chapter four of the dharma master's physiognomy: this is the fourth of the dharma master's refined arts

目光有三脫。無憂者以深分病死。有病者以動定別存亡。遇事者以左右分善惡。

There are three interpretations regarding the escape of the eyes. The first is when a person who has no worries suddenly experiences the eyes losing their focus; one then examines how deeply the eyes have lost focus, thereby distinguishing whether the person is ill or has died. The second is when a person who is already ill; one then looks at whether the light escaping from the eyes is active or still, thereby distinguishing whether the person will survive or perish. The third is when a person is suddenly involved in a major event and is in a dangerous situation; one then examines whether it is the left or right eye that has lost focus, thereby distinguishing fortune or misfortune, good or evil. These twenty-some characters are the outline of the Bodhidharma method of facial observation. The following text is elaborated upon by Chen Gongdu clause by clause.

公篤曰：達摩五來相法之用神，以目神目光為主體，形質次之。此條分目光之脫有三類。余考無憂慮無患難之眼神，有臨時變脫者，以脫神深者死厄，脫神者病災，故以深二字操之。有病者，或久病痼疾，或暫病瘟疫，其神變脫，不如常度也，故其脫之深，皆為應有之脫。又有似脫非脫，故深不能別其存亡，而用動定二字操之。

Chen Gongdu said: In this school of physiognomy based on Bodhidharma's teachings, the useful god is primarily the eyes and gaze, with the form and body coming second. This passage divides the "tuo" (looseness) of the gaze into three categories. From my experience, those who have no worries or troubles may also temporarily experience a loosening of their gaze. A deep loosening indicates a death omen, while a less deep one suggests illness. Therefore, the term "deep" is used to distinguish these. However, for those already sick, whether suffering from a chronic illness or a sudden epidemic, a loosening of the gaze is already abnormal. A deep loosening is expected, and there are cases where the gaze appears loose but is not truly so. In such cases, the term "deep" cannot determine their fate, so the terms "movement" and "stillness" are used instead.

蓋稱有病之人，固有愛於常度，而現脫光。以脫光動者，尚有活潑之生氣，故為疾厄而可存在；脫光定者，為模糊之死氣，故為疾厄而至死亡。又有人處凶危境中，環境惡劣，援助斷絕，自知已入危險現象，當時心亂身不寧，魄動思潮湧，其目光忽脫，又非深能區別、動定能限制，而以左右二字操之。

For any person who is ill, their eyes will naturally deviate from their usual appearance, showing a sign of disconnection. If the light that has departed is still active, it indicates that the life qi is still circulating, so it is merely an illness, and the person can still survive. However, if the light that has departed becomes stagnant and unmoving, it is a mass of unclear death qi, and the illness will turn into death. There is another situation where a person is trapped in a dangerous situation, with a poor environment and no external support. They are fully aware that they are in danger, and at that moment, their mind is chaotic, their body is uneasy, their soul is restless, and their thoughts are turbulent. Their eyes suddenly become disconnected in this way. This kind of disconnection cannot be clearly distinguished by the term 'deep,' nor can it be controlled by the terms 'movement' and 'stillness.' In such cases, we can only use the terms 'left' and 'right' to describe it.

按人在危險境中，心疑而不釋，神凝而不悅，意亂而不靜，多而不決，行坐不安，動臥不寧，其目之脫，當然深不一類，動定而常變，故分左右之法。如男子則左目光脫為凶，右目光脫可得生機而減免，按左目為男子本命故也。如左右皆脫，則宜易地千里而避之，可保無憂，當時不可以利益為念、俗累為懷、美色為累，毅然急去可也。

When a person is in danger, they are full of doubts and cannot let go, their spirit is blocked and not relaxed, their mind is confused and cannot be calm, their thoughts are many but they cannot make up their mind, they are restless when sitting or standing, and uneasy when sleeping or lying down. In their eyes, the 'tuo' (a term indicating the eyes' movement or focus) varies in depth, and the state of movement and stillness keeps changing. Therefore, a different method is needed to distinguish left and right. In physiognomy, men belong to yang, and the left side is the yang position, so the left eye is considered the 'benming' (life essence) of a man. Therefore, if the left eye shows 'tuo', it is ominous; however, if the right eye shows 'tuo', there is still a chance of survival and the calamity can be lessened. If both eyes show 'tuo', one should move to a place a thousand miles away to avoid danger, in order to be safe. At this time, one must not think about benefits, be attached to worldly affairs, or be obsessed with beauty; one must decisively and quickly leave.

如女子則左目光脫無大得，右目光脫為凶，按右目為女子本命故也。如左右皆脫，亦宜易地百里而避之，可保無虞，當時不可以兒女牽制、金珠遺累，以全身為大計可也。按此章僅二十七字，而立三大法，包括人事一切驚險災厄、疾病暗害，及個人之利害、連帶之安危，皆在其中矣。此達摩之精萃相法，亦他書所罕見也。

For women, it is exactly the opposite: a detached left eye is not a great harm, but a detached right eye is a凶兆. This is because women belong to the yin, and the right side is the yin position, making the right eye the "true destiny" of a woman. If both eyes are detached, one should move to a place over a hundred miles away to avoid danger; at this time, one must not be held back by children or by wealth and jewels, and should always prioritize preserving one's life above all else. The author also says: this chapter consists of only twenty-seven characters, yet it establishes three major principles. All dangerous situations, calamities, diseases, hidden harms, personal interests, and the safety of others are all included within it. This is the most refined part of the Dharma Physiognomy, and it is rarely found in other physiognomy books.

余考相學各書，為七十二家心法，流傳於市廛，不過十八種書籍而已，當推達摩為巨擘焉，即此二十七字，亦各家之精神所不能及也。餘見近世發現新相學各書，皆指定其人玉照而批評之曰：此某偉人之相也。又曰此某名伶之相也。又曰此某名妓之相也。既不能為法，又不通其理，名曰世界名人像形，或名人像譜，可矣；若謂為相法，或相理，均不可。既無綱領之法以為用，又無部位之分以區別，希圖眩眼惑目，而取漁利，此市檜也。茲特註明其法理，以待讀吾書者，評其然欺否欺。

I have studied the writings of various schools of physiognomy, and it is said that there are seventy-two schools of heart methods. However, only eighteen books are actually circulating in the market, among which Da Mo's is considered the best. Just the spirit of these twenty-seven characters is beyond the reach of other schools. Recently, I have seen several newly published physiognomy books that comment on photographs of certain people, saying this is the face of a great leader, that is the face of a famous actor, and another is the face of a famous courtesan. These books cannot establish a standard, nor do they make sense. Such books are called "World Famous People's Facial Features" or "Famous People's Facial Spectrum," which is somewhat acceptable. But if they claim to be physiognomy or the principles of physiognomy, they are not. They have no framework for application, and no specific parts to distinguish. They only aim to dazzle the eyes and make a profit, which is the method of common merchants. I specially note out the principles and methods here, leaving them for those who read this book to judge: whether their statements are deceptive or not.

疑於暫則小病立至。餘擬為疑於暫者病。疑於常則陰事不測。餘擬為疑於常者敗。疑於身則死亡災也。餘擬為疑於神者死。

The original text by Bodhidharma says: worries and doubts that are temporary will result in minor illness immediately; worries and doubts that become habitual are difficult to predict in secret matters; worries and doubts that penetrate into the body will bring about death. The author revised each of these three sentences by changing the concluding term: temporary doubt leads to illness, habitual doubt leads to failure, and doubt entering the spirit leads to death. "Temporary" and "habitual" distinguish the duration of doubt, while "body" and "spirit" distinguish the depth to which doubt penetrates. The author believes that the original text's "body" should be "spirit," and the intention behind the revision is explained in the following sections.

公篤曰：上二十四字，為達摩三疑之原文；下十五字，為餘之刪改。其大略之義相同，進一步之推想，則有稍異耳，茲特分注如下。按疑字為事實之現象，虛中有實也；又為氣色動靜所發表，而不關乎形質也。

Chen Gongdu said: The above twenty-four characters are the original text of Da Mo's Three Doubts, and the following fifteen characters are my revised version. The general meaning is the same, but when going deeper into interpretation, there are slight differences, so I have added notes here. To understand the character "yi" (doubt), it refers to phenomena that have already become evident, appearing seemingly empty but actually containing substance. It is expressed through the movement and stillness of qi and color, and has nothing to do with the bone structure and physical form. Therefore, when discussing "yi," one should not look for it in the bone structure, but rather observe it through the appearance of qi and color.

余考疑之貌，為兩眉焦亂而枯，即俗謂愁眉不展是也。余考《內經》云：眉為肺臟，肺主憂思，故有憂則傷肺之說；又有肺主皮毛，而眉出毛屬，其內應於肺宜矣。先有疑而後有憂。疑者，狐疑不決之態；憂者，慮有危害之客。故每有憂疑，面色灰溼而溼枯，眉頭皺急而焦亂，此憂疑之形質與氣色也。

I examined the appearance of the person with a doubtful expression, which is characterized by two eyebrows that are dry and disheveled, as commonly described as furrowed brows. The Yellow Emperor's Inner Canon states that eyebrows belong to the lungs, and the lungs are associated with worry and thought. Therefore, there is a saying that worry harms the lungs. It also states that the lungs govern the skin and hair, and eyebrows are a type of hair. Since the eyebrows correspond internally to the lungs, this is natural. People usually first have doubts, and then develop worry. Doubt refers to a state of uncertainty and indecision; worry refers to concern about impending misfortune. Therefore, when a person experiences doubt and worry, their complexion becomes dull, damp, and dry, and their eyebrows become tightly furrowed and disordered—this is the manifestation of a doubtful and worried person in terms of physical appearance and complexion.

凡事實大小久暫，則又根據其氣色濃淡輕重而定之。凡事實不出乎危害驚險之所遇，名譽財源之所敗，個人連代之所累，義務交情之所羈，嗜好偏性之所陷害，田宅銀錢之所糾纏，知交至戚鄰里鄉黨之外憂，弟兄叔侄妻妾子女之內患。綜上種種，皆包括一疑字。外人固不察其詳細，既沽名釣譽之相法大家，尚不知此疑字含蘊有許多事貫。如《麻衣》《水鏡》《柳莊》《衡真》《鐵關刀》等，皆不解此疑字。此達摩之最深精藝，亦餘之最佩服者也。

As for the magnitude and duration of matters, they are determined by the concentration, lightness or heaviness of the aura. Human affairs fall into several categories: encountering danger and peril, loss of reputation and wealth, personal and connected individuals suffering, obligations and social duties binding one down, harmful habits and fixed temperaments causing self-harm, disputes over property and money, and external troubles brought by friends, relatives, neighbors, and fellow townspeople. Brothers, uncles, wives, concubines, and children may also cause internal conflicts. All these matters are encompassed within the character 「疑」 (doubt). Outsiders cannot perceive the details, and even those so-called famous physiognomists who seek fame are unaware of the many layers of meaning contained within 「疑」. Works such as the 「Ma Yi Methods of Physiognomy」, 「Shui Jing Ji」, 「Liuzhuang Methods of Physiognomy」, 「Heng Zhen」, and 「Tie Guan Dao」 do not understand this 「疑」. This is the deepest level of the Damo physiognomy, and it is the aspect I most admire. Clearly, 「疑」 is not a vague term; it encompasses all the difficulties and pressures a person faces internally and externally. The concentration or faintness of the aura corresponds to the magnitude and duration of these matters.

按疑於暫者小病至，此言其事實之小者。陰陽失調，夜不安神而失眠，故謂小病立至之義。雖處環境惡劣，尚不致一敗不振，而無立身之地，故以暫字類別，尚有解除此疑字之處，僅以病災而止，可見其危害不大也。

First we say 「doubt that is temporary is a minor illness」. This refers to matters that are not serious; a temporary feeling of unease, yin and yang not in harmony, restlessness at night leading to insomnia. Therefore, it is said that a minor illness comes quickly. Although such people are in a difficult situation, they are not yet completely ruined and have not lost all their footing. Hence, the term 「temporary」 is used to categorize this type of doubt—this kind of doubt still has room for resolution, and the worst outcome is illness. Clearly, the harm is not great.

疑於常者，常度俱憂疑也，其安危之關係較大，而顧忌更深。或畏人乘其隙而傾覆之，或遇人為勁敵而鉗制之；或彼失信於我，爭奪名利而為之；或我失信於彼，親情牽制而擾之；或受屈於勢力之逼迫，或受陷於機阱之詐欺。喪我名譽，危我身體，阻我財利，辱我妻妾，欺我子女，此等危害不平之經過，印人腦筋，痛心疾首，動魄驚魂。欲進行而中止，欲借力而不能，反覆驚疑，徘徊不決，一日一時，在在注意，故云陰專不測。

Now discussing "doubt in the ordinary." By "ordinary," it refers to a state where one is constantly anxious and doubtful in daily life, which relates to matters of safety and danger, with deeper concerns. One may fear that others will take advantage and turn against them, or encounter a strong enemy who controls every move. Or the other party may break trust, attacking for fame and profit. Or one may have broken trust with others, causing disturbances due to family ties. Or one may be forced down by power and suffer injustice, or fall into a trap and be deceived. Reputation is ruined, the body is endangered, wealth is blocked, wives and concubines are disgraced, children are bullied—these kinds of unfair experiences are engraved in the mind, causing pain and shock, and disturbing the spirit. One wants to move forward but stops halfway, wants to seek help but cannot obtain it, repeatedly doubting and hesitating, unable to rest even for a moment. Therefore, the original text says "hidden affairs are unpredictable"—accidents in the dark may occur at any time, and one has no way to foresee them. This differs from "doubt in the temporary," which is merely an illness. This, however, shakes the very foundation of one's standing.

余曰失敗，不完全同意也。凡事有志之大小，力之輕重，合度則奏手收效，過量則轉瞬失敗，加以愈疑心愈亂，愈疑膽愈怯，若竟強勉而為之，此取敗之道也，故餘改用疑於常者敗，簡而明矣。按疑於身則死亡災也，餘恐身字為神字之誤，故下注疑於神者死。按身為外表，神為命根，故疑於身者，不過傷神損腦，以致飲食減少，神經錯亂，至此已為合度；如死亡之災，必至疑於神力應驗。

I changed it to "failure" because I do not fully agree with the original statement. When doing anything, one must consider the size of one's ambition and the strength of one's ability: if they match, one can start and achieve results; if they exceed one's capacity, failure comes quickly. Moreover, the more one doubts, the more confused one becomes, and the more timid one grows. If one still insists on proceeding, that is exactly the way to bring about failure. Therefore, I revised it to "failure comes from doubt," which is simple and clear. As for the original statement "doubt in oneself leads to death and disaster," I suspect that the character "self" (身) is a mistake for "spirit" (神). Therefore, I revised the note to "doubt in the spirit leads to death." The body is external, while the spirit is the root of life and vitality; doubt only reaching the body may cause damage to the spirit and mind, leading to reduced appetite and mental confusion, which is already appropriate. If it is to result in death, doubt must reach the spirit itself.

余考何謂疑於神者：凡人處極危險境遇，而又受極大打擊，其打擊之人，或出於最親最愛之人，或出於我有深思於彼之人，或出於互相利益而為至戚良友之輩；或因功名金錢、美色珠寶、玩物用品之類而生惡感，變出危險陷害。前日之極親極愛、深思深交、至戚良友，一變而為仇敵，加以手碗之暗害、勢力之詐欺，是非不得明，公理不得直，沉冤不得雪，大義不得伸。

What is meant by "doubt toward the divine" is when a person is in an extremely dangerous situation and suffers a great blow, and the one who strikes against him is either someone he loves most dearly, or someone who has deeply benefited him, or a close friend with whom he has shared mutual interests. It may also arise from disputes over things like fame, wealth, beauty, jewels, antiques, and other valuables, leading to sudden and dangerous plots. Formerly close and affectionate friends, deeply trusted companions, and good allies suddenly turn into enemies. They resort to secret means to harm him, use their power to deceive and oppress him, making it impossible to distinguish right from wrong, justice from injustice, and clearing up wrongful accusations. The more close the person who harms him, the deeper the doubt becomes, because the victim has no one to turn to for justice.

疑而鬱積於神，而不能出諸口，不能露於形，隱忍含垢，坐臥不忘，身疑心亂，心疑智昏，損其腦而傷其神，忘其形而厲其魄。至此為疑於神者，死亡無更改矣。且餘書尊重事實，不以文字而含本求末也，特注三疑原文，附帶修改，以嗣後之高明者鑑定耳。

When doubts reach this point, they become lodged in the spirit, unable to be expressed, unwilling to be shown on the face, and can only be endured in silence and shame, never leaving the mind whether sitting or lying down. When there is doubt in the body, the mind becomes restless; when there is doubt in the mind, wisdom becomes clouded. Mental energy is exhausted and the spirit is injured. The physical form is neglected and the soul is tormented. At this stage, it is called "doubt in the spirit," and death cannot be avoided. Moreover, this book emphasizes facts rather than embellishing words for the sake of appearance. Therefore, I have specially recorded the original text of the three doubts and added my own revisions, leaving them for future discerning scholars to evaluate.

形為心役者病。此為力有所不能，而又勉強從力輕任重上做去，故有事實牽制，患生肘腋，心理顧忌，化出鬱結，貪念不休，而又沽名，外傷其形，內損心血，此為病疾之例。專為心役者敗。此為因私慾而蒙蔽其聰明，持才而矜驕，仗勢而凌虐，貪多務得，以致事實顛倒，疑是疑非，以致親友怨望，而取失敗之道也。

The first sentence "Those whose form is enslaved by the mind fall ill": One's inherent ability is insufficient, yet they insist on taking on tasks beyond their capacity, thus being constantly constrained by affairs, and calamities arise nearby; the mind is burdened with many worries, leading to stagnation and resentment, while greed persists and they also care about reputation. External injuries to the body and internal exhaustion of the spirit are the ways to illness. The second sentence "Those whose mind is enslaved by selfish desires meet failure": Because private desires cloud one's wisdom, relying on a bit of talent leads to arrogance, and relying on some power leads to oppression. Pursuing excessive gains and striving for completeness leads to confusion, turning things upside down, and failing to distinguish right from wrong, resulting in complaints from friends and relatives. This is precisely the path to self-inflicted failure.

神為心役者亡。此為非法之動心，意外之舉動，全神注意，而事實反生障礙，偏重者而傾覆，溺愛者而惡感，是以含垢於心而如火焚，元神離舍而如觸電，以促其速亡之例。心為形役者貧。此為環境困乏，生活艱難，竭其心力，而其出路，牽制既多，遺累尤重，心血愈枯，而智計愈拙，生機日少，而漏巵日多，故為貧窮之例。

The third sentence, "When the spirit is enslaved by the mind, one perishes": one harbors thoughts that go against the principles and acts in ways that are unexpected. All one's energy is focused on these actions, yet obstacles arise everywhere. Fixation on one path ultimately leads to downfall. Those who are overly attached to what they love may eventually develop aversion. Thus, the mind harbors resentment and bitterness, like fire burning within. The origin god departs from the body, as if struck by an electric shock. This is a path that hastens death. The fourth sentence, "When the mind is enslaved by the form, one becomes poor": one is in a difficult situation, with a hard life. One exhausts one's mental strength in seeking solutions, but is burdened by many constraints and further weighed down. The heart's energy becomes increasingly dry, and plans become more clumsy. Vitality diminishes day by day, while weaknesses multiply day by day. This is the path of poverty.

心為事役者夭。此為心有所欲，而出於邪行，或為美色愛情，或為奇珍玩品，既不能正式交涉，又無相當力量，事不能遂，志不能達，苦惱日增，精神日萎，故為夭壽之例。心為神役者死。此為神之所專，心之所使，既有離奇之阻礙，又有存亡之感慨，元神日枯，心血日衰，怨氣日動，景物日非，故為死亡之例。

The fifth sentence "When the heart is enslaved by affairs, one dies young": When the mind has other desires, yet one walks along the wrong path, or is addicted to beauty and love, or obsessed with rare treasures and antiquities; one cannot openly engage in dealings, nor has sufficient strength to support oneself, so affairs cannot be accomplished, wishes cannot be fulfilled, and one suffers more and more each day, with spirit gradually fading day by day, this is the path to a short life. The sixth sentence "When the heart is enslaved by the spirit, one dies": When the mind is focused on one thing, and the heart is driven by it; encountering strange obstacles, and feeling deep sorrow about life and death, the origin god gradually withers, the heartblood gradually declines, resentment gradually rises, and the scenery before one gradually changes; this is the path to death.

公篤曰：余考達摩通篇精神，即此六句三十六字為第一，次則三疑之二十四字為第二，其三脫之二十七字為第三，又其次則相神之二十一字、測量之三十字，此皆達摩之精藝也。按六役之說，即佛家之貪嗔痴愛所種因，道家之喜怒愛惡之結果，常人之酒色財氣，而化出種種煩惱，以糾纒也。

Chen Gongdu said: I have examined the essence of the Dharma Master's entire text, and the first priority is these six sentences with thirty-six characters, followed by the three doubts with twenty-four characters, then the three releases with twenty-seven characters, and then the twenty-one characters on the divine appearance and the thirty characters on measurement—these are the essence of the Dharma Master's method of observation. The so-called "six duties" refer to the causes planted by the Buddhist concepts of greed, anger, ignorance, and attachment, and the results produced by the Daoist emotions of joy, anger, love, and hatred. These are the worldly attachments of wine, women, wealth, and anger, which generate various troubles and bind people in place. Although the phrases from the three schools are different, they all point to the same thing: when a person is driven by thoughts, their form, actions, and spirit are no longer under their own control.

達摩以此三十六字，包括六根之魔、三昧之邪、因果之生勞病死苦、天機之玄妙、鬼神之幽冥、人事之蘊釀，不是他書自稱玄妙或秘訣，而一無所指也。蓋達摩以天機人事、潮流事實而言，如不貫澈儒釋道三家性命之旨、諸子百家玄妙之機，以及社會之研究、人情之趨向，萬不能指出心役形役、事役神役之層次。所不足者，蓋末指出何種形質之格，而有心役形役之發生；何種氣色之變，而有事役神役之應證。餘之詳註者，即補出形質氣色之根據也。

Damo used these thirty-six characters to encompass all the obstacles arising from the six roots, the wrong views encountered during meditation, the suffering of birth, aging, illness, and death in the cycle of cause and effect, the subtleties of heavenly omens, the mysteries of ghosts and spirits, and the development of human affairs. Unlike other books that claim to be profound or secret, they actually offer nothing concrete. Damo discussed matters based on heavenly omens and human affairs, and if one cannot integrate the doctrines on life and death from Confucianism, Buddhism, and Taoism, the subtle mechanisms of the various schools of thought, and the study of society and human nature, he would be unable to explain the different levels of being controlled by the mind, body, affairs, and spirits. His deficiency lies in not specifying which physical features would lead to being controlled by the mind or body, and which changes in appearance would indicate being controlled by affairs or spirits. My detailed annotations are meant to provide the basis in physical features and appearances, so that readers can see a face and immediately know which of the six controls it falls into, rather than merely discussing abstract principles.

蓋第一句，即形為心役者病。其事實則為智小大，力輕任重，明知其不能，而又勉強進行，漸次自誇自欺，以鼓勵之。中經飄搖挫折，勞碌無功，損失受怨，蛛網之牽纒，雀角之消耗，多方籌劃，而不能盡其善後，晝夜憂思，而不能完其解脫，故形為心役，而傷其形，轉成痼疾。余考上停雜紋間斷，印堂雙紋三紋，天倉陷而地庫弱，眉散亂而神緊急，此等形質皆應形為心役者病六字也。

The first sentence is 「form is enslaved by the mind, leading to illness」. The actual situation is: one has small talent but great ambition, weak strength but heavy burdens, knows something is impossible yet insists on trying anyway, gradually relying on self-praise and self-deception to motivate oneself. In the middle, one experiences turmoil and setbacks, works hard but achieves nothing, suffering losses and attracting blame. It is like a spider's web, entangled everywhere, or a quarrel among birds, wasting effort in vain. One plans extensively but cannot conclude, worries day and night but cannot resolve the issue. Thus, the body is enslaved by the mind, causing injury to the form, leading to chronic illness. From my experience, if there are broken and scattered lines on the forehead, double or triple lines in the forehead area, the Heavenly Granary is sunken and the Earth Store is weak, the eyebrows are scattered and the eyes are anxious—these physical characteristics all correspond to the six words 「form is enslaved by the mind, leading to illness」.

按第二句事為心役者敗。其事實則為私心自用，貪念不休，雖有才智而未受善教，雖有學識而未至純靜，驕氣日盈，遊蕩日怠，以致聰明蒙蔽，而反愚拙；驕傲凌虐，而反顛倒。一經挫折，則有疑是疑非；每有小過，而反謗上謂下。事未成而怨已深，身未立而禍將至，亂其常度，終為失敗。余考印破陷而逢沖，眉低陷而濃短，井灶薄而露孔，眼神愁而浮白，土星下墜而克水，口角下反而露齒，滿面浮光如豬脂，額準青光而浮膩，此等形質氣色，皆應事為心役者敗六字也。

The second sentence is "When matters are controlled by the mind, they will fail." The actual situation is this: being dominated by selfishness, stubbornly insisting on one's own way, greed never ceasing; although possessing talent and intelligence, one has not received proper cultivation, although having knowledge, one has not attained purity and tranquility. Arrogance grows day by day, while idleness and negligence deepen day by day. As a result, one's wisdom is obscured and appears foolish, while arrogance and domineering behavior cause things to be done in reverse. When encountering setbacks, one suspects this and that; a slight mistake leads to blaming superiors and shifting blame onto subordinates. Before matters are completed, resentment is already deep; before one's position is secure, disaster has already arrived. The usual state becomes chaotic, and ultimately, failure is inevitable. From my experience, the person has a broken and sunken forehead, with a mark disrupting it, eyebrows that are low and short, a thin and exposed nose with a hole, eyes that look worried with a lot of white, and the nose, which represents the earth element, is drooping and thus harms the water element. The corners of the mouth are downward, revealing teeth, and the face has a greasy glow, like it has been rubbed with pork fat. The forehead and the middle of the face are pale and greasy. These physical characteristics all correspond to the six words "When matters are controlled by the mind, they will fail." In the previous case, the injury was on the body, but in this case, the failure is in the affairs, so the areas observed have shifted from the upper part of the face to the forehead, eyebrows, nose, and mouth.

按第三句為神為心役者亡。其事實則為非法之妄想，過分之苛求，全神注重於其事，專心反覆籌其。或為資格之懸殊，或為才智之不逮，或為力量之有限，或為時事之障礙。加以陰而不可宣揚，穢行前猶憚鄙薄，隱忍含垢於心，而如火焚；沉默疑結於神，而如觸電。神昏智憒，精竭力絕，灰其心而不計輕重，迷其性而不計安危，盼其死之情急，希望生之念消，此外無路，惟其一死。

Then the third sentence, "When the spirit is enslaved by the mind, it perishes." The actual situation is this: one has improper and unlawful thoughts, makes excessive and harsh demands, focuses all one's mental energy on that matter, and keeps thinking it over and over again. In reality, however, there may be a great difference in status and qualification, or one's talent and wisdom may be entirely insufficient, or one's strength may be very limited, or the circumstances may be obstructive everywhere. Moreover, the matter is something that cannot be openly discussed or publicized; the disgraceful actions are right before one's eyes, yet one fears being despised, so one has to endure the humiliation in one's heart, like fire burning; one silently harbors doubts within the spirit, like lightning striking. Thus, the mind becomes confused, the intellect becomes muddled, the energy is exhausted, and the strength is cut off. When the heart has turned to ash, it no longer cares about light or heavy; when the nature has become confused, it no longer considers safety or danger. The desire for death grows more urgent day by day, while the desire for survival becomes more faint day by day; there is no other way out, only death.

余考烏珠凸露而浮四白，印堂懸針而至髮際，額骨破陷而聲音破散，赤縷貫瞳而口角覆舟，印堂赤黑，國印紅焰，三陽枯慘而無潤色，天門黑暗而無生氣，神變常度，而買光退脫；性反常度，而顛倒行為，滿面火焰桃花，上亭慘白枯骨，此皆死亡形質氣色，而應神為心役者亡六字也。

The signs I observed indicate a person with prominent black eyes surrounded by white, a vertical needle-like mark on the forehead reaching up to the hairline, a broken and sunken forehead bone with a scattered voice, red blood vessels crossing the pupil and the corners of the mouth drooping like a capsized boat, a red and black color on the forehead, the "national seal" area glowing like a burning flame, the "three yang" areas appearing dry and lifeless without any luster, and the "heavenly gate" dark and devoid of vitality. The expression has lost its normal state, with the light in the eyes retreating and dispersing; the nature has become abnormal, with actions completely reversed; the whole face shows a fiery and peach blossom-like color, while the upper part of the face is pale and as if made of bones—these are all signs indicating death, precisely corresponding to the six words "the spirit is controlled by the heart, and thus death comes."

按第四句，心為形役者貧。其事實則為前業蕭條，環境惡劣，生活日高，生齒日繁，既無一定財源，又無規定城業，家庭失其能力，親友失其輔助。始而聲東堆西，繼而支南吾北。交際則皇皇慎重，以掩飾其虛；談笑則津津有味，以混淆人聲。面興心異，與願奢，良心既知其不可，應付又苦於無方。於是竭其心力，困其形體，為家庭生計，為個人表面，牽制既多，遺累尤重，加以漏巵不塞而多靡費，鋪張虛設而暗吃虧，雖有智者而不能撐持，賢者而不能挽回，此為盈不補漏，得不償失，故稱心為形役者貧。

Then the fourth sentence, "Those whose hearts are enslaved by their forms will be poor." The actual situation is this: previous family businesses have declined, the circumstances are bad, prices rise day by day, and the population increases day by day. There is no fixed source of wealth, nor a definite property, the family cannot help, and friends and relatives have lost their support. At first, they could borrow here and there, but later they are short in one place and stretched in another. In social occasions, they pretend to be serious in order to hide their inner emptiness; in conversations, they pretend to be cheerful in order to pass others' eyes. Their faces are lively but their hearts are different; their strength is limited but their desires are extravagant. Their conscience knows clearly that this is not possible, yet they have no way to cope. Thus they exhaust their heart and body, trapped by their forms, half for family livelihood and half for personal dignity. There are many constraints and heavier burdens. Moreover, leaks cannot be stopped and more expenses are incurred, extravagance is displayed but they suffer secretly. Even the wise cannot hold on, and even the virtuous cannot recover. This is the situation of not being able to stop the leaks and losing more than they gain, hence it is called "Those whose hearts are enslaved by their forms will be poor."

余考耳珠圓厚而廓飛反，南嶽高超而上陷削，兩眉稀政而散亂不常，兩目流光而清潤似愁，井灶薄小而紋，鼻樑露削而曲，眉頭多紋而近印，土星多尖而壓蕩，聲音散漫而不收，精神萎縮而多怯。氣色則為青光汲汲，燥色溶溶，浮膩而如膏塗脂，塵滯而薄紗染皂，筋絡露痕而不藏肉，黯暗雜花而不合時，滯沉而似寒，滑終而如粉。此等形質與氣色，則應心為形役者貧六字也。

The person's ears are round and thick, but the outer part of the ear is inverted. The forehead, though high, is sunken at the top. The eyebrows are sparse and disordered, not forming a clear pattern. The eyes have a bright gleam, but the light is clear and moist with a melancholic tone. The nostrils are thin and small with markings, the bridge of the nose is exposed, thin, and curved. There are many wrinkles near the eyebrows close to the forehead. The tip of the nose is sharp and pointed, pressing toward the philtrum. The voice is scattered and cannot be contained. The spirit is weak and full of timidity. In terms of complexion, there is a sudden and urgent greenish glow, a dry and floating color, oily like a layer of fat, dusty like a thin silk cloth stained with soot. The veins are visible, and the flesh cannot conceal them. The color is dull and mixed, not in harmony with the season. It feels heavy as if affected by cold, and smooth and white like powdered makeup. These physical features and complexion signs all indicate the phrase "the heart is enslaved by the form, leading to poverty." The previous items describe the physical structure, while the latter describe changes in complexion. The physical structure determines the person's fate throughout life, while the complexion determines their current situation. If both are lacking, poverty is unavoidable.

按第五句，為心為事役者夭。其事實則為嗜好之偏重，淫蕩之邪行，每有出奇之思想，常懷好勝之舉動。或為名利之非正路，或為美色之新創學，奇珍玩品可以動其心，狗馬彩禽自為移其志。既不能正式交涉，又無相當力量，外不能明自宣佈，內不能消減妄念，勉強積極進行，多方籌晝策，障礙之事實太多，反動之力量尤大。一經卷入漩渦，便為附骨之疽；每有倉猝失足，引為終身之恨。波外生波，一波末平，一波又起；禍中有禍，此禍末了，彼禍又興。既無切實解決之辦法，又無先預退步之計劃，事不能遂而飲恨吞聲，志不能達而驚魂動魄，精神受其限制，心性受其拘束，中痞臃塞，氣機不宣，骨消形瘦，慾火相爍，故心為事役，是為夭壽。

Now the fifth sentence: "When the heart is enslaved by affairs, one will die young." The actual situation is: one's preferences are concentrated in one area, behavior tends toward excess, one often has strange ideas, and frequently acts with a desire to win. Or one seeks fame and profit through improper means, or one is obsessed with beauty and creates a new theory. Rare treasures and ancient artifacts can move his heart, while dog racing, horse racing, bird fighting, and bird watching can shift his aspirations. He cannot openly deal with matters, nor does he have sufficient strength to support them; externally, he cannot make them public, internally, he cannot eliminate that foolish desire, so he has to push forward with a hard face, planning and scheming in many ways. However, there are too many obstacles and stronger opposing forces: once involved in the whirlpool, it becomes a venomous sore attached to the bone; often a hasty misstep leads to lifelong regret. Waves arise again outside the wave, one wave has not settled when another rises; calamity hides another calamity, one calamity has not ended when another arises. There is no practical solution, nor any prearranged way out; if the matter is not accomplished, one can only swallow bitterness and sorrow, if the wish is not fulfilled, one can only be terrified and shaken. The spirit is restricted by it, the nature is bound by it, the chest is blocked, the vital energy cannot be smooth, the bones are withered and the body is thin, the desire for sex burns like fire—thus the heart is enslaved by affairs, leading to a short life. This situation differs from "the form is enslaved by the heart": that is when one is unable to cope and accumulates fatigue to become ill, while this is when the heart is led astray and harms one's own life, so one suffers illness, while the other shortens one's life.

余考心為事役，多以氣色為據。如福堂黑暗而雜花，印堂油膩而浮，滯三陰青枯而赤縷縱橫，兩額紅赤而黑影瀰漫，土星一點赤黑人命宮，人中一縷烏絡入水星，兩奸門黑赤青色混合，兩天門枯慘垢色雜聚，青黑之氣一縷，由口角而入命門；青赤之氣一棧，由外顴而插眉尾；三陽紅黑，混亂如珠；印堂青白，交聚如針。此皆凶氣，而應心為事役者夭六字也。

My experience shows that the phrase "the heart is enslaved by affairs" is mostly determined by observing the complexion. For example, if the "Futang" area is dark and speckled with various colors, the "Yingtang" is oily and floating, the "San Yin" is bluish and dry with red threads crossing each other, the sides of the forehead are red and flushed with dark shadows spreading, the tip of the nose has a single black-red spot reaching the "Minggong," a dark thread runs from the "Renzhong" to the "Shuxing" at the mouth, the two "Jianmen" show a mixture of black, red, and green colors, and the two "Tianmen" are dry and pale with a mix of dirty colors; a streak of dark green gas enters the "Mingmen" from the corner of the mouth, and a streak of green-red gas enters from the outer cheek toward the end of the eyebrows; the "San Yang" area is red and black in disorder like beads, and the "Yingtang" area has a mixture of blue and white colors like needles. All these are signs of evil qi, which corresponds exactly to the six words "the heart is enslaved by affairs, leading to early death." This is why we must specifically observe the complexion, because it is caused by private desires and improper actions, which appear suddenly and disappear quickly, and may not leave traces on the bone structure, but first reveal themselves through the complexion.

按第六句為心為神役者死。其事實則為才高而偏，性敏而傲，每有離奇之幻想，常存抱負之大志，憑空著手而飛越正軌，持強立足而推倒眾人，不避仇怨，不計輕重，達而任意驕橫，窮而違言忤戾。或為精神戀愛而結不解之緣，或為理想妄貪而作黃粱之夢。全神之所專，兩心之所使，寧為雞口勿為牛後之用氣，執其已意違其眾心之傷神。私慾壘壘如海潮，陰鬱鬱如閃電，別有佳境不能愜其意，另有生機不能如其願，注意者重過於存亡，凝神者不計其生死，以致元神日耗，精血日枯，怨氣日梟，慧根日減，此為致死之由。

The sixth sentence says, "One who is enslaved by the mind will die." In reality, this refers to someone with great talent but who is mentally unbalanced, sharp-witted yet arrogant, often conjuring strange fantasies, and harboring overly ambitious aspirations. They act without proper guidance, deviating from the right path, striving to assert themselves and pushing others aside. They do not avoid creating enmity, nor do they consider the consequences. When they are successful, they behave arrogantly; when they are in despair, they speak rebelliously. They may become involved in what is called spiritual love, forming unresolvable attachments; or they may harbor unrealistic desires, living a dream of great ambition. Their entire spirit is focused on one thing, and their mind is driven by it. They hold fast to the belief that "it is better to be the mouth of a chicken than the tail of an ox," stubbornly sticking to their own views and opposing the majority, which is most damaging to the spirit. Their private desires accumulate like the tides, and dark emotions erupt like lightning. They refuse to accept better circumstances, and they refuse to take available opportunities. What they value is more important than life and death, and when they concentrate on it, they no longer consider their own survival. Thus, the original spirit gradually diminishes, the essence and blood gradually dry up, resentment gradually spreads, and wisdom gradually declines—this is the cause of death.

余考赤縷貫瞳而復纏烏珠，印堂十字而復破華蓋，凸睛而又三角之眼，破額而又破鑼之聲，三曲鼻而配吹火口，兩夾眉而配分尸紋，雙眉鎖印而加螣蛇鎖口，四白露神而加準尖露孔，聲濁氣寒而露煞，肉流皮緊而尸行。加以氣色黑暗而如油垢，枯白而如溼灰，紅而不潤，赤而沉滯。此等形質氣色，則應心為神役者死六字也。以上三十六字，可謂相法之經，不可粗心忽略，愈深思而愈有味，愈推想而愈有法，讀吾書者請從此處用功可也。

The results of my examination show that such a person has red threads running through their pupils and wrapping around the black part of the eye, a cross-shaped mark on the forehead that breaks through the "Huogai" pattern, protruding and triangular eyes, broken forehead bones with a voice like a broken gong, a nose with three bends and a mouth that seems to blow fire, eyebrows that meet closely with a splitting mark, eyebrows that block the forehead and a Tenshè pattern that locks the mouth, white of the eyes exposed with light leaking out, a sharp and narrow nose, exposed nostrils, a voice that is muffled and turbid, cold and damp breath revealing a sinister aura, loose muscles and tight skin, and a stiff gait like a corpse. Furthermore, their complexion is dark like oil grime, pale and gray like wet ash, red but not moist, and red but stagnant. This kind of physical appearance and complexion exactly corresponds to the six words "the heart serves the spirit, leading to death." These thirty-six characters can be considered the classic of physiognomy; the more deeply one thinks about them, the more meaningful they become, and the more one imagines, the clearer the rules become. Those who read this book should focus their efforts here.

火焰上炎，末笄而寡；水流滿洫，垂老而孤。日月高懸，三十六必孀慘；陵冢茂實，二十五定龍騰。火焰繫南嶽尖拱，二十以前刑夫，當以二十以後出閣，則減輕刑剋。水流者，人中平滿也，有子必刑，但眉曲者，有一二子也。日月角高，亦主中年刑夫。丘陵冢墓高超方吉，而興家也。按女格不重正部，而取六府之輔佐部位也。

A woman whose nose resembles a flame rising upwards will become a widow before she reaches the age of coming of age. If her philtrum is full like a flowing stream, she will be childless in old age. If her sun and moon angles are high and prominent, she will certainly suffer from widowhood by the age of thirty-six. If the areas of the nose and the cheekbones are full and solid, she will achieve success by the age of twenty-five. The author explains: the term 'flame' refers to a nose that is sharp and pointed, resembling the southern mountain. Such a woman will harm her husband if she marries before the age of twenty. She should wait until after twenty to marry, which can reduce the harm. The term 'flowing stream' refers to a flat and full philtrum without a groove. If she has children, they will be harmed, but if her eyebrows are curved and harmonious, she may still have one or two children. High sun and moon angles also indicate harm to the husband in middle age. The areas of the nose and cheekbones being high and solid are auspicious, indicating the ability to establish a family. One should know that female physiognomy does not emphasize the correct position of the five organs, but rather the auxiliary areas of the six腑.

印堂常明，相夫登第；淚堂青黑，任意招淫；耳輪反覆，刑夫不一；眉稜斜散，破產非常。印堂常明黃，當然助夫而貴。淚堂青黑，其人多淫而刑剋人丁，子女夫星皆不旺。耳輪反覆，初年否，一主天姿愚拙。眉稜斜散，於女格頗輕，破產之說過重。

The area between the eyebrows remains bright, which can help the husband achieve success in exams; if the lower eyelid 'tear hall' is dark blue, it indicates indulgence and may lead to immoral affairs; if the earlobe is inverted, it indicates multiple troubles with the husband; if the brow bone is slanting and the eyebrows are disordered, it may cause great family ruin and loss of property. The author's comment: if the area between the eyebrows often shows a bright yellow color, it naturally helps the husband achieve honor. Women with dark blue 'tear hall' are often promiscuous, and may suffer from harm to their children and lack of vitality in their children's and husband's stars. Those with inverted earlobes may face difficulties early in life and indicate a dull mind. As for the slanting and disordered brow bone, this feature is not very significant in female physiognomy, and the original text's mention of bankruptcy seems too severe.

奸門不陷，多子又賢；淚堂平安，多女而貴。求妾問子，定須清穩而年壽豐隆；娶媳問德，只要澀重而髮膚香潤。奸門為夫星專部，不陷即夫旺。淚堂關係子女，左男右女也。年壽豐隆，少疾厄也。至於子女，尚以人中臥蠶眉曲印平為重。澀者，含羞之貌；重者，慎重之謂；香潤為女格之必要。

If the奸门 is not sunken, there will be many and virtuous sons; if the泪堂 is level and full, there will be many and noble daughters. When taking a concubine, to determine if she will have children, one must look at her clear and upright appearance and a prominent nose bridge and life line. When marrying a wife, to assess her virtue, one should observe her modest and steady manner, as well as her fragrant hair and skin. The author explains: 奸门 is the exclusive area for the husband's star, and if it is not sunken, it indicates a prosperous husbandly fortune. 泪堂 relates to children, with the left side corresponding to sons and the right to daughters. A prominent nose bridge and life line indicate fewer illnesses and misfortunes. As for the number of children, one should also focus on the人中, 卧蚕, curved eyebrows, and a level and full 印堂.所谓 '涩' refers to a shy expression; 所谓 '重' refers to cautious behavior; fragrant hair and skin are essential qualities for a woman's appearance.

項強胸突，刑夫克子而惡終；目秀指尖，旺子順失而永壽；陰戶不封不樹，無子女而有私；頭面又黃又白，有福祿而無垢。女格項短而強，主刑賤而毒；胸突主子少而苦。目秀指尖，主閒福而有子女，壽則不驗。不對者，言挺露無肉，而有兩側骨斜插；不樹，無毛也。黃自之說，是否與形質合耶，或為天道驗此耶。

A woman with a thick and strong neck and a prominent sternum will harm her husband and children, and die an untimely death. A woman with clear eyes and slender fingers will have many children and live a long life. A woman with an unformed and hairless genital area will have no children and be unfaithful. A woman whose head and face show both yellow and white colors will have good fortune and wealth without blemishes. The author's comment: A woman with a short and strong neck is likely to harm others, be of low status, and have a cruel heart. A woman with a prominent sternum will have few children and a hard life. A woman with clear eyes and slender fingers will have a peaceful and comfortable life and have children, but the part about longevity may not be accurate. The term "not sealed" refers to a genital area that is prominent and lacks flesh, with bones protruding on both sides. "Not planted" means the absence of hair. As for the statement about yellow and white colors, it is uncertain whether it aligns with physical characteristics or if it is determined by heavenly principles, and the author remains doubtful.

沉睛蕩足，掠鬢支頤，皆淫奔之婦；聲清色定，寡笑安步，皆貴壽之人。沉睛為注意之深思，蕩足為飄搖之不正，掠鬢支頤皆容易感動腦筋而慕虛榮，變更性情而生嫉妒，故有貪物品而淫奔。聲清主貴壽，色定主志堅，寡笑主謹慎，安步主正重，此數則均驗。

The eyes are sunk and fixed, the feet keep shaking, and the person constantly pulls at their hair and supports their cheeks — these are signs of a woman who is unfaithful and lustful. A clear voice, a calm complexion, few smiles, and steady steps — these are signs of someone who is both wealthy and long-lived. The author explains: 'Sunk eyes' indicate deep inner calculations, 'shaking feet' show a restless and improper mind, while pulling hair and supporting the cheeks show that the person is easily influenced by external things, admires empty prestige, and has a fickle and jealous nature, thus leading to running away for wealth. A clear voice indicates wealth and longevity, a calm complexion indicates firm will, few smiles indicate caution, and steady steps indicate uprightness and seriousness — these signs are very accurate.

得意中向人顛倒，豈是賢良；失意後向人懊怒，終非遠器。得意而反顛倒，其中另有用意，非一奸貪，即陰毒，故曰非賢良之人也。失意而反怒罵，此為自殺理策，終為受制，故曰非遠器也。

When one is in a position of success and contentment, yet behaves humbly and incoherently towards others, this is not the conduct of a virtuous person; once in misfortune, if one becomes resentful and scolds others, he will never become a great person. The author explains: when one is successful and yet behaves humbly and in a disordered manner towards others, it indicates that he has ulterior motives, either being cunning or malicious, hence he is not a virtuous person. When one is in misfortune and yet vents his anger by scolding others, this is equivalent to cutting off his own retreat and destroying his own plans, ultimately being controlled by others, hence he is not a person of great vision.

眉目上殺印堂，毒殺自罹羅網；顴準高稜年壽，妬凶獨守孤孀。眉目上殺，此為奴欺主之格也。印堂為全部之元首，亦女格之夫星，故有毒殺之惡刑。顴準過高，其人偏傲而驕，代夫之權，刑夫之格，自恃其才貌而任意兇悍也。

The sharpness of the eyebrows and eyes directed upward to offend the forehead indicates a pattern where she will poison and kill her husband, eventually falling into the law's grasp; high and sharp cheekbones and nose that dominate the area of the year and longevity indicate a woman with jealous and fierce nature, who remains a widow. The author explains: when the energy of the eyebrows and eyes rises to attack the forehead, it represents a pattern where servants oppress the master. The forehead is the central position of the whole face, and in female physiognomy, it is the position of the husband's star. Therefore, there is a punishment of poisoning the husband. Women with overly high and sharp cheekbones and nose, which dominate the areas of the year and longevity, have a stubborn and proud nature. They are a pattern where they take over their husband's authority and harm him. They rely on their talents and beauty, acting任性 and fierce.

臨困窮而不貪者是德，處英年而寡慾者多子。困窮不負，男子亦是大英堆，女子則為節德可風之人矣。英年節慾，不惟旺子，而且少疾多壽。此二句可抵一篇格言也。

A person who remains free from greed even when in difficult circumstances possesses virtue; a young person who controls desires despite being in the prime of life will have many children. The author explains: not taking advantage of hardship through dishonest means is considered a great heroism for a man and a model of virtue for a woman. A young and strong person who can restrain their desires will not only have many offspring but also be less prone to illness and live longer. These two sentences are equivalent to a whole piece of wise advice.

相骨先額次鼻，不粗不露為上；相肉貴直賤橫，不浮不枯為佳。喜質為相法之一部份，但在頭部亦占重要點，故云額與鼻，又以不租不露為合法。粗者勞碌，露者刑剋，故也。內法雖為相學之一小部，不過含有氣質，故以不浮不枯為合法。浮者困窮，枯者夭亡，故也。

When examining bones, first look at the forehead, then the nose; the best is when they are not rough or overly exposed. When examining flesh, it is better to have it firm and upright rather than light and horizontal; the best is when it is not floating or dry. The author explains: bones are only part of physiognomy, but they are especially important on the head, so the forehead and nose are specifically mentioned, and the ideal is that they are not rough or exposed—those with rough bones are hardworking, and those with exposed bones suffer from conflicts and misfortunes, and this is the reason. Although examining flesh is only a minor aspect of physiognomy, it reflects a person's temperament, so the ideal is that it is not floating or dry—those with floating flesh are poor and troubled, and those with dry flesh die young, and this is also the reason.

相形要軒昂，欹垂者為貧賤；相坐要強健，安穩者為富貴。形以軒昂二字為法，亦從氣魄上論之。歌者仰也，垂者伏也。欹者性偏而受奇窘，孤僻而貧；伏者愚魯而多冷退，賤相而夭。坐者亦相法之小補也，強健言稟受之氣厚也，安穩為吉。

When assessing physical form, one should look for whether it is dignified and upright; those with slanted, low, or drooping forms are destined for poverty and low status. When examining posture, one should look for whether it is strong and firm; those who sit steadily are destined for wealth and prosperity. The author explains: In evaluating form, the principle is established by the words "dignified and upright." This is also about observing a person's spirit and demeanor. "Dignified" means to look up, while "drooping" means to bow down. A person with a slanted body is likely to be stubborn in character, encountering unexpected difficulties, being solitary and poor. A person with a bowed body is dull and slow, always retreating and being isolated, with an inferior appearance and a short lifespan. Posture is a minor aspect in physiognomy: a strong posture indicates a thick original qi, while a steady posture signifies good fortune.

喜時代怒，必是勞苦之人；怒時代喜，定為慳格之輩。喜怒二字，為性情之根據，則其豪慨慳格分於此。又內從心而發，則天性之善惡自見。故喜時代怒，其勞苦必應，亦從顧忌多而繼之；怒時代喜，其慳格必應，亦從險惡虛而斷之。

When one should be happy but shows a furious expression, it indicates a person who will have a hard life; when one should be angry but shows a smiling face, it signifies someone who is stingy and mean. The author explains: the words "joy" and "anger" are the basis of one's character. Whether a person is generous and open-hearted or stingy and petty is determined by these two aspects. Moreover, joy and anger both originate from the inner self, so the inherent goodness or wickedness of one's nature naturally becomes evident. Therefore, someone who should be joyful but appears angry will indeed experience hardship, as this is inferred from his excessive caution; someone who should be angry but appears joyful will indeed be stingy, as this is determined by his evil heart and false appearance.

對人偷視，莫與交遊；無人自言，豈堪遠大。目以正視為合格，上視多驕，下視多險，側視多邪行。此云偷視，其行既不正，其心又不可測，故云莫與交遊，言其有毒也。無人自言，主愚拙，然亦有神經失用之例，心地窄狹故也。

Looking at someone secretly from the side, do not associate with him; talking to oneself when no one is around, is not capable of great things. The author explains: the eyes are considered proper when they are straight and level. Looking up is often arrogant, looking down is often deceitful, and looking sideways is often improper. Here, "stealthy glances" indicate improper behavior and unpredictable thoughts, so one should not associate with such a person, as he harbors harmful intentions. As for talking to oneself when alone, it shows dullness and clumsiness, though there are also cases of mental disorder, all stemming from a narrow and petty heart.

坐勿低頭方有壽，食多淋落必受貧。項為天柱，即醫家之大椎穴，故久病低頭者死，故平常低頭者不壽。食多淋落，即猴食鼠食之例，故主貧苦而無享福也。無痰常吐，吐而不收，先富後貧；有話欲言，言而不足，有頭無尾。無痰而此者氣衰，吐而不收者，其人恍憾無用，故為紈絝子弟而不受善教也。欲言不足主愚拙，又主妄貪，故有心亂無把握之舉動，其人寡情少義，故稱有頭無尾。

Sitting without looking down brings longevity, but spilling food while eating inevitably leads to poverty. The author explains: the neck is the "heavenly pillar" of the body, which is the Dazhui acupoint in the medical community. Therefore, a sick person who bends their head will soon die, and those who are accustomed to looking down are not long-lived. Spilling food all over the ground is what the physiognomical texts call monkey eating or rat eating, so it indicates poverty and not enjoying happiness. Also, those who have no phlegm but often spit saliva, and cannot stop spitting, will first become rich then poor; those who want to speak but cannot express themselves fully, are those who have the beginning but no end in their actions. The author explains: having no phlegm yet constantly spitting indicates the decline of vital energy; spitting without stopping shows that the person is confused and useless, often being the spoiled rich young men who are not well educated. Wanting to speak but not expressing oneself fully indicates foolishness, and also indicates reckless desires, so their actions are chaotic and without control; such people are unfeeling and untrustworthy, hence they are called having the beginning but no end.

疾言口撮，破敗飄零；無事匆忙，離宗困頓。疾言者，不慎重之態；口撮者，吹火之態，故主損失而刑人丁。無事仁者，多成多敗，每出貧苦之家，而易地生，易成易敗也，一為有神經病也。

Someone who speaks quickly and pouts his lips is likely to experience the decline of family fortune and a life of wandering; someone who has nothing to do yet is always in a rush, leaving his family clan and facing difficulties. The author explains: speaking quickly indicates a lack of caution in actions; pouting lips resemble the shape of a mouth used to blow fire, thus indicating financial loss and harm to family members. Those who are always busy without any real task tend to have many ups and downs in life, mostly coming from poor families, needing to leave their homeland to establish themselves, achieving success and failure quickly; there is another type, who suffers from neurological disorders.

紅絲纒眼，山根筋起者重刑；丹朱塗唇，滿面桃花者浮蕩。紅絲貫烏珠，主刑剋而驚險；山根青筋主疾，故曰重刑。唇如抹珠者，聰明而祿，加以桃花面，則明敏而邪蕩淫亂也，即俗謂飽暖而思淫慾故也。

A person whose eyes are wrapped by red threads and whose mountain roots show blue veins suffers severe punishments and calamities; someone with lips as red as cinnabar and a face flushed with peach blossom color is likely to be frivolous and licentious. The author explains: red threads passing through the black pupil indicate severe punishments and many dangers; blue veins appearing on the mountain roots indicate illness. When both signs appear together, it is said that punishments are very severe. Lips red as cinnabar usually indicate intelligence and good fortune, but when combined with a face flushed with peach blossom color, it turns into being clever yet perverse and licentious, which is exactly what the common saying means: when one is well-fed and warm, one tends to think of lustful desires.

公篤曰：《麻衣相法》三章，《達摩相法》五章，此為真跡，而達摩之法，則百深過麻衣遠矣。故六役之心法，三疑之包括，三悅之取法，測量之見解，皆非他書所能望塵也。不但不解其法，而且不明其義，故世人只知有麻衣，亦千餘年之埋沒也。余按《四庫全書》選《柳莊相法》，而達摩麻衣皆不選。查柳莊為永樂時人，其書之傳，即永樂尊其人耳。其解麻衣之六眉害，多附邪說惑人，而不循正義；又解達摩之五露，亦錯訛妄語，而偏重異端。據此二者，可見其相法之精良與否。然其學識雖，而遇合頗佳；達摩之學識雖高，而遇合太否，此其書之傳與不傳者，亦幸與不幸者耳。

Chen Gongdu said: The three chapters of "Ma Yi's Methods of Physiognomy" and the five chapters of "Damo's Methods of Physiognomy" are both authentic texts, and the system of Damo's methods is much deeper than that of Ma Yi. Therefore, the inner principles of the six duties, the comprehensive scope of the three doubts, the methods of the three escapes, and the insights into measurement are not something other physiognomy books can match. People not only do not understand its methods, but also do not comprehend its meanings, so they only know of Ma Yi. This is the reason why Damo's physiognomy has been buried for over a thousand years. Moreover, I checked the "Siku Quanshu" and found that only "Liuzhuang's Methods of Physiognomy" was included, while neither Damo nor Ma Yi's works were included. The author of "Liuzhuang's Methods of Physiognomy," Yuan Gong, was a person from the Yongle period of the Ming dynasty, and his book was able to be passed down only because the Yongle Emperor valued him. He interpreted Ma Yi's six harmful eyebrows, often adding false doctrines to mislead people rather than following correct principles; he also interpreted Damo's five exposures with errors and falsehoods, emphasizing heretical ideas. From these two aspects, one can see whether his physiognomy is refined or not. However, although his knowledge was not very profound (the original text here is missing), his circumstances were good; Damo, although his knowledge was high, his circumstances were very poor. Whether a book can be passed down is just a matter of luck. Therefore, whether a book is passed down or not does not necessarily prove its excellence. Those who read physiognomy books should not rely only on the names.

余考達摩之法，精粹頗多，其所不足者，即天道厚薄、時世衰盛，而無活法變法之分別也，其人事則詳言無遺矣。蓋天道厚，其人稟受厚，而壽者多；天道薄，其人稟受薄，而夭者多。時世盛則平安而持久，時世衰則暴發而易過。如盛世之格，眼神清潤黑自分明者貴；衰世則烏珠玄明而露黃光者貴，此盛衰相反處，大概不合居多數，達摩無變法之活法耳。其法有不驗者，即天道不合也。餘之全錄者，亦恐將來天道輪轉耳，又於研究相法者，多一層考驗，而容易進步耳。

I have studied the system of physiognomy of Bodhidharma, and found many refined aspects in it. However, its deficiency lies in not distinguishing between the living and changing methods according to the thickness and thinness of the heavenly path and the prosperity and decline of the times. As for human affairs, it has already been explained in detail. When the heavenly path is thick, the vital energy people receive is also thick, leading to more longevity. When the heavenly path is thin, the vital energy people receive is also thin, resulting in more early deaths. In times of prosperity, people tend to be safe and able to endure; in times of decline and chaos, people often rise quickly but find it hard to maintain. For instance, in peaceful times, the ideal appearance is clear eyes with bright and distinct black and white; but in times of decline and chaos, the ideal is deep black eyes that glow with a yellowish light. This is the opposite aspect between prosperity and decline, which often does not match up, because Bodhidharma did not establish a flexible and adaptable method. His method sometimes fails to work, which is due to the heavenly path not aligning with it. I have recorded the whole text, first because I fear that in the future, when the heavenly path turns again, it may still be useful, and secondly, to provide researchers of physiognomy with additional materials for testing, making their progress easier.