The number of years corresponding to the酉 (You) earthly branch is 2266.

甲午　後唐閔帝從厚元年，改元應順，以鳳翔潞王從珂移鎮太原。從珂自岐入，逐從厚，代立於洛宮，改元清泰。從厚出奔衛州，就殺之。是年，孟知祥以西川稱帝成都，國曰蜀，元曰明德。知祥卒，子昶繼。 乙未　唐以韓昭裔為相。忻州戍軍亂。吳改元天祚，閩改元永和。臣李仿弒其君延鈞，立其子昶。 丙申　唐以馬裔孫為相，以太原石敬瑭移鎮汶陽。石敬瑭自太原入，以北狄耶律德光稱帝，入洛代唐命，改國為晉，元曰天福。以幷州從事桑維翰、趙瑩為相，馮道依舊相，輸冀氏之北，入於狄。從珂火死於玄武樓。荊南兩浙稱附。閩王昶誅李仿，改元通文。 丁酉　晉以李崧為相。河陽張從賓、魏州範延光、滑州符彥饒、安州盧文進不從命，悉平之。吳大將徐知誥代吳命於金陵，改國曰齊，易號為唐，元曰升元，複姓李氏，易名為昇，以宋齊邱、徐玠為左右相，徙其君于丹徒，殺之。

The year Jiawu (934) was the first year of the reign of Emperor Mingdi Li Conghou of the Later Tang dynasty, with the era name Yingshun. The court intended to weaken the powerful regional governors, and thus transferred the Prince of Fengxiang, Li Congke, to take charge of Taiyuan. Li Congke then raised an army from Fengxiang (ancient Qidi) and marched into the capital, driving out Li Conghou, and proclaimed himself emperor in the Luoyang palace, changing the era name to Qingtai. This was Emperor Muzong of the Later Tang. Li Conghou fled to Weizhou and was soon killed. In the same year, Meng Zhixiang proclaimed himself emperor in Chengdu with the territory of Xichuan, establishing the state of Shu, historically known as the Later Shu, with the era name Mingde. Meng Zhixiang died that year, and his son Meng Chang succeeded him. In the year Yiwei (935), the Later Tang appointed Han Zhaoxin (originally written as Zhaoyi) as prime minister. The garrison troops in Xinzhou rebelled. The Wu state changed its era name to Tianzuo, and the Min state changed its era name to Yonghe. A minister of the Min state, Li Fang, assassinated King Wang Yenjun and installed Wang Chang, the son of Wang Yenjun, as emperor, who later became King Jipeng of the Min state, known as Emperor Kangzong. In the year Bingshen (936), the Later Tang appointed Ma Yinsun as prime minister and transferred the governor of Taiyuan, Shi Jingtang, to take charge of Wenyang. Shi Jingtang then raised an army from Taiyuan, seeking the support of the Khitan ruler Yelü Dehuang, and proclaimed himself emperor, advancing to Luoyang to replace the Later Tang, changing the state name to Jin, historically known as the Later Jin, with the era name Tianfu. He appointed Sang Weihan and Zhao Ying, both from Pingzhou, as prime ministers, and Feng Dao remained in the position of prime minister. He also ceded the region of Jibei, including the Yanyun Sixteen Prefectures, to the Khitan. Li Congke died by self-immolation in the Xuanwu Pavilion. Jingnan and the Two Zhe regions expressed their allegiance. The ruler of the Min state, Wang Chang, executed Li Fang and changed the era name to Tongwen. In the year Dingyou (937), the Later Jin appointed Li Song as prime minister. The rebels Zhang Congbin in Heyang, Fan Yanzhong in Weizhou, Fu Yanyao in Huazhou, and Lu Wencheng in Anzhou successively defied the court, but all were eventually suppressed. The general Xu Zhihao of the Wu state replaced the Wu dynasty in Jinling, initially naming the state Qi, then changing it to Tang, known as the Southern Tang, with the era name Shengyuan. He restored his original surname Li, changed his name to Li Bian, and appointed Song Qixiu and Xu Jie as his left and right prime ministers. He moved the deposed emperor Yang Pu to Dantu and later executed him.

戊戌　晉徙都汴。魏州範延光服命，封高平王，移鎮汶陽。北狄耶律德光改元會同。 己亥　閩亂，連重遇殺其君昶，立其叔父延羲，改元永隆。 庚子　晉用和凝為相。李金全以安叛，命馬全節以十郡之師平之。 辛丑　晉帝石敬瑭北巡鄴。安重進以襄叛，安重榮以鎮叛。兩浙錢元瓘卒。子弘佐繼。 壬寅　晉帝石敬瑭終於鄴。從子齊王重貴立，侍衛將軍耿延廣專政，始貳於狄。漢劉巖卒，子玢繼，改元光大。

In the year of Wuxu (938), the Later Jin moved its capital to Bianliang. Fan Yanzhuan of Weizhou submitted to the imperial court and was granted the title of High Prince of GaoPing, and was transferred to govern WenYang. The Khitan ruler Yelü De Guang changed the era name to Tonghui. In the year of Jihai (939), there was internal strife in the state of Min. General Lian Chongyu killed the ruler Wang Chang of Min and replaced him with Wang Yanxi, the uncle of Wang Chang, and changed the era name to Yonglong. In the year of Gengzi (940), the Later Jin appointed He Nong as chancellor. Li Jinquan rebelled in Anzhou, and the court ordered Ma Quanjie to lead an army of ten prefectures to suppress the rebellion. In the year of Xinchou (941), the Jin High Emperor Shi Jingtang toured the north to Yedou. An Zongjin (originally written as An Chongjin) rebelled in Xiangzhou, and An Chongrong rebelled in Zhenzhou. Quan Yuanguan of Wuyue died, and his son Quan Hongzuo succeeded him. In the year of Rennyin (942), Shi Jingtang died in Yedou. His nephew, Prince Zhi of Jin, Shi Chonggui, succeeded him and became Emperor Shizong of Jin; the military commander Jing Yan Guang (originally written as耿 Yan Guang) dominated the court, began to adopt a firm stance towards the Khitan, and thus a rift arose between the two states. Liu Yan of Nanhan died, and his son Liu Bin succeeded him, changing the era name to Guangtian (originally written as Guangda).

癸卯　晉楊光遠以青叛，北狄入寇。漢亂，弟晟殺其君玢，代立，改元應乾，再改元乾和。江南李昇卒，子璟繼，改元保大，宋齊邱、周京為相，平白雲蠻於虔州。閩王延羲弟延政亦稱帝建州，國曰殷，元曰天德。 甲辰　晉改元開運，北狄入寇，至於貞博。封晉陽劉知遠為太原王，劉煦為相。閩亂，大將朱文進殺其君延羲，代立，以福州稱附於晉。 乙巳　北狄大入寇晉河朔，至於磁相。封劉知遠北平王，罷和凝、桑維翰相，以馮玉為相，李崧知樞密院事。 丙午　晉大將杜重威、李守貞及裨將張彥澤以軍降狄於中渡，彥澤以兵五百人入汴，為狄清路，幽其君重貴於開封府。南唐平閩之建州，滅王延政。

In the year of Guimao (943), Yang Guangyuan of the Later Jin rebelled in Qingzhou, and the Khitan followed with an invasion. Southern Han experienced internal strife, with Liu Bing's brother Liu Sheng killing his brother and taking the throne. He first changed the era name to Yijing, then to Qianhe. In Jiangnan, the founder of Southern Tang, Li Bian, died, and his son Li Jing succeeded him, changing the era name to Baoda. He appointed Song Qixiu and Zhou Zong (originally written as Zhou Jing) as chancellors and pacified the Baiyun Man in Qianzhou. Also in that year, Wang Yanzhi, the ruler of Min, was killed by his brother Wang Yanzheng, who declared himself emperor in Jianzhou, establishing the state name as Yin and the era name as Tiande. In the year of Jiachen (944), the Later Jin changed its era name to Kaiyun, and the Khitan invaded, advancing as far as the areas around Chanzhou and Boshou. The court enfeoffed Liu Zhiyuan of Jiaying as the Prince of Taiyuan and appointed Liu Xu as chancellor. Min again experienced internal strife, with General Zhu Wenjin killing the ruler Wang Yanzhi and declaring himself emperor, submitting to the Later Jin with Fuzhou. In the year of Yisi (945), the Khitan launched a large-scale invasion into the Hehuo region of Later Jin, reaching as far as Cizhou and Xiangzhou. The court enfeoffed Liu Zhiyuan as the Prince of Beiping, dismissed Huo Neng and Sang Weihan from their chancellor positions, and appointed Feng Yu as chancellor, and Li Song as chief of the Secretariat. In the year of Bingwu (946), Later Jin generals Du Chongwei, Li Shouzhen, and their deputy Zhang Yanzhe surrendered their entire army to the Khitan at Zhongdu. Zhang Yanzhe led five hundred soldiers ahead to open the way for the Khitan into Bianliang, and imprisoned the Later Jin emperor Shi Chonggui in the Kaifeng Prefecture. Southern Tang captured Jianzhou of Min and destroyed Wang Yanzheng's state.

丁未　正月，契丹耶律德光入汴，滅晉，改國曰遼，誅張彥澤，徙其君重貴於北荒，致之龍城。二月，北平王劉知遠稱帝晉陽，年用天福，是謂高祖。五月，契丹潰於汴，耶律德光留相蕭翰守汴。翰求後唐明宗子從益，立之而去。六月，劉知遠留子崇守太原，南入汴代命，建國曰漢，用蘇逢吉、蘇禹珪為相，又以竇貞固、李濤為相，楊邠、郭威為樞密使。相馮道、李崧自欒城至。杜重威以魏州拒命。閩國分為三。荊南、兩浙稱附於漢。吳越錢弘佐卒，弟弘倧立。狄契丹耶律德光還，至欒城卒，兄之子兀欲代立，歸國，廢德光母，改元天祿。

In the year of Dingwei (947), in the first lunar month, the Khitan leader Yelü Dehuang attacked and captured Bianliang, destroyed the Later Jin dynasty, changed the state name to Liao, executed Zhang Yanzhe who had led the way, and exiled Shi Chonggui, the emperor of Later Jin, to a remote northern region, settling him in Longcheng. In the second lunar month, Prince Beiping Liu Zhiyuan declared himself emperor in Jinyang, continuing to use the Tianfu era name of Later Jin, thus becoming the High Ancestor of Later Han. In the fifth lunar month, the Khitan could not hold Bianliang and retreated northward, with Yelü Dehuang leaving Chancellor Xiao Han to guard Bianliang; Xiao Han then brought in Li Congyi, the son of the Later Tang Mingzong emperor, and supported him on the throne before leaving himself. In the sixth lunar month, Liu Zhiyuan left his son Liu Chong to guard Taiyuan, and himself moved south to Bianliang to replace Later Jin, establishing the state name Han, historically known as Later Han, appointing Su Fengji and Su Yugu as chancellors, and adding Dou Zhenyu and Li Tao as chancellors, Yang Bin and Guo Wei as secretaries of state; former chancellor Feng Dao and Li Song also came from Luan Cheng to submit to him. Du Chongwei rebelled in Weizhou. The state of Min split into three. Jingnan and the Two Zhe regions submitted to Later Han. The ruler of Wuyue, Qian Hongzuo, died, and his brother Qian Hongnong succeeded him. Yelü Dehuang returned north, and died of illness in Luan Cheng. His nephew Wuyu, who was the son of his brother, succeeded him as the Emperor Shizong of Liao. Upon returning to the capital, he deposed the empress dowager Shulü and changed the era name to Tianlu.

戊申　漢改元乾祐。帝知遠終，子周王承祐繼，罷李濤相，以楊邠為相，平鄴，誅杜重威。李守貞以河中阻命，王景崇以鳳翔叛，趙思綰以永興抗命，郭威以樞密使西伐之。浙東亂，大將胡思進廢其君弘倧，立其弟俶。 己酉　漢之蒲、雍、岐三叛，平。契丹寇河北，命郭威以樞密使北伐鎮鄴。 庚戌　漢夷宰相楊贇、侍衛將軍史宏肇、三司使王章族，賜澶州王殷、魏州郭威、王峻死。十二月，樞密使郭威以魏兵入，渡河，敗內軍於劉子陂，其主承祐野死。郭威至汴，請宰相馮道，迎其君之弟承珪于徐州，還至澶淵，軍變。復入汴。太后命威監國，降承珪為湘陰公，誅宰相蘇逢吉及劉銖。

In the year of Wushen (948), the Later Han changed its era name to Qianyu. The high emperor Liu Zhiyuan died, and his son, the Prince of Zhou Liu Chengyou, succeeded the throne, becoming the Later Han Hidden Emperor. He dismissed Li Tao from his position as chancellor and appointed Yang Bin as chancellor instead. He quelled the rebellion in Yehu, executed Du Chongwei. Li Shouzhen rebelled in Hezhong, Wang Jingchong rebelled in Fengxiang, and Zhao Siwan rebelled in Yongxing, and the court sent the chancellor-in-waiting Guo Wei to the west to suppress them. There was internal disorder in the eastern Zhejiang region, and the general Hu Jinsī (originally written as 'Hu Sījìn') deposed the King of Wu Yue Qian Hongnong and instead installed his younger brother Qian Hongchu as the new ruler. In the year Jiyou (949), the rebellions in Puzhou, Yongzhou, and Qizhou in the Later Han were all quelled. The Khitan invaded Hebei, and the court ordered Guo Wei to lead an expedition northward as chancellor-in-waiting to defend the capital at Yehu. In the year Gengxu (950), the Later Han executed the chancellors Yang Bin, Shi Hongzhao, and San Si Shi Wang Zhang, and also issued an edict ordering the death of Wang Yin in Chanzhou, Guo Wei in Weizhou, and Wang Jun. In December, Guo Wei led the troops from Weizhou southward, crossed the Yellow River, and defeated the imperial army at Liu Zi陂. The Hidden Emperor Liu Chengyou died in the chaos. After Guo Wei entered Bianliang, he invited the chancellor Feng Dao to Xuzhou to welcome the royal family member Liu Yun (originally written as 'Chenggui') to ascend the throne. However, on the way to Chanyuan, the soldiers mutinied and proclaimed Guo Wei as their leader. Guo Wei then returned to Bianliang. The empress dowager ordered Guo Wei to act as regent, demoted Liu Yun to the title of Xiangyin Marquis, and executed the chancellors Su Fengji and Liu Zhu.

辛亥　正月，監國郭威代漢命於汴，是謂太祖，改國曰周，元曰應順，王峻、范質、馮道為相。湘陰公死於宋州。兗州慕容彥超不受命。荊南、兩浙稱附。太原劉崇稱帝河東，國曰漢，年用乾祐。江南唐平湖南，徙其屬於金陵。北狄亂，契丹兀欲為其族述乾所殺，德光子述律平其亂，代立，改元應歷，易名為璟。 壬子　周平兗州。 癸丑　周冊皇后侄柴榮為皇太子，封晉王，尹開封府，流王峻於商州，王殷於登州，皆殺之。李谷、馮道為相。

In the Xinhai year (951), the regent Guo Wei took control of Bianliang and overthrew the Later Han to establish himself as the founder of the Later Zhou dynasty, with the state name Zhou and the era name Guangshun (originally written as "Yingshun"). He appointed Wang Jun, Fan Zhi, and Feng Dao as chancellors. Prince Xiangyin Liu Yun died in Songzhou. Mu Rong Yanchao in Yanzhou refused to submit. Jingnan and the Two Zhe regions expressed their allegiance. Liu Chong, the brother of Liu Zhiyuan, established himself as emperor in Taiyuan, ruling over Hedong and continuing to use the Han dynasty name, historically known as the Northern Han, with the era name continuing to be Qianyu. The Southern Tang dynasty destroyed the Huaxian Ma clan in Hunan, and moved the descendants of the Chu state to Jinling. The Khitan experienced internal strife, with the Liao Shizong Wuyu being killed by his cousin Cazhe (originally written as "Shuqian"). After Yelü De Guang's son Shu Liuying quelled the rebellion, he ascended the throne, changed the era name to Yingle, and renamed himself Jing, becoming the Liao Mugong. In the Renzi year (952), the Later Zhou subdued Yanzhou. In the Guichou year (953), the Later Zhou appointed Chai Rong, the nephew of the empress dowager of the Taizu, as crown prince, granting him the title of Prince of Jin and concurrently the position of governor of Kaifeng. Wang Jun was exiled to Shangzhou and Wang Yin to Dengzhou, and both were later executed. Li Gu and Feng Dao served as chancellors.

甲寅　周鄭仁誨、王溥為相，改元顯德。太祖威終，晉王榮紹位於汴宮。河東劉崇以契丹之師入寇，周主榮親征，大破劉崇於高平，誅不用命者將校七十人。進攻太原，不克。澤、潞、汾、遼、忻、代、嵐、石迎降。宰相馮道卒於汴州。 乙卯　周大伐江南及蜀。漢劉崇卒，子承鈞繼。 丙辰　周廣汴都外城，南伐，取唐之滁、和，敗其軍於渦口。漢劉承鈞改元天會。 丁巳　周李谷罷相，王樸為樞密使，伐江南有功。唐改元交泰，兵敗於紫金山，請以江北地求和於周。

In the year Jiayin (954), the Later Zhou appointed Zheng Renhui and Wang Pu as chancellors and changed the era name to Xiande. Taizu Guo Wei died, and Prince Jin Wang Chai Rong succeeded on the throne in the Bian Palace, becoming Emperor Shizong of Zhou. The Northern Han's Liu Chong took advantage of the Khitan army to invade, but Shizong personally led the campaign and defeated Liu Chong at Gaoping. After the battle, seventy officers who fled the battlefield were executed. He then advanced to attack Taiyuan but failed to capture it. The states of Ze, Lu, Fen, Liao, Xin, Dai, Lan, and Shi successively surrendered. Chancellor Feng Dao died in Bianzhou. In the year Yimao (955), the Later Zhou launched a large-scale campaign against the southern Tang and the western Later Shu. Liu Chong of the Northern Han died, and his son Liu Chengjun succeeded him. In the year Bingchen (956), the Later Zhou expanded the outer city of Bianliang and launched a southern campaign against the Tang, capturing the Tang cities of Chuzhou and Hezhou. They defeated the Tang army at Weikou. Liu Chengjun of the Northern Han changed the era name to Tianhui. In the year Dingsi (957), the Later Zhou dismissed Li Gu as chancellor and appointed Wang Pu as the chief military commissioner, achieving military success in the campaign against the southern Tang. The southern Tang changed its era name to Jiaotai and suffered a great defeat at Purple Mountain, and was forced to request the cession of the northern Jiang region in order to seek peace with the Later Zhou.

戊午　周受唐江北地。南漢劉晟卒，子鋹繼，改元大寶。唐請附於周，殺宰相宋齊立及陳覺、李知古。 己未　周征契丹，至於瓦橋，取瀛、莫、易，置雄、霸，遂趣幽州、寧雄、瀛、莫迎，有疾，乃還，復冊妃符氏為皇后，子崇訓為皇太子，封梁王，用魏仁溥、范質為相，趙匡胤進位檢校太傅，充殿前都點檢。世宗榮終，皇太子崇訓嗣位。 庚申 辛酉 壬戌 癸亥

In the Wuwu year (958), the Later Zhou received the northern territories ceded by the Southern Tang. The Southern Han ruler Liu Sheng died, and his son Liu Chan succeeded him, changing the era name to Dabao. The Southern Tang submitted to the Later Zhou and became its vassal, while also executing the chancellor Song Qiqlu (originally written as "Song Qilu"), as well as Chen Jue and Li Zhigǔ. In the Jiwei year (959), Emperor Shizong of Later Zhou launched a northern campaign against the Khitan, reaching the Waqiao Pass, and recaptured Yingzhou, Mozhou, and Yizhou. He established Xiongzhou and Bazo, and was about to advance toward Youzhou when Ningzhou and the states of Xiong, Ying, and Mo successively submitted. However, Emperor Shizong fell ill in the army and had to return. Upon his return, he appointed Fu Fei as empress and designated his son Chi Zongxun (originally written as "Chongxun") as crown prince, granting him the title of Prince Liang. He appointed Wei Renpu and Fan Zhi as chancellors, and promoted Zhao Kuangyin to the position of Grand Master of the Imperial Guards, serving as the Commander-in-Chief of the Imperial Guard. Soon after, Emperor Shizong died, and the crown prince succeeded him, becoming Emperor Gongdi of Later Zhou. In the following four years, Gengshen (960), Xinyou, Renxu, and Guihai, the text only lists the heavenly stems and earthly branches without recording specific events. Gengshen was the year of the Chenqiao mutiny, when Zhao Kuangyin replaced the Later Zhou and established the Song dynasty. Shao Yong, being a native of the Song dynasty, omitted historical events after the founding of the Song to show his reluctance to comment on contemporary matters.

日日聲平闢 水水音開清 多良千刀妻 古黑安夫卜東 宮心●●● 乃走思■■■ 日日聲七，下唱地之 水水音九，上和天之 用音一百五十二，是 用聲一百一十二，是 謂平聲闢音。平聲闢 謂開音清聲。開音清 音一千六十四。 聲一千八。 日日聲平之一闢 水水音開之一清 平聲闢唱呂一之一 開音清和律一之一

"The title of the left and right halves of this diagram is 'Daily Sound Level and Water Sound Clear.' Shao Yong assigned 'sound' to Heaven and 'sound' to Earth: Heaven has the sun, moon, and stars, which correspond to the four tones—level, rising, falling, and entering; Earth has water, fire, soil, and stone, which correspond to the four sounds—opening, issuing, gathering, and closing. 'Daily sound' refers to the position of the sun (level tone) in the sky, which is the category of level tones with the mouth open, hence also called 'level opening'; 'Water sound' refers to the position of water (opening sound) on Earth, which is the category of opening sounds with a light and clear tone, hence also called 'opening clear.' The two rows below list the headings used in this diagram: on the sound side, the characters are multiple, good, thousand, knife, wife, palace, heart, totaling seven characters, with three dots following; on the sound side, the characters are ancient, black, peace, husband, divination, east, none, walk, thought, totaling nine characters, with three squares following. These circular, square, black, and white symbols are not missing characters from the original text, but symbols created by Shao Yong: a circle indicates that there is a principle of sound but no corresponding Chinese character; three dots indicate that even sound does not exist, making it a purely empty position; a square indicates that there is a sound but no corresponding character; three squares indicate that there is no sound at all. The sound has ten positions and the sound has twelve positions. The first seven sounds and the first nine sounds are used, while the rest are left as empty positions to complete the total number. The next four lines discuss the numbers used: the category of level tones with opening sound actually has seven tones, which correspond downward to the used sounds on Earth, totaling 152, and seven multiplied by 152 gives 1,064, which is called 'one thousand and sixty-four level opening sounds'; the category of opening sounds with clear tone actually has nine sounds, which correspond upward to the used tones on Heaven, totaling 112, and nine multiplied by 112 gives 1,008, which is called 'one thousand and eight opening clear sounds.' As for the terms 'singing Lu' and 'harmonizing lu,' they are taken from the music system: 'Lu' belongs to the yang and is associated with Heaven, while 'Lu' belongs to the yin and is associated with Earth; the sound from Heaven is above, and what is sung is the sound from Earth, hence called 'singing Lu'; the sound from Earth is below, and what is harmonized is the sound from Heaven, hence called 'harmonizing Lu.' 'One of one' refers to the first diagram's first singing and first harmonizing."

古甲九癸多多多多 古古古古多可個舌 一音 口口近揆多多多多 一音 古古古古禾火化八 一聲 坤巧丘棄多多多多 一聲 古古古古開宰愛○ □□乾蚪多多多多 古古古古回每退○ 黑花香血多多多多 古古古古良兩向○ 二音 黃華雄賢多多多多 一音 古古古古光廣況○ 一聲 五瓦仰□多多多多 二聲 古古古古丁井亙○ 吾牙月堯多多多多 古古古古兄永瑩○ 安亞乙一多多多多 古古古古千典旦○ 三音 □爻壬寅多多多多 一音 古古古古元犬半○ 一聲 母馬美米多多多多 三聲 古古古古臣引艮○ 目貌眉民多多多多 古古古古君允巽○ 夫法□飛多多多多 古古古古刀早孝嶽 四音 父凡□吠多多多多 一音 古古古古毛寶報霍 一聲 武晚□尾多多多多 四聲 古古古古牛斗奏六 文萬□未多多多多 古古古古○○○玉 卜百丙必多多多多 古古古古妻子四日 五音 步白備鼻多多多多 一音 古古古古衰○帥骨 一聲 普撲品匹多多多多 五聲 古古古古○○○德

From this point on, the text is arranged in a tabular form. The left half uses the first tone's aspirated character "duo" as the singing syllable, while the right half uses the first tone's clear character "gu" as the harmonizing syllable. The first four characters in each line are the base characters being paired, and the last four characters are the repeated singing or harmonizing syllables. On the left, for example, "gu jia jiu gui" is paired with "duo duo duo duo," while on the right, "gu gu gu gu" is paired with "duo ke ge she." It is important to distinguish the pronunciation of the four characters on each side: the side with the singing syllables all belong to the same place of articulation and are arranged according to the four categories of opening, releasing, closing, and stopping, corresponding to water, fire, earth, and stone. The characters "gu," "jia," "jiu," and "gui" are compared to the system of rhyme in later times, showing that they all belong to the dental category and are distributed across the four rhyme classes. On the side with the harmonizing syllables, the four characters all belong to the same rhyme and are arranged according to the four tones of level, rising, falling, and entering, corresponding to sun, moon, star, and constellation. The characters "duo," "ke," "ge," and "she" represent the four tones within the same rhyme, from level to entering. The left half begins with "gu jia jiu gui," "jin kui," "kun qiao qiu qi," "qian tuo," then proceeds through "he hua xiang xue," "huang hua xiong xian," "wu wa yang," "wu ya yue yao," then "an ya yi yi," "yao ren yin," "mu ma mei mi," "mu mao mei min," then "fu fa fei," "fu fan fei," "wu wan wei," "wen wan wei," up to "bu bai bing bi," "bu bai bei bi," "pu pu pin pi." The right half begins with "duo ke ge she," "he huohua ba," "kai zai ai," "hui mei tui," then proceeds through "liang liang xiang," "guang guang kuang," "ding jing geng," "xiong yong ying," then "qian dian dan," "yuan quan ban," "chen yin gen," "jun yun xun," then "dao zao xiao yue," "mao bao bao huo," "niu dou zou liu," up to "fu qi si ri," "shuai shuai gu." In the line "jin kui," the original text has two "kou" characters at the beginning, while other similar positions are left as empty blocks, likely due to the carver's mixing of styles. The text is recorded according to the original form of the base text.

旁排平瓶多多多多 古古古古龜水貴北 東丹帝■多多多多 古古古古宮孔眾○ 六音 兌大弟■多多多多 一音 古古古古龍甬用○ 一聲 土貪天■多多多多 六聲 古古古古魚鼠去○ 同覃田■多多多多 古古古古烏虎兔○ 乃你女■多多多多 古古古古心審禁○ 七音 內南年■多多多多 一音 古古古古○○○十 一聲 老冷呂■多多多多 七聲 古古古古男坎欠○ 鹿犖離■多多多多 古古古古○○○妾 走哉足■多多多多 古古古古●●●● 八音 自在匠■多多多多 一音 古古古古●●●● 一聲 草采七■多多多多 八聲 古古古古●●●● 曹才全■多多多多 古古古古●●●● 思三星■多多多多 古古古古●●●● 九音 寺□象■多多多多 一音 古古古古●●●● 一聲 □□□■多多多多 九聲 古古古古●●●● □□□■多多多多 古古古古●●●● ■山手■多多多多 古古古古●●●● 十音 ■士石■多多多多 一音 古古古古●●●● 一聲 ■□耳■多多多多 十聲 古古古古●●●●

This section continues with the sequence. The left half still uses "多" as the initial sound: the parallel arrangement of the five tones ends with the fifth line, "平瓶," which belongs to the five tones. The sixth tone includes "东丹帝, 兑大弟, 土贪天, 同覃田," and the seventh tone includes "乃你女, 内南年, 老冷吕, 鹿荦离," the eighth tone includes "走哉足, 自在匠, 草采七, 曹才全," the ninth tone includes "思三星, 寺象," and the tenth tone includes "山手, 士石, 耳." The fourth character in each of these groups is written as ■, indicating that there are no suitable characters for the "石" class in the category of tongue and dental sounds. The right half still uses "古" as the harmonizing element, first harmonizing the last line of the fifth tone "龟水贵北," then the sixth tone "宫孔众, 龙甬用, 鱼鼠去, 乌虎兔," the seventh tone "心审禁, 男坎欠," and from the eighth tone onwards, all sound positions are empty, so the entire section is marked with ●. By comparing both sides, it is clear that these are two different arrangements for the same moment: the sound comes first as the singing part, and the tone comes after as the harmonizing part. The singer must traverse the forty-eight positions of the twelve tones, while the harmonizer must traverse the forty positions of the ten tones, together forming a complete pairing of every sound and tone. Since the two cycles are of different lengths, the starting points of the left and right sides are offset from each other, so the left and right halves of the same line often belong to different sections. When reading, one must not connect the eight characters of a line into a single sentence. In the original book, the left and right halves were printed on facing pages, with the left page containing the table for singing sounds and the right page containing the table for harmonizing tones. The current version has been compressed into a single line with two columns, leaving only a space in the middle, so each line must be first divided into left and right, and then counted according to the rows of each table to avoid confusion.

■□二■多多多多 古古古古●●●● 開音清和律一之二 ■莊震■多多多多 黑黑黑黑多可個舌 十一音 ■乍□曰多多多多 二音 黑黑黑黑禾火化八 一聲 ■叉赤■多多多多 一聲 黑黑黑黑開宰愛○ ■崇辰■多多多多 黑黑黑黑回每退○ ■卓中■多多多多 黑黑黑黑良兩向○ 十二音 ■宅直■多多多多 二音 黑黑黑黑光廣況○ 一聲 ■拆丑■多多多多 二聲 黑黑黑黑丁井亙○ ■茶呈■多多多多 黑黑黑黑兄永瑩○

On the left side, up to this point, the character "duo" has been paired with the last character of the ten-sound system. Then, the eleven-sound system is paired with the characters zhuang, zhen, zha, cha, chi, chong, chen, and the twelve-sound system with zhuo, zhong, zhai, zhi, chai, chou, cha, cheng. Among these four groups, only the middle two positions have characters, while the first and last positions are marked with ■. The character "zha" is followed by "yue" in the original text, but this does not match the square characters in other positions of the same rank, which suggests it is an error in the carved version. The original form is retained. On the right side, a new section begins: "Kaiyin Qinghe Law Yi Zhi Er" (Opening Sound Clear and Harmonious Law One and Two), which then uses the second sound's clear tone character "hei" as the "he" (harmony), starting again from the first tone. It first pairs "he" with "duo", "ke", "ge", "she", "huo", "hua", "ba", then with "kai", "zai", "ai", "hui", "mei", "tui". Next comes the second tone: "liang", "liang", "xiang", "guang", "guang", "kuang", "ding", "jing", "geng", "xiong", "yong", "ying". The terms "Shiyin" (Eleven Sounds), "Yisheng" (First Tone), "Er Yin" (Second Sound), and "Ersheng" (Second Tone) are not part of the main text but are labels carved on the sides of the characters, indicating their positions. When reading, these should be considered as small notes at the beginning of each line.

平聲闢唱呂一之二 古甲九癸良良良良 黑黑黑黑千典旦○ 一音 □□近揆良良良良 二音 黑黑黑黑元犬半□ 二聲 坤巧丘棄良良良良 三聲 黑黑黑黑臣引艮□ □□乾蚪良良良良 黑黑黑黑君允巽○ 黑花香血良良良良 黑黑黑黑刀早孝嶽 二音 黃華雄賢良良良良 二音 黑黑黑黑毛寶報霍 二聲 五瓦仰□良良良良 四聲 黑黑黑黑牛斗奏六 吾牙月堯良良良良 黑黑黑黑○○○玉 安亞乙一良良良良 黑黑黑黑妻子四日 三音 □爻壬寅良良良良 二音 黑黑黑黑衰○帥骨 二聲 母馬美米良良良良 五聲 黑黑黑黑○○○德 目貌眉民良良良良 黑黑黑黑龜水貴北 夫法□飛良良良良 黑黑黑黑宮孔眾○ 四音 父凡□吠良良良良 二音 黑黑黑黑龍甬用○ 二聲 武晚□尾良良良良 六聲 黑黑黑黑魚鼠去○ 文萬□未良良良良 黑黑黑黑烏虎兔○ 卜百丙必良良良良 黑黑黑黑心審禁○ 五音 步白備鼻良良良良 二音 黑黑黑黑○○○十 二聲 普撲品匹良良良良 七聲 黑黑黑黑男坎欠○ 旁排平瓶良良良良 黑黑黑黑○○○妾

"The 'Ping Sheng Pi Chang Lu Yi Zhi Er' refers to replacing the character 'chang' with the second tone 'pi' sound of the character 'liang'. The left half then starts over from the beginning: for the first tone, the ancient characters are Jia, Ji, Gui, the near ones are Kui, Kun, Qiu, Qi, the Heaven character is Yu, the Dragon character is Yu, the Earth character is Yu; for the second tone, the characters are Hei, Hua, Xiang, Xue, Huang, Hua, Xiong, Xian, Wu, Wa, Yang, Wu, Ya, Yue, Yao; for the third tone, the characters are An, Ya, Yi, Yi, Yao, Renyin, Mu, Ma, Mei, Mi, Mu, Mo, Mei, Min; for the fourth tone, the characters are Fu, Fa, Fei, Fu, Fan, Fei, Wu, Wan, Wei, Wen, Wan, Wei; for the fifth tone, the characters are Bu, Bai, Bing, Bi, Bu, Bai, Bei, Bi, Pu, Pu, Pin, Pi, Pang, Pai, Ping, Ping. Each of these is sung with four 'liang' characters. The right half continues with the second tone 'hei' and harmonizes in sequence to the third tone 'qian', 'dian', 'dan', 'yuan', 'quan', 'ban', 'chén', 'yin', 'gen', 'jun', 'yun', 'xun'; the fourth tone 'dao', 'zao', 'xiao', 'yue', 'mao', 'bao', 'bao', 'huo', 'niu', 'dou', 'zou', 'liu'; the fifth tone 'qi', 'zi', 'si', 'ri', 'shuai', 'shuai', 'gu', 'shui', 'gui', 'bei'; the sixth tone 'gong', 'kong', 'zhong', 'long', 'nong', 'yong', 'yong', 'yong', 'yu', 'shu', 'qu', 'yu', 'shu', 'qu', 'wu', 'hu', 'tu'; and the seventh tone 'xin', 'shen', 'jin', 'nan', 'kan', 'qian'. Among these are the symbols ○ and □, which still indicate positions where there is sound but no character, and where there is a tone but no character. Shao Yong created this diagram not to compile a rhyme book. The scholars of equal rhyme divide consonants and vowels to help in slicing characters; Shao Yong divided ten tones and twelve sounds to help in calculating numbers: the number of uses of tones is 112, the number of uses of sounds is 152, and multiplying these two gives 17,724. He believed that all the sounds in the world are contained within this, and from the numbers of sounds, he could infer the numbers of moving creatures, plants, and flying animals, so he preferred to leave many empty positions rather than leave the structure incomplete."

東丹帝■良良良良 黑黑黑黑●●●● 六音 兌大弟■良良良良 二音 黑黑黑黑●●●● 二聲 土貪天■良良良良 八聲 黑黑黑黑●●●● 同覃田■良良良良 黑黑黑黑●●●● 乃你女■良良良良 黑黑黑黑●●●● 七音 內南年■良良良良 二音 黑黑黑黑●●●● 二聲 老冷呂■良良良良 九聲 黑黑黑黑●●●● 鹿犖離■良良良良 黑黑黑黑●●●● 走哉足■良良良良 黑黑黑黑●●●● 八音 自在匠■良良良良 二音 黑黑黑黑●●●● 二聲 草采七■良良良良 十聲 黑黑黑黑●●●● 曹才全■良良良良 黑黑黑黑●●●●

Continuing from above, the character 'liang' is still used. On the left side, the six-sound section continues with Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian. The seven-sound section includes Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li. The eight-sound section includes Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan. On the right side, it has now reached the eighth, ninth, and tenth tones, which in Shao Yong's framework were originally empty. Therefore, all twelve rows are filled with four ●, forming a contrast with the left side which has characters to read. This method of arranging one side full and the other empty is meant to show that the sounds of Heaven and the tones of Earth each have their usable and unusable numbers: those that can be expressed and have characters are called 'used', while those that have a position but no actual character are called 'empty'. The numbers of used and empty positions combine to form the complete pattern of ten sounds and twelve tones. If the empty positions were deleted, the number of rows on the diagram would be insufficient, making it impossible to proceed with calculations. Therefore, Shao Yong chose to retain the empty positions.

開音清和律一之三 思三星■良良良良 安安安安多可個舌 九音 寺□象■良良良良 三音 安安安安禾火化八 二聲 □□□■良良良良 一聲 安安安安開宰愛○ □□□■良良良良 安安安安回每退○ ■山手■良良良良 安安安安良兩向○ 十音 ■士石■良良良良 三音 安安安安光廣況○ 二聲 ■□耳■良良良良 二聲 安安安安丁井亙○ ■□二■良良良良 安安安安兄永瑩○ ■莊震■良良良良 安安安安千典旦○ 十一音 ■乍□■良良良良 三音 安安安安元犬半○ 二聲 ■叉赤■良良良良 三聲 安安安安臣引艮○ ■崇辰■良良良良 安安安安君允巽○ ■卓中■良良良良 安安安安刀早孝嶽 十二音 ■宅直■良良良良 三音 安安安安毛寶報霍 二聲 ■拆丑■良良良良 四聲 安安安安牛斗奏六 ■茶呈■良良良良 安安安安○○○玉

The left half pairs "liang" with the last four groups: for the ninth tone, "si sanxing", "si xiang"; for the tenth tone, "shan shou", "shi shi", "er", "er"; for the eleventh tone, "zhuang zhen", "zha", "cha chi", "chong chen"; and for the twelfth tone, "zhuo zhong", "zai zhi", "che chou", "cha cheng". By this point, the second tone "liang" has been paired with all forty-eight positions of the twelfth tone. The left half can then move on to the next tone. The right half starts a new section, "kai yin qing he lv yi zhi san", replacing the "he" character with the third tone's clear sound "an", and begins again from the first tone: for the first tone, "duo ke ge she", "he huohua ba", "kai zai ai", "hui mei tui"; for the second tone, "liang liang xiang", "guang guang kuang", "ding jing geng", "xiong yong ying"; for the third tone, "qian dian dan", "yuan quan ban", "chen yin gen", "jun yun xun"; and for the fourth tone, "dao zao xiao yue", "mao bao bao huo", "niu dou zou liu". The character "an" is the third position in the clear sound of the open tone, and it can pair with the same sound positions as the previous two sections. The difference is only in the tone that serves as the harmonizing sound. This clearly shows that in the diagram, only the singing tone and the harmonizing tone are changing, while the forty-eight sound positions and forty tone positions remain constant. The four characters "duo ke ge she" include "duo" as a level tone, "ke" as a rising tone, "ge" as a falling tone, and "she" as a entering tone. All four tones are present within one rhyme, which is the actual content of the four positions of the sun, moon, stars, and constellations. In the diagram, every group of sounds follows this example.

平聲闢唱呂一之三 古甲九癸千千千千 安安安安妻子四日 一音 □□近揆千千千千 三音 安安安安衰○帥骨 三聲 坤巧丘棄千千千千 五聲 安安安安○○○德 □□乾蚪千千千千 安安安安龜水貴北 黑花香血千千千千 安安安安宮孔眾○ 二音 黃華雄賢千千千千 三音 安安安安龍甬用○ 三聲 五瓦仰■千千千千 六聲 安安安安魚鼠去○ 吾牙月堯千千千千 安安安安烏虎兔○ 安亞乙一千千千千 安安安安心審禁○ 三音 ■爻壬寅千千千千 三音 安安安安○○○十 三聲 母馬美米千千千千 七聲 安安安安男坎欠○ 目貌眉民千千千千 安安安安○○○妾 夫法□飛千千千千 安安安安●●●● 四音 父凡□吠千千千千 三音 安安安安●●●● 三聲 武晚□尾千千千千 八聲 安安安安●●●● 文萬□未千千千千 安安安安●●●● 卜百丙必千千千千 安安安安●●●● 五音 步白備鼻千千千千 三音 安安安安●●●● 三聲 普撲品匹千千千千 九聲 安安安安●●●● 旁排平瓶千千千千 安安安安●●●●

"Level tone 'Ping' is paired with the third tone 'Qi' sound 'Qian'. The left half starts again from the beginning: for the first tone, the ancient 'Jia' and 'Jiu' 'Gui', near 'Kui', 'Kun' 'Qiao' 'Qiu' 'Qi', 'Qian' 'Yu'; for the second tone, 'Hei' 'Hua' 'Xiang' 'Xue', 'Huang' 'Hua' 'Xiong' 'Xian', 'Wu' 'Wa' 'Yang', 'Wo' 'Ya' 'Yue' 'Yao'; for the third tone, 'An' 'Ya' 'Yi' 'Yi', 'Yao' 'Ren' 'Yin', 'Mu' 'Ma' 'Mei' 'Mi', 'Mu' 'Mo' 'Mei' 'Min'; for the fourth tone, 'Fu' 'Fa' 'Fei', 'Fu' 'Fa' 'Fei', 'Wu' 'Wan' 'Wei', 'Wen' 'Wan' 'Wei'; for the fifth tone, 'Bu' 'Bai' 'Bing' 'Bi', 'Bu' 'Bai' 'Bei' 'Bi', 'Pu' 'Pu' 'Pin' 'Pi', 'Pang' 'Pai' 'Ping' 'Ping'. Each position is sung with four 'Qian' characters. The right half remains under the third tone 'An', and includes the fifth tone 'Fu' 'Qi' 'Si', 'Shuai' 'Gu', 'Gui' 'Shui' 'Gui' 'Bei', the sixth tone 'Gong' 'Kong' 'Zhong', 'Long' 'Nong' 'Yong', 'Yu' 'Shu' 'Qu', 'Wu' 'Hu' 'Tu', the seventh tone 'Xin' 'Shen' 'Jin', 'Nan' 'Kan' 'Qian'; the eighth and ninth tones have no sounds available, so they are all marked with ●. By observing both sides, it can be seen that the singer goes through forty-eight positions, while the harmonizer goes through forty positions. Therefore, in the diagram, each forty-eight lines correspond to one 'sung' character, and each forty lines correspond to one 'harmonized' character. The two sides are arranged alternately, which is the origin of the term 'sound singing and harmonizing'. The reason the 'sung' character is written four times in succession is because the line being paired has four positions, and each must be matched one by one, so it is written four times to fill the positions, not because a single character is read four times. The four characters 'Ancient Jia Jiu Gui' all belong to the dental sound, with 'Ancient Jia' belonging to the open sound, 'Jia' to the initial sound, 'Jiu' to the closing sound, and 'Gui' to the closed sound, which correspond exactly to the four categories of water, fire, earth, and stone. When viewing the diagram, first recognize the 'sung' and 'harmonized' characters, then identify the character being paired, and finally check the position according to the row number, making the rules clear and distinct."

東丹帝■千千千千 安安安安●●●● 六音 兌大弟■千千千千 三音 安安安安●●●● 三聲 土貪天■千千千千 十聲 安安安安●●●● 同覃田■千千千千 安安安安●●●● 開音清和律一之四 乃你女■千千千千 夫夫夫夫多可個舌 七音 內南年■千千千千 四音 夫夫夫夫禾火化八 三聲 老冷呂■千千千千 一聲 夫夫夫夫開宰愛○ 鹿犖離■千千千千 夫夫夫夫回每退○ 走哉足■千千千千 夫夫夫夫良兩向○ 八音 自在匠■千千千千 四音 夫夫夫夫光廣況○ 三聲 草采七■千千千千 二聲 夫夫夫夫丁井旦○ 曹才全■千千千千 夫夫夫夫兄永瑩○ 思三星■千千千千 夫夫夫夫千典旦○ 九音 寺□象■千千千千 四音 夫夫夫夫元犬半○ 三聲 □□□■千千千千 三聲 夫夫大夫臣引艮○ □□□■千千千千 夫夫夫夫君允巽○ ■山手■千千千千 夫夫夫夫刀早孝嶽 十音 ■士石■千千千千 四音 夫夫夫夫毛寶報霍 三聲 ■□耳■千千千千 四聲 夫夫夫夫牛斗奏六 ■□二■千千千千 夫夫夫夫○○○玉

The left half continues with "Qian" as the starting character, paired with the six-sound characters: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, seven-sound characters: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li, eight-sound characters: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, nine-sound characters: Si San Xing, Si Xiang, ten-sound characters: Shan Shou, Shi Shi, Er. The right half first completes the last two sounds of the third sound "An," with the ninth and tenth sounds being empty, so the line is marked with ●; then "Kai Yin Qing He Lu Yi Si" switches to the fourth sound's clear sound character "Fu" as the harmonizing character, and starts again from the first sound: Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui, second sound characters: Liang Liang Xiang, Guang Guang Kuang, Ding Jing Dan, Xiong Yong Ying, third sound characters: Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, fourth sound characters: Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu. Among these, the line "Ding Jing Dan" is usually written as "Ding Jing Gen," and the character "Da" in the line "Fu Fu Da Fu" should also be read as "Fu," which are errors in transmission from the printed edition; such similar character errors are common in these volumes of tables, and they are all copied as they appear in the original edition without any changes, to preserve the authenticity of the original text. The group "An Ya Yi Yi" belongs to the throat sounds, with the four characters being divided and developed in opening and closing; the groups "Mu Ma Mei Mi" and "Mu Mao Mei Min" belong to the lip sounds, with characters available for each of the four positions. Shao Yong selected characters solely based on their sound, without considering their meaning, so the characters listed in the diagram are mostly common words, and readers should not interpret them as terms, nor seek any subtle meanings within them. Each group consists of four lines, with the "Ji Yin" and "Ji Sheng" labels at the beginning of each group originally written vertically next to the four lines in the original printed edition.

■莊震■千千千千 夫夫夫夫妻子四日 十一音 ■乍□■千千千千 四音 夫夫夫夫衰○帥骨 三聲 ■叉赤■千千千千 五聲 夫夫夫夫○○○德 ■崇辰■千千千千 夫夫夫夫龜水貴北 ■卓中■千千千千 夫夫夫夫宮孔眾○ 十二音 ■宅直■千千千千 四音 夫夫夫夫龍甬用○ 三聲 ■拆丑■千千千千 六聲 夫夫夫夫魚鼠去○ ■茶呈■千千千千 夫夫夫夫烏虎兔○

These eight lines, on the left half, pair the character "qian" with eleven sounds of the ZHUANG tone, ZHEN tone, ZHA sound, CHA sound, CHI sound, CHONG sound, CHEN sound, and twelve sounds of the ZHUO sound, ZHONG sound, ZAI sound, ZHI sound, CHE sound, CHOU sound, CHA sound, CHENG sound. The third tone's round singing ends here. On the right half, it is the fourth sound "fu" and the fifth tone's wife four days, SHUI SHU GU, GUI SHUI GUI BEI, and the sixth tone's GONG KONG ZHONG, LONG YONG YONG, YU SHU QU, WU HU TU. Four-character groups like "wife four days" and "GONG KONG ZHONG" take characters that share the same rhyme in the level, rising, departing, and entering tones respectively. When there are no characters available for a particular position, an "○" is used to fill it, such as the second position in "SHUI SHU GU" and the first three positions in "○○○ DE". Reading this chart, one does not need to connect the four characters in each line into a sentence; they are merely markers on a coordinate system, indicating where a particular tone and sound should fall in the grid.

平聲闢唱呂一之四 古甲九癸刀刀刀刀 夫夫夫夫心審禁○ 一音 □□近揆刀刀刀刀 四音 夫夫夫夫○○○十 四聲 坤巧丘棄刀刀刀刀 七聲 夫夫夫夫男坎欠○ □□乾蚪刀刀刀刀 夫夫夫夫○○○妾 黑花香血刀刀刀刀 夫夫夫夫●●●● 二音 黃華雄賢刀刀刀刀 四音 夫夫夫夫●●●● 四聲 五瓦仰□刀刀刀刀 八聲 夫夫夫夫●●●● 吾牙月堯刀刀刀刀 夫夫夫夫●●●● 安亞乙一刀刀刀刀 夫夫夫夫●●●● 三音 □爻壬寅刀刀刀刀 四音 夫夫夫夫●●●● 四聲 母馬美米刀刀刀刀 九聲 夫夫夫夫●●●● 目貌眉民刀刀刀刀 夫夫夫夫●●●● 夫法□飛刀刀刀刀 夫夫夫夫●●●● 四音 父凡□吠刀刀刀刀 四音 夫夫夫夫●●●● 四聲 武晚□尾刀刀刀刀 十聲 夫夫夫夫●●●● 文萬□未刀刀刀刀 夫夫夫夫●●●●

"Peaceful tone 'Ping' is divided into four parts of 'Lv'." The character '唱' is replaced with the fourth tone '辟' sound '刀'. On the left side, the arrangement starts with the first tone, pairing ancient characters like Jia, Ji, Gui, near揆,坤,巧,丘,弃,乾,蚪. Then comes the second tone, pairing black, flower, fragrance, blood, yellow, flower, strong, wise, five, wa,仰, 'wu' (I), 'ya' (tooth), moon, Yao. Next is the third tone, pairing security, Asia, Yi, one, yao, Renyin, mother, horse, beauty, rice, eye, appearance, eyebrow, people. Finally, the fourth tone pairs husband, law, fly, father, all, bark, Wu, late, tail, Wen, ten thousand, not yet. On the right side, it still belongs to the fourth tone 'fu', and continues to the seventh tone 'xin', 'shen', 'jin'. The eighth, ninth, and tenth tones are all empty positions, so twelve lines are filled with ●. Here we can clearly see Shao Yong's distinction between 'having sound but no character' and 'no sound at all': ○ represents a position where sound can be made but there is no existing character, while ● represents a sound that does not even exist. The former is a deficiency in characters, while the latter is the limit of reason, and they cannot be confused. He uses two different symbols to distinguish them, so that people can know that the possible sounds in the world are more than the existing characters. The first seven tones are called 'used tones' because there are characters available for these seven tones in people's mouths. The last three tones, though empty, still need to be listed, so the total number of correct tones remains at one hundred and sixty, without any deficiency. Removing the forty-eight unused tones, the remaining is 'one hundred and twelve used tones'.

開音清和律一之五 卜百丙必刀刀刀刀 卜卜卜卜多可個舌 五音 步白備鼻刀刀刀刀 五音 卜卜卜卜禾火化八 四聲 普撲品匹刀刀刀刀 一聲 卜卜卜卜開宰愛○ 旁排平瓶刀刀刀刀 卜卜卜卜回每退○ 東丹帝■刀刀刀刀 卜卜卜卜良兩向○ 六音 兌大弟■刀刀刀刀 五音 卜卜卜卜光廣況○ 四聲 土貪天■刀刀刀刀 二聲 卜卜卜卜丁井亙○ 同覃田■刀刀刀刀 卜卜卜卜兄永瑩○ 乃你女■刀刀刀刀 卜卜卜卜千典旦○ 七音 內南年■刀刀刀刀 五音 卜卜卜卜元犬半○ 四聲 老冷呂■刀刀刀刀 三聲 卜卜卜卜臣引艮○ 鹿犖離■刀刀刀刀 卜卜卜卜君允巽○ 走哉足■刀刀刀刀 卜卜卜卜刀早孝嶽 八音 自在匠■刀刀刀刀 五音 卜卜卜卜毛寶報霍 四聲 草采七■刀刀刀刀 四聲 卜卜卜卜牛斗奏六 曹才全■刀刀刀刀 卜卜卜卜○○○玉 思三星■刀刀刀刀 卜卜卜卜妻子四日 九音 寺□象■刀刀刀刀 五音 卜卜卜卜衰○帥骨 四聲 □□□■刀刀刀刀 五聲 卜卜卜卜○○○德 □□□■刀刀刀刀 卜卜卜卜龜水貴北

The left half still uses "dao" as the starting character, paired with five-sound words such as bu bai bei bi, pu pu pin pi, pang pai ping ping, and six-sound words such as dong dan di, dui da di, tu tan tian, tong tan tian. It also includes seven-sound words such as nei ni nv, nei nan nian, lao leng lv, lu luo li, eight-sound words such as zou zai zu, zi zai jiang, cao cai qi, cao cai quan, and nine-sound words such as si san xing, si xiang. The group of five-sound words are all labial sounds, with all four levels of tone present, so all four rows and sixteen positions have characters, making this section the most complete in the entire diagram. As we move to the later sections of tongue and tooth sounds, the number of missing positions increases. The right half starts a new section: "Kai yin qing he lu yi wu" switches to the fifth sound, using the clear sound character "bu" as the starting point, arranged from the first tone to the fifth tone, in sequence: duo ke ge she, he hu hua ba, kai zai ai, hui mei tui, liang liang xiang, guang guang kuang, ding jing gen, xiong yong ying, qian dian dan, yuan quan ban, chen yin gen, jun yun xun, dao zao xiao yue, mao bao bao huo, niu dou zou liu, zi qi si ri, shuai shuai gu, gui shui gui bei. Shao Yong does not use reverse slicing, nor does he label the names of initial consonants and vowels. Instead, he uses characters as positions and positions as numbers: horizontally, four positions represent four tones or four sounds, and vertically, four rows represent clear and浊 sounds or open and close sounds. The intersection of horizontal and vertical lines determines the fixed position of each square. Later scholars who compare this diagram with the classification of tones in the "Qieyun" and "Guangyun" often find it difficult to match, because the two approaches are fundamentally different: the rhyme books are designed for slicing words, while this diagram is designed for numerical calculation, so it is better to leave spaces than to compromise. Once this is understood, the continuous circles and squares on the diagram are no longer obstacles to reading, but rather the key to the entire diagram's numerical structure.

■山手■刀刀刀刀 卜卜卜卜宮孔眾○ 十音 ■士石■刀刀刀刀 五音 卜卜卜卜龍甬用○ 四聲 ■□耳■刀刀刀刀 六聲 卜卜卜卜魚鼠去○ ■□二■刀刀刀刀 卜卜卜卜烏虎兔○ ■莊震■刀刀刀刀 卜卜卜卜心審禁○ 十一音 ■乍□■刀刀刀刀 五音 卜卜卜卜○○○十 四聲 ■叉赤■刀刀刀刀 七聲 卜卜卜卜男坎欠○ ■崇辰■刀刀刀刀 卜卜卜卜○○○妾 ■卓中■刀刀刀刀 卜卜卜卜●●●● 十二音 ■宅直■刀刀刀刀 五音 卜卜卜卜●●●● 四聲 ■拆丑■刀刀刀刀 八聲 卜卜卜卜●●●● ■茶呈■刀刀刀刀 卜卜卜卜●●●●

These twelve lines, on the left, pair the character 「刀」 with the ten-sound mountain hand, shi stone, ear, and two; the eleven-sound Zhuang Zhen, zha, cha chi, and Chong Chen; and the twelve-sound Zhuo Zhong, Zhai Zhi, Che Chou, and Cha Cheng. The fourth tone's single round ends here. All the ■ symbols found at the beginning and end of these groups are markers for empty positions where no sound can be cited, not missing characters from the original text. On the right, it is the fifth sound 「Bu」 and proceeds to the sixth sound's Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, and Wu Hu Tu; the seventh sound's Xin Shen Jin, Nan Kan Qian; then enters the eighth sound, with four lines all marked ●. From this, one can see that in the diagram, the more it proceeds, the more it becomes a continuous block of empty positions. This is not due to copying or carving errors, but rather a deliberate layout by Shao Yong: when the numbers are full but the content is not, this is precisely what he wanted people to understand as 「the form is fixed but the use is infinite.」 In the original text, such symbols appear in multiple places; whenever they appear, they should be compared with corresponding positions in other parts for meaning, and the text should remain as it is, without changing according to other versions, to preserve the value for textual criticism.

平聲闢唱呂一之五 古甲九癸妻妻妻妻 卜卜卜卜●●●● 一音 ■■近揆妻妻妻妻 五音 卜卜卜卜●●●● 五聲 坤巧丘棄妻妻妻妻 九聲 卜卜卜卜●●●● □□乾蚪妻妻妻妻 卜卜卜卜●●●● 黑花香血妻妻妻妻 卜卜卜卜●●●● 二音 黃華雄賢妻妻妻妻 五音 卜卜卜卜●●●● 五聲 五瓦仰□妻妻妻妻 十聲 卜卜卜卜●●●● 吾牙月堯妻妻妻妻 卜卜卜卜●●●●

"Level tone 'Ping' is paired with 'Bi' pronounced in the fifth tone as 'Qi'. On the left side, starting at the beginning, first pair a single-sound character 'Gǔ Jiǎ Jiǔ Guǐ', 'Jìn Kuí', 'Kūn Qiǎo Qiū Qì', 'Qián Yóu', then pair two-sound characters 'Hēi Huā Xiāng Xuè', 'Huáng Huá Xióng Xián', 'Wǔ Wǎ Yǎng', 'Wú Yá Yuè Yáo'. Among these, the first character of 'Jìn Kuí' is carved as two solid square blocks in the original text, while in other similar positions, they are mostly hollow square blocks, indicating that ■ and □ may be confused in transmitted copies; therefore, they are both recorded according to the original text. On the right side, it is the fifth tone 'Bo' and the ninth and tenth tones, since the tone positions are empty, all eight lines are filled with ●. The left side has characters while the right side is completely empty, precisely placing 'sound singing in heaven, tone harmony on earth' with one solid and one empty in the same line."

開音清和律一之六 安亞乙一妻妻妻妻 東東東東多可個舌 三音 □爻壬寅妻妻妻妻 六音 東東東東禾火化八 五聲 母馬美米妻妻妻妻 一聲 東東東東開宰愛○ 目貌眉民妻妻妻妻 東東東東回每退○ 夫法□飛妻妻妻妻 東東東東良兩向○ 四音 父凡□吠妻妻妻妻 六音 東東東東光廣況○ 五聲 武晚□尾妻妻妻妻 二聲 東東東東丁井亙○ 文萬□未妻妻妻妻 東東東東兄永瑩○ 卜百丙必妻妻妻妻 東東東東千典旦○ 五音 步白備鼻妻妻妻妻 六音 東東東東元犬半○ 五聲 普撲品匹妻妻妻妻 三聲 東東東東臣引艮○ 旁排平瓶妻妻妻妻 東東東東君允巽○ 東丹帝■妻妻妻妻 東東東東刀早孝嶽 六音 兌大弟■妻妻妻妻 六音 東東東東毛寶報霍 五聲 土貪天■妻妻妻妻 四聲 東東東東牛斗奏六 同覃田■妻妻妻妻 東東東東○○○玉 乃你女■妻妻妻妻 東東東東妻子四日 七音 內南年■妻妻妻妻 六音 東東東東衰○帥骨 五聲 老冷呂■妻妻妻妻 五聲 東東東東○○○德 鹿犖離■妻妻妻妻 東東東東龜水貴北

The left half still takes "wife" as the starting point, and proceeds to pair it with three tones: Anya Yi, Yao Renyin, Mu Ma Meimi, Mu Mao Meimian, four tones: Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei, five tones: Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping, six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, seven tones: Nie Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li. The right half starts a new section: "Opening tone, clear and harmonious law one of six" changes to the sixth tone's clear sound character "Dong" as the harmonizing element, starting from the first tone, in sequence: He Duo Ke Ge, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui, Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying, Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, until the fifth tone's wife Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei. Sound belongs to heaven and tone belongs to earth; the heavenly sound is above and the earthly tone is below, within one diagram, the numbers of heaven and earth are each arranged separately yet paired with each other; Shao Yong believed that the birth of all things comes from the union of heaven and earth, and the formation of sound also comes from the union of sound and tone, so this diagram is not only a record of sound but also a model of his theory of the mutual interaction between heaven and earth. The four elements of heaven are sun, moon, stars, and planets, paired with level, rising, falling, and entering tones; the four elements of earth are water, fire, soil, and stone, paired with opening, issuing, gathering, and closing tones. Each side multiplies two by two, resulting in sixteen categories, so the sound and tone diagram has a total of sixteen diagrams, from this section to the Observing Things section, fifty in total; this is the first diagram, and the next section is the second diagram. All sixteen diagrams have the same structure, differing only in the characters used for singing and harmonizing.

走哉足■妻妻妻妻 東東東東宮孔眾○ 八音 自在匠■妻妻妻妻 六音 東東東東龍甬用○ 五聲 草采七■妻妻妻妻 六聲 東東東東魚鼠去○ 曹才全■妻妻妻妻 東東東東烏虎兔○ 思三星■妻妻妻妻 東東東東心審禁○ 九音 寺□象■妻妻妻妻 六音 東東東東○○○十 五聲 □□□■妻妻妻妻 七聲 東東東東男坎欠○ □□□■妻妻妻妻 東東東東○○○妾 ■山手■妻妻妻妻 東東東東●●●● 十音 ■士石■妻妻妻妻 六音 東東東東●●●● 五聲 ■□耳■妻妻妻妻 八聲 東東東東●●●● ■□二■妻妻妻妻 東東東東●●●● ■莊震■妻妻妻妻 東東東東●●●● 十一音 ■乍□■妻妻妻妻 六音 東東東東●●●● 五聲 ■叉赤■妻妻妻妻 九聲 東東東東●●●● ■崇辰■妻妻妻妻 東東東東●●●● ■卓中■妻妻妻妻 東東東東●●●● 十二音 ■宅直■妻妻妻妻 六音 東東東東●●●● 五聲 ■折丑■妻妻妻妻 十聲 東東東東●●●● ■茶呈■妻妻妻妻 東東東東●●●●

This passage's left half pairs "wife" with eight tones: walking, free, craftsman, grass, seven, full, nine tones: thinking, three stars, temple, image, ten tones: mountain hand, scholar stone, ear, two, eleven tones: strong shock, sudden, fork red, high morning, twelve tones: outstanding middle, residence straight, split ugly, tea present, fifth tone: one round ends here. The right half is sixth tone "East" and up to sixth tone: palace, crowd, dragon, drum, fish, rat, bird, tiger, rabbit, seventh tone: heart, review, prohibition, male, water, this and the following three tones are all empty, so they are marked with ●. Shao Yong's study of sound and his system of yuan, hui, yun, and shi are actually one system: on one side, it uses twelve hui, thirty yun, and twelve shi multiplied together to cover all time; on the other, it uses ten tones and twelve sounds to cover all sounds. Though the numbers are in different places, the principle is one. Therefore, after compiling historical events in the "Huang Ji Jing Shi," the book immediately follows with these several sound diagrams, not starting anew, but applying the same system of calculation to another category. Each group consists of four lines, with the headings "a few tones" and "a few sounds" originally written vertically next to the four lines. Due to transcription into horizontal lines, these headings are now scattered in the second and third lines of each group. When reading, they should be restored as the heading for the group. Therefore, words like "six tones" and "five sounds," though placed between characters, are not connected to the eight characters in the same line, nor should they be read as "six tones East Dan Di." This is due to the copying format, not the original text. Whenever encountering headings indicating positions, they should be removed first, and then the two columns of main text should be read.

平聲闢唱呂一之六 開音清和律一之七 古甲九癸宮宮宮宮 乃乃乃乃多可個舌 一音 □□近揆宮宮宮宮 七音 乃乃乃乃禾火化八 六聲 坤巧丘棄宮宮宮宮 一聲 乃乃乃乃開宰愛○ □□乾蚪宮宮宮宮 乃乃乃乃回每退○ 黑花香血宮宮宮宮 乃乃乃乃良兩向○ 二音 黃華雄賢宮宮宮宮 七音 乃乃乃乃光廣況○ 六聲 五瓦仰□宮宮宮宮 二聲 乃乃乃乃丁井亙○ 吾牙月堯宮宮宮宮 乃乃乃乃兄永瑩○ 安亞乙一宮宮宮宮 乃乃乃乃千典旦○ 三音 □爻壬寅宮宮宮宮 七音 乃乃乃乃元犬半○ 六聲 母馬美米宮宮宮宮 三聲 乃乃乃乃臣引艮○ 目貌眉民宮宮宮宮 乃乃乃乃君允巽○ 夫法□飛宮宮宮宮 乃乃乃乃刀早孝嶽 四音 父凡□吠宮宮宮宮 七音 乃乃乃乃毛寶報霍 六聲 武晚□尾宮宮宮宮 四聲 乃乃乃乃牛斗奏六 文萬□未宮宮宮宮 乃乃乃乃○○○王 卜百丙必宮宮宮宮 乃乃乃乃妻子四日 五音 步白備鼻宮宮宮宮 七音 乃乃乃乃衰○帥骨 六聲 普撲品匹宮宮宮宮 五聲 乃乃乃乃○○○德 旁排平瓶宮宮宮宮 乃乃乃乃龜水貴北

The entries "Ping Sheng Bi Chang Lu Yi Zhi Liu" and "Kai Yin Qing He Lu Yi Zhi Qi" appear in the same row, indicating that both halves change their initial characters at this point: the left half replaces the character "Chang" with the sixth tone character "Bi" meaning "gong," and the right half replaces "He" with the seventh tone character "Qing" meaning "nai." The left half begins with the first tone characters "Gu Jia Jiu Gui, Ji Kuí, Kun Qiao Qiu Qi, Qian Yu" and proceeds through the second tone characters "Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wo Ya Yue Yao," the third tone characters "An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min," the fourth tone characters "Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei," and ends with the fifth tone characters "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Páng Pai Ping Ping." The right half starts with the first tone characters "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui" and proceeds through the second, third, and fourth tones, ending with the fifth tone characters "Fu Qi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei." Although the two halves are separated by only one space, they belong to two different tables and have their own row sequences, and should not be read as a continuous sentence. In the line "○○○ Wang," the corresponding position in other lines is "○○○ Yu," which is likely a carving error due to similar characters; we follow the original manuscript. To find a character that matches a particular tone and a particular sound, one should first locate the section in the left table corresponding to that tone, then find the section in the right table corresponding to that sound, and the intersection of these two sections is the position. If there is a character at this position, it is written; if not, a circle is written; if there is no sound, a square is written. Each position must be accurate and not confused. There are a total of 160 correct tones and 192 correct sounds. After excluding the unused ones, there are 112 used tones and 152 used sounds.

東丹帝■宮宮宮宮 乃乃乃乃宮孔眾○ 六音 兌大弟■宮宮宮宮 七音 乃乃乃乃龍甬用○ 六聲 土貪天■宮宮宮宮 六聲 乃乃乃乃魚鼠去○ 同覃田■宮宮宮宮 乃乃乃乃烏虎兔○ 乃你女■宮宮宮宮 乃乃乃乃心審禁○ 七音 內南年■宮宮宮宮 七音 乃乃乃乃○○○十 六聲 老冷呂■宮宮宮宮 七聲 乃乃乃乃男坎欠○ 鹿犖離■宮宮宮宮 乃乃乃乃○○○妾 走哉足■宮宮宮宮 乃乃乃乃●●●● 八音 自在匠■宮宮宮宮 七音 乃乃乃乃●●●● 六聲 草采七■宮宮宮宮 八聲 乃乃乃乃●●●● 曹才全■宮宮宮宮 乃乃乃乃●●●● 思三星■宮宮宮宮 乃乃乃乃●●●● 九音 寺□象■宮宮宮宮 七音 乃乃乃乃●●●● 六聲 □□□■宮宮宮宮 九聲 乃乃乃乃●●●● □□□■宮宮宮宮 乃乃乃乃●●●● ■山手■宮宮宮宮 乃乃乃乃●●●● 十音 ■士石■宮宮宮宮 七音 乃乃乃乃●●●● 六聲 ■□耳■宮宮宮宮 十聲 乃乃乃乃●●●● ■□二■宮宮宮宮 乃乃乃乃●●●●

The left half still uses "gong" as the starting point, paired with six tones: Dong Dan Di (East Dan Emperor), Dui Da Di (Great Brother of Dui), Tu Tan Tian (Earthly Greedy Heaven), Tong Tan Tian (Tong Tan Tian), seven tones: Nie Ni Nu (You Are Female), Nei Nan Nian (Inner South Year), Lao Leng Lv (Old Cold Lu), Lu Luo Li (Deer Luo Li), eight tones: Zou Zai Zu (Walk Zai Foot), Zi Zai Jiang (Free Craftman), Cao Cai Qi (Grass Collection Seven), Cao Cai Quan (Cao Cai Quan), nine tones: Si San Xing (Think Three Stars), Si Xiang (Temple Image), ten tones: Shan Shou (Mountain Hand), Shi Shi (Scholar Stone), Er (Two), and Er (Ear). The right half consists of the seventh tone "Nie" and the sixth tone "Gong Kong Zhong (Gong Kong Zhong), Long Yong Yong (Dragon Yong Yong), Yu Shu Qu (Fish Rat Go), Wu Hu Tu (Crow Tiger Rabbit), seventh tone: Xin Shen Jin (Heart Shen Jin), Nan Kan Qian (Male Kan Qian), and the subsequent eighth, ninth, and tenth tones are all empty, with twelve consecutive rows marked with ●. "Nie" in the tone chart belongs to the seventh tone, and is of the same category as "Nei," "Nan," and "Nian," which are among the last few of the nine tones that have characters; further down, the ten tones, eleven tones, and twelve tones have no characters at all, and can only be marked with ■. This point will be gradually seen in the following sections. Shao Yong's fundamental teaching is "to observe things by observing things," not to impose one's own intentions upon things; this sound chart is the embodiment of this principle in language: if a sound actually exists in people's mouths, it is recorded; if it does not exist, it is left blank, without any addition or subtraction due to the chart's appearance. The total number of correct sounds is 160, and correct tones is 192; after removing the unused parts, the number of used sounds is 112, and used tones is 152; multiplying these two numbers gives 17,280, which he called the number of all moving and growing things, believing that the total catalog of all moving and growing things in the world is contained within it. This is the final conclusion of the entire chart, and also the purpose for which he compiled the sounds into a table.

開音清和律一之八 ■莊震■宮宮宮宮 走走走走多可個舌 十一音 ■乍□■宮宮宮宮 八音 走走走走禾火化八 六聲 ■叉赤■宮宮宮宮 一聲 走走走走開宰愛○ ■崇辰■宮宮宮宮 走走走走回每退○ ■卓中■宮宮宮宮 走走走走良兩向○ 十二音 ■宅直■宮宮宮宮 八音 走走走走光廣況○ 六聲 ■折丑■宮宮宮宮 二聲 走走走走丁井亙○ ■茶呈■宮宮宮宮 走走走走兄永瑩○

The left half has completed the pairing of the "gong" with the eleventh tone's zhuang, zhen, zha, cha, chi, chong, chen, and the twelfth tone's zhuo, zhong, zhai, zhi, chie, chou, cha, cheng. The sixth tone's round has now concluded. The right half begins a new section: "Open sound, clear and harmonious law one of eight" switches to the eighth tone's clear sound character "zou" as the harmonizing element, starting again from the first tone. It first harmonizes with duo ke ge she, he huohua ba, kai zai ai, hui mei tui, then harmonizes with the second tone's liang liang xiang, guang guang kuang, ding jing geng, xiong yong ying. The eight tones take "zou" as their heading, similar to "zai" and "zu," and occupy the "water" position among the four categories. Within the category, instances like "■zhuang zhen■" and "■cha cheng■" where the first and last characters are solid squares indicate that the category has neither sound nor character; when reading the diagram, these should be treated as blank spaces, and should not be mistaken for blurred or damaged characters.

平聲闢唱呂一之七 古甲九癸心心心心 走走走走千典旦○ 一音 □□近揆心心心心 八音 走走走走元犬半○ 七聲 坤巧丘棄心心心心 三聲 走走走走臣引艮○ □□乾蚪心心心心 走走走走君允巽○ 黑花香血心心心心 走走走走刀早孝嶽 二音 黃華雄賢心心心心 八音 走走走走毛寶報霍 七聲 五瓦仰□心心心心 四聲 走走走走牛斗奏六 吾牙月堯心心心心 走走走走○○○玉 安亞乙一心心心心 走走走走妻子四日 三音 □爻壬寅心心心心 八音 走走走走衰○帥骨 七聲 母馬美米心心心心 五聲 走走走走○○○德 目貌眉民心心心心 走走走走龜水貴北 夫法□飛心心心心 走走走走宮孔眾○ 四音 父凡□吠心心心心 八音 走走走走龍甬用○ 七聲 武晚□尾心心心心 六聲 走走走走負鼠去○ 文萬□未心心心心 走走走走烏虎兔○ 卜百丙必心心心心 走走走走心審禁○ 五音 步白備鼻心心心心 八音 走走走走○○○十 七聲 普撲品匹心心心心 七聲 走走走走男坎欠○ 旁排平瓶心心心心 走走走走○○○妾

"The level tone 'Ping' corresponds to the seventh tone 'Qi' with the character 'Xin' replacing 'Chang', which is the last tone position among the ten that has a character to represent it. The tones below this can only be represented by ●. On the left side, starting from the ancient characters Jia, Ji, Gui, near揆, Kun Qiao Qiu Qi, Qian Yu, it proceeds through two tones, three tones, four tones, to five tones such as Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. On the right side, it includes the eighth tone 'Zou', and then the third tone characters Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, the fourth tone characters Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, the fifth tone characters Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei, the sixth tone characters Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, and the seventh tone characters Xin Shen Jin, Nan Kan Qian. Among these, the original text of Yixing reads 'Fu Shu Qu' for the sixth tone, but elsewhere in the same position it is 'Yu Shu Qu'. 'Fu' is likely a homonym for 'Yu' due to a similar character form, so we retain the original text as it is, without changing it according to other instances. This section on the left pairs characters with tones that have no characters, while the right side pairs tones with characters. One real and one virtual alternate to form the text. Shao Yong believed that tones belong to heaven and sounds belong to earth. The sounds of heaven have seven positions available, while the sounds of earth have nine positions available. The rest are empty, but not empty in the sense of nothing; rather, they have positions but no actual content. Once the position is established, the number is there; once the number is there, even without a character, it can be inferred. This is the key to reading the entire diagram. If one treats empty positions as missing characters, the entire system of calculation in the book becomes invalid. Later people misunderstood this diagram, often due to this reason. Therefore, whenever encountering full lines of circles and squares, these are exactly the points that should be focused on, and should not be hastily skipped."

東丹帝■心心心心 走走走走●●●● 六音 兌大弟■心心心心 八音 走走走走●●●● 七聲 土貪天■心心心心 八聲 走走走走●●●● 同覃田■心心心心 走走走走●●●● 乃你女■心心心心 走走走走●●●● 七音 內南年■心心心心 八音 走走走走●●●● 七聲 老冷呂■心心心心 九聲 走走走走●●●● 鹿犖離■心心心心 走走走走●●●● 走哉足■心心心心 走走走走●●●● 八音 自在匠■心心心心 八音 走走走走●●●● 七聲 草采七■心心心心 十聲 走走走走●●●● 曹才全■心心心心 走走走走●●●●

These twelve lines, on the left, still take 'heart' as the leading tone, paired with six tones: Dong Dan Di (East Dan Di), Dui Da Di (Dui Great Brother), Tu Tan Tian (Earth Greedy Heaven), Tong Tan Tian (Tong Tan Tian). On the seven tones: Nie Ni Nu (You You Nu), Nei Nan Nian (Inner South Year), Lao Leng Lv (Old Cold Lv), Lu Luo Li (Deer Luo Li). On the eight tones: Zou Zai Zu (Walk Zai Zu), Zi Zai Jiang (Free自在 Craftsman), Cao Cai Qi (Grass Cai Qi), Cao Cai Quan (Cao Cai Quan). On the right side, it is the eighth tone 'zou' (walk) and the eighth, ninth, and tenth tones. Since the sound positions are empty, all twelve lines are marked with ●. The ten tones of Heaven only use seven, the remaining three are empty but not discarded, still needing to occupy their positions in the diagram. This is the same principle as the twelve tones of Earth, which only use nine, the remaining three also needing to be listed. Shao Yong aims to display the whole number, not just the part that is available in language. The eighth tone 'zou' (walk) and the ninth tone 'si' (think) both belong to the dental sounds; one is the standard dental sound, the other is the fine dental sound. The two tones follow each other in harmony, without disorder in their sequence, which follows the same principle as the previous order of dental, throat, lip, and tongue sounds.

開音清和律一之九 思三星■心心心心 思思思思多可個舌 九音 寺□象■心心心心 九音 思思思思禾火化八 七聲 □□□■心心心心 一聲 思思思思開宰愛○ □□□■心心心心 思思思思回每退○ ■山手■心心心心 思思思思良兩向○ 十音 ■士石■心心心心 九音 思思思思光廣況○ 七聲 ■□耳■心心心心 二聲 思思思思丁井亙○ ■□二■心心心心 思思思思兄永瑩○ ■莊震■心心心心 思思思思千典旦○ 十一音 ■乍□■心心心心 九音 思思思思元犬半○ 七聲 ■叉赤■心心心心 三聲 思思思思臣引艮○ ■崇辰■心心心心 思思思思君允巽○ ■卓中■心心心心 思思思思刀早孝嶽 十二音 ■宅直■心心心心 九音 思思思思毛寶報霍 七聲 ■折丑■心心心心 四聲 思思思思牛斗奏六 ■茶呈■心心心心 思思思思○○○玉

The left half completes the pairing of the heart with the nine tones' thoughts, three stars, the temple, the mountain hand, the scholar, the stone, the ear, and two; the ten tones' zhuang zhen, zha, cha chi, chong chen; the eleven tones' zhuo zhong, zhai zhi, che chou, cha cheng; and the twelve tones' zhuo zhong, zhai zhi, che chou, cha cheng. The seventh tone's one round completes the singing, and the seven sounds of heaven have all been sung. The right half begins another section: "Opening tone, clear and harmonious law one of nine" switches to the ninth tone's clear sound character "si" as harmony, starting from the first tone, sequentially harmonizing with multiple characters, the tongue, the millet, the fire, the eight, the opening, the butcher, the love, the return, the every, the retreat, the good, the two, the direction, the light, the broad, the condition, the ding, the well, the constant, the elder brother, the long, the bright, the thousand, the classic, the dawn, the yuan, the dog, the half, the minister, the lead, the gen, the king, the yun, the xun. "Si" is the last character of the nine tones, and after harmonizing with the ten tones, the sound side will also transition into the position of no characters. Among the ten tones, the first seven have characters, and the last three have none; among the twelve tones, the first nine have characters, and the last three have none. This is the fixed arrangement of the entire diagram. Therefore, from this point on, the characters sung on the left half and the characters harmonized on the right half will gradually be replaced with circles and squares, while the forty-eight tone positions and forty sound positions remain arranged as before, with the number of lines remaining unchanged. Readers at this point may look back at the previous sections to understand the wonderful interplay of reality and emptiness.

平聲闢唱呂一之八 古甲九癸●●●● 思思思思妻子四日 一音 □□近揆●●●● 九音 思思思思衰○帥骨 八聲 坤巧丘棄●●●● 五聲 思思思思○○○德 □□乾蚪●●●● 思思思思龜水貴北 黑花香血●●●● 思思思思宮孔眾○ 二音 黃華雄賢●●●● 九音 思思思思龍甬用○ 八聲 五瓦仰□●●●● 六聲 思思思思魚鼠去○ 吾牙月堯●●●● 思思思思烏虎兔○ 安亞乙一●●●● 思思思思心審禁○ 三音 □爻壬寅●●●● 九音 思思思思○○○十 八聲 母馬美米●●●● 七聲 思思思思男坎欠○ 目貌眉民●●●● 思思思思○○○妾 夫法□飛●●●● 思思思思●●●● 四音 父凡□吠●●●● 九音 思思思思●●●● 八聲 武晚□尾●●●● 八聲 思思思思●●●● 文萬□未●●●● 思思思思●●●● 五音 卜百丙必●●●● 九音 思思思思●●●● 八聲 步白備鼻●●●● 九聲 思思思思●●●● 普撲品匹●●●● 思思思思●●●● 旁排平瓶●●●● 思思思思●●●●

"Level tone 'Ping' is the eighth tone, which is sung. In Shao Yong's framework, there is no character that can take the place of the eighth tone, so the word 'sung' is represented by four dots written together. Nevertheless, the forty-eight positions of the twelve tones must still be arranged one by one. On the left side, the first tone includes ancient characters like Jia, Ji, Gui, and others such as Kun Qiao, Qiu Qi, Qian Tu, and the second tone includes characters like Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao. The third tone includes characters like An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min. The fourth tone includes Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei. The fifth tone includes Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. This is the method of 'empty position but keeping the number': characters may be absent, but positions cannot be missing. On the right side, the ninth tone is 'Si', and the fourth tone includes characters such as Qi Fu Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei, the sixth tone includes characters such as Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, the seventh tone includes characters such as Xin Shen Jin, Nan Kan Qian. After this, the positions become empty and are marked with dots. 'Xin' is the end of the seventh tone, combining with the previous six tones to form the seven tones used in heaven. From 'Du' to 'Xin', each of the seven tones goes through forty-eight rows, totaling three hundred thirty-six rows. The following three tones, though without characters, still go through forty-eight rows each, totaling four hundred eighty rows, completing the left side. On the right side, each of the twelve tones goes through forty rows, also totaling four hundred eighty rows. The number of rows on both sides are equal but the sequence differs, which is the way two sets of numbers run parallel on the same chart. This is the most ingenious arrangement by Shao Yong; if scholars count the rows carefully, they will understand the method themselves."

東丹帝■●●●● 思思思思●●●● 六音 兌大弟■●●●● 九音 思思思思●●●● 八聲 土貪天■●●●● 十聲 思思思思●●●● 同覃田■●●●● 思思思思●●●● 開音清和律一之十 乃你女■●●●● ■■■■多可個舌 七音 內南年■●●●● 十音 ■■■■禾火化八 八聲 老冷呂■●●●● 一聲 ■■■■開宰愛○ 鹿犖離■●●●● ■■■■回每退○ 走哉足■●●●● ■■■■良兩向○ 八音 自在匠■●●●● 十音 ■■■■光廣況○ 八聲 草采七■●●●● 二聲 ■■■■丁井亙○ 曹才全■●●●● ■■■■兄永瑩○ 思三星■●●●● ■■■■千典旦○

The left half continues by singing with the eighth tone's empty position, pairing with six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian; seven tones: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li; eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, and starting with the ninth tone: Si San Xing, Si Xiang. The right half first completes the last few sounds of the ninth tone "Si," as the sound position is empty, so all the lines are filled with ●; then "Kai Yin Qing He Lu Yi Zhi Shi" switches to the tenth tone for harmony. Since the tenth tone has no characters, the position for "He" is written with four ■ in succession. However, it still starts with the first tone: Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui; then proceeds to the second tone: Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying, and moves on to the third tone. On the left, the singing character is empty while the paired characters are real; on the right, the harmony character is empty while the harmonized characters are real. This contrast clearly shows Shao Yong's intention of using both empty and real elements. Shao Yong's learning came from Li Zhicai, tracing back to Chen Tuan's school; he applied the Earlier Heaven numbers to sound, thus creating this diagram. Later scholars who explained Shao's teachings often provided interpretations, and his son Shao Bowen's account is especially detailed.

九音 寺□象■●●●● 十音 ■■■■元犬半○ 八聲 □□□■●●●● 三聲 ■■■■臣引艮○ □□□■●●●● ■■■■君允巽○ ■山手■●●●● ■■■■刀早孝嶽 十音 ■士石■●●●● 十音 ■■■■毛寶報霍 八聲 ■□耳■●●●● 四聲 ■■■■牛斗奏六 ■□二■●●●● ■■■■○○○玉 ■莊震■●●●● ■■■■妻子四日 十一音 ■乍□■●●●● 十音 ■■■■衰○帥骨 八聲 ■叉赤■●●●● 五聲 ■■■■○○○德 ■崇辰■●●●● ■■■■龜水貴北 ■卓中■●●●● ■■■■宮孔眾○ 十二音 ■宅直■●●●● 十音 ■■■■龍甬用○ 八聲 ■拆丑■●●●● 六聲 ■■■■魚鼠去○ ■茶呈■●●●● ■■■■烏虎兔○

This passage's left half completes the eighth tone's empty positions by pairing them with the nine tones' temple images and the following two lines, then pairs the ten tones' mountain hand, scholar stone, ear, and two; the eleven tones' zhuang zhen, zha, cha chi, chong chen; and the twelve tones' zhuo zhong, zhai zhi, che chou, cha cheng. The eighth tone's single round is thus completed. The right half begins with the tenth tone using ■ as the harmony, harmonizing up to the third tone's yuan quan half, chen yin gen, jun yun xun; the fourth tone's dao zao xiao yue, mao bao bao huo, niu dou zou liu; the fifth tone's wife four days, shuai shuai gu, gui shui gui bei; and the sixth tone's gong kong zhong, long yong yong, yu shu qu, wu hu tu. Within the same line, the left side is ● and the right side is ■, thus arranging the two types of empty positions side by side: the round ones belong to sound, the square ones to tone; the round ones with solid centers do not stand for connected sounds, and the square ones with solid centers do not stand for connected tones. Although both are empty positions, they refer to different deficiencies on the heavenly and earthly sides. In the left half, ● is used for singing, and in the right half, ■ is used for harmony, with both types of empty positions appearing within the same line. The round ones belong to heaven and sound, while the square ones belong to earth and tone. Since their shapes are different, what they refer to is also different, making them easy to confuse during copying. As seen in previous texts, examples of ■ and □ being used interchangeably exist, indicating that the transmitted versions have always been prone to errors. Therefore, we have entirely followed the original edition's carving and have not made any uniform adjustments.

平聲闢唱呂一之九 古甲九癸●●●● ■■■■心審禁○ 一音 □□近揆●●●● 十音 ■■■■○○○十 九聲 坤巧丘棄●●●● 七聲 ■■■■男坎欠○ □□乾蚪●●●● ■■■■○○○妾 黑花香血●●●● ■■■■●●●● 二音 黃華雄賢●●●● 十音 ■■■■●●●● 九聲 五瓦仰□●●●● 八聲 ■■■■●●●● 吾牙月堯●●●● ■■■■●●●● 安亞乙一●●●● ■■■■●●●● 三音 □爻壬寅●●●● 十音 ■■■■●●●● 九聲 母馬美米●●●● 九聲 ■■■■●●●● 目貌眉民●●●● ■■■■●●●● 夫法□飛●●●● ■■■■●●●● 四音 父凡□吠●●●● 十音 ■■■■●●●● 九聲 武晚□尾●●●● 十聲 ■■■■●●●● 文萬□未●●●● ■■■■●●●●

"Level tone is divided into the first and ninth tones." This is changed so that the ninth tone becomes the one sung. The ninth tone also has no character, so four dots ● are used instead. It still starts from the first tone's ancient characters Jia, ninth tone Gui, near揆, Kun Qiu Qi, Qian Tu, and proceeds through the second tone's Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao, the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min, to the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei. On the right side, the tenth tone and the seventh tone's Xin Shen Jin, Nan Kan Qian, as well as the eighth, ninth, and tenth tones' empty positions, are all represented by dots ●, making a continuous twelve rows. By this point, the forty rows on the right side are completed, and the tenth tone's first and last have been finished. At this stage, the positions with characters on both sides are few, and most are symbols, yet the number of rows remains unchanged. This is precisely where the entire table is about to conclude, yet the number remains complete. The ten tones of Heaven have now sung through nine positions, leaving only the last one. Both the ninth and tenth tones have no characters, yet their positions remain, so they still need to be sung for forty-eight rows each. Shao Yong believed that the number of tones comes from Heaven. Heaven has ten positions, but humans can only speak of seven. The remaining three are not because people do not wish to speak, but because reason does not reach there. Keeping their positions empty yet their actual content absent shows the limits of human effort, while the completeness of the number is not affected by this. This idea is consistent with the previous diagram's empty positions.

開音清和律一之十一 卜百丙必●●●● ■■■■多可個舌 五音 步白備鼻●●●● 十一音 ■■■■禾火化八 九聲 普撲品匹●●●● 一聲 ■■■■開宰愛○ 旁排平瓶●●●● ■■■■回每退○ 東丹帝■●●●● ■■■■良兩向○ 六音 兌大弟■●●●● 十一音 ■■■■光廣況○ 九聲 土貪天■●●●● 二聲 ■■■■丁井亙○ 同覃田■●●●● ■■■■兄永瑩○ 乃你女■●●●● ■■■■千典旦○ 七音 內南年■●●●● 十一音 ■■■■元犬半○ 九聲 老冷呂■●●●● 三聲 ■■■■臣引艮○ 鹿犖離■●●●● ■■■■君允巽○ 走哉足■●●●● ■■■■刀早孝嶽 八音 自在匠■●●●● 十一音 ■■■■毛寶報霍 九聲 草采七■●●●● 四聲 ■■■■牛斗奏六 曹才全■●●●● ■■■■○○○玉 思三星■●●●● ■■■■妻子四日 九音 寺□象■●●●● 十一音 ■■■■衰○帥骨 九聲 □□□■●●●● 五聲 ■■■■○○○德 □□□■●●●● ■■■■龜水貴北

"The 'Opening Sound Clear Harmony Law No. 11' has the right half replacing the eleventh sound with 'He', which also has no corresponding character, still marked with four ■ symbols. Starting from the first tone's 'Duoke' (multiple), 'Huo' (fire), 'Huo' (fire), 'Huo' (fire), 'Kaizai' (to take), 'Hui mei tui' (return each), proceeding through the second tone's 'Liang liang xiang' (good two directions), 'Guang guang kuang' (bright wide situation), 'Ding jing geng' (Ding well constant), 'Xiong yong ying' (brother long bright), the third tone's 'Qian dian dan' (thousand classic dawn), 'Yuan quan ban' (origin dog half), 'Chen yin gen' (minister lead mountain), 'Jun yun xun' (king allow wind), the fourth tone's 'Dao zao xiao yue' (knife early filial mountain), 'Mao bao bao huo' (hair treasure report fire), 'Niu dou zou liu' (ox star compose six), to the fifth tone's 'Qī zi sì rì' (wife four days), 'Shuai shuai gu' (decline general bone), 'Gui shui gui bei' (turtle water noble north). The left half continues with the ninth tone in singing, continuing to pair with five tones' 'Bu bai bing bi' (calculate hundred definitely must), 'Bu bai bei bi' (step white prepare nose), 'Pu pu pin pi' (general rough item match), 'Pang pai ping ping' (side arrange level bottle), six tones' 'Dong dan di' (east red emperor), 'Dui da di' (lake big brother), 'Tu tan tian' (earth greedy heaven), 'Tong tan tian' (same deep field), seven tones' 'Nai ni nu' (you you woman), 'Nei nan nian' (inner south year), 'Lao leng lv' (old cold lu), 'Lu luo li' (deer rough departure), eight tones' 'Zou zai zu' (go free foot), 'Zi zai jiang' (free self craftsman), 'Cao cao qi' (grass collect seven), 'Cao cai quan' (Cao collect full), nine tones' 'Si san xing' (think three stars), 'Si xiang' (temple image). At this point, the left half's 'singing' character is ●, and the right half's 'He' character is ■, both sides have entered the position without a character, yet the paired characters are still arranged in rows, clearly and distinctly. This clearly shows that Shao Yong valued position and number rather than characters. In his 'Inner Chapter of Observing Things', he said that heaven, earth, and all things have numbers, and where numbers exist, there also exists principle; sound is merely one aspect of things, taking the countable as an example. Therefore, reading these sections need not be regretful about the absence of characters; one only needs to see that the order is not confused and the positions and numbers are not lacking, and thus grasp the main idea. If one insists on finding a character for each section, one would miss the original intention of the author. Those who have interpreted this diagram in the past mostly first clarified this point before proceeding to the details."

■山手■●●●● ■■■■宮孔眾○ 十音 ■士石■●●●● 十一音 ■■■■龍甬用○ 九聲 ■□耳■●●●● 六聲 ■■■■魚鼠去○ ■□二■●●●● ■■■■烏虎兔○ ■莊震■●●●● ■■■■心審禁○ 十一音 ■乍□■●●●● 十一音 ■■■■○○○十 九聲 ■叉赤■●●●● 七聲 ■■■■男坎欠○ ■崇辰■●●●● ■■■■○○○妾 ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十一音 ■■■■●●●● 九聲 ■拆丑■●●●● 八聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●● 平聲闢唱呂一之十 古甲九癸●●●● ■■■■●●●● 一音 □□近揆●●●● 十一音 ■■■■●●●● 十聲 坤巧丘棄●●●● 九聲 ■■■■●●●● □□乾蚪●●●● ■■■■●●●● 黑花香血●●●● ■■■■●●●● 二音 黃華雄賢●●●● 十一音 ■■■■●●●● 十聲 五瓦仰□●●●● 十聲 ■■■■●●●● 吾牙月堯●●●● ■■■■●●●●

The left half completes the ninth tone with ten sounds: mountain hand, scholar stone, ear, two; eleven sounds: Zhuang Zhen, zha, cha chi, Chong Chen; twelve sounds: Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng. Then "level tone Pi Chang Lv Yi Zhi Shi" is assigned to the tenth tone as the singing tone, which is the last of the heavenly tones and has no character, still represented by four dots. First, it is paired with one sound: Gu Jia Jiu Gui, Jin Kui, Kun Qiao Qiu Qi, Qian Yu; then with two sounds: He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao. The right half includes the eleventh sound and down to the sixth sound: Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu; the seventh sound: Xin Shen Jin; and the eighth, ninth, and tenth sounds which are vacant. There are few characters in the corners of these lines; when reading, one only needs to remember that squares represent sounds and circles represent tones. Solid circles indicate that neither the tone nor the sound is established, while hollow circles indicate that the sound and tone can be established but there is no corresponding character. Shao Yong divided tones into ten and sounds into twelve, taking the constant numbers of heaven and earth: ten is the end of the heavenly number, twelve is the end of the earthly number. Each of the ten tones has four lines, each line with four characters, hence a total of 160 standard tones; each of the twelve sounds also has four lines with four characters, hence 192 standard sounds. The heavenly tones are sung above, and the earthly sounds are harmonized below; one sings and one harmonizes, and all sounds are complete. This is the same principle as his explanation of the interaction between heaven and earth and the mutual generation of movement and stillness. Although the diagram is full of circles and blocks, its intention lies entirely in the concept of "interaction." Once this is understood, one knows that both the empty and filled spaces in this diagram are equally important, neither can be missing. The method of calculation also arises from these 480 lines.

開音清和律一之十二 安亞乙一●●●● ■■■■多可個舌 三音 □爻壬寅●●●● 十二音 ■■■■禾火化八 十聲 母馬美米●●●● 一聲 ■■■■開宰愛○ 目貌眉民●●●● ■■■■回每退○ 夫法□飛●●●● ■■■■良兩向○ 四音 父凡□吠●●●● 十二音 ■■■■光廣況○ 十聲 武晚□尾●●●● 二聲 ■■■■丁井亙○ 文萬□未●●●● ■■■■兄永瑩○ 卜百丙必●●●● ■■■■千典旦○ 五音 步白備鼻●●●● 十二音 ■■■■元犬半○ 十聲 普撲品匹●●●● 三聲 ■■■■臣引艮○ 旁排平瓶●●●● ■■■■君允巽○ 東丹帝■●●●● ■■■■刀早孝嶽 六音 兌大弟■●●●● 十二音 ■■■■毛寶報霍 十聲 土貪天■●●●● 四聲 ■■■■牛斗奏六 同覃田■●●●● ■■■■○○○玉 乃你女■●●●● ■■■■妻子四日 七音 內南年■●●●● 十二音 ■■■■衰○帥骨 十聲 老冷呂■●●●● 五聲 ■■■■○○○德

"The 'Opening Sound Clear and Harmonious Law One of Twelve' is the final section of this passage. The right half is now continued by the twelfth tone, which has no characters; the position of the 'harmonious' character is represented by four consecutive ■ symbols. It still proceeds from the first tone's 'many, can, fire, eight, open, take, love, return, each, retreat' to the second tone's 'good, two, direction, light, broad, situation, Ding, well, constant, elder, long, bright,' then to the third tone's 'thousand, classic, dawn, Yuan, dog, half, minister, lead, Gen, king, allow, Xun,' and to the fourth tone's 'knife, early, filial piety, mountain, hair, treasure, report, Huo, ox, star, play, six,' up to the fifth tone's 'wife, four, days, decline, general, bone.' The left half continues with the tenth tone downward, covering three tones: 'security, Ya, Yi, one, yao, Renyin, mother, horse, beauty, Mi, eye, face, eyebrow, people,' four tones: 'husband, method, fly, father, all, bark, Wu, late, tail, Wen, ten, not,' five tones: '卜, Bai, Bing, Pi, Bu, Bai, Bei, Bi, Pu, Pu, Pin, Pi, Pang, Pai, Ping, Ping,' six tones: 'East, Dan, Emperor, Dui, Da, Di, Tu, Tan, Tian, Tong, Tan, Tian,' seven tones: 'Nai, Ni, Nu, Nei, Nan, Nian, Lao, Leng, Lü.' The last three tones of the twelve have no characters, so three sections are used with ■ to represent the harmonious sound; each section still consists of forty lines, with no character omitted. These three sections connect with the left half's tenth tone in a continuous chant, forming a complete set of round and square symbols on the diagram. At first glance, it seems unreadable, but in fact, it is the culmination of the entire table: the sound ends at ten, the tone ends at twelve, and when it ends, it begins again. Therefore, the next passage will use a new set of characters for chanting and harmonizing, starting a new diagram. Shao Yong believed that the numbers of heaven and earth all have a beginning and an end, and when the end comes, it begins again. Hence, the sixteen diagrams follow continuously, which is consistent with the cycle of Yuan, Hui, Yun, and Shi. Readers should view this in conjunction with the previous sections."

鹿犖離■●●●● ■■■■龜水貴北 走哉足■●●●● ■■■■宮孔眾○ 八音 自在匠■●●●● 十二音 ■■■■龍甬用○ 十聲 草采七■●●●● 六聲 ■■■■魚鼠去○ 曹才全■●●●● ■■■■烏虎兔○ 思三星■●●●● ■■■■心審禁○ 九音 寺□象■●●●● 十二音 ■■■■○○○十 十聲 □□□■●●●● 七聲 ■■■■男坎欠○ □□□■●●●● ■■■■○○○妾 ■山手■●●●● ■■■■●●●● 十音 ■士石■●●●● 十二音 ■■■■●●●● 十聲 ■□耳■●●●● 八聲 ■■■■●●●● ■□二■●●●● ■■■■●●●● ■莊震■●●●● ■■■■●●●● 十一音 ■乍□■●●●● 十二音 ■■■■●●●● 十聲 ■叉赤■●●●● 九聲 ■■■■●●●● ■崇辰■●●●● ■■■■●●●● ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十二音 ■■■■●●●● 十聲 ■拆丑■●●●● 十聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●●

This is the final paragraph of the thirty-fifth section of the "Observing Things" chapter. After completing the seventh tones of the left half with the deer's horn, the seventh tone of the "Lù Luó lí" (鹿荦离), it continues with the eighth tones of "zǒu zāi zú" (走哉足), "zì zài jiàng" (自在匠), "cǎo cǎi qī" (草采七), "cáo cái quán" (曹才全), the ninth tones of "sī sān xīng" (思三星), "sì xiàng" (寺象), the tenth tones of "shān shǒu" (山手), "shì shí" (士石), "ěr" (耳), "èr" (二), the eleventh tones of "zhuāng zhèn" (庄震), "zhà" (乍), "chā chì" (叉赤), "chóng chén" (崇辰", and the twelfth tones of "zhuó zhōng" (卓中), "zhái zhí" (宅直), "chāi chǒu" (拆丑), "chá chéng" (茶呈). On the right half, after completing the fifth tones of "guī shuǐ guì běi" (龟水贵北), it continues with the sixth tones of "gōng kǒng zhòng" (宫孔众), "lóng yǒng yòng" (龙甬用), "yú shǔ qù" (鱼鼠去), "wū hǔ tù" (乌虎兔), the seventh tones of "xīn shěn jìn" (心审禁), "nán kǎn qiàn" (男坎欠), and the eighth, ninth, and thirteenth tones of "xū wèi" (虚位). Once the tenth tones are sung and the twelfth tones are harmonized, this sound and harmony chart is complete. The left half has ten tones, each with forty-eight lines, totaling four hundred and eighty lines. The right half has twelve harmonies, each with forty lines, also totaling four hundred and eighty lines. Both halves are exactly matched, with no missing or added lines. When this chart is completed, the next section will change to using the convergence of level tones and the thickness of open tones, forming another chart. From "Rì Rì Shēng Píng Pì" (日日声平辟) onwards, the thirty-fifth section of "Observing Things" concludes with the completion of ten tones and twelve harmonies. In total, the left half has ten tones, each with forty-eight lines, totaling four hundred and eighty lines; the right half has twelve harmonies, each with forty lines, also totaling four hundred and eighty lines. When both halves are engraved together, the lines correspond perfectly. Although there are fewer filled positions and more empty ones, there is no addition or subtraction of a single line. This is the fixed method established by Shao Yong for creating the chart. The next section will use the convergence of level tones and the thickness of open tones, although the characters used in the singing and harmonizing will change, the forty-eight tone positions and forty sound positions remain unchanged. Readers can easily compare the two charts to see the order clearly. The following sixteen charts follow this pattern, with differences only in the selected tone categories and sound categories.

日月聲平翕 水火音開濁 禾光元毛衰 □黃□父步兌 龍○●●● 內自寺■■■ 日月聲七，下唱地之 水火音九，上和天之 用音一百五十二，是 用聲一百一十二，是 謂平聲翕音。平聲翕 謂開音濁聲。開音濁 音一千六十四。 聲一千八。 日月聲平之二翕 水火音開之二濁 平聲翕唱呂二之一 開音濁和律二之一

"The title of the second diagram is 'Day and Moon Sounds are Level and Close' and 'Water and Fire Sounds are Open and Heavy.' It has exactly the same structure as the previous diagram, differing only in the selection of positions: the previous diagram selected the day position from the heavenly day and the water position from the earthly water, corresponding to level tone 'Bi' and open sound 'Qing'; this diagram selects the moon position from the heavenly day and the fire position from the earthly water, corresponding to level tone 'Xi' and open sound 'Zhu.' 'Bi' refers to the mouth opening, while 'Xi' refers to the mouth closing; 'Qing' refers to light breath, while 'Zhu' refers to heavy breath. Therefore, among the level tones, words like Duo, Liang, Qian, Dao, Qi, Gong, Xin are 'Bi,' while words like He, Guang, Yuan, Mao, Shuai, Long are 'Xi.' Among the open sounds, words like Gu, Hei, An, Fu, Bu, Dong, Nie, Zou, Si are 'Qing,' while words like Huang, Fu, Bu, Duì, Nei, Zi, Si are 'Zhu.' When listing the characters in the diagram, the seventh position on the sound side has no character to be listed, so it is written as ○; the first and third positions on the sound side have no characters to be listed, so they are written as □; the next three positions on the sound side are marked with ●, and the next three positions on the sound side are marked with ■, still indicating empty positions. One should note that 'Day and Moon Sounds Seven' and 'Water and Fire Sounds Nine' refer to the number of available sound positions being seven and the number of available sound tones being nine, not that there are seven characters or nine characters: positions are fixed numbers, while characters may or may not exist, so among the seven sounds, one position may be empty, and among the nine sounds, two positions may be empty, yet the numbers remain unchanged—seven multiplied by one hundred fifty-two gives one thousand and six, and nine multiplied by one hundred twelve gives one thousand and eight, exactly the same as the previous diagram. This is the essence of Shao Yong's mathematics: he calculates positions, not characters."

古甲九癸禾禾禾禾 □□□□多可個舌 一音 □□近揆禾禾禾禾 一音 □□□□禾火化八 一聲 坤巧丘棄禾禾禾禾 一聲 □□□□開宰愛○ □□乾蚪禾禾禾禾 □□□□回每退○ 黑花香血禾禾禾禾 □□□□良兩向○ 二音 黃華雄賢禾禾禾禾 一音 □□□□光廣況○ 一聲 五瓦仰□禾禾禾禾 二聲 □□□□丁井亙○ 吾牙月堯禾禾禾禾 □□□□兄永瑩○ 安亞乙一禾禾禾禾 □□□□千典旦○ 三音 □爻壬寅禾禾禾禾 一音 □□□□元犬半○ 一聲 母馬美米禾禾禾禾 三聲 □□□□臣引艮○ 目貌眉民禾禾禾禾 □□□□君允巽○ 夫法□飛禾禾禾禾 □□□□刀早孝嶽 四音 父凡□吠禾禾禾禾 一音 □□□□毛寶報霍 一聲 武晚□尾禾禾禾禾 四聲 □□□□牛斗奏六 文萬□未禾禾禾禾 □□□□○○○玉 卜百丙必禾禾禾禾 □□□□妻子四日 五音 步白備鼻禾禾禾禾 一音 □□□□衰○帥骨 一聲 普撲品匹禾禾禾禾 五聲 □□□□○○○德

From "Ping Sheng Xi Chang Lv Er Zhi Yi" onwards, the left half uses the first tone's Xi sound character "He" as the singing tone, matching it with the twelve tones; from "Kai Yin Zhu He Lv Er Zhi Yi" onwards, the right half uses the first tone's dull sound character as the harmonizing tone, but since there is no character for this sound, the position of the harmonizing character is written as four empty squares. It still harmonizes with the ten tones. The left half starts with the first tone's ancient Jia Ji Gui, near揆, Kun Qiao Qiu Qi, Qian Tu, and proceeds through the second tone's He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao; the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min; the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei; and reaches the fifth tone's Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi. The right half starts with the first tone's Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui, and proceeds through the second tone's Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying; the third tone's Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun; the fourth tone's Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu; and reaches the fifth tone's Fu Qi Si Ri, Shuai Shuai Gu. The forty-eight tone positions and forty tone positions match exactly with the previous diagram, showing that Shao Yong's sixteen diagrams share the same framework, differing only in the singing and harmonizing characters. In the "Guan Wu" chapter thirty-five, sound is taken as "bi" and tone as "qing"; in this chapter, sound is taken as "xi" and tone as "zhu." "Bi" and "xi" refer to the opening and closing of the mouth, while "qing" and "zhu" refer to the lightness and heaviness of breath. Each diagram focuses on one aspect, and the sixteen diagrams cycle through all aspects, ensuring that the sounds of heaven and earth are fully covered. This is the method of arranging the entire sound diagram.

旁排平瓶禾禾禾禾 □□□□龜水貴北 東丹帝■禾禾禾禾 □□□□宮孔眾○ 六音 兌大弟■禾禾禾禾 一音 □□□□龍甬用○ 一聲 土貪天■禾禾禾禾 六聲 □□□□魚鼠去○ 同覃田■禾禾禾禾 □□□□烏虎兔○ 乃你女■禾禾禾禾 □□□□心審禁○ 七音 內南年■禾禾禾禾 一音 □□□□○○○十 一聲 老冷呂■禾禾禾禾 七聲 □□□□男坎欠○ 鹿犖離■禾禾禾禾 □□□□○○○妾 走哉足■禾禾禾禾 □□□□●●●● 八音 自在匠■禾禾禾禾 一音 □□□□●●●● 一聲 草采七■禾禾禾禾 八聲 □□□□●●●● 曹才全■禾禾禾禾 □□□□●●●● 思三星■禾禾禾禾 □□□□●●●● 九音 寺□象■禾禾禾禾 一音 □□□□●●●● 一聲 □□□■禾禾禾禾 九聲 □□□□●●●● □□□■禾禾禾禾 □□□□●●●● ■山手■禾禾禾禾 □□□□●●●● 十音 ■士石■禾禾禾禾 一音 □□□□●●●● 一聲 ■□耳■禾禾禾禾 十聲 □□□□●●●●

The left half still uses "he" as the main character, paired with five tones arranged in parallel bottles, six tones including Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, seven tones including Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li, eight tones including Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, nine tones including Si San Xing, Si Xiang, and ten tones including Shan Shou, Shi Shi, Er. The right half consists of the first浊音 and the last line of the fifth tone,Gui Shui Gui Bei, sixth tone including Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, seventh tone including Xin Shen Jin, Nan Kan Qian, and the following three tones are all empty, marked with ●. In this section, the character "he" on the right half is always represented by four square blocks, with no actual character, yet the forty lines are still fully arranged, which is the same as the method used in the previous diagram from the tenth tone onwards: once the tone positions are established, even if there are no characters to be cited, the line order must be determined, otherwise the number one thousand and eight cannot be calculated. The sound diagram and the tone diagram complement each other in terms of reality and emptiness; by comparing the two diagrams, readers can best understand Shao Yong's distinction between "ti shu" (body number) and "yong shu" (usage number). Since the first浊音 has no character, the entire right half's "he" is represented by square blocks; however, the ten tones it corresponds to are all clearly defined, thus forming the situation where "he" is empty but what it corresponds to is real. The previous diagram from the tenth tone onwards is also the same. By comparing the two diagrams, one can understand that emptiness in the tone corresponds to reality in the sound, and emptiness in the sound corresponds to reality in the tone; the interplay of reality and emptiness is what expresses the presence and absence on both the heavenly and earthly sides. Shao Yong did not create a character just to make it neat, nor did he abandon a position simply because there was no character; his rigor lies precisely here. Later scholars who deleted empty positions in pursuit of simplicity have all lost the original meaning.

■□二■禾禾禾禾 □□□□●●●● 開音濁和律二之二 ■莊震■禾禾禾禾 黃黃黃黃多可個舌 十一音 ■乍□■禾禾禾禾 二音 黃黃黃黃禾火化八 一聲 ■叉赤■禾禾禾禾 一聲 黃黃黃黃開宰愛○ ■崇辰■禾禾禾禾 黃黃黃黃回每退○ ■卓中■禾禾禾禾 黃黃黃黃良兩向○ 十二音 ■宅直■禾禾禾禾 二音 黃黃黃黃光廣況○ 一聲 ■拆丑■禾禾禾禾 二聲 黃黃黃黃丁井亙○ ■茶呈■禾禾禾禾 黃黃黃黃兄永瑩○

The left half first completes the pairing of "he" with the last tone of the ten sounds, then pairs it with the eleven sounds of zhuang, zhen, zha, cha, chi, chong, chen and the twelve sounds of zhuo, zhong, zhai, zhi, che, chou, cha, cheng. The first tone is completed. The right half starts a new section: "open sound,浊 and harmonize with the second sound of two tones" switches to the second sound's浊 sound character "huang" as the harmonizing character, starting from the first tone, first harmonizing with multiple characters such as "duoke", "hemoshuhua", "kaizai'ai", "huimaitui", then harmonizing with the second tone characters "liangliangxiang", "guangguangkuang", "dingjinggen", "xiongyongying". "Huang" is in the same position as the second sound "hei" in the previous diagram but differs in level, one being浊 and the other clear, exactly the model of Shao Yong dividing sounds into two columns of clear and浊: the same articulation site, with light breath entering the clear column and heavy breath entering the浊 column, each column forming a diagram, with the positions corresponding one by one.

平聲翕唱呂二之二 古甲九癸光光光光 黃黃黃黃千典旦○ 一音 □□近揆光光光光 二音 黃黃黃黃元犬半○ 二聲 坤巧丘棄光光光光 三聲 黃黃黃黃臣引艮○ □□乾蚪光光光光 黃黃黃黃君允巽○ 黑花香血光光光光 黃黃黃黃刀早孝嶽 二音 黃華雄賢光光光光 二音 黃黃黃黃毛寶報霍 二聲 五瓦仰□光光光光 四聲 黃黃黃黃牛斗奏六 吾牙月堯光光光光 黃黃黃黃○○○玉 安亞乙一光光光光 黃黃黃黃妻子四日 三音 □爻壬寅光光光光 二音 黃黃黃黃衰○帥骨 二聲 母馬美米光光光光 五聲 黃黃黃黃○○○德 目貌眉民光光光光 黃黃黃黃龜水貴北 夫法□飛光光光光 黃黃黃黃宮孔眾○ 四音 父凡□吠光光光光 二音 黃黃黃黃龍甬用○ 二聲 武晚□尾光光光光 六聲 黃黃黃黃魚鼠去○ 文萬□未光光光光 黃黃黃黃烏虎兔○ 卜百丙必光光光光 黃黃黃黃心審禁○ 五音 步白備鼻光光光光 二音 黃黃黃黃○○○十 二聲 普撲品匹光光光光 七聲 黃黃黃黃男坎欠○ 旁排平瓶光光光光 黃黃黃黃○○○妾

"Peaceful tone harmonizes with the second tone 'Xī' as 'Lǚ' second tone second," replacing the character 'chàng' with the second tone character 'guāng'. The left half starts again from the beginning: one tone includes ancient Jia, ninth Gui, and Kui; near揆, Kun, Qiu, Qi; two tones include Hei, Hua, Xiang, Xue; Huang, Hua, Xiong, Xian; Wu, Wa, Yang; Wu, Ya, Yue, Yao; three tones include An, Ya, Yi, Yi; Yao, Renyin; Mu, Ma, Mei, Mi; Mu, Mo, Mei, Min; four tones include Fu, Fa, Fei; Fu, Fan, Fei; Wu, Wan, Wei; Wen, Wan, Wei; five tones include Bu, Bai, Bing, Bi; Bu, Bai, Bei, Bi; Pu, Pu, Pin, Pi; Pang, Pai, Ping, Ping. The right half remains under the second heavy tone 'Huang', and includes third tone 'Qian', 'Dian', 'Dan'; 'Yuan', 'Quan', 'Ban'; 'Chen', 'Yin', 'Gen'; 'Jun', 'Yun', 'Xun'; fourth tone 'Dao', 'Zao', 'Xiao', 'Yue'; 'Mao', 'Bao', 'Bao', 'Huo'; 'Niu', 'Dou', 'Zou', 'Liu'; fifth tone 'Fu', 'Zi', 'Si', 'Ri'; 'Shuai', 'Shuai', 'Gu'; 'Gui', 'Shui', 'Gui', 'Bei'; sixth tone 'Gong', 'Kong', 'Zhong'; 'Long', 'Nong', 'Yong'; 'Yu', 'Shu', 'Qu'; 'Wu', 'Hu', 'Tu'; seventh tone 'Xin', 'Shen', 'Jin'; 'Nan', 'Kan', 'Qian'. 'Guang' and 'Liang' in the previous diagram both belong to the second tone, one 'xi' and one 'bi', forming a closed mouth and an open mouth, clearly showing that Shao Yong's focus on distinguishing 'xi' and 'bi' was entirely on mouth shape, which is consistent with later scholars' division of 'open' and 'closed' tones. 'Huang' and 'Hei', 'Fu' and 'Fu', 'Bu' and 'Bu', 'Dui' and 'Dong', 'Nei' and 'Nai', 'Zi' and 'Zou', 'Si' and 'Si' are paired, one heavy and one light. The distinction between light and heavy tones lies in the strength of breath, while their positions are exactly the same, so two characters in the same grid often differ only by whether they are aspirated or not. Shao Yong used this to show the two extremes of place of articulation, just as 'xi' and 'bi' show the two extremes of tone, and together they form a diagram.

東丹帝■光光光光 黃黃黃黃●●●● 六音 兌大弟■光光光光 二音 黃黃黃黃●●●● 二聲 土貪天■光光光光 八聲 黃黃黃黃●●●● 同覃田■光光光光 黃黃黃黃●●●● 乃你女■光光光光 黃黃黃黃●●●● 七音 內南年■光光光光 二音 黃黃黃黃●●●● 二聲 老冷呂■光光光光 九聲 黃黃黃黃●●●● 鹿犖離■光光光光 黃黃黃黃●●●● 走哉足■光光光光 黃黃黃黃●●●● 八音 自在匠■光光光光 二音 黃黃黃黃●●●● 二聲 草采七■光光光光 十聲 黃黃黃黃●●●● 曹才全■光光光光 黃黃黃黃●●●●

These twelve lines, the left half still uses "guang" as the leading character, paired with six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian; seven tones: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li; eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan. The right half consists of the second浊音 "huang" and the eighth, ninth, and tenth tones, all marked as ●. Whenever such lines with a solid left and empty right appear, reading them can focus on the left half, treating the right as a placeholder; but Shao Yong would never omit them, because each line in the diagram corresponds to a specific number, and missing a line would result in an incomplete number, making it impossible to proceed with the algorithm of deducing objects from sounds. When the left has characters and the right is all ●, it represents the emptiness of heavenly sounds; later, under the first浊音, the sound is solid but the tone is empty, representing the emptiness of earthly sounds. These two types of empty positions alternate in the diagram, precisely showing the insufficiency of heaven and earth, and also preventing readers from mistaking the empty spaces for missing characters.

開音濁和律二之三 思三星■光光光光 □□□□多可個舌 九音 寺□象■光光光光 三音 □□□□禾火化八 二聲 □□□■光光光光 一聲 □□□□開宰愛○ □□□■光光光光 □□□□回每退○ ■山手■光光光光 □□□□良兩向○ 十音 ■士石■光光光光 三音 □□□□光廣況○ 二聲 ■□耳■光光光光 二聲 □□□□丁井亙○ ■□二■光光光光 □□□□兄永瑩○ ■莊震■光光光光 □□□□千典旦○ 十一音 ■乍□■光光光光 三音 □□□□元犬半○ 二聲 ■叉赤■光光光光 三聲 □□□□臣引艮○ ■崇辰■光光光光 □□□□君允巽○ ■卓中■光光光光 □□□□刀早孝嶽 十二音 ■宅直■光光光光 三音 □□□□毛寶報霍 二聲 ■拆丑■光光光光 四聲 □□□□牛斗奏六 ■茶呈■光光光光 □□□□○○○玉

The left half completes the pairing of "light" with the nine tones' three stars, temple images, the ten tones' mountain hand, scholar stone, ear, two, the eleven tones' Zhuang Zhen, zha, cha chi, Chong Chen, the twelve tones' Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng, and the second tone's one round song finishes. The right half starts a new section: "Open tone浊 and harmony law two three" switches to the third tone as harmony; since there is no character for the third浊 tone, the position of harmony is written as four empty surrounding square blocks, still starting from the first tone's Duo Ke, Ge Fire Hua Ba, Kai Zai Ai, Hui Mei Tui, then the second tone's Liang Liang Xiang, Guang Guang Kuang, Ding Jing Geng, Xiong Yong Ying, the third tone's Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, to the fourth tone's Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu. The empty surrounding square blocks indicate that this tone position is logically valid but has no corresponding character, differing from the solid square blocks which represent tones that do not exist at all. In the diagram, both types appear mixed, so they must be carefully distinguished. The empty surrounding square blocks represent tones with sound but no character, while the solid square blocks represent tones with neither sound nor character. The empty surrounding circles represent sounds without characters, while the solid circles represent neither sound nor character. The four types of symbols are paired oppositely; when reading the diagram, first distinguish between square and circle, then between empty and solid, and the positions will be clear. Occasionally, the carver of the original text mixed up some symbols, as previously mentioned, and all are preserved as they originally were.

平聲翕唱呂二之三 古甲九癸元元元元 □□□□妻子四日 一音 □□近揆元元元元 三音 □□□□衰○帥骨 三聲 坤巧丘棄元元元元 五聲 □□□□○○○德 □□乾蚪元元元元 □□□□龜水貴北 黑花香血元元元元 □□□□宮孔眾○ 二音 黃華雄賢元元元元 三音 □□□□龍甬用○ 三聲 五瓦仰□元元元元 六聲 □□□□魚鼠去○ 吾牙月堯元元元元 □□□□烏虎兔○ 安亞乙一元元元元 □□□□心審禁○ 三音 □爻壬寅元元元元 三音 □□□□○○○十 三聲 母馬美米元元元元 七聲 □□□□男坎欠○ 目貌眉民元元元元 □□□□○○○妾 夫法□飛元元元元 □□□□●●●● 四音 父凡□吠元元元元 三音 □□□□●●●● 三聲 武晚□尾元元元元 八聲 □□□□●●●● 文萬□未元元元元 □□□□●●●● 卜百丙必元元元元 □□□□●●●● 五音 步白備鼻元元元元 三音 □□□□●●●● 三聲 普撲品匹元元元元 九聲 □□□□●●●● 旁排平瓶元元元元 □□□□●●●●

"Level tone harmonizes with the third tone 'Yi' in the second group of three." The character '唱' is replaced with the third tone character '元' (yuan). On the left side, it starts from the first tone's ancient Jia ninth Gui, near Kuí, Kun Qiao Qiu Qi, Qian Yu, proceeding through the second tone's Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao, then the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min, the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei, and reaches the fifth tone's Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. On the right side, the third heavy tone remains in harmony, this tone has no character but the harmonized tone position has characters, harmonizing up to the fifth tone's Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei, the sixth tone's Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, the seventh tone's Xin Shen Jin, Nan Kan Qian, the eighth and ninth tones are all marked with ●. "Yuan" corresponds with the third tone "Qian" in the previous diagram, "Qian" represents "bi" and "Yuan" represents "xi", both are the same tone but differ in mouth shape, one opening and one closing. "Qian" and "Yuan", "Du" and "He", "Liang" and "Guang", "Dao" and "Mao", "Qi" and "Shuai", "Gong" and "Long", each pair corresponds, the former with an open mouth and the latter with a closed mouth. Shao Yong distinguishes "bi" and "xi" based solely on the opening and closing of the lips and mouth during pronunciation, without considering meaning or rhyme; thus, two characters in the same position sometimes appear unrelated, yet in his diagram they are two aspects of one. This point is most similar to the later rhyming scholars who distinguished open and closed mouth pronunciations. Scholars who compare the two diagrams side by side, aligning "bi" and "xi" in rows, will find the principle evident without further explanation. This is precisely the intention behind Shao Yong's creation of the sixteen diagrams.

東丹帝■元元元元 □□□□●●●● 六音 兌大弟■元元元元 三音 □□□□●●●● 三聲 土貪天■元元元元 十聲 □□□□●●●● 同覃田■元元元元 □□□□●●●● 開音濁和律二之四 乃你女■元元元元 父父父父多可個舌 七音 內南年■元元元元 四音 父父父父禾火化八 三聲 老冷呂■元元元元 一聲 父父父父開宰愛○ 鹿犖離■元元元元 父父父父回每退○ 走哉足■元元元元 父父父父良兩向○ 八音 自在匠■元元元元 四音 父父父父光廣況○ 三聲 草采七■元元元元 二聲 父父父父丁井亙○ 曹才全■元元元元 父父父父兄永瑩○ 思三星■元元元元 父父父父千典旦○ 九音 寺□象■元元元元 四音 父父父父元犬半○ 三聲 □□□■元元元元 三聲 父父父父臣引艮○ □□□■元元元元 父父父父丁允巽○ ■山手■元元元元 父父父父刀早孝嶽 十音 ■士石■元元元元 四音 父父父父毛寶報霍 三聲 ■□耳■元元元元 四聲 父父父父牛斗奏六 ■□二■元元元元 父父父父○○○玉

The left half still uses "Yuan" as the starting point, paired with the six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, the seven tones: Nie Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li, the eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, the nine tones: Si San Xing, Si Xiang, and the ten tones: Shan Shou, Shi Shi, Er. The right half first completes the tenth tone by arranging the third heavy tone, then "Kai Yin Zhu He Lu Er Zi Si" switches to the fourth tone's heavy sound character "Fu" as the harmonizing element. It starts with the first tone: Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui Qi, then the second tone: Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying, the third tone: Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, and the fourth tone: Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu. Among these, the last line of the third tone originally reads "Ding Yun Xun," but elsewhere in the same position it reads "Jun Yun Xun." "Ding" is likely a homonym error for "Jun," so the original text is preserved without alteration. "Fu" corresponds to "Fu" in the fourth tone of the previous diagram, one being heavy and the other clear, with the same position. There is no character for the third heavy tone, yet its position cannot be omitted. Shao Yong believed that the twelve tones originate from the twelve lands, just as the twelve hours and the twelve pipes of the scale, the numbers are fixed by heaven and earth, not something humans can add or subtract. If a tone happens to be missing in speech, it is merely a deficiency in human affairs, insufficient to alter the numbers. Therefore, the diagram prefers to leave a blank square rather than reduce the twelve tones to ten. This is consistent with the earlier requirement that the ten tones must occupy ten positions. Comparing these two sections clarifies the meaning further; the method of establishing numbers throughout the entire text is generally like this.

■莊震■元元元元 父父父父妻子四日 十一音 ■乍□■元元元元 四音 父父父父衰○帥骨 三聲 ■叉赤■元元元元 五聲 父父父父○○○德 ■崇辰■元元元元 父父父父龜水貴北 ■卓中■元元元元 父父父父宮孔眾○ 十二音 ■宅直■元元元元 四音 父父父父龍甬用○ 三聲 ■拆丑■元元元元 六聲 父父父父魚鼠去○ ■茶呈■元元元元 父父父父烏虎兔○

These eight lines, on the left half, pair 'yuan' with the eleventh tone's zhuang, zhen, zha, cha, chi, chong, chen, and the twelfth tone's zhuo, zhong, zhai, zhi, chai, chou, cha, cheng. The third tone's cycle is thus completed. On the right half, it is the fourth浊音 'fu' and the fourth day of the fifth tone 'qizi siri', 'shuai shuai gu', 'gui shui gui bei', and the sixth tone's 'gong kong zhong', 'long yong yong', 'yu shu qu', 'wu hu tu'. In the diagram, 'qizi siri' and 'shuai shuai gu' are placed side by side; the former has characters for all four positions, while the latter has no character in the second position. 'San san san de' only has a character in the last position. This unevenness, Shao Yong does not attempt to complete, because what he seeks is the actual presence or absence of sounds in the population, rather than compiling a neat table of characters.

平聲翕唱呂二之四 古甲九癸毛毛毛毛 父父父父心審禁○ 一音 □□近揆毛毛毛毛 四音 父父父父○○○十 四聲 坤巧丘棄毛毛毛毛 七聲 父父父父男坎欠○ □□乾蚪毛毛毛毛 父父父父○○○妾 黑花香血毛毛毛毛 父父父父●●●● 二音 黃華雄賢毛毛毛毛 四音 父父父父●●●● 四聲 五瓦仰□毛毛毛毛 八聲 父父父父●●●● 吾牙月堯毛毛毛毛 父父父父●●●● 安亞乙一毛毛毛毛 父父父父●●●● 三音 □爻壬寅毛毛毛毛 四音 父父父父●●●● 四聲 母馬美米毛毛毛毛 九聲 父父父父●●●● 目貌眉民毛毛毛毛 父父父父●●●● 夫法□飛毛毛毛毛 父父父父●●●● 四音 父凡□吠毛毛毛毛 四音 父父父父●●●● 四聲 武晚□尾毛毛毛毛 十聲 父父父父●●●● 文萬□未毛毛毛毛 父父父父●●●●

"Level tone 'Xī' is replaced by the fourth tone 'Máo'. The left half starts from the first tone's ancient Jia Ji Gui, near揆,坤巧 Qiū,乾蚪, proceeds through the second tone's Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao, then the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mo Mei Min, and reaches the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei. The right half is the fourth heavy tone 'Fu' and proceeds to the seventh tone's Xin Shen Jin, Nan Kan Qian. The eighth, ninth, and thirteenth tones are all empty, so it is made into twelve lines ●. 'Máo' corresponds to the fourth tone 'Dāo' in the previous diagram; 'Dāo' represents 'Bì', 'Máo' represents 'Xī'; when read together, the two diagrams at the same position have one mouth shape opening and one closing, yet both belong to the level tone, which is the actual meaning of 'sound division between Bì and Xī'. The fourth heavy tone 'Fu' and beyond the tenth tone, completes one cycle. From this section onward, the right half will gradually shift to the fifth tone 'Bù', sixth tone 'Duì', and seventh tone 'Nèi', while the left half's '唱' changes from 'Máo' to 'Shuāi' to 'Lóng', each side moving according to its own cycle, without affecting each other. One '唱' covers forty-eight lines, one '和' covers forty lines, and the least common multiple of forty-eight and forty is two hundred forty, so the left and right halves realign every two hundred forty lines."

開音濁和律二之五 卜百丙必毛毛毛毛 步步步步多可個舌 五音 步白備鼻毛毛毛毛 五音 步步步步禾火化八 四聲 普撲品匹毛毛毛毛 一聲 步步步步開宰愛○ 旁排平瓶毛毛毛毛 步步步步回每退○ 東丹帝■毛毛毛毛 步步步步良兩向○ 六音 兌大弟■毛毛毛毛 五音 步步步步光廣況○ 四聲 土貪天■毛毛毛毛 二聲 步步步步丁井亙○ 同覃田■毛毛毛毛 步步步步兄永瑩○ 乃你女■毛毛毛毛 步步步步千典旦○ 七音 內南年■毛毛毛毛 五音 步步步步元犬半○ 四聲 老冷呂■毛毛毛毛 三聲 步步步步臣引艮○ 鹿犖離■毛毛毛毛 步步步步君允巽○ 走哉足■毛毛毛毛 步步步步刀早孝嶽 八音 自在匠■毛毛毛毛 五音 步步步步毛寶報霍 四聲 草采七■毛毛毛毛 四聲 步步步步牛斗奏六 曹才全■毛毛毛毛 步步步步○○○玉 思三星■毛毛毛毛 步步步步妻子四日 九音 寺□象■毛毛毛毛 五音 步步步步衰○帥骨 四聲 □□□■毛毛毛毛 五聲 步步步步○○○德 □□□■毛毛毛毛 步步步步龜水貴北

The left half still uses "mao" as the starting character, paired with five tones: Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping, and six tones: Dong Dan Di, Du Dai Di, Tu Tan Tian, Tong Tan Tian. For seven tones: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li. For eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan. For nine tones: Si San Xing, Si Xiang. The right half starts anew: "Kai Yin Zhu He Lu Er Wu" switches to the fifth tone with the浊 sound character "bu" as the counterpart. It includes first tone: Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui Qi. Second tone: Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying. Third tone: Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun. Fourth tone: Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu. Fifth tone: Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei. "Bu" corresponds with "bu" from the previous diagram in the fifth tone, both being lip sounds, with "bu" being浊 and "bu" being清. "Bu" and "bu" are both lip sounds, one浊 and one清. Lip sounds are the fifth in the twelve tones, with four categories fully represented, so these lines have few empty spaces, making them a rare dense section in the entire diagram. Shao Yong selects characters; whenever a character can be used, he uses it, preferring obscure characters over leaving blanks. Only when there is no suitable character does he use a block at the top. Observing his choices and omissions, we can see that he put great effort into the contemporary spoken sounds and their readings, not making them up out of nowhere. This is why this diagram, although created for numerical calculations, still cannot be ignored by later scholars of phonology, as it has its own intrinsic value.

■山手■毛毛毛毛 步步步步宮孔眾○ 十音 ■士石■毛毛毛毛 五音 步步步步龍甬用○ 四聲 ■□耳■毛毛毛毛 六聲 步步步步魚鼠去○ ■□二■毛毛毛毛 步步步步烏虎兔○ ■莊震■毛毛毛毛 步步步步心審禁○ 十一音 ■乍□■毛毛毛毛 五音 步步步步○○○十 四聲 ■叉赤■毛毛毛毛 七聲 步步步步男坎欠○ ■崇辰■毛毛毛毛 步步步步○○○妾 ■卓中■毛毛毛毛 步步步步●●●● 十二音 ■宅直■毛毛毛毛 五音 步步步步●●●● 四聲 ■拆丑■毛毛毛毛 八聲 步步步步●●●● ■茶呈■毛毛毛毛 步步步步●●●●

These twelve lines, on the left half, complete the pairing of "máo" with the ten tones of the mountain hand, shì shí, ěr, èr, the eleven tones of zhuāng zhèn, zhà, chā chì, chóng chén, and the twelve tones of zhuó zhōng, zhái zhí, chāi chǒu, chá chéng, finishing the fourth tone. On the right half, the fifth浊音 "bù" and the sixth tone's gōng kǒng zhòng, lóng yǒng yòng, yú shǔ qù, wū hǔ tù, the seventh tone's xīn shěn jìn, nán kǎn qiàn, then proceed into the eighth tone marked with ●. Each singing cycle covers forty-eight lines, and each harmonizing cycle covers forty lines. The two cycles are of unequal length, so where the left and right halves switch heads, they are offset from each other. If a reader follows only one side, it may seem that the other side suddenly changes its names, but in fact each has its own rhythm and they do not contradict each other. The cycles of singing and harmonizing are not synchronized, as previously mentioned; here it is even more evident that the left half has only reached the end of the fourth tone, while the right half has already reached the eighth tone below the fifth tone, with the two sides differing by nearly one section. When reading, follow each column separately, and there will be no confusion.

平聲翕唱呂二之五 古甲九癸衰衰衰衰 步步步步●●●● 一音 □□近揆衰衰衰衰 五音 步步步步●●●● 五聲 坤巧丘棄衰衰衰衰 九聲 步步步步●●●● □□乾蚪衰衰衰衰 步步步步●●●● 黑花香血衰衰衰衰 步步步步●●●● 二音 黃華雄賢衰衰衰衰 五音 步步步步●●●● 五聲 五瓦仰□衰衰衰衰 十聲 步步步步●●●● 吾牙月堯衰衰衰衰 步步步步●●●●

"Level tone 'Xī Chàng Lǚ Èr Wǔ'" translates to "Level tone 'Decay' with the fifth tone 'Xī' sound." The left half begins with the initial sound, first pairing a single tone with ancient Jia Ji Gui, near揆, Kun Qiao Qi, Qian Yu, then pairing two tones with Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao. The right half involves the fifth heavy tone 'Bu' and the ninth and tenth tones, where the tone positions are empty, and all eight rows are marked with ●. "Decay" corresponds to the fifth tone "Qī" from the previous diagram, where "Qī" represents "Bi" and "Decay" represents "Xī." By this point, five of the seven "Xī" tones in the second diagram have been used, leaving only the sixth tone "Long" and the seventh tone which has a position but no character marked as ○. Comparing the two diagrams, the number of available characters for "Xī" tones is one less than for "Bi" tones, which is precisely why Shao Yong separated tones from characters for analysis.

開音濁和律二之六 安亞乙一衰衰衰衰 兌兌兌兌多可個舌 三音 □爻壬寅衰衰衰衰 六音 兌兌兌兌禾火化八 五聲 母馬美米衰衰衰衰 一聲 兌兌兌兌開宰愛○ 目貌眉民衰衰衰衰 兌兌兌兌回每退○ 夫法□飛衰衰衰衰 兌兌兌兌良兩向○ 四音 父凡□吠衰衰衰衰 六音 兌兌兌兌光廣況○ 五聲 武晚□尾衰衰衰衰 二聲 兌兌兌兌丁井亙○ 文萬□未衰衰衰衰 兌兌兌兌兄永瑩○ 卜百丙必衰衰衰衰 兌兌兌兌千典旦○ 五音 步白備鼻衰衰衰衰 六音 兌兌兌兌元犬半○ 五聲 普撲品匹衰衰衰衰 三聲 兌兌兌兌臣引艮○ 旁排平瓶衰衰衰衰 兌兌兌兌君允巽○ 東丹帝■衰衰衰衰 兌兌兌兌刀早孝嶽 六音 兌大弟■衰衰衰衰 六音 兌兌兌兌毛寶報霍 五聲 土貪天■衰衰衰衰 四聲 兌兌兌兌牛斗奏六 同覃田■衰衰衰衰 兌兌兌兌○○○玉 乃你女■衰衰衰衰 兌兌兌兌妻子四日 七音 內南年■衰衰衰衰 六音 兌兌兌兌衰○帥骨 五聲 老冷呂■衰衰衰衰 五聲 兌兌兌兌○○○德 鹿犖離■衰衰衰衰 兌兌兌兌龜水貴北

The left half continues with "shuai" as the leading tone, paired with three-syllable words such as An Ya Yi, Yao Renyin, Mu Ma Mei Mi, Mu Mao Mei Min; four-syllable words such as Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei; five-syllable words such as Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping; six-syllable words such as Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian; and seven-syllable words such as Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li. The right half begins a new section: "Kai Yin Zhu He Lu Er Zi Liu" switches to the sixth tone's浊 sound "Dui" as the harmonizing element, starting with first tone words such as Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui Qi, proceeding through second tone words such as Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying, third tone words such as Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun, fourth tone words such as Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, and reaching fifth tone words such as Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei. "Dui" corresponds to the sixth浊 sound, contrasting with the previous sixth清 sound "Dong." "Dong" is clear while "Dui" is浊. "Dui" is the sixth浊 sound, contrasting with the previous sixth清 sound "Dong." By this point, six of the twelve harmonies in the second diagram have been used, leaving three more characters "Nei," "Zi," and "Si," as well as the tenth, eleventh, and twelfth positions without characters. On the left, the "xi" sound has only "Long" remaining with a character, while the seventh tone has a position but no character, and the eighth, ninth, and thirteenth tones have no characters. The remaining characters on both sides are few, indicating the diagram is about to conclude. Viewing the entire text, it is evident that usable sounds are few while usable tones are numerous, hence the singing consists of forty-eight lines while the harmonizing consists of forty lines. Singers have longer lines while harmonizers have shorter lines, and the sequence of heaven preceding earth is embedded within this structure.

走哉足■衰衰衰衰 兌兌兌兌宮孔眾○ 八音 自在匠■衰衰衰衰 六音 兌兌兌兌龍甬用○ 五聲 草采七■衰衰衰衰 六聲 兌兌兌兌魚鼠去○ 曹才全■衰衰衰衰 兌兌兌兌烏虎兔○ 思三星■衰衰衰衰 兌兌兌兌心審禁○ 九音 寺□象■衰衰衰衰 六音 兌兌兌兌○○○十 五聲 □□□■衰衰衰衰 七聲 兌兌兌兌男坎欠○ □□□■衰衰衰衰 兌兌兌兌○○○妾 ■山手■衰衰衰衰 兌兌兌兌●●●● 十音 ■士石■衰衰衰衰 六音 兌兌兌兌●●●● 五聲 ■□耳■衰衰衰衰 八聲 兌兌兌兌●●●● ■□二■衰衰衰衰 兌兌兌兌●●●● ■莊震■衰衰衰衰 兌兌兌兌●●●● 十一音 ■乍□■衰衰衰衰 六音 兌兌兌兌●●●● 五聲 ■叉赤■衰衰衰衰 九聲 兌兌兌兌●●●● ■崇辰■衰衰衰衰 兌兌兌兌●●●● ■卓中■衰衰衰衰 兌兌兌兌●●●● 十二音 ■宅直■衰衰衰衰 六音 兌兌兌兌●●●● 五聲 ■拆丑■衰衰衰衰 十聲 兌兌兌兌●●●● ■茶呈■衰衰衰衰 兌兌兌兌●●●●

This passage's left half pairs "shuai" with the eight tones' "zou zai zhu", "zi zai jiang", "cao cai qi", "cao cai quan", the nine tones' "si san xing", "si xiang", the ten tones' "shan shou", "shi shi", "er", the eleven tones' "zhuang zhen", "zha", "cha chi", "chong chen", and the twelve tones' "zhuo zhong", "zai zhi", "che chou", "cha cheng", and the fifth tone's "yi lun chang bi". The right half is the sixth浊音 "dui" and the sixth tone's "gong kong zhong", "long yong yong", "yu shu qu", "wu hu tu", the seventh tone's "xin shen jin", "nan kan qian", and the following three tones are marked with ●. When combining the two diagrams, one can see that the same tone position has characters in the clear series but none in the浊 series, or characters in the浊 series but none in the clear series, clearly showing that the sounds people can produce do not match the characters that can be recorded. Shao Yong does not create characters for the sake of neatness, nor does he abandon positions for lack of characters, which is his consistent approach to handling this table. The ten sound positions take their imagery from heaven, and the twelve tone positions take their imagery from earth; the number of heaven ends at ten, and the number of earth ends at twelve, so sounds stop at ten and tones stop at twelve. Shao Yong believed that the numbers of all things originate from the numbers of heaven and earth: the four heavenly bodies, sun, moon, stars, and planets, are their substance; the ten sounds and twelve tones are their functions; one hundred sixty and one hundred ninety-two are their correct numbers; one hundred twelve and one hundred fifty-two are their functional numbers. Each level is connected, with its own origin. In these sections filled with circles and blocks, although the characters are not visible, the numbers remain unchanged in the slightest, which is exactly what he wants people to understand. This is also the distinctive feature of this diagram compared to ordinary rhyme books.

平聲翕唱呂二之六 開音濁和律二之七 古甲九癸龍龍龍龍 內內內內多可個舌 一音 □□近揆龍龍龍龍 七音 內內內內禾火化八 六聲 坤巧丘棄龍龍龍龍 一聲 內內內內開宰愛○ □□乾蚪龍龍龍龍 內內內內回每退○ 黑花香血龍龍龍龍 內內內內良兩向○ 二音 黃華雄賢龍龍龍龍 七音 內內內內光廣況○ 六聲 五瓦仰□龍龍龍龍 二聲 內內內內丁井亙○ 吾牙月堯龍龍龍龍 內內內內兄永瑩○ 安亞乙一龍龍龍龍 內內內內丁典旦○ 三音 □爻壬寅龍龍龍龍 七音 內內內內元犬半○ 六聲 母馬美米龍龍龍龍 三聲 內內內內臣引艮○ 目貌眉民龍龍龍龍 內內內內君允巽○ 夫法□飛龍龍龍龍 內內內內刀早孝嶽 四音 父凡□吠龍龍龍龍 七音 內內內內毛寶報霍 六聲 武晚□尾龍龍龍龍 四聲 內內內內牛斗奏六 文萬□未龍龍龍龍 內內內內○○○玉 卜百丙必龍龍龍龍 內內內內妻子四日 五音 步白備鼻龍龍龍龍 七音 內內內內衰○帥骨 六聲 普撲品匹龍龍龍龍 五聲 內內內內○○○德 旁排平瓶龍龍龍龍 內內內內龜水貴北

The lines "Ping Sheng Xi Chang Lu Er Zhi Liu" and "Kai Yin Zhu He Lu Er Zhi Qi" are arranged in the same row. On both left and right halves, the heads change simultaneously: the character "Chang" on the left is replaced by the sixth tone character "Long" (dragon), which is the last character with a sound in the Xi tone; the character "He" on the right is replaced by the seventh tone character "Nei" (inner). On the left, starting from the first tone's ancient Jia Ji Gui, near揆, Kun Qiao Qiu Qi, Qian Yu, it proceeds through the second tone's Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang, Wu Ya Yue Yao, the third tone's An Ya Yi Yi, Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min, the fourth tone's Fu Fa Fei, Fu Fan Fei, Wu Wan Wei, Wen Wan Wei, to the fifth tone's Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping. On the right, starting from the first tone's Duo Ke Ge She, He Huo Hua Ba, Kai Zai Ai, Hui Mei Tui, it proceeds through the second, third, and fourth tones, to the fifth tone's Qi Zi Si Ri, Shuai Shuai Gu, Gui Shui Gui Bei. Among these, the third tone's first line originally read "Ding Dian Dan," but elsewhere in the same position it reads "Qian Dian Dan." "Ding" is likely a clerical error for "Qian," and the original form is preserved as per the base text. Among the seven positions of the Xi tone, the seventh position has only a position but no character, marked as "○" at the beginning of the diagram. Therefore, this diagram actually contains six characters in the Xi tone, one less than the previous diagram of the Bi tone, which had seven characters. Although there is one less character, the number of tone positions remains seven. The calculation using numbers remains seven multiplied by 152, resulting in 1064, the same as the previous diagram. This is the clearest example of "positions have a fixed number, but characters may vary in quantity." If counted by characters, the two diagrams would not be equal, and Shao Yong's method would not hold. Therefore, it must be counted by positions, not by characters.

東丹帝■龍龍龍龍 內內內內宮孔眾○ 六音 兌大弟■龍龍龍龍 七音 內內內內龍甬用○ 六聲 土貪天■龍龍龍龍 六聲 內內內內魚鼠去○ 同覃田■龍龍龍龍 內內內內烏虎兔○ 乃你女■龍龍龍龍 內內內內心審禁○ 七音 內南年■龍龍龍龍 七音 內內內內○○○十 六聲 老冷呂■龍龍龍龍 七聲 內內內內男坎欠○ 鹿犖離■龍龍龍龍 內內內內○○○妾 走哉足■龍龍龍龍 內內內內●●●● 八音 自在匠■龍龍龍龍 七音 內內內內●●●● 六聲 草采七■龍龍龍龍 八聲 內內內內●●●● 曹才全■龍龍龍龍 內內內內●●●● 思三星■龍龍龍龍 內內內內●●●● 九音 寺□象■龍龍龍龍 七音 內內內內●●●● 六聲 □□□■龍龍龍龍 九聲 內內內內●●●● □□□■龍龍龍龍 內內內內●●●● ■山手■龍龍龍龍 內內內內●●●● 十音 ■士石■龍龍龍龍 七音 內內內內●●●● 六聲 ■□耳■龍龍龍龍 十聲 內內內內●●●● ■□二■龍龍龍龍 內內內內●●●● 開音濁和律二之八 ■莊震■龍龍龍龍 自自自自多可個舌 十一音 ■乍□■龍龍龍龍 八音 自自自自禾火化八

The left half still uses "long" as the leading note, paired with six tones: Dong Dan Di, Dui Da Di, Tu Tan Tian, Tong Tan Tian, seven tones: Nai Ni Nu, Nei Nan Nian, Lao Leng Lv, Lu Luo Li, eight tones: Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan, nine tones: Si San Xing, Si Xiang, ten tones: Shan Shou, Shi Shi, Er, and two, and starts with the first tone to reach the eleventh tone: Zhuang, Zhen, Zha. The right half consists of the seventh浊音 "Nei" and the sixth tone: Gong Kong Zhong, Long Yong Yong, Yu Shu Qu, Wu Hu Tu, the seventh tone: Xin Shen Jin, Nan Kan Qian, and the eighth, ninth, and tenth tones, which are left empty. Then, "Kai Yin Zhu He Lu Er Zi Bai" switches to the eighth tone's浊音 "Zi" as the harmonizing note, and starts again from the first tone: Duo Ke Ge She, He Huo Hua Ba Pai. This section ends here; the second sound harmony diagram is not yet completed. The remaining sounds of "long," the empty harmonizing notes in the seventh tone, and the harmonizing notes after the eighth tone "Zi" are continued in the following text, to be written by the next group. From the already arranged part, it is clear that the structure of Guanwu Chapter 36 and 35 is exactly the same: the left half has ten tones and the right half has twelve harmonizing notes, each with four hundred eighty lines. The only difference is that the leading notes change from "bi" to "xi" and the harmonizing notes change from clear to浊音. The sixteen diagrams alternate in this way, with the sounds of day, moon, sun, and stars matching the tones of water, fire, earth, and stone, covering all sixteen categories. Shao Yong composed the "Huangji Jingshi," with the first half discussing the changes of the universe, ages, and eras, and the second half using sound harmony to explore the numbers of all things. One speaks in terms of time, the other in terms of things, but both aim to show that nothing in the universe exists outside of numbers, and the reason for numbers lies in principles.

六聲 ■叉赤■龍龍龍龍，一聲 自自自自開宰愛○；■崇辰■龍龍龍龍，自自自自回每退○；■卓中■龍龍龍龍，自自自自良兩向○；十二音 ■宅直■龍龍龍龍，八音 自自自自光廣況○；六聲 ■拆丑■龍龍龍龍，二聲 自自自自丁井亙○；■茶呈■龍龍龍龍，自自自自兄永瑩○。

This passage spans between two diagrams. The left half concludes with "Ping Sheng Xi Chang Lv Er Zhi Liu," ending with the representative character "Long" for the sixth tone in the Ping Sheng Xi position, singing in harmony with the subsequent two lines of the eleventh tone "■ Cha Chi ■" and "■ Chong Chen ■," and the four lines of the twelfth tone "■ Zhuo Zhong ■," "■ Zhai Zhi ■," "■ Che Chou ■," and "■ Cha Cheng ■." The first character of each of these groups is marked with "■," indicating "no sound at this position," not a missing character. The right half begins with "Kai Yin Zhu He Lu Er Zhi Ba," starting with the representative character "Zi" for the eighth tone of water and fire sounds, sequentially matching the latter two lines of the first tone "Kai Zai Ai ○" and "Hui Mei Tui ○," and the four lines of the second tone "Liang Liang Xiang ○," "Guang Guang Kuang ○," "Ding Jing Gen ○," and "Xiong Yong Ying ○." The "○" at the end of each line indicates that there is a sound position but no character to match.