Ten Heavenly Stems and Their Corresponding Colors

甲青，乙碧，丙赤，丁紫，戊黃，己紅，庚白，辛縹，壬黑，癸綠。剛日視日上，柔日視辰上，陽辰則視陽干之色，陰辰則從陰干之色，兼以四時五行為斷，旺從本色，相從子色，死從妻色，囚從鬼色，休從母色。

According to the ten Heavenly Stems, the colors of objects are determined as follows: Jia is green, Yi is emerald green, Bing is red, Ding is purple, Wu is yellow, Ji is red, Geng is white, Xin is light green (piao), Ren is black, and Gui is green. On a yang day, the color is determined by the Day Stem; on a yin day, it is determined by the Day Branch. If it falls on a yang branch, use the color of the yang Heavenly Stem; if it falls on a yin branch, use the color of the yin Heavenly Stem. Then combine with the Five Phases of the four seasons: when the element is in its prime, use its own color; when in the phase of mutual generation, use the color of "son" (what I generate); when in the phase of death qi, use the color of "wife" (what I overcome); when in the phase of imprisonment, use the color of "ghost" (what overcomes me); and when in the phase of rest, use the color of "mother" (what generates me).

凡用神旺，主圓軟，相主方嫩，死主僵直，囚主細碎，休主輕缺，長生新小，沐浴滑澤，冠帶色枯，臨官新壯，帝旺近貴爭用物，自衰至養皆廢棄舊物。

The flexible approach to the game of shooting a covered object: if the useful god is in its prosperous state, the object is round and soft; if it is in its auxiliary state, the object is square and tender; if it is in death qi, the object is stiff and straight; if it is in captivity, the object is fragmented; if it is in rest qi, the object is light and broken. Then, according to the twelve positions of growth: "growth" indicates something new and small; "bathing" indicates something smooth and moist; "capping" indicates something with dull color; "officialdom" indicates something new and strong; "prosperity" indicates something that is competing for use by the nobleman; from "decline" down to "nourishment," all indicate discarded old objects.

罡加孟，物在右手，加仲季，物在左手。年為萬，月為千，日為百，辰為十，時為零，錢一為一，人十為一。獸八為一，獸八為一，禽五為一，旺數倍，相數因，囚數乘，休本數，死無氣及空亡減半，孤空十減三。

The Tiangang (Chen) is placed on the four beginning months; the direction is in the right hand. If it is placed on the four middle months and the four seasons, the direction is in the left hand. The numerical positions are: year is ten thousand, month is thousand, day is hundred, day branch is ten, and hour is one. The calculation method is: money is counted as one for one, people as ten for one, animals as eight for one (this sentence is repeated in the original text and is recorded as is), birds as five for one. Then adjust according to the qi: the flourishing qi is doubled, the thriving qi is counted as the original number, the imprisoned qi is multiplied, the resting qi is counted as the original number, the death qi has no qi and the ones that fall into kongwang are halved, and the "gu" and "kong" are calculated by subtracting three from ten.

以月將加正時，於方位上傳成四課，天官為體段，月將為物類，人元定顏色，方位驗其真偽，尤當變通言之。五行、十干分配顏色已引於上。

The general method for divining covered objects and things: place the Month General on the correct time, and arrange them according to directions to form the Four Lessons. The Heavenly General determines the form and structure of the object, the Month General determines its category, the hidden heavenly stem determines its color, and the direction is used to verify the accuracy of the divination. Especially, one must be flexible and adaptable, not rigid. The colors associated with the Five Phases and the ten heavenly stems have already been listed above.

水主柔軟細碎之物，當旺亦為水類。詩：平生柔軟賴梳頭，冗雜紛紛不肯休。恰待修為清淨節，倏然功相一時休。火主其物有花紋，經手火氣，其形尖峭也。詩：溫柔性格有文花，生長炎炎富貴家。誤落貧寒禁不得，英雄端的向誰誇？

The Five Phases each govern certain things. Water governs soft and delicate objects; when it is strong, it also governs water-like things. The poem says that it is always soft and needs to be combed, chaotic and never stops; wanting to cultivate a clean and pure character, suddenly its achievements and appearance vanish at once—this refers to things like silk threads and hair combs. Fire governs things with patterns that have been processed by fire, with sharp and steep shapes. The poem says that it is gentle in nature with patterns, growing in hot and wealthy households; once it falls into poor places, it cannot endure, even heroes have no one to boast to—this refers to patterned and sharp fabrics made by fire.

木主其物柔長，或竟是木類。詩：本來形貌自柔綿，矯糅辰為意惘然？異日功成長幾許？昂昂端不負蒼天。金主其物堅剛，亦是方物。詩：頭角崢嶸得自由，須妝體態性風流。莫將方正終身恃，若遇紅光一旦休。

Wood: Represents soft and long objects, or simply wood itself. The poem says it originally has a soft and elongated form, and when it is bent and straightened by people, it feels a sense of melancholy; one day when it becomes useful, how tall can it grow? Standing upright will never disappoint the heavens — this refers to wood that is flexible and can be shaped. Metal: Represents hard and strong objects, as well as square and upright objects. The poem says it has a prominent and unrestrained appearance, and needs to be shaped to show elegance; do not rely solely on being square and strong to remain rigid forever, for once it meets red-hot fire, everything is lost — this refers to metal objects that melt when exposed to fire.

土主變化裝造之物，其形圓如包裹。詩：形體團圓變化妝，層層包裹亦非常。若還參透其中意，只好呵呵笑一場。

Earth: It represents things that undergo transformation and creation, with a round shape like something wrapped up. The poem says that its form is round and its adornments are varied, wrapped in layers in an unusual way; if one can comprehend its meaning, one can only laugh and say so—referring to things that are wrapped in layers and round like a ball.

旺藏袖中之物，當從本屬斷之。詩：形體周全氣象新，成材何用掌中珍？東君收拾身無恙，莫向人前亂惹塵。相主懷中之物，從子屬斷之。如水生木，木乃水之子也。詩：器具修來形貌方，生從水土近山岡。主人少失些兒意，漫向人前說短長。

According to the twelve positions of growth, the interpretation of things is determined. "Prosperity" refers to objects hidden in the sleeves, which are interpreted based on the Five Phases of the Useful God itself. The poem says it is complete in form and has a fresh appearance; once it has been made, why should it still be treated as a treasure in the palm? If the owner keeps it properly, it will be safe and sound, and should not be unnecessarily exposed to dust in front of others. "Appearance" refers to objects carried in the bosom, which are interpreted based on the "child" element generated by the Useful God. For example, water generates wood, so wood is the child of water. The poem says this object, after being made, has a square shape and is born from the land and water, near a hill; if the owner is slightly dissatisfied, he will talk about it freely in front of others.

休主藏置之物，從母色斷。如金生水，金乃水之母也。詩：捫形已覺身如削，惆悵王孫後乖約。首尾狼籍已不堪，誰人肯與平復藥？囚亦藏置之物，從妻屬斷。如水克火，火乃水之妻也。詩：此物從來本自稀，積積塊壘自相依。只因頑鈍如銅鐵，久在人前說是非。

"Xiu" refers to things that are stored away, and it is interpreted according to the color of the "mother" that generates it—such as gold generating water, so gold is the mother of water. The poem says that when touched, it feels as if the form has been thinned out, and the惆怅 (melancholy) of that gentleman who later broke his promise is evident; the beginning and end are in disorder and no longer in shape, so who would be willing to give it a remedy to restore it. "Qiu" also refers to stored things, but it is interpreted according to the "wife" that is overcome by it—such as water overcoming fire, so fire is the wife of water. The poem says that this thing has always been scarce, piled up piece by piece relying on each other; only because it is dull like copper and iron, it has been long displayed in front of people, causing disputes.

天官與月將相剋，藏細之物必是形狀空虛，其中多有損壞。行藏坦坦腹中虛，年貌虺羸就似蕪。莫到偽枯人不取，也曾終日伴侏儒。

When the Heavenly General and the Month General are in mutual control, the hidden essence is a small object, its shape is definitely hollow, and it is mostly broken inside. The poem says it moves and stops with ease but has an empty interior, its appearance weak and thin like wild weeds in a wasteland; do not say it is dry, rotten, and false, for it once accompanied a short person all day—this refers to small hollow and easily damaged objects.

子午占，遇子卯午酉相臨，多是可食之物。子午主斜頭，有孔竅。詩：不扁不方又不圓，慝慝側側易中難。休將頭面人前去，孔竅叢叢不忍看。卯酉占，遇太沖，謂之木鄉臨仲，歲置之物，多是果食。亦主團圓，口有損傷。詩：生意真從樹上來，味中清馥最為魁。食餘留得些兒種，好向園林取次栽。

Divination by the direction of the Month General determines the nature of the object. For the directions of Zi and Wu, if Zi, Mao, Wu, or You are added to the direction, it is mostly about edible things. Zi and Wu indicate a head that is crooked with openings. The poem says it is neither flat, square, nor round, but slanted and awkward to look at, yet easy to handle. Do not show this face to people, as the openings are numerous and unpleasant to look at. For the directions of Mao and You, if Taichong (Mao) is added, this is called Wood Country added to the four middle directions, indicating stored items for the year, mostly fruits. It also suggests a round shape with damage to the mouth. The poem says its vitality truly comes from the tree, with a fragrant taste that is excellent. After eating, leave some seeds to plant in the garden in order.

寅申遇寅申，其物四角，亦是尋常，所有必是貴人手中來也。詩：四角方方縞素身，不論高下總相親，而今體骨如柴瘦，盡為多情亂識人。巳亥占遇巳亥，其物不完，多手足，必自私心乞索中來也。詩：手足叢叢有許多，不圓不扁任推呵。休將氣局歸無用，好向闈中戰睡魔。

Divination by the directions of the Yin and Yang branches: when encountering the direction of Yin or Shen, this thing has four corners and is quite common, surely coming from the Nobleman. The poem says it has four square corners and is entirely white, willing to be close to anyone regardless of their status; now it is thin and frail like firewood, all because of being overly sentimental and recognizing too many people — this refers to a white object with four corners. When encountering the direction of Si or Hai, this thing is incomplete and has many limbs, surely obtained through private begging. The poem says it has many limbs and is neither round nor flat, easily pushed and rolled by others; do not consider this state as useless, it is just right to bring into the examination hall to drive away drowsiness — this refers to an object with many limbs that is incomplete.

辰戌占遇辰戌，其物肩皮帶角，或是獄中及刑法印信、鎖鑰等。詩：杳杳從來未可為，嶄然露出更誰推？總教皮骨當身裹，切忌相逢惹是非。丑未占遇丑未，必主其物有眉目文縐。詩：盡力描摩貌不揚，紋紋縐縐卻顛狂。腰中或勾閒文字，漫向人前說短長。

The directions of Chen and Xu are associated with things that have skin on their shoulders and horns on their bodies, or items used in prisons and legal punishments such as seals and keys. The poem says that these things are always obscure and lack prominence, but once they suddenly appear, who would recommend them? In the end, they are merely covered by skin and bones, so one should be cautious to avoid encountering them and causing trouble. The directions of Chou and Wei are associated with things that have eyebrows and wrinkles. The poem says that even if one tries hard to describe their appearance, they are not outstanding, but the wrinkles make them seem wild. Perhaps they carry some idle writings around their waists, and they often talk much about others in front of people.

功曹旺臨旺，從本屬木類斷之。詩：身居巖谷有名聲，作用全憑刀斧成。半富半貧人不解，空排四柱說枯榮。又當旺受克，或本課化成金，或將金遇伏，當斷以銅鐵錢物。詩：形色蒼蒼扁且圓，曾將絲縷腹中穿。上清童子君知否，一見交人守不堅。又值休囚，必是近廚所放之物。詩：可堪萬事轉頭空，不見嗇兮不見豐。終日庖丁來使役，盛寒時節暖烘烘。

The "Gongcao" (Yin) is strong and flourishing when it is in its旺 position and also rests on a flourishing ground, so it should be interpreted according to its inherent wood category. The poem says it resides in a mountain valley yet has a reputation, and becomes a finished object only through the cutting and chiseling of axes and saws; half rich and half poor, others do not understand, and they merely arrange the four pillars to discuss its prosperity or decline — this refers to wood in the mountains. If "Gongcao" is strong but is overcome, or if the original lesson transforms into metal, or if the metal ruler is subdued, then it should be interpreted as copper or iron money. The poem says it has a dark green color, is flat and round, and was once threaded through its belly with silk; do you know that "Shangqing Tongzi" is another name for copper money? Seeing it immediately makes one unable to hold on — this refers to copper money. If "Gongcao" is in a state of weakness and confinement, it must be something placed near the kitchen. The poem says all things in the end turn to emptiness, neither frugality nor abundance can be seen; it is all day long used by the cook, and even in cold weather it remains warm — this refers to kitchen utensils.

太沖遇相，則為木類。若臨四仲，卻是果品可食。詩：圃內生來體質圓，清香味美自天然。誰知青帝生生意，反作肩斜口有傷。又為絲竹之類，音書之用。詩：朱門錦帳得身遊，功業蕭曹不定休。老邁於今雖莫用，幽闈終日見人羞。又為草箕之類。詩：頭焦髮禿但心存，力盡塵埃不隱淪。記得當年曾貴重，賢人擁抱立柴門。又為竹器或簫笛。詩：當時得意喜填心，一曲君前值萬金。今日不如亭下竹，風來猶得學龍吟。

"Taichong" (Mao) encountering a harmonious energy belongs to the category of wood; if it is placed on the position of the four central directions, it becomes edible fruit. The poem says it grows in the garden, round in shape, naturally fragrant and delicious; who would think that the spring deity's endless vitality ultimately becomes something that causes shoulder pain and mouth injury—referring to the fruit in the garden. Taichong also governs silk and bamboo, used for music and correspondence. The poem says it once roamed among red gates and silk canopies, its achievements not less than Xiao He and Cao Can; yet now, though old and useless, it feels ashamed to be seen all day in the deep palace—referring to stringed instruments. Taichong also governs woven bamboo baskets and winnowing pans. The poem says it has a bald head and sparse hair yet still retains a bit of heart, even when its strength is exhausted and it falls into dust, it refuses to disappear; remembering the days when it was once valuable, held by a virtuous person at the wooden gate—referring to baskets and winnowing pans. Taichong also governs bamboo vessels or flutes and pipes. The poem says it was once prosperous and full of joy, a single melody before the emperor was worth ten thousand gold; today it is no better than the bamboo under the pavilion, which can still imitate a dragon's roar when the wind blows—referring to flutes and pipes.

天罡值相為土類，乃造化所成，又為磁甕之分。詩：陶冶場中幾度難，而今始得至仙壇。酸鹹諸味皆當過，只是空虛口腹乾。又為藥物，又骨角鹽酒。詩：毛類生從玉版坡，蒼公採取用以過。只因性格剛如鐵，春碾成膏內外科。又為蒲、柳、藤、葵、綿織之器。詩：昔時曾住一邱田，資用千金不記季。半儉半豐從子便，也應終日到華筵。

The Tiangang (Chen) meets the harmonious element and belongs to the earth category, formed through the process of shaping and refining, and can be further divided into ceramic jars and pots. The poem says it has undergone many hardships in the kiln, and now it is placed on the immortal altar; it has held various flavors of sour and salty, but its belly is empty and its mouth and stomach are dry—this refers to jars and pots. The Tiangang also governs medicines, bones, horns, salt, and wine. The poem says this creature grows on the jade tablet slope, and was collected by the old hermit who gathers herbs; due to its hardness like iron, it is crushed in spring to make ointments for internal and external medicine—this refers to medicinal herbs. The Tiangang also governs hemp grass, willow branches, vines, sunflower leaves, and woven textiles. The poem says it once grew on a piece of land, and its use cost thousands of gold, with the years unknown; whether in times of scarcity or abundance, it is always available all day for grand banquets—this refers to woven items made from hemp, willow, vines, and sunflower leaves.

太乙旺相近火氣之物，或燒鑄陶冶之器。詩：居近炎炎兩淚垂，終朝煩惱著蒸炊。近來身體猶狼狽，卻要為時不得為。若帶休囚，則為鋼鐵，經火煅成。詩：形圓身著上清裳，貴賤相親愈不忌。文字眼看能幾許，終得開口論九黃。以下又擬：詩：拔宅徙來謂水濱，賢愚不論總相親。只因顏色經人眼，致使王孫逐後塵。

Taiyi (Si) is prosperous and strong, representing things close to fire or objects made through smelting and pottery. The poem says it resides in a hot place, with tears flowing down both cheeks, constantly troubled by boiling and cooking; recently its body has become even more miserable, wanting to do something but unable to accomplish it—this refers to cooking utensils on the stove. If Taiyi is weak and confined, it refers to iron and steel forged through fire. The poem says it has a round shape, wearing clothes of "Shangqing," and both the noble and the humble are willing to be close to it without any hesitation; the little amount of words in front of it can only be so much, yet it ultimately speaks about the nine yellow numbers—this refers to copper coins and iron objects. The following poem is another: the poem says it moves its whole family to live by the water, treating both the wise and the foolish equally close; just because its color catches the eye, it causes even the noble young master to follow after it—this refers to things that attract people's attention.

勝光旺相，火土之氣凝結而成。詩：貴重將軍籠內收，有時筵席東優遊。樓閣用盡渾無事，只恐收場火蓋頭。又臨仲位而值旺相，為可食之物，或顆粒之餘。詩：碧干青枝葉更蒼，發榮處處競芬芳。而今結果成何用，只好臨風任箕揚。

"Shengguang" (Wu) is prosperous and strong, being something formed by the convergence of fire and earth energies. The poem says it is valuable enough to be kept in a cage by a general, sometimes wandering freely at banquets; even if used up in buildings there is no harm, but fear comes when fire descends upon the head at the end — referring to precious objects made through fire. If Shengguang is placed on the four cardinal positions and is prosperous and strong, it becomes edible, or leftover grains. The poem describes it as having green trunks, blue branches, and even more vibrant leaves, blooming everywhere in competition; now that it has borne fruit, what use is it, but to be carried by the wind and scattered — referring to grain grains.

小吉旺相，原從土氣所生，其物必是婦人筵會上拿來，或是食殘之物。詩：裸體匆匆入上都，轉為衙內作奚奴。主人退卻嫌生硬，好去暄燃問火廚。以下又擬：詩：紋紋縐縐逞嬌情，運轉全憑土內成。知味迎歡人不舍，愛人不亞孔方兄。

"Xiaoji" (Wei) is prosperous and strong, originally born from the earth's energy. This thing must have been brought by a woman from a banquet or left over from a meal. The poem says it came into the capital barefoot in a hurry, soon becoming a servant to the official's son; the master sent it back because it was too raw, so it had to go to the warm kitchen to be cooked—this refers to ingredients that need further processing. Then another poem is written: it says the thing shows off its wrinkles with a charming expression, able to reach this state thanks to growing in the soil; connoisseurs welcome it with joy and are reluctant to let it go, its appeal is no less than that of money—this refers to delicious delicacies grown from the earth.

傳送旺相，主為金銀銅鐵之類，亦主遠路上拿來之物，或貴人，或軍兵，刑法之餘。詩：徵袍藍褸久生塵，不近人君不近神。看透世間興廢事，朱門難當不如貧。以下又擬：詩：來往經營笑語頻，不相親處也相親。佇看才入東鄰富，舍我西鄰卻又貧。

"Chuansong" (Shen) is prosperous and strong, indicating things such as gold, silver, copper, and iron, as well as items brought from afar, or originating from a nobleman, soldiers, or remnants of instruments of punishment. The poem says that this military robe is old and dusty, neither close to the king nor to the gods; having seen the rise and fall of the world, one realizes that wealth is hard to maintain and that contentment with poverty is better—this refers to old items brought back from a distant journey. The following poem is also composed: it says that it travels frequently, with continuous laughter, and even places that were not close become close; looking at it, it enters the eastern neighbor's house and becomes rich, but leaves the western neighbor's house and becomes poor again—this refers to circulating money.

從魁旺相，主為金玉銅鐵之物。臨仲，或為飲食之器，更為妝鏡可知之物。詩：軒帝洪爐早煉成，斑痕磨落月輪生。澄澄表裡虛明體，一掛當前邪魅驚。又為珠石錢物，若臨仲位，必是剛氣，或酒食。詩：山川精蘊氣偏榮，合浦曾交為政榮。堪笑家人懷燕石，卻羞趙璧匪連城。

"Congkui" (You) is prosperous and strong, ruling over metal objects such as gold, silver, copper, and iron; if it is positioned over the four central directions, it may indicate food and utensils, and can be interpreted as a mirror used for grooming. The poem says it was forged long ago in the great furnace of the Yellow Emperor, its blemishes worn away to reveal a bright moon; inside and out clear and transparent, it shines brightly in front of one, causing evil spirits to flee — this refers to a bronze mirror. Congkui also governs pearls, gems, and money; if it is positioned over the four central directions, it certainly carries a hard and rigid energy, or indicates wine and food. The poem says it is the essence of mountains and rivers, with a particularly flourishing aura, and the pearls of Hupo once brought about commendable achievements; it is laughable how people carry ordinary stones as treasures, shamefully surpassing the priceless He Shi Bi — this refers to pearls and gems.

河魁旺相，為火土合成之物。詩：體象端由泥土成，曾居窯內費柴薪。邇來得用入珍重，不記從前在水濱。若帶休囚，主為竹木棉帛之物。詩：蒲葵也解歸掌握，絹素本應捐篋中。莫把暗塵浣明月，好驅大暑來消風。

The "Hekui" (Xu) is prosperous and strong, representing something made from fire and earth combined. The poem says its form was originally made from mud, and used up a lot of firewood in the kiln; recently it has been valued and put to use, forgetting it was once mud by the water's edge—this refers to ceramic wares. If Hekui is weak and confined, it signifies bamboo, wood, cotton, and silk. The poem says the palm-leaf fan also knows to be held in the palm, white silk should be put into the chest; do not use dark dust to wash the bright moon, but rather properly drive away the heat of summer and bring in a cool breeze—this refers to fans and silk.

登明旺相，為細碎柔綿，如絲綿紙料。詩：生長名圓本姓桑，身遇蠶母任顛狂。邇來變化真無比，福將綿綿慶自長。若帶生氣，必是樹木，或園圃中所來之物。詩：春歸閒院綠陰生，極是枝疏未見清。幾度斜易新雨過，鳴蟬聒耳不堪聽。

"Dengming" (Hai) is in its prosperous and strong phase, ruling fine and soft things, such as silk, cotton, and paper. The poem says it grows in a place called Yuan, with the surname Sang, and is at the mercy of the woman who raises silkworms; recently, its transformation is truly remarkable, with continuous good fortune—this refers to silk, cotton, and paper. If Dengming carries "Life Qi," it must be a tree or something from a garden. The poem says spring returns, and green shade appears in an empty courtyard, but the branches are sparse and the elegance is not yet visible; after several slanting winds and new rains, the noisy cicadas become unbearable—this refers to trees in the garden.

神后旺相，為細軟之物，亦主竹木。詩：微渺修長軟且嬌，黑身細體怕風腰。憑人手段難乘器，到底還慶被火燉。又臨於仲位，若帶生氣，其物可食。詩：身在田疇已有時，拾來貧士可充飢。而今有此腌臢病，形體虺羸不可醫。若帶休囚，主為磚瓦銅鐵之屬。詩：可嘆從前未得安，赤身無倚近效原。有時得意翻青眼，便把親朋白眼看。

"Shenhou" (Zi) should be prosperous and strong, indicating fine and soft things, as well as bamboo and wood. The poem describes it as delicate and slender, soft and delicate, with a black body and a slender form, its waist afraid of wind; it is hard to shape into something great by human skill, and in the end must be cooked in a pot — referring to edible fine and soft things. If Shenhou is added to the four cardinal positions and accompanied by "Life Qi," this thing can be eaten. The poem says it has grown in the field for some time, and even a poor scholar can eat it when picked up; now it has caught this dirty illness, its body is so thin it is untreatable — referring to edible things in the field. If Shenhou is weak and confined, it indicates bricks, tiles, copper, and iron. The poem says it is pitiful that it has never been at peace before, lying naked and helpless on the outskirts; sometimes it shows a green eye, but turns its white eye to friends — referring to bricks, tiles, copper, and iron.

大吉旺相，為變化妝造之物，其形如包裹，出園林也。或並作土類推之。詩：園林深處是家鄉，今日身輕入大荒。性躁心粗身不檢，被人舞毒每郎當。若見休囚，則為鋼鐵之物。詩：頑梗非鋼秉性堅，寒泉才隔急趨炎。向來槌打方成器，一得人拈卻帶賢。以下又擬：詩：不藉斧斤惟務入，全憑鑽引亦休嫌。鼎新深去無抽拔，革故歸與有鐵鉗。

"Big吉利" (Chou) when prosperous and strong, signifies things that have undergone transformation and are shaped like packages, originating from gardens; it can also be analyzed according to the earth element. The poem says its homeland is deep within the garden, and today it lightly floats into the wilderness; it is impetuous, crude-minded, and unscrupulous, often being manipulated and in a state of embarrassment - this refers to things shaped like packages from the garden. If "Big吉利" meets a weak and confined state, it refers to metal objects. The poem says it is stubborn but not genuine steel, with a firm nature; it leaves the cold spring eager to approach the furnace; it has always needed hammering to become a tool, and once held in the hand, it appears capable - this refers to metal tools. Then another poem is composed: the poem says it doesn't rely on an axe but just drills inward, relying solely on its drilling power without needing to be嫌弃; during renewal it goes deep and cannot be pulled out, and during change it returns needing iron pliers - this refers to things like nails.

天乙，土神也。四季旺，夏相，秋休，春死，冬囚，旺相為貴重之物，或自貴人手中來，亦由土氣而成。詩：潤澤光明價若鼎，山輝川媚用心求。漢宮解處因情弊，不遇知音莫相揣。若帶休囚，為剛硬之物，或近神祠佛座之物，亦稟庚辛之氣而成。詩：生來細碎接庚辛，剛硬全憑火煅成。曾向神祠依附坐，而今始近孔方兄。

"The Heavenly Stem 'Tian Yi' is the earth deity, which is strong and prosperous in the months of Chen, Xu, Chou, and Wei, the four earthly branches. In summer it is in a secondary position, in autumn it is weak and confined, in spring it is dead, and in winter it is in a state of captivity. When 'Tian Yi' is strong and prosperous, it signifies valuable things, or items coming from the nobleman, formed by the earth's energy. The poem says it is moistening and luminous, its value comparable to a precious cauldron; mountains and rivers shine because of it, and one should seek it with care. Once, in the Han palace, the place where jade was polished had problems due to human relationships; if one does not meet a true understanding person, do not make assumptions—this refers to jade. If 'Tian Yi' is in a state of weakness and confinement, it represents hard objects, or things near shrines and Buddhist seats, formed by the energy of Geng and Xin metal. The poem says it is born fine and fragmented, receiving the energy of Geng and Xin; its hardness is formed through the forging of fire. Once it sat near shrines and Buddhist seats, now it has become close to money—this refers to incense burners and bronze wares."

螣蛇旺相，遇火氣，其物可食。又臨旺為火土合成之類，非貴也。詩：昔日炎炎火煉成，鴛鴦鳩尾立高明。如今拋棄長街裡，何日良士為我營。若課內帶生氣，必為蠢動之物，而撲取以藏置也。詩：兩手如常把美須，從前鏖戰不曾輸。留侯縱有千般計，真待淮陰為婦除。

The Teng Snake should be prosperous and strong when encountering fire qi; whatever it covers can be eaten. If it is placed over a prosperous and strong position, it is like fire and earth combining, which does not count as valuable. The poem says it was once forged in fierce fire, made into swan-like roof tiles and dove-tail roof ridges standing high; now it is discarded on the long street, when will a good craftsman come to repair me? This refers to roof tiles. If the lesson includes 'Life Qi', it must be a living creature that can crawl and move, caught by someone and imprisoned. The poem says it still holds its beautiful whiskers in both hands, never losing in fierce battles before; even if Lord Liu's strategies are countless, one still has to wait for Lord Han Yin to eliminate it—this refers to crabs and shrimps, creatures with whiskers.

朱雀為火神，夏旺、秋囚、春相、冬死、四季休，若旺相為絲綿文綃之物，或花文之類，經火氣而成，亦窯灶所出之物。詩：眾類隨時色不同，雲霞幻出奪天工。文章今古人相比，只恐將來不令終。又為毛羽紙竹之物。詩：光明翠黛一身輕，作用人將手內擎。千古才名憶諸葛，貔貅百萬指揮中。

The Vermilion Bird is the deity of fire, flourishing in summer, in captivity in autumn, in prosperity in spring, and dying in winter. In the months of the four seasons, it rests. When it is prosperous and strong, it presides over silk and patterned thin silk or any object with patterns, things formed through fire, and also over kilns and stoves. The poem says that various things change with the seasons, like clouds and霞changing endlessly; the beauty of literature is compared to these things throughout history, but it is feared that it may not end well—this refers to colorful brocades and silk. The Vermilion Bird also presides over things made of feathers, paper, bamboo, etc. The poem says it is bright, emerald-black, light and delicate, held in the hands of people when used; the enduring fame of a thousand generations reminds one of Zhuge Liang, with a million fierce beasts under his command—this refers to the feather fan.

六合木神也，春旺冬理，秋死夏休，四季囚。旺相為竹木盤盒上攜來之物，或是門戶上取下之物，亦為筐籠已壞之物。詩：團圓體象甚於親，生木全憑矯揉為。莫道胸中空落落，用時一飽自巍巍。或帶休囚，主火土之物，亦是草木之灰。詩：濟用誰知不自昌，傍人門戶倚人牆。近來形體如柴瘦，反被兒童削木榔。

"The六合" is the wood deity. In spring it is prosperous and strong, in winter it is prosperous and strong (the original text says "winter is governed" but it is recorded as "winter is prosperous and strong," so it is kept as is), in autumn it is dead, in summer it is weak, and in the four seasonal months it is confined. WhenLiu He is prosperous and strong, it signifies things stored in bamboo and wooden trays or items taken from doors and windows, and also things that have already broken or damaged baskets and cages. The poem says its shape is round and it is more intimate than relatives; all wood is made by bending and straightening; don't say it is hollow inside, for when used it can be full and dignified—this refers to bamboo and wooden trays. IfLiu He is in a state of weakness and confinement, it signifies fire and earth objects, which are also the ashes of burned grass and wood. The poem says it is useful to people but no one knows it is not prosperous; it is by the door and leans against the wall; recently its form is thin like firewood, and it is even cut into sticks by children—this refers to firewood ashes.

勾陳土神也，同天乙，旺相為土類，亦主硬物磚石等名。詩：泥土陶成性格堅，堆堆積積滿山川。莫言在世無遭架，入海曾經神將鞭。青龍木神也，同六合，旺相為錢貨鐵木之類，亦擬喜慶中來者。詩：舉世昏昏名利間，方兄氣勢自滔天。只因久貯黃金窟，今日偏能化紫蟬。又：詩：卯酉真形兩配合，剛柔成器任琢磨。邇來變化將成用，不似從前怨斧柯。

"Gou Chen" is the earth deity, with its prosperity and strength in the four seasons matching that of "Tian Yi"; when prosperous and strong, it governs earth-related matters and also brick and stone-like hard objects. The poem says it is formed from clay and has a hard nature, piling up to fill mountains and rivers; don't say it has never been used as a structure in the world, for once it entered the sea, it was once driven by the divine general's whip—this refers to bricks and stones. "Qing Long" is the wood deity, with its prosperity and strength in the four seasons matching that of "Liu He"; when prosperous and strong, it governs money and iron and wood, and can also be interpreted as things coming from festive occasions. The poem says that all people are confused and disturbed in the pursuit of fame and fortune, so the气势 of the "Kong Fang Xiong" naturally reaches the heavens; only because it has been long hidden in the golden cave, can it today transform into a purple cicada and fly away—this refers to money. Another poem: the poem says that the true forms of卯 wood and酉 gold combine, with soft and hard elements complementing each other to form objects, ready for shaping at will; recently, these changes are about to be put to use, unlike before when it was resentful of the axe handle—this refers to wooden handles and iron tools.

天后水神，冬旺秋相，夏囚春休，四季死。旺為水族，或絲竹雜項，自婦女手中所成者。詩：溪邊低首隱形蹤，玉體修長興自濃。待得春雷驚蟄兆，此中自有萬般龍。太陰，金神也，秋旺冬囚，春休夏死，四季相。旺則為堅剛銅鐵之物。詩：歐冶當年獨鑄錘，從來形瘦強安排。庖丁不解誰能使，留與馮諼取次彈。

"The Heavenly Empress" is a water deity, which is most prosperous in winter, strong in autumn, restrained in summer, resting in spring, and dead in the four seasonal months. When it is prosperous and strong, it governs aquatic creatures or items made from silk, bamboo, and miscellaneous materials, which are crafted by women. The poem says it hides its form by bowing low by the stream, with a jade-like body that is slender and full of interest; when the spring thunder and the Awakening of Insects arrive, there are myriad dragons within—this refers to aquatic creatures. "Tai Yin" is a metal deity, which is most prosperous in autumn, restrained in winter, resting in spring, dead in summer, and strong in the four seasonal months. When it is prosperous and strong, it governs hard and strong metal objects such as copper and iron. The poem says that Ou Yezi once forged it alone; it has always been slender in form andwith difficulty arranged for use; the cook does not understand it, and who could wield it, so it was left for Feng Xuan to play with casually—this refers to a long sword.

又為絲絹，或手帕四方之物。詩：端的平平軟且方。腹中雲雁自成行，推將蜀錦頻珍重。屢向人前斗寵光。又詩：誰道胸中方斛寬，因何形象小團圓。有時舒展高樓上，貴重人家自取看。

"Tai Yin" also governs silk and satin, or handkerchiefs and other square objects. The poem describes it as flat, soft, and square, with clouds and geese formations woven inside, arranged in order; it elevates shu-jin repeatedly, and is often competed for in public to display its brilliance—this refers to silk handkerchiefs and brocades. Another poem says: who says its chest is square and spacious like a measure? Why does its form appear as a small round lump? Sometimes it is spread out on a high building, and the wealthy will take it to view—this refers to a rolled-up silk painting.

元武水神，旺相為柔軟之物，亦主紙筆之具，要與天后相稱，更是陰人攜帶之物。詩：身樣輕輕冗更長，蒙恬未遇不為良。有時攢戲憑揮灑，廢棄還應作冢藏。詩：能教音信通千里，解使文章運入邊。惆悵江郎驚夢裡，姻緣自負好文章。

"Yuanwu" is a water deity, and when prosperous and strong, it governs soft things, as well as paper, pens, and writing implements, which should be consistent with the symbolic representation of "Heavenly Empress." It also presides over items that women carry with them. The poem describes its form as light and slender, and it is not considered good unless it is associated with Mengtian; sometimes it gathers together for people to use, and after being discarded, it should be buried as a pen冢—referring to the writing brush. Another poem says it can enable messages to reach thousands of miles and allow writings to be sent to the frontier; regrettable is Jiang Yan being startled awake from a dream, thus losing a romantic relationship and wasting his excellent writings—referring to paper and letters.

太常土神也，同天乙，旺相主物生土中，或食物從婦女手中來。詩：物類端從婦女來，不妨庖內自安懷。還經火氣成時用，莫去匆匆亂照埃。又主絲綿之物。詩：雙股攜來軟且長，人人用汝繫輕狂。有時腐凍還留得，送入他人作豬漿。

"Tai Chang" is the earth god, whose prosperity and decline over the four seasons match that of "Tian Yi"; when prosperous and strong, it governs things growing from the earth or food given by women. The poem says this thing comes straight from the hands of women, so it is safe to stay in the kitchen; it still needs to be cooked over fire to become useful, so do not hastily illuminate the dust—this refers to ingredients produced from the earth. "Tai Chang" also governs silk and cotton. The poem says it comes in two strands, soft and long, used by everyone to tie up light-hearted things; sometimes it freezes and rots but is still kept, given to others as feed for pigs—this refers to silk and cotton ropes.

白虎金神也，同太陰，旺相為剛硬之物，或銅鐵刀刃之類。若帶休囚之氣，主角骨尾舌。詩：頑鐵人言剛且奇，而今扯得嫩如絲。良工買取妝花樣，且向風前折樹枝。天空土神也，同天乙，旺相亦為土類，或自僧道中來。若帶水火金氣，為爐冶所成之物。詩：一氣呵成體益堅，空空如也出新鮮。雖然不作佳賓用，終日房中不宜閒。又藥物之類。詩：腰細尼姑腹痛忙，紅紅產下幾兒郎。心靈計巧團圓了，更是消災赴道場。

The White Tiger is a metal deity, with its prosperity and decline in the four seasons matching that of the Tai Yin. When it is prosperous and strong, it signifies hard objects or items such as copper and iron blades; if it carries the quality of being weak and confined, it refers to animal horns, bones, tails, and tongues. The poem says that people all say this stubborn iron is both hard and strange, now drawn out so tenderly like silk; a good craftsman buys it to embellish patterns, temporarily taking it to the wind to bend branches—this refers to iron wire and hooks. The Tian Kong is a soil deity, with its prosperity and decline in the four seasons matching that of the Tian Yi. When it is prosperous and strong, it signifies soil-related things or items obtained from monks and Taoists; if it carries the qualities of water, fire, or metal, it refers to items forged in a furnace. The poem says it is formed in one continuous motion, its form becoming increasingly firm, appearing hollow yet fresh; although not used to entertain distinguished guests, it remains idle all day in the room—this refers to daily wares made from clay fired in a kiln. Tian Kong also governs medicines. The poem says a thin-bodied nun is busy with stomach pain, and red soil gives birth to several children; she skillfully rolls them into round shapes, even more so to use them for dispelling calamities and attending religious ceremonies—this refers to pills.

子丑寅卯，此四支屬足，遇一發用，即以此斷。詩：蛟宮織就染血青，不用珠穿步步輕。可愛東廊行雪裡，半彎蟾跡印縱橫。卯酉辰戌，此四支屬於腰膝，遇一亦可類推。詩：滿懷異氣飄飄起，曾向宮中寒月嬌。形象曲彎團數尺，平時最喜沉郎腰。午未巳申，此四支為衣領，更屬網巾等物。詩：功成清品駐蓬山，不在澗兮不在巔。近嶺一彎隨處有，任他名利不相干。

Shooting a covering over a person's clothing. The branches Zi, Chou, Yin, and Mao belong to the feet. If any of these branches act as the initiating transmission, then the interpretation should be based on the items on the feet. The poem says it is woven in the dragon palace, dyed a deep blue, without the need for pearls, yet light and graceful with every step; it is adorable as it walks through the snow on the eastern corridor, leaving behind half-moon shaped footprints in all directions — this refers to shoes and socks. The branches Mao, You, Chen, and Xu belong to the waist and knees. If any of these branches act as the initiating transmission, then the interpretation should be based on the items on the waist and knees. The poem says it carries a strange fragrance and rises gracefully, once having been beautiful in the palace against the cold moon; its shape is curved, and when rolled up, it is several feet long, usually favored to be tied around Shen Lang's slender waist — this refers to a sash. The branches Wu, Wei, Si, and Shen belong to the collar, and also indicate headgear such as nets and headscarves. The poem says after achieving success, it is ranked among the refined items, remaining in the蓬 mountain; it is neither in the mountain stream nor on the mountain peak; near the mountain ridge, there is a curve everywhere, regardless of fame and fortune — this refers to headgear such as nets and headscarves.

以所用時及初傳神將決之。子為雲雨或鼠燕。丑為牛馬或車蓋。寅為貴人或書吏。卯為風雷或狐兔。辰為微雨或惡人。巳為晴明或赤雲，或緋衣賓客。午為南方絳云，或人乘馬驢及紫衣。未為老人，或人攜酒食，及羔鷹。申為白雲，或白衣人送物。酉主西方有鳥飛過，或白雲，或白衣人送物。戌為胥吏，及驢犬，或爭訟。亥為黑雲，或皂衣人、豬、犬。

To determine the signs that will manifest in the near future, use the chosen hour and the first transmission's deity. According to the earthly branches: "Zi" indicates clouds and rain, or the appearance of mice or swallows. "Chou" indicates cattle and horses, or a carriage. "Yin" indicates a nobleman, or a clerk. "Mao" indicates wind and thunder, or foxes and rabbits. "Chen" indicates light rain, or the arrival of an evil person. "Si" indicates clear skies, or red clouds, or guests wearing red clothes. "Wu" indicates red clouds in the south, or people arriving on horses or donkeys, or someone wearing purple clothing. "Wei" indicates an old person, or someone bringing wine and food, or lambs and eagles. "Shen" indicates white clouds, or someone wearing white clothes bringing something. "You" indicates birds flying over the west, or white clouds, or someone wearing white clothes bringing something. "Xu" indicates clerks, or donkeys and dogs, or disputes. "Hai" indicates black clouds, or someone wearing black clothes, or pigs and dogs.

天乙五色云，或貴官，及異服尊長。螣蛇驚怕、憂戚事。朱雀南方鳥鳴，或南方有人將文字來。六合風雷，兼買賣交易，或彩服親朋，及美色婦人。勾陳爭鬥田土事，或褐衣喧譁。青龍人送錢物，或僧道至。天空奴婢持物，或欺詐之事。白虎病人，或喪服人。太常貴官醫儒，或贈酒食。元武黑雲陰雨，或皂衣人，或失物。太陰孝服，或白衣人，或送物。天后微云，或命婦，及異服婦人、僧道。旺相推詳則應，休囚天空空亡皆不應。

The Twelve Heavenly Generals: "Tianyi" indicates the appearance of multicolored clouds, or the arrival of an official of high rank or a respected elder dressed specially. "Teng Snake" indicates fear, alarm, or worries. "Zhu Que" indicates a bird calling in the south or someone sending documents from the south. "Liu He" indicates the occurrence of wind and thunder, and also matters of trade or the arrival of a relative dressed in colorful clothes or a beautiful woman. "Gou Chen" indicates disputes over land or property, or a person dressed in brown clothes making a loud noise. "Qing Long" indicates someone bringing money or goods, or the arrival of a monk or Taoist. "Tian Kong" indicates servants bringing something or fraud occurring. "Bai Hu" indicates the arrival of a sick person or someone in mourning clothes. "Tai Chang" indicates the arrival of an official, a doctor, or a scholar, or someone offering wine and food. "Yuan Wu" indicates dark clouds and rain, or the arrival of a person dressed in black clothes, or something being lost. "Tai Yin" indicates matters related to mourning clothes, or the arrival of a person dressed in white clothes, or someone offering something. "Tian Hou" indicates thin clouds in the sky, or the arrival of a woman who has received an official title, or a woman dressed specially and monks or Taoists. These should be carefully interpreted when they are in a prosperous and strong state; if they are weak and confined, or if they meet "Tian Kong" or Kongwang, they will not be valid.

維揚舊本六壬銀河棹真本卷終

The true original version of the Yuzhou edition of "Liunin Yinhedao" concludes here with the complete text.