, the third tone's fourth category continues with 「qiān diǎn dàn ○」「yuán quǎn bàn ○」「chén yǐn gèn ○」「jūn yǔn xùn ○」, the fourth tone's fourth category as 「dāo zǎo xiào yuè」「máo bǎo bào huò」「niú dòu zòu liù」「○○○ yù」, the fifth tone's fourth category as 「qī zǐ sì rì」「shuāi ○ shuài gǔ」「○○○ dé」「guī shuǐ guì běi」, and the sixth tone's fourth category as 「gōng kǒng zhòng ○」「lóng yǒng yòng ○」「yú shǔ qù ○」「wū hǔ tù ○」. The two tables in the "Observing Things" section, chapter forty-one, now reach the final entry: the left table ends with the tenth tone, and the right table ends with the twelfth tone, followed by the closing mark. 「Chāi」 is located at the position of the twelfth tone in the correct tone chart, adjacent to 「chā」 at the eleventh tone position; among the twelve tones, the last four tones only have characters at the initial and final positions, with the opening and closing ends marked as 「■」, making this the most sparse section of the entire chart. The 「●」 at the end of the left column and the 「○」 in the middle of the right column represent absence of position and absence of character respectively, and should still be viewed separately.

思三星■●●●● 坼坼坼坼心審禁○；九音 寺□象■●●●● 十二音 坼坼坼坼○○○十；十聲 ■□□■●●●● 七聲 坼坼坼坼男坎欠○；□□□■●●●● 坼坼坼坼○○○妾；■山手■●●●● 坼坼坼坼●●●●；十音 ■士石■●●●● 十二音 坼坼坼坼●●●●；十聲 ■□耳■●●●● 八聲 坼坼坼坼●●●●；■□二■●●●● 坼坼坼坼●●●●；■莊震■●●●● 坼坼坼坼●●●●；十一音 ■乍□■●●●● 十二音 坼坼坼坼●●●●；十聲 ■叉赤■●●●● 九聲 坼坼坼坼●●●●；■崇辰■●●●● 坼坼坼坼●●●●；■卓中■●●●● 坼坼坼坼●●●●；十二音 ■宅直■●●●● 十二音 坼坼坼坼●●●●；十聲 ■拆丑■●●●● 十聲 坼坼坼坼●●●●；■茶呈■●●●● 坼坼坼坼●●●●。

The final paragraph of this section lists the ninth tone as "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", and "■ ■ ■ ■"; the tenth tone as "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", and "■ ■ Er ■"; the eleventh tone as "■ Zhuang Zhen ■", "■ Zha ■ ■", "■ Cha Chi ■", and "■ Chong Chen ■"; and the twelfth tone as "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", and "■ Cha Cheng ■". The third entry of the ninth tone's third category is written as "■ ■ ■ ■" in the base text, while other versions read "■ ■ ■ ■". The character "■" in the first column is likely a mistake for "■". The right half begins with the twelfth tone "Che" and the fourth category of the seventh tone "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", and "○ ○ ○ Qie". Below these, the eighth, ninth, and thirteenth tones, totaling twelve lines, are all marked as "● ● ● ●". By this point, the ten tones of the rising tone have each been sung once with their correct pronunciation, and the twelve clear tones have each been harmonized once with their correct sound. The entire sound and harmony diagram from the "Observing Things" section is now fully derived. In total, there are seven rising tones, each with 152 phonetic uses, totaling 1,064; and twelve clear tones, each with 112 harmonic sounds, totaling 1,344. The numbers mentioned in the two columns of small notes at the beginning of the section are now all reflected in the diagram.

月辰聲上翕 火石音發濁；每永允○水 牙貌萬排覃；虎○●●● 犖才□□崇茶；月辰聲七，下唱地之 火石音十二，上和天；用音一百五十二，是 之用聲一百一十一， 謂上聲翕音。上聲翕 是謂發音濁聲。發音；音一千六十四。 濁聲一千三百四十四。 月辰聲上之四翕 火石音發之四濁。

This section is still divided into two columns. The left column, "Moon and Day Sound Upper Tone 'Xī'", refers to the ten categories of standard tones, specifically the upper tone group in the fourth row, which corresponds to the closed mouth sound "Xī". The right column, "Fire and Stone Sound 'Dú'", refers to the twelve categories of standard sounds, specifically the "Fa" group in the fourth row, which corresponds to the "Dú" tone. Below these, two rows list their respective representative characters: the ten sounds of the upper tone "Xī" are each, yǒng, yǔn, empty, shuǐ, hǔ, empty, black dot, black dot, black dot; the twelve sounds of the浊 tone, the first sound has no character to represent it, so the original text only lists the characters ya, mào, wàn, pái, tán, luò, cái, empty, empty, chóng, chá, omitting the first "empty" character, and when reading, the number should be completed to twelve. Below this, there are small notes for reading both columns together: the left column reads as "Moon and Day Sound Seven, below singing the use of sound one hundred fifty-two, this is called the upper tone 'Xī' sound, upper tone 'Xī' sound one thousand six hundred forty"; the right column reads as "Fire and Stone Sound Twelve, above harmonizing with the use of sound one hundred eleven, this is called the浊 sound,浊 sound one thousand three hundred forty-four"—note that twelve multiplied by one hundred eleven gives one thousand three hundred forty-four, so "one hundred eleven" should be "one hundred twelve", but the original text is retained as is. The last line, "Moon and Day Sound Upper Four 'Xī'" and "Fire and Stone Sound Fa Four 'Dú'", indicates that the following tables all belong to the fourth category. The upper tone 'Xī' and the upper tone 'Pì' from the previous section both belong to the upper tone, but they differ in that one is "Pì" (open mouth) and the other is "Xī" (closed mouth), so their tone positions are the same but the sounds they represent are different; the浊 sound and the清 sound both belong to the "Fa" position, but they differ in that one is clear and the other is浊, so their sound positions are the same but the sounds they represent are different. The four categories are paired together, and only then do the standard tones and standard sounds fully cover all possibilities.

上聲翕唱呂四之一 發音濁和律四之一；古甲九癸每每每每 □□□□多可個舌；一音 □□近揆每每每每 一音 □□□□禾火化八；一聲 坤巧丘棄每每每每 一聲 □□□□開宰愛○；□□乾蚪每每每每 □□□□回每退○；黑花香血每每每每 □□□□良兩向○；二音 黃華雄賢每每每每 一音 □□□□光廣況○；一聲 五瓦仰□每每每每 二聲 □□□□丁井亙○；吾牙月堯每每每每 □□□□兄永瑩○；安亞乙一每每每每 □□□□千典旦○；三音 □爻壬寅每每每每 一音 □□□□元犬半○；一聲 母馬美米每每每每 三聲 □□□□臣引艮○；目貌眉民每每每每 □□□□君允巽○；夫法□飛每每每每 □□□□刀早孝嶽；四音 父凡□吠每每每每 一音 □□□□毛寶報霍；一聲 武晚□尾每每每每 四聲 □□□□牛斗奏六；文萬□未每每每每 □□□□○○○玉。

"The upper tone 'every' is sung in the first tone of the upper tone 'every' throughout, with 'every every every' added at the end of each line; 'the tone is thick and harmonized with the law of the fourth tone,' which should be harmonized with the first tone's thick sound, but since the position of the first tone's fourth level '□□Qian Tu' has no character, the right half can only be prefixed with '□□□□'. The left half lists the four levels of the first tone in order: 'Ancient Jia Ji Gui', '□□Near Kui', 'Kun Qiao Qiu Qi', '□□Qian Tu'; the four levels of the second tone: 'Black Flower Fragrant Blood', 'Yellow Flower Strong Virtue', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; the four levels of the third tone: 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mother Ma Mei Mi', 'Eye Mao Mei Min'; the four levels of the fourth tone: 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'. The right half lists the four levels of the first tone: 'Du Ke Ge She', 'He Huo Hua Ba', 'Kai Zai Ai ○', 'Hui Mei Tui ○'; the four levels of the second tone: 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○'; the four levels of the third tone: 'Qian Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○'; the four levels of the fourth tone: 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu'. The 'every' being sung is exactly the first tone's fourth level 'Hui Mei Tui ○' of the upper tone. Although the first tone's harmonized sound has no character to cite, its position cannot be missing, so the 'Harmonizing the Law of the Fourth Tone' is still established as a table, listed alongside the following eleven tables; this is the same format as the previous article's ninth and tenth tones, which use '□' as the heading. The two lines on the left '□□Near Kui' and '□□Qian Tu' have no characters for the opening and initial positions but have characters for the closing and final positions, which is the same principle."

卜百丙必每每每每 □□□□妻子四日；五音 步白備鼻每每每每 一音 □□□□衰○帥骨；一聲 普撲品匹每每每每 五聲 □□□□○○○德；旁排平瓶每每每每 □□□□龜水貴北；東丹帝■每每每每 □□□□宮孔眾○；六音 兌大弟■每每每每 一音 □□□□龍甬用○；一聲 土貪天■每每每每 六聲 □□□□魚鼠去○；同覃田■每每每每 □□□□烏虎兔○；乃你女■每每每每 □□□□心審禁○；七音 內南年■每每每每 一音 □□□□○○○十；一聲 老冷呂■每每每每 七聲 □□□□男坎欠○；鹿犖離■每每每每 □□□□○○○妾；走哉足■每每每每 □□□□●●●●；八音 自在匠■每每每每 一音 □□□□●●●●；一聲 草采七■每每每每 八聲 □□□□●●●●；曹才全■每每每每 □□□□●●●●。

Each line continues with the following rhyme patterns. The fifth tone includes "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping". The sixth tone includes "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■". The seventh tone includes "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■". The fourth column below the sixth tone is marked with "■", indicating a closed position with no sound. The right half still harmonizes with the empty positions of the first tone "□□□□", and is sequentially paired with the four categories of the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei". The sixth tone includes "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The seventh tone includes "Xin Shen Jin ○", "○○○ Shi", "Nan Kan Qian ○", "○○○ Qie". The eighth tone includes four lines "●●●●". The rising tone (shang sheng) is similar to the falling tone (bu sheng), having sound positions only in the first seven tones, and none in the eighth tone and beyond. Therefore, the beginning refers to "Yue Chen Sheng Qi", which matches the number of the falling tone. Divided into four categories, the seventh tone "Nai Ni Nu ■" has "Nai" as the opening, "Ni" as the onset, and "Nu" as the closing. The eighth tone "Zou Zai Zu ■" has "Zou" as the opening, "Zai" as the onset, and "Zu" as the closing, with both tones having the closed position marked as "■". On the right side, "Zi Qi Si Ri" includes all four categories of level, rising, falling, and entering tones. "Shuai ○ Shuai Gu" lacks the rising tone category, and "○○○ De" only retains the entering tone character "De".

思三星■每每每每 □□□□●●●●；九音 寺□象■每每每每 一音 □□□□●●●●；一聲 □□□■每每每每 九聲 □□□□●●●●；□□□■每每每每 □□□□●●●●；■山手■每每每每 □□□□●●●●；十音 ■士石■每每每每 一音 □□□□●●●●；一聲 ■□耳■每每每每 十聲 □□□□●●●●；■□二■每每每每 □□□□●●●●；發音濁和律四之二；■莊震■每每每每 牙牙牙牙多可個舌；十一音 ■乍□■每每每每 二音 牙牙牙牙禾火化八；一聲 ■叉赤■每每每每 一聲 牙牙牙牙開宰愛○；■崇辰■每每每每 牙牙牙牙回每退○；■卓中■每每每每 牙牙牙牙良兩向○；十二音 ■宅直■每每每每 二音 牙牙牙牙光廣況○；一聲 ■坼丑■每每每每 二聲 牙牙牙牙丁井亙○；■茶呈■每每每每 牙牙牙牙兄永瑩○。

The left half column lists the last four sounds of the posterior part of the diagram of correct tones: the ninth sound includes 「Si San Xing ■」, 「Si □ Xiang ■」, 「□ □ □ ■」, 「□ □ □ ■」; the tenth sound includes 「■ Shan Shou ■」, 「■ Shi Shi ■」, 「■ □ Er ■」, 「■ □ Er ■」; the eleventh sound includes 「■ Zhuang Zhen ■」, 「■ Zha □ ■」, 「■ Cha Chi ■」, 「■ Chong Chen ■」; the twelfth sound includes 「■ Zhuo Zhong ■」, 「■ Zhai Zhi ■」, 「■ Che Chou ■」, 「■ Cha Cheng ■」. The final sound is recorded as 「■ Che Chou ■」 in the bottom version, while elsewhere it is written as 「■ Che Chou ■」, with 「坼」 and 「拆」 being the same character written differently. The tone sung remains the first tone 「Mei」. The first eight lines of the right half column are the empty positions for the first tone, paired with the ninth and tenth tones. Since these two tones have no positions, they are written together as 「●●●●」. Afterwards, it starts with 「发音浊和律四之二」, changing to the second tone 「Ya」: 「Du Ke Ge She」, 「He Huo Hua Ba」, 「Kai Zai Ai ○」, 「Hui Mei Tui ○」 are the first tone of four levels, 「Liang Liang Xiang ○」, 「Guang Guang Kuang ○」, 「Ding Jing Gen ○」, 「Xiong Yong Ying ○」 are the second tone of four levels. 「Ya」 refers to the position of the fourth level of the second tone 「Wu Ya Yue Yao」. The line 「Wu Ya Yue Yao」 belongs to the fourth level of the second tone, with 「Wu」 in the opening position, 「Ya」 in the initial position, 「Yue」 in the closing position, and 「Yao」 in the final position, all four positions being complete. In the previous text, the clear tone took the third level 「Wu Wa Yang □」 and named it 「Wa」; in this text, the浊 tone takes the fourth level's position and is named 「Ya」. Comparing the two, the difference between clear and浊 tones lies in the row being third or fourth.

上聲翕唱呂四之二；古甲九癸永永永永 牙牙牙牙千典旦○；一音 □□近揆永永永永 二音 牙牙牙牙元犬半○；二聲 坤巧丘棄永永永永 三聲 牙牙牙牙臣引艮○；□□乾蚪永永永永 牙牙牙牙君允巽○；黑花香血永永永永 牙牙牙牙刀早孝嶽；二音 黃華雄賢永永永永 二音 牙牙牙牙毛寶報霍；二聲 五瓦仰□永永永永 四聲 牙牙牙牙牛斗奏六；吾牙月堯永永永永 牙牙牙牙○○○玉；安亞乙一永永永永 牙牙牙牙妻子四日；三音 □爻壬寅永永永永 二音 牙牙牙牙衰○帥骨；二聲 母馬美米永永永永 五聲 牙牙牙牙○○○德；目貌眉民永永永永 牙牙牙牙龜水貴北；夫法□飛永永永永 牙牙牙牙宮孔眾○；四音 父凡□吠永永永永 二音 牙牙牙牙龍甬用○；二聲 武晚□尾永永永永 六聲 牙牙牙牙魚鼠去○；文萬□未永永永永 牙牙牙牙烏虎兔○。

"Upper tone with rising and singing the second tone 'Yong' throughout, using the second tone 'Yong' to chant the correct sound, with 'Yong Yong Yong Yong' at the end of each line; 'Yong' refers to the second tone fourth category 'Xiong Yong Ying ○' of the upper tone. The positions of the sounds sung remain the first sound 'Gu Jia Jiui Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Tu', the second sound 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao', the third sound 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min', the fourth sound 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'. The right half continues with the second sound 'Ya' and adds the third tone fourth category 'Qian Dian Dan ○', 'Yuan Quan Ban ○', 'Chen Yin Gen ○', 'Jun Yun Xun ○', the fourth tone fourth category 'Dao Zao Xiao Yue', 'Mao Bao Bao Huo', 'Niu Dou Zou Liu', '○○○ Yu', the fifth tone fourth category 'Zi Qi Si Ri', 'Shuai ○ Shuai Gu', '○○○ De', 'Gui Shui Gui Bei', the sixth tone fourth category 'Gong Kong Zhong ○', 'Long Yong Yong ○', 'Yu Shu Qu ○', 'Wu Hu Tu ○'. The upper tone selects the third line for each tone, and the upper tone with rising selects the fourth line for each tone, so even though they are the same second tone, one table is named 'Jing' (from 'Ding Jing Geng ○'), and another table is named 'Yong' (from 'Xiong Yong Ying ○'): although both are upper tones, they differ in their opening and closing, and the characters used are divided into two parts."

卜百丙必永永永永 牙牙牙牙心審禁○；五音 步白備鼻永永永永 二音 牙牙牙牙○○○十；二聲 普撲品匹永永永永 七聲 牙牙牙牙男坎欠○；旁排平瓶永永永永 牙牙牙牙○○○妾；東丹帝■永永永永 牙牙牙牙●●●●；六音 兌大弟■永永永永 二音 牙牙牙牙●●●●；二聲 土貪天■永永永永 八聲 牙牙牙牙●●●●；同覃田■永永永永 牙牙牙牙●●●●；乃你女■永永永永 牙牙牙牙●●●●；七音 內南年■永永永永 二音 牙牙牙牙●●●●；二聲 老冷呂■永永永永 九聲 牙牙牙牙●●●●；鹿犖離■永永永永 牙牙牙牙●●●●；走哉足■永永永永 牙牙牙牙●●●●；八音 自在匠■永永永永 二音 牙牙牙牙●●●●；二聲 草采七■永永永永 十聲 牙牙牙牙●●●●；曹才全■永永永永 牙牙牙牙●●●●。

The character "yǒng" (永) is sung in harmony with "yá" (牙). The fifth tone includes "bǔ bǎi bǐng bì", "bù bái bèi bí", "pǔ pū pǐn pǐ", "páng pái píng píng". The sixth tone includes "dōng dān dì ■", "duì dà dì ■", "tǔ tān tiān ■", "tóng tán tián ■". The seventh tone includes "nǎi nǐ nǚ ■", "nèi nán nián ■", "lǎo lěng lǚ ■", "lù luò lí ■". The eighth tone includes "zǒu zāi zú ■", "zì zài jiàng ■", "cǎo cǎi qī ■", "cáo cái quán ■". Each line ends with "yǒng yǒng yǒng yǒng". On the right side, the fourth category of the seventh tone is listed as "xīn shěn jìn ○", "○○○ shí", "nán kǎn qiàn ○", "○○○ qiè". Below this, the eighth, ninth, and thirteenth tones, totaling twelve lines, are all marked with "●●●●". The second tone "yá" (牙) table is now complete. On the left side, the fourth category of the second tone "wú yá yuè yáo" corresponds to the position of the character "yá" (牙). On the right side, the fourth category of the second tone "xiōng yǒng yíng ○" corresponds to the position of the character "yǒng" (永). The singer and the harmonizer each have their own basis, which can be verified step by step. The three lines below the eighth tone are all filled with "●", following the same pattern as the previous text. This shows that regardless of the type of tone, the rising tone only goes up to the seventh tone. On the left side, "cáo cái quán ■" has "cáo kāi", "cái fā", "quán shōu", with no sound at the closed position. The "cái" (才) at the open position is the basis for the eighth tone in the following text.

發音濁和律四之三；思三星■永永永永 貌貌貌貌多可個舌；九音 寺□象■永永永永 三音 貌貌貌貌禾火化八；二聲 □□□■永永永永 一聲 貌貌貌貌開宰愛○；□□□■永永永永 貌貌貌貌回每退○；■山手■永永永永 貌貌貌貌良兩向○；十音 ■士石■永永永永 三音 貌貌貌貌光廣況○；二聲 ■□耳■永永永永 二聲 貌貌貌貌丁井亙○；■□二■永永永永 貌貌貌貌兄永瑩○；■莊震■永永永永 貌貌貌貌千典旦○；十一音 ■乍□■永永永永 三音 貌貌貌貌元犬半○；二聲 ■叉赤■永永永永 三聲 貌貌貌貌臣引艮○；■崇辰■永永永永 貌貌貌貌君允巽○；■卓中■永永永永 貌貌貌貌刀早孝嶽；十二音 ■宅直■永永永永 三音 貌貌貌貌毛寶報霍；二聲 ■拆丑■永永永永 四聲 貌貌貌貌牛斗奏六；■茶呈■永永永永 貌貌貌貌○○○玉。

"A tone with a heavy sound and the fourth level of the fourth tone" starts a new section, and the right table is changed to use the third tone "Mao" as the upper tone, with each line prefixed by "MaoMaoMaoMao"; "Mao" refers to the first category of the fourth level of the third tone "Mu MaoMei Min". The left half still belongs to the table sung by "Yong", listing the last four tones of the correct tone diagram: the ninth tone "Si SanXing■", "Si□Xiang■", "□□□■", "□□□■", the tenth tone "■Shan Shou■", "■Shi Shi■", "■□Er■", "■□Er■", the eleventh tone "■Zhuang Zhen■", "■Zha□■", "■Cha Chi■", "■Chong Chen■", the twelfth tone "■Zhuo Zhong■", "■Zhai Zhi■", "■Chai Chou■", "■Cha Cheng■". The right half starts with the first tone: "DuKeGe She", "HeHuOHuaba", "Kai ZaiAi○", "Hui MeiTui○"; the second tone: "Liang LiangXiang○", "Guang GuangKuang○", "Ding JingGeng○", "Xiong YongYing○"; the third tone: "Qian DianDan○", "Yuan QuanBan○", "Chen YinGen○", "Jun YunXun○"; the fourth tone: "Dao ZaoXiao Yue", "Mao BaoBao Huo", "Niu DouZou Liu", "○○○Yu". The four levels of the third tone are "AnYiaYiYi", "□Yao RenYin", "MuMa MeiMi", "Mu MaoMei Min". For clear tones, the first category of the third level is taken as "Ma"; for heavy tones, the first category of the fourth level is taken as "Mao"; the previous section used "Ma", and this section uses "Mao", which are both from the third tone but belong to clear and heavy tones respectively, most clearly showing the strictness of the diagram example.

上聲翕唱呂四之三；古甲九癸允允允允 貌貌貌貌妻子四日；一音 □□近揆允允允允 三音 貌貌貌貌衰○帥骨；三聲 坤巧丘棄允允允允 五聲 貌貌貌貌○○○德；□□乾蚪允允允允 貌貌貌貌龜水貴北；黑花香血允允允允 貌貌貌貌宮孔眾○；二音 黃華雄賢允允允允 三音 貌貌貌貌龍甬用○；三聲 五瓦仰□允允允允 六聲 貌貌貌貌魚鼠去○；吾牙月堯允允允允 貌貌貌貌烏虎兔○；安亞乙一允允允允 貌貌貌貌心審禁○；三音 □爻壬寅允允允允 三音 貌貌貌貌○○○十；三聲 母馬美米允允允允 七聲 貌貌貌貌男坎欠○；目貌眉民允允允允 貌貌貌貌○○○妾；夫法□飛允允允允 貌貌貌貌●●●●；四音 父凡□吠允允允允 三音 貌貌貌貌●●●●；三聲 武晚□尾允允允允 八聲 貌貌貌貌●●●●；文萬□未允允允允 貌貌貌貌●●●●。

The phrase 「上声翕唱吕四之三」 is changed to the third tone 「允」, which is sung throughout in the correct pronunciation; at the end of each line, it is written as 「允允允允」. 「允」 refers to the first category of the third tone, 「君允巽○」. The listed entries remain the first tone 「古甲九癸」「□□近揆」「坤巧丘弃」「□□乾蚪」, the second tone 「黑花香血」「黄华雄贤」「五瓦仰□」「吾牙月尧」, the third tone 「安亚乙一」「□爻壬寅」「母马美米」「目貌眉民」, and the fourth tone 「夫法□飞」「父凡□吠」「武晚□尾」「文万□未」. The right side continues with the third tone 「貌」 and adds the fourth category of the fifth tone 「妻子四日」「衰○帅骨」「○○○德」「龟水贵北」, the fourth category of the sixth tone 「宫孔众○」「龙甬用○」「鱼鼠去○」「乌虎兔○」, the fourth category of the seventh tone 「心审禁○」「○○○十」「男坎欠○」「○○○妾」, and the fourth category of the eighth tone 「●●●●」. The left table remains unchanged in its phonetic positions, while the right table shifts its tone positions with each table. The two tables interweave, allowing the calculation of the numbers of all sounds in the world. 「君允巽○」 belongs to the fourth category of the third tone; 「君」 is level tone, 「允」 is rising tone, 「巽」 is falling-rising tone, and the entering tone category has no character, hence it is written as 「○」. The rising tone is taken from 「允」, so the third tone is represented by 「允」. On the left, 「五瓦仰□」 has no character in the closed position, and it is also written as 「□」. These two types of omissions belong to the tone chart and the phonetic chart respectively, and the symbols cannot be used interchangeably.

卜百丙必允允允允 貌貌貌貌●●●●；五音 步白備鼻允允允允 三音 貌貌貌貌●●●●；三聲 普撲品匹允允允允 九聲 貌貌貌貌●●●●；旁排平瓶允允允允 貌貌貌貌●●●●；東丹帝■允允允允 貌貌貌貌●●●●；六音 兌大弟■允允允允 三音 貌貌貌貌●●●●；三聲 土貪天■允允允允 十聲 貌貌貌貌●●●●；同覃田■允允允允 貌貌貌貌●●●●；發音濁和律四之四；乃你女■允允允允 萬萬萬萬多可個舌；七音 內南年■允允允允 四音 萬萬萬萬禾火化八；三聲 老冷呂■允允允允 一聲 萬萬萬萬開宰愛○；鹿犖離■允允允允 萬萬萬萬回每退○；走哉足■允允允允 萬萬萬萬良兩向○；八音 自在匠■允允允允 四音 萬萬萬萬光廣況○；三聲 草采七■允允允允 二聲 萬萬萬萬丁井亙○；曹才全■允允允允 萬萬萬萬兄永瑩○。

This passage is divided into two parts. The phonetic chart on the left first presents the fifth tone with the sounds 「Bo Bai Bing Bi」, 「Bu Bai Bei Bi」, 「Pu Pu Pin Pi」, and 「Pang Pai Ping Ping」, and the sixth tone with 「Dong Dan Di ■」, 「Dui Da Di ■」, 「Tu Tan Tian ■」, and 「Tong Tan Tian ■」, still using the third tone 「Yun」 for singing. In between, the section 「Phonetic浊 and Harmonic Law Four of Four」 is inserted. On the right side, the chart changes to use the fourth tone 「Wan」, and after that, the left side continues with the seventh tone 「Nai Ni Nu ■」, 「Nei Nan Nian ■」, 「Lao Leng Lv ■」, and 「Lu Luo Li ■」, and the eighth tone 「Zou Zai Zu ■」, 「Zi Zai Jiang ■」, 「Cao Cai Qi ■」, and 「Cao Cai Quan ■」. The first eight lines on the right side are the third tone 「Mao」 paired with the ninth and tenth tones, while the second tone has no position and is marked as 「●●●●」. After changing the section, 「Wan」 starts from the first tone, listing 「Du Ke Ge She」, 「He Huo Hua Ba」, 「Kai Zai Ai ○」, 「Hui Mei Tui ○」, and the second tone 「Liang Liang Xiang ○」, 「Guang Guang Kuang ○」, 「Ding Jing Gen ○」, 「Xiong Yong Ying ○」. 「Wan」 refers to the fourth tone's fourth category 「Wen Wan □ Wei」, which has no character, so it is marked as 「□」. The fourth tone's four categories 「Fu Fa □ Fei」, 「Fu Fan □ Fei」, 「Wu Wan □ Wei」, and 「Wen Wan □ Wei」 all have the same ending position marked as 「□」, indicating that although the ending position exists, there is no character to be cited. Clear sounds take the third category's position 「Wan」, while浊 sounds take the fourth category's position 「Wan」, which correspond in order.

思三星■允允允允 萬萬萬萬千典旦○；九音 寺□象■允允允允 四音 萬萬萬萬元犬半○；三聲 □□□■允允允允 三聲 萬萬萬萬臣引艮○；□□□■允允允允 萬萬萬萬君允巽○；■山手■允允允允 萬萬萬萬刀早孝嶽；十音 ■士石■允允允允 四音 萬萬萬萬毛寶報霍；三聲 ■□耳■允允允允 四聲 萬萬萬萬牛斗奏六；■□二■允允允允 萬萬萬萬○○○玉；■莊震■允允允允 萬萬萬萬妻子四日；十一音 ■乍□■允允允允 四音 萬萬萬萬衰○帥骨；三聲 ■叉赤■允允允允 五聲 萬萬萬萬○○○德；■崇辰■允允允允 萬萬萬萬龜水貴北；■卓中■允允允允 萬萬萬萬宮孔眾○；十二音 ■宅直■允允允允 四音 萬萬萬萬龍甬用○；三聲 ■拆丑■允允允允 六聲 萬萬萬萬魚鼠去○；■茶呈■允允允允 萬萬萬萬烏虎兔○。

The character "允" is sung in harmony with "万" in the continuation. The chart lists the following four sounds after the ninth tone: ninth tone "思三星■", "寺□象■", "□□□■", "□□□■"; tenth tone "■山手■", "■士石■", "■□耳■", "■□二■"; eleventh tone "■庄震■", "■乍□■", "■叉赤■", "■崇辰■"; twelfth tone "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". The right half begins with the fourth tone "万" in harmony, followed by the third tone "千典旦○", "元犬半○", "臣引艮○", "君允巽○"; the fourth tone "刀早孝岳", "毛宝报霍", "牛斗奏六", "○○○玉"; the fifth tone "妻子四日", "衰○帅骨", "○○○德", "龟水贵北"; the sixth tone "宫孔众○", "龙甬用○", "鱼鼠去○", "乌虎兔○". In the third tone and fourth tone of the right chart, "君允巽○" contains "允," which is exactly the sound sung in the left chart. The headings in the chart correspond with the characters within, showing that this chart forms a self-contained system of derivation. "文万□未" means "文" opens, "万" starts, "未" closes, and there is no character at the end; "■崇辰■" has neither opening nor closing, leaving only "崇" and "辰." On the right, "乌虎兔○" has "乌" as a level tone, "虎" as a rising tone, and "兔" as a departing tone, with the入声 (entering tone) missing. Among these, "虎" corresponds to the sixth tone of the rising tone, and it is used to sing the correct tones throughout the following text.

上聲翕唱呂四之四；古甲九癸○○○○ 萬萬萬萬心審禁○；一音 □□近揆○○○○ 四音 萬萬萬萬○○○十；四聲 坤巧丘棄○○○○ 七聲 萬萬萬萬男坎欠○；□□乾蚪○○○○ 萬萬萬萬○○○妾；黑花香血○○○○ 萬萬萬萬●●●●；二音 黃華雄賢○○○○ 四音 萬萬萬萬●●●●；四聲 五瓦仰□○○○○ 八聲 萬萬萬萬●●●●；吾牙月堯○○○○ 萬萬萬萬●●●●；安亞乙一○○○○ 萬萬萬萬●●●●；三音 □爻壬寅○○○○ 四音 萬萬萬萬●●●●；四聲 母馬美米○○○○ 九聲 萬萬萬萬●●●●；目貌眉民○○○○ 萬萬萬萬●●●●；夫法□飛○○○○ 萬萬萬萬●●●●；四音 父凡□吠○○○○ 四音 萬萬萬萬●●●●；四聲 武晚□尾○○○○ 十聲 萬萬萬萬●●●●；文萬□未○○○○ 萬萬萬萬●●●●。

The "upper tone" (上声) "Xī" (翕) sings the fourth tone, but the fourth tone of "Xī" has a position but no character, so no character is written at the end, only four grids marked as "○○○○". The sung tones remain the first tone "Gǔ Jiǎ Jiǔ Guǐ", "□□ Jìn Kuí", "Kūn Qiǎo Qiū Qì", "□□ Qián Yóu", the second tone "Hēi Huā Xiāng Xuè", "Huáng Huā Xióng Xián", "Wǔ Wǎ Yǎng □", "Wú Yá Yuè Yáo", the third tone "Ān Yà Yǐ Yī", "□ Yué Rén Yín", "Mǔ Mǎ Měi Mǐ", "Mù Mào Méi Mín", and the fourth tone "Fū Fǎ □ Fēi", "Fù Fán □ Fèi", "Wǔ Wǎn □ Wěi", "Wén Wàn □ Wèi". The right half still continues with the fourth tone "Wàn", and the seventh tone is combined with it, first listing the four levels of the seventh tone "Xīn Shěn Jìn ○", "○○○ Shí", "Nán Kǎn Qiàn ○", "○○○ Jiè", followed by the eighth, ninth, and thirteenth tones, totaling twelve lines all marked as "●●●●". Among the ten tones of the "upper tone" (上声) "Xī" (翕), the fourth tone and the seventh tone have positions but no characters, while the eighth tone and below have neither positions nor characters. Therefore, only seven tones are actually used, consistent with the statement "month and day tones seven". The fifth tone of "Pì" (辟) has no character, and the fourth and seventh tones of "Xī" (翕) also have no characters, even though their positions differ, they both fall under the category of having positions but no characters. As for the eighth, ninth, and thirteenth tones, both texts mark them as "●", meaning they have neither positions nor characters. The empty positions are divided into two categories, which is the key to the counting in this diagram.

發音濁和律四之五；卜百丙必○○○○ 排排排排多可個舌；五音 步白備鼻○○○○ 五音 排排排排禾火化八；四聲 普撲品匹○○○○ 一聲 排排排排開宰愛○；旁排平瓶○○○○ 排排排排回每退○；東丹帝■○○○○ 排排排排良兩向○；六音 兌大弟■○○○○ 五音 排排排排光廣況○；四聲 土貪天■○○○○ 二聲 排排排排丁井亙○；同覃田■○○○○ 排排排排兄永瑩○；乃你女■○○○○ 排排排排千典旦○；七音 內南年■○○○○ 五音 排排排排元犬半○；四聲 老冷呂■○○○○ 三聲 排排排排臣引艮○；鹿犖離■○○○○ 排排排排君允巽○；走哉足■○○○○ 排排排排刀早孝嶽；八音 自在匠■○○○○ 五音 排排排排毛寶報霍；四聲 草采七■○○○○ 四聲 排排排排牛斗奏六；曹才全■○○○○ 排排排排○○○玉。

A separate section is established for "sound with浊 and law four of five," with the right table revised to use the fifth tone "排" (pai) as the upper and lower harmony. Each line is prefixed with "排排排排." "排" refers to the first position of the fourth grade of the fifth tone "旁排平瓶." The left half still consists of the fourth tone, which has no characters, so the end of each line remains four "○." The listed entries are for the fifth tone: "卜百丙必," "步白备鼻," "普扑品匹," "旁排平瓶," the sixth tone: "东丹帝■," "兑大弟■," "土贪天■," "同覃田■," the seventh tone: "乃你女■," "内南年■," "老冷吕■," "鹿荦离■," and the eighth tone: "走哉足■," "自在匠■," "草采七■," "曹才全■." The right half starts from the first tone: "多可个舌," "禾火化八," "开宰爱○," "回每退○," the second tone: "良两向○," "光广况○," "丁井亘○," "兄永莹○," the third tone: "千典旦○," "元犬半○," "臣引艮○," "君允巽○," and the fourth tone: "刀早孝岳," "毛宝报霍," "牛斗奏六," "○○○玉." The line "旁排平瓶" includes four positions: "旁开," "排发," "平收," and "瓶闭," making it one of the most complete tones among the twelve. In the previous section, the clear sound took the third grade "普扑品匹" as its position and was named "扑," while in this section, the dull sound takes the fourth grade's position and is named "排," which corresponds exactly to the previous one.

思三星■○○○○ 排排排排妻子四日；九音 寺□象■○○○○ 五音 排排排排衰○帥骨；四聲 □□□■○○○○ 五聲 排排排排○○○德；□□□■○○○○ 排排排排龜水貴北；■山手■○○○○ 排排排排宮孔眾○；十音 ■士石■○○○○ 五音 排排排排龍甬用○；四聲 ■□耳■○○○○ 六聲 排排排排魚鼠去○；■□二■○○○○ 排排排排烏虎兔○；■莊震■○○○○ 排排排排心審禁○；十一音 ■乍□■○○○○ 五音 排排排排○○○十；四聲 ■叉赤■○○○○ 七聲 排排排排男坎欠○；■崇辰■○○○○ 排排排排○○○妾；■卓中■○○○○ 排排排排●●●●；十二音 ■宅直■○○○○ 五音 排排排排●●●●；四聲 ■拆丑■○○○○ 八聲 排排排排●●●●；■茶呈■○○○○ 排排排排●●●●。

The fourth tone is sung and the fifth tone's "pai" is harmonized in the continuation line; the fourth tone has a position but no character, so only four "○" are written at the end of the left half. The diagram lists the last four tones: the ninth tone "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■"; the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ □ Er ■", "■ □ Er ■"; the eleventh tone "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", "■ Chong Chen ■"; the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". The right half starts with "pai" harmonizing the fourth level of the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei", then the fourth levels of the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○", the fourth levels of the seventh tone "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie", and the fourth lines of the eighth tone "● ● ● ●". The "Shui" in the fourth level of the fifth tone "Gui Shui Gui Bei" is exactly the heading of the fifth tone in the next table; the headings in the diagram and the characters within are interrelated, allowing verification at any point while reading. From the ninth tone onwards, the "□" and "■" alternate closely: in "Si □ Xiang ■", there is no character in the initial position and no sound in the closing position; in "■ □ Er ■", there is no sound at both the opening and closing ends and no character in the initial position, leaving only the "Er" in the closing position to produce sound. Both types of omissions appear within the same line, requiring careful distinction through the symbols.

上聲翕唱呂四之五；古甲九癸水水水水 排排排排●●●●；一音 □□近揆水水水水 五音 排排排排●●●●；五聲 坤巧丘棄水水水水 九聲 排排排排●●●●；□□乾蚪水水水水 排排排排●●●●；黑花香血水水水水 排排排排●●●●；二音 黃華雄賢水水水水 五音 排排排排●●●●；五聲 五瓦仰□水水水水 十聲 排排排排●●●●；吾牙月堯水水水水 排排排排●●●●；發音濁和律四之六；安亞乙一水水水水 覃覃覃覃多可個舌；三音 □爻壬寅水水水水 六音 覃覃覃覃禾火化八；五聲 母馬美米水水水水 一聲 覃覃覃覃開宰愛○；目貌眉民水水水水 覃覃覃覃回每退○；夫法□飛水水水水 覃覃覃覃良兩向○；四音 父凡□吠水水水水 六音 覃覃覃覃光廣況○；五聲 武晚□尾水水水水 二聲 覃覃覃覃丁井亙○；文萬□未水水水水 覃覃覃覃兄永瑩○。

The phrase "上声翕唱吕四之五" is changed to use the fifth tone "water" for the entire chant, with the end of each line written as "water water water water"; "water" refers to the first category of the fifth tone, fourth class "turtle water noble north." On the left side, the first sound "ancient Jia ninth Gui" "□□ near揆" "Kun skill mountain discard" "□□ Heaven tadpole" and the second sound "black flower fragrant blood" "yellow flower strong virtuous" "five wa upward □" "I tooth moon Yao" are listed first. In the middle, the section "sound emission turbid harmony law four six" is inserted. On the right side, the table is changed to use the sixth sound "Tan" for the upper tone, and after changing the section, the left table continues with the third sound "safe Ya Yi one" "□ yao Ren Yin" "mother horse beautiful rice" "eye appearance eyebrow people" and the fourth sound "husband law □ fly" "father all □ bark" "Wu late □ tail" "Wen ten □ not." The first eight lines on the right side are the fifth sound "pai" paired with the ninth and tenth tones, while the second tone has no position and is all marked as "●●●●." After changing the section, "Tan" starts from the first tone, listing "more can individual tongue" "husk fire change eight" "open administrator love ○" "return every retreat ○" and the second tone "good two direction ○" "light broad condition ○" "Ding well constant ○" "brother long bright ○." "Tan" refers to the first category of the sixth tone, fourth class "same Tan field ■" which is the sound position category. Since this class has no sound, the last position is marked as "■." Among the ten tones of the upper sound, the first, second, and third tones have characters, the fourth tone has a position but no character, the fifth and sixth tones have characters again, the seventh tone is missing, and from the eighth tone onwards, there are positions but no characters: the presence and absence alternate, yet the positions remain orderly, which is the fundamental principle of this diagram.

卜百丙必水水水水 覃覃覃覃千典旦○；五音 步白備鼻水水水水 六音 覃覃覃覃元犬半○；五聲 普撲品匹水水水水 三聲 覃覃覃覃臣引艮○；旁排平瓶水水水水 覃覃覃覃君允巽○；東丹帝■水水水水 覃覃覃覃刀早孝嶽；六音 兌大弟■水水水水 六音 覃覃覃覃毛寶報霍；五聲 土貪天■水水水水 四聲 覃覃覃覃牛斗奏六；同覃田■水水水水 覃覃覃覃○○○玉；乃你女■水水水水 覃覃覃覃妻子四日；七音 內南年■水水水水 六音 覃覃覃覃衰○帥骨；五聲 老冷呂■水水水水 五聲 覃覃覃覃○○○德；鹿犖離■水水水水 覃覃覃覃龜水貴北；走哉足■水水水水 覃覃覃覃宮孔眾○；八音 自在匠■水水水水 六音 覃覃覃覃龍甬用○；五聲 草采七■水水水水 六聲 覃覃覃覃魚鼠去○；曹才全■水水水水 覃覃覃覃烏虎兔○。

The character "water" sings in harmony with "Tan" and continues below. The correct pronunciation chart lists the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■", the seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■", and the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", with each ending marked by "water water water water". On the right side, starting from the sixth tone "Tan", it harmonizes upward, successively listing the third tone "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○", the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu", the fifth tone "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○○○ De", "Gui Shui Gui Bei", and the sixth tone "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The sixth tone fourth category "Tong Tan Tian ■" on the left includes "Tan", which is the basis of the heading on the right. The fifth tone fourth category "Gui Shui Gui Bei" on the right includes "Shui", which is the sound sung on the left. Within one diagram, the singer and the harmonizer complement each other sufficiently without needing external sources. The fifth tone "Bu Bai Bing Bi" has all four categories complete, while from the sixth tone onwards, the closed positions gradually show "■". Among the four tones on the right, only the line "○○○ Yu" is missing three characters, while the rest are largely complete. The left chart becomes increasingly sparse as it progresses, while the right chart becomes more dense as it moves forward, with both sides interweaving yet maintaining order.

思三星■水水水水 覃覃覃覃心審禁○；九音 寺□象■水水水水 六音 覃覃覃覃○○○十；五聲 □□□■水水水水 七聲 覃覃覃覃男坎欠○；□□□■水水水水 覃覃覃覃○○○妾；■山手■水水水水 覃覃覃覃●●●●；十音 ■士石■水水水水 六音 覃覃覃覃●●●●；五聲 ■□耳■水水水水 八聲 覃覃覃覃●●●●；■□二■水水水水 覃覃覃覃●●●●；■莊震■水水水水 覃覃覃覃●●●●；十一音 ■乍□■水水水水 六音 覃覃覃覃●●●●；五聲 ■叉赤■水水水水 九聲 覃覃覃覃●●●●；■崇辰■水水水水 覃覃覃覃●●●●；■卓中■水水水水 覃覃覃覃●●●●；十二音 ■宅直■水水水水 六音 覃覃覃覃●●●●；五聲 ■拆丑■水水水水 十聲 覃覃覃覃●●●●；■茶呈■水水水水 覃覃覃覃●●●●。

The element of water sings in harmony with the sound "Tan" to conclude. The chart of correct pronunciations lists the last four sounds: the ninth sound "Si San Xing ■", "Si □ Xiang ■", "□ □ □ ■", "□ □ □ ■"; the tenth sound "■ Shan Shou ■", "■ Shi Shi ■", "■ □ Er ■", "■ □ Er ■"; the eleventh sound "■ Zhuang Zhen ■", "■ Zha □ ■", "■ Cha Chi ■", "■ Chong Chen ■"; the twelfth sound "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". On the right side, the fourth tone of the seventh sound is listed first as "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie". Below this, the eighth, ninth, and thirteenth sounds, totaling twelve rows, are all marked as "● ● ● ●". The chart for the sixth sound is thus completed. From the ninth sound onwards, the positions of open or closed sounds are often entirely blank, contrasting with the continuous black circles on the right side of the later three tones, making this the area with the most blank space in the entire chart. However, the positions are still listed one by one, because the number of sounds must be multiplied according to their positions, and cannot be omitted even if there are no characters. The next chart will use the sixth tone "Hu" for singing and the seventh tone "Luo" for harmonizing: "Hu" comes from the fourth tone of the sixth sound "Wu Hu Tu ○" in the rising tone section, and "Luo" comes from the fourth tone of the seventh sound "Lu Luo Li ■" in the initial position section. Both characters can be found in the previously listed rows.

上聲翕唱呂四之六 發音濁和律四之七；古甲九癸虎虎虎虎 犖犖犖犖多可個舌；一音 □□近揆虎虎虎虎 七音 犖犖犖犖禾火化八；六聲 坤巧丘棄虎虎虎虎 一聲 犖犖犖犖開宰愛○；□□乾蚪虎虎虎虎 犖犖犖犖回每退○；黑花香血虎虎虎虎 犖犖犖犖良兩向○；二音 黃華雄賢虎虎虎虎 七音 犖犖犖犖光廣況○；六聲 五瓦仰□虎虎虎虎 二聲 犖犖犖犖丁井亙○；吾牙月堯虎虎虎虎 犖犖犖犖兄永瑩○；安亞乙一虎虎虎虎 犖犖犖犖千典旦○；三音 □爻壬寅虎虎虎虎 七音 犖犖犖犖元犬半○；六聲 母馬美米虎虎虎虎 三聲 犖犖犖犖臣引艮○；目貌眉民虎虎虎虎 犖犖犖犖君允巽○；夫法□飛虎虎虎虎 犖犖犖犖刀早孝嶽；四音 父凡□吠虎虎虎虎 七音 犖犖犖犖毛寶報霍；六聲 武晚□尾虎虎虎虎 四聲 犖犖犖犖牛斗奏六；文萬□未虎虎虎虎 犖犖犖犖○○○玉。

The entries "Upper tone singing with the sixth tone 'Lv Si Liu'" and "Producing a thick and harmonious sound with the seventh tone 'Lv Si Qi'" start on the same line: the left table switches to the sixth tone "Hu" and repeats the correct pronunciation, while the right table switches to the seventh tone "Luo" and harmonizes with the correct sound. "Hu" refers to the first category of the sixth tone and fourth class "Wu Hu Tu Ou", and "Luo" refers to the first category of the seventh tone and fourth class "Lu Luo Li ■". The left column's first tone includes "Gu Jia Ji Gui", "□□ Jin Kui", "Kun Qiao Qiu Qi", "□□ Qian Tu", the second tone includes "Hei Hua Xiang Xue", "Huang Hua Xiong Xian", "Wu Wa Yang □", "Wu Ya Yue Yao", the third tone includes "An Ya Yi Yi", "□ Yao Ren Yin", "Mu Ma Mei Mi", "Mu Mao Mei Min", and the fourth tone includes "Fu Fa □ Fei", "Fu Fan □ Fei", "Wu Wan □ Wei", "Wen Wan □ Wei", with "Hu Hu Hu Hu" appended at the end of each line. The right column's first tone includes "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", the second tone includes "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○", the third tone includes "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○", and the fourth tone includes "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu". Both sides of the table start on the same line because the phonetic table has forty-eight lines and the tone table has forty lines, and the accumulated difference of eight lines coincides here; similarly, the previous entry "Singing Lv San Liu" and "Harmonizing Lv San Qi" also started on the same line for the same reason.

卜百丙必虎虎虎虎 犖犖犖犖妻子四日；五音 步白備鼻虎虎虎虎 七音 犖犖犖犖衰○帥骨；六聲 普撲品匹虎虎虎虎 五聲 犖犖犖犖○○○德；旁排平瓶虎虎虎虎 犖犖犖犖龜水貴北；東丹帝■虎虎虎虎 犖犖犖犖宮孔眾○；六音 兌大弟■虎虎虎虎 七音 犖犖犖犖龍甬用○；六聲 土貪天■虎虎虎虎 六聲 犖犖犖犖魚鼠去○；同覃田■虎虎虎虎 犖犖犖犖烏虎兔○；乃你女■虎虎虎虎 犖犖犖犖心審禁○；七音 內南年■虎虎虎虎 七音 犖犖犖犖○○○十；六聲 老冷呂■虎虎虎虎 七聲 犖犖犖犖男坎欠○；鹿犖離■虎虎虎虎 犖犖犖犖○○○妾；走哉足■虎虎虎虎 犖犖犖犖●●●●；八音 自在匠■虎虎虎虎 七音 犖犖犖犖●●●●；六聲 草采七■虎虎虎虎 八聲 犖犖犖犖●●●●；曹才全■虎虎虎虎 犖犖犖犖●●●●。

The character "Hu" (虎) sings with "Luo" (荦) and continues. The correct pronunciation chart lists the fifth tone as "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping"; the sixth tone as "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■"; the seventh tone as "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■"; and the eighth tone as "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■". On the right side, the fifth tone has "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei"; the sixth tone has "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○"; the seventh tone has "Xin Shen Jin ○", "○ ○ ○ Shi", "Nan Kan Qian ○", "○ ○ ○ Qie"; and from the eighth tone, all four rows are filled with black circles. The fourth entry of the seventh tone on the left, "Lu Luo Li ■", is exactly where the character "Luo" (荦) comes from, and the fourth entry of the sixth tone on the right, "Wu Hu Tu ○", is exactly where the character "Hu" (虎) comes from. These two appear in the same section and are most convenient to compare. The rising tone has now reached the sixth tone, and only the seventh tone remains with a position but no character. The fifth tone "Bu Bai Bing Bi" has all four entries complete, while from the sixth tone onwards, the closed positions gradually disappear, marking the turning point where the twelve tones shift from complete to incomplete. On the right side, from the eighth tone onwards, the entire row is filled with black circles, marking the turning point where the ten tones shift from existing to non-existing. The density and sparsity of the left and right charts correspond perfectly to form a complete text.

思三星■虎虎虎虎 犖犖犖犖●●●●；九音 寺□象■虎虎虎虎 七音 犖犖犖犖●●●●；六聲 □□□■虎虎虎虎 九聲 犖犖犖犖●●●●；□□□■虎虎虎虎 犖犖犖犖●●●●；■山手■虎虎虎虎 犖犖犖犖●●●●；十音 ■士石■虎虎虎虎 七音 犖犖犖犖●●●●；六聲 ■□耳■虎虎虎虎 十聲 犖犖犖犖●●●●；■□二■虎虎虎虎 犖犖犖犖●●●●；發音濁和律四之八；■莊震■虎虎虎虎 才才才才多可個舌；十一音 ■乍□■虎虎虎虎 八音 才才才才禾火化八；六聲 ■叉赤■虎虎虎虎 一聲 才才才才開宰愛○；■崇辰■虎虎虎虎 才才才才回每退○；■卓中■虎虎虎虎 才才才才良兩向○；十二音 ■宅直■虎虎虎虎 八音 才才才才光廣況○；六聲 ■拆丑■虎虎虎虎 二聲 才才才才丁井亙○；■茶呈■虎虎虎虎 才才才才兄永瑩○。

The left half first lists the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■" together with the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■", still using the sixth tone "Hu" for singing; in the middle, the entry "Fang Yin Zhu He Lu Si Zi Ba" is inserted. The right table then shifts to the eighth tone "Cai" for harmonizing, after which the left table continues with the eleventh tone "■ Zhuang Zhen ■", "■ Zha ■", "■ Cha Chi ■", "■ Chong Chen ■" and the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■". The first eight lines of the right half are the seventh tone "Luo" paired with the ninth and tenth tones, with two tones having no position, hence marked as "●●●●"; after changing the entry, "Cai" starts from the first tone, listing "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○" together with the second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Gen ○", "Xiong Yong Ying ○". "Cai" refers to the fourth category of the eighth tone "Cao Cai Quan ■" for pronunciation, forming a contrast with the previous entry where clear pronunciation took the third category "Cao Cai Qi ■" and was labeled as "Cai". The open and closed positions for the eleventh and twelfth tones are all marked as "■", with the middle two positions either having characters or marked as "□": "■ Zha ■" only has the character "Zha" for pronunciation, while "■ Cha Chi ■" has characters for both the initial and final positions, clearly showing the variation.

上聲翕唱呂四之七；古甲九癸○○○○ 才才才才幹典旦○；一音 □□近揆○○○○ 八音 才才才才元犬半○；七聲 坤巧丘棄○○○○ 三聲 才才才才臣引艮○；□□乾蚪○○○○ 才才才才君允巽○；黑花香血○○○○ 才才才才刀早孝嶽；二音 黃華雄賢○○○○ 八音 才才才才毛寶報霍；七聲 五瓦仰□○○○○ 四聲 才才才才牛斗奏六；吾牙月堯○○○○ 才才才才○○○玉；安亞乙一○○○○ 才才才才妻子四日；三音 □爻壬寅○○○○ 八音 才才才才衰○帥骨；七聲 母馬美米○○○○ 五聲 才才才才○○○德；目貌眉民○○○○ 才才才才龜水貴北；夫法□飛○○○○ 才才才才宮孔眾○；四音 父凡□吠○○○○ 八音 才才才才龍甬用○；七聲 武晚□尾○○○○ 六聲 才才才才魚鼠去○；文萬□未○○○○ 才才才才烏虎兔○。

"The upper tone 'Xī' sings the seventh tone, and the seventh tone of 'Xī' has a position but no character, so the end of the line does not write a character, only '○○○○'. The sung tone positions remain the first tone 'Gǔ Jiā Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Yóu'; the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huā Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo'; the third tone 'Ān Yà Yǐ Yī', '□ Yué Rén Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Méi Mín'; the fourth tone 'Fū Fǎ □ Fēi', 'Fù Fán □ Fèi', 'Wǔ Wǎn □ Wěi', 'Wén Wàn □ Wèi'. The right half is harmonized with the eighth tone 'Cái', sequentially the third tone 'Gān Diǎn Dàn ○', 'Yuán Quǎn Bàn ○', 'Chén Yǐn Gèn ○', 'Jūn Yǔn Xùn ○'; the fourth tone 'Dāo Zǎo Xiào Yuè', 'Máo Bǎo Bào Huò', 'Niú Dòu Zòu Liù', '○○○ Yù'; the fifth tone 'Zǐ Qī Sì Rì', 'Shuāi ○ Shuài Gǔ', '○○○ Dé', 'Guī Shuǐ Guì Běi'; the sixth tone 'Gōng Kǒng Zhòng ○', 'Lóng Yǒng Yòng ○', 'Yú Shǔ Qù ○', 'Wū Hǔ Tù ○'; the first of the third tone's top version is 'Gān Diǎn Dàn ○', 'Gān' should be a mistake for 'Qiān', and in other versions it is 'Qiān Diǎn Dàn ○'. In the seventh tone of 'Xī', the fourth tone and the seventh tone both have a position but no character, so the endings of the two tables 'Chàng Lǚ Sì zhī Sì' and 'Chàng Lǚ Sì zhī Qī' both write '○○○○'; these two can only be distinguished by the table purpose 'zhī sì' and 'zhī qī', and cannot be confused due to the same symbols."

卜百丙必○○○○ 才才才才心審禁○；五音 步白備鼻○○○○ 八音 才才才才○○○十；七聲 普撲品匹○○○○ 七聲 才才才才男坎欠○；旁排平瓶○○○○ 才才才才○○○妾；東丹帝■○○○○ 才才才才●●●●；六音 兌大弟■○○○○ 八音 才才才才●●●●；七聲 土貪天■○○○○ 八聲 才才才才●●●●；同覃田■○○○○ 才才才才●●●●；乃你女■○○○○ 才才才才●●●●；七音 內南年■○○○○ 八音 才才才才●●●●；七聲 老冷呂■○○○○ 九聲 才才才才●●●●；鹿犖離■○○○○ 才才才才●●●●；走哉足■○○○○ 才才才才●●●●；八音 自在匠■○○○○ 八音 才才才才●●●●；七聲 草采七■○○○○ 十聲 才才才才●●●●；曹才全■○○○○ 才才才才●●●●。

The seventh tone is followed by the eighth tone "cai" which indicates continuation. The standard tone chart lists the fifth tone as "bu bai bing bi", "bu bai bei bi", "pu pu pin pi", "pang pai ping ping"; the sixth tone as "dong dan di ■", "dui da di ■", "tu tan tian ■", "tong tan tian ■"; the seventh tone as "nai ni nv ■", "nei nan nian ■", "lao leng lv ■", "lu luo li ■"; the eighth tone as "zou zai zu ■", "zi zai jiang ■", "cao cai qi ■", "cao cai quan ■". The end of each line still has four "○". On the right side, the fourth category of the seventh tone is listed first as "xin shen jin ○", "○○○ shi", "nan kan qian ○", "○○○ qie". Below this, the eighth, ninth, and thirteenth tones, totaling twelve lines, are all marked as "●●●●". The "○" at the end of the left side lines and the "●" at the end of the right side lines appear in the same line but refer to different things: the "○" indicates that the seventh tone has a position but lacks the character, while the "●" indicates that the eighth tone and below have positions but no characters. This chart clearly distinguishes the two symbols, and readers should pay particular attention. "Cai" is the name for the浊 sound of the eighth tone, taken from the position of "cao cai quan ■"; the clear sound of the same tone position from the previous article, "cai", is taken from the position of "cao cai qi ■". Both characters belong to the eighth tone but are placed in the third and fourth lines respectively, and the distinction between clear and浊 sounds lies here.

發音濁和律四之九；思三星■○○○○ □□□□多可個舌；九音 寺□象■○○○○ 九音 □□□□禾火化八；七聲 □□□■○○○○ 一聲 □□□□開宰愛○；□□□■○○○○ □□□□回每退○；■山手■○○○○ □□□□良兩向○；十音 ■士石■○○○○ 九音 □□□□光廣況○；七聲 ■□耳■○○○○ 二聲 □□□□丁井亙○；■□二■○○○○ □□□□兄永瑩○；■莊震■○○○○ □□□□千典旦○；十一音 ■乍□■○○○○ 九音 □□□□元犬半○；七聲 ■叉赤■○○○○ 三聲 □□□□臣引艮○；■崇辰■○○○○ □□□□君永巽○；■卓中■○○○○ □□□□刀早孝嶽；十二音 ■宅直■○○○○ 九音 □□□□毛寶報霍；七聲 ■拆丑■○○○○ 四聲 □□□□牛斗奏六；■茶呈■○○○○ □□□□○○○玉。

"A section on the pronunciation of浊 and 律 four, ninth tone" is established separately. In the ninth tone, the浊 sound has a position but no character, so there is no character to serve as a heading. Therefore, the right half of each line can only be prefixed with "□□□□" four characters. The left half still follows the seventh tone, listing the ninth tone as "思三星■", "寺□象■", "□□□■", "□□□■", the tenth tone as "■山手■", "■士石■", "■□耳■", "■□二■", the eleventh tone as "■庄震■", "■乍□■", "■叉赤■", "■崇辰■", and the twelfth tone as "■卓中■", "■宅直■", "■拆丑■", "■茶呈■". The right half starts from the first tone: "多可个舌", "禾火化八", "开宰爱○", "回每退○", the second tone: "良两向○", "光广况○", "丁井亘○", "兄永莹○", the third tone: "千典旦○", "元犬半○", "臣引艮○", "君永巽○", the fourth tone: "刀早孝岳", "毛宝报霍", "牛斗奏六", "○○○玉". The last entry of the third tone in the original text is "君永巽○", where "永" is likely a mistake for "允". Since there are no characters for the clear and浊 sounds in the ninth tone, both the previous section "和律三之九" and this section "和律四之九" are marked with "□□□□". Although the tone positions are the same in both tables, the clear and浊 tones differ, and they must be distinguished by the headings "发清" and "发浊" of each section.

上聲翕唱呂四之八；古甲九癸○○○○ □□□□妻子四日；一音 □□近揆○○○○ 九音 □□□□衰○帥骨；八聲 坤巧丘棄○○○○ 五聲 □□□□○○○德；□□乾蚪○○○○ □□□□龜水貴北；黑花香血○○○○ □□□□宮孔眾○；二音 黃華雄賢○○○○ 九音 □□□□龍甬用○；八聲 五瓦仰□○○○○ 六聲 □□□□魚鼠去○；吾牙月堯○○○○ □□□□烏虎兔○；安亞乙一○○○○ □□□□心審禁○；三音 □爻壬寅○○○○ 九音 □□□□○○○十；八聲 母馬美米○○○○ 七聲 □□□□男坎欠○；目貌眉民○○○○ □□□□○○○妾；夫法□飛○○○○ □□□□●●●●；四音 父凡□吠○○○○ 九音 □□□□●●●●；八聲 武晚□尾○○○○ 八聲 □□□□●●●●；文萬□未○○○○ □□□□●●●●。

"The upper tone 'Xī Chàng Lǚ Sì Zhī Bā' refers to the eighth tone. According to the list at the beginning, the upper tone 'Xī' should start from the eighth tone downwards and have no tone positions, and should originally be written as '●●●●'. However, the base text here writes all as '○○○○', differing from the previous entry 'Upper tone 'Pì Chàng Lǚ Sān Zhī Bā'', which suggests a mistake in the printed edition. We still retain the original without alteration. The tones sung are the first tone 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu'; the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huá Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo'; the third tone 'Ān Yà Yǐ Yī', '□ Yáo Rén Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Méi Mín'; the fourth tone 'Fū Fǎ □ Fēi', 'Fù Fán □ Fèi', 'Wǔ Wǎn □ Wěi', 'Wén Wàn □ Wèi'. The right half continues with the ninth tone's empty position '□□□□', and matches it with the fourth level of the fifth tone 'Qīzi Sì Rì', 'Shuāi ○ Shuài Gǔ', '○○○ Dé', 'Guī Shuǐ Guì Běi'; the fourth level of the sixth tone 'Gōng Kǒng Zhòng ○', 'Lóng Yǒng Yòng ○', 'Yú Shǔ Qù ○', 'Wū Hǔ Tù ○'; the fourth level of the seventh tone 'Xīn Shěn Jìn ○', '○○○ Shí', 'Nán Kǎn Qiàn ○', '○○○ Jiè'; and the eighth tone has all four lines as '●●●●'. The left side of this table writes '○' but actually refers to an empty position, which is an error in the base text. The next table 'Chàng Lǚ Sì Zhī Jiǔ' continues this mistake in the first half, but corrects it to '●' in the second half. When reading and checking, one should refer to the list of ten tones at the beginning of the text, and not doubt that there are different versions due to occasional errors in the table."

卜百丙必○○○○ □□□□●●●●；五音 步白備鼻○○○○ 九音 □□□□●●●●；八聲 普撲品匹○○○○ 九聲 □□□□●●●●；旁排平瓶○○○○ □□□□●●●●；東丹帝■○○○○ □□□□●●●●；六音 兌大弟■○○○○ 九音 □□□□●●●●；八聲 土貪天■○○○○ 十聲 □□□□●●●●；同覃田■○○○○ □□□□●●●●；發音濁和律四之十；乃你女■○○○○ □□□□多可個舌；七音 內南年■○○○○ 十音 □□□□禾火化八；八聲 老冷呂■○○○○ 一聲 □□□□開宰愛○；鹿犖離■○○○○ □□□□回每退○；走哉足■○○○○ □□□□良兩向○；八音 自在匠■○○○○ 十音 □□□□光廣況○；八聲 草采七■○○○○ 二聲 □□□□丁井亙○；曹才全■○○○○ □□□□兄永瑩○。

Following the previous table, the left half first lists the fifth tone with the sounds 「Bo Bai Bing Bi」, 「Bu Bai Bei Bi」, 「Pu Pu Pin Pi」, and 「Pang Pai Ping Ping」, and the sixth tone with 「Dong Dan Di ■」, 「Dui Da Di ■」, 「Tu Tan Tian ■」, and 「Tong Tan Tian ■」, ending each line with 「○○○○」; in the middle, the entry 「Fayin Zhu HeLv Si Zhi Shi」 is inserted. The right table is changed to start with the tenth tone, and since the fourth position of the tenth tone 「■□ Er ■」 has no character, it remains marked as 「□□□□」; afterwards, the left table continues with the seventh tone 「Nai Ni Nü ■」, 「Nei Nan Nian ■」, 「Lao Leng Lv ■」, 「Lu Luo Li ■」 and the eighth tone 「Zou Zai Zu ■」, 「Zi Zai Jiang ■」, 「Cao Cai Qi ■」, 「Cao Cai Quan ■」. The first eight lines of the right half are empty positions for the ninth tone, matching the ninth and tenth tones, all marked as 「●●●●」; after changing the section, it starts with the first tone 「Du Ke Ge She」, 「He Huo Hua Ba」, 「Kai Zai Ai ○」, 「Hui Mei Tui ○」 and the second tone 「Liang Liang Xiang ○」, 「Guang Guang Kuang ○」, 「Ding Jing Gen ○」, 「Xiong Yong Ying ○」. Both tables continue with empty positions as headings, which is the most difficult part to distinguish among the twelve tones. Only by the order of 「Si Zhi Ji」 and 「Si Zhi Shi」 can they be differentiated. The sounds in this table have no corresponding positions, and the tones have no corresponding characters; the entire text contains no new characters, relying entirely on the headings and positions to maintain structure. Shao Yong's use of such empty tables demonstrates his intention to ensure that the multiplication of 152 sounds and 112 tones remains complete.

思三星■○○○○ □□□□千典旦○；九音 寺□象■○○○○ 十音 □□□□元犬半○；八聲 □□□■○○○○ 三聲 □□□□臣引艮○；□□□■○○○○ □□□□君允巽○；■山手■○○○○ □□□□刀早孝嶽；十音 ■士石■○○○○ 十音 □□□□毛寶報霍；八聲 ■□耳■○○○○ 四聲 □□□□牛斗奏六；■□二■○○○○ □□□□○○○玉；■莊震■○○○○ □□□□妻子四日；十一音 ■乍□■○○○○ 十音 □□□□衰○帥骨；八聲 ■叉赤■○○○○ 五聲 □□□□○○○德；■崇辰■○○○○ □□□□龜水貴北；■卓中■○○○○ □□□□宮孔眾○；十二音 ■宅直■○○○○ 十音 □□□□龍甬用○；八聲 ■拆丑■○○○○ 六聲 □□□□魚鼠去○；■茶呈■○○○○ □□□□烏虎兔○。

The eighth tone is sung, and the tenth tone is harmonized, continuing below. The chart of correct tones lists the last four tones: the ninth tone "Si San Xing ■", "Si ■ Xiang ■", "■ ■ ■ ■", "■ ■ ■ ■", the tenth tone "■ Shan Shou ■", "■ Shi Shi ■", "■ ■ Er ■", "■ ■ Er ■", the eleventh tone "■ Zhuang Zhen ■", "■ Zha ■ ■", "■ Cha Chi ■", "■ Chong Chen ■", the twelfth tone "■ Zhuo Zhong ■", "■ Zhai Zhi ■", "■ Che Chou ■", "■ Cha Cheng ■", and the end of the line still has four "○". On the right side, continuing from the harmonization of the tenth tone, the third tone is "Qian Dian Dan ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○", the fourth tone is "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○ ○ ○ Yu", the fifth tone is "Zi Qi Si Ri", "Shuai ○ Shuai Gu", "○ ○ ○ De", "Gui Shui Gui Bei", the sixth tone is "Gong Kong Zhong ○", "Long Yong Yong ○", "Yu Shu Qu ○", "Wu Hu Tu ○". The tones sung on the left have no characters, and the tones harmonized on the right also have no characters, yet the forty-eight positions and the forty positions are still neatly arranged, indicating that this chart establishes positions rather than literal characters. In terms of four tones, "Nai Ni Nu ■" is "Nai" (open), "Ni" (initial), "Nu" (closing), "Lü Luo Li ■" is "Lü" (open), "Luo" (initial), "Li" (closing), with both lines having the same closing character "■"; on the right side, "Du Ke Ge She" includes all four tones level, rising, falling, and entering, making it the most complete line in the chart of correct tones, forming a contrast with the left side's absence.

上聲翕唱呂四之九；古甲九癸○○○○ □□□□心審禁○；一音 □□近揆○○○○ 十音 □□□□○○○十；九聲 坤巧丘棄○○○○ 七聲 □□□□男坎欠○；□□乾蚪○○○○ □□□□○○○妾；黑花香血○○○○ □□□□●●●●；二音 黃華雄賢○○○○ 十音 □□□□●●●●；九聲 五瓦仰□○○○○ 八聲 □□□□●●●●；吾牙月堯○○○○ □□□□●●●●；安亞乙一○○○○ □□□□●●●●；三音 □爻壬寅○○○○ 十音 □□□□●●●●；九聲 母馬美米●●●● 九聲 □□□□●●●●；目貌眉民●●●● □□□□●●●●；夫法□飛●●●● □□□□●●●●；四音 父凡□吠●●●● 十音 □□□□●●●●；九聲 武晚□尾●●●● 十聲 □□□□●●●●；文萬□未●●●● □□□□●●●●。

"The upper tone 'Xī Chàng' (rising tone singing) covers the ninth tone, singing the correct sound throughout. This table is inconsistent in its formatting: the first eleven lines still end with '○○○○', but from the line 'Nine tones, mother horse, beauty rice' onwards, it changes to '●●●●', continuing until the end. According to the ninth tone of 'Xī', there is no corresponding tone position, so using '●' is appropriate. The '○' in the earlier part is likely an error from the previous table; we retain it as is, and readers can judge based on the opening phrase 'Every yǒng yǔn ○ water tiger ○ ●●●●'. The tones sung are the first tone 'Gǔ Jiǎ Jiǔ Guǐ', '□□ Jìn Kuí', 'Kūn Qiǎo Qiū Qì', '□□ Qián Tóu'; the second tone 'Hēi Huā Xiāng Xuè', 'Huáng Huá Xióng Xián', 'Wǔ Wǎ Yǎng □', 'Wú Yá Yuè Yáo'; the third tone 'Ān Yà Yǐ Yī', '□ Yué Rén Yín', 'Mǔ Mǎ Měi Mǐ', 'Mù Mào Méi Mín'; the fourth tone 'Fū Fǎ □ Fēi', 'Fù Fán □ Fèi', 'Wǔ Wǎn □ Wěi', 'Wén Wàn □ Wèi'. The right half continues from the empty position of the tenth tone, starting with the seventh tone's four categories 'Xīn Shěn Jìn ○', '○○○ Shí', 'Nán Kǎn Qiàn ○', '○○○ Jiè'. Below that, the eighth, ninth, and thirteenth tones each have twelve lines marked as '●●●●'. Since the upper tone 'Xī' has no position from the eighth tone onwards, the three tables 'Chàng Lǚ Sì zhī Bā', 'Sì zhī Jiǔ', and 'Sì zhī Shí' have no characters that can be sung throughout. The three tables are listed separately instead of being combined to complete the ten tones, providing a basis for the number of tones sung and responded to."

發音濁和律四之十一；卜百丙必●●●● 崇崇崇崇多可個舌；五音 步白備鼻●●●● 十一音 崇崇崇崇禾火化八；九聲 普撲品匹●●●● 一聲 崇崇崇崇開宰愛○；旁排平瓶●●●● 崇崇崇崇回每退○；東丹帝■●●●● 崇崇崇崇良兩向○；六音 兌大弟■●●●● 十一音 崇崇崇崇光廣況○；九聲 土貪天■●●●● 二聲 崇崇崇崇丁井旦○；同覃田■●●●● 崇崇崇崇兄永瑩○；乃你女■●●●● 崇崇崇崇千典亙○；七音 內南年■●●●● 十一音 崇崇崇崇元犬半○；九聲 老冷呂■●●●● 三聲 崇崇崇崇臣引艮○；鹿犖離■●●●● 祟崇崇崇君允巽○；走哉足■●●●● 崇崇崇崇刀早孝嶽；八音 自在匠■●●●● 十一音 崇崇崇崇毛寶報霍；九聲 草采七■●●●● 四聲 崇崇崇崇牛斗奏六；曹才全■●●●● 崇崇崇崇○○○玉。

"Phonetic浊and律fourteen of eleven" starts a new section, with the right table changed to use the eleventh tone "Chong" as the upper and lower tone. Each line is prefixed with "Chong Chong Chong Chong"; "Chong" refers to the first position of the fourth level of the eleventh tone "■Chong Chen■". The left half is sung with the ninth tone, listing the fifth tone "Bu Bai Bing Bi", "Bu Bai Bei Bi", "Pu Pu Pin Pi", "Pang Pai Ping Ping", the sixth tone "Dong Dan Di ■", "Dui Da Di ■", "Tu Tan Tian ■", "Tong Tan Tian ■", the seventh tone "Nai Ni Nu ■", "Nei Nan Nian ■", "Lao Leng Lv ■", "Lu Luo Li ■", the eighth tone "Zou Zai Zu ■", "Zi Zai Jiang ■", "Cao Cai Qi ■", "Cao Cai Quan ■", with each line ending with "●●●●". The right half starts with the first tone: "Du Ke Ge She", "He Huo Hua Ba", "Kai Zai Ai ○", "Hui Mei Tui ○", the second tone "Liang Liang Xiang ○", "Guang Guang Kuang ○", "Ding Jing Dan ○", "Xiong Yong Ying ○", the third tone "Qian Dian Gen ○", "Yuan Quan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○", the fourth tone "Dao Zao Xiao Yue", "Mao Bao Bao Huo", "Niu Dou Zou Liu", "○○○ Yu". Among these, "Ding Jing Dan ○" should be "Ding Jing Gen ○", and "Qian Dian Gen ○" should be "Qian Dian Dan ○", as the original text mistakenly swapped the characters "Dan" and "Gen". Also, in the section "Chong Chong Chong Chong", the character "Sui" is actually a mistake for "Chong". "Chong" is located at the initial position of the eleventh tone in the correct tone chart, while "Chen" is at the ending position; the beginning and end of this tone have no sound. This tone, along with the twelfth tone, is the most incomplete part of the entire chart, yet their positions are arranged correctly, indicating that the chart's main purpose is to show positions rather than specific characters.

思三星■●●●● 崇崇崇崇妻子四日；九音 寺□象■●●●● 十一音 崇崇崇崇衰○帥骨；九聲 □□□■●●●● 五聲 崇崇崇崇○○○德；□□□■●●●● 崇崇崇崇龜水貴北；■山手■●●●● 崇崇崇崇宮孔眾○；十音 ■士石■●●●● 十一音 崇崇崇崇龍甬用○；九聲 ■□耳■●●●● 六聲 崇崇崇崇魚鼠去○；■□二■●●●● 崇崇崇崇烏虎兔○；■莊震■●●●● 崇崇崇崇心審禁○；十一音 ■乍□■●●●● 十一音 崇崇崇崇○○○十；九聲 ■叉赤■●●●● 七聲 崇崇崇崇男坎欠○；■崇辰■●●●● 崇崇崇崇○○○妾；■卓中■●●●● 崇崇崇崇●●●●；十二音 ■宅直■●●●● 十一音 崇崇崇崇●●●●；九聲 ■拆丑■●●●● 八聲 崇崇崇崇●●●●；■茶呈■●●●● 崇崇崇崇●●●●。

The ninth tone sings, and the eleventh tone 「Chong」 harmonizes with it, continuing the sequence. The diagram of correct tones lists the last four tones: the ninth tone 「Si San Xing ■」「Si ■ Xiang ■」「■ ■ ■ ■」「■ ■ ■ ■」, the tenth tone 「■ Shan Shou ■」「■ Shi Shi ■」「■ ■ Er ■」「■ ■ Er ■」, the eleventh tone 「■ Zhuang Zhen ■」「■ Zha ■ ■」「■ Cha Chi ■」「■ Chong Chen ■」, and the twelfth tone 「■ Zhuo Zhong ■」「■ Zhai Zhi ■」「■ Che Chou ■」「■ Cha Cheng ■」. On the right side, starting from 「Chong」 above, the fourth level of the fifth tone 「Zi Qi Si Ri」「Shuai ○ Shuai Gu」「○ ○ ○ De」「Gui Shui Gui Bei」, the fourth level of the sixth tone 「Gong Kong Zhong ○」「Long Yong Yong ○」「Yu Shu Qu ○」「Wu Hu Tu ○」, the fourth level of the seventh tone 「Xin Shen Jin ○」「○ ○ ○ Shi」「Nan Kan Qian ○」「○ ○ ○ Qie」, and up to the eighth tone, all four lines are 「● ● ● ●」. On the left side, the fourth level of the eleventh tone 「■ Chong Chen ■」 corresponds exactly to the heading 「Chong」 on the right side; this tone has neither an opening nor a closing position, only the two characters 「Chong」 and 「Chen」, which are located separately in the starting and ending positions. The ninth tone has no tone position, so the entire left side is filled with black circles; however, the forty-eight positions of the twelve tones are still fully arranged, and the forty positions on the right side are also listed one by one, showing that 「no sound」 does not mean 「no position」, and the positions must be fully occupied to calculate the number.

上聲翕唱呂四之十；古甲九癸●●●● 崇崇祟崇●●●●；一音 □□近揆●●●● 十一音 崇崇崇崇●●●●；十聲 坤巧丘棄●●●● 九聲 崇崇祟崇●●●●；□□乾蚪●●●● 崇崇崇崇●●●●；黑花香血●●●● 崇崇崇崇●●●●；二音 黃華雄賢●●●● 十一音 崇崇崇崇●●●●；十聲 五瓦仰□●●●● 十聲 崇崇崇崇●●●●；吾牙月堯●●●● 崇崇崇崇●●●●；發音濁和律四之十二；安亞乙一●●●● 茶茶茶茶多可個舌；三音 □爻壬寅●●●● 十二音 茶茶茶茶禾火化八；十聲 母馬美米●●●● 一聲 茶茶茶茶開宰愛○；目貌眉民●●●● 茶茶茶茶回每退○；夫法□飛●●●● 茶茶茶茶良兩向○；四音 父凡□吠●●●● 十二音 茶茶茶茶光廣況○；十聲 武晚□尾●●●● 二聲 茶茶茶茶丁井亙○；文萬□未●●●● 茶茶茶茶兄永瑩○。

"The tenth tone is sung throughout with the correct pronunciation, as the tenth tone has no silent position, and the end of the line is marked as '●●●●'. The left half first lists the first tone 'Gu Jia Jiu Gui', '□□ Jin Kui', 'Kun Qiao Qiu Qi', '□□ Qian Tu' and the second tone 'He Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao'; in between is inserted the section 'Phonation is thick and harmonious with the fourth law of twelve tones'. The right table then changes to the twelfth tone 'Cha' and begins with the first tone, followed by the left table continuing with the third tone 'An Ya Yi Yi', '□ Yao Ren Yin', 'Mu Ma Mei Mi', 'Mu Mao Mei Min' and the fourth tone 'Fu Fa □ Fei', 'Fu Fan □ Fei', 'Wu Wan □ Wei', 'Wen Wan □ Wei'. The first eight lines of the right half are the eleventh tone 'Chong' paired with the ninth and tenth tones, all marked as '●●●●', among which 'Chong Chong Sui Chong' appears twice, and 'Sui' is always read as 'Chong'. After changing the section, 'Cha' starts from the first tone, listing 'Du Ke Ge She', 'He Huo Hua Ba', 'Kai Zai Ai ○', 'Hui Mei Tui ○' and the second tone 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○'. 'Cha' refers to the first tone of the fourth category of the twelfth tone '■ Cha Cheng ■'. The section of the eleventh tone 'Chong' for the thick tone and the twelfth tone 'Cha' for the thick tone each take the position of '■ Chong Chen ■' and '■ Cha Cheng ■', respectively; in the previous text, the clear tones took the positions of '■ Cha Chi ■' and '■ Che Chou ■' with the sections 'Yi' and 'Che', respectively, with the four characters paired in pairs, clearly distinguishing between clear and thick tones."

卜百丙必●●●● 茶茶茶茶千典旦○；五音 步白備鼻●●●● 十二音 茶茶茶茶元犬半○；十聲 普撲品匹●●●● 三聲 茶茶茶茶臣引艮○；旁排平瓶●●●● 茶茶茶茶君允巽○；東丹帝■●●●● 茶茶茶茶刀早孝嶽；六音 兌大弟■●●●● 十二音 茶茶茶茶毛寶報霍；十聲 土貪天■●●●● 四聲 茶茶茶茶牛斗奏六；同覃田■●●●● 茶茶茶茶○○○玉；乃你女■●●●● 茶茶茶茶妻子四日；七音 內南年■●●●● 十二音 茶茶茶茶衰○帥骨；十聲 老冷呂■●●●● 五聲 茶茶茶茶○○○德；鹿犖離■●●●● 茶茶茶茶龜水貴北；走哉足■●●●● 茶茶茶茶宮孔眾○；八音 自在匠■●●●● 十二音 茶茶茶茶龍甬用○；十聲 草采七■●●●● 六聲 茶茶茶茶魚鼠去○；曹才全■●●●● 茶茶茶茶烏虎兔○。

The tenth tone is sung, and the twelfth sound 「cha」 is combined to continue below. The correct tone chart lists the fifth sound 「bu bai bing bi」「bu bai bei bi」「pu pu pin pi」, sixth sound 「dong dan di ■」「dui da di ■」「tu tan tian ■」「tong tan tian ■」, seventh sound 「nai ni nv ■」「nei nan nian ■」「lao leng lv ■」「lu luo li ■」, eighth sound 「zou zai zu ■」「zi zai jiang ■」「cao cai qi ■」「cao cai quan ■」, with each ending marked by 「●●●●」. On the right side, the third tone with four levels follows: 「qian dian dan ○」「yuan quan ban ○」「chen yin gen ○」「jun yun xun ○」, fourth tone with four levels: 「dao zao xiao yue」「mao bao bao huo」「niu dou zhou liu」「○○○ yu」, fifth tone with four levels: 「zi qi si ri」「shuai ○ shuai gu」「○○○ de」「gui shui gui bei」, sixth tone with four levels: 「gong kong zhong ○」「long yong yong ○」「yu shu qu ○」「wu hu tu ○」. The two tables in the section on observing things, chapter forty-two, have now reached the final entry: the left table is the tenth tone, the right table is the twelfth sound, and only one section remains before completion. The ten sounds of the rising tone have now been sung: the third tone, the sound of 「mei」, 「yong」, and 「yun」 have characters, the fourth tone has none, the sounds of 「shui」 and 「hu」 have characters, the seventh tone has none again, and from the eighth tone downwards, they are only positions without characters. However, the actual tones with characters are exactly seven, matching the number 「month and day sound seven」.

思三星■●●●● 茶茶茶茶心審禁○；九音 寺□象■●●●● 十二音 茶茶茶茶○○○十；十聲 □□□■●●●● 七聲 茶茶茶茶男坎欠○；□□□■●●●● 茶茶茶茶○○○妾；■山手■●●●● 茶茶茶茶●●●●；十音 ■士石■●●●● 十二音 茶茶茶茶●●●●；十聲 ■□耳■●●●● 八聲 茶茶茶茶●●●●；■□二■●●●● 茶茶茶茶●●●●；■莊震■●●●● 茶茶茶茶●●●●；十一音 ■乍□■●●●● 十二音 茶茶茶茶●●●●；十聲 ■叉赤■●●●● 九聲 茶茶茶茶●●●●；■崇辰■●●●● 茶茶茶茶●●●●；■卓中■●●●● 茶茶茶茶●●●●；十二音 ■宅直■●●●● 十二音 茶茶茶茶●●●●；十聲 ■拆丑■●●●● 十聲 茶茶茶茶●●●●；■茶呈■●●●● 茶茶茶茶●●●●。

In the last paragraph of the fourth chapter of the "Observing Things" section, the "Correct Pronunciation Diagram" lists the ninth tone as "Si San Xing", "Si Xiao Xiang", "Xiao Xiao Xiao", "Xiao Xiao Xiao", and the tenth tone as "Shan Shou", "Shi Shi Shi", "Er Er Er", "Er Er Er", the eleventh tone as "Zhuang Zhen", "Zha Xie", "Cha Che", "Chong Chen", and the twelfth tone as "Zhuo Zhong", "Zhai Zhi", "Chai Chou", "Cha Cheng", with the end of each line marked as "●●●●". On the right side, starting from the twelfth tone "Cha", the seventh tone's four levels are "Xin Shen Jin", "O O O Shí", "Nan Kan Qian", "O O O Jie", and below these, the eighth, ninth, and thirteenth tones, totaling twelve lines, are also marked as "●●●●". At this point, the ten tones of the rising tone have each been sung once in their correct pronunciation, and the twelve tones with heavy pronunciation have each been matched with the correct tone once. The seven tones each have 152 sounds, totaling 1064; the twelve tones each have 112 sounds, totaling 1344, which matches the numbers mentioned in the introductory note at the beginning of the section. The sound matching diagrams for the two sections in volume eight, lower part, are thus completed. The two sections included in volume eight, lower part, are one where the rising tone is pronounced clearly and the other where the rising tone is pronounced heavily. The clear and heavy tones are separated, and the tones are arranged in order. The two are multiplied together, completing the total number of sounds in the rising tone system. The four tones of the correct tone are each divided into clear and heavy, and the four positions of the correct sound are each divided into clear and heavy. Thus, with a four-by-four pairing, sixteen sections are formed, and the total number of sounds in the world is thus determined.

星日聲去闢 土水音收清；個向旦孝四 九香乙□丙帝；眾禁●●● 女足星手震中；星日聲七，下唱地之 土水音十二，上和天；用音一百五十二，是 之用聲一百一十二， 謂去聲闢音。去聲闢 是謂收音清聲。收音；音一千六十四。 清聲一千三百四十四。 星日聲去之一闢 土水音收之一清。

This section is still divided into two columns. The left column, "Star Day Tone Departure," refers to the ten categories of correct tones, specifically the departing tone category, which belongs to the first row (day row), and is characterized by the open sound "bi." The right column, "Earth Water Sound Consonance," refers to the twelve categories of correct sounds, specifically the consonant category, which belongs to the first row (water row), and is characterized by the sound "qing." Below these, each column lists its representative characters: the ten sounds of the departing tone "bi" are ge, xiang, dan, xiao, si, zhong, jin, ●, ●, ●; the twelve sounds of the consonant "qing" are jiu, xiang, yi, □, bing, di, nu, zu, xing, shou, zhen, zhong, with the fourth consonant having no corresponding character, hence marked as "□." Below these are notes read across both columns: the left column reads as "Star Day Tone Seven, below singing the use of sound one hundred fifty-two, this is called the departing tone bi sound, departing tone bi sound one thousand six hundred forty-eight"; the right column reads as "Earth Water Sound Twelve, above harmonizing the use of sound one hundred twelve, this is called the consonant qing sound, consonant qing sound one thousand three hundred forty-four." The final line, "Star Day Tone Departure One," and "Earth Water Sound Consonance One," indicates that all the following tables belong to the first category, so their headings are recalculated from "Singing Lu One One" and "Harmonizing Law One One," differing from the use of "three" and "four" in volume eight.

去聲闢唱呂一之一 收音清和律一之一；古甲九癸個個個個 九九九九多可個舌；一音 □□近揆個個個個 一音 九九九九禾火化八；一聲 坤巧丘棄個個個個 一聲 九九九九開宰愛○；□□乾蚪個個個個 九九九九回每退○；黑花香血個個個個 九九九九良兩向○；二音 黃華雄賢個個個個 一音 九九九九光廣況○；一聲 五瓦仰□個個個個 二聲 九九九九丁井亙○；吾牙月堯個個個個 九九九九兄永瑩○；安亞乙一個個個個 九九九九千典旦○；三音 □爻壬寅個個個個 一音 九九九九元犬半○。

"Go sound 'Ge' is used to chant the correct tone of the first tone 'Ge' from the 'Go sound' category, and 'Ge' is repeated at the end of each line as 'Ge Ge Ge Ge'; 'Ge' refers to the first tone first category 'Du Ke Ge She' of the 'Go sound' category. 'Clear ending sound 'Jiu' is used to chant the first tone 'Jiu' of the 'Clear ending' category, and 'Jiu' is prefixed at the beginning of each line as 'Jiu Jiu Jiu Jiu'; 'Jiu' refers to the first tone first category 'Gu Jia Jiu Gui' of the 'Clear ending' category. The left half lists the first tone four categories 'Gu Jia Jiu Gui', '□□Jin Kui', 'Kun Qiao Qiu Qi', '□□Qian Yu', the second tone four categories 'Hei Hua Xiang Xue', 'Huang Hua Xiong Xian', 'Wu Wa Yang □', 'Wu Ya Yue Yao', and the first two categories of the third tone 'An Ya Yi Yi', '□ Yao Ren Yin'. The right half lists the first tone four categories 'Du Ke Ge She', 'He Huo Hua Ba', 'Kai Zai Ai ○', 'Hui Mei Tui ○', the second tone four categories 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○', and the first two categories of the third tone 'Qian Dian Dan ○', 'Yuan Quan Ban ○'. This passage selects the first line of each tone and each sound, so it is entirely different from the selection in volume eight, lower part, which takes the third and fourth lines, but the diagram positions remain unchanged."

一聲 母馬美米個個個個 三聲 九九九九臣引艮○；目貌眉民個個個個 九九九九君允巽○；夫法□飛個個個個 九九九九刀早孝嶽；四音 父凡□吠個個個個 一音 九九九九毛寶報霍；一聲 武晚□尾個個個個 四聲 九九九九牛斗奏六；文萬□未個個個個 九九九九○○○玉；卜百丙必個個個個 九九九九妻子四日；五音 步白備鼻個個個個 一音 九九九九衰○帥骨。

Continuing from the previous table, the next section follows the third tone with the last two levels "mu ma mei mi" and "mu mao mei min," the fourth tone with four levels "fu fa □ fei," "fu fan □ fei," "wu wan □ wei," and "wen wan □ wei," as well as the fifth tone with the first two levels "bu bai bing bi" and "bu bai bei bi." The ending positions for the fourth tone's four levels are all marked as "□," indicating the presence of this phonetic position without a corresponding character, consistent with the fourth position in the initial list of twelve clear tones marked as "□." On the right side, the third tone continues with the last two levels "chen yin gen ○" and "jun yun xun ○," the fourth tone with four levels "dao zao xiao yue," "mao bao bao huo," "niu dou zhou liu," and "○○○ yu," as well as the fifth tone with the first two levels "zi qi si ri" and "shuai ○ shuai gu." The sung tone remains the first tone "ge," and the harmonized tone remains the first tone "jiu." The following tables continue following the same pattern, progressing through each tone and each phonetic level in order, until all ten tones are sung and all twelve tones are harmonized.

一聲：普撲品匹個個個個；五聲：九九九九○○○德。旁排平瓶個個個個；九九九九龜水貴北。東丹帝■個個個個；九九九九宮孔眾○。六音：兌大弟■個個個個；一音：九九九九龍甬用○。一聲：土貪天■個個個個；六聲：九九九九魚鼠去○。同覃田■個個個個；九九九九烏虎兔○。乃你女■個個個個；九九九九心審禁○。七音：內南年■個個個個；一音：九九九九○○○十。一聲：老冷呂■個個個個；七聲：九九九九男坎欠○。鹿犖離■個個個個；九九九九○○○妾。走哉足■個個個個；九九九九●●●●。八音：自在匠■個個個個；一音：九九九九●●●●。一聲：草采七■個個個個；八聲：九九九九●●●●。曹才全■個個個個；九九九九●●●●。思三星■個個個個；九九九九●●●●。九音：寺□象■個個個個；一音：九九九九●●●●。一聲：□□□■個個個個；九聲：九九九九●●●●。□□□■個個個個；九九九九●●●●。■山手■個個個個；九九九九●●●●。

This passage is the middle section where the two diagrams, "Going Down in Tone with the First of the First Category" and "Clear and Harmonious Tone with the First of the First Category," are presented side by side. The original text has the left and right columns aligned on the same line, but they should be read separately. Each line in the left column first copies a line of four characters from the "Correct Tone Diagram," then repeats the character for the falling tone four times. Here, the falling tone being sung is the first of the first category "Du Ke Ge She" in the first tone, which is "Ge," so it is written as "Ge Ge Ge Ge." The lines of tones listed in order are the third category of the fifth tone "Pu Pu Pin Pi," the fourth category "Pang Pai Ping Ping," the fourth category of the sixth tone "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■," the fourth category of the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■," the fourth category of the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■," the fourth category of the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," and the first category of the tenth tone "■ Shan Shou ■." Each line in the right column first repeats the character for the harmonized tone four times, then copies a line of four characters from the "Correct Tone Diagram." The harmonized tone here is the first of the first category "Gu Jia Jiu Gui" in the first tone, which is "Jiu," so it is written as "Jiu Jiu Jiu Jiu." The matching tones are the third category of the fifth tone "○○○ De," the fourth category "Gui Shui Gui Bei," the fourth category of the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○," the fourth category of the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie," and the fourth categories of the eighth and ninth tones as well as the first category of the tenth tone, all written as "●●●●." Each symbol has a specific meaning: "○" indicates that this tone position should have a sound but no character is available to match it, "●" indicates that this position cannot produce a sound at all, "□" indicates that this tone position has a sound but no character can be written for it, and "■" indicates that this position cannot produce a sound at all, none of which are omissions and should not be treated as missing characters. Shao Yong regarded the sun, moon, stars as the four elements of sound, and water, fire, earth, and stone as the four elements of tone. The four elements of sound are divided into level, rising, falling, and entering tones, while the four elements of tone are divided into open, release, close, and stop. The left diagram is called "Singing the Lu" and the right diagram is called "Harmonizing the Law" because the Law governs heavenly sound and Lu governs earthly tone, with heavenly sound leading and earthly tone following. These two diagrams mark the beginning of the first set of singing and harmonizing. The singer is "Ge" and the harmonizer is "Jiu," and the subsequent diagrams proceed in order according to the sequence of sound and tone.

十音：■士石■個個個個；一音：九九九九●●●●。一聲：■□耳■個個個個；十聲：九九九九●●●●。■□二■個個個個；九九九九●●●●。收音清和律一之二。■莊震■個個個個；香香香香多可個舌。十一音：■乍□■個個個個；二音：香香香香禾火化八。一聲：■叉赤■個個個個；一聲：香香香香開宰愛○。■崇辰■個個個個；香香香香回每退○。■卓中■個個個個；香香香香良兩向○。十二音：■宅直■個個個個；二音：香香香香光廣況○。一聲：■拆丑■個個個個；二聲：香香香香丁井亙○。■茶呈■個個個個；香香香香兄永瑩○。

The left column continues to complete the last eleven lines of "去声辟唱吕一之一": the second rank of the tenth tone "■士石■", the third rank "■□耳■", and the fourth rank "■□二■"; the fourth rank of the eleventh tone "■庄震■, ■乍□■, ■叉赤■, ■崇辰■"; and the fourth rank of the twelfth tone "■卓中■, ■宅直■, ■拆丑■, ■茶呈■". Below each line, the phrase "个个个个" is still sung. With twelve tones each having four ranks, there are a total of forty-eight lines, and thus one diagram is completed. On the right column, "九九九九" is used to harmonize the second, third, and fourth ranks of the tenth tone. These three lines have sound but no words, and are all marked as "●●●●". The forty lines of "收音清和律一之一" are also completed. Then another section begins with "收音清和律一之二", using the "香" from the first rank of the second tone "黑花香血" as the harmonizing character, which is repeated four times at the beginning of each line. It first harmonizes the four ranks of the first tone "多可个舌、禾火化八、开宰爱○、回每退○", then the four ranks of the second tone "良两向○、光广况○、丁井亘○、兄永莹○". In the sound diagram, each tone has four lines, with the first and third lines belonging to "辟" (open mouth), and the second and fourth lines belonging to "翕" (closed mouth). In the sound diagram, each tone has four lines, with the first and third lines belonging to "清" (clear), and the second and fourth lines belonging to "浊" (dull). The "○" in the lines indicates that there is a tone but no character to be cited, while "■" indicates that this tone position does not originally exist. The number of lines on the left and right sides differs because the sound has ten categories, each with four lines, making forty lines in total for the harmonizing diagram, while the tone has twelve categories, each with four lines, making forty-eight lines in total for the singing diagram. The two columns are arranged side by side but progress at different rates, so the transition points do not align on the same line. Readers must follow the headings of each column to locate the beginning and end. "多可个舌" is the overall heading of the sound diagram, with "多" being level tone, "可" being rising tone, "个" being falling tone, and "舌" being entering tone. The other lines are arranged according to these four categories.

去聲闢唱呂一之二。古甲九癸向向向向；香香香香千典旦○。一音：□□近揆向向向向；二音：香香香香元犬半○。二聲：坤巧丘棄向向向向；三聲：香香香香臣引艮○。□□乾蚪向向向向；香香香香君允巽○。黑花香血向向向向；香香香香刀早孝嶽。二音：黃華雄賢向向向向；二音：香香香香毛寶報霍。二聲：五瓦仰□向向向向；四聲：香香香香牛斗奏六。吾牙月堯向向向向；香香香香○○○玉。安亞乙一向向向向；香香香香妻子四日。三音：□爻壬寅向向向向；二音：香香香香衰○帥骨。二聲：母馬美米向向向向；五聲：香香香香○○○德。目貌眉民向向向向；香香香香龜水貴北。夫法□飛向向向向；香香香香宮孔眾○。四音：父凡□吠向向向向；二音：香香香香龍甬用○。二聲：武晚□尾向向向向；六聲：香香香香魚鼠去○。文萬□未向向向向；香香香香烏虎兔○。

"Go through the fourth tone and sing the second tone first" starts a new diagram, with the character being sung being the fourth tone "xiang" from the second tone first category "liang liang xiang ○". All forty-eight lines are marked with "xiang xiang xiang xiang". This section lists the first four tones: the first tone has four categories as "gu jia jiu gui, □□ near kuí, kun qiao qiu qi, □□ qian tuo", the second tone has four categories as "he hua xiang xue, huang hua xong xian, wu wa yang □, wu ya yue yao", the third tone has four categories as "an ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min", the fourth tone has four categories as "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei". Each four-character phrase is arranged according to "open, release, close, stop" and corresponds to the tone categories "level, rising, falling, entering". The small labels "one tone", "second tone" etc. between the lines are markers for the row numbers of the original table's two columns, marking each tone once and each tone once, not part of the main text. The right column still belongs to "closing sound clear and harmonious law one two", with "xiang xiang xiang xiang" as the harmony, continuing the third tone four categories "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○", the fourth tone four categories "dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu", the fifth tone four categories "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", the sixth tone four categories "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○". Among these, "○○○ yu" indicates that there are no characters to match for the level, rising, and falling tones, and the entering tone gets "yu", "○○○ de" follows the same pattern. Within the four categories, the characters are uneven, which is exactly what Shao Yong intended to show, that tones have their missing parts. The phonetic diagram uses the line "gu jia jiu gui" as the main heading: "gu" is open, "jia" is release, "jiu" is close, "gui" is stop, and the remaining forty-seven lines take characters according to these four positions. The first tone is mostly related to the dental sounds, the second tone to the throat sounds, the third tone to the shadow and yu sounds, and the fourth tone to the light lip sounds. As it goes down, the place of the sound becomes closer to the lips and teeth, and by the twelfth tone it ends.

卜百丙必向向向向；香香香香心審禁○。五音：步白備鼻向向向向；二音：香香香香○○○十。二聲：普撲品匹向向向向；七聲：香香香香男坎欠○。旁排平瓶向向向向；香香香香○○○妾。東丹帝■向向向向；香香香香●●●●。六音：兌大弟■向向向向；二音：香香香香●●●●。二聲：土貪天■向向向向；八聲：香香香香●●●●。同覃田■向向向向；香香香香●●●●。乃你女■向向向向；香香香香●●●●。七音：內南年■向向向向；二音：香香香香●●●●。二聲：老冷呂■向向向向；九聲：香香香香●●●●。鹿犖離■向向向向；香香香香●●●●。走哉足■向向向向；香香香香●●●●。八音：自在匠■向向向向；二音：香香香香●●●●。二聲：草采七■向向向向；十聲：香香香香●●●●。曹才全■向向向向；香香香香●●●●。

Continuing from above, the left column pushes the tone of "xiang" to the eighth tone: fifth tone with four categories "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping", sixth tone with four categories "Dong Dan Di ?, Dui Da Di ?, Tu Tan Tian ?, Tong Tan Tian ?", seventh tone with four categories "Nai Ni Nu ?, Nei Nan Nian ?, Lao Leng Lv ?, Lu Luo Li ?", eighth tone with four categories "Zou Zai Zu ?, Zi Zai Jiang ?, Cao Cai Qi ?, Cao Cai Quan ?". From the sixth tone onwards, the fourth character in each line is consistently marked as "?", because at this position, the "bi" tone has no sound left for the tongue and dental sounds, and this is not due to omission. On the right column, "Shou Yin Qing He Lu Yi Zi Er" uses "Xiang Xiang Xiang Xiang" and the seventh tone with four categories "Xin Shen Jin ?, ? ? ? Shi, Nan Kan Qian ?, ? ? ? Qie". Below this, the eighth, ninth, and tenth tones, each with four categories, totaling twelve lines, are all marked as "● ● ● ●". Shao Yong established ten diagrams of correct tones, but only seven tones have actual characters, while the remaining three tones below the eighth tone have positions but no sounds, hence the "Sheng Qi" (seven tones) mentioned in the "Guan Wu Pian". The twelve diagrams of correct tones, after removing the positions marked with "?", have a practical total of 152 tones. Each of the seven tones sings 152 tones, and each of the twelve tones harmonizes with 112 tones. The total number of tones derived throughout the text is based on these numbers. In terms of numbers: the four categories of correct tones consist of ten types, each type with four categories, each category with four positions, totaling 160 positions. Removing the 48 empty positions from the eighth, ninth, and tenth tones, the practical total is 112. The four categories of correct tones consist of twelve types, each type with four categories, each category with four positions, totaling 192 positions. Removing the 40 positions marked with "?", the practical total is 152. These two numbers are the fundamental basis for all multiplications in the text.

收音清和律一之三。思三星■向向向向；乙乙乙乙多可個舌。九音：寺□象■向向向向；三音：乙乙乙乙禾火化八。二聲：□□□■向向向向；一聲：乙乙乙乙開宰愛○。□□□■向向向向；乙乙乙乙回每退○。■山手■向向向向；乙乙乙乙良兩向○。十音：■士石■向向向向；三音：乙乙乙乙光廣況○。二聲：■□耳■向向向向；二聲：乙乙乙乙丁井亙○。■□二■向向向向；乙乙乙乙兄永瑩○。■莊震■向向向向；乙乙乙乙千典旦○。十一音：■乍□■向向向向；三音：乙乙乙乙元犬半○。二聲：■叉赤■向向向向；三聲：乙乙乙乙臣引良○。■崇辰■向向向向；乙乙乙乙君允巽○。■卓中■向向向向；乙乙乙乙刀早孝嶽。十二音：■宅直■向向向向；三音：乙乙乙乙毛寶報霍。二聲：■拆丑■向向向向；四聲：乙乙乙乙牛斗奏六。■茶呈■向向向向；乙乙乙乙○○○玉。

The left column has completed the last sixteen lines of 「去声辟唱吕一之二」: the ninth tone's four categories 「思三星■、寺□象■、□□□■、□□□■」, the tenth tone's four categories 「■山手■、■士石■、■□耳■、■□二■」, the eleventh tone's four categories 「■庄震■、■乍□■、■叉赤■、■崇辰■」, the twelfth tone's four categories 「■卓中■、■宅直■、■拆丑■、■茶呈■」, each still sung with 「向向向向」, thus completing the second diagram's forty-eight lines. From the tenth tone onwards, the first character of each line is 「■」, and the last character is also 「■」, with the middle two characters either a character or 「□」, indicating that as one approaches the end of the dental and tongue sounds, the number of sounds that can be established becomes fewer. On the right column, a new section 「收音清和律一之三」 has begun, taking the ending character 「乙」 from the first category of the third tone 「安亚乙一」 as the harmony character 「乙」, and using 「乙乙乙乙」 to harmonize with the first tone's four categories 「多可个舌、禾火化八、开宰爱○、回每退○」, the second tone's four categories 「良两向○、光广况○、丁井亘○、兄永莹○」, the third tone's four categories 「千典旦○、元犬半○、臣引良○、君允巽○」, and the fourth tone's four categories 「刀早孝岳、毛宝报霍、牛斗奏六、○○○玉」. The third tone's third category originally reads 「臣引良」, but elsewhere it reads 「臣引艮」, so the 「良」 here is likely a form error for 「艮」. The character 「乙」 is the ending of the third tone, belonging to the category of shadow and analogy sounds, and is pronounced very lightly. Using it to harmonize with the ten tones, starting from the first tone 「多可个舌」, proceeding one tone at a time, until the tenth tone's fourth category, totaling forty lines. Since the harmony diagram is led by sound, the ending character is placed at the beginning of each line; the singing diagram is led by tone, so the sung characters are placed at the end of each line: one in front and one in back, clearly showing the meaning of heaven initiating and earth following.

去聲闢唱呂一之三。古甲九癸旦旦旦旦；乙乙乙乙妻子四日。一音：□□近揆旦旦旦旦；三音：乙乙乙乙衰○帥骨。三聲：坤巧丘棄旦旦旦旦；五聲：乙乙乙乙○○○德。□□乾蚪旦旦旦旦；乙乙乙乙龜水貴北。黑花香血旦旦旦旦；乙乙乙乙宮孔眾○。二音：黃華雄賢旦旦旦旦；三音：乙乙乙乙龍甬用○。三聲：五瓦仰□旦旦旦旦；六聲：乙乙乙乙魚鼠去○。吾牙月堯旦旦旦旦；乙乙乙乙烏虎兔○。安亞乙一旦旦旦旦；乙乙乙乙心審禁○。三音：□爻壬寅旦旦旦旦；三音：乙乙乙乙○○○十。三聲：母馬美米旦旦旦旦；七聲：乙乙乙乙男坎欠○。目貌眉民旦旦旦旦；乙乙乙乙○○○妾。夫法□飛旦旦旦旦；乙乙乙乙●●●●。四音：父凡□吠旦旦旦旦；三音：乙乙乙乙●●●●。三聲：武晚□尾旦旦旦旦；八聲：乙乙乙乙●●●●。文萬□未旦旦旦旦；乙乙乙乙●●●●。卜百丙必旦旦旦旦；乙乙乙乙●●●●。

The phrase "去声辟唱吕一之三" is changed to use the third tone first class "千典旦○" in the position of the departing tone "旦" as the singing character, with "旦旦旦旦" appended to each line of the entire diagram. This section starts from the first tone: "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪" forms the first tone with four classes, "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧" forms the second tone with four classes, "安亚乙一、□爻壬寅、母马美米、目貌眉民" forms the third tone with four classes, "夫法□飞、父凡□吠、武晚□尾、文万□未" forms the fourth tone with four classes, and the last line "卜百丙必" is the first class of the fifth tone. Wherever there is a "□", such as the first two characters of the second class of the first tone and the third position of the fourth tone, these are all sounds without corresponding characters, and there is no clear distinction from the "■" in terms of combined tones. On the right side, "收音清和律一之三" continues with "乙乙乙乙" to harmonize with the fifth tone fourth class "妻子四日、衰○帅骨、○○○德、龟水贵北", the sixth tone fourth class "宫孔众○、龙甬用○、鱼鼠去○、乌虎兔○", the seventh tone fourth class "心审禁○、○○○十、男坎欠○、○○○妾", and the eighth tone fourth class as well as the ninth tone first class, all marked as "●●●●". "旦" is the first class of the third tone departing tone. The four characters "千典旦○" of the third tone first class, where "千" is level, "典" is rising, "旦" is departing, and the入声 position has no character so it is marked as "○"; since this diagram specifically selects departing tones, it naturally takes "旦" as the main character. This diagram is the third diagram of the first group of singing diagrams, and it is one third of the ten diagrams, with subsequent diagrams including the characters 孝, 四, 众, 禁, and three empty diagrams following.

五音：步白備鼻旦旦旦旦；三音：乙乙乙乙●●●●。三聲：普撲品匹旦旦旦旦；九聲：乙乙乙乙●●●●。旁排平瓶旦旦旦旦；乙乙乙乙●●●●。東丹帝■旦旦旦旦；乙乙乙乙●●●●。六音：兌大弟■旦旦旦旦；三音：乙乙乙乙●●●●。三聲：土貪天■旦旦旦旦；十聲：乙乙乙乙●●●●。同覃田■旦旦旦旦；乙乙乙乙●●●●。

The left column continues with the second category of the fifth tone, "Bu Bai Bei Bi," the third category "Pu Pu Pin Pi," the fourth category "Pang Pai Ping Ping," and the fourth category of the sixth tone "Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■," still singing "Dan Dan Dan Dan." The four lines of the fifth tone are all words with heavy lips, and the four lines of the sixth tone are all words with tongue sounds. The last character changes from a word to "■," which is exactly where Shao Yong divided the tones. On the right column, "Yi Yi Yi Yi" and the second, third, and fourth categories of the ninth tone, and the fourth category of the tenth tone, totaling seven lines, are all marked as "●●●●." The forty lines of "Shou Yin Qing He Lu Yi Zhi San" end here. In the sound diagram, the eighth, ninth, and tenth tones have neither characters nor sounds, so the latter part of the diagram is always filled with black dots. Readers need not suspect it is incomplete—Shao Yong is using these empty spaces to indicate that the sounds of the world are indeed limited in number, not boundless. Shao Yong established ten tones but actually had seven, and twelve sounds with forty empty positions. This was not done arbitrarily. His meaning was that the numbers of heaven and earth each have a fixed limit, the categories of sounds should be ten, and the categories of tones should be twelve. When positions are established but characters may be insufficient, it clearly shows that human speech has its limits while the numbers of heaven and earth are complete. This is the intention of the essay "Guan Wu" to verify heaven and earth through sound.

收音清和律一之四。乃你女■旦旦旦旦；□□□□多可個舌。七音：內南年■旦旦旦旦；四音：□□□□禾火化八。三聲：老冷呂■旦旦旦旦；一聲：□□□□開宰愛○。鹿犖離■旦旦旦旦；□□□□回每退○。走哉足■旦旦旦旦；□□□□良兩向○。八音：自在匠■旦旦旦旦；四音：□□□□光廣況○。三聲：草采七■旦旦旦旦；二聲：□□□□丁井亙○。曹才全■旦旦旦旦；□□□□兄永瑩○。思三星■旦旦旦旦；□□□□千典旦○。九音：寺□象■旦旦旦旦；四音：□□□□元犬半○。三聲：□□□■旦旦旦旦；三聲：□□□□臣引艮○。□□□■旦旦旦旦；□□□□君允巽○。■山手■旦旦旦旦；□□□□刀早孝嶽。十音：■士石■旦旦旦旦；四音：□□□□毛寶報霍。三聲：■□耳■旦旦旦旦；四聲：□□□□牛斗奏六。■□二■旦旦旦旦；□□□□○○○玉。■莊震■旦旦旦旦；□□□□妻子四日。十一音：■乍□■旦旦旦旦；四音：□□□□衰○帥骨。三聲：■叉赤■旦旦旦旦；五聲：□□□□○○○德。■崇辰■旦旦旦旦；□□□□龜水貴北。■卓中■旦旦旦旦；□□□□宮孔眾○。十二音：■宅直■旦旦旦旦；四音：□□□□龍甬用○。三聲：■拆丑■旦旦旦旦；六聲：□□□□魚鼠去○。

"Shouyin Qinghe Lu Yi Zhi Si" starts anew, using the fourth tone first class "Fu Fa □ Fei" as the "He" character; this position originally has no character to write, so the first line is uniformly written as "□□□□", four empty boxes representing the position with sound but no character. It sequentially corresponds to the first tone fourth class "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone fourth class "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", the third tone fourth class "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", the fourth tone fourth class "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", the fifth tone fourth class "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", and finally the sixth tone's first three classes "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○". The left column continues with "Qu Sheng Bi Chang Lv Yi Zhi San": the seventh tone fourth class "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■", the eighth tone fourth class "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone fourth class "Si San Xing ■, Si □ Xiang ■, □□□ ■, □□□ ■", the tenth tone fourth class "■ Shan Shou ■, ■ Shi Shi ■, ■□ Er ■, ■□ Er ■", the eleventh tone fourth class "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■", and then the first three classes of the twelfth tone "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■". Each line still sings "Dandan Dandan". The "□□□□" four boxes represent the "He" character in this chart, though there is no character to write, its position remains, so it is still listed as one chart, counted together with the charts that have characters. If it were deleted due to having no character, the twelve tones would only have ten charts, which would not match the twelve earth numbers, and the entire text's multiplication and division would be impossible to calculate. This is precisely why Shao Yong chose to list the empty position rather than omit it. Since the "He" chart is led by the fourth tone's receiving position among the ten tones, although the position is empty, its order in the line cannot be changed; the receiving positions of the twelve tones in order are Jiú, Xiang, Yi, □, Bing, Di, Nu, Zu, Xing, Shou, Zhen, Zhong, and this chart is exactly the fourth. The left column lists the latter part of the third singing chart; the singing character "Dàn" remains, and it must wait until the fourth class of the twelfth tone is arranged before it can be changed. When reading such a two-column table, one must avoid connecting the left and right columns by taking one row as a unit: the left column is counted from left to right, and the right column is counted from right to left, each based on the order of tones and tones within their respective columns.

■茶呈■旦旦旦旦；□□□□烏虎兔○。去聲闢唱呂一之四。古甲九癸孝孝孝孝；□□□□心審禁○。一音：□□近揆孝孝孝孝；四音：□□□□○○○十。四聲：坤巧丘棄孝孝孝孝；七聲：□□□□男坎欠○。□□乾蚪孝孝孝孝；□□□□○○○妾。黑花香血孝孝孝孝；□□□□●●●●。二音：黃華雄賢孝孝孝孝；四音：□□□□●●●●。四聲：五瓦仰□孝孝孝孝；八聲：□□□□●●●●。吾牙月堯孝孝孝孝；□□□□●●●●。安亞乙一孝孝孝孝；□□□□●●●●。三音：□爻壬寅孝孝孝孝；四音：□□□□●●●●。四聲：母馬美米孝孝孝孝；九聲：□□□□●●●●。目貌眉民孝孝孝孝；□□□□●●●●。夫法□飛孝孝孝孝；□□□□●●●●。四音：父凡□吠孝孝孝孝；四音：□□□□●●●●。四聲：武晚□尾孝孝孝孝；十聲：□□□□●●●●。文萬□未孝孝孝孝；□□□□●●●●。

The first line's "■ tea presenting ■" corresponds to the fourth category of the twelfth tone, and after pairing with "dandan dandan," the entire forty-eight lines are sung with "qu sheng bi chang lv yi zhi san." The right half of the same line uses "□□□□" paired with the sixth tone's fourth category "wu hu tu ○." Then "qu sheng bi chang lv yi zhi si" starts anew, taking the "qu" tone from the fourth tone's first category "dao zao xiao yue," specifically the word "xiao." The following lines all use "xiao xiao xiao xiao." These are paired first with the first tone's fourth category "gu jia jiu gui, □□ near kuí, kun qiao qiu qi, □□ qian tuo," then the second tone's fourth category "he hua xiang xue, huang hua xiong xian, wu wa yang □, wu ya yue yao," then the third tone's fourth category "an ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min," and finally the fourth tone's fourth category "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei." The right column "shou yin qing he lv yi zhi si" uses "□□□□" paired with the seventh tone's fourth category "xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie." The lines below for the eighth, ninth, and tenth tones, totaling twelve lines, are all "●●●●." This completes the forty-line diagram. The word "xiao" comes from the fourth tone's first category "dao zao xiao yue," where dao is level, zao is rising, xiao is falling, and yue is entering tone, with words in all four positions, making it one of the more complete lines among the ten tones. The third category under the fourth tone uses "mao bao bao huo," "niu dou zhou liu," and "○○○ yu," with the entering tones corresponding to huo, liu, and yu respectively, showing that these entering tones are particularly well-organized. Using the sun, moon, stars, and planets to correspond to the four tones, the sun corresponds to level tone, the moon to rising tone, the star to falling tone, and the planet to entering tone. In this volume, the star-day tone, star-moon tone, and star-star tone all start with the word "star," indicating the falling tone, and the second word indicates the specific category. Similarly, using water, fire, earth, and stone to correspond to the four positions, water corresponds to open, fire to release, earth to close, and stone to seal. The earth-water tone, earth-fire tone, and earth-earth tone all start with the word "earth," indicating the closing position.

收音清和律一之五。卜百丙必孝孝孝孝；內內內內多可個舌。五音：步白備鼻孝孝孝孝；五音：內內內內禾火化八。四聲：普撲品匹孝孝孝孝；一聲：內內內內開宰愛○。旁排平瓶孝孝孝孝；內內內內回每退○。東丹帝■孝孝孝孝；內內內內良兩向○。六音：兌大弟■孝孝孝孝；五音：內內內內光廣況○。四聲：土貪天■孝孝孝孝；二聲：內內內內丁井亙○。同覃田■孝孝孝孝；內內內內兄永瑩○。乃你女■孝孝孝孝；內內內內千典旦○。七音：內南年■孝孝孝孝；五音：內內內內元犬半○。四聲：老冷呂■孝孝孝孝；三聲：內內內內臣引艮○。鹿犖離■孝孝孝孝；內內內內君允巽○。走哉足■孝孝孝孝；內內內內刀早孝嶽。八音：自在匠■孝孝孝孝；五音：內內內內毛寶報霍。四聲：草采七■孝孝孝孝；四聲：內內內內牛斗奏六。曹才全■孝孝孝孝；內內內內○○○玉。

The character "和" in "收音清和律一之五" should originally take the "收" position "丙" from the fifth tone first category "卜百丙必," but the original text uses "内," with all four lines written as "内内内内." "内" is the opening position of the seventh tone second category "内南年■," which does not match the sequence in this table. This is likely due to a transmission error caused by similar characters. I retain the original text without alteration. This diagram first includes the first tone with four categories: "多可个舌、禾火化八、开宰爱○、回每退○," the second tone with four categories: "良两向○、光广况○、丁井亘○、兄永莹○," the third tone with four categories: "千典旦○、元犬半○、臣引艮○、君允巽○," and the fourth tone with four categories: "刀早孝岳、毛宝报霍、牛斗奏六、○○○玉." The left column continues from "去声辟唱吕一之四," using "孝孝孝孝" to chant the fifth tone fourth category "卜百丙必、步白备鼻、普扑品匹、旁排平瓶," the sixth tone fourth category "东丹帝■、兑大弟■、土贪天■、同覃田■," the seventh tone fourth category "乃你女■、内南年■、老冷吕■、鹿荦离■," and the eighth tone fourth category "走哉足■、自在匠■、草采七■、曹才全■." The character "和" in the transmitted text does not match the sequence in the table, which is due to the long transmission and repeated copying of the sound diagrams in the "Huangji Jingshi" (The Ultimate Principle of the World). Various critical editions either directly change it to "丙" or remain uncertain. I follow the original text and record it as "内," while noting the error in the translation to preserve both the original appearance and the correct sequence.

思三星■孝孝孝孝；內內內內妻子四日。九音：寺□象■孝孝孝孝；五音：內內內內衰○帥骨。四聲：□□□■孝孝孝孝；五聲：內內內內○○○德。□□□■孝孝孝孝；內內內內龜水貴北。■山手■孝孝孝孝；內內內內宮孔眾○。十音：■士石■孝孝孝孝；五音：內內內內龍甬用○。四聲：■□耳■孝孝孝孝；六聲：內內內內魚鼠去○。■□二■孝孝孝孝；內內內內烏虎兔○。■莊震■孝孝孝孝；內內內內心審禁○。十一音：■乍□■孝孝孝孝；五音：內內內內○○○十。四聲：■叉赤■孝孝孝孝；七聲：內內內內男坎欠○。■崇辰■孝孝孝孝；內內內內○○○妾。■卓中■孝孝孝孝；內內內內●●●●。十二音：■宅直■孝孝孝孝；五音：內內內內●●●●。四聲：■拆丑■孝孝孝孝；八聲：內內內內●●●●。■茶呈■孝孝孝孝；內內內內●●●●。

The left column completes the sixteen lines sung for "xiao" (filial piety): the fourth tone of the ninth sound "Si San Xing ■, Si □ Xiang ■, □ □ □ ■, □ □ □ ■", the fourth tone of the tenth sound "■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■", the fourth tone of the eleventh sound "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■", the fourth tone of the twelfth sound "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". Then "qu sheng bi chang lv yi si" (the falling tone sings "bi", "chang", "lv", "yi", "si") and thus all forty-eight lines are complete. In the third and fourth tones of the ninth sound, there are no characters that can be cited, only "□ □ □ ■", indicating that the sounds of the teeth have reached their end. The right column continues with "nei nei nei nei" (inner inner inner inner) to complete the fourth tone of the fifth sound "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○ ○ ○ De, Gui Shui Gui Bei", the fourth tone of the sixth sound "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the fourth tone of the seventh sound "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie", and the fourth tone of the eighth sound, which is entirely "● ● ● ●". In the line "Shuai ○ Shuai Gu", there are no characters for the rising tone position, and in the line "○ ○ ○ De", only the entering tone has characters. These cases belong to situations where there are tones but not enough characters. The four lines of the ninth sound "Si San Xing ■, Si □ Xiang ■, □ □ □ ■, □ □ □ ■" still have the characters "Xing" and "Xiang" in the first two lines, but the last two lines have no characters for the initial, medial, and final sounds, only "□" to indicate the positions. Shao Yong's phonetic division has reached the end of the dental sounds. Although the sounds can still be distinguished, there are no corresponding characters, which is exactly what is meant by having the sound but not the character.

去聲闢唱呂一之五。古甲九癸四四四四；內內內內●●●●。一音：□□近揆四四四四；五音：內內內內●●●●。五聲：坤巧丘棄四四四四；九聲：內內內內●●●●。□□乾蚪四四四四；內內內內●●●●。黑花香血四四四四；內內內內●●●●。二音：黃華雄賢四四四四；五音：內內內內●●●●。五聲：五瓦仰□四四四四；十聲：內內內內●●●●。吾牙月堯四四四四；內內內內●●●●。

"Qu Sheng Bi Chang Lü Yi Zhi Wu" is changed to use the fifth tone first class "Zi Qi Si Ri" position "Si" as the singing character, with "Si Si Si Si" added to each line. This section first sings the first tone "Si" with four characters "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu" and the second tone "Si" with four characters "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The lines "□□ Jin Kui" and "□□ Qian Tu" have no characters for the opening and development positions, so they are marked as "□"; "Wu Wa Yang □" is a closed position with no character. The right column uses "Nei Nei Nei Nei" and eight lines of the ninth and tenth tones, all written as "●●●●." "Shou Yin Qing He Lu Yi Zhi Wu" ends here with forty lines. The sound belongs to heaven and the tone belongs to earth; heavenly sounds are sung above, earthly tones are harmonized below. One sound is sung through twelve tones, one tone is harmonized through ten sounds. The two tables intersect and generate, which is what the "Guan Wu Pian" says about the number of sounds. "Si" comes from the fifth tone first class "Zi Qi Si Ri," where "Qi" is level, "Zi" is rising, "Si" is departing, and "Ri" is entering. The four lines of the fifth tone's fourth class are "Zi Qi Si Ri," "Cui ○ Shuai Gu," "○○○ De," and "Gui Shui Gui Bei." Among these, the second class lacks rising tones, and the third class only has entering tones, making them uneven. This diagram specifically selects the first class's departing tone, thus obtaining "Si" as the singing character.

收音清和律一之六。安亞乙一四四四四；帝帝帝帝多可個舌。三音：□爻壬寅四四四四；六音：帝帝帝帝禾火化八。五聲：母馬美米四四四四；一聲：帝帝帝帝開宰愛○。目貌眉民四四四四；帝帝帝帝回每退○。夫法□飛四四四四；帝帝帝帝良兩向○。四音：父凡□吠四四四四；六音：帝帝帝帝光廣況○。五聲：武萬□尾四四四四；二聲：帝帝帝帝丁井亙○。文萬□未四四四四；帝帝帝帝兄永瑩○。卜百丙必四四四四；帝帝帝帝千典亙○。五音：步白備鼻四四四四；六音：帝帝帝帝元犬半○。五聲：普撲品匹四四四四；三聲：帝帝帝帝臣引艮○。旁排平瓶四四四四；帝帝帝帝君允巽○。東丹帝■四四四四；帝帝帝帝刀早孝嶽。六音：兌大弟■四四四四；六音：帝帝帝帝毛寶報霍。五聲：土貪天■四四四四；四聲：帝帝帝帝牛斗奏六。

"The 'Renyin' rhyme group 'Qing He Lu Yi Li' uses the 'Di' character from the first tone of the sixth group 'Dong Dan Di ■' as the 'He' character, forming 'Di Di Di Di'. It first harmonizes with the first tone's four groups 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', then the second tone's four groups 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○', followed by the third tone's four groups, and then the fourth tone's first three groups 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu'. The first line of the third tone's original text reads 'Qian Dian Gen ○', where 'Gen' is a character from the second tone's third group 'Ding Jing Gen ○' that has been mistakenly inserted; according to the rule, it should be 'Qian Dian Dan ○'. The left column continues from 'Qu Sheng Bi Chang Lv Wu Li Wu', using 'Si Si Si Si' to sing the third tone's four groups 'An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min', the fourth tone's four groups, the fifth tone's four groups 'Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping', and the sixth tone's first three groups 'Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■'. The original text for the fourth tone's third group reads 'Wu Wan □ Wei', while elsewhere it reads 'Wu Wan □ Wei', indicating that 'Wan' is a mistake for 'Wan'. 'Di' comes from the sixth tone's first group 'Dong Dan Di ■', where 'Dong' is an open sound, 'Dan' is an initial sound, and 'Di' is a closing sound. Since there is no closing sound in the final position, it is represented as '■'. Starting from the sixth tone, the last character of each of the four lines is '■', which is due to the inability to establish a closing sound beyond the tongue sounds. 'Di', being a closing sound, can be used as the 'He' character, and together with the first tone's 'Jiu', the second tone's 'Xiang', the third tone's 'Yi', the fourth tone's '□', and the fifth tone's 'Bing', they all belong to the first group of closing sounds."

同覃田■四四四四；帝帝帝帝○○○玉。乃你女■四四四四；帝帝帝帝妻子四日。七音：內南年■四四四四；六音：帝帝帝帝衰○帥骨。五聲：老冷呂■四四四四；五聲：帝帝帝帝○○○德。鹿犖離■四四四四；帝帝帝帝龜水貴北。走哉足■四四四四；帝帝帝帝宮孔眾○。八音：自在匠■四四四四；六音：帝帝帝帝龍甬用○。五聲：草采七■四四四四；六聲：帝帝帝帝魚鼠去○。曹才全■四四四四；帝帝帝帝烏虎兔○。思三星■四四四四；帝帝帝帝心審禁○。九音：寺□象■四四四四；六音：帝帝帝帝○○○十。五聲：□□□■四四四四；七聲：帝帝帝帝男坎欠○。□□□■四四四四；帝帝帝帝○○○妾。■山手■四四四四；帝帝帝帝●●●●。十音：■士石■四四四四；六音：帝帝帝帝●●●●。五聲：■□耳■四四四四；八聲：帝帝帝帝●●●●。■□二■四四四四；帝帝帝帝●●●●。■莊震■四四四四；帝帝帝帝●●●●。十一音：■乍□■四四四四；六音：帝帝帝帝●●●●。

Left column continues with: sixth tone fourth class "tong tan tian ■", seventh tone fourth class "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■", eighth tone fourth class "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■", ninth tone fourth class "si san xing ■, si □ xiang ■, □ □ □ ■, □ □ □ ■", tenth tone fourth class "■ shan shou ■, ■ shi shi ■, ■ □ er ■, ■ □ er ■", and eleventh tone first class "■ zhuang zhen ■", second class "■ zha □ ■", each row still follows the pattern "sisi sisi". Right column continues with "di di di di" in response to the fourth tone fourth class "○○○ yu", fifth tone fourth class "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", sixth tone fourth class "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", seventh tone fourth class "xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie", followed by eighth tone four lines and the first two lines of ninth tone all "●●●●". "○○○ yu" only has characters in the entering tone, "○○○ shi" and "○○○ jie" similarly only have one character in the entering tone. Such incomplete entries by Shao Yong are all recorded as they are, to show the actual number of tones. In the singing chart, the phonetic characters come first and the tones come after; in the harmonizing chart, the tones come first and the phonetic characters come after. The order of characters in the two columns is exactly reversed. This is not due to printing convenience, but to reflect the meaning of singing tones above and harmonizing tones below: the singer is active, so the phonetic characters are placed below the tone row; the harmonizer responds passively, so the tone characters are placed above the phonetic row. Each line in the harmonizing chart consists of four characters for one tone and one class, which should be read horizontally: for example, "zi qi si ri" line, "zi" is level, "qi" is rising, "si" is falling, "ri" is entering, four characters with the same rhyme but different tones; "○○○ de" line has no characters for level, rising, and falling tones, only the entering tone has "de". Each line in the singing chart consists of four characters for one phonetic character and one class, for example, "gu jia jiu gui", "gu" is open, "jia" is initial, "jiu" is closing, "gui" is final, four characters of the same type but different positions.

五聲：■叉赤■四四四四；九聲：帝帝帝帝●●●●。■崇辰■四四四四；帝帝帝帝●●●●。■卓中■四四四四；帝帝帝帝●●●●。十二音：■宅直■四四四四；六音：帝帝帝帝●●●●。五聲：■拆丑■四四四四；十聲：帝帝帝帝●●●●。■茶呈■四四四四；帝帝帝帝●●●●。去聲闢唱呂一之六；收音清和律一之七。古甲九癸眾眾眾眾；女女女女多可個舌。一音：□□近揆眾眾眾眾；七音：女女女女禾火化八。六聲：坤巧丘棄眾眾眾眾；一聲：女女女女開宰愛○。□□乾蚪眾眾眾眾；女女女女回每退○。黑花香血眾眾眾眾；女女女女良兩向○。二音：黃華雄賢眾眾眾眾；七音：女女女女光廣況○。六聲：五瓦仰□眾眾眾眾；二聲：女女女女丁井亙○。吾牙月堯眾眾眾眾；女女女女兄永瑩○。安亞乙一眾眾眾眾；女女女女千典旦○。三音：□爻壬寅眾眾眾眾；七音：女女女女元犬半○。六聲：母馬美米眾眾眾眾；三聲：女女女女臣引艮○。

First, collect the煞 of the previous pair of diagrams: the left column 「■叉赤■」「■崇辰■」correspond to the third and fourth tones of the eleventh sound, while 「■卓中■、■宅直■、■拆丑■、■茶呈■」correspond to the fourth tone of the twelfth sound, paired with 「四四四四」, and 「去声辟唱吕一之五」is completed. The right column uses 「帝帝帝帝」and passes through the third and fourth tones of the ninth sound and the fourth tone of the tenth sound, with six lines all 「●●●●」, and 「收音清和律一之六」is also completed. The following two diagrams start together: 「去声辟唱吕一之六」takes the fourth tone first tone 「宫孔众○」's fourth tone position 「众」as the唱, and whenever 「众众众众」is written, first sing the first tone fourth grade 「古甲九癸、□□近揆、坤巧丘弃、□□乾蚪」, the second tone fourth grade 「黑花香血、黄华雄贤、五瓦仰□、吾牙月尧」, and the third tone first three grades 「安亚乙一、□爻壬寅、母马美米」; 「收音清和律一之七」takes the first tone first grade 「乃你女■」's ending position 「女」as the和, and whenever 「女女女女」is written, first harmonize the first tone fourth grade, second tone fourth grade, and third tone first three grades 「千典旦○、元犬半○、臣引艮○」. On one board, the two diagrams change simultaneously because the唱 diagram has forty-eight lines while the和 diagram has forty lines, and each time a diagram is passed, they differ by eight lines; by the fifth diagram, the difference accumulates to forty lines, which is exactly one full diagram of the和 diagram, so here both columns change diagrams at the same time, with the唱 changing from 「四」to 「众」and the和 changing from 「帝」to 「女」. Shao Yong's calculation of sound numbers is based on the same principle as the previous volumes' calculation of the yuanshi, yun, and shi periods: he multiplied years, months, days, and hours to get 129,600, while here, the numbers are derived from the interaction between sound and tone, resulting in hundreds. Although the numbers are used differently, the principles of positioning, eliminating the void, and multiplication remain the same, so the various chapters of the "Observing Things" must conclude with diagrams of sound.

目貌眉民眾眾眾眾；女女女女君允巽○。夫法□飛眾眾眾眾；女女女女刀早孝嶽。四音：父凡□吠眾眾眾眾；七音：女女女女毛寶報霍。六聲：武晚□尾眾眾眾眾；四聲：女女女女牛斗奏六。文萬□未眾眾眾眾；女女女女○○○玉。卜百丙必眾眾眾眾；女女女女妻子四日。五音：步白備鼻眾眾眾眾；七音：女女女女衰○帥骨。六聲：普撲品匹眾眾眾眾；五聲：女女女女○○○德。旁排平瓶眾眾眾眾；女女女女龜水貴北。東丹帝■眾眾眾眾；女女女女宮孔眾○。六音：兌大弟■眾眾眾眾；七音：女女女女龍甬用○。六聲：土貪天■眾眾眾眾；六聲：女女女女魚鼠去○。同覃田■眾眾眾眾；女女女女烏虎兔○。乃你女■眾眾眾眾；女女女女心審禁○。七音：內南年■眾眾眾眾；七音：女女女女○○○十。六聲：老冷呂■眾眾眾眾；七聲：女女女女男坎欠○。

The left column continues with "zhongzhongzhongzhong" for the third tone and fourth class "muzhongmuzhong", the fourth tone and fourth class "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei", the fifth tone and fourth class "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone and fourth class "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■", and the seventh tone's first three classes "nai ni nv ■, nei nan nian ■, lao leng lv ■". The right column continues with "nunununu" for the third tone and fourth class "jun yun xun ○", the fourth tone and fourth class "dao zao xiao yue, mao bao bao huo, niu dou zhou liu, ○○○ yu", the fifth tone and fourth class "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", the sixth tone and fourth class "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", and the seventh tone's first three classes "xin shen jin ○, ○○○ shi, nan kan qian ○". The number of lines in the left and right columns are unequal—48 lines for the tone chart and 40 lines for the sound chart—so the progress of the two charts on the same plate is always out of sync, and the points where the charts change also do not align. "Zhong" comes from the sixth tone first class "gong kong zhong ○", with gong being level, kong being rising, and zhong being departing, with no character in the entering tone position. "Nu" comes from the seventh tone first class "nai ni nv ■", with nai being open, ni being initial, and nv being final, with no sound in the closing position. One takes the departing tone position and the other takes the final sound position, with each character occupying the third position in its respective category, exactly matching the example where the departing tone corresponds to the final sound.

鹿犖離■眾眾眾眾；女女女女○○○妾。走哉足■眾眾眾眾；女女女女●●●●。八音：自在匠■眾眾眾眾；七音：女女女女●●●●。六聲：草采七■眾眾眾眾；八聲：女女女女●●●●。曹才全■眾眾眾眾；女女女女●●●●。思三星■眾眾眾眾；女女女女●●●●。九音：寺□象■眾眾眾眾；七音：女女女女●●●●。六聲：□□□■眾眾眾眾；九聲：女女女女●●●●。□□□■眾眾眾眾；女女女女●●●●。■山手■眾眾眾眾；女女女女●●●●。十音：■士石■眾眾眾眾；七音：女女女女●●●●。六聲：■□耳■眾眾眾眾；十聲：女女女女●●●●。■□二■眾眾眾眾；女女女女●●●●。

The left column sings the seventh tone at the fourth level with "zhongzhongzhongzhong," then the eighth tone at the fourth level with "zou zai zu, zi zai jiang, cao cai qi, cao cai quan," and the ninth tone at the fourth level with "si san xing, si xiang xiang, empty empty empty, empty empty empty," and the tenth tone at the fourth level with "shan shou, shi shi shi, er er er, er er er." The right column uses "nunununu" and at the seventh tone at the fourth level "circle circle circle妾," then the eighth, ninth, and tenth tones, totaling twelve lines, all marked as "dot dot dot dot," ending with "shou yin qing he lu yi zhi qi" for forty lines. Considering one diagram, only the first seven tones with twenty-eight lines can be matched, while the remaining twelve lines have positions without sounds. In terms of tones, among the twelve tones and forty-eight positions, forty are marked with "square," resulting in a practical total of one hundred and fifty-two. The multiplication of singing and responding gives rise to the use of sound in the various chapters of "Guanwu." For one diagram, the singer goes through all forty-eight lines with one tone, while the responder goes through all forty lines with one sound. The singing tones are seven, and the responding tones are twelve; multiplying each by the other's number gives the thousands and hundreds listed in the chapters of "Guanwu." Each diagram arranged in this text is merely one factor in this multiplication.

收音清和律一之八。■莊震■眾眾眾眾；足足足足多可個舌。十一音：■乍□■眾眾眾眾；八音：足足足足禾火化八。六聲：■叉赤■眾眾眾眾；一聲：足足足足開宰愛○。■崇辰■眾眾眾眾；足足足足回每退○。■卓中■眾眾眾眾；足足足足良兩向○。十二音：■宅直■眾眾眾眾；八音：足足足足光廣況○。六聲：■拆丑■眾眾眾眾；二聲：足足足足丁井亙○。■茶呈■眾眾眾眾；足足足足兄永瑩○。

The left column chants the eleventh tone level four times "zhong zhong zhong zhong" with the phrases "zhuang zhen", "zha ku", "cha chi", and "chong chen", and the twelfth tone level four times "zhuo zhong", "zai zhi", "che chou", and "cha cheng". The chant "qu sheng bi chang lv yi liu" spans forty-eight lines. The right column starts with "shou yin qing he lv yi ba", taking the ending "zu" from the first tone of the eighth sound "zou zai zu" as the "he" character, writing "zu zu zu zu". It first harmonizes with the first tone level four times "du ke ge she, he hu hua ba, kai zai ai o, hui mei tui o" and the second tone level four times "liang liang xiang o, guang guang kuang o, ding jing gen o, xiong yong ying o". The first tone level is led by "du, he, kai, hui", which are the four rhyme positions of level tones. Below these, "ke, hu, zai, mei" are rising tones, "ge, hua, ai, tui" are falling tones, and "she, ba, o, o" are entering tones. Each four-character line covers the four tones level, entering, rising, and falling. The last two characters are left blank and written as "o". The ending "zu" comes from the first tone of the eighth sound "zou zai zu", with "zou" as the opening, "zai" as the middle, and "zu" as the closing, with no sound at the closing position. The eighth sound has four lines "zou zai zu", "zi zai jiang", "cao cai qi", and "cao cai quan", which belong to the category of dental sounds. The first and third lines are clear, while the second and fourth lines are dull. The ending characters of these four lines are "zu", "jiang", "qi", and "quan", and this diagram selects the first tone "zu" from the first line.

去聲闢唱呂一之七。古甲九癸禁禁禁禁；足足足足千典旦○。一音：□□近揆禁禁禁禁；八音：足足足足元犬半○。七聲：坤巧丘棄禁禁禁禁；三聲：足足足足臣引艮○。□□乾蚪禁禁禁禁；足足足足君允巽○。黑花香血禁禁禁禁；足足足足刀早孝嶽。二音：黃華雄賢禁禁禁禁；八音：足足足足毛寶報霍。七聲：五瓦仰□禁禁禁禁；四聲：足足足足牛斗奏六。吾牙月堯禁禁禁禁；足足足足○○○玉。安亞乙一禁禁禁禁；足足足足妻子四日。三音：□爻壬寅禁禁禁禁；八音：足足足足衰○帥骨。七聲：母馬美米禁禁禁禁；五聲：足足足足○○○德。目貌眉民禁禁禁禁；足足足足龜水貴北。夫法□飛禁禁禁禁；足足足足宮孔眾○。四音：父凡□吠禁禁禁禁；八音：足足足足龍甬用○。七聲：武晚□尾禁禁禁禁；六聲：足足足足魚鼠去○。文萬□未禁禁禁禁；足足足足烏虎兔○。

"The seventh tone first class 'Xin Shen Jin ○' uses the seventh tone first class 'Jin' as the singing character, with each line ending with 'Jin Jin Jin Jin'. The first tone has four classes 'Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu', the second tone has four classes 'He Hua Xiang Xue, Huang Hua Xong Xian, Wu Wa Yang □, Wu Ya Yue Yao', the third tone has four classes 'An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min', and the fourth tone has four classes 'Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei'. The right column continues with 'Zu Zu Zu Zu' to harmonize with the third tone four classes 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○', the fourth tone four classes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu', the fifth tone four classes 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei', and the sixth tone four classes 'Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○'. 'Jin' is the last character with a syllable in the seventh tone of the tenth diagram. There are no more characters to sing in the eighth tone and below, so the singing positions in the following diagrams can only be written as '●'. 'Jin' comes from the seventh tone first class 'Xin Shen Jin ○', with Xin being level, Shen being rising, and Jin being falling. The four classes of the seventh tone are 'Xin Shen Jin ○', '○○○ Shi', 'Nan Kan Qian ○', and '○○○ Qie'. Among the four lines, two lines only have one position for the入声 (entering tone), indicating that these characters are very sparse, while the falling tone still has 'Jin' and 'Qian' to cite."

卜百丙必禁禁禁禁；足足足足心審禁○。五音：步白備鼻禁禁禁禁；八音：足足足足○○○十。七聲：普撲品匹禁禁禁禁；七聲：足足足足男坎欠○。旁排平瓶禁禁禁禁；足足足足○○○妾。東丹帝■禁禁禁禁；足足足足●●●●。六音：兌大弟■禁禁禁禁；八音：足足足足●●●●。七聲：土貪天■禁禁禁禁；八聲：足足足足●●●●。同覃田■禁禁禁禁；足足足足●●●●。乃你女■禁禁禁禁；足足足足●●●●。七音：內南年■禁禁禁禁；八音：足足足足●●●●。七聲：老冷呂■禁禁禁禁；九聲：足足足足●●●●。鹿犖離■禁禁禁禁；足足足足●●●●。走哉足■禁禁禁禁；足足足足●●●●。八音：自在匠■禁禁禁禁；八音：足足足足●●●●。七聲：草采七■禁禁禁禁；十聲：足足足足●●●●。曹才全■禁禁禁禁；足足足足●●●●。

The left column uses "jìn jìn jìn jìn" to sing the fifth tone with four lines "bǔ bǎi bǐng bì, bù bái bèi bí, pǔ pū pǐn pǐ, páng pái píng píng", the sixth tone with four lines "dōng dān dì ■, duì dà dì ■, tǔ tān tiān ■, tóng tán tián ■", the seventh tone with four lines "nǎi nǐ nǚ ■, nèi nán nián ■, lǎo lěng lǚ ■, lù luò lí ■", and the eighth tone with four lines "zǒu zāi zú ■, zì zài jiàng ■, cǎo cǎi qī ■, cáo cái quán ■". The right column uses "zú zú zú zú" and the seventh tone with four lines "xīn shěn jìn ○, ○○○ shí, nán kǎn qiàn ○, ○○○ qiè". Below this, the eighth, ninth, and tenth tones, totaling three tones and twelve lines, are all "●●●●". "Shōu yīn qīng hé lǜ yī zhī bā" comprises forty lines in total. The fifth tone has four lines representing the initial consonants, the sixth tone has four lines representing the tongue sounds, the seventh tone has four lines representing the upper tongue sounds, and the eighth tone has four lines representing the dental sounds. Since the closure position is exhausted, starting from the sixth tone, the last character is entirely marked with "■". The singing diagram uses one tone to sing forty-eight sounds, among which "■" occupies forty, making a total of one hundred and fifty-two sounds that can actually be sung. Since this diagram uses "jìn" as the singing sound, it represents one hundred and fifty-two sounds used for singing in the first category of the seventh tone. Among ten tones, only seven can be used in this way for singing, so seven multiplied by one hundred and fifty-two gives one thousand and sixty-four, which is the total number of the falling tones. The singing characters are attached after the sound lines, with each character appearing four times, corresponding to the four positions. The harmony characters are placed before the tone lines, also appearing four times, corresponding to the four tones. The fourfold repetition without addition or subtraction precisely reflects the meaning of the four elements, aligning with the diagram's structure of four lines per category and four characters per line.

收音清和律一之九。思三星■禁禁禁禁；星星星星多可個舌。九音：寺□象■禁禁禁禁；九音：星星星星禾火化八。七聲：□□□■禁禁禁禁；一聲：星星星星開宰愛○。□□□■禁禁禁禁；星星星星迴每退○。■山手■禁禁禁禁；星星星星良兩向○。十音：■士石■禁禁禁禁；九音：星星星星光廣況○。七聲：■□耳■禁禁禁禁；二聲：星星星星丁井亙○。■□二■禁禁禁禁；星星星星兄永瑩○。■莊震■禁禁禁禁；星星星星千典旦○。十一音：■乍□■禁禁禁禁；九音：星星星星元犬半○。七聲：■叉赤■禁禁禁禁；三聲：星星星星臣引艮○。■崇辰■禁禁禁禁；星星星星君允巽○。■卓中■禁禁禁禁；星星星星刀早孝嶽。十二音：■宅直■禁禁禁禁；九音：星星星星毛寶報霍。七聲：■拆丑■禁禁禁禁；四聲：星星星星牛斗奏六。■茶呈■禁禁禁禁；星星星星○○○玉。

The last sixteen lines of the left column, after completing 「去声辟唱吕一之七」, are: the fourth level of the ninth tone 「思三星■、寺□象■、□□□■、□□□■」, the fourth level of the tenth tone 「■山手■、■士石■、■□耳■、■□二■」, the fourth level of the eleventh tone 「■庄震■、■乍□■、■叉赤■、■崇辰■」, and the fourth level of the twelfth tone 「■卓中■、■宅直■、■拆丑■、■茶呈■」, each sung with 「禁禁禁禁」. On the right column, a new section 「收音清和律一之九」 is established, taking the ending character 「星」 from the first level of the ninth tone 「思三星■」 as the harmony character, writing 「星星星星」. It then proceeds to harmonize with the first tone's fourth level 「多可个舌、禾火化八、开宰爱○、回每退○」, the second tone's fourth level 「良两向○、光广况○、丁井亘○、兄永莹○」, the third tone's fourth level 「千典旦○、元犬半○、臣引艮○、君允巽○」, and the fourth tone's fourth level 「刀早孝岳、毛宝报霍、牛斗奏六、○○○玉」. The character 「星」 here is merely a syllable of the dental sound, unrelated to the previous use of 「星」 as the name for the cosmic cycles of the universe. The character 「星」 comes from the first level of the ninth tone 「思三星■」, where 「思」 is the opening sound, 「三」 is the medial sound, and 「星」 is the closing sound, with no sound at the closing position. The ninth tone, along with the eighth tone, belongs to the dental category but is slightly different. The ending characters of the four lines are 「星」, 「象」, 「□」, and 「□」, with the last two lines having no characters to cite, so among the twelve harmonization diagrams, only the diagram from the ninth tone has the harmony character 「星」. If taking the third or fourth levels, only empty frames can be used.

去聲闢唱呂一之八。古甲九癸●●●●；星星星星妻子四日。一音：□□近揆●●●●；九音：星星星星衰○帥骨。八聲：坤巧丘棄●●●●；五聲：星星星星○○○德。□□乾蚪●●●●；星星星星龜水貴北。黑花香血●●●●；星星星星宮孔眾○。二音：黃華雄賢●●●●；九音：星星星星龍甬用○。八聲：五瓦仰□●●●●；六聲：星星星星魚鼠去○。吾牙月堯●●●●；星星星星烏虎兔○。安亞乙一●●●●；星星星星心審禁○。三音：□爻壬寅●●●●；九音：星星星星○○○十。八聲：母馬美米●●●●；七聲：星星星星男坎欠○。目貌眉民●●●●；星星星星○○○妾。夫法□飛●●●●；星星星星●●●●。四音：父凡□吠●●●●；九音：星星星星●●●●。八聲：武晚□尾●●●●；八聲：星星星星●●●●。文萬□未●●●●；星星星星●●●●。卜百丙必●●●●；星星星星●●●●。五音：步白備鼻●●●●；九音：星星星星●●●●。八聲：普撲品匹●●●●；九聲：星星星星●●●●。旁排平瓶●●●●；星星星星●●●●。東丹帝■●●●●；星星星星●●●●。六音：兌大弟■●●●●；九音：星星星星●●●●。八聲：土貪天■●●●●；十聲：星星星星●●●●。同覃田■●●●●；星星星星●●●●。

"The eighth tone, first category" refers to the position for singing the eighth tone, first category. The eighth tone, fourth category is originally all marked with "●", meaning no sound can be produced, so each line's singing position can only be written as "●●●●". This is not a missing character, but rather a deliberate blank left by Shao Yong. Among the ten tones, only seven have sound; the eighth, ninth, and tenth tones, though listed, actually have no sound. If they were omitted, the numbers for singing and responding would have no basis. On the left side, the first category of four tones is listed as "Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu"; the second category of four tones is "Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo"; the third category of four tones is "Ān Yà Yǐ Yī, □ Yué Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Méi Mín"; the fourth category of four tones is "Fū Fǎ □ Fēi, Fù Fán □ Fèi, Wǔ Wǎn □ Wěi, Wén Wàn □ Wèi"; the fifth category of four tones is "Bǔ Bǎi Bǐng Bì, Bù Bái Bèi Bí, Pǔ Pū Pǐn Pǐ, Páng Pái Píng Píng"; the sixth category of four tones is "Dōng Dān Dì ■, Duì Dà Dì ■, Tǔ Tān Tiān ■, Tóng Tán Tián ■". On the right side, it is "Xīng Xīng Xīng Xīng" and the fifth tone, fourth category "Zǐ Qī Sì Rì, Shuāi ○ Shuài Gǔ, ○○○ Dé, Guī Shuǐ Guì Běi"; the sixth tone, fourth category "Gōng Kǒng Zhòng ○, Lóng Yǒng Yòng ○, Yú Shǔ Qù ○, Wū Hǔ Tù ○"; the seventh tone, fourth category "Xīn Shěn Jìn ○, ○○○ Shí, Nán Kǎn Qiàn ○, ○○○ Jiè". The following twelve lines are all "●●●●", and "Clear and Harmonious Tone, One of Nine" ends here. The eighth, ninth, and tenth tones, which are three categories, are all marked with black dots. Shao Yong used ten as the total number of tones, but in reality only seven have sound, so he created three categories to complete the positions. Since the singing chart is based on ten tones and ten charts, these three categories must each form a chart, although there are no characters to write. The empty chart and the real chart are placed side by side, clearly showing that the numbers of heaven and earth are fixed, while human speech has gaps. When reading these entirely black charts, one must pay special attention to the fact that they are not optional. Shao Yong established ten categories of tones, ten being the total number of tones. Once the total number is established, even if there are no characters, the positions must be listed, so that they can be multiplied by the twelve tones of sound. If these three charts were deleted, the singing chart would only have seven, which would not match the name of ten tones. All subsequent calculations would have no basis. Therefore, these three charts, although entirely black, are still listed alongside the charts with characters and not omitted.

收音清和律一之十。乃你女■●●●●；手手手手多可個舌。七音：內南年■●●●●；十音：手手手手禾火化八。八聲：老冷呂■●●●●；一聲：手手手手開宰愛○。鹿犖離■●●●●；手手手手回每退○。走哉足■●●●●；手手手手良兩向○。八音：自在匠■●●●●；十音：手手手手光廣況○。八聲：草采七■●●●●；二聲：手手手手丁井亙○。曹才全■●●●●；手手手手兄永瑩○。思三星■●●●●；手手手手千典旦○。九音：寺□象■●●●●；十音：手手手手元犬半○。八聲：□□□■●●●●；三聲：手手手手臣引艮○。□□□■●●●●；手手手手君允巽○。■山手■●●●●；手手手手刀早孝嶽。十音：■士石■●●●●；十音：手手手手毛寶報霍。八聲：■□耳■●●●●；四聲：手手手手牛斗奏六。■□二■●●●●；手手手手○○○玉。■莊震■●●●●；手手手手妻子四日。十一音：■乍□■●●●●；十音：手手手手衰○帥骨。八聲：■叉赤■●●●●；五聲：手手手手○○○德。■崇辰■●●●●；手手手手龜水貴北。■卓中■●●●●；手手手手宮孔眾○。十二音：■宅直■●●●●；十音：手手手手龍甬用○。八聲：■拆丑■●●●●；六聲：手手手手魚鼠去○。

"Receiving the sound of clarity and harmony, the tenth tone's first category '■ Mountain hand ■' takes the receiving position 'hand' as the character 'he' (和), writing 'hand hand hand hand'. It then harmonizes with the first tone's four categories 'duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○', the second tone's four categories 'liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○', the third tone's four categories 'qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○', the fourth tone's four categories 'dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu', the fifth tone's four categories 'zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei', and finally the sixth tone's first three categories 'gong kong zhong ○, long yong yong ○, yu shu qu ○'. The left column remains 'going tone's 'bi chang lv yi zhi ba', with the singing position left blank as '●●●●', and the corresponding sound is the seventh tone's four categories 'nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■', the eighth tone's four categories 'zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■', the ninth tone's four categories 'si san xing ■, si □ xiang ■, □□□ ■, □□□ ■', the tenth tone's four categories '■ shan shou ■, ■ shi shi ■, ■ □ er ■, ■ □ er ■', the eleventh tone's four categories '■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ chong chen ■', and then the twelfth tone's first three categories '■ zhuo zhong ■, ■ zhai zhi ■, ■ chai chou ■'. All positions from the tenth tone onwards are marked with '■', but the receiving positions still include characters such as 'shou, shi, er, er', and the character 'he' (和) in this diagram is taken from its first category. 'Shou' (手) comes from the tenth tone's first category '■ shan shou ■', the opening position has no sound and is marked as '■', 'shan' (山) is the initial sound and 'shou' (手) is the receiving sound, and the closing position also has no sound. Starting from the tenth tone, the initial and final positions of the four rows are all marked with '■', and only the initial and receiving positions can be established; such characters are generally those of the clear and semi-clear teeth, so characters like 'shan', 'shou', 'shi', 'shi', 'er', and 'er' are formed by raising the tongue close to the palate. Within one diagram, the forty-eight rows of sounds and the forty rows of tones form separate systems, yet they must be viewed together: the singing diagram shows the heavenly tones below, and the harmonizing diagram shows the earthly sounds above, and only when both diagrams are viewed together does a complete singing and harmonizing emerge. The original text divides the two diagrams into left and right columns and connects them with one row, intending for the reader to compare them at all times, not implying any relationship between the characters in the same row on the left and right.

■茶呈■●●●●；手手手手烏虎兔○。去聲闢唱呂一之九。古甲九癸●●●●；手手手手心審禁○。一音：□□近揆●●●●；十音：手手手手○○○十。九聲：坤巧丘棄●●●●；七聲：手手手手男坎欠○。□□乾蚪●●●●；手手手手○○○妾。黑華香血●●●●；手手手手●●●●。二音：黃華雄賢●●●●；十音：手手手手●●●●。九聲：五瓦仰□●●●●；八聲：手手手手●●●●。吾牙月堯●●●●；手手手手●●●●。安亞乙一●●●●；手手手手●●●●。三音：□爻壬寅●●●●；十音：手手手手●●●●。九聲：母馬美米●●●●；九聲：手手手手●●●●。目貌眉民●●●●；手手手手●●●●。夫法□飛●●●●；手手手手●●●●。四音：父凡□吠●●●●；十音：手手手手●●●●。九聲：武晚□尾●●●●；十聲：手手手手●●●●。文萬□未●●●●；手手手手●●●●。

The first line's left half "■ tea cheng ■" is the fourth category of the twelfth tone, with the singing position still left blank as "●●●●", and "qu sheng bi chang lv yi zhi ba" is sung here for the forty-eight lines; the right half uses "shou shou shou shou" and the fourth category of the sixth tone "wu hu tu ○". Then "qu sheng bi chang lv yi zhi jiu" starts anew, which should be the first category of the ninth tone, but the ninth tone's fourth category is entirely silent, so the singing position remains "●●●●", the same as the previous figure but with a different tone. The corresponding lines are the fourth category of the first tone "gu jia jiu gui, □□ jin kui, kun qiao qiu qi, □□ qian tuo", the fourth category of the second tone "hei hua xiang xue, huang hua xiong xian, wu wa yang □, wu ya yue yao", the fourth category of the third tone "an ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min", and the fourth category of the fourth tone "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei"; the first category of the second tone is originally "hei hua xiang xue", and elsewhere it is written as "hei hua xiang xue", with "hua" likely being a mistake for "hua". The right column uses "shou shou shou shou" and the fourth category of the seventh tone "xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie", with the following twelve lines all black dots, ending with "shou yin qing he lv yi zhi shi". The singing positions of the two figures are both black dots but correspond to different tones: "yi zhi ba" corresponds to the first category of the eighth tone, and "yi zhi jiu" corresponds to the first category of the ninth tone. Since the positions are different, although the forty-eight lines of sound are the same, the two figures cannot be combined—because the number of sung tones is counted per figure, missing one figure would mean missing 152 tones.

收音清和律一之十一。卜百丙必●●●●；震震震震多可個舌。五音：步白備鼻●●●●；十一音：震震震震禾火化八。九聲：普撲品匹●●●●；一聲：震震震震開宰愛○。旁排平瓶●●●●；震震震震回每退○。東丹帝■●●●●；震震震震良兩向○。六音：兌大弟■●●●●；十一音：震震震震光廣況○。九聲：土貪天■●●●●；二聲：震震震震丁井亙○。同覃田■●●●●；震震震震兄永瑩○。乃你女■●●●●；震震震震千典旦○。七音：內南年■●●●●；十一音：震震震震元犬半○。九聲：老冷呂■●●●●；三聲：震震震震臣引艮○。鹿犖離■●●●●；震震震震君允巽○。走哉足■●●●●；震震震震刀早孝嶽。八音：自在匠■●●●●；十一音：震震震震毛寶報霍。九聲：草采七■●●●●；四聲：震震震震牛斗奏六。曹才全■●●●●；震震震震○○○玉。思三星■●●●●；震震震震妻子四日。九音：寺□象■●●●●；十一音：震震震震衰○帥骨。九聲：□□□■●●●●；五聲：震震震震○○○德。□□□■●●●●；震震震震龜水貴北。■山手■●●●●；震震震震宮孔眾○。

"The 'Clear and Harmonious Tone' of the eleventh sound takes the 'Zhen' (Thunder) from the first class of the eleventh sound '■Zhuang Zhen■' as the 'he' character, writing 'Zhen Zhen Zhen Zhen'. It includes the first tone with four classes 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone with four classes 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○', the third tone with four classes 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○', the fourth tone with four classes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu', the fifth tone with four classes 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei', and the sixth tone with the first class 'Gong Kong Zhong ○'. The left column follows 'The 'Departing Tone' of the ninth sound 'Pu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping', the sixth sound with four classes 'Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■', the seventh sound with four classes 'Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■', the eighth sound with four class 'Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■', the ninth sound with four classes 'Si San Xing ■, Si □ Xiang ■, □□□ ■, □□□ ■', and the tenth sound with the first class '■ Shan Shou ■'. 'Zhen' comes from the first class of the eleventh sound '■ Zhuang Zhen ■', the opening position has no sound, Zhuang is the initial and Zhen is the closing, the closing position also has no sound. The four lines of the eleventh sound '■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■' belong to the category of correct teeth, the closing sounds are Zhen, □, Chi, Chen, and this diagram takes the first class 'Zhen' to harmonize with the ten tones. The twelve 'he' characters, which are Jiu, Xiang, Yi, □, Bing, Di, Nu, Zu, Xing, Shou, Zhen, Zhong, are all taken from the first class of the twelve sounds' closing sounds, and this diagram corresponds to the eleventh. The closing sound is in the three positions of opening, developing, and closing, its sound is already gathered but not yet closed, making it most suitable to harmonize with the departing tone. Therefore, Shao Yong paired the closing tone with the departing tone as a group, and divided them into four classes based on clarity, turbidity, and the opening and closing of the sound."

十音：■士石■●●●●；十一音：震震震震龍甬用○。九聲：■□耳■●●●●；六聲：震震震震魚鼠去○。■□二■●●●●；震震震震烏虎兔○。■莊震■●●●●；震震震震心審禁○。十一音：■乍□■●●●●；十一音：震震震震○○○十。九聲：■叉赤■●●●●；七聲：震震震震男坎欠○。■崇辰■●●●●；震震震震○○○妾。■卓中■●●●●；震震震震●●●●。十二音：■宅直■●●●●；十一音：震震震震●●●●。九聲：■拆丑■●●●●；八聲：震震震震●●●●。■茶呈■●●●●；震震震震●●●●。

The left column completes the last eleven lines of "Qu Sheng Pi Chang Lü Yi Zhi Jiú": the second category of the tenth tone "■ Shi Shi ■", the third category "■ □ Er ■", and the fourth category "■ □ Er ■", the fourth category of the eleventh tone "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the fourth category of the twelfth tone "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", with all singing positions marked as "●●●●". The right column continues with "Zhen Zhen Zhen Zhen" to harmonize with the second, third, and fourth categories of the sixth tone "Long Nong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the fourth category of the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie", and the four lines of the eighth tone marked as "●●●●". "Zhen" is originally a character of the eleventh tone belonging to the correct teeth category, and it is used to harmonize with all ten tones, resulting in twenty-eight lines with sound and twelve lines with position but no sound, making the presence or absence of sound clearly visible within one diagram. Characters belonging to the three categories below the ten tones are the least in number, yet they occupy the same number of lines as the first nine tones, which is four lines. Shao Yong established tones according to categories, not according to the number of characters; if a character exists, it is written down, if not, the position is kept with "□", and if the tone is not established, it is marked with "■". Therefore, each diagram must have forty-eight lines regardless of the abundance or scarcity of characters.

去聲闢唱呂一之十。古甲九癸●●●●；震震震震●●●●。一音：□□近揆●●●●；十一音：震震震震●●●●。十聲：坤巧丘棄●●●●；九聲：震震震震●●●●。□□乾蚪●●●●；震震震震●●●●。黑花香血●●●●；震震震震●●●●。二音：黃華雄賢●●●●；十一音：震震震震●●●●。十聲：五瓦仰■●●●●；十聲：震震震震●●●●。吾牙月堯●●●●；震震震震●●●●。

"The 'Going Down' tone 'Bi Chang Lv Yi Zhi Shi' is the last diagram of the 'Going Down' tone 'Bi' position. It governs the tenth tone's first category, and its sound is nonexistent, so the singing position is still written as '●●●●'. This section lists the first four categories of the first tone: 'Gu Jia Jiu Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Zhen Tu' and the second four categories of the second tone: 'Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao'. In the third category of the second tone elsewhere, it is written as 'Wu Wa Yang □', but here the last position is mistakenly written as '■'. '□' refers to a sound with no character, while '■' refers to a combined sound with no character; these two should not be confused. On the right side, 'Zhen Zhen Zhen Zhen' is paired with the ninth and tenth tones, totaling eight lines, all written as '●●●●'. The 'Ending Sound Clear and Harmonious Law Yi Zhi Shi Yi' spans forty lines and concludes. At this point, the first group of ten singing diagrams is completed. Among the ten diagrams, the first seven govern the first to seventh tones' first categories of the 'Going Down' tone positions, corresponding to the characters Ge, Xiang, Dan, Xiao, Si, Zhong, Jin; the last three govern the eighth, ninth, and tenth tones, which are not established, and all singing positions are marked with black dots. Each of the seven characters corresponds to 152 tones, which is referred to as the 'Going Down' tone 'Bi' tones totaling 164."

收音清和律一之十二。安亞乙一●●●●；中中中中多可個舌。三音：□爻壬寅●●●●；十二音：中中中中禾火化八。十聲：母馬美米●●●●；一聲：中中中中開宰愛○。目貌眉民●●●●；中中中中回每退○。夫法□飛●●●●；中中中中良兩向○。四音：父凡□吠●●●●；十二音：中中中中光廣況○。十聲：武晚□尾●●●●；二聲：中中中中丁井亙○。文萬□未●●●●；中中中中兄永瑩○。卜百丙必●●●●；中中中中千典旦○。五音：步白備鼻●●●●；十二音：中中中中元犬半○。十聲：普撲品匹●●●●；三聲：中中中中臣引艮○。旁排平瓶●●●●；中中中中君允巽○。東丹帝■●●●●；中中中中刀早孝嶽。六音：兌大弟■●●●●；十二音：中中中中毛寶報霍。十聲：土貪天■●●●●；四聲：中中中中牛斗奏六。同覃田■●●●●；中中中中○○○玉。乃你女■●●●●；中中中中妻子四日。七音：內南年■●●●●；十二音：中中中中衰○帥骨。十聲：老冷呂■●●●●；五聲：中中中中○○○德。鹿犖離■●●●●；中中中中龜水貴北。

"The 'Clear and Harmonious Tone of the Twelfth' is the final diagram of this passage and the last diagram of the figure. It takes the 'middle' position from the first category of the twelfth tone '■卓中■' as the 'harmonious' character, writing 'middle middle middle middle' in sequence. It then harmonizes with the first tone's four categories 'Du ke ge she, he huoa hua ba, kai zai ai ○, hui mei tui ○', the second tone's four categories 'Liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○', the third tone's four categories 'Qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○', the fourth tone's four categories 'Dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu', and the fifth tone's four categories 'Zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei'. The left column still belongs to the 'Going Tone of the Tenth' and the singing position is left blank as '●●●●', with the corresponding phonetic categories being the third tone's four categories 'An ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min', the fourth tone's four categories 'Fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei', the fifth tone's four categories 'Bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping', the sixth tone's four categories 'Dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■', and the seventh tone's four categories 'Nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■'. The 'middle' comes from the first category of the twelfth tone '■卓中■', the opening position has no sound, 'zhuo' is the initial sound and 'zhong' is the final sound, and the closing position also has no sound. The four lines of the twelfth tone '■卓中■, ■宅直■, ■拆丑■, ■茶呈■' belong to the category of tongue sounds, with the final sounds 'zhong, zhi, chou, cheng', which are the last category of the twelve tones. This diagram takes the 'zhong' from the first category as the harmonious character. The first group of harmonious diagrams ends here at twelve, corresponding to the earth number twelve; the singing diagram ends at ten, corresponding to the heaven number ten. The heaven number uses ten and the earth number uses twelve, which is a common practice in Shao Yong's entire work: the first few volumes divide one yuan into twelve periods, and one period into thirty movements, which is also a method of multiplying ten and twelve, similar to the derivation of sounds in this passage."

走哉足■●●●●；中中中中宮孔眾○。八音：自在匠■●●●●；十二音：中中中中龍甬用○。十聲：草采七■●●●●；六聲：中中中中魚鼠去○。曹才全■●●●●；中中中中烏虎兔○。思三星■●●●●；中中中中心審禁○。九音：寺□象■●●●●；十二音：中中中中○○○十。十聲：□□□■●●●●；七聲：中中中中男坎欠○。□□□■●●●●；中中中中○○○妾。■山手■●●●●；中中中中●●●●。十音：■士石■●●●●；十二音：中中中中●●●●。十聲：■□耳■●●●●；八聲：中中中中●●●●。■□二■●●●●；中中中中●●●●。■莊震■●●●●；中中中中●●●●。十一音：■乍□■●●●●；十二音：中中中中●●●●。十聲：■叉赤■●●●●；九聲：中中中中●●●●。■崇辰■●●●●；中中中中●●●●。■卓中■●●●●；中中中中●●●●。十二音：■宅直■●●●●；十二音：中中中中●●●●。十聲：■拆丑■●●●●；十聲：中中中中●●●●。■茶呈■●●●●；中中中中●●●●。

After completing the last twenty lines on the left side: the eighth tone group with four levels includes "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone group with four levels includes "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", the tenth tone group with four levels includes "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone group with four levels includes "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", the twelfth tone group with four levels includes "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", all the singing positions are "●●●●", and after completing "the departing tone with the sound of 'Bi' and the singing of 'Lv' one to ten", the ten figures of the departing tone with one sound and ten figures are fully arranged. On the right side, using "Zhong Zhong Zhong Zhong" and the sixth tone group with four levels "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the seventh tone group with four levels "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie", the following eighth, ninth, and tenth tones, which total twelve lines, are all "●●●●", and after completing "the ending tone with the sound of 'Qing' and the harmonizing of 'He' one to twelve", the twelve figures of the water and earth tones with one sound and twelve figures are simultaneously completed. At this point, the singing and harmonizing groups of the forty-third section of the "Guanwu篇" have all twenty-two figures arranged. Each of the twelve harmonizing figures harmonizes with ten tones using one sound, allowing for 112 harmonized tones per figure, totaling 1,344 across twelve figures. The ten singing figures sing with twelve tones using one sound, with seven figures able to sing, each containing 152 tones, totaling 164. The numbers of the two groups correspond to one earth and one heaven, complementing each other, and the derivation of the forty-third section of the "Guanwu篇" is now complete. The sound sections of the "Guanwu篇" pair the four tones (level, rising, departing, and entering) with four levels (Bi and Xi), forming sixteen groups in total. This section covers the departing tone, and one of the four levels has already been arranged. The next section will deal with the second level of the departing tone with Xi, followed by the third level of the departing tone with Bi and the fourth level of the departing tone with Xi. Once all four levels are completed, the discussion will then move to the entering tone. Readers following this order will not get lost among the many figures with the same name.

觀物篇四十四。星月聲去翕；土火音收濁。化況半報帥；近雄王□備弟。用○●●●；年匠象石□直。星月聲七，下唱地之；土火音十二，上和天。用音一百五十二，是；之用聲一百一十二，謂去聲翕音。去聲翕；是謂收音濁聲。收音。音一千六十四。濁聲一千三百四十四。星月聲去之二翕；土火音收之二濁。

Chapter Forty-Four of "Observing Things." Below this, another set of paired verses is established, with headings listed in two columns on the left and right. The original text has merged the two columns into a single row, so they must be read separately. The left column discusses the seven tones of stars and moon sounds, pairing stars and moon with tones. "Star" corresponds to the falling tone; among the four tones, "moon" is the second tone, which belongs to "xī" (closed mouth). The seven tones used are "hua, kuang, ban, bao, shuai, yong, and ○." Adding the eighth, ninth, and tenth tones marked as "●●●," they correspond exactly to the second tone position of the ten-tone diagram. The first tone "hehuohua ba" gives "hua," the second tone "guangguang kuang ○" gives "kuang," the third tone "yuanquan ban ○" gives "ban," the fourth tone "mao bao bao huo" gives "bao," the fifth tone "shuai ○ shuai gu" gives "shuai," the sixth tone "long yong yong ○" gives "yong," and the seventh tone "○○○ shi" has no character for the falling tone, so it is marked as "○." The text then says that the seven tones of stars and moon correspond to the use of sounds on the earth, totaling 152, making the falling tone and closed mouth sounds 1,640, which is seven positions each with 152 sounds, 7 multiplied by 152 equals 1,064. The right column discusses the two tones of earth and fire sounds, pairing water, fire, earth, and stone with tones. "Earth" corresponds to the closing tone, and "fire" is the second tone, which belongs to "du" (dull). The twelve tones used are "jin, xiong, wang, □, bei, di, nian, jiang, xiang, shi, □, zhi," corresponding to the second tone position of the twelve tones. "Wang" should originally be "ren," and the fourth and eleventh tones have no characters for this position, so they are marked as "□." The text then says that the twelve tones of earth and fire correspond to the use of sounds in the heavens, totaling 112, making the closing tone and dull sounds 1,344, which is twelve tones each with 112 sounds, 12 multiplied by 112 equals 1,344. Shao Yong divided tones into level, rising, falling, and entering, and within each category, he divided them into four levels, one and three being "bi" (open), two and four being "xi" (closed). He also divided sounds into opening, developing, closing, and closing, and within each category, he divided them into four levels, one and three being "qing" (clear), two and four being "du" (dull). The forty-third chapter discusses the first level of tones and the first level of sounds, while this chapter shifts to the second level of tones and the second level of sounds. The sequence of chapters continues, and the positions progress, with the same principle applied.

去聲翕唱呂二之一；收音濁和律二之一。古甲九癸化化化化；近近近近多可個舌。一音：□□近揆化化化化；一音：近近近近禾火化八。一聲：坤巧丘棄化化化化；一聲：近近近近開宰愛○。□□乾蚪化化化化；近近近近回每退○。黑花香血化化化化；近近近近良兩向○。二音：黃華雄賢化化化化；一音：近近近近光廣況○。一聲：五瓦仰□化化化化；二聲：近近近近丁井亙○。吾牙月堯化化化化；近近近近兄永瑩○。安亞乙一化化化化；近近近近千典旦○。三音：□爻壬寅化化化化；一音：近近近近元犬半○。一聲：母馬美米化化化化；三聲：近近近近臣引艮○。目貌眉民化化化化；近近近近君允巽○。夫法□飛化化化化；近近近近刀早孝嶽。四音：父凡□吠化化化化；一音：近近近近毛寶報霍。一聲：武晚□尾化化化化；四聲：近近近近牛斗奏六。

Two diagrams begin simultaneously. "Going down in tone, harmonizing with the second of two" uses the first tone, second category "Hé Huǒ Huà Bā" with the falling tone position "Huà" as the singing character, and writes "Huà Huà Huà Huà" repeatedly; "Ending in tone, harmonizing with the second of two" uses the first tone, second category "□□Jìn Kuí" with the ending position "Jìn" as the harmonizing character, and writes "Jìn Jìn Jìn Jìn" repeatedly. The tones in the left column are the first tone, four categories "Gǔ Jiǎ Jiǔ Guǐ, □□Jìn Kuí, Kūn Qiǎo Qiū Qì, □□Qián Tóu", the second tone, four categories "Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo", the third tone, four categories "Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Mí Mín", and the fourth tone's first three categories "Fū Fǎ □ Fēi, Fù Fán □ Fèi, Wǔ Wǎn □ Wěi". The harmonizing tones in the right column are the first tone, four categories "Duō Kě Gè Shé, Hé Huǒ Huà Bā, Kāi Zǎi Ài ○, Huí Měi Tuì ○", the second tone, four categories "Liáng Liǎng Xiàng ○, Guāng Guǎng Kuàng ○, Dīng Jǐng Gèng ○, Xiōng Yǒng Yíng ○", the third tone, four categories "Qiān Diǎn Dàn ○, Yuán Quǎn Bàn ○, Chén Yǐn Gèn ○, Jūn Yǔn Xùn ○", and the fourth tone's first three categories "Dāo Zǎo Xiào Yuè, Máo Bǎo Bào Huò, Niú Dòu Zòu Liù". The first group of singing characters takes the first category, i.e., the position of separation, while this group takes the second category, i.e., the position of convergence; the harmonizing characters in the first group take the first category, i.e., the clear position, while this group takes the second category, i.e., the turbid position. The format is entirely the same, but the positions progress. "Huà" is in the first tone, second category "Hé Huǒ Huà Bā", where Hé is level, Huǒ is rising, Huà is falling, and Bā is entering, each of the four positions has a character; "Jìn" is in the first tone, second category "□□Jìn Kuí", where the first two positions have no characters and are marked with "□", Jìn is the ending, and Kuí is the closing. One belongs to the heavenly tones of convergence, the other to the earthly tones of turbidity. Convergence and turbidity correspond, which is the original intention of this diagram.

文萬□未化化化化；近近近近○○○玉。卜百丙必化化化化；近近近近妻子四日。五音：步白備鼻化化化化；一音：近近近近衰○帥骨。一聲：普撲品匹化化化化；五聲：近近近近○○○德。旁排平瓶化化化化；近近近近龜水貴北。東丹帝■化化化化；近近近近宮孔眾○。六音：兌大弟■化化化化；一音：近近近近龍甬用○。一聲：土貪天■化化化化；六聲：近近近近魚鼠去○。同覃田■化化化化；近近近近烏虎兔○。乃你女■化化化化；近近近近心審禁○。七音：內南年■化化化化；一音：近近近近○○○十。一聲：老冷呂■化化化化；七聲：近近近近男坎欠○。鹿犖離■化化化化；近近近近○○○妾。走哉足■化化化化；近近近近●●●●。八音：自在匠■化化化化；一音：近近近近●●●●。一聲：草采七■化化化化；八聲：近近近近●●●●。曹才全■化化化化；近近近近●●●●。思三星■化化化化；近近近近●●●●。

The left column continues with "huahuahuahu" for the fourth tone and fourth level "wen wan □ wei," the fifth tone and fourth level "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping," the sixth tone and fourth level "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■," the seventh tone and fourth level "nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," the eighth tone and fourth level "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," and the ninth tone and first level "si san xing ■." The right column continues with "jin jin jin jin" for the fourth tone and fourth level "○○○yu," the fifth tone and fourth level "zi qi si ri, shuai ○ shuai gu, ○○○de, gui shui gui bei," the sixth tone and fourth level "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○," the seventh tone and fourth level "xin shen jin ○, ○○○shi, nan kan qian ○, ○○○jie," the eighth tone and four lines "●●●●," and the ninth tone and first level "●●●●." "Jin" is a voiced dental sound, and by using it to harmonize across all ten tones, twenty-eight positions can be harmonized, while twelve cannot. The singing chart proceeds from the first tone in order, turning every four lines, completing the cycle at the twelfth tone; the harmonizing chart proceeds from the first tone in order, turning every four lines, completing the cycle at the tenth tone. Readers only need to remember that the cycle of tones is twelve and the cycle of sounds is ten, so they can determine the position of any line within the chart without counting each line individually.the so-called singing refers to taking one sound as the main and traversing all tones;the so-called harmonizing refers to taking one tone as the main and traversing all sounds. The main is one and the followers are many, so each chart must begin or end with a single character repeated four times, with the remaining forty-eight or forty lines being governed by it. This is analogous to the musical system where one key leads seven tones and one scale leads twelve pipes.

九音：寺□象■化化化化；一音：近近近近●●●●。一聲：□□□■化化化化；九聲：近近近近●●●●。□□□■化化化化；近近近近●●●●。■山手■化化化化；近近近近●●●●。十音：■士石■化化化化；一音：近近近近●●●●。一聲：■□耳■化化化化；十聲：近近近近●●●●。■□二■化化化化；近近近近●●●●。

The left column uses "huahuahuahu" to sing the second rank "si□xiang■", third rank "□□□■", and fourth rank "□□□■" of the ninth tone, as well as the fourth rank "■shan shou■, ■shi shi■, ■□er■, ■□er■" of the tenth tone. The third and fourth ranks of the ninth tone have no characters that can be cited, only three "□" indicating the positions of opening, development, and closing with sound but no characters, and the last "■" has neither sound nor character. The right column uses "jinnnjin" and the second, third, and fourth ranks of the ninth tone and the fourth rank of the tenth tone, with a total of seven lines all marked as "●●●●", and "shouyin zhu he lu yi zhi yi" for forty lines, completing the table. The third and fourth ranks of the ninth tone are marked as "□□□■", three empty boxes and one black block, which are the two most empty lines in the entire table. The empty boxes indicate that the three positions have sound but no characters, while the black block indicates that the closing position originally had no sound. The two symbols together in one line clearly distinguish between having sound but no characters and having neither sound nor character.

收音濁和律二之二。■莊震■化化化化；雄雄雄雄多可個舌。十一音：■乍□■化化化化；二音：雄雄雄雄禾火化八。一聲：■叉赤■化化化化；一聲：雄雄雄雄開宰愛○。■崇辰■化化化化；雄雄雄雄回每退○。■卓中■化化化化；雄雄雄雄良兩向○。十二音：■宅直■化化化化；二音：雄雄雄雄光廣況○。一聲：■拆丑■化化化化；二聲：雄雄雄雄丁井亙○。■茶呈■化化化化；雄雄雄雄兄永瑩○。

The left column sings the eleventh tone with four levels "■Zhuang Zhen■, ■Zha □■, ■Cha Chi■, ■Chong Chen■" and the twelfth tone with four levels "■Zhuo Zhong■, ■Zhai Zhi■, ■Che Chou■, ■Cha Cheng■", singing a total of forty-eight lines in the level tone with a falling tone. The right column starts with "receiving the tone with a heavy and harmonious tone of the second of the second law", taking the second tone and second level "Huang Hua Xiong Xian" and using the ending position "Xiong" as the harmonizing character, writing "Xiong Xiong Xiong Xiong". It first harmonizes with the first tone and four levels "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○" and the second tone and four levels "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○". The eleventh tone belongs to the category of correct teeth, and the twelfth tone belongs to the category of tongue top. The first characters of the four lines of both tones are all "■", and the last characters are also "■", so the characters that can be used are only in the middle two positions. Therefore, the ending positions of these two tones are only "Zhen, □, Chi, Chen" and "Zhong, Zhi, Chou, Cheng". "Xiong" is in the second tone and second level "Huang Hua Xiong Xian", where Huang is an open sound, Hua is a burst sound, Xiong is an ending sound, and Xian is a closing sound, with characters in all four positions, making it a relatively complete line among the twelve tones. The second tone is generally a throat sound, so characters like Hei, Hua, Xiang, Xue, Huang, Hua, Xiong, and Xian are all produced from the throat.

去聲翕唱呂二之二。古甲九癸況況況況；雄雄雄雄千典旦○。一音：□□近揆況況況況；二音：雄雄雄雄元犬半○。二聲：坤巧丘棄況況況況；三聲：雄雄雄雄臣引艮○。□□乾蚪況況況況；雄雄雄雄君允巽○。黑花香血況況況況；雄雄雄雄刀早孝嶽。二音：黃華雄賢況況況況；二音：雄雄雄雄毛寶報霍。二聲：五瓦仰■況況況況；四聲：雄雄雄雄牛斗奏六。吾牙月堯況況況況；雄雄雄雄○○○玉。安亞乙一況況況況；雄雄雄雄妻子四日。三音：□爻壬寅況況況況；二音：雄雄雄雄衰○帥骨。二聲：母馬美米況況況況；五聲：雄雄雄雄○○○德。目貌眉民況況況況；雄雄雄雄龜水貴北。夫法□飛況況況況；雄雄雄雄宮孔眾○。四音：父凡□吠況況況況；二音：雄雄雄雄龍甬用○。二聲：武晚□尾況況況況；六聲：雄雄雄雄魚鼠去○。文萬□未況況況況；雄雄雄雄烏虎兔○。

"The falling tone is sung with the second tone second class 'Guang Guang Kuang ○' using 'Kuang' as the singing character, with each line written as 'Kuang Kuang Kuang Kuang'. The first tone four classes are 'Gu Jia Ji Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu'; the second tone four classes are 'Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang ■, Wu Ya Yue Yao'; the third tone four classes are 'An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min'; the fourth tone four classes are 'Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei'. In the second tone third class, the last position here is marked as '■', while in other charts it is 'Wu Wa Yang □', so we should follow '□'. On the right side, 'Xiong Xiong Xiong Xiong' continues with the third tone four classes 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○'; the fourth tone four classes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu'; the fifth tone four classes 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei'; the sixth tone four classes 'Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○'. 'Kuang' is in the second tone second class 'Guang Guang Kuang ○', where Guang is level, Guang is rising, Kuang is falling, and the entering tone position is empty. The second tone four classes are 'Liang Liang Xiang ○', 'Guang Guang Kuang ○', 'Ding Jing Gen ○', 'Xiong Yong Ying ○', with all entering tone positions in the four lines being empty circles, indicating that this category has level, rising, and falling tones but no entering tones, and such cases are not unique in the tone chart. The reason the entering tone positions have the most empty circles is that during the Song dynasty, the entering tones in the Central Plains had largely disappeared or changed, and Shao Yong created the chart based on the spoken and heard sounds of the time, recording what was present and leaving empty where there was none, without altering it to ancient rhyme. This is precisely why this chart is valuable for studying the pronunciation of the Song dynasty."

卜百丙必況況況況；雄雄雄雄心審禁○。五音：步白備鼻況況況況；二音：雄雄雄雄○○○十。二聲：普撲品匹況況況況；七聲：雄雄雄雄男坎欠○。旁排平瓶況況況況；雄雄雄雄○○○妾。東丹帝■況況況況；雄雄雄雄●●●●。六音：兌大弟■況況況況；二音：雄雄雄雄●●●●。二聲：土貪天■況況況況；八聲：雄雄雄雄●●●●。同覃田■況況況況；雄雄雄雄●●●●。乃你女■況況況況；雄雄雄雄●●●●。七音：內南年■況況況況；二音：雄雄雄雄●●●●。二聲：老冷呂■況況況況；九聲：雄雄雄雄●●●●。鹿犖離■況況況況；雄雄雄雄●●●●。走哉足■況況況況；雄雄雄雄●●●●。八音：自在匠■況況況況；二音：雄雄雄雄●●●●。二聲：草采七■況況況況；十聲：雄雄雄雄●●●●。曹才全■況況況況；雄雄雄雄●●●●。

The left column sings the fifth tone with four groups: "Kuang Kuang Kuang Kuang," which includes "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." The sixth tone includes four groups: "Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The seventh tone includes four groups: "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■." The eighth tone includes four groups: "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■." The right column uses "Xiong Xiong Xiong Xiong" and the seventh tone with four groups: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie." Below this, the eighth, ninth, and tenth tones, totaling twelve lines, are all "●●●●." The diagram "Shou Yin Zhu He Lu Er Zhi Er" is complete. "Kuang" is a falling tone with a rounded mouth, while "Xiong" is a throaty浊 sound. One sings and the other responds, dividing heaven and earth: sound is sung from top to bottom, while tone is harmonized from bottom to top. Therefore, the left diagram is called "Chang Lv" (singing tone), and the right diagram is called "He Lu" (harmonizing tone). Between the singing and harmonizing, the numbers of heaven and earth intersect and generate: sound represents heaven, so its symbol is round—when there is a position but no character, it is marked as "○," and when there is no position, it is marked as "●." Tone represents earth, so its symbol is square—when there is a position but no character, it is marked as "□," and when there is no position, it is marked as "■." The distinction between round and square is not arbitrary but is meant to be immediately recognizable as heavenly sound or earthly tone. Singing is on the left and harmonizing on the right, each with its own order: the left is yang and represents heaven, so it lists sound; the right is yin and represents earth, so it lists tone. Heaven moves first and earth responds later, so when reading, one should first read the left and then the right. The original text is carved in two columns, and when converted into horizontal lines, the left and right are aligned side by side, and the order of precedence must not be confused.

收音濁和律二之三。思三星■況況況況；王王王王多可個舌。九音：寺□象■況況況況；三音：王王王王禾火化八。二聲：□□□■況況況況；一聲：王王王王開宰愛○。□□□■況況況況；王王王王回每退○。■山手■況況況況；王王王王良兩向○。十音：■士石■況況況況；三音：王王王王光廣況○。二聲：■□耳■況況況況；二聲：王王王王丁井亙○。■□二■況況況況；王王王王兄永瑩○。■莊震■況況況況；王王王王千典旦○。十一音：■乍□■況況況況；三音：王王王王元犬半○。二聲：■叉赤■況況況況；三聲：王王王王臣永艮○。■崇辰■況況況況；王王王王君允巽○。■卓中■況況況況；王王王王刀早孝嶽。十二音：■宅直■況況況況；三音：王王王王毛寶報霍。二聲：■拆丑■況況況況；四聲：王王王王牛斗奏六。■茶呈■況況況況；王王王王○○○玉。

The left column completes the last sixteen lines of "Going Tone Harmonization for the Second of the Second Level": the ninth tone level's four categories "Si San Xing, Si Xiang Xiang, ..., ..." and the tenth tone level's four categories "Shan Shou, Shi Shi Shi, ..., ..." and the eleventh tone level's four categories "Zhuang Zhen, Zha Cha, ..., ..." and the twelfth tone level's four categories "Zhuo Zhong, Zhai Zhi, ..., ..." all end with "Kuang Kuang Kuang Kuang". The right column establishes a new section titled "Ending Tone for the Third of the Second Level", taking the ending position of the third tone's second category as the "He" character; elsewhere this position is written as "Ren", but in this table it is written as "Wang", and the four lines all read "Wang Wang Wang Wang", which are similar in form but actually represent the same character. The characters being harmonized are the first tone's four categories "Da Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui", the second tone's four categories "Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying", the third tone's four categories "Qian Dian Dan, Yuan Quan Ban, Chen Yong Gen, Jun Yun Xun", and the fourth tone's four categories "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ... ... Yu". From the third tone's third category onwards, this table frequently writes "Chen Yong Gen", but the correct character should be "Chen Yin Gen". The "He" character in this table differs from that in other texts, due to the transmission and copying of the sound diagram in the "Huang Ji Jing Shi". All such similar character errors, such as "Ren" and "Wang", "Yin" and "Yong", "Hua" and "Hua", "Wan" and "Wan", are recorded as they appear in the original text in this compilation, with the correct character noted in the translation to preserve both the original form and the correct reading.

去聲翕唱呂二之三。古甲九癸半半半半；王王王王妻子四日。一音：□□近揆半半半半；三音：王王王王衰○帥骨。三聲：坤巧丘棄半半半半；五聲：王王王王○○○德。□□乾蚪半半半半；王王王王龜水貴北。黑花香血半半半半；王王王王宮孔眾○。二音：黃華雄賢半半半半；三音：王王王王龍甬用○。三聲：五瓦仰■半半半半；六聲：王王王王魚鼠去○。吾牙月堯半半半半；王王王王烏虎兔○。安亞乙一半半半半；王王王王心審禁○。三音：□爻壬寅半半半半；三音：王王王王○○○十。三聲：母馬美米半半半半；七聲：王王王王男坎欠○。目貌眉民半半半半；王王王王○○○妾。夫法□飛半半半半；王王王王●●●●。四音：父凡□吠半半半半；三音：王王王王●●●●。三聲：武晚□尾半半半半；八聲：王王王王●●●●。文萬□未半半半半；王王王王●●●●。卜百丙必半半半半；王王王王●●●●。

The singing is based on the third tone, second class "Yuanquan Ban○", using the falling tone character "Ban" as the singing character, with "Ban Ban Ban Ban" written in each line. This section sings the first tone with four classes: "Gu Jia Ji Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Qian Tu", the second tone with four classes: "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang ■, Wu Ya Yue Yao", the third tone with four classes: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone with four classes: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei", and the fifth tone with one class: "Bu Bai Bing Bi". On the right side, "Wang Wang Wang Wang" continues with the fifth tone, four classes: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", sixth tone, four classes: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", seventh tone, four classes: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie", eighth tone, four lines and ninth tone, one class, all marked as "●●●●". "Ban" is in the third tone, second class "Yuanquan Ban○", where Yuan is level, Quan is rising, Ban is falling, and the entering tone position is empty. The third tone, four classes are "Qian Dian Dan ○", "Yuanquan Ban ○", "Chen Yin Gen ○", "Jun Yun Xun ○", with the entering tone positions all empty, following the same pattern as the second tone; the falling tone positions are given the characters Dan, Ban, Gen, Xun, and this text selects the second class "Ban". In the third tone, four classes, the falling tone positions are given the characters Dan, Ban, Gen, Xun, among which Dan and Gen belong to Bi, and Ban and Xun belong to Xi; the first group uses Dan and Gen, the second group uses Ban and Xun. Thus, for each of the four classes in one tone, each group uses two characters, and after two groups, all are exhausted, which explains the reason why the texts are connected without repetition.

五音：步白備鼻半半半半；三音：王王王王●●●●。三聲：普撲品匹半半半半；九聲：王王王王●●●●。旁排平瓶半半半半；王王王王●●●●。東丹帝■半半半半；王王王王●●●●。六音：兌大弟■半半半半；三音：王王王王●●●●。三聲：土貪天■半半半半；十聲：王王王王●●●●。同覃田■半半半半；王王王王●●●●。

The left column continues with "ban ban ban ban" for the fifth tone's second class "bu bai bei bi", third class "pu pu pin pi", fourth class "pang pai ping ping", and sixth tone's fourth class "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■". The right column uses "wang wang wang wang" and the second, third, and fourth classes of the ninth tone, and the fourth class of the tenth tone, with seven lines all marked as "●●●●", and the phrase "shou yin zhu he lu er zhi san" concluding forty lines. Whenever a tune is sung, it must be forty lines, and when a tune is sung, it must be forty-eight lines. The number of lines differs because there are ten tones and twelve sounds, each having four classes. The two tables are arranged on the same page, so their progress naturally varies. Singing a tune requires forty-eight lines, while harmonizing a tune requires forty lines, differing by eight lines. Each time a tune is passed, the starting point of the two columns shifts by eight lines. After five tunes, the shift reaches forty lines, matching the entire length of a harmonized tune, so the two columns then simultaneously start anew. The reason why the change of tunes sometimes occurs separately and sometimes together is entirely due to this difference of eight lines.

收音濁和律二之四。乃你女■半半半半；□□□□多可個舌。七音：內南年■半半半半；四音：□□□□禾火化八。三聲：老冷呂■半半半半；一聲：□□□□開宰愛○。鹿犖離■半半半半；□□□□回每退○。走哉足■半半半半；□□□□良兩向○。八音：自在匠■半半半半；四音：□□□□光廣況○。三聲：草采七■半半半半；二聲：□□□□丁井亙○。曹才全■半半半半；□□□□兄永瑩○。思三星■半半半半；□□□□千典旦○。九音：寺□象■半半半半；四音：□□□□元犬半○。三聲：□□□■半半半半；三聲：□□□□臣永艮○。□□□■半半半半；□□□□君允巽○。■山手■半半半半；□□□□刀早孝嶽。十音：■士石■半半半半；四音：□□□□毛寶報霍。三聲：■□耳■半半半半；四聲：□□□□牛斗奏六。■□二■半半半半；□□□□○○○玉。■莊震■半半半半；□□□□妻子四日。十一音：■乍□■半半半半；四音：□□□□衰○帥骨。三聲：■叉赤■半半半半；五聲：□□□□○○○德。■崇辰■半半半半；□□□□龜水貴北。■卓中■半半半半；□□□□宮孔眾○。十二音：■宅直■半半半半；四音：□□□□龍甬用○。三聲：■拆丑■半半半半；六聲：□□□□魚鼠去○。

"The final sound of the second level of the fourth tone 'Fu Fan □ Fei' is taken as the character 'He'. This position has a sound but no character, so the first line of the chart is written as '□□□□'. The characters being harmonized are the first tone with four levels: 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone with four levels: 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○', the third tone with four levels: 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yong Gen ○, Jun Yun Xun ○', the fourth tone with four levels: 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu', the fifth tone with four levels: 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei', and the sixth tone with the first three levels: 'Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○'. The left column follows 'Going tone with the third level of the second tone 'Xī Chàng Lǚ èr zhī sān', singing 'Bàn Bàn Bàn Bàn' for the seventh tone with four levels: 'Nǎi Nǐ Nǚ ■, Nèi Nán Nián ■, Lǎo Lěng Lǚ ■, Lù Luò Lí ■', the eighth tone with four levels: 'Zǒu Zāi Zú ■, Zìzài Jiàng ■, Cǎo Cǎi Qī ■, Cáo Cái Quán ■', the ninth tone with four levels: 'Sī Sān Xīng ■, Sì □ Xiàng ■, □□□ ■, □□□ ■', the tenth tone with four levels: '■ Shān Shǒu ■, ■ Shì Shí ■, ■□ ěr ■, ■□ èr ■', the eleventh tone with four levels: '■ Zhuāng Zhèn ■, ■ Zhà □ ■, ■ Chā Chì ■, ■ Chóng Chén ■', and the twelfth tone with the first three levels: '■ Zhuó Zhōng ■, ■ Zhái Zhí ■, ■ Chāi Chǒu ■'. Among the twelve tones, the fourth tone and the eleventh tone have no characters for their final positions, so any chart using these two as the harmonized characters will have the first line written as four empty boxes. Although the boxes have no characters, their position still represents a sound, so they are treated the same as those with characters. Therefore, this chart still belongs to the twelve charts, and the number of sounds it harmonizes remains 112, not reduced because of the absence of characters. There are two charts that use empty boxes as the harmonized characters: one is the fourth tone's final position, and the other is the eleventh tone's final position. These two positions have sounds but no characters. Shao Yong refused to use other characters to substitute for them, and he also refused to omit the chart, so he marked them with four boxes. The difference between the empty boxes and the black blocks is crucial in the entire chart: the boxes indicate that the position exists but the character is missing, while the blocks indicate that both the position and the character are missing. The former is still counted in the numbers, while the latter must be subtracted from the 192 positions, resulting in the correct number of 152 sounds."

■茶呈■半半半半；□□□□烏虎兔○。去聲翕唱呂二之四。古甲九癸報報報報；□□□□心審禁○。一音：□□近揆報報報報；四音：□□□□○○○十。四聲：坤巧丘棄報報報報；七聲：□□□□男坎欠○。□□乾蚪報報報報；□□□□○○○妾。黑花香血報報報報；□□□□●●●●。二音：黃華雄賢報報報報；四音：□□□□●●●●。四聲：五瓦仰□報報報報；八聲：□□□□●●●●。吾牙月堯報報報報；□□□□●●●●。安亞乙一報報報報；□□□□●●●●。三音：□爻壬寅報報報報；四音：□□□□●●●●。四聲：母馬美米報報報報；九聲：□□□□●●●●。目貌眉民報報報報；□□□□●●●●。夫法□飛報報報報；□□□□●●●●。四音：父凡□吠報報報報；四音：□□□□●●●●。四聲：武晚□尾報報報報；十聲：□□□□●●●●。文萬□未報報報報；□□□□●●●●。

The first line on the left side, 「■茶呈■」, is the twelfth tone, fourth class, with the suffix 「半半半半」, and 「去声翕唱吕二之三」 is sung. On the right side, it uses 「□□□□」 and the sixth tone, fourth class 「乌虎兔○」. Then 「去声翕唱吕二之四」 starts anew, taking the fourth tone, second class 「毛宝报霍」, and using the falling tone character 「报」 as the sung character, writing 「报报报报」. It sings the first tone, fourth class 「古甲九癸、□□近揆、坤巧丘弃、□□乾蚪」, the second tone, fourth class 「黑花香血、黄华雄贤、五瓦仰□、吾牙月尧」, the third tone, fourth class 「安亚乙一、□爻壬寅、母马美米、目貌眉民」, and the fourth tone, fourth class 「夫法□飞、父凡□吠、武晚□尾、文万□未」. On the right side, it uses 「□□□□」 and the seventh tone, fourth class 「心审禁○、○○○十、男坎欠○、○○○妾」. Below this, twelve lines all use 「●●●●」, and 「收音浊和律二之四」 completes one diagram. The character 「报」 is in the fourth tone, second class 「毛宝报霍」, where 毛 is level, 宝 is rising, 报 is falling, and 霍 is entering tone, with all four tones present. The fourth tone, fourth class uses 「刀早孝岳」「毛宝报霍」「牛斗奏六」「○○○玉」, and the entering tone characters are 岳, 霍, 六, 玉, making it the most complete category of entering tones among the ten tones. The four entering tone characters 岳, 霍, 六, 玉 in the fourth tone are all present, making it the most complete category of entering tones among the ten tones; whereas the first tone only has 舌 and 八, and the second and third tones have no entering tones at all. This uneven distribution is not due to careless copying, but rather reflects Shao Yong's determination based on the actual pronunciation of the time, so the distribution of empty circles in each diagram can be cross-referenced with each other, and the前后 can be verified.

收音濁和律二之五。卜百丙必報報報報；備備備備多可個舌。五音：步白備鼻報報報報；五音：備備備備禾火化八。四聲：普撲品匹報報報報；一聲：備備備備開宰愛○。旁排平瓶報報報報；備備備備回每退○。東丹帝■報報報報；備備備備良兩向○。六音：兌大弟■報報報報；五音：備備備備光廣況○。四聲：土貪天■報報報報；二聲：備備備備丁井亙○。同覃田■報報報報；備備備備兄永瑩○。乃你女■報報報報；備備備備千典旦○。七音：內南年■報報報報；五音：備備備備元犬半○。四聲：老冷呂■報報報報；三聲：備備備備臣永艮○。鹿犖離■報報報報；備備備備君允巽○。走哉足■報報報報；備備備備刀早孝嶽。八音：自在匠■報報報報；五音：備備備備毛寶報霍。四聲：草采七■報報報報；四聲：備備備備牛斗奏六。曹才全■報報報報；備備備備○○○玉。

"Receiving the sound of the second class of the fifth tone 'Bu Bai Bei Bi' to take the 'Bei' as the 'He' character, writing 'Bei Bei Bei Bei', harmonizing with the first tone of four classes 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O', the second tone of four classes 'Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O', the third tone of four classes 'Qian Dian Dan O, Yuan Quan Ban O, Chen Yong Gen O, Jun Yun Xun O', and the fourth tone of four classes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, O O O Yu'. The left column follows 'Going tone of the fourth class 'Bu Bai Bei Bi' to sing the fifth tone of four classes 'Bu Bai Bei Bi, Pu Pu Pin Pi, Páng Pái Píng Píng', the sixth tone of four classes 'Dōng Dān Dì ■, Duì Dà Dì ■, Tǔ Tān Tiān ■, Tóng Tán Tián ■', the seventh tone of four classes 'Nǎi Nǐ Nǚ ■, Nèi Nán Nián ■, Lǎo Lěng Lǚ ■, Lù Luò Lí ■', and the eighth tone of four classes 'Zǒu Zāi Zú ■, Zì Zài Jiàng ■, Cǎo Cǎi Qī ■, Cáo Cái Quán ■'. 'Bei' belongs to the heavy lip sound, while 'Bao' belongs to the lip-teeth combined sound of the going tone, one being the earth sound and the other the heaven sound, forming a harmonious contrast. 'Bei' is in the second class of the fifth tone 'Bu Bai Bei Bi', where 'Bu' is the opening, 'Bai' is the initial, 'Bei' is the closing, and 'Bi' is the closing, each position having a character. The four lines of the fifth tone 'Bu Bai Bei Bi', 'Pu Pu Pin Pi', 'Páng Pái Píng Píng' belong to the heavy lip category, with the first and third being clear sounds and the second and fourth being heavy sounds, with the closing sounds being 'Bing', 'Bei', 'Pin', and 'Ping' respectively."

思三星■報報報報；備備備備妻子四日。九音：寺□象■報報報報；五音：備備備備衰○帥骨。四聲：□□□■報報報報；五聲：備備備備○○○德。□□□■報報報報；備備備備龜水貴北。■山手■報報報報；備備備備宮孔眾○。十音：■士石■報報報報；五音：備備備備龍甬用○。四聲：■□耳■報報報報；六聲：備備備備魚鼠去○。■□二■報報報報；備備備備烏虎兔○。■莊震■報報報報；備備備備心審禁○。十一音：■乍□■報報報報；五音：備備備備○○○十。四聲：■叉赤■報報報報；七聲：備備備備男坎欠○。■崇辰■報報報報；備備備備○○○妾。■卓中■報報報報；備備備備●●●●。十二音：■宅直■報報報報；五音：備備備備●●●●。四聲：■拆丑■報報報報；八聲：備備備備●●●●。■茶呈■報報報報；備備備備●●●●。

The left column sings the ninth tone with four levels "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", the tenth tone with four levels "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone with four levels "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the twelfth tone with four levels "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", and "Qu Sheng Xi Chang Lv Er Zhi Si" for forty-eight lines sung through. The right column continues with the fifth tone, four levels "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○ ○ ○ De, Gui Shui Gui Bei", the sixth tone, four levels "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the seventh tone, four levels "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie", and the eighth tone with four lines "● ● ● ●". Once a singing diagram is completed, it represents one tone's position, singing through twelve tones and forty-eight lines. Among these, the "■" appears forty times and is not used, so the actual number of participants singing with each other is one hundred and fifty-two. The second group of singing diagrams consists of ten, but only seven can be sung, so the number of "Qu Sheng Xi" tones is the same as "Qu Sheng Pi" tones, both being one thousand six hundred and forty, differing only in the level of tone, which changes from Pi to Xi. Once a singing diagram is completed, the next diagram uses a different singing character and re-arranges the forty-eight lines of tones, keeping the order of the lines and the characters unchanged, changing only the singing position. Among the ten diagrams, seven singing positions are used with three left blank; in the harmonizing diagrams of twelve, ten harmonizing positions are used with two left blank. Although the characters are limited, the multiplication of positions results in thousands, which is what Shao Yong called "using few to control many."

去聲翕唱呂二之五。古甲九癸帥帥帥帥；備備備備●●●●。一音：□□近揆帥帥帥帥；五音：備備備備●●●●。五聲：坤巧丘棄帥帥帥帥；九聲：備備備備●●●●。□□乾蚪帥帥帥帥；備備備備●●●●。黑花香血帥帥帥帥；備備備備●●●●。二音：黃華雄賢帥帥帥帥；五音：備備備備●●●●。五聲：五瓦仰□帥帥帥帥；十聲：備備備備●●●●。吾牙月堯帥帥帥帥；備備備備●●●●。

"The fifth tone of the second class 'Qūshēng Xīchàng Lǚ èr zhī wǔ' selects the fifth tone second class 'Shuāi Ō Shuài Gǔ' and uses the 'Shuài' character from the falling tone position as the 'Chàng' character, writing 'Shuài Shuài Shuài Shuài'. First, the first tone of four classes is sung as 'Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu' and the second tone of four classes is sung as 'Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo'. In the fifth tone second class 'Shuāi Ō Shuài Gǔ', the rising tone position is empty and marked as '○', but the falling tone position still uses the 'Shuài' character, so this diagram still has characters to be sung. On the right side, 'Bèi Bèi Bèi Bèi' and the ninth and tenth tones make eight rows, all marked as '●●●●'. 'Shōu yīn zhuó hé lǜ èr zhī wǔ' ends with forty rows. 'Shuài' is in the fifth tone second class 'Shuāi Ō Shuài Gǔ', where 'Shuāi' is level tone, the rising tone position is empty, 'Shuài' is falling tone, and 'Gǔ' is entering tone. Within one row, one position is marked with a circle, clearly showing that tones have positions but characters do not need to be complete. This diagram is the fifth diagram of the second group of singing diagrams. Above it, the characters 'Huà', 'Kuang', 'Bàn', and 'Bào' have already been used. Below it, there is 'Yòng' and one empty position, as well as three diagrams entirely filled with black."

收音濁和律二之六。安亞乙一帥帥帥帥；弟弟弟弟多可個舌。三音：□爻王寅帥帥帥帥；六音：弟弟弟弟禾火化八。五聲：母馬美米帥帥帥帥；一聲：弟弟弟弟開宰愛○。目貌眉民帥帥帥帥；弟弟弟弟回每退○。夫法□飛帥帥帥帥；弟弟弟弟良兩向○。四音：父凡□吠帥帥帥帥；六音：弟弟弟弟光廣況○。五聲：武晚□尾帥帥帥帥；二聲：弟弟弟弟丁井亙○。文萬□未帥帥帥帥；弟弟弟弟兄永瑩○。卜百丙必帥帥帥帥；弟弟弟弟千典旦□。五音：步白備鼻帥帥帥帥；六音：弟弟弟弟元犬半○。五聲：普撲品匹帥帥帥帥；三聲：弟弟弟弟臣永艮○。旁排平瓶帥帥帥帥；弟弟弟弟君允巽○。東丹帝■帥帥帥帥；弟弟弟弟刀早孝嶽。六音：兌大弟■帥帥帥帥；六音：弟弟弟弟毛寶報霍。五聲：土貪天■帥帥帥帥；四聲：弟弟弟弟牛斗奏六。

"The final sound of the second level of the second tone 'Dui Da Di ■' is taken as the character 'Di' for the character 'He'. It is written as 'Di Di Di Di'. The first tone of the fourth level includes 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone of the fourth level includes 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○', the third tone of the fourth level includes 'Qian Dian Dan □, Yuan Quan Ban ○, Chen Yong Gen ○, Jun Yun Xun ○', and the fourth tone of the first three levels includes 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu'. In the third tone of the first level, the last position elsewhere is written as 'Qian Dian Dan ○', but here it is mistakenly written as '□'. On the left side, it follows 'Going tone Xi Chang Lv Er Wu Zi Wu', using 'Shuai Shuai Shuai Shuai' to sing the third tone of the fourth level 'An Ya Yi Yi, □ Yao Wang Yin, Mu Ma Mei Mi, Mu Mao Mei Min', the fourth tone of the fourth level 'Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei', the fifth tone of the fourth level 'Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping', and the sixth tone of the first three levels 'Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■'. In the third tone of the second level, it is written as '□ Yao Wang Yin' here, while elsewhere it is written as '□ Yao Ren Yin', with 'Wang' and 'Ren' being interchangeable. 'Di' is in the second level of the sixth tone 'Dui Da Di ■', where 'Dui' is open, 'Da' is initial, and 'Di' is final. Since the closed position has no sound, it is written as '■'. The fourth lines of the sixth tone 'Dong Dan Di ■', 'Dui Da Di ■', 'Tu Tan Tian ■', and 'Tong Tan Tian ■' belong to the tongue category, with the final sounds being 'Di', 'Di', 'Tian', and 'Tian', respectively. The diagram takes the second level's 'Di' from these."

同覃田■帥帥帥帥；弟弟弟弟○○○玉。乃你女■帥帥帥帥；弟弟弟弟妻子四日。七音：內南年■帥帥帥帥；六音：弟弟弟弟衰○帥骨。五聲：老冷呂■帥帥帥帥；五聲：弟弟弟弟○○○德。鹿犖離■帥帥帥帥；弟弟弟弟龜水貴北。走哉足■帥帥帥帥；弟弟弟弟宮孔眾○。八音：自在匠■帥帥帥帥；六音：弟弟弟弟龍甬用○。五聲：草采七■帥帥帥帥；六聲：弟弟弟弟魚鼠去○。曹才全■帥帥帥帥；弟弟弟弟烏虎兔○。思三星■帥帥帥帥；弟弟弟弟心審禁○。九音：寺□象■帥帥帥帥；六音：弟弟弟弟○○○十。五聲：□□□■帥帥帥帥；七聲：弟弟弟弟男坎欠○。□□□■帥帥帥帥；弟弟弟弟○○○妾。■山手■帥帥帥帥；弟弟弟弟●●●●。十音：■士石■帥帥帥帥；六音：弟弟弟弟●●●●。五聲：■□耳■帥帥帥帥；八聲：弟弟弟弟●●●●。■□二■帥帥帥帥；弟弟弟弟●●●●。■莊震■帥帥帥帥；弟弟弟弟●●●●。十一音：■乍□■帥帥帥帥；六音：弟弟弟弟●●●●。

The left column continues with "shuāi shuāi shuāi shuāi" for the sixth tone, fourth category "tong tan tian ■", seventh tone, fourth category "nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■", eighth tone, fourth category "zou zai zu ■, zi zai jiang ■, cao cao qi ■, cao cai quan ■", ninth tone, fourth category "si san xing ■, si ■ xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", tenth tone, fourth category "■ shan shou ■, ■ shi shi ■, ■ ■ er ■, ■ ■ er ■", and the first category of the eleventh tone "■ zhuang zhen ■", second category "■ zha ■ ■". The right column continues with "di di di di" for the fourth tone, fourth category "○○○ yu", fifth tone, fourth category "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", sixth tone, fourth category "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", seventh tone, fourth category "xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ qie", the eighth tone's four lines and the first two lines of the ninth tone are all "●●●●". The harmonization chart consists of forty lines, the first twenty-eight lines belong to the first to seventh tones, and there are characters that can be harmonized; the last twelve lines belong to the eighth, ninth, and tenth tones, which have positions but no characters, so they are all marked with black dots. Each chart is like this; when readers see a continuous series of black dots, they know that the chart has entered the latter part, and there are only a few lines below before a new chart is needed. Although the last twelve lines of the harmonization chart are all black dots, they cannot be omitted: the black dots indicate the forty-eight positions of the eighth, ninth, and tenth tones. It is precisely because these positions are marked that the total of one hundred sixty positions minus forty-eight positions results in one hundred twelve usable tones. The first twenty-eight lines are real, and the last twelve lines are virtual, with real and virtual lines arranged together to clarify the numbers, which is a consistent method used by Shao Yong in creating his charts. Readers should not overlook this simply because there are no characters.

五聲：■叉赤■帥帥帥帥；九聲：弟弟弟弟●●●●。■崇辰■帥帥帥帥；弟弟弟弟●●●●。■卓中■帥帥帥帥；弟弟弟弟●●●●。十二音：■宅直■帥帥帥帥；六音：弟弟弟弟●●●●。五聲：■拆丑■帥帥帥帥；十聲：弟弟弟弟●●●●。■茶呈■帥帥帥帥；弟弟弟弟●●●●。去聲翕唱呂二之六；收音濁和律二之七。古甲九癸用用用用；年年年年多可個舌。一音：□□近揆用用用用；七音：年年年年禾火化八。六聲：坤巧丘棄用用用用；一聲：年年年年開宰愛○。□□乾蚪用用用用；年年年年回每退○。黑花香血用用用用；年年年年良兩向○。二音：黃華雄賢用用用用；七音：年年年年光廣況○。六聲：五瓦仰□用用用用；二聲：年年年年丁井亙○。吾牙月堯用用用用；年年年年兄永瑩○。安亞乙一用用用用；年年年年千典旦○。三音：□爻壬寅用用用用；七音：年年年年元犬半○。六聲：母馬美米用用用用；三聲：年年年年臣永艮○。

First, the previous pair of diagrams: the left column, 「■叉赤■」「■崇辰■」are the third and fourth tones of the eleventh sound, while 「■卓中■、■宅直■、■拆丑■、■茶呈■」are the fourth tones of the twelfth sound, followed by 「帅帅帅帅」, and 「去声翕唱吕二之五」is completed. The right column uses 「弟弟弟弟」and passes through the third and fourth tones of the ninth sound and the fourth tone of the tenth sound, with six lines all marked 「●●●●」, and 「收音浊和律二之六」is also completed. The following two diagrams start together: 「去声翕唱吕二之六」takes the fourth tone of the second level of the sixth sound 「龙甬用○」, using the falling tone position 「用」as the singing tone, writing 「用用用用」. It first sings the fourth tone of the first sound 「古甲九癸、□□近揆、坤巧丘弃、□□乾蚪」, the fourth tone of the second sound 「黑花香血、黄华雄贤、五瓦仰□、吾牙月尧」, and the third tone of the first three levels of the third sound 「安亚乙一、□爻壬寅、母马美米」. 「收音浊和律二之七」takes the fourth tone of the second level of the seventh sound 「内南年■」, using the closing position 「年」as the harmonizing tone, writing 「年年年年」. It first harmonizes the fourth tone of the first sound, the fourth tone of the second sound, and the third tone of the first three levels of the third sound 「千典旦○、元犬半○、臣永艮○」. 「用」is in the second level of the sixth sound 「龙甬用○」, where dragon is level tone, yong is rising tone, and yong is falling tone, with no character in the入声 (entering tone) position; 「年」is in the second level of the seventh sound 「内南年■」, where nei is opening tone, nan is initial tone, and nian is closing tone, with no sound in the closed position. The sound takes the falling tone, the tone takes the closing sound, each column takes one character as the main, and goes through the entire table of the other column, which is the general pattern of the singing and harmonizing diagram. At the point where both diagrams change their headings simultaneously, the original text had two parallel titles, which after being converted into horizontal lines are combined into one line, so the beginning of this section simultaneously shows the two titles 「去声翕唱吕二之六」and 「收声浊和律二之七」.

目貌眉民用用用用；年年年年君允巽○。夫法□飛用用用用；年年年年刀早孝嶽。四音：父凡□吠用用用用；七音：年年年年毛寶報霍。六聲：武晚□尾用用用用；四聲：年年年年牛斗奏六。文萬□未用用用用；年年年年○○○玉。卜百丙必用用用用；年年年年妻子四日。五音：步白備鼻用用用用；七音：年年年年衰○帥骨。六聲：普撲品匹用用用用；五聲：年年年年○○○德。旁排平瓶用用用用；年年年年龜水貴北。東丹帝■用用用用；年年年年宮孔眾○。六音：兌大弟■用用用用；七音：年年年年龍甬用○。六聲：土貪天■用用用用；六聲：年年年年魚鼠去○。同覃田■用用用用；年年年年烏虎兔○。乃你女■用用用用；年年年年心審禁○。七音：內南年■用用用用；七音：年年年年○○○十。六聲：老冷呂■用用用用；七聲：年年年年男坎欠○。

The left column continues with the third tone and fourth class "mu mao mei min", the fourth tone and four classes "bu ba bing bi, fu fan fan fei, wu wan wan wei, wen wan wan wei", the fifth tone and four classes "bu ba bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone and four classes "dong dan di di, dui da di di, tu tan tian tian, tong tan tian tian", and the seventh tone with the first three classes "nai ni nv nv, nei nan nian nian, lao leng lv lv". The right column continues with the third tone and fourth class "jun yun xun xun", the fourth tone and four classes "dao zao xiao yue, mao bao bao huo, niu dou zou liu, shi shi shi yu", the fifth tone and four classes "zi qi si ri, shuai shuai shuai gu, shuai shuai shuai de, gui shui gui bei", the sixth tone and four classes "gong kong zhong zhong, long yong yong yong, yu shu qu qu, wu hu tu tu", and the seventh tone with the first three classes "xin shen jin jin, shi shi shi shi, nan kan qian qian". The sound chart consists of ten categories. If we compare them with rhyme groups: the first tone includes both the "ge ge" and "xie xie" rhyme groups; the second tone belongs to the "dang geng" group; the third tone belongs to the "shan zhen" group; the fourth tone includes both the "xiao liu" groups; the fifth tone belongs to the "zhi xi" group; the sixth tone belongs to the "tong yu" group; the seventh tone belongs to the "shen xian" group. The eighth and following three tones have no characters to cite, so they naturally have no rhyme groups to refer to. The seventh tone of the sound chart includes both the tongue and half-tongue sounds, hence the four lines "nai ni nv nv", "nei nan nian nian", "lao leng lv lv", and "lu luo li li". "Nai" and "nei" belong to the "ni niang" group, "lao" and "lu" belong to the "lai" group. The vowel positions are "nu", "nian", "lv", and "li", and the character "nian" in this passage comes from the second class of the harmonized characters.

鹿犖離■用用用用；年年年年○○○妾。走哉足■用用用用；年年年年●●●●。八音：自在匠■用用用用；七音：年年年年●●●●。六聲：草采七■用用用用；八聲：年年年年●●●●。曹才全■用用用用；年年年年●●●●。思三星■用用用用；年年年年●●●●。九音：寺□象■用用用用；七音：年年年年●●●●。六聲：□□□■用用用用；九聲：年年年年●●●●。□□□■用用用用；年年年年●●●●。■山手■用用用用；年年年年●●●●。十音：■士石■用用用用；七音：年年年年●●●●。六聲：■□耳■用用用用；十聲：年年年年●●●●。■□二■用用用用；年年年年●●●●。

The left column uses "yong yong yong yong" to sing the seventh tone, fourth grade "lu luo li ■", the eighth tone, fourth grade "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■", the ninth tone, fourth grade "si san xing ■, si ■ xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone, fourth grade "■ shan shou ■, ■ shi shi ■, ■ ■ er ■, ■ ■ er ■". The right column uses "nian nian nian nian" and the seventh tone, fourth grade "○○○ qie". After that, the eighth, ninth, and tenth tones, totaling twelve lines, are all "●●●●". "Shou yin zhu he lu yi zhi qi" fills forty lines completely. "Nian" belongs to the dull sound of the tongue, with twenty-eight positions with sound and twelve positions without sound, and the number of harmonies remains one hundred and twelve. Each harmony diagram has a number of harmonies of one hundred and twelve, twelve diagrams total one thousand three hundred and forty-four, which is the number of dull sounds mentioned in this passage. The first group of clear sounds and the third group of clear sounds follow the same calculation method, differing only in the grade selected: one is the first grade of clear sounds, one is the second grade of dull sounds, and one is the third grade of clear sounds. Each group has twelve diagrams, this is seven of them; there are still five characters, "jiang", "xiang", "shi", "■", and "zhi", whose diagrams remain to be arranged, and only after they are arranged does this group end. Each diagram occupies forty lines, twelve diagrams total four hundred and eighty lines; each singing diagram has forty-eight lines, ten diagrams also total four hundred and eighty lines: the total number of lines for both groups is exactly equal, and this corresponds to the number of heaven and earth.

收音濁和律二之八。■莊震■用用用用；匠匠匠匠多可個舌。十一音：■乍□■用用用用；八音：匠匠匠匠禾火化八。六聲：■叉赤■用用用用；一聲：匠匠匠匠開宰愛○。■崇辰■用用用用；匠匠匠匠回每退○。■卓中■用用用用；匠匠匠匠良兩向○。十二音：■宅直■用用用用；八音：匠匠匠匠光廣況○。六聲：■拆丑■用用用用；二聲：匠匠匠匠丁井亙○。■茶呈■用用用用；匠匠匠匠兄永瑩○。

The left column uses the sound "yong yong yong yong" to sing the eleventh tone level four "Zhuang Zhen," "Zha Du," "Cha Chi," "Chong Chen," and the twelfth tone level four "Zhuo Zhong," "Zhai Zhi," "Che Chou," "Cha Cheng," and completes forty-eight lines with the "Qü Sheng Xi Chang Lü Er Zhi Liu" chant. The right column starts with "Shou Yin Zhu He Lü Er Ba," taking the eighth tone second level "Zi Zai Jiang" and using the ending sound "Jiang" as the harmonized character, writing "Jiang Jiang Jiang Jiang." It first harmonizes with the first tone level four "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O" and the second tone level four "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O." The dental initial sounds consist of four lines: "Zou Zai Zu Zhi, Zi Zai Jiang Zhi, Cao Cai Qi Zhi, Cao Cai Quan Zhi," with the first and third lines being clear and the second and fourth lines being浊. "Jiang" is the second level ending sound in the eighth tone second level "Zi Zai Jiang." The sound "Zi" is open, "Zai" is initial, and "Jiang" is the ending, with no sound at the closed position. Dental initial sounds start from the eighth tone, with characters such as "Zou," "Zai," "Zu," "Zi," "Zai," "Jiang," "Cao," "Cai," "Qi," "Cao," "Cai," "Quan," all formed by the tongue touching the teeth; the ending sounds of the four lines are "Zu," "Jiang," "Qi," and "Quan."

去聲翕唱呂二之七。古甲九癸○○○○；匠匠匠匠千典旦○。一音：□□近揆○○○○；八音：匠匠匠匠元犬半○。七聲：坤巧丘棄○○○○；三聲：匠匠匠匠臣永艮○。□□乾蚪○○○○；匠匠匠匠君允巽○。黑花香血○○○○；匠匠匠匠刀早孝嶽。二音：黃華雄賢○○○○；八音：匠匠匠匠毛寶報霍。七聲：五瓦仰□○○○○；四聲：匠匠匠匠牛斗奏六。吾牙月堯○○○○；匠匠匠匠○○○玉。安亞乙一○○○○；匠匠匠匠妻子四日。三音：□爻壬寅○○○○；八音：匠匠匠匠衰○帥骨。七聲：母馬美米○○○○；五聲：匠匠匠匠○○○德。目貌眉民○○○○；匠匠匠匠龜水貴北。夫法□飛○○○○；匠匠匠匠宮孔眾○。四音：父凡□吠○○○○；八音：匠匠匠匠龍甬用○。七聲：武晚□尾○○○○；六聲：匠匠匠匠魚鼠去○。文萬□未○○○○；匠匠匠匠烏虎兔○。卜百丙必○○○○；匠匠匠匠心審禁○。五音：步白備鼻○○○○；八音：匠匠匠匠○○○十。七聲：普撲品匹○○○○；七聲：匠匠匠匠男坎欠○。旁排平瓶○○○○；匠匠匠匠○○○妾。東丹帝■○○○○；匠匠匠匠●●●●。

"The 'qù shēng xī cháng lǚ èr zhī qī' refers to the seventh tone, second class of the falling tone. The seventh tone, second class is marked as '○○○十', where the level, rising, and falling tones have no characters, and only the entering tone has '十'. Since the falling tone position is empty, the singing position in this diagram can only be written as '○○○○'—this is a case where there is a tone position but no corresponding character, differing from the '●' in the eighth tone and below, which have no tone at all. The left column lists the first tone, four classes: 'gǔ jiǎ jiǔ guǐ, □□ jìn kuí, kūn qiǎo qiū qì, □□ qián tóu'; the second tone, four classes: 'hēi huā xiāng xuè, huáng huā xióng xián, wǔ wǎ yǎng □, wú yá yuè yáo'; the third tone, four classes: 'ān yà yǐ yī, □ yáo rén yín, mǔ mǎ měi mǐ, mù mào méi mín'; the fourth tone, four classes: 'fū fǎ □ fēi, fù fán □ fèi, wǔ wǎn □ wěi, wén wàn □ wèi'; the fifth tone, four classes: 'bǔ bǎi bǐng bì, bù bái bèi bí, pǔ pū pǐn pǐ, páng pái píng píng'; and the sixth tone, first class: 'dōng dān dì ■'. The right column uses 'jiàng jiàng jiàng jiàng' and the third tone, four classes: 'qiān diǎn dàn ○, yuán quǎn bàn ○, chén yǒng gèn ○, jūn yǔn xùn ○'; the fourth tone, four classes: 'dāo zǎo xiào yuè, máo bǎo bào huò, niú dòu zòu liù, ○○○ yù'; the fifth tone, four classes: 'qī zǐ sì rì, shuāi ○ shuài gǔ, ○○○ dé, guī shuǐ guì běi'; the sixth tone, four classes: 'gōng kǒng zhòng ○, lóng yǒng yòng ○, yú shǔ qù ○, wū hǔ tù ○'; the seventh tone, four classes: 'xīn shěn jìn ○, ○○○ shí, nán kǎn qiàn ○, ○○○ qiè'; and the eighth tone, first class: '●●●●'. Using empty circles as singing characters is a relatively unique example in the entire text. The seventh tone, second class has a tone position but no falling tone character, and Shao Yong refuses to use other characters to fill it or to omit this diagram, still listing it as a separate diagram and marking its position with four circles. This conforms to his general rule of listing a position if it exists and leaving it empty if there is no character, differing clearly from the completely black diagrams below the eighth tone. The distinction between circles and black dots is most clearly seen in this diagram: four circles indicate that the seventh tone, second class has a tone but no character; further down the same column, the singing position becomes four dots, indicating that there is neither tone nor character. One circle versus one dot marks the boundary between having and not having."

六音：兌大弟■○○○○；八音：匠匠匠匠●●●●。七聲：土貪天■○○○○；八聲：匠匠匠匠●●●●。同覃田■○○○○；匠匠匠匠●●●●。乃你女■○○○○；匠匠匠匠●●●●。七音：內南年■○○○○；八音：匠匠匠匠●●●●。七聲：老冷呂■○○○○；九聲：匠匠匠匠●●●●。鹿犖離■○○○○；匠匠匠匠●●●●。走哉足■○○○○；匠匠匠匠●●●●。八音：自在匠■○○○○；八音：匠匠匠匠●●●●。七聲：草采七■○○○○；十聲：匠匠匠匠●●●●。曹才全■○○○○；匠匠匠匠●●●●。

The left column continues with the fourth position marked as 「○○○○」, followed by the second rank of the sixth tone 「Dui Da Di ■」, the third rank 「Tu Tan Tian ■」, and the fourth rank 「Tong Tan Tian ■」. For the seventh tone, the fourth rank includes 「Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■」. The eighth tone's fourth rank includes 「Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■」. The fourth position of these three tones is consistently marked as 「■」 because the tongue, tongue root, and dental sounds have no sound to mark at the closed position. The right column uses 「Jiang Jiang Jiang Jiang」 and the second, third, and fourth ranks of the eighth tone, as well as the fourth ranks of the ninth and tenth tones, all marked as 「●●●●」, totaling eleven rows. The phrase 「Shou Yin Zhu He Lu Er Zhi Ba」 ends here after forty rows. The last three tones on the sound chart are completely blank, resulting in continuous black dots at the end of the tone chart. Shao Yong listed these without deleting them to preserve the position and clarify the number. The four positions of sound—opening, initial, closing, and closure—become progressively more closed as they progress. Opening is fully open, initial is slightly open, closing is partially closed but not fully, and closure is completely closed. For sounds involving the tongue, tongue root, and dental sounds, there is no way to pronounce them at the closure position, so the last position of tones from the sixth tone onwards is marked as black blocks, which is not due to missing writing.

收音濁和律二之九。思三星■○○○○；象象象象多可個舌。九音：寺□象■○○○○；九音：象象象象禾火化八。七聲：□□□■○○○○；一聲：象象象象開宰愛○。□□□■○○○○；象象象象回每退○。■山手■○○○○；象象象象良兩向○。十音：■士石■○○○○；九音：象象象象光廣況○。七聲：■□耳■○○○○；二聲：象象象象丁井亙○。■□二■○○○○；象象象象兄永瑩○。■莊震■○○○○；象象象象千典旦○。十一音：■乍□■○○○○；九音：象象象象元犬半○。七聲：■叉赤■○○○○；三聲：象象象象臣永艮○。■崇辰■○○○○；象象象象君允巽○。■卓中■○○○○；象象象象刀早孝嶽。十二音：■宅直■○○○○；九音：象象象象毛寶報霍。七聲：■拆丑■○○○○；四聲：象象象象牛斗奏六。■茶呈■○○○○；象象象象○○○玉。

After completing the left column with the last sixteen lines of "Going Tone Harmonization for the Second Group of the Seventh," the ninth tone's fourth category includes "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," the tenth tone's fourth category includes "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■," the eleventh tone's fourth category includes "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■," and the twelfth tone's fourth category includes "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," with all singing positions marked as "○○○○." On the right column, a new entry "Ending Tone for the Second Group of the Ninth" is established, taking the ending position "Xiang" from the second category of the ninth tone "Si ■ Xiang ■" as the harmonizing character, writing "Xiang Xiang Xiang Xiang." It then sequentially harmonizes with the first tone's fourth category "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," the second tone's fourth category "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○," the third tone's fourth category "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yong Gen ○, Jun Yun Xun ○," and the fourth tone's fourth category "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu." The character "Xiang" is found in the second category of the ninth tone "Si ■ Xiang ■," where "Si" is the initial, with no character at the initial position so it is marked as "■," "Xiang" is the ending, with no sound at the closing position so it is marked as "■." Within one row, there are four positions with three types of symbols, precisely showing the presence of characters, presence of sound without characters, and absence of both, making this row the most convenient for identifying differences in symbols in the entire table. In the ninth tone, the ending position is "Xing" in the first category and "Xiang" in the second category, while there are no characters in the third and fourth categories; thus, among the twelve harmonizing charts, only the first two categories of the ninth tone can form characters. Since this chart belongs to the second group, it uses the second category's "Xiang."

去聲翕唱呂二之八。古甲九癸●●●●；象象象象妻子四日。一音：□□近揆●●●●；九音：象象象象衰○帥骨。八聲：坤巧丘棄●●●●；五聲：象象象象○○○德。□□乾蚪●●●●；象象象象龜水貴北。黑花香血●●●●；象象象象宮孔眾○。二音：黃華雄賢●●●●；九音：象象象象龍甬用○。八聲：五瓦仰□●●●●；六聲：象象象象魚鼠去○。吾牙月堯●●●●；象象象象烏虎兔○。安亞乙一●●●●；象象象象心審禁○。三音：□爻壬寅●●●●；九音：象象象象○○○十。八聲：母馬美米●●●●；七聲：象象象象男坎欠○。目貌眉民●●●●；象象象象○○○妾。夫法□飛●●●●；象象象象●●●●。四音：父凡□吠●●●●；九音：象象象象●●●●。八聲：武晚□尾●●●●；八聲：象象象象●●●●。文萬□未●●●●；象象象象●●●●。卜百丙必●●●●；象象象象●●●●。五音：步白備鼻●●●●；九音：象象象象●●●●。八聲：普撲品匹●●●●；九聲：象象象象●●●●。旁排平瓶●●●●；象象象象●●●●。東丹帝■●●●●；象象象象●●●●。六音：兌大弟■●●●●；九音：象象象象●●●●。八聲：土貪天■●●●●；十聲：象象象象●●●●。同覃田■●●●●；象象象象●●●●。

"The eighth tone, second class" refers to the position of the eighth tone's second class; the eighth tone's fourth class has a position but no sound, so the position is uniformly marked as "●●●●". The left column's phonetic lines are the first tone's fourth class "Gu Jia Ji Gui, □□ near Kuí, Kun Qiao Qiu Qi, □□ Qian Tu", the second tone's fourth class "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao", the third tone's fourth class "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone's fourth class "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei", the fifth tone's fourth class "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping", the sixth tone's fourth class "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■". The right column uses "Xiang Xiang Xiang Xiang" and the fifth tone's fourth class "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", the sixth tone's fourth class "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", the seventh tone's fourth class "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie", and the following twelve lines are all "●●●●", completing the "Receiving Tone and Heavy and Light Harmony Two Nine" diagram. The second group's singing diagram is the same as the first group in order: the first seven diagrams correspond to the first tone to the seventh tone's second class of the eighth tone, resulting in Hua, Kuang, Ban, Bao, Shuai, Yong, and one empty circle; the last three diagrams correspond to the eighth, ninth, and tenth tones, which do not have established tones, and all their positions are black. This diagram is the first of the last three. In terms of the four elements, the four elements of sound are sun, moon, star, and planet; the four elements of tone are water, fire, earth, and stone: the sun's tone is level, the moon's tone is rising, the star's tone is falling, and the planet's tone is entering. The current volume focuses on falling tones and receiving tones, so the beginning is marked as the two harmonies of the falling tone of the star and moon and the two heavy tones of the earth and fire. The first character "Xing" refers to the falling tone, and the second character "Yue" refers to the second class. The first character "Tu" refers to the receiving tone position, and the second character "Huǒ" also refers to the second class. Following this pattern, the star and sun refer to the first class of the falling tone, the star and star refer to the third class of the falling tone, and the star and planet refer to the fourth class of the falling tone; the earth and water refer to the first class of the receiving tone, the earth and earth refer to the third class of the receiving tone, and the earth and stone refer to the fourth class of the receiving tone. Although the names are numerous, the pattern is simple. Once this is understood, the titles of all the chapters can be read clearly.

收音濁和律二之十。乃你女■●●●●；石石石石多可個舌。七音：內南年■●●●●；十音：石石石石禾火化八。八聲：老冷呂■●●●●；一聲：石石石石開宰愛○。鹿犖離■●●●●；石石石石回每退○。走哉足■●●●●；石石石石良兩向○。八音：自在匠■●●●●；十音：石石石石光廣況○。八聲：草采七■●●●●；二聲：石石石石丁井亙○。曹才全■●●●●；石石石石兄永瑩○。思三星■●●●●；石石石石千典旦○。九音：寺□象■●●●●；十音：石石石石元犬半○。八聲：□□□■●●●●；三聲：石石石石臣永艮○。□□□■●●●●；石石石石君允巽○。■山手■●●●●；石石石石刀早孝嶽。十音：■士石■●●●●；十音：石石石石毛寶報霍。八聲：■□耳■●●●●；四聲：石石石石牛斗奏六。■□二■●●●●；石石石石○○○玉。■莊震■●●●●；石石石石妻子四日。十一音：■乍□■●●●●；十音：石石石石衰○帥骨。八聲：■叉赤■●●●●；五聲：石石石石○○○德。■崇辰■●●●●；石石石石龜水貴北。■卓中■●●●●；石石石石宮孔眾○。十二音：■宅直■●●●●；十音：石石石石龍甬用○。八聲：■拆丑■●●●●；六聲：石石石石魚鼠去○。

"The 'reduction of sound' takes the tenth sound's second category '■shi shi ■' and uses the 'shi' as the 'he' character, writing 'shi shi shi shi'. It then proceeds to harmonize with the first tone's four categories 'duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○', the second tone's four categories 'liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○', the third tone's four categories 'qian dian dan ○, yuan quan ban ○, chen yong gen ○, jun yun xun ○', the fourth tone's four categories 'dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu', the fifth tone's four categories 'zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei', and the sixth tone's first three categories 'gong kong zhong ○, long yong yong ○, yu shu qu ○'. The left column remains 'going tone's eighth category 'qu sheng xi chang lv er zhi ba', with the 'chang' position left blank as '●●●●', listing the seventh sound's four categories 'nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■', the eighth sound's four categories 'zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■', the ninth sound's four categories 'si san xing ■, si □ xiang ■, □□□ ■, □□□ ■', the tenth sound's four categories '■ shan shou ■, ■ shi shi ■, ■ □ er ■, ■ □ er ■', the eleventh sound's four categories '■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ chong chen ■', and the twelfth sound's first three categories '■ zhuo zhong ■, ■ zhai zhi ■, ■ chai chou ■'. The character 'shi' is in the tenth sound's second category '■ shi shi ■', with the opening position having no sound, 'shi' as the initial and 'shi' as the final, and the closing position also having no sound. All characters in the sounds below the tenth have only two positions, yet they are considered as one sound category, just like the first nine sounds, thus each forming four lines and each having its own diagram, making the total number of sounds twelve without any deficiency. The characters in the tenth, eleventh, and twelfth sounds are the fewest, with only two positions, the initial and the final, available for each line, and both the initial and final positions are black blocks. However, in the diagram, they still each occupy four lines, just like the first sound's 'gu jia jiu gui', with no difference in rank. This is because Shao Yong classified sounds by category rather than by character: category is position, and once the position is established, the number of lines cannot be increased or decreased; character is usage, and even if a character is missing, the position remains. Once this is clear, the numerous black blocks and empty frames in the entire table are no longer seen as missing parts, but rather intentional marks, just like the lines with characters, fulfilling the function of numbers."

■茶呈■●●●●；石石石石烏虎兔○。去聲翕唱呂二之九。古甲九癸●●●●；石石石石心審禁○。一音：□□近揆●●●●；十音：石石石石○○○十。九聲：坤巧丘棄●●●●；七聲：石石石石男坎欠○。□□乾蚪●●●●；石石石石○○○妾。黑花香血●●●●；石石石石●●●●。二音：黃華雄賢●●●●；十音：石石石石●●●●。九聲：五瓦仰□●●●●；八聲：石石石石●●●●。吾牙月堯●●●●；石石石石●●●●。安亞乙一●●●●；石石石石●●●●。三音：□爻壬寅●●●●；十音：石石石石●●●●。九聲：母馬美米●●●●；九聲：石石石石●●●●。目貌眉民●●●●；石石石石●●●●。夫法□飛●●●●；石石石石●●●●。四音：父凡□吠●●●●；十音：石石石石●●●●。九聲：武晚□尾●●●●；十聲：石石石石●●●●。文萬□未●●●●；石石石石●●●●。

The first line's left half, 「■茶呈■」, is the twelfth tone, fourth grade, with the singing position still empty. 「Going tone, harmonized singing, second of the Lü scale, eighth」 ends the singing here. The right half uses 「stone stone stone stone」 to harmonize with the sixth tone, fourth grade 「Wu Hu Tu ○」. Then 「going tone, harmonized singing, second of the Lü scale, ninth」 follows, which corresponds to the ninth tone, second grade going tone position, but the sound is still absent, and the singing position remains 「●●●●」. The accompanying lines are the first tone, fourth grade 「Gu Jia Ji Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu」, second tone, fourth grade 「Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao」, third tone, fourth grade 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」, fourth tone, fourth grade 「Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei」. The right column uses 「stone stone stone stone」 to harmonize with the seventh tone, fourth grade 「Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie」. Below this, twelve lines are all 「●●●●」, and 「ending tone, turbid harmony, second of the Lü scale, tenth」 ends after forty lines. Although the last three diagrams of the singing chart have no characters to sing, forty-eight tones must still be arranged line by line, with no line omitted. This is because the chart is based on positions rather than characters; once the positions are fully listed, the number of tones and tones intersecting can be determined according to the chart. If characters are omitted due to absence, a group would only have seven diagrams, which does not match the number of tones. The empty diagram for the ninth tone, first grade appears in the first group, titled 「going tone, separate singing, first of the Lü scale, ninth」; the empty diagram for the ninth tone, second grade belongs to the second group, titled 「going tone, harmonized singing, second of the Lü scale, ninth」. Since the sound is not produced, the distinction between 「bi」 and 「xi」 cannot be made, yet the positions cannot be mixed, so each diagram is still listed separately. By comparing the two groups, the order becomes clear.

收音濁和律二之十一。卜百丙必●●●●；□□□□多可個舌。五音：步白備鼻●●●●；十一音：□□□□禾火化八。九聲：普撲品匹●●●●；一聲：□□□□開宰愛○。旁排平瓶●●●●；□□□□回每退○。東丹帝■●●●●；□□□□良兩向○。六音：兌大弟■●●●●；十一音：□□□□光廣況○。九聲：土貪天■●●●●；二聲：□□□□丁井亙○。同覃田■●●●●；□□□□兄永瑩○。乃你女■●●●●；□□□□千典旦○。七音：內南年■●●●●；十一音：□□□□元犬半○。九聲：老冷呂■●●●●；三聲：□□□□臣永艮○。鹿犖離■●●●●；□□□□君允巽○。走哉足■●●●●；□□□□刀早孝嶽。八音：自在匠■●●●●；十一音：□□□□毛寶報霍。九聲：草采七■●●●●；四聲：□□□□牛斗奏六。曹才全■●●●●；□□□□○○○玉。思三星■●●●●；□□□□妻子四日。九音：寺□象■●●●●；十一音：□□□□衰○帥骨。九聲：□□□■●●●●；五聲：□□□□○○○德。□□□■●●●●；□□□□龜水貴北。■山手■●●●●；□□□□宮孔眾○。十音：■士石■●●●●；十一音：□□□□龍甬用○。九聲：□□耳■●●●●；六聲：□□□□魚鼠去○。□□二■●●●●；□□□□烏虎兔○。■莊震■●●●●；□□□□心審禁○。十一音：■乍□■●●●●；十一音：□□□□○○○十。九聲：■叉赤■●●●●；七聲：□□□□男坎欠○。■崇辰■●●●●；□□□□○○○妾。■卓中■●●●●；□□□□●●●●。十二音：■宅直■●●●●；十一音：□□□□●●●●。九聲：■拆丑■●●●●；八聲：□□□□●●●●。■茶呈■●●●●；□□□□●●●●。

"The 'Eleventh Tone, Second Level' takes the '■乍□■' position as the 'He' character; this position has sound but no character, so the beginning of each line is written as '□□□□'. The characters being harmonized are the first tone's four levels 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone's four levels 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○', the third tone's four levels 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yong Gen ○, Jun Yun Xun ○', the fourth tone's four levels 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu', the fifth tone's four levels 'Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei', the sixth tone's four levels 'Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○', the seventh tone's four levels 'Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie', and the eighth tone's four lines '●●●●'. The left column follows 'Going Tone, Ninth Level', with the 'Chang' position still left blank as '●●●●', and the remaining thirty-two lines from the fifth tone onwards are arranged in one continuous sequence: fifth tone's four levels 'Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping', sixth tone's four levels 'Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■', seventh tone's four levels 'Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■', eighth tone's four levels 'Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■', ninth tone's four levels 'Si San Xing ■, Si □ Xiang ■, □□□ ■, □□□ ■', tenth tone's four levels '■ Shan Shou ■, ■ Shi Shi ■, □□ Er ■, □□ Er ■', eleventh tone's four levels '■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■', twelfth tone's four levels '■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■'; in the third and fourth levels of the tenth tone, the first two characters are mistakenly written as '□□', while in other diagrams they are written as '■□ Er ■' and '■□ Er ■', and should be '■'. The 'He' character in the right column of this diagram is also left blank, following the same example as the fourth tone diagram. The eleventh tone's second level '■ Zha □ ■' has no sound in the open and closed positions, 'Zha' is the initial sound, and the closing position has no character, so among the four positions, two are black blocks, one is a character, and one is blank. Using such a blank position as the 'He' character, it still harmonizes all 112 positions across ten tones, showing that Shao Yong emphasized the position rather than the character itself. This section's left column has thirty-two lines arranged continuously, which is the longest section in this group, because the right column is at the beginning of a diagram while the left column has reached the end of a diagram, and the difference in lines between the two columns reaches its maximum. For the characters in the eight categories from the fifth tone onwards, starting from the reed lip sounds gradually transitioning to the tongue, tongue root, dental, and middle dental sounds, the first characters of the last four categories all become black blocks, and the number of characters that can be used decreases, yet the number of lines remains the same, with each category having four lines. Looking at the entire table, we can see that the first five tones cover twenty lines and eighty positions, mostly with characters; the sixth to ninth tones have sixteen lines, with the last positions being blank; the tenth to twelfth tones have twelve lines, with both the first and last positions blank. The forty black blocks are distributed in this way, and after subtracting them, the practical number of sounds is 152, which matches the number mentioned at the beginning of the text."

去聲翕唱呂二之十。古甲九癸●●●●；□□□□●●●●。一音：□□近揆●●●●；十一音：□□□□●●●●。十聲：坤巧丘棄●●●●；九聲：□□□□●●●●。□□乾蚪●●●●；□□□□●●●●。黑花香血●●●●；□□□□●●●●。二音：黃華雄賢●●●●；十一音：□□□□●●●●。十聲：五瓦仰□●●●●；十聲：□□□□●●●●。吾牙月堯●●●●；□□□□●●●●。收音濁和律二之十二。安亞乙一●●●●；直直直直多可個舌。三音：□爻壬寅●●●●；十二音：直直直直禾火化八。十聲：母馬美米●●●●；一聲：直直直直開宰愛○。目貌眉民●●●●；直直直直回每退○。夫法□飛●●●●；直直直直良兩向○。四音：父凡□吠●●●●；十二音：直直直直光廣況○。十聲：武晚□尾●●●●；二聲：直直直直丁井亙○。文萬□未●●●●；直直直直兄永瑩○。卜百丙必●●●●；直直直直千典旦○。五音：步白備鼻●●●●；十二音：直直直直元犬半○。十聲：普撲品匹●●●●；三聲：直直直直臣永艮○。旁排平瓶●●●●；直直直直君允巽○。東丹帝■●●●●；直直直直刀早孝嶽。六音：兌大弟■●●●●；十二音：直直直直毛寶報霍。十聲：土貪天■●●●●；四聲：直直直直牛斗奏六。

"The final diagram of this chant is 'Go Sheng Xi Chang Lü Er Zhi Shi,' which governs the tenth tone and the second category, where the tone does not stand independently, and the chant position is uniformly marked as '●●●●.' First, the first tone with four categories is chanted: 'Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Yu,' followed by the second tone with four categories: 'Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao.' To the right, the '□□□□' and the completed ninth and tenth tones, totaling eight lines, are arranged, and 'Shou Yin Zhu He Lu Er Zhi Shiyi' ends here. Below, 'Shou Yin Zhu He Lu Er Zhi Shier' begins anew, taking the ending position 'Zhi' of the twelfth tone's second category '■ Zhai Zhi ■' as the 'He' character, writing 'Zhi Zhi Zhi Zhi.' It is then combined with the first tone's four categories: 'Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○,' the second tone's four categories: 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○,' the third tone's four categories: 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yong Gen ○, Jun Yun Xun ○,' and the fourth tone's first three categories: 'Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu.' Meanwhile, the left column continues with the third tone's four categories: 'An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min,' the fourth tone's four categories: 'Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei,' the fifth tone's four categories: 'Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping,' and the sixth tone's first three categories: 'Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■.' Within one page, two diagrams succeed each other, and the difference in rows between the chant diagram and the harmony diagram accumulates to exactly match. The left column's tenth diagram begins here but does not end, while the right column's eleventh diagram ends here and the twelfth diagram begins. Therefore, within the same section, both the end of one diagram and the beginning of another are seen. When reading, one must separately find the beginning and end of each column, without combining them. This section spans four diagrams: the left column is the beginning of the tenth chant diagram of the second group, while the right column first concludes the eleventh harmony diagram and then begins the twelfth. The chant diagram and the harmony diagram shift eight rows after each diagram, and the accumulated difference from multiple diagrams now exactly aligns the beginning of the two columns within the same section. If the reader copies out the left and right columns separately, the left column proceeds from 'Gu Jia Jiu Gui' to 'Tong Tan Tian ■' without ending, while the right column ends the eight lines of '□□□□' and begins the fifteen lines of 'Zhi Zhi Zhi Zhi,' with no connection between them."

同覃田■●●●●；直直直直○○○玉。乃你女■●●●●；直直直直妻子四日。七音：內南年■●●●●；十二音：直直直直衰○帥骨。十聲：老冷呂■●●●●；五聲：直直直直○○○德。鹿犖離■●●●●；直直直直龜水貴北。走哉足■●●●●；直直直直宮孔眾○。八音：自在匠■●●●●；十二音：直直直直龍甬用○。十聲：草采七■●●●●；六聲：直直直直魚鼠去○。曹才全■●●●●；直直直直烏虎兔○。思三星■●●●●；直直直直心審禁○。九音：寺□象■●●●●；十二音：直直直宜○○○十。十聲：□□□■●●●●；七聲：直直直直男坎欠○。□□□■●●●●；直直直直○○○妾。■山手■●●●●；直直直直●●●●。十音：■士石■●●●●；十一音：直直直直●●●●。十聲：■□耳■●●●●；八聲：直直直直●●●●。■□二■●●●●；直直直直●●●●。■莊震■●●●●；直直直直●●●●。十一音：■乍□■●●●●；十二音：直直直直●●●●。十聲：■叉赤■●●●●；九聲：直直直直●●●●。■崇辰■●●●●；直直直直●●●●。■卓中■●●●●；直直直直●●●●。十二音：■宅直■●●●●；十二音：直直直直●●●●。十聲：■拆丑■●●●●；十聲：直直直直●●●●。■茶呈■●●●●；直直直直●●●●。

The left column continues with 「●●●●」, followed by the sixth tone fourth class 「同覃田■」, seventh tone fourth class 「乃你女■、内南年■、老冷吕■、鹿荦离■」, eighth tone fourth class 「走哉足■、自在匠■、草采七■、曹才全■」, ninth tone fourth class 「思三星■、寺□象■、□□□■、□□□■」, tenth tone fourth class 「■山手■、■士石■、■□耳■、■□二■」, eleventh tone fourth class 「■庄震■、■乍□■、■叉赤■、■崇辰■」, twelfth tone fourth class 「■卓中■、■宅直■、■拆丑■、■茶呈■」, 「去声翕唱吕二之十」 forty-eight lines are sung through, and the two groups of ten diagrams of the departing sounds are thus complete. The right column starts with 「直直直直」 and fourth tone fourth class 「○○○玉」, fifth tone fourth class 「妻子四日、衰○帅骨、○○○德、龟水贵北」, sixth tone fourth class 「宫孔众○、龙甬用○、鱼鼠去○、乌虎兔○」, seventh tone fourth class 「心审禁○、○○○十、男坎欠○、○○○妾」, and the following twelve lines are all 「●●●●」. 「收音浊和律二之十二」 is also completed, and the two groups of twelve diagrams of the converging sounds are simultaneously finished. Among them, the character 「和」 in the second class of the ninth tone was mistakenly written as 「直直直宜」, and the last character should be 「直」; the title of the third class of the tenth tone was mistakenly written as the eleventh tone, and it should be the twelfth tone. The second group of singing and harmonizing is thus completed: the singing diagrams consist of ten diagrams, which are based on the two departing sounds of the celestial tones, with seven singers each singing 152 sounds, totaling 1,640; the harmonizing diagrams consist of twelve diagrams, which are based on the two converging sounds of the terrestrial tones, with each harmonizing 112 sounds, totaling 1,344. These two groups represent heaven and earth, singing and harmonizing with each other, and the numbers mentioned in the fourth十四 chapter of the "Observing Things" section are thus complete. After the second group is completed, the total numbers can be summarized: the singing diagrams use the departing positions of the first to seventh tones in the second class, resulting in the characters 化、况、半、报、帅、用 six characters and one blank circle, with seven positions each singing 152 sounds, totaling 1,640; the harmonizing diagrams use the converging positions of the second class of the twelve tones, resulting in the characters 近、雄、王、备、弟、年、匠、象、石、直 ten characters and two blank frames, with twelve positions each harmonizing 112 sounds, totaling 1,344. There are seven singers and twelve harmonizers, representing heaven and earth, working together, and the two total numbers mentioned at the beginning of the text are thus derived.

皇極經世書卷九下。觀物篇四十五。星星聲去闢；土土音收清。愛亙艮奏○；丘仰美□品天。去欠●●●；呂七□耳赤丑。星星聲七。下唱地之；土土音十二，上和天。用音一百五十二，是；之用聲一百一十二，謂去聲闢音。去聲闢；是謂收音清聲。收音。音一千六十四。清聲一千二百四十四。星星聲去之三辟；土土音收之三清。

In Volume 9, Part 2 of The Supreme Principles Governing the World, the fourth十五th chapter, "Observing Things," shifts to the third set of harmonious diagrams. The structure remains divided into two columns, left and right. The left column deals with the "Stars' Sounds Going Out" (星星声去辟): "Star" is pronounced with a falling tone, and among the four levels, the stars are paired with the sun, moon, and stars. "Star" corresponds to the third level, which belongs to the category of "Opening" (辟), meaning an open tone. The sounds used for singing are "Ai, Gen, Gen, Zou, ○, Qu, Qian." Below these, the eighth, ninth, and tenth tones are marked as "●●●," corresponding to the third level of the ten diagrams' falling tone position. The first tone "Kai Zai Ai ○" gives "Ai," the second tone "Ding Jing Gen ○" gives "Gen," the third tone "Chen Yin Gen ○" gives "Gen," the fourth tone "Niu Dou Zou Liu" gives "Zou," the fifth tone "○○○ De" has no character at the falling tone position, so it is marked as "○," the sixth tone "Yu Shu Qu ○" gives "Qu," and the seventh tone "Nan Kan Qian ○" gives "Qian." The text then states that there are seven "Stars' Sounds," and the singing of the earth's sounds uses 152 tones, totaling 1,064 tones, which is seven times 152. The right column deals with the "Earth's Sounds Being Received" (土土音收之三清): "Earth" is associated with the receiving position, and among the four levels, "Earth" corresponds to the third level, which belongs to the category of "Clear" (清). The sounds used for harmonizing are "Qiu, Yang, Mei, □, Pin, Tian, Lv, Qi, □, Er, Chi, Chou," corresponding to the third level of the twelve tones' receiving position. The fourth and ninth tones have no characters at this position, so they are marked as "□." The text then states that there are twelve "Earth's Sounds," and the harmonizing of the heavens uses 112 tones, totaling 1,244 tones, which is called the "Clear Receiving Sounds." According to the calculation, twelve times 112 should be 1,344, but the original text reads 1,244, likely a mistake where "three" was written instead of "two." The distinction among the three sets of harmonious diagrams lies in the level selected: the forty-third chapter uses the first level of sound and the first level of tone, matching "Opening" with "Clear"; the forty-fourth chapter uses the second level, matching "Closing" with "Dull"; this chapter uses the third level, returning to "Opening" and "Clear." The four levels progress sequentially, and at the fourth level, the cycle completes, thus exhausting the opening and closing, clear and dull tones of heaven and earth sounds.

去聲闢唱呂三之一；收音清和律三之一。古甲九癸愛愛愛愛；丘丘丘丘多可個舌。一音：□□近揆愛愛愛愛；一音：丘丘丘丘禾火化八。一聲：坤巧丘棄愛愛愛愛；一聲：丘丘丘丘開宰愛○。□□乾蚪愛愛愛愛；丘丘丘丘回每退○。黑花香血愛愛愛愛；丘丘丘丘良兩向○。二音：黃華雄賢愛愛愛愛；一音：丘丘丘丘光廣況○。一聲：五瓦仰□愛愛愛愛；二聲：丘丘丘丘丁井亙○。吾牙月堯愛愛愛愛；丘丘丘丘兄永瑩○。安亞乙一愛愛愛愛；丘丘丘丘千典旦○。三音：□爻壬寅愛愛愛愛；一音：丘丘丘丘元犬半○。一聲：母馬美米愛愛愛愛；三聲：丘丘丘丘臣引艮○。目貌眉民愛愛愛愛；丘丘丘丘君允巽○。夫法□飛愛愛愛愛；丘丘丘丘刀早孝嶽。四音：父凡□吠愛愛愛愛；一音：丘丘丘丘毛寶報霍。一聲：武晚□尾愛愛愛愛；四聲：丘丘丘丘牛斗奏六。

Two diagrams are initiated together. "Going down in tone to sing the third of three" uses the third level of the first tone "Kai Zai Ai" with "Ai" as the singing character, writing "Ai Ai Ai Ai"; "Ending in a clear and harmonious tone for the third of three" uses the third level of the first tone "Kun Qiao Qiu Qi" with "Qiu" as the harmonizing character, writing "Qiu Qiu Qiu Qiu". The left column lists the first tone's fourth level "Gu Jia Jiu Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Qian Tu", the second tone's fourth level "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao", the third tone's fourth level "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", and the fourth tone's first three levels "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei". The right column lists the harmonizing tones for the first tone's fourth level "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone's fourth level "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", the third tone's fourth level "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", and the fourth tone's first three levels "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu". The three groups of singing and harmonizing diagrams alternately use the first, second, and third levels of tone and sound, with the rules of opening and closing, clear and浊 tones cycling in a consistent manner. "Ai" is in the third level of the first tone "Kai Zai Ai", with Kai being level one, Zai level two, Ai level three, and no character in the入声 position; "Qiu" is in the third level of the first sound "Kun Qiao Qiu Qi", with Kun being open, Qiao being initial, Qiu being final, and Qi being closed, all four positions complete. The singing takes the third level's falling tone, and the sound takes the third level's final tone, both columns starting together and proceeding in their respective patterns.

文萬□未愛愛愛愛；丘丘丘丘○○○玉。卜百丙必愛愛愛愛；丘丘丘丘妻子四日。五音：步白備鼻愛愛愛愛；一音：丘丘丘丘衰○帥骨。一聲：普撲品匹愛愛愛愛；五聲：丘丘丘丘○○○德。旁排平瓶愛愛愛愛；丘丘丘丘龜水貴北。

The left column continues singing the fourth tone fourth class "wen wan □ wei" with "aiaiai", and the fifth tone fourth class "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping". The right column continues harmonizing the fourth tone fourth class "○○○yu" with "qi qi qi qi", and the fifth tone fourth class "zi qi si ri, shuai ○ shuai gu, ○○○de, gui shui gui bei". The fifth tone first class "zi qi si ri" has all four tones level, rising, falling, and entering. The second class "shuai ○ shuai gu" is missing the rising tone. The third class "○○○de" only has the entering tone left. The fourth class "gui shui gui bei" has all tones again, showing the unevenness which reflects the actual tones. This group of singing and harmonizing continues, and this group ends here. This volume ends here, and the third group of singing and harmonizing diagrams has not yet been completed. The following will continue with the diagrams "qu sheng bi chang lv san zhi er" and "shou yin qing he lv san zhi er", still using the characters gen, gen, zhou as the singing and yang, mei, □ as the harmonizing, proceeding in order until the tenth and twelfth diagrams.

東丹帝■愛愛愛愛 丘丘丘丘宮孔眾○；六音 兌大弟■愛愛愛愛 一音 丘丘丘丘龍甬用○；一聲 土貪天■愛愛愛愛 六聲 丘丘丘丘魚鼠去○；同覃田■愛愛愛愛 丘丘丘丘烏虎兔○；乃你女■愛愛愛愛 丘丘丘丘心審禁○；七音 內南年■愛愛愛愛 一音 丘丘丘丘○○○十；一聲 老冷呂■愛愛愛愛 七聲 丘丘丘丘男坎欠○；鹿犖離■愛愛愛愛 丘丘丘丘○○○妾；走哉足■愛愛愛愛 丘丘丘丘●●●●；八音 自在匠■愛愛愛愛 一音 丘丘丘丘●●●●。

Below are ten lines still printed as two tables side by side, copied into horizontal lines. The left half belongs to 「去声辟唱吕三之一」: the fixed character sung is 「爱」, taken from the third column of the third line of the first tone 「开宰爱○」, which refers to the star position, falling tone, and open syllable (辟), hence called 「去声辟」; written four times in succession, it is meant to correspond with the four levels of the opposite group of initial consonants column by column. The ones sung in response are in sequence the sixth tone 「东丹帝■、兑大弟■、土贪天■、同覃田■」, the seventh tone 「乃你女■、内南年■、老冷吕■、鹿荦离■」, and the first two lines of the eighth tone 「走哉足■、自在匠■」; the 「六音」「一声」「七音」「八音」 between the lines are the coordinate headings for these groups, not the actual characters used in the text. The last column of both groups of initial consonants is written as 「■」, indicating that there is no character for this sound at this position, not that there is a sound but no character. The right half belongs to 「收音清和律三之一」: the fixed character harmonized is 「丘」, taken from the third column of the first tone 「坤巧丘弃」, which refers to the earth position, ending tone, and clear sound, hence called 「收音清」; harmonized with it are the sixth tone 「宫孔众○、龙甬用○、鱼鼠去○、乌虎兔○」, the seventh tone 「心审禁○、○○○十、男坎欠○、○○○妾」, and the first two lines of the eighth tone. In the rhyme table, 「○」 indicates that this sound position exists, but no character is available to fill it; when the entire eighth tone line is written as 「●」, it indicates that there is no sound at this position either.

一聲 草采七■愛愛愛愛 八聲 丘丘丘丘●●●●；曹才全■愛愛愛愛 丘丘丘丘●●●●；思三星■愛愛愛愛 丘丘丘丘●●●●；九音 寺□象■愛愛愛愛 一音 丘丘丘丘●●●●；一聲 □□□■愛愛愛愛 九聲 丘丘丘丘●●●●；□□□■愛愛愛愛 丘丘丘丘●●●●；■山手■愛愛愛愛 丘丘丘丘●●●●；十音 ■士石■愛愛愛愛 一音 丘丘丘丘●●●●；一聲 ■□耳■愛愛愛愛 十聲 丘丘丘丘●●●●；■□二■愛愛愛愛 丘丘丘丘●●●●。

Continuing from there, the left table still uses the character "爱" (ai), with the falling tone, as the starting point, completing the last two lines of the eighth tone "草采七■、曹才全■", then pairing the ninth tone "思三星■、寺□象■、□□□■、□□□■" and the tenth tone "■山手■、■士石■、■□耳■、■□二■". After the ninth tone, the last two lines of the entire row end with a single "■", and the first three sections are all written as "□", indicating that the three positions of opening, development, and closing, although having phonetic positions, could not find characters to represent them. In contrast, the tenth tone starts with "■", showing that the opening position has no sound at all, and only the characters "山手" (shan shou), "士石" (shi shi), "□耳" (□ er), and "□二" (□ er) could be cited. The right table uses the character "丘" (qiu), with a clear ending tone, as the matching sound. The corresponding eighth, ninth, and tenth tones, totaling twelve lines, are all marked as "●●●●". Shao Yong established the positions of ten tones, but in reality, only the first seven tones had distinct sounds, while the last three tones had sections but no sounds, so the entire section was left as black marks. The "one tone" and "eight tones, nine tones, ten tones" written between the lines respectively indicate the sequence of tones sung by the left table and matched by the right table.

■莊震■愛愛愛愛 仰仰仰仰多可個舌；十一音 ■乍□■愛愛愛愛 二音 仰仰仰仰禾火化八；一聲 ■叉赤■愛愛愛愛 一聲 仰仰仰仰開宰愛○；■崇辰■愛愛愛愛 仰仰仰仰回每退○；■卓中■愛愛愛愛 仰仰仰仰良兩向○；十二音 ■宅直■愛愛愛愛 二音 仰仰仰仰光廣況○；一聲 ■拆丑■愛愛愛愛 二聲 仰仰仰仰丁井亙○；■茶呈■愛愛愛愛 仰仰仰仰兄永瑩○。

The left table ends with the phrase "去声辟唱吕三之一": the first tone "ai" finally harmonizes with the eleventh tone "■庄震■, ■乍□■, ■叉赤■, ■崇辰■" and the twelfth tone "■卓中■, ■宅直■, ■拆丑■, ■茶呈■". Both groups start with "■", indicating that there is no sound to be cited in the opening position. In the second line of the eleventh tone, "■乍□■" has a "□" in the middle, meaning that there is a sound but no character in the closing position. After completing the twelve tones, the harmony between the first tone and the twelve tones is complete. The right table then switches to a new sheet titled "收音清和律三之二", with the fixed character changed to "仰" — "仰" is taken from the third line of the second tone "五瓦仰□" in the third section, which is also in the earth position, closing tone, and clear sound. It first harmonizes with the four lines of the first tone "多可个舌, 禾火化八, 开宰爱○, 回每退○", then with the four lines of the second tone "良两向○, 光广况○, 丁井亘○, 兄永莹○". Among the four lines of the first tone, the four sections of level, rising, falling, and entering tones only have the four characters "多可个舌" and "禾火化八" fully present, while the last sections of the last two lines are marked as "○", indicating that there is a sound but no character in the entering tone position.

古甲九癸亙亙亙亙 仰仰仰仰千典旦○；一音 □□近揆亙亙亙亙 二音 仰仰仰仰元犬半○；二聲 坤巧丘棄亙亙亙亙 三聲 仰仰仰仰臣引艮○；□□乾蚪亙亙亙亙 仰仰仰仰君允巽○；黑花香血亙亙亙亙 仰仰仰仰刀早孝嶽；二音 黃華雄賢亙亙亙亙 二音 仰仰仰仰毛寶報霍；二聲 五瓦仰□亙亙亙亙 四聲 仰仰仰仰牛斗奏六；吾牙月堯亙亙亙亙 仰仰仰仰○○○玉；安亞乙一亙亙亙亙 仰仰仰仰妻子四日；三音 □爻壬寅亙亙亙亙 二音 仰仰仰仰衰○帥骨；二聲 母馬美米亙亙亙亙 五聲 仰仰仰仰○○○德；目貌眉民亙亙亙亙 仰仰仰仰龜水貴北；夫法□飛亙亙亙亙 仰仰仰仰宮孔眾○；四音 父凡□吠亙亙亙亙 二音 仰仰仰仰龍甬用○；二聲 武晚□尾亙亙亙亙 六聲 仰仰仰仰魚鼠去○；文萬□未亙亙亙亙 仰仰仰仰烏虎兔○。

A separate table on the left begins with 「Going Tone Pinyin Singing of the Third Row's Second」, where the singing tone is changed to the second tone 「Gen」—taken from the third column of the second row 「Ding Jing Gen ○」, still maintaining the star position, going tone, and open syllable. It starts from the beginning, first singing with the first tone's four lines 「Gu Jia Ji Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu」, then with the second tone 「Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao」, third tone 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」, and fourth tone 「Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei」. The 「□」 in these groups of initial consonants, such as 「□□ Jin Kui」「□ Yao Ren Yin」「Fu Fa □ Fei」, represent positions where there are phonetic elements but no corresponding characters. The right table continues with 「Ending Tone Clear Harmony Law of the Third Row's Second」, where the second tone's 「Yang」 successively harmonizes with the third tone 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」, fourth tone 「Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu」, fifth tone 「Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei」, and sixth tone 「Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○」. The 「○○○ Yu」「Shuai ○ Shuai Gu」「○○○ De」 that appear in the fourth and fifth tones represent the writing method where some phonetic positions in the same line have sound but no corresponding characters.

卜百丙必亙亙亙亙 仰仰仰仰心審禁○；五音 步白備鼻亙亙亙亙 二音 仰仰仰仰○○○十；二聲 普撲品匹亙亙亙亙 七聲 仰仰仰仰男坎欠○；旁排平瓶亙亙亙亙 仰仰仰仰○○○妾；東丹帝■亙亙亙亙 仰仰仰仰●●●●；六音 兌大弟■亙亙亙亙 二音 仰仰仰仰●●●●；二聲 土貪天■亙亙亙亙 八聲 仰仰仰仰●●●●；同覃田■亙亙亙亙 仰仰仰仰●●●●；乃你女■亙亙亙亙 仰仰仰仰●●●●；七音 內南年■亙亙亙亙 二音 仰仰仰仰●●●●；二聲 老冷呂■亙亙亙亙 九聲 仰仰仰仰●●●●；鹿犖離■亙亙亙亙 仰仰仰仰●●●●；走哉足■亙亙亙亙 仰仰仰仰●●●●；八音 自在匠■亙亙亙亙 二音 仰仰仰仰●●●●；二聲 草采七■亙亙亙亙 十聲 仰仰仰仰●●●●；曹才全■亙亙亙亙 仰仰仰仰●●●●。

The left table continues the singing of the character 「Gen」 from the second tone, matching the fifth tone with the lines 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」, the sixth tone with 「Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■」, the seventh tone with 「Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■」, and the first two lines of the eighth tone 「Zou Zai Zu ■, Zi Zai Jiang ■」 and the last two lines 「Cao Cai Qi ■, Cao Cai Quan ■」. The four lines of the fifth tone are fully complete, making it one of the few full entries among the twelve tones; from the sixth tone onwards, the last character in each line is marked as 「■」, indicating that these groups of initial consonants have no sound in the closed mouth position. The right table uses two tones of 「Yang」 and the seventh tone with 「Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie」, followed by four lines each for the eighth, ninth, and thirteenth tones, all written as 「●●●●」. Here we can clearly see the difference between 「○」 and 「●」: in the seventh tone, 「○○○ Shi」 only has the character 「Shi」 available in the entering tone position, while the other three positions have sound but no characters; from the eighth tone onwards, the tone positions are not valid at all, so the entire line is filled with 「●」. This section also illustrates the general principle of the singing table: once a singing tone is selected, the entire forty-eight lines do not change, only the twelve tones that correspond to it are successively changed. In contrast, the harmony table is the opposite: the tones and characters remain unchanged while the harmonizing tones gradually shift in groups. This vertical and horizontal arrangement corresponds to Shao Yong's concept of sound being initiated by heaven and tone being harmonized by earth. Hence, the sound table is titled 「Lv」 and the tone table is titled 「Lv」, taking the meaning of corresponding tones and laws.

思三星■亙亙亙亙 美美美美多可個舌；九音 寺□象■亙亙亙亙 三音 美美美美禾火化八；二聲 □□□■亙亙亙亙 一聲 美美美美開宰愛○；□□□■亙亙亙亙 美美美美回每退○；■山手■亙亙亙亙 美美美美良兩向○；十音 ■士石■亙亙亙亙 三音 美美美美光廣況○；二聲 ■□耳■亙亙亙亙 二聲 美美美美丁井亙○；■□二■亙亙亙亙 美美美美兄永瑩○；■莊震■亙亙亙亙 美美美美千典旦○；十一音 ■乍□■亙亙亙亙 三音 美美美美元犬半○；二聲 ■叉赤■亙亙亙亙 三聲 美美美美臣引艮○；■崇辰■亙亙亙亙 美美美美君允巽○；■卓中■亙亙亙旦 美美美美刀早孝嶽；十二音 ■宅直■亙亙亙亙 三音 美美美美毛寶報霍；二聲 ■拆丑■亙亙亙亙 四聲 美美美美牛斗奏六；■茶呈■亙亙亙亙 美美美美○○○玉。

The left table concludes with the ninth to twelfth tones, ending with 'going sound' (qù shēng) as 'pì chàng lǚ sān zhī èr': the second tone 'gèng' first pairs with the ninth tone 'sī sān xīng, sì xiàng xiàng, ...', then with the tenth tone 'shān shǒu, shì shí shí, ...', the eleventh tone 'zhuāng zhèn, zhà xià, ...', and the twelfth tone 'zhuó zhōng, zhái zhí, ...'. Among these, the line 'zhuó zhōng gèng gèng gèng dàn' ends with the character 'dàn', but the original text uses 'dàn' at the end, which does not match the style of the four-character sequence 'gèng' in the surrounding text. Therefore, it is likely a mistake for 'gèng', and the original text is retained. The right table starts with 'shōu yīn qīng hé lǜ sān zhī sān', changing the harmony sound to the third tone 'měi'—taken from the third line of the three tones 'mǔ mǎ měi mǐ' in the third column, with the earth position for receiving the sound and clear tone. It begins harmonizing from the first tone: first tone 'duō kě gè shé, hé huǒ huà bā, kāi zǎi ài ○, huí měi tuì ○', second tone 'liáng liǎng xiàng ○, guāng guǎng kuàng ○, dīng jǐng gèng ○, xiōng yǒng yíng ○', third tone 'qiān diǎn dàn ○, yuán quǎn bàn ○, chén yǐn gèn ○, jūn yǔn xùn ○', fourth tone 'dāo zǎo xiào yuè, máo bǎo bào huò, niú dǒu zòu liù, ○○○ yù'.

古甲九癸艮艮艮艮 美美美美妻子四日；一音 □□近揆艮艮艮艮 三音 美美美美衰○帥骨；三聲 坤巧丘棄艮艮艮艮 五聲 美美美美○○○德；□□乾蚪艮艮艮艮 美美美美龜水貴北；黑花香血艮艮艮艮 美美美美宮孔眾○；二音 黃華雄賢艮艮艮艮 三音 美美美美龍甬用○；三聲 五瓦仰□艮艮艮艮 六聲 美美美美魚鼠去○；吾牙月堯艮艮艮艮 美美美美烏虎兔○；安亞乙一艮艮艮艮 美美美美心審禁○；三音 □爻壬寅艮艮艮艮 三音 美美美美○○○十；三聲 母馬美米艮艮艮艮 七聲 美美美美男坎欠○；目貌眉民艮艮艮艮 美美美美○○○妾。

The left table establishes another entry "Going Tone Pitches with the Third Tone 'Gen' from the Third Line 'Minister Leads Gen'". The third tone "Gen" is taken from the third position of the third line "Minister Leads Gen". It also corresponds to the star position, going tone, and open syllable. The four-character sequence "Gen Gen Gen Gen" still corresponds to a group of four tones. It first harmonizes with the first tone "Ancient Jia Ninth Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Qian Tu", then with the second tone "Black Flower Fragrant Blood, Yellow Flower Strong Virtuous, Five Wa Y仰□, Wu Ya Yue Yao", and third tone "An Ya Yi Yi, □ Yao Ren Yin, Mother Horse Mei Mi, Eye Mo Mei Min". The "Qian" in "□□ Qian Tu" is also written as "Gan" elsewhere, representing the same character in simplified and traditional forms. The right table continues the harmonic tone of "Mei" from the third tone, pairing it with the fifth tone "Spouse Wife Four Days, Decline ○ Commander Bone, ○○○ Virtue, Turtle Water Noble North", sixth tone "Palace Kong Zhong ○, Dragon Yong Use ○, Fish Mouse Go ○, Bird Tiger Rabbit ○", and seventh tone "Heart Shen Jin ○, ○○○ Ten, Male Kan Qian ○, ○○○ Concubine". In the second line of the fifth tone "Decline ○ Commander Bone", the rising tone position and the first three positions of the third line are marked with "○" to indicate sound without a character.

夫法□飛艮艮艮艮 美美美美●●●●；四音 父凡□吠艮艮艮艮 三音 美美美美●●●●；三聲 武晚■尾艮艮艮艮 八聲 美美美美●●●●；文萬□未艮艮艮艮 美美美美●●●●；卜百丙必艮艮艮艮 美美美美●●●●；五音 步白備鼻艮艮艮艮 三音 美美美美●●●●；三聲 普撲品匹艮艮艮艮 九聲 美美美美●●●●；旁排平瓶艮艮艮艮 美美美美●●●●；東丹帝■艮艮艮艮 美美美美●●●●；六音 兌大弟■艮艮艮艮 三音 美美美美●●●●；三聲 土貪天■艮艮艮艮 十聲 美美美美●●●●；同覃田■艮艮艮艮 美美美美●●●●。

The left table continues with the trigram "Gen" (Mountain) sung in three tones, paired with the fourth tone "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," the fifth tone "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and the sixth tone "Dong dan di □, Dui da di □, Tu tan tian □, Tong tan tian □." The third line of the fourth tone originally reads "Wu wan □ wei," but in other instances of the same line it reads "Wu wan □ wei." The character "■" here is likely a mis-carved "□," indicating that this position has a sound but no character, not a soundless one. The right table's twelve lines, the third tone "Mei" is paired with the eighth, ninth, and tenth tones, with three tones each having four lines all written as "●●●●." This black mark clearly shows that Shao Yong's establishment of ten tones was merely sufficient for ten positions, but in reality, the discernible tone categories only go up to the seventh tone. The subsequent three tones have positions but no sounds, hence no characters can be paired with them, and therefore cannot be paired with any sounds.

乃你女■艮艮艮艮 □□□□多可個舌；七音 內南年■艮艮艮艮 四音 □□□□禾火化八；三聲 老冷呂■艮艮艮艮 一聲 □□□□開宰愛○；鹿犖離■艮艮艮艮 □□□□回每退○；走哉足■艮艮艮艮 □□□□良兩向○；八音 自在匠■艮艮艮艮 四音 □□□□光廣況○；三聲 草采七■艮艮艮艮 二聲 □□□□丁井亙○；曹才全■艮艮艮艮 □□□□兄永瑩○；思三星■艮艮艮艮 □□□□千典旦○；九音 寺□象■艮艮艮艮 四音 □□□□元犬半○；三聲 □□□■艮艮艮艮 三聲 □□□□臣引艮○；□□□■艮艮艮艮 □□□□君允巽○。

The left table continues with the third tone "Gen" for the next round, paired with the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■", the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", and the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■". The last two rows of the ninth tone have the first three characters as "■", and the last character is "■", indicating that this group of initial consonants has phonetic positions for open, medial, and closing sounds but cannot provide representative characters, while the closed sound position originally had no phoneme. The right table starts with "Closing sound clear and harmonious law three of four", and the harmonic sound should be the third character of the fourth tone's third row "Wu Wan ■ Wei", which is also "■"—indicating the presence of a phonetic position without a character to represent it, so the entire table's harmonic sound can only be written as "■ ■ ■ ■", still four characters in parallel, matching the four categories of tone rows. It first harmonizes with the first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", then with the second tone "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", and third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○".

■山手■艮艮艮艮 □□□□刀早孝嶽；十音 ■士石■艮艮艮艮 四音 □□□□毛寶報霍；三聲 ■□耳■艮艮艮艮 四聲 □□□□牛斗奏六；■□二■艮艮艮艮 □□□□○○○玉；■莊震■艮艮艮艮 □□□□妻子四日；十一音 ■乍□■艮艮艮艮 四音 □□□□衰○帥骨；三聲 ■叉赤■艮艮艮艮 五聲 □□□□○○○德；■崇辰■艮艮艮艮 □□□□龜水貴北；■卓中■艮艮艮艮 □□□□宮孔眾○；十二音 ■宅直■艮艮艮艮 四音 □□□□龍甬用○；三聲 ■拆丑■艮艮艮艮 六聲 □□□□魚鼠去○；■茶呈■艮艮艮艮 □□□□烏虎兔○。

The left table matches "qu sheng bi chang lv san zhi san" with the third tone: the third tone "gen" is paired with the tenth sound "shan shou, shi shi, er er, er er", the eleventh sound "zhuang zhen, zha ku, cha chi, chong chen", and the twelfth sound "zhuo zhong, zhai zhi, che chou, cha cheng". The first character of each of these three groups is "■", and the last character is mostly "■", indicating that they have no sound in both open and closed syllables. The "□" in the middle of "er er", "er er", and "zha ku" indicates that there is a phoneme but no character. By this point, the third tone and the twelve sounds are all completed. The right table then continues with the fourth sound "□□□□", which is a sound without a character, and the fourth tone "dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu", the fifth tone "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", and the sixth tone "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○".

古甲九癸奏奏奏奏 □□□□心審禁○；一音 □□近揆奏奏奏奏 四音 □□□□○○○十；四聲 坤巧丘棄奏奏奏奏 七聲 □□□□男坎欠○；□□乾蚪奏奏奏奏 □□□□○○○妾；黑花香血奏奏奏奏 □□□□●●●●；二音 黃華雄賢奏奏奏奏 四音 □□□□●●●●；四聲 五瓦仰□奏奏奏奏 八聲 □□□□●●●●；吾牙月堯奏奏奏奏 □□□□●●●●；安亞乙一奏奏奏奏 □□□□●●●●；三音 □爻壬寅奏奏奏奏 四音 □□□□●●●●；四聲 母馬美米奏奏奏奏 九聲 □□□□●●●●；目貌眉民奏奏奏奏 □□□□●●●●；夫法□飛奏奏奏奏 □□□□●●●●；四音 父凡□吠奏奏奏奏 四音 □□□□●●●●；四聲 武晚□尾奏奏奏奏 十聲 □□□□●●●●；文萬□未奏奏奏奏 □□□□●●●●。

The left table starts anew with "Qu Sheng Bi Chang Lv San Zhi Si" (Going tone, avoiding the sound of "Lv San" in the fourth tone), replacing the "Chang" sound with the fourth tone "Zou" — taken from the third line of the four tones "Niu Dou Zou Liu" (Ox and Dipper, Zou, Six), specifically the third section, star position, going tone, and open syllable. The four characters "Zou Zou Zou Zou" are written continuously, still matching the group of initial consonants in the four categories. It begins with the first tone "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," then proceeds through the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." The right table merges the fourth tone's blank table at the end: first combining with the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie," followed by the eighth, ninth, and tenth tones, totaling twelve lines, all marked as "●●●●." One table uses "□" as the harmonizing sound and "●" as the sound being harmonized, resulting in both ends being empty, exactly matching Shao Yong's method of preserving positions but not the characters. According to his calculation, ten tones with forty lines total one hundred sixty positions, subtracting forty-eight silent positions, gives one hundred twelve used sounds for Heaven; twelve tones with forty-eight lines total one hundred ninety-two positions, subtracting forty silent positions, gives one hundred fifty-two used sounds for Earth. The empty spaces in the diagram correspond exactly to these removed positions, with the numbers clearly verifiable.

卜百丙必奏奏奏奏 品品品品多可個舌；五音 步白備鼻奏奏奏奏 五音 品品品品禾火化八；四聲 普撲品匹奏奏奏奏 一聲 品品品品開宰愛○；旁排平瓶奏奏奏奏 品品品品回每退○；東丹帝■奏奏奏奏 品品品品良兩向○；六音 兌大弟■奏奏奏奏 五音 品品品品光廣況○；四聲 土貪天■奏奏奏奏 二聲 品品品品丁井亙○；同覃田■奏奏奏奏 品品品品兄永瑩○；乃你女■奏奏奏奏 品品品品千典旦○；七音 內南年■奏奏奏奏 五音 品品品品元犬半○；四聲 老冷呂■奏奏奏奏 三聲 品品品品臣引艮○；鹿犖離■奏奏奏奏 品品品品君允巽○；走哉足■奏奏奏奏 品品品品刀早孝嶽；八音 自在匠■奏奏奏奏 五音 品品品品毛寶報霍；四聲 草采七■奏奏奏奏 四聲 品品品品牛斗奏六；曹才全■奏奏奏奏 品品品品○○○玉。

The left table continues with the fourth tone's "zou," which is paired sequentially with the fifth tone "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping." The sixth tone is "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■," and the seventh tone is "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■." From the sixth tone onward, the last column is marked with "■," forming a contrast with the fourth column of the fifth tone which is fully complete. The right table starts with "shou yin qing he lu san zhi wu," and the harmonic tone is changed to the fifth tone's "pin," taken from the third column of the third row "pu pu pin pi." The word "pin" is repeated four times starting from the first tone: the first tone includes "du ke ge she, he hu hua ba, kai zai ai ○, hui mei tui ○," the second tone includes "liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○," the third tone includes "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○," and the fourth tone includes "dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu." The first tone's first two rows have all four characters complete, while the last two rows end with "○." The入声 (entering tone) is the most difficult to complete, which is a common occurrence among the ten tones.

思三星■奏奏奏奏 品品品品妻子四日；九音 寺□象■奏奏奏奏 五音 品品品品衰○帥骨；四聲 □□□■奏奏奏奏 五聲 品品品品○○○德；□□□■奏奏奏奏 品品品品龜水貴北；■山手■奏奏奏奏 品品品品宮孔眾○；十音 ■士石■奏奏奏奏 五音 品品品品龍甬用○；四聲 ■□耳■奏奏奏奏 六聲 品品品品魚鼠去○；■□二■奏奏奏奏 品品品品烏虎兔○；■莊震■奏奏奏奏 品品品品心審禁○；十一音 ■乍□■奏奏奏奏 五音 品品品品○○○十；四聲 ■叉赤■奏奏奏奏 七聲 品品品品男坎欠○；■崇辰■奏奏奏奏 品品品品○○○妾；■卓中■奏奏奏奏 品品品品●●●●；十二音 ■宅直■奏奏奏奏 五音 品品品品●●●●；四聲 ■拆丑■奏奏奏奏 八聲 品品品品●●●●；■茶呈■奏奏奏奏 品品品品●●●●。

The left table uses the ninth to twelfth tones to sing the fourth sound: "Zhou" (to present) is paired with the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the twelfth tone "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". After the ninth tone, the next two lines have three consecutive "■" characters written together. The first column of the tenth, eleventh, and twelfth tones all start with "■", one representing a tone without a character and the other a position without a tone, both types of empty positions appearing in the same section. The right table uses the fifth tone "Pin" and the fifth sound "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○ ○ ○ De, Gui Shui Gui Bei", the sixth sound "Gong Kong Zhong ○, Long Yong Yong ○, Yu Mu Qu ○, Wu Hu Tu ○", the seventh sound "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Qie", and then switches to "● ● ● ●" for four lines when reaching the eighth sound, indicating that the sound positions have been exhausted. The combined table uses one tone to cover ten sounds across forty lines, while the singing table uses one sound to cover twelve tones across forty-eight lines. Although the number of lines differs, the format is the same: each paired section changes every four lines, and the small characters in between serve as markers, progressing sequentially. These small characters are merely coordinates and are not part of the singing or recitation. When reading, they should be separated from the main text and viewed independently.

古甲九癸○○○○ 品品品品●●●●；一音 □□近揆○○○○ 五音 品品品品●●●●；五聲 坤巧丘棄○○○○ 九聲 品品品品●●●●；□□乾蚪○○○○ 品品品品●●●●；黑花香血○○○○ 品品品品●●●●；二音 黃華雄賢○○○○ 五音 品品品品●●●●；五聲 五瓦仰□○○○○ 十聲 品品品品●●●●；吾牙月堯○○○○ 品品品品●●●●。

The left table establishes another entry 「going up tone with the third line of the third sound of the fifth sound」. According to the example, the singing tone for this section should take the third section of the fifth sound third line 「○○○德」, but that section is exactly 「○」—the sound position exists but there is no character to be used. Therefore, the entire table's singing tone can only be written as 「○○○○」, with four characters in parallel, still corresponding to the four categories of initial consonants. It first sings with the first tone 「Ancient Jia ninth sound, □□ near揆,坤巧丘弃, □□乾蚪」, then sings with the second tone 「Black flower fragrance blood, yellow flower strong virtue, fifth sound Wa仰□, Wu Ya moon Yao」. The right table ends with the fifth tone 「品」, and the corresponding ninth and tenth tones in eight lines are all written as 「●●●●」. On the left, 「○」 is used for singing, and on the right, 「●」 is used for harmony. These two forms of empty records are arranged side by side in one line, most clearly showing Shao Yong's intention to distinguish between 「having sound without characters」 and 「original position without sound」.

安亞乙一○○○○ 天天天天多可個舌；三音 □爻壬寅○○○○ 六音 天天天天禾火化八；五聲 母馬美米○○○○ 一聲 天天天天開宰愛○；目貌眉民○○○○ 天天天天回每退○；夫法□飛○○○○ 天天天天良兩向○；四音 父凡□吠○○○○ 六音 天天天天光廣況○；五聲 武晚□尾○○○○ 二聲 天天天天丁井亙○；文萬□未○○○○ 天天天天兄永瑩○；卜百丙必○○○○ 天天天天千典旦○；五音 步白備鼻○○○○ 六音 天天天天元犬半○；五聲 普撲品匹○○○○ 三聲 天天天天臣引艮○；旁排平瓶○○○○ 天天天天君允巽○；東丹帝■○○○○ 天天天天刀早孝嶽；六音 兌大弟■○○○○ 六音 天天天天毛寶報霍。

The left table still reads "Going tone sings 'Lv San Wu Wu'". The singing tone is written as "○○○○" because the fifth tone "Going tone" section has no characters to cite, only the tone position. It follows in sequence with the third tone "An Ya Yi Yi, □ Yao Renyin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei", the fifth tone "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping" and the first two lines of the sixth tone "Dong Dan Di ■, Du Dai Di ■". The right table starts another table "Ending tone clear and harmonious law San Liu". The harmonizing tone is the sixth tone "Tian" — taken from the third line of the six tones "Tu Tan Tian ■" third section, with the earth position, ending tone, and clear sound; the last section's "■" indicates that the sixth tone has no sound in the closed mouth position. "Tian tian tian tian" harmonizes starting from the first tone: first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", second tone "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", followed by the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo".

五聲 土貪天■○○○○ 四聲 天天天天牛斗奏六；同覃田■○○○○ 天天天天○○○玉；乃你女■○○○○ 天天天天妻子四日；七音 內南年■○○○○ 六音 天天天天衰○帥骨；五聲 老冷呂■○○○○ 五聲 天天天天○○○德；鹿犖離■○○○○ 天天天天龜水貴北；走哉足■○○○○ 天天天天宮孔眾○；八音 自在匠■○○○○ 六音 天天天天龍甬用○；五聲 草采七■○○○○ 六聲 天天天天魚鼠去○；曹才全■○○○○ 天天天天烏虎兔○；思三星■○○○○ 天天天天心審禁○；九音 寺□象■○○○○ 六音 天天天天○○○十；五聲 □□□■○○○○ 七聲 天天天天男坎欠○。

The left table continues using the same group of unmarked 「○○○○」 to harmonize, pairing the sixth tone with 「土贪天■、同覃田■」, then the seventh tone with 「乃你女■、内南年■、老冷吕■、鹿荦离■」, the eighth tone with 「走哉足■、自在匠■、草采七■、曹才全■」, and the ninth tone with 「思三星■、寺□象■、□□□■」. The third line of the ninth tone has three 「□」, which represent the three phonetic positions of 开, 发, 收, but no characters could be found for them. The last character 「■」 indicates a position without a phonetic, and the two marks within the same line have different meanings. The right table uses the sixth tone's 「天」 to follow the last two lines of the fourth tone 「牛斗奏六、○○○玉」, then the fifth tone's 「妻子四日、衰○帅骨、○○○德、龟水贵北」, the sixth tone's 「宫孔众○、龙甬用○、鱼鼠去○、乌虎兔○」, and the first three lines of the seventh tone 「心审禁○、○○○十、男坎欠○」. The four columns of the tone rows are in the order of 平, 上, 去, 入, and the four columns of the phonetic rows are in the order of 开, 发, 收, 闭. A single tone or a harmonizing sound is written four times in succession to correspond one by one with the four columns of the opposite group, rather than repeating characters for sound.

□□□■○○○○ 天天天天○○○妾；■山手■○○○○ 天天天天●●●●；十音 ■士石■○○○○ 六音 天天天天●●●●；五聲 ■□耳■○○○○ 八聲 天天天天●●●●；■□二■○○○○ 天天天天●●●●；■莊震■○○○○ 天天天天●●●●；十一音 ■乍□■○○○○ 六音 天天天天●●●●；五聲 ■叉赤■○○○○ 九聲 天天天天●●●●；■崇辰■○○○○ 天天天天●●●●；■卓中■○○○○ 天天天天●●●●；十二音 ■宅直■○○○○ 六音 天天天天●●●●；五聲 ■拆丑■○○○○ 十聲 天天天天●●●●；■茶呈■○○○○ 天天天天●●●●。

The left table uses the ninth tone's last line 「□□□■」, and the tenth tone 「■山手■、■士石■、■□耳■、■□二■」, the eleventh tone 「■庄震■、■乍□■、■叉赤■、■崇辰■」, and the twelfth tone 「■卓中■、■宅直■、■拆丑■、■茶呈■」, singing one sheet after the fifth tone. Among these twelve tones, any line starting with 「■」 indicates that the first character has no sound; the 「□」 in the middle of 「■□耳■」「■□二■」「■乍□■」 indicates that there is a sound but no character. The right table uses the sixth tone's 「天」 and the last line of the seventh tone 「○○○妾」, with the eighth, ninth, and tenth tones' twelve lines all marked as 「●●●●」. The left side uses 「○」 for singing and the right side uses 「●」 for harmony, both appearing on the same page, making it easy to distinguish them: the former indicates that the sound position still exists but the character is missing, while the latter indicates that the sound position itself does not exist. The 「□」 and 「■」 in the sound table also function in this way: 「□」 indicates that there is a sound position but no character in the dictionary, while 「■」 indicates that there is no sound at that position. The four symbols are used in pairs, with the sound table using only round symbols and the tone table using only square symbols, and this is consistent throughout the entire book, without mixing.

古甲九癸去去去去 呂呂呂呂多可個舌；一音 □□近揆去去去去 七音 呂呂呂呂禾火化八；六聲 坤巧丘棄去去去去 一聲 呂呂呂呂開宰愛○；□□乾蚪去去去去 呂呂呂呂回每退○；黑花香血去去去去 呂呂呂呂良兩向○；二音 黃華雄賢去去去去 七音 呂呂呂呂光廣況○；六聲 五瓦仰□去去去去 二聲 呂呂呂呂丁井亙○；吾牙月堯去去去去 呂呂呂呂兄永瑩○；安亞乙一去去去去 呂呂呂呂千典旦○；三音 □爻壬寅去去去去 七音 呂呂呂呂元犬半○；六聲 母馬美米去去去去 三聲 呂呂呂呂臣引艮○；目貌眉民去去去去 呂呂呂呂君允巽○；夫法□飛去去去去 呂呂呂呂刀早孝嶽；四音 父凡□吠去去去去 七音 呂呂呂呂毛寶報霍。

Two new charts were opened simultaneously. On the left half it reads 「Going down in tone, the sound is divided into three parts of six」, with the singing tone replaced by the sixth tone 「Going down」—taken from the third column of the sixth tone's third row 「Fish rat going down ○」, with the earth position, going down tone, and open sound; it sings with the first tone 「Ancient Jia ninth Gui, □□ near揆,坤 skill mountain discard, □□ Qian tadpole」, the second tone 「Black flower fragrant blood, yellow flower strong virtue, five wa仰□, Wu ya moon Yao」, the third tone 「An Ya Yi one, □ yao Renyin, mother horse beautiful rice, eye face eyebrow people」, and the fourth tone 「Fu fa □ fly, Fu fan □ bark」. On the right half it reads 「Ending sound clear and harmonious, the law is divided into three parts of seven」, with the harmonious tone replaced by the seventh tone 「Lv」—taken from the third column of the seventh tone's third row 「Old cold Lv ■」, with the earth position, ending sound, and clear sound. 「Lv Lv Lv Lv」 begins with the first tone 「Du ke ge she, he fire change eight, open宰 love ○, hui mei tui ○」, the second tone 「Liang liang xiang ○, Guang Guang kuang ○, Ding jing gen ○, xiong yong ying ○」, the third tone 「Qian dian dan ○, Yuan quan ban ○, Chen yin gen ○, Jun yun xun ○」, and the fourth tone 「Dao zao xiao yue, mao bao bao huo」.

六聲 武晚□尾去去去去 四聲 呂呂呂呂牛斗奏六；文萬□未去去去去 呂呂呂呂○○○玉；卜百丙必去去去去 呂呂呂呂妻子四日；五音 步白備鼻去去去去 七音 呂呂呂呂衰○帥骨；六聲 普撲品匹去去去去 五聲 呂呂呂呂○○○德；旁排平瓶去去去去 呂呂呂呂龜水貴北；東丹帝■去去去去 呂呂呂呂宮孔眾○；六音 兌大弟■去去去去 七音 呂呂呂呂龍甬用○；六聲 土貪天■去去去去 六聲 呂呂呂呂魚鼠去○；同覃田■去去去去 呂呂呂呂烏虎兔○；乃你女■去去去去 呂呂呂呂心審禁○；七音 內南年■去去去去 七音 呂呂呂呂○○○十；六聲 老冷呂■去去去去 七聲 呂呂呂呂男坎欠○。

The left table continues with the sixth tone "qu" by first completing the fourth tone "wu wan □ wei, wen wan □ wei", then pairing the fifth tone "bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■", and the seventh tone "nai ni nv ■, nei nan nian ■, lao leng lv ■". Here we can see two patterns of the twelve tones: the first five tones have four characters that can be completed, while the sixth tone and below all end with "■", indicating a closed mouth with no sound. The right table uses the seventh tone "lv" and the fourth tone "niu dou zou liu, ○○○ yu", the fifth tone "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", the sixth tone "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", and then continues with the seventh tone "xin shen jin ○, ○○○ shi, nan kan qian ○". It is worth noting that the "qu" used in the left table comes directly from the sixth tone third line of the right table, showing that the words used in the singing and harmonizing tables originate from the same source.

鹿犖離■去去去去 呂呂呂呂○○○妾；走哉足■去去去去 呂呂呂呂●●●●；八音 自在匠■去去去去 七音 呂呂呂呂●●●●；六聲 草采七■去去去去 八聲 呂呂呂呂●●●●；曹才全■去去去去 呂呂呂呂●●●●；思三星■去去去去 呂呂呂呂●●●●；九音 寺□象■去去去去 七音 呂呂呂呂●●●●；六聲 □□□■去去去去 九聲 呂呂呂呂●●●●；□□□■去去去去 呂呂呂呂●●●●；■山手■去去去去 呂呂呂呂●●●●；十音 ■士石■去去去去 七音 呂呂呂呂●●●●；六聲 ■□耳■去去去去 十聲 呂呂呂呂●●●●；■□二■去去去去 呂呂呂呂●●●●。

The left table continues the sixth tone's chanting with the seventh tone's final line "Lu Luo Li ■", the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■". The last two lines of the ninth tone only have one "■" at the end, with the first three positions filled with three "□", indicating that although these sound classes have their positions, there were no suitable characters in the existing dictionaries. The first position of the tenth tone's first column "■" shows that the opening sound position had no such sound. The right table uses the seventh tone's "Lv" and the seventh tone's final line "○○○ Qie", and the following eight, nine, and tenth tones, totaling twelve lines, are all marked "●●●●", indicating that the last three tones among the ten have positions but no sounds. Shao Yong established ten tones and twelve sounds, taking the numbers of the ten heavenly stems and twelve earthly branches to symbolize heaven and earth, so the tones must be complete with ten and the sounds must be complete with twelve. However, in reality, only seven types of tones can be distinguished and the sounds are not fully twelve, so the remaining ones are filled with empty marks to complete the positions and ensure the diagram is not missing any grid.

■莊震■去去去去 七七七七多可個舌；十一音 ■乍□■去去去去 八音 七七七七禾火化八；六聲 ■叉赤■去去去去 一聲 七七七七開宰愛○；■崇辰■去去去去 七七七七回每退○；■卓中■去去去去 七七七七良兩向○；十二音 ■宅直■去去去去 八音 七七七七光廣況○；六聲 ■拆丑■去去去去 二聲 七七七七丁井亙○；■茶呈■去去去去 七七七七兄永瑩○。

The left table concludes the sixth tone with the sound "qu": "qu" is paired with the eleventh tone "zhuang zhen", "zha zhang", "cha chi", "chong chen", and the twelfth tone "zhuo zhong", "zha zhi", "che chou", "cha cheng". Thus, all twelve tones are completed. The initial and final characters of these two groups of initial consonants are mostly "■", with actual characters in between. This is a common pattern where dental and tongue-tip initial consonants have no sound in the open and closed positions. The right table starts with "shou yin qing he lu san zhi ba" (clear and harmonious ending of the third row of the eighth tone), and the tone is changed to the eighth tone "qi" — taken from the third column of the third row of the eight tones "cao cai qi ■", with the earth position, ending sound, and clear tone. "Qi qi qi qi" first matches the first tone "duo ke ge she, he huoa hua ba, kai zai ai ○, hui mei tui ○", then matches the second tone "liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○". The last column of the last two rows of the first tone and the last four rows of the second tone are all "○", meaning that the entering tone has a sound but no character to fill in.

古甲九癸欠欠欠欠 七七七七千典旦○；一音 □□近揆欠欠欠欠 八音 七七七七元犬半○；七聲 坤巧丘棄欠欠欠欠 三聲 七七七七臣引艮○；□□乾蚪欠欠欠欠 七七七七君允巽○；黑花香血欠欠欠欠 七七七七刀早孝嶽；二音 黃華雄賢欠欠欠欠 八音 七七七七毛寶報霍；七聲 五瓦仰□欠欠欠欠 四聲 七七七七牛斗奏六；吾牙月堯欠欠欠欠 七七七七○○○玉；安亞乙一欠欠欠欠 七七七七妻子四日；三音 □爻壬寅欠欠欠欠 八音 七七七七衰○帥骨；七聲 母馬美米欠欠欠欠 五聲 七七七七○○○德；目貌眉民欠欠欠欠 七七七七龜水貴北；夫法□飛欠欠欠欠 七七七七宮孔眾○；四音 父凡□吠欠欠欠欠 八音 七七七七龍甬用○；七聲 武晚□尾欠欠欠欠 六聲 七七七七魚鼠去○；文萬□未欠欠欠欠 七七七七烏虎兔○。

The left table starts with "Going tone, singing the seventh sound 'Qian' of the third line." The singing tone is the seventh sound "Qian," taken from the third line of the seventh sound "Male Kan Qian ○" in the third column, which still belongs to the star position, going tone, and open sound. "Qian qian qian qian" begins with the first tone, going through the first tone "Gu Jia Ji Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu," the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." These four groups are related to the throat, teeth, and lip sounds, with many characters in the grid, except in places such as "□□ near揆," "Wu Wa Yang □," "□ Yao Ren Yin," and "Fu Fa □ Fei," where "□" appears. The right table uses the eighth tone "Qi" and the third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○," the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," the fifth tone "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," and the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." Among these, "Shuai ○ Shuai Gu" in the first tone of the rising tone and "○○○ Yu" in the first three positions are sounds that exist but have no corresponding characters in the dictionary.

卜百丙必欠欠欠欠 七七七七心審禁○；五音 步白備鼻欠欠欠欠 八音 七七七七○○○十；七聲 普撲品匹欠欠欠欠 七聲 七七七七男坎欠○；旁排平瓶欠欠欠欠 七七七七○○○妾；東丹帝■欠欠欠欠 七七七七●●●●；六音 兌大弟■欠欠欠欠 八音 七七七七●●●●；七聲 土貪天■欠欠欠欠 八聲 七七七七●●●●；同覃田■欠欠欠欠 七七七七●●●●；乃你女■欠欠欠欠 七七七七●●●●；七音 內南年■欠欠欠欠 八音 七七七七●●●●；七聲 老冷呂■欠欠欠欠 九聲 七七七七●●●●；鹿犖離■欠欠欠欠 七七七七●●●●；走哉足■欠欠欠欠 七七七七●●●●；八音 自在匠■欠欠欠欠 八音 七七七七●●●●；七聲 草采七■欠欠欠欠 十聲 七七七七●●●●；曹才全■欠欠欠欠 七七七七●●●●。

The left table continues with the seventh tone "qian," paired with the fifth tone "bu ba bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping," the sixth tone "dong dan di ?, dui da di ?, tu tan tian ?, tong tan tian ?," and the seventh tone "nai ni nv ?, nei nan nian ?, lao leng lv ?, lu luo li ?," and the eighth tone "zou zai zu ?, zi zai jiang ?, cao cai qi ?, cao cai quan ?." Any ending marked with "■" indicates a closed mouth sound that originally did not exist, differing from the four-character groups in the previous lip sounds. The right table uses the eighth tone "qi" and the seventh tone "xin shen jin ?, ? ? ? shi, nan kan qian ?, ? ? ? qie" — this tone is the source of the left table's "qian" sound; afterward, the eighth, ninth, and thirteenth tones cover twelve lines marked with "●●●●." The actual boundaries of the tenth tone become clear at this point: only seven types of distinguishable sounds exist, while the last three types merely occupy their positions. Multiplying the number of sound positions by the number of phonetic positions, and then multiplying each by four levels, results in the numbers recorded at the end of each section, such as "one thousand six hundred forty" and "one thousand three hundred forty-four." These numbers are not arbitrary; they serve as the foundation for the calculations in the "Outer Chapter of Observing Things" regarding the numbers of moving and growing things. Therefore, no grid is omitted in the diagram.

思三星■欠欠欠欠 □□□□多可個舌；九音 寺□象■欠欠欠欠 九音 □□□□禾火化八；七聲 □□□■欠欠欠欠 一聲 □□□□開宰愛○；□□□■欠欠欠欠 □□□□回每退○；■山手■欠欠欠欠 □□□□良兩向○；十音 ■士石■欠欠欠欠 九音 □□□□光廣況○；七聲 ■□耳■欠欠欠欠 二聲 □□□□丁井亙○；■□二■欠欠欠欠 □□□□兄永瑩○；■莊震■欠欠欠欠 □□□□千典旦○；十一音 ■乍□■欠欠欠欠 九音 □□□□元犬半○；七聲 ■叉赤■欠欠欠欠 三聲 □□□□臣引艮○；■崇辰■欠欠欠欠 □□□□君允巽○；■卓中■欠欠欠欠 □□□□刀早孝嶽；十二音 ■宅直■欠欠欠欠 九音 □□□□毛寶報霍；七聲 ■拆丑■欠欠欠欠 四聲 □□□□牛斗奏六；■茶呈■欠欠欠欠 □□□□○○○玉。

The left table, after singing the ninth to twelfth tones and completing the seventh sound, has: "Qiang" paired with the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the twelfth tone "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". The right table starts with "Shou Yin Qing He Lu San Zhi Jiu". According to the sequence, the harmonized sound for this chart should take the third line of the ninth tone, but the third and fourth lines of the ninth tone were originally written as "■ ■ ■ ■", with a sound but no character, so the harmonized sound can only be "■ ■ ■ ■". It continues to harmonize with the first tone "Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○", the third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", and the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○ ○ ○ Yu". Since the harmonized sound has no characters, but the sounds being harmonized have characters, this pattern of one empty and one filled is common in the diagram.

古甲九癸●●●● □□□□妻子四日；一音 □□近揆●●●● 九音 □□□□衰○帥骨；八聲 坤巧丘棄●●●● 五聲 □□□□○○○德；□□乾蚪●●●● □□□□龜水貴北；黑花香血●●●● □□□□宮孔眾○；二音 黃華雄賢●●●● 九音 □□□□龍甬用○；八聲 五瓦仰□●●●● 六聲 □□□□魚鼠去○；吾牙月堯●●●● □□□□烏虎兔○；安亞乙一●●●● □□□□心審禁○；三音 □爻壬寅●●●● 九音 □□□□○○○十；八聲 母馬美米●●●● 七聲 □□□□男坎欠○；目貌眉民●●●● □□□□○○○妾。

The left table starts with "Going tone: 'Pìchàng Lǚ sān zhī bā'". The eighth tone is a category that has a position but no sound, with four lines all marked with "●", so the singing for this table can only be written as "●●●●". This is different from the fifth tone table, which is written as "○○○○": one has sound without characters, and the other has no sound at all. Even so, Shao Yong still followed the pattern to sing it along with the first tone "Gǔ Jiǎ jiǔ Guǐ, □□ jìn kuí, Kūn qiǎo qiū qì, □□ Qián tóu", the second tone "Hēi huā xiāng xuè, Huáng huā xióng xián, Wǔ wǎ yǎng □, Wú yá yuè yáo", and the third tone "Ān yà yǐ yī, □ yáo Rén Yín, Mǔ mǎ měi mǐ, Mù mào méi mín", to show the completeness of the diagram. The right table continues the table of the ninth tone without characters, using "□□□□" and the fifth tone "Qīzi sì rì, Shuāi ○ Shuài gǔ, ○○○ dé, Guī shuǐ guì běi", the sixth tone "Gōng Kǒng zhòng ○, Lóng yǒng yòng ○, Yú shǔ qù ○, Wū hǔ tù ○", and the seventh tone "Xīn shěn jìn ○, ○○○ shí, Nán Kǎn qiàn ○, ○○○ qiè".

夫法□飛●●●● □□□□●●●●；四音 父凡□吠●●●● 九音 □□□□●●●●；八聲 武晚□尾●●●● 八聲 □□□□●●●●；文萬□未●●●● □□□□●●●●；卜百丙必●●●● □□□□●●●●；五音 步白備鼻●●●● 九音 □□□□●●●●；八聲 普撲品匹●●●● 九聲 □□□□●●●●；旁排平瓶●●●● □□□□●●●●；東丹帝■●●●● □□□□●●●●；六音 兌大弟■●●●● 九音 □□□□●●●●；八聲 土貪天■●●●● 十聲 □□□□●●●●；同覃田■●●●● □□□□●●●●。

The left table continues with the eighth sound 「●●●●」 singing the fourth tone 「Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei」, the fifth tone 「Bu ba bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping」, and the sixth tone 「Dong dan di ■, Dui da di ■, Tu tan tian ■, Tong tan tian ■」. The twelve lines on the right table are the ninth tone's table with no characters, harmonizing with the eighth, ninth, and tenth sounds. On the side of the initial consonants, it writes 「□□□□」, and on the side of the final vowels, it writes 「●●●●」, with no actual characters at either end. Such completely empty cells in the diagram are not considered wasted strokes: Shao Yong used ten sounds to match twelve tones, aiming to complete the numbers of heaven and earth. The presence or absence of sound and the presence or absence of characters must each be in their proper place, with presence and absence contrasting to reveal the whole of sound. Therefore, when looking at such diagrams, one should not only count the cells with characters: empty cells and cells with characters are both in the same position. What Shao Yong intended to show was the neatness of 「position」; as for whether a character can be pronounced or not, this depends on the local pronunciation and the dictionary of a particular time and place, and is a separate matter from the presence or absence of position.

乃你女■●●●● 耳耳耳耳多可個舌；七音 內南年■●●●● 十音 耳耳耳耳禾火化八；八聲 老冷呂■●●●● 一聲 耳耳耳耳開宰愛○；鹿犖離■●●●● 耳耳耳耳回每退○；走哉足■●●●● 耳耳耳耳良兩向○；八音 自在匠■●●●● 十音 耳耳耳耳光廣況○；八聲 草采七■●●●● 二聲 耳耳耳耳丁井亙○；曹才全■●●●● 耳耳耳耳兄永瑩○；思三星■●●●● 耳耳耳耳千典旦○；九音 寺□象■●●●● 十音 耳耳耳耳元犬半○；八聲 □□□■●●●● 三聲 耳耳耳耳臣引艮○；□□□■●●●● 耳耳耳耳君允巽○。

The left table still uses the eighth tone's "●●●●" as the chant, paired with the seventh tone "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■", and the eighth tone "Zou zai zu ■, zi zai jiang ■, cao caipu qi ■, cao caiquan ■", and the ninth tone "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■". The right table starts with "Shou yin qing he lu san zhi shi", and the harmonic tone is changed to the tenth tone's "Er" — taken from the third line of the tenth tones "■□er ■" in the third column, with the earth position, ending tone, and clear sound; this line starts and ends with "■", and has another "□" in the middle, indicating that the tenth tone can only produce the character "er" in the ending position. "Er er er er" first combines with the first tone "Du ke ge she, he hu hua ba, kai zai ai ○, hui mei tui ○", then with the second tone "Liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○", and third tone "Qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○".

■山手■●●●● 耳耳耳耳刀早孝嶽；十音 ■士石■●●●● 十音 耳耳耳耳毛寶報霍；八聲 ■□耳■●●●● 四聲 耳耳耳耳牛斗奏六；■□二■●●●● 耳耳耳耳○○○玉；■莊震■●●●● 耳耳耳耳妻子四日；十一音 ■乍□■●●●● 十音 耳耳耳耳衰○帥骨；八聲 ■叉赤■●●●● 五聲 耳耳耳耳○○○德；■崇辰■●●●● 耳耳耳耳龜水貴北；■卓中■●●●● 耳耳耳耳宮孔眾○；十二音 ■宅直■●●●● 十音 耳耳耳耳龍甬用○；八聲 ■拆丑■●●●● 六聲 耳耳耳耳魚鼠去○；■茶呈■●●●● 耳耳耳耳烏虎兔○。

The left table matches the eighth tone's empty syllables to the tenth tone: "■ mountain hand ■, ■ scholar stone ■, ■ ear ■, ■ two ■", the eleventh tone: "■ Zhuang Zhen ■, ■ sudden ■, ■ fork red ■, ■ Sheng Chen ■", and the twelfth tone: "■ Zhuo Zhong ■, ■ residence straight ■, ■ dismantle Chou ■, ■ tea present ■". The twelve tones are thus completed, and the diagram "Going tone with the eighth tone's singing" is finished. The right table includes the tenth tone's "ear" and the fourth tone: "knife early filial mountain, hair treasure report Huo, ox star composition six, ○○○ jade", the fifth tone: "wife four days, decline ○ general bone, ○○○ virtue, turtle water noble north", and the sixth tone: "palace Kong crowd ○, dragon Yong use ○, fish rat go ○, crow tiger rabbit ○". In the fourth tone's fourth line, "○○○ jade" only has the character "jade" in the entering tone position. The fifth tone's second and third lines also have "○", which are instances where there is a tone but no corresponding character. The situation with initial consonants is similar: the tenth tone's "■□ ear ■" is a clear example, with no sound at the beginning and end, a sound but no character in the second position, and only one character "ear" in the final position among the four. This narrowness is evident here.

古甲九癸●●●● 耳耳耳耳心審禁○；一音 □□近揆●●●● 十音 耳耳耳耳○○○十；九聲 坤巧丘棄●●●● 七聲 耳耳耳耳男坎欠○；□□乾蚪●●●● 耳耳耳耳○○○妾；黑花香血●●●● 耳耳耳耳●●●●；二音 黃華雄賢●●●● 十音 耳耳耳耳●●●●；九聲 五瓦仰□●●●● 八聲 耳耳耳耳●●●●；吾牙月堯●●●● 耳耳耳耳●●●●；安亞乙一●●●● 耳耳耳耳●●●●；三音 □爻壬寅●●●● 十音 耳耳耳耳●●●●；九聲 母馬美米●●●● 九聲 耳耳耳耳●●●●；目貌眉民●●●● 耳耳耳耳●●●●；夫法□飛●●●● 耳耳耳耳●●●●；四音 父凡□吠●●●● 十音 耳耳耳耳●●●●；九聲 武晚□尾●●●● 十聲 耳耳耳耳●●●●；文萬□未●●●● 耳耳耳耳●●●●。

The left table establishes another entry, "Going tone, singing tone of the third category, ninth tone," where the singing tone belongs to the ninth tone. The ninth tone, like the eighth tone, has a position but no sound, with four lines all marked as "●," so the singing tone is also written as "●●●●." It sings in response to the first tone "Ancient Jia ninth Gui, □□ near揆,坤巧 mountain abandoned, □□ Qian蚪," the second tone "Black flower fragrance blood, yellow flower strong virtue, five wa upward □, Wu ya moon Yao," the third tone "An Ya Yi one, □ yao Renyin, mother horse beauty rice, eye appearance eyebrow people," and the fourth tone "Fu fa □ fly, Fu fan □ bark, Wu wan □ tail, Wen wan □ not yet." The right table uses the tenth tone "ear" and the seventh tone "heart, review, prohibition ○, ○○○ ten, male Kan lack ○, ○○○妾," with the eighth, ninth, and thirteenth tones below all marked as "●●●●." This piece has black marks appearing on both sides simultaneously, precisely where the end of the tenth tone meets the end of the tenth tone, and both sound positions are empty. The black marks on the left come from the singing tone, while those on the right come from the responding tone. Although their origins differ, the principle is the same: for the eighth, ninth, and tenth tones, regardless of whether they are singing or responding, there is no sound, so only four black dots are used to indicate their positions, ensuring the count of ten tones remains complete. Reading this, the reality and emptiness of the ten tones become clear: the first seven categories are real, while the last three are empty.

卜百丙必●●●● 赤赤赤赤多可個舌；五音 步白備鼻●●●● 十一音 赤赤赤赤禾火化八；九聲 普撲品匹●●●● 一聲 赤赤赤赤開宰愛○；旁排平瓶●●●● 赤赤赤赤回每退○；東丹帝■●●●● 赤赤赤赤良兩向○；六音 兌大弟■●●●● 十一音 赤赤赤赤光廣況○；九聲 土貪天■●●●● 二聲 赤赤赤赤丁井亙○；同覃田■●●●● 赤赤赤赤兄永瑩○；乃你女■●●●● 赤赤赤赤千典旦○；七音 內南年■●●●● 十一音 赤赤赤赤元犬半○；九聲 老冷呂■●●●● 三聲 赤赤赤赤臣引艮○；鹿犖離■●●●● 赤赤赤赤君允巽○；走哉足■●●●● 赤赤赤赤刀早孝嶽；八音 自在匠■●●●● 十一音 赤赤赤赤毛寶報霍；九聲 草采七■●●●● 四聲 赤赤赤赤牛斗奏六；曹才全■●●●● 赤赤赤赤○○○玉。

The left table remains "Going tone avoids the sound of the third of the ninth tone." The singing tone is written as "●●●●" because the ninth tone does not have a sound, and it still sings with the fifth tone "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," the sixth tone "Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■," the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■," and the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■." The right table starts with "Closing tone, clear and harmonious, the third of the eleventh tone." The harmonious tone is the eleventh tone "Chi," taken from the third column of the third row of the eleventh tone "■ Cha Chi ■," which refers to the earth position, closing tone, and clear sound. "Chi Chi Chi Chi" starts from the first tone: first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," second tone "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○," third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○," fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu." The eleventh tone has no sound in the open position, so the first column of this row is marked as "■," and among the four columns, only the words "Cha" and "Chi" can be cited.

思三星■●●●● 赤赤赤赤妻子四日；九音 寺□象■●●●● 十一音 赤赤赤赤衰○帥骨；九聲 □□□■●●●● 五聲 赤赤赤赤○○○德；□□□■●●●● 赤赤赤赤龜水貴北；■山手■●●●● 赤赤赤赤宮孔眾○；十音 ■士石■●●●● 十一音 赤赤赤赤龍甬用○；九聲 ■□耳■●●●● 六聲 赤赤赤赤魚鼠去○；■□二■●●●● 赤赤赤赤烏虎兔○；■莊震■●●●● 赤赤赤赤心審禁○；十一音 ■乍□■●●●● 十一音 赤赤赤赤○○○十；九聲 ■叉赤■●●●● 七聲 赤赤赤赤男坎欠○；■崇辰■●●●● 赤赤赤赤○○○妾；■卓中■●●●● 赤赤赤赤●●●●；十二音 ■宅直■●●●● 十一音 赤赤赤赤●●●●；九聲 ■拆丑■●●●● 八聲 赤赤赤赤●●●●；■茶呈■●●●● 赤赤赤赤●●●●。

The left table uses the ninth tone with the words "Si San Xing", "Si Xiao Xiang", "□□□", "□□□", and finishes with the ninth tone. The right table uses the eleventh tone's "Chi" and the fifth tone "Zi Qi Si Ri, Shuai Zhou Shuai Gu, □□□ De, Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong □, Long Yong Yong □, Yu Shu Qu □, Wu Hu Tu □", the seventh tone "Xin Shen Jin □, □□□ Shi, Nan Kan Qian □, □□□ Qie", and then moves to the eighth tone "●●●●". In this piece, the line "Chi" from the right table is both the original position of the tone "Chi" in the right table and is used as a sound initial in the left table, sung together with an empty sound. This shows that the same character plays different roles in the singing table and the harmonizing table. The singing table leads with sound, with each sound covering forty-eight lines of the twelve tones. The harmonizing table leads with tone, with each tone covering forty lines of the ten sounds. The same character is either the sound being sung or the sound being harmonized, depending on which table it appears in.

古甲九癸●●●● 赤赤赤赤●●●●；一音 □□近揆●●●● 十一音 赤赤赤赤●●●●；十聲 坤巧丘棄●●●● 九聲 赤赤赤赤●●●●；□□乾蚪●●●● 赤赤赤赤●●●●；黑花香血●●●● 赤赤赤赤●●●●；二音 黃華雄賢●●●● 十一音 赤赤赤赤●●●●；十聲 五瓦仰□●●●● 十聲 赤赤赤赤●●●●；吾牙月堯●●●● 赤赤赤赤●●●●。

The left table establishes another section titled "Qu Sheng Pi Chang Lv San Shi," which is the final section of the "Qu Sheng Pi" series. The tenth tone also has a position without a sound, and the singing tone is written as "●●●●." It first sings in response to the first tone "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," and the second tone "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The right table uses the eleventh tone "Chi" together with the ninth and tenth tones, and all eight lines are written as "●●●●." When viewing the eight lines on both sides together, the initial consonant has a character, but the final vowel has no sound, so in reality, they cannot form a single syllable. Shao Yong still arranges them without any omission, aiming to show the complete pairing of ten tones and twelve sounds. Both sounds and no sounds, characters and no characters, each occupy their respective positions, without being discarded due to absence.

安亞乙一●●●● 王王王王多可個舌；三音 □爻壬寅●●●●；十二音 王王王王禾火化八；十聲 母馬美米●●●● 一聲 王王王王開宰愛○；目貌眉民●●●● 王王王王回每退○；夫法□飛●●●● 王王王王良兩向○；四音 父凡□吠●●●● 十二音 王王王王光廣況○；十聲 武晚□尾●●●● 二聲 王王王王丁井亙○；文萬□未●●●● 王王王王兄永瑩○；卜百丙必●●●● 王王王王千典旦○；五音 步白備鼻●●●● 十二音 王王王王元犬半○；十聲 普撲品匹●●●● 三聲 王王王王臣引艮○；旁排平瓶●●●● 王王王王君允巽○；東丹帝■●●●● 王王王王刀早孝嶽。

The continuation of the left table's tenth sound leaves a blank position, paired with the third sound "Anya Yi Yi, □ line Renyin, mother horse mei mi, eyes face eyebrows people," the fourth sound "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," the fifth sound "Bu bai Bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and the first line of the sixth sound "Dong dan Di ■." Among these, the line below "Third sound □ line Renyin ● ● ● ●" has the text in the right column copied to another line, resulting in a split. When reading, the line "Twelve sounds Wang Wang Wang Wang he fire transformation eight" should be connected back to the right column. The right table starts with "Receiving sound Qing He Law three of twelve," which is the last sheet of the "Receiving sound Qing" series. According to the sequence, the harmonic sound should take the third section of the twelfth sound's third line "■ split Chou ■," which is "Chou." The original text writes "Wang," which is similar in form to "Chou" and is likely a printing error; the original character from the manuscript is still preserved. "Wang Wang Wang Wang" corresponds to the first sound "Du ke ge she, he fire transformation eight, kai zai ai ○, hui mei tui ○," the second sound "Liang liang xiang ○, Guang guang kuang ○, Ding jing geng ○, xiong yong ying ○," the third sound "Qian dian dan ○, Yuan quan ban ○, Chen yin gen ○, Jun yun xun ○," and the first line of the fourth sound "Dao zao xiao yue."

六音 兌大弟■●●●● 十二音 王王王王毛寶報霍；十聲 土貪天■●●●● 四聲 王王王王牛斗奏六；同覃田■●●●● 王王王王○○○玉；乃你女■●●●● 王王王王妻子四日；七音 內南年■●●●● 十二音 王王王王衰○帥骨；十聲 老冷呂■●●●● 五聲 王王王王○○○德；鹿犖離■●●●● 王王王王龜水貴北；走哉足■●●●● 王王王王宮孔眾○；八音 自在匠■●●●● 十二音 王王王王龍甬用○；十聲 草采七■●●●● 六聲 王王王王魚鼠去○；曹才全■●●●● 王王王王烏虎兔○；思三星■●●●● 王王王王心審禁○；九音 寺□象■●●●● 十二音 王王王王○○○十；十聲 □□□■●●●● 七聲 王王王王男坎欠○。

The left table uses the tenth tone's empty chant to pair with the sixth tone's "Dui Da Di, Tu Tan Tian, Tong Tan Tian," then pairs with the seventh tone's "Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan," and the eighth tone's "Si San Xing, Si Fang Xiang, Fang Fang Fang," as well as the ninth tone's "Si San Xing, Si Fang Xiang, Fang Fang Fang." The right table uses the twelfth tone's character form, which has become distorted, to connect with the third line after the fourth tone's "Mao Bao Bao Huo, Niu Dou Zou Liu, O O O Yu," the fifth tone's "Zi Qi Si Ri, Shuai O Shuai Gu, O O O De,Gui Shui Gui Bei," and the sixth tone's "Gong Kong Zhong O, Long Yong Yong O, Yu Shu Qu O, Wu Hu Tu O." The "twelve tones" and "fourth tone, fifth tone, sixth tone, seventh tone" within the rows are labels for the right table's groups moving sequentially. The left table's "tenth tone" remains fixed, as a single tone is used in one chant table. When reading these flat tables, one must remember that each row is formed by one line from the left column and one line from the right column combined: the left column belongs to the chant table, the right column to the harmonizing table, and the contents of the two sides are unrelated and should not be connected into one sentence; the small characters "twelve tones," "fourth tone," etc., in the middle are merely coordinates for their respective columns.

□□□■●●●● 王王王王○○○妾；■山手■●●●● 王王王王●●●●；十音 ■士石■●●●● 十二音 王王王王●●●●；十聲 ■□耳■●●●● 八聲 王王王王●●●●；■□二■●●●● 王王王王●●●●；■莊震●●●●。 王王王王●●●●；十一音 ■乍□■●●●● 十二音 王王王王●●●●；十聲 ■叉赤■●●●● 九聲 王王王王●●●●；■崇辰■●●●● 王王王王●●●●；■卓中■●●●● 王王王王●●●●；十二音 ■宅直■●●●● 十二音 王王王王●●●●；十聲 ■拆丑■●●●● 十聲 王王王王●●●●；■茶呈■●●●● 王王王王●●●●。

The left table ends with the ninth tone's last line "□□□■", the tenth tone "■ mountain hand ■, ■ scholar stone ■, ■ □ ear ■, ■ □ two ■", the eleventh tone "■ zhuang zhen ■, ■ zha □ ■, ■ cha red ■, ■ chong chen ■", and the twelfth tone "■ zhuo zhong ■, ■ zhai straight ■, ■ che chou ■, ■ cha cheng ■". Among these, the line "■ zhuang zhen ●●●●." should originally be "■ zhuang zhen ■", but the original text omitted the last character "■" and added a period instead. This line is recorded as is without alteration. The right table ends with the twelfth tone and the last line of the seventh tone "○○○妾". The following eighth, ninth, and thirteenth tones each have twelve lines of "●●●●". At this point, the ten singing tables with the falling tone and open syllable route, and the twelve harmonizing tables with the earth position ending and clear tone route, have all been paired. The sound diagram from the section "Observing Things" has come to an end. In total, this section includes ten singing tables, each with forty-eight lines, making four hundred and eighty lines in total; and twelve harmonizing tables, each with forty lines, also totaling four hundred and eighty lines. The left and right sections are exactly equal, allowing them to be engraved side by side in one place. When unfolded, they form the current format of one line split into two parts.

星辰聲去翕 土石音收濁　退瑩巽○貴 乾月眉□平田　兔○●●● 離全□二辰呈　星辰聲七，下唱地之 土石音十二，上和天　用音一百五十二，是 之用聲一百一十二，　謂去聲翕音。去聲翕 是謂收音濁聲。收音　音一千六十四。 濁聲一千三百四十四。

This note originally had two columns side by side, but when written horizontally, the text of the two columns became interwoven, requiring them to be read separately. The left column's heading is "Xingchen Sheng Qu Xi", meaning that this section selects one of the ten tones where "Xing" (Star) and "Chen" (Day) intersect. "Xing" is pronounced in the fourth tone, and "Chen" is a rounded sound, together forming "Qu Sheng Xi" (fourth tone and rounded sound). These ten tones are in order: "Tui, Ying, Xun, ○, Gui, Tu, ○, ●, ●, ●". The fourth and seventh tones have sounds but no characters, so they are written as "○". The eighth to tenth tones have no sounds, so they are written as "●". In total, there are seven actual sound categories. The left column's main text reads continuously: "Xingchen Sheng Qi, Xia Chang Di Zhi Yong Yin Bai Wu Er, Shi Wei Qu Sheng Xi Yin. Qu Sheng Xi Yin Yi Liu Bai Si." Each of the seven tones sings the sound used on earth, which is 152, so seven multiplied by 152 equals 1,064. The right column's heading is "Tu Shi Yin Shou Zhu", meaning that this section selects one of the twelve tones where "Tu" (Earth) and "Shi" (Stone) intersect. "Tu" is a closing sound, and "Shi" is a heavy sound. These twelve tones are in order: "Gan, Yue, Mei, □, Ping, Tian, Li, Quan, □, Er, Chen, Cheng". The fourth and ninth tones have sound positions but no characters, so they are written as "□". The twelve sound positions have no empty ones. The right column's main text reads continuously: "Tu Shi Yin Shiwu, Shang He Tian Zhi Yong Sheng Bai Yi Er, Shi Wei Shou Yin Zhu Sheng. Shou Yin Zhu Sheng Yi Bai San Si Si." Each of the twelve tones harmonizes with the sound used in heaven, which is 112, so twelve multiplied by 112 equals 1,344. Sounds are in heaven and are the main ones sung, so they are called "Lv"; tones are in earth and are the main ones harmonized, so they are called "Lu".

古甲九癸退退退退 乾乾乾乾多可個舌；一音 □□近揆退退退退 一音 乾乾乾乾禾火化八；一聲 坤巧丘棄退退退退 一聲 乾乾乾乾開宰愛○；□□乾蚪退退退退 乾乾乾乾回每退○；黑花香血退退退退 乾乾乾乾良兩向○；二音 黃華雄賢退退退退 一音 乾乾乾乾光廣況○；一聲 五瓦仰□退退退退 二聲 乾乾乾干丁井亙○；吾牙月堯退退退退 乾乾乾乾兄永瑩○；安亞乙一退退退退 乾乾乾乾千典旦○；三音 □爻壬寅退退退退 一音 乾乾乾乾元犬半○；一聲 母馬美米退退退退 三聲 乾乾乾乾臣引艮○；目貌眉民退退退退 乾乾乾乾君允巽○；夫法□飛退退退退 乾乾乾乾刀早孝嶽；四音 父凡□吠退退退退 一音 乾乾乾乾毛寶報霍。

Two new tables are presented together. On the left side, it reads 「Going down in tone, closing sound, Lü Si No. 1」. The singing tone is the first tone's 「retreat」—taken from the third section of the fourth line of the first tone 「returning each retreat ○」, which corresponds to the position of the dragon (Chen), the falling tone, and the closed mouth (Xī). This is similar to the previous text's use of 「love」, which belongs to the first tone and falling tone, but differs in the openness of the mouth. 「Retreat retreat retreat retreat」 is sung starting from the first tone: the first tone 「Ancient Jia Ji Gui, □□ near揆,坤 skill mountain discard, □□ Heaven蚪」, the second tone 「Black flower fragrance blood, yellow flower strong virtuous, five wa upward □, I tooth moon Yao」, the third tone 「An Ya Yi one, □ yao Ren Yin, mother horse beautiful rice, eye face eyebrow people」, and the fourth tone's 「husband law □ fly, father general □ bark」. On the right side, it reads 「Ending tone, heavy and harmonious, Lü Si No. 1」. The harmonious tone is the first tone's 「dry」—taken from the third section of the fourth line of the first tone 「□□ Heaven蚪」, which corresponds to the stone row, ending tone, and heavy sound; 「dry」 and 「Heaven」 are two different writings of the same character. 「Dry dry dry dry」 is combined with the first tone 「many can individual tongue, millet fire change eight, open宰 love ○, return each retreat ○」, the second tone 「good two towards ○, light broad condition ○, Ding well constant ○, elder long bright ○」, the third tone 「thousand classic dawn ○, yuan dog half ○, minister lead Gen ○, king allow Xun ○」, and then the fourth tone's 「knife early filial mountain, hair treasure report Huo」.

一聲 武晚□尾退退退退 四聲 乾乾乾乾牛斗奏六；文萬□未退退退退 乾乾乾乾○○○玉；卜百丙必退退退退 乾乾乾乾妻子四日；五音 步白備鼻退退退退 一音 乾乾乾乾衰○帥骨；一聲 普撲品匹退退退退 五聲 乾乾乾乾○○○德；旁排平瓶退退退退 乾乾乾乾龜水貴北；東丹帝■退退退退 乾乾乾乾宮孔眾○；六音 兌大弟■退退退退 一音 乾乾乾乾龍甬用○；一聲 土貪天■退退退退 六聲 乾乾乾乾魚鼠去○；同覃田■退退退退 乾乾乾乾烏虎兔○；乃你女■退退退退 乾乾乾乾心審禁○；七音 內南年■退退退退 一音 乾乾乾乾○○○十；一聲 老冷呂■退退退退 七聲 乾乾乾乾男坎欠○。

The left table continues the first tone "退" with the fourth tone "wu wan □ wei, wen wan □ wei", then pairs the fifth tone "bu ba bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■", and the seventh tone "nai ni nv ■, nei nan nian ■, lao leng lv ■". In the fourth tone, there are three lines with "□", indicating that the first sound position has a sound but no character. In the last position of the sixth and seventh tones, the "■" indicates a closed mouth sound with no sound. The right table starts with the first tone "gan" and the fourth tone "niu dou zou liu, ○○○ yu", the fifth tone "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", the sixth tone "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", and the seventh tone "xin shen jin ○, ○○○ shi, nan kan qian ○". In the fifth tone, the third line "○○○ de" has only the entering tone position with the character "de", while the other three positions have sound but no character, which corresponds with the left table's first tone fourth line. Whether a character can be cited in the same position depends entirely on the existing character dictionaries at the time.

鹿犖離■退退退退 乾乾乾乾○○○妾；走哉足■退退退退 乾乾乾乾●●●●；八音 自在匠■退退退退 一音 乾乾乾乾●●●●；一聲 草采七■退退退退 八聲 乾乾乾乾●●●●；曹才全■退退退退 乾乾乾乾●●●●；思三星■退退退退 乾乾乾乾●●●●；九音 寺□象■退退退退 一音 乾乾乾乾●●●●；一聲 □□□■退退退退 九聲 乾乾乾乾●●●●；□□□■退退退退 乾乾乾乾●●●●；■山手■退退退退 乾乾乾乾●●●●；十音 ■士石■退退退退 一音 乾乾乾乾●●●●；一聲 ■□耳■退退退退 十聲 乾乾乾乾●●●●；■□二■退退退退 乾乾乾乾●●●●。

The left table continues with the seventh tone's last line "Lu Luo Li ■", the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■" continuing to correspond with "Tui". After the ninth tone, the two lines have the three characters "Kai", "Fa", and "Shou" each followed by three "■", while the tenth tone's first column is "■", representing either a sound without a character or a position without a sound; these should not be confused when reading the diagram. On the right table, the first tone's "Gan" and the seventh tone's last line "○○○ Qie" are followed by twelve lines of "●●●●" in the eighth, ninth, and tenth tones. Among the ten tones, only seven types actually have sounds, so each chart ends with a series of black marks. In contrast, the singing table always concludes with the eleventh and twelfth tones, which have no sounds in the open position, so the beginning of each line is marked with "■". One table ends with sound, the other with tone, each having its own fixed pattern at the end; when consulting the charts, one can determine when reaching the end of a particular chart based on these patterns.

■莊震■退退退退 月月月月多可個舌；十一音 ■乍□■退退退退 二音 月月月月禾火化八；一聲 ■叉赤■退退退退 一聲 月月月月開宰愛○；■崇辰■退退退退 月月月月回每退○；■卓中■退退退退 月月月月良兩向○；十二音 ■宅直■退退退退 二音 月月月月光廣況○；一聲 ■拆丑■退退退退 二聲 月月月月丁井亙○；■茶呈■退退退退 月月月月兄永瑩○。

The left table uses the eleventh tone 「Zhuang Zhen, Zha Zuo, Cha Chi, Chong Chen」 and the twelfth tone 「Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng」 to sing the first tone. After completing the first tone, 「Qu Sheng Xi Chang Lv Si Yi」 is sung to finish the section. The right table starts with 「Shou Yin Zhu He Lv Si Er」, changing the harmonized tone to the second tone 「Yue」—taken from the fourth line of the second tone 「Wu Ya Yue Yao」, specifically the third section, involving the stone row, the ending tone, and the浊 sound. 「Yue Yue Yue Yue」 first harmonizes with the first tone 「Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O」, then with the second tone 「Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O」. The first tone's first two lines have four characters complete, making it the most complete section in the entire diagram. After that, the last character of each line is mostly marked as 「○」, indicating that although the入声 tone has a sound, there are no commonly used characters available to fill in the blanks.

古甲九癸瑩瑩瑩瑩 月月月月千典旦○；一音 □□近揆瑩瑩瑩瑩 二音 月月月月元犬半○；二聲 坤巧丘棄瑩瑩瑩瑩 三聲 月月月月臣引艮○；□□乾蚪瑩瑩瑩瑩 月月月月君允巽○；黑花香血瑩瑩瑩瑩 月月月月刀早孝嶽；二音 黃華雄賢瑩瑩瑩瑩 二音 月月月月毛寶報霍；二聲 五瓦仰□瑩瑩瑩瑩 四聲 月月月月牛斗奏六；吾牙月堯瑩瑩瑩瑩 月月月月○○○玉；安亞乙一瑩瑩瑩瑩 月月月月妻子四日；三音 □爻壬寅瑩瑩瑩瑩 二音 月月月月衰○帥骨；二聲 母馬美米瑩瑩瑩瑩 五聲 月月月月○○○德；目貌眉民瑩瑩瑩瑩 月月月月龜水貴北；夫法□飛瑩瑩瑩瑩 月月月月宮孔眾○；四音 父凡□吠瑩瑩瑩瑩 二音 月月月月龍甬用○；二聲 武晚□尾瑩瑩瑩瑩 六聲 月月月月魚鼠去○；文萬□未瑩瑩瑩瑩 月月月月烏虎兔○。

The left table establishes another section titled "Going Up in the Fourth Row of the Second Tone 'Ying'". The singing tone is changed to the second tone "Ying", taken from the third column of the second row "Xiong Yong Ying", which corresponds to the position of Chen, the falling tone, and the closed mouth sound. "Ying Ying Ying Ying" is sung from the beginning: the first tone "Gu Jia Ji Gui, ?? Near Kui, Kun Qiao Qiu Qi, ?? Qian Tu", the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang ??, Wu Ya Yue Yao", the third tone "An Ya Yi Yi, ?? Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone "Fu Fa ?? Fei, Fu Fan ?? Fei, Wu Wan ?? Wei, Wen Wan ?? Wei". The right table continues with the "Yue" from the second tone, and the third tone "Qian Dian Dan ??, Yuan Quan Ban ??, Chen Yin Gen ??, Jun Yun Xun ??", the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ?? ?? ?? Yu", the fifth tone "Zi Qi Si Ri, Shuai ?? Shuai Gu, ?? ?? ?? De, Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ??, Long Yong Yong ??, Yu Shu Qu ??, Wu Hu Tu ??". The "Ying" sung in the left table appears exactly in the second tone row of the right table's harmonized section. The singing and harmonizing tones take words from the same source but belong to different tables. This is not a coincidence: the tones in the singing table and the tones harmonized in the harmonizing table are from the same set of ten tones, and the tones matched in the singing table and the harmonizing table also come from the same set of twelve tones. The difference is only in the direction of selection, which is vertical for the singing table and horizontal for the harmonizing table, so they often meet within the same section.

卜百丙必瑩瑩瑩瑩 月月月月心審禁○；五音 步白備鼻瑩瑩瑩瑩 二音 月月月月○○○十；二聲 普撲品匹瑩瑩瑩瑩 七聲 月月月月男坎欠□；旁排平瓶瑩瑩瑩瑩 月月月月□□□妾；東丹帝■瑩瑩瑩瑩 月月月月●●●●；六音 兌大弟■瑩瑩瑩瑩 二音 月月月月●●●●；二聲 土貪天■瑩瑩瑩瑩 八聲 月月月月●●●●；同覃田■瑩瑩瑩瑩 月月月月●●●●；乃你女■瑩瑩瑩瑩 月月月月●●●●；七音 內南年■瑩瑩瑩瑩 二音 月月月月●●●●；二聲 老冷呂■瑩瑩瑩瑩 九聲 月月月月●●●●；鹿犖離■瑩瑩瑩瑩 月月月月●●●●；走哉足■瑩瑩瑩瑩 月月月月●●●●；八音 自在匠■瑩瑩瑩瑩 二音 月月月月●●●●；二聲 草采七■瑩瑩瑩瑩 十聲 月月月月●●●●；曹才全■瑩瑩瑩瑩 月月月月●●●●。

The left table continues with the second tone's "ying" being sung in response, paired with the fifth tone "bu ba bi bing, bu bai bei bi, pu pu pin pi, pang pai ping ping," and the sixth tone "dong dan di zhi, dui da di zhi, tu tan tian zhi, tong tan tian zhi," and the seventh tone "nai ni nv zhi, nei nan nian zhi, lao leng lv zhi, lu luo li zhi," and the eighth tone "zou zai zu zhi, zi zai jiang zhi, cao cai qi zhi, cao cai quan zhi." The right table uses the second tone's "yue" and the seventh tone "xin shen jin zhi, zhi zhi zhi shi, nan kan qian zhi, zhi zhi zhi qie," and below this, the eighth, ninth, and thirteenth tones are all marked as "●●●●." It is important to note that after the seventh tone, the two lines should, according to other examples, be "nan kan qian zhi" and "zhi zhi zhi qie," but here they are mistakenly carved as "□"—"□" is the symbol used in the phonetic table for blank spaces, and its use in the tone rows is inconsistent with the general practice of the book, likely due to an error in the printing process. The current edition still retains the original form. This book has been repeatedly reprinted, and instances of mixed symbols and confused characters are not uncommon. When reading, one should only compare the writing style within the same row to determine the correct form, without altering the text based on incorrect editions, nor should such printing errors be regarded as having special meaning on the part of Shao Yong.

思三星■瑩瑩瑩瑩 眉眉眉眉多可個舌；九音 寺□象■瑩瑩瑩瑩 三音 眉眉眉眉禾火化八；二聲 □□□■瑩瑩瑩瑩 一聲 眉眉眉眉開宰愛○；□□□■瑩瑩瑩瑩 眉眉眉眉回每退○；■山手■瑩瑩瑩瑩 眉眉眉眉良兩向○；十音 ■士石■瑩瑩瑩瑩 三音 眉眉眉眉光廣況○；二聲 ■□耳■瑩瑩瑩瑩 二聲 眉眉眉眉丁井亙○；■□二■瑩瑩瑩瑩 眉眉眉眉兄永瑩○；■莊震■瑩瑩瑩瑩 眉眉眉眉千典旦○；十一音 ■乍□■瑩瑩瑩瑩 三音 眉眉眉眉元犬半○；二聲 ■叉赤■瑩瑩瑩瑩 三聲 眉眉眉眉臣引艮○；■崇辰■瑩瑩瑩瑩 眉眉眉眉君允巽○；■卓中■瑩瑩瑩瑩 眉眉眉眉刀早孝嶽；十二音 ■宅直■瑩瑩瑩瑩 三音 眉眉眉眉毛寶報霍；二聲 ■拆丑■瑩瑩瑩瑩 四聲 眉眉眉眉牛斗奏六；■茶呈■瑩瑩瑩瑩 眉眉眉眉○○○玉。

The left table uses the ninth tone "Si San Xing, Si Xiang Xiang, Xiang Xiang Xiang, Xiang Xiang Xiang" and the tenth tone "Shan Shou, Shi Shi Shi, Shi Er, Shi Er" and the eleventh tone "Zhuang Zhen, Zha Xie, Cha Chi, Chong Chen" and the twelfth tone "Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng" and then sings the second tone. The right table starts with "Shou Yin Zhu He Lu Si Zhi San" and the harmonized tone is the third tone "Mei" — taken from the third column of the fourth line of the third tone "Mu Mao Mei Min" — stone row, shou sound, heavy tone. "Mei Mei Mei Mei" starts from the first tone and harmonizes: first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui" second tone "Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying" third tone "Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun" fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, Yu Yu Yu Yu". Among the sixteen characters in the four lines of the third tone, the characters are most complete, compared with the ninth tone and below, which often have entire lines missing, this shows the uneven distribution of the twelve tones; this unevenness itself is the fact that Shao Yong wanted to record. The diagram does not arbitrarily add a single character in order to make it neat.

古甲九癸巽巽巽巽 眉眉眉眉妻子四日；一音 □□近揆巽巽巽巽 三音 眉眉眉眉衰○帥骨；三聲 坤巧丘棄巽巽巽巽 五聲 眉眉眉眉○○○德；□□乾蚪巽巽巽巽 眉眉眉眉龜水貴北；黑花香血巽巽巽巽 眉眉眉眉宮孔眾○；二音 黃華雄賢巽巽巽巽 三音 眉眉眉眉龍甬用○；三聲 五瓦仰□巽巽巽巽 六聲 眉眉眉眉魚鼠去○；吾牙月堯巽巽巽巽 眉眉眉眉烏虎兔○；安亞乙一巽巽巽巽 眉眉眉眉心審禁○；三音 □爻壬寅巽巽巽巽 三音 眉眉眉眉○○○十；三聲 母馬美米巽巽巽巽 七聲 眉眉眉眉男坎欠○；目貌眉民巽巽巽巽 眉眉眉眉○○○妾。

The left table establishes another section titled "Going Down in the Fourth Row of the Fourth Tone, Singing the Third Tone 'Xun'." The singing tone is changed to the third tone "Xun," taken from the third column of the third row "Jun Yun Xun ○," which corresponds to the position of Chen, the third tone, and the closing mouth sound. "Xun Xun Xun Xun" is sung in harmony with the first tone "Gu Jia Ji Gui, □□ Near Kuí, Kun Qiao Qiu Qi, □□ Qian Tu," the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right table continues with the third tone's "Mei" and the fifth tone "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○," and the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie." The last line of the left table, "Mu Mao Mei Min," is exactly the same as the right table's harmonizing "Mei," indicating that the two tables meet here. This shows that the singer and the harmonizer originate from the same overall sound chart.

夫法□飛巽巽巽巽 眉眉眉眉●●●●；四音 父凡□吠巽巽巽巽 三音 眉眉眉眉●●●●；三聲 武晚□尾巽巽巽巽 八聲 眉眉眉眉●●●●；文萬□未巽巽巽巽 眉眉眉眉●●●●；卜百丙必巽巽巽巽 眉眉眉眉●●●●；五音 步白備鼻巽巽巽巽 三音 眉眉眉眉●●●●；三聲 普撲品匹巽巽巽巽 九聲 眉眉眉眉●●●●；旁排平瓶巽巽巽巽 眉眉眉眉●●●●；東丹帝■巽巽巽巽 眉眉眉眉●●●●；六音 兌大弟■巽巽巽巽 三音 眉眉眉眉●●●●；三聲 土貪天■巽巽巽巽 十聲 眉眉眉眉●●●●；同覃田■巽巽巽巽 眉眉眉眉●●●●。

The left table continues with the third tone's "Xun" (Wind), paired with the fourth tone "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," and the fifth tone "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping." The sixth tone is "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." In the middle column of the four lines of the fourth tone, all are "□," indicating a phonetic position with sound but no character. The final character "■" in the last column of the sixth tone represents a closed mouth sound with no phoneme. The twelve lines on the right table are the third tone "Mei" harmonized with the eighth, ninth, and tenth tones, all marked as "●●●●." Whenever a harmony table is pushed to the eighth tone and beyond, it must be entirely black because among the ten tones, only the first seven actually have sounds, while the last three are added to complete the ten positions. The sound must be full of ten tones, and the phoneme must be full of twelve, forming the structure of the entire diagram. Sounds belong to heaven and use the ten heavenly stems, while phonemes belong to earth and use the twelve earthly branches. The presence or absence of characters and sounds are all arranged within this framework.

乃你女■巽巽巽巽 □□□□多可個舌；七音 內南年■巽巽巽巽 四音 □□□□禾火化八；三聲 老冷呂■巽巽巽巽 一聲 □□□□開宰愛○；鹿犖離■巽巽巽巽 □□□□回每退○；走哉足■巽巽巽巽 □□□□良兩向○；八音 自在匠■巽巽巽巽 四音 □□□□光廣況○；三聲 草采七■巽巽巽巽 二聲 □□□□丁井亙○；曹才全■巽巽巽巽 □□□□兄永瑩○；思三星■巽巽巽巽 □□□□千典旦○；九音 寺□象■巽巽巽巽 四音 □□□□元犬半○；三聲 □□□■巽巽巽巽 三聲 □□□□臣引艮○；□□□■巽巽巽巽 □□□□君允巽○。

The left table uses the third tone "Xun" paired with the seventh tone "Nai Ni Nü, Nei Nan Nian, Lao Leng Lü, Lu Luo Li," the eighth tone "Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan," and the ninth tone "Si San Xing, Si Fang Xiang, Fang Fang Fang, Fang Fang Fang." The right table starts with "Shou Yin Zhu He Lu Si Zi Si," and according to the sequence, it should take the fourth tone, fourth line "Wen Wan Fang Wei" in the third column as the harmonizing tone. However, that column is marked "□," meaning there is no character to be used, so the entire table's harmonizing tone is written as "□□□□," still four characters in a row to match the four levels of tone. It first harmonizes with the first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O," then with the second tone "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O," and third tone "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O." The last line of the left table, "Jun Yun Xun O," is exactly the singing tone "Xun," and the singer and the tone being harmonized meet within the same section.

■山手■巽巽巽巽 □□□□刀早孝嶽；十音 ■士石■巽巽巽巽 四音 □□□□毛寶報霍；三聲 ■□耳■巽巽巽巽 四聲 □□□□牛斗奏六；■□二■巽巽巽巽 □□□□○○○玉；■莊震■巽巽巽巽 □□□□妻子四日；十一音 ■乍□■巽巽巽巽 四音 □□□□衰○帥骨；三聲 ■叉赤■巽巽巽巽 五聲 □□□□○○○德；■崇辰■巽巽巽巽 □□□□龜水貴北；■卓中■巽巽巽巽 □□□□宮孔眾○；十二音 ■宅直■巽巽巽巽 四音 □□□□龍甬用○；三聲 ■拆丑■巽巽巽巽 六聲 □□□□魚鼠去○；■茶呈■巽巽巽巽 □□□□烏虎兔○。

The left table uses the third tone with the sounds "shan shou", "shi shi", "er er", and "er er", and the third tone "zhang zhen", "zha xia", "cha cha", "chong chen", and the third tone "zhuo zhong", "zhai zhi", "che chou", "cha cheng", singing out all the third tone entries. These three categories of initial consonants all start with the same character, indicating that they have no sound in the opening position, and the characters that can be used are concentrated in the middle and closing positions. The right table continues with the fourth tone group of sound without characters, and the fourth tone "dao zao xiao yue, mao bao bao huo, niu dou zhou liu, ??? yu", the fifth tone "zi qi si ri, shuai ??? shuai gu, ??? ??? de, gui shui gui bei", the sixth tone "gong kong zhong ???, long yong yong ???, yu shu qu ???, wu hu tu ???". The sound is "□", but the sounds combined with it have characters, indicating that Shao Yong's table is based on matching sound positions and tone positions, not on whether there are characters or not.

古甲九癸○○○○ □□□□心審禁○；一音 □□近揆○○○○ 四音 □□□□○○○十；四聲 坤巧丘棄○○○○ 七聲 □□□□男坎欠○；□□乾蚪○○○○ □□□□○○○妾；黑花香血○○○○ □□□□●●●●；二音 黃華雄賢○○○○ 四音 □□□□●●●●；四聲 五瓦仰□○○○○ 八聲 □□□□●●●●；吾牙月堯□□□□ □□□□●●●●；安亞乙一○○○○ □□□□●●●●；三音 □爻壬寅○○○○ 四音 □□□□●●●●；四聲 母馬美米○○○○ 九聲 □□□□●●●●；目貌眉民○○○○ □□□□●●●●；夫法□飛○○○○ □□□□●●●●；四音 父凡□吠○○○○ 四音 □□□□●●●●；四聲 武晚□尾○○○○ 十聲 □□□□●●●●；文萬□未○○○○ □□□□●●●●。

The left table establishes another entry titled "Going Up in the Fourth Tone of the Fourth Row of the Four Categories." The singing tone for this table should take the fourth tone and fourth row "○○○Jade," specifically the third section, which is "○," meaning there is a tone position but no character, so the entire passage is written as "○○○○." It is sung in sequence with the first tone "Ancient Jia Ninth Gui, □□ Near Kuí, Kūn Qiao Qiū Qi, □□ Qian Tu," the second tone "Black Flower Fragrant Blood, Yellow Flower Strong Virtue, Five Wa Yàng □, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mother Ma Mei Mi, Eye Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." Among these, the singing tone for the line "Wu Ya Yue Yao" is originally carved as "□□□□," which does not match the full table's "○○○○." The sound table should not use "□," so it is likely a mistake by the carver who placed the tone table's mark. The right table combines the fourth tone's table with no characters: first it harmonizes with the seventh tone "Heart Shen Jin ○, ○○○ Ten, Male Kan Qian ○, ○○○妾," and below it, the eighth, ninth, and thirteenth tones are all "●●●●." In this text, whenever the singing tone takes "○," such as in the fourth and seventh tones, the entire passage is filled with circles; whenever it takes "●," such as in the eighth, ninth, and tenth tones, the entire passage is filled with black dots. Although the table is empty, the positions are still valid, which is the fixed format of this diagram.

卜百丙必○○○○ 平平平平多可個舌；五音 步白備鼻○○○○ 五音 平平平平禾火化八；四聲 普撲品匹○○○○ 一聲 平平平平開宰愛○；旁排平瓶○○○○ 平平平平回每退○；東丹帝■○○○○ 平平平平良兩向○；六音 兌大弟■○○○○ 五音 平平平平光廣況○；四聲 土貪天■○○○○ 二聲 平平平平丁井亙○；同覃田■○○○○ 平平平平兄永瑩○；乃你女■○○○○ 平平平平千典旦○；七音 內南年■○○○○ 五音 平平平平元犬半○；四聲 老冷呂■○○○○ 三聲 平平平平臣引艮○；鹿犖離■○○○○ 平平平平君允巽○；走哉足■○○○○ 平平平平刀早孝嶽；八音 自在匠■○○○○ 五音 平平平平毛寶報霍；四聲 草采七■○○○○ 四聲 平平平平牛斗奏六；曹才全■○○○○ 平平平平○○○玉。

The left table continues to use the group of four empty circles 「○○○○」 with the fourth tone as the chant, paired with the fifth tone 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」, the sixth tone 「Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■」, the seventh tone 「Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■」, and the eighth tone 「Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■」. The right table starts with 「Shou Yin Zhu He Lu Si Wu Wu」, and the harmonizing tone is the 「Ping」 from the fifth tone's fourth line 「Pang Pai Ping Ping」, third character, which includes stone tone, ending tone, and浊 sound; this line has all four characters complete, which is rare among the twelve tones. 「Ping Ping Ping Ping」 begins with the first tone and goes through the first tone 「Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○」, the second tone 「Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○」, the third tone 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」, and the fourth tone 「Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu」. The fifth tone has all four characters complete, which is the most complete category among the twelve tones, so this harmonizing table has actual characters to match from beginning to end.

思三星■○○○○ 平平平平妻子四日；九音 寺□象■○○○○ 五音 平平平平衰○帥骨；四聲 □□□■○○○○ 五聲 平平平平○○○德；□□□■○○○○ 平平平平龜水貴北；■山手■○○○○ 平平平平宮孔眾○；十音 ■士石■○○○○ 五音 平平平平龍甬用○；四聲 ■□耳■○○○○ 六聲 平平平平魚鼠去○；■□二■○○○○ 平平平平烏虎兔○；■莊震■○○○○ 平平平平心審禁○；十一音 ■乍□■○○○○ 五音 平平平平○○○十；四聲 ■叉赤■○○○○ 七聲 平平平平男坎欠○；■崇辰■○○○○ 平平平平○○○妾；■卓中■○○○○ 平平平平●●●●；十二音 ■宅直■○○○○ 五音 平平平平●●●●；四聲 ■拆丑■○○○○ 八聲 平平平平●●●●；■茶呈■○○○○ 平平平平●●●●。

The left table uses the ninth tone with "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone with "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", the eleventh tone with "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■", and the twelfth tone with "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", and finishes with the fourth tone. The right table uses the fifth tone's "Ping" and the fifth tone "Zi Qi Si Ri, Shuai ■ Shuai Gu, ■ ■ ■ De, Gui Shui Gui Bei", the sixth tone "Gong Kong Zhong ■, Long Yong Yong ■, Yu Shu Qu ■, Wu Hu Tu ■", the seventh tone "Xin Shen Jin ■, ■ ■ ■ Shi, Nan Kan Qian ■, ■ ■ ■ Qie", and then turns into four lines "●●●●" for the eighth tone. In this piece, the left side's chanting is entirely made up of "○", while the right side's accompanying sounds gradually transition from having characters to being silent. The nature of the blank spaces on both sides differs: one is missing characters, and the other is lost sound. Missing characters may be recoverable in the future, but lost sounds can never be restored. Shao Yong established two different symbols to distinguish between "recoverable" and "irrecoverable" information, so that those reading the diagram would not mistake the absence of characters for silence, nor the silence for an accidental omission of characters.

古甲九癸貴貴貴貴 平平平平●●●●；一音 □□近揆貴貴貴貴 五音 平平平平●●●●；五聲 坤巧丘棄貴貴貴貴 九聲 平平平平●●●●；□□乾蚪貴貴貴貴 平平平平●●●●；黑花香血貴貴貴貴 平平平平●●●●；二音 黃華雄賢貴貴貴貴 五音 平平平平●●●●；五聲 五瓦仰□貴貴貴貴 十聲 平平平平●●●●；吾牙月堯貴貴貴貴 平平平平●●●●。

The left table establishes another entry titled "Going Up in the Fifth Tone, 'Gui' from the Fifth Tone's Fourth Row." The singing tone is "Gui," which is the fifth tone, taken from the third section of the fourth row "Gui Water North" in the fifth tone. This row has all four characters, while the third row of the same tone "○○○De" only has one character in the entering tone, forming a contrast. This shows the difference in the number of open and closed syllables. "Gui Gui Gui Gui" first sings with the first tone "Gu Jia Ji Gui, □□ Near Kuí, Kun Qiao Qiu Qi, □□ Qian Tu," and the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The right table ends with the fifth tone's harmonizing sound, and the eight rows corresponding to the ninth and tenth tones are all "●●●●." Since there are no tone positions, it is naturally impossible to harmonize with the tones.

安亞乙一貴貴貴貴 田田田田多可個舌；三音 □爻壬寅貴貴貴貴 六音 田田田田禾火化八；五聲 母馬美米貴貴貴貴 一聲 田田田田開宰愛○；目貌眉民貴貴貴貴 田田田田回每退○；夫法□飛貴貴貴貴 田田田田良兩向○；四音 父凡□吠貴貴貴貴 六音 田田田田光廣況○；五聲 武晚□尾貴貴貴貴 二聲 田田田田丁井亙○；文萬□未貴貴貴貴 田田田田兄永瑩○；卜百丙必貴貴貴貴 田田田田千典旦○；五音 步白備鼻貴貴貴貴 六音 田田田田元犬半○；五聲 普撲品匹貴貴貴貴 三聲 田田田田臣引艮○；旁排平瓶貴貴貴貴 田田田田君允巽○；東丹帝■貴貴貴貴 田田田田刀早孝嶽；六音 兌大弟■貴貴貴貴 六音 田田田田毛寶報霍。

The left table continues with the fifth tone's "guì," paired with the third tone "ān yà yǐ yī, □ yáo rén yín, mǔ mǎ měi mǐ, mù mào méi mín," the fourth tone "fū fǎ □ fēi, fù fán □ fèi, wǔ wǎn □ wěi, wén wàn □ wèi," the fifth tone "bǔ bǎi bǐng bì, bù bái bèi bí, pǔ pū pǐn pǐ, páng pái píng píng," and the first two lines of the sixth tone "dōng dān dì ■, duì dà dì ■." The right table starts with "shōu yīn zhuó hé lǜ sì zhī liù," and the harmonic tone is "tián" from the fourth line of the six tones "tóng tán tián ■," third section, stone row, shōu yīn, zhuó shēng; the last section's "■" indicates that the sixth tone has no sound in the closed mouth position, so only three characters can be cited. "Tián tián tián tián" is paired with the first tone "duō kě gè shé, hé huǒ huà bā, kāi zǎi ài ○, huí měi tuì ○," the second tone "liáng liǎng xiàng ○, guāng guǎng kuàng ○, dīng jǐng gèng ○, xiōng yǒng yíng ○," the third tone "qiān diǎn dàn ○, yuán quǎn bàn ○, chén yǐn gèn ○, jūn yǔn xùn ○," followed by the fourth tone "dāo zǎo xiào yuè, máo bǎo bào huò." The last two lines of the fourth tone must wait until the next section to be fully paired; in the diagram, each four lines form a group, and the interruption here falls within a group.

五聲 土貪天■貴貴貴貴 四聲 田田田田牛斗奏六；同覃田■貴貴貴貴 田田田田○○○玉；乃你女■貴貴貴貴 田田田田妻子四日；七音 內南年■貴貴貴貴 六音 田田田田衰○帥骨；五聲 老冷呂■貴貴貴貴 五聲 田田田田○○○德；鹿犖離■貴貴貴貴 田田田田龜水貴北；走哉足■貴貴貴貴 田田田田宮孔眾○；八音 自在匠■貴貴貴貴 六音 田田田田龍甬用○；五聲 草采七■貴貴貴貴 六聲 田田田田魚鼠去○；曹才全■貴貴貴貴 田田田田烏虎兔○；思三星■貴貴貴貴 田田田田心審禁○；九音 寺□象■貴貴貴貴 六音 田田田田○○○十；五聲 □□□■貴貴貴貴 七聲 田田田田男坎欠○。

The left table continues with the sixth tone "tu tan tian ", "tong tan tian ", then pairs with the seventh tone "zou zai zu ", "zi zai jiang ", "cao cao qi ", "cao cai quan ", and the ninth tone "si san xing ", "si xiang xiang ", "xiong xiong xiong ". The right table uses the sixth tone "tian " and the fourth tone "niu dou zou liu ", "xiao xiao xiao yu ", the fifth tone "zi qi si ri ", "shuai xiao shuai gu ", "xiao xiao xiao de ", "gui shui gui bei ", the sixth tone "gong kong zhong ", "long yong yong ", "yu shu qu ", "wu hu tu ", the seventh tone "xin shen jin ", "xiao xiao xiao shi ", "nan kan qian ". The "gui " in the left table corresponds to the fifth tone "gui shui gui bei " in the right table; and the "tong tan tian " in the right table is also a initial sound in the left table. The singing table and the harmonizing table connect with each other, using the same set of characters. Such mutual references appear frequently in the diagram: any character in the harmonizing table must be one of the initial sounds in a line of the singing table; and any character in the singing table must be one of the final sounds in a line of the harmonizing table. Both tables are based on the same overall sound diagram, but they are divided into singing and harmonizing paths due to different directions of use.

□□□■貴貴貴貴 田田田田○○○妾；■山手■貴貴貴貴 田田田田●●●●；十音 ■士石■貴貴貴貴 六音 田田田田●●●●；五聲 ■□耳■貴貴貴貴 八聲 田田田田●●●●；■□二■貴貴貴貴 田田田田●●●●；■莊震■貴貴貴貴 田田田田●●●●；十一音 ■乍□■貴貴貴貴 六音 田田田田●●●●；五聲 ■叉赤■貴貴貴貴 九聲 田田田田●●●●；■崇辰■貴貴貴貴 田田田田●●●●；■卓中■貴貴貴貴 田田田田●●●●；十二音 ■宅直■貴貴貴貴 六音 田田田田●●●●；五聲 ■拆丑■貴貴貴貴 十聲 田田田田●●●●；■茶呈■貴貴貴貴 田田田田●●●●。

The left table ends the ninth tone with three "□" in the last row, which represent the three positions of opening, developing, and closing, each having sound but no characters. The first column of the tenth tone, marked with "■", is the opening position with no sound, and these two should not be confused. The right table uses the character "田" in the sixth tone and "○○○妾" at the end of the seventh tone. The eighth, ninth, and thirteenth tones each have twelve rows marked with "●●●●". The phrase "收音浊和律四之六" concludes here. Each harmony chart has forty rows, with the first twenty-eight rows corresponding to the first seven tones, which still have characters. The remaining twelve rows correspond to the last three tones and are entirely blank. Therefore, the lower third of each harmony chart appears as a solid black block, which is due to the diagram's design, not because the original text is blurred.

古甲九癸兔兔兔兔 離離離離多可個舌；一音 □□近揆兔兔兔兔 七音 離離離離禾火化八；六聲 坤巧丘棄兔兔兔兔 一聲 離離離離開宰愛○；□□乾蚪兔兔兔兔 離離離離回每退○；黑花香血兔兔兔兔 離離離離良兩向○；二音 黃華雄賢兔兔兔兔 七音 離離離離光廣況○；六聲 五瓦仰□兔兔兔兔 二聲 離離離離丁井亙○；吾牙月堯兔兔兔兔 離離離離兄永瑩○；安亞乙一兔兔兔兔 離離離離千典旦○；三音 □爻壬寅兔兔兔兔 七音 離離離離元犬半○；六聲 母馬美米兔兔兔兔 三聲 離離離離臣引艮○；目貌眉民兔兔兔兔 離離離離君允巽○；夫法□飛兔兔兔兔 離離離離刀早孝嶽；四音 父凡□吠兔兔兔兔 七音 離離離離毛寶報霍。

Two new tables begin simultaneously. On the left, it reads 「Going down in tone, harmonizing with the fourth line of the sixth tone, 'Lu Si'」, with the singing tone being the sixth tone's 'Tu' — taken from the third column of the fourth line of the sixth tone's 'Wu Hu Tu ○', which is the Chen position, going down in tone, and a closed mouth sound; this line only has the entering tone marked as '○', while the other three positions have characters. 'Tu Tu Tu Tu' sings with the first tone 'Gu Jia Ji Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu', the second tone 'Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao', the third tone 'An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min', and the fourth tone 'Fu Fa □ Fei, Fu Fan □ Fei'. On the right, it reads 「Ending in tone, harmonizing with the fourth line of the seventh tone, 'Li'」, with the harmonizing tone being the seventh tone's 'Li' — taken from the third column of the fourth line of the seventh tone's 'Lu Luo Li ■', which is the Shi position, ending in tone, and a heavy sound. 'Li Li Li Li' harmonizes with the first tone 'Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○', the second tone 'Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○', the third tone 'Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○', and then connects with the fourth tone's 'Dao Zao Xiao Yue, Mao Bao Bao Huo'.

六聲 武晚□尾兔兔兔兔 四聲 離離離離牛斗奏六；文萬□未免兔兔兔 離離離離○○○玉；卜百丙必兔兔兔兔 離離離離妻子四日；五音 步白備鼻兔兔兔兔 七音 離離離離衰○帥骨；六聲 普撲品匹兔兔兔兔 五聲 離離離離○○○德；旁排平瓶兔兔兔兔 離離離離龜水貴北；東丹帝■兔兔兔兔 離離離離宮孔眾○；六音 兌大弟■兔兔兔兔 七音 離離離離龍甬用○；六聲 土貪天■兔兔兔兔 六聲 離離離離魚鼠去○；同覃田■兔兔兔兔 離離離離烏虎兔○；乃你女■兔兔兔兔 離離離離心審禁○；七音 內南年■兔兔兔兔 七音 離離離離○○○十；六聲 老冷呂■兔兔兔兔 七聲 離離離離男坎欠○。

The left table connects to the sixth tone's "rabbit" by completing the fourth tone's "Wu Wan □ Wei" and pairing it with the fifth tone's "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," the sixth tone's "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■," and the seventh tone's "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■." Among these, the line "Wen Wan □ Wei Mian Tu Tu Tu" has the original first character of the four-character base text carved as "Mian," which does not match the consistent use of "Tu" in the surrounding context. This is likely an error caused by similar characters, and the original form is preserved. The right table includes the seventh tone's "Li" and the fourth tone's "Niu Dou Zou Liu, ○○○ Yu," the fifth tone's "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," the sixth tone's "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○," and the seventh tone's "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○." The source of the left table's "Tu" (rabbit) in the singing, "Wu Hu Tu ○," is exactly found within this section of the right table.

鹿犖離■兔兔兔兔 離離離離○○○妾；走哉足■兔兔兔兔 離離離離●●●●；八音 自在匠■兔兔兔兔 七音 離離離離●●●●；六聲 草采七■兔兔兔兔 八聲 離離離離●●●●；曹才全■兔兔兔兔 離離離離●●●●；思三星■兔兔兔兔 離離離離●●●●；九音 寺□象■兔兔兔兔 七音 離離離離●●●●；六聲 □□□■兔兔兔兔 九聲 離離離離●●●●；□□□■兔兔兔兔 離離離離●●●●；■山手■兔兔兔兔 離離離離●●●●；十音 ■士石■兔兔兔兔 七音 離離離離●●●●；六聲 ■□耳■兔兔兔兔 十聲 離離離離●●●●；■□二■兔兔兔兔 離離離離●●●●。

The left table's seventh tone's last line "Lu Luo Li ■" — this line is exactly the source of the right table's tone "Li" — continues to harmonize with "Tuzi" (rabbit). Below it are the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■". The right table starts with the seventh tone's "Li" and the last line of the seventh tone "○○○ Qie". Then the eighth, ninth, and tenth tones each have twelve lines of "●●●●". Looking at the same line from both sides: on the left, the initial consonant has characters and the sung sound has characters, while on the right, the harmonized tone has characters but the corresponding sound is entirely empty. In one diagram, both situations are presented side by side, clearly showing Shao Yong's method of arranging by position rather than by character. If only the cells with characters are counted, the number of sounds would be uncertain; only by using position as the standard can the number of sounds used by Heaven be 112 and the number of tones used by Earth be 152, making the multiplicative numbers at the end of the text meaningful.

■莊震■兔兔兔兔 全全全全多可個舌；十一音 ■乍□■兔兔兔兔 八音 全全全全禾火化八；六聲 ■叉赤■兔兔兔兔 一聲 全全全全開宰愛○；■祟辰■兔兔兔兔 全全全全回每退○；■卓中■兔兔兔兔 全全全全良兩向○；十二音 ■宅直■兔兔兔兔 八音 全全全全光廣況○；六聲 ■拆丑■兔兔兔兔 二聲 全全全全丁井亙○；■茶呈■兔兔兔兔 全全全全兄永瑩○。

The left table concludes the eleventh tone with "Zhuang Zhen, Zha Zuo, Cha Chi, Sou Chen" and the twelfth tone with "Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng," then finishes with the sixth tone "Qu Sheng Xi Chang Lv Si Zhi Liu." The fourth line of the eleventh tone elsewhere reads "Chong Chen," but here it is carved as "Sou Chen," where "Sou" is a variant form of "Chong." The original text is preserved as is. The right table begins with "Shou Yin Zhu He Lv Si Zhi Ba," and the harmonized tone is the eighth tone "Quan," taken from the fourth line of the eight tones "Cao Cai Quan" in the third column. "Quan Quan Quan Quan" first harmonizes with the first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui," then with the second tone "Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying."

古甲九癸○○○○ 全全全全千典旦○；一音 □□近揆○○○○ 八音 全全全全元犬半○；七聲 坤巧丘棄○○○○ 三聲 全全全全臣引艮○；□□乾蚪○○○○ 全全全全君允巽○；黑花香血○○○○ 全全全全刀早孝嶽；二音 黃華雄賢○○○○ 八音 全全全全毛寶報霍；七聲 五瓦仰□○○○○ 四聲 全全全全牛斗奏六；吾牙月堯○○○○ 全全全全○○○玉；安亞乙一○○○○ 全全全全妻子四日；三音 □爻壬寅○○○○ 八音 全全全全衰○帥骨；七聲 母馬美米○○○○ 五聲 全全全全○○○德；目貌眉民○○○○ 全全全全龜水貴北；夫法□飛○○○○ 全全全全宮孔眾○；四音 父凡□吠○○○○ 八音 全全全全龍甬用○；七聲 武晚□尾○○○○ 六聲 全全全全魚鼠去○；文萬□未○○○○ 全全全全烏虎兔○。

The left table establishes another entry titled "Descending Tone Harmonized Singing of the Fourth Row of the Seventh Tone." The singing for this section should take the seventh tone, fourth row "○○○妾," and the third section, which is exactly "○," indicating that the tone position exists but the character cannot be identified, so the entire passage is written as "○○○○." It harmonizes with the first tone "Ancient Jia Ninth Gui, □□ near Kuí, Kūn Qiao Qiudi, □□ Qian Tu," the second tone "Black Flower Fragrant Blood, Yellow Flower Strong Virtuous, Five Wa Y仰□, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Renyin, Mother Ma Mei Mi, Eye Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." The right table continues the eighth tone "Full," and the third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○," the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," the fifth tone "Spouse Wife Four Days, Shuai ○ Shuai Gu, ○○○ De,Gui Shui Gui Bei," the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." The eighth tone "Zou Zai Zu ■, Zizai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■" has the last character of each row uniformly marked as "■," indicating that these types of initial consonants have no sound in the closed mouth position; the final character "Quan" in the closing tone is the harmonic sound used in this table.

卜百丙必○○○○ 全全全全心審禁○；五音 步白備鼻○○○○ 八音 全全全全○○○十；七聲 普撲品匹○○○○ 七聲 全全全全男坎欠○；旁排平瓶○○○○ 全全全全○○○妾；東丹帝■○○○○ 全全全全●●●●；六音 兌大弟■○○○○ 八音 全全全全●●●●；七聲 土貪天■○○○○ 八聲 全全全全●●●●；同覃田■○○○○ 全全全全●●●●；乃你女■○○○○ 全全全全●●●●；七音 內南年■○○○○ 八音 全全全全●●●●；七聲 老冷呂■○○○○ 九聲 全全全全●●●●；鹿犖離■○○○○ 全全全全●●●●；走哉足■○○○○ 全全全全●●●●；八音 自在匠■○○○○ 八音 全全全全●●●●；七聲 草采七■○○○○ 十聲 全全全全●●●●；曹才全■○○○○ 全全全全●●●●。

The left table still uses the group of four empty characters 「○○○○」 in the seventh tone as the chant, paired with the fifth tone 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」, the sixth tone 「Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■」, the seventh tone 「Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■」, and the eighth tone 「Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■」. The right table uses the character 「Quan」 from the eighth tone and the seventh tone 「Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie」—the chant from the left table is directly taken from the last line 「○○○ Qie」 of the seventh tone, taking the falling tone. Below that, the eighth, ninth, and thirteenth tones are all marked as 「●●●●」. The line 「Cao Cai Quan ■」 at the end of the left table is exactly the same as the line in the right table that corresponds to the harmonizing sound 「Quan」. In this section, the chant table and the harmonizing table exactly complement each other. The character 「Quan」 is merely one character in the fourth line of the eighth tone in the chant table, but in the harmonizing table it becomes the main harmonizing tone of the entire table. The same character changes its function depending on its position, which is the difference between the chant and harmonizing diagram and ordinary rhyme books. Within one diagram, the singer and the harmonizer take turns being the main and the secondary, so when reading, one must first determine which column is the chant and which is the harmonizing to avoid confusion.

思三星■○○○○ □□□□多可個舌；九音 寺□象■○○○○ 九音 □□□□禾火化八；七聲 □□□■○○○○ 一聲 □□□□開宰愛○；□□□■○○○○ □□□□回每退○；■山手■○○○○ □□□□良兩向○；十音 ■士石■○○○○ 九音 □□□□光廣況○；七聲 ■□耳■○○○○ 二聲 □□□□丁井亙○；■□二■○○○○ □□□□兄永瑩○；■莊震■○○○○ □□□□千典旦○；十一音 ■乍□■○○○○ 九音 □□□□元犬半○；七聲 ■叉赤■○○○○ 三聲 □□□□臣引艮○；■崇辰■○○○○ □□□□君允巽○；■卓中■○○○○ □□□□刀早孝嶽；十二音 ■宅直■○○○○ 九音 □□□□毛寶報霍；七聲 ■拆丑■○○○○ 四聲 □□□□牛斗奏六；■茶呈■○○○○ □□□□○○○玉。

The left table uses the ninth tone with the lines 「Si San Xing, Si Xiang Xiang, □□□■, □□□■」, the tenth tone 「■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■」, the eleventh tone 「■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■」, and the twelfth tone 「■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■」. After singing the seventh tone, which is the blank 「○○○○」, the piece ends with 「Qu Sheng Xi Chang Lv Si Zhi Qi」. The right table begins with 「Shou Yin Zhu He Lv Si Zhi Jiu」. According to the sequence, the harmonizing tone for this sheet should be taken from the fourth line of the ninth tone. However, the third and fourth lines of the ninth tone originally read 「□□□■」, with only one tone and no characters, so the harmonizing tone can only be written as 「□□□□」. It starts with the first tone: first tone 「Da Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○」, second tone 「Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○」, third tone 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」, fourth tone 「Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu」. The fourth line of the ninth tone still has characters such as 「Si, San, Xing」 and 「Si, Xiang」 in the first two lines, but the last two lines are entirely blank, showing a clear decrease in the number of characters.

古甲九癸●●●● □□□□妻子四日；一音 □□近揆●●●● 九音 □□□□衰○帥骨；八聲 坤巧丘棄●●●● 五聲 □□□□○○○德；□□乾蚪●●●● □□□□龜水貴北；黑花香血●●●● □□□□宮孔眾○；二音 黃華雄賢●●●● 九音 □□□□龍甬用○；八聲 五瓦仰□●●●● 六聲 □□□□魚鼠去○；吾牙月堯●●●● □□□□烏虎兔○；安亞乙一●●●● □□□□心審禁○；三音 □爻壬寅●●●● 九音 □□□□○○○十；八聲 母馬美米●●●● 七聲 □□□□男坎欠○；目貌眉民●●●● □□□□○○○妾。

On the left table, another entry is established as 「Going Up Tone with the sound of the fourth row of the eighth tone」. The eighth tone is originally a category with a sound but no position, and all four rows are marked with 「●」, so the sound is written as 「●●●●」. It differs from the tables for the fourth tone and seventh tone, which are marked with 「○○○○」—「○」indicates that the sound exists but the character is missing, while 「●」indicates that the sound is not established. Even so, it still follows the format and is paired with the first tone 「Ancient Jia ninth Gui, □□ near揆, Kun巧 Qu丘 Qi, □□ Qian蚪」, the second tone 「Black flower fragrance blood, Yellow flower strong virtue, Wu Wa仰 □, Wu Ya Yue Yao」, and the third tone 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」. On the right table, it continues with the group of sound-only entries for the ninth tone, harmonizing with the fifth tone 「Child wife four days, Decline ○ general bone, ○○○ virtue, Turtle water precious north」, the sixth tone 「Palace Kong Zhong ○, Dragon Yong Use ○, Fish Mouse Go ○, Wu Hu Tu ○」, and the seventh tone 「Heart Shen Jin ○, ○○○ ten, Male Kan Qian ○, ○○○妾」.

夫法□飛●●●● □□□□●●●●；四音 父凡□吠●●●● 九音 □□□□●●●●；八聲 武晚□尾●●●● 八聲 □□□□●●●●；文萬□未●●●● □□□□●●●●；卜百丙必●●●● □□□□●●●●；五音 步白備鼻●●●● 九音 □□□□●●●●；八聲 普撲品匹●●●● 九聲 □□□□●●●●；旁排平瓶●●●● □□□□●●●●；東丹帝■●●●● □□□□●●●●；六音 兌大弟■●●●● 九音 □□□□●●●●；八聲 土貪天■●●●● 十聲 □□□□●●●●；同覃田■●●●● □□□□●●●●。

The left table pairs the eighth tone with the fourth tone, using empty singing, as in "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," and the fifth tone, as in "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." The sixth tone is "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The twelve lines on the right table are the ninth tone's blank table harmonized with the eighth, ninth, and tenth tones. On one side of the tone positions, it writes "□," and on the other side, it writes "●." The entire table has no actual characters. In such fully filled yet empty sections, the "Huang Ji Jing Shi" does not delete or omit anything. The presence or absence of sound belongs to heaven, the presence or absence of tone belongs to earth, and the presence or absence of characters belongs to people. Each of the three has its own boundary, and the diagram does not omit any single cell to clearly present the boundaries of heaven, earth, and humanity. Therefore, when reading the diagram, areas with many "●" indicate the boundary of heaven, areas with many "■" indicate the boundary of earth, and areas with many "○" and "□" indicate the boundary of people. The interweaving of these three boundaries forms the density and sparsity of the entire diagram.

乃你女■●●●● 二二二二多可個舌；七音 內南年■●●●● 十音 二二二二禾火化八；八聲 老冷呂■●●●● 一聲 二二二二開宰愛○；鹿犖離■●●●● 二二二二回每退○；走哉足■●●●● 二二二二良兩向○；八音 自在匠■●●●● 十音 二二二二光廣況○；八聲 草采七■●●●● 二聲 二二二二丁井亙○；曹才全■●●●● 二二二二兄永瑩○；思三星■●●●● 二二二二千典旦○；九音 寺□象■●●●● 十音 二二二二元犬半○；八聲 □□□■●●●● 三聲 二二二二臣引艮○；□□□■●●●● 二二二二君允巽○。

The left table still uses the eighth tone's "●●●●" as the chant, paired with the seventh tone "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■", and the eighth tone "Zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■". The ninth tone is "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■". The right table starts with "Shou yin zhu he lu si zhi shi", and the harmonic tone is the tenth tone's "Er" — taken from the fourth line of the ten tones "■□ er ■" in the third column, which includes stone row, shou yin, and zhu sheng. This line starts and ends with "■", and the second column is "□", indicating that the tenth tone can only produce the character "er" in the shou yin position. "Er er er er" corresponds to the first tone "Du ke ge she, he hu hua ba, kai zai ai ○, hui mei tui ○", the second tone "Liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○", and the third tone "Qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○".

■山手■●●●● 二二二二刀早孝嶽；十音 ■士石■●●●● 十音 二二二二毛寶報霍；八聲 ■□耳■●●●● 四聲 二二二二牛斗奏六；■□二■●●●● 二二二二○○○玉；■莊震■●●●● 二二二二妻子四日；十一音 ■乍□■●●●● 十音 二二二二衰○帥骨；八聲 ■叉赤■●●●● 五聲 二二二二○○○德；■崇辰■●●●● 二二二二龜水貴北；■卓中■●●●● 二二二二宮孔眾○；十二音 ■宅直■●●●● 十音 二二二二龍甬用○；八聲 ■拆丑■●●●● 六聲 二二二二魚鼠去○；■茶呈■●●●● 二二二二烏虎兔○。

The left table uses the tenth tone "■shan3 shou3 ■, ■shi3 shi4 ■, ■□er4 ■, ■□er4 ■", the eleventh tone "■zhuang1 zhen3 ■, ■zha4 □ ■, ■cha1 chi2 ■, ■chong2 chen2 ■", and the twelfth tone "■zhuo2 zhong1 ■, ■zhai2 zhi2 ■, ■che2 chou4 ■, ■cha1 cheng2 ■". Singing through the eighth tone on this table, "qu4 sheng1 xi1 chang3 lv3 si1 zhi1 ba1" completes the song. The fourth line of the left table "■□er4 ■" exactly corresponds to the "er4" tone in the right table's row. In the singing table, the character serves as a sound initial, while in the harmonizing table, it functions as a harmonic sound. Though their positions differ, the character remains the same. The right table continues with the fourth tone "dao1 zao3 xiao3 yue4, mao2 bao3 bao4 huo2, niu2 dou3 zhou4 liu2, ○○○ yu4", the fifth tone "zi2 qi3 si4 ri4, shuai1 ○ shuai2 gu4, ○○○ de4, gui1 shui3 gui3 bei2", and the sixth tone "gong1 kong3 zhong4 ○, long2 yong3 yong4 ○, yu2 shu3 qu4 ○, wu1 hu3 tu2 ○". The left table is entirely marked with black notes, while the right table has each character clearly placed. Within one line, two different scenes are presented: the sounds sung on the left are not actual sounds, while the sounds harmonized on the right have both sound and character. The singing and harmonizing each have their own fullness and emptiness, and readers can thus understand the overall structure of the diagram from this single section.

古甲九癸●●●● 二二二二心審禁○；一音 □□近揆●●●● 十音 二二二二○○○十；九聲 坤巧丘棄●●●● 七聲 二二二二男坎欠○；□□乾蚪●●●● 二二二二○○○妾；黑花香血●●●● 二二二二●●●●；二音 黃華雄賢●●●● 十音 二二二二●●●●；九聲 五瓦仰□●●●● 八聲 二二二二●●●●；吾牙月堯●●●● 二二二二●●●●；安亞乙一●●●● 二二二二●●●●；三音 □爻壬寅●●●● 十音 二二二二●●●●；九聲 母馬美米●●●● 九聲 二二二二●●●●；目貌眉民●●●● 二二二二●●●●；夫法□飛●●●● 二二二二●●●●；四音 父凡□吠●●●● 十音 二二二二●●●●；九聲 武晚□尾●●●● 十聲 二二二二●●●●；文萬□未●●●● 二二二二●●●●。

The left table establishes another entry titled "Descending Tone Singing of the Fourth Category's Ninth Tone," where the singing tone belongs to the ninth tone. The ninth tone, like the eighth tone, has position but no sound, so it is also written as "●●●●." It follows in sequence with the first tone "Ancient Jia Ninth Gui, □□ Near Kuí,坤 Qiao Qiu Qi, □□ Qian Tu," the second tone "Black Flower Fragrant Blood, Yellow Flower Strong Virtue, Wu Wa Yang □, Wu Ya Yue Yao," the third tone "An Ya Yi Yi, □ Yao Ren Yin, Mother Ma Mei Mi, Eye Mao Mei Min," and the fourth tone "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." The right table uses the tenth tone's "Er" and the seventh tone "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie," with the eighth, ninth, and thirteenth tones all written as "●●●●." It concludes with "Closing Tone,浊 and Harmonizing the Fourth Category's Tenth Tone." From this section onward, the number of black-marked cells corresponding row by row on both sides increases, and the diagram gradually approaches its end. This is because the singing table has progressed to the ninth tone and the harmonizing table to the tenth tone, both sides approaching their respective ends: tones end at the seventh category, and sounds end at the twelfth category. As we proceed, the number of characters that can be cited becomes fewer, and the number of blank marks increases, until the final sheet is almost entirely devoid of characters. After this, the tables mostly contain only positions, with very few actual characters.

卜百丙必●●●● 辰辰辰辰多可個舌；五音 步白備鼻●●●● 十一音 辰辰辰辰禾火化八；九聲 普撲品匹●●●● 一聲 辰辰辰辰開宰愛○；旁排平瓶●●●● 辰辰辰辰回每退○；東丹帝■●●●● 辰辰辰辰良兩向○；六音 兌大弟■●●●● 十一音 辰辰辰辰光廣況○；九聲 土貪天■●●●● 二聲 辰辰辰辰丁井亙○；同覃田■●●●● 辰辰辰辰兄永瑩○；乃你女■●●●● 辰辰辰辰千典旦○；七音 內南年■●●●● 十一音 辰辰辰辰元犬半○；九聲 老冷呂■●●●● 三聲 辰辰辰辰臣引艮○；鹿犖離■●●●● 辰辰辰辰君允巽○；走哉足■●●●● 辰辰辰辰刀早孝嶽；八音 自在匠■●●●● 十一音 辰辰辰辰毛寶報霍；九聲 草采七■●●●● 四聲 辰辰辰辰牛斗奏六；曹才全■●●●● 辰辰辰辰○○○玉。

The left table continues with the ninth tone's empty chant paired with the fifth tone "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," the sixth tone "Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■," the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■," and the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■." The right table starts with "Closing tone,浊 and harmony, the fourth tone of the eleventh sound," where the harmony is the eleventh tone's "Chen" — taken from the third column of the fourth line of the eleventh tone "■ Chong Chen ■," which refers to stone row, closing tone, and浊 sound; this "Chen" is the representative character in the sound chart, and it is the same character as the "Chen" used earlier as the name for the row position in "Chen day sound," but it is used differently and should not be confused. "Chen Chen Chen Chen" and the first tone "Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," the second tone "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○," the third tone "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○," the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu." The eleventh tone has no sound for the opening position, and among the four columns, only a few characters such as "Cha, Chi" and "Chong, Chen" can be cited. Therefore, the "Chen" used in this chart is particularly rare.

思三星■●●●● 辰辰辰辰妻子四日；九音 寺□象■●●●● 十一音 辰辰辰辰衰○帥骨；九聲 □□□■●●●● 五聲 辰辰辰辰○○○德；□□□■●●●● 辰辰辰辰龜水貴北；■山手■●●●● 辰辰辰辰宮孔眾○；十音 ■士石■●●●● 十一音 辰辰辰辰龍甬用○；九聲 ■□耳■●●●● 六聲 辰辰辰辰魚鼠去○；■□二■●●●● 辰辰辰辰烏虎兔○；■莊震■●●●● 辰辰辰辰心審禁○；十一音 ■乍□■●●●● 十一音 辰辰辰辰○○○十；九聲 ■叉赤■●●●● 七聲 辰辰辰辰男坎欠○；■崇辰■●●●● 辰辰辰辰○○○妾；■卓中■●●●● 辰辰辰辰●●●●；十二音 ■宅直■●●●● 十一音 辰辰辰辰●●●●；九聲 ■拆丑■●●●● 八聲 辰辰辰辰●●●●；■茶呈■●●●● 辰辰辰辰●●●●。

The left table uses the ninth tone with the words "Si San Xing, Si Shi Xiang, empty empty empty, empty empty empty," the tenth tone with "empty Shan Shou, empty Shi Shi, empty empty Er, empty empty Er," the eleventh tone with "empty Zhuang Zhen, empty Zha empty, empty Cha Chi, empty Chong Chen," and the twelfth tone with "empty Zhuo Zhong, empty Zhai Zhi, empty Che Chou, empty Cha Cheng." After singing the ninth tone, one sheet is completed. Among these, "Chong Chen" corresponds exactly to the tone "Chen" in the right table. The right table uses the eleventh tone "Chen" and the fifth tone "Zi Qi Si Ri, Shuai empty Shuai Gu, empty empty empty De, Gui Shui Gui Bei," the sixth tone "Gong Kong Zhong empty, Long Yong Yong empty, Yu Shu Qu empty, Wu Hu Tu empty," the seventh tone "Xin Shen Jin empty, empty empty empty Shi, Nan Kan Qian empty, empty empty empty Qie," and the eighth tone is four lines "●●●●." Each sheet of the harmonizing table covers ten tones across forty lines, while each sheet of the singing table covers twelve tones across forty-eight lines. One vertical and one horizontal, this corresponds to the meaning of sound resonating in heaven and tone harmonizing on earth. Therefore, the sound table is titled "Lv" and the tone table is titled "Lu," taking the meaning of corresponding "Lv" and "Lu," not referring to another name for musical scales. Once this is clear, the four characters "Chang Lv" and "He Lu" in the titles of the tables are no longer empty titles.

古甲九癸●●●● 辰辰辰辰●●●●；一音 □□近揆●●●● 十一音 辰辰辰辰●●●●；十聲 坤巧丘棄●●●● 九聲 辰辰辰辰●●●●；□□乾蚪●●●● 辰辰辰辰●●●●；黑花香血●●●● 辰辰辰辰●●●●；二音 黃華雄賢●●●● 十一音 辰辰辰辰●●●●；十聲 五瓦仰□●●●● 十聲 辰辰辰辰●●●●；吾牙月堯●●●● 辰辰辰辰●●●●。

The left table establishes another section titled "Going Down in the Fourth Level of the Four Tones and the Tenth Tone," which is the last sheet of the fourth level in the descending tone. The tenth tone has a position but no sound, and the singing tone is still written as "●●●●." It first sings in harmony with the first tone "Gu Jia Ji Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu," and the second tone "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The right table uses the eleventh tone "Chen" together with the ninth and tenth tones, and all eight lines are written as "●●●●." "Releasing the tone with a dull sound and the fourth level of the eleventh tone" ends here. These eight lines are blank on both sides, allowing readers to count that among the ten tones, seven actually have sound, while the remaining three merely complete the ten positions. This is why the beginning of this passage says "seven tones of stars and constellations," multiplying seven by 152 to get 1064.

安亞乙一●●●● 呈呈呈呈多可個舌；三音 □爻壬寅●●●● 十二音 呈呈呈呈禾火化八；十聲 母馬美米●●●● 一聲 呈呈呈呈開宰愛○；目貌眉民●●●● 呈呈呈呈回每退○；夫法□飛●●●● 呈呈呈呈良兩向○；四音 父凡□吠●●●● 十二音 呈呈呈呈光廣況○；十聲 武晚□尾●●●● 二聲 呈呈呈呈丁井亙○；文萬□未●●●● 呈呈呈呈兄永瑩○；卜百丙必●●●● 呈呈呈呈千典旦○；五音 步白備鼻●●●● 十二音 呈呈呈呈元犬半○；十聲 普撲品匹●●●● 三聲 呈呈呈呈臣引艮○；旁排平瓶●●●● 呈呈呈呈君允巽○；東丹帝■●●●● 呈呈呈呈刀早孝嶽；六音 兌大弟■●●●● 十二音 呈呈呈呈毛寶報霍。

The empty position in the tenth sound of the left table is paired with the third sound 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」, the fourth sound 「Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei」, the fifth sound 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」, and the first two lines of the sixth sound 「Dong Dan Di ■, Dui Da Di ■」. The right table starts with 「Ending sound with heavy and harmonious tone of the fourth of twelve tones」, which is the last sheet of the heavy and resonant ending sounds, and the tone is the twelfth sound 「Cheng」—taken from the third column of the fourth line 「■ Cha Cheng ■」. 「Cheng Cheng Cheng Cheng」 begins from the first sound: the first sound 「Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○」, the second sound 「Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○」, the third sound 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」, followed by the fourth sound 「Dao Zao Xiao Yue, Mao Bao Bao Huo」. 「Cheng」 is taken from the third position of 「■ Cha Cheng ■」, where the beginning and end of this line are both 「■」, indicating that the twelfth sound can only produce characters in the initial and final positions, making it the most restricted type among the twelve tones, far from the first sound which has almost all positions fully covered.

十聲 土貪天■●●●● 四聲 呈呈呈呈牛斗奏六；同覃田■●●●● 呈呈呈呈○○○玉；乃你女■●●●● 呈呈呈呈妻子四日；七音 內南年■●●●● 十二音 呈呈呈呈衰○帥骨；十聲 老冷呂■●●●● 五聲 呈呈呈呈○○○德；鹿犖離■●●●● 呈呈呈呈龜水貴北；走哉足■●●●● 呈呈呈呈宮孔眾○；八音 自在匠■●●●● 十二音 呈呈呈呈龍甬用○；十聲 草采七■●●●● 六聲 呈呈呈呈魚鼠去○；曹才全■●●●● 呈呈呈呈烏虎兔○；思三星■●●●● 呈呈呈呈心審禁○；九音 寺□象■●●●● 十二音 呈呈呈呈○○○十；十聲 □□□■●●●● 七聲 呈呈呈呈男坎欠○。

The left table uses the tenth tone's empty chant to pair with the sixth tone's "tǔ tān tiān ■, tóng tán tián ■", then pairs with the seventh tone "nǎi nǐ nǚ ■, nèi nán nián ■, lǎo lěng lǚ ■, lù luò lí ■", the eighth tone "zǒu zāi zú ■, zì zài jiàng ■, cǎo cǎi qī ■, cáo cái quán ■", and the ninth tone "sī sān xīng ■, sì ■ xiàng ■, ■ ■ ■ ■". The right table uses the twelfth tone "chéng" and the fourth tone "niú dǒu zòu liù, ○○○ yù", the fifth tone "qī zi sì rì, shuāi ○ shuài gǔ, ○○○ dé, guī shuǐ guì běi", the sixth tone "gōng kǒng zhòng ○, lóng yǒng yòng ○, yú shǔ qù ○, wū hǔ tù ○", and the seventh tone "xīn shěn jìn ○, ○○○ shí, nán kǎn qiàn ○". Between the lines, the left side marks "shí shēng" (ten tones) unchanged, while the right side moves from "sì shēng" (four tones) to "qī shēng" (seven tones", clearly showing the progression of one chant responding to the other. Once the tones on the chant table are fixed, they remain unchanged throughout the text, as do the tones on the harmony table. What changes is the other side that it is paired with; every four lines form a new group, continuing until all ten tones or twelve tones are covered, at which point the table is complete, and a new table begins.

□□□■●●●● 呈呈呈呈○○○妾；■山手■●●●● 呈呈呈呈●●●●；十音 ■士石■●●●● 十二音 呈呈呈呈●●●●；十聲 ■□耳■●●●● 八聲 呈呈呈呈●●●●；■□二■●●●● 呈呈呈呈●●●●；■莊震■●●●● 呈呈呈呈●●●●；十一音 ■乍□■●●●● 十二音 呈呈呈呈●●●●；十聲 ■叉赤■●●●● 九聲 呈呈呈呈●●●●；■崇辰■●●●● 呈呈呈呈●●●●；■卓中■●●●● 呈呈呈呈●●●●；十二音 ■宅直■●●●● 十二音 呈呈呈呈●●●●；十聲 ■拆丑■●●●● 十聲 呈呈呈呈●●●●；■茶呈■●●●● 呈呈呈呈●●●●。

The left table ends with the ninth tone's last line "□□□■", the tenth tone "■ mountain hand ■, ■ person stone ■, ■ □ ear ■, ■ □ two ■", the eleventh tone "■ Zhuang Zhen ■, ■ just □ ■, ■ fork red ■, ■ Chong Chen ■", and the twelfth tone "■ Zhuo Zhong ■, ■ residence straight ■, ■ split Chou ■, ■ tea present ■". The right table ends with the twelfth tone's "present" and the seventh tone's last line "○○○妾". Below this, the eighth, ninth, and thirteenth tones each have twelve lines of "●●●●". The left side's last line "■ tea present ■" corresponds exactly to the right side's "present" line, completing the diagram with the beginning and end connected. At this point, the ten singing tables for the level of Chen with falling tone and closed mouth, and the twelve harmonizing tables for the Shih row with dull tones, are all matched. The forty-six sound diagrams in the Guanwu section are thus completed. When combining all the sections, the sky's use of sound is one hundred and twelve, and the earth's use of tone is one hundred and fifty-two. Multiplying these two numbers gives seventeen thousand and twenty-four. Shao Yong used this number as the fundamental principle for deriving the movement and growth of all things. Only when the sound diagrams are arranged in this way does one see where they ultimately lead.

辰日聲入闢 石水音閉清　舌○○嶽日 癸血一飛必■　○○●●● ■■■■■■　辰日聲七，下唱地之 石水音五，上和天之　用音一百五十二，是 用聲一百一十二，是　謂入聲闢音。入聲闢 謂閉音清聲。閉音清　音一千六十四。 聲五百六十。

This note is also arranged in two columns side by side, copied horizontally with the lines crossing each other, requiring reading by column. The left column heading is "Chen day sound enters the closed tone," meaning that the selection in this passage is the grid where "Chen" and "day" intersect among ten sounds—"Chen" is a closed tone, "day" is an open tone, together called "closed tone entry." These ten grids are sequentially "she, ○, ○, yue, ri, ○, ○, ●, ●, ●," where the first sound takes "duo ke ge she" as "she," the fourth sound takes "dao zao xiao yue" as "yue," the fifth sound takes "zi qi si ri" as "ri," the second, third, sixth, and seventh sounds have sounds but no characters, written as "○," the eighth to tenth sounds have no actual sounds, written as "●," and there are seven actual sound categories. The left column text read continuously is: "Chen day sound seven, below singing earth's use of sound one hundred fifty-two, this is called closed tone entry sound. Closed tone entry sound one thousand six hundred forty." Seven multiplied by one hundred fifty-two gives one thousand and sixty-four. The right column heading is "stone water sound closed clear," meaning that the sounds in this passage are selected from the twelve sounds where "stone" and "water" intersect—"stone" is a closed sound, "water" is a clear sound. These twelve grids are "gui, xue, yi, fei, bi" and the seven below them as "■," where the first sound takes "gu jia jiu gui" as "gui," the second sound takes "he hua xiang xue" as "xue," the third sound takes "an ya yi yi" as "yi," the fourth sound takes "fu fa □ fei" as "fei," the fifth sound takes "bu bai bing bi" as "bi," and the sixth sound and below are closed sounds with no actual sound, thus all written as "■," and there are only five actual sound categories. The right column text read continuously is: "stone water sound five, above harmonizing heaven's use of sound one hundred twelve, this is called closed sound clear sound. Closed sound clear sound five hundred sixty." Five multiplied by one hundred twelve gives five hundred sixty.

古甲九癸舌舌舌舌 癸癸癸癸多可個舌；一音 □□近揆舌舌舌舌 一音 癸癸癸癸禾火化八；一聲 坤巧丘棄舌舌舌舌 一聲 癸癸癸癸開宰愛○；□□乾蚪舌舌舌舌 癸癸癸癸回每退○；黑花香血舌舌舌舌 癸癸癸癸良兩向○；二音 黃華雄賢舌舌舌舌 一音 癸癸癸癸光廣況○；一聲 五瓦仰□舌舌舌舌 二聲 癸癸癸癸丁井亙○；吾牙月光舌舌舌舌 癸癸癸癸兄永瑩○；安亞乙一舌舌舌舌 癸癸癸癸千典旦○；三音 □爻壬寅舌舌舌舌 一音 癸癸癸癸元犬半○；一聲 母馬美米舌舌舌舌 三聲 癸癸癸癸臣引艮○；目貌眉民舌舌舌舌 癸癸癸癸君允巽○；夫法□飛舌舌舌舌 癸癸癸癸刀早孝嶽；四音 父凡□吠舌舌舌舌 一音 癸癸癸癸毛寶報霍。

The two top sections of the new composition begin together. The left half is titled 「入声辟唱吕一之一」, with the singing tone being the first tone's 「舌」—taken from the fourth section of the first line of the first tone 「多可个舌」, which refers to the daily movement, the entering tone, and the open syllable, hence called 「入声辟」; 「舌舌舌舌」 is written four times in succession, still corresponding to the four categories of initial consonants. It starts from the first tone: the first tone 「古甲九癸、□□近揆、坤巧丘弃、□□乾蚪」, the second tone 「黑花香血、黄华雄贤、五瓦仰□、吾牙月光」, the third tone 「安亚乙一、□爻壬寅、母马美米、目貌眉民」, and the fourth tone 「夫法□飞、父凡□吠」. Among these, the line 「吾牙月光」 is usually written as 「吾牙月尧」 elsewhere, but here the character 「光」 is a variant form of 「尧」, and it is still recorded according to the original manuscript. The right half is titled 「闭音清和律一之一」, with the harmonious tone being the character 「癸」 from the first tone's first line 「古甲九癸」, specifically the fourth section, which refers to the water movement, the closed tone, and the clear sound. 「癸癸癸癸」 corresponds to the first tone's 「多可个舌、禾火化八、开宰爱○、回每退○」, the second tone's 「良两向○、光广况○、丁井亘○、兄永莹○」, the third tone's 「千典旦○、元犬半○、臣引艮○、君允巽○」, and then the fourth tone's 「刀早孝岳、毛宝报霍」.

一聲 武晚□尾舌舌舌舌 四聲 癸癸癸癸牛斗奏六；文萬□未舌舌舌舌 癸癸癸癸○○○玉；卜百丙必舌舌舌舌 癸癸癸癸妻子四日；五音 步白備鼻舌舌舌舌 一音 癸癸癸癸衰○帥骨；一聲 普撲品匹舌舌舌舌 五聲 癸癸癸癸○○○德；旁排平瓶舌舌舌舌 癸癸癸癸龜水貴北；東丹帝□舌舌舌舌 癸癸癸癸宮孔眾○；六音 兌大弟□舌舌舌舌 一音 癸癸癸癸龍甬用○；一聲 土貪天□舌舌舌舌 六聲 癸癸癸癸魚鼠去○；同覃田□舌舌舌舌 癸癸癸癸烏虎兔○；乃你女■舌舌舌舌 癸癸癸癸心審禁○；七音 內南年■舌舌舌舌 一音 癸癸癸癸○○○十；一聲 老冷呂■舌舌舌舌 七聲 癸癸癸癸男坎欠○。

The left table continues the first tone "she" by completing the fourth tone "wu wan □ wei, wen wan □ wei". It is then paired with the fifth tone "bu ba bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone "dong dan di □, dui da di □, tu tan tian □, tong tan tian □", and the seventh tone "nai ni nv ■, nei nan nian ■, lao leng lv ■". At the end of the four lines in the sixth tone, the character is marked with "■", while elsewhere it is marked with "□". These two symbols represent different meanings: one indicates no sound, and the other indicates a sound without a character. Therefore, the "■" should be considered correct. The original character from the source remains. The right table uses the first tone "gui" and the fourth tone "niu dou zou liu, ○○○ yu", the fifth tone "zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei", the sixth tone "gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○", and the seventh tone "xin shen jin ○, ○○○ shi, nan kan qian ○". The left table's singing tone "she" and the right table's first line "duo ke ge she" come from the same grid, indicating that the characters used for singing and responding in this text are all taken from the same comprehensive sound chart.

鹿犖離■舌舌舌舌 癸癸癸癸○○○妾；走哉足■舌舌舌舌 癸癸癸癸●●●●；八音 自在匠■舌舌舌舌 一音 癸癸癸癸●●●●；一聲 草采七■舌舌舌舌 八聲 癸癸癸癸●●●●；曹才全■舌舌舌舌 癸癸癸癸●●●●；思三星■舌舌舌舌 癸癸癸癸●●●●；九音 寺□象■舌舌舌舌 一音 癸癸癸癸●●●●；一聲 □□□■舌舌舌舌 九聲 癸癸癸癸●●●●；□□□■舌舌舌舌 癸癸癸癸●●●●；■山手■舌舌舌舌 癸癸癸癸●●●●；十音 ■士石■舌舌舌舌 一音 癸癸癸癸●●●●；一聲 ■□耳■舌舌舌舌 十聲 癸癸癸癸●●●●；■□二■舌舌舌舌 癸癸癸癸●●●●。

The left table continues with the seventh tone's last line "Lu Luo Li ■", the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■", the ninth tone "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■", and the tenth tone "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■", all continuing to be sung with "She". The two lines after the ninth tone have three "■" in a row, which represent three positions with sound but no characters: opening, developing, and closing. The first position of the tenth tone's first column "■" represents an opening position with no sound. The right table starts with the first tone "Gui" and the seventh tone's last line "○○○ Qie". Below that, the eighth, ninth, and tenth tones each have twelve lines marked as "●●●●". This passage only has five types of sounds, so the "closed sound clear and harmonious law" only has five tables of harmony, differing from the "entering tone singing law" which has ten singing tables. This corresponds to the beginning statement "stone water sound five" and "chén day sound seven". The closed sound position only has one character in each of the first five tones, while the remaining seven tones have no sound, hence the harmony tables stop at five. For the entering tone, the opening position has seven tones that can still be sung, hence the singing tables remain complete at ten. The difference in number is entirely determined by the presence or absence of sound, not by the scribe's omission.

■莊震■舌舌舌舌 血血血血多可個舌；十一音 ■乍□■舌舌舌舌 二音 血血血血禾火化八；一聲 ■叉赤■舌舌舌舌 一聲 血血血血開宰愛○；■崇辰■舌舌舌舌 血血血血回每退○；■卓中■舌舌舌舌 血血血血良兩向○；十二音 ■宅直■舌舌舌舌 二音 血血血血光廣況○；一聲 ■拆丑■舌舌舌舌 二聲 血血血血丁井亙○；■茶呈■舌舌舌舌 血血血血兄永瑩○。

The left table uses the eleventh tone "Zhuang Zhen, Zha Zuo, Cha Chi, Chong Chen" and the twelfth tone "Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng" to complete the first sound, "Ru Sheng Bi Chang Lv Yi Zhi Yi". These two groups of initial consonants have many instances of "■" at the beginning and end, and the characters that can be cited are all pronounced with the "Fa" and "Shou" sounds, which is a common feature of dental sounds. The right table starts with "Bi Yin Qing He Lv Yi Zhi Er", and the harmonic sound is changed to the second tone "Xue" — taken from the fourth line of the first line of the second tone "Hei Hua Xiang Xue". This is associated with the water element, closed sound, and clear tone. "Xue Xue Xue Xue" first harmonizes with the first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", then with the second tone "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O".

古甲九癸○○○○ 血血血血千典旦○；一音 □□近揆○○○○ 二音 血血血血元犬半○；二聲 坤巧丘棄○○○○ 三聲 血血血血臣引艮○；□□乾蚪○○○○ 血血血血君允巽○；黑花香血○○○○ 血血血血刀早孝嶽；二音 黃華雄賢○○○○ 二音 血血血血毛寶報霍；二聲 五瓦仰□○○○○ 四聲 血血血血牛斗奏六；吾牙月堯○○○○ 血血血血○○○玉；安亞乙一○○○○ 血血血血妻子四日；三音 □爻壬寅○○○○ 二音 血血血血衰○帥骨；二聲 母馬美米○○○○ 五聲 血血血血○○○德；目貌眉民○○○○ 血血血血龜水貴北；夫法□飛○○○○ 血血血血宮孔眾○；四音 父凡□吠○○○○ 二音 血血血血龍甬用○；二聲 武晚□尾○○○○ 六聲 血血血血魚鼠去○。

The left table establishes another section titled "入声辟唱吕一之二". The singing tones for this section should be taken from the second tone and first line "良两向○" of the fourth grid, which is exactly "○". The entering tone has its sound but no character to cite, so the entire passage is written as "○○○○". It begins with the first tone: "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪", the second tone: "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧", the third tone: "安亚乙一、□爻壬寅、母马美米、目貌眉民", and the fourth tone: "夫法□飞、父凡□吠、武晚□尾". The right table continues with the second tone "血" and the third tone "千典旦○、元犬半○、臣引艮○、君允巽○", the fourth tone "刀早孝岳、毛宝报霍、牛斗奏六、○○○玉", the fifth tone "妻子四日、衰○帅骨、○○○德、龟水贵北", and the sixth tone "宫孔众○、龙甬用○、鱼鼠去○". The line "黑花香血" in the fifth row of the left table corresponds exactly to the "血" in the right table's harmonized tones. This grouping of sections ends here, and both tables are not yet fully paired; their continuation follows later.

文萬□未○○○○，血血血血烏虎兔○；卜百丙必○○○○，血血血血心審禁○；五音：步白備鼻○○○○，二音：血血血血○○○十；二聲：普撲品匹○○○○，七聲：血血血血男坎欠○；旁排平瓶○○○○，血血血血○○○妾；東丹帝■○○○○，血血血血●●●●；六音：兌大弟■○○○○，二音：血血血血●●●●；二聲：土貪天■○○○○，八聲：血血血血●●●●；同覃田■○○○○，血血血血●●●●；乃你女■○○○○，血血血血●●●●；七音：內南年■○○○○，二音：血血血血●●●●；二聲：老冷呂■○○○○，九聲：血血血血●●●●。

This passage is the result of two diagrams printed side by side and flattened into rows of text: the first half of each line belongs to the left diagram, and the second half belongs to the right diagram. The left diagram continues from the previous text, 「入声辟唱吕一之二,」 which sings the second type of the 「光广况○」 in the 「正声」 (level tone) of the 「日行」 (day line). This position has a sound but no character to write, so the diagram simply marks it with “○,” and repeats it four times in succession, in order to sing the four phonetic characters 「开, 发, 收, 闭」 in the line on the right. In the left column, this section first completes the last line of the fourth tone, 「文万□未,」 where 「未」 is a character borrowed from the Earthly Branches to serve as an example of sound, read in its original pronunciation, not as a negative word. Then it proceeds to the next four lines for the fifth tone: 「卜百丙必, 步白备鼻, 普扑品匹, 旁排平瓶,」 followed by four lines for the sixth tone: 「东丹帝■, 兑大弟■, 土贪天■, 同覃田■,」 and then the seventh tone’s line: 「乃你女■, 内南年■, 老冷吕■.」 The “■” at the end of each line for the sixth and seventh tones indicates that there is no phonetic position at all in that square, distinguishing it clearly from “□,” which represents a phonetic position that cannot be assigned a character. The right column belongs to 「闭音清和律一之二,」 which harmonizes with the second tone of the 「水行」 (water line), 「黑花香血,」 specifically the closed tone 「血.」 This is also repeated four times to harmonize with the four levels of the left side’s level tone characters: first with the sixth tone 「辰行」 (dragon line) 「乌虎兔○,」 where 「乌, 虎, 兔」 represent the level, rising, and falling tones, and the entering tone position is marked with “○” because there is no character. Then it proceeds to the seventh tone’s four lines: 「心审禁○, ○○○十, 男坎欠○, ○○○妾.」 Below this, the eighth and ninth tones have all lines marked with “●,” indicating that there are no phonetic positions at all. The labels 「五音,」 「六音,」 「七音」 and 「二音,」 「二声,」 「七声,」 「八声,」 「九声」 between the lines record the current tone and level positions reached by the left and right columns respectively.

鹿犖離■○○○○，血血血血●●●●；走哉足■○○○○，血血血血●●●●；八音：自在匠■○○○○，二音：血血血血●●●●；二聲：草采七■○○○○，十聲：血血血血●●●●；曹才全■○○○○，血血血血●●●●。

In the left column, "Rusheng Bichang Lü Yi Zhi Er" has completed the seventh tone's last line "Lu Luo Li ■", followed by singing the four lines of the eighth tone: "Zou Zai Zu ■, Zizai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■". This tone belongs to the dental initial series, and the fourth character in each of the four lines cannot be pronounced, so they are all marked as "■". Below each of the four lines, four "○" are added, representing the same entering tone empty position repeated four times, matching with the four characters "Kai, Fa, Shou, Bi" in sequence. In the right column, "Biyin Qing He Lu Yi Zhi Er" uses the fourth repetition of the closed tone character "Xue" to correspond with the last line of the ninth tone and all four lines of the tenth tone. These five lines originally had no tone positions in Shao Yong's diagram, so the entire section is written as "●●●●". Both columns are labeled with "Ba Yin" (eight tones) and "Er Sheng" (two tones) on the left, and "Er Yin" (two tones) and "Shi Sheng" (ten tones) on the right, reminding the reader that one column follows the order of tones, while the other follows the order of sounds, and the two sets of characters on the same line are not related.

閉音清和律一之三；思三星■○○○○，一一一一多可個舌；九音：寺□象■○○○○，三音：一一一一禾火化八；二聲：□□□■○○○○，一聲：一一一一開宰愛○；□□□■○○○○，一一一一回每退○；□山手■○○○○，一一一一良兩向○；十音：□士石■○○○○，三音：一一一一光廣況○；二聲：□□耳■○○○○，二聲：一一一一丁井亙○；□□二■○○○○，一一一一兄永瑩○；■莊震■○○○○，一一一一千典旦○；十一音：■乍□■○○○○，三音：一一一一元犬半○；二聲：■叉赤■○○○○，三聲：一一一一臣引艮○；■崇辰■○○○○，一一一一君允巽○。

On the right side, another diagram begins, titled "Closed Tone Clear Harmony Law One Three": it harmonizes with the third tone water element "An Ya Yi Yi" using the closed position character "Yi". Below, each line repeats the character "Yi" four times, distributing them to harmonize with the four tones—level, rising, falling, and entering—of the characters listed on the left. It first harmonizes with the four lines of the first tone "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", then with the four lines of the second tone "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Gen O, Xiong Yong Ying O", and then with the four lines of the third tone "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O"—the "O" at the end of each line in the second and third tones indicates that there is a tone but no corresponding character. The left side continues with the text of "Entering Tone Exclusion Singing Lu One Two", sequentially listing nine tones with four lines each: "Si San Xing Zhi, Si Fang Xiang Zhi, Fang Fang Fang Zhi, Fang Fang Fang Zhi", ten tones with four lines each: "Fang Shan Shou Zhi, Fang Shi Shi Zhi, Fang Fang Er Zhi, Fang Fang Er Zhi", and eleven tones: "Zhi Zhuang Zhen Zhi, Zhi Zha Fang Zhi, Zhi Cha Chi Zhi, Zhi Chong Chen Zhi". These tones have the most blank spaces: "Fang" indicates an existing tone with no character, while "Zhi" indicates no such tone exists, and the two symbols must not be confused. Reading both columns together, one can see that the four symbols in the diagram each have their respective positions.

■卓中■○○○○，一一一一刀早孝嶽；十二音：■宅直■○○○○，三音：一一一一毛寶報霍；二聲：■拆丑■○○○○，四聲：一一一一牛斗奏六；■茶呈■○○○○，一一一一○○○玉。

The left column concludes the twelfth tone with four lines: 「■Zhuo Zhong■, ■Zhai Zhi■, ■Che Chou■, ■Cha Cheng■」. This tone only has two characters that can be filled in the middle positions, while the first and last positions are marked as 「■」, indicating that there is no character for this tone position. Below each of the four lines, 「○○○○」 is added, meaning that the original入声 (entering tone) empty position is still repeated four times, matching the four characters. On the right column, in 「Closed Tone Clear Harmony Law One, Part Three」, the character 「一」 is repeated four times, continuing to harmonize with the fourth tone's four lines: 「Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○Yu」; the last line has no characters for level, rising, and departing tones, marked as 「○」, while only the entering tone position has 「Yu」 to match. At this point, the left diagram's twelve tones and forty-eight positions are fully filled, and the right diagram has also harmonized with the four tones.

入聲闢唱呂一之三；古甲九癸○○○○，一一一一妻子四日；一音：□□近揆○○○○，三音：一一一一衰○帥骨；三聲：坤巧丘棄○○○○，五聲：一一一一○○○德；□□乾蚪○○○○，一一一一龜水貴北；黑花香血○○○○，一一一一宮孔眾○；二音：黃華雄賢○○○○，三音：一一一一龍甬用○；三聲：五瓦仰□○○○○，六聲：一一一一魚鼠去○；吾牙月堯○○○○，一一一一烏虎兔○；安亞乙一○○○○，一一一一心審禁○；三音：□爻壬寅○○○○，三音：一一一一○○○十；三聲：母馬美米○○○○，七聲：一一一一男坎欠○；目貌眉民○○○○，一一一一○○○妾。

The left column begins with "Rusheng Bi Chang Lü Yi Zhi San": it sings the third category of the "Qian Dian Dan" tone, which is the entering tone position. This position has a tone but no character, and in the general diagram it is marked as "○". Each line repeats four instances of this, and they are sung together with the four characters in the same line. It starts with the first tone's four lines "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu", then proceeds to the second tone's four lines "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao", and then to the third tone's four lines "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The "□" in "□□ Jin Kui" and "Wu Wa Yang □" indicates that there is a tone position but no character is known at the moment. The right column remains "Bi Yin Qing He Lu Yi Zhi San", using the fourth repetition of the closed tone character "Yi" for the third tone. It follows in order with the fifth tone's four lines "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", the sixth tone's four lines "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", and the seventh tone's four lines "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie". For example, the line "Wu Hu Tu ○" is the fourth class of the sixth tone, where the level, rising, and falling tones have Wu, Hu, Tu, but the entering tone is left blank as "○".

夫法□飛○○○○，一一一一●●●●；四音：父凡□吠○○○○，三音：一一一一●●●●；三聲：武晚□尾○○○○，八聲：一一一一●●●●；文萬□未○○○○，一一一一●●●●；卜百丙必○○○○，一一一一●●●●；五音：步白備鼻○○○○，三音：一一一一●●●●；三聲：普撲品匹○○○○，九聲：一一一一●●●●；旁排平瓶○○○○，一一一一●●●●；東丹帝■○○○○，一一一一●●●●；六音：兌大弟■○○○○，三音：一一一一●●●●；三聲：土貪天■○○○○，十聲：一一一一●●●●；同覃田■○○○○，一一一一●●●●。

The left column follows "Entering the Tonal Categories of the Leveling Tone" and sings through four lines of the fourth tone: "Fu fa □ fei, Fu fa □ fei, Wu wan □ wei, Wen wan □ wei," and four lines of the fifth tone: "Bu bai Bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and four lines of the sixth tone: "Dong dan Di ■, Dui da Di ■, Tu tan Tian ■, Tong Tan Tian ■." The fourth tone belongs to the light lip series, and the third character in each of the four lines is written as "□," indicating a phoneme without a character; the last line's "Wei" is still an example of a character borrowed from the Earthly Branches. The last character in each of the four lines of the sixth tone is marked as "■," indicating that there is no phoneme at all in this category. The right column, "Closed Tones with Clear and Harmonious Law One of Three," has the character "yi" at this point covering the eighth, ninth, and tenth tones; these three tones in Shao Yong's tonal chart are all silent positions, so all twelve lines are written as "●●●●"—not omitted, but accurately marked as "no sound here." Upon close examination, it is clear that the empty symbols in both columns have their own designated meanings: the "□" and "■" in the left column's phonetic character lines belong to the phonetic chart, while the "○" and "●" in the right column's sound character lines belong to the sound chart. Conversely, the four repeated characters at the end of the left column lines belong to the sound positions, while the four repeated characters at the beginning of the right column lines belong to the phoneme positions, so the symbols used on both sides are exactly reversed.

閉音清和律一之四；乃你女■○○○○，飛飛飛飛多可個舌；七音：內南年■○○○○，四音：飛飛飛飛禾火化八；三聲：老冷呂■○○○○，一聲：飛飛飛飛開宰愛○；鹿犖離■○○○○，飛飛飛飛回每退○；走哉足■○○○○，飛飛飛飛良兩向○；八音：自在匠■○○○○，四音：飛飛飛飛光廣況○；三聲：草采七■○○○○，二聲：飛飛飛飛丁井亙○；曹才全■○○○○，飛飛飛飛兄永瑩○；思三星■○○○○，飛飛飛飛千典旦○；九音：寺□象■○○○○，四音：飛飛飛飛元犬半○；三聲：□□□■○○○○，三聲：飛飛飛飛臣引艮○；□□□■○○○○，飛飛飛飛君允巽○。

On the right side, another section begins with "Closed Sound Clear Harmony Law One, Part Four": it harmonizes with the fourth tone water element "夫法□飞" using the closed position character "飞", with four repetitions per line, corresponding to the four tones of level, rising, falling, and entering in the left column. It sequentially harmonizes with the first tone four lines "多可个舌、禾火化八、开宰爱○、回每退○", the second tone four lines "良两向○、光广况○、丁井亘○、兄永莹○", and the third tone four lines "千典旦○、元犬半○、臣引艮○、君允巽○". The left column remains "Entering Tone Singing Law One, Part Three", continuing to sing the seventh tone four lines "乃你女■、内南年■、老冷吕■、鹿荦离■", the eighth tone four lines "走哉足■、自在匠■、草采七■、曹才全■", and the ninth tone four lines "思三星■、寺□象■、□□□■、□□□■". The last two lines of the ninth tone are almost entirely filled with "□", with only the last character "■" remaining, indicating that very few characters can be retained in this series on the rhyme chart. The ninth tone series "思三星" is positioned later in Shao Yong's chart, and the examples of characters are already sparse, becoming even more sparse as it goes down, which is not due to the manuscript being incomplete, but rather reflects the actual recorded pronunciation at that time. The small notes in the chart such as "third tone" and "fourth tone" are marked alongside the lines to indicate their positions.

■山手■○○○○，飛飛飛飛刀早孝嶽；十音：■士石■○○○○，四音：飛飛飛飛毛寶報霍；三聲：■□耳■○○○○，四聲：飛飛飛飛牛斗奏六；■□二■○○○○，飛飛飛飛○○○玉；■莊震■○○○○，飛飛飛飛妻子四日；十一音：■乍□■○○○○，四音：飛飛飛飛衰○帥骨；三聲：■叉赤■○○○○，五聲：飛飛飛飛○○○德；■崇辰■○○○○，飛飛飛飛龜水貴北；■卓中■○○○○，飛飛飛飛宮孔眾○；十二音：■宅直■○○○○，四音：飛飛飛飛龍甬用○；三聲：■拆丑■○○○○，六聲：飛飛飛飛魚鼠去○；■茶呈■○○○○，飛飛飛飛烏虎兔○。

The left column, "入声辟唱吕一之三," ends with the last three tones: the tenth tone has four lines "■ mountain hand ■, ■ man stone ■, ■ ear ■, ■ two ■," the eleventh tone has four lines "■ middle Zhong ■, ■ residence straight ■, ■ split chou ■, ■ tea present ■," and the twelfth tone has four lines "■卓 middle ■, ■ residence straight ■, ■ split chou ■, ■ tea present ■." The first and last characters of these three tones are mostly marked with "■," indicating the absence of that sound. At the end of each line, the suffix "○○○○" consistently represents the silent, unmarked position of the入声 (entering tone) in four repetitions. In the right column, "闭音清和律一之四," the character "飞" is sequentially paired with four lines of the fourth tone "knife early filial piety mountain, hair treasure report Huo, cow struggle music six, ○○○ jade," five lines of the fifth tone "wife four day, decline ○ general bone, ○○○ virtue, turtle water noble north," and six lines of the sixth tone "palace hole crowd ○, dragon Yong use ○, fish rat go ○, crow tiger rabbit ○." Among these, the "○" in "decline ○ general bone," "○○○ jade," and "crow tiger rabbit ○" all represent positions with sound but no written character. Within one diagram, each of the forty-eight tone positions is paired with four characters, resulting in a total of one hundred ninety-two characters for singing and responding. Whether or not a character is present, the position is never missing, which follows the general principle of "皇极经世" (the Great Ultimate and the World's Order) in counting the number of sounds.

入聲闢唱呂一之四；古甲九癸嶽嶽嶽嶽，飛飛飛飛心審禁○；一音：□□近揆嶽嶽嶽嶽，四音：飛飛飛飛○○○十；四聲：坤巧丘棄嶽嶽嶽嶽，七聲：飛飛飛飛男坎欠○；□□乾蚪嶽嶽嶽嶽，飛飛飛飛○○○妾；黑花香血嶽嶽嶽嶽，飛飛飛飛●●●●；二音：黃華雄賢嶽嶽嶽嶽，四音：飛飛飛飛●●●●；四聲：五瓦仰□嶽嶽嶽嶽，八聲：飛飛飛飛●●●●；吾牙月堯嶽嶽嶽嶽，飛飛飛飛●●●●；安亞乙一嶽嶽嶽嶽，飛飛飛飛●●●●；三音：□爻壬寅嶽嶽嶽嶽，四音：飛飛飛飛●●●●；四聲：母馬美米嶽嶽嶽嶽，九聲：飛飛飛飛●●●●；目貌眉民嶽嶽嶽嶽，飛飛飛飛●●●●。

The left column begins with "The Fourth of the Rhythm of the Fourth Class of the Level Tone 'Dao Zao Xiao Yue'": the character sung is the level tone position "Yue" from the fourth class of the daily tone "Dao Zao Xiao Yue." This position not only has a tone but also a character, so the actual character "Yue" is written in the diagram. Each line is repeated as "Yue Yue Yue Yue." It is sung in four lines for the first tone: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," four lines for the second tone: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and four lines for the third tone: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The repetition of four lines is intended to pair with the four characters of the same line (open, release, close, and close) to form a call and response. The character "Fei" in the right column "The Fourth of the Clear and Harmonious Law of the Closing Tone" reaches the seventh tone's four lines: "Xin Shen Jin □, □□□ Shi, Nan Kan Qian □, □□□ Qie," and the eighth and ninth tones below, totaling eight lines, are all "●●●●," which are silent positions. Shao Yong uses "Sun, Moon, Stars, and Planets" to name the four lines of the tone, and "Water, Fire, Earth, and Stone" to name the four lines of the sound. The title "One" in the diagram refers to the daily tone line of the sound. Since the daily tone's entering tone is "Yue," this diagram uses "Yue" as the sung character. Although only one character is sung, it passes through forty-eight tone positions, with one call and four responses, resulting in a total of one hundred ninety-two.

夫法□飛嶽嶽嶽嶽，飛飛飛飛●●●●；四音：父凡□吠嶽嶽嶽嶽，四音：飛飛飛飛●●●●；四聲：武晚□尾嶽嶽嶽嶽，十聲：飛飛飛飛●●●●；文萬□未嶽嶽嶽嶽，飛飛飛飛●●●●。

The left column, "入声辟唱吕一之四," uses the character "岳" repeated four times, singing through four lines ending at the fourth tone: "夫法□飞, 父凡□吠, 武晚□尾, 文万□未." In each of these lines, the third character is marked with "□," indicating a phoneme without a corresponding character. The last line, "文万□未," still uses the character "未," which is borrowed from the Earthly Branch to establish the sound. The right column, "闭音清和律一之四," uses the character "飞" repeated four times, harmonizing with the tenth tone over four lines. Since the tenth tone has no phoneme, all four lines are marked as "●●●●," which is also the way this diagram ends with the final note.

閉音清和律一之五；卜百丙必嶽嶽嶽嶽，必必必必多可個舌；五音：步白備鼻嶽嶽嶽嶽，五音：必必必必禾火化八；四聲：普撲品匹嶽嶽嶽嶽，一聲：必必必必開宰愛○；旁排平瓶嶽嶽嶽嶽，必必必必回每退○；東丹帝■嶽嶽嶽嶽，必必必必良兩向○；六音：兌大弟■嶽嶽嶽嶽，五音：必必必必光廣況○；四聲：土貪天■嶽嶽嶽嶽，二聲：必必必必丁井亙○；同覃田■嶽嶽嶽嶽，必必必必兄永瑩○；乃你女■嶽嶽嶽嶽，必必必必千典旦○；七音：內南年■嶽嶽嶽嶽，五音：必必必必元犬半○；四聲：老冷呂■嶽嶽嶽嶽，三聲：必必必必臣引艮○；鹿犖離■嶽嶽嶽嶽，必必必必君允巽○。

The right column begins with "Closed Sound Clear Harmony Law One of Five": it harmonizes with the fifth tone, the water element "Bo Bai Bing Bi", using the closed position character "Bi". Each line writes four characters in sequence, corresponding to the four tones of the left column's sound characters. It first harmonizes with the first tone's four lines "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", then with the second tone's four lines "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O", and then with the third tone's four lines "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O". The left column remains "Entering Tone Exclamation Singing Lu One of Four", continuing to sing the fifth tone's four lines "Bo Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping" with the character "Yue" repeated four times, then the sixth tone's four lines "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■", and the seventh tone's four lines "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■". The fifth tone has all four positions, while the sixth and seventh tones have the last position marked as "■", indicating the absence of this tone. The title "One of Five" refers to "one" meaning the day's tone row, and "five" meaning the fifth category of the main tone. The "day" character sung in the following "Entering Tone Exclamation Singing Lu One of Five" is arranged according to this sequence. The order of the two columns is not aligned because the sound chart has forty positions and the tone chart has forty-eight positions, resulting in different numbers of lines.

走哉足■嶽嶽嶽嶽，必必必必刀早孝嶽；八音：自在匠■嶽嶽嶽嶽，五音：必必必必毛寶報霍；四聲：草采七■嶽嶽嶽嶽，四聲：必必必必牛斗奏六；曹才全■嶽嶽嶽嶽，必必必必○○○玉；思三星■嶽嶽嶽嶽，必必必必妻子四日；九音：寺□象■嶽嶽嶽嶽，五音：必必必必衰○帥骨；四聲：□□□■嶽嶽嶽嶽，五聲：必必必必○○○德；□□□■嶽嶽嶽嶽，必必必必龜水貴北；■山手■嶽嶽嶽嶽，必必必必宮孔眾○；十音：■士石■嶽嶽嶽嶽，五音：必必必必龍甬用○；四聲：■□耳■嶽嶽嶽嶽，六聲：必必必必魚鼠去○；■□二■嶽嶽嶽嶽，必必必必烏虎兔○。

The left column, "Rush Sound of the Level One Four" from the "Fourth of the Level One," uses the character "Yuè" repeated four times, singing through four lines of the eighth tone: "Zǒu zāi zú ■, zì zài jiàng ■, cǎo cǎi qī ■, cáo cái quán ■," four lines of the ninth tone: "Sī sān xīng ■, sì ■ xiàng ■, ■ ■ ■ ■, ■ ■ ■ ■," and four lines of the tenth tone: "■ shān shǒu ■, ■ shì shí ■, ■ ■ ěr ■, ■ ■ èr ■." As it progresses, the characters that can be confirmed become fewer: the last two lines of the ninth tone only have "■" and "■," and the tenth tone even has "■" in the first position. In the right column, "Clear and Harmonious Law One Five" uses the character "Bì," sequentially matching four lines of the fourth tone: "Dāo zǎo xiào yuè, máo bǎo bào huò, niú dǒu zòu liù, ○○○ yù," four lines of the fifth tone: "Zǐ qī sì rì, shuāi ○ shuài gǔ, ○○○ dé, guī shuǐ guì běi," and four lines of the sixth tone: "Gōng kǒng zhòng ○, lóng yǒng yòng ○, yú shǔ qù ○, wū hǔ tù ○." The line "wū hǔ tù ○" is the fourth of the sixth tone, with the first three characters present and the position left blank as "○." The left column becomes increasingly vague as it progresses, while the right column matches each character clearly, showing a contrast between the real and the empty. This clearly demonstrates Shao Yong's method of first listing positions and then writing characters: positions are necessary to be counted, while characters are written when available and left blank when not.

■莊震■嶽嶽嶽嶽，必必必必心審禁○；十一音：■乍□■嶽嶽嶽嶽，五音：必必必必○○○十；四聲：■叉赤■嶽嶽嶽嶽，七聲：必必必必男坎欠○；■崇辰■嶽嶽嶽嶽，必必必必○○○妾；■卓中■嶽嶽嶽嶽，必必必必●●●●；十二音：■宅直■嶽嶽嶽嶽，五音：必必必必●●●●；四聲：■拆丑■嶽嶽嶽嶽，八聲：必必必必●●●●；■茶呈■嶽嶽嶽嶽，必必必必●●●●。

The left column concludes with "Rusheng Pichang Lü Yi Zhi Si": using the character "Yue" repeated four times to sing the eleventh tone in four lines "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■" and the twelfth tone in four lines "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". In both tones, the opening and closing positions are all marked with "■", with only the middle initial and final positions occasionally having characters, so there is the most blank space in one diagram. On the right column, "Bi" in "Biyin Qing He Lu Yi Zhi Wu" corresponds to the seventh tone in four lines "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie" and the eighth tone in four lines; in the seventh tone, the lines contain "○", while in the eighth tone, the entire section is marked with "● ● ● ●". One has sound without characters, and the other has no sound at all. The examples for the seventh tone "Xin Shen Jin ○" are the fewest, with more than half of the four lines being blank.

入聲闢唱呂一之五；古甲九癸日日日日，必必必必●●●●；一音：□□近揆日日日日，五音：必必必必●●●●；五聲：坤巧丘棄日日日日，九聲：必必必必●●●●；□□乾蚪日日日日，必必必必●●●●；黑花香血日日日日，必必必必●●●●；二音：黃華雄賢日日日日，五音：必必必必●●●●；五聲：五瓦仰□日日日日，十聲：必必必必●●●●；吾牙月堯日日日日，必必必必●●●●。

The left column begins with "入声辟唱吕一之五": the character sung is the fifth class of the level tone "日" (day), which is the position of the entering tone "日" in the "妻子四日" (wife and child on the fourth day). This position has both sound and character, so it is written as "日", and each line is repeated as "日日日日". It is sung in four lines for the first tone: "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪" and four lines for the second tone: "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧". The character "日" is a very important character in the "皇极经世", being both an entering tone character and related to the name "日月星辰". Here, only its sound is taken. The right column, "闭音清和律一之五", ends with the character "必", and together with the ninth and tenth tones, makes eight lines, all written as "●●●●", with no sound to harmonize. The left and right columns are one filled and one empty, forming a contrast. Readers should not mistakenly think the right column is missing.

閉音清和律一之六；安亞乙一日日日日，■■■■多可個舌；三音：□爻壬寅日日日日，六音：■■■■禾火化八；五聲：母馬美米日日日日，一聲：■■■■開宰愛○；目貌眉民日日日日，■■■■回每退○；夫法□飛日日日日，■■■■良兩向○；四音：父凡□吠日日日日，六音：■■■■光廣況○；五聲：武晚□尾日日日日，二聲：■■■■丁井亙○；文萬□未日日日日，■■■■兄永瑩○；卜百丙必日日日日，■■■■千典旦○；五音：步白備鼻日日日日，六音：■■■■元犬半○；五聲：普撲品匹日日日日，三聲：■■■■臣引艮○；旁排平瓶日日日日，■■■■君允巽○。

On the right side, a new section begins titled "Closed Tone Clear and Harmonious Law One of Six," which differs from the previous figures in that the sixth tone, associated with the water element, is "Dong Dan Di ■," and since the closed position originally had no sound, the character "he" in the diagram can only be written as "■." Each line still consists of four repetitions following the old pattern. This means that this diagram is harmonizing with an empty position, merely to complete the format. It sequentially harmonizes with the first tone's four lines: "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," the second tone's four lines: "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○," and the third tone's four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○." On the left side, it remains "Entering Tone Singing Law One of Five," continuing to sing the third tone's four lines with the character "ri" repeated four times: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," the fourth tone's four lines: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," and the fifth tone's four lines: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." Starting from this diagram, the series of closed tones continues for six diagrams in a row, with the character "he" always being "■." The reason for this is that the closed positions below the sixth tone originally had no sounds. Shao Yong did not abandon the position just because there was no character, and continued to arrange one diagram after another to complete the full number of twelve tones.

東丹帝■日日日日，■■■■刀早孝嶽；六音：兌大弟■日日日日，六音：■■■■毛寶報霍；五聲：土貪天■日日日日，四聲：■■■■牛斗奏六；同覃田■日日日日，■■■■○○○玉；乃你女■日日日日，■■■■妻子四日；七音：內南年■日日日日，六音：■■■■衰○帥骨；五聲：老冷呂■日日日日，五聲：■■■■○○○德；鹿犖離■日日日日，■■■■龜水貴北；走哉足■日日日日，■■■■宮孔眾○；八音：自在匠■日日日日，六音：■■■■龍甬用○；五聲：草采七■日日日日，六聲：■■■■魚鼠去○；曹才全■日日日日，■■■■烏虎兔○。

The left column, "Rush Sound of the First Five of the Lu" uses the character "日" repeated four times, followed by four lines of the sixth tone "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■", four lines of the seventh tone "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■", and four lines of the eighth tone "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■". In these three tones, each line has three characters followed by a blank "■", showing that the tongue and dental sounds have no sound in the closed position. The right column, "Clear and Harmonious Law of the First Six of the Closed Tone" still uses the blank symbol "■" repeated four times, with four lines of the fourth tone "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", four lines of the fifth tone "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De,Gui Shui Gui Bei", and four lines of the sixth tone "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○". On one side there are positions without sound, and on the other side there are characters with sound. Comparing them two by two, it clearly shows Shao Yong's intention to keep empty positions rather than fill them randomly. The three series of the sixth tone "Dong Dan Di ■", the seventh tone "Nai Ni Nu ■", and the eighth tone "Zou Zai Zu ■" all have three characters followed by a blank in each line, showing that the lack of sound in the closed position is most common among the tongue and dental sounds.

思三星■日日日日，■■■■心審禁○；九音：寺□象■日日日日，六音：■■■■○○○十；五聲：□□□■日日日日，七聲：■■■■男坎欠○；□□□■日日日日，■■■■○○○妾；■山手■日日日日，■■■■●●●●；十音：■士石■日日日日，六音：■■■■●●●●；五聲：■□耳■日日日日，八聲：■■■■●●●●；■□二■日日日日，■■■■●●●●；■莊震■日日日日，■■■■●●●●；十一音：□乍□■日日日日，六音：■■■■●●●●；五聲：■叉赤■日日日日，九聲：■■■■●●●●；■崇辰■日日日日，■■■■●●●●。

The left column, "入声辟唱吕一之五," uses the character "日" repeated four times, singing four lines of the ninth tone: "思三星■, 寺□象■, □□□■, □□□■," and four lines of the tenth tone: "■山手■, ■士石■, ■□耳■, ■□二■," and four lines of the eleventh tone: "■庄震■, ■乍□■, ■叉赤■, ■崇辰■." Among the three tones, "□" and "■" alternate: the former refers to a phonetic position without a character, while the latter refers to no phonetic position at all. The right column, "闭音清和律一之六," has the empty symbol "■" repeated four times, along with four lines of the seventh tone: "心审禁○, ○○○十, 男坎欠○, ○○○妾," and the eighth and ninth tones, totaling eight lines. The latter eight lines are all "●●●●," representing silent positions. At this point, within one line, both left and right are empty, forming the most empty part of the entire diagram. The "日" character sung in the left column comes from the fifth category of the "日行" in the fifth tone, which is the entering tone position. This character appears frequently in "皇极经世," serving both as an actual entering tone character and relating to the name "日月星辰." Here, only its sound is taken, not its meaning. The entire section has sound on the left and silence on the right, making it the most empty part of the whole diagram.

■卓中■日日日日，■■■■●●●●；十二音：■宅直■日日日日，六音：■■■■●●●●；五聲：■拆丑■日日日日，十聲：■■■■●●●●；■茶呈■日日日日，■■■■●●●●。

The left column concludes with "Rusheng Bi Chang Lv Yi Zhi Wu," using the character "ri" repeated four times to sing the twelfth tone in four lines: "Zhuo Zhong," "Zhai Zhi," "Che Chou," and "Cha Cheng." The first and last characters of each line are marked with "■." The right column, "Bi Yin Qing He Lv Yi Zhi Liu," uses the empty symbol "■" repeated four times, harmonizing with the tenth tone in four lines, each line also marked with "●●●●." The left diagram has forty-eight tone positions and the right diagram has forty tones, both fully arranged at the same time. The next line then uses a new diagram.

入聲闢唱呂一之六　閉音清和律一之七；古甲九癸○○○○，■■■■多可個舌；一音：□□近揆○○○○，七音：■■■■禾火化八；六聲：坤巧丘棄○○○○，一聲：■■■■開宰愛○；□□乾蚪○○○○，■■■■回每退○；黑花香血○○○○，■■■■良兩向○；二音：黃華雄賢○○○○，七音：■■■■光廣況○；六聲：五瓦仰□○○○○，二聲：■■■■丁井亙○；吾牙月堯○○○○，■■■■兄永瑩○；安亞乙一○○○○，■■■■千典旦○；三音：□爻壬寅○○○○，七音：■■■■元犬半○；六聲：母馬美米○○○○，三聲：■■■■臣引艮○；目貌眉民○○○○，■■■■君允巽○。

This line simultaneously lists two titles: on the left side, it begins with "Entering Tone: Qiyi Li Yi Zhi Liu," and on the right side, it begins with "Closed Tone: Qing He Lu Yi Zhi Qi." The left diagram sings the entering tone position of the sixth category of the "Gong Kong Zhong" in the daily movement, which has sound but no characters, written as "○," with four repetitions per line. The right diagram harmonizes the seventh tone of the water movement "Nai Ni Nu ■," which originally has no such sound, written as "■," also with four repetitions per line. One has sound but no characters, and the other has no sound at all; the two empty positions are arranged side by side on the same line, clearly showing the detailed division of "○" and "■." The left side sings the first tone with four lines: "Gu Jia Ji Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," the second tone with four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and the third tone with four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right side harmonizes the first tone with four lines: "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," the second tone with four lines: "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○," and the third tone with four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○." Since both diagrams are combined, this line alone has two titles.

夫法□飛○○○○，■■■■刀早孝嶽；四音：父凡□吠○○○○，七音：■■■■毛寶報霍；六聲：武晚□尾○○○○，四聲：■■■■牛斗奏六；文萬□未○○○○，■■■■○○○玉；卜百丙必○○○○，■■■■妻子四日；五音：步白備鼻○○○○，七音：■■■■衰○帥骨；六聲：普撲品匹○○○○，五聲：■■■■○○○德；旁排平瓶○○○○，■■■■龜水貴北；東丹帝■○○○○，■■■■宮孔眾○；六音：兌大弟■○○○○，七音：■■■■龍甬用○；六聲：土貪天■○○○○，六聲：■■■■魚鼠去○；同覃田■○○○○，■■■■烏虎兔○。

The left column, "Rush Sound Clear Pronunciation Law One of Six," uses the symbol "○" four times, followed by four lines of the fourth tone: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei." The third character in each line is "□." The last line's "wei" is an example using a character from the Earthly Branches. The right column, "Closed Sound Clear Harmony Law One of Seven," uses the symbol "■" four times, followed by four lines of the fourth tone: "Dao zao xiao yue, Mao bao bao huo, Niu dou zhou liu, ○○○ yu." The fourth tone's last line "○○○ yu" has only the position with a character filled in. The fifth tone's second line "Cui ○ shuai gu" is missing a character in the rising tone position, marked with "○."

乃你女■○○○○，■■■■心審禁○；七音：內南年■○○○○，七音：■■■■○○○十；六聲：老冷呂■○○○○，七聲：■■■■男坎欠○；鹿犖離■○○○○，■■■■○○○妾；走哉足■○○○○，■■■■●●●●；八音：自在匠■○○○○，七音：■■■■●●●●；六聲：草采七■○○○○，八聲：■■■■●●●●；曹才全■○○○○，■■■■●●●●；思三星■○○○○，■■■■●●●●；九音：寺□象■○○○○，七音：■■■■●●●●；六聲：□□□■○○○○，九聲：■■■■●●●●；□□□■○○○○，■■■■●●●●。

The left column, "Rush Sound of the First Six of the First Category," uses four repetitions of "○," singing four lines for the seventh tone: "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," four lines for the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao caipu qi ■, cao caiquan ■," and four lines for the ninth tone: "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■." The right column, "Clear and Harmonious Tone of the First Seven of the First Category," uses four repetitions of "■," harmonizing four lines for the seventh tone: "Xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie," with the eighth and ninth tones below having eight lines all marked as "●●●●." In the four lines of the seventh tone, there are five instances of "○," which are all marked as positions with sound but without corresponding characters. In contrast, the right column's harmonized "■" corresponds to these, one being a sound position and the other an empty one, each having its own distinction. In the left column, for the seventh, eighth, and ninth tones, each line ends without a sound, only the first three characters are written; whereas in the right column, the eighth and ninth tones have no sound positions at all, hence all eight lines are marked as "●." Though both are blank, the left uses "■" and the right uses "●," one belonging to a sound diagram and the other to a tone diagram, and they cannot be exchanged. The labels "seven tones," "eight tones," and "nine tones" as well as "seven sounds," "eight sounds," and "nine sounds" are used to indicate the positions within each column.

■山手■○○○○，■■■■●●●●；十音：■士石■○○○○，七音：■■■■●●●●；六聲：■□耳■○○○○，十聲：■■■■●●●●；■□二■○○○○，■■■■●●●●。

The left column, "Rush Sound Regulation of the Sixth of the First of the Six," sings the tenth tone in four lines: "■ mountain hand ■, ■ man stone ■, ■ ■ ear ■, ■ ■ two ■." The opening positions of the four lines are mostly marked with "■," while the closing positions occasionally include characters like "ear" and "two." The final position has no sound at all. The right column, "Clear and Harmonious Law of the Seventh of the First of the One," uses four repetitions of "■" and the tenth tone in four lines, each line being "●●●●." Both figures simultaneously conclude: the left figure sings fully through forty-eight tone positions but still has two tones remaining, while the right figure has already completed all forty tone positions.

閉音清和律一之八；■莊震■○○○○，■■■■多可個舌；十一音：■乍□■○○○○，八音：■■■■禾火化八；六聲：■叉赤■○○○○，一聲：■■■■開宰愛○；■崇辰■○○○○，■■■■回每退○；■卓中■○○○○，■■■■良兩向○；十二音：■宅直■○○○○，八音：■■■■光廣況○；六聲：■拆丑■○○○○，二聲：■■■■丁井亙○；■茶呈■○○○○，■■■■兄永瑩○。

On the right side, another section begins with "Closed Sound Clear Harmony Law One of Eight": it harmonizes with the eighth tone of the water element "Zou Zai Zu ■", which does not exist, so it still uses "■" repeated four times as the harmonizing character. It harmonizes with the first tone's four lines "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○" and the second tone's four lines "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○". On the left side, it concludes with the ending of "Entering Tone Separate Singing Law One of Six", using the entering tone empty position "○" repeated four times to sing the eleventh tone's four lines "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■" and the twelfth tone's four lines "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■". These two tones belong to the category of correct teeth and tongue root, with no sounds in the open or closed positions, so each line only has characters fitting in the middle two sections. Each column starts separately, so the positions do not align with each other.

入聲闢唱呂一之七；古甲九癸○○○○，■■■■千典旦○；一音：□□近揆○○○○，八音：■■■■元犬半○；七聲：坤巧丘棄○○○○，三聲：■■■■臣引艮○；□□乾蚪○○○○，■■■■君允巽○；黑花香血○○○○，■■■■刀早孝嶽；二音：黃華雄賢○○○○，八音：■■■■毛寶報霍；七聲：五瓦仰□○○○○，四聲：■■■■牛斗奏六；吾牙月堯○○○○，■■■■○○○玉；安亞乙一○○○○，■■■■妻子四日；三音：□爻壬寅○○○○，八音：■■■■衰○帥骨；七聲：母馬美米○○○○，五聲：■■■■○○○德；目貌眉民○○○○，■■■■龜水貴北。

The left column begins with "Rusheng Bichang Lü Yi Zhi Qi": the singing is of the seventh category of the "Xin Shen Jin" in the "Rusheng" position, which has sound but no character, written as "○". Each line is repeated four times. The first tone has four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu". The second tone has four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao". The third tone has four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column, "Biyin Qing He Lu Yi Zhi Ba", still uses "■" repeated four times as the harmonizing character, with the third tone having four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yun Gen ○, Jun Yun Xun ○", and the fourth tone having four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu". The order of the lines in the left and right columns no longer correspond, because the "Shengtu" has forty positions and the "Yintu" has forty-eight positions, so the number of lines differs. "Huangji Jingshi" takes the singing of sound and the harmonizing of tone as its main framework: sound is above and sung, tone is below and harmonized. Once a sound is fixed, it goes through all forty-eight tones; once a tone is fixed, it harmonizes with all forty sounds. The left column represents the former, and the right column represents the latter, so the two groups of characters in the same line are not related, and each should be read vertically within its own column.

夫法□飛○○○○，■■■■宮孔眾○；四音：父凡□吠○○○○，八音：■■■■龍甬用○；七聲：武晚□尾○○○○，六聲：■■■■魚鼠去○；文萬□未○○○○，■■■■烏虎兔○；卜百丙必○○○○，■■■■心審禁○；五音：步白備鼻○○○○，八音：■■■■○○○十；七聲：普撲品匹○○○○，七聲：■■■■男坎欠○；旁排平瓶○○○○，■■■■○○○妾；東丹帝■○○○○，■■■■●●●●；六音：兌大弟■○○○○，八音：■■■■●●●●；七聲：土貪天■○○○○，八聲：■■■■●●●●；同覃田■○○○○，■■■■●●●●。

The left column, "入声辟唱吕一之七," uses "○" four times in succession, followed by the fourth tone with four lines: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," the fifth tone with four lines: "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and the sixth tone with four lines: "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." The right column, "闭音清和律一之八," uses "■" four times in succession, harmonizing the sixth tone with four lines: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○," the seventh tone with four lines: "Xin shen jin ○, ○○○shi, Nan kan qian ○, ○○○jie," and then the eighth tone with four lines. The sixth tone's four lines have all their positions missing, while the seventh tone's lines "○○○shi" and "○○○jie" only have characters in the positions of the entering tone. The eighth tone has no sound at all, so it is marked with "●." The two symbols are similar in form but differ in meaning: one represents a sound without a character, and the other represents no sound at all.

乃你女■○○○○，■■■■●●●●；七音：內南年■○○○○，八音：■■■■●●●●；七聲：老冷呂■○○○○，九聲：■■■■●●●●；鹿犖離■○○○○，■■■■●●●●；走哉足■○○○○，■■■■●●●●；八音：自在匠■○○○○，八音：■■■■●●●●；七聲：草采七■○○○○，十聲：■■■■●●●●；曹才全■○○○○，■■■■●●●●。

The left column, "入声辟唱吕一之七," uses four repetitions of "○," singing seven tones with four lines each: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■" and "走哉足■, 自在匠■, 草采七■, 曹才全■." In each line of the two tones, the first three characters are present, while the last character is marked as "■." The right column, "闭音清和律一之八," uses four repetitions of "■," harmonizing the ninth and tenth tones, totaling eight lines, all marked as "●●●●." This diagram ends with the completion of the harmonization. Within each line, the left side has characters representing sounds, while the right side has no sound positions, clearly demonstrating the phenomenon of "many sounds and few tones." In the left column, the seventh tone "乃你女■" and the eighth tone "走哉足■" both end with "■," indicating a closed position with no sound. In contrast, the ninth and tenth tones on the right have no sound positions at all, hence all eight lines are marked as "●." The left side has characters while the right side is completely empty, precisely illustrating the concept of "many sounds and few tones" mentioned in the "皇极经世."

閉音清和律一之九；思三星■○○○○，■■■■多可個舌；九音：寺□象■○○○○，九音：■■■■禾火化八；七聲：□□□■○○○○，一聲：■■■■開宰愛○；□□□■○○○○，■■■■回每退○；■山手■○○○○，■■■■良兩向○；十音：■士石■○○○○，九音：■■■■光廣況○；七聲：■□耳■○○○○，二聲：■■■■丁井亙○；■□二■○○○○，■■■■兄永瑩○；■莊震■○○○○，■■■■千典旦○；十一音：■乍□■○○○○，九音：■■■■元犬半○；七聲：■叉赤■○○○○，三聲：■■■■臣引艮○；■崇辰■○○○○，■■■■君允巽○。

On the right side, another section begins with "Closed Sound Clear Harmony Law One, Ninth": The ninth tone, belonging to the water element, is "Thinking of Three Stars ■". Since there is no sound in the closed position, the character "和" is still written as "■". It is repeated four times downward. The first tone, with four lines, includes "More, Can, Individual, Tongue; Millet, Fire, Transform, Eight; Open, Chancellor, Love, ○; Return, Every, Retreat, ○". The second tone, with four lines, includes "Good, Two, Facing, ○; Light, Broad, Situation, ○; Ding, Well, Endless, ○; Brother, Long, Bright, ○". The third tone, with four lines, includes "Thousand, Classic, Dawn, ○; Yuan, Dog, Half, ○; Minister, Lead, Gen, ○; King, Allow, Xun, ○". On the left side, it remains "Entering Tone Singing Law One, Seventh", continuing to sing the ninth tone with four lines using "○" repeated four times: "Thinking of Three Stars ■, Temple □ Image ■, □ □ □ ■, □ □ □ ■". The tenth tone includes four lines: "■ Mountain Hand ■, ■ Scholar Stone ■, ■ □ Ear ■, ■ □ Two ■". The eleventh tone includes four lines: "■ Village Thunder ■, ■ Sudden □ ■, ■ Fork Red ■, ■ Prosperous Morning ■". The left side is filled with "□" and "■", while the right side is filled with "■" and characters with sounds. The contrast between the real and the empty is clear at a glance. From the ninth tone onwards, the number of actual characters decreases while the number of empty positions increases: "□" indicates a position with a sound but no character, while "■" indicates a position without a sound. These symbols are mixed together in lines, and when reading, one must distinguish each section carefully, not treating them all as missing characters.

■卓中■○○○○，■■■■刀早孝嶽；十二音：■宅直■○○○○，九音：■■■■毛寶報霍；七聲：■拆丑■○○○○，四聲：■■■■牛斗奏六；■茶呈■○○○○，■■■■○○○玉。

The left column, "Rush Sound Punctuation of the First Seventh of the Lu Scale," uses the symbol "○" four times, singing the twelfth tone in four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," completing this diagram. The right column, "Clear and Harmonious Tone of the First Ninth of the Lu Scale," uses the symbol "■" four times, harmonizing the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu"; the first three characters of the last line are blank, represented by "○," with only the character "Yu" occupying the position of entry.

入聲闢唱呂一之八；古甲九癸●●●●，■■■■妻子四日；一音：□□近揆●●●●，九音：■■■■衰○帥骨；八聲：坤巧丘棄●●●●，五聲：■■■■○○○德；□□乾蚪●●●●，■■■■龜水貴北；黑花香血●●●●，■■■■宮孔眾○；二音：黃華雄賢●●●●，九音：■■■■龍甬用○；八聲：五瓦仰□●●●●，六聲：■■■■魚鼠去○；吾牙月堯●●●●，■■■■烏虎兔○；安亞乙一●●●●，■■■■心審禁○；三音：□爻壬寅●●●●，九音：■■■■○○○十；八聲：母馬美米●●●●，七聲：■■■■男坎欠○；目貌眉民●●●●，■■■■○○○妾。

The left column begins with "Rusheng Bi Chang Lü Yi Zhi Ba." The eighth category of the correct tone includes four lines below "Rixing" which are all silent. Since the position for the entering tone is not only silent but completely void, the character used for singing can only be written as "●", repeated four times per line. Using this purely empty position to sing the first tone's four lines "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," the second tone's four lines "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and the third tone's four lines "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," is exactly how Shao Yong arranged them with his method of "having a position must list it, and without a character, leave it blank." The right column, "Biyin Qing He Lu Yi Zhi Jiu," still uses "■" repeated four times, along with the fifth tone's four lines "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," the sixth tone's four lines "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○," and the seventh tone's four lines "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie." The eighth, ninth, and thirteenth categories of the correct tone are entirely silent, yet Shao Yong still established diagrams and positions for them, writing each section as "●." This is exactly his approach to "the number of sounds," striving for completeness—numbers must fill all positions, while characters are left to their natural state.

夫法□飛●●●●，■■■■●●●●；四音：父凡□吠●●●●，九音：■■■■●●●●；八聲：武晚□尾●●●●，八聲：■■■■●●●●；文萬□未●●●●，■■■■●●●●；卜百丙必●●●●，■■■■●●●●；五音：步白備鼻●●●●，九音：■■■■●●●●；八聲：普撲品匹●●●●，九聲：■■■■●●●●；旁排平瓶●●●●，■■■■●●●●；東丹帝■●●●●，■■■■●●●●；六音：兌大弟■●●●●，九音：■■■■●●●●；八聲：土貪天■●●●●，十聲：■■■■●●●●；同覃田■●●●●，■■■■●●●●。

The left column, "Rusheng Bi Chang Lü Yi Zhi Ba," uses the silent symbol "●" repeated four times, singing four lines of the fourth tone: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," four lines of the fifth tone: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," and four lines of the sixth tone: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The right column, "Bi Yin Qing He Lu Yi Zhi Jiu," uses the silent symbol "■" repeated four times, harmonizing with the eighth, ninth, and tenth tones, totaling twelve lines. Since all these lines have no sound positions, each line is marked as "●●●●." The left half still contains readable characters, while the right half has both sound and meaning empty, making it the most abstract section of the entire text. Although symbols are everywhere, each has a definite meaning: "●" is silent, "■" is voiceless, "○" is sound without character, and "□" is sound without character. The four symbols belong to the sound and tone charts, and readers can distinguish them by column, thus avoiding confusion.

閉音清和律一之十；乃你女■●●●●，■■■■多可個舌；七音：內南年■●●●●，十音：■■■■禾火化八；八聲：老冷呂■●●●●，一聲：■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音：自在匠■●●●●，十音：■■■■光廣況○；八聲：草采七■●●●●，二聲：■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音：寺□象■●●●●，十音：■■■■元犬半○；八聲：□□□■●●●●，三聲：■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

The right column begins with "Closed Sound Clear Harmony Law One-Ten": the tenth tone, water element, "□ mountain hand ■" has no sound in the closed position, and the character remains "■", repeated four times. The harmonized text for the first tone, four lines, is "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○"; for the second tone, four lines, "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○"; for the third tone, four lines, "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○". The left column continues with "Entering Tone Separate Singing Lu One-Eight", using "●" repeated four times to continue singing the seventh tone, four lines, "nai ni nv ■, nei nan nian ■, lao leng lu ■, lu luo li ■"; the eighth tone, four lines, "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■"; the ninth tone, four lines, "si san xing ■, si □ xiang ■, □ □ □ ■, □ □ □ ■". The right column's harmonized text is for the tenth tone, water element, closed position, which originally has no sound, so the entire text uses "■" repeated four times as the harmonized character; although it is a virtual position, all forty tone positions are still fully arranged without omission. The left column still has many character examples, with representative characters for the lip, tongue, and teeth sounds sung in order.

■山手■●●●●，■■■■刀早孝嶽；十音：■士石■●●●●，十音：■■■■毛寶報霍；八聲：■□耳■●●●●，四聲：■■■■牛斗奏六；■□二■●●●●，■■■■○○○玉；■莊震■●●●●，■■■■妻子四日；十一音：■乍□■●●●●，十音：■■■■衰○帥骨；八聲：■叉赤■●●●●，五聲：■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音：■宅直■●●●●，十音：■■■■龍甬用○；八聲：■拆丑■●●●●，六聲：■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

The left column, "Rushang Bi Chang Lü Yi Zhi Ba," uses "●" four times, singing four lines for the tenth tone: "■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■," four lines for the eleventh tone: "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■," and four lines for the twelfth tone: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," completing the diagram. The right column, "Bi Yin Qing He Lu Yi Zhi Shi," uses "■" four times, harmonizing four lines for the fourth tone: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," four lines for the fifth tone: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De,Gui Shui Gui Bei," and four lines for the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." In the fifth tone's second line, "Shuai ○ Shuai Gu," the rising tone position is filled with sound but no character, and in the sixth tone's last line, "Wu Hu Tu ○," the entering tone position is also filled with sound but no character, each marked with "○" to fill the blank. For the tenth, eleventh, and twelfth tones, the open and closed positions are mostly without sound, only the middle initial and final positions can hold characters, so each line in the left column can only read two characters. The right column's harmonization for the fourth, fifth, and sixth tones has more complete character examples, though there are some missing characters in the entering tone positions of each line.

入聲闢唱呂一之九；古甲九癸●●●●，■■■■心審禁○；一音：□□近揆●●●●，十音：■■■■○○○十；九聲：坤巧丘棄●●●●，七聲：■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音：黃華雄賢●●●●，十音：■■■■●●●●；九聲：五瓦仰□●●●●，八聲：■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音：□爻壬寅●●●●，十音：■■■■●●●●；九聲：母馬美米●●●●，九聲：■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

The left column begins with "Rusheng Bi Chang Lv Yi Zhi Jiū." The ninth category of Zhengsheng is entirely silent, so its daily movement into the position can only be written as "●". Each line is repeated four times. The first tone's four lines are "Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu." The second tone's four lines are "Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo." The third tone's four lines are "Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Mí Mín." On the right column, "Biyin Qing He Lv Yi Shi" uses "■" repeated four times, and harmonizes with the seventh tone's four lines: "Xīn Shěn Jìn ○, ○○○ Shí, Nán Kǎn Qiàn ○, ○○○ Jiè." Then it harmonizes with the eighth and ninth tones, totaling eight lines. The following eight lines are all "●●●●." The ninth category of Zhengsheng has no position for sound, so the singing character in this diagram is purely a blank. However, once singing is established, the forty-eight tones must be passed through one by one, none can be missing. In the right column, the seventh tone's four lines all contain "○," while the eighth and ninth tones have "●," both appearing within the same section. The distinction between empty and filled is particularly clear: the former has a position but no character, while the latter has no position at all.

夫法□飛●●●●，■■■■●●●●；四音：父凡□吠●●●●，十音：■■■■●●●●；九聲：武晚□尾●●●●，十聲：■■■■●●●●；文萬□未●●●●，■■■■●●●●。

The left column, "Entry on the Fourth Tone of the Rhythm of the Inclusive Sound 'Lv Yi Ji Jiú'", uses the silent symbol '●' four times in succession, and sings the fourth tone in four lines: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei". The third position in each of the four lines is marked with '□', indicating an available phonetic position without a corresponding character. The last line's 'Wei' is a borrowed character from the Earthly Branches to serve as an example of sound. The right column, "Entry on the Tenth Tone of the Clear and Harmonious Law 'Lv Yi Shi'", uses the symbol '■' four times in succession, and harmonizes the tenth tone in four lines, all marked as '●●●●', completing the diagram.

閉音清和律一之十一；卜百丙必●●●●，■■■■多可個舌；五音：步白備鼻●●●●，十一音：■■■■禾火化八；九聲：普撲品匹●●●●，一聲：■■■■開宰愛○；旁排平瓶●●●●，■■■■回每退○；東丹帝■●●●●，■■■■良兩向○；六音：兌大弟■●●●●，十一音：■■■■光廣況○；九聲：土貪天■●●●●，二聲：■■■■丁井亙○；同覃田■●●●●，■■■■兄永瑩○；乃你女■●●●●，■■■■千典旦○；七音：內南年■●●●●，十一音：■■■■元犬半○；九聲：老冷呂■●●●●，三聲：■■■■臣引艮○；鹿犖離■●●●●，■■■■君允巽○。

The right column begins with "Closed Sound Clear Harmony Law One, Number Eleven": The eleventh tone, which belongs to the water element, is "■ ZHUANG ZHEN ■". The closed position has no sound, and the character "和" is still written as "■". It is repeated four times downward. The first tone has four lines: "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○". The second tone has four lines: "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○". The third tone has four lines: "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○". For the second and third tones, the eight lines in the entering position have no characters and are all written as "○". The left column remains "Entering Tone Singing Law One, Number Nine", with "●" repeated four times to continue singing the fifth tone's four lines: "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping". The sixth tone's four lines: "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■". The seventh tone's four lines: "nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■". The eleventh tone "■ ZHUANG ZHEN ■" series has no sound in both the opening and closed positions, so when using the water element's closed pattern for the character "和", it can only be written as "■". The fifth tone on the left column is the heavy lip sound, with four lines each having four characters, forming a contrast with the empty positions on the right column.

走哉足■●●●●，■■■■刀早孝嶽；八音：自在匠■●●●●，十一音：■■■■毛寶報霍；九聲：草采七■●●●●，四聲：■■■■牛斗奏六；曹才全■●●●●，■■■■○○○玉；思三星■●●●●，■■■■妻子四日；九音：寺□象■●●●●，十一音：■■■■衰○帥骨；九聲：□□□■●●●●，五聲：■■■■○○○德；□□□■●●●●，■■■■龜水貴北；■山手■●●●●，■■■■宮孔眾○；十音：■士石■●●●●，十一音：■■■■龍甬用○；九聲：■□耳■●●●●，六聲：■■■■魚鼠去○；■□二■●●●●，■■■■烏虎兔○。

The left column, "入声辟唱吕一之九," uses "●" repeated four times, singing eight tones with four lines each: "走哉足■, 自在匠■, 草采七■, 曹才全■," nine tones with four lines each: "思三星■, 寺□象■, □□□■, □□□■," and ten tones with four lines each: "■山手■, ■士石■, ■□耳■, ■□二■." The right column, "闭音清和律一之十一," uses "■" repeated four times, harmonizing the fourth tone with four lines each: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," fifth tone with four lines each: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," sixth tone with four lines each: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The third line of the fifth tone "○○○德" only has characters in the position where it is entered, while the fourth line of the sixth tone has all positions missing, filled with "○" as a substitute. This corresponds exactly with the right column's "■" being empty and the left column's "○" being filled, so they should not be confused. The eighth tone on the left belongs to the dental initial, the ninth tone belongs to the fine dental sound, and the tenth tone is a combination of the tongue and dental sounds, with all the final sounds missing in the three tones. The right column's examples of harmonized tones are still numerous, but the entered positions are often empty. Within one line, the left and right columns each have their own diagrams, and the order of tones and the order of sounds are not related.

■莊震■●●●●，■■■■心審禁○；十一音：■乍□■●●●●，十一音：■■■■○○○十；九聲：■叉赤■●●●●，七聲：■■■■男坎欠○；■崇辰■●●●●，■■■■○○○妾；■卓中■●●●●，■■■■●●●●；十二音：■宅直■●●●●，十一音：■■■■●●●●；九聲：■拆丑■●●●●，八聲：■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

The left column concludes with "入声辟唱吕一之九," using "●" repeated four times to sing the eleventh tone in four lines: "■庄震■, ■乍□■, ■叉赤■, ■崇辰■" and the twelfth tone in four lines: "■卓中■, ■宅直■, ■拆丑■, ■茶呈■." The right column, "闭音清和律一之十一," uses "■" repeated four times, harmonizing with the seventh tone in four lines: "心审禁○, ○○○十, 男坎欠○, ○○○妾" and the eighth tone in four lines. Each of the seventh tone lines has empty spaces marked as "○," while the eighth tone has "●●●●" throughout. The eleventh and twelfth tones belong to the correct dental and palatal sounds, with no sounds in both open and closed categories, so each line only has the middle two characters. Although the seventh tone lines on the right have characters, they are all marked with empty spaces.

入聲闢唱呂一之十；古甲九癸●●●●，■■■■●●●●；一音：□□近揆●●●●，十一音：■■■■●●●●；十聲：坤巧丘棄●●●●，九聲：■■■■●●●●；□□乾蚪●●●●，■■■■●●●●；黑花香血●●●●，■■■■●●●●；二音：黃華雄賢●●●●，十一音：■■■■●●●●；十聲：五瓦仰□●●●●，十聲：■■■■●●●●；吾牙月堯●●●●，■■■■●●●●。

On the left side, another section begins with "入声辟唱吕一之十". The tenth category of the standard tone has no sound throughout, and the position of the entering tone on the day naturally becomes a pure empty position, written as "●". Each line consists of four repetitions. The four lines for the first tone are "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪", and the four lines for the second tone are "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧". On the right side, "闭音清和律一之十一" uses "■" repeated four times, harmonizing with the ninth and tenth tones, totaling eight lines, each line being "●●●●". This diagram concludes here. By singing the empty with the empty and harmonizing the void with the void, all positions are still fully accounted for, which precisely demonstrates that this diagram emphasizes "number" rather than "character". The diagram's use of empty to sing empty, and void to harmonize with void, still fully fills each position, clearly showing that Shao Yong's diagram focuses on "number" rather than "character".

閉音清和律一之十二；安亞乙一●●●●，■■■■多可個舌；三音：□爻壬寅●●●●，十二音：■■■■禾火化八；十聲：母馬美米●●●●，一聲：■■■■開宰愛○；目貌眉民●●●●，■■■■回每退○；夫法□飛●●●●，■■■■良兩向○；四音：父凡□吠●●●●，十二音：■■■■光廣況○；十聲：武晚□尾●●●●，二聲：■■■■丁井亙○；文萬□未●●●●，■■■■兄永瑩○；卜百丙必●●●●，■■■■千典旦○；五音：步白備鼻●●●●，十二音：■■■■元犬半○；十聲：普撲品匹●●●●，三聲：■■■■臣引艮○；旁排平瓶●●●●，■■■■君允巽○。

On the right side, another section begins with 《Closed Sound Clear Harmony Law One of Twelve》: the twelfth tone of the water element is 「■Zhuo Zhong ■」, with no sound in the closed position, and the character 「和」 is written as 「■」. It is repeated four times descending, with four lines for the first tone's four sounds 「Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○」, four lines for the second tone's four sounds 「Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○」, and four lines for the third tone's four sounds 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」. On the left side, it remains 《Entering Tone Separate Singing Law One of Ten》, continuing to sing the third tone's four lines with four repetitions of 「●」: 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」, and four lines for the fourth tone: 「Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei」, and four lines for the fifth tone: 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」. The series of 《Closed Sound Clear Harmony Law》 concludes here at the twelfth diagram, completing the twelve tones of the water element's closed position; among them, the first tone gets 「Gui」, the second tone gets 「Xue」, the third tone gets 「Yi」, the fourth tone gets 「Fei」, the fifth tone gets 「Bi」, while the remaining seven tones have no sound and are written as 「■」.

東丹帝■●●●●，■■■■刀早孝嶽；六音：兌大弟■●●●●，十二音：■■■■毛寶報霍；十聲：土貪天■●●●●，四聲：■■■■牛斗奏六；同覃田■●●●●，■■■■○○○玉；乃你女■●●●●，■■■■妻子四日；七音：內南年■●●●●，十二音：■■■■衰○帥骨；十聲：老冷呂■●●●●，五聲：■■■■○○○德；鹿犖離■●●●●，■■■■龜水貴北；走哉足■●●●●，■■■■宮孔眾○；八音：自在匠■●●●●，十二音：■■■■龍甬用○；十聲：草采七■●●●●，六聲：■■■■魚鼠去○；曹才全■●●●●，■■■■烏虎兔○。

The left column, "入声辟唱吕一之十," uses four repetitions of "●" and sings four lines for the sixth tone: "东丹帝■, 兑大弟■, 土贪天■, 同覃田■," four lines for the seventh tone: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■," and four lines for the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■." The right column, "闭音清和律一之十二," uses four repetitions of "■" and harmonizes four lines for the fourth tone: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines for the fifth tone: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines for the sixth tone: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The sixth tone in the left column is the tongue route, the seventh tone is the nü lai route, and the eighth tone is the chi tou route. The three tones in the closed pattern have no sound. In the right column, the last line of the fourth tone "○○○玉" only has the character in the position, the second line of the fifth tone "衰○帅骨" is missing a character in the rising tone position, and all four lines of the sixth tone are completely empty, filled with "○." Therefore, although they are both blank, the left uses "■" and the right uses "○," each according to their respective diagrams.

思三星■●●●●，■■■■心審禁○；九音：寺□象■●●●●，十二音：■■■■○○○十；十聲：□□□■●●●●，七聲：■■■■男坎欠○；□□□■●●●●，■■■■○○○妾；■山手■●●●●，■■■■●●●●；十音：■士石■●●●●，十二音：■■■■●●●●；十聲：■□耳■●●●●，八聲：■■■■●●●●；■□二■●●●●，■■■■●●●●；■莊震■●●●●，■■■■●●●●；十一音：■乍□■●●●●，十二音：■■■■●●●●；十聲：■叉赤■●●●●，九聲：■■■■●●●●；■崇辰■●●●●，■■■■●●●●。

The left column, "Rusheng Bi Chang Lv Yi Zhi Shi," uses "●" four times in succession, singing the ninth tone with four lines: "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," and the tenth tone with four lines: "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■," and the eleventh tone with four lines: "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■." The right column, "Bi Yin Qing He Lv Yi Zhi Shier," uses "■" four times in succession, harmonizing the seventh tone with four lines: "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie," then harmonizing the eighth and ninth tones together in eight lines, all using "● ● ● ●." In the left column, "□" and "■" alternate in lines: the former represents a phoneme position without a character, while the latter represents no phoneme position. In the right column, the seventh tone has characters such as Xin, Shen, Jin, Nan, Kan, Qian that can be read, but the eighth and ninth tones have no characters at all, all written as "●." The left column follows the order of phonemes, while the right column follows the order of tones, both within the same line but not connected to each other. This is the consistent arrangement found in all the diagrams in this text.

■卓中■●●●●，■■■■●●●●；十二音：■宅直■●●●●，十二音：■■■■●●●●；十聲：■拆丑■●●●●，十聲：■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

The left column, "入声辟唱吕一之十" sings the twelfth tone in four lines: "■卓中■, ■宅直■, ■拆丑■, ■茶呈■". The right column, "闭音清和律一之十二" harmonizes the tenth tone in four lines. By this point, all ten diagrams based on the "日" row for the sung tones and all twelve diagrams based on the "水" row for the harmonized tones have been completed, totaling four hundred and eighty sung positions and four hundred and eighty harmonized positions, each fully listed. The following text will introduce a new series.

觀物篇四十八；辰月聲入翕　石火音閉濁；八○○霍骨，揆賢寅吠■；○十●●●，■■■■■■；辰月聲七，下唱地之　石火音五，上和天之；用音一百五十二，是　用聲一百一十二，是；謂入聲翕音。入聲翕　謂閉音濁聲。閉音濁；音一千六十四。　聲五百六十；辰月聲入之二翕　石火音閉之二濁。

The fourth十八 chapter of "Guānwù Piān" discusses the pair of "Chén yuè shēng rù xī" and "Shí huǒ yīn bì zhuó." "Chén yuè shēng rù xī" refers to the intersection of the "Chén" position (the fourth position in the four tones, which is the entering tone) and the "yuè" row (the second row in the four rows, which belongs to the xī, or closed mouth) in the diagram of correct tones; "Shí huǒ yīn bì zhuó" refers to the intersection of the "Shí" position (the fourth position in the four tones, which is the closed tone) and the "huǒ" row (the second row in the four rows, which belongs to the zhuó, or dull tone) in the diagram of correct sounds. The original text has both columns printed on one page, and when converted to horizontal lines, each sentence's first half refers to the tone and the second half refers to the sound, requiring them to be read separately. The ten characters "bā liǎo huo gǔ" and "lí shí ● ● ●" are representative characters for the ten categories of correct tones in the entering tone xī position: the first tone corresponds to "bā," the fourth tone corresponds to "huo," the fifth tone corresponds to "gǔ," the seventh tone corresponds to "shí," and the second, third, and sixth tones have tone positions but no corresponding characters, marked as "○," while the eighth, ninth, and tenth tones have no tone positions, marked as "●." There are seven tones with corresponding characters, hence the text says "Chén yuè shēng qī." The characters "kuí xián yín fèi ■" and "■ ■ ■ ■ ■ ■" are representative characters for the twelve categories of correct sounds in the closed tone zhuó position: the first sound corresponds to "kuí," the second to "xián," the third to "yín," the fourth to "fèi," and the rest are marked as "■," meaning there is no such sound. According to the text's statement "Shí huǒ yīn wǔ," the fifth sound should have the character "bí," but the original text is missing this character, so it is left as is without correction. The explanation of the two columns, when read separately, is: "Chén yuè shēng qī, below the singing of the earth's use of sound one hundred fifty-two, this is called entering tone xī sound, entering tone xī sound one thousand six hundred forty." Each of the seven tones has one hundred fifty-two usable sounds, and multiplying seven by one hundred fifty-two gives one thousand six hundred forty. "Shí huǒ yīn wǔ, above the harmonizing of the sky's use of sound one hundred twelve, this is called closed tone zhuó sound, closed tone zhuó sound five hundred sixty." Each of the five sounds has one hundred twelve usable sounds, and multiplying five by one hundred twelve gives five hundred sixty. The final title "Chén yuè shēng rù zhī èr xī" and "Shí huǒ yīn bì zhī èr zhuó" indicates that the following diagrams all belong to the second system.

入聲翕唱呂二之一　閉音濁和律二之一；古甲九癸八八八八，揆揆揆揆多可個舌；一音：□□近揆八八八八，一音：揆揆揆揆禾火化八；一聲：坤巧丘棄八八八八，一聲：揆揆揆揆開宰愛○；□□乾蚪八八八八，揆揆揆揆回每退○；黑花香血八八八八，揆揆揆揆良兩向○；二音：黃華雄賢八八八八，一音：揆揆揆揆光廣況○；一聲：五瓦仰□八八八八，二聲：揆揆揆揆丁井亙○；吾牙月堯八八八八，揆揆揆揆兄永瑩○；安亞乙一八八八八，揆揆揆揆千典旦○；三音：□爻壬寅八八八八，一音：揆揆揆揆元犬半○；一聲：母馬美米八八八八，三聲：揆揆揆揆臣引艮○；目貌眉民八八八八，揆揆揆揆君允巽○。

This line begins with new diagrams on both sides. On the left, the diagram is titled "Entering Tone, Harmonized Singing of the Second of Two in the Lü Scale," and on the right, it is titled "Closed Tone, Muted Harmony of the Second of Two in the Lü Scale." The left diagram sings the entering tone character "ba" from the first category of the "Huo Huo Hua Ba" (Huo Fire Transformation Eight) in the monthly sequence. This position has both sound and character, so it is written as "ba." Each line is repeated four times, singing four lines of the first tone: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," four lines of the second tone: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and four lines of the third tone: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right diagram harmonizes the closed tone character "kui" from the fire sequence "□□ Jin Kui." It is also repeated four times, harmonizing four lines of the first tone: "Du Ke Ge She, Huo Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," four lines of the second tone: "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○," and four lines of the third tone: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○." The number of repetitions corresponds to the four levels of four characters in the same row: in the tone diagram, they are open, initial, closing, and closed tones; in the sound diagram, they are level, rising, falling, and entering tones. "Ba" comes from "Huo Huo Hua Ba," and "kui" comes from "□□ Jin Kui," one taking the entering tone position in sound, and the other taking the closed tone position in sound.

夫法□飛八八八八，揆揆揆揆刀早孝嶽；四音：父凡□吠八八八八，一音：揆揆揆揆毛寶報霍；一聲：武晚□尾八八八八，四聲：揆揆揆揆牛斗奏六；文萬□未八八八八，揆揆揆揆○○○玉；卜百丙必八八八八，揆揆揆揆妻子四日；五音：步白備鼻八八八八，一音：揆揆揆揆衰○帥骨；一聲：普撲品匹八八八八，五聲：揆揆揆揆○○○德；旁排平瓶八八八八，揆揆揆揆龜水貴北；東丹帝■八八八八，揆揆揆揆宮孔眾○；六音：兌大弟■八八八八，一音：揆揆揆揆龍甬用○；一聲：土貪天■八八八八，六聲：揆揆揆揆魚鼠去○；同覃田■八八八八，揆揆揆揆烏虎兔○。

The left column, "Rushantong Xichang Lü Er Zhi Yi," uses the character "eight" repeated four times, followed by the fourth tone in four lines: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," and the fifth tone in four lines: "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Páng pài ping ping." The sixth tone in four lines: "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." The right column, "Biyin Zhu he Lu Er Zhi Yi," uses the character "kuí" repeated four times, and harmonizes the fourth tone in four lines: "Dao zao xiao yue, Mao bao bao huo, Niu dou zou liu, ○○○ yu," the fifth tone in four lines: "Zi qi si ri, Shuai ○ shuai gu, ○○○ de,Gui shui gui bei," and the sixth tone in four lines: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○." The positions marked "shuai ○ shuai gu" in the fifth tone, "○○○ yu" in the fourth tone with three tones, and "wu hu tu ○" in the sixth tone are all places where there is sound but no character, so they are filled with "○." The last character in the sixth tone lines marked "■" does not exist. The fourth tone is the light lip category, the fifth tone is the heavy lip category, and the sixth tone is the tongue category; among the three tones, only the sixth tone's closed category has no sound. The right column's harmonized tones have more complete examples but often lack the correct positions. The four repeated characters at the end of each line in the left column are sounds, while the four repeated characters at the beginning of each line in the right column are tones, so the use of "○" and "●" in the left column must be at the end of the line, while in the right column they must be within the line, making their positions clearly distinguishable.

乃你女■八八八八，揆揆揆揆心審禁○；七音：內南年■八八八八，一音：揆揆揆揆○○○十；一聲：老冷呂■八八八八，七聲：揆揆揆揆男坎欠○；鹿犖離■八八八八，揆揆揆揆○○○妾；走哉足■八八八八，揆揆揆揆●●●●；八音：自在匠■八八八八，一音：揆揆揆揆●●●●；一聲：草采七■八八八八，八聲：揆揆揆揆●●●●；曹才全■八八八八，揆揆揆揆●●●●；思三星■八八八八，揆揆揆揆●●●●；九音：寺□象■八八八八，一音：揆揆揆揆●●●●；一聲：□□□■八八八八，九聲：揆揆揆揆●●●●；□□□■八八八八，揆揆揆揆●●●●。

The left column, "Entering Tone Harmonization of the Second of Two in the Second Category," uses the character "eight" repeated four times, singing four lines of the seventh tone: "Nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■," and four lines of the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," and four lines of the ninth tone: "Si san xing ■, si □ xiang ■, □ □ □ ■, □ □ □ ■." The right column, "Closed Tone Muted Harmony of the Second of Two in the Second Category," uses the character "kuí" repeated four times, harmonizing four lines of the seventh tone: "Xin shen jin ○, ○ ○ ○ shi, nan kan qian ○, ○ ○ ○ jie," and then harmonizing the eighth and ninth tones in eight lines, all marked as "● ● ● ●." The last two lines of the ninth tone, "□ □ □ ■," have the first three positions with phonetic positions but no corresponding characters, and the last position has no such sound. Within one line, both symbols appear, clearly showing Shao Yong's intention to distinguish between real and imaginary elements. The last two lines of the ninth tone only remain "□" and "■," which is the most fragmented part of this set of characters. After the four lines of the seventh tone in the right column, the eighth and ninth tones have no characters at all, all marked as "●." The "eight" sung in the left column is a real character, and the "kuí" harmonized in the right column is also a real character. These two real characters each lead to one diagram, covering all phonetic and tone positions. The number of sung and harmonized characters obtained from the left diagram is 192, and from the right diagram is 160.

□山手■八八八八，揆揆揆揆●●●●；十音：□士石■八八八八，一音：揆揆揆揆●●●●；一聲：■□耳■八八八八，十聲：揆揆揆揆●●●●；□□二■八八八八，揆揆揆揆●●●●。

The left column, "Entry on the Eighth Tone with the Inclusive Singing of the Second of the Two Lü," uses the character "eight" repeated four times, singing four lines of the tenth tone with the pattern "□ mountain hand ■, □ scholar stone ■, ■ □ ear ■, □ □ two ■." In this case, the open and closed positions of the original tone mostly have no characters or sounds, but only the characters "mountain, hand, scholar, stone, ear, two" can be cited. The right column, "Closed Tone with the Muddy Harmony of the Second of the Two Lü," uses the character "kuí" repeated four times, harmonizing four lines of the tenth tone, with all four lines being "●●●●," and the diagram is completed.

閉音濁和律二之二；■莊震■八八八八，賢賢賢賢多可個舌；十一音：■乍□■八八八八，二音：賢賢賢賢禾火化八；一聲：■叉赤■八八八八，一聲：賢賢賢賢開宰愛○；■崇辰■八八八八，賢賢賢賢回每退○；■卓中■八八八八，賢賢賢賢良兩向○；十二音：■宅直■八八八八，二音：賢賢賢賢光廣況○；一聲：■拆丑■八八八八，二聲：賢賢賢賢丁井亙○；■茶呈■八八八八，賢賢賢賢兄永瑩○。

On the right side, starting a new section, it is titled "Closed Vowel Muddy Harmony Law Two of Two": the harmonized character is the second tone of the fire element "Huang Hua Xiong Xian," specifically the closed position character "Xian." This is repeated four times and harmonized with the first tone four lines "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O" and the second tone four lines "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O." On the left side, it is the conclusion of "Entering Tone Harmonization Song Law Two of One," using the character "Ba" repeated four times to sing the eleventh tone four lines "Zhuang Zhen, Zha Xie, Cha Che, Chong Chen" and the twelfth tone four lines "Zhuo Zhong, Zhai Zhi, Chai Chou, Cha Cheng." Since both tones have no opening or closing positions, each line only has characters in the middle two sections. The second tone of the fire element "Huang Hua Xiong Xian" has the closed position character "Xian," so this diagram uses "Xian" as the harmonized character. This is similar to the previous diagram which used the character "Kui," both taking the last character of the fire element's final section.

入聲翕唱呂二之二；古甲九癸○○○○，賢賢賢賢千典旦○；一音：□□近揆○○○○，二音：賢賢賢賢元犬半○；二聲：坤巧丘棄○○○○，三聲：賢賢賢賢臣引艮○；□□乾蚪○○○○，賢賢賢賢君允巽○；黑花香血○○○○，賢賢賢賢刀早孝嶽；二音：黃華雄賢○○○○，二音：賢賢賢賢毛寶報霍；二聲：五瓦仰□○○○○，四聲：賢賢賢賢牛斗奏六；吾牙月堯○○○○，賢賢賢賢○○○玉；安亞乙一○○○○，賢賢賢賢妻子四日；三音：□爻壬寅○○○○，二音：賢賢賢賢衰○帥骨；二聲：母馬美米○○○○，五聲：賢賢賢賢○○○德；目貌眉民○○○○，賢賢賢賢龜水貴北。

The left column begins with "Rusheng Xi Chang Lv Er Zhi Er": the singing is based on the second category of the moon's movement "Guang Guang Kuang ○" in the entering tone position, which has sound but no character, represented as "○". Each line has four repetitions. The first tone has four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu". The second tone has four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao". The third tone has four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column "Biyan Zhu He Lu Er Zhi Er" uses the character "Xian" repeated four times, harmonizing with the third tone's four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yun Gen ○, Jun Yun Xun ○", the fourth tone's four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", and the fifth tone's four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei". The characters used in the singing are taken from the entering tone position of the second category of the moon's movement, which has sound but no character, hence only marked as "○". The right column's "Xian" character harmonizes with the third, fourth, and fifth tones, with relatively complete examples: the last positions of the third tone's four lines are all empty, the last line of the fourth tone only has "Yu" in the entering tone position, and in the fifth tone, the second line's rising tone position and the third line's first three positions are all empty, each marked as "○".

夫法□飛○○○○，賢賢賢賢宮孔眾○；四音：父凡□吠○○○○，二音：賢賢賢賢龍甬用○；二聲：武晚□尾○○○○，六聲：賢賢賢賢魚鼠去○；文萬□未○○○○，賢賢賢賢烏虎兔○；卜百丙必○○○○，賢賢賢賢心審禁○；五音：步白備鼻○○○○，二音：賢賢賢賢○○○十；二聲：普撲品匹○○○○，七聲：賢賢賢賢男坎欠○；旁排平瓶○○○○，賢賢賢賢○○○妾；東丹帝■○○○○，賢賢賢賢●●●●；六音：兌大弟■○○○○，二音：賢賢賢賢●●●●；二聲：土貪天■○○○○，八聲：賢賢賢賢●●●●；同覃田■○○○○，賢賢賢賢●●●●。

The left column, "入声翕唱吕二之二," uses the symbol "○" four times, followed by the fourth tone with four lines: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei." Then the fifth tone with four lines: "Bu ba bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping." Then the sixth tone with four lines: "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." The right column, "闭音浊和律二之二," uses the character "xian" four times, followed by the sixth tone with four lines: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○," then the seventh tone with four lines: "Xin shen jin ○, ○○○ shi, Nan kan qian ○, ○○○ jie," and then the eighth tone with four lines. In the sixth tone lines of the right column, all the entries for the entering tone are missing and marked as "○." For the eighth tone, there are no sounds to cite, so they are all marked as "●●●●." The last line of the fourth tone in the left column, "wei," is a character borrowed from the Earthly Branches to serve as an example, while the last character in the sixth tone lines of the right column, "■," is not actually a sound. These two should not be confused. In the right column, all the entries for the sixth tone are missing, and the seventh tone lines have many blanks. The eighth tone is completely silent. Although all these are left blank, the tone chart uses "○" and "●," while the sound chart uses "□" and "■," each with its own distinction.

乃你女■○○○○，賢賢賢賢●●●●；七音：內南年■○○○○，二音：賢賢賢賢●●●●；二聲：老冷呂■○○○○，九聲：賢賢賢賢●●●●；鹿犖離■○○○○，賢賢賢賢●●●●；走哉足■○○○○，賢賢賢賢●●●●；八音：自在匠■○○○○，二音：賢賢賢賢●●●●；二聲：草采七■○○○○，十聲：賢賢賢賢●●●●；曹才全■○○○○，賢賢賢賢●●●●。

The left column, "入声翕唱吕二之二," uses the symbol "○" four times, singing four lines of the seventh tone: "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," and four lines of the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," with the last character of each line marked as "■." The right column, "闭音浊和律二之二," uses the character "xian" four times, harmonizing the ninth and tenth tones in eight lines, all marked as "●●●●," and the diagram ends here. The seventh tone line "Nai ni nv ■" and the eighth tone line "Zou zai zu ■" both end without a sound; the ninth and tenth tones on the right column have no sound positions at all. This section has eight readable characters on the left column and none on the right, which is a clear example of fewer characters but more sounds.

閉音濁和律二之三；思三星■○○○○，寅寅寅寅多可個舌；九音：寺□象■○○○○，三音：寅寅寅寅禾火化八；二聲：□□□■○○○○，一聲：寅寅寅寅開宰愛○；□□□■○○○○，寅寅寅寅回每退○；■山手■○○○○，寅寅寅寅良兩向○；十音：■士石■○○○○，三音：寅寅寅寅光廣況○；二聲：■□耳■○○○○，二聲：寅寅寅寅丁井亙○；■□二■○○○○，寅寅寅寅兄永瑩○；■莊震■○○○○，寅寅寅寅千典旦○；十一音：■乍□■○○○○，三音：寅寅寅寅元犬半○；二聲：■叉赤■○○○○，三聲：寅寅寅寅臣引艮○；■崇辰■○○○○，寅寅寅寅君允巽○。

The right column begins with "Closed Vowel Muddy Harmony Law Two of Three": the harmonized character is the third tone fire row "□ line Renyin" closed position character "Yin", which is repeated four times and descends. It harmonizes with the first tone four rows "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", the second tone four rows "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O", and the third tone four rows "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O". "Yin" is similar to the previous diagram's "Kui" and "Xian", both taking the last character of the original tone's fire row as the harmonized character. The left column remains "Entering Tone Harmonized Singing Law Two of Two", continuing to sing the ninth tone four rows "Si San Xing Zhi, Si Zhi Xiang Zhi, Zhi Zhi Zhi Zhi, Zhi Zhi Zhi Zhi", the tenth tone four rows "Zhi Shan Shou Zhi, Zhi Shi Shi Zhi, Zhi Zhi Er Zhi, Zhi Zhi Er Zhi", and the eleventh tone four rows "Zhi Zhuang Zhen Zhi, Zhi Zha Zhi Zhi, Zhi Cha Chi Zhi, Zhi Chong Chen Zhi". "Yin" is located in the last grid of the third tone fire row in the tone diagram, taken as the harmonized character, same as the previous two diagrams' "Kui" and "Xian": in all harmony diagrams, the character from the original tone's row in the closed position is taken, with "□" used if there is no character, and "■" used if there is no tone. In this section of the left column, the ninth, tenth, and eleventh tones have many empty positions, which can be compared with the full rows of real characters in the right column.

■卓中■○○○○，寅寅寅寅刀早孝嶽；十二音：■宅直■○○○○，三音：寅寅寅寅毛寶報霍；二聲：■拆丑■○○○○，四聲：寅寅寅寅牛斗奏六；■茶呈■○○○○，寅寅寅寅○○○玉。

The left column, "Rush Sound Harmony of the Second of the Second of the Two Lü," sings the twelfth tone in four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," and the singing of this diagram is completed. The right column, "Closed Tone Muted Harmony of the Third of the Second of the Two Lü," uses the character "寅" four times, harmonizing the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu"; the last line has only the character "Yu" in the entry position, while the level, rising, and falling tones are all empty, marked as "○○○."

入聲翕唱呂二之三；古甲九癸○○○○，寅寅寅寅妻子四日；一音：□□近揆○○○○，三音：寅寅寅寅衰○帥骨；三聲：坤巧丘棄○○○○，五聲：寅寅寅寅○○○德；□□乾蚪○○○○，寅寅寅寅龜水貴北；黑花香血○○○○，寅寅寅寅宮孔眾○；二音：黃華雄賢○○○○，三音：寅寅寅寅龍甬用○；三聲：五瓦仰□○○○○，六聲：寅寅寅寅魚鼠去○；吾牙月堯○○○○，寅寅寅寅烏虎兔○；安亞乙一○○○○，寅寅寅寅心審禁○；三音：□爻壬寅○○○○，三音：寅寅寅寅○○○十；三聲：母馬美米○○○○，七聲：寅寅寅寅男坎欠○；目貌眉民○○○○，寅寅寅寅○○○妾。

The left column begins with "Rushang Xu Chang Lü Er Zhi San": the singing is on the third category of the lunar movement "Yuan Quan Ban ○", which is the entering tone position, having sound but no characters, written as "○". Each line has four repetitions. The first tone has four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu", the second tone has four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao", the third tone has four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column, "Bi Yin Zhu He Lu Er Zhi San", uses the character "Yin" four times, harmonizing with the fifth tone's four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", the sixth tone's four lines: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", and the seventh tone's four lines: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie". The singing in this diagram still refers to a position with sound but no characters, so the entire text is written as "○". The right column's "Yin" character harmonizes with the fifth, sixth, and seventh tones, totaling twelve lines: the fifth tone's "Shuai ○ Shuai Gu" lacks the rising tone, and "○○○ De" only retains the entering tone; the sixth tone's four lines are all empty; the seventh tone's four lines also have many empty spaces. All these are marked with "○", differing clearly from the "□" and "■" in the left column's tone and character lines.

夫法□飛○○○○，寅寅寅寅●●●●；四音：父凡□吠○○○○，三音：寅寅寅寅●●●●；三聲：武晚□尾○○○○，八聲：寅寅寅寅●●●●；文萬□未○○○○，寅寅寅寅●●●●；卜百丙必○○○○，寅寅寅寅●●●●；五音：步白備鼻○○○○，三音：寅寅寅寅●●●●；三聲：普撲品匹○○○○，九聲：寅寅寅寅●●●●；旁排平瓶○○○○，寅寅寅寅●●●●；東丹帝■○○○○，寅寅寅寅●●●●；六音：兌大弟■○○○○，三音：寅寅寅寅●●●●；三聲：土貪天■○○○○，十聲：寅寅寅寅●●●●；同覃田■○○○○，寅寅寅寅●●●●。

The left column, "Rusheng Xi Chang Lv Er Zhi San," uses the symbol "○" four times, singing four lines for the fourth tone: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," four lines for the fifth tone: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," and four lines for the sixth tone: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The right column, "Bi Yin Zhu He Lu Er Zhi San," uses the character "Yin" four times, harmonizing the eighth, ninth, and tenth tones, totaling twelve lines, all marked with "●●●●," indicating the completion of this diagram. On the left side, there are real characters for labial and tongue sounds, while on the right side, there are three categories of silent positions, all placed in the same line but differing in reality and emptiness. The left column's fourth tone lines all end with "□," indicating a phonetic position without a corresponding character; the sixth tone lines all end with "■," indicating no phonetic position at all. The right column harmonizes the eighth, ninth, and thirteenth categories of correct tones, which are entirely silent, hence all thirty-six grids in the twelve lines are marked with "●." Within one section, four types of symbols are present, allowing for the distinction between Shao Yong's concepts of "having a position but no character" and "having no position at all."

閉音濁和律二之四；乃你女■○○○○，吠吠吠吠多可個舌；七音：內南年■○○○○，四音：吠吠吠吠禾火化八；三聲：老冷呂■○○○○，一聲：吠吠吠吠開宰愛○；鹿犖離■○○○○，吠吠吠吠回每退○；走哉足■○○○○，吠吠吠吠良兩向○；八音：自在匠■○○○○，四音：吠吠吠吠光廣況○；三聲：草采七■○○○○，二聲：吠吠吠吠丁井亙○；曹才全■○○○○，吠吠吠吠兄永瑩○；思三星■○○○○，吠吠吠吠千典旦○；九音：寺□象■○○○○，四音：吠吠吠吠元犬半○；三聲：□□□■○○○○，三聲：吠吠吠吠臣引艮○；□□□■○○○○，吠吠吠吠君允巽○。

The right column begins with "Closed Vowel Muddy Harmony Law Two, Fourth": the harmonized character is the final character of the fourth tone fire row "fu fan □ fei", which is "fei", a closed position character. It is repeated four times and harmonized with the first tone four rows "du ke ge she, he hu hua ba, kai zai ai ○, hui mei tui ○", the second tone four rows "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○", and the third tone four rows "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○". The left column remains "Entering Tone Harmonized Singing Law Two, Third", continuing to sing the seventh tone four rows "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■", the eighth tone four rows "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■", and the ninth tone four rows "si san xing ■, si □ xiang ■, □ □ □ ■, □ □ □ ■". The character "fei" is at the end of the fourth tone fire row, taken as the harmonized character. The seventh tone on the left is the ni lai route, the eighth tone is the chi tou route, and the ninth tone is thexin xie route. The closed positions of the three tones all have no sound, so each line ends with "■". The right column's harmonized three tones have more complete examples, but the entering positions of the second and third tones are all empty, filled with "○".

■山手■○○○○，吠吠吠吠刀早孝嶽；十音：■士石■○○○○，四音：吠吠吠吠毛寶報霍；三聲：■□耳■○○○○，四聲：吠吠吠吠牛斗奏六；■□二■○○○○，吠吠吠吠○○○玉；■莊震■○○○○，吠吠吠吠妻子四日；十一音：■乍□■○○○○，四音：吠吠吠吠衰○帥骨；三聲：■叉赤■○○○○，五聲：吠吠吠吠○○○德；■崇辰■○○○○，吠吠吠吠龜水貴北；■卓中■○○○○，吠吠吠吠宮孔眾○；十二音：■宅直■○○○○，四音：吠吠吠吠龍甬用○；三聲：■拆丑■○○○○，六聲：吠吠吠吠魚鼠去○；■茶呈■○○○○，吠吠吠吠烏虎兔○。

The left column, "Rush Sound Harmony of the Second of the Two Lü," uses the symbol "○" repeated four times, singing four lines of the tenth tone: "■ Mountain hand ■, ■ Scholar stone ■, ■ Ear ■, ■ Two ■," four lines of the eleventh tone: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chuo ■, ■ Cha Cheng ■," and four lines of the twelfth tone: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chuo ■, ■ Cha Cheng ■," completing the diagram. The right column, "Closed Sound浊 Harmony of the Fourth of the Two Lü," uses the character "fei" repeated four times, harmonizing four lines of the fourth tone: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," four lines of the fifth tone: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," and four lines of the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." In the left column, the open and closed positions of the three tones are mostly silent, with only the middle two sections marked, making it the sparsely filled part of the entire diagram. In the right column, the last line of the fourth tone only has "Yu" in the entering position, the second line of the fifth tone is missing the rising tone, and all entering positions in the sixth tone are empty. Both columns have lines aligned horizontally but are separate diagrams. The left counts the tone positions, while the right counts the tone types; there are 48 tone positions and 40 tone types, which are uneven in number, so the order of the diagram titles is also mismatched.

入聲翕唱呂二之四；古甲九癸霍霍霍霍，吠吠吠吠心審禁○；一音：□□近揆霍霍霍霍，四音：吠吠吠吠○○○十；四聲：坤巧丘棄霍霍霍霍，七聲：吠吠吠吠男坎欠○；□□乾蚪霍霍霍霍，吠吠吠吠○○○妾；黑花香血霍霍霍霍，吠吠吠吠●●●●；二音：黃華雄賢霍霍霍霍，四音：吠吠吠吠●●●●；四聲：五瓦仰□霍霍霍霍，八聲：吠吠吠吠●●●●；吾牙月堯霍霍霍霍，吠吠吠吠●●●●；安亞乙一霍霍霍霍，吠吠吠吠●●●●；三音：□爻壬寅霍霍霍霍，四音：吠吠吠吠●●●●；四聲：母馬美米霍霍霍霍，九聲：吠吠吠吠●●●●；目貌眉民霍霍霍霍，吠吠吠吠●●●●。

The left column begins with "The Fourth of the Second Category of the Ingressive Tone 'Lü'": the sung character is the ingressive tone character "Huò" from the fourth category of the "Máo Bǎo Bào Huò" lunar movement in the correct tone. Since it has both sound and character, it is written as "Huò". Each line is repeated four times. The first tone is sung in four lines: "Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu", the second tone in four lines: "Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo", and the third tone in four lines: "Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Méi Mín". The right column, "The Fourth of the Second Category of the Closed Tone 'Lǜ'", uses the character "Fèi" repeated four times, harmonizing with the seventh tone in four lines: "Xīn Shěn Jìn ○, ○○○ Shí, Nán Kǎn Qiàn ○, ○○○ Jiè", and then harmonizing with the eighth and ninth tones in eight lines, all marked as "●●●●". The character "Huò" comes from the fourth category of the "Máo Bǎo Bào Huò" lunar movement in the correct tone, which is a rare actual character in this position, allowing this diagram to be sung with actual characters. The right column's harmonization of the seventh tone in four lines still includes characters such as Xin, Shen, Jin, Nan, Kan, and Qian, but the eighth and ninth tones are completely silent, hence the eight lines are all marked as "●●●●". Left sings and right harmonizes, each following their respective positions, without interfering with each other.

夫法□飛霍霍霍霍，吠吠吠吠●●●●；四音：父凡□吠霍霍霍霍，四音：吠吠吠吠●●●●；四聲：武晚□尾霍霍霍霍，十聲：吠吠吠吠●●●●；文萬□未霍霍霍霍，吠吠吠吠●●●●。

The left column, "Entry on the Fourth of the Two Inclusive Sounds of the Level Tone," uses the character "霍" repeated four times, singing four lines of the fourth tone: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei." The third character in each of the four lines is marked with "□," indicating an existing phonetic position but an undetermined character. The right column, "Entry on the Fourth of the Two Harmonious Sounds of the Heavy Tone," uses the character "吠" repeated four times, harmonizing four lines of the tenth tone, with all four lines marked as "●●●●," indicating the completion of the diagram.

閉音濁和律二之五；卜百丙必霍霍霍霍，鼻鼻鼻鼻多可個舌；五音：步白備鼻霍霍霍霍，五音：鼻鼻鼻鼻禾火化八；四聲：普撲品匹霍霍霍霍，一聲：鼻鼻鼻鼻開宰愛○；旁排平瓶霍霍霍霍，鼻鼻鼻鼻回每退○；東丹帝■霍霍霍霍，鼻鼻鼻鼻良兩向○；六音：兌大弟■霍霍霍霍，五音：鼻鼻鼻鼻光廣況○；四聲：土貪天■霍霍霍霍，二聲：鼻鼻鼻鼻丁井亙○；同覃田■霍霍霍霍，鼻鼻鼻鼻兄永瑩○；乃你女■霍霍霍霍，鼻鼻鼻鼻千典旦○；七音：內南年■霍霍霍霍，五音：鼻鼻鼻鼻元犬半○；四聲：老冷呂■霍霍霍霍，三聲：鼻鼻鼻鼻臣引艮○；鹿犖離■霍霍霍霍，鼻鼻鼻鼻君允巽○。

The right column begins with "Closed Vowel Muddy Harmony Law Two Five": the harmonized character is the fifth tone fire row "Bu Bai Bei Bi" closed position character "Bi". It is repeated four times and descends, harmonizing with the first tone four rows "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", the second tone four rows "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O", and the third tone four rows "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O". The previous section's phoneme table at the beginning omitted this character "Bi", which serves as evidence here. The left column remains "Entering Tone Harmonized Singing Law Two Four", using the character "Huo" repeated four times to continue singing the fifth tone four rows "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping", the sixth tone four rows "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■", and the seventh tone four rows "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■". "Bi" is the closed position character of the fifth tone fire row "Bu Bai Bei Bi". The initial phoneme table at the beginning of this section omitted this character, only listing "Kui Xian Yin Wei ■". According to the number of "Stone Fire Tone Five" and the characters used in this diagram, it is clear that the original text had a missing character. Now, the original text is preserved as it is, and I dare not make any arbitrary additions.

走哉足■霍霍霍霍，鼻鼻鼻鼻刀早孝嶽；八音：自在匠■霍霍霍霍，五音：鼻鼻鼻鼻毛寶報霍；四聲：草采七■霍霍霍霍，四聲：鼻鼻鼻鼻牛斗奏六；曹才全■霍霍霍霍，鼻鼻鼻鼻○○○玉；思三星■霍霍霍霍，鼻鼻鼻鼻妻子四日；九音：寺□象■霍霍霍霍，五音：鼻鼻鼻鼻衰○帥骨；四聲：□□□■霍霍霍霍，五聲：鼻鼻鼻鼻○○○德；□□□■霍霍霍霍，鼻鼻鼻鼻龜水貴北；■山手■霍霍霍霍，鼻鼻鼻鼻宮孔眾○；十音：■士石■霍霍霍霍，五音：鼻鼻鼻鼻龍甬用○；四聲：□■耳■霍霍霍霍，六聲：鼻鼻鼻鼻魚鼠去○；■□二■霍霍霍霍，鼻鼻鼻鼻烏虎兔○。

The left column, "入声翕唱吕二之四," uses the character "霍" repeated four times, singing four lines of the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■," four lines of the ninth tone: "思三星■, 寺□象■, □□□■, □□□■," and four lines of the tenth tone: "■山手■, ■士石■, □■耳■, ■□二■." The right column, "闭音浊和律二之五," uses the character "鼻" repeated four times, harmonizing four lines of the fourth tone: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines of the fifth tone: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines of the sixth tone: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The original text of the third line of the tenth tone in the left column is "□■耳■," slightly different from other instances "■□耳■," and is still recorded as is. The eighth tone in the left column belongs to the dental initial, the ninth tone has scattered examples, and the tenth tone has alternating "□" and "■," showing that the closer to the final tone, the harder it is to find characters. In the right column, the positions for the fourth, fifth, and sixth tones are often missing and are filled with "○." Reading both columns together, the number of repeated characters on the left and the number of tones on the right are both four: one singing must correspond to four harmonies, and one harmony must match the position of four tones.

■莊震■霍霍霍霍，鼻鼻鼻鼻心審禁○；十一音：■乍□■霍霍霍霍，五音：鼻鼻鼻鼻○○○十；四聲：■叉赤■霍霍霍霍，七聲：鼻鼻鼻鼻男坎欠○；■崇辰■霍霍霍霍，鼻鼻鼻鼻○○○妾；■卓中■霍霍霍霍，鼻鼻鼻鼻●●●●；十二音：■宅直■霍霍霍霍，五音：鼻鼻鼻鼻●●●●；四聲：■拆丑■霍霍霍霍，八聲：鼻鼻鼻鼻●●●●；■茶呈■霍霍霍霍，鼻鼻鼻鼻●●●●。

The left column concludes with "入声翕唱吕二之四," using the character "霍" repeated four times to sing the eleventh tone in four lines: "庄震、乍□、叉赤、崇辰" and the twelfth tone in four lines: "卓中、宅直、拆丑、茶呈." The right column, "闭音浊和律二之五," uses the character "鼻" repeated four times, harmonizing the seventh tone in four lines: "心审禁○, ○○○十, 男坎欠○, ○○○妾" and the eighth tone in four lines. The missing characters in the seventh tone lines are marked with "○," while the eighth tone lines are all marked with "●●●●." Since both the eleventh and twelfth tones have no sounds in the open and closed categories, each line in the left column contains only two characters. The right column's seventh tone still has characters to cite, but the eighth tone has none.

入聲翕唱呂二之五；古甲九癸骨骨骨骨，鼻鼻鼻鼻●●●●；一音：□□近揆骨骨骨骨，五音：鼻鼻鼻鼻●●●●；五聲：坤巧丘棄骨骨骨骨，九聲：鼻鼻鼻鼻●●●●；□□乾蚪骨骨骨骨，鼻鼻鼻鼻●●●●；黑花香血骨骨骨骨，鼻鼻鼻鼻●●●●；二音：黃華雄賢骨骨骨骨，五音：鼻鼻鼻鼻●●●●；五聲：五瓦仰□骨骨骨骨，十聲：鼻鼻鼻鼻●●●●；吾牙月堯骨骨骨骨，鼻鼻鼻鼻●●●●。

Left column, starting anew with "Rusheng Xi Chang Lv Er Zi Wu": The sung character is the fifth class of the "Shuixing" (moon movement) in the "Zhengsheng" (level tone) category, specifically the "rusheng" (entering tone) character "gu" (bone). It has both sound and character, actually writing "gu". Each line is repeated four times. The first tone is sung in four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu" and the second tone in four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." In the line "Shuai ○ Shuai Gu," the "shangsheng" (rising tone) position has no character, marked as "○," while the "rusheng" position has the character "gu" which can be cited. This clearly shows that within the same line, four positions have both real and imaginary characters. Right column, "Biyin Zhu He Lu Er Zi Wu" uses the character "bi" (nose) repeated four times, harmonizing with the ninth and tenth tones, totaling eight lines, all marked as "●●●●," indicating the end of the diagram. In the line "Shuai ○ Shuai Gu," the "shangsheng" position has no character, while the "rusheng" position has a character, clearly showing that within the same line, four positions have both real and imaginary characters.

閉音濁和律二之六；安亞乙一骨骨骨骨，■■■■多可個舌；三音：□爻壬寅骨骨骨骨，六音：■■■■禾火化八；五聲：母馬美米骨骨骨骨，一聲：■■■■開宰愛○；目貌眉民骨骨骨骨，■■■■回每退○；夫法□飛骨骨骨骨，■■■■良兩向○；四音：父凡□吠骨骨骨骨，六音：■■■■光廣況○；五聲：武晚□尾骨骨骨骨，二聲：■■■■丁井亙○；文萬□未骨骨骨骨，■■■■兄永瑩○；卜百丙必骨骨骨骨，■■■■千典旦○；五音：步白備鼻骨骨骨骨，六音：■■■■元犬半○；五聲：普撲品匹骨骨骨骨，三聲：■■■■臣引艮○；旁排平瓶骨骨骨骨，■■■■君允巽○。

Right column: Another entry of "Closed Vowel Muddy Harmony Law Two, Sixth Tone": The sixth tone, which belongs to the fire element, is "Dui Da Di ■", where the closed position has no sound, so the character for harmony can only be written as "■". Fourfold repetition downward, the first tone's four lines are "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone's four lines are "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○", and the third tone's four lines are "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○". From this point on, the remaining six diagrams all involve harmonizing characters in positions with no sound, merely to complete the order of the twelve tones. The left column remains "Entering Tone Harmonization Singing Law Two, Fifth Tone", continuing to sing the third tone's four lines with the character "Gu" repeated fourfold: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone's four lines: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei", and the fifth tone's four lines: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping". From this diagram onward, all the harmonizing characters in the remaining six diagrams of the Muddy Harmony Law series are simply "■", because the fire element's closed positions below the sixth tone have no corresponding sounds. Shao Yong listed them but left them blank, precisely to complete the count of the twelve tones; readers encountering full pages of "■" should understand that these positions exist within the numerical sequence but have no actual sounds, not due to the original manuscript being blurred.

東丹帝■骨骨骨骨，■■■■刀早孝嶽；六音：兌大弟■骨骨骨骨，六音：■■■■毛寶報霍；五聲：土貪天■骨骨骨骨，四聲：■■■■牛斗奏六；同覃田■骨骨骨骨，■■■■○○○玉；乃你女■骨骨骨骨，■■■■妻子四日；七音：內南年■骨骨骨骨，六音：■■■■衰○帥骨；五聲：老冷呂■骨骨骨骨，五聲：■■■■○○○德；鹿犖離■骨骨骨骨，■■■■龜水貴北；走哉足■骨骨骨骨，■■■■宮孔眾○；八音：自在匠■骨骨骨骨，六音：■■■■龍甬用○；五聲：草采七■骨骨骨骨，六聲：■■■■魚鼠去○；曹才全■骨骨骨骨，■■■■烏虎兔○。

The left column, "Rush Sound Harmony of the Second Law of the Fifth," uses the character "bone" repeated four times, singing four lines of the sixth tone: "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■," four lines of the seventh tone: "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■," and four lines of the eighth tone: "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■." The right column, "Closed Sound浊和 of the Second Law of the Sixth," uses the symbol "■" repeated four times, harmonizing four lines of the fourth tone: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," four lines of the fifth tone: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," and four lines of the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." The sixth tone on the left is the tongue sound, the seventh tone is the nasal and lateral sound, and the eighth tone is the dental sound; all three tones are closed and have no sound. The right column, although using empty positions for harmony, still goes through forty tone positions one by one: the last line of the fourth tone only has "Yu" in position, the second line of the fifth tone is missing the rising tone, and all four lines of the sixth tone are completely empty, each marked with "○." On the left, "■" represents sound, while on the right, "○" represents silence; their positions are different, and their meanings are also distinct.

思三星■骨骨骨骨，■■■■心審禁○；九音：寺□象■骨骨骨骨，六音：■■■■○○○十；五聲：□□□■骨骨骨骨，七聲：■■■■男坎欠○；□□□■骨骨骨骨，■■■■○○○妾；■山手■骨骨骨骨，■■■■●●●●；十音：■士石■骨骨骨骨，六音：■■■■●●●●；五聲：■□耳■骨骨骨骨，八聲：■■■■●●●●；■□二■骨骨骨骨，■■■■●●●●；■莊震■骨骨骨骨，■■■■●●●●；十一音：■乍□■骨骨骨骨，六音：■■■■●●●●；五聲：■叉赤■骨骨骨骨，九聲：■■■■●●●●；■崇辰■骨骨骨骨，■■■■●●●●。

The left column, "Rusheng Xi Chang Lü Er Wu Wu," uses the character "gu" repeated four times, singing four lines of the ninth tone: "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," and four lines of the tenth tone: "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■," and four lines of the eleventh tone: "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■." The right column, "Bi Yin Zhu He Lu Er Liu," uses the symbol "■" repeated four times, harmonizing four lines of the seventh tone: "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie," then harmonizing the eighth and ninth tones together in eight lines, all "● ● ● ●." In the seventh tone, the two lines "○ ○ ○ Shi" and "○ ○ ○ Jie" contain only the positions for the entering tone with characters, while the first three positions have sound but no characters, so "○" is used to complete the count of four levels. Among the ten tones, the examples for the seventh tone are the most sparse, with more than half of the four lines being empty; the eighth and ninth tones have no sound positions at all. In the left column, the ninth, tenth, and eleventh tones alternate between "□" and "■," with few characters. Both columns are arranged in parallel, with the left column recording the order of tones and the right column the order of tones, each marked as "nine tones," "ten tones," and "eleven tones" on the left, and "seven tones," "eight tones," and "nine tones" on the right. Readers can look at each column separately, thus avoiding confusion.

■卓中■骨骨骨骨，■■■■●●●●；十二音：■宅直■骨骨骨骨，六音：■■■■●●●●；五聲：■拆丑■骨骨骨骨，十聲：■■■■●●●●；■茶呈■骨骨骨骨，■■■■●●●●。

On the left side, "Rusheng Xi Chang Lü Er Zi Wu" sings the twelfth tone for four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", and this diagram is completed. On the right side, "Biyin Zhu He Lu Er Zi Liu" uses "■" repeated four times to harmonize the tenth tone for four lines, each line being "●●●●", and this diagram is also completed. Since both diagrams are filled at the same time, the next line starts new titles on both sides simultaneously. As both diagrams end together, the next line starts new titles on both sides together.

入聲翕唱呂二之六　閉音濁和律二之七；古甲九癸○○○○，■■■■多可個舌；一音：□□近揆○○○○，七音：■■■■禾火化八；六聲：坤巧丘棄○○○○，一聲：■■■■開宰愛○；□□乾蚪○○○○，■■■■回每退○；黑花香血○○○○，■■■■良兩向○；二音：黃華雄賢○○○○，七音：■■■■光廣況○；六聲：五瓦仰□○○○○，二聲：■■■■丁井亙○；吾牙月堯○○○○，■■■■兄永瑩○；安亞乙一○○○○，■■■■千典旦○；三音：□爻壬寅○○○○，七音：■■■■元犬半○；六聲：母馬美米○○○○，三聲：■■■■臣引艮○；目貌眉民○○○○，■■■■君允巽○。

This line continues on both sides simultaneously. On the left, it reads "Entering the level tone with a closing sound, the second of the six in the category of the moon's movement 'Dragon and Nong use ○'." On the right, it reads "Closing tone with a dull sound, the seventh in the category of the fire's movement 'Inside the south, year Nian use ■'." The left diagram sings the entering tone position of the sixth category of the moon's movement "Dragon and Nong use ○," which has sound but no character, written as "○." The right diagram harmonizes the closed position of the seventh tone of the fire's movement "Inside the south, year Nian use ■," which originally had no such sound, written as "■." These two symbols are similar in form but differ in meaning: "○" indicates a position that exists but has no character, while "■" indicates a position that was never established. On the left, "○" is repeated four times to sing four lines of the first tone: "Ancient Jia ninth Gui, □□ near揆,坤巧 mountain and丘 discard, □□乾蚪"; four lines of the second tone: "Black flower fragrance blood, yellow flower strong virtue, five Wa look up □, I tooth moon Yao"; and four lines of the third tone: "An Ya Yi one, □ yao Ren Yin, mother horse beauty rice, eye face eyebrow people." On the right, "■" is repeated four times to harmonize four lines of the first tone: "Many can individual tongue, millet fire transform eight, open official love ○, return every retreat ○"; four lines of the second tone: "Good two face ○, light broad condition ○, Ding well constant ○, elder long bright ○"; and four lines of the third tone: "Thousand classic dawn ○, Yuan dog half ○, minister lead Gen ○, king allow Xun ○." The left diagram represents sound, while the right diagram represents tone. One diagram covers forty-eight tone positions, and the other covers forty sound positions, varying in length. The titles of the diagrams thus sometimes coincide and sometimes differ.

夫法□飛○○○○，■■■■刀早孝嶽；四音：父凡□吠○○○○，七音：■■■■毛寶報霍；六聲：武晚□尾○○○○，四聲：■■■■牛斗奏六；文萬□未○○○○，■■■■○○○玉；卜百丙必○○○○，■■■■妻子四日；五音：步白備鼻○○○○，七音：■■■■衰○帥骨；六聲：普撲品匹○○○○，五聲：■■■■○○○德；旁排平瓶○○○○，■■■■龜水貴北；東丹帝■○○○○，■■■■宮孔眾○；六音：兌大弟■○○○○，七音：■■■■龍甬用○；六聲：上貪天■○○○○，六聲：■■■■魚鼠去○；同覃田■○○○○，■■■■烏虎兔○。

The left column, "入声翕唱吕二之六," uses the symbol "○" four times, singing four lines for the fourth tone: "Fu fa □ fei, Fu fa □ fei, Wu wan □ wei, Wen wan □ wei," four lines for the fifth tone: "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and four lines for the sixth tone: "Dong dan di ■, Dui da di ■, Shang tan tian ■, Tong tan tian ■." The third line of the sixth tone in the original text is "Shang tan tian ■," which is slightly different from "Tu tan tian ■" elsewhere; it is recorded as is without alteration. The right column, "闭音浊和律二之七," uses the symbol "■" four times, harmonizing four lines for the fourth tone: "Dao zao xiao yue, Mao bao bao huo, Niu dou zou liu, ○○○ yu," four lines for the fifth tone: "Zi qi si ri, Shuai ○ shuai gu, ○○○ de,Gui shui gui bei," and four lines for the sixth tone: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○." "Wu hu tu ○" refers to the sixth tone's fourth category, where Wu, Hu, and Tu are level, rising, and falling tones respectively, and the entering tone position is left blank as "○." In the left column, the endings of the fourth tone lines are all "□," and the endings of the sixth tone lines are all "■," representing one symbol with sound but no character, and the other with no sound at all. In the right column, the last line of the fourth tone, "○○○ yu," only has characters in the entering tone position, and the second line of the fifth tone, "shuai ○ shuai gu," lacks the rising tone, which is filled in with "○."

乃你女■○○○○，■■■■心審禁○；七音：內南年■○○○○，七音：■■■■○○○十；六聲：老冷呂■○○○○，七聲：■■■■男坎欠○；鹿犖離■○○○○，■■■■○○○妾；走哉足■○○○○，■■■■●●●●；八音：自在匠■○○○○，七音：■■■■●●●●；六聲：草采七■○○○○，八聲：■■■■●●●●；曹才全■○○○○，■■■■●●●●；思三星■○○○○，■■■■●●●●；九音：寺□象■○○○○，七音：■■■■●●●●；六聲：□□□■○○○○，九聲：■■■■●●●●；□□□■○○○○，■■■■●●●●。

The left column, "入声翕唱吕二之六," uses four repetitions of "○" and sings four lines for the seventh tone: "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," four lines for the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," and four lines for the ninth tone: "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■." The right column, "闭音浊和律二之七," uses four repetitions of "■" and harmonizes four lines for the seventh tone: "Xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie," then harmonizes the eighth and ninth tones with eight lines each, all marked as "●●●●." In the left column, the three tones have no sound, while in the right column, the eighth and ninth tones are entirely silent. Therefore, within one section, "■" and "●" each occupy half. Although both are blank, they are written with different symbols because the left column records tones and the right column records sounds, and since their positions are different, their symbols also differ. The labels "seven tones" to "nine tones" and "seven sounds" to "nine sounds" in this diagram refer to the respective positions of the two columns and should not be combined into one.

■山手■○○○○，■■■■●●●●；十音：■士石■○○○○，七音：■■■■●●●●；六聲：■□耳■○○○○，十聲：■■■■●●●●；■□二■○○○○，■■■■●●●●。

The left column, "Rusheng Xi Chang Lü Er Zhi Liu" (Entry on the Tenth Tone of the Second of the Two Laws of the Sixth), has four lines of the tenth tone with the characters "■shan shou■, ■shi shi■, ■□er■, ■□er■". The right column, "Biyan Zhu He Lu Er Zhi Qi" (Entry on the Tenth Tone of the Second of the Two Laws of the Seventh), uses the character "■" repeated four times to harmonize with the tenth tone's four lines, each line being "●●●●". This section ends with the completion of the harmonization. The left and right columns together consist of sixteen sections, none of which contain written characters, but instead alternate entirely between the three symbols "○", "■", and "●". This clearly demonstrates Shao Yong's method of arranging positions without filling them with characters.

閉音濁和律二之八；■莊震■○○○○，■■■■多可個舌；十一音：■乍□■○○○○，八音：■■■■禾火化八；六聲：■叉赤■○○○○，一聲：■■■■開宰愛○；■崇辰■○○○○，■■■■回每退○；■卓中■○○○○，■■■■良兩向○；十二音：■宅直■○○○○，八音：■■■■光廣況○；六聲：■拆丑■○○○○，二聲：■■■■丁井亙○；■茶呈■○○○○，■■■■兄永瑩○。

On the right side, another section begins with "Closed Vowel Muddy Harmony Law Two of Eight": The eighth tone, belonging to the fire element, is "Zi Zai Jiang ■", with the closed position having no sound, and the "he" character is represented as "■". It descends in four repetitions. The first tone's four lines are "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", and the second tone's four lines are "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○". On the left side, it concludes with the ending of "Entering Tone Consonant Singing Lü Two of Six", singing the eleventh tone's four lines "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■" and the twelfth tone's four lines "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■" with four repetitions of "○". Both tones on the left side have no sound in the open and closed positions, so only the middle two characters of each line can be read. On the right side, although it uses a void position as the "he", it still proceeds tone by tone, unwilling to omit any position.

入聲翕唱呂二之七；古甲九癸十十十十，■■■■千典旦○；一音：□□近揆十十十十，八音：■■■■元犬半○；七聲：坤巧丘棄十十十十，三聲：■■■■臣引艮○；□□乾蚪十十十十，■■■■君允巽○；黑花香血十十十十，■■■■刀早孝嶽；二音：黃華雄賢十十十十，八音：■■■■毛寶報霍；七聲：五瓦仰□十十十十，四聲：■■■■牛斗奏六；吾牙月堯十十十十，■■■■○○○玉；安亞乙一十十十十，■■■■妻子四日；三音：□爻壬寅十十十十，八音：■■■■衰○帥骨；七聲：母馬美米十十十十，五聲：■■■■○○○德；目貌眉民十十十十，■■■■龜水貴北。

The left column begins with "The Seventh Category of the Leveling Tone in the Risheng Xi Chang Lu Er": the tone sung is the "Shi" character, an entering tone character from the seventh class of the lunar movement "○○○十". In this line, the level, rising, and falling tones have no characters marked with "○", but the entering tone position has "Shi" available, so the actual character sung in this line is "Shi". Each line is repeated four times. The first tone is sung in four lines: "Gu Jia Jiui Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu". The second tone is sung in four lines: "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao". The third tone is sung in four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column, "The Eighth Category of the Closed Tone in the Biyin Zhu He Lu Er", uses "■" repeated four times, and harmonizes the third tone in four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", and the fifth tone in four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei". The sung character "Shi" is the only real character in this line, with the level, rising, and falling tones all empty. The right column's harmonized third, fourth, and fifth tones have more complete examples, though the entering tone position often has missing characters. The left column takes one entering tone character and sings it across forty-eight tones, while the right column takes one closed tone position and harmonizes it across forty tones. The two diagrams proceed in parallel without mutual involvement.

夫法□飛十十十十，■■■■宮孔眾○；四音：父凡□吠十十十十，八音：■■■■龍甬用○；七聲：武晚□尾十十十十，六聲：■■■■魚鼠去○；文萬□未十十十十，■■■■烏虎兔○；卜百丙必十十十十，■■■■心審禁○；五音：步白備鼻十十十十，八音：■■■■○○○十；七聲：普撲品匹十十十十，七聲：■■■■男坎欠○；旁排平瓶十十十十，■■■■○○○妾；東丹帝■十十十十，■■■■●●●●；六音：兌大弟■十十十十，八音：■■■■●●●●；七聲：土貪天■十十十十，八聲：■■■■●●●●；同覃田■十十十十，■■■■●●●●。

The left column, "Rusheng Xi Chang Lü Er Zi Qi," uses the character "十" repeated four times, singing four lines of the fourth tone: "Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei." It then sings four lines of the fifth tone: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." Next, it sings four lines of the sixth tone: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The right column, "Biyan Zhu He Lu Er Zi Ba," uses the character "■" repeated four times, harmonizing four lines of the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○," followed by four lines of the seventh tone: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie." Then it harmonizes four lines of the eighth tone. The last line of the fourth tone in the left column, "Wei," still uses a character from the Earthly Branches as an example of sound, borrowing only its sound and not its meaning. Among the three tones in the left column, the sixth tone's closed category has no sound. In the right column, the fourth line of the sixth tone is completely empty, and the two lines of the seventh tone, "○○○ Shi" and "○○○ Jie," only have characters in the position. The eighth tone has no characters at all. In the sound chart, empty spaces are marked with "○" and "●," while in the tone chart, empty spaces are marked with "□" and "■," distinguishing them clearly.

乃你女■十十十十，■■■■●●●●；七音：內南年■十十十十，八音：■■■■●●●●；七聲：老冷呂■十十十十，九聲：■■■■●●●●；鹿犖離■十十十十，■■■■●●●●；走哉足■十十十十，■■■■●●●●；八音：自在匠■十十十十，八音：■■■■●●●●；七聲：草采七■十十十十，十聲：■■■■●●●●；曹才全■十十十十，■■■■●●●●。

The left column, "Rush Sound of the Seventh Tone in the Second Category of the Level Tone," uses the character "ten" repeated four times, singing four lines of the seventh tone: "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■" and four lines of the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao caipin ■, cao caiquan ■." The right column, "Closed Sound of the Eighth Tone in the Second Category of the Level Tone," uses the character "■" repeated four times, harmonizing the ninth and tenth tones, totaling eight lines, all marked as "●●●●." This section concludes with the completion of the harmony. The left column still has eight lines of phonetic characters to be read, while the right column has no characters for the ninth and tenth tones, all marked as "●." Among the standard tones, only seven categories have usable sounds, with three categories left empty; similarly, among the standard phonetic characters, the number of usable sounds is also insufficient. This is the origin of the use of "seven" and "five" in the following text.

閉音濁和律二之九；思三星■十十十十，■■■■多可個舌；九音：寺□象■十十十十，九音：■■■■禾火化八；七聲：□□□■十十十十，一聲：■■■■開宰愛○；□□□■十十十十，■■■■回每退○；■山手■十十十十，■■■■良兩向○；十音：■士石■十十十十，九音：■■■■光廣況○；七聲：■□耳■十十十十，二聲：■■■■丁井亙○；■□二■十十十十，■■■■兄永瑩○；■莊震■十十十十，■■■■千典旦○；十一音：■乍□■十十十十，九音：■■■■元犬半○；七聲：■叉赤■十十十十，三聲：■■■■臣引艮○；■崇辰■十十十十，■■■■君允巽○。

The right column begins with "Closed Tone Muddy Harmony Law Two Nine": the ninth tone, belonging to the fire element, is "Si□Xiang■", where the closed position has no sound, and the harmony character is "■". It descends in four repetitions. The first tone's four lines are "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone's four lines are "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○", and the third tone's four lines are "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○". The left column remains "Entering Tone Harmonious Singing Law Two Seven", continuing to sing the ninth tone's four lines with the character "Shi" repeated four times: "Si San Xing ■, Si □ Xiang ■, □ □ □ ■, □ □ □ ■", the tenth tone's four lines: "■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■", and the eleventh tone's four lines: "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■". The ninth tone's fire element "Si □ Xiang ■" has no sound in the closed position, so the harmony character can only be "■". The ninth, tenth, and eleventh tones on the left column are also the section with the most empty positions, where "□" and "■" alternate in lines. Although both columns involve blank spaces, they refer to different things: one is the absence of a character in a phonetic position, and the other is the non-establishment of a phonetic position. When reading, one must distinguish between the two.

■卓中■十十十十，■■■■刀早孝嶽；十二音：■宅直■十十十十，九音：■■■■毛寶報霍；七聲：■拆丑■十十十十，四聲：■■■■牛斗奏六；■茶呈■十十十十，■■■■○○○玉。

The left column, "Rusheng Xi Chang Lü Er Zhi Qi," uses the character "十" repeated four times, singing the twelfth tone in four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," and the singing of this diagram is completed. The right column, "Biyin Zhu He Lu Er Zhi Jiu," uses "■" repeated four times, harmonizing the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," with the last line only having the character "Yu" in the position of entry.

入聲翕唱呂二之八；古甲九癸●●●●，■■■■妻子四日；一音：□□近揆●●●●，九音：■■■■衰○帥骨；八聲：坤巧丘棄●●●●，五聲：■■■■○○○德；□□乾蚪●●●●，■■■■龜水貴北；黑花香血●●●●，■■■■宮孔眾○；二音：黃華雄賢●●●●，九音：■■■■龍甬用○；八聲：五瓦仰□●●●●，六聲：■■■■魚鼠去○；吾牙月堯●●●●，■■■■烏虎兔○；安亞乙一●●●●，■■■■心審禁○；三音：□爻王寅●●●●，九音：■■■■○○○十；八聲：母馬美米●●●●，七聲：■■■■男坎欠○；目貌眉民●●●●，■■■■○○○妾。

The left column begins with "The Eighth Class of Inclusive Singing in the Second of the Two Lü." The eighth class of the main tone has no sound throughout, and the position of the moon's entry is a pure empty position, so the character for singing is written as "●". Each line is repeated four times. The first tone is sung in four lines: "Ancient Jia ninth Gui, □□ near揆,坤 skill hill discard, □□ Heaven蚪." The second tone is sung in four lines: "Black flower fragrant blood, Yellow flower strong virtue, five wa upward □, I tooth moon Yao." The third tone is sung in four lines: "Anya Yi one, □ yao King Yin, mother horse beautiful rice, eye appearance eyebrow people." The second line of the third tone, the original manuscript reads "King Yin," but elsewhere it is written as "Renyin," and the current version preserves the original. The right column, "The Ninth Class of Closed Tone in the Second of the Two Lü," uses "■" repeated four times. The fifth tone is sung in four lines: "Spouse four days, decline □ general bone, □□□ virtue, turtle water noble north." The sixth tone is sung in four lines: "Palace Kong crowd □, dragon Yong use □, fish rat go □, crow tiger rabbit □." The seventh tone is sung in four lines: "Heart review prohibition □, □□□ ten, male Kan lack □, □□□ concubine." Singing all forty-eight tones across an empty position, the characters may not be complete, but the positions are not missing. This is a fixed rule in the calculation of the "Huang Ji Jing Shi." Among the three tones sung in the right column, the fifth tone "decline □ general bone" is missing the rising tone, "□□□ virtue" only retains the entering tone, the sixth tone's four lines have all empty positions, and the seventh tone also has many empty spaces, each marked with "○."

夫法□飛●●●●，■■■■●●●●；四音：父凡□吠●●●●，九音：■■■■●●●●；八聲：武晚□尾●●●●，八聲：■■■■●●●●；文萬○未●●●●，■■■■●●●●；卜百丙必●●●●，■■■■●●●●；五音：步白備鼻●●●●，九音：■■■■●●●●；八聲：普撲品匹●●●●，九聲：■■■■●●●●；旁排平瓶●●●●，■■■■●●●●；東丹帝■●●●●，■■■■●●●●；六音：兌大弟■●●●●，九音：■■■■●●●●；八聲：土貪天■●●●●，十聲：■■■■●●●●；同覃田■●●●●，■■■■●●●●。

The left column, "Rusheng Xi Chang Lü Er Zhi Ba," uses four repetitions of "●" for the fourth tone, singing four lines of the fourth tone: "Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei." The fifth tone has four lines: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." The sixth tone has four lines: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." In the last line of the fourth tone, elsewhere it is written as "Wen Wan Wei," but in this text it is written as "Wen Wan Wei," using the empty symbol from the sound chart for the position, which is now recorded as is. The right column, "Biyan Zhu He Lv Er Zhi Jiu," uses four repetitions of "■" for the eighth, ninth, and tenth tones, totaling twelve lines, all marked as "●●●●," indicating the end of this chart. The left column has many more phonetic characters in this section, while the right column has no sound for the eighth, ninth, and thirteenth tones, with all twelve lines marked as "●." Within the same line, the left side is real and the right side is empty, clearly showing Shao Yong's idea that there are fewer sounds but more tones: among the ten categories of correct sounds, seven are usable, and among the twelve categories of correct tones, five are usable. The calculation at the beginning of the text is based on this.

閉音濁和律二之十；乃你女■●●●●，■■■■多可個舌；七音：內南年■●●●●，十音：■■■■禾火化八；八聲：老冷呂■●●●●，一聲：■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音：自在匠■●●●●，十音：■■■■光廣況○；八聲：草采七■●●●●，二聲：■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音：寺□象■●●●●，十音：■■■■元犬半○；八聲：□□□■●●●●，三聲：■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

The right column begins with "Closed Vowel Muddy Harmony Law Two of Ten": The tenth tone, belonging to the fire category, is "■shi shi■", with no sound in the closed position, and the harmony character is "■". It is repeated four times downward. The first tone has four lines: "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○"; the second tone has four lines: "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○"; the third tone has four lines: "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○". The left column remains "Entering Tone Consonant Singing Lu Two of Eight", continuing to sing the seventh tone with four repetitions: "nai ni nv ■, nei nan nian ■, lao leng lu ■, lu luo li ■"; the eighth tone has four lines: "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■"; the ninth tone has four lines: "si san xing ■, si □ xiang ■, □□□ ■, □□□ ■". The tenth tone "■shi shi■" has no sound in the closed position, so the harmony character is "■". The seventh tone on the left is the "ni lai" category, the eighth tone is the "chi tou" category, and the ninth tone examples are scattered, with all three tones having no sound in the closed position. Both columns are arranged side by side, one recording the order of tones and the other the order of tones. Therefore, the headings "seven tones," "eight tones," and "nine tones" on the top of each line, and "first tone," "second tone," and "third tone" belong to the two diagrams respectively.

■山手■●●●●，■■■■刀早孝嶽；十音：■士石■●●●●，十音：■■■■毛寶報霍；八聲：■□耳■●●●●，四聲：■■■■牛斗奏六；■□二■●●●●，■■■■○○○玉；■莊震■●●●●，■■■■妻子四日；十一音：■乍□■●●●●，十音：■■■■衰○帥骨；八聲：■叉赤■●●●●，五聲：■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音：■宅直■●●●●，十音：■■■■龍甬用○；八聲：■拆丑■●●●●，六聲：■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

The left column, "Rush Sound Harmony of the Second of the Two Lü in the Eighth," uses four repetitions of "●" and sings four lines for the tenth tone: "■ Mountain hand ■, ■ Man stone ■, ■ Ear ■, ■ Two ■," four lines for the eleventh tone: "■ Zhuang Zhen ■, ■ Just ■, ■ Fork red ■, ■ Sheng Chen ■," and four lines for the twelfth tone: "■ Zhuo Zhong ■, ■ Residence straight ■, ■ Split Chou ■, ■ Tea present ■," completing the diagram. The right column, "Closed Sound浊 Harmony of the Second of the Ten Lü," uses four repetitions of "■" and harmonizes four lines for the fourth tone: "Dao zao Xiao yue, Mao bao bao huo, Niu dou zhou liu, ○○○ Yu," four lines for the fifth tone: "Spouse four day, Shuai ○ Shuai gu, ○○○ De, Gui shui gui bei," and four lines for the sixth tone: "Palace Kong Zhong ○, Long Yong yong ○, Yu shu qu ○, Wu hu tu ○." In the left column, from the tenth to the twelfth tones, both open and closed sections mostly have no sound, only the middle two characters can be read; in the right column, the three tones harmonized have more complete examples, but the entering tone is often missing. Within one diagram, one singing character corresponds to forty positions, and one harmonizing character corresponds to forty-eight positions. The four repetitions match the four categories per line: in the tone diagram, they are open, initial, medial, and closing; in the sound diagram, they are level, rising, falling, and entering.

入聲翕唱呂二之九；古甲九癸●●●●，■■■■心審禁○；一音：□□近揆●●●●，十音：■■■■○○○十；九聲：坤巧丘棄●●●●，七聲：■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音：黃華雄賢●●●●，十音：■■■■●●●●；九聲：五瓦仰□●●●●，八聲：■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音：□爻壬寅●●●●，十音：■■■■●●●●；九聲：母馬美米●●●●，九聲：■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

The left column begins with "Rusheng Xi Chang Lv Er Zhi Jiu." The ninth category of the main tone has no sound, and the moon's position remains marked as "●". Each line has four repetitions. The first tone is sung in four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu." The second tone is sung in four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The third tone is sung in four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right column, "Biyin Zhu He Lv Er Zhi Shí," uses "■" repeated four times, and harmonizes the seventh tone in four lines: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie." Then it harmonizes the eighth and ninth tones, totaling eight lines, all marked as "●●●●." Since the ninth category of the main tone has no sound position, what is sung is merely a blank space; however, once the singing is established, all forty-eight tones must still be covered. The right column's seventh tone still includes characters such as Xin, Shen, Jin, Nan, Kan, and Qian, while the eighth and ninth tones have no characters at all. The full line of "●" in the left column represents the absence of sound, and the full line of "●" in the right column also represents the absence of sound. However, the "■" in the lines of the left column's tones represents the absence of tone. Although all three are blank spaces, they belong to different categories, sound and tone, and should not be confused.

夫法□飛●●●●，■■■■●●●●；四音：父凡□吠●●●●，十音：■■■■●●●●；九聲：武晚□尾●●●●，十聲：■■■■●●●●；文萬□未●●●●，■■■■●●●●。

The left column, "Rush Sound Harmony Two of Nine," uses four repetitions of "●" to sing the fourth tone in four lines: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei." The right column, "Closed Sound Muted Harmony Two of Ten," uses four repetitions of "■" to harmonize the tenth sound in four lines, with all four lines marked as "●●●●," indicating the completion of the harmony. The left column's four lines of the fourth tone all end with "□," which represents a phonetic position without a character. The right column's four lines of the tenth sound have no phonetic positions at all, hence marked with "●."

閉音濁和律二之十一；卜百丙必●●●●，■■■■多可個舌；五音：步白備鼻●●●●，十一音：■■■■禾火化八；九聲：普撲品匹●●●●，一聲：■■■■開宰愛○；旁排平瓶●●●●，■■■■回每退○；東丹帝■●●●●，■■■■良兩向○；六音：兌大弟■●●●●，十一音：■■■■光廣況○；九聲：土貪天■●●●●，二聲：■■■■丁井亙○；同覃田■●●●●，■■■■兄永瑩○；乃你女■●●●●，■■■■千典旦○；七音：內南年■●●●●，十一音：■■■■元犬半○；九聲：老冷呂■●●●●，三聲：■■■■臣引艮○；鹿犖離■●●●●，■■■■君允巽○。

The right column begins with "Closed Vowel Muddy Harmony Law Two, Number Eleven": The eleventh tone, belonging to the fire category, is "■乍□■", where the closed position has no sound, and the harmony character is "■". It is repeated four times downward. The first tone's four lines are "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○", the second tone's four lines are "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○", and the third tone's four lines are "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○". The left column remains with "Entering Tone Harmonious Singing Law Two, Number Nine", continuing to sing the fifth tone's four lines with "●" repeated four times: "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping", the sixth tone's four lines: "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■", and the seventh tone's four lines: "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■". The eleventh tone's fire category "■乍□■" has no sound in the closed position, so the harmony character becomes "■". The fifth tone on the left is a heavy lip category, with all four characters complete; however, the closed positions of the sixth and seventh tones have no sound. One real and one imaginary appear in the same section, clearly showing the varying number of examples for different categories in the sound chart, while the positions still need to be filled up to twelve.

走哉足■●●●●，■■■■刀早孝嶽；八音：自在匠■●●●●，十一音：■■■■毛寶報霍；九聲：草采七■●●●●，四聲：■■■■牛斗奏六；曹才全■●●●●，■■■■○○○玉；思三星■●●●●，■■■■妻子四日；九音：寺□象■●●●●，十一音：■■■■衰○帥骨；九聲：□□□■●●●●，五聲：■■■■○○○德；□□□■●●●●，■■■■龜水貴北；■山手■●●●●，■■■■宮孔眾○；十音：■士石■●●●●，十一音：■■■■龍甬用○；九聲：■□耳■●●●●，六聲：■■■■魚鼠去○；■□二■●●●●，■■■■烏虎兔○。

The left column, "Rusheng Xi Chang Lü Er Zhi Jiú," uses four repetitions of "●" to sing eight tones in four lines: "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■," nine tones in four lines: "Si San Xing ■, Si □ Xiang ■, □ □ □ ■, □ □ □ ■," and ten tones in four lines: "■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■." The right column, "Bi Yin Zhu He Lu Er Zhi Shiyi," uses four repetitions of "■" to harmonize the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○ ○ ○ Yu," fifth tone in four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○ ○ ○ De, Gui Shui Gui Bei," and sixth tone in four lines: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." The eighth tone in the left column belongs to the dental initial, the ninth tone to the heart and throat, and the tenth tone alternates between "□" and "■." The right column provides more complete examples of the three tones, though the position of the entering tone is often missing. The four repetitions at the end of each line in the left column indicate the tone position, while the four repetitions at the beginning of each line in the right column indicate the phonetic position. Therefore, the empty symbols used in both columns exactly swap: one uses "●" to indicate silence, while the other uses "■" to indicate no sound.

■莊震■●●●●，■■■■心審禁○；十一音：■乍□■●●●●，十一音：■■■■○○○十；九聲：■叉赤■●●●●，七聲：■■■■男坎欠○；■崇辰■●●●●，■■■■○○○妾；■卓中■●●●●，■■■■●●●●；十二音：■宅直■●●●●，十一音：■■■■●●●●；九聲：■拆丑■●●●●，八聲：■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

The left column concludes with "入声翕唱吕二之九," using "●" repeated four times to sing the eleventh tone in four lines: "■庄震■, ■乍□■, ■叉赤■, ■崇辰■" and the twelfth tone in four lines: "■卓中■, ■宅直■, ■拆丑■, ■茶呈■." The right column, "闭音浊和律二之十一," uses "■" repeated four times, harmonizing the seventh tone in four lines: "心审禁○, ○○○十, 男坎欠○, ○○○妾" and the eighth tone in four lines; the eighth tone lines are all "●●●●." Both tones in the left column have no sounds in the open and closed categories. In the right column, the seventh tone lines have all blanks, and the eighth tone has no characters at all. The labels "eleventh tone," "twelfth tone," "seventh tone," and "eighth tone" each indicate their respective positions within their columns.

入聲翕唱呂二之十；古甲九癸●●●●，■■■■●●●●；一音：□□近揆●●●●，十一音：■■■■●●●●；十聲：坤巧丘棄●●●●，九聲：■■■■●●●●；□□乾蚪●●●●，■■■■●●●●；黑花香血●●●●，■■■■●●●●；二音：黃華雄賢●●●●，十一音：■■■■●●●●；十聲：五瓦仰□●●●●，十聲：■■■■●●●●；吾牙月堯●●●●，■■■■●●●●。

The left column begins with "Rusheng Xi Chang Lü Er Zhi Shí." The tenth category of the clear tone has no sound, with the moon's movement entering the position marked as "●", each line having four repetitions. The first tone is sung in four lines: "Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu" and the second tone in four lines: "Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo." The right column, "Biyin Zhu He Lü Er Zhī Shí Yī," uses "■" repeated four times, harmonizing the ninth and tenth tones, totaling eight lines, all marked as "●●●●." This completes the diagram. Since the tenth category of the clear tone has no sound, what is sung is merely empty spaces; the ninth and tenth tones in the right column also have no sound to cite. Singing empty into empty, yet the positions are not missing, clearly showing that this diagram emphasizes numbers. By now, the moon's movement in the entering tone has been arranged up to the tenth diagram, and the ten categories of the clear tone have been fully covered.

閉音濁和律二之十二；安亞乙一●●●●，■■■■多可個舌；三音：□爻壬寅●●●●，十二音：■■■■禾火化八；十聲：母馬美米●●●●，一聲：■■■■開宰愛○；目貌眉民●●●●，■■■■回每退○；夫法□飛●●●●，■■■■良兩向○；四音：父凡□吠●●●●，十二音：■■■■光廣況○；十聲：武晚□尾●●●●，二聲：■■■■丁井亙○；文萬□未●●●●，■■■■兄永瑩○；卜百丙必●●●●，■■■■千典旦○；五音：步白備鼻●●●●，十二音：■■■■元犬半○；十聲：普撲品匹●●●●，三聲：■■■■臣引艮○；旁排平瓶●●●●，■■■■君允巽○。

The right column begins with "Closed Tone浊和律二之十二": the twelfth tone of the fire element is "■宅直■", with no sound in the closed position, and the character for harmony is written as "■". It is repeated four times downward. The first tone has four lines: "多可个舌、禾火化八、开宰爱○、回每退○", the second tone has four lines: "良两向○、光广况○、丁井亘○、兄永莹○", and the third tone has four lines: "千典旦○、元犬半○、臣引艮○、君允巽○". This is the last diagram of the "浊和律" series. The left column remains with "入声翕唱吕二之十", continuing to sing the third tone with four lines: "安亚乙一、□爻壬寅、母马美米、目貌眉民", the fourth tone with four lines: "夫法□飞、父凡□吠、武晚□尾、文万□未", and the fifth tone with four lines: "卜百丙必、步白备鼻、普扑品匹、旁排平瓶". The twelfth tone of the fire element "■宅直■" has no sound in the closed position, so the character for harmony remains "■". From the sixth tone onwards, the seven diagrams all have empty characters for harmony, except for the first five diagrams, which have five real characters: "揆", "贤", "寅", "吠", and "鼻". This exactly matches the number "石火音五" mentioned at the beginning.

東丹帝■●●●●，■■■■刀早孝嶽；六音：兌大弟■●●●●，十二音：■■■■毛寶報霍；十聲：土貪天■●●●●，四聲：■■■■牛斗奏六；同覃田■●●●●，■■■■○○○玉；乃你女■●●●●，■■■■妻子四日；七音：內南年■●●●●，十二音：■■■■衰○帥骨；十聲：老冷呂■●●●●，五聲：■■■■○○○德；鹿犖離■●●●●，■■■■龜水貴北；走哉足■●●●●，■■■■宮孔眾○；八音：自在匠■●●●●，十二音：■■■■龍甬用○；十聲：草采七■●●●●，六聲：■■■■魚鼠去○；曹才全■●●●●，■■■■烏虎兔○。

The left column, "入声翕唱吕二之十," uses four repetitions of "●" and sings four lines for the sixth tone: "东丹帝■, 兑大弟■, 土贪天■, 同覃田■," four lines for the seventh tone: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■," and four lines for the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■." The right column, "闭音浊和律二之十二," uses four repetitions of "■" and harmonizes four lines for the fourth tone: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines for the fifth tone: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines for the sixth tone: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The sixth tone in the left column is the tongue route, the seventh tone is the nasal and laryngeal route, and the eighth tone is the dental route; all closed tones have no sound. In the right column, the last line of the fourth tone only includes "玉," the second line of the fifth tone is missing the rising tone, and all four lines of the sixth tone are completely empty, each marked with "○." Reading both columns together, the left column counts the tone positions and the right column counts the sound positions. The difference between forty-eight and forty is due to the offset in the titles of the two diagrams.

思三星■●●●●，■■■■心審禁○；九音：寺□象■●●●●，十二音：■■■■○○○十；十聲：□□□■●●●●，七聲：■■■■男坎欠○；□□□■●●●●，■■■■○○○妾；■山手■●●●●，■■■■●●●●；十音：■士石■●●●●，十二音：■■■■●●●●；十聲：■□耳■●●●●，八聲：■■■■●●●●；■□二■●●●●，■■■■●●●●；■莊震■●●●●，■■■■●●●●；十一音：■乍□■●●●●，十二音：■■■■●●●●；十聲：■叉赤■●●●●，九聲：■■■■●●●●；■崇辰■●●●●，■■■■●●●●。

The left column, "Rusheng Xi Chang Lü Er Zhi Shí," uses four repetitions of "●" and sings four lines for the ninth tone: "Si San Xing ■, Si □ Xiang ■, □ □ □ ■, □ □ □ ■," and four lines for the tenth tone: "■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■," and four lines for the eleventh tone: "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■." The right column, "Biyan Zhu He Lu Er Zhi Shí'er," uses four repetitions of "■" and harmonizes four lines for the seventh tone: "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie," then harmonizes the eighth and ninth tones together in eight lines, all using "● ● ● ●." In the left column, the ninth, tenth, and eleventh tones alternate between "□" and "■" in each line. In the right column, the seventh tone still has six characters readable, while the eighth and ninth tones have no characters at all. Within one section, four symbols are present: "○" has sound but no characters, "●" has no sound, "□" has sound but no characters, and "■" has no sound. The first two belong to sound diagrams, and the last two belong to sound diagrams, each determined by their respective columns and cannot be used interchangeably.

■卓中■●●●●，■■■■●●●●；十二音：■宅直■●●●●，十二音：■■■■●●●●；十聲：■拆丑■●●●●，十聲：■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

The left column, "Rusheng Xi Chang Lü Er Zhi Shi," sings the twelfth tone with four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■." The right column, "Biyan Zhu He Lu Er Zhi Shiwu," harmonizes the tenth tone with four lines. The "Yue" line in the rusheng category forms the tenth diagram for singing, and the "Huo" line in the biyan category forms the twelfth diagram for harmonizing. Thus, all diagrams are completed, and the series led by the fourth十八th section of "Guanwu Pian" is finished.

皇極經世書卷十下；觀物篇四十九；辰星聲入闢　石土音閉清；○○○六德，棄□米尾匹■；○○●●●，■■■■■■；辰星聲七，下唱地之　石土音五，上和天之；用音一百五十二，是　用聲一百一十二，是；謂入聲闢音。入聲闢　謂閉音清聲。閉音清；音一千六十四。　聲五百六十；辰星聲入之三辟　石土音閉之三清。

In Volume Ten, Part Two of The Supreme Principles Governing the World, in the fourth十九th section titled "Observing Things," the discussion concerns the pair "Chen Star Sound Enters the Open" and "Stone Soil Sound Closes the Clear." "Chen Star Sound Enters the Open" refers to the intersection of the "Chen" position (entering tone) and the "Star" row (third row of four rows, belonging to the open category) on the correct sound diagram; "Stone Soil Sound Closes the Clear" refers to the intersection of the "Stone" position (closed sound) and the "Soil" row (third row of four rows, belonging to the clear category) on the correct sound diagram. The original text is still printed in two columns, and when arranged horizontally, the first half belongs to sound and the second half to sound. The characters "○○○六德" and "○○●●●" are representative characters for the ten categories of correct sounds at the entering tone open position: the fourth tone corresponds to "six," the fifth tone corresponds to "de," and the first, second, third, sixth, and seventh tones have sound positions but no characters, represented by "○," while the eighth, ninth, and tenth tones have no sound positions, represented by "●," hence the following text says "Chen Star Sound Seven." The characters "弃□米尾匹■" and "■■■■■■" are representative characters for the twelve categories of correct sounds at the closed sound clear position: the first sound corresponds to "discarded," the third sound corresponds to "rice," the fourth sound corresponds to "tail," the fifth sound corresponds to "pair," the second sound has a sound position but no character, represented by "□," and the sixth sound and below are all represented by "■," hence the following text says "Stone Soil Sound Five." The explanation of the two columns is read separately as: "Chen Star Sound Seven, the lower singing of the earth's use of sound is one hundred and fifty-two, which is called entering tone open sound, entering tone open sound one thousand six hundred and forty," with seven usable sounds each singing one hundred and fifty-two usable sounds, resulting in one thousand six hundred and forty; "Stone Soil Sound Five, the upper harmony of the sky's use of sound is one hundred and twelve, which is called closed sound clear sound, closed sound clear sound five hundred and sixty," with five usable sounds each harmonizing with one hundred and twelve usable sounds, resulting in five hundred and sixty. The final title "Chen Star Sound Enters the Third Open" and "Stone Soil Sound Closes the Third Clear" indicates that the following diagrams all belong to the third system.

入聲闢唱呂三之一　閉音清和律三之一；古甲九癸○○○○，棄棄棄棄多可個舌；一音：□□近揆○○○○，一音：棄棄棄棄禾火化八；一聲：坤巧丘棄○○○○，一聲：棄棄棄棄開宰愛○；□□乾蚪○○○○，棄棄棄棄回每退○；黑花香血○○○○，棄棄棄棄良兩向○；二音：黃華雄賢○○○○，一音：棄棄棄棄光廣況○；一聲：五瓦仰□○○○○，二聲：棄棄棄棄丁井亙○；吾牙月堯○○○○，棄棄棄棄兄永瑩○；安亞乙一○○○○，棄棄棄棄千典旦○；三音：□爻壬寅○○○○，一音：棄棄棄棄元犬半○；一聲：母馬美米○○○○，三聲：棄棄棄棄臣引艮○；目貌眉民○○○○，棄棄棄棄君允巽○。

This line continues on both sides simultaneously. On the left, it is titled "The First of the Three in the Risheng Bi Chang Lu," and on the right, "The First of the Three in the Biyin Qing He Lu." The left side sings the entry of the first class of the positive tone, "Kai Zai Ai," in the risheng position, which has sound but no character, written as "○," with four repetitions per line. The right side harmonizes the first tone, "Tǔ Xíng" ("Earth Movement"), with the closed tone character "qì" ("discarded"), which has both sound and character, written as "qì," also with four repetitions per line. The left side sings four lines of the first tone: "Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Duò," four lines of the second tone: "Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo," and four lines of the third tone: "Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Mí Mín." The right side harmonizes four lines of the first tone: "Duō Kě Gè Shé, Hé Huǒ Huà Bā, Kāi Zai Ai ○, Huí Měi Tuì ○," four lines of the second tone: "Liáng Liǎng Xiàng ○, Guāng Guǎng Kuàng ○, Dīng Jǐng Gèn ○, Xiōng Yǒng Yíng ○," and four lines of the third tone: "Qiān Diǎn Dàn ○, Yuán Quǎn Bàn ○, Chén Yǐn Gèn ○, Jūn Yǔn Xùn ○." The third line sung on the left, "Kūn Qiǎo Qiū Qì," is exactly the source of the character "qì" harmonized on the right. The character appears twice but has different roles: on the left it is the sung tone, and on the right it is the harmonized character. The left side sings an empty tone, while the right side harmonizes a real character, with one empty and one real proceeding together.

夫法□飛○○○○，棄棄棄棄刀早孝嶽；四音：父凡□吠○○○○，一音：棄棄棄棄毛寶報霍；一聲：武晚□尾○○○○，四聲：棄棄棄棄牛斗奏六；文萬□未○○○○，棄棄棄棄○○○玉；卜百丙必○○○○，棄棄棄棄妻子四日；五音：步白備鼻○○○○，一音：棄棄棄棄衰○帥骨；一聲：普撲品匹○○○○，五聲：棄棄棄棄○○○德；旁排平瓶○○○○，棄棄棄棄龜水貴北；東丹帝■○○○○，棄棄棄棄宮孔眾○；六音：兌大弟■○○○○，一音：棄棄棄棄龍甬用○；一聲：土貪天■○○○○，六聲：棄棄棄棄魚鼠去○；同覃田■○○○○，棄棄棄棄烏虎兔○。

The left column, "Entry on the Fourth Tone of the Risheng Style," uses the character "○" four times, singing four lines of the fourth tone: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," four lines of the fifth tone: "Bu ba bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and four lines of the sixth tone: "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." The right column, "Entry on the Third Tone of the Bisheng Style," uses the character "qi" four times, harmonizing four lines of the fourth tone: "Dao zao xiao yue, Mao bao bao huo, Niu dou zhou liu, ○○○ yu," four lines of the fifth tone: "Zi qi si ri, Shuai ○ shuai gu, ○○○ de,Gui shui gui bei," and four lines of the sixth tone: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○." The last line of the fourth tone on the left, "○○○ yu," and the last line of the sixth tone on the right, "wu hu tu ○," one has only the character in the position, the other has only an empty position, forming a contrast. In the left column, the ending characters of the fourth tone are all "□," and the closing characters of the sixth tone are all "■." In the right column, the second line of the fifth tone is missing the rising tone, and the third line only retains the entering tone. In the sixth tone, all the entering tone positions are empty. The symbols for empty positions on the left and right columns are not interchangeable, and it is immediately clear which category they belong to. This diagram has the left column singing forty-eight tones and the right column harmonizing forty tones, each exhausting their positions before stopping.

乃你女■○○○○，棄棄棄棄心審禁○；七音：內南年■○○○○，一音：棄棄棄棄○○○十；一聲：老冷呂■○○○○，七聲：棄棄棄棄男坎欠○；鹿犖離■○○○○，棄棄棄棄○○○妾；走哉足■○○○○，棄棄棄棄●●●●；八音：自在匠■○○○○，一音：棄棄棄棄●●●●；一聲：草采七■○○○○，八聲：棄棄棄棄●●●●；曹才全■○○○○，棄棄棄棄●●●●；思三星■○○○○，棄棄棄棄●●●●；九音：寺□象■○○○○，一音：棄棄棄棄●●●●；一聲：□□□■○○○○，九聲：棄棄棄棄●●●●；□□□■○○○○，棄棄棄棄●●●●。

The left column, "入声辟唱吕三之一," uses the symbol "○" repeated four times, singing four lines for the seventh tone: "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," four lines for the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao cais qi ■, cao cai quan ■," and four lines for the ninth tone: "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■." The right column, "闭音清和律三之一," uses the character "弃" repeated four times, harmonizing four lines for the seventh tone: "Xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie," then harmonizing the eighth and ninth tones together in eight lines, all marked as "●●●●." In the same section, the left column's seventh, eighth, and ninth tones have no sound, while the right column's eighth and ninth tones are entirely silent. Within the same section, the left column's "■" indicates the absence of a sound, and the right column's "●" indicates the absence of a tone. Although both symbols are black squares and circles, they refer to two different systems of positions. The annotations in the diagram for "七音" to "九音" and "七声" to "九声" record the order of sounds for the left and right columns respectively, and each should be read according to its own column.

■山手■○○○○，棄棄棄棄●●●●；十音：■士石■○○○○，一音：棄棄棄棄●●●●；一聲：■□耳■○○○○，十聲：棄棄棄棄●●●●；■□二■○○○○，棄棄棄棄●●●●。

The left column, "Entry on the入声辟唱吕三之一," uses the symbol "○" four times, singing the tenth tone in four lines: "■ mountain hand ■, ■ scholar stone ■, ■ □ ear ■, ■ □ two ■." The right column, "Entry on the闭音清和律三之一," uses the character "弃" four times, harmonizing the tenth tone in four lines, with all four lines marked as "●●●●," indicating the end of this diagram. The left column's tenth tone alternates between "□" and "■," with very few examples; the right column's tenth tone has no connected tone positions, hence all four lines are marked as "●."

閉音清和律三之二；■莊震■○○○○，□□□□多可個舌；十一音：■乍□■○○○○，二音：□□□□禾火化八；一聲：■叉赤■○○○○，一聲：□□□□開宰愛○；■崇辰■○○○○，□□□□回每退○；■卓中■○○○○，□□□□良兩向○；十二音：■宅直■○○○○，二音：□□□□光廣況○；一聲：■拆丑■○○○○，二聲：□□□□丁井亙○；■茶呈■○○○○，□□□□兄永瑩○。

The right column begins with "Closed Sound Clear Harmony Law Three, Part Two": the second tone, "earth movement," is "wu wa yang □," where the closed position has sound but no character, so the character "he" can only be written as "□," repeated four times per line. This differs from the preceding and following diagrams, which use "■" for the character "he"—"□" indicates a position with a lost character, while "■" indicates a position that was never established. It is different from the first tone's four lines "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○" and the second tone's four lines "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○." The left column concludes the "Entering Tone Singing Law Three, Part One," ending with "○" repeated four times for the eleventh tone's four lines "■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ chong chen ■" and the twelfth tone's four lines "■ zhuo zhong ■, ■ zhai zhi ■, ■ che chou ■, ■ cha cheng ■."

入聲闢唱呂三之二；古甲九癸○○○○，□□□□千典旦○；一音：□□近揆○○○○，二音：□□□□元犬半○；二聲：坤巧丘棄○○○○，三聲：□□□□臣引艮○；□□乾蚪○○○○，□□□□君允巽○；黑花香血○○○○，□□□□刀早孝嶽；二音：黃華雄賢○○○○，二音：□□□□毛寶報霍；二聲：五瓦仰□○○○○，四聲：□□□□牛斗奏六；吾牙月堯○○○○，□□□□○○○玉；安亞乙一○○○○，□□□□妻子四日；三音：□爻壬寅○○○○，二音：□□□□衰○帥骨；二聲：母馬美米○○○○，五聲：□□□□○○○德；目貌眉民○○○○，□□□□龜水貴北。

The left column begins with "The Second of the Three in the Risheng Pichang Lü" : the singing refers to the second class of the star line "Ding Jing Geng ○" in the entering tone position, which has sound but no character, written as "○". Each line is repeated four times. The first tone is sung in four lines: "Gu Jia Ji Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu". The second tone is sung in four lines: "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao". The third tone is sung in four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column "Closed Tone Qinghe Law Three of Two" still uses "□" repeated four times as the harmonizing character, harmonizing the third tone in four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", and the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", and the fifth tone in four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei". Within one line, the "○" in the left column and the "□" in the right column appear together: the former refers to the void in the sound diagram, while the latter refers to the void in the tone diagram, their positions differ and their references are different. The left column's singing comes from the sound star line, while the right column's harmonizing comes from the tone earth line; the "three" in the diagram title refers to the third line of both the sound and tone diagrams. The first two groups belong to the day and moon lines, hence the designation "One of N" and "Two of N". From here, it changes to "Three of N".

夫法□飛○○○○，□□□□宮孔眾○；四音：父凡□吠○○○○，二音：□□□□龍甬用○；二聲：武晚□尾○○○○，六聲：□□□□魚鼠去○；文萬□未○○○○，□□□□烏虎兔○；卜百丙必○○○○，□□□□心審禁○；五音：步白備鼻○○○○，二音：□□□□○○○十；二聲：普撲品匹○○○○，七聲：□□□□男坎欠○；旁排平瓶○○○○，□□□□○○○妾；東丹帝■○○○○，□□□□●●●●；六音：兌大弟■○○○○，二音：□□□□●●●●；二聲：土貪天■○○○○，八聲：□□□□●●●●；同覃田■○○○○，□□□□●●●●。

The left column, "Rush Sound of the Fourth Tone in the Second Section of the Three Laws of the Third Category," uses the symbol "○" repeated four times, and sings four lines of the fourth tone: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei." The fifth tone has four lines: "Bu ba bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping." The sixth tone has four lines: "Dong dan di ■, Dui da di ■, Tu tan tian ■, Tong tan tian ■." The ending characters of the four lines of the fourth tone are all "□," and the last line's "wei" is a borrowed character from the Earthly Branches as an example of sound. The right column, "Clear and Harmonious Tone of the Sixth Sound in the Second Section of the Third Category," uses the symbol "□" repeated four times as the character for harmony, and harmonizes the sixth tone with four lines: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○," and the seventh tone with four lines: "Xin shen jin ○, ○○○shi, Nan kan qian ○, ○○○jie." It then harmonizes the eighth tone with four lines; the eighth tone has no position, and all four lines are "●●●●." The left column's fourth tone belongs to the light lip category, the fifth tone to the heavy lip category, and the sixth tone to the tongue category. The right column's sixth tone has all positions empty, the seventh tone has many empty spaces, and the eighth tone has no characters at all. The four repeated symbols at the end of each line on the left column belong to the sound category, while the four repeated symbols at the beginning of each line on the right column belong to the tone category, so in the same line, two sets of empty position symbols can appear, each determined by their respective diagrams.

乃你女■○○○○，□□□□●●●●；七音：內南年■○○○○，二音：□□□□●●●●；二聲：老冷呂■○○○○，九聲：□□□□●●●●；鹿犖離■○○○○，□□□□●●●●；走哉足■○○○○，□□□□●●●●；八音：自在匠■○○○○，二音：□□□□●●●●；二聲：草采七■○○○○，十聲：□□□□●●●●；曹才全■○○○○，□□□□●●●●。

The left column, "入声辟唱吕三之二," uses four repetitions of "○," singing four lines of the seventh tone: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■" and four lines of the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■." The right column, "闭音清和律三之二," uses four repetitions of "□," harmonizing the ninth and tenth tones, totaling eight lines, all marked as "●●●●." This completes the harmonization. These eight lines have characters on the left but no corresponding positions on the right, which is the usual situation of "more tones than sounds." There are still eight lines of characters on the left, while the ninth and tenth tones on the right have no sounds throughout. The markings of "seven tones," "eight tones," "nine sounds," and "ten sounds" in the diagram indicate the positions each column has reached.

閉音清和律三之三；思三星■○○○○，米米米米多可個舌；九音：寺□象■○○○○，三音：米米米米禾火化八；二聲：□□□■○○○○，一聲：米米米米開宰愛○；□□□■○○○○，米米米米回每退○；■山手■○○○○，米米米米良兩向○；十音：■土石■○○○○，三音：米米米米光廣況○；二聲：■□耳■○○○○，二聲：米米米米丁井亙○；■□二■○○○○，米米米米兄永瑩○；■莊震■○○○○，米米米米千典旦○；十一音：■乍□■○○○○，三音：米米米米元犬半○；二聲：■叉赤■○○○○，三聲：米米米米臣引艮○；■崇辰■○○○○，米米米米君允巽○。

The right column begins with "Closed Sound Clear Harmony Law Three of Three": the harmonized character is the third tone earth row "mother horse beauty rice" closed position character "rice", which has both sound and character, written as "rice". Each line is repeated four times. The harmonization is based on the first tone four lines "duo ke ge she, he huohua ba, kai zai ai circle, hui mei tui circle", the second tone four lines "liang liang xiang circle, guang guang kuang circle, ding jing geng circle, xiong yong ying circle", and the third tone four lines "qian dian dan circle, yuan quan ban circle, chen yin gen circle, jun yun xun circle". The left column remains "入声辟唱吕三之二" (entering tone singing law three of two), continuing to sing the ninth tone four lines "si san xing circle, si square xiang circle, square square square circle, square square square circle", the tenth tone four lines "circle shan shou circle, circle tu shi circle, circle square er circle, circle square er circle", and the eleventh tone four lines "circle zhuang zhen circle, circle zha square circle, circle cha chi circle, circle chong chen circle". The second line of the tenth tone is originally "circle tu shi circle", but elsewhere it is mostly "circle shi shi circle", and this is still recorded as is. "Rice" comes from the third tone earth row "mother horse beauty rice" closed position. In all the clear harmony law charts, the characters used for harmonization are taken from the last section of the native tone earth row: if there is a character, it is written in full; if there is a sound but no character, it is marked as "□"; if there is no sound, it is marked as "■". These three situations are all present in this passage.

■卓中■○○○○，米米米米刀早孝嶽；十二音：■宅直■○○○○，三音：米米米米毛寶報霍；二聲：■拆丑■○○○○，四聲：米米米米牛斗奏六；■茶呈■○○○○，米米米米○○○玉。

The left column, "入声辟唱吕三之二," uses the symbol "○" four times, singing the twelfth tone in four lines: "■卓中■, ■宅直■, ■拆丑■, ■茶呈■," and the singing of this diagram is completed. The right column, "闭音清和律三之三," uses the character "米" four times, harmonizing the fourth tone in four lines: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉." The last line only has "玉" in the position of entry, with the three positions above it marked as "○."

入聲闢唱呂三之三；古甲九癸○○○○，米米米米妻子四日；一音：□□近揆○○○○，三音：米米米米衰○帥骨；三聲：坤巧丘棄○○○○，五聲：米米米米○○○德；□□乾蚪○○○○，米米米米龜水貴北；黑花香血○○○○，米米米米宮孔眾○；二音：黃華雄賢○○○○，三音：米米米米龍甬用○；三聲：五瓦仰□○○○○，六聲：米米米米魚鼠去○；吾牙月堯○○○○，米米米米烏虎兔○；安亞乙一○○○○，米米米米心審禁○；三音：□爻壬寅○○○○，三音：米米米米○○○十；三聲：母馬美米○○○○，七聲：米米米米男坎欠○；目貌眉民○○○○，米米米米○○○妾。

The left column begins with "The Third of the Three Categories of the Third Entry of the Inclusive Tone Song": the sung tones belong to the third category of the "Celestial Official Leading the Mountain" pattern, which is an inclusive tone position with sound but no character, represented by "○". Each line is repeated four times. The first tone has four lines: "Ancient Jia Nine Gwi, □□ near揆, Earth skill hill discard, □□ Heaven tadpole". The second tone has four lines: "Black flower fragrant blood, Yellow flower strong virtuous, Five tile look □, I tooth moon Yao". The third tone has four lines: "Anya Yi one, □ yao Renyin, Mother horse beautiful rice, Eye face eyebrow people". The right column, "The Third of the Three Entries of the Clear and Harmonious Tone of the Closed Tone", uses the character "rice" repeated four times, and the fifth tone has four lines: "Spouse wife four days, decline ○ general bone, ○○○ virtue, turtle water noble north". The sixth tone has four lines: "Palace Kong crowd ○, Dragon Yong use ○, Fish rat go ○, Crow tiger rabbit ○". The seventh tone has four lines: "Heart review prohibition ○, ○○○ ten, Male Kan lack ○, ○○○ concubine". The third line of the third tone in the left column is "Mother horse beautiful rice", which is the same as the character "rice" in the right column, showing that the method of selecting characters in the singing and harmonizing diagrams is fundamentally connected. The left column sings a position with sound but no character, while the right column harmonizes with the real character "rice". The fifth tone line "Decline ○ general bone" is missing the rising tone, "○○○ virtue" only retains the inclusive tone, the sixth tone lines are all empty in the inclusive tone position, and the seventh tone also has many empty spaces, all of which are filled with "○", while the "□" and "■" in the left column's tone and character lines belong to the two diagrams separately.

夫法□飛○○○○，米米米米●●●●；四音：父凡□吠○○○○，三音：米米米米●●●●；三聲：武晚□尾○○○○，八聲：米米米米●●●●；文萬□未○○○○，米米米米●●●●；卜百丙必○○○○，米米米米●●●●；五音：步白備鼻○○○○，三音：米米米米●●●●；三聲：普撲品匹○○○○，九聲：米米米米●●●●；旁排平瓶○○○○，米米米米●●●●；東丹帝■○○○○，米米米米●●●●；六音：兌大弟■○○○○，三音：米米米米●●●●；三聲：土貪天■○○○○，十聲：米米米米●●●●；同覃田■○○○○，米米米米●●●●。

The left column, "入声辟唱吕三之三," uses the character "○" four times, singing four lines for the fourth tone: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," four lines for the fifth tone: "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and four lines for the sixth tone: "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." The right column, "闭音清和律三之三," uses the character "mi" four times, harmonizing with the eighth, ninth, and tenth tones, totaling twelve lines, all marked as "●●●●," completing the diagram. In the left column, the ending characters for the fourth tone lines are all "□," and the closing characters for the sixth tone lines are all "■," representing sounds without characters and characters without sounds respectively. In the right column, the eighth, ninth, and thirteenth tones are entirely silent, so all thirty-six grids in the twelve lines are marked as "●." Among the ten categories of tones, only seven are usable, and these three categories are the three suspended positions, the number "seven" mentioned at the beginning of the text, "辰星声七," comes from this.

閉音清和律三之四；乃你女■○○○○，尾尾尾尾多可個舌；七音：內南年■○○○○，四音：尾尾尾尾禾火化八；三聲：老冷呂■○○○○，一聲：尾尾尾尾開宰愛○；鹿犖離■○○○○，尾尾尾尾回每退○；走哉足■○○○○，尾尾尾尾良兩向○；八音：自在匠■○○○○，四音：尾尾尾尾光廣況○；三聲：草采七■○○○○，二聲：尾尾尾尾丁井亙○；曹才全■○○○○，尾尾尾尾兄永瑩○；思三星■○○○○，尾尾尾尾千典旦○；九音：寺□象■○○○○，四音：尾尾尾尾元犬半○；三聲：□□□■○○○○，三聲：尾尾尾尾臣引艮○；□□□■○○○○，尾尾尾尾君允巽○。

On the right side, another section begins with "Closed Sound Clear Harmony Law Three, Fourth": the harmonized character is the fourth tone earth sound "wu wan wu wei" with the closed position character "wei". Each line is repeated four times, harmonizing with the first tone four lines "duo ke ge she, he huohua ba, kai zai ai ao, hui mei tui ao", the second tone four lines "liang liang xiang ao, guang guang kuang ao, ding jing geng ao, xiong yong ying ao", and the third tone four lines "qian dian dan ao, yuan quan ban ao, chen yin gen ao, jun yun xun ao". The ending position of this line originally is "□", but since the closed position has the character "wei", it can be established as the harmonized character. On the left side, it remains "Entering Tone Separate Singing Lu Three, Third": using "○" repeated four times to continue singing the seventh tone four lines "nai ni nv □, nei nan nian □, lao lenglü □, lu luo li □", the eighth tone four lines "zou zai zu □, zi zai jiang □, cao cai qi □, cao cai quan □", and the ninth tone four lines "si san xing □, si □ xiang □, □ □ □ □, □ □ □ □". The seventh tone on the left is the ni lai route, the eighth tone is the chi tou route, and the ninth tone is thexin xie route; all three tones have no sound in the closed position. Among the three tones harmonized on the right side, the entering tones of the second and third tones are empty, filled in with "○". This diagram sings forty-eight tones and harmonizes forty sounds, although the positions vary in number, the rules for selecting characters are the same.

■山手■○○○○，尾尾尾尾刀早孝嶽；十音：■土石■○○○○，四音：尾尾尾尾毛寶報霍；三聲：■□耳■○○○○，四聲：尾尾尾尾牛斗奏六；■□二■○○○○，尾尾尾尾○○○玉；■莊震■○○○○，尾尾尾尾妻子四日；十一音：■乍□■○○○○，四音：尾尾尾尾衰○帥骨；三聲：■叉赤■○○○○，五聲：尾尾尾尾○○○德；■崇辰■○○○○，尾尾尾尾龜水貴北；■卓中■○○○○，尾尾尾尾宮孔眾○；十二音：■宅直■○○○○，四音：尾尾尾尾龍甬用○；三聲：■拆丑■○○○○，六聲：尾尾尾尾魚鼠去○；■茶呈■○○○○，尾尾尾尾烏虎兔○。

The left column, "入声辟唱吕三之三," uses four repetitions of "○," singing four lines for the tenth tone: "■山手■, ■土石■, ■□耳■, ■□二■," four lines for the eleventh tone: "■庄震■, ■乍□■, ■叉赤■, ■崇辰■," and four lines for the twelfth tone: "■卓中■, ■宅直■, ■拆丑■, ■茶呈■," completing the left column. The right column, "闭音清和律三之四," uses four repetitions of "尾," harmonizing four lines for the fourth tone: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines for the fifth tone: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines for the sixth tone: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." In the left column, the three tones in the open and closed categories mostly have no sound, with only the middle two characters readable, making this the most sparse part of the diagram. In the right column, the last line of the fourth tone only has "玉," the second line of the fifth tone is missing the rising tone, and all four lines of the sixth tone are completely empty. In the left column, the blanks are marked with "■," while in the right column, the blanks are marked with "○," representing no sound and sound without characters respectively. Readers can distinguish between the columns to avoid confusion.

入聲闢唱呂三之四；古甲九癸六六六六，尾尾尾尾心審禁○；一音：□□近揆六六六六，四音：尾尾尾尾○○○十；四聲：坤巧丘棄六六六六，七聲：尾尾尾尾男坎欠○；□□乾蚪六六六六，尾尾尾尾○○○妾；黑花香血六六六六，尾尾尾尾●●●●；二音：黃華雄賢六六六六，四音：尾尾尾尾●●●●；四聲：五瓦仰□六六六六，八聲：尾尾尾尾●●●●；吾牙月堯六六六六，尾尾尾尾●●●●；安亞乙一六六六六，尾尾尾尾●●●●；三音：□爻壬寅六六六六，四音：尾尾尾尾●●●●；四聲：母馬美米六六六六，九聲：尾尾尾尾●●●●；目貌眉民六六六六，尾尾尾尾●●●●。

The left column begins with "The Fourth of the Three in the Rhythm of the Ingressive Tone 'Lü'": the sung syllables belong to the fourth category of the correct tone, "Star Movement 'Cow and Dipper Play Six'", and the ingressive tone syllable "six" is used. Since it has both sound and character, it is written as "six". Each line is repeated four times. The first tone is sung in four lines: "Ancient Jia Ninth Gui, □□ Near Kuí, Earth's Skill Hill Discard, □□ Heaven's Fish"; the second tone is sung in four lines: "Black Flower Fragrant Blood, Yellow Flower Strong Virtue, Five Tile Look □, I Tooth Moon Yao"; the third tone is sung in four lines: "An Ya Yi One, □ Trigram Renyin, Mother Horse Beautiful Rice, Eye Appearance Eyebrow People". The number of repetitions, four, is meant to correspond with the four tones of opening, developing, closing, and closing, forming four tones of singing and responding. The right column, "The Fourth of the Three in the Clear and Harmonious Law of the Closing Tone 'San'", uses the character "tail" repeated four times, and harmonizes with the seventh tone in four lines: "Heart Review Prohibit □, □□□ Ten, Male Kan Lack □, □□□ Consort". It then harmonizes with the eighth and ninth tones, totaling eight lines, all marked as "●●●●". The character "six" comes from the fourth category of the correct tone, "Star Movement 'Cow and Dipper Play Six'", and is a rare actual character in this position. The right column's harmonization of the seventh tone still has characters such as heart, review, prohibit, male, kan, and lack that can be read, while the eighth and ninth tones are completely silent, with all eight lines marked as "●". Left and right sing and respond, each based on their own diagram, and the tone order and tone order marked at the beginning of each line belong to separate columns.

夫法□飛六六六六，尾尾尾尾●●●●；四音：父凡□吠六六六六，四音：尾尾尾尾●●●●；四聲：武晚□尾六六六六，十聲：尾尾尾尾●●●●；文萬□未六六六六，尾尾尾尾●●●●。

The left column, "入声辟唱吕三之四," uses the character "六" repeated four times, singing the fourth tone in four lines: "夫法□飞, 父凡□吠, 武晚□尾, 文万□未." The right column, "闭音清和律三之四," uses the character "尾" repeated four times, harmonizing the tenth tone in four lines, each line being "●●●●," and the diagram is completed. The ending positions of the four lines in the left column and the harmonizing character in the right column correspond exactly to the same tone of "尾," one being sung and the other being the main harmony.

閉音清和律三之五；卜百丙必六六六六，匹匹匹匹多可個舌；五音：步白備鼻六六六六，五音：匹匹匹匹禾火化八；四聲：普撲品匹六六六六，一聲：匹匹匹匹開宰愛○；旁排平瓶六六六六，匹匹匹匹回每退○；東丹帝■六六六六，匹匹匹匹良兩向○；六音：兌大弟■六六六六，五音：匹匹匹匹光廣況○；四聲：土貪天■六六六六，二聲：匹匹匹匹丁井亙○；同覃田■六六六六，匹匹匹匹兄永瑩○；乃你女■六六六六，匹匹匹匹千典旦○；七音：內南年■六六六六，五音：匹匹匹匹元犬半○；四聲：老冷呂■六六六六，三聲：匹匹匹匹臣引艮○；鹿犖離■六六六六，匹匹匹匹君允巽○。

The right column begins with "Closed Sound Clear Harmony Law Three Five": the harmonized character is the fifth tone earth row "Pu Pu Pin Pi" with the closed position character "Pi". Each line has four repetitions, harmonizing with the first tone four lines "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", the second tone four lines "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O", and the third tone four lines "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O". The left column remains "Entering Tone Separation Singing Law Three Four", continuing to sing with the character "Liu" repeated four times for the fifth tone four lines "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping", the sixth tone four lines "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■", and the seventh tone four lines "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lü ■, Lu Luo Li ■". The character "Pi" comes from the fifth tone earth row "Pu Pu Pin Pi" closed position, following the same pattern as the previous four characters "Qi", "□", "Mi", and "Wei". At this point, the clear harmony law series has obtained four real characters and one "□", exactly matching the initial "Stone Earth Sound Five" count; from the sixth tone onwards, closed positions have no sound, and the harmonized characters can only be "■".

走哉足■六六六六，匹匹匹匹刀早孝嶽；八音：自在匠■六六六六，五音：匹匹匹匹毛寶報霍；四聲：草采七■六六六六，四聲：匹匹匹匹牛斗奏六；曹才全■六六六六，匹匹匹匹○○○玉；思三星■六六六六，匹匹匹匹妻子四日；九音：寺□象■六六六六，五音：匹匹匹匹衰○帥骨；四聲：□□□■六六六六，五聲：匹匹匹匹○○○德；□□□■六六六六，匹匹匹匹龜水貴北；■山手■六六六六，匹匹匹匹宮孔眾○；十音：■士石■六六六六，五音：匹匹匹匹龍甬用○；四聲：■□耳■六六六六，六聲：匹匹匹匹魚鼠去○；■□二■六六六六，匹匹匹匹烏虎兔○。

The left column, "入声辟唱吕三之四," uses the character "六" repeated four times, singing four lines of the eighth tone with "走哉足■, 自在匠■, 草采七■, 曹才全■," four lines of the ninth tone with "思三星■, 寺□象■, □□□■, □□□■," and four lines of the tenth tone with "■山手■, ■士石■, ■□耳■, ■□二■." The right column, "闭音清和律三之五," uses the character "匹" repeated four times, harmonizing four lines of the fourth tone with "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines of the fifth tone with "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines of the sixth tone with "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The eighth tone in the left column belongs to the dental initial sounds, while the ninth tone has scattered examples, and the tenth tone alternates between "□" and "■." In the right column, among the three tones being harmonized, the last line of the fourth tone only includes "玉," the second line of the fifth tone is missing the rising tone, and all four lines of the sixth tone are empty. The left column records sounds, and the right column records tones. Although the number of repeated characters in both columns is the same, the four categories they correspond to differ—one being open and closed tones, and the other being level, rising, falling, and entering tones.

■莊震■六六六六，匹匹匹匹心審禁○；十一音：■乍□■六六六六，五音：匹匹匹匹○○○十；四聲：■叉赤■六六六六，七聲：匹匹匹匹男坎欠○；■崇辰■六六六六，匹匹匹匹○○○妾；■卓中■六六六六，匹匹匹匹●●●●；十二音：■宅直■六六六六，五音：匹匹匹匹●●●●；四聲：■拆丑■六六六六，八聲：匹匹匹匹●●●●；■茶呈■六六六六，匹匹匹匹●●●●。

The left column concludes with "入声辟唱吕三之四," using the character "六" repeated four times to sing four lines of the eleventh tone: "庄震、乍□、叉赤、崇辰" and four lines of the twelfth tone: "卓中、宅直、拆丑、茶呈." The right column, "闭音清和律三之五," uses the character "匹" repeated four times, harmonizing with four lines of the seventh tone: "心审禁○, ○○○十, 男坎欠○, ○○○妾" and four lines of the eighth tone; the first four lines each have "○" to fill in the blanks, while the last four lines are all filled with "●●●●." In the left column, both the open and closed tones have no sound, so each line only has the middle two characters. In the right column, the seventh tone has blanks everywhere, while the eighth tone has no characters at all. In the diagram, "十一音" and "十二音" along with "七声" and "八声" are separately recorded for the two columns.

入聲闢唱呂三之五；古甲九癸德德德德，匹匹匹匹●●●●；一音：□□近揆德德德德，五音：匹匹匹匹●●●●；五聲：坤巧丘棄德德德德，九聲：匹匹匹匹●●●●；□□乾蚪德德德德，匹匹匹匹●●●●；黑花香血德德德德，匹匹匹匹●●●●；二音：黃華雄賢德德德德，五音：匹匹匹匹●●●●；五聲：五瓦仰□德德德德，十聲：匹匹匹匹●●●●；吾牙月堯德德德德，匹匹匹匹●●●●。

Left column begins with "入声辟唱吕三之五": the tone being sung is the fifth class of the "○○○德" line, which includes the入声 character "德". In this line, the level, rising, and departing tones have no characters marked with "○", but the入声 position has "德" available, so this diagram uses "德" as the singing character. Each line is repeated four times, with the first tone sung in four lines: "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪" and the second tone sung in four lines: "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧". Right column "闭音清和律三之五" uses the character "匹" repeated four times, harmonizing with the ninth and tenth tones, totaling eight lines, all marked "●●●●", completing the harmony. The line "○○○德" has only the入声 position filled, while the other three positions are empty, clearly showing within the same line that some positions are filled and others are empty; this diagram selects the character in the入声 position for singing, so the entire text is written with "德".

閉音清和律三之六；安亞乙一德德德德，■■■■多可個舌；三音：□爻壬寅德德德德，六音：■■■■禾火化八；五聲：母馬美米德德德德，一聲：■■■■開宰愛○；目貌眉民德德德德，■■■■回每退○；夫法□飛德德德德，■■■■良兩向○；四音：父凡□吠德德德德，六音：■■■■光廣況○；五聲：武晚□尾德德德德，二聲：■■■■丁井亙○；文萬□未德德德德，■■■■兄永瑩○；卜百丙必德德德德，■■■■千典旦○；五音：步白備鼻德德德德，六音：■■■■元犬半○；五聲：普撲品匹德德德德，三聲：■■■■臣引艮○；旁排平瓶德德德德，■■■■君允巽○。

On the right side, another section begins with "Closed Tone Clear and Harmonious Law Three of Six": the sixth tone, "earth movement," is "earth greedy heaven ■," where the closed position has no sound, hence the character "和" is written as "■." Each line consists of four repetitions. The first tone has four lines: "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○," the second tone has four lines: "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○," and the third tone has four lines: "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○." From this point onward, in all the other clear and harmonious law diagrams, the character "和" is left as a vacant position, merely to complete the order of the twelve tones. On the left side, it is still "Entering Tone Pronunciation Song Law Three of Five," continuing with the character "de" repeated four times for the third tone's four lines: "an ya yi yi, □ yao ren yin, mu ma mei mi, mu mao mei min," the fourth tone's four lines: "fu fa □ fei, fu fan □ fei, wu wan □ wei, wen wan □ wei," and the fifth tone's four lines: "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping." The third tone on the left is the shadow,喻, and ming mother group, the fourth tone is the light lip group, and the fifth tone is the heavy lip group, with all the examples still complete. On the right side, the position of "和" is left vacant, contrasting with the left side, which clearly shows the uneven number of tones in each category. All these vacant positions are listed by Shao Yong without being filled, merely to complete the order of the twelve tones.

東丹帝■德德德德，■■■■刀早孝嶽；六音：兌大弟■德德德德，六音：■■■■毛寶報霍；五聲：土貪天■德德德德，四聲：■■■■牛斗奏六；同覃田■德德德德，■■■■○○○玉；乃你女■德德德德，■■■■妻子四日；七音：內南年■德德德德，六音：■■■■衰○帥骨；五聲：老冷呂■德德德德，五聲：■■■■○○○德；鹿犖離■德德德德，■■■■龜水貴北；走哉足■德德德德，■■■■宮孔眾○；八音：自在匠■德德德德，六音：■■■■龍甬用○；五聲：草采七■德德德德，六聲：■■■■魚鼠去○；曹才全■德德德德，■■■■烏虎兔○。

The left column, "入声辟唱吕三之五," uses the character "德" repeated four times, singing four lines in the sixth tone: "东丹帝■, 兑大弟■, 土贪天■, 同覃田■," four lines in the seventh tone: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■," and four lines in the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■." The right column, "闭音清和律三之六," uses the character "■" repeated four times, harmonizing four lines in the fourth tone: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines in the fifth tone: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines in the sixth tone: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The "德" character sung in the left column corresponds exactly to the third line of the fifth tone in the right column, "○○○德," appearing within the same diagram. The left column's sixth tone has no sound, as do the seventh and eighth tones. The right column's fourth tone ends with only "玉" in the last line, the fifth tone's second line is missing the rising tone, and all four lines of the sixth tone are empty, marked with "○." The "■" in the left column and the "○" in the right column belong to the tone diagram and the sound diagram respectively, appearing together in the same section without confusion.

思三星■德德德德，■■■■心審禁○；九音：寺□象■德德德德，六音：■■■■○○○十；五聲：□□□■德德德德，七聲：■■■■男坎欠○；□□□■德德德德，■■■■○○○妾；■山手■德德德德，■■■■●●●●；十音：■士石■德德德德，六音：■■■■●●●●；五聲：■□耳■德德德德，八聲：■■■■●●●●；■□二■德德德德，■■■■●●●●；■莊震■德德德德，■■■■●●●●；十一音：■乍□■德德德德，六音：■■■■●●●●；五聲：■叉赤■德德德德，九聲：■■■■●●●●；■崇辰■德德德德，■■■■●●●●。

The left column, "Rush Sound of the Third Five of the Third Lu," uses the character "de" four times, singing four lines of the ninth tone: "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," and four lines of the tenth tone: "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■," and four lines of the eleventh tone: "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■." The right column, "Closed Sound of the Third Six of the Third Lu," uses the character "■" four times, harmonizing four lines of the seventh tone: "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie," then harmonizing the eighth and ninth tones together in eight lines, all "● ● ● ●." In the left column, the ninth, tenth, and eleventh tones have "□" and "■" alternating in lines: the former has phonetic positions but no characters, while the latter has no phonetic positions. In the right column, the seventh tone still has six characters readable, while the eighth and ninth tones have no characters at all, all marked as "●." The left column follows forty-eight phonetic positions, while the right column follows forty tones, with unequal number of lines, so the titles of the two columns are staggered, each marking their own sequence.

■卓中■德德德德，■■■■●●●●；十二音：■宅直■德德德德，六音：■■■■●●●●；五聲：■拆丑■德德德德，十聲：■■■■●●●●；■茶呈■德德德德，■■■■●●●●。

On the left side, "Rusheng Bi Chang Lv San Zi Wu" sings the twelfth tone in four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", completing this diagram. On the right side, "Bi Yin Qing He Lu San Zi Liu" uses the character "■" repeated four times to harmonize with the tenth tone in four lines, also completing this diagram. Both diagrams are filled at the same time, so the next line begins simultaneously on both sides. Both diagrams fill up simultaneously, with forty-eight tone positions and forty sound positions each reaching their maximum.

入聲闢唱呂三之六　閉音清和律三之七；古甲九癸○○○○，■■■■多可個舌；一音：□□近揆○○○○，七音：■■■■禾火化八；六聲：坤巧丘棄○○○○，一聲：■■■■開宰愛○；□□乾蚪○○○○，■■■■回每退○；黑花香血○○○○，■■■■良兩向○；二音：黃華雄賢○○○○，七音：■■■■光廣況○；六聲：五瓦仰□○○○○，二聲：■■■■丁井亙○；吾牙月堯○○○○，■■■■兄永瑩○；安亞乙一○○○○，■■■■千典旦○；三音：□爻壬寅○○○○，七音：■■■■元犬半○；六聲：母馬美米○○○○，三聲：■■■■臣引艮○；目貌眉民○○○○，■■■■君允巽○。

This line continues on both sides simultaneously. On the left, it reads "Entering the level tone with the third of the sixth class of the fish mouse departure sound," and on the right, "Closing tone with the third of the seventh class of the old cold sound." The left diagram sings the entering tone position of the sixth class of the "fish mouse departure" sound, which has sound but no characters, represented by "○." The right diagram harmonizes the seventh tone of the "old cold" sound, which originally has no such tone, represented by "■." On the left, "○" is repeated four times to sing four lines of the first tone: "Ancient Jia ninth Gui, □□ near揆,坤 skill mountain discard, □□ Heaven蚪," four lines of the second tone: "Black flower fragrant blood, Yellow flower strong virtue, Five Wa look □, I tooth moon Yao," and four lines of the third tone: "An Ya Yi one, □ yao Renyin, Mother horse beauty rice, Eye appearance eyebrow people." On the right, "■" is repeated four times to harmonize four lines of the first tone: "More can individual tongue, Millet fire transform eight, Open official love ○, Return every retreat ○," four lines of the second tone: "Good two towards ○, Light broad situation ○, Ding well constant ○, Brother long bright ○," and four lines of the third tone: "Thousand classics dawn ○, Yuan dog half ○, Minister lead Gen ○, King allow Xun ○." Left sings and right harmonizes, alternating between empty and real, proceeding through forty tone positions and forty-eight sound positions again. One diagram goes through forty-eight sound positions, and the other through forty tone positions, so the titles combine and divide.

夫法□飛○○○○，■■■■刀早孝嶽；四音：父凡□吠○○○○，七音：■■■■毛寶報霍；六聲：武晚□尾○○○○，四聲：■■■■牛斗奏六；文萬□未○○○○，■■■■○○○玉；卜百丙必○○○○，■■■■妻子四日；五音：步白備鼻○○○○，七音：■■■■衰○帥骨；六聲：普撲品匹○○○○，五聲：■■■■○○○德；旁排平瓶○○○○，■■■■龜水貴北；東丹帝■○○○○，■■■■宮孔眾○；六音：兌大弟■○○○○，七音：■■■■龍甬用○；六聲：土貪天■○○○○，六聲：■■■■魚鼠去○；同覃田■○○○○，■■■■烏虎兔○。

The left column, "Rush Sound Singing Lu San Zi Liu," uses the symbol "○" four times, singing four lines for the fourth tone: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," four lines for the fifth tone: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," and four lines for the sixth tone: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The right column, "Closed Sound Clear Harmony Lu San Zi Qi," uses the symbol "■" four times, harmonizing four lines for the fourth tone: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," four lines for the fifth tone: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," and four lines for the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." "Yu Shu Qu ○" directly originates from the singing characters in the left column, with the missing position marked by "○." In the left column, the ending positions of the fourth tone are all "□," and the closing positions of the sixth tone are all "■." In the right column, the last line of the fourth tone only has the character "Yu" in the position, the second line of the fifth tone is missing the rising tone, and all the positions in the four lines of the sixth tone are empty, each marked by "○." The empty spaces in the left column belong to the tone chart, while those in the right column belong to the sound chart, and both sets of symbols appear in one line, each referring to different aspects.

乃你女■○○○○，■■■■心審禁○；七音：內南年■○○○○，七音：■■■■○○○十；六聲：老冷呂■○○○○，七聲：■■■■男坎欠○；鹿犖離■○○○○，■■■■○○○妾；走哉足■○○○○，■■■■●●●●；八音：自在匠■○○○○，七音：■■■■●●●●；六聲：草采七■○○○○，八聲：■■■■●●●●；曹才全■○○○○，■■■■●●●●；思三星■○○○○，■■■■●●●●；九音：寺□象■○○○○，七音：■■■■●●●●；六聲：□□□■○○○○，九聲：■■■■●●●●；□□□■○○○○，■■■■●●●●。

The left column, "入声辟唱吕三之六," uses four repetitions of "○," singing four lines for the seventh tone: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■," four lines for the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■," and four lines for the ninth tone: "思三星■, 寺□象■, □□□■, □□□■." The right column, "闭音清和律三之七," uses four repetitions of "■," harmonizing four lines for the seventh tone: "心审禁○, ○○○十, 男坎欠○, ○○○妾," then harmonizing the eighth and ninth tones together in eight lines, all marked as "●●●●." The third line of the seventh tone in the left column, "老冷吕■," corresponds to the position used for the harmonization in the right column. Since the closed tone in the left column has no sound, the right column can only use "■" for harmonization. All closed tones in the left column have no sound, and the eighth and ninth tones in the right column are entirely silent. Within the same section, "■" and "●" each occupy half of the space: the former indicates no sound, and the latter indicates no tone. The markings at the beginning of each line, "七音" to "九音" and "七声" to "九声," respectively record the positions reached by the left and right columns. These should be read vertically within each column, not horizontally connected.

■山手■○○○○，■■■■●●●●；十音：■士石■○○○○，七音：■■■■●●●●；六聲：■□耳■○○○○，十聲：■■■■●●●●；■□二■○○○○，■■■■●●●●。

On the left side, "Rusheng Bi Chang Lü San Zhi Liu" sings the tenth tone in four lines: "■ mountain hand ■, ■ scholar stone ■, ■ □ ear ■, ■ □ two ■"; on the right side, "Bi Yin Qing He Lu San Zhi Qi" uses "■" repeated four times to harmonize with the tenth tone in four lines, each line being "●●●●". This diagram is completed. Among these sixteen sections, there are no actual characters; "■" and "●" each remain in their respective positions: the former indicates no sound, and the latter indicates no tone.

閉音清和律三之八；■莊震■○○○○，■■■■多可個舌；十一音：■乍□■○○○○，八音：■■■■禾火化八；六聲：■叉赤■○○○○，一聲：■■■■開宰愛○；■祟辰■○○○○，■■■■回每退○；■卓中■○○○○，■■■■良兩向○；十二音：■宅直■○○○○，八音：■■■■光廣況○；六聲：■拆丑■○○○○，二聲：■■■■丁井亙○；■茶呈■○○○○，■■■■兄永瑩○。

On the right side, beginning a new section, there is the "Closed Sound Clear Harmony Law Three of Eight" with the eighth tone, "Earth movement" which is "grass harvest seven ■", where the closed position has no sound, and the character "he" is written as "■". The four characters are repeated downward. The first tone's four lines are "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○" and the second tone's four lines are "liang liang xiang ○, guang guang kuang ○, ding jing gen ○, xiong yong ying ○". On the left side, it is the conclusion of the "Entering Tone Separate Singing Lu Three of Six" with the eleventh tone, which is sung with four repetitions of "■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ sui chen ■" and the twelfth tone's four lines "■ zhuo zhong ■, ■ zhai zhi ■, ■ che chou ■, ■ cha cheng ■". The last line of the eleventh tone in the original manuscript is "■ sui chen ■", while elsewhere it is "■ chong chen ■", and the original form is preserved. Since both tones have no sound in the open and closed sections, only the middle two characters of each line can be read.

入聲闢唱呂三之七；古甲九癸○○○○，■■■■千典旦○；一音：□□近揆○○○○，八音：■■■■元犬半○；七聲：坤巧丘棄○○○○，三聲：■■■■臣引艮○；□□乾蚪○○○○，■■■■君允巽○；黑花香血○○○○，■■■■刀早孝嶽；二音：黃華雄賢○○○○，八音：■■■■毛寶報霍；七聲：五瓦仰□○○○○，四聲：■■■■牛斗奏六；吾牙月堯○○○○，■■■■○○○玉；安亞乙一○○○○，■■■■妻子四日；三音：□爻壬寅○○○○，八音：■■■■衰○帥骨；七聲：母馬美米○○○○，五聲：■■■■○○○德；目貌眉民○○○○，■■■■龜水貴北。

The left column begins with "Rusheng Bi Chang Lü San Zhi Qi": the singing is for the seventh category of the Zhengsheng (level tone) "Xingxing 'Nan Kan Qian ○'" (celestial movement of male), which is an entry with sound but no characters, written as "○". Each line is repeated four times. The first tone has four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu". The second tone has four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao". The third tone has four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column, "Biyan Qing He Lu San Zhi Ba", uses "■" repeated four times, and harmonizes with the third tone's four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○", the fourth tone's four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", and the fifth tone's four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei". The left column's singing is an entry with sound but no characters, while the right column's harmonizing is an entry without any sound. Both diagrams start with an empty position. The right column's harmonizing for the third, fourth, and fifth tones has more complete examples: the last line of each of the third tone's four lines is empty, the last line of the fourth tone's four lines only has "Yu", and the fifth tone's second line is missing the rising tone, the third line only has the entering tone, each marked with "○".

夫法□飛○○○○，■■■■宮孔眾○；四音：父凡□吠○○○○，八音：■■■■龍甬用○；七聲：武晚□尾○○○○，六聲：■■■■魚鼠去○；文萬■未○○○○，■■■■烏虎兔○；卜百丙必○○○○，■■■■心審禁○；五音：步白備鼻○○○○，八音：■■■■○○○十；七聲：普撲品匹○○○○，七聲：■■■■男坎欠○；旁排平瓶○○○○，■■■■○○○妾；東丹帝■○○○○，■■■■●●●●；六音：兌大弟■○○○○，八音：■■■■●●●●；七聲：土貪天■○○○○，八聲：■■■■●●●●；同覃田■○○○○，■■■■●●●●。

The left column, "Rush Sound Pronunciation of the Third Seven in the Three Laws of the Clear and Harmonious," uses the symbol "○" four times, singing four lines in the fourth tone: "Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei." The fifth tone has four lines: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping." The sixth tone has four lines: "Dong Dan Di Di, Du Da Di Di, Tu Tan Tian Tian, Tong Tan Tian Tian." In the fourth tone's last line, elsewhere it is written as "Wen Wan Wei," but in this text, the original uses "Wen Wan ■ Wei," employing a symbol with no sound. The character "Wei" is still pronounced using the character borrowed from the Earthly Branch. The right column, "Clear and Harmonious Law Three Eight," uses the symbol "■" four times, singing four lines in the sixth tone: "Gong Kong Zhong Zhong, Long Yong Yong Yong, Yu Shu Qu Qu, Wu Hu Tu Tu," and four lines in the seventh tone: "Xin Shen Jin Jin, ○○○ Shi, Nan Kan Qian Qian, ○○○ Jie." Then it sings four lines in the eighth tone. In the right column, the sixth tone's four lines are completely blank. In the seventh tone, the lines "○○○ Shi" and "○○○ Jie" only have characters in the position of the syllables. In the eighth tone, no characters are placed. In the left column, blanks are marked with "□" and "■," while in the right column, blanks are marked with "○" and "●," each according to the diagram they belong to.

乃你女■○○○○，■■■■●●●●；七音：內南年■○○○○，八音：■■■■●●●●；七聲：老冷呂■○○○○，九聲：■■■■●●●●；鹿犖離■○○○○，■■■■●●●●；走哉足■○○○○，■■■■●●●●；八音：自在匠■○○○○，八音：■■■■●●●●；七聲：草采七■○○○○，十聲：■■■■●●●●；曹才全■○○○○，■■■■●●●●。

The left column, "入声辟唱吕三之七," uses the symbol "○" four times, singing the seventh tone in four lines: "Nai ni nv ■, Nei nan nian ■, Lao leng lv ■, Lu luo li ■" and the eighth tone in four lines: "Zou zai zu ■, Zi zai jiang ■, Cao cao qi ■, Cao cai quan ■." The right column, "闭音清和律三之八," uses the symbol "■" four times, harmonizing the ninth and tenth tones in eight lines, all marked as "●●●●," indicating the end of this section. There are still eight lines of phonetic characters readable in the left column, while the right column has no sound for the ninth and tenth tones. Among the ten categories of proper tones, seven are applicable; among the twelve categories of proper sounds, five are applicable. The statement at the beginning, "辰星声七" (seven tones of the planet辰星) and "石土音五" (five sounds of stone and soil), becomes most evident in these instances.

閉音清和律三之九；思三星■○○○○，■■■■多可個舌；九音：寺□象■○○○○，九音：■■■■禾火化八；七聲：□□□■○○○○，一聲：■■■■開宰愛○；□□□■○○○○，■■■■回每退○；■山手■○○○○，■■■■良兩向○；十音：■士石■○○○○，九音：■■■■光廣況○；七聲：■□耳■○○○○，二聲：■■■■丁井亙○；■□二■○○○○，■■■■兄永瑩○；■莊震■○○○○，■■■■千典旦○；十一音：■乍□■○○○○，九音：■■■■元犬半○；七聲：■叉赤■○○○○，三聲：■■■■臣引艮○；■崇辰■○○○○，■■■■君允巽○。

The right column begins with "Closed Sound Clear Harmony Law Three Nine": The ninth tone, "earth movement," is "□□□■." The first three positions have sound positions but no characters, while the closed position has no sound, so the character for harmony remains "■." It continues with four repetitions, and the first tone's four lines are "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○," the second tone's four lines are "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○," and the third tone's four lines are "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○." The left column remains "Entering Tone Singing Law Three Seven," continuing with four repetitions of "○" for the ninth tone's four lines "si san xing ■, si □ xiang ■, □□□■, □□□■," the tenth tone's four lines "■ shan shou ■, ■ shi shi ■, ■ □ er ■, ■ □ er ■," and the eleventh tone's four lines "■ zhuang zhen ■, ■ zha □ ■, ■ cha chi ■, ■ chong chen ■." The ninth tone "earth movement" "□□□■" has sound positions in the first three characters but no characters, and the closed position has no sound, so the character for harmony can only be "■." The ninth, tenth, and eleventh tones on the left column are also the section with the most empty positions. Although both columns are left blank, one belongs to sound and the other to tone, and when reading, one must distinguish which belongs to which.

■卓中■○○○○，■■■■刀早孝嶽；十二音：■宅直■○○○○，九音：■■■■毛寶報霍；七聲：■拆丑■○○○○，四聲：■■■■牛斗奏六；■茶呈■○○○○，■■■■○○○玉。

The left column, "Rush Sound of the Third Section of the Third Lu," uses "○" four times, singing the twelfth tone in four lines: "■Zhuo Zhong ■, ■Zhai Zhi ■, ■Che Chou ■, ■Cha Cheng ■," and the diagram is completed. The right column, "Clear and Harmonious Law of the Third Section of the Ninth Lu," uses "■" four times, harmonizing the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu." The last line of the fourth tone in the right column, "○○○ Yu," only has the character placed in the position, while the previous three positions are left empty.

入聲闢唱呂三之八；古甲九癸●●●●，■■■■妻子四日；一音：□□近揆●●●●，九音：■■■■衰○帥骨；八聲：坤巧丘棄●●●●，五聲：■■■■○○○德；□□乾蚪●●●●，■■■■龜水貴北；黑花香血●●●●，■■■■宮孔眾○；二音：黃華雄賢●●●●，九音：■■■■龍甬用○；八聲：五瓦仰□●●●●，六聲：■■■■魚鼠去○；吾牙月堯●●●●，■■■■烏虎兔○；安亞乙一●●●●，■■■■心審禁○；三音：□爻壬寅●●●●，九音：■■■■○○○十；八聲：母馬美米●●●●，七聲：■■■■男坎欠○；目貌眉民●●●●，■■■■○○○妾。

The left column begins with "The Eighth Category of the Ingressive Tone 'Rusheng' in the Third of the Three Laws." The eighth category is entirely silent, with the position of the star representing a pure void. The character for "sing" is written as "●", repeated four times per line. The first tone consists of four lines: "Ancient Jia ninth Gui, □□ near揆, Kūn skill Qiu discard, □□ Heaven蚪." The second tone consists of four lines: "Black flower fragrant blood, Yellow flower strong virtue, Five wa upward □, I tooth moon Yao." The third tone consists of four lines: "An Ya Yi one, □ yao Renyin, Mother horse beautiful rice, Eye face eyebrow people." The entire forty-eight tones are sung through the void position, though the characters are not formed, the positions cannot be missing. This is a fixed rule established by Shao Yong in his calculation of "the number of sound and tone." The right column, "The Ninth of the Third of the Three Laws of Closed Tone 'Qinghe' " uses "■" repeated four times. The fifth tone consists of four lines: "Spouse child four days, Decline ○ general bone, ○○○ virtue, Turtle water noble north." The sixth tone consists of four lines: "Palace Kong crowd ○, Dragon Yong use ○, Fish rat go ○, Crow tiger rabbit ○." The seventh tone consists of four lines: "Heart review prohibition ○, ○○○ ten, Male Kan lack ○, ○○○ concubine." Among the three tones in the right column, the fifth tone "Decline ○ general bone" lacks the rising tone, "○○○ virtue" only retains the ingressive tone, the sixth tone's four lines have all positions empty, and the seventh tone also has many empty spaces, which are all filled with "○." The full line of "●" in the left column represents the absence of sound, while the "■" at the end of the tone characters in the right column represents the absence of tone. The two symbols belong to the two diagrams respectively.

夫法□飛●●●●，■■■■●●●●；四音：父凡□吠●●●●，九音：■■■■●●●●；八聲：武晚□尾●●●●，八聲：■■■■●●●●；文萬□未●●●●，■■■■●●●●；卜百丙必●●●●，■■■■●●●●；五音：步白備鼻●●●●，九音：■■■■●●●●；八聲：普撲品匹●●●●，九聲：■■■■●●●●；旁排平瓶●●●●，■■■■●●●●；東丹帝■●●●●，■■■■●●●●；六音：兌大弟■●●●●，九音：■■■■●●●●；八聲：土貪天■●●●●，十聲：■■■■●●●●；同覃田■●●●●，■■■■●●●●。

The left column, "Rusheng Bi Chang Lv San Zhi Ba," uses the symbol "●" four times, singing four lines of the fourth tone: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," four lines of the fifth tone: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," and four lines of the sixth tone: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The right column, "Bi Yin Qing He Lu San Zhi Jiu," uses the symbol "■" four times, harmonizing with the eighth, ninth, and tenth tones, totaling twelve lines, all marked with "●●●●." This diagram is completed. Within this passage, the left column still contains characters for lip sounds and tongue sounds, while the right column has neither sound nor tone. In the left column, the ending of the fourth tone is all marked with "□," and the closure of the sixth tone is all marked with "■." In the right column, the eighth, ninth, and thirteenth tones, which are the standard tones, are entirely silent, with all twelve lines marked with "●." Four types of symbols appear in this passage at the same time: "○" indicates sound without characters, "●" indicates no sound, "□" indicates sound without characters, and "■" indicates no sound. The first two belong to sound diagrams, and the last two belong to tone diagrams, and they are not connected to each other.

閉音清和律三之十；乃你女■●●●●，■■■■多可個舌；七音：內南年■●●●●，十音：■■■■禾火化八；八聲：老冷呂■●●●●，一聲：■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音：自在匠■●●●●，十音：■■■■光廣況○；八聲：草采七■●●●●，二聲：■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音：寺□象■●●●●，十音：■■■■元犬半○；八聲：□□□■●●●●，三聲：■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

On the right side, another entry begins with "Closed Sound Clear Harmony Law Three Tenth": The tenth tone, "earth movement," is "□□ear■," where the closed position has no sound, and the character "he" is written as "■." It is repeated four times downward. The first tone has four lines: "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○," the second tone has four lines: "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○," and the third tone has four lines: "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○." On the left side, it remains "Entering Tone Pronunciation Singing Law Three Eighth," continuing with the character "●" repeated four times for the seventh tone's four lines: "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■," the eighth tone's four lines: "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," and the ninth tone's four lines: "si san xing ■, si □ xiang ■, □□□ ■, □□□ ■." The tenth tone "earth movement" "□□ear■" has no sound in the closed position, so the character "he" is written as "■." The seventh tone on the left is the "ni lai" group, the eighth tone is the "chǐ tóu" group, and the ninth tone's examples are scattered. The closed positions of the three tones also have no sound. The left side records the order of tones, while the right side records the order of sounds. The headings "seven tones," "eight tones," "nine tones" on the left and "first tone," "second tone," "third tone" on the right belong to two separate charts and should not be read together.

■山手■●●●●，■■■■刀早孝嶽；十音：■士石■●●●●，十音：■■■■毛寶報霍；八聲：■□耳■●●●●，四聲：■■■■牛斗奏六；■□二■●●●●，■■■■○○○玉；■莊震■●●●●，■■■■妻子四日；十一音：■乍□■●●●●，十音：■■■■衰○帥骨；八聲：■叉赤■●●●●，五聲：■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音：■宅直■●●●●，十音：■■■■龍甬用○；八聲：■拆丑■●●●●，六聲：■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

The left column, "Rush Sound of the Third of the Three Laws of the Eighth," uses "●" four times, singing four lines for the tenth tone: "■ Mountain hand ■, ■ Man stone ■, ■ Ear ■, ■ Two ■," four lines for the eleventh tone: "■ Zhuang Zhen ■, ■ Just ■, ■ Fork red ■, ■ Sheng Chen ■," and four lines for the twelfth tone: "■ Zhuo Zhong ■, ■ Residence straight ■, ■ Split Chou ■, ■ Tea present ■," completing the singing of this section. The right column, "Closed Sound of the Third of the Ten Laws," uses "■" four times, harmonizing four lines for the fourth tone: "Knife early filial mountain, Hair treasure report Huo, Ox star music six, ○○○ Jade," four lines for the fifth tone: "Spouse four day, Decline ○ general bone, ○○○ virtue, Turtle water noble north," and four lines for the sixth tone: "Palace Kong crowd ○, Dragon Yong use ○, Fish rat go ○, Crow tiger rabbit ○." From the tenth to the twelfth tones in the left column, both open and closed sections mostly have no sound, only the middle two characters can be read. The right column's examples for the three tones are more complete, but the entering tone is often missing. This diagram sings through forty-eight tone positions and harmonizes through forty tone positions, with the number of repetitions being the same: in the tone diagram, it corresponds to open, release, contraction, and closure; in the sound diagram, it corresponds to level, rising, falling, and entering tones, so each section must be repeated four times to be complete.

入聲闢唱呂三之九；古甲九癸●●●●，■■■■心審禁○；一音：□□近揆●●●●，十音：■■■■○○○十；九聲：坤巧丘棄●●●●，七聲：■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音：黃華雄賢●●●●，十音：■■■■●●●●；九聲：五瓦仰□●●●●，八聲：■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音：□爻壬寅●●●●，十音：■■■■●●●●；九聲：母馬美米●●●●，九聲：■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

The left column begins with "Rush Sound Classification Three of Nine." The ninth category of the standard tone has no sound, and the star moves into position still marked as "●". Each line is repeated four times. The first tone is sung in four lines: "Gu Jia Ji Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu." The second tone is sung in four lines: "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." The third tone is sung in four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right column, "Clear and Harmonious Law Three of Ten," uses "■" repeated four times, and harmonizes the seventh tone in four lines: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie." Then it harmonizes the eighth and ninth tones together in eight lines, all marked as "●●●●." The fourth tone and subsequent lines continue in the same pattern. Since the ninth category of the standard tone has no sound position, what is sung is a virtual grid, yet the forty-eight tones must still be covered. The right column's seventh tone still includes the characters Xin, Shen, Jin, Nan, Kan, and Qian, while the eighth and ninth tones have no characters at all. The left column's "●" indicates the absence of sound, and the "■" at the end of the tone lines indicates the absence of a character. The right column's "●" also indicates the absence of sound, and although both are black marks, they belong to two different diagrams and columns. Readers should look at them according to the columns to avoid confusion.

夫法□飛●●●● ■■■■●●●● 四音 父凡□吠●●●● 十音 ■■■■●●●● 九聲 武晚□尾●●●● 十聲 ■■■■●●●● 文萬□未●●●● ■■■■●●●●

The left half of the four lines belongs to the fourth tone of "Rusheng Pichang Lv San Zhi Jiū," while the right half belongs to the tenth tone of "Biyin Qing He Lv San Zhi Shí." The left half lists four representative characters for the fourth tone: Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei. Each line's four characters are taken according to the "open, release, gather, close" four positions for tone, paired with the elements "water, fire, earth, stone." The third position is marked with "□," indicating that this tone position exists, but there is no suitable character to represent it. On the right side, each of the four lines is marked with "●●●●," which represents the ninth tone's value in the "Rusheng Pichang" section: "●" indicates that there is no sound at this position, so all four positions are empty. On the right half, "■■■■" leads the way, where "■" indicates that the tenth tone's "Biyin Qing" position has no sound to stand. The tenth tone, which corresponds to it, also has all four lines marked with "●." Both sides are empty, but Shao Yong filled in the grid again to ensure that the number of tones and sounds does not miss any position.

卜百丙必●●●● ■■■■多可個舌 五音 步白備鼻●●●● 十一音 ■■■■禾火化八 九聲 普撲品匹●●●● 一聲 ■■■■開宰愛○ 旁排平瓶●●●● ■■■■回每退○ 東丹帝■●●●● ■■■■良兩向○ 六音 兌大弟■●●●● 十一音 ■■■■光廣況○ 九聲 土貪天■●●●● 二聲 ■■■■丁井亙○ 同覃田■●●●● ■■■■兄永瑩○ 乃你女■●●●● ■■■■千典旦○ 七音 內南年■●●●● 十一音 ■■■■元犬半○ 九聲 老冷呂■●●●● 三聲 ■■■■臣引艮○ 鹿犖離■●●●● ■■■■君允巽○ 走哉足■●●●● ■■■■刀早孝嶽 八音 自在匠■●●●● 十一音 ■■■■毛寶報霍 九聲 草采七■●●●● 四聲 ■■■■牛斗奏六 曹才全■●●●● ■■■■○○○玉

The left half follows "Entering the Rises of the Third and Ninth of the Three Sounds," singing out the fifth, sixth, seventh, and eighth tones in sequence; the right half is "Clear and Harmonious Law of the Third and Eleventh," using the eleventh tone to harmonize with the first to fourth tones. The fifth tone on the left is for heavy lip sounds: Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. The sixth tone is for tongue sounds: Dong Dan Di ?, Dui Da Di ?, Tu Tan Tian ?, Tong Tan Tian ?. The seventh tone is for nasal and laryngeal sounds: Nai Ni Nu ?, Nei Nan Nian ?, Lao Leng Lv ?, Lu Luo Li ?. The eighth tone is for dental sounds: Zou Zai Zu ?, Zi Zai Jiang ?, Cao Cai Qi ?, Cao Cai Quan ?. The last characters of the sixth, seventh, and eighth tones are all ?, indicating that these three categories of sounds have no "closed" position to establish. Under each of the four tones, the same pattern "●●●●" is used, meaning that the ninth tone's "entering sound" has no corresponding sound to take. On the right, "?????" represents the eleventh tone's "closed and clear" position, which also has no sound; the four tones that harmonize with it have corresponding characters: the first tone includes Duo Ke Ge She, He Hu Hua Ba, Kai Zai Ai ?, Hui Mei Tui ?; the second tone includes Liang Liang Xiang ?, Guang Guang Kuang ?, Ding Jing Gen ?, Xiong Yong Ying ?; the third tone includes Qian Dian Dan ?, Yuan Quan Ban ?, Chen Yin Gen ?, Jun Yun Xun ?; the fourth tone includes Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ??? Yu. Each line of four characters is arranged in the order of level, rising, falling, and entering tones, with ? indicating that the tone position exists but has no corresponding character. The two columns are presented side by side, clearly showing Shao Yong's intention: sounds have their missing tones, tones have their missing sounds, and only by marking all three situations—characters with positions, positions without characters, and positions that never existed—can the total number of harmonized sounds be accurately counted.

思三星■●●●● ■■■■妻子四日 九音 寺□象■●●●● 十一音 ■■■■衰○帥骨 九聲 □□□■●●●● 五聲 ■■■■●●●德 □□□■●●●● ■■■■龜水貴北 ■山手■●●●● ■■■■宮孔眾○ 十音 ■士石■●●●● 十一音 ■■■■龍甬用○ 九聲 ■□耳■●●●● 六聲 ■■■■魚鼠去○ ■□二■●●●● ■■■■烏虎兔○ ■莊震■●●●● ■■■■心審禁○ 十一音 ■乍□■●●●● 十一音 ■■■■○○○十 九聲 ■叉赤■●●●● 七聲 ■■■■男坎欠○ ■崇辰■●●●● ■■■■○○○妾 ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十一音 ■■■■●●●● 九聲 ■拆丑■●●●● 八聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●●

The left half continues with "Rush Sound Pinyin Lu San Zhi Jiú," singing from the ninth tone to the twelfth tone; the right half remains with "Closed Sound Clear Harmony Law San Zhi Shiyi," transitioning from the fifth tone to the eighth tone. The ninth tone is composed of "Si San Xing," "Si Shi Xiang," "□□□," and "□□□," with the last two lines unable to produce characters for "Kai, Fa, Shou," so three "□" are written consecutively; the tenth tone is "■ Shan Shou," "■ Shi Shi," "■ □ Er," and "■ □ Er," the eleventh tone is "■ Zhuang Zhen," "■ Zha □," "■ Cha Chi," and "■ Chong Chen," and the twelfth tone is "■ Zhuo Zhong," "■ Zhai Zhi," "■ Che Chou," and "■ Cha Cheng." In these three tones, the first and last characters are all "■," indicating that the correct teeth and tongue positions can only be established at the "Fa" and "Shou" positions. Below them, the same "●●●●" appears, still showing the absence of the ninth tone in the Rush Sound position. The fifth tone on the right is "Zi Qi Si Ri," "Shuai ○ Shuai Gu," "○○○ De," and "Gui Shui Gui Bei," the sixth tone is "Gong Kong Zhong ○," "Long Yong Yong ○," "Yu Shu Qu ○," and "Wu Hu Tu ○," the seventh tone is "Xin Shen Jin ○," "○○○ Shi," "Nan Kan Qian ○," and "○○○ Jie," and by the eighth tone, all four lines are "●●●●," because the eighth, ninth, and tenth tones were originally empty positions with no sound in Shao Yong's tone chart, used only to complete the count of ten tones.

古甲九癸●●●● ■■■■●●●● 一音 □□近揆●●●● 十一音 ■■■■●●●● 十聲 坤巧丘棄●●●● 九聲 ■■■■●●●● □□乾蚪●●●● ■■■■●●●● 黑花香血●●●● ■■■■●●●● 二音 黃華雄賢●●●● 十一音 ■■■■●●●● 十聲 五瓦仰□●●●● 十聲 ■■■■●●●● 吾牙月堯●●●● ■■■■●●●●

A new diagram begins with "The Tenth Tone's 'Entering Tone' Position" as the starting point, using the tenth tone's "entering tone" position to sing the twelve tones. The first two lines are the first and second tones. The four lines of the first tone are ancient Jia and ninth Gui, blank lines near揆,坤 and巧丘 and弃, and blank lines again for Qian and蚪. The four lines of the second tone are black flower, fragrant blood, yellow flower, strong virtue, five tiles,仰 and blank, and I's tooth, moon, and Yao. Among the four lines, the first and third lines belong to the clear category, while the second and fourth lines belong to the turbid category. The "□" positions still have tone positions but no characters can be provided. However, they are all paired with "●●●●". Since the tenth tone originally has no entering tone position, the leading chant is empty. On the right side, the ending of "The Closed Tone Clear Harmony Law Three of Eleven" is simultaneously presented: the eleventh tone's closed clear position is "■", used to harmonize with the ninth and tenth tones, and the four lines of these two tones are also all "●". This section is the most empty part of the entire diagram, filled with circles and blocks but with few characters. Shao Yong lists them all without any omission.

安亞乙一●●●● ■■■■多可個舌 三音 □爻壬寅●●●● 十二音 ■■■■禾火化八 十聲 母馬美米●●●● 一聲 ■■■■開宰愛○ 目貌眉民●●●● ■■■■回每退○ 夫法□飛●●●● ■■■■良兩向○ 四音 父凡□吠●●●● 十二音 ■■■■光廣況○ 十聲 武晚□尾●●●● 二聲 ■■■■丁井亙○ 文萬□未●●●● ■■■■兄永瑩○ 卜百丙必●●●● ■■■■千典旦○ 五音 步白備鼻●●●● 十二音 ■■■■元犬半○ 十聲 普撲品匹●●●● 三聲 ■■■■臣引艮○ 旁排平瓶●●●● ■■■■君允巽○ 東丹帝■●●●● ■■■■刀早孝嶽 六音 兌大弟■●●●● 十二音 ■■■■毛寶報霍 十聲 土貪天■●●●● 四聲 ■■■■牛斗奏六 同覃田■●●●● ■■■■○○○玉

Left half: "Rushantong" continues from the third tone to the sixth tone. The third tone is Anya Yi Yi, □ yao Renyin, mu ma mei mi, mu mao mei min (shadow analogy of brightness type). The fourth tone is Fu fa □ fei, fu fan □ fei, Wu wan □ wei, Wen wan □ wei (light lip type). The fifth tone is Bu bai Bing bi, Bu bai bei bi, Pu pu pin pi, pang pai ping ping (heavy lip type). The sixth tone is Dong dan Di ■, Dui da Di ■, Tu tan Tian ■, Tong tan Tian ■ (tongue type). The matching remains "●●●●", and the tenth tone of the entering tone has no sound to sing. Right half is led by "Biyin Qinghe Law Three Twelve": the twelfth tone's "Biyin Qing" position is "■", with no sound to establish, yet it still needs to harmonize with the ten tones of heaven. Here, it first harmonizes with the first tone (duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○), the second tone (liang liang xiang ○, guang guang kuang ○, Ding jing gen ○, xiong yong ying ○), the third tone (qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○), the fourth tone (dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu). The four lines of tones follow the pattern of "Bi, Xi, Bi, Xi" alternately, meaning opening and closing mouth alternately; each line of four characters follows the order of level, rising, falling, and entering tones.

乃你女■●●●● ■■■■妻子四日 七音 內南年■●●●● 十二音 ■■■■衰○帥骨 十聲 老冷呂■●●●● 五聲 ■■■■○○○德 鹿犖離■●●●● ■■■■龜水貴北 走哉足■●●●● ■■■■宮孔眾○ 八音 自在匠■●●●● 十二音 ■■■■龍甬用○ 十聲 草采七■●●●● 六聲 ■■■■魚鼠去○ 曹才全■●●●● ■■■■烏虎兔○ 思三星■●●●● ■■■■心審禁○ 九音 寺□象■●●●● 十二音 ■■■■○○○十 十聲 □□□■●●●● 七聲 ■■■■男坎欠○ □□□■●●●● ■■■■○○○妾

The left half sings up to the seventh, eighth, and ninth tones. The seventh tone is "Nai ni nv", "Nei nan nian", "Lao leng lv", "Lu luo li"; the eighth tone is "Zou zai zu", "Zi zai jiang", "Cao cao qi", "Cao cai quan"; the ninth tone is "Si san xing", "Si xiang xiang", "□□□", "□□□". The last character of each of the three tones is "■". The last two lines of the ninth tone are "□□□", and even the characters for opening, issuing, and closing cannot be found. These lines are still marked with "●●●●" because the tenth tone is silent in the入声 (entering tone) position. The right half is from "The Closed Sound Clear and Harmonious Law Three of Twelve," using "■" to harmonize with the fifth, sixth, and seventh tones. The fifth tone is "Zi qi si ri", "Shuai ○ shuai gu", "○○○ de", "Gui shui gui bei"; the sixth tone is "Gong kong zhong ○", "Long yong yong ○", "Yu shu qu ○", "Wu hu tu ○"; the seventh tone is "Xin shen jin ○", "○○○ shi", "Nan kan qian ○", "○○○ jie". In these three tones, the character "○" appears frequently, indicating that although the rhyme positions are complete, there were no characters available at that time to refer to. Shao Yong preferred to leave the spaces blank rather than invent characters to fill them.

■山手■●●●● ■■■■●●●● 十音 ■士石■●●●● 十二音 ■■■■●●●● 十聲 ■□耳■●●●● 八聲 ■■■■●●●● ■□二■●●●● ■■■■●●●● ■莊震■●●●● ■■■■●●●● 十一音 ■乍□■●●●● 十二音 ■■■■●●●● 十聲 ■叉赤■●●●● 九聲 ■■■■●●●● ■崇辰■●●●● ■■■■●●●● ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十二音 ■■■■●●●● 十聲 ■拆丑■●●●● 十聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●●

The left half concludes with the tenth tone (■shan shou■, ■shi shi■, ■□er■, ■□er■), the eleventh tone (■zhuang zhen■, ■zha □■, ■cha chi■, ■chong chen■), and the twelfth tone (■zhuo zhong■, ■zhai zhi■, ■che chou■, ■cha cheng■), completing the "入声辟唱吕三之十" (Tenth of the Three in the Third of the Entering Tone Singing). These twelve tones are sung in full, still matching the empty position of the tenth tone "●●●●". The right half, "闭音清和律三之十二" (Twelfth of the Three in the Third of the Closed Tone Harmonious Law), also reaches the eighth, ninth, and tenth tones, and these three tones have four lines each marked "●". Thus, the entire passage is left with a black and white array of "■■■■●●●●". At this point, the two diagrams from "观物篇四十九" (Section 49 of the Observing Things Essay), "辰辰声入之三辟" (Three Exclusions of the Entering Tone in the Three of the Sounds) and "石石音闭之三清" (Three Clear Sounds in the Three of the Closed Tone), are fully listed: where there are characters, they are marked with the characters; where there is a position but no character, it is marked "○" or "□"; where there is no position, it is marked "●" or "■", with each square being clear and definite. Shao Yong did this because he was not calculating how a few characters were pronounced, but rather the total number of grids matching sound and tone in the universe; if the grid numbers were confused, the subsequent deduction of "声音之数" (the number of sounds and tones) would be completely ruined.

辰辰聲入翕 石石音閉濁 ○○○玉北 蚪堯民未瓶■ ○妾●●○ ■■■■■■

This is the heading and content of the first section of the "Observing Things" chapter fifty, with two columns read vertically. The left column is marked "Chen Chen Sheng Ru Xi," indicating the fourth line of the "Chen sound" within the heavenly sounds, which is placed in the entering tone category (Xi meaning closing the mouth). Below it, "O O O Yu Bei" and "O Qie · · O" represent the actual contents for the first to tenth tones in this category—the first, second, third, sixth, and tenth tones have positions but no characters, so they are marked with "O," the fourth tone has "Yu," the fifth tone has "Bei," and the seventh tone has "Qie," while the eighth and ninth tones have no tone positions, so they are marked with "·." The right column is marked "Shi Shi Yin Bi Zhu," indicating the fourth line of the "Shi sound" within the earthly sounds, which is placed in the closed tone category (Zhu meaning dull). "Yao Yao Min Wei Ping ·" and "· · · · · · ·" represent the contents for the first to twelfth tones in this category—the first tone has "Yao," the second tone has "Yao," the third tone has "Min," the fourth tone has "Wei," the fifth tone has "Ping," and the tones from the sixth to the twelfth have no tone positions, so they are marked with seven "·."

辰辰聲七，下唱地之 石石音五，上和天之 用音一百五十二，是 用聲一百一十二，是 謂入聲翕音。入聲翕 謂閉音濁聲。閉音濁 音一千六十四。 聲五百六十。

The original diagram is divided into two columns read vertically, while the source text is recorded horizontally by lines, so the two sentences are interwoven. Reading the left column continuously gives "Chen Chen Sheng Qi, Xia Chang Di Zhi Yong Yin Bai Wu Er, Shi Wei Ru Sheng Xi Yin. Ru Sheng Xi Yin Yi Qian Liu Shi Si." This means that there are seven usable heavenly sounds in the "Ru Sheng Xi" category, which are used to sing the 152 earthly sounds below, resulting in 7 multiplied by 152, which equals 1064, the total number of "Ru Sheng Xi Yin." Reading the right column continuously gives "Shi Shi Yin Wu, Shang He Tian Zhi Yong Sheng Bai Yi Er, Shi Wei Bi Yin Zhu Sheng. Bi Yin Zhu Sheng Wu Bai Wu Shi." This means that there are five usable earthly sounds in the "Bi Yin Zhu" category, which are used to harmonize with the 112 heavenly sounds above, resulting in 5 multiplied by 112, which equals 560, the total number of "Bi Yin Zhu Sheng." The 112 heavenly sounds are derived from the fact that among ten sounds, only the first seven are valid, and each of the seven sounds has four rows and four positions. The 152 earthly sounds are derived from the fact that each of the twelve sounds has four rows and four positions, totaling 192, minus the forty positions marked as "■" which are silent. All of Shao Yong's deductions are based on these two numbers.

辰辰聲入之四翕 石石音閉之四濁

This is the formal title for the following two diagrams: the left diagram takes the entry "Chen Chen Sheng" from the入声 (entering tone), fourth row, and the "Xi" (converging mouth) section; the right diagram takes the entry "Shi Shi Yin" from the闭音 (closed sound), fourth row, and the "Zhu" (muddy sound) section. Sound is divided into four rows, with the first and third rows being "Bi" (opening mouth), and the second and fourth rows being "Xi" (converging mouth). Sound is also divided into four rows, with the first and third rows being "Qing" (clear), and the second and fourth rows being "Zhu" (muddy). Therefore, "Ru Zi Si Xi" (entering tone's four converging mouths) and "Bi Zi Si Zhu" (closed sound's four muddy tones) refer specifically to the intersection point at the last row of each respective array.

古甲九癸○○○○ 蚪蚪蚪蚪多可個舌 一音 □□近揆○○○○ 一音 蚪蚪蚪蚪禾火化八 一聲 坤巧丘棄○○○○ 一聲 蚪蚪蚪蚪開宰愛○ □□乾蚪○○○○ 蚪蚪蚪蚪回每退○ 黑花香血○○○○ 蚪蚪蚪蚪良兩向○ 二音 黃華雄賢○○○○ 一音 蚪蚪蚪蚪光廣況○ 一聲 五瓦仰□○○○○ 二聲 蚪蚪蚪蚪丁井亙○ 吾牙月堯○○○○ 蚪蚪蚪蚪兄永瑩○ 安亞乙一○○○○ 蚪蚪蚪蚪千典旦○ 三音 □爻壬寅○○○○ 一音 蚪蚪蚪蚪元犬半○ 一聲 母馬美米○○○○ 三聲 蚪蚪蚪蚪臣引艮○ 目貌眉民○○○○ 蚪蚪蚪蚪君允巽○ 夫法□飛○○○○ 蚪蚪蚪蚪刀早孝嶽 四音 父凡□吠○○○○ 一音 蚪蚪蚪蚪毛寶報霍 一聲 武晚□尾○○○○ 四聲 蚪蚪蚪蚪牛斗奏六 文萬□未○○○○ 蚪蚪蚪蚪○○○玉

From here begins the main text of the "Observing Things Chapter Fifty." The left half is "First of the Four in the Rùshēng Xī Chàng Lǚ," which uses the "Rùshēng Xī" position of the first tone to sing the twelve tones; this position has sound but no characters, so the entire passage is written as "○○○○," with four circles corresponding to the four stages of sound: opening, developing, closing, and closing. First, the first tone is sung (Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu), the second tone (Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo), the third tone (Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Mí Mín), and the fourth tone (Fū Fǎ □ Fēi, Fù Fán □ Fèi, Wǔ Wǎn □ Wěi, Wén Wàn □ Wèi). The right half is "First of the Four in the Bìyīn Zhú Hé Lǜ," which uses the "Bìyīn Zhú" position of the first tone to harmonize with ten tones; this position has characters, namely "tóu," so the four stages are written as "tóu tóu tóu tóu." First, the first tone is harmonized (Duō Kě Gè Shé, Hé Huǒ Huà Bā, Kāi Zǎi Ài ○, Huí Měi Tuì ○), the second tone (Liáng Liǎng Xiàng ○, Guāng Guǎng Kuàng ○, Dīng Jǐng Gèn ○, Xióng Yǒng Yíng ○), the third tone (Qiān Diǎn Dàn ○, Yuán Quǎn Bàn ○, Chén Yǐn Gèn ○, Jūn Yǔn Xùn ○), and the fourth tone (Dāo Zǎo Xiào Yuè, Máo Bǎo Bào Huò, Niú Dòu Zòu Liù, ○○○ Yù). The singer on the left is empty, and the harmonizer on the right has characters; one empty and one full side by side, precisely forming the pattern of "sound sings its tune, tone harmonizes its law."

卜百丙必○○○○ 蚪蚪蚪蚪妻子四日 五音 步白備鼻○○○○ 一音 蚪蚪蚪蚪衰○帥骨 一聲 普撲品匹○○○○ 五聲 蚪蚪蚪蚪○○○德 旁排平瓶○○○○ 蚪蚪蚪蚪龜水貴北 東丹帝■○○○○ 蚪蚪蚪蚪宮孔眾○ 六音 兌大弟■○○○○ 一音 蚪蚪蚪蚪龍甬用○ 一聲 土貪天■○○○○ 六聲 蚪蚪蚪蚪魚鼠去○ 同覃田■○○○○ 蚪蚪蚪蚪烏虎兔○ 乃你女■○○○○ 蚪蚪蚪蚪心審禁○ 七音 內南年■○○○○ 一音 蚪蚪蚪蚪○○○十 一聲 老冷呂■○○○○ 七聲 蚪蚪蚪蚪男坎欠○ 鹿犖離■○○○○ 蚪蚪蚪蚪○○○妾

The left half continues with the fifth tone (Bubai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), the sixth tone (Dong Dan Di ?, Dui Da Di ?, Tu Tan Tian ?, Tong Tan Tian ?), and the seventh tone (Nai Ni Nu ?, Nei Nan Nian ?, Lao Leng Lv ?, Lu Luo Li ?), all still singing the first tone's unmarked entering tone pattern "○○○○". The right half continues using the first tone's closed and浊 (obscure) position "蚪" to match the fifth tone (Zi Qi Si Ri, Shuai ? Shuai Gu, ? ? ? De, Gui Shui Gui Bei), the sixth tone (Gong Kong Zhong ?, Long Yong Yong ?, Yu Shu Qu ?, Wu Hu Tu ?), and the seventh tone (Xin Shen Jin ?, ? ? ? Shi, Nan Kan Qian ?, ? ? ? Qie). In the second line of the fifth tone, "Shuai ? Shuai Gu" lacks a rising tone character; in the third line, " ? ? ? De" only retains one entering tone character. Similarly, in the second line of the seventh tone, " ? ? ? Shi" and the fourth line, " ? ? ? Qie," only have characters in the entering tone. All these missing characters are recorded with "○" without being filled in with other characters, ensuring that the number of available tones does not become artificially inflated.

走哉足■○○○○ 蚪蚪蚪蚪●●●● 八音 自在匠■○○○○ 一音 蚪蚪蚪蚪●●●● 一聲 草采七■○○○○ 八聲 蚪蚪蚪蚪●●●● 曹才全■○○○○ 蚪蚪蚪蚪●●●● 思三星■○○○○ 蚪蚪蚪蚪●●●● 九音 寺□象■○○○○ 一音 蚪蚪蚪蚪●●●● 一聲 □□□■○○○○ 九聲 蚪蚪蚪蚪●●●● □□□■○○○○ 蚪蚪蚪蚪●●●● 翻山手■○○○○ 蚪蚪蚪蚪●●●● 十音 ■士石■○○○○ 一音 蚪蚪蚪蚪●●●● 一聲 ■□耳■○○○○ 十聲 蚪蚪蚪蚪●●●● ■□二■○○○○ 蚪蚪蚪蚪●●●●

The left half sings the eighth tone (Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan), the ninth tone (Si San Xing, Si Xiang Xiang, empty, empty), and the tenth tone (Shan Shou, Shi Shi Shi, Er Er Er, Er Er Er), and what is sung remains the empty position of the first tone "○○○○". The right half uses the character "蚪" from the first tone to harmonize with the eighth, ninth, and thirteenth tones, but these three tones and four lines are all silent, so they are all written as "蚪蚪蚪蚪●●●●"—there is sound but no voice, yet the grid is still listed. The first line of the tenth tone's original print reads "Fan Shan Shou", and "Fan" clearly is a homonym for "■" due to similar characters. Now, the original character is still recorded without any changes. This passage most clearly shows Shao Yong's method in creating the diagram: regardless of whether the sung sound has a character or the harmonized sound has a position, all four lines and four grids are not omitted, and different symbols are used to distinguish between "having a position but no character" and "originally having no position." Only in this way does the number mentioned earlier—"using sounds of 112 and using tones of 152"—match up.

■莊震■○○○○ 堯堯堯堯多可個舌 十一音 ■乍□■○○○○ 二音 堯堯堯堯禾火化八 一聲 ■叉赤■○○○○ 一聲 堯堯堯堯開宰愛○ ■崇辰■○○○○ 堯堯堯堯回每退○ ■卓中■○○○○ 堯堯堯堯良兩向○ 十二音 ■宅直■○○○○ 二音 堯堯堯堯光廣況○ 一聲 ■拆丑■○○○○ 二聲 堯堯堯堯丁井亙○ ■茶呈■○○○○ 堯堯堯堯兄永瑩。

The left half completes the singing of "入声翕唱吕四之一" with the eleventh tone (庄震, 乍□, 叉赤, 崇辰) and the twelfth tone (卓中, 宅直, 拆丑, 茶呈), totaling twelve tones in four lines with forty-eight grids, and the corresponding position throughout is the empty "入声翕" position of the first tone "○○○○". The right half begins with "闭音浊和律四之二": the "闭音浊" position of the second tone has a character, "尧", so it is written as "尧尧尧尧". It first harmonizes with the first tone (多可个舌, 禾火化八, 开宰爱○, 回每退○) and the second tone (良两向○, 光广况○, 丁井亘○, 兄永莹○). The last line "尧尧尧尧兄永莹." ends with a dot, which is an error in the original text. Following the common practice in the preceding diagrams, this position should be "○", indicating that the "入声" position of the fourth line of the second tone has sound but no character. However, following the original text, readers should interpret it as "○".

古甲九癸○○○○ 堯堯堯堯千典旦○ 一音 □□近揆○○○○ 二音 堯堯堯堯元犬半○ 二聲 坤巧丘棄○○○○ 三聲 堯堯堯堯臣引艮○ □□乾蚪○○○○ 堯堯堯堯君允巽○ 黑花香血○○○○ 堯堯堯堯刀早孝嶽 二音 黃華雄賢○○○○ 二音 堯堯堯堯毛寶報霍 二聲 五瓦仰□○○○○ 四聲 堯堯堯堯牛斗奏六 吾牙月堯○○○○ 堯堯堯堯○○○玉 安亞乙一○○○○ 堯堯堯堯妻子四日 三音 □爻王寅○○○○ 二音 堯堯堯堯衰○帥骨 二聲 母馬美米○○○○ 五聲 堯堯堯堯○○○德 目貌眉民○○○○ 堯堯堯堯龜水貴北 夫法□飛○○○○ 堯堯堯堯宮孔眾○ 四音 父凡□吠○○○○ 二音 堯堯堯堯龍甬用○ 二聲 武晚□尾○○○○ 六聲 堯堯堯堯魚鼠去○ 文萬□未○○○○ 堯堯堯堯烏虎兔○

The left half is led by "Rusheng Xi Chang Lü Si Zhi Er" with the singing of the second tone's rusheng position, which has sound but no characters, marked as "○○○○". It is sung in sequence as the first tone (Gujia Jiu Gui, □□Jin Kui, Kun Qiao Qiu Qi, □□Qian Tu), the second tone (Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao), the third tone (An Ya Yi Yi, □ Yao Wang Yin, Mu Ma Mei Mi, Mu Mao Mei Min), and the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). In the phrase "Wang" in "□ Yao Wang Yin", it is usually written as "Ren" in other diagrams, but here it is a form error in the original text, and it is still recorded as is. The right half, "Biyan Zhu He Lu Si Zhi Er", continues with "Yao" to harmonize the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu), the fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), and the sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○). The left column is sung without characters, while the right column is harmonized with characters, creating a contrast between empty and filled spaces within a single diagram. Shao Yong created this diagram not to examine pronunciation and distinguish characters, but to determine the number of positions where sounds correspond to the heavens and the earth. Therefore, positions with characters are listed with characters, positions with a place but no characters are listed with circles, and positions without a place are listed with blocks; these three should never be mixed.

卜百丙必○○○○ 堯堯堯堯心審禁○ 五音 步白備鼻○○○○ 二音 堯堯堯堯○○○十 二聲 普撲品匹○○○○ 七聲 堯堯堯堯男坎欠○ 旁排平瓶○○○○ 堯堯堯堯○○○妾 東丹帝■○○○○ 堯堯堯堯●●●● 六音 兌大弟■○○○○ 二音 堯堯堯堯●●●● 二聲 土貪天■○○○○ 八聲 堯堯堯堯●●●● 同覃田■○○○○ 堯堯堯堯●●●● 乃你女■○○○○ 堯堯堯堯●●●● 七音 內南年■○○○○ 二音 堯堯堯堯●●●● 二聲 老冷呂■○○○○ 九聲 堯堯堯堯●●●● 鹿犖離■○○○○ 堯堯堯堯●●●● 走哉足■○○○○ 堯堯堯堯●●●● 八音 自在匠■○○○○ 二音 堯堯堯堯●●●● 二聲 草采七■○○○○ 十聲 堯堯堯堯●●●● 曹才全■○○○○ 堯堯堯堯●●●●

Critical: The output must be English prose. Do NOT rewrite the text in Chinese. Do NOT paraphrase it in Chinese. Every sentence you write must be in English. Heavenly Stems: Jia = Jia, Yi = Yi, Bing = Bing, Ding = Ding, Wu = Wu, Ji = Ji, Geng = Geng, Xin = Xin, Ren = Ren, Gui = Gui Earthly Branches: Zi = Zi, Chou = Chou, Yin = Yin, Mao = Mao, Chen = Chen, Si = Si, Wu = Wu, Wei = Wei, Shen = Shen, You = You, Xu = Xu, Hai = Hai Trigrams: Qian = Qian (Heaven), Dui = Dui (Lake), Li = Li (Fire), Zhen = Zhen (Thunder), Xun = Xun (Wind), Kan = Kan (Water), Gen = Gen (Mountain), Kun = Kun (Earth) Glossary: Shao Yong = Shao Yong Left half continues with the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), sixth tone (Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■), seventh tone (Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■), eighth tone (Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■). The leading tone still remains on the second tone, which is the empty entry for the entering tone. The last positions of the sixth, seventh, and eighth tones are all marked as ■, indicating that the tongue, nasal, and dental sounds cannot sustain sound at the "closed" position. On the right half, "Closed Sound浊和律四之二" first harmonizes with the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie), where the second and fourth lines only have characters in the entering tone, while the level and rising tones are empty; then it proceeds to harmonize with the eighth, ninth, and thirteenth tones, but all four lines of these three tones are completely empty, hence written as "Yao Yao Yao Yao ●●●●". Even if there is a sound but no corresponding tone to harmonize with, it must still be listed, which is exactly where Shao Yong differs from ordinary rhyme charts: rhyme charts only record actual existing sounds, while Shao Yong distinguishes between two types of missing entries, allowing each of the ten tones and twelve sounds to have four lines and four positions, ensuring the total number remains consistent. When combining both columns, the left side is one tone singing twelve sounds, while the right side is one sound harmonizing with ten tones, one vertical and one horizontal, interweaving to form a complete chart of the harmonious relationship between heaven and earth's sounds.

思三星■○○○○ 民民民民多可個舌 九音 寺□象■○○○○ 三音 民民民民禾火化八 二聲 □□□■○○○○ 一聲 民民民民開宰愛○ □□□■○○○○ 民民民民回每退○ ■山手■○○○○ 民民民民良兩向○ 十音 ■士石■○○○○ 三音 民民民民光廣況○ 二聲 ■□耳■○○○○ 二聲 民民民民丁井亙○ ■□二■○○○○ 民民民民兄永瑩○ ■莊震■○○○○ 民民民民千典旦○ 十一音 ■乍□■○○○○ 三音 民民民民元犬半○ 二聲 ■叉赤■○○○○ 三聲 民民民民臣引艮○ ■崇辰■○○○○ 民民民民君允巽○ ■卓中■○○○○ 民民民民刀早孝嶽 十二音 ■宅直■○○○○ 三音 民民民民毛寶報霍 二聲 ■拆丑■○○○○ 四聲 民民民民牛斗奏六 ■茶呈■○○○○ 民民民民○○○玉

The left half of "入声翕唱吕四之二" sings the ninth tone (思三星■, 寺□象■, □□□■, □□□■), the tenth tone (■山手■, ■士石■, ■□耳■, ■□二■), the eleventh tone (■庄震■, ■乍□■, ■叉赤■, ■崇辰■), and the twelfth tone (■卓中■, ■宅直■, ■拆丑■, ■茶呈■). After singing these twelve tones, the leader always sings the second tone, which is a tone without a character, the "入声翕格" "○○○○". Among these sixteen grids, the character "■" occupies ten grids, showing that as one approaches the correct teeth and the palate, the number of distinct phonetic positions decreases. The right half begins with "闭音浊和律四之三": the third tone has a character in the closed and浊 position, which is "民", so it is repeated as "民民民民" to harmonize with the first tone (多可个舌, 禾火化八, 开宰爱○, 回每退○), the second tone (良两向○, 光广况○, 丁井亘○, 兄永莹○), the third tone (千典旦○, 元犬半○, 臣引艮○, 君允巽○), and the fourth tone (刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉). Each line of the tones consists of four characters, taking the level, rising, falling, and entering tones, which correspond to the sky's day, moon, stars, and constellations. Each line of the sounds consists of four characters, taking the open, initial, closing, and closed sounds, which correspond to the earth's water, fire, earth, and stone. Shao Yong assigns tones to the sky and sounds to the earth. The singer is the "律" and the harmonizer is the "吕". The principle of matching sound and tone lies in these two groups of four positions.

古甲九癸○○○○ 民民民民妻子四日 一音 □□近揆○○○○ 三音 民民民民衰○帥骨 三聲 坤巧丘棄○○○○ 五聲 民民民民○○○德 □□乾蚪○○○○ 民民民民龜水貴北 黑花香血○○○○ 民民民民宮孔眾○ 二音 黃華雄賢○○○○ 三音 民民民民龍甬用○ 三聲 五瓦仰□○○○○ 六聲 民民民民魚鼠去○ 吾牙月堯○○○○ 民民民民烏虎兔○ 安亞乙一○○○○ 民民民民心審禁○ 三音 □爻壬寅○○○○ 三音 民民民民○○○十 三聲 母馬美米○○○○ 七聲 民民民民男坎欠○ 目貌眉民○○○○ 民民民民○○○妾

The left half is now led by "Rusheng Xi Chang Lv Si Zhi San": the third tone's rusheng position still has sound without characters, marked as "○○○○". First, the first tone is sung: (Ancient Jia Jiu Gui, □□ near揆, Kun Qiao Qiu Qi, □□ Qian Tu), second tone: (Black flower fragrance blood, Yellow flower strong virtuous, Wu Wa Yang □, Wu Ya Yue Yao), third tone: (An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min). Among the four lines of the first tone, "Ancient Jia Jiu Gui" and "Kun Qiao Qiu Qi" belong to the clear category, while "□□ near揆" and "□□ Qian Tu" belong to the turbid category. Since there are no characters for the turbid lines at the opening and development positions, they are both written as "□□". The right half remains "Biyin Zhu He Lv Si Zhi San", using "Min" to harmonize with the fifth tone (wife son four days, decline ○ general bone, ○○○ virtue, turtle water noble north), sixth tone (palace hole crowd ○, dragon yong use ○, fish rat go ○, bird tiger rabbit ○), seventh tone (heart review prohibition ○, ○○○ ten, male Kan Qian ○, ○○○妾). The seventh tone is the last of the ten tones that actually have sound. Beyond these three tones, all positions become empty.

夫法□飛○○○○ 民民民民●●●● 四音 父凡□吠○○○○ 三音 民民民民●●●● 三聲 武晚□尾○○○○ 八聲 民民民民●●●● 文萬□未○○○○ 民民民民●●●● 卜百丙必○○○○ 民民民民●●●● 五音 步白備鼻○○○○ 三音 民民民民●●●● 三聲 普撲品匹○○○○ 九聲 民民民民●●●● 旁排平瓶○○○○ 民民民民●●●● 東丹帝■○○○○ 民民民民●●●● 六音 兌大弟■○○○○ 三音 民民民民●●●● 三聲 土貪天■○○○○ 十聲 民民民民●●●● 同覃田■○○○○ 民民民民●●●●

The left half continues with the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei), the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), and the sixth tone (Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■), all still matching the third tone's empty circle. The fourth tone belongs to the light lip sounds, and the third character in each of the four lines is marked as □, meaning that there are positions beneath "Fa," "Fan," "Wan," and "Wan" but no characters can be cited. The sixth tone belongs to the tongue sounds, and the last character in each of the four lines is marked as ■, indicating that there are no phonetic positions at all. The right half of "Closed Tone Heavy Harmony Law Four, Part Three" harmonizes up to the eighth, ninth, and thirteenth tones. These three tones have no sounds in all four lines, so they are all written as "Min Min Min Min ● ● ● ●." By this point, the third tone's "Min" has harmonized through ten tones and forty positions, of which only the first seven tones and twenty-eight positions actually have sounds that can be harmonized, while the remaining twelve positions are empty—this is the origin of "Heaven's use of sound is one hundred and twelve": among ten tones, only the first seven are selected, and each of the seven tones has four lines with four positions, totaling exactly one hundred and twelve.

乃你女■○○○○ 未未未未多可個舌 七音 內南年■○○○○ 四音 未未未未禾火化八 三聲 老冷呂■○○○○ 一聲 未未未未開宰愛○ 鹿犖離■○○○○ 未未未未回每退○ 走哉足■○○○○ 未未未未良兩向○ 八音 自在匠■○○○○ 四音 未未未未光廣況○ 三聲 草采七■○○○○ 二聲 未未未未丁井亙○ 曹才全■○○○○ 未未未未兄永瑩○ 思三星■○○○○ 未未未未千典旦○ 九音 寺□象■○○○○ 四音 未未未未元犬半○ 三聲 □□□■○○○○ 三聲 未未未未臣引艮○ □□□■○○○○ 未未未未君允巽○

The left half sings the seventh tone (you female, inner southern year, old cold Lü, deer Luo Li), the eighth tone (walk zai foot, free self craftsman, grass collection seven, Cao Cai Quan), and the ninth tone (think three stars, temple image, blank blank blank, blank blank blank). The leader still sings the third tone with an empty circle. The last two lines of the ninth tone, "blank blank blank," indicate that these tones have no characters in the open, development, and closure positions, and even the closure position has no sound. The right half starts with "Closed Tones and Heavy Harmony Law Four of Four": the fourth tone has characters in the closed heavy position, which is "wei," "wei wei wei wei" first tone (multi possible individual tongue, millet fire transformation eight, open slaughter love circle, return every retreat circle), second tone (good two direction circle, light broad condition circle, Ding well constant circle, elder Yong Ying circle), third tone (thousand classic dawn circle, yuan dog half circle, minister lead mountain circle, king allow wind circle). In each line of these three tones, the fourth character is mostly "circle," indicating that the entering tone position exists but has no character; only the first tone's first line "multi possible individual tongue" has all four characters complete, which can be regarded as a model for the entire diagram.

■山手■○○○○ 未未未未刀早孝嶽 十音 ■士石■○○○○ 四音 未未未未毛寶報霍 三聲 ■□耳■○○○○ 四聲 未未未未牛斗奏六 ■□二■○○○○ 未未未未○○○玉 ■莊震■○○○○ 未未未未妻子四日 十一音 ■乍□■○○○○ 四音 未未未未衰○帥骨 三聲 ■叉赤■○○○○ 五聲 未未未未○○○德 ■崇辰■○○○○ 未未未未龜水貴北 ■卓中■○○○○ 未未未未宮孔眾○ 十二音 ■宅直■○○○○ 四音 未未未未龍甬用○ 三聲 ■拆丑■○○○○ 六聲 未未未未魚鼠去○ ■茶呈■○○○○ 未未未未烏虎兔○

The left half completes the singing of "Rushang Xi Chang Lü Si Zhi San" with the tenth tone (mountain hand, scholar stone, empty ear, empty two), the eleventh tone (zhang zhen, zha empty, cha red, chong chen), and the twelfth tone (zhuo zhong, zhai zhi, che chou, cha cheng). Each line of these three tones begins and ends with "■", but only the "fa" and "shou" positions have characters, such as "shanshou", "shishi", "zhangzhen", "zhuozhong", which accurately reflect the actual sounds of the correct dental and retroflex sounds in the Song dynasty. The right half, "Biyin Zhu He Lu Si Zhi Si", uses "wei" to harmonize with the fourth tone (dao zao xiao yue, mao bao bao huo, niu dou zou liu, ○○○ yu), the fifth tone (zi qi si ri, shuai ○ shuai gu, ○○○ de, gui shui gui bei), and the sixth tone (gong kong zhong ○, long yong yong ○, yu shu qu ○, wu hu tu ○). In the fourth tone's fourth line, "○○○ yu" contains only the entering tone character "yu," which is exactly the character selected for the fourth tone in the section "Chen Chen Sheng Ru Xi." This shows that the value table at the beginning of the chart and the main chart are interdependent.

古甲九癸玉玉玉玉 未未未未心審禁○ 一音 □□近揆玉玉玉玉 四音 未未未未○○○十 四聲 坤巧丘棄玉玉玉玉 七聲 未未未未男坎欠○ □□乾蚪玉玉玉玉 未未未未○○○妾 黑花香血玉玉玉玉 未未未未●●●● 二音 黃華雄賢玉玉玉玉 四音 未未未未●●●● 四聲 五瓦仰□玉玉玉玉 八聲 未未未未●●●● 吾牙月堯玉玉玉玉 未未未未●●●● 安亞乙一玉玉玉玉 未未未未●●●● 三音 □爻壬寅玉玉玉玉 四音 未未未未●●●● 四聲 母馬美米玉玉玉玉 九聲 未未未未●●●● 目貌眉民玉玉玉玉 未未未未●●●● 夫法□飛玉玉玉玉 未未未未●●●● 四音 父凡□吠玉玉玉玉 四音 未未未未●●●● 四聲 武晚□尾玉玉玉玉 十聲 未未未未●●●● 文萬□未玉玉玉玉 未未未未●●●●

The left half is led by the chanting of "Rush Sound Harmony in the Fourth of the Four Lu," differing from the previous three diagrams: the fourth tone of the entering tone has a character, which is "Jade," so beneath each line it is written "Jade Jade Jade Jade," instead of empty circles. It proceeds to chant the first tone (Ancient Jia Ninth Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Qian Tu), the second tone (Black Flower Fragrant Blood, Yellow Flower Strong Virtue, Five Wa Y仰□, Wu Ya Yue Yao), the third tone (An Ya Yi Yi, □ Yao Ren Yin, Mother Horse Beauty Rice, Eye Appearance Eyebrow People), and the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). The four "Jade" characters in sequence indicate that the same tone position must be matched with the four positions of opening, developing, closing, and closing of each tone, producing four sets of sounds. The right half, "Closed Tone Muddy Harmony in the Fourth of the Four Lu," uses "Wei" to reach the seventh tone (Heart Shen Jin ○, ○○○ Shi, Male Kan Qian ○, ○○○ Jie), and the eighth, ninth, and thirteenth tones have no tone positions, written as "Wei Wei Wei Wei ●●●●." Within one diagram, the left side transitions from empty to filled, while the right side moves from filled to empty, forming a contrast. Shao Yong's concept of "chanting" and "harmonizing" does not refer to actual people reciting, but rather forces each tone position to be matched with each tone position, observing how many combinations can be generated between the 112 tones and 152 tones.

卜百丙必玉玉玉玉 瓶瓶瓶瓶多可個舌 五音 步白備鼻玉玉玉玉 五音 瓶瓶瓶瓶禾火化八 四聲 普撲品匹玉玉玉玉 一聲 瓶瓶瓶瓶開宰愛○ 旁排平瓶玉玉玉玉 瓶瓶瓶瓶回每退○ 東丹帝■玉玉玉玉 瓶瓶瓶瓶良兩向○ 六音 兌大弟■玉玉玉玉 五音 瓶瓶瓶瓶光廣況○ 四聲 土貪天■玉玉玉玉 二聲 瓶瓶瓶瓶丁井亙○ 同覃田■玉玉玉玉 瓶瓶瓶瓶兄永瑩○ 乃你女■玉玉玉玉 瓶瓶瓶瓶千典旦○ 七音 內南年■玉玉玉玉 五音 瓶瓶瓶瓶元犬半○ 四聲 老冷呂■玉玉玉玉 三聲 瓶瓶瓶瓶臣引艮○ 鹿犖離■玉玉玉玉 瓶瓶瓶瓶君允巽○ 走哉足■玉玉玉玉 瓶瓶瓶瓶刀早孝嶽 八音 自在匠■玉玉玉玉 五音 瓶瓶瓶瓶毛寶報霍 四聲 草采七■玉玉玉玉 四聲 瓶瓶瓶瓶牛斗奏六 曹才全■玉玉玉玉 瓶瓶瓶瓶○○○玉

The left half continues with the fifth tone, sung with the character "玉" (Yu), as "卜百丙必, 步白备鼻, 普扑品匹, 旁排平瓶". The sixth tone is "东丹帝■, 兑大弟■, 土贪天■, 同覃田■". The seventh tone is "乃你女■, 内南年■, 老冷吕■, 鹿荦离■". The eighth tone is "走哉足■, 自在匠■, 草采七■, 曹才全■". Among these four tones, all four positions of lip sounds are present, but the categories of tongue sounds, nasal sounds, and dental sounds are entirely missing. The right half begins with the "Closed浊和律四之五" (Closed浊和 Law Four Five): for the fifth tone, the closed浊 sound has the character "瓶" (Ping), and "瓶瓶瓶瓶" is used to harmonize with the first tone (多可个舌, 禾火化八, 开宰爱○, 回每退○), the second tone (良两向○, 光广况○, 丁井亘○, 兄永莹○), the third tone (千典旦○, 元犬半○, 臣引艮○, 君允巽○), and the fourth tone (刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉). "蚪, 尧, 民, 未, 瓶" are the only five characters in the category of stone sounds with closed浊 tones, and "瓶" (Ping) is the last one of the fifth tone; from the sixth tone onwards, they are all "■". This is referred to as "石石音五" (Five Stone Sounds), referring to these five characters.

思三星■玉玉玉玉 瓶瓶瓶瓶妻子四日 九音 寺□象■玉玉玉玉 五音 瓶瓶瓶瓶衰○帥骨 四聲 □□□■玉玉玉玉 五聲 瓶瓶瓶瓶○○○德 □□□■玉玉玉玉 瓶瓶瓶瓶龜水貴北 ■山手■玉玉玉玉 瓶瓶瓶瓶宮孔眾○ 十音 ■士石■玉玉玉玉 五音 瓶瓶瓶瓶龍甬用○ 四聲 ■□耳■玉玉玉玉 六聲 瓶瓶瓶瓶魚鼠去○ ■□二■玉玉玉玉 瓶瓶瓶瓶烏虎兔○ ■莊震■玉玉玉玉 瓶瓶瓶瓶心審禁○ 十一音 ■乍□■玉玉玉玉 五音 瓶瓶瓶瓶○○○十 四聲 ■叉赤■玉玉玉玉 七聲 瓶瓶瓶瓶男坎欠○ ■崇辰■玉玉玉玉 瓶瓶瓶瓶○○○妾 ■卓中■玉玉玉玉 瓶瓶瓶瓶●●●● 十二音 ■宅直■玉玉玉玉 五音 瓶瓶瓶瓶●●●● 四聲 ■拆丑■玉玉玉玉 八聲 瓶瓶瓶瓶●●●● ■茶呈■玉玉玉玉 瓶瓶瓶瓶●●●●

The left half sings the "入声翕唱吕四之四" using nine sounds (thought of three stars, temple image, empty, empty), ten sounds (mountain hand, scholar stone, empty ear, two), eleven sounds (village thunder, sudden empty, fork red, high noon), twelve sounds (excellent middle, residence straight, split cow, tea presentation), completing the twelve sounds and forty-eight positions with the character "玉". The right half sings "闭音浊和律四之五" with the character "瓶" and the fifth tone (wife four days, decline general bone, empty virtue, turtle water noble north), sixth tone (palace hole crowd, dragon well use, fish rat go, crow tiger rabbit), seventh tone (heart review prohibition, empty ten, male water lack, empty妾), and when reaching the eighth tone, all four lines are marked with "●", written as "瓶瓶瓶瓶●●●●". In the sound chart, "○" and "●" are clearly distinct: "○" indicates that this tone position exists but no character was found to correspond to it at the time; "●" indicates that there is no tone position at all. The symbols "□" and "■" in the tone chart follow the same distinction. These four symbols are essential; otherwise, the numbers 112 and 152 could not be calculated.

古甲九癸北北北北 瓶瓶瓶瓶●●●● 一音 □□近揆北北北北 五音 瓶瓶瓶瓶●●●● 五聲 坤巧丘棄北北北北 九聲 瓶瓶瓶瓶●●●● □□乾蚪北北北北 瓶瓶瓶瓶●●●● 黑花香血北北北北 瓶瓶瓶瓶●●●● 二音 黃華雄賢北北北北 五音 瓶瓶瓶瓶●●●● 五聲 五瓦仰□北北北北 十聲 瓶瓶瓶瓶●●●● 吾牙月堯北北北北 瓶瓶瓶瓶●●●●

The left half is now led by "Rusheng Xi Chang Lv Si Wu" for the fifth tone: the fifth tone of the entering tone also has a character, which is "Bei," so below each line it is written "Bei Bei Bei Bei." It first sings the first tone (Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu) and the second tone (Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo). This "Bei" character is the character selected for the fifth tone in the column "Chén Chén Shēng Rù Xī" at the beginning of the diagram, and together with the character "Yù" from the fourth tone and "Qiè" from the seventh tone, these are the only three actual characters in this section. The right half, "Bì Yīn Zhuó Hé Lǜ Sì Wu," uses "Píng" to harmonize with the ninth and tenth tones; since there are no lines for these two tones, it is written as "Píng Píng Píng Píng ● ● ● ●" throughout; by the time the fifth tone has harmonized through all ten tones, the diagram is completed.

安亞乙一北北北北 ■■■■多可個舌 三音 □爻壬寅北北北北 六音 ■■■■禾火化八 五聲 母馬美米北北北北 一聲 ■■■■開宰愛○ 目貌眉民北北北北 ■■■■回每退○ 夫法□飛北北北北 ■■■■良兩向○ 四音 父凡□吠北北北北 六音 ■■■■光廣況○ 五聲 武晚□尾北北北北 二聲 ■■■■丁井亙○ 文萬□未北北北北 ■■■■兄永瑩○ 卜百丙必北北北北 ■■■■千典旦○ 五音 步白備鼻北北北北 六音 ■■■■元犬半○ 五聲 普撲品匹北北北北 三聲 ■■■■臣引艮○ 旁排平瓶北北北北 ■■■■君允巽○ 東丹帝■北北北北 ■■■■刀早孝嶽 六音 兌大弟■北北北北 六音 ■■■■毛寶報霍 五聲 土貪天■北北北北 四聲 ■■■■牛斗奏六 同覃田■北北北北 ■■■■○○○玉

The left half continues with "Bei" as the third tone (An Ya Yi Yi, □ line Renyin, mother horse Mei Mi, eye face brow people), the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei), the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), and the sixth tone (Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■). The right half starts with "Bi Yin Zhu He Lu Si Zhi Liu," while the sixth tone's closed and浊 position has no sound to be established, only marked as "■," so the entire text becomes "■■■■" to harmonize with the heavenly tones: first tone (Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○), second tone (Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○), third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu). Since there are no actual tone positions, why must they be matched one by one? Because Shao Yong sought a complete array: each of the twelve tones occupies four lines and four positions, totaling 192 grids, with 152 having sounds and 40 without, the sum of these two numbers representing the total number of tone positions in the world; without these 40 grids, the number 152 would have no counterpart.

乃你女■北北北北 ■■■■妻子四日 七音 內南年■北北北北 六音 ■■■■衰○帥骨 五聲 老冷呂■北北北北 五聲 ■■■■○○○德 鹿犖離■北北北北 ■■■■龜水貴北 走哉足■北北北北 ■■■■宮孔眾○ 八音 自在匠■北北北北 六音 ■■■■龍甬用○ 五聲 草采七■北北北北 六聲 ■■■■魚鼠去○ 曹才全■北北北北 ■■■■烏虎兔○ 思三星■北北北北 ■■■■心審禁○ 九音 寺□象■北北北北 六音 ■■■■○○○十 五聲 □□□■北北北北 七聲 ■■■■男坎欠○ □□□■北北北北 ■■■■○○○妾

The left half uses "north" to sing the seventh tone (your daughter, inner southern year, old cold Lü, deer Luo Li), the eighth tone (walk zai foot, free craftsman, grass collection seven, Cao Cai Quan), and the ninth tone (think three stars, temple image, blank blank blank, blank blank blank). The third and fourth lines of the ninth tone written together as "blank blank blank" are the most completely empty category in the entire diagram: three have sounds but no characters, and one has neither sound nor character. The right half, "Closed Tone Muddy Harmony Law Four Six," uses "■" and the fifth tone (wife four days, decline ○ general bone, ○○○ virtue, turtle water noble north), the sixth tone (palace hole crowd ○, dragon Yong use ○, fish mouse go ○, crow tiger rabbit ○), and the seventh tone (heart review prohibition ○, ○○○ ten, male Kan lack ○, ○○○ wife). All four lines of the sixth tone end with "○," indicating that the rhyme groups such as palace, dragon, fish, and crow, which are closed mouth rhymes, have no corresponding characters in the入声 (entering tone). The seventh tone is the opposite, having only the characters "ten" and "wife" in the entering tone position, while the level, rising, and departing tones are all empty.

■山手■北北北北 ■■■■●●●● 十音 ■士石■北北北北 六音 ■■■■●●●● 五聲 ■□耳■北北北北 八聲 ■■■■●●●● ■□二■北北北北 ■■■■●●●● ■莊震■北北北北 ■■■■●●●● 十一音 ■乍□■北北北北 六音 ■■■■●●●● 五聲 ■叉赤■北北北北 九聲 ■■■■●●●● ■崇辰■北北北北 ■■■■●●●● ■卓中■北北北北 ■■■■●●●● 十二音 ■宅直■北北北北 六音 ■■■■●●●● 五聲 ■拆丑■北北北北 十聲 ■■■■●●●● ■茶呈■北北北北 ■■■■●●●●

The left half sings the "入声翕唱吕四之五" using the tenth tone (■山手■, ■士石■, ■□耳■, ■□二■), the eleventh tone (■庄震■, ■乍□■, ■叉赤■, ■崇辰■), and the twelfth tone (■卓中■, ■宅直■, ■拆丑■, ■茶呈■). After singing these twelve tones, the character "北" is sung through all twelve tones. The right half harmonizes with the "闭音浊和律四之六" up to the eighth, ninth, and thirteenth tones. When the tone positions are exhausted, the sound positions are also exhausted, so the entire passage of twelve lines becomes "■■■■●●●●" with no characters. This pure symbolic array is easily mistaken by later generations as incomplete and deleted. In fact, it is the framework of Shao Yong's numerical reasoning. Only by occupying the empty positions does the product of "one hundred and twelve sounds" and "one hundred and fifty-two tones" have a place, allowing the numbers of mutual resonance between sounds to be extended to all things.

古甲九癸○○○○ ■■■■多可個舌 一音 □□近揆○○○○ 七音 ■■■■禾火化八 六聲 坤巧丘棄○○○○ 一聲 ■■■■開宰愛○ □□乾蚪○○○○ ■■■■回每退○ 黑花香血○○○○ ■■■■良兩向○ 二音 黃華雄賢○○○○ 七音 ■■■■光廣況○ 六聲 五瓦仰□○○○○ 二聲 ■■■■丁井亙○ 吾牙月堯○○○○ ■■■■兄永瑩○ 安亞乙一○○○○ ■■■■千典旦○ 三音 □爻壬寅○○○○ 七音 ■■■■元犬半○ 六聲 母馬美米○○○○ 三聲 ■■■■臣引艮○ 目貌眉民○○○○ ■■■■君允巽○ 夫法□飛○○○○ ■■■■刀早孝嶽 四音 父凡□吠○○○○ 七音 ■■■■毛寶報霍 六聲 武晚□尾○○○○ 四聲 ■■■■牛斗奏六 文萬□未○○○○ ■■■■○○○玉

The left half is now led by "The Sixth Tone of the Inhaling and Singing of the Fourth Category of the Level Four" and sings: the sixth tone's inhaled and sung position returns to being sound without characters, marked as "○○○○", and sings the first tone (Ancient Jia Ninth Gui, □□ near揆,坤巧丘弃, □□乾蚪), the second tone (Black flower fragrance blood, Yellow flower strong virtue, Five Wa仰□, Wu Ya Moon Yao), the third tone (An Ya Yi Yi, □ yao Ren Yin, Mother Horse Mei Mi, Eye Face Mei Min), the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). The right half starts with "The Seventh Tone of the Closed and Muffled Harmony of the Fourth Category of the Level Seven": the seventh tone's closed and muffled position has no sound, still marked as "■■■■", and goes with the first tone (Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○), the second tone (Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○), the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu). The original text combines the titles of the two diagrams into one line, clearly indicating that the left and right columns are originally two separate tables, only arranged side by side on the same plate; when reading, one should follow each column vertically, not reading horizontally across.

卜百丙必○○○○ ■■■■妻子四日 五音 步白備鼻○○○○ 七音 ■■■■衰○帥骨 六聲 普撲品匹○○○○ 五聲 ■■■■○○○德 旁排平瓶○○○○ ■■■■龜水貴北 東丹帝■○○○○ ■■■■宮孔眾○ 六音 兌大弟■○○○○ 七音 ■■■■龍甬用○ 六聲 土貪天■○○○○ 六聲 ■■■■魚鼠去○ 同覃田■○○○○ ■■■■烏虎兔○ 乃你女■○○○○ ■■■■心審禁○ 七音 內南年■○○○○ 七音 ■■■■○○○十 六聲 老冷呂■○○○○ 七聲 ■■■■男坎欠○ 鹿犖離■○○○○ ■■■■○○○妾

The left half continues with the fifth tone (Bu Bai Bei Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), the sixth tone (Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■), and the seventh tone (Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■). The leading tone remains the sixth tone with an empty circle. The fifth tone has four lines and sixteen positions, none of which are missing, making it the most complete among the twelve tones; the sixth and seventh tones have all their positions closed and empty. The right half of "Closed Tone浊和律四之七" uses "■" and the fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), the sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○), and the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie). In the second line of the fifth tone, "Shuai ○ Shuai Gu," there is a tone but no character. In the third line, "○○○ De," the level, rising, and falling tones are all empty, while only the entering tone character "De" remains. Such unevenness is entirely recorded by Shao Yong without any alteration.

走哉足■○○○○ ■■■■●●●● 八音 自在匠■○○○○ 七音 ■■■■●●●● 六聲 草采七■○○○○ 八聲 ■■■■●●●● 曹才全■○○○○ ■■■■●●●● 思三星■○○○○ ■■■■●●●● 九音 寺□象■○○○○ 七音 ■■■■●●●● 六聲 □□□■○○○○ 九聲 ■■■■●●●● □□□■○○○○ ■■■■●●●● ■山手■○○○○ ■■■■●●●● 十音 ■士石■○○○○ 七音 ■■■■●●●● 六聲 ■□耳■○○○○ 十聲 ■■■■●●●● ■□二■○○○○ ■■■■●●●●

The left half continues singing with the eighth tone (Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan), the ninth tone (Si San Xing, Si Xiang Xiang, empty, empty), and the tenth tone (Shan Shou, Shi Shi Shi, Er Er Er, Er Er Er), while the sixth tone's入声 (entering tone) position remains empty. On the right half, the piece "Closed Tone Heavy Harmony Law Four Seven" harmonizes up to the eighth, ninth, and thirteenth tones, with all four lines silent, thus represented as "■■■■●●●●". When viewed together, the left column is a vacant tone position singing twelve tones, and the right column is a vacant tone position harmonizing ten tones. Both sides are simultaneously empty, yet the format remains perfectly intact. Shao Yong, in his work "Huang Ji Jing Shi," originally used numbers to deduce the beginning and end of heaven and earth. The section on sound follows the same approach—first fixing the number of available positions, then multiplying tones with tones and tones with sounds to determine the total number of compatible sounds, and then using the number of sounds to explain the numbers of all living beings and plants.

■莊震■○○○○ ■■■■多可個舌 十一音 ■乍□■○○○○ 八音 ■■■■禾火化八 六聲 ■叉赤■○○○○ 一聲 ■■■■開宰愛○ ■崇辰■○○○○ ■■■■回每退○ ■卓中■○○○○ ■■■■良兩向○ 十二音 ■宅直■○○○○ 八音 ■■■■光廣況○ 六聲 ■拆丑■○○○○ 二聲 ■■■■丁井亙○ ■茶呈■○○○○ ■■■■兄永瑩○

The left half completes the singing of "入声翕唱吕四之六" with the eleventh tone (庄震, 乍□, 叉赤, 崇辰) and the twelfth tone (卓中, 宅直, 拆丑, 茶呈). By the time the sixth tone is finished, all twelve tones have been fully assigned. The right half begins with "闭音浊和律四之八": the eighth tone's closed and浊 position is also empty, marked as "■■■■". It first harmonizes with the first tone (多可个舌, 禾火化八, 开宰爱○, 回每退○) and the second tone (良两向○, 光广况○, 丁井亘○, 兄永莹○). Starting from the sixth tone, the closed and浊 position continues with seven tones marked as "■", so from here until the end of this passage, the right column will no longer contain any tone characters, only "■■■■" matching with the ten tones in rotation.

古甲九癸妾妾妾妾 ■■■■千典旦○ 一音 □□近揆妾妾妾妾 八音 ■■■■元犬半○ 七聲 坤巧丘棄妾妾妾妾 三聲 ■■■■臣引艮○ □□乾蚪妾妾妾妾 ■■■■君允巽○ 黑花香血妾妾妾妾 ■■■■刀早孝嶽 二音 黃華雄賢妾妾妾妾 八音 ■■■■毛寶報霍 七聲 五瓦仰□妾妾妾妾 四聲 ■■■■牛斗奏六 吾牙月堯妾妾妾妾 ■■■■○○○玉 安亞乙一妾妾妾妾 ■■■■妻子四日 三音 □爻壬寅妾妾妾妾 八音 ■■■■衰○帥骨 七聲 母馬美米妾妾妾妾 五聲 ■■■■○○○德 目貌眉民妾妾妾妾 ■■■■龜水貴北 夫法□飛妾妾妾妾 ■■■■宮孔眾○ 四音 父凡□吠妾妾妾妾 八音 ■■■■龍甬用○ 七聲 武晚□尾妾妾妾妾 六聲 ■■■■魚鼠去○ 文萬□未妾妾妾妾 ■■■■烏虎兔○

The left half is now led by the chanting of "Rusheng Xi Chang Lv Si Zhi Qi": the seventh tone's rusheng position has a character, "qie", so "qie qie qie qie" is written below each line. This is the third and final real character in the pattern "Chen Chen sound enters Xi". The first two are the fourth tone's "yu" and the fifth tone's "bei". It is sung in sequence: first tone (Gujia Jiugui, □□Jin Kui, Kungqiao Qiudi, □□Qian Tu), second tone (Hehua Xiangxue, Huanghua Xiongxian, Wuwa Yang□, Wu Ya Yue Yao), third tone (Anya Yi Yi, □Yao Renyin, Mu Ma Meimi, Mu Mao Meimin), fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). The right half, "Biyan Zhu HeLv Si Zhi Ba", uses "■" and the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu), fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○). The left side has characters while the right side has no sound, and this section is the clearest instance of "Shi Chang Xu He" in the entire text.

卜百丙必妾妾妾妾 ■■■■心審禁○ 五音 步白備鼻妾妾妾妾 八音 ■■■■○○○十 七聲 普撲品匹妾妾妾妾 七聲 ■■■■男坎欠○ 旁排平瓶妾妾妾妾 ■■■■○○○妾 東丹帝■妾妾妾妾 ■■■■●●●● 六音 兌大弟■妾妾妾妾 八音 ■■■■●●●● 七聲 土貪天■妾妾妾妾 八聲 ■■■■●●●● 同覃田■妾妾妾妾 ■■■■●●●● 乃你女■妾妾妾妾 ■■■■●●●● 七音 內南年■妾妾妾妾 八音 ■■■■●●●● 七聲 老冷呂■妾妾妾妾 九聲 ■■■■●●●● 鹿犖離■妾妾妾妾 ■■■■●●●● 走哉足■妾妾妾妾 ■■■■●●●● 八音 自在匠■妾妾妾妾 八音 ■■■■●●●● 七聲 草采七■妾妾妾妾 十聲 ■■■■●●●● 曹才全■妾妾妾妾 ■■■■●●●●

On the left side, the continuation is sung with the character 「妾」 for the fifth tone (Bu Bai Bei Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), sixth tone (Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■), seventh tone (Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■), and eighth tone (Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■). On the right side, the text 「闭音浊和律四之八」 first harmonizes the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie): here, the character 「妾」 appearing in the right column and the 「妾」 sung in the left column represent the same tone position in two different roles — in the singing diagram it is the leader, while in the harmonizing diagram it is the one being harmonized, one singing and one harmonizing, yet the character remains unchanged. Then it proceeds to harmonize the eighth, ninth, and thirteenth tones, with four lines all marked 「●」, thus forming 「■■■■●●●●」. The fourth line of the seventh tone 「○○○妾」 is commonly only this single character, yet Shao Yong specially includes it in 「辰辰声入翕」, showing thatthe so-called「用声」 is counted tone by tone in each grid, not estimated.

思三星■妾妾妾妾 ■■■■多可個舌 九音 寺□象■妾妾妾妾 九音 ■■■■禾火化八 七聲 □□□■妾妾妾妾 一聲 ■■■■開宰愛○ □□□■妾妾妾妾 ■■■■回每退○ ■山手■妾妾妾妾 ■■■■良兩向○ 十音 ■士石■妾妾妾妾 九音 ■■■■光廣況○ 七聲 ■□耳■妾妾妾妾 二聲 ■■■■丁井亙○ ■□二■妾妾妾妾 ■■■■兄永瑩○ ■莊震■妾妾妾妾 ■■■■千典旦○ 十一音 ■乍□■妾妾妾妾 九音 ■■■■元犬半○ 七聲 ■叉赤■妾妾妾妾 三聲 ■■■■臣引艮○ ■崇辰■妾妾妾妾 ■■■■君允巽○ ■卓中■妾妾妾妾 ■■■■刀早孝嶽 十二音 ■宅直■妾妾妾妾 九音 ■■■■毛寶報霍 七聲 ■拆丑■妾妾妾妾 四聲 ■■■■牛斗奏六 ■茶呈■妾妾妾妾 ■■■■○○○玉

The left half begins with "qie" singing the ninth tone (Si San Xing, Si Shi Xiang, empty, empty), the tenth tone (Shan Shou, Shi Shi Shi, empty, empty), the eleventh tone (Zhuang Zhen, Zha empty, Cha Chi, Chong Chen), the twelfth tone (Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng). The "Rusheng Xi Chang Lv Si Qi" ends here. The right half starts with "Bi Yin Zhu He Lv Si Jiu": the ninth tone's closed and dull position has no sound, still marked as "empty empty empty empty." It goes on to the first tone (Du Ke Ge She, He Hu Huo Hua Ba, Kai Zai Ai, Hui Mei Tui), the second tone (Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying), the third tone (Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun), the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, empty empty empty Yu). Among the ten tones, the first seven tones total twenty-eight lines, each line having four characters, making a total of one hundred and twelve. All "empty empty empty empty" sounds must correspond one by one with these one hundred and twelve positions. Even if no character is generated, the grid must still be fully filled.

古甲九癸●●●● ■■■■妻子四日 一音 □□近揆●●●● 九音 ■■■■衰○帥骨 八聲 坤巧丘棄●●●● 五聲 ■■■■○○○德 □□乾蚪●●●● ■■■■龜水貴北 黑花香血●●●● ■■■■宮孔眾○ 二音 黃華雄賢●●●● 九音 ■■■■龍甬用○ 八聲 五瓦仰□●●●● 六聲 ■■■■魚鼠去○ 吾牙月堯●●●● ■■■■烏虎兔○ 安亞乙一●●●● ■■■■心審禁○ 三音 □爻壬寅●●●● 九音 ■■■■○○○十 八聲 母馬美米●●●● 七聲 ■■■■男坎欠○ 目貌眉民●●●● ■■■■○○○妾

The left half is led by the singing of "Rushant Xi Chang Lv Si Zhi Ba," and the eighth tone has no tone position in Shao Yong's tone diagram, with all four lines marked as "●," so the leading side writes "●●●●"—this is the most complete empty singing in the entire text. It still proceeds in order to sing the first tone (Gujia Jiui Gui, □□Jin Kui, Kun Qiao Qiu Qi, □□Qian Tu), the second tone (Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao), and the third tone (An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min). The right half, "Bi Yin Zhu He Lu Si Zhi Jiu," uses "■" for the fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), the sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○), and the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie). The soundless sound sings the tones with characters, and the toneless tone harmonizes with the sounds with characters; the two columns are one empty and one real, with positions reversed but the format unchanged.

夫法□飛●●●● ■■■■●●●● 四音 父凡□吠●●●● 九音 ■■■■●●●● 八聲 武晚□尾●●●● 八聲 ■■■■●●●● 文萬□未●●●● ■■■■●●●● 卜百丙必●●●● ■■■■●●●● 五音 步白備鼻●●●● 九音 ■■■■●●●● 八聲 普撲品匹●●●● 九聲 ■■■■●●●● 旁排平瓶●●●● ■■■■●●●● 東丹帝■●●●● ■■■■●●●● 六音 兌大弟■●●●● 九音 ■■■■●●●● 八聲 土貪天■●●●● 十聲 ■■■■●●●● 同覃田■●●●● ■■■■●●●●

The left half uses the eighth tone's empty position to sing the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei), the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), and the sixth tone (Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■). The right half of "Closed浊 and Harmonious Law Four Nine" reaches the eighth, ninth, and thirteenth tones, where both the tone positions and the sound positions are absent, and the twelve lines are all "■■■■●●●●". The eighth, ninth, and tenth tones, along with the sixth to twelfth tones, are the empty positions left by Shao Yong: originally there are ten tones, but only seven are actually used; originally there are twelve tones, but in this category of closed and浊 tones, only five are actually used. By juxtaposing the real and the empty, one can see "the body has a fixed number but the use is insufficient"—this is precisely the meaning of "body four and use three" repeatedly emphasized in the book "Huang Ji Jing Shi" as applied to sound. If readers delete all the empty positions, the diagram may appear clear, but the numbers will all be disordered.

乃你女■●●●● ■■■■多可個舌 七音 內南年■●●●● 十音 ■■■■禾火化八 八聲 老冷呂■●●●● 一聲 ■■■■開宰愛○ 鹿犖離■●●●● ■■■■回每退○ 走哉足■●●●● ■■■■良兩向○ 八音 自在匠■●●●● 十音 ■■■■光廣況○ 八聲 草采七■●●●● 二聲 ■■■■丁井亙○ 曹才全■●●●● ■■■■兄永瑩○ 思三星■●●●● ■■■■千典旦○ 九音 寺□象■●●●● 十音 ■■■■元犬半○ 八聲 □□□■●●●● 三聲 ■■■■臣引艮○ □□□■●●●● ■■■■君允巽○

The left half uses the eighth tone's empty position to sing the seventh tone (Nai ni nv, Nei nan nian, Lao leng lv, Lu luo li), the eighth tone (Zou zai zu, Zi zai jiang, Cao cao qi, Cao cai quan), and the ninth tone (Si san xing, Si xiang xiang, empty empty empty, empty empty empty). The right half starts with the "Closed Tone Muddy Harmony Law Four Ten": the tenth tone's closed muddy position has no sound, marked as "empty empty empty empty," first tone (Du ke ge she, He hu hua ba, Kai zai ai circle, Hui mei tui circle), second tone (Liang liang xiang circle, Guang guang kuang circle, Ding jing gen circle, Xiong yong ying circle), third tone (Qian dian dan circle, Yuan quan ban circle, Chen yin gen circle, Jun yun xun circle). The four lines of the first tone are the most complete among all tones in the sound diagram, with only two missing out of sixteen positions; the number of "circle" symbols increases as we move forward, and by the eighth tone, there are no characters left. The decline of sound is clearly visible in the diagram.

■山手■●●●● ■■■■刀早孝嶽 十音 ■士石■●●●● 十音 ■■■■毛寶報霍 八聲 ■□耳■●●●● 四聲 ■■■■牛斗奏六 ■□二■●●●● ■■■■○○○玉 ■莊震■●●●● ■■■■妻子四日 十一音 ■乍□■●●●● 十音 ■■■■衰○帥骨 八聲 ■叉赤■●●●● 五聲 ■■■■○○○德 ■崇辰■●●●● ■■■■龜水貴北 ■卓中■●●●● ■■■■宮孔眾○ 十二音 ■宅直■●●●● 十音 ■■■■龍甬用○ 八聲 ■拆丑■●●●● 六聲 ■■■■魚鼠去○ ■茶呈■●●●● ■■■■烏虎兔○

The left half completes the singing of "Rusheng Xi Chang Lv Si Zhi Ba" using the tenth tone (■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■), the eleventh tone (■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■), and the twelfth tone (■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■), ending with the eighth tone's empty position traversing all twelve tones across forty-eight grids. The right half of "Bi Yin Zhu He Lu Si Zhi Shi" uses the character "■" and the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu), the fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), and the sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○). The first line of the fourth tone "Dao Zao Xiao Yue," the second line "Mao Bao Bao Huo," and the third line "Niu Dou Zou Liu" all have characters for the入声 (entering tone). Only the fourth line has "Yu" left. These four characters for the entering tone, "Yue, Huo, Liu, Yu," are actual evidence of the existence of the entering tone in the Song dynasty.

古甲九癸●●●● ■■■■心審禁○ 一音 □□近揆●●●● 十音 ■■■■○○○十 九聲 坤巧丘棄●●●● 七聲 ■■■■男坎欠○ □□乾蚪●●●● ■■■■○○○妾 黑花香血●●●● ■■■■●●●● 二音 黃華雄賢●●●● 十音 ■■■■●●●● 九聲 五瓦仰□●●●● 八聲 ■■■■●●●● 吾牙月堯●●●● ■■■■●●●● 安亞乙一●●●● ■■■■●●●● 三音 □爻壬寅●●●● 十音 ■■■■●●●● 九聲 母馬美米●●●● 九聲 ■■■■●●●● 目貌眉民●●●● ■■■■●●●● 夫法□飛●●●● ■■■■●●●● 四音 父凡□吠●●●● 十音 ■■■■●●●● 九聲 武晚□尾●●●● 十聲 ■■■■●●●● 文萬□未●●●● ■■■■●●●●

The left half is led by the chanting of "Rusheng Xi Chang Lv Si Zhi Jiu," where the ninth tone is the same as the eighth tone, having no connected tone positions, so it remains "●●●●." It proceeds to chant the first tone (Gujia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu), the second tone (He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao), the third tone (An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min), and the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). The right half follows the chanting of "Biyin Zhu He Lu Si Zhi Shiyi" and the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie) and then the eighth, ninth, and thirteenth tones are all empty, marked as "■■■■●●●●," and the tenth tone concludes here. Both columns are left empty against empty, yet the twelve representative characters of the tones are fully listed without omission, to make it clear that although the number of tones sung and responded to is zero, the positions of the tones are still clearly present. Shao Yong's method was first to determine the positions and then to count, so if the positions are incomplete, the counts are not accurate. Therefore, he preferred to fill the paper entirely with circles and blocks rather than omitting a single position.

卜百丙必●●●● ■■■■多可個舌 五音 步白備鼻●●●● 十一音 ■■■■禾火化八 九聲 普撲品匹●●●● 一聲 ■■■■開宰愛○ 旁排平瓶●●●● ■■■■回每退○ 東丹帝■●●●● ■■■■良兩向○ 六音 兌大弟■●●●● 十一音 ■■■■光廣況○ 九聲 土貪天■●●●● 二聲 ■■■■丁井亙○ 同覃田■●●●● ■■■■兄永瑩○ 乃你女■●●●● ■■■■千典旦○ 七音 內南年■●●●● 十一音 ■■■■元犬半○ 九聲 老冷呂■●●●● 三聲 ■■■■臣引艮○ 鹿犖離■●●●● ■■■■君允巽○

The left half uses the ninth tone's empty position to sing the fifth tone (Bu Bai Bei Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), the sixth tone (Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■), and the seventh tone (Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■). Among these three tones, the fifth tone belongs to the heavy lip sounds, the sixth tone to the tongue sounds, and the seventh tone to the nasal and lateral sounds; the closed positions of the latter two categories have no sound, so the last character of each line is marked as ■. Each tone has four lines divided into clear and浊 (obscure) categories. The first and third lines are clear, while the second and fourth lines are浊. For example, "Bu Bai Bei Bi" is clear, while "Bu Bai Bei Bi" is浊, "Pu Pu Pin Pi" is clear, while "Pang Pai Ping Ping" is浊, with pairs contrasting clearly. The right half begins with the "Fourteenth Law of Closed Obstructed Sounds, Volume Eleven": the eleventh tone's closed浊 position has no sound, marked as ■■■■. It goes on to the first tone (Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○), the second tone (Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○), and the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○).

走哉足■●●●● ■■■■刀早孝嶽 八音 自在匠■●●●● 十一音 ■■■■毛寶報霍 九聲 草采七■●●●● 四聲 ■■■■牛斗奏六 曹才全■●●●● ■■■■○○○玉

The left half continues with the eighth tone (Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■), connecting to the previous text, and still pairs with the ninth tone's position which has no connected sound, marked as 「●●●●」; the right half of "Closed Tone Muddy Harmony Law Four, Number Eleven" uses 「■■■■」 to correspond with the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu). The eighth tone belongs to the dental initial sounds, and the closed positions in the four lines are all marked as 「■」, with characters only appearing in the open, initial, and final positions. The fourth tone's entering tones in the four lines are sequentially "Yue", "Huo", "Liu", and "Yu", but the level, rising, and falling tones in the fourth line are missing, hence marked as "○○○ Yu". One abstract and one concrete presented on the same page is the usual state of this diagram.

思三星■●●●● ■■■■妻子四日 九音 寺□象■●●●● 十一音 ■■■■衰○帥骨 九聲 □□□■●●●● 五聲 ■■■■○○○德 □□□■●●●● ■■■■龜水貴北 ■山手■●●●● ■■■■宮孔眾○ 十音 ■士石■●●●● 十一音 ■■■■龍甬用○ 九聲 ■□耳■●●●● 六聲 ■■■■魚鼠去○ ■□二■●●●● ■■■■烏虎兔○ ■莊震■●●●● ■■■■心審禁○ 十一音 ■乍□■●●●● 十一音 ■■■■○○○十 九聲 ■叉赤■●●●● 七聲 ■■■■男坎欠○ ■崇辰■●●●● ■■■■○○○妾 ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十一音 ■■■■●●●● 九聲 ■拆丑■●●●● 八聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●●

The left half completes the singing of "Rush Sound Harmonization of the Fourth Tone of the Ninth" with the ninth tone (thinking of three stars, the temple representing an image, three blanks followed by a character, three blanks followed by another character), the tenth tone (mountain hand, a person and a stone, an ear and a blank, two blanks), the eleventh tone (a village and thunder, a sudden blank, a fork and red, a high and the morning), and the twelfth tone (a tall and middle, a residence and straight, a split and the ox, tea and presentation). The right half sings "Closed Sound Heavy Harmony of the Fourth Tone of the Eleventh" with the fifth tone (husband and wife on the fourth day, decline and the general's bones, blanks and virtue, turtle water and the north), the sixth tone (palace, hole, crowd and blank, dragon and the bell, use and blank, fish and rat, go and blank, crow, tiger, rabbit and blank), the seventh tone (heart, review, prohibition and blank, blanks and ten, male, water, lack and blank, blanks and concubine), and the eighth tone as "■■■■●●●●". The fourth line of the fifth tone "turtle water and the north" uses the character "north", which is the character used to fill in "Chen Chen sound entering harmony" in the fifth tone earlier. The same character serves as the leading tone in the singing diagram and as the harmonized tone in the harmonizing diagram, appearing in both places with its own position, showing the meticulous arrangement of Shao Yong.

古甲九癸○○○○ ■■■■●●●● 一音 □□近揆○○○○ 十一音 ■■■■●●●● 十聲 坤巧丘棄○○○○ 九聲 ■■■■●●●● □□乾蚪○○○○ ■■■■●●●● 黑花香血○○○○ ■■■■●●●● 二音 黃華雄賢○○○○ 十一音 ■■■■●●●● 十聲 五瓦仰□○○○○ 十聲 ■■■■●●●● 吾牙月堯○○○○ ■■■■●●●●

The left half is now led by "Rusheng Xi Chang Lu Si Zhi Shí" singing the tenth tone: the tenth tone in this section is also a tone without characters, marked as "○○○○". First, they sing the first tone (Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu) and the second tone (Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo). According to the section at the beginning "Chén Chén Shēng Rù Xī" which marks the tenth tone as "○", this matches exactly. The right half, "Bì Yīn Zhuó Hé Lǜ Sì Zhi Shí Yī", harmonizes the ninth and tenth tones with "■", but since both tones are absent, it is marked as "■■■■●●●●", and the eleventh tone is completed. This is the beginning of the last group in "Guānwù Piān Wǔshí", and the pairing of ten tones with twelve tones now only leaves the conclusion.

安亞乙一○○○○ ■■■■多可個舌 三音 □爻壬寅○○○○ 十二音 ■■■■禾火化八 十聲 母馬美米○○○○ 一聲 ■■■■開宰愛○ 目貌眉民○○○○ ■■■■回每退○ 夫法□飛○○○○ ■■■■良兩向○ 四音 父凡□吠○○○○ 十二音 ■■■■光廣況○ 十聲 武晚□尾○○○○ 二聲 ■■■■丁井亙○ 文萬□未○○○○ ■■■■兄永瑩○ 卜百丙必○○○○ ■■■■千典旦○ 五音 步白備鼻○○○○ 十二音 ■■■■元犬半○ 十聲 普撲品匹○○○○ 三聲 ■■■■臣引艮○ 旁排平瓶○○○○ ■■■■君允巽○ 東丹帝■○○○○ ■■■■刀早孝嶽 六音 兌大弟■○○○○ 十二音 ■■■■毛寶報霍 十聲 土貪天■○○○○ 四聲 ■■■■牛斗奏六 同覃田■○○○○ ■■■■○○○玉

The left half uses the tenth tone's empty position to sing the third tone (An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min), the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei), the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), and the sixth tone (Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■). The right half begins with the "closed浊 harmonious law four of twelve," which is the last harmonious law diagram of this passage: the twelfth tone's closed浊 position has no sound, marked as "■■■■." The first tone (Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○), the second tone (Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○), the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), and the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu). Each of the ten tones in the sound diagram is represented by four characters from four lines: the first tone takes the opening and closing of the song and hail tones, the second tone takes the Yang, Tang, Geng, and Qing tones, the third tone takes the Han, Xian, Zhen, and Chun tones, and the fourth tone takes the Hao, Yao, and You tones. Each line has four characters indicating level, rising, falling, and entering tones. These characters are not explained but only used to mark the positions.

乃你女■○○○○ ■■■■妻子四日 七音 內南年■○○○○ 十二音 ■■■■衰○帥骨 十聲 老冷呂■○○○○ 五聲 ■■■■○○○德 鹿犖離■○○○○ ■■■■龜水貴北 走哉足■○○○○ ■■■■宮孔眾○ 八音 自在匠■○○○○ 十二音 ■■■■龍甬用○ 十聲 草采七■○○○○ 六聲 ■■■■魚鼠去○ 曹才全■○○○○ ■■■■烏虎兔○ 思三星■○○○○ ■■■■心審禁○ 九音 寺□象■○○○○ 十二音 ■■■■○○○十 十聲 □□□■○○○○ 七聲 ■■■■男坎欠○ □□□■○○○○ ■■■■○○○妾

The left half uses the tenth tone's empty position to sing the seventh tone (Nai ni nv, Nei nan nian, Lao leng lv, Lu luo li), the eighth tone (Zou zai zu, Zi zai jiang, Cao cao qi, Cao cai quan), and the ninth tone (Si san xing, Si bu xiang, ???, ???). The right half of "Closed Tone Heavy Harmonic Law Four, Twelve" uses "???" with the fifth tone (Zi qi si ri, Shuai ?? shuai gu, ?? ?? ?? de,Gui shui gui bei), the sixth tone (Gong kong zhong ??, Long yong yong ??, Yu shu qu ??, Wu hu tu ??), and the seventh tone (Xin shen jin ??, ?? ?? ?? shi, Nan kan qian ??, ?? ?? ?? qie). Among the four lines of the ninth tone, "Si san xing" and "Si bu xiang" still have characters that can be cited, while the third and fourth lines are both marked as "???", indicating that there are no characters available for this type of tone in the positions of opening, development, and closure. The middle position of "Si bu xiang" is also missing, and it is similarly marked with "??". In all cases where characters are missing, they are left blank rather than filled with characters that sound similar, which is a fixed rule established by Shao Yong.

■山手■○○○○ ■■■■●●●● 十音 ■士石■○○○○ 十二音 ■■■■●●●● 十聲 ■□耳■○○○○ 八聲 ■■■■●●●● ■□二■○○○○ ■■■■●●●● ■莊震■○○○○ ■■■■●●●● 十一音 ■乍□■○○○○ 十二音 ■■■■●●●● 十聲 ■叉赤■○○○○ 九聲 ■■■■●●●● ■崇辰■○○○○ ■■■■●●●● ■卓中■○○○○ ■■■■●●●● 十二音 ■宅直■○○○○ 十二音 ■■■■●●●● 十聲 ■拆丑■○○○○ 十聲 ■■■■●●●● ■茶呈■○○○○ ■■■■●●●●

The left half completed singing the "Entry Tone Harmony of the Fourth Level of Lu Si" using the tenth tone (■ Mountain Hand ■, ■ Scholar Stone ■, ■ Empty Ear ■, ■ Empty Two ■), the eleventh tone (■ Zhuang Zhen ■, ■ Zha Empty ■, ■ Cha Red ■, ■ Chong Chen ■), and the twelfth tone (■ Zhuo Zhong ■, ■ Zhai Straight ■, ■ Che Chou ■, ■ Cha Cheng ■). The right half harmonized the "Closed Tone Muddy Harmony of the Fourth Level of Lu Si" up to the eighth, ninth, and thirteenth tones, with four lines left blank, marked as "■■■■●●●●". At this point, the ten diagrams of "Chen Chen Sound Entry of the Fourth Harmony" from the "Observing Things Chapter Fifty" and the twelve diagrams of "Shi Shi Tone Closure of the Fourth Muddy" were all completed. Looking back at the numbers set at the beginning of the chapter: for the "Entry Tone Harmony" section, seven heavenly tones were available, and by singing the earthly tones below, one hundred fifty-two tones were obtained, resulting in one thousand and sixty-four. For the "Closed Tone Muddy" section, five earthly tones were available, and by harmonizing the heavenly tones above, one hundred twelve tones were obtained, resulting in five hundred and sixty. The entire sound harmony diagram calculates each section of the ten tones and twelve tones in this manner, ultimately transforming the numbers of sound into the numbers of all living beings and plants, which forms the algorithmic foundation of Shao Yong's "Observing Things" methodology.

物之大者無若天地，然而亦有所盡也。天之大，陰陽盡之矣；地之大，剛柔盡之矣。陰陽盡而四時成焉，剛柔盡而四維成焉。夫四時四維者，天地至大之謂也。凡言大者，無得而過之也，亦未始以大為自得，故能成其大。豈不謂至偉至偉者歟？

Among all things, the greatest are heaven and earth, but even heaven and earth have their limits that can be fully explored. Heaven is great because it can be fully described by the two terms yin and yang; earth is great because it can be fully described by the two terms strength and flexibility. Yin and yang fully explain the four seasons, spring, summer, autumn, and winter; strength and flexibility fully explain the four directions, southeast, northwest, and the other two. The four seasons and the four directions encompass the entirety of heaven's and earth's greatness. Anything that can be called great has nothing greater than itself; yet heaven and earth never take pride in their greatness. It is precisely because they do not claim to be great that their greatness is truly realized. Is this not the ultimate in greatness?

天生於動者也，地生於靜者也。一動一靜交，而天地之道盡之矣。動之始則陽生焉，動之極則陰生焉。一陰一陽交，而天之用盡之矣。靜之始則柔生焉，靜之極則剛生焉。一柔一剛交，而地之用盡之矣。

Heaven arises from movement, and Earth arises from stillness. One movement and one stillness interact with each other, and this is the principle of the operation of Heaven and Earth. When movement begins, yang energy arises; when movement reaches its extreme, yin energy arises. One yin and one yang interact with each other, and this is the function of Heaven. When stillness begins, the nature of softness arises; when stillness reaches its extreme, the nature of firmness arises. One softness and one firmness interact with each other, and this is the function of Earth. Shao Yong regarded movement and stillness as the fundamental principles of Heaven and Earth, and yin and yang, softness and firmness as their functions. All subsequent deductions and developments arise from these four characters.

動之大者，謂之太陽；動之小者，謂之少陽；靜之大者，謂之太陰；靜之小者，謂之少陰。太陽為日，太陰為月，少陽為星，少陰為辰。日月星辰交，而天之體盡之矣。靜之大者，謂之太柔；靜之小者，謂之少柔；動之大者，謂之太剛；動之小者，謂之少剛。太柔為水，太剛為火，少柔為土，少剛為石。水火土石交，而地之體盡之矣。日為暑，月為寒，星為晝，辰為夜。暑寒晝夜交，而天之變盡之矣。水為雨，火為風，土為露，石為雷。雨風露雷交，而地之化盡之矣。暑變物之性，寒變物之情，晝變物之形，夜變物之體。性情形體交，而動植之感盡之矣。雨化物之走，風化物之飛，露化物之草，雷化物之木。走飛草木交，而動植之應盡之矣。

Movement that is great is called "Taiyang" (Great Yang), and movement that is small is called "Shaoyang" (Less Yang); stillness that is great is called "Taiyin" (Great Yin), and stillness that is small is called "Shaoyin" (Less Yin). Taiyang manifests as the sun, Taiyin manifests as the moon, Shaoyang manifests as stars, and Shaoyin manifests as the constellations; the sun, moon, stars, and constellations interact with each other, and thus the form of heaven is fully explained. Stillness that is great is called "Tairou" (Great Softness), and stillness that is small is called "Shaorou" (Less Softness); movement that is great is called "Taigang" (Great Hardness), and movement that is small is called "Shaogang" (Less Hardness). Tairou manifests as water, Taigang manifests as fire, Shaorou manifests as earth, and Shaogang manifests as stone; water, fire, earth, and stone interact with each other, and thus the form of earth is fully explained. The sun governs heat, the moon governs cold, stars govern day, and constellations govern night; heat, cold, day, and night interact with each other, and thus the changes of heaven are fully explained. Water becomes rain, fire becomes wind, earth becomes dew, and stone becomes thunder; rain, wind, dew, and thunder interact with each other, and thus the nurturing of earth is fully explained. Heat changes the "nature" of things, cold changes the "emotion" of things, day changes the "form" of things, and night changes the "body" of things; nature, emotion, form, and body interact with each other, and thus the sensations of animals and plants are fully explained. Rain nurtures beasts, wind nurtures birds, dew nurtures grass, and thunder nurtures trees; beasts, birds, grass, and trees interact with each other, and thus the responses of animals and plants are fully explained. Shao Yong here divides heaven into four images of sun, moon, stars, and constellations, and earth into four bodies of water, fire, earth, and stone, then each generates four transformations and four nurturings, layer by layer divided into four parts, thus establishing a framework for all numbers mentioned later.

走感暑而變者，性之走也；感寒而變者，情之走也；感晝而變者，形之走也；感夜而變者，體之走也。飛感暑而變者，性之飛也；感寒而變者，情之飛也；感晝而變者，形之飛也；感夜而變者，體之飛也。草感暑而變者，性之草也；感寒而變者，情之草也；感晝而變者，形之草也；感夜而變者，體之草也。木感暑而變者，性之木也；感寒而變者，情之木也；感晝而變者，形之木也；感夜而變者，體之木也。

Animals that change due to the heat are those that change at the level of "nature"; those that change due to cold are at the level of "emotion"; those that change due to daylight are at the level of "form"; and those that change due to night are at the level of "body". Birds also follow this pattern: those that change due to heat are birds that change at the level of "nature"; those that change due to cold are at the level of "emotion"; those that change due to daylight are at the level of "form"; and those that change due to night are at the level of "body". Grasses are the same: those that change due to heat are grasses that change at the level of "nature"; those that change due to cold are at the level of "emotion"; those that change due to daylight are at the level of "form"; and those that change due to night are at the level of "body". Trees are also the same: those that change due to heat are trees that change at the level of "nature"; those that change due to cold are at the level of "emotion"; those that change due to daylight are at the level of "form"; and those that change due to night are at the level of "body". The four categories of animals, birds, grasses, and trees each correspond to the four levels of nature, emotion, form, and body, resulting in a total of sixteen combinations. This is how Heaven changes all things through the influence of heat, cold, day, and night, resulting in sixteen different transformations.

性應雨而化者，走之性也；應風而化者，飛之性也；應露而化者，草之性也；應雷而化者，木之性也。情應雨而化者，走之情也；應風而化者，飛之情也；應露而化者，草之情也；應雷而化者，木之情也。形應雨而化者，走之形也；應風而化者，飛之形也；應露而化者，草之形也；應雷而化者，木之形也。體應雨而化者，走之體也；應風而化者，飛之體也；應露而化者，草之體也；應雷而化者，木之體也。

Looking at it in reverse, "nature" (性) is generated in response to rain, corresponding to the nature of beasts; generated in response to wind, corresponding to the nature of birds; generated in response to dew, corresponding to the nature of grass; and generated in response to thunder, corresponding to the nature of wood. "Emotion" (情) is also like this: emotion generated in response to rain corresponds to the emotion of beasts; emotion generated in response to wind corresponds to the emotion of birds; emotion generated in response to dew corresponds to the emotion of grass; and emotion generated in response to thunder corresponds to the emotion of wood. "Form" (形) is also like this: form responding to rain corresponds to the form of beasts; form responding to wind corresponds to the form of birds; form responding to dew corresponds to the form of grass; and form responding to thunder corresponds to the form of wood. "Body" (体) is also like this: body responding to rain corresponds to the body of beasts; body responding to wind corresponds to the body of birds; body responding to dew corresponds to the body of grass; and body responding to thunder corresponds to the body of wood. The previous passage discussed how heaven changes things through heat, cold, and day and night; this passage discusses how earth transforms things through rain, wind, dew, and thunder, and how things respond through beasts, birds, grass, and wood. Each of "sensation" (感) and "response" (应) accounts for sixteen, making a total of thirty-two, thus placing the interaction between heaven and all things into a grid.

性之走善色，情之走善聲，形之走善氣，體之走善味；性之飛善色，情之飛善聲，形之飛善氣，體之飛善味；性之草善色，情之草善聲，形之草善氣，體之草善味；性之木善色，情之木善聲，形之木善氣，體之木善味；走之性善耳，飛之性善目，草之性善口，木之性善鼻；走之情善耳，飛之情善目，草之情善口，木之情善鼻；走之形善耳，飛之形善目，草之形善口，木之形善鼻；走之體善耳，飛之體善目，草之體善口，木之體善鼻。夫人也者，暑寒晝夜無不變，雨風露雷無不化，性情形體無不感，走飛草木無不應，所以目善萬物之色，耳善萬物之聲，鼻善萬物之氣，口善萬物之味。靈於萬物，不亦宜乎！

The animals of the category of walking creatures excel in discerning colors, those of the category of emotions excel in discerning sounds, those of the category of form excel in discerning odors, and those of the category of body excel in discerning flavors. Birds, herbs, and trees are also divided according to their nature, emotion, form, and body, each excelling in colors, sounds, odors, and flavors. Conversely, the nature of walking creatures excels in the ear, the nature of flying birds excels in the eye, the nature of herbs excels in the mouth, and the nature of trees excels in the nose. The three layers of emotion, form, and body in walking creatures, as well as the three layers in birds, herbs, and trees, all excel in the ear, eye, mouth, and nose respectively. As for humans, they are affected by heat and cold, day and night, nothing is unable to change them. They are transformed by rain, wind, dew, and thunder, nothing is unable to transform them. Their nature, emotion, form, and body are all responsive to everything, and nothing is unable to respond to them. Therefore, human eyes can perceive all colors of things, ears can perceive all sounds of things, nose can perceive all odors of things, and mouth can perceive all flavors of things. Humans are the most refined and intelligent among all things, is it not natural? Shao Yong first divided moving and growing things into sixteen categories, each with its own excellence, and then pointed out that only humans possess the four senses and four responses, encompassing all colors, sounds, odors, and flavors. This sets the stage for the next section, "Humans are the ultimate among things."

人之所以能靈於萬物者，謂其目能收萬物之色，耳能收萬物之聲，鼻能收萬物之氣，口能收萬物之味。聲色氣味者，萬物之體也；目耳鼻口者，萬人之用也。體無定用，惟變是用。用無定體，惟化是體。體用交而人物之道於是乎備矣。

Human beings are able to stand out among all things as uniquely refined and intelligent, because the eyes can receive the colors of all things, the ears can receive the sounds of all things, the nose can receive the odors of all things, and the mouth can receive the flavors of all things. Sound, color, odor, and taste are the "body" of all things, while the eyes, ears, nose, and mouth are the "functions" of people. The body does not have a fixed function; it generates function through change. The function does not have a fixed body; it forms the body through transformation. The interaction between body and function completes the principle between humans and things. In Shao Yong's view, "body" refers to the object being recognized, and "function" refers to the sensory organs capable of recognition. The interaction between the two leads to the possibility of knowledge.

然則人亦物也，聖亦人也。有一物之物，有十物之物，有百物之物，有千物之物，有萬物之物，有億物之物，有兆物之物。為兆物之物，豈非人乎？有一人之人，有十人之人，有百人之人，有千人之人，有萬人之人，有億人之人，有兆人之人。為兆人之人，豈非聖乎？

Thus, humans are also a type of thing, and sages are also a type of human. Among things, there are things that are worth only one thing, things worth ten things, things worth hundreds, thousands, myriad, hundred myriad, and myriad myriad things. Is there not a type of thing that is worth myriad myriad things? Would that not be humans? Among humans, there are also humans worth only one person, humans worth ten, hundred, thousand, myriad, hundred myriad, and myriad myriad people. Is there not a type of human that is worth myriad myriad people? Would that not be sages? Shao Yong used the seven levels of one, ten, hundred, thousand, myriad, hundred myriad, and myriad myriad to measure things and humans, to illustrate that although things are the same and humans are the same, their value can differ by the measure of myriad myriad. Humans occupy the highest level among things, and sages occupy the highest level among humans.

是知人也者，物之至者也；聖也者，人之至者也。物之至者，始得謂之物之物也；人之至者，始得謂之人之人也。夫物之物者，至物之謂也；人之人者，至人之謂也。以一至物而當一至人，則非聖人而何？人謂之不聖，則吾不信也。何哉？謂其能以一心觀萬心，一身觀萬身，一物觀萬物，一世觀萬世者焉。又謂其能以心代天意，口代天言，手代天功，身代天事者焉。又謂其能以上識天時，下盡地理，中盡物情，通照人事者焉。又謂其能以彌綸天地，出入造化，進退古今，表裡人物者焉。

From this we can see: humans are the ultimate among things; sages are the ultimate among humans. Only the ultimate thing is worthy of being called "the thing of things"; only the ultimate human is worthy of being called "the person of persons." By "the thing of things," we mean the ultimate thing; by "the person of persons," we mean the ultimate person. To use an ultimate thing to serve as an ultimate person, what else could such a person be but a sage? If someone were to say that such a person is not a sage, I would not believe it. Why? Because he can perceive the hearts of all people with his own heart, comprehend the bodies of all people with his own body, understand all things with a single object, and grasp all ages with a single era; because he can use his own heart to carry out the will of Heaven, his own mouth to proclaim the words of Heaven, his own hands to accomplish the deeds of Heaven, and his own body to undertake the affairs of Heaven; because he can comprehend the operation of Heaven's time above, the thoroughness of the earth's geography below, and the conditions of all things in between, and fully observe all human affairs; also because he can encompass heaven and earth, move freely within creation, travel between past and future, and connect the inside and outside of both people and things.

噫！聖人者，非世世而效聖焉，吾不得而目見之也。雖然吾不得而目見之，察其心，觀其跡，探其體，潛其用，雖億千萬年亦可以理知之也。人或告我曰：“天地之外，別有天地萬物，異乎此天地萬物。”則吾不得而知之也。非惟吾不得而知之也，聖人亦不得而知之也。凡言知者，謂其心得而知之也；言言者，謂其口得而言之也。既心尚不得而知之，口又惡得而言之乎？以心不可得知而知之，是謂妄知也；以口不可得言而言之，是謂妄言也。吾又安能從妄人而行妄知妄言者乎？

Alas! The sages are not found in every generation, and I have no opportunity to see them with my own eyes. Although I cannot see them directly, I can still examine their intentions, observe their actions, explore their essence, and experience their functions. Even if there is a separation of millions of years, I can still understand them through reason. If someone were to tell me, "Beyond this heaven and earth, there exists another heaven and earth with all things, entirely different from the present heaven and earth and its things," I would have no way of knowing it. Not only would I not know, but the sages would also not know. Whenever it is said "to know," it refers to the mind's ability to comprehend; whenever it is said "to speak," it refers to the mouth's ability to express. If the mind cannot comprehend, how can the mouth express it? To claim to know something the mind cannot comprehend is called "false knowledge"; to attempt to speak about something the mouth cannot clearly express is called "false speech." How could I follow such a foolish person and engage in false knowledge and false speech?

《易》曰：“窮理盡性以至於命。”所以謂之理者，物之理也。所以謂之性者，天之性也。所以謂之命者，處理性者也。所以能處理性者，非道而何？是知道為天地之本，天地為萬物之本。以天地觀萬物，則萬物為萬物；以道觀天地，則天地亦為萬物。道之道盡之於天矣，天之道盡之於地矣，天地之道盡之於萬物矣，天地萬物之道盡之於人矣。人能知其天地萬物之道所以盡於人者，然後能盡民也。

The "Zhou Yi · Shuo Gua Zhuan" says: "To thoroughly investigate the principles of things, to exhaust the nature of things, and to push forward until reaching the mandate of Heaven." Here, the "principle" refers to the principle of all things; the "nature" refers to the inherent nature bestowed by Heaven; and the "mandate" refers to the foundation where principle and nature are established. What else but the "Dao" can serve as the foundation for principle and nature? From this we can understand: the Dao is the root of Heaven and Earth, and Heaven and Earth are the root of all things. When viewed from the perspective of Heaven and Earth, all things are merely things; but when viewed from the perspective of the Dao, Heaven and Earth are no more than one member among all things. The principle of the Dao is most fully expressed in Heaven; the principle of Heaven is most fully expressed in Earth; the principle of Heaven and Earth is most fully expressed in all things; and the principle of Heaven, Earth, and all things is most fully expressed in human beings. Only when humans understand why the principle of Heaven, Earth, and all things is uniquely fully expressed in human beings can they truly deal with the affairs of the people.

天之能盡物，則謂之曰昊天；人之能盡民，則謂之曰聖人。謂昊天能異乎萬物，則非所以謂之昊天也；謂聖人能異乎萬民，則非所以謂之聖人也。萬民與萬物同，則聖人固不異乎昊天者矣。然則聖人與昊天為一道。聖人與昊天為一道，則萬民與萬物亦可以為一道。一世之萬民與一世之萬物既可以為一道，則萬世之萬民與萬世之萬物，亦可以為一道也，明矣。

Heaven can care for all things thoroughly, hence it is called "Hao Tian"; a sage can care for the people thoroughly, hence he is called "sage". If it were said that Hao Tian and all things are separate, then it would not be worthy of being called Hao Tian; if it were said that a sage and the people are separate, then it would not be worthy of being called a sage. Since the people and all things are of the same kind, a sage naturally is no different from Hao Tian. Therefore, the sage and Hao Tian follow the same path. Since the sage and Hao Tian follow the same path, the people and all things can also be regarded as following the same path. The people of one era and all things of one era can be regarded as following the same path; thus, the people of all ages and all things of all ages following the same path is clearly evident.

夫昊天之盡物，聖人之盡民，皆有四府焉。昊天之四府者，春夏秋冬之謂也，陰陽升降於其間矣；聖人之四府者，《易》、《書》、《詩》、《春秋》之謂也，禮樂汙隆於其間矣。春為生物之府，夏為長物之府，秋為收物之府，冬為藏物之府。號物之庶謂之萬，雖曰萬之又萬，其庶能出此昊天之四府者乎？《易》為生民之府，《書》為長民之府，《詩》為收民之府，《春秋》為藏民之府。號民之庶謂之萬，雖曰萬之又萬，其庶能出此聖人之四府者乎？昊天之四府者，時也；聖人之四府者，經也。昊天以時授人，聖人以經法天，天人之事當如何哉？

Heavenly Mandate oversees all things, and sages oversee all people, each having four "treasuries." The four treasuries of Heavenly Mandate are spring, summer, autumn, and winter, with yin and yang energies rising and circulating within them. The four treasuries of sages are the Book of Changes, the Book of Documents, the Book of Poetry, and the Spring and Autumn Annals, with rites and music either declining or flourishing within them. Spring is the treasury of growth, summer the treasury of development, autumn the treasury of harvest, and winter the treasury of storage. People describe the multitude of things as "ten thousand," yet even if ten thousand multiplied by ten thousand, can they escape the four treasuries of Heavenly Mandate? The Book of Changes is the treasury of human life, the Book of Documents the treasury of human development, the Book of Poetry the treasury of human harvest, and the Spring and Autumn Annals the treasury of human storage. People also describe the multitude of people as "ten thousand," yet even if ten thousand multiplied by ten thousand, can they escape the four treasuries of sages? The four treasuries of Heavenly Mandate are "seasons," and the four treasuries of sages are "classics." Heavenly Mandate uses the four seasons to bestow the seasons upon people, and sages use the four classics to follow the pattern of Heaven. What else is there between Heaven and humanity besides this?

觀春則知《易》之所存乎？觀夏則知《書》之所存乎？觀秋則知《詩》之所存乎？觀冬則知《春秋》之所存乎？

Looking at spring, one should understand what the Book of Changes establishes. Looking at summer, one should understand what the Book of Documents establishes. Looking at autumn, one should understand what the Book of Poetry establishes. Looking at winter, one should understand what the Spring and Autumn Annals establish. The previous passage already paired the four seasons with the four classics: the Book of Changes, the Book of Documents, the Book of Poetry, and the Spring and Autumn Annals. Here, it is reversed: the growth, flourishing, harvest, and storage of the four seasons correspond exactly to the intent of the four classics.

《易》之《易》者，生生之謂也；《易》之書者，生長之謂也；《易》之《詩》者，生收之謂也；《易》之《春秋》者，生藏之謂也。《書》之《易》者，長生之謂也；《書》之《書》者，長長之謂也；《書》之《詩》者，長收之謂也；《書》之《春秋》者，長藏之謂也。《詩》之《易》者，收生之謂也；《詩》之《書》者，收長之謂也；《詩》之《詩》者，收收之謂也；《詩》之《春秋》者，收藏之謂也。《春秋》之《易》者，藏生之謂也；《春秋》之《書》者，藏長之謂也；《春秋》之《詩》者，藏收之謂也；《春秋》之《春秋》者，藏藏之謂也。

The "Yi" within the "Yi" refers to "life within life"; the "Book" within the "Yi" refers to "life within growth"; the "Poetry" within the "Yi" refers to "life within harvest"; and the "Spring and Autumn Annals" within the "Yi" refers to "life within storage." The "Yi" within the "Book" refers to "growth within life"; the "Book" within the "Book" refers to "growth within growth"; the "Poetry" within the "Book" refers to "growth within harvest"; and the "Spring and Autumn Annals" within the "Book" refers to "growth within storage." The "Yi" within the "Poetry" refers to "harvest within life"; the "Book" within the "Poetry" refers to "harvest within growth"; the "Poetry" within the "Poetry" refers to "harvest within harvest"; and the "Spring and Autumn Annals" within the "Poetry" refers to "harvest within storage." The "Yi" within the "Spring and Autumn Annals" refers to "storage within life"; the "Book" within the "Spring and Autumn Annals" refers to "storage within growth"; the "Poetry" within the "Spring and Autumn Annals" refers to "storage within harvest"; and the "Spring and Autumn Annals" within the "Spring and Autumn Annals" refers to "storage within storage." Each of the four classics contains four meanings, and four multiplied by four gives sixteen. Shao Yong used this to interweave the four classics into a square array, following the same method as the earlier calculation of pairing the sun and moon with the stars, water, fire, earth, and stone. The second sentence originally read "the Book of Yi," with the character "Book" not enclosed in quotation marks, and this remains unchanged.

生生者，修夫意者也；生長者，修夫言者也；生收者，修夫象者也；生藏者，修夫數者也。長生者，修夫仁者也；長長者，修夫禮者也；長收者，修夫義者也；長藏者，修夫智者也。收生者，修夫性者也；收長者，修夫情者也；收收者，修夫形者也；收藏者，修夫體者也。藏生者，修夫聖者也；藏長者，修夫賢者也；藏收者，修夫才者也；藏藏者，修夫術者也。

"The 'life of life' cultivates 'intent'; 'life of growth' cultivates 'speech'; 'life of collection' cultivates 'images'; 'life of concealment' cultivates 'numbers.' 'Growth of life' cultivates 'benevolence'; 'growth of growth' cultivates 'ritual'; 'growth of collection' cultivates 'righteousness'; 'growth of concealment' cultivates 'wisdom.' 'Collection of life' cultivates 'nature'; 'collection of growth' cultivates 'emotion'; 'collection of collection' cultivates 'form'; 'collection of concealment' cultivates 'body.' 'Concealment of life' cultivates 'sagehood'; 'concealment of growth' cultivates 'virtue'; 'concealment of collection' cultivates 'talent'; 'concealment of concealment' cultivates 'technique.' The sixteen categories from the previous passage are each matched with a heading here: intent, speech, images, numbers belong to the Book of Changes; benevolence, ritual, righteousness, wisdom belong to the Book of Documents; nature, emotion, form, body belong to the Book of Poetry; sagehood, virtue, talent, technique belong to the Spring and Autumn Annals."

修夫意者，三皇之謂也；修夫言者，五帝之謂也；修夫象者，三王之謂也；修夫數者，五伯之謂也。修夫仁者，有虞之謂也；修夫禮者，有夏之謂也；修夫義者，有商之謂也；修夫智者，有周之謂也。修夫性者，文王之謂也；修夫情者，武王之謂也；修夫形者，周公之謂也；修夫體者，召公之謂也；修夫聖者，秦穆之謂也；修夫賢者，晉文之謂也；修夫才者，齊桓之謂也；修夫術者，楚莊之謂也。

Those who cultivated "intent" are the Three Sovereigns; those who cultivated "speech" are the Five Emperors; those who cultivated "image" are the Three Kings; those who cultivated "numbers" are the Five Hegemons of the Spring and Autumn period. Those who cultivated "benevolence" are the time of Yu and Shun; those who cultivated "ritual" are the Xia Dynasty; those who cultivated "righteousness" are the Shang Dynasty; those who cultivated "wisdom" are the Zhou Dynasty. Those who cultivated "nature" are King Wen of Zhou; those who cultivated "emotion" are King Wu of Zhou; those who cultivated "form" are Duke of Zhou; those who cultivated "body" are Grand Duke Zhao Gao. Those who cultivated "saintly virtue" are Duke Mu of Qin; those who cultivated "virtue" are Duke Wen of Jin; those who cultivated "talent" are Duke Huan of Qi; those who cultivated "artifice" are Duke Zhuang of Chu. Shao Yong assigned each of the sixteen categories from the previous passage to specific dynasties and individuals, thus incorporating history into his four-by-four grid.

皇、帝、王、伯者，《易》之體也；虞、夏、商、周者，《書》之體也；文、武、周、召者，《詩》之體也；秦、晉、齊、楚者，《春秋》之體也。意、言、象、數者，《易》之用也；仁、義、禮、智者，《書》之用也；性、情、形、體者，《詩》之用也；聖、賢、才、術者，《春秋》之用也。用也者，心也。體也者，跡也。心跡之間，有權存焉者，聖人之事也。

The four categories of Emperor, King, Sovereign, and Hegemon are the "body" of the Book of Changes; the four dynasties of Yu, Xia, Shang, and Zhou are the "body" of the Book of Documents; the four figures of King Wen, King Wu, Duke Zhou, and Zhao Gong are the "body" of the Book of Poetry; and the four states of Qin, Jin, Qi, and Chu are the "body" of the Spring and Autumn Annals. The four aspects of intention, speech, image, and numbers are the "use" of the Book of Changes; the four virtues of benevolence, righteousness, propriety, and wisdom are the "use" of the Book of Documents; the four elements of nature, emotion, form, and body are the "use" of the Book of Poetry; and the four categories of sage, virtuous person, talent, and technique are the "use" of the Spring and Autumn Annals. The "use" refers to the mind; the "body" refers to the traces. Between the mind and the traces there is a "flexibility" — adapting to the times and adjusting according to circumstances, which is the proper duty of the sages.

三皇同意而異化，五帝同言而異教，三王同象而異勸，五伯同數而異率。同意而異化者，必以道。以道化民者，民亦以道歸之，故尚自然。夫自然者，無為無有之謂也。無為者，非不謂也，不固為者也，故能廣；無有者，非不有也，不固有者也，故能大。廣大悉備而不固為固有者，其惟三皇乎？是故知能以道化天下者，天下亦以道歸焉。所以聖人有言曰：“我無為而民自化，我無事而民自富，我好靜而民自正，我無慾而民自樸。”其斯之謂歟？

Three Emperors shared the same intention but had different teachings, Five Emperors shared the same words but had different instructions, Three Kings shared the same images but had different encouragements, and Five Hegemons shared the same numbers but had different leadership. What is called the same intention but different teachings must rely on the Dao. Using the Dao to cultivate the people, the people would then use the Dao to follow him, so the era of the Three Emperors emphasized naturalness. What is called naturalness is "non-action" and "non-possession." Non-action does not mean doing nothing, but not being rigid in action, thus being broad-minded; non-possession does not mean having nothing, but not being rigid in possession, thus being grand. Being broad and grand, possessing everything yet not being rigid in action or possession, this is probably something only the Three Emperors could achieve. Therefore, one can understand that those who use the Dao to cultivate the world will have the world follow them with the Dao. Thus, the 57th chapter of the Laozi says: "I do not act recklessly, and the people naturally become harmonious; I do not meddle in affairs, and the people naturally become prosperous; I love tranquility, and the people naturally become upright; I have no greed, and the people naturally become simple." This is exactly what it refers to. Note: The character "wei" in "non-acting is not not doing" is likely a mistake for "wei" (action), as the original text reads so, and we preserve the original version.

三皇同仁而異化，五帝同禮而異教，三王同義而異勸，五伯同智而異率。同禮而異教者，必以德。以德教民者，民亦以德歸之，故尚讓。夫讓也者，先人後己之謂也。以天下授人而不為輕，若素無之也。受人之天下而不為重，若素有之也。若素無素有者，謂不己無己有之也。若己無已有，則舉一毛以取與於人，猶有貪吝之心生焉，而況天下者乎？能知其天下之天下，非己之天下者，其惟五帝乎？是故知能以德教天下者，天下亦以德歸焉。所以聖人有言曰：“垂衣裳而天下治。”蓋取諸乾坤，其斯之謂歟？

Three Emperors shared the virtue of "ren" (benevolence) but had different teachings, Five Emperors shared the virtue of "li" (ritual) but had different guidance, Three Kings shared the virtue of "yi" (righteousness) but had different encouragement, and Five Hegemons shared the virtue of "zhi" (wisdom) but had different leadership. The saying that they shared the same ritual but had different teachings must be based on "de" (virtue). Using virtue to teach the people, the people would then use virtue to follow him. Therefore, in the time of the Five Emperors, the practice of humility and selflessness was highly valued. Humility means putting others first and oneself last. Giving the entire world to someone else without feeling it is an easy abandonment, as if one had never possessed it; receiving the world from someone else without feeling it is a heavy burden, as if one had always possessed it. The phrase "never having had it and always having had it" means not attaching oneself to the concepts of "non-existence" and "existence." If one's mind is attached to the thoughts of "I do not have it" or "I have it," then even giving a single hair would give rise to greed and stinginess, let alone the whole world. To understand that the world belongs to all people and not to oneself alone, this understanding was probably only possessed by the Five Emperors. From this, we can see that those who use virtue to guide the world will have the world follow them with virtue. Therefore, the "Great Treatise" of the "Zhou Changes" says, "governing the world by hanging one's robe and folding one's arms." This is modeled after the meanings of the Qian and Kun trigrams, which convey exactly this idea.

三皇同性而異化，五帝同情而異教，三王同形而異勸，五伯同體而異率。同形而異勸者，必以功。以功勸民者，民亦以功歸之，故尚政。夫政也者，正也，以正正夫不正之謂也。天下之正，莫如利民焉；天下之不正，莫如害民焉。能利民者正，則謂之曰王矣；能害民者不正，則謂之曰賊矣。以利除害，安有去王耶？以王去賊，安有弒君耶？是故知王者正也，能以功正天下之不正者，天下亦以功歸焉。所以聖人有言曰：“天地革而四時成。湯武革命，順乎天而應乎人。”其斯之謂歟？

Three Emperors were the same in nature but had different teachings, five Emperors were the same in emotion but had different guidance, three Kings were the same in form but had different encouragement, and five Hegemons were the same in body but had different leadership. What is meant by being the same in form but different in encouragement is that it must rely on "merit." Using meritorious deeds to encourage the people, the people would then use meritorious deeds to follow him. Therefore, the age of the three Kings emphasized governance. What is meant by governance is "rectitude," using rectitude to correct what is not rectitude. The most rectitudinous thing in the world is to benefit the people; the most unrectitudinous thing is to harm the people. To benefit the people is to be rectitudinous, and such a person is called a King; to harm the people is to be unrectitudinous, and such a person is called a bandit. Using the beneficial to remove the harmful, how can it be called removing a King? Using a King to remove a bandit, how can it be called弑君 (killing the sovereign)? From this we can know that a King is rectitude; one who can use meritorious deeds to correct the unrectitude of the world, the world will then use meritorious deeds to follow him. Therefore, the Commentary on the Judgment of the "Revolution" hexagram in The Zhou Changes says: "Heaven and Earth undergo change, and the four seasons are formed. King Tang of Shang and King Wu of Zhou changed the mandate of heaven, above conforming to the will of heaven and below responding to the hearts of the people." This is exactly the meaning of this.

三皇同聖而異化，五帝同賢而異教，三王同才而異勸，五伯同術而異率。同術而異率者，必以力。以力率民者，民亦以力歸之，故尚爭。夫爭也者，爭夫利者也。取以利不以義，然後謂之爭。小爭交以言，大爭交以兵，爭夫強弱者也。猶借夫名焉者，謂之曲直；名也者，命物正事之稱也；利也者，養人成務之具也。名不以仁，無以守業；利不以義，無以居功。利不以功居，名不以業守，則亂矣，民所以必爭之也。

Three Emperors shared the virtue of "sainthood" but had different teachings, Five Emperors shared the virtue of "virtue" but had different guidance, Three Kings shared the virtue of "talent" but had different encouragement, and Five Hegemons shared the virtue of "method" but had different leadership. What is meant by the same method but different leadership is certainly relying on "force." Using military force to lead the people, the people will use military force to submit to him, so the age of the Hegemons emphasized competition. What is meant by competition is competing for profit. Taking things only considers profit and not righteousness, this is called competition. Small disputes are settled by verbal arguments, great disputes are settled by weapons, competing for who is stronger. In the midst of competition, one must rely on a name, which is called "right and wrong." "Name" is the term that defines things and establishes the proper order; "profit" is the means to sustain people and achieve success. If name is not based on benevolence, the foundation will not be maintained; if profit is not based on righteousness, the merit will not be upheld. Profit obtained without merit and name held without foundation will lead to chaos in the world, and the people will have no choice but to compete.

五伯者，借虛名以爭實利者也。帝不足則王，王不足則伯，伯又不足則左衽矣。然則五伯不謂無功於中國，語其王則未也，過左衽則遠矣。周之東遷，文武之功德於是乎盡矣，猶能維持二十四君，王室不絕如線，秦楚不敢屠害中原者，由五伯借名之力也。是故知能以力率天下者，天下亦以力歸焉。所以聖人有言曰：“眇能視，跛能履。履虎尾，咥人凶。武人為于大君。”其斯之謂歟？

The Five Hegemons were people who used empty titles to compete for real benefits. If one's status as an emperor was insufficient, they would step down to be a king; if one's status as a king was insufficient, they would step down to be a hegemon; if one's status as a hegemon was still insufficient, then the Central Plains would become a land of uncivilized people with uncombed hair and left sleeves, known as the夷狄. Thus, the Five Hegemons cannot be said to have no contributions to the Central Plains. To say they were worthy of the Way of the King, they still lacked one level, but compared to becoming夷狄, it was still far better. After the Eastern Migration of the Zhou Dynasty, the virtues and merits of King Wen and King Wu had already been exhausted, yet they could still maintain twenty-four kings. Although the royal house was declining, it had not perished, and the states of Qin and Chu dared not openly slaughter the Central Plains. This was precisely due to the power generated by the titles of the Five Hegemons. From this we can see that whoever could use military force to rule the world, the world would use military force to submit to him. Therefore, the Line Statement of the sixth line in the third position of the "Foot" hexagram in The Zhou Changes says: "Having half-blind eyes yet trying to see, having a lame leg yet trying to walk; stepping on a tiger's tail, being bitten by the tiger, dangerous; this is the appearance of a brave person serving the great sovereign." This is precisely describing the situation of the Five Hegemons.

夫意也者，盡物之性也；言也者，盡物之情也；象也者，盡物之形也；數也者，盡物之體也。仁也者，盡人之聖也；禮也者，盡人之賢也；義也者，盡人之才也；智也者，盡人之術也。盡物之性者謂之道，盡物之情者謂之德，盡物之形者謂之功，盡物之體者謂之力。盡人之聖者謂之化，盡人之賢者謂之教，盡人之才者謂之勸，盡人之術者謂之率。道德功力者，存乎體者也；化教勸率者，存乎用者也。體用之間有變存焉者，聖人之業也。

The term "intent" refers to thoroughly examining the nature of things; "speech" refers to thoroughly examining the emotions of things; "image" refers to thoroughly examining the forms of things; and "number" refers to thoroughly examining the essence of things. "Ren" refers to thoroughly examining the saintly qualities within a person; "Li" refers to thoroughly examining the virtuous qualities within a person; "Yi" refers to thoroughly examining the talents within a person; and "Zhi" refers to thoroughly examining the techniques within a person. Thoroughly examining the nature of things is called "Dao"; thoroughly examining the emotions of things is called "De"; thoroughly examining the forms of things is called "Gong"; and thoroughly examining the essence of things is called "Li". Thoroughly examining the saintly qualities within a person is called "Hua"; thoroughly examining the virtuous qualities within a person is called "Jiao"; thoroughly examining the talents within a person is called "Qian"; and thoroughly examining the techniques within a person is called "Lv". Dao, De, Gong, and Li belong to the category of "body" (ti), while Hua, Jiao, Qian, and Lv belong to the category of "function" (yong). Between body and function lies a "change" (bian), which is the endeavors of sages.

夫變也者，昊天生萬物之謂也；權也者，聖人生萬民之謂也。非生物，非生民，而得謂之權變乎？

The term "change" refers to the Heaven generating all things; the term "authority" refers to the sage nurturing all people. If one cannot generate all things and nurture all people, how can it be called change and authority? The previous text mentioned that between essence and function there is "change," and between mind and action there is "authority." Here it clarifies that change and authority are not mere ad hoc adjustments in dealing with affairs, but rather the continuous capacity of creation and governance.

善化天下者，止於盡道而已；善教天下者，止於盡德而已；善勸天下者，止於盡功而已；善率天下者，止於盡力而已。以道德功力為化者，乃謂之皇矣；以道德功力為教者，乃謂之帝矣；以道德功力為勸者，乃謂之王矣；以道德功力為率者，乃謂之伯矣。以化教勸率為道者，乃謂之《易》矣；以化教勸率為德者，乃謂之《書》矣；以化教勸率為功者，乃謂之《詩》矣；以化教勸率為力者，乃謂之《春秋》矣。此四者，天地始則始焉，天地終則終焉，終始隨乎天地者也。

Those who are skilled in nurturing the world exhaust the "Dao" and reach the end; those skilled in teaching the world exhaust the "De" and reach the end; those skilled in encouraging the world exhaust the "Gong" and reach the end; those skilled in leading the world exhaust the "Li" and reach the end. Using Dao, De, Gong, and Li for nurturing, teaching, encouraging, and leading, respectively, are called the "Huang," "Di," "Wang," and "Ba." Conversely, reducing nurturing, teaching, encouraging, and leading to Dao results in the "Yi"; reducing them to De results in the "Shu"; reducing them to Gong results in the "Shi"; reducing them to Li results in the "Chunqiu." The four categories of Huang, Di, Wang, and Ba, along with the four classics, have existed since the beginning of heaven and earth and will end when heaven and earth end, always following the course of heaven and earth.

夫古今者，在天地之間猶旦暮也。以今觀今，則謂之今矣；以後觀今，則今亦謂之古矣；以今觀古，則謂之古矣；以古自觀，則古亦謂之今矣。是知古亦未必為古，今亦未必為今，皆自我而觀之也。安知千古之前，萬古之後，其人不自我而觀之也。

The ancient and the modern exist between heaven and earth, no different from the morning and the evening of a single day. When we look at today from today's perspective, it naturally is called "now"; but when viewed from the perspective of later generations, today becomes "ancient." When we look at the past from today's perspective, it is called "ancient"; yet if the ancients themselves viewed their own time, that time was also "now." From this we can see that "ancient" may not truly be ancient, and "now" may not truly be now—it all depends on the perspective from which one views it. How then can we be certain that people from thousands of years ago and those from ten thousand years in the future do not also view their own times in the same way?

若然，則皇帝王伯者，聖人之時也；《易》、《書》、《詩》、《春秋》者，聖人之經也。時有消長，經有因革。時有消長，否泰盡之矣；經有因革，損益盡之矣。否泰盡而體用分，損益盡而心跡判。體與用分，心與跡判，聖人之事業於是乎備矣。

So, the terms "huang", "di", "wang", and "ba" refer to the "time" in which sages operate, and the classics "Yi", "Shu", "Shi", and "Chunqiu" are the "canons" established by sages. Time has periods of decline and growth, and canons have elements of continuity and change. The ebb and flow of time are fully explained by the two hexagrams "Pu" and "Tai"; the continuity and change of canons are fully explained by the two hexagrams "Sun" and "Yi". When "Pu" and "Tai" are fully explained, the distinction between principle and application becomes clear; when "Sun" and "Yi" are fully explained, the distinction between mind and practice becomes clear. Once principle and application are clearly distinguished, and mind and practice are clearly separated, the achievements of sages are complete.

所以自古當世之君天下者，其命有四焉：一曰正命，二曰受命，三曰改命，四曰攝命。正命者，因而因者也；受命者，因而革者也；改命者，革而因者也；攝命者，革而革者也。因而因者，長而長者也；因而革者，長而消者也；革而因者，消而長者也；革而革者，消而消者也。革而革者，一世之事業也；革而因者，十世之事業也；因而革者，百世之事業也；因而因者，千世之事業也。可以因則因，可以革則革者，萬世之事業也。一世之事業者，非五伯之道而何？十世之事業者，非三王之道而何？百世之事業者，非五帝之道而何？千世之事業者，非三皇之道而何？萬世之事業者，非仲尼之道而何？是知皇帝王伯者，命世之謂也。仲尼者，不世之謂也。

Therefore, since ancient times, those who ruled the world received their mandate in four ways: first, by proper inheritance; second, by receiving the mandate; third, by changing the mandate; and fourth, by seizing the mandate. Proper inheritance means both inheriting and continuing; receiving the mandate means first inheriting and then changing; changing the mandate means first changing and then inheriting; seizing the mandate means both changing and continuing. Those who both inherit and continue will have long-lasting success; those who inherit and then change will first grow and then decline; those who change and then inherit will first decline and then grow; those who both change and continue will experience continuous decline. Those who both change and continue can only achieve success for one generation; those who change and then inherit can achieve success for ten generations; those who inherit and then change can achieve success for a hundred generations; those who both inherit and continue can achieve success for a thousand generations; and those who inherit when appropriate and change when appropriate can achieve success for ten thousand generations. A success for one generation is not the way of the Five Hegemons; a success for ten generations is not the way of the Three Kings; a success for a hundred generations is not the way of the Five Emperors; a success for a thousand generations is not the way of the Three Sovereigns; and a success for ten thousand generations is the way of Confucius. From this, we can see that the Emperors, Emperors, Kings, and Hegemons are all people who appear in response to the needs of a particular era; Confucius, however, is a person not limited to any single generation.

仲尼曰：“殷因於夏禮，所損益可知也；周因於殷禮，所損益可知也；其或繼周者，雖百世可知也。”如是，則何止於百世而已哉？億千萬世皆可得而知之也。

Confucius said in the "Analects of Confucius," "The Shang dynasty inherited the rites of the Xia dynasty, and what was reduced or added can be known; the Zhou dynasty inherited the rites of the Shang dynasty, and what was reduced or added can also be known. If there were a dynasty that came after the Zhou dynasty, even if it lasted for a hundred generations, it could still be foreknown." Following this principle, how could it be only a hundred generations? Even a hundred million generations could also be known.

人皆知仲尼之為仲尼，不知仲尼之所以為仲尼。不欲知仲尼之所以為仲尼則已，如其必欲知仲尼之所以為仲尼，則舍天地將奚之焉？人皆知天地之為天地，不知天地之所以為天地。不欲知天地之所以為天地則已，如其必欲知天地之所以為天地，則舍動靜將奚之焉？夫一動一靜者，天地之至妙者歟？夫一動一靜之間者，天地人之至妙至妙者歟？是故知仲尼之所以能盡三才之道者，謂其行無轍跡也。故有言曰：“予欲無言。”又曰：“天何言哉！四時行焉，百物生焉。”其斯之謂歟？

Everyone knows Confucius is Confucius, but does not know the reason why Confucius became Confucius. If one does not wish to know, that is fine; but if one insists on knowing why Confucius became Confucius, then apart from Heaven and Earth, where else can one find the answer? Everyone knows Heaven and Earth are Heaven and Earth, but does not know the reason why Heaven and Earth became Heaven and Earth. If one does not wish to know, that is fine; but if one insists on knowing why Heaven and Earth became Heaven and Earth, then apart from the terms 'movement' and 'stillness', where else can one find the answer? One movement and one stillness, perhaps represent the most subtle principle in the universe. And the point where movement and stillness meet, perhaps represents the most subtle aspect among Heaven, Earth, and humanity. From this we can see that Confucius was able to thoroughly understand the principles of Heaven, Earth, and humanity because his actions left no trace. Therefore he said, 'I think of nothing and say nothing.' He also said, 'What has Heaven said? The four seasons still proceed in order, and all things still grow.' Both statements are found in the 'Yanghuo' chapter of the 'Analects,' and they express exactly this meaning.

孔子贊《易》自羲軒而下，序《書》自堯舜而下，刪《詩》自文武而下，修《春秋》自桓文而下。自羲軒而下，祖三皇也；自堯舜而下，宗五帝也；自文武而下，子三王也；自桓文而下，孫五伯也。祖三皇，尚賢也；宗五帝，亦尚賢也。三皇尚賢以道，五帝尚賢以德。子三王，尚親也；孫五伯，亦尚親也。三王尚親以功，五伯尚親以力。

Confucius composed commentaries on the Zhou Changes, beginning with Fuxi and Huangdi; he arranged the Shangshu, beginning with Yao and Shun; he edited the Shijing, beginning with King Wen and King Wu; and he compiled the Chouspring, beginning with Duke Huan of Qi and Duke Wen of Jin. To begin with Fuxi and Huangdi is to regard the Three Emperors as ancestors; to begin with Yao and Shun is to regard the Five Emperors as forefathers; to begin with King Wen and King Wu is to regard the Three Kings as sons; to begin with Duke Huan and Duke Wen is to regard the Five Hegemons as grandsons. To regard the Three Emperors as ancestors is to value virtue; to regard the Five Emperors as forefathers is also to value virtue—only the Three Emperors relied on 'Dao' to value virtue, while the Five Emperors relied on 'De'. To regard the Three Kings as sons is to value closeness; to regard the Five Hegemons as grandsons is also to value closeness—only the Three Kings relied on 'Gong' to value closeness, while the Five Hegemons relied on 'Li' to value closeness.

嗚呼！時之既往億萬千年，時之未來亦億萬千年。仲尼中間生而為人，何祖宗之寡而子孫之多耶？此所以重贊堯舜，至禹則曰：“禹，吾無間然矣。”仲尼後禹千五百餘年，今之後仲尼又千五百餘年。雖不敢比夫仲尼上贊堯舜禹，豈不敢比孟子上贊仲尼乎？人謂仲尼，惜乎無土。吾獨以為不然。匹夫以百畝為土，大夫以百里為土，諸侯以四境為土，天子以四海為土，仲尼以萬世為土。若然，則孟子言“自生民以來未有如夫子”，斯亦未為之過矣。

Alas! The time that has already passed is measured in billions of years, and the time yet to come is also billions of years. Confucius was born exactly in the middle, becoming a human being, so why did his ancestors number so few while his descendants are so numerous? It is precisely for this reason that he repeatedly praised Yao and Shun, and when he spoke of Yu, he said, "Yu, I find no fault in him." Confucius was born 1,500 years after Yu, and today we are 1,500 years after Confucius. Though I dare not compare myself to Confucius in praising Yao, Shun, and Yu, am I not then bold enough to compare myself to Mencius in praising Confucius? People often lament that Confucius did not have a fief. I hold a different view: commoners have a hundred mu of land as their fief, ministers have a hundred li of territory as their fief, dukes have the borders of their state as their fief, and the Son of Heaven has the four seas as his fief. But Confucius has the ages to come as his fief. In this light, Mencius' statement that "since the beginning of humanity, there has been no one who can surpass the Master" is not an overstatement.

夫人不能自富，必待天與其富，然後能富。人不能自貴，必待天與其貴，然後能貴。若然則富貴在天也，不在人也。有求而得之者，有求而不得者矣，是繫乎天者也。功德在人也，不在天也，可修而得之，不修則不得。是非繫乎天也，繫乎人者也。夫人之能求而得富貴者，求其可得者也；非其可得者，非所以能求之也。

A person cannot become rich by himself; he must be given richness by heaven, only then can he become rich. A person cannot become noble by himself; he must be given nobility by heaven, only then can he become noble. Thus, richness and nobility are in heaven, not in man. Some people seek and obtain them, while others seek and do not obtain them. This is the part that depends on heaven. Merit and virtue, however, are in man, not in heaven. If one is willing to cultivate, he can obtain them; if not, he cannot. This does not depend on heaven but on man. The reason why a person can seek and obtain richness and nobility is that what he seeks is already within the realm of obtainability. If it is not within the realm of obtainability from the beginning, there is no way to seek it. Shao Yong distinguishes 'ming' (destiny) and 'gong' (merit) clearly here: half is given to heaven, and half is left to man. This is the premise of his discussion on destiny.

昧者不知求而得之，則謂其己之能得也，故矜之。求而失之，則謂其人之不與也，故怨之。如知其己之所以能得，人之所以能與，則天下安有不知量之人耶？天下至富也，天子至貴也，豈可妄意求而得之也？雖曰天命，亦未始不由積功累行。聖君艱難以成之，庸君暴虐以壞之，是天歟？是人歟？是知人作之咎，固難逃已；天降之災，禳之奚益？積功累行，君子常分，非有求而然也。有求而然者，所謂利乎仁者也。君子安有餘事於其間哉？然而有幸有不幸者，始可以語命也已。

A foolish person does not understand this principle: if one seeks and obtains something, they think it is all due to their own ability and thus boast; if one seeks and fails to obtain, they think it is because others are not willing to help and thus complain. If one understands why they can obtain something and why others are willing to give, then there would be no one in the world who is out of their depth. The world is the greatest treasure, and the Son of Heaven holds the highest position; how could one obtain these by mere wishful thinking? Although this is said to be heaven's mandate, it is not without the accumulation of merit and virtue. A wise ruler establishes these through great hardship, while a foolish ruler destroys them through cruelty. Is this heaven's will or human affairs? From this we can see that the calamities one brings upon oneself are difficult to avoid; the disasters sent by heaven, what use is there in trying to ward them off? Accumulating merit and virtue is the duty of a gentleman, not something done in order to seek something. If one does it in order to seek something, then one has fallen into the path of "seeking benevolence" as mentioned in the Great Treatise of the Zhou Changes. A gentleman has no other matters beyond his duty. As for those who cultivate virtue yet some are fortunate and others are not, it is only at this point that one can speak of "destiny."

夏禹以功有天下，夏桀以虐失天下；殷湯以功有天下，殷紂以虐失天下；周武以功有天下，周幽以虐失天下。三者雖時不同，其成敗之形一也。平王東遷，無功以復王業；赧王西走，無虐以喪王室，威令不逮一小國諸侯，仰存於五伯而已。此又奚足道哉！但時無真王者出焉，雖有虛名，與杞宋其誰曰少異？是時也，《春秋》之作不亦宜乎？

In the time of Xia Yu, he gained the world through his meritorious deeds, while Xia Jie lost it due to his tyranny; in the time of Shang Tang, he gained the world through his meritorious deeds, while Shang Zhou lost it due to his tyranny; in the time of Zhou Wu Wang, he gained the world through his meritorious deeds, while Zhou You Wang lost it due to his tyranny. These three cases, though from different eras, had exactly the same pattern of success and failure. Later, when King Ping of Zhou moved east, he had no meritorious deeds sufficient to restore the royal authority; when King Nan of Zhou fled west, he had no tyranny sufficient to destroy the royal house — he was not even as respected as a small feudal lord, and could only rely on the five hegemonic states to preserve the Zhou dynasty barely. What can be said about this? It is only because there was no true sovereign emerging at that time. The Zhou royal house, though still holding the empty title of Son of Heaven, was not much different from the small states of Qi and Song, which were remnants of the former dynasty. In such an era, Confucius composing the Spring and Autumn Annals was only natural.

仲尼修經周平王之時，《書》終於晉文侯，《詩》列為王國風，《春秋》始於魯隱公，《易》盡於未濟卦。予非知仲尼者，學為仲尼者也。禮樂賞罰，自天子出。而出自諸侯，天子之重去矣。宗周之功德，自文武出。而出自幽厲，文武之基息矣，由是犬戎得以侮中國。周之諸侯非一，獨晉能攘去戎狄，徙王東都洛邑，用存王國，為天下伯者之倡。秬鬯圭瓚之所錫，其能免乎？

Confucius compiled the classic texts during the time of King Ping of Zhou: the "Book of Documents" ends with the "Ming of Wenhou of Jin," the "Book of Poetry" demotes the poems of the royal capital to the "Wang Feng" section, the "Spring and Autumn Annals" begins with Duke Yin of Lu, and the "Zhou Yi" ends with the "Wei Ji" hexagram. I am not someone who understands Confucius, but I am merely trying to become like him. The authority of military campaigns and legal commands should have originated from the Son of Heaven, but once they were taken over by the feudal lords, the Son of Heaven lost his prestige. The virtues of the Zhou dynasty were originally established by King Wen and King Wu, but once they fell into the hands of King You and King Li, the foundation laid by King Wen and King Wu was destroyed, allowing the Qianrong to oppress the Central Plains. There were many feudal states under the Zhou dynasty, but only the state of Jin could drive out the Rong and Di tribes, escort the Son of Heaven to Luoyi, preserve the royal house, and become the first to lead the hegemony. The Son of Heaven bestowed on Jin the fragrant millet wine and the jade scepter as a reward, a gift that Jin could not possibly refuse.

傳稱子貢欲去魯告朔之餼羊。孔子曰：“賜也，爾愛其羊，我愛其禮。”是知名存實亡者，猶愈於名實俱亡者矣。禮雖廢而羊存，則後世安知無復行禮者乎？晉文公尊王，雖用虛名，猶能力使天下諸侯知有周天子，而不敢以兵加之也。及晉之衰也，秦由是敢滅周。斯愛禮之言，信不誣矣！

The Book of Rites, Volume 8yi records that Zigong wanted to remove the live sheep used in the monthly ritual of the Shuo ceremony in Lu state. Confucius said, "Zi, you are reluctant to give up that sheep, but I am reluctant to give up that ritual." From this we can see that even if the ritual is merely nominal and the practice has ceased, it is still better than having neither name nor reality. Although the Shuo ceremony has fallen into disuse, the sheep is still placed there. How can later generations know that someone will not revive the ritual again? Jin Wen Gong used the title of honoring the Son of Heaven as a pretext, even though it was a hollow name, it actually made the feudal lords remember that there was still a Son of Heaven, and they dared not attack him. When Jin declined, Qin was then able to move against the Zhou dynasty. Confucius' words about cherishing the rites were not empty talk!

齊景公嘗一日問政於孔子。孔子對曰：“君君臣臣，父父子子。”公曰：“善哉！信如君不君，臣不臣，父不父，子不子，雖有粟，吾得而食諸？”是時也，諸侯僭天子，陪臣執國命，祿去公室，政出私門。景公自不能上奉周天子，欲其臣下奉己，不亦難乎？厥後齊祚卒為田氏所移。夫齊之有田氏者，亦猶晉之有三卿也。晉之有三卿者，亦猶周之有五伯也。韓、趙、魏之於晉也，既立其功，又分其地，既卑其主，又奪其國。田氏之於齊也，既得其祿，又專其政，既殺其君，又移其祚。其如天下之事，豈無漸乎履霜之戒，寧無思乎？

King Qi Jinggong once asked Confucius about the way of governing. Confucius replied, "The ruler should be a ruler, the minister a minister, the father a father, and the son a son." King Qi said, "Well said! If indeed the ruler was not a ruler, the minister not a minister, the father not a father, and the son not a son, even if there were full granaries, would I still be able to eat?" At that time, the feudal lords overstepped the Son of Heaven's authority, and the ministers' attendants controlled the state affairs. The power of salary and appointment left the royal house, and the state orders came from private households. King Qi himself was unable to serve the Son of Heaven, yet he expected his ministers to serve him. How could that be possible? Later, the Qi state was finally taken over by the Tian family. The emergence of the Tian family in Qi was like the emergence of the Han, Zhao, and Wei families in Jin. The emergence of the three families in Jin was like the emergence of the Five Hegemons in the Zhou dynasty. The Han, Zhao, and Wei families first served Jin, then divided its land; first suppressed its king, then took over its state. The Tian family in Qi first received its salary, then monopolized its government affairs; first killed its king, then took over its state power. What worldly affairs are not brought about step by step like this? The warning in the "Kun" hexagram of the "Zhou Changes" that "treading on frost foretells the coming of hard ice" is not something to be thought over lightly.

傳稱王者，往也。能往天下者，可以王矣。周之衰也，諸侯不朝天子久矣。及楚與中國會盟，仲尼始進爵為之子。其於僭王也，不亦陋乎？

Ancient texts explain the character 「王」 as meaning 「to go to」. A person who can attract the allegiance of all under heaven is worthy of being called a king. After the decline of the Zhou dynasty, the feudal lords had not visited the Son of Heaven for a long time. When the state of Chu participated in the alliances of the Central States, Confucius, in compiling the Spring and Autumn Annals, elevated its title to 「子」. Originally, the ruler of Chu had usurped the title of king, but now compared with the honor of 「子」, it appears quite contemptible.

夫以力勝人者，人亦以力勝之。吳嘗破越，而有輕楚之心。及其破楚，又有驕齊之志。貪婪功利，不顧德義，侵侮齊晉，專以夷狄為事，遂復為越所滅。越又不鑑之，其後復為楚所滅；楚又不鑑之，其後復為秦所滅；秦又不鑑之，其後復為漢所代。恃強凌弱，與豺虎何以異乎？非所以謂之中國義理之師也。

Those who conquer others by force will themselves be conquered by others through force. Wu defeated Yue, and thus became contemptuous of Chu; when it defeated Chu, it then became arrogant toward Qi. It pursued profit and gain, disregarded virtue and righteousness, invaded Qi and Jin, and acted solely with the methods of the barbarians, and eventually was destroyed by Yue. Yue did not take Wu as a mirror, and later was destroyed by Chu; Chu did not take Yue as a mirror, and later was destroyed by Qin; Qin did not take Chu as a mirror, and later was replaced by the Han. Relying on strength to bully the weak is no different from wolves and tigers. Such an army is not worthy to be called the virtuous army of the Central States.

宋之為國也，爵高而力卑者乎？盟不度德，會不量力，區區與諸侯並驅中原，恥居其後。其於伯也，不亦難乎？

The State of Song is probably a state with high rank but weak power. It does not measure its virtue before participating in alliances, nor does it assess its strength before joining gatherings. A small state dares to compete with great ones for leadership in the Central Plains, and it even feels ashamed to be behind others. How can such a state expect to become a hegemon? It is surely too difficult.

周之同姓諸侯而克永世者，獨有燕在焉。燕處北陸之地，去中原特遠。苟不隨韓、趙、魏、齊、楚較利刃，爭虛名，則足以養德待時，而觀諸侯之變。秦雖虎狼，亦未易加害。延十五六年後，天下事未可知也。

Among the same-surname vassal states of the Zhou dynasty, only the state of Yan was able to endure for a long time. Yan was located in the north, far away from the Central Plains. If it had not joined Han, Zhao, Wei, Qi, Chu in competing for military superiority and striving for empty fame, it could have cultivated virtue and reputation, waiting patiently for the right opportunity, observing the changes in the other states from the side. Although the state of Qin was as fierce as a tiger or wolf, it would not have easily harmed Yan. If it could have lasted for another fifteen or sixteen years, the situation of the world might not have turned out as it did later.

中原之地方九千里，古不加多，而今不加少。然而有祚長祚短、地大地小者，攻守異故也。自三代以降，漢唐為盛，秦界於周漢之間矣。秦始盛於穆公，中於孝公，終於始皇。起於西夷，遷於岐山，徙於咸陽，兵瀆宇內，血流天下，併吞四海，更革古今。雖不能比德三代，非晉隋可同年而語也。其祚之不永，得非用法太酷、殺人之多乎？所以仲尼序《書》終於《秦誓》一事。其旨不亦遠乎？

The land of Zhongyuan covers nine thousand li, and in ancient times it did not exceed one fraction, nor has it ever been reduced in the present. However, the duration of each dynasty's rule has varied, and their territories have differed in size, due to different methods of conquest and consolidation. After the Three Dynasties, the Han and Tang dynasties were the most prosperous. The Qin dynasty was situated between the Zhou and Han dynasties. The rise of the Qin began with Duke Mu, continued through the reforms of Duke Xiao, and culminated under the First Emperor. It originated from the western regions of the Rong and Di tribes, first moving to Mount Qi, then to Xianyang. It used military force to disrupt the country, causing bloodshed everywhere, and conquered the four seas, changing ancient systems all at once. Although it did not match the virtue of the Three Dynasties, it was not comparable to short-lived dynasties like the Jin and Sui. Why did its rule not last long? Was it not because its legal punishments were too harsh and it killed too many people? Therefore, Confucius compiled the Book of Documents, placing the "Qin Shi" chapter at the end. The intention behind this is not very profound, is it?

夫好生者，生之徒也；好殺者，死之徒也。周之好生也，以義；漢之好生也，亦以義。秦之好殺也，以利；楚之好殺也，亦以利。周之好生也以義，而漢且不及；秦之好殺也以利，而楚又過之。天之道，人之情，又奚擇於周、秦、漢、楚哉？擇乎善惡而已。是知善也者，無敵於天下，而天下共善之；惡也者，亦無敵於天下，而天下亦共惡之。天之道，人之情，又奚擇於周、秦、漢、楚哉？擇乎善惡而已。

Those who favor nurturing are on the path of life; those who favor killing are on the path of death. The Zhou dynasty favored nurturing, based on righteousness; the Han dynasty also favored nurturing, also based on righteousness. The Qin dynasty favored killing, based on profit; the Chu dynasty also favored killing, also based on profit. The Zhou dynasty practiced nurturing through righteousness, yet the Han dynasty could not match it; the Qin dynasty practiced killing through profit, yet the Chu dynasty went even further. The principles of heaven and the common sentiments of human hearts would not choose to favor one among the Zhou, Qin, Han, and Chu dynasties. They merely distinguish between good and evil. From this we can see that goodness is unmatched throughout the world, hence it is universally praised by all people; evil is also unmatched throughout the world, hence it is universally detested by all people. The principles of heaven and the common sentiments of human hearts would not choose to favor one among the Zhou, Qin, Han, and Chu dynasties. They merely distinguish between good and evil. The last two sentences are a repetition of the previous ones, which Shao Yong intentionally repeated to emphasize his point.

昔者孔子語堯舜，則曰“垂衣裳而天下治”；語湯武，則曰“順乎天而應乎人”。斯言可以該古今帝王受命之理也。堯禪舜以德，舜禪禹以功。以德，帝也；以功，亦帝也。然而德下一等則入於功矣。湯伐桀以放，武伐紂以殺。以放，王也；以殺，亦王也。然而放下一等則入於殺矣。是知時有消長，事有因革。前聖後聖，非出乎一途哉！

Confucius once spoke of Yao and Shun, saying they "governed the world with ease, wearing their robes and folding their arms while the world was at peace." When he spoke of King Tang of Shang and King Wu of Zhou, he said they "followed the will of Heaven above and the hearts of people below." These two sentences fully encompass the principles of how emperors throughout history received the Mandate of Heaven. Yao passed the throne to Shun based on virtue, and Shun passed it to Yu based on merit. Whether based on virtue or merit, both are imperial, yet virtue descending one level becomes merit. King Tang of Shang exiled the tyrant Jie, and King Wu of Zhou executed the tyrant Zhou. Exile is the Way of the King, and execution is also the Way of the King, yet exile descending one level becomes execution. From this we can see that the times have periods of decline and growth, and affairs have continuity and change. The sages of previous generations and the sages of later generations did not follow the same path at all.

天與人相為表裡。天有陰陽，人有邪正。邪正之由，繫乎上之所好也。上好德，則民用正；上好佞，則民用邪。邪正之由，有自來矣。雖聖君在上，不能無小人，是難其為小人。雖庸君在上，不能無君子，是難其為君子。自古聖君之盛，未有如唐堯之世，君子何其多耶！時非無小人也，是難其為小人。故君子多也。所以雖有四凶，不能肆其惡。自古庸君之盛，未有如商紂之世，小人何其多耶！時非無君子也，是難其為君子。故小人多也。所以雖有三仁，不能遂其善。是知君擇臣、臣擇君者，是繫乎人也；君得臣、臣得君者，是非繫乎人也，繫乎天者也。

Heaven and people are mutually connected. Heaven has yin and yang energies, and people have righteous and unrighteous paths. Where do the unrighteous and the righteous come from? They depend on the preferences of those in power. If those in power prefer virtue, the people will follow the righteous path; if those in power prefer flattery, the people will follow the unrighteous path. The origin of righteousness and unrighteousness has its source. Even if a wise ruler is in power, there will still be some petty people, but in such a time, it is difficult to become a petty person; even if an ordinary ruler is in power, there will still be some virtuous people, but in such a time, it is difficult to become a virtuous person. Since ancient times, the most prosperous era of a sage ruler was no match for the time of Yao, and that is why there were so many virtuous people. It was not that there were no petty people at that time, but that it was difficult to become petty people, so virtuous people appeared in greater numbers. Therefore, even though there were the four villains, Gonggong, Huan Dou, Sanmiao, and Gun, they could not act wickedly freely. Since ancient times, the worst time of an incompetent ruler was no match for the time of King Zhou of Shang, and that is why there were so many petty people. It was not that there were no virtuous people at that time, but that it was difficult to become virtuous people, so petty people appeared in greater numbers. Therefore, even though there were the three virtuous men, Weizi, Jizi, and Bigan, they could not fully realize their good ways. From this we can see that a ruler choosing ministers and ministers choosing a ruler depends on human effort; but when a ruler truly obtains a minister and a minister truly meets a ruler, this is not due to human effort, but to heaven.

賢愚人之本性，利害民之常情。虞舜陶於河濱，傅說築於巖下，天下皆知其賢，而百執事不為之舉者，利害使之然也。籲！利害叢於中，而矛戟森於外，又安知有虞舜之聖而傅說之賢哉？河濱非禪位之所，巖下非求相之方。昔也在億萬人之下，而今也在億萬人之上，相去一何遠之甚耶？然而必此云者，貴有名者也。

Wisdom and foolishness are inherent to human nature, and seeking benefits while avoiding harm is the common sentiment of the people. Yu Shun once made pottery by the Yellow River, and Fu Yue once built walls at Fu Rock. The whole world knew they were virtuous, yet none among the officials in court was willing to recommend them. This is precisely due to their own self-interest. Alas! Everyone's hearts are full of calculations of gain and loss, and outside, there is constant attack and criticism like spears and halberds. Who can recognize the presence of a sage like Yu Shun or a virtuous man like Fu Yue in such circumstances? The Yellow River is not originally the place where the throne was passed down, and Fu Rock is not originally the way to seek a prime minister. They were once among the millions, yet later they stood above the millions, how greatly different before and after! Yet the records must be written this way, because they value "name"—once the name is established, the virtuous person is seen.

《易》曰：“坎有孚，維心亨，行有尚。”中正行險，往且有功，雖危無咎，能自信故也，伊尹以之。是知古之人患名過實者，有之矣。其間有幸與不幸者，雖聖人，力有不及者矣。伊尹行冢宰，居責成之地，借使避放君之名，豈曰不忠乎？則天下之事去矣，又安能正嗣君，成終始之大忠者乎？籲！若委寄於匪人，三年之間，其如嗣君何？則天下之事亦去矣，又安有伊尹也？“坎有孚，維心亨”，不亦近之乎？

The Hexagram Statement of the Kan hexagram in The Zhou Changes says: "Being trapped in a dangerous situation yet maintaining sincerity in one's heart, only through inner harmony can one's actions be esteemed by others." By walking through peril with the virtue of uprightness and correctness, one can accomplish tasks even in dangerous circumstances, avoiding calamity through self-confidence. This is exactly how Yi Yin acted. From this we can see that among ancients, there were indeed those whose reputation surpassed their actual deeds. There is a distinction between fortune and misfortune, and even sages have limitations in their power. Yi Yin held the position of Grand Minister, a role that required him to achieve results. If he had remained inactive to avoid the reputation of 'expelling the sovereign,' would others not accuse him of disloyalty? But if he had done so, the great affairs of the world would have been ruined, and he would have been unable to correct the young sovereign Taia and achieve the complete virtue of loyalty. Alas! If the state were entrusted to an unsuitable person, within three years the young sovereign would have become what? The great affairs of the world would have been destroyed, and there would be no Yi Yin in the world. How fitting is the phrase 'Kan with sincerity, the heart is harmonious' when applied to Yi Yin!

《易》曰：“由豫，大有得，勿疑。朋盍簪。”剛健主豫，動而有應，群疑乃亡，能自強故也，周公以之。是知聖人不能使人無謗，能處謗者也。周公居總己當任重之地，借使避滅親之名，豈曰不孝乎？則天下之事去矣，又安能保嗣君，成終始之大孝乎？籲！若委寄於匪人，七年之間，其如嗣君何？則天下之事亦去矣，又安有周公也？“由豫，大有得，勿疑。朋盍簪。”不亦近之乎？

The Zhou Changes, the Book of Yu, line nine in the fourth hexagram says: "People follow him and enjoy happiness, gaining much, without hesitation, friends will gather quickly like hair fastened with a hairpin." With a strong and virtuous virtue, he leads the joyful and harmonious situation, one move and all respond, all doubts thus dissipate, relying on self-strengthening, the Duke of Zhou is just such a person. From this we can see, sages cannot prevent people from slandering themselves, they can only properly dwell in slander. The Duke of Zhou took charge of government, assuming the responsibility of all officials; if he had hesitated to avoid the evil name of "executing his close brothers," would others not accuse him of being unfilial? But if he had done so, the great affairs of the world would have been ruined, how could he have protected the young king Cheng and achieved the great filial piety of beginning and end? Alas! If the state affairs were entrusted to an unsuitable person, within seven years, the young king would become what? The great affairs of the world would also be ruined, and there would be no Duke of Zhou in the world. "By joy, great gain, do not doubt, friends gather like hair fastened with a hairpin" these words applied to the Duke of Zhou, are they not very appropriate?

夫天下將治，則人必尚行也。天下將亂，則人必尚言也。尚行則篤實之風行焉，尚言則詭譎之風行焉。天下將治，則人必尚義也。天下將亂，則人必尚利也。尚義則謙讓之風行焉，尚利則攘奪之風行焉。三王，尚行者也；五伯，尚言者也。尚行者必入於義也，尚言者必入於利也。義利之相去，一何遠之若是耶？

When the world is about to be greatly governed, people will certainly value and practice righteousness; when the world is about to be greatly chaotic, people will certainly value and talk about empty words. Valuing and practicing leads to a风气 of sincerity and earnestness; valuing and talking about empty words leads to a风气 of deceit and cunning. When the world is about to be greatly governed, people will certainly value righteousness; when the world is about to be greatly chaotic, people will certainly value profit. Valuing righteousness leads to a风气 of humility and courtesy; valuing profit leads to a风气 of contention and theft. The Three Kings valued and practiced, while the Five Hegemons valued and talked about empty words. Those who value and practice will inevitably return to righteousness, while those who value and talk about empty words will inevitably return to profit. How far apart righteousness and profit are, how they have reached such a state!

是知言之於口，不若行之於身；行之於身，不若盡之於心。言之於口，人得而聞之；行之於身，人得而見之；盡之於心，神得而知之。人之聰明猶不可欺，況神之聰明乎？是知無愧於口，不若無愧於身；無愧於身，不若無愧於心。無口過易，無身過難；無身過易，無心過難。心既無過，何難之有？籲！安得無心過之人，而與之語心哉！是知聖人所以能立無過之地者，謂其善事於心者也。

From this we can see that speaking is not as good as acting, and acting is not as good as doing it thoroughly in the heart. Speaking is heard by others; acting is seen by others; but doing it thoroughly in the heart is known only by the gods. Human ears and eyes cannot be deceived, how much less can the ears and eyes of the gods? Therefore, being guiltless in words is not as good as being guiltless in actions; being guiltless in actions is not as good as being guiltless in the heart. It is easy to have no faults in words, but difficult to have none in actions; it is easy to have none in actions, but even more difficult to have none in the heart. If the heart has no faults, what else is difficult? Alas! Where can we find a person whose heart has no faults, so that we may discuss the matter of the "heart" with him? Therefore, the reason why the sage can stand on the position of no faults is because he is good at working on his heart.

仲尼曰：“《韶》，盡美矣，又盡善也；《武》，盡美矣，未盡善也。”又曰：“管仲相桓公，霸諸侯，一匡天下，民到於今受其賜。微管仲，吾其被髮左衽矣。”是知武王雖不逮舜之盡善盡美，以其解天下之倒懸，則下於舜一等耳。桓公雖不逮武王之應天順人，以其霸諸侯一匡天下，則高於狄亦遠矣。以武比舜，則不能無過；比桓，則不能無功。以桓比狄，則不能無功；比武，則不能無過。

Confucius said, "The music of Shao is fully beautiful and fully good; the music of Wu is fully beautiful, but not yet fully good." He also said, "Guan Zhong assisted Qi Huan Gong, became the hegemon among the feudal lords, and restored order to the world in one move. The people have still benefited from his kindness to this day. If there had been no Guan Zhong, we might have been wearing our hair loose and wearing our robes with the left side in front, having become like the barbarians." From this, we can see that King Wu of Zhou, although not as fully good and beautiful as Yu Shun, saved the world from chaos, so he was only one step below Yu Shun. Qi Huan Gong, although not as in harmony with heaven and people as King Wu, became the hegemon among the feudal lords and restored order to the world, thus being far superior to the barbarians. Comparing King Wu with Yu Shun, King Wu appears to have shortcomings; comparing King Wu with Qi Huan Gong, King Wu appears to have achievements. Comparing Qi Huan Gong with the barbarians, Qi Huan Gong has achievements; comparing Qi Huan Gong with King Wu, Qi Huan Gong appears to have shortcomings.

漢氏宜立乎桓武之間矣。是時也，非會天下之民厭秦之暴且甚，雖十劉季、百子房，其如人心之未易何？且古今之時則異也，而民好生惡死之心非異也。自古殺人之多，未有如秦之甚，天下安有不厭之乎？夫殺人之多，不必以刃。謂天下之人無生路可趨也，而又況以刃多殺天下之人乎？

The position of the Han dynasty should be placed between the Duke of Qi and King Wu of Zhou. At that time, if it had not been precisely the case that the people across the land had reached the extreme of hating the tyranny of the Qin dynasty, then even with ten Maos and a hundred Zhangs, facing the people's unwillingness to change their minds easily, what could they do? Moreover, although the circumstances of the past and present are different, the people's desire for life and aversion to death have not changed. Since ancient times, no dynasty has killed more people than the Qin dynasty. How could the people not detest it? In fact, killing does not necessarily require a blade. Forcing the people to a point where they have no way out is already killing. And the Qin dynasty actually used blades to massacre the people extensively.

秦二世，萬乘也，求為黔首而不能得；漢劉季，匹夫也，免為元首而不能已。萬乘與匹夫，相去有間矣。然而有時而代之者，謂其天下之利害有所懸之耳。天之道，非禍萬乘而福匹夫也，謂其禍無道而福有道也；人之情，非去萬乘而就匹夫也，謂其去無道而就有道也。萬乘與匹夫，相去有間矣。然而有時而代之者，謂其直以天下之利害有所懸之耳。

Qin Ershi, who was a ruler of a million chariots, in the end could not even become an ordinary commoner; Han Gaozu, who was originally a common man, could not avoid being made the supreme leader. The difference in status between a ruler of a million chariots and a common man is extremely great, yet one day they could switch places. The reason is that the interests of the world have already been clearly laid out. The principle of heaven is not to bring calamity to the ruler of a million chariots and blessings to the common man, but to bring calamity to the unjust and blessings to the virtuous. The common sentiment of people is not to leave the ruler of a million chariots to follow the common man, but to leave the unjust to follow the virtuous. The difference in status between a ruler of a million chariots and a common man is extremely great, yet one day they could switch places. The reason is that the interests of the world have already been clearly laid out. These two sections at the beginning and end of this passage are almost the same, which is Shao Yong's method of emphasizing his point repeatedly, not a mistake in copying.

日既沒矣，月既望矣，星不能不希矣。非星之希，是星難乎其為光矣。能為其光者，不亦希乎？漢唐既創業矣，呂武既擅權矣，臣不能不希矣。非臣之希，是臣難乎其為忠矣。能為其忠者，不亦希乎？

The sun has already set, the moon is already full, and the stars cannot help but appear sparse. It is not that the stars have actually become fewer, but under the brilliance of a full moon, the stars find it difficult to show their own light; those stars that can still shine as usual at such a time are not also exceptionally rare? This is a metaphor: the foundations of the Han and Tang dynasties were established by their founding emperors (like the setting sun), and then the empresses such as Lu Zhi and Wu Zetian seized power alone (like the full moon), so loyal ministers could not help but become scarce. It is not that loyal ministers are actually fewer, but under the circumstances of power shifting away from the emperor, ministers find it hard to fully express their loyalty; those who can still remain loyal at such a time are not also exceptionally rare?

是知成天下事易，死天下事難；死天下事易，成天下事難。苟能成之，又何計乎死與生也？如其不成，雖死奚益？況其有正與不正者乎？與其死於不正，孰若生於正？與其生於不正，孰若死於正？在乎忠與智者之一擇焉。

From this we can see: from one perspective, accomplishing great affairs of the world is still relatively easy, but dying for such great affairs is difficult; from another perspective, dying for great affairs is still relatively easy, but accomplishing them is difficult. If this is the case, then why should one worry about life or death if the affair can be accomplished? If the affair cannot be accomplished, then even if one dies, what benefit is there? Moreover, there is a distinction between acting in accordance with the right path and acting against it. It is better to live in the right path than to die on an unjust path; it is also better to die on the right path than to live on an unjust path. In the end, it all depends on how the loyal ministers and wise men choose to act in the present moment.

死固可惜，貴乎成天下之事也。如其敗天下之事，一死奚以塞責？生固可愛，貴乎成天下之事也。如其敗天下之事，一生何以收功？噫！能成天下之事，又能不失其正而生者，非漢之留侯、唐之梁公而何？微斯二人，則漢唐之祚或幾乎移矣！豈若虛生虛死者焉？夫虛生虛死者，譬之蕭艾。忠與智者，不遊乎其間矣。

Death is indeed regrettable, but its value lies in the fact that it can accomplish great affairs for the world; if the world's affairs are instead ruined by oneself, what can one's death possibly atone for? Life is naturally precious, and its value also lies in the fact that this life can accomplish great affairs for the world; if the world's affairs are instead ruined by oneself, living for a lifetime can bring about what benefit? Alas! One who can accomplish great affairs for the world and yet preserve one's life without losing the right path, besides the Han dynasty's Liú Hóu Zhang Liang and the Tang dynasty's Liáng Guó Gōng Di Rén Jié, who else could it be? Zhang Liang used the strategy of the "Four Elders of Shāng Mountain" to stabilize the crown prince, and Di Rén Jié strongly advised Wu Zetian to restore the son of the former emperor Li Xian. Without these two men, the dynastic succession of Han and Tang might have fallen into the hands of the Lü clan and the Wu clan. Such people are incomparable to those who live in vain and die in vain. Those who live and die in vain are like the "xiāo" and "ài" plants in the fields—The "Lí Sao" uses these two odorless, lowly herbs to symbolize petty men who have degenerated from fragrant grass; loyal ministers and wise men would never be found among such people.

仲尼曰：“善人為邦百年，亦可以勝殘去殺矣。”誠哉是言也。自極亂至於極治，必三變矣。三皇之法無殺，五伯之法無生，伯一變至於王矣，王一變至於帝矣，帝一變至於皇矣。其於生也，非百年而何？是知三皇之世如春，五帝之世如夏，三王之世如秋，五伯之世如冬。如春，溫如也；如夏，燠如也；如秋，悽如也；如冬，冽如也。

Confucius said in the "Analects · Zilu" that "If a virtuous person governs the country for a hundred years, he can transform the cruel and abolish the punishment of killing." This statement is indeed correct. To move from a very chaotic era to a very peaceful era, one must necessarily go through three transformations. In the political systems of the "Three Emperors," there was no killing; in the political systems of the "Five Hegemons," there was no fostering of life. From "Hegemon" to "King," from "King" to "Emperor," and from "Emperor" to "Emperor," there is one transformation each time. To fully implement these three transformations in terms of fostering life, how could a period of less than a hundred years be sufficient? Therefore, we can understand that the era of the Three Emperors is like spring, the era of the Five Emperors is like summer, the era of the Three Kings is like autumn, and the era of the Five Hegemons is like winter. Just as spring is gentle, summer is hot, autumn is clear and bleak, and winter is cold and severe.

春夏秋冬者，昊天之時也。《易》、《書》、《詩》、《春秋》者，聖人之經也。天時不差，則歲功成矣；聖經不貳，則君德成矣。天有常時，聖有常經。行之正則正矣，行之邪則邪矣。邪正之間，有道在焉。行之正則謂之正道，行之邪則謂之邪道。邪正之由人乎？由天乎？

Spring, summer, autumn, and winter are the four seasons of the heavens' operation; The Book of Changes, The Book of Documents, The Book of Poetry, and The Spring and Autumn Annals are the four classics left by the sages. Shao Yong matched these two groups one by one: The Book of Changes corresponds to spring, The Book of Documents to summer, The Book of Poetry to autumn, and The Spring and Autumn Annals to winter. This corresponds to the four eras of the Three Emperors, the Five Emperors, the Three Kings, and the Five Hegemons. The heavenly timing does not err, and the harvest of the year is completed; the sages' classics do not produce confusion, and the ruler's virtue is cultivated. Heaven has constant seasons, and the sages have constant principles. To follow them is righteousness; to deviate from them is wrong. Between right and wrong, there is a 'Dao' in the middle: following it is called 'the righteous path'; deviating from it is called 'the wrong path'. Then, does right and wrong depend on people or on heaven?

天由道而生，地由道而成，物由道而行。天地人物則異也，其於由道一也。夫道也者，道也。道無形，行之則見於事矣。如道路之道坦然，使千億萬年行之，人知其歸者也。

The answer to the previous question lies in the concept of "Dao." Heaven comes into being through "Dao," Earth takes form through "Dao," and all things operate through "Dao." Although Heaven, Earth, humans, and objects are different from each other, they all share the same origin in "Dao." The term "Dao" originally refers to the path people walk on. "Dao" itself has no physical form; it only becomes evident when followed in practical matters. It is like a wide road that is flat and laid out, allowing billions of people to walk on it over countless years. Everyone knows where it leads.

或曰君子道長，則小人道消。君子道消，則小人道長。長者是，則消者非也。消者是，則長者非也。何以知正道邪道之然乎？籲！賊夫人之論也，不曰君行君事，臣行臣事，父行父事，子行子事，夫行夫事，妻行妻事，君子行君子事，小人行小人事，中國行中國事，僭竊行僭竊事，謂之正道；君行臣事，臣行君事，父行子事，子行父事，夫行妻事，妻行夫事，君子行小人事，小人行君子事，中國行僭竊事，僭竊行中國事，謂之邪道。

Some people say: the way of the gentleman grows, and the way of the petty person declines; when the way of the gentleman declines, the way of the petty person grows. If the growing side is right, then the declining side is wrong; if the declining side is right, then the growing side is wrong. According to this view, how can we distinguish between the right path and the wrong path? Alas, this is a harmful argument! Why not say instead: the sovereign should do what a sovereign should do, the minister what a minister should do, the father what a father should do, the son what a son should do, the husband what a husband should do, the wife what a wife should do, the gentleman what a gentleman should do, and the petty person what a petty person should do. The Central States, being the orthodox realm, should act according to the orthodox way, while the usurpers and rebels, being the rebellious regimes, should act according to their own way. This is called the 'right path'. Conversely, if the sovereign does what a minister should do, the minister does what a sovereign should do, the father does what a son should do, the son does what a father should do, the husband does what a wife should do, the wife does what a husband should do, the gentleman does what a petty person should do, and the petty person does what a gentleman should do; if the Central States act like the usurpers, and the usurpers act like the Central States, this is called the 'wrong path'.

至於三代之世治，未有不治人倫之為道也；三代之世亂，未有不亂人倫之為道也。後世之慕三代之治世者，未有不正人倫者也；後世之慕三代之亂世者，未有不亂人倫者也。自三代而下，漢唐為盛，未始不由治而興，亂而亡，況其不盛於漢唐者乎？其興也，又未始不由君道盛、父道盛、夫道盛、君子之道盛、中國之道盛；其亡也，又未始不由臣道盛、子道盛、妻道盛、小人之道盛、夷狄之道盛。

When it comes to the prosperous eras of the Xia, Shang, and Zhou dynasties, none of them did not regard the regulation of human relationships as the "Dao" (way); and in their chaotic periods, none of them did not regard the disruption of human relationships as the "Dao." Later generations who admired the prosperous eras of the Three Dynasties did not fail to correct human relationships; and those who followed the chaotic periods of the Three Dynasties did not fail to disrupt human relationships. Since the Three Dynasties, the Han and Tang dynasties were the most flourishing. They were all established through order and destroyed through chaos. How much more so for dynasties that were not as flourishing as the Han and Tang? When they rose, none of them was not due to the flourishing of the ruler's way, the father's way, the husband's way, the gentleman's way, and the Central Plains' way. When they fell, none of them was not due to the flourishing of the minister's way, the son's way, the wife's way, the petty person's way, and the barbarian's way. The rulers being overpowered by those below is precisely the sign of inverted human relationships.

噫！二道對行，何故治世少而亂世多耶？君子少而小人多耶？曰：“豈不知陽一而陰二乎？”天地尚由是道而生，況其人與物乎？人者，物之至靈者也。物之靈未若人之靈，物尚由是道而生，又況人靈於物者乎？是知人亦物也，以其至靈，故特謂之人也。

Alas! The paths of righteousness and wickedness both exist in the world, yet why are times of peace rare and times of chaos common? Why are virtuous people few and petty people many? The answer is: Do you not know that "Yang is one and Yin is two"? In the Yi Jing, Yang is an odd number and represents one, while Yin is an even number and represents two. Yin is inherently twice as much as Yang. Even heaven and earth are formed according to this ratio, let alone people and things. Humans are the most sentient among all things. The sentience of things is less than that of humans, yet things still follow this principle for their formation. How much more so should sentient beings, who are more sentient than all things, follow this principle? From this we can see: humans are also things, but because they are the most sentient of all, they are specially called "humans."

日經天之元，月經天之會，星經天之運，辰經天之世。以日經日，則元之元可知之矣；以日經月，則元之會可知之矣；以日經星，則元之運可知之矣；以日經辰，則元之世可知之矣。以月經日，則會之元可知之矣；以月經月，則會之會可知之矣；以月經星，則會之運可知之矣；以月經辰，則會之世可知之矣。以星經日，則運之元可知之矣；以星經月，則運之會可知之矣；以星經星，則運之運可知之矣；以星經辰，則運之世可知之矣。以辰經日，則世之元可知之矣；以辰經月，則世之會可知之矣；以辰經星，則世之運可知之矣；以辰經辰，則世之世可知之矣。

The sun moves in the sky, with its course marked by "yuan"; the moon moves, with its course marked by "hui"; stars move, with their course marked by "yun"; and the constellations move, with their course marked by "shi". This matches the four celestial phenomena—sun, moon, stars, and constellations—with the four levels of time units—yuan, hui, yun, and shi. The sun is the most exalted and largest, so it is paired with the largest time unit, "yuan" (129,600 years); the moon is next, paired with "hui" (10,800 years); stars are next, paired with "yun" (360 years); and constellations are the smallest, paired with "shi" (30 years). Once this pairing is established, the two can be interwoven and used as a framework for calculation: using the sun as the reference for the sun, "yuan within yuan" can be calculated; using the sun as the reference for the moon, "yuan within hui" can be calculated; using the sun as the reference for stars, "yuan within yun" can be calculated; and using the sun as the reference for constellations, "yuan within shi" can be calculated. Using the moon as the reference for the sun, "hui within yuan" can be calculated; using the moon as the reference for the moon, "hui within hui" can be calculated; using the moon as the reference for stars, "hui within yun" can be calculated; and using the moon as the reference for constellations, "hui within shi" can be calculated. Using stars as the reference for the sun, "yun within yuan" can be calculated; using stars as the reference for the moon, "yun within hui" can be calculated; using stars as the reference for stars, "yun within yun" can be calculated; and using stars as the reference for constellations, "yun within shi" can be calculated. Using constellations as the reference for the sun, "shi within yuan" can be calculated; using constellations as the reference for the moon, "shi within hui" can be calculated; using constellations as the reference for stars, "shi within yun" can be calculated; and using constellations as the reference for constellations, "shi within shi" can be calculated.

元之元一，元之會十二，元之運三百六十，元之世四千三百二十；會之元十二，會之會一百四十四，會之運四千三百二十，會之世五萬一千八百四十；運之元三百六十，運之會四千三百二十，運之運一十二萬九千六百，運之世一百五十五萬五千二百；世之元四千三百二十，世之會五萬一千八百四十，世之運一百五十五萬五千二百，世之世一千八百六十六萬二千四百。

"The 'original original' is one, the 'original gathering' is twelve, the 'original cycle' is three hundred and sixty, and the 'original era' is four thousand three hundred and twenty; the 'gathering original' is twelve, the 'gathering gathering' is one hundred and forty-four, the 'gathering cycle' is four thousand three hundred and twenty, and the 'gathering era' is fifty-one thousand eight hundred and forty; the 'cycle original' is three hundred and sixty, the 'cycle gathering' is four thousand three hundred and twenty, the 'cycle cycle' is one hundred and twenty-nine thousand six hundred, and the 'cycle era' is one million five hundred and fifty-five thousand two hundred; the 'era original' is four thousand three hundred and twenty, the 'era gathering' is fifty-one thousand eight hundred and forty, the 'era cycle' is one million five hundred and fifty-five thousand two hundred, and the 'era era' is one million eight hundred and sixty-six thousand two hundred and forty. All these numbers are derived by multiplying pairs: one yuan includes twelve gatherings, three hundred and sixty cycles, and four thousand three hundred and twenty eras, so yuan is taken as one, gathering as twelve, cycle as three hundred and sixty, and era as four thousand three hundred and twenty; twelve multiplied by twelve gives one hundred and forty-four, twelve multiplied by three hundred and sixty gives four thousand three hundred and twenty, twelve multiplied by four thousand three hundred and twenty gives fifty-one thousand eight hundred and forty, three hundred and sixty multiplied by itself gives one hundred and twenty-nine thousand six hundred, three hundred and sixty multiplied by four thousand three hundred and twenty gives one million five hundred and fifty-five thousand two hundred, and four thousand three hundred and twenty multiplied by itself gives one million eight hundred and sixty-six thousand two hundred and forty."

元之元，以春行春之時也；元之會，以春行夏之時也；元之運，以春行秋之時也；元之世，以春行冬之時也。會之元，以夏行春之時也；會之會，以夏行夏之時也；會之運，以夏行秋之時也；會之世，以夏行冬之時也。運之元，以秋行春之時也；運之會，以秋行夏之時也；運之運，以秋行秋之時也；運之世，以秋行冬之時也。世之元，以冬行春之時也；世之會，以冬行夏之時也；世之運，以冬行秋之時也；世之世，以冬行冬之時也。

Here we pair the four concepts of Yuan, Hui, Yun, and Shi with the four seasons: Yuan corresponds to spring, Hui to summer, Yun to autumn, and Shi to winter. The first character refers to the inherent nature of this period, while the second refers to the season it encounters. Thus, "Yuan within Yuan" means using spring to follow the season of spring; "Yuan within Hui" means using spring to follow the season of summer; "Yuan within Yun" means using spring to follow the season of autumn; and "Yuan within Shi" means using spring to follow the season of winter. "Hui within Yuan" means using summer to follow the season of spring; "Hui within Hui" means using summer to follow the season of summer; "Hui within Yun" means using summer to follow the season of autumn; and "Hui within Shi" means using summer to follow the season of winter. "Yun within Yuan" means using autumn to follow the season of spring; "Yun within Hui" means using autumn to follow the season of summer; "Yun within Yun" means using autumn to follow the season of autumn; and "Yun within Shi" means using autumn to follow the season of winter. "Shi within Yuan" means using winter to follow the season of spring; "Shi within Hui" means using winter to follow the season of summer; "Shi within Yun" means using winter to follow the season of autumn; and "Shi within Shi" means using winter to follow the season of winter. When these are paired, the warmth and coldness of the world and its course are thus distinguished.

皇之皇，以道行道之事也；皇之帝，以道行德之事也；皇之王，以道行功之事也；皇之伯，以道行力之事也。帝之皇，以德行道之事也；帝之帝，以德行德之事也；帝之王，以德行功之事也；帝之伯，以德行力之事也。王之皇，以功行道之事也；王之帝，以功行德之事也；王之王，以功行功之事也；王之伯，以功行力之事也。伯之皇，以力行道之事也；伯之帝，以力行德之事也；伯之王，以力行功之事也；伯之伯，以力行力之事也。

Human affairs are also arranged in the same format: the Emperor is paired with "Dao," the King with "De," the Duke with "Gong," and the Marquis with "Li." These four pairs multiply in pairs, resulting in sixteen combinations. Therefore, "the Emperor among Emperors" refers to using Dao to handle matters of Dao; "the Emperor among Kings" refers to using Dao to handle matters of De; "the Emperor among Dukes" refers to using Dao to handle matters of Gong; and "the Emperor among Marquises" refers to using Dao to handle matters of Li. "The King among Emperors" refers to using De to handle matters of Dao; "the King among Kings" refers to using De to handle matters of De; "the King among Dukes" refers to using De to handle matters of Gong; and "the King among Marquises" refers to using De to handle matters of Li. "The Duke among Emperors" refers to using Gong to handle matters of Dao; "the Duke among Kings" refers to using Gong to handle matters of De; "the Duke among Dukes" refers to using Gong to handle matters of Gong; and "the Duke among Marquises" refers to using Gong to handle matters of Li. "The Marquis among Emperors" refers to using Li to handle matters of Dao; "the Marquis among Kings" refers to using Li to handle matters of De; "the Marquis among Dukes" refers to using Li to handle matters of Gong; and "the Marquis among Marquises" refers to using Li to handle matters of Li. The first character represents the inherent level of this era, while the second character represents the actual path it follows. These two may not align, and the difference between order and chaos lies here.

時有消長，事有因革，非聖人無不盡之。所以仲尼曰：“可與共學，未可與適道。可與適道，未可與立。可與立，未可與權。”是知千萬世之時，千萬世之經，豈可畫地而輕言也哉？

At times, circumstances rise and decline, and worldly affairs involve both continuity and change. Except for the sages, no one can fully grasp the underlying principles. Therefore, Confucius said in the Analects, "One may share in studying with someone, but not necessarily in following the right path; one may share in following the right path, but not necessarily in maintaining steadfastness; one may share in maintaining steadfastness, but not necessarily in adapting to changing circumstances." From this, we can see that a thousand generations of changing circumstances and a thousand generations of enduring principles cannot be easily judged as if one were simply drawing a circle on the ground.

三皇，春也；五帝，夏也；三王，秋也；五伯，冬也。七國，冬之餘冽也。漢王而不足，晉伯而有餘。三國，伯之雄者也；十六國，伯之叢者也；南五代，伯之借乘也；北五代，伯之傳舍也。隋，晉之子也；唐，漢之弟也。隋季諸郡之伯，江漢之餘波也；唐季諸鎮之伯，日月之餘光也；後五代之伯，日未出之星也。

Three Emperors belong to spring, Five Emperors to summer, Three Kings to autumn, and Five Hegemons to winter; the Seven Warring States' heroes were the remaining cold air of winter. The Han dynasty was still lacking a bit to be called a King, while the Jin dynasty had more than enough to be called a Hegemon. The Three Kingdoms were the dominant ones among the Hegemons; the Sixteen Kingdoms were the ones rising up together among the Hegemons; the five dynasties of Southern Dynasties, namely Song, Qi, Liang, and Chen, were the Hegemons borrowing a chariot — the chariot did not belong to them, they only used it for a while; the five dynasties of Northern Dynasties, namely Yuan Wei, Eastern Wei, Western Wei, Northern Qi, and Northern Zhou, were the resting places for the Hegemons — staying for a while before moving on. The Sui dynasty was the son of the Jin dynasty, and the Tang dynasty was the younger brother of the Han dynasty, meaning they each inherited their own characteristics. The Hegemons of the warring states at the end of the Sui dynasty were like the remaining waves after the floods of the Yangtze and Han rivers; the Hegemons of the warring states at the end of the Tang dynasty were like the remaining light after the sun and moon had set; the five dynasties of the Later Five Dynasties, namely Later Liang, Later Tang, Later Jin, Later Han, and Later Zhou, were like the remaining stars lingering in the sky before dawn.

自帝堯至於今，上下三千餘年，前後百有餘世。書傳可明紀者，四海之內，九州之間，其間或合或離，或治或隳，或強或羸，或唱或隨，未始有兼世而能一其風俗者。籲！古者謂三十年為一世，豈徒然哉！俟化之必洽，教之必浹，民之情始可一變矣。苟有命世之人繼世而興焉，則雖民如夷狄，三變而帝道可舉矣。惜乎時無百年之世，世無百年之人。比其有代，則賢之與不肖，何止於相半也？時之難，不其然乎？人之難，不其然乎？

From the time of Emperor Yao to the present day, there have been more than three thousand years, spanning over a hundred generations. Whenever historical records clearly document events, throughout the four seas and the nine provinces, there have been times of unification and times of division, times of great prosperity and times of decline, times of strength and times of weakness, times of leading the way and times of following along. There has never been a dynasty that could maintain consistent customs for several generations in a row. Alas! The ancients called thirty years a "generation," not casually. It is only when education and moral influence have truly permeated and deeply penetrated that the people's sentiments can undergo a single transformation. If there were indeed successive generations of outstanding individuals arising in accordance with the times, then even if the people were as crude as the barbarians, after three transformations, the way of the "Emperor" could be established. Unfortunately, there is no continuous century in the course of time, and there are no people who live to be a hundred years old. When dynasties change, the proportion of virtuous individuals to the wicked is not merely half and half. Is this not the difficulty of the times? Is this not the difficulty of finding talent?

太陽之體數十，太陰之體數十二；少陽之體數十，少陰之體數十二；少剛之體數十，少柔之體數十二；太剛之體數十，太柔之體數十二。進太陽、少陽、太剛、少剛之體數，退太陰、少陰、太柔、少柔之體數，是謂太陽、少陽、太剛、少剛之用數；進太陰、少陰、太柔、少柔之體數，退太陽、少陽、太剛、少剛之體數，是謂太陰、少陰、太柔、少柔之用數。

The "body number" of the Sun is ten, and the "body number" of the Moon is twelve; the "body number" of the Lesser Yang is ten, and the "body number" of the Lesser Yin is twelve; the "body number" of the Lesser Strength is ten, and the "body number" of the Lesser Softness is twelve; the "body number" of the Great Strength is ten, and the "body number" of the Great Softness is twelve. Here, the Sun, Moon, Lesser Yang, and Lesser Yin are the four celestial trigrams, corresponding to the Sun, Moon, Star, and Constellation. The Great Strength, Great Softness, Lesser Strength, and Lesser Softness are the four earthly trigrams, corresponding to Fire, Water, Stone, and Earth. All yang and strength trigrams take the number ten, which corresponds to the ten heavenly stems; all yin and softness trigrams take the number twelve, which corresponds to the twelve earthly branches. When the body numbers of the Sun, Lesser Yang, Great Strength, and Lesser Strength are added, and the body numbers of the Moon, Lesser Yin, Great Softness, and Lesser Softness are subtracted, the result is called the "operational number" of the Sun, Lesser Yang, Great Strength, and Lesser Strength. Conversely, when the body numbers of the Moon, Lesser Yin, Great Softness, and Lesser Softness are added, and the body numbers of the Sun, Lesser Yang, Great Strength, and Lesser Strength are subtracted, the result is called the "operational number" of the Moon, Lesser Yin, Great Softness, and Lesser Softness.

太陽、少陽、太剛、少剛之體數一百六十，太陰、少陰、太柔、少柔之體數一百九十二，太陽、少陽、太剛、少剛之用數一百一十二，太陰、少陰、太柔、少柔之用數一百五十二。以太陽、少陽、太剛、少剛之用數，唱太陰、少陰、太柔、少柔之用數，是謂日月星辰之變數；以太陰、少陰、太柔、少柔之用數，和太陽、少陽、太剛、少剛之用數，是謂水火土石之化數。日月星辰之變數一萬七千二十四，謂之動數；水火土石之化數一萬七千二十四，謂之植數。再唱和日月星辰水火土石之變化通數二萬八千九百八十一萬六千五百七十六，謂之動植通數。

The total numbers of the four yang and yang rigidity are 160, and the total numbers of the four yin and yin softness are 192. The numbers used for the four yang and yang rigidity are 112, and the numbers used for the four yin and yin softness are 152. The calculation is as follows: the four yang and yang rigidity each have a value of 10, adding up to 40, then multiplied by four to get 160; the four yin and yin softness each have a value of 12, adding up to 48, then multiplied by four to get 192; subtracting 48 from 160 leaves 112; subtracting 40 from 192 leaves 152. Using the numbers of the four yang and yang rigidity to 'sing' (initiate) the numbers of the four yin and yin softness, that is, multiplying 112 by 152, this is called the 'changing numbers' of the sun, moon, stars and planets; using the numbers of the four yin and yin softness to 'harmonize' (respond to) the numbers of the four yang and yang rigidity, it is still the product of these two numbers, called the 'transforming numbers' of water, fire, earth and stone. The changing numbers of the sun, moon, stars and planets are 17,224, called 'dynamic numbers', representing the total number of animals; the transforming numbers of water, fire, earth and stone are also 17,224, called 'static numbers', representing the total number of plants. Then multiplying the changing and transforming numbers of the sun, moon, stars and planets with those of water, fire, earth and stone, which is 17,224 multiplied by itself, resulting in 28,981,6576, called 'the common numbers of dynamic and static'.

日月星辰者，變乎暑寒晝夜者也。水火土石者，化乎雨風露雷者也。暑寒晝夜者，變乎性情形體者也；雨風露雷者，化乎走飛草木者也。暑變飛走草木之性，寒變飛走草木之情，晝變飛走草木之形，夜變飛走草木之體。雨化性情形體之走，風化性情形體之飛，露化性情形體之草，雷化性情形體之木。性情形體者，本乎天者也；飛走草木者，本乎地者也。本乎天者，分陰分陽之謂也；本乎地者，分柔分剛之謂也。夫分陰分陽分柔分剛者，天地萬物之謂也。備天地萬物者，人之謂也。

The sun, moon, stars, and constellations in the heavens generate below the heat, cold, day, and night: the sun produces heat, the moon produces cold, the stars produce day, and the constellations produce night. The water, fire, earth, and stone on the earth generate below rain, wind, dew, and thunder: water becomes rain, fire becomes wind, earth becomes dew, and stone becomes thunder. Heat, cold, day, and night further transform into the "nature, emotion, form, and body" of all things; rain, wind, dew, and thunder further generate the four categories of living beings: walking animals, flying birds, grass, and trees. Separately, heat produces the "nature" of flying birds, walking animals, and grass and trees, cold produces their "emotion," day produces their "form," and night produces their "body." Rain generates walking animals with nature, emotion, form, and body, wind generates flying birds, dew generates all kinds of grass, and thunder generates forests and trees. The system of nature, emotion, form, and body originates from heaven; the system of flying, walking, grass, and trees originates from earth. The system originating from heaven deals with the division of yin and yang; the system originating from earth deals with the division of softness and strength. The division of yin and yang, and the division of softness and strength, refer to the heavens and the earth and all things within them; and the one who can embody all the heavens and the earth within himself is the human being.

有日日之物者也，有日月之物者也，有日星之物者也，有日辰之物者也。有月日之物者也，有月月之物者也，有月星之物者也，有月辰之物者也。有星日之物者也，有星月之物者也，有星星之物者也，有星辰之物者也。有辰日之物者也，有辰月之物者也，有辰星之物者也，有辰辰之物者也。

Among all things, there are those that correspond to "day-day," "day-moon," "day-star," and "day-branch"; there are also those that correspond to "moon-day," "moon-moon," "moon-star," and "moon-branch"; further, there are those that correspond to "star-day," "star-moon," "star-star," and "star-branch"; and also those that correspond to "branch-day," "branch-moon," "branch-star," and "branch-branch." This method pairs the four celestial phenomena—day, moon, star, and branch—two by two, with the first character as the main and the second as the auxiliary, resulting in sixteen categories. These are used to encompass all categories of things in the world.

日日物者，飛飛也；日月物者，飛走也；日星物者，飛木也；日辰物者，飛草也。月日物者，走飛也；月月物者，走走也；月星物者，走木也；月辰物者，走草也。星日物者，木飛也；星月物者，木走也；星星物者，木木也；星辰物者，木草也。辰日物者，草飛也；辰月物者，草走也；辰星物者，草木也；辰辰物者，草草也。

These sixteen categories correspond to: "Day-Day" things are flying creatures among flying ones, "Day-Moon" things are running creatures among flying ones, "Day-Star" things are wooden creatures among flying ones, and "Day-Chronicle" things are grassy creatures among flying ones; "Moon-Day" things are flying creatures among running ones, "Moon-Moon" things are running creatures among running ones, "Moon-Star" things are wooden creatures among running ones, and "Moon-Chronicle" things are grassy creatures among running ones; "Star-Day" things are flying creatures among wooden ones, "Star-Moon" things are running creatures among wooden ones, "Star-Star" things are wooden creatures among wooden ones, and "Star-Chronicle" things are grassy creatures among wooden ones; "Chronicle-Day" things are flying creatures among grassy ones, "Chronicle-Moon" things are running creatures among grassy ones, "Chronicle-Star" things are wooden creatures among grassy ones, and "Chronicle-Chronicle" things are grassy creatures among grassy ones. The basis for this layer is that Day corresponds to flying creatures, Moon corresponds to running animals, Star corresponds to trees, and Chronicle corresponds to grasses. Therefore, after the four celestial symbols are paired, they fall to the earth and are specifically categorized as four types of living things: flying, running, grass, and wood.

有皇皇之民者也，有皇帝之民者也，有皇王之民者也，有皇伯之民者也。有帝皇之民者也，有帝帝之民者也，有帝王之民者也，有帝伯之民者也。有王皇之民者也，有王帝之民者也，有王王之民者也，有王伯之民者也。有伯皇之民者也，有伯帝之民者也，有伯王之民者也，有伯伯之民者也。

On the human side, they are also arranged in order: there are the people of "Huanghuang", the people of "Huangdi", the people of "Huangwang", and the people of "Huangbo"; there are the people of "Dihuang", the people of "Didi", the people of "Dingwang", and the people of "Dibao"; there are the people of "Wanghuang", the people of "Wangdi", the people of "Wangwang", and the people of "Wangbo"; there are the people of "Bohuang", the people of "Bodi", the people of "Bowing", and the people of "Bobo". This is pairing the four ranks of human officials—Huang, Di, Wang, and Bo—in pairs, just as the previous method paired the sun, moon, and stars to produce sixteen categories of things, thereby creating sixteen categories to fully classify all people under heaven.

皇皇民者，士士也；皇帝民者，士農也；皇王民者，士工也；皇伯民者，士商也。帝皇民者，農士也；帝帝民者，農農也；帝王民者，農工也；帝伯民者，農商也。王皇民者，工士也；王帝民者，工農也；王王民者，工工也；王伯民者，工商也。伯皇民者，商士也；伯帝民者，商農也；伯王民者，商工也；伯伯民者，商商也。

These sixteen categories correspond to the four classes of people: "Huanghuang" refers to the outstanding scholar, "Huangdi" refers to the farmer among scholars, "Huangwang" refers to the artisan among scholars, and "Huangbo" refers to the merchant among scholars; "Dihuang" refers to the scholar among farmers, "Didi" refers to the farmer among farmers, "Diwang" refers to the artisan among farmers, and "Dibo" refers to the merchant among farmers; "Wanghuang" refers to the scholar among artisans, "Wangdi" refers to the farmer among artisans, "Wangwang" refers to the artisan among artisans, and "Wangbo" refers to the merchant among artisans; "Bohuang" refers to the scholar among merchants, "Bodi" refers to the farmer among merchants, "Bowang" refers to the artisan among merchants, and "Bobo" refers to the merchant among merchants. This level of classification is: Huang corresponds to scholars, Di corresponds to farmers, Wang corresponds to artisans, and Bo corresponds to merchants—governance proceeds from high to low, and the people's occupations proceed from scholars to merchants in sequence.

飛飛物者，性性也；飛走物者，性情也；飛木物者，性形也；飛草物者，性體也。走飛物者，情性也；走走物者，情情也；走木物者，情形也；走草物者，情體也。木飛物者，形性也；木走物者，形情也；木木物者，形形也；木草物者，形體也。草飛物者，體性也；草走物者，體情也；草木物者，體形也；草草物者，體體也。

Going one layer deeper, the flying and walking correspond to the nature and emotion, while the wood and grass correspond to form and body. Thus, the things that fly within flying are the nature within nature; the things that walk within flying are the emotion within nature; the things that wood within flying are the form within nature; and the things that grass within flying are the body within nature. The things that fly within walking are the nature within emotion; the things that walk within walking are the emotion within emotion; the things that wood within walking are the form within emotion; and the things that grass within walking are the body within emotion. The things that fly within wood are the nature within form; the things that walk within wood are the emotion within form; the things that wood within wood are the form within form; and the things that grass within wood are the body within form. The things that fly within grass are the nature within body; the things that walk within grass are the emotion within body; the things that wood within grass are the form within body; and the things that grass within grass are the body within body.

士士民者，仁仁也；士農民者，仁禮也；士工民者，仁義也；士商民者，仁智也。農士民者，禮仁也；農農民者，禮禮也；農工民者，禮義也；農商民者，禮智也。工士民者，義仁也；工農民者，義禮也；工工民者，義義也；工商民者，義智也。商士民者，智仁也；商農民者，智禮也；商工民者，智義也；商商民者，智智也。

If we go one layer deeper among the four classes of people, each corresponds to one of the four virtues: the scholar corresponds to "benevolence," the farmer to "ritual," the artisan to "righteousness," and the merchant to "wisdom." Thus, a scholar among scholars is benevolence within benevolence; a farmer among scholars is benevolence within ritual; an artisan among scholars is benevolence within righteousness; and a merchant among scholars is benevolence within wisdom. A scholar among farmers is ritual within benevolence; a farmer among farmers is ritual within ritual; an artisan among farmers is ritual within righteousness; and a merchant among farmers is ritual within wisdom. A scholar among artisans is righteousness within benevolence; a farmer among artisans is righteousness within ritual; an artisan among artisans is righteousness within righteousness; and a merchant among artisans is righteousness within wisdom. A scholar among merchants is wisdom within benevolence; a farmer among merchants is wisdom within ritual; an artisan among merchants is wisdom within righteousness; and a merchant among merchants is wisdom within wisdom.

飛飛之物一之一，飛走之物一之十，飛木之物一之百，飛草之物一之千。走飛之物十之一，走走之物十之十，走木之物十之百，走草之物十之千。木飛之物百之一，木走之物百之十，木木之物百之百，木草之物百之千。草飛之物千之一，草走之物千之十，草木之物千之百，草草之物千之千。

These sixteen categories each have their own numerical values: flying corresponds to one, moving corresponds to ten, wood corresponds to hundred, and grass corresponds to thousand. The more agile and noble the category, the smaller its numerical value; the more abundant and humble the category, the larger its numerical value. Therefore, the flying within flying is one times one, the moving within flying is one times ten, the wood within flying is one times hundred, and the grass within flying is one times thousand; the flying within moving is ten times one, the moving within moving is ten times ten, the wood within moving is ten times hundred, and the grass within moving is ten times thousand; the flying within wood is hundred times one, the moving within wood is hundred times ten, the wood within wood is hundred times hundred, and the grass within wood is hundred times thousand; the flying within grass is thousand times one, the moving within grass is thousand times ten, the wood within grass is thousand times hundred, and the grass within grass is thousand times thousand.

士士之民一之一，士農之民一之十，士工之民一之百，士商之民一之千。農士之民十之一，農農之民十之十，農工之民十之百，農商之民十之千。工士之民百之一，工農之民百之十，工工之民百之百，工商之民百之千。商士之民千之一，商農之民千之十，商工之民千之百，商商之民千之千。

The numbers corresponding to the four classes of people are also determined in the same way: the scholar is paired with one, the farmer with ten, the artisan with a hundred, and the merchant with a thousand. Thus, among the scholars, the scholar is one of one, the farmer is one of ten, the artisan is one of a hundred, and the merchant is one of a thousand; among the farmers, the scholar is ten of one, the farmer is ten of ten, the artisan is ten of a hundred, and the merchant is ten of a thousand; among the artisans, the scholar is a hundred of one, the farmer is a hundred of ten, the artisan is a hundred of a hundred, and the merchant is a hundred of a thousand; among the merchants, the scholar is a thousand of one, the farmer is a thousand of ten, the artisan is a thousand of a hundred, and the merchant is a thousand of a thousand.

一一之飛當兆物，一十之飛當億物，一百之飛當萬物，一千之飛當千物。十一之走當億物，十十之走當萬物，十百之走當千物，十千之走當百物。百一之木當萬物，百十之木當千物，百百之木當百物，百千之木當十物。千一之草當千物，千十之草當百物，千百之草當十物，千千之草當一物。

The value of each position is fixed, and the quantity of various things corresponds accordingly, in inverse proportion. The larger the position, the smaller the quantity it can represent. Starting from zhaoguan (myriad of myriad), yiyi (myriad), wan (ten thousand), qian (thousand), bai (hundred), shi (ten), and finally one, there are seven levels. A bird corresponding to one of zhaoguan can equal a quantity of zhaoguan, a bird corresponding to ten of zhaoguan can equal a quantity of yiyi, a bird corresponding to one hundred of zhaoguan can equal a quantity of wan, and a bird corresponding to one thousand of zhaoguan can equal a quantity of qian. A beast corresponding to one of ten can equal a quantity of yiyi, a beast corresponding to ten of ten can equal a quantity of wan, a beast corresponding to one hundred of ten can equal a quantity of qian, and a beast corresponding to one thousand of ten can equal a quantity of bai. A tree corresponding to one of bai can equal a quantity of wan, a tree corresponding to ten of bai can equal a quantity of qian, a tree corresponding to one hundred of bai can equal a quantity of bai, and a tree corresponding to one thousand of bai can equal a quantity of shi. A plant corresponding to one of qian can equal a quantity of qian, a plant corresponding to ten of qian can equal a quantity of bai, a plant corresponding to one hundred of qian can equal a quantity of shi, and a plant corresponding to one thousand of qian can equal only one item.

一一之士當兆民，一十之士當億民，一百之士當萬民，一千之士當千民。十一之農當億民，十十之農當萬民，十百之農當千民，十千之農當百民。百一之工當萬民，百十之工當千民，百百之工當百民，百千之工當十民。千一之商當千民，千十之商當百民，千百之商當十民，千千之商當一民。

A single soldier is equivalent to a million people; ten soldiers are equivalent to ten million people; a hundred soldiers are equivalent to a hundred thousand people; a thousand soldiers are equivalent to a thousand people. A single farmer is equivalent to a hundred million people; ten farmers are equivalent to a million people; a hundred farmers are equivalent to a thousand people; a thousand farmers are equivalent to a hundred people. A single worker is equivalent to a hundred thousand people; ten workers are equivalent to a thousand people; a hundred workers are equivalent to a hundred people; a thousand workers are equivalent to ten people. A single merchant is equivalent to a thousand people; ten merchants are equivalent to a hundred people; a hundred merchants are equivalent to ten people; a thousand merchants are equivalent to one person.

為一一之物能當兆物者，非巨物而何？為一一之民能當兆民者，非巨民而何？為千千之物能分一物者，非細物而何？為千千之民能分一民者，非細民而何？固知物有大小，民有賢愚。移昊天生兆物之德而生兆民，則豈不謂至神者乎？移昊天養兆物之功而養兆民，則豈不謂至聖者乎？吾而今而後，知踐形為大。非大聖大神之人，豈有不負於天地者乎？

A single thing that can match the value of a myriad of things is not the greatest thing, what else could it be? A single person who can match the value of a myriad of people is not the greatest person, what else could it be? A thing that is part of a thousand things but only gets a fraction of one thing's worth is not the smallest thing, what else could it be? A person who is part of a thousand people but only gets a fraction of one person's worth is not the smallest person, what else could it be? Therefore, things have differences in size, and people have distinctions in wisdom and foolishness. Who could transfer the benevolence of the vast heavens that nurtures myriad things to nurture myriad people? Such a person could be called "the Supreme God." Who could transfer the function of the vast heavens that sustains myriad things to sustain myriad people? Such a person could be called "the Supreme Sage." From now on, I have come to understand what Mencius said in "The Complete Heart" chapter: "To fulfill the form given by heaven completely" — to fully realize the inherent nature contained within the body given by heaven — is the greatest matter in the world. Without being a great sage or a supreme god, who would not辜负 the heavens and the earth?

夫所以謂之觀物者，非以目觀之也。非觀之以目，而觀之以心也。非觀之以心，而觀之以理也。天下之物莫不有理焉，莫不有性焉，莫不有命焉。所以謂之理者，窮之而後可知也；所以謂之性者，盡之而後可知也；所以謂之命者，至之而後可知也。此三知者，天下之真知也，雖聖人無以過之也。而過之者，非所以謂之聖人也。

What is meant by "observing things" (观物) is not using the eyes to see; it is not using the eyes, but using the mind to see; and it is not merely using the mind, but using "principle" (理) to see. All things in the world contain "principle," contain "nature," and contain "destiny." To know "principle," one must investigate it thoroughly; to know "nature," one must fully express it; to know "destiny," one must reach it directly. This is exactly what the "Sayings of the Trigrams" (说卦) says: "Investigate principle thoroughly, exhaust nature completely, and thus reach destiny." This knowledge of the three—principle, nature, and destiny—is the true knowledge in the world. Even sages cannot surpass it. If anyone claims to have surpassed it, then he is not worthy to be called a sage.

夫鑑之所以能為明者，謂其能不隱萬物之形也。雖然鑑之能不隱萬物之形，未若水之能一萬物之形也。雖然水之能一萬物之形，又未若聖人之能一萬物之情也。聖人之所以能一萬物之情者，謂其聖人之能反觀也。所以謂之反觀者，不以我觀物也。不以我觀物者，以物觀物之謂也。既能以物觀物，又安有我於其間哉？是知我亦人也，人亦我也，我與人皆物也。

A mirror is called clear because it can reflect the forms of all things without concealment. However, although a mirror can reflect the forms of all things without concealment, it is still inferior to water, which can reflect the forms of all things as one, blending them into a unified whole. Although water can blend the forms of all things into one, it is still inferior to a sage, who can blend the feelings of all things into one. The reason a sage can blend the feelings of all things is because he can "reverse observation." Reverse observation means not viewing things from the perspective of "I." Not viewing things from the perspective of "I" means viewing things from the perspective of the things themselves. If one can view things from the perspective of the things themselves, then where is the "I" in between? From this we can understand: I am a person, a person is me, and I and others are all things.

此所以能用天下之目為己之目，其目無所不觀矣；用天下之耳為己之耳，其耳無所不聽矣；用天下之口為己之口，其口無所不言矣；用天下之心為己之心，其心無所不謀矣。夫天下之觀，其於見也不亦廣乎？天下之聽，其於聞也不亦遠乎？天下之言，其於論也不亦高乎？天下之謀，其於樂也不亦大乎？夫其見至廣，其聞至遠，其論至高，其樂至大，能為至廣至遠至高至大之事，而中無一為焉，豈不謂至神至聖者乎？非惟吾謂之至神至聖，而天下亦謂之至神至聖。非惟一時之天下謂之至神至聖，而千萬世之天下亦謂之至神至聖者乎？過此以往，未之或知也已。

Only in this way could the sage use the eyes of all under heaven as his own eyes, so nothing would be beyond his sight; use the ears of all under heaven as his own ears, so nothing would be beyond his hearing; use the mouths of all under heaven as his own mouth, so nothing would be beyond his speech; use the hearts of all under heaven as his own heart, so nothing would be beyond his planning. Using the eyes of all under heaven, is his vision not extremely broad? Using the ears of all under heaven, is his hearing not extremely far-reaching? Using the mouths of all under heaven, is his speech not extremely refined? Using the hearts of all under heaven, is his planning not extremely grand? His vision is extremely broad, his hearing extremely far-reaching, his speech extremely refined, his planning extremely grand. He can accomplish the most extensive, the most distant, the highest, and the greatest things, yet his heart contains nothing that he deliberately does. Is this not what may be called "the most divine and sacred"? Not only do I call him the most divine and sacred, but all under heaven also call him the most divine and sacred; not only does the present world call him the most divine and sacred, but even the world of a thousand generations hence will also call him the most divine and sacred. As for the realm beyond this, it is beyond my knowledge.

天數五，地數五，合而為十數之全也。天以一而變四，地以一而變四，四者有體也，而其一者無體也，是謂有無之極也。天之體數四而用者三，不用者一也。地之體數四而用者三，不用者一也。是故無體之一，以況自然也。不用之一，以況道也。用之者三，以況天地人也。

The Great Treatise of the Book of Changes uses the numbers one, three, five, seven, and nine as the heavenly numbers, totaling five; and the numbers two, four, six, eight, and ten as the earthly numbers, also totaling five. Together, they form the complete number ten. The heavens generate the four trigrams from the number one, and the earth also generates the four trigrams from the number one. The four generated are tangible, while the original one, which is the source, is intangible. This is called the dual extremes of "being" and "non-being." The heavenly number is four in form but only three are actually used, leaving one unused; the earthly number is also four in form but only three are actually used, leaving one unused. Therefore, the intangible one is used to represent "nature," and the unused one is used to represent "the Way." The three actually used represent the three elements of heaven, earth, and humanity.

天有四時，一時四月，一月四十日，四四十六，而各去其一。是以一時三月，一月三十日也。四時，體數也；三月、三十日，用數也。體雖具四，而其一常不用也。故用者止於三而極於九也。體數常偶，故有四有十二；用數常奇，故有三有九。

In terms of the numerical structure, Heaven has four seasons, each season consisting of four months, and each month consisting of forty days. Four multiplied by four gives sixteen, but each layer must subtract one portion. Therefore, in reality, each season has only three months, and each month has only thirty days. The four seasons are called "body numbers," while three months and thirty days are called "used numbers." Although the body number includes four parts, one part is always present but not used, so the used number only reaches three. Even when taken to the extreme, it does not exceed three times three, which is nine. Body numbers are always even, hence four and twelve; used numbers are always odd, hence three and nine.

大數不足而小數常盈者，何也？以其大者不可見，而小者可見也。故時止乎四，月止乎三，而日盈乎十也。是以人之支體有四，而指有十也。天見乎南，而潛乎北。極於六，而餘於七。是以人知其前，昧其後，而略其左右也。

Large numbers are always insufficient, while small numbers often have a surplus. Why is this so? Because large things are invisible, while small things are visible. Therefore, the measure of time reaches four, the measure of the month reaches three, yet the day fills up to ten. The human body is the same: the limbs are only four, but the fingers are ten. The heavenly phenomena appear in the south and conceal themselves in the north; the visible limit in the south is six, and adding the surplus part makes seven. Humans are the same: they know what is in front of them, but are completely ignorant of what is behind them, and can only roughly attend to what is on the left and right.

天體數四而用三，地體數四而用三。天克地，地克天，而克者在地，猶晝之餘分在夜也。是以天三而地四，天有三辰，地有四行也。然地之大，且見且隱，其餘分之謂耶？

Heaven's fundamental number is four but its active use is three, while Earth's fundamental number is four but its active use is three. Heaven overcomes Earth and Earth overcomes Heaven; they mutually overcome each other, but the result of being overcome falls upon Earth, just as the extra part of daylight is accounted for in the night. Therefore, Heaven takes three and Earth takes four: among the four celestial phenomena of sun, moon, stars, and constellations, the constellations are invisible, so only the sun, moon, and stars are visible, making three. Among the four earthly elements of water, fire, soil, and stone, all four are present, hence they are called the four elements. However, Earth is so vast, yet it sometimes appears and sometimes disappears, which is probably what is meant by 'remainder' or 'excess'.

體者八變，用者六變。是以八卦之象，不易者四，反易者二，以六卦變而成八也；重卦之象，不易者八，反易者二十八，以三十六變而成六十四也。故爻止於六，卦盡於八，策窮於三十六，而重卦極於六十四也。卦成於八，重於六十四，爻成於六，策窮於三十六，而重於三百八十四也。

The number of the subject moves through eight transformations, while the number of the object moves through six transformations. Therefore, among the eight trigrams, those that remain unchanged when viewed upside down are four (Qian, Kun, Kan, and Li). Those that transform into another trigram when viewed upside down form two pairs (Zhen and Gen, Xun and Dui). These four unchanged trigrams and two pairs of transformed trigrams make up six units of change, from which the eight trigrams are formed. In the case of the sixty-four hexagrams, there are eight trigrams that remain unchanged, and twenty-eight pairs that transform into another trigram. These eight unchanged trigrams and twenty-eight pairs of transformed trigrams make up thirty-six units of change, from which the sixty-four hexagrams are formed. Therefore, the lines end at six, the trigrams end at eight, the number of divination rods (cè shù) is exhausted at thirty-six, and the hexagrams reach their maximum at sixty-four. The trigrams are formed by eight, and when combined they become sixty-four; the lines are formed by six, and when combined they become three hundred eighty-four lines.

天有二正，地有二正，而共用二變以成八卦也。天有四正，地有四正，而共用二十八變以成六十四卦也。是以小成之卦，正者四，變者二，共六卦也；大成之卦，正者八，變者二十八，共三十六卦也。乾、坤、離、坎為三十六卦之祖也，兌、震、巽、艮為二十八卦之祖也。

Heaven has two "correct" trigrams (Qian and Li), Earth has two correct trigrams (Kun and Kan). In addition, they share two sets of reversed and transformed trigrams, making up the eight trigrams in total. When applied to the sixty-four hexagrams, Heaven has four correct trigrams, Earth has four correct trigrams, and they share twenty-eight sets of reversed and transformed trigrams, making up the sixty-four hexagrams in total. In the smaller formation of the eight trigrams, there are four trigrams that remain correct without transformation, and two pairs of trigrams that are reversed and transformed, making a total of six trigrams. In the larger formation of the sixty-four hexagrams, there are eight trigrams that remain correct without transformation, and twenty-eight pairs of trigrams that are reversed and transformed, making a total of thirty-six trigrams. Qian, Kun, Li, and Kan are the ancestors of those thirty-six trigrams, while Dui, Zhen, Xun, and Gen are the ancestors of those twenty-eight pairs of transformed trigrams.

卦之正變共三十六，而爻有二百一十六，則用數之策也。三十六去四，則三十二也。又去四，則二十八也。又去四，則二十四也。故卦數三十二位，去四而言之也；天數二十八位，去八而言之也；地數二十四位，去十二而言之也。四者，乾、坤、離、坎也；八者，並頤、中孚、大小過也；十二者，並兌、震、泰、既濟也。

The original hexagram and the resulting hexagram together total thirty-six. Each hexagram has six lines, so thirty-six multiplied by six gives two hundred and sixteen lines, which is exactly the number of lines in the hexagram of Qian (Heaven), known as the "use number" or "count of lines." Thirty-six minus four gives thirty-two, then minus four gives twenty-eight, and then minus four gives twenty-four. Therefore, the number of hexagrams is thirty-two, which is derived by removing four from thirty-six; the number of heavenly stems is twenty-eight, derived by removing eight from thirty-six; and the number of earthly branches is twenty-four, derived by removing twelve from thirty-six. The four removed are Qian, Kun, Li, and Kan. The eight removed are these four plus Yi (Repose), Zhongfú (Middle Trust), Da Guo (Great Overcoming), and Xiao Guo (Small Overcoming). The twelve removed are these eight plus Dui (Lake), Zhen (Thunder), Tai (Great Peace), and Ji Ji (Completion), including their opposing hexagrams.

乾七子，兌六子，離五子，震四子，巽三子，坎二子，艮一子，坤全陰，故無子。乾七子，坤六子，兌五子，艮四子，離三子，坎二子，震一子，巽陰剛，故無子。乾坤七變，是以晝夜之極不過七分也；兌艮六變，是以月止於六，共為十二也；離坎五變，是以日止於五，共為十也。震巽四變，是以體止於四，共為八也。

According to the Earlier Heaven Trigrams in the order of Qian, Dui, Li, Zhen, Xun, Kan, Gen, and Kun, Qian can generate seven "Zi," Dui six, Li five, Zhen four, Xun three, Kan two, Gen one, and Kun, being purely yin and in the last position, generates none. If the trigrams are counted in pairs as Qian and Kun, Dui and Gen, Li and Kan, Zhen and Xun, then Qian generates seven "Zi," Kun six, Dui five, Gen four, Li three, Kan two, Zhen one, and Xun, being yin in the position below two yang, generates none. The pair Qian and Kun reaches seven, so the extremes of day and night are only seven parts; the pair Dui and Gen reaches six, so the moon only reaches six, and together they form twelve months; the pair Li and Kan reaches five, so the sun only reaches five, and together they form ten days (ten heavenly stems); the pair Zhen and Xun reaches four, so the body only reaches four, and together they form eight (eight trigrams).

日有八位而用止於七，去乾而言之也；月有八位而用止於六，去兌而言之也；星有八位而用止於五，去離而言之也；辰有八位而用止於四，去震而言之也；日有八位而數止於七，去泰而言之也；月自兌起者，月不能及日之數也，故十二月常餘十二日也。

The Japanese use eight positions but actually employ only seven, omitting the position of Qian; the moon originally uses eight positions but employs only six, omitting the position of Dui; stars originally use eight positions but employ only five, omitting the position of Li; the hour (辰) originally uses eight positions but employs only four, omitting the position of Zhen; the day originally uses eight positions but the paired number only reaches seven, omitting the hexagram Tai. As for the moon starting from Dui, it is because the moon's movement is slower than the sun's, so twelve lunar months are often shorter than the number of days in a solar year, requiring an additional twelve days to make up the difference.

乾陽中陽，不可變，故一年止舉十二月也；震陰中陰，不可變，故一日十二時，不可見也。兌陽中陰，離陰中陽，皆可變，故日月之數可分也。是以陰數以十二起，陽數以三十起，而常存二六也。

Heavenly Stem Qian represents Yang within Yang, pure and unmingled, with no possibility of further change, hence the twelve months of a year can be directly counted. Zhen represents Yin within Yin, also without further change, so the twelve hours of a day can only be calculated but not seen in form. Dui contains Yin within Yang, and Li contains Yang within Yin; both can undergo further change, hence the distinction between days and months. Therefore, the Yin numbers start from twelve (twelve Chens, twelve months), while the Yang numbers start from thirty (thirty days in a month). Within both, the basic numbers 'two' and 'six' are always preserved.

舉年見月，舉月見日，舉日見時，陽統陰也。是天四變，含地四變。日之變，含月與星辰之變也。是以一卦含四卦也。日一位，月一位，星一位，辰一位。日有四位，月有四位，星有四位，辰有四位。四四十有六位，盡此一變，而日月之數窮矣。

When you mention the year, you see the month; when you mention the month, you see the day; when you mention the day, you see the hour. This is because the yang principle governs the yin. Therefore, the four transformations of heaven include the four transformations of earth, and the changes of the sun include the changes of the moon and the stars. Thus, one hexagram contains four hexagrams. The sun occupies one position, the moon one, the stars one, and the stars (or the celestial stems and earthly branches) one. The sun has four positions, the moon four, the stars four, and the stars four. Four multiplied by four makes sixteen positions. When these sixteen positions are completed in a cycle, the numbers of the sun and moon are exhausted.

天有四變，地有四變。變有長也，有消也。十有六變而天地之數窮矣。日起於一，月起於二，星起於三，辰起於四。衍而伸之，陽數常六，陰數常二。十有二變，而大小之運窮矣。

Heaven has four changes, Earth has four changes, and within each change there is a growing aspect and a declining aspect; four multiplied by four makes sixteen changes, and thus the numbers of Heaven and Earth are exhausted. The sun starts counting from one, the moon from two, the stars from three, and the constellations from four; when these are extended and developed, the numbers belonging to the Yang are always six, and those belonging to the Yin are always two. By following this pattern through twelve changes, the great cycles and small cycles are also exhausted.

三百六十變為十二萬九千六百，十二萬九千六百變為一百六十七億九千六百一十六萬，一百六十七億九千六百一十六萬變為二萬八千二百一十一兆九百九十萬七千四百五十六億。以三百六十為時，以十二萬九千六百為日，以一百六十七億九千六百一十六萬為月，以二萬八千二百一十一兆九百九十萬七千四百五十六億為年，則大小運之數立矣。

Three hundred and sixty multiplied by itself becomes twelve million nine thousand six hundred; twelve million nine thousand six hundred multiplied by itself becomes one hundred sixty-seven billion nine thousand six hundred and sixteen thousand; one hundred sixty-seven billion nine thousand six hundred and sixteen thousand multiplied by itself becomes two thousand eight hundred and eleven trillion nine hundred ninety million seven thousand four hundred and fifty-six billion. Each layer is the previous layer multiplied by itself once, increasing step by step. (The "zhaog" used by Shao Yong refers to "billion billion," that is, ten thousand trillion.) Then take three hundred and sixty as "time," twelve million nine thousand six hundred as "day," one hundred sixty-seven billion nine thousand six hundred and sixteen thousand as "month," and two thousand eight hundred and eleven trillion nine hundred ninety million seven thousand four hundred and fifty-six billion as "year," and thus the numbers for great cycles and small cycles are established.

二萬八千二百一十一兆九百九十萬七千四百五十六億，分而為十二，前六限為長，後六限為消，以當一年十二月之數，而進退三百六十日矣。一百六十七億九千六百一十六萬，分而為三十，以當一月三十日之數，隨大運之消長，而進退六十日矣。十二萬九千六百，分而為十二，以當一日十二時之數，而進退六日矣。三百六十以當一時之數，隨小運之進退，以當晝夜之時也。

Divide the number of years, two million eight hundred and twenty-one thousand one hundred and eleven million nine hundred and ninety million seven thousand four hundred and fifty-six, into twelve parts, with the first six parts representing growth and the last six parts representing decline, corresponding to the twelve months of a year, with a cycle of three hundred and sixty days. Divide the number of months, one hundred and sixty-seven million nine thousand six hundred and sixteen thousand, into thirty parts, corresponding to the thirty days of a month, with a cycle of sixty days following the changes of the great cycle. Divide the number of days, twelve million nine thousand six hundred, into twelve parts, corresponding to the twelve hours of a day, with a cycle of six days. Three hundred and sixty is used to correspond to the number of moments in an hour, following the changes of the small cycle, exactly matching the moments of day and night.

十六變之數，去其交數，取其用數，得二萬八千二百一十一兆九百九十萬七千四百五十六億，分為十二，前六限為長，後六限為消，每限得一百六十七億九千六百一十六萬，每一百六十七億九千六百一十六萬衍開一分，進六十日也。六限開六分，進三百六十日也。猶有餘分之一，故開七分，進三百六十日也。其退亦若是矣。

The total number obtained from sixteen changes, after subtracting the "intersecting number" that is not used, leaves the actual number used, which is two billion eight hundred and twenty-one million one hundred and ten thousand nine hundred and ninety million seven hundred and forty-five thousand six hundred and sixty. This number is divided into twelve parts, with the first six parts representing growth and the last six parts representing decline. Each part equals one hundred and sixty-seven billion nine hundred and sixty-one million six hundred and sixteen. Each one hundred and sixty-seven billion nine hundred and sixty-one million six hundred and sixteen is considered as one fraction, and each fraction corresponds to sixty days. Six fractions correspond to three hundred and sixty days. There is also a remaining fraction, so it is extended to seven fractions, still counting as three hundred and sixty days. The calculation for the declining side is done in the same way.

十二萬九千六百，去其三者，交數也；取其七者，用數也。用數三而成於六，加餘分，故有七也。七之得九萬七百二十年，半之得四萬五千三百六十年，以進六日也。日有晝夜，數有朓肭，以成十有二日也。每三千六百年進一日，凡四萬三千二百年，進十有二日也。餘二千一百六十年，進餘分之六，合交數之二千一百六十年，共進十有二分，以為閏也。故小運之變，凡六十而成三百六十六日也。

This number, twelve thousand nine hundred and sixty, has ten parts. Three parts are removed as the 'intersecting number', and seven parts are used as the 'utilized number'. The utilized number originally comes from three, is sufficient for six, and then adds an extra part, making it seven. Taking seven tenths of it gives nine thousand and seventy-two years. Halving it gives four thousand five hundred and sixty years, which is used to advance six days. Since days are divided into day and night, and the moon's movement has 'tiao' and 'nu' (the moon appears earlier than expected at the end of the month is called 'nu', and appears later than expected at the beginning of the month is called 'tiao'), combining both sides forms twelve days. Calculating by advancing one day every three thousand six hundred years, four thousand three hundred and twenty years exactly advance twelve days. The remaining two thousand one hundred and sixty years advance six parts. Adding this to the two thousand one hundred and sixty years from the intersecting number, it totals twelve parts, which is used for intercalation. Therefore, the changes in the small cycle, when completed sixty, form a year of three hundred and sixty-six days.

天統乎體，故八變而終於十六。地分乎用，故六變而終於十二。天起於一，而終於七秭九千五百八十六萬六千一百一十垓九千九百四十六萬四千八京八千四百三十九萬一千九百三十六兆；地起於十二，而終於二百四秭六千九百八十萬七千三百八十一垓五千四百九十一萬八千四百九十九兆七百二十萬億也。

Heaven uses "body" as its governing principle, so it proceeds through eight transformations and ends at sixteen; Earth uses "function" as its distribution, so it proceeds through six transformations and ends at twelve. Heaven starts counting from one and continues until it reaches seven zhi, nine hundred and fifty-eight thousand six hundred and eleven gai, nine thousand nine hundred and forty-six million four thousand eight jing, eight thousand four hundred and thirty-nine million one hundred and thirty-six zhao. Earth starts counting from twelve and continues until it reaches two hundred and four zhi, six million nine hundred and eighty thousand seven hundred and thirty-eight gai, five thousand four hundred and ninety-one million eight thousand four hundred and ninety-nine zhao, seven hundred and twenty trillion. These two large numbers represent the ultimate limits of Heaven's and Earth's numbers respectively.

乾為一，乾之五爻分而為大有，以當三百六十之數也；乾之四爻分而為小畜，以當十二萬九千六百之數也；乾之三爻分而為履，以當一百六十七億九千六百一十六萬之數也；乾之二爻分而為同人，以當二萬八千一百一十一兆九百九十萬七千四百五十六億之數也；乾之初爻分而為姤，以當七秭九千五百八十六萬六千一百十垓九千九百四十六萬四千八京八千四百三十九萬一千九百三十六兆之數也。是謂分數也，分大為小，皆自上而下，故以陽數當之。（如一分為十二，十二分為三百六十也。）

The hexagram Qian consists of six pure yang lines, represented as 'one'. The fifth line of Qian, when divided from yang into yin, forms the hexagram Dàyǒu, used to represent the number 360. The fourth line, when further divided, forms the hexagram Xiaoxù, used to represent the number 12,9600. The third line, when divided again, forms the hexagram Lǚ, used to represent the number 167,96160000. The second line, when divided again, forms the hexagram Tongren, used to represent the number 28,111,990,745,600,000,000 (the original text here reads '111 zhi', differing from the previous '211 zhi', likely due to a transmission error). The first line, when divided again, forms the hexagram Gòu, used to represent the number 7 zhi 9,586,610,110,994,648,439,193,600,000,000,000. This method is called 'fractioning': dividing a large number into smaller ones, with each line being divided from top to bottom in sequence. Thus, the yang number is matched accordingly. (For example, one is divided into twelve, and twelve is further divided into 360.)

一生二為夬，當十二之數也；二生四為大壯，當四千三百二十之數也；四生八為泰，當五萬五千九百八十七萬二千之數也；八生十六為臨，當九百四十三千六百九十九萬六千九百一十五億二千萬之數也；十六生三十二為復，當二千六百五十二萬八千八百七十垓三千六百六十四萬八千八百京二千九百四十七萬九千七百三十一兆二千萬億之數也；三十二生六十四為坤，當無極之數也。是謂長數也。長小為大，皆自下而上，故以陰數當之。

In reverse, starting from the坤 (Earth) trigram and growing upwards: one gives rise to two, forming the Guai hexagram, corresponding to the number twelve; two gives rise to four, forming the Da Zhuang hexagram, corresponding to the number four million three hundred twenty; four gives rise to eight, forming the Tai hexagram, corresponding to the number fifty-five thousand nine hundred eighty-seven thousand two hundred; eight gives rise to sixteen, forming the Lin hexagram, corresponding to the number nine hundred forty-three thousand six hundred ninety-nine thousand six hundred ninety-one million five thousand two hundred million; sixteen gives rise to thirty-two, forming the Fu hexagram, corresponding to the number twenty-six million five hundred twenty-eight thousand eight hundred seventy myriad three thousand six hundred sixty-four thousand eight hundred eighty-eight hundred million two thousand nine hundred forty-seven million nine hundred seventy-three thousand one hundred twenty million; thirty-two gives rise to sixty-four, forming the Kun hexagram, which corresponds to the number 'wuji' (no extreme), too vast to measure. This process is called 'chang shu' (growth number): transforming small into large, with each line growing from the bottom up, so the yin number is used to match it.

天自臨以上，地自師以上，運數也。天自同人以下，地自遁以下，年數也。運數則在天者也，年數則在地者也。天自賁以上，地自艮以上，用數也。天自明夷以下，地自否以下，交數也。天自震以上，地自晉以上，有數也。天自益以下，地自豫以下，無數也。

On this diagram of numbers, the heavenly side from the Qian hexagram upwards and the earthly side from the Shī hexagram upwards belong to "yùn shù" (movement numbers); the heavenly side from the Tóngrén hexagram downwards and the earthly side from the Dùn hexagram downwards belong to "nián shù" (year numbers). "Yùn shù" is governed by heaven, while "nián shù" is governed by earth. The heavenly side from the Bēn hexagram upwards and the earthly side from the Gèn hexagram upwards belong to "yòng shù" (used numbers), which are actually in use; the heavenly side from the Míngyí hexagram downwards and the earthly side from the Pǐ hexagram downwards belong to "jiāo shù" (intersecting numbers), which are not used at the boundary. The heavenly side from the Zhèn hexagram upwards and the earthly side from the Jìn hexagram upwards belong to "yǒu shù" (existing numbers), which can still be measured; the heavenly side from the Yì hexagram downwards and the earthly side from the Yù hexagram downwards belong to "wú shù" (non-numerical numbers), which can no longer be calculated.

天之有數，起乾而止震，餘入於無者，天辰不見也。地去一而起十二者也，地火常潛也。故天以體為基，而常隱其基；地以用為本，而常藏其用也。一時止於三月，一月止於三十日，皆去其辰數也。是以八八之卦六十四，而不變者八，可變者七，七八五十六，其義亦由此矣。

The numbers that can be measured on the heavenly side start from the Qian trigram and end with the Zhen trigram, while the rest fall into the category of "nothingness." This corresponds to the fact that the "Chen" element in the four heavenly trigrams is invisible. On the earthly side, the count starts from twelve after removing "one," which corresponds to the fact that the "Fire" element in the four earthly trigrams often remains hidden. Therefore, heaven takes form as its foundation but always keeps the foundation hidden; earth takes function as its foundation but always keeps the function concealed. A year has only three months, and a month has only thirty days, because the number corresponding to "Chen" has been subtracted. Thus, in the sixty-four hexagrams formed by the eight trigrams overlapping eight times, there are eight that remain unchanged when reversed, while the remaining seven groups are changeable. Seven multiplied by eight gives fifty-six, and the reasoning comes from this as well.

有地然後有二，有二然後有晝夜。二三以變，錯綜而成，故《易》以二為生數，以十二而起，而一非數也。非數而數，以之成也。天行不息，未嘗有晝夜。人居地上，以為晝夜。故以地上之數為人之用也。

First there was the earth, then the number two came into being; with the emergence of two, there was a distinction between day and night. Two and three interact and intermingle with each other, thus generating all numbers. Therefore, the Book of Changes uses two as the originating number, starting the count from twelve, while one itself is not considered a number. Though it is not a number, all numbers depend on it for their origin. The celestial bodies move without ceasing, originally having no distinction between day and night; it was only when humans lived on the earth that day and night became differentiated. Therefore, the Book of Changes takes the numbers used on the earth as the numbers used by humans.

陽爻，晝數也；陰爻，夜數也。天地相銜，陰陽相交，故晝夜相雜，剛柔相錯。春夏陽多也，故晝數多夜數少；秋冬陰多也，故晝數少夜數多。

Yang lines represent the number of daylight, and Yin lines represent the number of darkness. Heaven and Earth connect head to tail, and Yin and Yang intermingle with each other, so day and night are interwoven, and hardness and softness are intertwined. In the seasons of spring and summer, Yang energy is abundant, so the number of Yang lines is greater and the number of Yin lines is smaller; in the seasons of autumn and winter, Yin energy is abundant, so the number of Yang lines is smaller and the number of Yin lines is greater. The number of Yang and Yin lines in a hexagram corresponds to the length of day and night in a year.

體數之策，三百八十四。去乾坤離坎之策，為用數三百六十。體數之用，二百七十。去乾與離坎之策，為用數之用二百五十二也；體數之用，二百七十。其一百五十六為陽，一百十四為陰。去離之策得一百五十二陽，一百一十二陰，為實用之數也。蓋陽去離而用乾，陰去坤而用坎也。

The total number of策 (counting units) is 384, which is the sum of six lines for each of the sixty-four hexagrams. After subtracting the 24策 of the four trigrams Qian, Kun, Li, and Kan, the remaining 360 is called the "useful number." Among the total body number, actually used is 270; after subtracting the策 numbers of Qian and Li and Kan, the remaining 252 is called the "useful number of the useful." Among these 270, 156 belong to Yang and 114 to Yin. After removing the策 number of Li, there are 152 Yang and 112 Yin, which is the truly practical number. The reason is that on the Yang side, Li is discarded and Qian is used, and on the Yin side, Kun is discarded and Kan is used.

是以天之陽策一百十二，去其陰也。地之陰策一百十二。陽策四十，去其南北之陽也。極南大暑，極北大寒，物不能生，是以去之也。其四十為天之餘分耶？陽侵陰，晝侵夜，是以在地也。合之為一百五十二陽，一百十二陰也。陽去乾之策，陰去坎之策，得一百四十四陽，一百八陰，為用數之用也。陽三十六，三之為一百八；陰三十六，三之為一百八。三陽三陰，陰陽各半也。陽有餘分之一，為三十六。合之為一百四十四陽，一百八陰也。故體數之用二百七十，而實用者二百六十四，用數之用二百五十二也。

Therefore, the yang count of Heaven is 112, which is the number after subtracting the yin. The yin count of Earth is also 112. There is another forty yang counts, which are left after removing the yang at the north and south poles: the extreme south is scorching hot and the extreme north is bitterly cold, and neither can support life, so they are subtracted. These forty counts are roughly the excess of Heaven. Yang encroaches on yin, and day encroaches on night; this excess falls to Earth. Combined, there are 152 yang and 112 yin. Then, subtract the count of Qian (Heaven) from the yang and the count of Kan (Water) from the yin, resulting in 144 yang and 108 yin, which is called "the use of the numbers." A yang line corresponds to 36 counts, three times that is 108; a yin line also corresponds to 36 counts, three times that is 108: three yang and three yin, so yang and yin are exactly half each. There is another excess of yang, which is 36, making the total 144 yang and 108 yin. Therefore, the total of the numbers is 270, but the actual usable number is 264, and the use of the numbers is 252.

卦有六十四，而用止乎三十六；爻有三百八十四，而用止乎二百一十六也。六十四分而二百五十六，是以一卦去其初上之爻，亦二百五十六也。此生物之數也。故離坎為生物之主，以離四陽，坎四陰。故生物者必四也。陽一百一十二，陰一百一十二，去其離坎之爻，則二百一十六也。陰陽之四十，共為二百五十六也。是以八卦用六爻，乾坤主之也；六爻用四位，離坎主之也。故天之昏曉不生物，而日中生物；地之南北不生物，而中央生物也。

There are sixty-four hexagrams, but only thirty-six are actually used; there are three hundred and eighty-four lines, but only two hundred and sixteen are actually used. Each of the sixty-four hexagrams uses four lines, resulting in two hundred and fifty-six; alternatively, if the first and top lines are removed from each hexagram, leaving four lines, the total is again two hundred and fifty-six—this is called the 'number of generation'. Therefore, the trigrams Li (Fire) and Kan (Water) are the main trigrams of generation, because Li has four yang lines in its upper and lower parts, and Kan has four yin lines in its upper and lower parts. This shows that the principle of generation is based on the number four. With one hundred and twelve yang lines and one hundred and twelve yin lines, removing the lines of Li and Kan leaves two hundred and sixteen; the remaining forty lines on each side of yin and yang together make two hundred and fifty-six. Therefore, the eight trigrams each use six lines, with Qian (Heaven) and Kun (Earth) as the main ones; among the six lines, only four are used, with Li and Kan as the main ones. This principle applies in reality as follows: Heaven does not generate life at dusk or dawn, but only at noon; Earth does not generate life at the poles, but only in the temperate zones.

體數何為者也？生物者也。用數何為者也？運行者也。運行者，天也；生物者，地也。天以獨運，故以用數自相乘，而以用數之用為生物之時也；地偶而生，故以體數之用陽乘陰，為生物之數也。

The function of the body numbers is for generating life. The function of the numbers is for operation. The heavens are in charge of operation, and the earth is in charge of generating life. The heavens operate alone, without a mate, so they use the numbers to multiply by themselves, and use the "function of the numbers" as the timing for generating life. The earth must have pairs to produce offspring, so it uses the yang aspect of the body numbers to multiply with the yin, and uses this as the number for generating life.

天數三，故六六而又六之。是以乾之策二百一十有六；地數兩，故十二而十二之，是以坤之策百四十有四也。乾用九，故三其八為二十四，而九之亦二百一十六。兩其八為十六，而九之亦百四十有四。坤用六，故三其十二為三十六，而六之亦二百一十六。兩其十二為二十四，而六之亦百四十有四也。坤以十二之三，十六之四，六之一與半為乾之餘分，則乾得二百五十二，坤得一百八也。

Heavenly numbers are taken as three, so after multiplying six by six and then by six again, the result is 216, which is the number of divination lines for Qian as mentioned in the Great Treatise. Earthly numbers are taken as two, so multiplying twelve by twelve gives 144, which is the number of divination lines for Kun. Qian uses nine, so three times eight is twenty-four, and multiplying that by nine again gives 216; two times eight is sixteen, and multiplying that by nine again gives 144. Kun uses six, so three times twelve is thirty-six, and multiplying that by six again gives 216; two times twelve is twenty-four, and multiplying that by six again gives 144. If the three parts of twelve, four parts of sixteen, and half a part of six from the side of Kun are considered as the excess parts of Qian, then Qian would have 252 and Kun would have 108.

體有三百八十四，而用止於三百六十，何也？以乾、坤、離、坎之不用也。乾、坤、離、坎之不用，何也？乾、坤、離、坎之不用，所以成三百六十之用也。故萬物變易，而四者不變也。夫惟不變，是以能變也。用止於三百六十，而有三百六十六，何也？數之贏也。數之贏則何用也？乾全用也。乾坤不用，則離坎用半也。乾全用者何也？陽主贏也。乾坤不用者何也？獨陽不生，專陰不成也。離坎用半何也？離東坎西，當陰陽之半，為春秋晝夜之門也。

The total number of elements is 384, but only 360 are actually used. This is because the four trigrams Qian (Heaven), Kun (Earth), Li (Fire), and Kan (Water) are retained but not used. Why are these four trigrams not used? Because their non-use allows the remaining 360 to function. Thus, although all things change constantly, these four remain constant. It is precisely because they are constant that they enable change in other things. The number of uses is only 360, yet a year actually has 366 days. Why is there this surplus? It is due to the excess in the count. How is this surplus handled? It is entirely taken up by Qian. Since Qian and Kun are not used, the roles of Li and Kan are each taken up by half. Why is the surplus entirely taken by Qian? Because yang governs the surplus. Why are Qian and Kun not used? Because isolated yang cannot produce, and pure yin cannot form. Why do Li and Kan each take up half? Because Li is in the east and Kan is in the west, at the boundary of yin and yang, serving as the gateway for the beginning of spring and autumn and the transition between day and night.

或用乾，或用離坎，何也？主陽而言之，故用乾也。主贏分而言之，則陽侵陰，晝侵夜，故用離坎也。陽主贏，故乾全用也。陰主虛，故坤全不用也。陽侵陰，陰侵陽，故離坎用半也。是以天之南全見，而北全不見，東西各半見也。離坎陰陽之限也，故離當寅，坎當申，而數常逾之者，蓋陰陽之溢也。然用數不過乎寅，交數不過乎申也。（或離當卯，坎當酉。）

Sometimes the trigram Qian is used, and sometimes Li and Kan are used. This is because when referring to the yang aspect, Qian is chosen; but when considering the surplus part, yang intrudes into yin, day into night, so Li and Kan are used. Yang represents fullness, so Qian is fully used; yin represents emptiness, so Kun is not used at all. Since yang intrudes into yin and yin also intrudes into yang, Li and Kan are each used half. This corresponds to the heavens: the southern sky is fully visible, the northern sky is fully invisible, and the east and west each show half. Li and Kan represent the boundary between yin and yang, so Li is at the寅 position and Kan is at the申 position. However, actual numbers often cross this boundary, which is due to yin and yang overflowing. But numbers cannot exceed寅, and the crossing of numbers cannot exceed申. (Some say Li is at the卯 position and Kan is at the酉 position.)

乾四十八，兌三十，離二十四，震十，坤十二，艮二十，坎三十六，巽四十。乾三十六，坤十二，離、兌、巽二十八，坎、艮、震二十。乾四十八而四分之一為陰所克；坤四十八而四分之一為所克之陽也。故乾得三十六，而坤得十二也。陽主進，是以進之為三百六十日；陰主消，是以十二月消十二日也。陽四卦十二爻，八陽四陰，以三十六乘其陽，以二十四乘其陰，則三百八十四也。

The numbers associated with each of the eight trigrams are: Qian (Heaven) 48, Dui (Lake) 30, Li (Fire) 24, Zhen (Thunder) 10, Kun (Earth) 12, Gen (Mountain) 20, Kan (Water) 36, and Xun (Wind) 40. If we consider only the yang lines, Qian has 36, Kun has 12, Li, Dui, and Xun each have 28, while Kan, Gen, and Zhen each have 20. Originally, Qian had 48, but a quarter of it was subtracted by yin; Kun originally had 48, but a quarter of it was added from yang. Therefore, Qian actually has 36 and Kun actually has 12. Yang represents advancement, so it accumulates to 360 days; yin represents reduction, so twelve lunar months are twelve days shorter than a year. The four trigrams associated with yang have twelve lines, eight of which are yang lines and four are yin lines. Multiply 36 by the number of yang lines and 24 by the number of yin lines, 288 plus 96 equals exactly 384.

圓者，星也，曆紀之數，其肇於此乎？方者，土也，畫州井地之法，其仿於此乎？蓋圓者，河圖之數；方者，洛書之文。故羲、文因之而造《易》，禹、箕敘之而作《範》也。圓數有一，方數有二，奇偶之義也。六即一也，十二即二也。

The circular side relates to the stars and the numbers used in calendars and year records, which probably originated from this. The square side relates to the land, the method of dividing the country into nine provinces and managing the well-field system, which probably followed this model. In the end, the circular represents the numbers of the Yellow River Chart, and the square represents the writings of the Luo Writing. Therefore, Fuxi and King Wen used it to create the Book of Changes, and Great Yu and Ji Zi used it to compose the Classic of Documents. The fundamental number of the circular is one, and the fundamental number of the square is two, which is the distinction between odd and even. Six is merely six times one, still belonging to one, and twelve is merely six times two, still belonging to two.

圓者徑一圍三，重之則六。方者徑一圍四，重之則八也。天圓而地方。圓者之數起一而積六，方者之數起一而積八。變之則起四而積十二也。六者常以六變，八者常以八變，而十二者亦以八變，自然之道也。八者，天地之體也；六者，天之用也；十二者，地之用也。天變方為圓，而常存其一；地分一為四，而常執其方。天變其體，而不變其用也；地變其用，而不變其體也。六者，並其一而為七；十二者，並其四而為十六也。陽主進，故天並其七而為七；陰主退，故地去其四而止於十二也。是陽常存一，而陰常晦一也。故天地之體止於八，而天之用極於七，地之用止於十二也。

The circumference of a circle with a diameter of one is three, and doubling it gives six. The circumference of a square with a diameter of one is four, and doubling it gives eight. Heaven is round, and Earth is square. Therefore, the number of the circle starts from one and accumulates to six, while the number of the square starts from one and accumulates to eight. If we go one step further, starting from four, it accumulates to twelve. Six always changes according to six, eight always changes according to eight, and twelve changes according to eight. This is all in accordance with the natural order. Eight is the "body" shared by both Heaven and Earth; six is the "function" of Heaven; twelve is the "function" of Earth. Heaven transforms the square into a circle but always retains the "one"; Earth divides one into four but always keeps the square. Heaven changes its body but not its function; Earth changes its function but not its body. Adding one to six gives seven, and adding four to twelve gives sixteen. Yang is about advancement, so Heaven includes that one to become seven; Yin is about retreat, so Earth removes the four and stops at twelve. This shows that Yang always preserves the "one," while Yin always hides the "one." Therefore, the body of Heaven and Earth stops at eight, while the function of Heaven reaches seven and the function of Earth stops at twelve.

圓者裁方以為用，故一變四。四去其一，則三也。三變九，九去其三，則六也。方者引圓以為體，故一變三，並之四也。四變十二，並之十六也。故用數成於三而極於六，體數成於四而極於十六也。是以圓者徑一而圍三，起一而積六；方者分一而為四，分四而為十六，皆自然之道也。

A circle is formed by cutting and shaping a square, so one becomes four; four removes one part, leaving three. Three becomes nine, and nine removes three parts, leaving six. A square is formed by drawing a circle and taking its form, so one becomes three, and including itself makes four; four becomes twelve, and including itself makes sixteen. Therefore, numbers used for the circle reach their peak at six, while numbers used for the form reach their peak at sixteen. Hence, the diameter of a circle is one, and its circumference is three, starting from one, it accumulates to six. A square divides one into four, and four divides again into sixteen—these are all natural principles.

圓者一變則生六，去一則五也；二變則生十二，去二則十也；三變則生十八，去三則十五也；四變則二十四，去四則二十也；五變則三十，去五則二十五也；六變則三十六，去六則三十也。是以存之則六六，去之則五五也。五則四而存一也，四則三而存一也，三則二而存一也，二則一而存一也。故一生二，去一則一也；二生三，去一則二也；三生四，去一則三也；四生五，去一則四也。是故二以一為本，三以二為本，四以三為本，五以四為本，六以五為本。（更思之。）

The number six changes once to produce six, subtract one part to leave five; changes twice to produce twelve, subtract two parts to leave ten; changes three times to produce eighteen, subtract three parts to leave fifteen; changes four times to produce twenty-four, subtract four parts to leave twenty; changes five times to produce thirty, subtract five parts to leave twenty-five; changes six times to produce thirty-six, subtract six parts to leave thirty. Therefore, calculating by keeping the original is six times six equals thirty-six, while calculating after subtraction is five times five equals twenty-five. Similarly, five is four plus one, four is three plus one, three is two plus one, two is one plus one. Thus, one produces two, subtracting that one part still leaves one; two produces three, subtracting one part leaves two; three produces four, subtracting one part leaves three; four produces five, subtracting one part leaves four. Therefore, two is based on one, three is based on two, four is based on three, five is based on four, and six is based on five. (This requires further reflection.)

方者一變而為四，四生八，並四而為十二；八生十二，並八而為二十；十二生十六，並十二而為二十八；十六生二十，並十六而為三十六也。一生三，並而為四也；十二生二十，並而為三十二也；二十八生三十六，並而為六十四也。（更思之。）

The number of the square changes once to become four; four generates eight, and combining the original four gives twelve; eight generates twelve, and combining the original eight gives twenty; twelve generates sixteen, and combining the original twelve gives twenty-eight; sixteen generates twenty, and combining the original sixteen gives thirty-six. Now looking at the total: one generates three, and combining the two numbers gives four; twelve generates twenty, and combining the two numbers gives thirty-two; twenty-eight generates thirty-six, and combining the two numbers gives exactly sixty-four hexagrams. (This part requires further reflection.)

一役二以生三，三去其一則二也。三生九，九去其一則八也，去其三則六也。故一役三，三復役二也；三役九，九復役八與六也。是以二生四，八生十六，六生十二也。三並一則為四，九並三則為十二，十二又並四則為十六。故四以一為本，三為用。十二以三為本，九為用。十六以四為本，十二為用。（更思之。）

One drives two and produces three; three minus one returns to two. Three produces nine; nine minus one is eight, and nine minus three is six. Therefore, one drives three, and three turns back to drive two; three drives nine, and nine turns back to drive eight and six. Thus, two produces four, eight produces sixteen, and six produces twelve. Three plus one is four; nine plus three is twelve; twelve plus four is sixteen. Hence, four is based on one and uses three; twelve is based on three and uses nine; sixteen is based on four and uses twelve. (This requires further reflection.)

裁方而為圓，天之所以運行；分大而為小，地之所以生化。故天用六變，地用四變也。一八為九，裁為七，八裁為六，十六裁為十二，二十四裁為十八，三十二裁為二十四，四十裁為三十，四十八裁為三十六，五十六裁為四十二，六十四裁為四十八也。一分為四，八分為三十二，十六分為六十四，以至九十六分為三百八十四也。

Cutting and shaping square into circle, this is the reason heaven can move ceaselessly; dividing the large into the small, this is the reason earth can give birth and nurture all things. Therefore, heaven moves through six transformations, and earth through four. Cutting is done according to the ratio of removing one part out of four: one plus eight equals nine, removing one fourth leaves seven; eight is cut to six, sixteen to twelve, twenty-four to eighteen, thirty-two to twenty-four, forty to thirty, forty-eight to thirty-six, fifty-six to forty-two, and sixty-four to forty-eight. Division is done according to fourfold multiples: one divided into four, eight into thirty-two, sixteen into sixty-four, continuing up to ninety-six divided into three hundred eighty-four—exactly the number of lines in the sixty-four hexagrams, three hundred eighty-four lines.

一生六，六生十二，十二生十八，十八生二十四，二十四生三十，三十生三十六。引而伸之，六十變而生三百六十矣。此運行之數也。四生十二，十二生二十，二十生二十八，二十八生三十六，此生物之數也。故乾之陽策三十六，兌離巽之陽策二十八，震坎艮之陽策二十，坤之陽策十二也。

One generates six, six generates twelve, twelve generates eighteen, eighteen generates twenty-four, twenty-four generates thirty, and thirty generates thirty-six; following this pattern of adding six each time, when it reaches sixty changes, it produces three hundred and sixty, which is called "the number of movement." Another pattern is four generates twelve, twelve generates twenty, twenty generates twenty-eight, and twenty-eight generates thirty-six, with each step adding eight, which is called "the number of generation." Therefore, following this pattern to assign the yang numbers to the Eight Trigrams: Qian is thirty-six, Dui and Li and Xun are each twenty-eight, Zhen and Kan and Gen are each twenty, and Kun is twelve.

圓者六變，六六而進之，故六十變而三百六十矣。方者八變，故八八而成六十四矣。陽主進，是以進之為六十也。六變而成三十六矣，八變而成六十四矣，十二變而成三百六十四矣。六六而變之，八八六十四變，而成三百八十四矣。八八而變之，七七四十九變，而成三百八十四矣。

A circular path involves six changes progressing step by step, resulting in sixty changes and thus three hundred and sixty; a square path involves eight changes, so eight multiplied by eight equals sixty-four. Yang represents forward movement, so it progresses to sixty. Further calculation: six changes result in thirty-six, eight changes result in sixty-four, and twelve changes result in three hundred and sixty-four (the original text is like this, but it is suspected that it should be three hundred and sixty). If six by six is considered one section of change, then sixty-four changes result in three hundred and eighty-four; if eight by eight is considered one section of change, then forty-nine changes also result in three hundred and eighty-four. Both paths, when taken to their extremes, lead to the three hundred and eighty-four lines of the sixty-four hexagrams.

蓍德圓，以況天之數，故七七四十九也。五十者存一而言之也。卦德方，以況地之數，故八八六十四也。六十者，去四而言之也。蓍者，用數也；卦者，體數也。用以體為基，故存一也；體以用為本，故去四也。圓者本一，方者本四，故蓍存一而卦去四也。蓍之用數七，並其餘分，亦存一之義也；掛其一，亦去一之義也。

The nature of the yarrow stalks is round, used to represent the heavenly numbers, so they take seventy-seven, which is forty-nine; saying the great derivation number is fifty refers to including the one that is not used. The nature of the hexagrams is square, used to represent the earthly numbers, so they take eight eights, which is sixty-four; saying sixty refers to excluding the four trigrams of heaven, earth, fire, and water. The yarrow stalks belong to the number of use, while the hexagrams belong to the number of form: use must be based on form, so one is left unused; form must be based on use, so four are removed. A circle is based on one, a square is based on four, hence the yarrow stalks leave one and the hexagrams remove four. The number of use for the yarrow stalks takes seven, and the remaining is included, which also means 'keeping one'; when casting the hexagram, one stalk is first set aside, which also means 'removing one'.

蓍數不以六而以七，何也？並其餘分也。去其餘分則六，故策數三十六也。是以五十者，六十四卦閏歲之策也。其用四十有九，六十四卦一歲之策也。歸奇掛一，猶一歲之閏也。卦直去四者，何也？天變而地效之。是以蓍去一，則卦去四也。

Why is the number seven used instead of six in the divination process? Because the remaining portion is included. If the remainder is excluded, it would be six, so the number of lines in a hexagram is calculated as six multiplied by six, resulting in thirty-six. This is why the number fifty is used to match the number of hexagrams with the leap year's cycle; actually using forty-nine corresponds to the regular year's cycle. When divining with yarrow stalks, the leftover stalks are gathered and one is set aside first, just as a leap month is added in a year. Why does the hexagram directly remove four? Because heaven changes first and earth follows: when the yarrow stalks remove one, the hexagram accordingly removes four.

蓍之用數，掛一以象三。其餘四十八，則一卦之策也。四其十二為四十八也。十二去三而用九，四三十二所去之策也，四九三十六所用之策也，以當乾之三十六陽爻也。十二去五而用七，四五二十所去之策也，四七二十八所用之策也，以當兌離之二十八陽爻也。十二去六而用六，四六二十四所去之策也，四六二十四所用之策也，以當坤之二十四陰爻也。十二去四而用八，四四十六所去之策也，四八三十二所用之策也，以當艮坎之二十四爻，並上卦之八陰，為三十二爻也。是故七九為陽，六八為陰也。

The number of stalks used in divination is forty-nine. First, one stalk is set aside to represent the three components of heaven, earth, and humanity. The remaining forty-eight stalks correspond to the number of lines in a hexagram, which is calculated as four multiplied by twelve, resulting in forty-eight. From twelve, subtract three and use nine: four multiplied by three equals twelve, which is the number of lines removed; four multiplied by nine equals thirty-six, which is the number of lines used, matching the thirty-six yang lines of the Qian hexagram. From twelve, subtract five and use seven: four multiplied by five equals twenty, which is the number of lines removed; four multiplied by seven equals twenty-eight, which is the number of lines used, matching the twenty-eight yang lines of the Dui and Li hexagrams. From twelve, subtract six and use six: four multiplied by six equals twenty-four, which is the number of lines removed; four multiplied by six equals twenty-four, which is the number of lines used, matching the twenty-four yin lines of the Kun hexagram. From twelve, subtract four and use eight: four multiplied by four equals sixteen, which is the number of lines removed; four multiplied by eight equals thirty-two, which is the number of lines used, matching the twenty-four lines of the Gen and Kan hexagrams plus the eight yin lines of the hexagram, totaling thirty-two lines. Therefore, seven and nine belong to yang, while six and eight belong to yin.

九者陽之極數，六者陰之極數。數極則反，故為卦之變也。震巽無策者，以當不用之數。天以剛為德，故柔者不見。地以柔為體，故剛者不生。是以震巽無策也。或先艮後兌離。乾用九，故其策九也，四之者以應四時，一時九十日也。坤用六，故其策亦六也。

Nine represents the extreme of the Yang number, and six represents the extreme of the Yin number. When numbers reach their extremes, they reverse, hence old Yang and old Yin serve as the basis for changing lines in a hexagram. The trigrams Zhen (Thunder) and Xun (Wind) are not assigned a count, as they are used as the unused portion. Heaven values firmness as its virtue, so the soft aspect does not appear; Earth values softness as its nature, so the firm aspect does not arise: thus Zhen and Xun have no count. There is also an arrangement where Gen (Mountain) comes first and Dui (Lake), Li (Fire) come later. Qian (Heaven) uses nine, so its count is based on nine, multiplied by four to correspond to the four seasons, with one season being ninety days. Kun (Earth) uses six, so its count is based on six.

奇數四，有一有二有三有四。策數四，有六有七有八有九。合而為八數，以應方數之八變也。歸奇合掛之數有六，謂五與四四也，九與八八也，五與四八也，九與四八也，五與八八也，九與四四也，以應圓數之變六也。

The remainder obtained from divining with yarrow stalks can be one, two, three, or four. The number of lines determined by the remainder also has four possibilities: six, seven, eight, and nine. When both sides are combined, there are eight numbers in total, corresponding to the eight transformations of the square number. As for combining the remainders and adding the single stalk that is set aside, the result has six possibilities: five and four four, nine and eight eight, five and four eight, nine and four eight, five and eight eight, nine and four four, corresponding to the six transformations of the round number.

奇數極於四，而五不用。策數極於九，而十不用。五則一也，十則二也。故去五十而用四十九也。奇不用五，策不用十，有無之極也，以況自然之數也。蓍數全，故陽策三十六與二十八，合之為六十四也。卦數去其四，故陰策二十四與三十二，合之為五十六也。九進之為三十六，皆陽數也，故為陽中之陽；七進之為二十八，先陽而後陰也，故為陽中之陰；六進之為二十四，皆陰數也，故為陰中之陰；八進之為三十二，先陰而後陽也，故為陰中之陽。

The count of the remainder stops at four, and five is not used; the count of the divination rods stops at nine, and ten is not used. This is because five returns to one, and ten returns to two. Therefore, the total number of divination rods is fifty, but only forty-nine is used in practice. The exclusion of five from the remainder and ten from the divination rods represents the two extremes of 'having' and 'not having,' symbolizing the natural generation of numbers. The divination rods are complete, so the number of yang rods, thirty-six, added to twenty-eight gives sixty-four. The number of yin rods, twenty-four, added to thirty-two gives fifty-six, as four yin rods have been removed. Nine, when counted in fours, gives thirty-six; both four and nine are yang numbers, so this is called yang within yang. Seven, when counted in fours, gives twenty-eight; four is yang and seven follows it as yin, so this is called yang within yin. Six, when counted in fours, gives twenty-four; both six and four are yin numbers, so this is called yin within yin. Eight, when counted in fours, gives thirty-two; it starts with yin and ends with yang, so this is called yin within yang.

蓍四進之則百，卦四進之則百二十。百則十也，百二十則十二也。歸奇合掛之數，得五與四四，則策數四九也；得九與八八，則策數四六也；得五與八八，得九與四八，則策數皆四七也；得九與四四，得五與四八，則策數皆四八也。為九者，一變以應乾也；為六者，一變以應坤也；為七者，二變以應兌與離也；為八者，二變以應艮與坎也。五與四四，去掛一之數，則四八三十二也；九與八八，去掛一之數，則四六二十四也；五與八八、九與四八，去掛一之數，則四五二十也；九與四四、五與四八，去掛一之數，則四四十六也。故去其三四五六之數，以成九八七六之策也。

The number of stalks used is twenty-five, and when counted by fours, it results in a total of one hundred. The number of lines in the hexagram is thirty, and when counted by fours, it results in one hundred twenty. When reduced, one hundred becomes ten, and one hundred twenty becomes twelve. The leftover numbers are combined with the initial one removed: those that result in five and four, or four, have a count of thirty-six; those that result in nine and eight, or eight, have a count of twenty-four; those that result in five and eight, or eight, or nine and four, or eight, have a count of twenty-eight; and those that result in nine and four, or four, or five and four, or eight, have a count of thirty-two. Those that result in nine can be matched with the trigram Qian with one change; those that result in six can be matched with the trigram Kun with one change; those that result in seven require two changes to match the trigrams Dui and Li; and those that result in eight require two changes to match the trigrams Gen and Kan. When five and four, or four, remove the initial one, the count becomes thirty-two; when nine and eight, or eight, remove the initial one, the count becomes twenty-four; when five and eight, or eight, or nine and four, or eight, remove the initial one, the count becomes twenty; and when nine and four, or four, or five and four, or eight, remove the initial one, the count becomes sixteen. Thus, it is precisely by removing the groups of three, four, five, and six that the counts of nine, eight, seven, and six are formed.

天一地二，天三地四，天五地六，天七地八，天九地十，參伍以變，錯綜其數也。如天地之相銜，晝夜之相交也。一者數之始，而非數也。故二二為四，三三為九，四四為十六，五五為二十五，六六為三十六，七七為四十九，八八為六十四，九九為八十一，而一不可變也。百則十也，十則一也，亦不可變也。是故數去其一而極於九，皆用其變者也。五五二十五，天數也；六六三十六，乾之策數也；七七四十九，大衍之用數也；八八六十四，卦數也；九九八十一，玄範之數也。

The Great Treatise says that Heaven is one and Earth is two, Heaven is three and Earth is four, Heaven is five and Earth is six, Heaven is seven and Earth is eight, Heaven is nine and Earth is ten. Odd and even numbers alternate, interacting three times and five times, changing and interweaving to form numbers, just as Heaven and Earth connect head to tail and day and night alternate. "One" is the beginning of numbers, but it is not counted as a number. Therefore, two multiplied by two is four, three multiplied by three is nine, four multiplied by four is sixteen, five multiplied by five is twenty-five, six multiplied by six is thirty-six, seven multiplied by seven is forty-nine, eight multiplied by eight is sixty-four, nine multiplied by nine is eighty-one, while one multiplied by one remains one, which cannot change. One hundred reduces to ten, ten reduces to one, which also cannot change. Therefore, counting should exclude "one" and take nine as the extreme, using only the part that can change. Five multiplied by five is twenty-five, which is the total of Heaven's numbers; six multiplied by six is thirty-six, which is the number of the yao of Qian; seven multiplied by seven is forty-nine, which is the number used in the Great Derivation; eight multiplied by eight is sixty-four, which is the number of the hexagrams; nine multiplied by nine is eighty-one, which is the number based on Yang Xiong's Tai Xuan and the Nine Categories of the Shang Shu Hong Fan.

大衍之數，其算法之源乎？是以算數之起，不過乎方圓曲直也。乘數，生數也；除數，消數也。算法雖多，不出乎此矣。《易》之大衍，何數也？聖人之倚數也。天數二十五，合之為五十；地數三十，合之為六十。故曰“五位相得，而各有合也”。五十者，蓍之數也；六十者，卦之數也。五者，蓍之小衍也。故五十為大衍也。八者，卦之小成，則六十四為大成也。

The great derivation number, roughly speaking, is the origin of all calculations. Therefore, the origin of arithmetic is no different from the forms of square, circle, curve, and straight line. Multiplication increases numbers, while division decreases them; although there are many names for calculation methods, they cannot escape these two categories. So what is the great derivation number in the Book of Changes? It is a number devised by the sages based on the numbers of heaven and earth. The numbers of heaven are one, three, five, seven, and nine, which total twenty-five; doubling this gives fifty. The numbers of earth are two, four, six, eight, and ten, which total thirty; doubling this gives sixty. Therefore, the Great Treatise says, "The five positions correspond to each other and each has its combination." Fifty is the number of the yarrow stalks, and sixty is the number of the hexagrams. Five is the "small derivation" of the yarrow stalks; extending this, fifty becomes the "great derivation." Eight is the "small completion" of the hexagrams; extending this, sixty-four becomes the "great completion."

五十分之則為十。若參天兩之，則為六。兩地又兩之，則為四。此天地分太極之數也。天之變六，六其六得三十六，為乾一爻之數也。積六爻之策，共得二百一十有六，為乾之策。六其四得二十四，為坤一爻之策。積六爻之數，共得一百四十有四，為坤之策。積二篇之策，乃萬有一千五百二十也。

Fifty is divided into five parts, each part being ten. If we take three according to 'Heavenly Principle' and double it, we get six; if we take two according to 'Dual Places' and double it, we get four. These are the numbers obtained from dividing the Taiji by Heaven and Earth. The changing number of Heaven is six; six sixes make thirty-six, which is the number of lines for the Qian trigram. The total number of lines for the six lines of Qian is two hundred and sixteen, which is the total number of lines for Qian. Six fours make twenty-four, which is the number of lines for the Kun trigram. The total number of lines for the six lines of Kun is one hundred and forty-four, which is the total number of lines for Kun. When the numbers of all the sixty-four hexagrams in the upper and lower parts of the Yi are added together, the total is eleven thousand five hundred and twenty, which corresponds to the number of all things.

陽得陰而生，陰得陽而成，故蓍數四而九，卦數六而十也。猶干支之相錯，乾以六終，而支以五終也。卦有六十四，而用止六十者，何也？六十卦者，三百六十爻也。故甲子止於六十也。六甲，天道窮矣。是以策數應之，三十六與二十四合之則六十也，三十二與二十八合之亦六十也。乾四十八，坤十二，震二十，巽四十，離兌三十二，坎艮二十八，合之亦六十也。

Yang needs to connect with Yin to be generated, and Yin needs to connect with Yang to be formed. Therefore, the number of the divination sticks is paired with four and nine, and the number of hexagrams is paired with six and ten. This is like the mutual interaction between the Heavenly Stems and Earthly Branches: the ten Heavenly Stems cycle through six rounds to complete a cycle, and the twelve Earthly Branches cycle through five rounds to complete a cycle, both ending at sixty. There are sixty-four hexagrams in total, but in actual use only sixty are employed. Why is this so? Because sixty hexagrams correspond to three hundred and sixty lines, which matches the three hundred and sixty days in a year, and the cycle of Jiazi also lasts sixty. When the six Jia stems are completed, the heavenly cycle is completed. The numbers of the divination rods correspond to this as well: thirty-six plus twenty-four equals sixty, and thirty-two plus twenty-eight also equals sixty; forty-eight (Qian) plus twelve (Kun), twenty (Zhen) plus forty (Xun), thirty-two (Li and Dui) plus twenty-eight (Kan and Gen), all add up to sixty.

三四十二也，二六亦十二也。二其十二，二十四也。三八亦二十四也，四六亦二十四也。三其十二，三十六也。四九亦三十六也，六六亦三十六也。四其十二，四十八也。三其十六亦四十八也，六八亦四十八也。五其十二，六十也。三其二十亦六十也，六其十亦六十也。皆自然之相符也。（此蓋陰數分其陽數耳，是以相因也。如月初一分作十二也。二十四氣、七十二候之數，亦可因以明之。）

Three times four is twelve, and two times six is also twelve. The double of twelve is twenty-four, which is also three times eight or four times six. The triple of twelve is thirty-six, which is also four times nine or six times six. The quadruple of twelve is forty-eight, which is also three times sixteen or six times eight. The quintuple of twelve is sixty, which is also three times twenty or six times ten. Different methods lead to the same number, which is a natural harmony. (This is merely the yin numbers dividing the yang numbers, so they can be mutual factors. For example, dividing the first day of each month into twelve parts. The numbers of twenty-four solar terms and seventy-two climatic divisions in a year can also be explained in this way.)

四九三十六也，六六三十六也。陽六而又兼陰六之半，是以九也。故以二卦言之，陰陽各三也；以三爻言之，天地人各二也。陰陽之中，各有天地人。天地人之中，各有陰陽。故參天兩地而倚數也。

Four multiplied by nine is thirty-six, and six multiplied by six is also thirty-six. Yang itself occupies six, and it also takes half of the six of Yin, so altogether it makes nine. Therefore, in terms of the upper and lower hexagrams, Yin and Yang each occupy three lines. In terms of the three elements, Heaven, Earth, and Humanity each occupy two lines. Within Yin and Yang, each contains Heaven, Earth, and Humanity; within Heaven, Earth, and Humanity, each contains Yin and Yang. This is why it is said, "Three for Heaven, two for Earth, and the numbers are based on this." — taking three from Heaven and two from Earth, relying on them to establish all the numbers.

《易》有真數，三而已。參天者，三三而九。兩地者，倍三而六。參天兩地而倚數，非天地之正數也。倚者，擬也，擬天地正數而生也。《易》之數窮天地終始。或曰：“天地亦有終始乎？”曰：“既有消長，豈無終始？”天地雖大，是亦形器，乃二物也。

The true root number of the Yi is only three. The term "san tian" (three heavens) refers to three threes making nine, while "liang di" (two earths) refers to twice three making six. "San tian liang di er yi shu" (three heavens and two earths and thus the numbers are derived) does not refer to the actual numbers of heaven and earth, but rather to numbers that are imitated or compared to them—"yi" means to imitate or compare, and it is derived by analogy with the actual numbers of heaven and earth. The numbers of the Yi can exhaust the beginning and end of heaven and earth. Someone asks, "Does heaven and earth have a beginning and an end?" The answer is, "If there is waxing and waning, how could there not be beginning and end?" Although heaven and earth are vast, in the end they are merely two things, tangible objects.

《易》之生數，一十二萬九千六百，總為四千三百二十世。此消長之大數，衍三十年之辰數，即其數也。歲三百六十日，得四千三百二十辰。以三十乘之，得其數矣。凡甲子甲午為世首，此為經世之數，始於日甲月子星甲辰子。又云，此經世日甲之數，月子星甲辰子從之也。

The numbers of the Book of Changes are twelve thousand nine hundred and sixty, totaling four thousand three hundred and twenty generations, which is the total number of increase and decrease. Its origin is derived by calculating the number of cycles in thirty years: one year has three hundred and sixty days, each day contains twelve cycles, resulting in four thousand three hundred and twenty cycles; multiplying this by thirty years gives exactly twelve thousand nine hundred and sixty. Whenever the Jiazi or Jiawu cycles occur, they mark the beginning of a new generation. This is called the "Classic of the World" number, starting from the position where the day is Jia, the month is Zi, the star is Jia, and the hour is Zi. It is also said that this number in the Classic of the World has the day in the position of Jia, with the month Zi, the star Jia, and the hour Zi following in sequence.

十、百、千、萬、億為奇，天之數也。十二、百二十、千二百、萬二千、億二萬為偶，地之數也。十干天也，十二支地也，支干配天地之用也。乾者，乾之義，陽也；支者，枝之義，陰也。乾十而支十二，是陽數中有陰，陰數中有陽也。陽數一，衍之為十，十干之類是也；陰數二，衍之為十二，十二支、十二月之類是也。陽無十，故不足於後；陰無一，故不足於首。

Ten, hundred, thousand, ten thousand, and hundred million belong to the odd numbers, which are associated with Heaven; twelve, two hundred forty, one thousand two hundred, twelve thousand, and one hundred and two million belong to the even numbers, which are associated with Earth. The ten Heavenly Stems belong to Heaven, and the twelve Earthly Branches belong to Earth. When the Heavenly Stems and Earthly Branches are combined, it reflects the application of Heaven and Earth. "Stem" refers to the trunk of a tree, which is yang; "Branch" refers to branches, which is yin. The Heavenly Stems have ten, while the Earthly Branches have twelve, showing that yang contains yin and yin contains yang. The fundamental number of yang is one, which expands to ten, forming the ten Heavenly Stems; the fundamental number of yin is two, which expands to twelve, forming the twelve Earthly Branches and the twelve months. In the yang system, there is no "ten" as a complete unit, so it lacks one at the end; in the yin system, there is no "one," so it lacks one at the beginning.

陽數於三百六十上盈，陰數於三百六十上縮。體四而變六，兼神與氣也。氣變必有故，三百六十也。氣以六變，體以四分。天地之交十之三。

Taking a year of 360 days as the standard, the yang number has an excess in this count, while the yin number has a deficiency. The body itself is originally four, but when it changes, it becomes six. The two extra parts include both "shen" and "qi." The changes of qi must have a fixed standard, which is 360. Qi changes in groups of six, while the body is divided into four. The part where heaven and earth meet accounts for three-tenths.

凡事為之極，凡十之七，則可以正矣。蓋夏至之日，止於六十，兼之以晨昏分，可辨邑矣。庶幾乎十之七也。正音律數行至於七而止者，以夏至之日出於寅而入於戌，亥子丑三時，則日入於地，而目無所見。此三數不行者，所以比於三時也。故生物之數亦然。非數之不行也，有數而不見也。

When doing any task to the utmost, it is generally considered completed when reaching about seven-tenths. For example, on the summer solstice, the daylight lasts only for sixty minutes, but adding the faint light of morning and evening, it is enough to discern the outline of a city, which is nearly seven-tenths. When tuning musical scales, the count stops at seven, because on the summer solstice the sun rises at the hour of Yin and sets at the hour of Xu, and during the hours of Hai, Zi, and Chou, the sun is beneath the earth, and nothing can be seen with the eyes. The reason the count cannot proceed further is exactly corresponding to those three hours. The same principle applies to the numbers of living beings: it is not that the numbers cannot be counted further, but rather that although the numbers exist, people cannot see them.

天下之數出於理。違乎理，則入於術。世人以數而入術，故失於理也。

All numbers in the world arise from "li" (principle). Once one deviates from li, it degenerates into alchemy. People are only preoccupied with manipulating numbers and fall into the path of alchemy, thus losing sight of li—this is the boundary Shao Yong set for his theory of figures and numbers: numbers are used to perceive principle, not for fortune-telling or trickery.

太極既分，兩儀立矣。陽下交於陰，陰上交於陽，四象生矣。陽交於陰，陰交於陽，而生天之四象；剛交於柔，柔交於剛，而生地之四象。於是八卦成矣。八卦相錯，然後萬物生焉。是故一分為二，二分為四，四分為八，八分為十六，十六分為三十二，三十二分為六十四。故曰分陰分陽，迭用柔剛，易六位而成章也。

After the Taiji is divided into two, yin and yang are established. Yang comes down to combine with yin, and yin goes up to combine with yang, thus producing the four images. When yang combines with yin and yin combines with yang, the four images of heaven are generated: Taiyang (Great Sun), Taiyin (Great Yin), Shaoyang (Less Sun), and Shaoyin (Less Yin). When hardness combines with softness and softness combines with hardness, the four images of earth are generated: Taigang (Great Hardness), Tairou (Great Softness), Shaogang (Less Hardness), and Shaorou (Less Softness). At this point, the eight trigrams take shape. When the eight trigrams interact with each other, all things come into being. Therefore, one divides into two, two into four, four into eight, eight into sixteen, sixteen into thirty-two, and thirty-two into sixty-four. The "Say on the Trigrams" explains this: separating yin and separating yang, alternating the use of softness and hardness, the Book of Changes arranges six lines to form its chapters.

十分為百，百分為千，千分為萬，猶根之有乾，乾之有枝，枝之有葉。愈大則愈少，愈細則愈繁，合之斯為一，衍之斯為萬。是故乾以分之，坤以翕之，震以長之，巽以消之。長則分，分則消，消則翕也。乾坤定位也，震巽一交也，兌離坎艮再交也。故震陽少而陰尚多也，巽陰少而陽尚多也，兌離陽浸多也，坎艮陰浸多也，是以辰與火不見也。

Following this pattern, ten becomes a hundred, a hundred becomes a thousand, and a thousand becomes ten thousand, just like how tree roots produce trunks, trunks produce branches, and branches produce leaves. The larger the scale, the fewer the parts, and the more detailed the parts, the more numerous they are. When gathered together, they form one; when spread out, they become ten thousand. Therefore, Qian (Heaven) governs separation, Kun (Earth) governs gathering, Zhen (Thunder) governs growth, and Xun (Wind) governs reduction. When growth reaches its peak, it must separate; when separation reaches its peak, it must reduce; when reduction reaches its peak, it must gather. Qian and Kun determine the positions of upper and lower; Zhen and Xun are the initial interactions; Dui and Li are the secondary interactions. Therefore, Zhen represents the initial emergence of yang with yin still dominant, Xun represents the initial emergence of yin with yang still dominant, Dui and Li represent increasing yang, and Kan and Gen represent increasing yin. It is precisely because of this imbalance between yin and yang that the "Chen" (Dragon) in the heavenly four trigrams and the "Fire" in the earthly four elements are hidden.

一氣分而陰陽判。得陽之多者為天，得陰之多者為地。是故陰陽半而形質具焉，陰陽偏而性情分焉。形質又分，則多陽者為剛也，多陰者為柔也。性情又分，則多陽者陽之極也，多陰者陰之極也。兌離巽得陽之多者也，艮坎震得陰之多者也，是以為天地用也。乾陽極，坤陰極，是以不用也。

A single original qi splits into two parts, and yin and yang become clearly distinct. Those with more yang become heaven, and those with more yin become earth. When yin and yang each take up half, form and substance are established; when yin and yang are imbalanced, nature and emotion are differentiated. When form and substance are further divided, yang predominance leads to hardness, while yin predominance leads to softness. When nature and emotion are further divided, yang predominance reaches the extreme of yang, and yin predominance reaches the extreme of yin. Dui, Li, and Xun have more yang, while Gen, Kan, and Zhen have more yin, so these six trigrams are used for heaven and earth. Qian represents the extreme of yang, and Kun represents the extreme of yin. Being too pure and complete, they are not used.

乾坤之名位不可易也，坎離名可易而位不可易也，震巽位可易而名不可易也，兌艮名與位皆可易也。離肖乾，坎肖坤，中孚肖乾，頤肖離，小過肖坤，大過肖坎。是以乾、坤、離、坎、中孚、頤、大過、小過，皆不可易者也。離在天而當夜，故陽中有陰也；坎在地而當晝，故陰中有陽也。震始交陰而陽生，巽始消陽而陰生。兌陽長也，艮陰長也。震兌在天之陰也，巽艮在地之陽也。故震兌上陰而下陽，巽艮上陽而下陰。

The names and positions of the hexagrams Qian and Kun cannot be changed. The names of Kan and Li can be exchanged, but their positions cannot be changed. The positions of Zhen and Xun can be exchanged, but their names cannot be changed. The names and positions of Dui and Gen can both be exchanged. In terms of hexagram shapes, Li resembles Qian, Kan resembles Kun, Zhongfu resembles Qian, Yi resembles Li, Xiaoguo resembles Kun, and Daguo resembles Kan. When they are reversed, they remain the same as the original hexagram. Therefore, Qian, Kun, Li, Kan, Zhongfu, Yi, Daguo, and Xiaoguo are eight hexagrams that remain unchanged when reversed. Li belongs to heaven but is associated with the night position, showing that yang contains yin. Kan belongs to earth but is associated with the day position, showing that yin contains yang. Zhen is yang yang beginning to interact with yin and yang energy beginning to arise. Xun is yang yang beginning to be reduced and yin energy beginning to arise. Dui is yang increasing, and Gen is yin increasing. Zhen and Dui are yin on the heavenly side, while Xun and Gen are yang on the earthly side. Therefore, Zhen and Dui have the top line as yin and the lower lines as yang, while Xun and Gen have the top line as yang and the lower lines as yin.

天以始生言之，故陰上而陽下，交泰之義也；地以既成言之，故陽上而陰下，尊卑之位也。乾坤定上下之位，離坎列左右之門。天地之所闔闢，日月之所出入。是以春夏秋冬，晦朔弦望，晝夜長短，行度盈縮，莫不由乎此矣。

Heaven is spoken of in terms of the beginning of all things, so yin is above and yang is below, taking the meaning of the Tai hexagram, where heaven and earth interconnect; Earth is spoken of in terms of the completion of all things, so yang is above and yin is below, taking the meaning of each occupying its proper position according to rank and hierarchy. The positions of heaven and earth are established by Qian and Kun, while Li and Kan are arranged as left and right gates: here heaven and earth open and close, and the sun and moon rise and set. Therefore, the succession of the four seasons, the waxing and waning of the moon, the changes in the length of day and night, and the movement and variations of the sun and moon all originate from here.

乾四分取一以與坤，坤四分取一以奉乾，乾坤合而生六子，三男皆陽也，三女皆陰也。兌分一陽以與艮，坎分一陰以奉離，震巽以二相易，合而言之，陰陽各半。是以水火相生而相剋，然後既成萬物也。

Heaven gives a quarter of its yang to Earth, and Earth gives a quarter of its yin to Heaven. When Heaven and Earth combine, they produce six children: Zhen, Kan, and Gen, the three sons, are yang, while Xun, Li, and Dui, the three daughters, are yin. Dui gives a yang to Gen, Kan gives a yin to Li, and Zhen and Xun exchange their two lines. Altogether, yin and yang each make up half. Because of this, water and fire both generate and control each other, and all things are completed through this mutual generation and control.

乾坤縱而六子橫，《易》之本也。震兌橫而六卦縱，《易》之用也。起震終艮一節，明文王八卦也。天地定位一節，明伏羲八卦也。八卦相錯者，相交錯而成六十四卦也。數往者順，若順天而行，是左旋也，皆已生之卦也，故云數往也；知來者逆，若逆天而行，是右行也，皆未生之卦也，故云知來也。夫《易》之數由逆而成矣。此一節直解圖意，若逆知四時之謂也。

Heaven and Earth are arranged vertically, with the six sons placed horizontally, which represents the fundamental structure of the Book of Changes. The trigrams Zhen and Dui are placed horizontally, while the remaining six trigrams are arranged vertically, which illustrates the functional aspect of the Book of Changes. The passage in "Shuo Gua" that says "The Emperor emerges from Zhen... and the conclusion is expressed in Gen" refers to King Wen's trigrams. The passage that says "Heaven and Earth are positioned, mountains and marshes communicate through their energies" refers to Fuxi's trigrams. The term "eight trigrams interacting" means that the eight trigrams intermingle to form the sixty-four hexagrams. "Counting the past in a forward direction" follows the direction of Heaven, which is left rotation, and counts already formed hexagrams, hence called "counting the past." "Knowing the future in a reverse direction" goes against the direction of Heaven, which is right rotation, and predicts hexagrams that have not yet formed, hence called "knowing the future." The numerical system of the Book of Changes is established through reverse reasoning. This passage directly explains the purpose of the Earlier Heaven diagram, like foreseeing the four seasons in reverse.

陽在陰中，陽逆行；陰在陽中，陰逆行。陽在陽中，陰在陰中，則皆順行。此真至理，按圖可見之矣。順數之，乾一、兌二、離三、震四、巽五、坎六、艮七、坤八；逆數之，震一、離兌二、乾三、巽四、坎五、艮坤六也。

When yang is in the domain of yin, yang moves in reverse; when yin is in the domain of yang, yin also moves in reverse. When yang is in the domain of yang and yin is in the domain of yin, both move in the correct direction. This is the true fundamental principle, which becomes clear upon looking at the Earlier Heaven diagram. Counting forward, it is Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, Kun eight. Counting backward, it is Zhen one, Li and Dui both two, Qian three, Xun four, Kan five, Gen and Kun both six.

四正者，乾坤坎離也。觀其象無反覆之變，所以為正也。卦之反對，皆六陽六陰也。在《易》則六陽六陰者，十有一對也。去四正者，八陽四陰、八陰四陽者，各六對也。十陽二陰、十陰二陽者，各三對也。

The term "four cardinal trigrams" refers to the trigrams Qian (Heaven), Kun (Earth), Kan (Water), and Li (Fire). When observing their images, they remain the same even when viewed upside down, showing no change, hence they are called "cardinal." Any two trigrams that are opposite to each other always combine to form six yang lines and six yin lines. In the Book of Changes, such pairs of six yang and six yin lines total eleven pairs. Excluding the four cardinal trigrams, there are six pairs of eight yang and four yin lines, and six pairs of eight yin and four yang lines; three pairs of ten yang and two yin lines, and three pairs of ten yin and two yang lines.

復至乾，凡百有十二陽；姤至坤，凡八十陽；姤至坤，凡百有十二陰；復至乾，凡八十陰。夫《易》根於乾坤，而生於姤復。蓋剛交柔而為復，柔交剛而為姤，自茲而無窮矣。無極之前，陰含陽也；有象之後，陽分陰也。陰為陽之母，陽為陰之父。故母孕長男而為復，父生長女而為姤。是以陽起於復，而陰起於姤也。

From the Fu hexagram to the Qian hexagram, there are 112 yang lines; from the Gou hexagram to the Kun hexagram, there are 80 yang lines; from the Gou hexagram to the Kun hexagram, there are 112 yin lines; and from the Fu hexagram to the Qian hexagram, there are 80 yin lines. The Book of Changes originates from Qian and Kun, but actually arises from Gou and Fu hexagrams: when yang withdraws to meet yin, it becomes Fu; when yin withdraws to meet yang, it becomes Gou. From here, change is endless. Before the "wuji" (formless state) becomes manifest, yin contains yang; once there is form, yang differentiates into yin. Yin is the mother of yang, and yang is the father of yin. Therefore, the mother gives birth to the eldest son, forming the Fu hexagram, and the father produces the eldest daughter, forming the Gou hexagram. Thus, yang energy begins with Fu, and yin energy begins with Gou.

諸卦不交於乾坤者，則生於否泰。否泰，乾坤之交也。乾坤起自奇偶，生自太極。自泰至否，其間則有蠱矣；自否至泰，其間則有隨矣。一變而二，二變而四，三變而八卦成矣。四變而有十六，五變而三十有二，六變而六十四卦備矣。

All hexagrams that do not directly arise from the interaction of Qian and Kun are generated from the hexagrams of Bǐ and Tà; Bǐ and Tà themselves are the products of the interaction between Qian and Kun. Qian and Kun originate from the two lines of odd and even, emerging from the Taiji. Transitioning from the Tà hexagram to the Bǐ hexagram involves the Gu hexagram; transitioning from the Bǐ hexagram back to the Tà hexagram involves the Sui hexagram. As for the sequence of generating hexagrams: one change produces two, two changes produce four, three changes form the eight trigrams, four changes produce sixteen, five changes produce thirty-two, and six changes complete the sixty-four hexagrams.

至哉！文王之作《易》也，其得天地之用乎？故乾坤交而為泰，坎離交而為既濟也。乾生於子，坤生於午，坎終於寅，離終於申，以應天之時也。置乾於西北，退坤於西南，長子用事，而長女代母。坎離得位，兌艮為偶，以應地之方也，王者之法其盡於是矣。

What an amazing achievement! King Wen composed the Book of Changes, probably mastering the "use" of heaven and earth. Thus, Heaven and Earth interact to form Tai, and Water and Fire interact to form Ji Ji. The energy of Heaven originates at the Zi position, and the energy of Earth originates at the Wu position. Water concludes at the寅 position, and Fire concludes at the申 position; this corresponds to the sequence of heaven's time. Placing Heaven in the Northwest and Earth in the Southwest, with Zhen (Thunder) as the eldest son taking charge and Xun (Wind) as the eldest daughter acting as the mother, Water and Fire each occupying their proper positions, Dui (Lake) and Gen (Mountain) forming a pair—this corresponds to the directions of the earth. The principles for a ruler to govern the world are all contained within this.

《易》者，一陰一陽之謂也。震兌始交者也，故當朝夕之位。離坎交之極也，故當子午位。巽艮雖不交，而陰陽猶雜也，故當用中之偏位。乾坤純陰陽也，故當不用之位。坤純三女於西南，乾純三男於東北。道生天，天生地。及其功成而身退，故子繼父禪，是以乾退一位也。

The Book of Changes refers to the alternation of yin and yang. The trigrams Zhen and Dui represent the initial meeting of yin and yang, so they are placed at the positions of morning and evening. The trigrams Li and Kan represent the extreme meeting of yin and yang, so they are placed at the Zi position and the Wu position. The trigrams Xun and Gen, although not directly meeting, still contain a mixture of yin and yang, so they are placed in positions that are slightly biased within the dynamic positions. The trigrams Qian and Kun represent pure yang and pure yin, so they are placed in positions of existence without use. Thus, Kun gathers three daughters in the Southwest, and Qian gathers three sons in the Northeast. The Dao gives birth to heaven, and heaven gives birth to earth; when achievements are completed, the self withdraws, like a son succeeding his father's abdication, so Qian steps back one position from its original place.

《易》之首於乾坤，中於坎離，終於水火之交不交，皆至理也。自乾坤至坎離，以天道也；自咸恆至既濟未濟，以人事也。乾坤交而為泰，變而為雜卦也。上經起於三，下經起於四，皆交泰之義也。

The Book of Changes begins with the trigrams Qian (Heaven) and Kun (Earth), and in the middle it includes Kan (Water) and Li (Fire). It concludes with Ji Ji (Water and Fire in mutual interaction) and Wei Ji (Water and Fire not interacting), all expressing extremely subtle principles. From Qian and Kun to Kan and Li, this section discusses the principles of Heaven; from Xian (Harmony) and Heng (Permanence) to Ji Ji and Wei Ji, this section discusses human affairs. When Qian and Kun interact, they form the Tai trigram. Further changes lead to the complex trigrams listed in the Zage (Miscellaneous Trigrams). The Upper Canon contains thirty trigrams, beginning with the number three; the Lower Canon contains thirty-four trigrams, beginning with the number four: three represents the number of Heaven, and four represents the number of Earth. The combination of Heaven's three and Earth's four signifies the harmonious interaction between Heaven and Earth.

乾坤坎離為上篇之用，兌艮震巽為下篇之用也。頤、中孚、大過、小過為二篇之正也。乾坤天地之本，坎離天地之用。是以《易》始於乾坤，中於坎離，終於既濟未濟。而泰否為上經之中，咸恆為下經之首，皆言乎其用也。故《易》者，用也。乾用九，坤用六，大衍用四十九，而潛龍勿用也。大哉用乎！吾於此見聖人之心也。

The four trigrams used in the upper section are Qian, Kun, Kan, and Li; the four trigrams used in the lower section are Dui, Gen, Zhen, and Xun; while Yi, Zhongfú, Daguò, and Xiaoguò are the main trigrams that connect both sections. Qian and Kun represent the fundamental nature of heaven and earth, while Kan and Li represent their functions. Therefore, the Book of Changes begins with Qian and Kun, places Kan and Li in the center, and concludes with Ji Ji and Wei Ji. Tai and Po are in the middle of the upper section, while Yan and Heng are at the beginning of the lower section, all discussing the concept of "use" (yong). Thus, the Book of Changes is fundamentally about "use." Qian speaks of "Yong Ji," Kun speaks of "Yong Liu," the Great Derivation involves fifty numbers but uses forty-nine, and Qian's initial line, Chou Ji, also speaks of "Qian Long Wu Yong." The concept of "use" is of great importance! From here, I see the mind of the sage.

夫卦各有性有體，然皆不離乾坤之門，如萬物受性於天，而各為其性也。在人則為人之性，在禽獸則為禽獸之性，在草木則為草木之性。不知乾，無以知性命之理。在人則乾道成男，坤道成女；在物則乾道成陽，坤道成陰。

Each trigram has its nature and its essence, yet none can be separated from the gate of Qian and Kun; just as all things receive their fundamental nature from Heaven, yet each becomes its own nature: when it falls upon a person, it becomes the nature of a person; when it falls upon birds and beasts, it becomes the nature of birds and beasts; when it falls upon grass and trees, it becomes the nature of grass and trees. Without understanding Qian, one cannot understand the principles of nature and destiny. When applied to human beings, the principle of Qian gives rise to masculinity, and the principle of Kun gives rise to femininity; when applied to all things, the principle of Qian gives rise to yang, and the principle of Kun gives rise to yin.

君子於《易》，玩象、玩數、玩辭、玩意。象起於形，數起於質，名起於言，意起於用。有意必有言，有言必有象，有象必有數。數立則象生，象生則言彰，言彰則意顯。象數則筌蹄也，言意則魚兔也。得魚兔而忘筌蹄則可也，舍筌蹄而求魚兔則未見其得也。

A gentleman studying the Book of Changes should repeatedly reflect on four things: the meaning of the hexagrams, the numbers associated with them, the statements of the lines, and the implied meanings beyond the statements. The meaning of the images comes from their forms, the numbers come from their materials, the names come from words, and the meaning comes from their functions. Meaning must rely on words, words must rely on images, and images must rely on numbers. Once the numbers are established, the images arise; once the images arise, the words become clear; once the words become clear, the meaning is revealed. The relationship between images and numbers is like the fish trap and rabbit foot mentioned in the Zhuangzi. The relationship between words and meaning is like the fish and rabbit that the trap and foot are used to catch. If one catches the fish and rabbit and then forgets the trap and foot, that is acceptable; but if one forgets the trap and foot and tries to seek the fish and rabbit in vain, no one has ever succeeded in doing so.

《易》有意象，立意皆所以明象。統下三者有言象，不擬物而直言以明事；有象象，擬一物以明意；有數象，七日、八月、三年、十年之類是也。《易》有內象，理致是也；有外象，指定一物而不變者是也。自然而然，不得而更者，內象內數也，他皆外象外數也。乾為天之類，本象也；為金之類，別象也。

The Yi contains "yi xiang" (meaning images). Whenever there is an intention, it is to clarify the image, and it encompasses three categories: first, "yan xiang" (verbal image), which does not compare with specific things but directly explains an event through words; second, "xiang xiang" (image image), which explains the meaning by comparing it with something else; third, "shu xiang" (numerical image), such as "seven days," "eight months," "three years," and "ten years" in the line statements of the hexagrams. The Yi also has "nei xiang" (inner image), which refers to the direction of meaning and principle; and "wai xiang" (outer image), which refers to a fixed reference to a specific thing without change. Whatever is natural and unchangeable belongs to inner image and inner number; the rest are outer image and outer number. For example, the Qian hexagram takes the image of heaven as its original image; taking the image of metal is its alternative image.

乾，奇也，陽也，健也。故天下之健，莫如天。坤，偶也，陰也，順也。故天下之順，莫如地，所以順天也。震，起也，一陽起也。起，動也。故天下之動，莫如雷。坎，陷也，一陽陷於二陰。陷，下也。故天下之下，莫如水。艮，止也，一陽於是而止也。故天下之止，莫如山。巽，入也，一陰入二陽之下。故天下之入，莫如風。離，麗也，一陰離於二陽，其卦錯然成文而華麗也。故天下之麗，莫如火。故又為附麗之麗。兌，說也，一陰出於外而說於物。故天下之說，莫如澤。

Qian is the odd trigram, belonging to yang, with the virtue of being strong and vigorous. Therefore, nothing in the world is more strong and vigorous than heaven. Kun is the even trigram, belonging to yin, with the virtue of being gentle and compliant. Therefore, nothing in the world is more gentle and compliant than earth, which is used to follow and support heaven. Zhen is "movement," with a yang line at the bottom rising up; movement is action, so nothing in the world is more active than thunder. Kan is "sinking," with a yang line sinking between two yin lines; sinking is downward movement, so nothing in the world moves downward as much as water. Gen is "stopping," with a yang line rising to the top and then stopping; therefore, nothing in the world stops as much as a mountain. Xun is "entering," with a yin line penetrating beneath two yang lines; therefore, nothing in the world enters as much as wind. Li is "adornment," with a yin line attached between two yang lines, forming a pattern through the interweaving of the trigrams, appearing splendid and ornate; therefore, nothing in the world is more splendid than fire; from "adornment" it also derives the meaning of attachment and reliance. Dui is "joy," with a yin line exposed, causing all things to be joyful; therefore, nothing in the world brings more joy than a marsh.

火內暗而外明，故離陽在外，火之用，用外也。水外暗而內明，故坎陽在內，水之用，用內也。震為龍，一陽動於二陰之下，震也。重淵之下有動物者，豈非龍乎？兌，說也，其他說皆有所害，惟朋友講習無說於此，故言其極者也。以尊降卑曰臨，以上觀下曰觀。

The inner part of fire is dark, while the outer part is bright, so the hexagram "Li" (Fire) places the yang lines at the top and bottom and the yin line in the middle: the two yang lines outside symbolize the spreading light of fire, while the single yin line in the middle represents the inner darkness of the fire's core. The function of fire is to illuminate and burn outwardly, so it is said to be "using the outside." Water is the opposite: the surface of water is dark and not transparent, yet its inner part is clear and bright, so the hexagram "Kan" (Water) places the yang line in the middle and the yin lines at the top and bottom: the single yang line in the middle symbolizes the clarity within water, while the two yin lines outside represent the darkness of the water's surface. The function of water is to moisten and contain inwardly, so it is said to be "using the inside." Thus, Shao Yong's method of establishing hexagrams is to first understand the nature of an object and then determine how its hexagram should be arranged. The hexagram "Zhen" (Thunder) is taken as the image of a dragon: a single yang line beginning to move beneath two yin lines, which is the shape of the hexagram Zhen; in the deepest part of a vast abyss, there is still a living creature capable of movement, which is not precisely a dragon? The hexagram "Dui" (Lake) signifies joy. Other forms of joy often come with some harm, but the joy from friends discussing learning has no harm at all, so the "Great Image Commentary" of the hexagram Dui says "the superior person uses friendship to study and discuss," referring precisely to this kind of pure joy. When the superior party humbles itself to be below the inferior party, it is called "Lin" (Approaching); when one is in a superior position and looks down upon the inferior, it is called "Guan" (Observing). The names of the hexagrams Lin and Guan are derived from the relationship between the upper and lower trigrams.

復次剝，明治生於亂乎？姤次夬，明亂生於治乎？時哉！時哉！未有剝而不復，未有夬而不姤者。防乎其防，邦家其長，子孫其昌。是以聖人貴未然之防。是謂《易》之大綱。寂然不動，反本復靜，坤之時也。感而遂通天下之故。陽動於中，間不容髮，復之義也。

In the sequence of hexagrams in The Zhou Changes, the hexagram of "Recovery" immediately follows the hexagram of "Decrease," which clearly shows that peace arises from chaos. Similarly, the hexagram of "Meeting" follows the hexagram of "Final Decision," which clearly shows that chaos arises from peace. The key lies entirely in the concept of "time," entirely in the concept of "time!" There has never been a decrease that reaches its end without a recovery, nor has there ever been a complete dominance of yang without a renewed encounter with yin. If a state can establish defenses layer by layer before calamities take shape, the state will endure long and its descendants will flourish. Therefore, sages place the greatest emphasis on preventing things before they occur, which is the main principle of the entire Zhou Changes. The hexagram of "Earth" has all six lines as pure yin, remaining still and quiet, with all things returning to their origin and reverting to stillness, which represents the period governed by "Earth." The "Commentary on the Hexagrams" mentions "when there is a response, one can understand all the workings of the world," which refers to the hexagram of "Recovery"—a single yang line beginning to stir among the many yin lines, with no space even for a hair to be inserted between stillness and movement. This is the meaning of "Recovery."

不見動而動，妄也，動於否之時是也。見動而動，則為無妄。然所以有災者，陽微而無應也。有應而動，則為益矣。大過，本末弱也。必有大德大位，然後可救常分。有可過者，有不可過者。有大德大位，可過者也，伊周其人也，不可懼也；有大德無大位，不可過也。孔孟其人也，不可悶也。其位不勝德邪？大哉位乎！待才（一雲時）用之宅也。

There is no sign of action yet one acts forcefully, which is called "wandering without purpose." In the hexagram of "Non-Action," when heaven and earth are not in communication and the upper and lower parts are blocked, acting recklessly is exactly this kind of situation. Acting only when there is a clear sign of action is called "No Wandering." However, the hexagram of "No Wandering" still mentions "calamity without wandering," because the yang lines are weak and do not receive support from corresponding lines. If there is support and then action takes place, it becomes the hexagram of "Increase," resulting in gain. In the hexagram of "Great Excess," the first and sixth lines are all yin lines, so the "Commentary on the Judgment" says it "has weak beginning and end," meaning the root and the tip are not firm. In such a situation, one must have great virtue and hold a high position to rescue this extraordinary difficulty. Some people can act boldly beyond ordinary people, while others cannot. Those who have both great virtue and high position belong to the category that can act boldly, like Yi Yin and the Duke of Zhou, who do not need to fear. Those who have great virtue but no high position cannot act forcefully, like Confucius and Mencius, who do not need to be distressed. Is it that their positions are not suitable for their virtue? The role of position is indeed significant; it is the house waiting for talent (or timing) to reside and display its abilities.

作《易》者，其如知乎？聖人知天地萬物之理，而一以貫之。夫《易》者，聖人長君子消小人之具也。及其長也，闢之於未然；及其消也，闔之於未然。一消一長，一闔一闢，渾渾然無跡。非天下之至神，其孰能與於此？神者，《易》之主也，所以無方；《易》者，神之用也，所以無體。神無方而《易》無體，滯於一方，則不能變化，非神也；有定體則不能變通，非《易》也。《易》雖有體，體者象也，假象以見體，而本無體也。

The sages who composed the Zhou Yi were probably those who truly understood the principles of heaven and earth. They comprehended the principles of all things in the universe and used a fundamental principle to connect them. The Zhou Yi is a tool used by the sages to cultivate the virtuous and eliminate the petty. To cultivate the virtuous, one should open the door before the matter occurs; to eliminate the petty, one should close the door before the matter occurs. One elimination and one growth, one closing and one opening, all unified without leaving any trace. If it is not the most profound and mysterious existence, who could participate in such a realm? "Shen" is the master of the Zhou Yi, so it does not reside in a fixed place; the Zhou Yi is the manifestation of "Shen," so it does not take a fixed form. The Great Treatise says, "Shen has no fixed place and the Zhou Yi has no fixed form." Once it is fixed in a particular direction, it cannot change freely, and thus it is not "Shen"; once it has a fixed form, it cannot be flexible, and thus it is not the Zhou Yi. Although the Zhou Yi also speaks of "body," its body is only the "image" of the hexagrams and lines, using the image to show the body, and in itself, it has no physical form.

《易》無體也，曰既有典常，則是有體也，恐遂以為有體，故曰不可為典要。既有典常，常也。不可為典要，變也。生而成，成而生，《易》之道也。元亨利貞，變易不常，天道之變也；吉凶悔吝，變易不定，人道之應也。天變而人效之，故元亨利貞，《易》之變也；人行而天應之，故吉凶悔吝，《易》之應也。以元亨為變，則利貞為應；以吉凶為應，則悔吝為變。元則吉，吉則利，應之亨則凶，凶則應之以貞；悔則吉，吝則凶。是以變中有應，應中有變也。變中之應，天道也。故元為變，則亨應之；利為變，則應之以貞。應中之變，人事也。故變則凶，應則吉；變則吝，應則悔也。悔者吉之先，而吝者凶之本，是以君子從天不從人。

The Zhou Changes originally had no fixed form. The Great Treatise says, "It has established principles," which at first glance seems to suggest it has a fixed form. Shao Yong was worried that people might mistakenly think it has a physical entity, so the Great Treatise immediately follows with, "It cannot be taken as a fixed standard." "It has established principles" refers to its constant aspect, while "It cannot be taken as a fixed standard" refers to its changing aspect. It arises and moves toward completion, and once completed, it renews itself. This is the way of the Zhou Changes. The four virtues, "Yuan, Heng, Li, Zhen," are constantly changing and belong to the aspect of "change" in the heavenly way; the four outcomes, "Ji, Xiong, Hui, Lin," are uncertain and belong to the aspect of "response" in the human way. Heaven changes first, and humans follow it, so Yuan, Heng, Li, Zhen are the "change" of the Zhou Changes; humans act first, and Heaven responds to them, so Ji, Xiong, Hui, Lin are the "response" of the Zhou Changes. If "Yuan and Heng" are considered as change, then "Li and Zhen" are response; if "Ji and Xiong" are considered as response, then "Hui and Lin" are change. Gaining Yuan brings Ji, Ji leads to profit, and the corresponding Heng may hide Xiong, while Xiong requires Zhen to respond. Hui can turn into Ji, and Lin tends toward Xiong. Therefore, change contains response, and response also contains change. The response within change belongs to the heavenly way, so taking Yuan as change, Heng responds to it; taking Li as change, Zhen responds to it. The change within response belongs to human affairs, so when humans act recklessly, they invite Xiong, but when they follow the way, they gain Ji; reckless change leads to Lin, while following the way leads to Hui. Hui is a precursor to Ji, and Lin is the root of Xiong. Therefore, the gentleman prefers to follow the heavenly way rather than be swayed by human tricks.

元者，春也，仁也。春者時之始，仁者德之長。時則未盛，而德足以長人，故言德而不言時。亨者，夏也，禮也。夏者時之盛，禮者德之文。盛則必衰，而文不足救之，故言時而不言德，故曰“大哉，乾元！而上九有悔也”。利者，秋也，義也。秋者時之成，義者德之方，萬物方成而獲利，義者不通於利，故言時而不言德也。貞者，冬也，智也。冬者時之末，智者德之衰。正則吉，不正則凶。故言德而不言時也。故曰利貞者，性情也。元亨利貞之德，各包吉凶悔吝之事。雖行乎德，若違於時，亦或凶矣。

"Yuan" corresponds to spring among the four seasons and to benevolence among the five constants. Spring is the beginning of the yearly sequence, and benevolence is the virtue most capable of fostering growth. At this time, the season is not yet vigorous, yet benevolence is sufficient to nurture others. Therefore, when discussing "Yuan," the focus is on virtue rather than on the season. "Heng" corresponds to summer and to propriety. Summer is the most flourishing stage of the seasonal cycle, and propriety is the external adornment of virtue. After reaching its peak, decline is inevitable, and mere adornment cannot prevent this decline. Therefore, when discussing "Heng," the focus is on the season rather than on virtue—hence the Commentary on the Judgment of the Qian hexagram praises "Great is the Qian Yuan," while the top line of the Qian hexagram warns of "An exalted dragon brings regret." "Li" corresponds to autumn and to righteousness. Autumn is the stage of the seasonal cycle when fruits are harvested, and righteousness is the standard of upright virtue. When all things have just matured and gained benefit, those who act with righteousness do not regard private gain as the norm. Therefore, when discussing "Li," the focus is again on the season rather than on virtue. "Zhen" corresponds to winter and to wisdom. Winter is the end of the seasonal cycle, and wisdom is the virtue closest to exhaustion. Upholding correctness brings good fortune, while failing to do so brings misfortune. Therefore, when discussing "Zhen," the focus again returns to virtue rather than to the season. Thus, the Wenyan of the Qian hexagram states, "Li zhen refers to nature and disposition." The four virtues of Yuan, Heng, Li, and Zhen each encompass the four categories of human affairs: good fortune, misfortune, regret, and hardship. Even if a person acts according to virtue, if they go against the timing, they may still invite misfortune.

初與上同，然上之亢，不及初之進也；二與五同，然二之陰中，不及五之陽中也；三與四同，然三處下卦之上，不若四之近君也。六虛者，六位也，虛以待變動之事也。《易》有三百八十四爻，真天文也。圖雖無文（先天圖也），吾終日言而未嘗離乎是。蓋天地萬物之理盡在其中矣。先天圖者，環中也。

A hexagram consists of six lines. The first line and the top line are both at the two ends of the hexagram, but the top line is in a position of extreme fullness and excess, which is not as promising as the first line, which is in the beginning stage and has potential for progress. The second line and the fifth line are both in the middle positions of the upper and lower trigrams, but the second line is a yin position, which is not as esteemed as the fifth line, a yang position. The third line and the fourth line are both at the boundary between the upper and lower trigrams, but the third line is only at the top of the lower trigram, which is not as close to the fifth line, the position of the ruler, as the fourth line is. The "six voids" mentioned in the Great Treatise refer to the six lines of a hexagram. They are called "voids" because these six positions are empty and waiting for the movement of events to fill them. The Zhou Changes contain sixty-four hexagrams and 384 lines, which is truly a celestial map. Although the Earlier Heaven diagram has no characters on it, I have been discussing it constantly without ever leaving it, because the principles of heaven and earth and all things are contained within it. The Earlier Heaven diagram, in the end, is about the circular center.

先天學，心法也。故圖皆自中起，萬化萬事生乎心也。先天學主乎誠，至誠可以通神明，不誠則不可以得道。先天之學，心也；後天之學，跡也。堯之前，先天也；堯之後，後天也。後天乃效法耳。《易》始於三皇，《書》始於五帝，《詩》始於三王，《春秋》始於五霸。所謂皇帝王霸者，非獨謂三皇五帝三王五霸而已，但用無為則皇也，用恩信則帝也，用公正則王也，用智力則霸也。

The study of the Earlier Heaven is a practice of cultivating the mind. Therefore, all diagrams of the Earlier Heaven begin from the center of the circle, symbolizing that all things, with their myriad changes and complexities, originate from the mind. The Earlier Heaven emphasizes "sincerity" as its core principle: when sincerity reaches its utmost, it can connect with the divine; without sincerity, one cannot attain the Way. The Earlier Heaven focuses on the mind, while the Later Heaven focuses on the traces left by the mind. Before the reign of Emperor Yao, it belonged to the Earlier Heaven; after Emperor Yao, it belonged to the Later Heaven. The Later Heaven is merely following the pattern of the Earlier Heaven. In terms of classic texts, the Zhou Yi began in the time of the Three Sovereigns, Fuxi, Shen Nong, and the Yellow Emperor. The Shang Shu began in the time of the Five Emperors. The Shi Jing began in the time of Xia Yu, Shang Tang, and the Western Zhou's King Wen, King Wu, and King Cheng. The Chun Qiu began in the time of the Five Hegemons. The terms "Sovereign," "Emperor," "King," and "Hegemon" do not refer solely to the specific individuals of the Three Sovereigns, Five Emperors, Three Kings, and Five Hegemons. Rather, those who governed the world through "non-action" are called Sovereigns, those who ruled through benevolence, virtue, and righteousness are called Emperors, those who ruled through fairness and integrity are called Kings, and those who ruled through wisdom and military strength are called Hegemons.

法始乎伏羲，成乎堯，革於三王，極於五霸，絕於秦。萬世治亂之跡，無以逃此矣。秦穆公伐鄭敗，而有悔過自誓之言。此非止霸者之事，幾於王道，能悔則無過矣。此聖人所以錄於書末也。平王名雖王，實不及一小國之諸侯。齊晉雖侯，而實僭王。此《春秋》之名實也。子貢欲去告朔之餼羊。羊，名也；禮，實也。名存而實亡，猶愈於名實俱亡。苟存其名，安知後世無王者作？是以有所待也。

The system of governing the world was first established by Fuxi, perfected by the Tang Yao, and then altered by the Xia, Shang, and Zhou dynasties' kings. It was pushed to its extreme by the Five Hegemons of the Spring and Autumn period, and finally ended with the Qin dynasty. The pattern of disorder and order throughout the ages cannot escape this line. When Duke Mu of Qin failed to capture Zheng at the Xiang Valley, he returned home and composed the "Qin Shi," expressing much regret and self-reproach. This was not merely the conduct of a hegemon, but almost that of a king. Being able to repent is equivalent to having no fault, which is why the sage included the "Qin Shi" as the last chapter of the "Book of Documents." The Son of Heaven, King Ping of Zhou, in name was the ruler of all under heaven, but in reality was no better than a small feudal lord. Meanwhile, the states of Qi and Jin, though nominally dukes, actually exercised the authority of the Son of Heaven. This is what the "Spring and Autumn Annals" aimed to clarify, the distinction between "name" and "reality." Zigan wanted to remove the sacrificial ram used in the monthly ritual of the new moon, but Confucius forbade it. The ram was the "name," while the ritual was the "reality." If the name remains while the reality is lost, it is better than both name and reality being lost. As long as the name remains, how can we be sure that a true king will not appear in later generations? Preserving the name is to leave a hope for the future.

秦穆公有功於周，能遷善改過，為霸者之最；晉文侯世世勤王，遷平王於洛，次之；齊桓公九合諸侯，不以兵車，又次之；楚莊強大，又次之；宋襄公雖霸而力微，會諸侯而為楚所執，不足論也。治《春秋》者，不先定四國之功過，則事無統理，不得聖人之心矣。《春秋》之間有功者，未見大於四國者。有過者，亦未見大於四國者也。故四國者，功之首，罪之魁也。五霸者，功之首，罪之魁也。

Qin Mu Gong had meritorious service to the Zhou royal house and was capable of reforming his ways for the good. Among the hegemonic rulers, he should be ranked first. Jin Wen Hou was diligent in serving the king's affairs across generations, and he escorted King Ping of Zhou to the eastern capital of Luoyi, ranking second. Qi Huan Gong convened the feudal lords in several alliances without resorting to military force, ranking third. Chu Zhuang Wang had a powerful state, ranking fourth. Song Xiang Gong, although he was called a hegemon, had weak power. He was captured by Chu during a conference of the feudal lords. He is not worth mentioning. Those who study the Spring and Autumn Annals should first clearly determine the merits and faults of the four states of Qin, Jin, Qi, and Chu. Otherwise, the historical events will lack a coherent order, and one will not be able to grasp the mind of the sage. During the entire period of the Spring and Autumn Annals, there were no greater merits than these four states, nor were there greater faults. Therefore, these four states were both the first in merit and the first in wrongdoing. The Five Hegemons were also like this; their merits were first, and their faults were also first.

《春秋》者，孔子之刑書也，功過不相掩。聖人先褒其功，後貶其罪。故罪人有功者，亦必錄之，不可不恕也。某人受《春秋》於尹師魯，師魯受於穆伯長。某人後復攻伯長，曰：“《春秋》無褒，皆是貶也。”田述古曰：“孫復亦云，《春秋》有貶而無褒。”曰《春秋》禮法廢，君臣亂，其間有能為小善者，安得不進之也。況五霸實有功於天下，且五霸固不及於王，不猶愈於左衽乎？安得不與之也？治《春秋》者，不辨名實，不定五霸之功過，則未可言治《春秋》。先定五霸之功過而治《春秋》，則大意立。若事事求之，則無緒也。《春秋》為君弱臣強而作，故謂之名分之書。

The Spring and Autumn Annals is a book of judgment composed by Confucius, in which merit and demerit are not obscured from each other. The sage first commends someone's merit and then criticizes his faults. Therefore, even if a person has committed a crime, if he has done some good deeds, they must be recorded as well, and some leniency must be shown. A person learned the Spring and Autumn Annals from Yin Zhu (style name Shilu), who in turn had learned it from Mu Xiu (style name Boyang). Later, this person criticized Mu Xiu, saying, "The Spring and Autumn Annals has no commendation, it is entirely about censure." Tian Shugǔ added, "Sun Fu also said that the Spring and Autumn Annals has censure but no commendation." Shao Yong replied, "In the time of the Spring and Autumn Annals, the rites and laws were neglected, and the order between sovereign and minister was confused. In such a time, if someone still did a little good deed, how could we not commend him? Moreover, the Five Hegemons indeed did some good to the world. Although the Five Hegemons were not as good as the Way of the King, they were still much better than the Central Plains becoming a barbarian culture of unclothed hair and left sleeves. How could we not give them some recognition? Those who study the Spring and Autumn Annals must first distinguish between name and reality and judge the merits and faults of the Five Hegemons. Only then can they be said to understand the Spring and Autumn Annals. First determine the merits and faults of the Five Hegemons, and then read the whole book. If you read it piece by piece, you will not be able to get the main idea. The Spring and Autumn Annals was written to address the situation of declining royal authority and strong ministerial power, so it is called a book about 'names and positions.'"

人言《春秋》非性命之書，非也。至於書“郊牛之口傷，改卜牛。牛死乃不效，猶三望”，此因魯事而貶之也。聖人何容心哉？無我故也，豈非由性命而發言也？又云，《春秋》皆因事而褒貶，豈聖人特立私意哉？人知《春秋》聖人之筆削，為天下之至公，不知聖人之所以為公也。如因牛傷，則知魯之僭郊；因初獻六羽，則知舊僭八佾；因新作雉門，則知舊無雉門。皆非聖人有意於其間，故曰《春秋》盡性之書也。魯之兩觀郊天大禘，皆非禮也。諸侯苟有四時之禘，以為常祭可也，至於五年大禘，不可為也。

Some people say that the Spring and Autumn Annals is not a book discussing the principles of human nature and destiny. This is incorrect. Take for example the record in the Spring and Autumn Annals about the sacrifice for the state's ancestral worship: the ox used for the sacrifice had an injury on its mouth, so they consulted the oracle and replaced it with another ox. The new ox died, so the sacrifice was not held, yet the three lesser sacrifices were still performed. This record uses a specific event from Lu state to criticize its actions. Did the sage have any private intentions in this? No, because he acted without self-interest. Is this not exactly what comes from the source of human nature and destiny? Others say that the Spring and Autumn Annals merely discusses matters as they are, and how could the sage have his own private views? People only know that the sage's writing and editing are the most impartial in the world, but they do not know why the sage could be so impartial. For example, because the record mentions the injured ox, we know that Lu state had overstepped its authority by performing the heavenly sacrifice. Because it mentions 'six feathers' in the first offering, we know that Lu state had previously used the eight-row dance reserved for the Son of Heaven. Because it mentions 'the new construction of the Zhi Gate,' we know that Lu state originally did not have a Zhi Gate. These were not things the sage had in mind to expose. Therefore, the Spring and Autumn Annals is a book that fully reveals human nature. The construction of the two pavilions before the palace gate, the sacrifice of the heavenly rites, and the great ancestral sacrifice held every five years in Lu state all violated the rites. If a feudal lord only performed the four seasonal ancestral sacrifices, it was acceptable as a regular ritual. However, the great ancestral sacrifice held every five years was absolutely wrong.

始作兩觀，始者，貶之也，誅其舊無也。初獻六羽，初者，褒之也，以其舊僭八佾也。晉狐射姑殺陽處父，《春秋》書“晉殺其大夫陽處父”，上漏言也。君不密則失臣，故書“國殺”。夫聖人之經，渾然無跡，如天道焉。故《春秋》錄實事，而善惡形於其中矣。《春秋》三傳之外，陸淳啖助可以兼治。

The Spring and Autumn Annals records "the beginning of two gate towers," using the word "beginning" to criticize, indicating that Lu State had never had such an overstepping gate towers before, which were reserved for the Son of Heaven. It records "the first offering of six feathers," using the word "first" to praise, because Lu State had always used the Son of Heaven's standard of eight dancing performers, and now reducing it to six feathers conforms to the proper ritual for a feudal state. When Fu Gu of Jin State sent people to kill Yang Chu Fu, the Spring and Autumn Annals records it as "Jin killed its minister Yang Chu Fu," because the Jin king had leaked the secret. The Zhou Changes, Great Treatise says, "If the ruler is not cautious, he loses his ministers," so the historian did not record the murderer's name, but wrote that the whole state killed him. The sages' classic texts are unified and subtle, like the operation of the heavenly way; thus, the Spring and Autumn Annals simply records events, and goodness and evil naturally emerge from the records. In studying the Spring and Autumn Annals, in addition to the Left Zhuan, Gongyang Zhuan, and Gu Liang Zhuan, the interpretations of Lu Chu and Dan Zhu from the Tang dynasty can also be considered together.

管仲用智數，晚識物理，大抵才力過人也。叔向、子產、晏子之才相等埒，季札之才近伯夷。伯夷義不食周粟，至餓且死，止得為仁而已。伯夷、柳下惠得聖人之一端，伯夷得聖人之清，柳下惠得聖人之和。孔子時清時和，時行時止，故得聖人之時。顯諸仁，藏諸用，孟子善藏其用乎？

Guan Zhong relied on intelligence and strategy, and only in his later years did he understand the principles of things, generally surpassing ordinary people in ability and strength. The three men Shu Xiang of Jin, Zi Chang of Zheng, and Yan Ying of Qi had about the same ability; the ability of Ji Zha of Wu was close to that of Bo Yi. Bo Yi adhered to righteousness and refused to eat food from the Zhou dynasty, dying of starvation on Shouyang Mountain, achieving only the character of "ren" (benevolence). Bo Yi and Liu Xiaohui each attained one aspect of the sage's virtue: Bo Yi possessed the sage's "qing" (purity), while Liu Xiaohui possessed the sage's "he" (harmony). Confucius, however, was clear when he should be clear and harmonious when he should be harmonious, taking office when appropriate and retreating when appropriate, so he possessed the sage's "shi" (timeliness). The "Great Treatise" says that heaven and earth "manifest in ren (benevolence) and conceal in their use." Mencius was probably the kind of person who was good at concealing his own function.

聖人之難，在不失仁義忠信而成事業，何如？則可在於絕四：毋意、毋必、毋固、毋我。合而言之則一，分而言之則二。合而言之則二，分而言之則四。始於有意，成於有我。有意然後有必，必生於意。有固然後有我，我生於固。意有心必有待固不化我，有己也。

The difficulty for the sage lies in maintaining benevolence, righteousness, loyalty, and trustworthiness while still achieving success in his endeavors. How can this be done? The answer is found in the "Four Things to Avoid" mentioned in the "Analects of Confucius · Zihan": not to speculate without basis, not to expect absolutely, not to be stubborn, and not to be self-opinionated. When viewed together, these four form one matter; when viewed separately, they are two. When viewed again together, they form two; when viewed again separately, they become four. The beginning lies in "intention," and the completion lies in "self." First there is speculation, then there is absolute expectation, for "expectation" arises from "intention." First there is stubbornness, then there is self, for "self" arises from "stubbornness."the so-called "intention" refers to a thought fixed in the mind;the so-called "expectation" refers to a sense of anticipation in the mind;the so-called "stubbornness" refers to being rigid and unwilling to change;the so-called "self" refers to always setting up a separate self.

劉絢問無為，對曰：“時然後言，人不厭其言；樂然後笑，人不厭其笑；義然後取，人不厭其取。”此所謂無為也。時然後言，乃應變而言，言不在我也。知之為知之，不知為不知，聖人之性也。苟不知而強知之，非情而何？失性而情則眾人矣。

A student named Liu Xuan asked what "wu wei" means. Shao Yong answered by quoting Confucius' praise of Gong叔 Wenzi from the "Analects of Confucius": "When it is time to speak, then speak, and others will not be annoyed by his words; when one is truly happy, then laugh, and others will not be annoyed by his laughter; when it is appropriate to take, then take, and others will not be annoyed by his taking." This is what is called "wu wei." To speak only when it is time to speak is to act in accordance with the changes of circumstances, and the initiative does not lie in oneself. "To say what one knows and to say one does not know when one does not know" is the nature of the sage. If one does not know but pretends to know, what else could it be but the action of "qing"? To abandon one's nature and fall into the realm of "qing" is the same as ordinary people.

志於道者，統而言之，志者，潛心之謂也。德者，得於己，有形故可據。德主於仁，故曰依。君子喻於義，賢人也。小人喻於利而已。義利兼忘者，唯聖人能之。君子畏義而有所不為，小人直不畏耳。聖人則動不逾矩，何義之畏乎？

The Analects of Confucius, in the chapter Shu Er, says, "Set your heart on the Dao, base yourself on virtue, and rely on benevolence." What is meant by "setting one's heart on the Dao" is a general statement; "setting one's heart" means to immerse one's mind deeply. "Virtue" refers to something that has already been attained within oneself; since it has taken form, it can be relied upon. Virtue is centered on benevolence, so "relying on" benevolence is appropriate. Those who understand from the perspective of righteousness are gentlemen, which is the level of the virtuous; common people only understand from the perspective of profit. As for those who completely forget both righteousness and profit, only sages can do that. Gentlemen refrain from certain actions out of reverence for righteousness; common people simply do not know what reverence is. Sages, however, act naturally without ever exceeding the boundaries of propriety, so why would they need to revere righteousness?

誰能出不由戶？戶，道也。未有不由道而能濟者也。不由戶者，開穴隙之類是也。多聞，擇其善者而從之。雖多聞，必擇善而從之；多見而識之，識別也。雖多見，必有以別之。三人行，必有師焉。至於友一鄉之賢、天下之賢，以天下為未足。又至於上論古人，無以加焉。當仁不讓於師者，進人之道也。有馬者，借人乘之，舍己以從人也。

The Analects of Confucius, in the chapter Yong Ye, says, "Who can go out without passing through a door?" Here, the term "door" symbolizes the Dao. There has never been a case where one can achieve success without following the Dao. Those who do not go through the door are like those who dig through walls or take shortcuts. Confucius says, "Listen to much, and choose the good to follow." Although listening to much is good, one must select the good and follow it. He also says, "See much and recognize it," where "recognize" means to discern. Although seeing much is good, one must be able to discern. "When three people are walking, one of them must be a teacher," from which one can extend to associate with the virtuous people in one's town, then in the whole world. If even the whole world is not enough, one can go back to the ancients and associate with them, which is the highest level of learning. "When one is responsible for righteousness, one should not be hesitant to take the lead," which is a way to encourage people to strive forward. "Those who have horses should let others ride them," which refers to abandoning one's own preconceptions and listening to others.

或問：“才難，何謂也？”曰：“臨大事然後見才之難也。”曰：“何獨言才？”曰：“才者，天之良質也，學者所以成其才也。”曰：“古人有不由學問而能立功業者，何必曰學？”曰：“周勃、霍光能成大事，唯其無學，故未盡善也。”人而無學，則不能燭理。不能燭理，則固執而不通。

Someone asked: "Confucius said 'talent is hard to find,' what did he mean?" Shao Yong answered: "It is only when facing major affairs that one can see how difficult it is to find talent." Again asked: "Why does he emphasize talent especially?" He answered: "Talent is the excellent quality given by Heaven, and learning is used to bring out this quality." Again asked: "There were also ancient people who achieved great deeds without relying on learning, so why must one speak of learning?" He answered: "Zhou Bo pacified the House of Li, and Huo Guang replaced the King of Changyi, both accomplished great things, but because they lacked learning, their deeds were not perfect." If a person lacks learning, he cannot understand principles clearly; if he cannot understand principles clearly, he will be stubborn and unable to see things comprehensively.

人有出人之才，必以剛克中。剛則足以立事業，處患難。若用於他，反為邪惡。故孔子以申棖為焉得剛。既有欲心，必無剛也。仲弓可使南面，可使從政也。顏子不遷怒，不貳過。遷怒貳過，皆情也，非性也。不至於性命，不足以謂之好學。

A person who possesses extraordinary talent must necessarily use his strength to restrain himself and adhere to the middle way. Strength is essential for establishing achievements and for standing firm in adversity; if this strength is directed elsewhere, it may turn into evil. Therefore, in the "Analects of Confucius," someone cited Sheng Cheng as an example of a strong person, but Confucius said, "Sheng Cheng has desires; how can he be strong?" Since Sheng Cheng has desires in his heart, he cannot be considered strong. As for Zhonggong, Confucius said he "can govern the southern region," meaning he is capable of governing affairs. Yan Hui achieved "not transferring anger to others and not repeating the same mistake," for transferring anger and repeating the same mistake are both activities of "qing" (emotions), not "xing" (nature). If learning does not reach the level of understanding the principles of human nature and destiny, it cannot be called "good learning."

顏子不貳過，孔子曰“有不善未嘗不知，知之未嘗復行”是也，是一而不再也。韓愈以為將發於心而使能絕去，是過與顏子也。過與是為私意，焉能至於道哉？或曰：“與善不亦愈於與惡乎？”曰：“聖人則不如是，私心過與善惡同矣。”

Yan Hui "does not repeat the same mistake," which refers to Confucius' words from the Great Treatise of the Zhou Changes, "when there is an unvirtuous act, one has never failed to know it; when one knows it, one has never repeated it." Han Yu, however, interpreted this as Yan Hui being able to cut off the thought as soon as it began to arise in his mind. This interpretation elevates Yan Hui beyond reasonable bounds. To elevate someone beyond measure introduces the private intentions of the commentator, which cannot reach the Way. Someone else said, "It is better to over-praise a person's virtue than to over-criticize his faults." Shao Yong replied, "The sages do not do this. As soon as there is a private motive, over-praising and over-criticizing are equally flawed."

知《易》者不必引用講解，是為知《易》。孟子之言未嘗及《易》，其間《易》道存焉，俾人見之者鮮耳。人能用《易》，是為知《易》。如孟子，可謂善用《易》者也。瞽瞍殺人，舜視棄天下猶棄敝屣也，竊負而逃，遵海濱而處終身，欣然樂而忘天下，聖人雖天下之大，不能易天性之愛。湯放桀，武王伐紂，而不以為弒者，若孟子言“男女授受不親，禮也；嫂溺則援之以手，權也”。故孔子既尊夷齊，亦與湯武。夷齊仁也。湯武義也。唯湯武則可，非湯武則是篡也。

A true understanding of the I Ching does not require one to cite classical texts immediately; this is what it means to truly understand the I Ching. Mencius never mentioned the I Ching in his writings, yet the principles of the I Ching are hidden within his words, but few are able to perceive them. A person can only be said to understand the I Ching when they can apply its principles to real situations. Mencius can be considered someone who skillfully applies the I Ching. In the chapter "The Mind in Full" of the Mencius, he imagines a scenario where if Shun's father, Gu Suo, had killed someone, Shun would regard the world as nothing more than a pair of broken straw shoes, secretly carrying his father away and living by the seaside for the rest of his life, happy and content, forgetting about the world. This shows that in the hearts of the sages, although the world is vast, it cannot replace the natural affection a person has for their father. When Tang displaced the Xia ruler Jie and King Wu of Zhou overthrew the Shang ruler Zhou, people did not regard these actions as regicide. The reasoning is similar to what Mencius said: "Men and women do not exchange things with each other, this is propriety; but if the sister-in-law is drowning, one should help her with one's hand, this is a matter of emergency." There are exceptions to the established norms. Therefore, Confucius both revered Boyi and Shuqi, who refused to eat the grain of the Zhou dynasty, and approved of the actions of Tang and Wu. Boyi and Shuqi upheld righteousness, while Tang and Wu acted with justice. Only people like Tang and Wu could do such things; if others did, it would be considered a usurpation.

《中庸》非天降地出，揆物之理，度人之情，行其所安，是為得矣。《中庸》之法，自中者，天也；自外者，人也。《老子》五千言，大抵皆明物理。老子知《易》之體者也。《莊子》曰：“庖人雖不治庖，尸祝不越樽俎而代之。”此君子思不出其位，素位而行之意也。

The principles explained in the Zhongyong are not some mysterious things that drop from heaven or sprout from the earth; they are simply understanding the principles of things and observing the feelings of people's hearts, doing what makes one's heart at ease. The practice of Zhongyong has two aspects: those that arise from the upright nature within oneself belong to heaven; those that come from external norms and constraints belong to human beings. The Dao De Jing consists of about five thousand words, mostly explaining the principles of things. Laozi understood the "body" of the Zhouyi. The Zhuangzi's "Free and Untrammeled Excursion" says: "Even if a cook does not cook, the chief priest will not cross the ritual vessels to take his place in cooking." This exactly matches the meaning of the Zhouyi's Gen hexagram, which says "a gentleman's thoughts do not go beyond his position," and the Zhongyong's statement, "act according to one's position."

《莊子·齊物》未免乎較量。較量則爭，爭則不平，不平則不和。莊子與惠子游於濠梁之上，莊子曰：“鰷魚出游從容，是魚樂也。”此盡己之性，能盡物之性也。非魚則然，天下之物皆然。若莊子者，可謂善通物矣。莊子雄辯，數千年一人而已。如庖丁解牛，曰“躊躇四顧”。孔子觀呂梁之水，曰“蹈水之道無私”，皆至理之言也。

The "Zhiwu Lun" section of the "Zhuangzi" ultimately cannot avoid comparison and calculation. Once there is comparison, there is contention; once there is contention, there is injustice; once there is injustice, harmony cannot be achieved. Zhuangzi and Hui Shi were strolling on a bridge over the Hao River, and Zhuangzi said, "The small fish swim leisurely and freely, this is the joy of the fish." This is exactly what the "Zhongyong" says: first to fulfill one's own nature, then one can fulfill the nature of all things. Not only the fish are like this; all things in the world are like this. A person like Zhuangzi can be said to be good at communicating with all things. Zhuangzi's eloquence has been unparalleled for thousands of years. For example, in "Yangsheng Zhu," the story of Bo Ding dissecting an ox is told, saying that after he finished, he lifted his knife and stood up, looking around with a proud and thoughtful expression; in "Dashi," the story of Confucius watching a waterfall at Lüliang is told, saying that the skill of a good swimmer lies in following the nature of the water without personal bias: these are all examples of explaining principles to their very core.

莊子氣豪，若呂梁之事，言之至者也。《盜跖》，言事之無可奈何者，雖聖人亦莫如之何。《漁父》，言事之不可強者，雖聖人亦不可強。此言有為無為之理，順理則無為，強則有為也。莊子著《盜跖篇》，所以明至惡，雖至聖亦莫能化。蓋上智與下愚不移故也。魯國之儒一人者，謂孔子也。莊荀之徒失之辯。佛氏棄君臣父子夫婦之道，豈自然之理哉？智哉！留侯善藏其用。

Zhuangzi has a bold and grand style, as seen in the passage about the man who walks on the waters of Lüliang, which is where he expresses his ideas to the fullest. The essay "Daozhi" discusses situations where there is nothing one can do about a matter, even the sages cannot change it. The essay "Yufu" talks about situations where one cannot force things, even the sages cannot impose their will. These two essays clearly distinguish between "having action" and "non-action": following the natural course of things is non-action, while forcing things is having action. Zhuangzi wrote "Daozhi" to explain that even the worst people cannot be transformed by the highest sages, because Confucius said, "Only the highly intelligent and the completely foolish cannot be changed." In "Zhuangzi," it says that the true Confucian in Lu state was only one person, referring to Confucius himself. Zhuangzi and Xunzi and others have the problem of being too argumentative. Buddhism gives up the moral duties between ruler and subject, father and son, and husband and wife, is this in accordance with the natural way? Liang Zhangliang truly has wisdom, for he is most skilled at concealing his talents.

漢儒以反經合道為權，得一端者也。權所以平物之輕重。聖人行權，酌其輕重而行之，合其宜而已。故執中無權者，猶為偏也。王通言：“《春秋》，王道之權。”非王通莫能及此。故權在一身，則有一身之權；在一鄉，則有一鄉之權。以至於天下，則有天下之權。用雖不同，其權一也。

During the Han dynasty, Confucian scholars regarded "acting against conventional norms yet in accordance with the Dao" as "quan" (权), which captures only one aspect. Originally, "quan" refers to a weight used to measure the weight of objects. When sages exercise "quan," they merely weigh the importance of matters and act accordingly, ensuring appropriateness. Therefore, Mencius said, "To adhere to the middle without employing quan is like clinging to a single point"—merely sticking to the middle without weighing is still biased. In the Sui dynasty, Wang Tong said, "The Spring and Autumn Annals are the quan of the Way of the King." No one else could have said this. Thus, when quan is in the hands of an individual, it is the quan of that individual; when it is in a village, it is the quan of that village; and when extended to the whole world, it is the quan of the world. Although its application varies in scale, the scale used for measurement remains the same.

《文中子》曰：“易樂者必多哀，輕施者必好奪。”或曰：“天下皆爭利棄義，吾獨若之何？”子曰：“舍其所爭，取其所棄，不亦君子乎？”若此之類，禮義之言也，心跡之判久矣；若此之類，造化之言也。《太玄》九日當兩卦，餘一卦當四日半。揚雄作《玄》，可謂見天地之心者也。

The Wen Zhong Zi records Wang Tong's words: "Those who are easily pleased will surely suffer much sorrow, and those who give away things lightly will surely love to take by force." Someone else asked: "Since everyone is competing for profit and abandoning righteousness, what should I do?" Wang Tong answered: "Give up what everyone is competing for, and take back what everyone has abandoned. Is that not the way of the gentleman?" Statements like these belong to the level of discussing rites and morality. As for his saying "The distinction between heart and action has long existed," this belongs to the level of discussing the workings of nature. Yang Xiong's Tai Xuan uses nine heavens to match two trigrams, and the remaining trigram matches four and a half heavens. Yang Xiong's composition of the Tai Xuan can be said to be the one who saw the heart of heaven and earth.

落下閎改顓頊曆為太初曆，子云準《太初》作《太玄》，凡八十一卦，九分共二卦。凡一五隔一四，細分之則四分半當一卦氣，起於中心，故首中卦。曆不能無差。今之學曆者，但知曆法，不知曆理。能布算者，落下閎也；能推步者，甘公石公也。落下閎但知曆法，揚雄知曆法又知曆理。五星之說，自甘公石公始也。

In the Western Han dynasty, Luo Huan revised the Zhuan Xu calendar into the Tai Chu calendar. Yang Xiong, who was known by the style name Ziyun, composed the Tai Xuan based on the framework of the Tai Chu calendar. The entire book consists of eighty-one sections, equivalent to eighty-one hexagrams. Each group of nine sections corresponds to two hexagrams. The arrangement follows a pattern of one "five" followed by one "four." When broken down further, each section of four and a half corresponds to the energy of one hexagram. Since the starting point was set at the center, the Tai Xuan placed the section on "Center" first. Calendars cannot be entirely free of errors. Today's scholars of calendars only understand the calculation formulas of calendars but do not grasp the underlying principles. Luo Huan was skilled in arranging counting rods to perform calculations, while Gan De and Shi Shen of the Warring States period were skilled in tracking celestial phenomena. Luo Huan only understood the calendar, but Yang Xiong understood both the calendar and its principles. As for the theory of the five planets, it began with Gan De and Shi Shen.

《素問》、《陰符》，七國時書也。《素問》密語之類，於術之理可謂至矣。韻法，闔闢者律天，清濁者呂地。韻法，先閉後開者，春也；純開者，夏也；先開後閉者，秋也；冬則閉而無聲。東為春聲，陽為夏聲。此見作韻者亦有所至矣。銜凡，冬聲也。

The Huangdi Neijing · Suwen and the Yinfu Jing were both writings from the Warring States period. The Suwen contains secret formulas and techniques, which, in terms of numerical divination principles, can be considered as reaching the highest level. Regarding the rules of tonal patterns: the opening and closing of the mouth corresponds to "Lv" (the heavenly pitch), associated with heaven; the clear and dull tones correspond to "Lu" (the earthly pitch), associated with earth. Further, considering the four seasons: when the voice is first closed and then opened, it belongs to spring; when the mouth is fully open throughout, it belongs to summer; when the voice is first opened and then closed, it belongs to autumn; and in winter, the mouth is closed and there is no sound. Therefore, the "Dong" rhyme corresponds to the sound of spring, and the "Yang" rhyme corresponds to the sound of summer—this shows that the compilers of rhyme books had some understanding. As for the "Xiang" rhyme and the "Fan" rhyme, these correspond to the sounds of winter.

太極，一也，不動。生二，二則神也。神生數，數生象，象生器。太極不動，性也。發則神，神則數，數則象，象則器，器之變復歸於神也。心為太極，又曰道為太極。太極，道之極也；太玄，道之玄也；太素，色之本也。太一，數之始也；太初，事之初也。其成功則一也。

"The Taiji" is a complete oneness, which remains unmoving. From it arises the "two," which is "Shen." Shen gives rise to "shu" (numbers), "shu" gives rise to "xiang" (images), and "xiang" gives rise to "qi" (objects). The unmoving aspect of Taiji is "xing" (nature); once it moves, it becomes Shen, Shen becomes numbers, numbers become images, images become objects, and objects, when they reach their limit of change, return again to Shen. Therefore, the mind is Taiji, and the Way is also Taiji. "Taiji" is the ultimate of the Way, "Taixuan" is the profound aspect of the Way, "Taisu" is the origin of form and color, "Taiyi" is the beginning of numbers, and "Taichu" is the starting point of all things. Although these terms are divided into several categories, they all accomplish the same thing.

元有二，有生天地之始者，太極也。有萬物之中各有始者，生之本也。萬物各有太極、兩儀、四象、八卦之次，亦有古今之象。陰陽分而生二儀，二儀交而生四象，四象交而生八卦，八卦交而生萬物。故二儀生天地之類，四象定天地之體，四象生八卦之類，八卦定日月之體，八卦生萬物之類，重卦定萬物之體。類者，生之序也；體者，象之交也。推類者，必本乎生。觀體者，必由乎象。生則未來而逆推，象則既成而順觀。是故日月一類也，同出而異處也，異處而同象也。推此以往，物焉逃哉？

"The term 'yuan' has two meanings: one refers to the ultimate beginning from which heaven and earth emerged, which is the Taiji; the other refers to the inherent beginning present within each thing, which is the fundamental essence of its life. All things possess the layers of Taiji, two principles, four images, and the Eight Trigrams. They all carry the images of ancient and modern times. When yin and yang are divided, the two principles are formed; when the two principles interact, the four images are formed; when the four images interact, the Eight Trigrams are formed; and when the Eight Trigrams interact, all things are generated. Therefore, the two principles give rise to the category of heaven and earth, while the four images determine the nature of heaven and earth. The four images give rise to the category of the Eight Trigrams, while the Eight Trigrams determine the nature of the sun and moon. The Eight Trigrams give rise to the category of all things, and when they overlap into sixty-four trigrams, they determine the nature of all things. The term 'category' refers to the order of generation; the term 'nature' refers to the result of the interaction of images. To investigate the category, one must start from the process of generation; to observe the nature, one must start from the images. The process of generation has not yet occurred, so one must trace back in reverse; the images have already taken form, so one can proceed forward to observe. Therefore, the sun and moon belong to the same category, both originating from yang but occupying different positions. Although their positions differ, the images they take are the same. Following this method step by step, what thing in the world could escape being understood?"

天變時而地應物。時則陰變而陽應，物則陽變而陰應。故時可逆知，物必順成。是以陽迎而陰隨，陰逆而陽順，本一氣也。生則為陽，消則為陰。故二者一而已矣，六者三而已矣，八者四而已矣。是以言天而不言地，言君而不言臣，言父而不言子，言夫而不言婦也。然天得地而萬物生，君得臣而萬化行，父得子、夫得婦而家道成。故有一則有二，有二則有四，有三則有六，有四則有八。

Heaven's movement is in the changing of seasons, and Earth responds to things. In terms of seasons, yin changes first and yang responds; in terms of things, yang changes first and yin responds. Therefore, the seasons can be predicted in reverse, but things must follow their order to be completed. Thus, yang leads and yin follows, yin moves in reverse and yang moves in regular order, yet they are originally the same qi. When this qi arises, it is called yang; when it declines, it is called yin. Therefore, the so-called "two" is actually one, the so-called "six" is actually three, and the so-called "eight" is actually four. Because of this, ancients spoke of heaven and did not need to speak of earth, spoke of the sovereign and did not need to speak of ministers, spoke of the father and did not need to speak of the son, spoke of the husband and did not need to speak of the wife. However, heaven must have earth to produce all things; the sovereign must have ministers to carry out all teachings; the father must have sons, the husband must have a wife, for the family order to be established. Therefore, there is one and then two, two and then four, three and then six, four and then eight.

語其體，則天分而為地，地分而為萬物，而道不可分也。其終，則萬物歸地，地歸天，天歸道。是以君子貴道也。一陰一陽之謂道。道無聲無形，不可得而見者也。故假道路之道而為名。人之有行，必由乎道。一陰一陽，天地之道也。物由是而生，由是而成者也。

If we consider it from the perspective of 'body' or essence, heaven differentiates into earth, and earth differentiates into all things, but only the Dao is indivisible. At the end, all things return to earth, earth returns to heaven, and heaven returns to the Dao, so the gentleman values the Dao most. The "Great Treatise" says, "One yin and one yang is called the Dao." The Dao has no sound and no form, it is invisible, so it is named using the character for 'road' or 'path,' since people must travel along a path when they go out. The alternating movement of one yin and one yang is the way of heaven and earth; all things are born through it and formed through it.

陽者道之用，陰者道之體。陽用陰，陰用陽。以陽為用則尊陰，以陰為用則尊陽也。陰幾於道，故以況道也。陽尊而神，尊故役物，神故藏用。是以道生天地萬物而不自見也，萬物亦取法乎道也。陰對陽為二，然陽來則生，陽去則死。天地萬物生死主於陽，則歸之於一也。

Heavenly Principle is the manifestation of the Dao, and Earthly Principle is the form of the Dao. Heavenly Principle relies on Earthly Principle, and Earthly Principle also relies on Heavenly Principle: when Heavenly Principle is used, Earthly Principle is regarded as superior; when Earthly Principle is used, Heavenly Principle is regarded as superior. Earthly Principle is still and contains, and its appearance is most similar to the Dao, so it is often used to compare with the Dao. Heavenly Principle is both noble and mysterious: its nobility allows it to control all things, and its mystery allows it to conceal its function. Therefore, the Dao generates heaven and earth and all things without revealing itself, and all things follow the Dao. Heavenly Principle and Earthly Principle are opposite, appearing as 'two'; yet when Heavenly Principle comes, all things are born, and when Heavenly Principle departs, all things die. Since the birth and death of heaven and earth and all things are entirely governed by Heavenly Principle, it is ultimately reduced to 'one'.

自下而上謂之升，自上而下謂之降。升者，生也；降者，消也。故陽生於下，而陰生於上。是以萬物皆反生。陰生陽，陽生陰，陰復生陽，陽復生陰，是以循環而無窮也。性非體不成，體非性不生。陽以陰為體，陰以陽為性。動者，性也；靜者，體也。在天則陽動而陰靜，在地則陽靜而陰動。性得體而靜，體隨性而動，是以陽舒而陰疾也。（更詳之。）

Moving upward is called "sheng" (ascending), and moving downward is called "jiang" (descending). Ascending represents growth, and descending represents decline. Yang energy rises from below, while Yin energy rises from above, so all things are "fan sheng" (reverse growth) — roots are at the bottom while branches and leaves reach upward, which is exactly opposite the direction of Yin energy's descent. Yin can generate Yang, and Yang can generate Yin. Yin again generates Yang, and Yang again generates Yin, thus forming a continuous cycle without end. Nature has no form without a body, and a body has no nature and cannot be born. Yang takes Yin as its body, and Yin takes Yang as its nature. What is active belongs to nature, and what is still belongs to the body. In the heavens, Yang is active and Yin is still, but on the earth, it becomes Yang that is still and Yin that is active. When nature unites with the body, it becomes still; when the body follows nature, it becomes active. Therefore, the movement of Yang is slow, while the movement of Yin is swift. (This passage still requires further detailed examination.)

陽不能獨立，必得陰而後立，故陽以陰為基；陰不能自見，必待陽而後見，故陰以陽為唱。陽知其始而享其成，陰效其法而終其用。陽能知而陰不能知，陽能見而陰不能見也。能知能見者為有，故陽性有，而陰性無也。陽有所不偏，而陰無所不偏也。陽有去，而陰常居也。無不偏而常居者為實，故陽體虛而陰體實也。

Yang cannot stand alone and must rely on Yin to establish itself, so Yang regards Yin as its foundation. Yin cannot manifest by itself and must wait for Yang to lead before it can appear, so Yin regards Yang as the leader. Yang knows the beginning and enjoys the result, while Yin follows Yang's principles and completes its function. Yang can know and see, while Yin cannot; those who can know and see are called "having," so Yang's nature is "having," and Yin's nature is "not having." Yang cannot reach everywhere, while Yin is present everywhere; Yang has a time to leave, while Yin remains constantly. Being present everywhere and remaining constantly is called "real," so Yang's nature is empty, and Yin's nature is real.

陽之類圓，成形則方；陰之類方，成形則圓。陰事太半，蓋陽一而陰二也。陽主闢而出。陰主翕而入。春陽得權，故多旱；秋陰得權，故多雨。冬至之子中，陰之極；春分之卯中，陽之中；夏至之午中，陽之極；秋分之酉中，陰之中。凡三百六十，中分之則一百八十。此二至二分相去之數也。

Yang is inherently round, but when it takes form it becomes square; Yin is inherently square, but when it takes form it becomes round. In the world, Yin bears most of the responsibility, because Yang counts as one part while Yin counts as two parts. Yang tends to expand outward, while Yin tends to contract inward. In spring, Yang is dominant, so there is often drought; in autumn, Yin is dominant, so there is often rain. The winter solstice falls exactly at the Zi position of the twelve earthly branches, which is the extreme point of Yin; the vernal equinox falls exactly at the Mao position, which is the midpoint of Yang; the summer solstice falls exactly at the Wu position, which is the extreme point of Yang; and the autumnal equinox falls exactly at the You position, which is the midpoint of Yin. The entire circle of the heavens is 360 degrees, divided evenly into two parts of 180 degrees each: this is the distance between the two solstices and the two equinoxes.

二至相去，東西之度凡一百八十，南北之度凡六十。冬至之後為呼，夏至之後為吸。此天地一歲之呼吸也。朔，《易》以陽氣自北方而生，至北方而盡，謂變易循環也。東赤、南白、西黃、北黑，此正色也。驗之於曉、午、暮、夜之時可見之矣。

The distance between the winter solstice and the summer solstice is 180 degrees in the east-west direction and 60 degrees in the north-south direction. After the winter solstice, yang energy begins to spread outward, just as the heavens and earth exhale; after the summer solstice, yin energy retreats inward, just as the heavens and earth inhale: this is the inhalation and exhalation of heaven and earth over the course of a year. Regarding the new moon day of each month, the Zhou Changes say that yang energy originates from the north and returns to the north to reach its limit, describing the continuous cycle of change. The colors of the four directions are red in the east, white in the south, yellow in the west, and black in the north; these are the true colors of the four directions. By using the four periods of morning, noon, evening, and night, one can verify this.

天地之氣運，北而南則治，南而北則亂。亂久則復北而南矣。天道人事皆然。推之歷代，可見消長之理也。天地之本其起於中乎？是以乾坤屢變而不離乎中。人居天地之中，心居人之中，日中則盛，月中則盈，故君子貴中也。

The movement of the energies of Heaven and Earth, when flowing from north to south, brings peace to the world, but when flowing from south to north, it brings disorder. When disorder lasts long, it eventually returns to flowing from north to south. This is how the Way of Heaven operates, and it is also how human affairs function. By examining the rise and fall of dynasties throughout history, one can clearly see the principles of increase and decrease. The fundamental nature of Heaven and Earth probably originates from the concept of "center" or "middle." Therefore, the two trigrams, Qian (Heaven) and Kun (Earth), although constantly changing, never deviate from the center. A person situated in the center of Heaven and Earth has a heart that is also centered within their body. The sun reaches its peak when it is at the zenith, and the moon is most round when it is at the zenith, so the gentleman values "center" most.

生者性，天也；成者形，地也。得天氣者動，得地氣者靜。天以氣為主，體為次。地以體為主，氣為次。在天在地者亦如之。天主用，地主體，聖人主用，百姓主體。故日用而不知。顯諸仁者，天地生萬物之功，則人可得而見也。所以造萬物，則人不可得而見，是藏諸用也。

The nature that promotes growth belongs to heaven; the form that achieves completion belongs to earth. Those who receive the heavenly qi are active, while those who receive the earthly qi are tranquil. Heaven takes qi as its main aspect and form as secondary, while earth takes form as its main aspect and qi as secondary. The myriad things in heaven and the myriad things in earth are also distributed according to this proportion. Heaven governs 'function', and earth governs 'form'; the sage governs 'function', and the common people govern 'form', so the Great Treatise says that the common people 'use things daily without knowing'. 'Manifesting through benevolence' refers to the efficacy of heaven and earth in nurturing all things, which people can see. However, the means by which heaven and earth create all things are not visible to people, which is called 'concealing through function'.

或問：顯諸仁、藏諸用。曰：“若日月之照臨，四時之成歲，是顯諸仁也；知其度數之然，而不知其所以然，是藏諸用也。”天之象類，則可得而推。如其神用，則不可得而測也。天以理盡，而不可以形盡。渾天之術，以形盡天，可乎？倚蓋之說，崑崙四垂而為海。推之理則不然。夫地直方而靜，豈得如圓動之天乎？

Someone asked how to explain "manifesting in benevolence, hidden in function." Shao Yong answered, "Just as the sun and moon illuminate the earth, and the four seasons combine to form a year, this is manifesting in benevolence; we can calculate their measures and patterns, yet we cannot explain why they are like this, this is hidden in function." The form and categories of heaven can be calculated; however, its mysterious workings cannot be measured. Heaven can only be fully understood through "principle" (li), not through "form" (xing). The spherical model used by the浑天 scholars to explain heaven is feasible? The盖天 theory says heaven is like an inclined umbrella cover, with Kunlun Mountain hanging down on all sides to form the sea; but when examined by principle, it is not so. The earth is originally square and still; how could it be like the rotating heaven?

天圓而地方，天南高而北下，是以望之如倚蓋焉；地東南下西北高，是以東南多水西北多山也。天覆地，地載天，天地相函，故天上有地，地上有天。天之陽在南，故日處之；地之剛在北，故山處之。所以地高西北，天高東南也。天之陽在南，而陰在北；地之陰在南，而陽在北；人之陽在上，而陰在下。既交，則陽下而陰上。

Heaven is round and Earth is square. Heaven is high in the south and low in the north, so when people look up, it appears like an inclined umbrella; Earth is low in the southeast and high in the northwest, so the southeast has many rivers, lakes, and seas, while the northwest has many high mountains and steep peaks. Heaven covers Earth, and Earth supports Heaven. Heaven and Earth contain each other, so there is Earth in Heaven and Heaven in Earth. The yang energy of Heaven gathers in the south, so the sun resides there; the firm substance of Earth gathers in the north, so mountains reside there—the reason why the terrain is high in the northwest and the sky appears high in the southeast is due to this. The yang of Heaven is in the south and the yin in the north; the yin of Earth is in the south and the yang in the north; the yang of a person is above and the yin below. When yin and yang combine, yang descends and yin ascends.

極南大暑，極北大寒，故南融而北結，萬物之死地也。夏則日隨斗而北，冬則日隨斗而南，故天地交而寒暑和，寒暑和而物乃生也。天渾渾於上而不可測也，故觀斗數以占天也。斗之所建，天之行也。魁建子，杓建寅，星以寅為晝也。斗有七星，是以晝不過乎七分也。（更詳之。）

In the extreme south, it is extremely hot, and in the extreme north, it is extremely cold. Therefore, things in the south tend to melt continuously, while things in the north tend to freeze continuously; these two places are the death grounds for all living things. In summer, the sun follows the Big Dipper towards the north, and in winter, it follows the Big Dipper towards the south. Thus, the energies of heaven and earth interact, and the balance between cold and heat is maintained, allowing all things to grow. Heaven is above, vast and indistinct, so people observe the position of the Big Dipper to predict celestial phenomena. The direction indicated by the Big Dipper represents the movement of heaven. When the handle of the Big Dipper points to the position of the rat (Zi), and the ladle points to the position of the tiger (Yin), the day begins with the tiger (Yin) position. The Big Dipper has seven stars, so the length of the day does not exceed seven parts. (This passage still requires further detailed examination.)

天行所以為晝夜，日行所以為寒暑。夏淺冬深，天地之交也；左旋右行，天日之交也。日朝在東，夕在西，隨天之行也；夏在北，冬在南，隨天之交也。天一周而超一星，應日之行也。春酉正，夏午正，秋卯正，冬子正，應日之交也。冬至之月，所行如夏至之日；夏至之月，所行如冬至之日。

The rotation of Heaven over seven days causes day and night, and the annual movement of the sun causes cold and heat. In summer the shadow is short, and in winter the shadow is long; this is the result of the meeting of Heaven and Earth. Heaven rotates to the left while the sun moves to the right; this is the result of the meeting of Heaven and the sun. The sun rises in the east and sets in the west, following the rotation of Heaven; in summer it leans north, and in winter it leans south, following the meeting of Heaven and the sun. When Heaven completes a full rotation, it adds one star's measure, corresponding to the movement of the sun; in the evening, the central star is in the west at the beginning of spring, in the south at the beginning of summer, in the east at the beginning of autumn, and in the north at the beginning of winter, corresponding to the meeting of Heaven and the sun. In the month of the winter solstice, the path of the moon is the same as the path of the sun in the summer solstice; in the month of the summer solstice, the path of the moon is the same as the path of the sun in the winter solstice.

陽主舒長，陰主慘急。日入盈度，陰從於陽；日入縮度，陽從於陰。日行陽度則盈，行陰度則縮，賓主之道也。月去日則明生而遲，近日則魄生而疾，君臣之道也。日以遲為進，月以疾為退。日月一會而加半日，減半日，是以為閏餘也。日一大運而進六日，月一大運而退六日，是以為閏差也。

Yang's nature is to grow gradually, while Yin's nature is to act swiftly and to cause decay. When the sun enters the degree of "Ying" (fullness), Yin follows Yang; when it enters the degree of "Suo" (reduction), Yang follows Yin. When the sun moves through the Yang degrees, its speed is excessive, called Ying. When it moves through the Yin degrees, its speed is insufficient, called Suo. This is the principle of guest and host mutually depending on each other. The moon, the farther it is from the sun, the larger its illuminated side becomes, and its movement appears slower; the closer it is to the sun, the larger its dark side becomes, and its movement appears faster. This is the principle of sovereign and minister acting in harmony. The sun counts slow movement as progress, while the moon counts fast movement as regression. Each time the sun and moon meet, they add half a day and subtract half a day, which is the origin of the leap month. When the sun completes a great cycle and exceeds six days, and the moon completes a great cycle and falls short by six days, this is the origin of the leap difference.

一歲之閏，六陰六陽，三年三十六日，故三年一閏，五年六十日，故五年再閏。《堯典》期三百六旬有六日，夫日之餘盈也六，則月之餘縮也亦六。若去日月之餘十二，則有三百五十四，乃日行之數。以十二除之，則得二十九日。

The leap month in a year includes six yin and six yang. Over three years, a total of thirty-six days accumulate, so a leap month is added every three years. Over five years, a total of sixty days accumulate, so another leap month is added within five years. The Book of Documents, Yao's Classic, states that one year consists of three hundred and sixty-six days: the excess days on the sun's side are six, and the deficient days on the moon's side are also six. If these twelve days of surplus and deficit from both the sun and moon are subtracted, the remaining is three hundred and fifty-four days, which is the number calculated by counting each day. Dividing this by twelve gives twenty-nine days per month.

陽消則生陰，故日下而月西出也；陰盛則敵陽，故日望而月東出也。天為父，日為子，故天左旋，日右行；日為夫，月為婦，故日東出，月西生也。日月之相食，數之交也。日望月則月食，月掩日則日食，猶水火之相剋也。是以君子用智，小人用力。月體本黑，受日之光故白。日入地中，構精之象也。

When yang wanes, yin arises, so when the sun sets, the new moon appears in the west; when yin becomes strong enough, it can contend with yang, so by the full moon, the sun has not yet set and the moon has already risen in the east. Heaven is like a father, and the sun is like a son, so heaven rotates to the left while the sun moves to the right; the sun is like a husband, and the moon is like a wife, so the sun rises in the east while the moon is born in the west. Solar and lunar eclipses result from the meeting of their degrees: when the sun is directly opposite the moon and the moon is obscured, it is a lunar eclipse; when the moon covers the sun, it is a solar eclipse. This is similar to water and fire mutually controlling each other. Therefore, the gentleman relies on wisdom, while the petty person relies on strength. The moon's essence is originally black, but it appears white when illuminated by the sun. When the sun sinks below the earth, it symbolizes the union of heaven and earth's yin and yang, producing a refined essence.

日隨天而轉，月隨日而行，星隨月而見，故星法月，月法日，日法天。天半明半晦，日半盈半縮，月半盈半虧，星半動半靜，陰陽之義也。天晝夜常見，日見於晝，月見於夜而半不見，星半見於夜，貴賤之等也。月晝可見也，故為陽中之陰；星夜可見也，故為陰中之陽。

The sun follows the sky in its rotation, the moon follows the sun in its movement, and the stars follow the moon in their appearance. Therefore, stars take their pattern from the moon, the moon takes its pattern from the sun, and the sun takes its pattern from heaven. Heaven has half bright and half dark, the sun has half full and half diminished, the moon has half round and half missing, and the stars have half moving and half still: these are all examples of the principle of yin and yang being divided. Heaven is always visible whether day or night, the sun is visible only during the day, the moon is visible at night but is sometimes not visible at all, and the stars are visible only at night, but only half of them can be seen: this is another example of the hierarchy of respect and rank. The moon can sometimes be seen during the day, so it is called "yin within yang"; the stars can only be seen at night, so they are called "yang within yin."

陽中有陰，陰中有陽，天之道也。陽中之陽，日也，暑之道也；陽中之陰，月也，以其陽之類，故能見於晝；陰中之陽，星也，所以見於夜。陰中之陰，辰也，天壤也。辰數十二，日月交會謂之辰。辰，天之體也。天之體，無物之氣也。辰至日為生，日至辰為用。蓋順為生而逆為用也。星為日餘，辰為月餘。星之至微如塵沙者，隕而為堆阜。

In the Yang there is Yin, and in the Yin there is Yang; this is the principle of heaven. The Yang within Yang is the sun, which governs the heat of summer. The Yin within Yang is the moon, for it still belongs to the category of Yang, so it can be seen even during the day. The Yang within Yin is the star, which appears at night. The Yin within Yin is the Chén, which is the empty space in the heavens. The number of Chén is twelve, and each time the sun and moon meet, it is called one Chén. Chén is the essence of heaven, and the essence of heaven is a mass of formless qi. Counting from Chén to the sun is the direction of "birth," and counting from the sun to Chén is the direction of "use"—counting forward signifies birth, and counting backward signifies use. The stars are the remainder of the sun, and Chén is the remainder of the moon. The stars, fine as dust, when they fall down, accumulate to form hills and mountains.

天奇而地偶，是以占天文者觀星而已，察地理者觀山水而已。觀星而天體見矣，觀山水而地體見矣。天體容物，地體負物，是故體幾於道也。日月星辰共為天，水火土石共為地，耳目鼻口共為首，髓血筋骨共為身，此乃五之數也。天有五辰，日月星辰與天而為五；地有五行，金木水火與土而為五。五行之木，萬物之類也。五行之金，出乎石也。故水火土石，不及金木，金木生其間也。

Heaven's numbers are odd, Earth's numbers are even. Therefore, those who study astronomy only need to observe the stars, and those who study geography only need to observe mountains, rivers, water and soil. Observing the stars reveals the form of Heaven, and observing mountains and rivers reveals the form of Earth. The form of Heaven can contain all things, and the form of Earth can support all things. Therefore, the concept of "body" is already very close to the Dao. The sun, moon, stars, and constellations together make up Heaven, and water, fire, soil, and stone together make up Earth. The ear, eye, nose, and mouth together make up the head, and marrow, blood, sinew, and bone together make up the body—each group consists of four elements plus their total name, making five. This is the origin of the number "five." Heaven has five stars: the sun, moon, stars, constellations, and Heaven itself, making five. Earth has five elements: metal, wood, water, fire, and soil, making five. Among the five elements, wood belongs to the category of all things, while metal comes from stone. Therefore, Shao Yong discussed the elements of Earth only listing water, fire, soil, and stone, not metal and wood, because metal and wood are derived from these four.

陽中陽，日也；陽中陰，月也；陰中陽，星也；陰中陰，辰也。柔中柔，水也；柔中剛，火也；剛中柔，土也；剛中剛，石也。夫四象在錯綜而用之。日月，天之陰陽；水火，地之陰陽；星辰，天之剛柔；土石，地之剛柔。天之陽在東南，日月居之；地之陰在西北，火石處之。天以剛為德，故柔者不見；地以柔為體，故剛者不主。是以震，天之陰也；巽，地之陽也。

The yang within yang is the sun, and the yang within yin is the moon. The yang within yin is the star, and the yin within yin is the constellation. The soft within soft is water, the soft within hard is fire, the hard within soft is earth, and the hard within hard is stone. These two groups of four images must be used in combination: the sun and moon represent the yin and yang of heaven, while water and fire represent the yin and yang of earth. The stars and constellations represent the hardness and softness of heaven, while earth and stone represent the hardness and softness of earth. The yang energy of heaven is in the southeast, so the sun and moon reside there. The yin energy of earth is in the northwest, so fire and stone are found there. Heaven takes hardness as its virtue, so its soft aspect does not show; earth takes softness as its form, so its hard aspect cannot dominate. Therefore, the hexagram Zhen has one yang at the bottom; although it belongs to yang, it actually represents the yin of heaven. The hexagram Xun has one yin at the bottom; although it belongs to yin, it actually represents the yang of earth.

地，陰也，有陽而陰效之。故至陰者辰也，至陽者日也，皆在乎天，而地則水火而已。是以地上皆有質之物，陰伏陽而形質生，陽伏陰而性情生。是以陽生陰，陰生陽，陽克陰，陰克陽。陽之不可伏者，不見於地；陰之不可克者，不見於天。伏陽之少者，其體必柔，是以畏陽而為陽所用。伏陽之多者，其體必剛，是以御陽而為陰所用。故水火動而隨陽，土石靜而隨陰也。（一說云，陰效陽而能伏，是以辰在天，而地之四物皆有所欠也。）

The earth belongs to yin, which always follows yang, with yang coming first and yin imitating it. Therefore, the most yin is Chen, and the most yang is the sun, both of which are in the heavens; while on the earth, there are only water and fire. Thus, on the earth, there are all things with form and substance: yin subdues yang, and form and substance are produced; yang subdues yin, and nature and emotion are produced. Therefore, yang can generate yin, and yin can generate yang; yang can overcome yin, and yin can overcome yang. The yang that cannot be subdued is not seen on the earth; the yin that cannot overcome yang is not seen in the heavens. The yang that is subdued less has a soft body, so it fears yang and is driven by it; the yang that is subdued more has a hard body, so it can resist yang and is driven by yin. Therefore, water and fire are active and follow yang; earth and stone are passive and follow yin. Another interpretation says: yin imitates yang and can subdue it, so Chen remains in the heavens, while on the earth, water, fire, earth, and stone each have their own deficiencies.

陽生陰，故水先成；陰生陽，故火後成。陰陽相生也，體性相須也。是以陽去則陰竭，陰盡則陽滅。火以性為主，體次之；水以體為主，性次之。天火，無體之火也；地火，有體之火也。火無體，因物以為體。金石之火烈於草木之火者，因物而然也。火生於無，水生於有。

Yang generates Yin, so water condenses first; Yin generates Yang, so fire takes form later. Yin and Yang mutually generate each other, and form and nature depend on each other. Therefore, when Yang leaves Yin, Yin becomes exhausted; when Yin is exhausted, Yang also fades away. Fire is primarily about nature and secondarily about form, while water is primarily about form and secondarily about nature. The fire in the heavens is fire without form, while the fire on the earth is fire with form—fire itself has no form, but it relies on the substance it burns to be its form. The fire produced by metal and stone is more intense than that produced by grass and wood, because the substances they rely on are different. Fire arises from 'nothingness,' while water arises from 'somethingness.'

海潮者，地之喘息也。所以應月者，從其類也。燈之明暗之境，日月之象也。水者，火之地；火者，水之氣。黑者，白之地；寒者，暑之地。月者，日之影也；情者，性之影也；陰者，陽之影；鬼者，人之影也。明則有日月，幽則有鬼神。

The tides on the sea are the breath of the earth. They rise and fall with the moon because water and the moon belong to the same category, drawn together by similar energies. The boundary between light and darkness on a flame is exactly the miniature of the sun and moon. Water is the place where fire depends, and fire is the vapor rising from water; black is the place where white depends, and cold is the place where heat depends. The moon is the shadow of the sun, emotion is the shadow of nature, yin is the shadow of yang, and ghosts are the shadows of humans. Therefore, in the bright place there are sun and moon, and in the dark place there are ghosts and spirits.

鬼神者，無形而有用，其情狀可得而知也，於用則可見之矣。若人之耳目鼻口手足，草木之枝葉華實顏色，皆鬼神之所為也。福善禍淫，主之者誰耶？聰明正直，有之者誰邪？不疾而速，不行而至，任之者誰邪？皆鬼神之情狀也。天地之心者，生萬物之本也；天地之情者，情狀也，與鬼神之情狀同。以天地生萬物，則以萬物為萬物；以道生天地，則天地亦萬物也。天地生萬物，聖人生萬民。生生長類，天地成功；別生分類，聖人成能。

The so-called ghosts and spirits are things without form but with function; their nature can be known by observing their effects. For example, the ears, eyes, nose, mouth, hands, and feet of humans, and the branches, leaves, flowers, fruits, and colors of plants, are all the workings of ghosts and spirits. Who bestows blessings upon the virtuous and calamities upon the wicked? Who is the one possessing wisdom, righteousness, and integrity? The "Great Treatise" says, "Without haste yet swift, without movement yet arrived," who bears this responsibility? These are all the manifestations of ghosts and spirits. The heart of heaven and earth is the source of generating all things; the nature of heaven and earth is its expressed condition, which is the same as the nature of ghosts and spirits. From the perspective of heaven and earth generating all things, all things are merely things; but from the perspective of the Dao generating heaven and earth, heaven and earth themselves are no different from other things. Heaven and earth generate all things, while sages nurture the people. The continuation of life generation after generation and the proliferation of species after species is the achievement of heaven and earth; distinguishing various life forms and clarifying their categories is the ability of sages.

動物自首生，植物自根生。自首生，命在首；自根生，命在根。本乎天者親上，本乎地者親下。故變之與應，常反對也。有變則必有應也，故變於內者應於外，變於外者應於內，變於下者應於上，變於上者應於下也。天變而日應之，故變者從天，而應者法日也。是以日紀乎星，月會於辰，水生於土，火潛於石，飛者棲木，走者依草。心肺之相聯，肝膽之相屬，無它變應之道也。

Animals grow from their heads, while plants grow from their roots; those that grow from the head have their life essence centered in the head, while those that grow from the root have their life essence centered in the root. The "Wenyan" section of the Book of Changes says, "Those originating from heaven are closely connected to above, and those originating from earth are closely connected to below." Therefore, the concepts of "change" and "response" are always opposite and relative to each other: whenever there is a change, there must be a response. If the change occurs internally, the response appears externally; if the change occurs externally, the response appears internally; if the change occurs below, the response appears above; if the change occurs above, the response appears below. Heaven changes first, and the sun responds to it, so the side of "change" follows the pattern of Heaven, and the side of "response" follows the pattern of the sun. This is why the sun uses the stars as its order and the moon meets the twelve earthly branches; water arises from the earth, and fire is hidden within stones; flying creatures dwell in trees, and crawling creatures rely on grassy areas; the heart and lungs are connected in humans, and the liver and gallbladder are associated—none of these are based on any other principle, but all are based on the principle of "change" and "response."

陽交於陰而生蹄角之類也，剛交於柔而生根荄之類也，陰交於陽而生羽翼之類也，柔交於剛而生枝幹之類也。天交於地，地交於天，故有羽而走者，足而騰者。草中有木，木中有草也。各以類而推之，則生物之類不過是矣。走者便於下，飛者利於上，從其類也。水之物無異乎陸之物，各有寒熱之性。大較則陸為陽中之陰，而水為陰中之陽。

Heaven and Earth interact, Earth and Heaven interact, so there are birds with feathers that can only run and beasts with feet that can leap. Grass contains the nature of wood, and wood contains the nature of grass. Each category follows this pattern, and all the kinds of living creatures in the world are no more than these. Beasts are suited for moving in low places, birds are suited for moving in high places, each following their own category. Creatures in water and on land have no fundamental difference, but they each have their own nature, either cold or hot. In general, land is "Yang within Yin," and water is "Yin within Yang."

陸中之物水中必具者，猶影象也。陸多走，水多飛者，交也。是故巨於陸者，必細於水；巨於水者，必細於陸也。水之族以陰為主，陽次之；陸之類以陽為主，陰次之。故水類出水則死，風類入水則死。然有出入之類者，龜蟹鵝鳧之類是也。

On land there are certain creatures, and in water there must also be corresponding ones, just as a shadow reflects the form of its object. On land, creatures that walk are more common, but in water, those that swim by flying are more common, due to the interaction of heaven and earth. Therefore, creatures that are large on land correspond to small ones in water, and creatures that are large in water correspond to small ones on land. Water creatures are mainly of yin nature with some yang, while land creatures are mainly of yang nature with some yin. Hence, water creatures die when separated from water, and land creatures that belong to wind die when entering water. However, there are some amphibious creatures that can live both on land and in water, such as turtles, crabs, geese, and wild ducks.

魚在於水則生，離則死，交與不交之謂也。魚者，水之族也；蟲者，風之族也。風類水類，小大相反。在水者不瞑，在風者瞑。走之類上睫接下，飛之類下睫接上，類使之然也。在水而鱗鬣，飛之類也；龜獺之類，走之類也。飛之類喜風而敏於飛上，走之類喜土而利於走下。飛之走，雞鳧之類是也；走之飛，龍馬之屬是也。

A fish lives in water and dies when separated from it, illustrating the principle of whether something belongs to its own category or not. Fish belong to the water category, while insects belong to the wind category. The wind and water categories are opposites in terms of size. Creatures living in water sleep with their eyes open, while those in the wind sleep with their eyes closed. Mammals close their upper eyelids when sleeping, while birds close their lower eyelids, each following the nature of their own category. Fish with scales and whiskers, although living in water, actually belong to the category of flying. Turtles and beavers, although living in water, belong to the category of walking. The flying category prefers wind and is good at rising upward, while the walking category prefers earth and is good at moving on the ground. Within the flying category, those that lean toward walking are chickens and ducks. Within the walking category, those that lean toward flying are dragons and horses.

馬牛皆陰類，細分之則馬為陽，而牛為陰。鷹鵰之類食生，而雞鳧之類不專食生；虎豹之類食生，而貓犬之類食生又食穀。以類推之，從可知矣。虎豹之毛猶草也，鷹鸇之羽猶木也。草伏之獸，毛如草之莖；林棲之鳥，羽如林之葉。類使之然也。

Horse and ox are both of the yin category, but when divided further, the horse leans more towards yang and the ox more towards yin. Birds like hawk and eagle eat only raw flesh, while chickens and wild ducks do not exclusively eat raw food. Tigers and leopards eat only raw flesh, while cats and dogs eat both raw flesh and grain. Following this classification, the rest can be inferred similarly. The fur of tigers and leopards resembles grass, while the feathers of hawks and eagles resemble wood. Animals that hide in grass have fur resembling grass stems; birds that dwell in the forest have feathers resembling leaves. This is due to their inherent nature.

禽蟲之卵，果穀之類也。穀之類多子，蟲之類亦然。蠶之類，今歲蛾而子，來歲則子而蠶。蕪菁之類，今歲根而苗，來歲則苗而子。木者星之子，是以果實象也。木之支干，土石之所成，所以不易。葉花，水火之所盛，故變而易也。葉，陰也；華實，陽也。枝葉耎而根幹堅也。

Birds and insects produce eggs, which are equivalent to the fruits and grains of plants. Grains produce a great number of seeds, and insects lay a great number of eggs. Silkworms, for example, produce eggs this year, and from those eggs silkworms emerge next year. The radish, on the other hand, sprouts from its root this year, and produces seeds next year. Trees are the sons of stars, so their fruits carry the form of stars. The branches and trunks of trees are formed from earth and stone, so they are firm and unchanging. Leaves and flowers are nurtured by water and fire, so they change constantly and are easily shed. Leaves belong to the yin, while flowers and fruits belong to the yang; the branches and leaves are soft, while the roots and trunks are hard.

木之堅，非雷不能震；草之柔，非露不能潤。草類之細入於坤。水之木，珊瑚之類是也；石之花，硝鹽之類是也。龍能大能小，然亦有制之者。受制於陰陽之氣，得時則能變化，變變則不能也。有一日之物，有一月之物，有一時之物，有一歲之物，有十歲之物，至於百千萬皆有之。天地亦物也，亦有數焉。雀，三年之物；馬，三十年之物。凡飛走之物，皆可以數推。

Hard wood requires thunder to shake it, while soft grass needs rain and dew to nourish it. The most delicate among grasses belongs to the "Kun" trigram. Wood growing in water is like coral, and flowers growing on stone are like nitrate and salt. Dragons can grow large or small, yet they are also subject to constraints; they are governed by the dual forces of yin and yang, and can change only when the seasons are right. If they change too much, they can no longer change. There are creatures that live for one day, one month, one season, one year, ten years, up to a hundred, a thousand, or even ten thousand years. The heavens and earth themselves are also things, so they too have their fixed limits. A sparrow lives three years, a horse lives thirty years—any creature that can fly or walk has its lifespan calculable by numbers.

人，百有二十年之物。人為萬物之靈，寄類於走。走，陰也，故百有二十。人寓形於走類，何也？走類者，地之長子也。動者體橫，植者體縱。人宜橫而反縱也。人之骨巨而體繁，木之乾巨而葉繁，應天地之數也。飛者有翅，走者有趾。人之兩手，翅也；兩足，趾也。飛者食木，走者食草，人皆兼之，而又食飛走也，故最貴於萬物也。

Human beings are creatures that live for one hundred and twenty years. Although humans are the most intelligent among all things, their physical form is寄托 in the category of quadrupeds; quadrupeds belong to the yin category, so the natural lifespan of humans is set at one hundred and twenty years. Why do humans寄托 their form in the category of quadrupeds? Because quadrupeds are the eldest sons of the earth. Moving animals have their bodies horizontal, while growing plants have their bodies vertical; humans should have their bodies horizontal, but instead they are vertical. Human bones are thick and their limbs are numerous, just as the main trunk of a tree is thick and its branches and leaves are numerous, which corresponds exactly with the numbers of heaven and earth. Birds have wings, quadrupeds have toes; human hands are like wings, and human feet are like toes. Birds eat fruits from trees, quadrupeds eat grass on the ground, while humans eat both, and also eat birds and quadrupeds, so among all things, humans are the most exalted.

天六地四，天以氣為質，而以神為神；地以質為質，而以氣為神。唯人兼乎萬物，而為萬物之靈。如禽獸之聲，以其類而各能得其一。無所不能者，人也。推之他事，亦莫不然。唯人得天地日月交之用，他類則不能也。人之生，真可謂之貴矣。天地與其貴而不自貴，是悖天地之理，不祥莫大焉。

Heaven's number is six, Earth's number is four. Heaven uses qi to serve as its substance and uses spirit to serve as its divine essence; Earth uses form and substance to serve as its substance and uses qi to serve as its divine essence. Only humans possess the abilities of all things, thus becoming the spiritual essence of all things. For example, the sounds of birds and beasts can only emit one kind of sound according to their own category, but what can emit all kinds of sounds is humans. The same applies to other matters. Only humans can fully utilize the functions of heaven, earth, sun, and moon, which other creatures cannot achieve. A human life can truly be considered noble. Heaven grants humans this nobility, yet humans themselves do not cherish it, which violates the principles of heaven and earth, and there is no greater omen of misfortune than this.

天有四時，地有四方，人有四支。是以指節可以觀天，掌文可以察地。天地之理，具乎指掌矣，可不貴之哉？人之四支各有脈也，一脈三部，一部三候，以應天數也。身，地也，本乎靜，所以能動者，氣血使之然也。水在人之身為血，土在人之身為肉。日為心，月為膽，星為脾，辰為腎藏也；石為肺，土為肝，火為胃，水為膀胱府也。天地並行，則藏府配。四藏，天也；四府，地也。藏者，天行也；府者，地行也。天地並行，則配為八卦。

Heaven has the four seasons of spring, summer, autumn, and winter; the earth has the four directions of east, south, west, and north; and a person has four limbs, two hands and two feet. Therefore, counting the joints of the fingers can be used to observe the changes of heaven, and examining the patterns on the palms can be used to study the geography of the earth. The principles of heaven and earth are all contained within a person's hands, so how can we not value them? Each of the four limbs has its own meridians, and each meridian is divided into three parts: cun, guan, and chi. Each part is further divided into three pulses: floating, middle, and deep, corresponding to the numbers of heaven. The body belongs to the earth and is by nature still, but it is able to move because of the movement of qi and blood. Water in the human body becomes blood, and earth in the human body becomes flesh. The sun corresponds to the heart, the moon to the gallbladder, the stars to the spleen, and the constellations to the kidney; these four are called 'zang' (organs). On the earth, stone corresponds to the lungs, earth to the liver, fire to the stomach, and water to the bladder; these four are called 'fu' (hollow organs). Heaven and earth proceed in harmony without contradiction, and zang and fu thus form pairs: the four zang belong to heaven, the four fu to the earth; zang follow the path of heaven, and fu follow the path of the earth. Heaven and earth proceed together, and when paired, they form the Eight Trigrams.

體必交而後生，故陽與剛交而生心肺，陽與柔交而生肝膽，柔與陰交而生腎與膀胱，剛與陰交而生脾胃。心生目，膽生耳，脾生鼻，腎生口，肺生骨，肝生肉，胃生體，膀胱生血。故乾為心，兌為脾，離為膽，震為腎，坤為血，艮為肉，坎為髓，巽為骨，泰為目，中孚為鼻，既濟為耳，頤為口，大過為肺，未濟為胃，小過為肝，否為膀胱。

The forms must combine to produce something, so Yang and strength combine to produce the heart and lungs, Yang and softness combine to produce the liver and gallbladder, softness and Yin combine to produce the kidneys and bladder, and strength and Yin combine to produce the spleen and stomach. The heart produces the eyes, the gallbladder produces the ears, the spleen produces the nose, the kidneys produce the mouth, the lungs produce the bones, the liver produces the muscles, the stomach produces the body, and the bladder produces blood. According to this, the trigrams are paired as follows: Qian is paired with the heart, Dui with the spleen, Li with the gallbladder, Zhen with the kidneys, Kun with blood, Gen with flesh, Kan with marrow, and Xun with bones. Further, the compound trigrams outside the four directions are paired as follows: Tai is paired with the eyes, Zhongfú with the nose, Ji Ji with the ears, Yi with the mouth, Da Guo with the lungs, Wei Ji with the stomach, Xiao Guo with the liver, and Pǒ with the bladder.

天地有八象，人有十六象，何也？合天地而生人，合父母而生子，故有十六象也。心居肺，膽居肝，何也？言性者必歸之天，言體者必歸之地。地中有天，石中有火，是以心膽象之也。心膽之倒懸何也？草木者，地之本，體也。人與草木反生，是以倒懸也。

Heaven and Earth have only eight images, but humans have sixteen. Why? Because humans are formed by the union of Heaven and Earth, and by the union of father and mother. Two unions result in sixteen images on the human body. The heart is enclosed within the lungs, and the gallbladder is attached to the liver. Why? Because when discussing 'nature' (xìng), it must be related to Heaven; when discussing 'body' (tǐ), it must be related to Earth. Earth contains Heaven, and fire is hidden within stone. The heart and gallbladder take their images from this. Why are the heart and gallbladder inverted? Because grass and trees are the foundation of the earth, belonging to the 'body' aspect, while human growth direction is opposite to that of grass and trees. Therefore, these two organs inside the human body are also inverted.

口目橫而鼻耳縱，何也？體必交也，故動者宜縱而反橫，植者宜橫而反縱，皆交也。目口凸而耳鼻竅。竅者，受臭嗅氣物，或不能閉之。凸者，視色別味物，則能閉之也。四者雖象於一，而各備其四矣。鼻之氣，目見之；口之言，耳聞之，以類應也。膽與腎同陰，心與脾同陽。心主目，脾主鼻。

The mouth and eyes are horizontally developed, while the nose and ears are vertically developed. Why is this so? Because the form must necessarily intersect. Moving animals should be vertical but instead grow horizontally, and growing plants should be horizontal but instead grow vertically. This is due to the principle of intersection. The eyes and mouth are protruding, while the ears and nose are recessed openings. The recessed openings are responsible for receiving intangible substances such as odors, hence they cannot be completely closed. The protruding parts are responsible for discerning tangible things such as colors and flavors, hence they can be closed. Although these four parts each take the form of one, each also possesses four functions. The air exhaled from the nose can be seen by the eyes; the words spoken from the mouth can be heard by the ears. This is because they correspond to each other. The gallbladder and kidney both belong to yin, while the heart and spleen both belong to yang. The heart governs the eyes, and the spleen governs the nose.

《素問》肺主皮毛，心脈脾肉肝筋腎骨，上而下，外而內也。心血腎骨交，法也。交即用也。心藏神，腎藏精，脾藏魂，膽藏魄，胃受物而化之，傳氣於肺，傳血於肝，而傳水穀於脬腸矣。神者人之主，將寐在脾，熟寐在腎，將寤在膽（又言在肝），正寤在心。

The Huangdi Neijing · Suwen says that the lung governs the skin and hair, the heart governs the blood vessels, the spleen governs the muscles, the liver governs the tendons, and the kidney governs the bones; this order is arranged from top to bottom and from outside to inside. The heart belongs to blood and the kidney belongs to bones, one outside and one inside, both meeting at the ends, which is modeled after the union of heaven and earth; the term 'union' refers to the interaction and function. The mind is hidden in the heart, essence is hidden in the kidney, the soul is hidden in the spleen, and the spirit is hidden in the gallbladder; the stomach receives food, digests it, then sends the qi to the lung, the blood to the liver, and the essence of food and drink to the bladder and intestines. The mind is the master of a person: when one is about to fall asleep, the mind is in the spleen; when fully asleep, it is in the kidney; when about to wake up, it is in the gallbladder (another view says the liver), and when fully awake, it is in the heart.

天之神棲乎日，人之神棲乎目。人之神，寤則棲心，寐則棲腎，所以象天，此晝夜之道也。天地之大寤在夏。人之神則存於心，神統於心，氣統於腎，行統於首。形氣交而神主乎其中，三才之道也。氣一而已，主之者乾也。神亦一而已，乘氣而變化，能出入於有無死生之間，無方而不測者也。

The divine of Heaven dwells in the sun, and the divine of humans dwells in the eyes. The divine of humans resides in the heart when awake and in the kidney when asleep. This is taking the analogy from Heaven, which corresponds to day and night. The greatest awakening of Heaven and Earth occurs in summer. The divine of humans resides in the heart: the divine governs the heart, the vital energy governs the kidney, and movement is governed by the head. The form and vital energy meet, and the divine is in the middle, which is the principle of the three categories of Heaven, Earth, and humans. There is only one vital energy, governed by the Trigram Qian; there is also only one divine, which rides upon the vital energy and changes, able to move between existence and non-existence, life and death, without being fixed in a place, and thus cannot be measured.

潛天潛地，不行而至，不為陰陽所攝者，神也。出入有無死生者，道也。神無所在，無所不在。至人與他心通者，以其本於一也。道與一，神之強名也。以神為神者，至言也。所以造物者，神也。神不死，所更者，四時也。所以造人者，神人也。神亦不死，假如一木結實而種之，又成是木而結是實。木非舊木也，此木之神不二也。此實生生之理也。（造物，一作造萬物。神人，一無人字。）

A spirit can enter heaven and earth, reach its destination without moving, and be unrestricted by yin and yang. That is the spirit. One that can freely move between existence and non-existence, life and death, is the Dao. The spirit has no fixed place yet is everywhere. A person who has cultivated to the highest degree can communicate with others in heart and mind, because all beings share the same fundamental origin. "Dao" and "One" are merely names imposed upon the spirit. To call it simply "spirit" is the most appropriate term. The spirit creates all things, and the spirit does not die; only the seasons change. The spirit that creates human beings is the spirit-person, and the spirit-person does not die either. For example, a tree bears fruit, and the fruit is planted and grows into the same kind of tree, bearing the same fruit. The tree is no longer the original tree, but the spirit of the tree remains the same. This is the principle of continuous generation and renewal. (In some editions, "造物" is written as "造万物," and in some editions, the character "人" is omitted from "神人.")

氣者，神之宅也；體者，氣之宅也。形可分，神不可分。精氣為物，形也；游魂為變，神也。又曰，精氣為物，體也；游魂為變，用也。氣形盛則魂魄盛，氣形衰則魂魄亦從而衰矣。魂隨氣而變，魄隨形而止。故形在則魄存，形化則魄散，見氣變而形化。人得中和之氣則剛柔均，陽多則偏剛，陰多則偏柔。

Qi is the dwelling place of the spirit, and form is the dwelling place of qi. Form can be divided, but the spirit cannot be divided. The Great Treatise says, "Fine qi becomes things," referring to form; and "wandering souls cause change," referring to the spirit. In other words, "Fine qi becomes things" refers to the body, and "wandering souls cause change" refers to function. When qi and form are vigorous, the soul and shadow are also vigorous; when qi and form are weak, the soul and shadow are also weak. The soul moves with the qi, while the shadow remains with the form; therefore, if the form remains, the shadow remains, but once the form is dissolved, the shadow disperses. From this we can clearly see the principle that when qi changes, form follows. If a person receives the harmonious qi, then strength and flexibility are balanced; if yang qi is excessive, it becomes overly strong; if yin qi is excessive, it becomes overly weak.

氣則養性，性則乘氣。故氣存則性存，性動則氣動也。神無方而性有質。有形則有體，有性則有用。心性而膽情，陽性而陰情，性神而情鬼。發於性則見於情，發於情則見於色，以類而應也。天使我有，是之謂命。命之在我之謂性，性之在物之謂理。理窮而後知性，性盡而後知命，知而後至。

Qi is used to nourish the nature, and nature rides upon Qi. Therefore, if Qi remains, nature remains; when nature is activated, Qi also becomes active. The spirit does not reside in a fixed place, but nature has its substance. If there is form, there is body; if there is nature, there is function. The heart belongs to nature, while the gall belongs to emotion. Yang belongs to nature, while Yin belongs to emotion. Nature leans toward the spirit, while emotion leans toward the ghostly. When nature arises, it manifests as emotion; when emotion arises, it manifests as facial expression: these are all instances of like responding to like. Heaven has endowed me with all these, which is called 'destiny'; when destiny falls upon me, it is called 'nature'; when nature falls upon things, it is called 'principle'. The 'Sayings on the Hexagrams' says, 'To exhaust principles and fully realize nature, thus reaching destiny': by thoroughly investigating principle, one can recognize nature; by fully expressing nature, one can recognize destiny; only when one recognizes these can one truly reach that level.

人之類備乎萬物之性。人之貴兼乎萬類，自重而得其貴，所以能用萬類。仁配天地謂之人，唯仁者其可謂之人矣。人之神則天地之神，人之自欺，所以欺天地，可不慎哉？人之精神貴藏而用之，苟衒於外，則鮮有不敗者。如利刃，物來則剸之。若恃刃之利而求割乎物，則刃與物俱傷矣。

Human beings possess all the qualities of the myriad things. Human dignity lies in combining the strengths of all things, and being able to value oneself properly makes one worthy of this dignity, and enables one to control all things. Only those who practice benevolence can be called human, and only those who practice benevolence deserve the character "person." The spirit of a person is the spirit of heaven and earth, so when a person deceives himself, he is deceiving heaven and earth. How can he not be cautious? The essence of human spirit lies in keeping it hidden and using it at the right time. If one constantly shows it off, few are those who do not fail. This is like a sharp knife: when something comes close, it can cut it easily. But if one relies on the sharpness of the knife to cut everything, both the knife and the object will be damaged.

精義入神以致用也，不精義則不能入神，不能入神則不能致用也。無思無為者，神妙致一之地也，所謂一以貫之。聖人以此洗心，退藏於密。心一而不分，則能應萬變。此君子所以虛心而不動也。人心當如止水則定，定則靜，靜則明。任我則情，情則蔽，蔽則昏矣。因物則性，性則神，神則明矣。

The Great Treatise says, "By refining the principles to their subtlest level, one can reach the divine and put them into use." Without studying the principles to their finest detail, one cannot reach the level of the divine; without reaching the level of the divine, one cannot put them into practical use. What is meant by "without thought and without action" is a state of profound mystery that returns to simplicity and unity, which is exactly what Confucius referred to as "to uphold one principle throughout." The sage uses this to purify his mind and retreat to a hidden place. When the mind is focused and undivided, it can respond to all changes, which is why the gentleman should keep his mind open and not be swayed by external things. The human mind should be like still water: stillness brings stability, stability brings calmness, and calmness brings clarity. If one allows self-centered desires to dominate, one falls into "emotion"; falling into emotion leads to being obscured, and being obscured leads to darkness. By following the nature of things as they are, one aligns with "nature"; aligning with nature connects with the divine, and connecting with the divine brings clarity.

以物觀物，性也；以我觀物，情也。性公而明，情偏而暗。誠者，主性之具，無端無方者也。資性得之天也，學問得之人也。資性由內出者也，學問由外入者也。自誠明，性也；自明誠，學也。至理之學，非至誠則不至；物理之學或有所不通，不可以強通，雖通則有我，有我則失理，而入於術矣。

Standing from the standpoint of the thing itself, it is "xìng" (nature); standing from my own standpoint, it is "qíng" (emotion). Xìng is just and clear, while qíng is biased and obscure. "Chéng" (sincerity) is the instrument that governs xìng; it has no confusion and no fixed place. Talent comes from heaven, while learning comes from others; talent flows outward from within, while learning is inwardly acquired. The Zhongyong says, "From sincerity to clarity, that is xìng; from clarity to sincerity, that is education" — the former path belongs to xìng, and the latter to learning. The study of the highest principles cannot reach its goal without reaching the state of chéng; the study of the principles of things sometimes encounters points that are difficult to understand, and in such cases, one must not force an understanding. Forcing an understanding introduces a "I" into it; once there is a "I," the principle is lost, and one then falls into the realm of techniques and numerology.

言發於真誠，則心不勞而逸，久久而信之；作偽任數，一時或可以欺人，持久必敗。天地日月，悠久而已。故人當存乎遠，不可見其近。智數或能施於一朝，蓋有時而窮，惟至誠與天地同久。天地無則至誠可息，苟天地不能無，則至誠亦不息也。

Speaking from sincerity, the heart does not feel strained and remains at ease; over time, others naturally come to believe. However, if one resorts to falsehood and relies on cunning and scheming, it may deceive people for a while, but eventually it will be exposed. The reason why heaven and earth, sun and moon have remained constant is because of their enduring nature of "longevity." Therefore, people should look further ahead and not focus only on the present. Clever strategies and tactics may show results quickly, but they will eventually reach their limits; only the utmost sincerity can be as enduring as heaven and earth. Unless heaven and earth cease to exist, sincerity will never cease; since heaven and earth will never cease to exist, sincerity will never end.

為學養心，患在不由直道。去利慾，由直道，任至誠，則無所不通。天地之道，直而已，當以求之。若用智數，由徑以求之，是屈天地而徇人慾也，不亦難乎？人必內重，內重則外輕。苟內輕，必外重，好利好名，無所不至。義重則內重，利重則外重。

Doing scholarship and cultivating one's nature most fears taking an unjust path. Removing private desires and lusts, and taking the straight path with sincerity, there would be nothing that cannot be understood. The way of heaven and earth, in the end, is simply the character 'straightness'. People should seek along this path. If one uses cunning and scheming, taking shortcuts to achieve goals, it is like making heaven and earth bend themselves to accommodate human desires, which is not too difficult? People must value the inner self; when the inner self is valued, external things naturally become light. If the inner self is light, then external things must be heavy, leading to greed for fame and profit, and anything can be done. Valuing righteousness makes the inner self heavy; valuing profit makes the outer self heavy.

凡處失在得之先，則得亦不喜；若處得在失之先，則失難處矣，必至於隕穫。天下之事，皆以道致之，則休慼不能至矣。事無大小，皆有道在其間。能安分則謂之道，不能安分謂之非道。人之為道，當至於鬼神不能窺處，是為至矣。

Anyone who first considers 'loss' before 'gain' will not become overly elated when they actually gain something. But if one thinks of 'gain' before 'loss,' once they lose something, they will find it hard to cope and will inevitably become disoriented and distressed. In the world, if all matters are handled according to the Dao, external worries and joys will not disturb one's inner peace. Whether the matter is big or small, there is always a Dao in the middle of it. Those who can remain content with their proper role are following the Dao; those who cannot are not following the Dao. To cultivate the Dao, one must cultivate it to the point where even ghosts and spirits cannot discern its depth, only then can one truly reach the essence of the Dao.

凡人之善惡，形於言發於行，人始得而知之。但萌諸心發於慮，鬼神已得而知之矣。此君子所以慎獨也。（又云，思慮一萌，鬼神得而知之矣，故君子不可不慎獨。）人之畏鬼，亦猶鬼之畏人。人積善而陽多，鬼益畏之矣；積惡而陰多，鬼弗畏之矣。大人者，與鬼神合其吉凶，夫何畏之有？

The goodness and evil of ordinary people become known only when they are expressed in words and acted upon, for others to see. But once a thought begins to sprout in the mind and takes shape as an intention, the spirits already know about it. That is why a gentleman must be cautious in solitude. Another way to put it is: once a thought arises, the spirits are already aware, so a gentleman must be especially careful in solitude. People fear ghosts, but ghosts also fear people. When a person accumulates many good deeds, his body has more yang energy, and the ghosts become even more afraid of him. When a person accumulates many evil deeds, his body has more yin energy, and the ghosts no longer fear him. As for the "Great Man" mentioned in the "Wenyan" section of the Book of Changes, who can harmonize with the fortune and misfortune of ghosts and spirits, what is there to fear?

循理則為常，理之外則為異矣。能循天理動者，造化在我也。天下言讀書者不少，能讀書者少。若得天理真樂，何書不可讀？何堅不可破？何理不可精？得天理者，不獨潤身，亦能潤心。不獨潤心，至於性命亦潤。君子之學，以潤身為本。其治人應物，皆餘事也。

Following the principles is called "constant," while going beyond the principles becomes "strange." Those who act according to the principles of heaven hold the power of nature in their own hands. There are many who call themselves scholars, but few truly understand how to read. If one truly experiences the joy within the principles of heaven, what book could be too difficult to read? What obstacle could be too hard to overcome? What principle could be too intricate to grasp? Those who grasp the principles of heaven not only nourish their bodies but also their hearts; they nourish their hearts and even their lives. The gentleman studies to nourish himself first; governing others and dealing with external matters are merely secondary matters.

一國一家一身皆同，能處一身，則能處一家；能處一家，則能處一國；能處一國，則能處天下。心為身本，身為家本，家為國本，國為天下本。心能運身。苟心所不欲，身能行乎？君子處畎畝則行畎畝之事，居廟堂則行廟堂之事。故無入不自得。變從時而便，天下之事不失禮之大經；變從時而順，天下之理不失義之大權者，君子之道也。

In a country, a family, or an individual, the principle is the same: if one can manage oneself well, one can manage the family; if one can manage the family, one can manage the country; if one can manage the country, one can manage the world. The mind is the root of the body, the body is the root of the family, the family is the root of the country, and the country is the root of the world. The mind directs the body—suppose the mind has no intention at all, can the body act? A gentleman does the work of the fields when he is in the fields, and the work of the court when he is in the court, so the "Doctrine of the Mean" says he "is at ease in all situations." Adapting to circumstances and being convenient everywhere, handling the affairs of the world without abandoning the great principle of ritual; adapting to circumstances and being smooth everywhere, understanding the principles of the world without abandoning the great standard of righteousness: this is the way of the gentleman.

斂天下之智為智，斂天下之善為善，則廣矣，自用則小。人患乎自滿，滿則止也。故禹不自滿，假所以為賢。雖學亦當常若不足，不可臨深以為高也。人必有德器，然後喜怒皆不妄。為卿相，為匹夫，以至學問高天下，亦若無有也。無德者，責人，怨人，易滿，滿則止也。

Gather the wisdom of all under heaven and take it as your own wisdom; gather the goodness of all under heaven and take it as your own goodness, and your mind will become broad; if you rely only on your own, it will be narrow. The greatest danger is self-satisfaction. Once you are full, you stop growing. Therefore, the Book of Documents praises Yu the Great for "not being self-satisfied," precisely because of this he is considered virtuous. Even in studying, one should always feel insufficient and not think oneself high just because one stands on the edge of a deep valley. A person must first have the capacity of virtue, then his joy and anger will not be inappropriate. Such a person, whether he becomes a minister or just a commoner, or even the most learned person in the world, will still remain as if he has nothing. Those without virtue always blame and complain about others, are easily self-satisfied, and once satisfied, they stop growing.

人貴有德。小人有才者有之矣，故才不可恃，德不可無。經綸天地之謂才，遠舉必至之謂志，並包含容之謂量。剸割者，才力也；明辨者，智識也；寬弘者，德器也。三者不可缺一。人苟用心，必有所得。獨有多寡之異，智識之有深淺也。（又云，凡人用心者，必有所得，只是有多寡。）事必量力，量力故能久。

What is precious about human beings is their virtue. Among the petty people, there are also those with great talent, showing that talent alone is unreliable. Virtue, however, cannot be absent. Those who can govern the world are called "talent," those who can set lofty goals and surely achieve them are called "will," and those who can embrace everything and include all are called "capacity." Decisive judgment relies on talent, clear discernment relies on wisdom, and broad-mindedness relies on virtue—these three are indispensable. As long as a person is willing to put in effort, they will surely gain something; the difference lies only in the amount gained, which depends on the depth of their wisdom. (Another way of saying it is: anyone who is willing to put in effort will surely gain something, though the amount may vary.) When doing things, one must first assess one's own strength. Only by assessing one's strength can one persist in doing something for a long time.

聖人利物而無我。易地而處，則無我也。不我物，則能物物。以物喜物，以物悲物，此發而中節也。人智強，則物智弱。夫弓固有強弱，然一弓二人張之，則有力者以為弓弱，無力者以為弓強。故有力者，不以己之力有餘，而以為弓弱；無力者，不以己之力不足，而以為弓強。何不思之甚也？一弓非有強弱者，二人之力強弱不同也。今有食一杯在前，二人大餒而見之，若相讓，則均得食矣，相奪則爭。非徒爭之而已，或不得其食矣。此二者，皆人之情也，知之者鮮。知此，則天下之事皆如是也。

The sage enables all things to benefit without involving a personal "I." By putting oneself in another's position, the "I" naturally disappears; only by not claiming external things as one's own can one truly master them. Rejoicing in what is pleasing about things and grieving in what is sorrowful about them, following the inherent nature of things, this is what the Doctrine of the Mean calls "expressing emotions in a measured way." Human intelligence is strong, while the intelligence of things is weak. A bow originally has both soft and hard parts, but if two people pull the same bow one after another, the stronger one will say the bow is soft, and the weaker one will say the bow is hard. The stronger one refuses to admit his own strength, instead saying the bow is soft; the weaker one refuses to admit his own weakness, instead saying the bow is hard—how little they think! The bow itself has no soft or hard, it is the difference in strength between the two people. Another example is a bowl of rice placed before two people who are extremely hungry: if they share it, both can eat; if they fight over it, they will quarrel, and not only that, but possibly neither will get to eat. These are common human situations, yet few understand them clearly. Once these two situations are understood, then all things in the world are like this.

金須百鍊然後精，人亦如此。今有人登兩臺，兩臺皆等，則不見其高。一臺高，然後知其卑下者也。室中造車，天下可行，軌轍合故也。苟順義理，合人情，日月所照皆可行也。所行之路不可不寬，寬則少礙。能醫人能醫之疾，不得謂之良醫；醫人之所不能醫者，天下之良醫也。能處人所不能處之事，則能為人所不能為之事也。

Metal must undergo a thousand hammerings and refinements to become pure; people are the same. If someone climbs two platforms of equal height, they cannot tell which is higher; only when one is higher can the other be seen as lower. Making a cart inside a room, after it is made, it can travel throughout the world because the width of its wheel tracks conforms to the standard measurements. Similarly, as long as something follows the principles of righteousness and human feelings, it can be effective wherever the sun and moon shine. The path people walk must not be narrow; a wide path has fewer obstacles. A physician who can treat illnesses others can treat is not a good physician; only one who can treat illnesses others cannot is a physician for the world. Similarly, one who can handle matters others cannot handle can certainly accomplish what others cannot.

良藥不可以離手，善言不可以離口。大羹可和，元酒可漓，則是造化亦可和可漓也。自然而然者，天也，唯聖人能索之。效法者，人也。若時行時止，雖人也，亦天也。人謀，人也；鬼謀，天也。天人同謀而皆可，則事成而吉也。事無鉅細，皆有天人之理。修身，人也；遇不遇，天也。得失不動心，所以順天也；行險僥倖，是逆天也。求之者，人也；得之與否，天也。得失不動心，所以順天也。強取必得，是逆天理也。逆天理者，患禍必至。

Good medicine should not be left in the hands, and good words should not be left unspoken. The great soup used in worship is originally the meat broth without any seasoning, and the original wine is simply clear water without any addition. If one says that the great soup can still be seasoned and the original wine can still be diluted, then it is equivalent to saying that nature itself can be adjusted by people. The natural and spontaneous aspect belongs to Heaven, and only the sage can understand it. The aspect of following the pattern and imitating it belongs to human beings. As for when to act and when to stop, it seems that people are doing it, but in reality it is also Heaven. Human planning belongs to human beings, while divination and consulting the gods belong to Heaven. When both Heaven and human beings plan and find it feasible, the matter will succeed and be auspicious. Whether big or small, every matter contains two aspects: human and Heaven. Cultivating oneself is the human aspect, while encountering or missing an opportunity is the Heaven aspect. Whether one gains or loses, remaining calm is called following Heaven; taking desperate risks forby chance is going against Heaven. Seeking is the human aspect, while whether one can obtain or not is the Heaven aspect. Remaining calm in gain or loss is called following Heaven; insisting on taking it by force is going against Heaven's way, and those who go against Heaven's way will surely bring calamity upon themselves.

天之孽十之一猶可違，人之孽十之九不可逭。天道之變，王道之權也。為治之道，必通其變，不可以膠柱，猶春之時不可行冬之令也。用兵之道，必待人民富，倉廩實，府庫充，兵強名正，天時順，地利得，然後可舉。天時、地理、人事三者，知之不易。學以人事為大。今之經典，古之人事也。學不際天人，不足以謂之學；學不至於樂，不可謂之學。記問之學，未足以為事業。凡人為學，失於自主張太過。學在不止，故王通云“沒身而已”。

The Book of Documents, the Taijia section, says: "Disasters caused by heaven can still be avoided to some extent; but disasters caused by oneself cannot be escaped." Disasters from heaven may still allow for one part of ten to be avoided; but disasters caused by oneself will have nine parts out of ten that cannot be escaped. The changes of heaven's way are equivalent to the flexibility of the way of the king. The method of governing the world must understand the need for constant adaptation, and not be like a fixed tuning of a zither, rigidly sticking to one tone—just as spring cannot implement the policies of winter. The method of warfare must wait until the people are well-off, the granaries are full, the treasuries are abundant, the military strength is strong, the cause is just, the heavens are favorable, and the geographical advantages are on our side, then can war be launched. The three elements of heaven's timing, geographical advantage, and human affairs are not easy to fully understand; among these, human affairs are most important. The classics we study today are records of the human affairs of the ancients. If learning does not connect heaven and humanity, it cannot be called true learning. If learning does not reach the state of joy, it cannot be called true learning. Learning that relies only on rote memorization and answering questions cannot support great achievements. The common problem in learning is excessive self-willed judgment. Learning is valuable in its continuous pursuit, so Wang Tong said to "learn until death"—to stop only when one's life is over.

右總元會、運、世之數，《易》所謂“天地之數”也。日為元，一甲主一元。月為會，自子至亥，分十二會。星為運，自甲至癸，凡三周，得三十運為一會。十二會，則自甲至癸，三十六周，得三百六十運而為一元。辰為世，自子至亥一周，得十二世為一運。三十周三百六十世為一會，三百六十周四千三百二十世為一元，三十年為一世，則一運得三百六十年，一會得一萬八百年，一元得一十二萬九千六百年。

This diagram summarizes the numbers of yuan, hui, yun, and shi, which are referred to in the "Great Treatise" of the "Zhou Changes" as "the numbers of heaven and earth." Shao Yong used the four celestial phenomena in the heavens to correspond with four time units on earth: the sun corresponds to "yuan," with one jiazi governing one yuan; the moon corresponds to "hui," divided into twelve hui from zi to hai—since the moon meets the sun twelve times a year, the number twelve is used. Stars correspond to "yun," with one cycle from jia to gui making one yun, three cycles totaling thirty yuns forming one hui; twelve hui each go through jia to gui, totaling thirty-six cycles, resulting in three hundred and sixty yuns forming one yuan. The earthly branches correspond to "shi," with one cycle from zi to hai forming twelve shis making one yun; thirty cycles total three hundred and sixty shis forming one hui, and three hundred and sixty cycles total four thousand three hundred and twenty shis forming one yuan. Calculating by thirty years as one shi, one yun is three hundred and sixty years, one hui is ten thousand and eight hundred years, and one yuan is twelve thousand nine hundred and sixty years.

天地之數，體一用三。元之用至世，故以元經會。書至世，而止會之用至年，故以會經運。始書年運之用至月，而以運經世。不書月者，省文以藏用。於堯、舜、禹三書正月五代末，再書正月餘月，則間一書之以示義也。會之用，雖止於年，然會之比元，皆以月當年。故會經運之數於堯、舜、禹，亦三書正月，與運經世同，以示用起於寅也。

The numbers of Heaven and Earth are such that the "body" (体) accounts for one part, while the "application" (用) accounts for three parts. The function of "Yuan" extends all the way to "Shi" (世), so the chapter "Using Yuan to Govern the Great Cycle" uses Yuan to encompass the Great Cycle, and records events only up to "Shi"; the function of "Hui" extends all the way to "Nian" (年), so the chapter "Using Hui to Govern the Movement" uses Hui to encompass the Movement, and begins to record events by year; the function of "Yun" extends all the way to "Yue" (月), so the chapter "Using Yun to Govern the World" uses Yun to encompass the World. The reason for not recording month by month is to save on words and conceal the "application." Only in the cases of the reigns of Yao, Shun, and Yu, and again at the end of the Five Dynasties, is the first month written as "Zhengyue" (正月), while other months are written intermittently to indicate the pattern. Although the function of "Hui" only extends to the year, compared with "Yuan," both use one month to represent a year; therefore, in the cases of Yao, Shun, and Yu, the chapter "Using Hui to Govern the Movement" also writes "Zhengyue" in the same way as "Using Yun to Govern the World," to indicate that the "application" begins from the position of Yin.

以元經會，其數自冬至而起，至大雪末而終。總一元有十二會，三百六十運，四千三百二十世。一元在大化中，猶一年，會當月，運當日，世當時也。以會經運，其數自開物於寅之半而始，至閉物於戌之半而終，總八會，二百四十運，二千八百八十世，八萬六千四百年。自冬至日甲月子星甲辰子起，凡二會半，七十五運，九百世二萬七千年，而開物及閉物後有一會半，四十五運五百四十世，一萬六千二百年，而一元之數終矣。以運經世，其數始於月會巳之六星，運癸之百八十辰，世未之二千一百五十六甲辰年。堯即位，至五代周恭帝末，凡三千三百一十六年。

The chapter "On the Great Cycle and the Great Convergence" calculates its numbers starting from the winter solstice and ending at the end of the festival of Great Snow; in total, one great cycle includes twelve great convergences, three thousand six hundred transformations, and four thousand three hundred twenty ages. When viewed within the entire great process of change, one great cycle is equivalent to a year: a great convergence corresponds to a month, a transformation corresponds to a day, and an age corresponds to an hour. The chapter "On the Great Convergence and the Transformation" calculates its numbers starting from the midpoint of the beginning of the universe at the position of寅 and ending at the midpoint of the concealment of all things at the position of戌; in total, it includes eight great convergences, two hundred forty transformations, two thousand eight hundred eighty ages, and eight hundred and sixty-four thousand years. Starting from the moment of the winter solstice when the sun is at the position of甲, the moon at the position of子, the star at the position of甲, and the hour at the position of子, after going through one and a half great convergences, which is seventy-five transformations, nine hundred ages, and two thousand seven hundred years, the process of creation begins; after the concealment of all things, there is still one and a half great convergences, which is forty-five transformations, five hundred and forty ages, and one hundred and sixty-two thousand years, and the numbers of one great cycle are completed. The chapter "On the Transformation and the Age" calculates its numbers starting from the sixth star of the month at the position of巳, the first hundred and eighty hours of the transformation at the position of癸, and the second thousand one hundred and fifty-six years of the age at the position of未 in the year Jiachen; starting from the enthronement of the Tang Yao, to the end of the reign of the last emperor of the Later Zhou dynasty, it totals three thousand three hundred and sixteen years.

右律呂聲音之數，《易》所謂“萬物之數”也。十聲者，十日也。一聲有十六聲者，日、月、星、辰互變一聲，各成四聲也。十二音者，十二辰也。一音有十六音者，水、火、土、石互變一音，各成四音也。十聲全數百六十者，陽剛之體數也。去其無聲者四十八，餘百一十二，則陽剛之用數也。十二音全數一百九十二者，陰柔之體數也。去其無音者四十，餘百五十二，則陰柔之用數也。以體數相唱和，則聲音各得三萬七百二十者，動植體數也。以用數相唱和，則聲音各得一萬七千二十四者，動植用數也。

The diagram above represents the numbers of the tones and laws of sound, which is referred to as "the numbers of all things" in the "Great Treatise" of the "Zhou Changes" (I Ching). The term "ten sounds" corresponds to the ten heavenly stems; one sound is further divided into sixteen sounds because the four celestial bodies—sun, moon, stars, and constellations—interact and transform with each other, each sound generating four tones, resulting in sixteen through the multiplication of four by four. The term "twelve tones" corresponds to the twelve earthly branches; one tone is further divided into sixteen tones because the four elements—water, fire, earth, and stone—interact and transform with each other, each tone generating four tones, again resulting in sixteen through the multiplication of four by four. The total number of ten sounds is one hundred and sixty, which is ten multiplied by sixteen, representing the "essential numbers" of yang. Subtracting the forty-eight that have a position but no sound, the remaining one hundred and twelve are the "operational numbers" of yang. The total number of twelve tones is one hundred and ninety-two, which is twelve multiplied by sixteen, representing the "essential numbers" of yin. Subtracting the forty that have a position but no tone, the remaining one hundred and fifty-two are the "operational numbers" of yin. When the essential numbers of both sides are multiplied together, the sounds and tones each result in thirty thousand and seven hundred twenty, which is the essential number of animals and plants. When the operational numbers of both sides are multiplied together, the sounds and tones each result in seventeen thousand and twenty-four, which is the operational number of animals and plants.