Closed sound clear and harmonious law, first of ten

閉音清和律一之十；乃你女■●●●●，■■■■多可個舌；七音：內南年■●●●●，十音：■■■■禾火化八；八聲：老冷呂■●●●●，一聲：■■■■開宰愛○；鹿犖離■●●●●，■■■■回每退○；走哉足■●●●●，■■■■良兩向○；八音：自在匠■●●●●，十音：■■■■光廣況○；八聲：草采七■●●●●，二聲：■■■■丁井亙○；曹才全■●●●●，■■■■兄永瑩○；思三星■●●●●，■■■■千典旦○；九音：寺□象■●●●●，十音：■■■■元犬半○；八聲：□□□■●●●●，三聲：■■■■臣引艮○；□□□■●●●●，■■■■君允巽○。

The right column begins with "Closed Sound Clear Harmony Law One-Ten": the tenth tone, water element, "□ mountain hand ■" has no sound in the closed position, and the character remains "■", repeated four times. The harmonized text for the first tone, four lines, is "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○"; for the second tone, four lines, "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○"; for the third tone, four lines, "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○". The left column continues with "Entering Tone Separate Singing Lu One-Eight", using "●" repeated four times to continue singing the seventh tone, four lines, "nai ni nv ■, nei nan nian ■, lao leng lu ■, lu luo li ■"; the eighth tone, four lines, "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■"; the ninth tone, four lines, "si san xing ■, si □ xiang ■, □ □ □ ■, □ □ □ ■". The right column's harmonized text is for the tenth tone, water element, closed position, which originally has no sound, so the entire text uses "■" repeated four times as the harmonized character; although it is a virtual position, all forty tone positions are still fully arranged without omission. The left column still has many character examples, with representative characters for the lip, tongue, and teeth sounds sung in order.

■山手■●●●●，■■■■刀早孝嶽；十音：■士石■●●●●，十音：■■■■毛寶報霍；八聲：■□耳■●●●●，四聲：■■■■牛斗奏六；■□二■●●●●，■■■■○○○玉；■莊震■●●●●，■■■■妻子四日；十一音：■乍□■●●●●，十音：■■■■衰○帥骨；八聲：■叉赤■●●●●，五聲：■■■■○○○德；■崇辰■●●●●，■■■■龜水貴北；■卓中■●●●●，■■■■宮孔眾○；十二音：■宅直■●●●●，十音：■■■■龍甬用○；八聲：■拆丑■●●●●，六聲：■■■■魚鼠去○；■茶呈■●●●●，■■■■烏虎兔○。

The left column, "Rushang Bi Chang Lü Yi Zhi Ba," uses "●" four times, singing four lines for the tenth tone: "■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■," four lines for the eleventh tone: "■ Zhuang Zhen ■, ■ Zha □ ■, ■ Cha Chi ■, ■ Chong Chen ■," and four lines for the twelfth tone: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," completing the diagram. The right column, "Bi Yin Qing He Lu Yi Zhi Shi," uses "■" four times, harmonizing four lines for the fourth tone: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," four lines for the fifth tone: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De,Gui Shui Gui Bei," and four lines for the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." In the fifth tone's second line, "Shuai ○ Shuai Gu," the rising tone position is filled with sound but no character, and in the sixth tone's last line, "Wu Hu Tu ○," the entering tone position is also filled with sound but no character, each marked with "○" to fill the blank. For the tenth, eleventh, and twelfth tones, the open and closed positions are mostly without sound, only the middle initial and final positions can hold characters, so each line in the left column can only read two characters. The right column's harmonization for the fourth, fifth, and sixth tones has more complete character examples, though there are some missing characters in the entering tone positions of each line.

入聲闢唱呂一之九；古甲九癸●●●●，■■■■心審禁○；一音：□□近揆●●●●，十音：■■■■○○○十；九聲：坤巧丘棄●●●●，七聲：■■■■男坎欠○；□□乾蚪●●●●，■■■■○○○妾；黑花香血●●●●，■■■■●●●●；二音：黃華雄賢●●●●，十音：■■■■●●●●；九聲：五瓦仰□●●●●，八聲：■■■■●●●●；吾牙月堯●●●●，■■■■●●●●；安亞乙一●●●●，■■■■●●●●；三音：□爻壬寅●●●●，十音：■■■■●●●●；九聲：母馬美米●●●●，九聲：■■■■●●●●；目貌眉民●●●●，■■■■●●●●。

The left column begins with "Rusheng Bi Chang Lv Yi Zhi Jiū." The ninth category of Zhengsheng is entirely silent, so its daily movement into the position can only be written as "●". Each line is repeated four times. The first tone's four lines are "Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu." The second tone's four lines are "Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo." The third tone's four lines are "Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Mí Mín." On the right column, "Biyin Qing He Lv Yi Shi" uses "■" repeated four times, and harmonizes with the seventh tone's four lines: "Xīn Shěn Jìn ○, ○○○ Shí, Nán Kǎn Qiàn ○, ○○○ Jiè." Then it harmonizes with the eighth and ninth tones, totaling eight lines. The following eight lines are all "●●●●." The ninth category of Zhengsheng has no position for sound, so the singing character in this diagram is purely a blank. However, once singing is established, the forty-eight tones must be passed through one by one, none can be missing. In the right column, the seventh tone's four lines all contain "○," while the eighth and ninth tones have "●," both appearing within the same section. The distinction between empty and filled is particularly clear: the former has a position but no character, while the latter has no position at all.

夫法□飛●●●●，■■■■●●●●；四音：父凡□吠●●●●，十音：■■■■●●●●；九聲：武晚□尾●●●●，十聲：■■■■●●●●；文萬□未●●●●，■■■■●●●●。

The left column, "Entry on the Fourth Tone of the Rhythm of the Inclusive Sound 'Lv Yi Ji Jiú'", uses the silent symbol '●' four times in succession, and sings the fourth tone in four lines: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei". The third position in each of the four lines is marked with '□', indicating an available phonetic position without a corresponding character. The last line's 'Wei' is a borrowed character from the Earthly Branches to serve as an example of sound. The right column, "Entry on the Tenth Tone of the Clear and Harmonious Law 'Lv Yi Shi'", uses the symbol '■' four times in succession, and harmonizes the tenth tone in four lines, all marked as '●●●●', completing the diagram.

閉音清和律一之十一；卜百丙必●●●●，■■■■多可個舌；五音：步白備鼻●●●●，十一音：■■■■禾火化八；九聲：普撲品匹●●●●，一聲：■■■■開宰愛○；旁排平瓶●●●●，■■■■回每退○；東丹帝■●●●●，■■■■良兩向○；六音：兌大弟■●●●●，十一音：■■■■光廣況○；九聲：土貪天■●●●●，二聲：■■■■丁井亙○；同覃田■●●●●，■■■■兄永瑩○；乃你女■●●●●，■■■■千典旦○；七音：內南年■●●●●，十一音：■■■■元犬半○；九聲：老冷呂■●●●●，三聲：■■■■臣引艮○；鹿犖離■●●●●，■■■■君允巽○。

The right column begins with "Closed Sound Clear Harmony Law One, Number Eleven": The eleventh tone, which belongs to the water element, is "■ ZHUANG ZHEN ■". The closed position has no sound, and the character "和" is still written as "■". It is repeated four times downward. The first tone has four lines: "duo ke ge she, he huohua ba, kai zai ai ○, hui mei tui ○". The second tone has four lines: "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○". The third tone has four lines: "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○". For the second and third tones, the eight lines in the entering position have no characters and are all written as "○". The left column remains "Entering Tone Singing Law One, Number Nine", with "●" repeated four times to continue singing the fifth tone's four lines: "bu bai bing bi, bu bai bei bi, pu pu pin pi, pang pai ping ping". The sixth tone's four lines: "dong dan di ■, dui da di ■, tu tan tian ■, tong tan tian ■". The seventh tone's four lines: "nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■". The eleventh tone "■ ZHUANG ZHEN ■" series has no sound in both the opening and closed positions, so when using the water element's closed pattern for the character "和", it can only be written as "■". The fifth tone on the left column is the heavy lip sound, with four lines each having four characters, forming a contrast with the empty positions on the right column.

走哉足■●●●●，■■■■刀早孝嶽；八音：自在匠■●●●●，十一音：■■■■毛寶報霍；九聲：草采七■●●●●，四聲：■■■■牛斗奏六；曹才全■●●●●，■■■■○○○玉；思三星■●●●●，■■■■妻子四日；九音：寺□象■●●●●，十一音：■■■■衰○帥骨；九聲：□□□■●●●●，五聲：■■■■○○○德；□□□■●●●●，■■■■龜水貴北；■山手■●●●●，■■■■宮孔眾○；十音：■士石■●●●●，十一音：■■■■龍甬用○；九聲：■□耳■●●●●，六聲：■■■■魚鼠去○；■□二■●●●●，■■■■烏虎兔○。

The left column, "入声辟唱吕一之九," uses "●" repeated four times, singing eight tones with four lines each: "走哉足■, 自在匠■, 草采七■, 曹才全■," nine tones with four lines each: "思三星■, 寺□象■, □□□■, □□□■," and ten tones with four lines each: "■山手■, ■士石■, ■□耳■, ■□二■." The right column, "闭音清和律一之十一," uses "■" repeated four times, harmonizing the fourth tone with four lines each: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," fifth tone with four lines each: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," sixth tone with four lines each: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The third line of the fifth tone "○○○德" only has characters in the position where it is entered, while the fourth line of the sixth tone has all positions missing, filled with "○" as a substitute. This corresponds exactly with the right column's "■" being empty and the left column's "○" being filled, so they should not be confused. The eighth tone on the left belongs to the dental initial, the ninth tone belongs to the fine dental sound, and the tenth tone is a combination of the tongue and dental sounds, with all the final sounds missing in the three tones. The right column's examples of harmonized tones are still numerous, but the entered positions are often empty. Within one line, the left and right columns each have their own diagrams, and the order of tones and the order of sounds are not related.

■莊震■●●●●，■■■■心審禁○；十一音：■乍□■●●●●，十一音：■■■■○○○十；九聲：■叉赤■●●●●，七聲：■■■■男坎欠○；■崇辰■●●●●，■■■■○○○妾；■卓中■●●●●，■■■■●●●●；十二音：■宅直■●●●●，十一音：■■■■●●●●；九聲：■拆丑■●●●●，八聲：■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

The left column concludes with "入声辟唱吕一之九," using "●" repeated four times to sing the eleventh tone in four lines: "■庄震■, ■乍□■, ■叉赤■, ■崇辰■" and the twelfth tone in four lines: "■卓中■, ■宅直■, ■拆丑■, ■茶呈■." The right column, "闭音清和律一之十一," uses "■" repeated four times, harmonizing with the seventh tone in four lines: "心审禁○, ○○○十, 男坎欠○, ○○○妾" and the eighth tone in four lines. Each of the seventh tone lines has empty spaces marked as "○," while the eighth tone has "●●●●" throughout. The eleventh and twelfth tones belong to the correct dental and palatal sounds, with no sounds in both open and closed categories, so each line only has the middle two characters. Although the seventh tone lines on the right have characters, they are all marked with empty spaces.

入聲闢唱呂一之十；古甲九癸●●●●，■■■■●●●●；一音：□□近揆●●●●，十一音：■■■■●●●●；十聲：坤巧丘棄●●●●，九聲：■■■■●●●●；□□乾蚪●●●●，■■■■●●●●；黑花香血●●●●，■■■■●●●●；二音：黃華雄賢●●●●，十一音：■■■■●●●●；十聲：五瓦仰□●●●●，十聲：■■■■●●●●；吾牙月堯●●●●，■■■■●●●●。

On the left side, another section begins with "入声辟唱吕一之十". The tenth category of the standard tone has no sound throughout, and the position of the entering tone on the day naturally becomes a pure empty position, written as "●". Each line consists of four repetitions. The four lines for the first tone are "古甲九癸、□□近揆、坤巧丘弃、□□乾蚪", and the four lines for the second tone are "黑花香血、黄华雄贤、五瓦仰□、吾牙月尧". On the right side, "闭音清和律一之十一" uses "■" repeated four times, harmonizing with the ninth and tenth tones, totaling eight lines, each line being "●●●●". This diagram concludes here. By singing the empty with the empty and harmonizing the void with the void, all positions are still fully accounted for, which precisely demonstrates that this diagram emphasizes "number" rather than "character". The diagram's use of empty to sing empty, and void to harmonize with void, still fully fills each position, clearly showing that Shao Yong's diagram focuses on "number" rather than "character".

閉音清和律一之十二；安亞乙一●●●●，■■■■多可個舌；三音：□爻壬寅●●●●，十二音：■■■■禾火化八；十聲：母馬美米●●●●，一聲：■■■■開宰愛○；目貌眉民●●●●，■■■■回每退○；夫法□飛●●●●，■■■■良兩向○；四音：父凡□吠●●●●，十二音：■■■■光廣況○；十聲：武晚□尾●●●●，二聲：■■■■丁井亙○；文萬□未●●●●，■■■■兄永瑩○；卜百丙必●●●●，■■■■千典旦○；五音：步白備鼻●●●●，十二音：■■■■元犬半○；十聲：普撲品匹●●●●，三聲：■■■■臣引艮○；旁排平瓶●●●●，■■■■君允巽○。

On the right side, another section begins with 《Closed Sound Clear Harmony Law One of Twelve》: the twelfth tone of the water element is 「■Zhuo Zhong ■」, with no sound in the closed position, and the character 「和」 is written as 「■」. It is repeated four times descending, with four lines for the first tone's four sounds 「Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○」, four lines for the second tone's four sounds 「Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○」, and four lines for the third tone's four sounds 「Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○」. On the left side, it remains 《Entering Tone Separate Singing Law One of Ten》, continuing to sing the third tone's four lines with four repetitions of 「●」: 「An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min」, and four lines for the fourth tone: 「Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei」, and four lines for the fifth tone: 「Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping」. The series of 《Closed Sound Clear Harmony Law》 concludes here at the twelfth diagram, completing the twelve tones of the water element's closed position; among them, the first tone gets 「Gui」, the second tone gets 「Xue」, the third tone gets 「Yi」, the fourth tone gets 「Fei」, the fifth tone gets 「Bi」, while the remaining seven tones have no sound and are written as 「■」.

東丹帝■●●●●，■■■■刀早孝嶽；六音：兌大弟■●●●●，十二音：■■■■毛寶報霍；十聲：土貪天■●●●●，四聲：■■■■牛斗奏六；同覃田■●●●●，■■■■○○○玉；乃你女■●●●●，■■■■妻子四日；七音：內南年■●●●●，十二音：■■■■衰○帥骨；十聲：老冷呂■●●●●，五聲：■■■■○○○德；鹿犖離■●●●●，■■■■龜水貴北；走哉足■●●●●，■■■■宮孔眾○；八音：自在匠■●●●●，十二音：■■■■龍甬用○；十聲：草采七■●●●●，六聲：■■■■魚鼠去○；曹才全■●●●●，■■■■烏虎兔○。

The left column, "入声辟唱吕一之十," uses four repetitions of "●" and sings four lines for the sixth tone: "东丹帝■, 兑大弟■, 土贪天■, 同覃田■," four lines for the seventh tone: "乃你女■, 内南年■, 老冷吕■, 鹿荦离■," and four lines for the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■." The right column, "闭音清和律一之十二," uses four repetitions of "■" and harmonizes four lines for the fourth tone: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines for the fifth tone: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines for the sixth tone: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The sixth tone in the left column is the tongue route, the seventh tone is the nü lai route, and the eighth tone is the chi tou route. The three tones in the closed pattern have no sound. In the right column, the last line of the fourth tone "○○○玉" only has the character in the position, the second line of the fifth tone "衰○帅骨" is missing a character in the rising tone position, and all four lines of the sixth tone are completely empty, filled with "○." Therefore, although they are both blank, the left uses "■" and the right uses "○," each according to their respective diagrams.

思三星■●●●●，■■■■心審禁○；九音：寺□象■●●●●，十二音：■■■■○○○十；十聲：□□□■●●●●，七聲：■■■■男坎欠○；□□□■●●●●，■■■■○○○妾；■山手■●●●●，■■■■●●●●；十音：■士石■●●●●，十二音：■■■■●●●●；十聲：■□耳■●●●●，八聲：■■■■●●●●；■□二■●●●●，■■■■●●●●；■莊震■●●●●，■■■■●●●●；十一音：■乍□■●●●●，十二音：■■■■●●●●；十聲：■叉赤■●●●●，九聲：■■■■●●●●；■崇辰■●●●●，■■■■●●●●。

The left column, "Rusheng Bi Chang Lv Yi Zhi Shi," uses "●" four times in succession, singing the ninth tone with four lines: "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," and the tenth tone with four lines: "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■," and the eleventh tone with four lines: "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■." The right column, "Bi Yin Qing He Lv Yi Zhi Shier," uses "■" four times in succession, harmonizing the seventh tone with four lines: "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie," then harmonizing the eighth and ninth tones together in eight lines, all using "● ● ● ●." In the left column, "□" and "■" alternate in lines: the former represents a phoneme position without a character, while the latter represents no phoneme position. In the right column, the seventh tone has characters such as Xin, Shen, Jin, Nan, Kan, Qian that can be read, but the eighth and ninth tones have no characters at all, all written as "●." The left column follows the order of phonemes, while the right column follows the order of tones, both within the same line but not connected to each other. This is the consistent arrangement found in all the diagrams in this text.

■卓中■●●●●，■■■■●●●●；十二音：■宅直■●●●●，十二音：■■■■●●●●；十聲：■拆丑■●●●●，十聲：■■■■●●●●；■茶呈■●●●●，■■■■●●●●。

The left column, "入声辟唱吕一之十" sings the twelfth tone in four lines: "■卓中■, ■宅直■, ■拆丑■, ■茶呈■". The right column, "闭音清和律一之十二" harmonizes the tenth tone in four lines. By this point, all ten diagrams based on the "日" row for the sung tones and all twelve diagrams based on the "水" row for the harmonized tones have been completed, totaling four hundred and eighty sung positions and four hundred and eighty harmonized positions, each fully listed. The following text will introduce a new series.

觀物篇四十八；辰月聲入翕　石火音閉濁；八○○霍骨，揆賢寅吠■；○十●●●，■■■■■■；辰月聲七，下唱地之　石火音五，上和天之；用音一百五十二，是　用聲一百一十二，是；謂入聲翕音。入聲翕　謂閉音濁聲。閉音濁；音一千六十四。　聲五百六十；辰月聲入之二翕　石火音閉之二濁。

The fourth十八 chapter of "Guānwù Piān" discusses the pair of "Chén yuè shēng rù xī" and "Shí huǒ yīn bì zhuó." "Chén yuè shēng rù xī" refers to the intersection of the "Chén" position (the fourth position in the four tones, which is the entering tone) and the "yuè" row (the second row in the four rows, which belongs to the xī, or closed mouth) in the diagram of correct tones; "Shí huǒ yīn bì zhuó" refers to the intersection of the "Shí" position (the fourth position in the four tones, which is the closed tone) and the "huǒ" row (the second row in the four rows, which belongs to the zhuó, or dull tone) in the diagram of correct sounds. The original text has both columns printed on one page, and when converted to horizontal lines, each sentence's first half refers to the tone and the second half refers to the sound, requiring them to be read separately. The ten characters "bā liǎo huo gǔ" and "lí shí ● ● ●" are representative characters for the ten categories of correct tones in the entering tone xī position: the first tone corresponds to "bā," the fourth tone corresponds to "huo," the fifth tone corresponds to "gǔ," the seventh tone corresponds to "shí," and the second, third, and sixth tones have tone positions but no corresponding characters, marked as "○," while the eighth, ninth, and tenth tones have no tone positions, marked as "●." There are seven tones with corresponding characters, hence the text says "Chén yuè shēng qī." The characters "kuí xián yín fèi ■" and "■ ■ ■ ■ ■ ■" are representative characters for the twelve categories of correct sounds in the closed tone zhuó position: the first sound corresponds to "kuí," the second to "xián," the third to "yín," the fourth to "fèi," and the rest are marked as "■," meaning there is no such sound. According to the text's statement "Shí huǒ yīn wǔ," the fifth sound should have the character "bí," but the original text is missing this character, so it is left as is without correction. The explanation of the two columns, when read separately, is: "Chén yuè shēng qī, below the singing of the earth's use of sound one hundred fifty-two, this is called entering tone xī sound, entering tone xī sound one thousand six hundred forty." Each of the seven tones has one hundred fifty-two usable sounds, and multiplying seven by one hundred fifty-two gives one thousand six hundred forty. "Shí huǒ yīn wǔ, above the harmonizing of the sky's use of sound one hundred twelve, this is called closed tone zhuó sound, closed tone zhuó sound five hundred sixty." Each of the five sounds has one hundred twelve usable sounds, and multiplying five by one hundred twelve gives five hundred sixty. The final title "Chén yuè shēng rù zhī èr xī" and "Shí huǒ yīn bì zhī èr zhuó" indicates that the following diagrams all belong to the second system.

入聲翕唱呂二之一　閉音濁和律二之一；古甲九癸八八八八，揆揆揆揆多可個舌；一音：□□近揆八八八八，一音：揆揆揆揆禾火化八；一聲：坤巧丘棄八八八八，一聲：揆揆揆揆開宰愛○；□□乾蚪八八八八，揆揆揆揆回每退○；黑花香血八八八八，揆揆揆揆良兩向○；二音：黃華雄賢八八八八，一音：揆揆揆揆光廣況○；一聲：五瓦仰□八八八八，二聲：揆揆揆揆丁井亙○；吾牙月堯八八八八，揆揆揆揆兄永瑩○；安亞乙一八八八八，揆揆揆揆千典旦○；三音：□爻壬寅八八八八，一音：揆揆揆揆元犬半○；一聲：母馬美米八八八八，三聲：揆揆揆揆臣引艮○；目貌眉民八八八八，揆揆揆揆君允巽○。

This line begins with new diagrams on both sides. On the left, the diagram is titled "Entering Tone, Harmonized Singing of the Second of Two in the Lü Scale," and on the right, it is titled "Closed Tone, Muted Harmony of the Second of Two in the Lü Scale." The left diagram sings the entering tone character "ba" from the first category of the "Huo Huo Hua Ba" (Huo Fire Transformation Eight) in the monthly sequence. This position has both sound and character, so it is written as "ba." Each line is repeated four times, singing four lines of the first tone: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu," four lines of the second tone: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao," and four lines of the third tone: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min." The right diagram harmonizes the closed tone character "kui" from the fire sequence "□□ Jin Kui." It is also repeated four times, harmonizing four lines of the first tone: "Du Ke Ge She, Huo Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○," four lines of the second tone: "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○," and four lines of the third tone: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○." The number of repetitions corresponds to the four levels of four characters in the same row: in the tone diagram, they are open, initial, closing, and closed tones; in the sound diagram, they are level, rising, falling, and entering tones. "Ba" comes from "Huo Huo Hua Ba," and "kui" comes from "□□ Jin Kui," one taking the entering tone position in sound, and the other taking the closed tone position in sound.

夫法□飛八八八八，揆揆揆揆刀早孝嶽；四音：父凡□吠八八八八，一音：揆揆揆揆毛寶報霍；一聲：武晚□尾八八八八，四聲：揆揆揆揆牛斗奏六；文萬□未八八八八，揆揆揆揆○○○玉；卜百丙必八八八八，揆揆揆揆妻子四日；五音：步白備鼻八八八八，一音：揆揆揆揆衰○帥骨；一聲：普撲品匹八八八八，五聲：揆揆揆揆○○○德；旁排平瓶八八八八，揆揆揆揆龜水貴北；東丹帝■八八八八，揆揆揆揆宮孔眾○；六音：兌大弟■八八八八，一音：揆揆揆揆龍甬用○；一聲：土貪天■八八八八，六聲：揆揆揆揆魚鼠去○；同覃田■八八八八，揆揆揆揆烏虎兔○。

The left column, "Rushantong Xichang Lü Er Zhi Yi," uses the character "eight" repeated four times, followed by the fourth tone in four lines: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei," and the fifth tone in four lines: "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Páng pài ping ping." The sixth tone in four lines: "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." The right column, "Biyin Zhu he Lu Er Zhi Yi," uses the character "kuí" repeated four times, and harmonizes the fourth tone in four lines: "Dao zao xiao yue, Mao bao bao huo, Niu dou zou liu, ○○○ yu," the fifth tone in four lines: "Zi qi si ri, Shuai ○ shuai gu, ○○○ de,Gui shui gui bei," and the sixth tone in four lines: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○." The positions marked "shuai ○ shuai gu" in the fifth tone, "○○○ yu" in the fourth tone with three tones, and "wu hu tu ○" in the sixth tone are all places where there is sound but no character, so they are filled with "○." The last character in the sixth tone lines marked "■" does not exist. The fourth tone is the light lip category, the fifth tone is the heavy lip category, and the sixth tone is the tongue category; among the three tones, only the sixth tone's closed category has no sound. The right column's harmonized tones have more complete examples but often lack the correct positions. The four repeated characters at the end of each line in the left column are sounds, while the four repeated characters at the beginning of each line in the right column are tones, so the use of "○" and "●" in the left column must be at the end of the line, while in the right column they must be within the line, making their positions clearly distinguishable.

乃你女■八八八八，揆揆揆揆心審禁○；七音：內南年■八八八八，一音：揆揆揆揆○○○十；一聲：老冷呂■八八八八，七聲：揆揆揆揆男坎欠○；鹿犖離■八八八八，揆揆揆揆○○○妾；走哉足■八八八八，揆揆揆揆●●●●；八音：自在匠■八八八八，一音：揆揆揆揆●●●●；一聲：草采七■八八八八，八聲：揆揆揆揆●●●●；曹才全■八八八八，揆揆揆揆●●●●；思三星■八八八八，揆揆揆揆●●●●；九音：寺□象■八八八八，一音：揆揆揆揆●●●●；一聲：□□□■八八八八，九聲：揆揆揆揆●●●●；□□□■八八八八，揆揆揆揆●●●●。

The left column, "Entering Tone Harmonization of the Second of Two in the Second Category," uses the character "eight" repeated four times, singing four lines of the seventh tone: "Nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■," and four lines of the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," and four lines of the ninth tone: "Si san xing ■, si □ xiang ■, □ □ □ ■, □ □ □ ■." The right column, "Closed Tone Muted Harmony of the Second of Two in the Second Category," uses the character "kuí" repeated four times, harmonizing four lines of the seventh tone: "Xin shen jin ○, ○ ○ ○ shi, nan kan qian ○, ○ ○ ○ jie," and then harmonizing the eighth and ninth tones in eight lines, all marked as "● ● ● ●." The last two lines of the ninth tone, "□ □ □ ■," have the first three positions with phonetic positions but no corresponding characters, and the last position has no such sound. Within one line, both symbols appear, clearly showing Shao Yong's intention to distinguish between real and imaginary elements. The last two lines of the ninth tone only remain "□" and "■," which is the most fragmented part of this set of characters. After the four lines of the seventh tone in the right column, the eighth and ninth tones have no characters at all, all marked as "●." The "eight" sung in the left column is a real character, and the "kuí" harmonized in the right column is also a real character. These two real characters each lead to one diagram, covering all phonetic and tone positions. The number of sung and harmonized characters obtained from the left diagram is 192, and from the right diagram is 160.

□山手■八八八八，揆揆揆揆●●●●；十音：□士石■八八八八，一音：揆揆揆揆●●●●；一聲：■□耳■八八八八，十聲：揆揆揆揆●●●●；□□二■八八八八，揆揆揆揆●●●●。

The left column, "Entry on the Eighth Tone with the Inclusive Singing of the Second of the Two Lü," uses the character "eight" repeated four times, singing four lines of the tenth tone with the pattern "□ mountain hand ■, □ scholar stone ■, ■ □ ear ■, □ □ two ■." In this case, the open and closed positions of the original tone mostly have no characters or sounds, but only the characters "mountain, hand, scholar, stone, ear, two" can be cited. The right column, "Closed Tone with the Muddy Harmony of the Second of the Two Lü," uses the character "kuí" repeated four times, harmonizing four lines of the tenth tone, with all four lines being "●●●●," and the diagram is completed.

閉音濁和律二之二；■莊震■八八八八，賢賢賢賢多可個舌；十一音：■乍□■八八八八，二音：賢賢賢賢禾火化八；一聲：■叉赤■八八八八，一聲：賢賢賢賢開宰愛○；■崇辰■八八八八，賢賢賢賢回每退○；■卓中■八八八八，賢賢賢賢良兩向○；十二音：■宅直■八八八八，二音：賢賢賢賢光廣況○；一聲：■拆丑■八八八八，二聲：賢賢賢賢丁井亙○；■茶呈■八八八八，賢賢賢賢兄永瑩○。

On the right side, starting a new section, it is titled "Closed Vowel Muddy Harmony Law Two of Two": the harmonized character is the second tone of the fire element "Huang Hua Xiong Xian," specifically the closed position character "Xian." This is repeated four times and harmonized with the first tone four lines "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O" and the second tone four lines "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O." On the left side, it is the conclusion of "Entering Tone Harmonization Song Law Two of One," using the character "Ba" repeated four times to sing the eleventh tone four lines "Zhuang Zhen, Zha Xie, Cha Che, Chong Chen" and the twelfth tone four lines "Zhuo Zhong, Zhai Zhi, Chai Chou, Cha Cheng." Since both tones have no opening or closing positions, each line only has characters in the middle two sections. The second tone of the fire element "Huang Hua Xiong Xian" has the closed position character "Xian," so this diagram uses "Xian" as the harmonized character. This is similar to the previous diagram which used the character "Kui," both taking the last character of the fire element's final section.

入聲翕唱呂二之二；古甲九癸○○○○，賢賢賢賢千典旦○；一音：□□近揆○○○○，二音：賢賢賢賢元犬半○；二聲：坤巧丘棄○○○○，三聲：賢賢賢賢臣引艮○；□□乾蚪○○○○，賢賢賢賢君允巽○；黑花香血○○○○，賢賢賢賢刀早孝嶽；二音：黃華雄賢○○○○，二音：賢賢賢賢毛寶報霍；二聲：五瓦仰□○○○○，四聲：賢賢賢賢牛斗奏六；吾牙月堯○○○○，賢賢賢賢○○○玉；安亞乙一○○○○，賢賢賢賢妻子四日；三音：□爻壬寅○○○○，二音：賢賢賢賢衰○帥骨；二聲：母馬美米○○○○，五聲：賢賢賢賢○○○德；目貌眉民○○○○，賢賢賢賢龜水貴北。

The left column begins with "Rusheng Xi Chang Lv Er Zhi Er": the singing is based on the second category of the moon's movement "Guang Guang Kuang ○" in the entering tone position, which has sound but no character, represented as "○". Each line has four repetitions. The first tone has four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu". The second tone has four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao". The third tone has four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column "Biyan Zhu He Lu Er Zhi Er" uses the character "Xian" repeated four times, harmonizing with the third tone's four lines: "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yun Gen ○, Jun Yun Xun ○", the fourth tone's four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu", and the fifth tone's four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei". The characters used in the singing are taken from the entering tone position of the second category of the moon's movement, which has sound but no character, hence only marked as "○". The right column's "Xian" character harmonizes with the third, fourth, and fifth tones, with relatively complete examples: the last positions of the third tone's four lines are all empty, the last line of the fourth tone only has "Yu" in the entering tone position, and in the fifth tone, the second line's rising tone position and the third line's first three positions are all empty, each marked as "○".

夫法□飛○○○○，賢賢賢賢宮孔眾○；四音：父凡□吠○○○○，二音：賢賢賢賢龍甬用○；二聲：武晚□尾○○○○，六聲：賢賢賢賢魚鼠去○；文萬□未○○○○，賢賢賢賢烏虎兔○；卜百丙必○○○○，賢賢賢賢心審禁○；五音：步白備鼻○○○○，二音：賢賢賢賢○○○十；二聲：普撲品匹○○○○，七聲：賢賢賢賢男坎欠○；旁排平瓶○○○○，賢賢賢賢○○○妾；東丹帝■○○○○，賢賢賢賢●●●●；六音：兌大弟■○○○○，二音：賢賢賢賢●●●●；二聲：土貪天■○○○○，八聲：賢賢賢賢●●●●；同覃田■○○○○，賢賢賢賢●●●●。

The left column, "入声翕唱吕二之二," uses the symbol "○" four times, followed by the fourth tone with four lines: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei." Then the fifth tone with four lines: "Bu ba bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping." Then the sixth tone with four lines: "Dong dan di ■, Du da di ■, Tu tan tian ■, Tong tan tian ■." The right column, "闭音浊和律二之二," uses the character "xian" four times, followed by the sixth tone with four lines: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○," then the seventh tone with four lines: "Xin shen jin ○, ○○○ shi, Nan kan qian ○, ○○○ jie," and then the eighth tone with four lines. In the sixth tone lines of the right column, all the entries for the entering tone are missing and marked as "○." For the eighth tone, there are no sounds to cite, so they are all marked as "●●●●." The last line of the fourth tone in the left column, "wei," is a character borrowed from the Earthly Branches to serve as an example, while the last character in the sixth tone lines of the right column, "■," is not actually a sound. These two should not be confused. In the right column, all the entries for the sixth tone are missing, and the seventh tone lines have many blanks. The eighth tone is completely silent. Although all these are left blank, the tone chart uses "○" and "●," while the sound chart uses "□" and "■," each with its own distinction.

乃你女■○○○○，賢賢賢賢●●●●；七音：內南年■○○○○，二音：賢賢賢賢●●●●；二聲：老冷呂■○○○○，九聲：賢賢賢賢●●●●；鹿犖離■○○○○，賢賢賢賢●●●●；走哉足■○○○○，賢賢賢賢●●●●；八音：自在匠■○○○○，二音：賢賢賢賢●●●●；二聲：草采七■○○○○，十聲：賢賢賢賢●●●●；曹才全■○○○○，賢賢賢賢●●●●。

The left column, "入声翕唱吕二之二," uses the symbol "○" four times, singing four lines of the seventh tone: "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," and four lines of the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," with the last character of each line marked as "■." The right column, "闭音浊和律二之二," uses the character "xian" four times, harmonizing the ninth and tenth tones in eight lines, all marked as "●●●●," and the diagram ends here. The seventh tone line "Nai ni nv ■" and the eighth tone line "Zou zai zu ■" both end without a sound; the ninth and tenth tones on the right column have no sound positions at all. This section has eight readable characters on the left column and none on the right, which is a clear example of fewer characters but more sounds.

閉音濁和律二之三；思三星■○○○○，寅寅寅寅多可個舌；九音：寺□象■○○○○，三音：寅寅寅寅禾火化八；二聲：□□□■○○○○，一聲：寅寅寅寅開宰愛○；□□□■○○○○，寅寅寅寅回每退○；■山手■○○○○，寅寅寅寅良兩向○；十音：■士石■○○○○，三音：寅寅寅寅光廣況○；二聲：■□耳■○○○○，二聲：寅寅寅寅丁井亙○；■□二■○○○○，寅寅寅寅兄永瑩○；■莊震■○○○○，寅寅寅寅千典旦○；十一音：■乍□■○○○○，三音：寅寅寅寅元犬半○；二聲：■叉赤■○○○○，三聲：寅寅寅寅臣引艮○；■崇辰■○○○○，寅寅寅寅君允巽○。

The right column begins with "Closed Vowel Muddy Harmony Law Two of Three": the harmonized character is the third tone fire row "□ line Renyin" closed position character "Yin", which is repeated four times and descends. It harmonizes with the first tone four rows "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", the second tone four rows "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O", and the third tone four rows "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O". "Yin" is similar to the previous diagram's "Kui" and "Xian", both taking the last character of the original tone's fire row as the harmonized character. The left column remains "Entering Tone Harmonized Singing Law Two of Two", continuing to sing the ninth tone four rows "Si San Xing Zhi, Si Zhi Xiang Zhi, Zhi Zhi Zhi Zhi, Zhi Zhi Zhi Zhi", the tenth tone four rows "Zhi Shan Shou Zhi, Zhi Shi Shi Zhi, Zhi Zhi Er Zhi, Zhi Zhi Er Zhi", and the eleventh tone four rows "Zhi Zhuang Zhen Zhi, Zhi Zha Zhi Zhi, Zhi Cha Chi Zhi, Zhi Chong Chen Zhi". "Yin" is located in the last grid of the third tone fire row in the tone diagram, taken as the harmonized character, same as the previous two diagrams' "Kui" and "Xian": in all harmony diagrams, the character from the original tone's row in the closed position is taken, with "□" used if there is no character, and "■" used if there is no tone. In this section of the left column, the ninth, tenth, and eleventh tones have many empty positions, which can be compared with the full rows of real characters in the right column.

■卓中■○○○○，寅寅寅寅刀早孝嶽；十二音：■宅直■○○○○，三音：寅寅寅寅毛寶報霍；二聲：■拆丑■○○○○，四聲：寅寅寅寅牛斗奏六；■茶呈■○○○○，寅寅寅寅○○○玉。

The left column, "Rush Sound Harmony of the Second of the Second of the Two Lü," sings the twelfth tone in four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■," and the singing of this diagram is completed. The right column, "Closed Tone Muted Harmony of the Third of the Second of the Two Lü," uses the character "寅" four times, harmonizing the fourth tone in four lines: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu"; the last line has only the character "Yu" in the entry position, while the level, rising, and falling tones are all empty, marked as "○○○."

入聲翕唱呂二之三；古甲九癸○○○○，寅寅寅寅妻子四日；一音：□□近揆○○○○，三音：寅寅寅寅衰○帥骨；三聲：坤巧丘棄○○○○，五聲：寅寅寅寅○○○德；□□乾蚪○○○○，寅寅寅寅龜水貴北；黑花香血○○○○，寅寅寅寅宮孔眾○；二音：黃華雄賢○○○○，三音：寅寅寅寅龍甬用○；三聲：五瓦仰□○○○○，六聲：寅寅寅寅魚鼠去○；吾牙月堯○○○○，寅寅寅寅烏虎兔○；安亞乙一○○○○，寅寅寅寅心審禁○；三音：□爻壬寅○○○○，三音：寅寅寅寅○○○十；三聲：母馬美米○○○○，七聲：寅寅寅寅男坎欠○；目貌眉民○○○○，寅寅寅寅○○○妾。

The left column begins with "Rushang Xu Chang Lü Er Zhi San": the singing is on the third category of the lunar movement "Yuan Quan Ban ○", which is the entering tone position, having sound but no characters, written as "○". Each line has four repetitions. The first tone has four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu", the second tone has four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao", the third tone has four lines: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min". The right column, "Bi Yin Zhu He Lu Er Zhi San", uses the character "Yin" four times, harmonizing with the fifth tone's four lines: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei", the sixth tone's four lines: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○", and the seventh tone's four lines: "Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie". The singing in this diagram still refers to a position with sound but no characters, so the entire text is written as "○". The right column's "Yin" character harmonizes with the fifth, sixth, and seventh tones, totaling twelve lines: the fifth tone's "Shuai ○ Shuai Gu" lacks the rising tone, and "○○○ De" only retains the entering tone; the sixth tone's four lines are all empty; the seventh tone's four lines also have many empty spaces. All these are marked with "○", differing clearly from the "□" and "■" in the left column's tone and character lines.

夫法□飛○○○○，寅寅寅寅●●●●；四音：父凡□吠○○○○，三音：寅寅寅寅●●●●；三聲：武晚□尾○○○○，八聲：寅寅寅寅●●●●；文萬□未○○○○，寅寅寅寅●●●●；卜百丙必○○○○，寅寅寅寅●●●●；五音：步白備鼻○○○○，三音：寅寅寅寅●●●●；三聲：普撲品匹○○○○，九聲：寅寅寅寅●●●●；旁排平瓶○○○○，寅寅寅寅●●●●；東丹帝■○○○○，寅寅寅寅●●●●；六音：兌大弟■○○○○，三音：寅寅寅寅●●●●；三聲：土貪天■○○○○，十聲：寅寅寅寅●●●●；同覃田■○○○○，寅寅寅寅●●●●。

The left column, "Rusheng Xi Chang Lv Er Zhi San," uses the symbol "○" four times, singing four lines for the fourth tone: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei," four lines for the fifth tone: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping," and four lines for the sixth tone: "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■." The right column, "Bi Yin Zhu He Lu Er Zhi San," uses the character "Yin" four times, harmonizing the eighth, ninth, and tenth tones, totaling twelve lines, all marked with "●●●●," indicating the completion of this diagram. On the left side, there are real characters for labial and tongue sounds, while on the right side, there are three categories of silent positions, all placed in the same line but differing in reality and emptiness. The left column's fourth tone lines all end with "□," indicating a phonetic position without a corresponding character; the sixth tone lines all end with "■," indicating no phonetic position at all. The right column harmonizes the eighth, ninth, and thirteenth categories of correct tones, which are entirely silent, hence all thirty-six grids in the twelve lines are marked with "●." Within one section, four types of symbols are present, allowing for the distinction between Shao Yong's concepts of "having a position but no character" and "having no position at all."

閉音濁和律二之四；乃你女■○○○○，吠吠吠吠多可個舌；七音：內南年■○○○○，四音：吠吠吠吠禾火化八；三聲：老冷呂■○○○○，一聲：吠吠吠吠開宰愛○；鹿犖離■○○○○，吠吠吠吠回每退○；走哉足■○○○○，吠吠吠吠良兩向○；八音：自在匠■○○○○，四音：吠吠吠吠光廣況○；三聲：草采七■○○○○，二聲：吠吠吠吠丁井亙○；曹才全■○○○○，吠吠吠吠兄永瑩○；思三星■○○○○，吠吠吠吠千典旦○；九音：寺□象■○○○○，四音：吠吠吠吠元犬半○；三聲：□□□■○○○○，三聲：吠吠吠吠臣引艮○；□□□■○○○○，吠吠吠吠君允巽○。

The right column begins with "Closed Vowel Muddy Harmony Law Two, Fourth": the harmonized character is the final character of the fourth tone fire row "fu fan □ fei", which is "fei", a closed position character. It is repeated four times and harmonized with the first tone four rows "du ke ge she, he hu hua ba, kai zai ai ○, hui mei tui ○", the second tone four rows "liang liang xiang ○, guang guang kuang ○, ding jing geng ○, xiong yong ying ○", and the third tone four rows "qian dian dan ○, yuan quan ban ○, chen yin gen ○, jun yun xun ○". The left column remains "Entering Tone Harmonized Singing Law Two, Third", continuing to sing the seventh tone four rows "nai ni nu ■, nei nan nian ■, lao leng lv ■, lu luo li ■", the eighth tone four rows "zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■", and the ninth tone four rows "si san xing ■, si □ xiang ■, □ □ □ ■, □ □ □ ■". The character "fei" is at the end of the fourth tone fire row, taken as the harmonized character. The seventh tone on the left is the ni lai route, the eighth tone is the chi tou route, and the ninth tone is thexin xie route. The closed positions of the three tones all have no sound, so each line ends with "■". The right column's harmonized three tones have more complete examples, but the entering positions of the second and third tones are all empty, filled with "○".

■山手■○○○○，吠吠吠吠刀早孝嶽；十音：■士石■○○○○，四音：吠吠吠吠毛寶報霍；三聲：■□耳■○○○○，四聲：吠吠吠吠牛斗奏六；■□二■○○○○，吠吠吠吠○○○玉；■莊震■○○○○，吠吠吠吠妻子四日；十一音：■乍□■○○○○，四音：吠吠吠吠衰○帥骨；三聲：■叉赤■○○○○，五聲：吠吠吠吠○○○德；■崇辰■○○○○，吠吠吠吠龜水貴北；■卓中■○○○○，吠吠吠吠宮孔眾○；十二音：■宅直■○○○○，四音：吠吠吠吠龍甬用○；三聲：■拆丑■○○○○，六聲：吠吠吠吠魚鼠去○；■茶呈■○○○○，吠吠吠吠烏虎兔○。

The left column, "Rush Sound Harmony of the Second of the Two Lü," uses the symbol "○" repeated four times, singing four lines of the tenth tone: "■ Mountain hand ■, ■ Scholar stone ■, ■ Ear ■, ■ Two ■," four lines of the eleventh tone: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chuo ■, ■ Cha Cheng ■," and four lines of the twelfth tone: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chuo ■, ■ Cha Cheng ■," completing the diagram. The right column, "Closed Sound浊 Harmony of the Fourth of the Two Lü," uses the character "fei" repeated four times, harmonizing four lines of the fourth tone: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," four lines of the fifth tone: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," and four lines of the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." In the left column, the open and closed positions of the three tones are mostly silent, with only the middle two sections marked, making it the sparsely filled part of the entire diagram. In the right column, the last line of the fourth tone only has "Yu" in the entering position, the second line of the fifth tone is missing the rising tone, and all entering positions in the sixth tone are empty. Both columns have lines aligned horizontally but are separate diagrams. The left counts the tone positions, while the right counts the tone types; there are 48 tone positions and 40 tone types, which are uneven in number, so the order of the diagram titles is also mismatched.

入聲翕唱呂二之四；古甲九癸霍霍霍霍，吠吠吠吠心審禁○；一音：□□近揆霍霍霍霍，四音：吠吠吠吠○○○十；四聲：坤巧丘棄霍霍霍霍，七聲：吠吠吠吠男坎欠○；□□乾蚪霍霍霍霍，吠吠吠吠○○○妾；黑花香血霍霍霍霍，吠吠吠吠●●●●；二音：黃華雄賢霍霍霍霍，四音：吠吠吠吠●●●●；四聲：五瓦仰□霍霍霍霍，八聲：吠吠吠吠●●●●；吾牙月堯霍霍霍霍，吠吠吠吠●●●●；安亞乙一霍霍霍霍，吠吠吠吠●●●●；三音：□爻壬寅霍霍霍霍，四音：吠吠吠吠●●●●；四聲：母馬美米霍霍霍霍，九聲：吠吠吠吠●●●●；目貌眉民霍霍霍霍，吠吠吠吠●●●●。

The left column begins with "The Fourth of the Second Category of the Ingressive Tone 'Lü'": the sung character is the ingressive tone character "Huò" from the fourth category of the "Máo Bǎo Bào Huò" lunar movement in the correct tone. Since it has both sound and character, it is written as "Huò". Each line is repeated four times. The first tone is sung in four lines: "Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu", the second tone in four lines: "Hēi Huā Xiāng Xuè, Huáng Huā Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo", and the third tone in four lines: "Ān Yà Yǐ Yī, □ Yáo Rén Yín, Mǔ Mǎ Měi Mǐ, Mù Mào Méi Mín". The right column, "The Fourth of the Second Category of the Closed Tone 'Lǜ'", uses the character "Fèi" repeated four times, harmonizing with the seventh tone in four lines: "Xīn Shěn Jìn ○, ○○○ Shí, Nán Kǎn Qiàn ○, ○○○ Jiè", and then harmonizing with the eighth and ninth tones in eight lines, all marked as "●●●●". The character "Huò" comes from the fourth category of the "Máo Bǎo Bào Huò" lunar movement in the correct tone, which is a rare actual character in this position, allowing this diagram to be sung with actual characters. The right column's harmonization of the seventh tone in four lines still includes characters such as Xin, Shen, Jin, Nan, Kan, and Qian, but the eighth and ninth tones are completely silent, hence the eight lines are all marked as "●●●●". Left sings and right harmonizes, each following their respective positions, without interfering with each other.

夫法□飛霍霍霍霍，吠吠吠吠●●●●；四音：父凡□吠霍霍霍霍，四音：吠吠吠吠●●●●；四聲：武晚□尾霍霍霍霍，十聲：吠吠吠吠●●●●；文萬□未霍霍霍霍，吠吠吠吠●●●●。

The left column, "Entry on the Fourth of the Two Inclusive Sounds of the Level Tone," uses the character "霍" repeated four times, singing four lines of the fourth tone: "Fu fa □ fei, Fu fan □ fei, Wu wan □ wei, Wen wan □ wei." The third character in each of the four lines is marked with "□," indicating an existing phonetic position but an undetermined character. The right column, "Entry on the Fourth of the Two Harmonious Sounds of the Heavy Tone," uses the character "吠" repeated four times, harmonizing four lines of the tenth tone, with all four lines marked as "●●●●," indicating the completion of the diagram.

閉音濁和律二之五；卜百丙必霍霍霍霍，鼻鼻鼻鼻多可個舌；五音：步白備鼻霍霍霍霍，五音：鼻鼻鼻鼻禾火化八；四聲：普撲品匹霍霍霍霍，一聲：鼻鼻鼻鼻開宰愛○；旁排平瓶霍霍霍霍，鼻鼻鼻鼻回每退○；東丹帝■霍霍霍霍，鼻鼻鼻鼻良兩向○；六音：兌大弟■霍霍霍霍，五音：鼻鼻鼻鼻光廣況○；四聲：土貪天■霍霍霍霍，二聲：鼻鼻鼻鼻丁井亙○；同覃田■霍霍霍霍，鼻鼻鼻鼻兄永瑩○；乃你女■霍霍霍霍，鼻鼻鼻鼻千典旦○；七音：內南年■霍霍霍霍，五音：鼻鼻鼻鼻元犬半○；四聲：老冷呂■霍霍霍霍，三聲：鼻鼻鼻鼻臣引艮○；鹿犖離■霍霍霍霍，鼻鼻鼻鼻君允巽○。

The right column begins with "Closed Vowel Muddy Harmony Law Two Five": the harmonized character is the fifth tone fire row "Bu Bai Bei Bi" closed position character "Bi". It is repeated four times and descends, harmonizing with the first tone four rows "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai O, Hui Mei Tui O", the second tone four rows "Liang Liang Xiang O, Guang Guang Kuang O, Ding Jing Geng O, Xiong Yong Ying O", and the third tone four rows "Qian Dian Dan O, Yuan Quan Ban O, Chen Yin Gen O, Jun Yun Xun O". The previous section's phoneme table at the beginning omitted this character "Bi", which serves as evidence here. The left column remains "Entering Tone Harmonized Singing Law Two Four", using the character "Huo" repeated four times to continue singing the fifth tone four rows "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping", the sixth tone four rows "Dong Dan Di ■, Du Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■", and the seventh tone four rows "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■". "Bi" is the closed position character of the fifth tone fire row "Bu Bai Bei Bi". The initial phoneme table at the beginning of this section omitted this character, only listing "Kui Xian Yin Wei ■". According to the number of "Stone Fire Tone Five" and the characters used in this diagram, it is clear that the original text had a missing character. Now, the original text is preserved as it is, and I dare not make any arbitrary additions.

走哉足■霍霍霍霍，鼻鼻鼻鼻刀早孝嶽；八音：自在匠■霍霍霍霍，五音：鼻鼻鼻鼻毛寶報霍；四聲：草采七■霍霍霍霍，四聲：鼻鼻鼻鼻牛斗奏六；曹才全■霍霍霍霍，鼻鼻鼻鼻○○○玉；思三星■霍霍霍霍，鼻鼻鼻鼻妻子四日；九音：寺□象■霍霍霍霍，五音：鼻鼻鼻鼻衰○帥骨；四聲：□□□■霍霍霍霍，五聲：鼻鼻鼻鼻○○○德；□□□■霍霍霍霍，鼻鼻鼻鼻龜水貴北；■山手■霍霍霍霍，鼻鼻鼻鼻宮孔眾○；十音：■士石■霍霍霍霍，五音：鼻鼻鼻鼻龍甬用○；四聲：□■耳■霍霍霍霍，六聲：鼻鼻鼻鼻魚鼠去○；■□二■霍霍霍霍，鼻鼻鼻鼻烏虎兔○。

The left column, "入声翕唱吕二之四," uses the character "霍" repeated four times, singing four lines of the eighth tone: "走哉足■, 自在匠■, 草采七■, 曹才全■," four lines of the ninth tone: "思三星■, 寺□象■, □□□■, □□□■," and four lines of the tenth tone: "■山手■, ■士石■, □■耳■, ■□二■." The right column, "闭音浊和律二之五," uses the character "鼻" repeated four times, harmonizing four lines of the fourth tone: "刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉," four lines of the fifth tone: "妻子四日, 衰○帅骨, ○○○德, 龟水贵北," and four lines of the sixth tone: "宫孔众○, 龙甬用○, 鱼鼠去○, 乌虎兔○." The original text of the third line of the tenth tone in the left column is "□■耳■," slightly different from other instances "■□耳■," and is still recorded as is. The eighth tone in the left column belongs to the dental initial, the ninth tone has scattered examples, and the tenth tone has alternating "□" and "■," showing that the closer to the final tone, the harder it is to find characters. In the right column, the positions for the fourth, fifth, and sixth tones are often missing and are filled with "○." Reading both columns together, the number of repeated characters on the left and the number of tones on the right are both four: one singing must correspond to four harmonies, and one harmony must match the position of four tones.

■莊震■霍霍霍霍，鼻鼻鼻鼻心審禁○；十一音：■乍□■霍霍霍霍，五音：鼻鼻鼻鼻○○○十；四聲：■叉赤■霍霍霍霍，七聲：鼻鼻鼻鼻男坎欠○；■崇辰■霍霍霍霍，鼻鼻鼻鼻○○○妾；■卓中■霍霍霍霍，鼻鼻鼻鼻●●●●；十二音：■宅直■霍霍霍霍，五音：鼻鼻鼻鼻●●●●；四聲：■拆丑■霍霍霍霍，八聲：鼻鼻鼻鼻●●●●；■茶呈■霍霍霍霍，鼻鼻鼻鼻●●●●。

The left column concludes with "入声翕唱吕二之四," using the character "霍" repeated four times to sing the eleventh tone in four lines: "庄震、乍□、叉赤、崇辰" and the twelfth tone in four lines: "卓中、宅直、拆丑、茶呈." The right column, "闭音浊和律二之五," uses the character "鼻" repeated four times, harmonizing the seventh tone in four lines: "心审禁○, ○○○十, 男坎欠○, ○○○妾" and the eighth tone in four lines. The missing characters in the seventh tone lines are marked with "○," while the eighth tone lines are all marked with "●●●●." Since both the eleventh and twelfth tones have no sounds in the open and closed categories, each line in the left column contains only two characters. The right column's seventh tone still has characters to cite, but the eighth tone has none.

入聲翕唱呂二之五；古甲九癸骨骨骨骨，鼻鼻鼻鼻●●●●；一音：□□近揆骨骨骨骨，五音：鼻鼻鼻鼻●●●●；五聲：坤巧丘棄骨骨骨骨，九聲：鼻鼻鼻鼻●●●●；□□乾蚪骨骨骨骨，鼻鼻鼻鼻●●●●；黑花香血骨骨骨骨，鼻鼻鼻鼻●●●●；二音：黃華雄賢骨骨骨骨，五音：鼻鼻鼻鼻●●●●；五聲：五瓦仰□骨骨骨骨，十聲：鼻鼻鼻鼻●●●●；吾牙月堯骨骨骨骨，鼻鼻鼻鼻●●●●。

Left column, starting anew with "Rusheng Xi Chang Lv Er Zi Wu": The sung character is the fifth class of the "Shuixing" (moon movement) in the "Zhengsheng" (level tone) category, specifically the "rusheng" (entering tone) character "gu" (bone). It has both sound and character, actually writing "gu". Each line is repeated four times. The first tone is sung in four lines: "Gu Jia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu" and the second tone in four lines: "He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao." In the line "Shuai ○ Shuai Gu," the "shangsheng" (rising tone) position has no character, marked as "○," while the "rusheng" position has the character "gu" which can be cited. This clearly shows that within the same line, four positions have both real and imaginary characters. Right column, "Biyin Zhu He Lu Er Zi Wu" uses the character "bi" (nose) repeated four times, harmonizing with the ninth and tenth tones, totaling eight lines, all marked as "●●●●," indicating the end of the diagram. In the line "Shuai ○ Shuai Gu," the "shangsheng" position has no character, while the "rusheng" position has a character, clearly showing that within the same line, four positions have both real and imaginary characters.

閉音濁和律二之六；安亞乙一骨骨骨骨，■■■■多可個舌；三音：□爻壬寅骨骨骨骨，六音：■■■■禾火化八；五聲：母馬美米骨骨骨骨，一聲：■■■■開宰愛○；目貌眉民骨骨骨骨，■■■■回每退○；夫法□飛骨骨骨骨，■■■■良兩向○；四音：父凡□吠骨骨骨骨，六音：■■■■光廣況○；五聲：武晚□尾骨骨骨骨，二聲：■■■■丁井亙○；文萬□未骨骨骨骨，■■■■兄永瑩○；卜百丙必骨骨骨骨，■■■■千典旦○；五音：步白備鼻骨骨骨骨，六音：■■■■元犬半○；五聲：普撲品匹骨骨骨骨，三聲：■■■■臣引艮○；旁排平瓶骨骨骨骨，■■■■君允巽○。

Right column: Another entry of "Closed Vowel Muddy Harmony Law Two, Sixth Tone": The sixth tone, which belongs to the fire element, is "Dui Da Di ■", where the closed position has no sound, so the character for harmony can only be written as "■". Fourfold repetition downward, the first tone's four lines are "Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○", the second tone's four lines are "Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Geng ○, Xiong Yong Ying ○", and the third tone's four lines are "Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○". From this point on, the remaining six diagrams all involve harmonizing characters in positions with no sound, merely to complete the order of the twelve tones. The left column remains "Entering Tone Harmonization Singing Law Two, Fifth Tone", continuing to sing the third tone's four lines with the character "Gu" repeated fourfold: "An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min", the fourth tone's four lines: "Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei", and the fifth tone's four lines: "Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping". From this diagram onward, all the harmonizing characters in the remaining six diagrams of the Muddy Harmony Law series are simply "■", because the fire element's closed positions below the sixth tone have no corresponding sounds. Shao Yong listed them but left them blank, precisely to complete the count of the twelve tones; readers encountering full pages of "■" should understand that these positions exist within the numerical sequence but have no actual sounds, not due to the original manuscript being blurred.

東丹帝■骨骨骨骨，■■■■刀早孝嶽；六音：兌大弟■骨骨骨骨，六音：■■■■毛寶報霍；五聲：土貪天■骨骨骨骨，四聲：■■■■牛斗奏六；同覃田■骨骨骨骨，■■■■○○○玉；乃你女■骨骨骨骨，■■■■妻子四日；七音：內南年■骨骨骨骨，六音：■■■■衰○帥骨；五聲：老冷呂■骨骨骨骨，五聲：■■■■○○○德；鹿犖離■骨骨骨骨，■■■■龜水貴北；走哉足■骨骨骨骨，■■■■宮孔眾○；八音：自在匠■骨骨骨骨，六音：■■■■龍甬用○；五聲：草采七■骨骨骨骨，六聲：■■■■魚鼠去○；曹才全■骨骨骨骨，■■■■烏虎兔○。

The left column, "Rush Sound Harmony of the Second Law of the Fifth," uses the character "bone" repeated four times, singing four lines of the sixth tone: "Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■," four lines of the seventh tone: "Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■," and four lines of the eighth tone: "Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■." The right column, "Closed Sound浊和 of the Second Law of the Sixth," uses the symbol "■" repeated four times, harmonizing four lines of the fourth tone: "Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu," four lines of the fifth tone: "Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei," and four lines of the sixth tone: "Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○." The sixth tone on the left is the tongue sound, the seventh tone is the nasal and lateral sound, and the eighth tone is the dental sound; all three tones are closed and have no sound. The right column, although using empty positions for harmony, still goes through forty tone positions one by one: the last line of the fourth tone only has "Yu" in position, the second line of the fifth tone is missing the rising tone, and all four lines of the sixth tone are completely empty, each marked with "○." On the left, "■" represents sound, while on the right, "○" represents silence; their positions are different, and their meanings are also distinct.

思三星■骨骨骨骨，■■■■心審禁○；九音：寺□象■骨骨骨骨，六音：■■■■○○○十；五聲：□□□■骨骨骨骨，七聲：■■■■男坎欠○；□□□■骨骨骨骨，■■■■○○○妾；■山手■骨骨骨骨，■■■■●●●●；十音：■士石■骨骨骨骨，六音：■■■■●●●●；五聲：■□耳■骨骨骨骨，八聲：■■■■●●●●；■□二■骨骨骨骨，■■■■●●●●；■莊震■骨骨骨骨，■■■■●●●●；十一音：■乍□■骨骨骨骨，六音：■■■■●●●●；五聲：■叉赤■骨骨骨骨，九聲：■■■■●●●●；■崇辰■骨骨骨骨，■■■■●●●●。

The left column, "Rusheng Xi Chang Lü Er Wu Wu," uses the character "gu" repeated four times, singing four lines of the ninth tone: "Si San Xing ■, Si ■ Xiang ■, ■ ■ ■ ■, ■ ■ ■ ■," and four lines of the tenth tone: "■ Shan Shou ■, ■ Shi Shi ■, ■ ■ Er ■, ■ ■ Er ■," and four lines of the eleventh tone: "■ Zhuang Zhen ■, ■ Zha ■ ■, ■ Cha Chi ■, ■ Chong Chen ■." The right column, "Bi Yin Zhu He Lu Er Liu," uses the symbol "■" repeated four times, harmonizing four lines of the seventh tone: "Xin Shen Jin ○, ○ ○ ○ Shi, Nan Kan Qian ○, ○ ○ ○ Jie," then harmonizing the eighth and ninth tones together in eight lines, all "● ● ● ●." In the seventh tone, the two lines "○ ○ ○ Shi" and "○ ○ ○ Jie" contain only the positions for the entering tone with characters, while the first three positions have sound but no characters, so "○" is used to complete the count of four levels. Among the ten tones, the examples for the seventh tone are the most sparse, with more than half of the four lines being empty; the eighth and ninth tones have no sound positions at all. In the left column, the ninth, tenth, and eleventh tones alternate between "□" and "■," with few characters. Both columns are arranged in parallel, with the left column recording the order of tones and the right column the order of tones, each marked as "nine tones," "ten tones," and "eleven tones" on the left, and "seven tones," "eight tones," and "nine tones" on the right. Readers can look at each column separately, thus avoiding confusion.

■卓中■骨骨骨骨，■■■■●●●●；十二音：■宅直■骨骨骨骨，六音：■■■■●●●●；五聲：■拆丑■骨骨骨骨，十聲：■■■■●●●●；■茶呈■骨骨骨骨，■■■■●●●●。

On the left side, "Rusheng Xi Chang Lü Er Zi Wu" sings the twelfth tone for four lines: "■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■", and this diagram is completed. On the right side, "Biyin Zhu He Lu Er Zi Liu" uses "■" repeated four times to harmonize the tenth tone for four lines, each line being "●●●●", and this diagram is also completed. Since both diagrams are filled at the same time, the next line starts new titles on both sides simultaneously. As both diagrams end together, the next line starts new titles on both sides together.

入聲翕唱呂二之六　閉音濁和律二之七；古甲九癸○○○○，■■■■多可個舌；一音：□□近揆○○○○，七音：■■■■禾火化八；六聲：坤巧丘棄○○○○，一聲：■■■■開宰愛○；□□乾蚪○○○○，■■■■回每退○；黑花香血○○○○，■■■■良兩向○；二音：黃華雄賢○○○○，七音：■■■■光廣況○；六聲：五瓦仰□○○○○，二聲：■■■■丁井亙○；吾牙月堯○○○○，■■■■兄永瑩○；安亞乙一○○○○，■■■■千典旦○；三音：□爻壬寅○○○○，七音：■■■■元犬半○；六聲：母馬美米○○○○，三聲：■■■■臣引艮○；目貌眉民○○○○，■■■■君允巽○。

This line continues on both sides simultaneously. On the left, it reads "Entering the level tone with a closing sound, the second of the six in the category of the moon's movement 'Dragon and Nong use ○'." On the right, it reads "Closing tone with a dull sound, the seventh in the category of the fire's movement 'Inside the south, year Nian use ■'." The left diagram sings the entering tone position of the sixth category of the moon's movement "Dragon and Nong use ○," which has sound but no character, written as "○." The right diagram harmonizes the closed position of the seventh tone of the fire's movement "Inside the south, year Nian use ■," which originally had no such sound, written as "■." These two symbols are similar in form but differ in meaning: "○" indicates a position that exists but has no character, while "■" indicates a position that was never established. On the left, "○" is repeated four times to sing four lines of the first tone: "Ancient Jia ninth Gui, □□ near揆,坤巧 mountain and丘 discard, □□乾蚪"; four lines of the second tone: "Black flower fragrance blood, yellow flower strong virtue, five Wa look up □, I tooth moon Yao"; and four lines of the third tone: "An Ya Yi one, □ yao Ren Yin, mother horse beauty rice, eye face eyebrow people." On the right, "■" is repeated four times to harmonize four lines of the first tone: "Many can individual tongue, millet fire transform eight, open official love ○, return every retreat ○"; four lines of the second tone: "Good two face ○, light broad condition ○, Ding well constant ○, elder long bright ○"; and four lines of the third tone: "Thousand classic dawn ○, Yuan dog half ○, minister lead Gen ○, king allow Xun ○." The left diagram represents sound, while the right diagram represents tone. One diagram covers forty-eight tone positions, and the other covers forty sound positions, varying in length. The titles of the diagrams thus sometimes coincide and sometimes differ.

夫法□飛○○○○，■■■■刀早孝嶽；四音：父凡□吠○○○○，七音：■■■■毛寶報霍；六聲：武晚□尾○○○○，四聲：■■■■牛斗奏六；文萬□未○○○○，■■■■○○○玉；卜百丙必○○○○，■■■■妻子四日；五音：步白備鼻○○○○，七音：■■■■衰○帥骨；六聲：普撲品匹○○○○，五聲：■■■■○○○德；旁排平瓶○○○○，■■■■龜水貴北；東丹帝■○○○○，■■■■宮孔眾○；六音：兌大弟■○○○○，七音：■■■■龍甬用○；六聲：上貪天■○○○○，六聲：■■■■魚鼠去○；同覃田■○○○○，■■■■烏虎兔○。

The left column, "入声翕唱吕二之六," uses the symbol "○" four times, singing four lines for the fourth tone: "Fu fa □ fei, Fu fa □ fei, Wu wan □ wei, Wen wan □ wei," four lines for the fifth tone: "Bu bai bing bi, Bu bai bei bi, Pu pu pin pi, Pang pai ping ping," and four lines for the sixth tone: "Dong dan di ■, Dui da di ■, Shang tan tian ■, Tong tan tian ■." The third line of the sixth tone in the original text is "Shang tan tian ■," which is slightly different from "Tu tan tian ■" elsewhere; it is recorded as is without alteration. The right column, "闭音浊和律二之七," uses the symbol "■" four times, harmonizing four lines for the fourth tone: "Dao zao xiao yue, Mao bao bao huo, Niu dou zou liu, ○○○ yu," four lines for the fifth tone: "Zi qi si ri, Shuai ○ shuai gu, ○○○ de,Gui shui gui bei," and four lines for the sixth tone: "Gong kong zhong ○, Long yong yong ○, Yu shu qu ○, Wu hu tu ○." "Wu hu tu ○" refers to the sixth tone's fourth category, where Wu, Hu, and Tu are level, rising, and falling tones respectively, and the entering tone position is left blank as "○." In the left column, the endings of the fourth tone lines are all "□," and the endings of the sixth tone lines are all "■," representing one symbol with sound but no character, and the other with no sound at all. In the right column, the last line of the fourth tone, "○○○ yu," only has characters in the entering tone position, and the second line of the fifth tone, "shuai ○ shuai gu," lacks the rising tone, which is filled in with "○."

乃你女■○○○○，■■■■心審禁○；七音：內南年■○○○○，七音：■■■■○○○十；六聲：老冷呂■○○○○，七聲：■■■■男坎欠○；鹿犖離■○○○○，■■■■○○○妾；走哉足■○○○○，■■■■●●●●；八音：自在匠■○○○○，七音：■■■■●●●●；六聲：草采七■○○○○，八聲：■■■■●●●●；曹才全■○○○○，■■■■●●●●；思三星■○○○○，■■■■●●●●；九音：寺□象■○○○○，七音：■■■■●●●●；六聲：□□□■○○○○，九聲：■■■■●●●●；□□□■○○○○，■■■■●●●●。

The left column, "入声翕唱吕二之六," uses four repetitions of "○" and sings four lines for the seventh tone: "Nai ni nv ■, nei nan nian ■, lao leng lv ■, lu luo li ■," four lines for the eighth tone: "Zou zai zu ■, zi zai jiang ■, cao cai qi ■, cao cai quan ■," and four lines for the ninth tone: "Si san xing ■, si □ xiang ■, □□□ ■, □□□ ■." The right column, "闭音浊和律二之七," uses four repetitions of "■" and harmonizes four lines for the seventh tone: "Xin shen jin ○, ○○○ shi, nan kan qian ○, ○○○ jie," then harmonizes the eighth and ninth tones with eight lines each, all marked as "●●●●." In the left column, the three tones have no sound, while in the right column, the eighth and ninth tones are entirely silent. Therefore, within one section, "■" and "●" each occupy half. Although both are blank, they are written with different symbols because the left column records tones and the right column records sounds, and since their positions are different, their symbols also differ. The labels "seven tones" to "nine tones" and "seven sounds" to "nine sounds" in this diagram refer to the respective positions of the two columns and should not be combined into one.

■山手■○○○○，■■■■●●●●；十音：■士石■○○○○，七音：■■■■●●●●；六聲：■□耳■○○○○，十聲：■■■■●●●●；■□二■○○○○，■■■■●●●●。

The left column, "Rusheng Xi Chang Lü Er Zhi Liu" (Entry on the Tenth Tone of the Second of the Two Laws of the Sixth), has four lines of the tenth tone with the characters "■shan shou■, ■shi shi■, ■□er■, ■□er■". The right column, "Biyan Zhu He Lu Er Zhi Qi" (Entry on the Tenth Tone of the Second of the Two Laws of the Seventh), uses the character "■" repeated four times to harmonize with the tenth tone's four lines, each line being "●●●●". This section ends with the completion of the harmonization. The left and right columns together consist of sixteen sections, none of which contain written characters, but instead alternate entirely between the three symbols "○", "■", and "●". This clearly demonstrates Shao Yong's method of arranging positions without filling them with characters.