Entering the入声 with a harmonious chant of the fourth tone of 吕 and the fourth of 四

古甲九癸玉玉玉玉 未未未未心審禁○ 一音 □□近揆玉玉玉玉 四音 未未未未○○○十 四聲 坤巧丘棄玉玉玉玉 七聲 未未未未男坎欠○ □□乾蚪玉玉玉玉 未未未未○○○妾 黑花香血玉玉玉玉 未未未未●●●● 二音 黃華雄賢玉玉玉玉 四音 未未未未●●●● 四聲 五瓦仰□玉玉玉玉 八聲 未未未未●●●● 吾牙月堯玉玉玉玉 未未未未●●●● 安亞乙一玉玉玉玉 未未未未●●●● 三音 □爻壬寅玉玉玉玉 四音 未未未未●●●● 四聲 母馬美米玉玉玉玉 九聲 未未未未●●●● 目貌眉民玉玉玉玉 未未未未●●●● 夫法□飛玉玉玉玉 未未未未●●●● 四音 父凡□吠玉玉玉玉 四音 未未未未●●●● 四聲 武晚□尾玉玉玉玉 十聲 未未未未●●●● 文萬□未玉玉玉玉 未未未未●●●●

The left half is led by the chanting of "Rush Sound Harmony in the Fourth of the Four Lu," differing from the previous three diagrams: the fourth tone of the entering tone has a character, which is "Jade," so beneath each line it is written "Jade Jade Jade Jade," instead of empty circles. It proceeds to chant the first tone (Ancient Jia Ninth Gui, □□ Near Kui, Kun Qiao Qiu Qi, □□ Qian Tu), the second tone (Black Flower Fragrant Blood, Yellow Flower Strong Virtue, Five Wa Y仰□, Wu Ya Yue Yao), the third tone (An Ya Yi Yi, □ Yao Ren Yin, Mother Horse Beauty Rice, Eye Appearance Eyebrow People), and the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). The four "Jade" characters in sequence indicate that the same tone position must be matched with the four positions of opening, developing, closing, and closing of each tone, producing four sets of sounds. The right half, "Closed Tone Muddy Harmony in the Fourth of the Four Lu," uses "Wei" to reach the seventh tone (Heart Shen Jin ○, ○○○ Shi, Male Kan Qian ○, ○○○ Jie), and the eighth, ninth, and thirteenth tones have no tone positions, written as "Wei Wei Wei Wei ●●●●." Within one diagram, the left side transitions from empty to filled, while the right side moves from filled to empty, forming a contrast. Shao Yong's concept of "chanting" and "harmonizing" does not refer to actual people reciting, but rather forces each tone position to be matched with each tone position, observing how many combinations can be generated between the 112 tones and 152 tones.

卜百丙必玉玉玉玉 瓶瓶瓶瓶多可個舌 五音 步白備鼻玉玉玉玉 五音 瓶瓶瓶瓶禾火化八 四聲 普撲品匹玉玉玉玉 一聲 瓶瓶瓶瓶開宰愛○ 旁排平瓶玉玉玉玉 瓶瓶瓶瓶回每退○ 東丹帝■玉玉玉玉 瓶瓶瓶瓶良兩向○ 六音 兌大弟■玉玉玉玉 五音 瓶瓶瓶瓶光廣況○ 四聲 土貪天■玉玉玉玉 二聲 瓶瓶瓶瓶丁井亙○ 同覃田■玉玉玉玉 瓶瓶瓶瓶兄永瑩○ 乃你女■玉玉玉玉 瓶瓶瓶瓶千典旦○ 七音 內南年■玉玉玉玉 五音 瓶瓶瓶瓶元犬半○ 四聲 老冷呂■玉玉玉玉 三聲 瓶瓶瓶瓶臣引艮○ 鹿犖離■玉玉玉玉 瓶瓶瓶瓶君允巽○ 走哉足■玉玉玉玉 瓶瓶瓶瓶刀早孝嶽 八音 自在匠■玉玉玉玉 五音 瓶瓶瓶瓶毛寶報霍 四聲 草采七■玉玉玉玉 四聲 瓶瓶瓶瓶牛斗奏六 曹才全■玉玉玉玉 瓶瓶瓶瓶○○○玉

The left half continues with the fifth tone, sung with the character "玉" (Yu), as "卜百丙必, 步白备鼻, 普扑品匹, 旁排平瓶". The sixth tone is "东丹帝■, 兑大弟■, 土贪天■, 同覃田■". The seventh tone is "乃你女■, 内南年■, 老冷吕■, 鹿荦离■". The eighth tone is "走哉足■, 自在匠■, 草采七■, 曹才全■". Among these four tones, all four positions of lip sounds are present, but the categories of tongue sounds, nasal sounds, and dental sounds are entirely missing. The right half begins with the "Closed浊和律四之五" (Closed浊和 Law Four Five): for the fifth tone, the closed浊 sound has the character "瓶" (Ping), and "瓶瓶瓶瓶" is used to harmonize with the first tone (多可个舌, 禾火化八, 开宰爱○, 回每退○), the second tone (良两向○, 光广况○, 丁井亘○, 兄永莹○), the third tone (千典旦○, 元犬半○, 臣引艮○, 君允巽○), and the fourth tone (刀早孝岳, 毛宝报霍, 牛斗奏六, ○○○玉). "蚪, 尧, 民, 未, 瓶" are the only five characters in the category of stone sounds with closed浊 tones, and "瓶" (Ping) is the last one of the fifth tone; from the sixth tone onwards, they are all "■". This is referred to as "石石音五" (Five Stone Sounds), referring to these five characters.

思三星■玉玉玉玉 瓶瓶瓶瓶妻子四日 九音 寺□象■玉玉玉玉 五音 瓶瓶瓶瓶衰○帥骨 四聲 □□□■玉玉玉玉 五聲 瓶瓶瓶瓶○○○德 □□□■玉玉玉玉 瓶瓶瓶瓶龜水貴北 ■山手■玉玉玉玉 瓶瓶瓶瓶宮孔眾○ 十音 ■士石■玉玉玉玉 五音 瓶瓶瓶瓶龍甬用○ 四聲 ■□耳■玉玉玉玉 六聲 瓶瓶瓶瓶魚鼠去○ ■□二■玉玉玉玉 瓶瓶瓶瓶烏虎兔○ ■莊震■玉玉玉玉 瓶瓶瓶瓶心審禁○ 十一音 ■乍□■玉玉玉玉 五音 瓶瓶瓶瓶○○○十 四聲 ■叉赤■玉玉玉玉 七聲 瓶瓶瓶瓶男坎欠○ ■崇辰■玉玉玉玉 瓶瓶瓶瓶○○○妾 ■卓中■玉玉玉玉 瓶瓶瓶瓶●●●● 十二音 ■宅直■玉玉玉玉 五音 瓶瓶瓶瓶●●●● 四聲 ■拆丑■玉玉玉玉 八聲 瓶瓶瓶瓶●●●● ■茶呈■玉玉玉玉 瓶瓶瓶瓶●●●●

The left half sings the "入声翕唱吕四之四" using nine sounds (thought of three stars, temple image, empty, empty), ten sounds (mountain hand, scholar stone, empty ear, two), eleven sounds (village thunder, sudden empty, fork red, high noon), twelve sounds (excellent middle, residence straight, split cow, tea presentation), completing the twelve sounds and forty-eight positions with the character "玉". The right half sings "闭音浊和律四之五" with the character "瓶" and the fifth tone (wife four days, decline general bone, empty virtue, turtle water noble north), sixth tone (palace hole crowd, dragon well use, fish rat go, crow tiger rabbit), seventh tone (heart review prohibition, empty ten, male water lack, empty妾), and when reaching the eighth tone, all four lines are marked with "●", written as "瓶瓶瓶瓶●●●●". In the sound chart, "○" and "●" are clearly distinct: "○" indicates that this tone position exists but no character was found to correspond to it at the time; "●" indicates that there is no tone position at all. The symbols "□" and "■" in the tone chart follow the same distinction. These four symbols are essential; otherwise, the numbers 112 and 152 could not be calculated.

古甲九癸北北北北 瓶瓶瓶瓶●●●● 一音 □□近揆北北北北 五音 瓶瓶瓶瓶●●●● 五聲 坤巧丘棄北北北北 九聲 瓶瓶瓶瓶●●●● □□乾蚪北北北北 瓶瓶瓶瓶●●●● 黑花香血北北北北 瓶瓶瓶瓶●●●● 二音 黃華雄賢北北北北 五音 瓶瓶瓶瓶●●●● 五聲 五瓦仰□北北北北 十聲 瓶瓶瓶瓶●●●● 吾牙月堯北北北北 瓶瓶瓶瓶●●●●

The left half is now led by "Rusheng Xi Chang Lv Si Wu" for the fifth tone: the fifth tone of the entering tone also has a character, which is "Bei," so below each line it is written "Bei Bei Bei Bei." It first sings the first tone (Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu) and the second tone (Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo). This "Bei" character is the character selected for the fifth tone in the column "Chén Chén Shēng Rù Xī" at the beginning of the diagram, and together with the character "Yù" from the fourth tone and "Qiè" from the seventh tone, these are the only three actual characters in this section. The right half, "Bì Yīn Zhuó Hé Lǜ Sì Wu," uses "Píng" to harmonize with the ninth and tenth tones; since there are no lines for these two tones, it is written as "Píng Píng Píng Píng ● ● ● ●" throughout; by the time the fifth tone has harmonized through all ten tones, the diagram is completed.

安亞乙一北北北北 ■■■■多可個舌 三音 □爻壬寅北北北北 六音 ■■■■禾火化八 五聲 母馬美米北北北北 一聲 ■■■■開宰愛○ 目貌眉民北北北北 ■■■■回每退○ 夫法□飛北北北北 ■■■■良兩向○ 四音 父凡□吠北北北北 六音 ■■■■光廣況○ 五聲 武晚□尾北北北北 二聲 ■■■■丁井亙○ 文萬□未北北北北 ■■■■兄永瑩○ 卜百丙必北北北北 ■■■■千典旦○ 五音 步白備鼻北北北北 六音 ■■■■元犬半○ 五聲 普撲品匹北北北北 三聲 ■■■■臣引艮○ 旁排平瓶北北北北 ■■■■君允巽○ 東丹帝■北北北北 ■■■■刀早孝嶽 六音 兌大弟■北北北北 六音 ■■■■毛寶報霍 五聲 土貪天■北北北北 四聲 ■■■■牛斗奏六 同覃田■北北北北 ■■■■○○○玉

The left half continues with "Bei" as the third tone (An Ya Yi Yi, □ line Renyin, mother horse Mei Mi, eye face brow people), the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei), the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), and the sixth tone (Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■). The right half starts with "Bi Yin Zhu He Lu Si Zhi Liu," while the sixth tone's closed and浊 position has no sound to be established, only marked as "■," so the entire text becomes "■■■■" to harmonize with the heavenly tones: first tone (Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○), second tone (Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○), third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu). Since there are no actual tone positions, why must they be matched one by one? Because Shao Yong sought a complete array: each of the twelve tones occupies four lines and four positions, totaling 192 grids, with 152 having sounds and 40 without, the sum of these two numbers representing the total number of tone positions in the world; without these 40 grids, the number 152 would have no counterpart.

乃你女■北北北北 ■■■■妻子四日 七音 內南年■北北北北 六音 ■■■■衰○帥骨 五聲 老冷呂■北北北北 五聲 ■■■■○○○德 鹿犖離■北北北北 ■■■■龜水貴北 走哉足■北北北北 ■■■■宮孔眾○ 八音 自在匠■北北北北 六音 ■■■■龍甬用○ 五聲 草采七■北北北北 六聲 ■■■■魚鼠去○ 曹才全■北北北北 ■■■■烏虎兔○ 思三星■北北北北 ■■■■心審禁○ 九音 寺□象■北北北北 六音 ■■■■○○○十 五聲 □□□■北北北北 七聲 ■■■■男坎欠○ □□□■北北北北 ■■■■○○○妾

The left half uses "north" to sing the seventh tone (your daughter, inner southern year, old cold Lü, deer Luo Li), the eighth tone (walk zai foot, free craftsman, grass collection seven, Cao Cai Quan), and the ninth tone (think three stars, temple image, blank blank blank, blank blank blank). The third and fourth lines of the ninth tone written together as "blank blank blank" are the most completely empty category in the entire diagram: three have sounds but no characters, and one has neither sound nor character. The right half, "Closed Tone Muddy Harmony Law Four Six," uses "■" and the fifth tone (wife four days, decline ○ general bone, ○○○ virtue, turtle water noble north), the sixth tone (palace hole crowd ○, dragon Yong use ○, fish mouse go ○, crow tiger rabbit ○), and the seventh tone (heart review prohibition ○, ○○○ ten, male Kan lack ○, ○○○ wife). All four lines of the sixth tone end with "○," indicating that the rhyme groups such as palace, dragon, fish, and crow, which are closed mouth rhymes, have no corresponding characters in the入声 (entering tone). The seventh tone is the opposite, having only the characters "ten" and "wife" in the entering tone position, while the level, rising, and departing tones are all empty.

■山手■北北北北 ■■■■●●●● 十音 ■士石■北北北北 六音 ■■■■●●●● 五聲 ■□耳■北北北北 八聲 ■■■■●●●● ■□二■北北北北 ■■■■●●●● ■莊震■北北北北 ■■■■●●●● 十一音 ■乍□■北北北北 六音 ■■■■●●●● 五聲 ■叉赤■北北北北 九聲 ■■■■●●●● ■崇辰■北北北北 ■■■■●●●● ■卓中■北北北北 ■■■■●●●● 十二音 ■宅直■北北北北 六音 ■■■■●●●● 五聲 ■拆丑■北北北北 十聲 ■■■■●●●● ■茶呈■北北北北 ■■■■●●●●

The left half sings the "入声翕唱吕四之五" using the tenth tone (■山手■, ■士石■, ■□耳■, ■□二■), the eleventh tone (■庄震■, ■乍□■, ■叉赤■, ■崇辰■), and the twelfth tone (■卓中■, ■宅直■, ■拆丑■, ■茶呈■). After singing these twelve tones, the character "北" is sung through all twelve tones. The right half harmonizes with the "闭音浊和律四之六" up to the eighth, ninth, and thirteenth tones. When the tone positions are exhausted, the sound positions are also exhausted, so the entire passage of twelve lines becomes "■■■■●●●●" with no characters. This pure symbolic array is easily mistaken by later generations as incomplete and deleted. In fact, it is the framework of Shao Yong's numerical reasoning. Only by occupying the empty positions does the product of "one hundred and twelve sounds" and "one hundred and fifty-two tones" have a place, allowing the numbers of mutual resonance between sounds to be extended to all things.

古甲九癸○○○○ ■■■■多可個舌 一音 □□近揆○○○○ 七音 ■■■■禾火化八 六聲 坤巧丘棄○○○○ 一聲 ■■■■開宰愛○ □□乾蚪○○○○ ■■■■回每退○ 黑花香血○○○○ ■■■■良兩向○ 二音 黃華雄賢○○○○ 七音 ■■■■光廣況○ 六聲 五瓦仰□○○○○ 二聲 ■■■■丁井亙○ 吾牙月堯○○○○ ■■■■兄永瑩○ 安亞乙一○○○○ ■■■■千典旦○ 三音 □爻壬寅○○○○ 七音 ■■■■元犬半○ 六聲 母馬美米○○○○ 三聲 ■■■■臣引艮○ 目貌眉民○○○○ ■■■■君允巽○ 夫法□飛○○○○ ■■■■刀早孝嶽 四音 父凡□吠○○○○ 七音 ■■■■毛寶報霍 六聲 武晚□尾○○○○ 四聲 ■■■■牛斗奏六 文萬□未○○○○ ■■■■○○○玉

The left half is now led by "The Sixth Tone of the Inhaling and Singing of the Fourth Category of the Level Four" and sings: the sixth tone's inhaled and sung position returns to being sound without characters, marked as "○○○○", and sings the first tone (Ancient Jia Ninth Gui, □□ near揆,坤巧丘弃, □□乾蚪), the second tone (Black flower fragrance blood, Yellow flower strong virtue, Five Wa仰□, Wu Ya Moon Yao), the third tone (An Ya Yi Yi, □ yao Ren Yin, Mother Horse Mei Mi, Eye Face Mei Min), the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). The right half starts with "The Seventh Tone of the Closed and Muffled Harmony of the Fourth Category of the Level Seven": the seventh tone's closed and muffled position has no sound, still marked as "■■■■", and goes with the first tone (Du Ke Ge She, He Huo Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○), the second tone (Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○), the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu). The original text combines the titles of the two diagrams into one line, clearly indicating that the left and right columns are originally two separate tables, only arranged side by side on the same plate; when reading, one should follow each column vertically, not reading horizontally across.

卜百丙必○○○○ ■■■■妻子四日 五音 步白備鼻○○○○ 七音 ■■■■衰○帥骨 六聲 普撲品匹○○○○ 五聲 ■■■■○○○德 旁排平瓶○○○○ ■■■■龜水貴北 東丹帝■○○○○ ■■■■宮孔眾○ 六音 兌大弟■○○○○ 七音 ■■■■龍甬用○ 六聲 土貪天■○○○○ 六聲 ■■■■魚鼠去○ 同覃田■○○○○ ■■■■烏虎兔○ 乃你女■○○○○ ■■■■心審禁○ 七音 內南年■○○○○ 七音 ■■■■○○○十 六聲 老冷呂■○○○○ 七聲 ■■■■男坎欠○ 鹿犖離■○○○○ ■■■■○○○妾

The left half continues with the fifth tone (Bu Bai Bei Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), the sixth tone (Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■), and the seventh tone (Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■). The leading tone remains the sixth tone with an empty circle. The fifth tone has four lines and sixteen positions, none of which are missing, making it the most complete among the twelve tones; the sixth and seventh tones have all their positions closed and empty. The right half of "Closed Tone浊和律四之七" uses "■" and the fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), the sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○), and the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie). In the second line of the fifth tone, "Shuai ○ Shuai Gu," there is a tone but no character. In the third line, "○○○ De," the level, rising, and falling tones are all empty, while only the entering tone character "De" remains. Such unevenness is entirely recorded by Shao Yong without any alteration.

走哉足■○○○○ ■■■■●●●● 八音 自在匠■○○○○ 七音 ■■■■●●●● 六聲 草采七■○○○○ 八聲 ■■■■●●●● 曹才全■○○○○ ■■■■●●●● 思三星■○○○○ ■■■■●●●● 九音 寺□象■○○○○ 七音 ■■■■●●●● 六聲 □□□■○○○○ 九聲 ■■■■●●●● □□□■○○○○ ■■■■●●●● ■山手■○○○○ ■■■■●●●● 十音 ■士石■○○○○ 七音 ■■■■●●●● 六聲 ■□耳■○○○○ 十聲 ■■■■●●●● ■□二■○○○○ ■■■■●●●●

The left half continues singing with the eighth tone (Zou Zai Zu, Zi Zai Jiang, Cao Cai Qi, Cao Cai Quan), the ninth tone (Si San Xing, Si Xiang Xiang, empty, empty), and the tenth tone (Shan Shou, Shi Shi Shi, Er Er Er, Er Er Er), while the sixth tone's入声 (entering tone) position remains empty. On the right half, the piece "Closed Tone Heavy Harmony Law Four Seven" harmonizes up to the eighth, ninth, and thirteenth tones, with all four lines silent, thus represented as "■■■■●●●●". When viewed together, the left column is a vacant tone position singing twelve tones, and the right column is a vacant tone position harmonizing ten tones. Both sides are simultaneously empty, yet the format remains perfectly intact. Shao Yong, in his work "Huang Ji Jing Shi," originally used numbers to deduce the beginning and end of heaven and earth. The section on sound follows the same approach—first fixing the number of available positions, then multiplying tones with tones and tones with sounds to determine the total number of compatible sounds, and then using the number of sounds to explain the numbers of all living beings and plants.

■莊震■○○○○ ■■■■多可個舌 十一音 ■乍□■○○○○ 八音 ■■■■禾火化八 六聲 ■叉赤■○○○○ 一聲 ■■■■開宰愛○ ■崇辰■○○○○ ■■■■回每退○ ■卓中■○○○○ ■■■■良兩向○ 十二音 ■宅直■○○○○ 八音 ■■■■光廣況○ 六聲 ■拆丑■○○○○ 二聲 ■■■■丁井亙○ ■茶呈■○○○○ ■■■■兄永瑩○

The left half completes the singing of "入声翕唱吕四之六" with the eleventh tone (庄震, 乍□, 叉赤, 崇辰) and the twelfth tone (卓中, 宅直, 拆丑, 茶呈). By the time the sixth tone is finished, all twelve tones have been fully assigned. The right half begins with "闭音浊和律四之八": the eighth tone's closed and浊 position is also empty, marked as "■■■■". It first harmonizes with the first tone (多可个舌, 禾火化八, 开宰爱○, 回每退○) and the second tone (良两向○, 光广况○, 丁井亘○, 兄永莹○). Starting from the sixth tone, the closed and浊 position continues with seven tones marked as "■", so from here until the end of this passage, the right column will no longer contain any tone characters, only "■■■■" matching with the ten tones in rotation.

古甲九癸妾妾妾妾 ■■■■千典旦○ 一音 □□近揆妾妾妾妾 八音 ■■■■元犬半○ 七聲 坤巧丘棄妾妾妾妾 三聲 ■■■■臣引艮○ □□乾蚪妾妾妾妾 ■■■■君允巽○ 黑花香血妾妾妾妾 ■■■■刀早孝嶽 二音 黃華雄賢妾妾妾妾 八音 ■■■■毛寶報霍 七聲 五瓦仰□妾妾妾妾 四聲 ■■■■牛斗奏六 吾牙月堯妾妾妾妾 ■■■■○○○玉 安亞乙一妾妾妾妾 ■■■■妻子四日 三音 □爻壬寅妾妾妾妾 八音 ■■■■衰○帥骨 七聲 母馬美米妾妾妾妾 五聲 ■■■■○○○德 目貌眉民妾妾妾妾 ■■■■龜水貴北 夫法□飛妾妾妾妾 ■■■■宮孔眾○ 四音 父凡□吠妾妾妾妾 八音 ■■■■龍甬用○ 七聲 武晚□尾妾妾妾妾 六聲 ■■■■魚鼠去○ 文萬□未妾妾妾妾 ■■■■烏虎兔○

The left half is now led by the chanting of "Rusheng Xi Chang Lv Si Zhi Qi": the seventh tone's rusheng position has a character, "qie", so "qie qie qie qie" is written below each line. This is the third and final real character in the pattern "Chen Chen sound enters Xi". The first two are the fourth tone's "yu" and the fifth tone's "bei". It is sung in sequence: first tone (Gujia Jiugui, □□Jin Kui, Kungqiao Qiudi, □□Qian Tu), second tone (Hehua Xiangxue, Huanghua Xiongxian, Wuwa Yang□, Wu Ya Yue Yao), third tone (Anya Yi Yi, □Yao Renyin, Mu Ma Meimi, Mu Mao Meimin), fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). The right half, "Biyan Zhu HeLv Si Zhi Ba", uses "■" and the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu), fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○). The left side has characters while the right side has no sound, and this section is the clearest instance of "Shi Chang Xu He" in the entire text.

卜百丙必妾妾妾妾 ■■■■心審禁○ 五音 步白備鼻妾妾妾妾 八音 ■■■■○○○十 七聲 普撲品匹妾妾妾妾 七聲 ■■■■男坎欠○ 旁排平瓶妾妾妾妾 ■■■■○○○妾 東丹帝■妾妾妾妾 ■■■■●●●● 六音 兌大弟■妾妾妾妾 八音 ■■■■●●●● 七聲 土貪天■妾妾妾妾 八聲 ■■■■●●●● 同覃田■妾妾妾妾 ■■■■●●●● 乃你女■妾妾妾妾 ■■■■●●●● 七音 內南年■妾妾妾妾 八音 ■■■■●●●● 七聲 老冷呂■妾妾妾妾 九聲 ■■■■●●●● 鹿犖離■妾妾妾妾 ■■■■●●●● 走哉足■妾妾妾妾 ■■■■●●●● 八音 自在匠■妾妾妾妾 八音 ■■■■●●●● 七聲 草采七■妾妾妾妾 十聲 ■■■■●●●● 曹才全■妾妾妾妾 ■■■■●●●●

On the left side, the continuation is sung with the character 「妾」 for the fifth tone (Bu Bai Bei Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), sixth tone (Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■), seventh tone (Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■), and eighth tone (Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■). On the right side, the text 「闭音浊和律四之八」 first harmonizes the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Qie): here, the character 「妾」 appearing in the right column and the 「妾」 sung in the left column represent the same tone position in two different roles — in the singing diagram it is the leader, while in the harmonizing diagram it is the one being harmonized, one singing and one harmonizing, yet the character remains unchanged. Then it proceeds to harmonize the eighth, ninth, and thirteenth tones, with four lines all marked 「●」, thus forming 「■■■■●●●●」. The fourth line of the seventh tone 「○○○妾」 is commonly only this single character, yet Shao Yong specially includes it in 「辰辰声入翕」, showing thatthe so-called「用声」 is counted tone by tone in each grid, not estimated.

思三星■妾妾妾妾 ■■■■多可個舌 九音 寺□象■妾妾妾妾 九音 ■■■■禾火化八 七聲 □□□■妾妾妾妾 一聲 ■■■■開宰愛○ □□□■妾妾妾妾 ■■■■回每退○ ■山手■妾妾妾妾 ■■■■良兩向○ 十音 ■士石■妾妾妾妾 九音 ■■■■光廣況○ 七聲 ■□耳■妾妾妾妾 二聲 ■■■■丁井亙○ ■□二■妾妾妾妾 ■■■■兄永瑩○ ■莊震■妾妾妾妾 ■■■■千典旦○ 十一音 ■乍□■妾妾妾妾 九音 ■■■■元犬半○ 七聲 ■叉赤■妾妾妾妾 三聲 ■■■■臣引艮○ ■崇辰■妾妾妾妾 ■■■■君允巽○ ■卓中■妾妾妾妾 ■■■■刀早孝嶽 十二音 ■宅直■妾妾妾妾 九音 ■■■■毛寶報霍 七聲 ■拆丑■妾妾妾妾 四聲 ■■■■牛斗奏六 ■茶呈■妾妾妾妾 ■■■■○○○玉

The left half begins with "qie" singing the ninth tone (Si San Xing, Si Shi Xiang, empty, empty), the tenth tone (Shan Shou, Shi Shi Shi, empty, empty), the eleventh tone (Zhuang Zhen, Zha empty, Cha Chi, Chong Chen), the twelfth tone (Zhuo Zhong, Zhai Zhi, Che Chou, Cha Cheng). The "Rusheng Xi Chang Lv Si Qi" ends here. The right half starts with "Bi Yin Zhu He Lv Si Jiu": the ninth tone's closed and dull position has no sound, still marked as "empty empty empty empty." It goes on to the first tone (Du Ke Ge She, He Hu Huo Hua Ba, Kai Zai Ai, Hui Mei Tui), the second tone (Liang Liang Xiang, Guang Guang Kuang, Ding Jing Gen, Xiong Yong Ying), the third tone (Qian Dian Dan, Yuan Quan Ban, Chen Yin Gen, Jun Yun Xun), the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, empty empty empty Yu). Among the ten tones, the first seven tones total twenty-eight lines, each line having four characters, making a total of one hundred and twelve. All "empty empty empty empty" sounds must correspond one by one with these one hundred and twelve positions. Even if no character is generated, the grid must still be fully filled.

古甲九癸●●●● ■■■■妻子四日 一音 □□近揆●●●● 九音 ■■■■衰○帥骨 八聲 坤巧丘棄●●●● 五聲 ■■■■○○○德 □□乾蚪●●●● ■■■■龜水貴北 黑花香血●●●● ■■■■宮孔眾○ 二音 黃華雄賢●●●● 九音 ■■■■龍甬用○ 八聲 五瓦仰□●●●● 六聲 ■■■■魚鼠去○ 吾牙月堯●●●● ■■■■烏虎兔○ 安亞乙一●●●● ■■■■心審禁○ 三音 □爻壬寅●●●● 九音 ■■■■○○○十 八聲 母馬美米●●●● 七聲 ■■■■男坎欠○ 目貌眉民●●●● ■■■■○○○妾

The left half is led by the singing of "Rushant Xi Chang Lv Si Zhi Ba," and the eighth tone has no tone position in Shao Yong's tone diagram, with all four lines marked as "●," so the leading side writes "●●●●"—this is the most complete empty singing in the entire text. It still proceeds in order to sing the first tone (Gujia Jiui Gui, □□Jin Kui, Kun Qiao Qiu Qi, □□Qian Tu), the second tone (Hei Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao), and the third tone (An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min). The right half, "Bi Yin Zhu He Lu Si Zhi Jiu," uses "■" for the fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), the sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○), and the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie). The soundless sound sings the tones with characters, and the toneless tone harmonizes with the sounds with characters; the two columns are one empty and one real, with positions reversed but the format unchanged.

夫法□飛●●●● ■■■■●●●● 四音 父凡□吠●●●● 九音 ■■■■●●●● 八聲 武晚□尾●●●● 八聲 ■■■■●●●● 文萬□未●●●● ■■■■●●●● 卜百丙必●●●● ■■■■●●●● 五音 步白備鼻●●●● 九音 ■■■■●●●● 八聲 普撲品匹●●●● 九聲 ■■■■●●●● 旁排平瓶●●●● ■■■■●●●● 東丹帝■●●●● ■■■■●●●● 六音 兌大弟■●●●● 九音 ■■■■●●●● 八聲 土貪天■●●●● 十聲 ■■■■●●●● 同覃田■●●●● ■■■■●●●●

The left half uses the eighth tone's empty position to sing the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei), the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), and the sixth tone (Dong Dan Di ■, Dui Da Di ■, Tu Tan Tian ■, Tong Tan Tian ■). The right half of "Closed浊 and Harmonious Law Four Nine" reaches the eighth, ninth, and thirteenth tones, where both the tone positions and the sound positions are absent, and the twelve lines are all "■■■■●●●●". The eighth, ninth, and tenth tones, along with the sixth to twelfth tones, are the empty positions left by Shao Yong: originally there are ten tones, but only seven are actually used; originally there are twelve tones, but in this category of closed and浊 tones, only five are actually used. By juxtaposing the real and the empty, one can see "the body has a fixed number but the use is insufficient"—this is precisely the meaning of "body four and use three" repeatedly emphasized in the book "Huang Ji Jing Shi" as applied to sound. If readers delete all the empty positions, the diagram may appear clear, but the numbers will all be disordered.

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

The left half uses the eighth tone's empty position to sing the seventh tone (Nai ni nv, Nei nan nian, Lao leng lv, Lu luo li), the eighth tone (Zou zai zu, Zi zai jiang, Cao cao qi, Cao cai quan), and the ninth tone (Si san xing, Si xiang xiang, empty empty empty, empty empty empty). The right half starts with the "Closed Tone Muddy Harmony Law Four Ten": the tenth tone's closed muddy position has no sound, marked as "empty empty empty empty," first tone (Du ke ge she, He hu hua ba, Kai zai ai circle, Hui mei tui circle), second tone (Liang liang xiang circle, Guang guang kuang circle, Ding jing gen circle, Xiong yong ying circle), third tone (Qian dian dan circle, Yuan quan ban circle, Chen yin gen circle, Jun yun xun circle). The four lines of the first tone are the most complete among all tones in the sound diagram, with only two missing out of sixteen positions; the number of "circle" symbols increases as we move forward, and by the eighth tone, there are no characters left. The decline of sound is clearly visible in the diagram.

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

The left half completes the singing of "Rusheng Xi Chang Lv Si Zhi Ba" using the tenth tone (■ Shan Shou ■, ■ Shi Shi ■, ■ □ Er ■, ■ □ Er ■), the eleventh tone (■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■), and the twelfth tone (■ Zhuo Zhong ■, ■ Zhai Zhi ■, ■ Che Chou ■, ■ Cha Cheng ■), ending with the eighth tone's empty position traversing all twelve tones across forty-eight grids. The right half of "Bi Yin Zhu He Lu Si Zhi Shi" uses the character "■" and the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu), the fifth tone (Zi Qi Si Ri, Shuai ○ Shuai Gu, ○○○ De, Gui Shui Gui Bei), and the sixth tone (Gong Kong Zhong ○, Long Yong Yong ○, Yu Shu Qu ○, Wu Hu Tu ○). The first line of the fourth tone "Dao Zao Xiao Yue," the second line "Mao Bao Bao Huo," and the third line "Niu Dou Zou Liu" all have characters for the入声 (entering tone). Only the fourth line has "Yu" left. These four characters for the entering tone, "Yue, Huo, Liu, Yu," are actual evidence of the existence of the entering tone in the Song dynasty.

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

The left half is led by the chanting of "Rusheng Xi Chang Lv Si Zhi Jiu," where the ninth tone is the same as the eighth tone, having no connected tone positions, so it remains "●●●●." It proceeds to chant the first tone (Gujia Jiu Gui, □□ Jin Kui, Kun Qiao Qiu Qi, □□ Qian Tu), the second tone (He Hua Xiang Xue, Huang Hua Xiong Xian, Wu Wa Yang □, Wu Ya Yue Yao), the third tone (An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min), and the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei). The right half follows the chanting of "Biyin Zhu He Lu Si Zhi Shiyi" and the seventh tone (Xin Shen Jin ○, ○○○ Shi, Nan Kan Qian ○, ○○○ Jie) and then the eighth, ninth, and thirteenth tones are all empty, marked as "■■■■●●●●," and the tenth tone concludes here. Both columns are left empty against empty, yet the twelve representative characters of the tones are fully listed without omission, to make it clear that although the number of tones sung and responded to is zero, the positions of the tones are still clearly present. Shao Yong's method was first to determine the positions and then to count, so if the positions are incomplete, the counts are not accurate. Therefore, he preferred to fill the paper entirely with circles and blocks rather than omitting a single position.

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

The left half uses the ninth tone's empty position to sing the fifth tone (Bu Bai Bei Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), the sixth tone (Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■), and the seventh tone (Nai Ni Nu ■, Nei Nan Nian ■, Lao Leng Lv ■, Lu Luo Li ■). Among these three tones, the fifth tone belongs to the heavy lip sounds, the sixth tone to the tongue sounds, and the seventh tone to the nasal and lateral sounds; the closed positions of the latter two categories have no sound, so the last character of each line is marked as ■. Each tone has four lines divided into clear and浊 (obscure) categories. The first and third lines are clear, while the second and fourth lines are浊. For example, "Bu Bai Bei Bi" is clear, while "Bu Bai Bei Bi" is浊, "Pu Pu Pin Pi" is clear, while "Pang Pai Ping Ping" is浊, with pairs contrasting clearly. The right half begins with the "Fourteenth Law of Closed Obstructed Sounds, Volume Eleven": the eleventh tone's closed浊 position has no sound, marked as ■■■■. It goes on to the first tone (Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○), the second tone (Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○), and the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○).

走哉足■●●●● ■■■■刀早孝嶽 八音 自在匠■●●●● 十一音 ■■■■毛寶報霍 九聲 草采七■●●●● 四聲 ■■■■牛斗奏六 曹才全■●●●● ■■■■○○○玉

The left half continues with the eighth tone (Zou Zai Zu ■, Zi Zai Jiang ■, Cao Cai Qi ■, Cao Cai Quan ■), connecting to the previous text, and still pairs with the ninth tone's position which has no connected sound, marked as 「●●●●」; the right half of "Closed Tone Muddy Harmony Law Four, Number Eleven" uses 「■■■■」 to correspond with the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu). The eighth tone belongs to the dental initial sounds, and the closed positions in the four lines are all marked as 「■」, with characters only appearing in the open, initial, and final positions. The fourth tone's entering tones in the four lines are sequentially "Yue", "Huo", "Liu", and "Yu", but the level, rising, and falling tones in the fourth line are missing, hence marked as "○○○ Yu". One abstract and one concrete presented on the same page is the usual state of this diagram.

思三星■●●●● ■■■■妻子四日 九音 寺□象■●●●● 十一音 ■■■■衰○帥骨 九聲 □□□■●●●● 五聲 ■■■■○○○德 □□□■●●●● ■■■■龜水貴北 ■山手■●●●● ■■■■宮孔眾○ 十音 ■士石■●●●● 十一音 ■■■■龍甬用○ 九聲 ■□耳■●●●● 六聲 ■■■■魚鼠去○ ■□二■●●●● ■■■■烏虎兔○ ■莊震■●●●● ■■■■心審禁○ 十一音 ■乍□■●●●● 十一音 ■■■■○○○十 九聲 ■叉赤■●●●● 七聲 ■■■■男坎欠○ ■崇辰■●●●● ■■■■○○○妾 ■卓中■●●●● ■■■■●●●● 十二音 ■宅直■●●●● 十一音 ■■■■●●●● 九聲 ■拆丑■●●●● 八聲 ■■■■●●●● ■茶呈■●●●● ■■■■●●●●

The left half completes the singing of "Rush Sound Harmonization of the Fourth Tone of the Ninth" with the ninth tone (thinking of three stars, the temple representing an image, three blanks followed by a character, three blanks followed by another character), the tenth tone (mountain hand, a person and a stone, an ear and a blank, two blanks), the eleventh tone (a village and thunder, a sudden blank, a fork and red, a high and the morning), and the twelfth tone (a tall and middle, a residence and straight, a split and the ox, tea and presentation). The right half sings "Closed Sound Heavy Harmony of the Fourth Tone of the Eleventh" with the fifth tone (husband and wife on the fourth day, decline and the general's bones, blanks and virtue, turtle water and the north), the sixth tone (palace, hole, crowd and blank, dragon and the bell, use and blank, fish and rat, go and blank, crow, tiger, rabbit and blank), the seventh tone (heart, review, prohibition and blank, blanks and ten, male, water, lack and blank, blanks and concubine), and the eighth tone as "■■■■●●●●". The fourth line of the fifth tone "turtle water and the north" uses the character "north", which is the character used to fill in "Chen Chen sound entering harmony" in the fifth tone earlier. The same character serves as the leading tone in the singing diagram and as the harmonized tone in the harmonizing diagram, appearing in both places with its own position, showing the meticulous arrangement of Shao Yong.

古甲九癸○○○○ ■■■■●●●● 一音 □□近揆○○○○ 十一音 ■■■■●●●● 十聲 坤巧丘棄○○○○ 九聲 ■■■■●●●● □□乾蚪○○○○ ■■■■●●●● 黑花香血○○○○ ■■■■●●●● 二音 黃華雄賢○○○○ 十一音 ■■■■●●●● 十聲 五瓦仰□○○○○ 十聲 ■■■■●●●● 吾牙月堯○○○○ ■■■■●●●●

The left half is now led by "Rusheng Xi Chang Lu Si Zhi Shí" singing the tenth tone: the tenth tone in this section is also a tone without characters, marked as "○○○○". First, they sing the first tone (Gǔ Jiǎ Jiǔ Guǐ, □□ Jìn Kuí, Kūn Qiǎo Qiū Qì, □□ Qián Tóu) and the second tone (Hēi Huā Xiāng Xuè, Huáng Huá Xióng Xián, Wǔ Wǎ Yǎng □, Wú Yá Yuè Yáo). According to the section at the beginning "Chén Chén Shēng Rù Xī" which marks the tenth tone as "○", this matches exactly. The right half, "Bì Yīn Zhuó Hé Lǜ Sì Zhi Shí Yī", harmonizes the ninth and tenth tones with "■", but since both tones are absent, it is marked as "■■■■●●●●", and the eleventh tone is completed. This is the beginning of the last group in "Guānwù Piān Wǔshí", and the pairing of ten tones with twelve tones now only leaves the conclusion.

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

The left half uses the tenth tone's empty position to sing the third tone (An Ya Yi Yi, □ Yao Ren Yin, Mu Ma Mei Mi, Mu Mao Mei Min), the fourth tone (Fu Fa □ Fei, Fu Fan □ Fei, Wu Wan □ Wei, Wen Wan □ Wei), the fifth tone (Bu Bai Bing Bi, Bu Bai Bei Bi, Pu Pu Pin Pi, Pang Pai Ping Ping), and the sixth tone (Dong Dan Di ■, Du Dai Di ■, Tu Tan Tian ■, Tong Tan Tian ■). The right half begins with the "closed浊 harmonious law four of twelve," which is the last harmonious law diagram of this passage: the twelfth tone's closed浊 position has no sound, marked as "■■■■." The first tone (Du Ke Ge She, He Hu Hua Ba, Kai Zai Ai ○, Hui Mei Tui ○), the second tone (Liang Liang Xiang ○, Guang Guang Kuang ○, Ding Jing Gen ○, Xiong Yong Ying ○), the third tone (Qian Dian Dan ○, Yuan Quan Ban ○, Chen Yin Gen ○, Jun Yun Xun ○), and the fourth tone (Dao Zao Xiao Yue, Mao Bao Bao Huo, Niu Dou Zou Liu, ○○○ Yu). Each of the ten tones in the sound diagram is represented by four characters from four lines: the first tone takes the opening and closing of the song and hail tones, the second tone takes the Yang, Tang, Geng, and Qing tones, the third tone takes the Han, Xian, Zhen, and Chun tones, and the fourth tone takes the Hao, Yao, and You tones. Each line has four characters indicating level, rising, falling, and entering tones. These characters are not explained but only used to mark the positions.

乃你女■○○○○ ■■■■妻子四日 七音 內南年■○○○○ 十二音 ■■■■衰○帥骨 十聲 老冷呂■○○○○ 五聲 ■■■■○○○德 鹿犖離■○○○○ ■■■■龜水貴北 走哉足■○○○○ ■■■■宮孔眾○ 八音 自在匠■○○○○ 十二音 ■■■■龍甬用○ 十聲 草采七■○○○○ 六聲 ■■■■魚鼠去○ 曹才全■○○○○ ■■■■烏虎兔○ 思三星■○○○○ ■■■■心審禁○ 九音 寺□象■○○○○ 十二音 ■■■■○○○十 十聲 □□□■○○○○ 七聲 ■■■■男坎欠○ □□□■○○○○ ■■■■○○○妾

The left half uses the tenth tone's empty position to sing the seventh tone (Nai ni nv, Nei nan nian, Lao leng lv, Lu luo li), the eighth tone (Zou zai zu, Zi zai jiang, Cao cao qi, Cao cai quan), and the ninth tone (Si san xing, Si bu xiang, ???, ???). The right half of "Closed Tone Heavy Harmonic Law Four, Twelve" uses "???" with the fifth tone (Zi qi si ri, Shuai ?? shuai gu, ?? ?? ?? de,Gui shui gui bei), the sixth tone (Gong kong zhong ??, Long yong yong ??, Yu shu qu ??, Wu hu tu ??), and the seventh tone (Xin shen jin ??, ?? ?? ?? shi, Nan kan qian ??, ?? ?? ?? qie). Among the four lines of the ninth tone, "Si san xing" and "Si bu xiang" still have characters that can be cited, while the third and fourth lines are both marked as "???", indicating that there are no characters available for this type of tone in the positions of opening, development, and closure. The middle position of "Si bu xiang" is also missing, and it is similarly marked with "??". In all cases where characters are missing, they are left blank rather than filled with characters that sound similar, which is a fixed rule established by Shao Yong.

■山手■○○○○ ■■■■●●●● 十音 ■士石■○○○○ 十二音 ■■■■●●●● 十聲 ■□耳■○○○○ 八聲 ■■■■●●●● ■□二■○○○○ ■■■■●●●● ■莊震■○○○○ ■■■■●●●● 十一音 ■乍□■○○○○ 十二音 ■■■■●●●● 十聲 ■叉赤■○○○○ 九聲 ■■■■●●●● ■崇辰■○○○○ ■■■■●●●● ■卓中■○○○○ ■■■■●●●● 十二音 ■宅直■○○○○ 十二音 ■■■■●●●● 十聲 ■拆丑■○○○○ 十聲 ■■■■●●●● ■茶呈■○○○○ ■■■■●●●●

The left half completed singing the "Entry Tone Harmony of the Fourth Level of Lu Si" using the tenth tone (■ Mountain Hand ■, ■ Scholar Stone ■, ■ Empty Ear ■, ■ Empty Two ■), the eleventh tone (■ Zhuang Zhen ■, ■ Zha Empty ■, ■ Cha Red ■, ■ Chong Chen ■), and the twelfth tone (■ Zhuo Zhong ■, ■ Zhai Straight ■, ■ Che Chou ■, ■ Cha Cheng ■). The right half harmonized the "Closed Tone Muddy Harmony of the Fourth Level of Lu Si" up to the eighth, ninth, and thirteenth tones, with four lines left blank, marked as "■■■■●●●●". At this point, the ten diagrams of "Chen Chen Sound Entry of the Fourth Harmony" from the "Observing Things Chapter Fifty" and the twelve diagrams of "Shi Shi Tone Closure of the Fourth Muddy" were all completed. Looking back at the numbers set at the beginning of the chapter: for the "Entry Tone Harmony" section, seven heavenly tones were available, and by singing the earthly tones below, one hundred fifty-two tones were obtained, resulting in one thousand and sixty-four. For the "Closed Tone Muddy" section, five earthly tones were available, and by harmonizing the heavenly tones above, one hundred twelve tones were obtained, resulting in five hundred and sixty. The entire sound harmony diagram calculates each section of the ten tones and twelve tones in this manner, ultimately transforming the numbers of sound into the numbers of all living beings and plants, which forms the algorithmic foundation of Shao Yong's "Observing Things" methodology.

物之大者無若天地，然而亦有所盡也。天之大，陰陽盡之矣；地之大，剛柔盡之矣。陰陽盡而四時成焉，剛柔盡而四維成焉。夫四時四維者，天地至大之謂也。凡言大者，無得而過之也，亦未始以大為自得，故能成其大。豈不謂至偉至偉者歟？

Among all things, the greatest are heaven and earth, but even heaven and earth have their limits that can be fully explored. Heaven is great because it can be fully described by the two terms yin and yang; earth is great because it can be fully described by the two terms strength and flexibility. Yin and yang fully explain the four seasons, spring, summer, autumn, and winter; strength and flexibility fully explain the four directions, southeast, northwest, and the other two. The four seasons and the four directions encompass the entirety of heaven's and earth's greatness. Anything that can be called great has nothing greater than itself; yet heaven and earth never take pride in their greatness. It is precisely because they do not claim to be great that their greatness is truly realized. Is this not the ultimate in greatness?

天生於動者也，地生於靜者也。一動一靜交，而天地之道盡之矣。動之始則陽生焉，動之極則陰生焉。一陰一陽交，而天之用盡之矣。靜之始則柔生焉，靜之極則剛生焉。一柔一剛交，而地之用盡之矣。

Heaven arises from movement, and Earth arises from stillness. One movement and one stillness interact with each other, and this is the principle of the operation of Heaven and Earth. When movement begins, yang energy arises; when movement reaches its extreme, yin energy arises. One yin and one yang interact with each other, and this is the function of Heaven. When stillness begins, the nature of softness arises; when stillness reaches its extreme, the nature of firmness arises. One softness and one firmness interact with each other, and this is the function of Earth. Shao Yong regarded movement and stillness as the fundamental principles of Heaven and Earth, and yin and yang, softness and firmness as their functions. All subsequent deductions and developments arise from these four characters.

動之大者，謂之太陽；動之小者，謂之少陽；靜之大者，謂之太陰；靜之小者，謂之少陰。太陽為日，太陰為月，少陽為星，少陰為辰。日月星辰交，而天之體盡之矣。靜之大者，謂之太柔；靜之小者，謂之少柔；動之大者，謂之太剛；動之小者，謂之少剛。太柔為水，太剛為火，少柔為土，少剛為石。水火土石交，而地之體盡之矣。日為暑，月為寒，星為晝，辰為夜。暑寒晝夜交，而天之變盡之矣。水為雨，火為風，土為露，石為雷。雨風露雷交，而地之化盡之矣。暑變物之性，寒變物之情，晝變物之形，夜變物之體。性情形體交，而動植之感盡之矣。雨化物之走，風化物之飛，露化物之草，雷化物之木。走飛草木交，而動植之應盡之矣。

Movement that is great is called "Taiyang" (Great Yang), and movement that is small is called "Shaoyang" (Less Yang); stillness that is great is called "Taiyin" (Great Yin), and stillness that is small is called "Shaoyin" (Less Yin). Taiyang manifests as the sun, Taiyin manifests as the moon, Shaoyang manifests as stars, and Shaoyin manifests as the constellations; the sun, moon, stars, and constellations interact with each other, and thus the form of heaven is fully explained. Stillness that is great is called "Tairou" (Great Softness), and stillness that is small is called "Shaorou" (Less Softness); movement that is great is called "Taigang" (Great Hardness), and movement that is small is called "Shaogang" (Less Hardness). Tairou manifests as water, Taigang manifests as fire, Shaorou manifests as earth, and Shaogang manifests as stone; water, fire, earth, and stone interact with each other, and thus the form of earth is fully explained. The sun governs heat, the moon governs cold, stars govern day, and constellations govern night; heat, cold, day, and night interact with each other, and thus the changes of heaven are fully explained. Water becomes rain, fire becomes wind, earth becomes dew, and stone becomes thunder; rain, wind, dew, and thunder interact with each other, and thus the nurturing of earth is fully explained. Heat changes the "nature" of things, cold changes the "emotion" of things, day changes the "form" of things, and night changes the "body" of things; nature, emotion, form, and body interact with each other, and thus the sensations of animals and plants are fully explained. Rain nurtures beasts, wind nurtures birds, dew nurtures grass, and thunder nurtures trees; beasts, birds, grass, and trees interact with each other, and thus the responses of animals and plants are fully explained. Shao Yong here divides heaven into four images of sun, moon, stars, and constellations, and earth into four bodies of water, fire, earth, and stone, then each generates four transformations and four nurturings, layer by layer divided into four parts, thus establishing a framework for all numbers mentioned later.

走感暑而變者，性之走也；感寒而變者，情之走也；感晝而變者，形之走也；感夜而變者，體之走也。飛感暑而變者，性之飛也；感寒而變者，情之飛也；感晝而變者，形之飛也；感夜而變者，體之飛也。草感暑而變者，性之草也；感寒而變者，情之草也；感晝而變者，形之草也；感夜而變者，體之草也。木感暑而變者，性之木也；感寒而變者，情之木也；感晝而變者，形之木也；感夜而變者，體之木也。

Animals that change due to the heat are those that change at the level of "nature"; those that change due to cold are at the level of "emotion"; those that change due to daylight are at the level of "form"; and those that change due to night are at the level of "body". Birds also follow this pattern: those that change due to heat are birds that change at the level of "nature"; those that change due to cold are at the level of "emotion"; those that change due to daylight are at the level of "form"; and those that change due to night are at the level of "body". Grasses are the same: those that change due to heat are grasses that change at the level of "nature"; those that change due to cold are at the level of "emotion"; those that change due to daylight are at the level of "form"; and those that change due to night are at the level of "body". Trees are also the same: those that change due to heat are trees that change at the level of "nature"; those that change due to cold are at the level of "emotion"; those that change due to daylight are at the level of "form"; and those that change due to night are at the level of "body". The four categories of animals, birds, grasses, and trees each correspond to the four levels of nature, emotion, form, and body, resulting in a total of sixteen combinations. This is how Heaven changes all things through the influence of heat, cold, day, and night, resulting in sixteen different transformations.

性應雨而化者，走之性也；應風而化者，飛之性也；應露而化者，草之性也；應雷而化者，木之性也。情應雨而化者，走之情也；應風而化者，飛之情也；應露而化者，草之情也；應雷而化者，木之情也。形應雨而化者，走之形也；應風而化者，飛之形也；應露而化者，草之形也；應雷而化者，木之形也。體應雨而化者，走之體也；應風而化者，飛之體也；應露而化者，草之體也；應雷而化者，木之體也。

Looking at it in reverse, "nature" (性) is generated in response to rain, corresponding to the nature of beasts; generated in response to wind, corresponding to the nature of birds; generated in response to dew, corresponding to the nature of grass; and generated in response to thunder, corresponding to the nature of wood. "Emotion" (情) is also like this: emotion generated in response to rain corresponds to the emotion of beasts; emotion generated in response to wind corresponds to the emotion of birds; emotion generated in response to dew corresponds to the emotion of grass; and emotion generated in response to thunder corresponds to the emotion of wood. "Form" (形) is also like this: form responding to rain corresponds to the form of beasts; form responding to wind corresponds to the form of birds; form responding to dew corresponds to the form of grass; and form responding to thunder corresponds to the form of wood. "Body" (体) is also like this: body responding to rain corresponds to the body of beasts; body responding to wind corresponds to the body of birds; body responding to dew corresponds to the body of grass; and body responding to thunder corresponds to the body of wood. The previous passage discussed how heaven changes things through heat, cold, and day and night; this passage discusses how earth transforms things through rain, wind, dew, and thunder, and how things respond through beasts, birds, grass, and wood. Each of "sensation" (感) and "response" (应) accounts for sixteen, making a total of thirty-two, thus placing the interaction between heaven and all things into a grid.

性之走善色，情之走善聲，形之走善氣，體之走善味；性之飛善色，情之飛善聲，形之飛善氣，體之飛善味；性之草善色，情之草善聲，形之草善氣，體之草善味；性之木善色，情之木善聲，形之木善氣，體之木善味；走之性善耳，飛之性善目，草之性善口，木之性善鼻；走之情善耳，飛之情善目，草之情善口，木之情善鼻；走之形善耳，飛之形善目，草之形善口，木之形善鼻；走之體善耳，飛之體善目，草之體善口，木之體善鼻。夫人也者，暑寒晝夜無不變，雨風露雷無不化，性情形體無不感，走飛草木無不應，所以目善萬物之色，耳善萬物之聲，鼻善萬物之氣，口善萬物之味。靈於萬物，不亦宜乎！

The animals of the category of walking creatures excel in discerning colors, those of the category of emotions excel in discerning sounds, those of the category of form excel in discerning odors, and those of the category of body excel in discerning flavors. Birds, herbs, and trees are also divided according to their nature, emotion, form, and body, each excelling in colors, sounds, odors, and flavors. Conversely, the nature of walking creatures excels in the ear, the nature of flying birds excels in the eye, the nature of herbs excels in the mouth, and the nature of trees excels in the nose. The three layers of emotion, form, and body in walking creatures, as well as the three layers in birds, herbs, and trees, all excel in the ear, eye, mouth, and nose respectively. As for humans, they are affected by heat and cold, day and night, nothing is unable to change them. They are transformed by rain, wind, dew, and thunder, nothing is unable to transform them. Their nature, emotion, form, and body are all responsive to everything, and nothing is unable to respond to them. Therefore, human eyes can perceive all colors of things, ears can perceive all sounds of things, nose can perceive all odors of things, and mouth can perceive all flavors of things. Humans are the most refined and intelligent among all things, is it not natural? Shao Yong first divided moving and growing things into sixteen categories, each with its own excellence, and then pointed out that only humans possess the four senses and four responses, encompassing all colors, sounds, odors, and flavors. This sets the stage for the next section, "Humans are the ultimate among things."

人之所以能靈於萬物者，謂其目能收萬物之色，耳能收萬物之聲，鼻能收萬物之氣，口能收萬物之味。聲色氣味者，萬物之體也；目耳鼻口者，萬人之用也。體無定用，惟變是用。用無定體，惟化是體。體用交而人物之道於是乎備矣。

Human beings are able to stand out among all things as uniquely refined and intelligent, because the eyes can receive the colors of all things, the ears can receive the sounds of all things, the nose can receive the odors of all things, and the mouth can receive the flavors of all things. Sound, color, odor, and taste are the "body" of all things, while the eyes, ears, nose, and mouth are the "functions" of people. The body does not have a fixed function; it generates function through change. The function does not have a fixed body; it forms the body through transformation. The interaction between body and function completes the principle between humans and things. In Shao Yong's view, "body" refers to the object being recognized, and "function" refers to the sensory organs capable of recognition. The interaction between the two leads to the possibility of knowledge.

然則人亦物也，聖亦人也。有一物之物，有十物之物，有百物之物，有千物之物，有萬物之物，有億物之物，有兆物之物。為兆物之物，豈非人乎？有一人之人，有十人之人，有百人之人，有千人之人，有萬人之人，有億人之人，有兆人之人。為兆人之人，豈非聖乎？

Thus, humans are also a type of thing, and sages are also a type of human. Among things, there are things that are worth only one thing, things worth ten things, things worth hundreds, thousands, myriad, hundred myriad, and myriad myriad things. Is there not a type of thing that is worth myriad myriad things? Would that not be humans? Among humans, there are also humans worth only one person, humans worth ten, hundred, thousand, myriad, hundred myriad, and myriad myriad people. Is there not a type of human that is worth myriad myriad people? Would that not be sages? Shao Yong used the seven levels of one, ten, hundred, thousand, myriad, hundred myriad, and myriad myriad to measure things and humans, to illustrate that although things are the same and humans are the same, their value can differ by the measure of myriad myriad. Humans occupy the highest level among things, and sages occupy the highest level among humans.

是知人也者，物之至者也；聖也者，人之至者也。物之至者，始得謂之物之物也；人之至者，始得謂之人之人也。夫物之物者，至物之謂也；人之人者，至人之謂也。以一至物而當一至人，則非聖人而何？人謂之不聖，則吾不信也。何哉？謂其能以一心觀萬心，一身觀萬身，一物觀萬物，一世觀萬世者焉。又謂其能以心代天意，口代天言，手代天功，身代天事者焉。又謂其能以上識天時，下盡地理，中盡物情，通照人事者焉。又謂其能以彌綸天地，出入造化，進退古今，表裡人物者焉。

From this we can see: humans are the ultimate among things; sages are the ultimate among humans. Only the ultimate thing is worthy of being called "the thing of things"; only the ultimate human is worthy of being called "the person of persons." By "the thing of things," we mean the ultimate thing; by "the person of persons," we mean the ultimate person. To use an ultimate thing to serve as an ultimate person, what else could such a person be but a sage? If someone were to say that such a person is not a sage, I would not believe it. Why? Because he can perceive the hearts of all people with his own heart, comprehend the bodies of all people with his own body, understand all things with a single object, and grasp all ages with a single era; because he can use his own heart to carry out the will of Heaven, his own mouth to proclaim the words of Heaven, his own hands to accomplish the deeds of Heaven, and his own body to undertake the affairs of Heaven; because he can comprehend the operation of Heaven's time above, the thoroughness of the earth's geography below, and the conditions of all things in between, and fully observe all human affairs; also because he can encompass heaven and earth, move freely within creation, travel between past and future, and connect the inside and outside of both people and things.

噫！聖人者，非世世而效聖焉，吾不得而目見之也。雖然吾不得而目見之，察其心，觀其跡，探其體，潛其用，雖億千萬年亦可以理知之也。人或告我曰：“天地之外，別有天地萬物，異乎此天地萬物。”則吾不得而知之也。非惟吾不得而知之也，聖人亦不得而知之也。凡言知者，謂其心得而知之也；言言者，謂其口得而言之也。既心尚不得而知之，口又惡得而言之乎？以心不可得知而知之，是謂妄知也；以口不可得言而言之，是謂妄言也。吾又安能從妄人而行妄知妄言者乎？

Alas! The sages are not found in every generation, and I have no opportunity to see them with my own eyes. Although I cannot see them directly, I can still examine their intentions, observe their actions, explore their essence, and experience their functions. Even if there is a separation of millions of years, I can still understand them through reason. If someone were to tell me, "Beyond this heaven and earth, there exists another heaven and earth with all things, entirely different from the present heaven and earth and its things," I would have no way of knowing it. Not only would I not know, but the sages would also not know. Whenever it is said "to know," it refers to the mind's ability to comprehend; whenever it is said "to speak," it refers to the mouth's ability to express. If the mind cannot comprehend, how can the mouth express it? To claim to know something the mind cannot comprehend is called "false knowledge"; to attempt to speak about something the mouth cannot clearly express is called "false speech." How could I follow such a foolish person and engage in false knowledge and false speech?

《易》曰：“窮理盡性以至於命。”所以謂之理者，物之理也。所以謂之性者，天之性也。所以謂之命者，處理性者也。所以能處理性者，非道而何？是知道為天地之本，天地為萬物之本。以天地觀萬物，則萬物為萬物；以道觀天地，則天地亦為萬物。道之道盡之於天矣，天之道盡之於地矣，天地之道盡之於萬物矣，天地萬物之道盡之於人矣。人能知其天地萬物之道所以盡於人者，然後能盡民也。

The "Zhou Yi · Shuo Gua Zhuan" says: "To thoroughly investigate the principles of things, to exhaust the nature of things, and to push forward until reaching the mandate of Heaven." Here, the "principle" refers to the principle of all things; the "nature" refers to the inherent nature bestowed by Heaven; and the "mandate" refers to the foundation where principle and nature are established. What else but the "Dao" can serve as the foundation for principle and nature? From this we can understand: the Dao is the root of Heaven and Earth, and Heaven and Earth are the root of all things. When viewed from the perspective of Heaven and Earth, all things are merely things; but when viewed from the perspective of the Dao, Heaven and Earth are no more than one member among all things. The principle of the Dao is most fully expressed in Heaven; the principle of Heaven is most fully expressed in Earth; the principle of Heaven and Earth is most fully expressed in all things; and the principle of Heaven, Earth, and all things is most fully expressed in human beings. Only when humans understand why the principle of Heaven, Earth, and all things is uniquely fully expressed in human beings can they truly deal with the affairs of the people.

天之能盡物，則謂之曰昊天；人之能盡民，則謂之曰聖人。謂昊天能異乎萬物，則非所以謂之昊天也；謂聖人能異乎萬民，則非所以謂之聖人也。萬民與萬物同，則聖人固不異乎昊天者矣。然則聖人與昊天為一道。聖人與昊天為一道，則萬民與萬物亦可以為一道。一世之萬民與一世之萬物既可以為一道，則萬世之萬民與萬世之萬物，亦可以為一道也，明矣。

Heaven can care for all things thoroughly, hence it is called "Hao Tian"; a sage can care for the people thoroughly, hence he is called "sage". If it were said that Hao Tian and all things are separate, then it would not be worthy of being called Hao Tian; if it were said that a sage and the people are separate, then it would not be worthy of being called a sage. Since the people and all things are of the same kind, a sage naturally is no different from Hao Tian. Therefore, the sage and Hao Tian follow the same path. Since the sage and Hao Tian follow the same path, the people and all things can also be regarded as following the same path. The people of one era and all things of one era can be regarded as following the same path; thus, the people of all ages and all things of all ages following the same path is clearly evident.

夫昊天之盡物，聖人之盡民，皆有四府焉。昊天之四府者，春夏秋冬之謂也，陰陽升降於其間矣；聖人之四府者，《易》、《書》、《詩》、《春秋》之謂也，禮樂汙隆於其間矣。春為生物之府，夏為長物之府，秋為收物之府，冬為藏物之府。號物之庶謂之萬，雖曰萬之又萬，其庶能出此昊天之四府者乎？《易》為生民之府，《書》為長民之府，《詩》為收民之府，《春秋》為藏民之府。號民之庶謂之萬，雖曰萬之又萬，其庶能出此聖人之四府者乎？昊天之四府者，時也；聖人之四府者，經也。昊天以時授人，聖人以經法天，天人之事當如何哉？

Heavenly Mandate oversees all things, and sages oversee all people, each having four "treasuries." The four treasuries of Heavenly Mandate are spring, summer, autumn, and winter, with yin and yang energies rising and circulating within them. The four treasuries of sages are the Book of Changes, the Book of Documents, the Book of Poetry, and the Spring and Autumn Annals, with rites and music either declining or flourishing within them. Spring is the treasury of growth, summer the treasury of development, autumn the treasury of harvest, and winter the treasury of storage. People describe the multitude of things as "ten thousand," yet even if ten thousand multiplied by ten thousand, can they escape the four treasuries of Heavenly Mandate? The Book of Changes is the treasury of human life, the Book of Documents the treasury of human development, the Book of Poetry the treasury of human harvest, and the Spring and Autumn Annals the treasury of human storage. People also describe the multitude of people as "ten thousand," yet even if ten thousand multiplied by ten thousand, can they escape the four treasuries of sages? The four treasuries of Heavenly Mandate are "seasons," and the four treasuries of sages are "classics." Heavenly Mandate uses the four seasons to bestow the seasons upon people, and sages use the four classics to follow the pattern of Heaven. What else is there between Heaven and humanity besides this?

觀春則知《易》之所存乎？觀夏則知《書》之所存乎？觀秋則知《詩》之所存乎？觀冬則知《春秋》之所存乎？

Looking at spring, one should understand what the Book of Changes establishes. Looking at summer, one should understand what the Book of Documents establishes. Looking at autumn, one should understand what the Book of Poetry establishes. Looking at winter, one should understand what the Spring and Autumn Annals establish. The previous passage already paired the four seasons with the four classics: the Book of Changes, the Book of Documents, the Book of Poetry, and the Spring and Autumn Annals. Here, it is reversed: the growth, flourishing, harvest, and storage of the four seasons correspond exactly to the intent of the four classics.

《易》之《易》者，生生之謂也；《易》之書者，生長之謂也；《易》之《詩》者，生收之謂也；《易》之《春秋》者，生藏之謂也。《書》之《易》者，長生之謂也；《書》之《書》者，長長之謂也；《書》之《詩》者，長收之謂也；《書》之《春秋》者，長藏之謂也。《詩》之《易》者，收生之謂也；《詩》之《書》者，收長之謂也；《詩》之《詩》者，收收之謂也；《詩》之《春秋》者，收藏之謂也。《春秋》之《易》者，藏生之謂也；《春秋》之《書》者，藏長之謂也；《春秋》之《詩》者，藏收之謂也；《春秋》之《春秋》者，藏藏之謂也。

The "Yi" within the "Yi" refers to "life within life"; the "Book" within the "Yi" refers to "life within growth"; the "Poetry" within the "Yi" refers to "life within harvest"; and the "Spring and Autumn Annals" within the "Yi" refers to "life within storage." The "Yi" within the "Book" refers to "growth within life"; the "Book" within the "Book" refers to "growth within growth"; the "Poetry" within the "Book" refers to "growth within harvest"; and the "Spring and Autumn Annals" within the "Book" refers to "growth within storage." The "Yi" within the "Poetry" refers to "harvest within life"; the "Book" within the "Poetry" refers to "harvest within growth"; the "Poetry" within the "Poetry" refers to "harvest within harvest"; and the "Spring and Autumn Annals" within the "Poetry" refers to "harvest within storage." The "Yi" within the "Spring and Autumn Annals" refers to "storage within life"; the "Book" within the "Spring and Autumn Annals" refers to "storage within growth"; the "Poetry" within the "Spring and Autumn Annals" refers to "storage within harvest"; and the "Spring and Autumn Annals" within the "Spring and Autumn Annals" refers to "storage within storage." Each of the four classics contains four meanings, and four multiplied by four gives sixteen. Shao Yong used this to interweave the four classics into a square array, following the same method as the earlier calculation of pairing the sun and moon with the stars, water, fire, earth, and stone. The second sentence originally read "the Book of Yi," with the character "Book" not enclosed in quotation marks, and this remains unchanged.

生生者，修夫意者也；生長者，修夫言者也；生收者，修夫象者也；生藏者，修夫數者也。長生者，修夫仁者也；長長者，修夫禮者也；長收者，修夫義者也；長藏者，修夫智者也。收生者，修夫性者也；收長者，修夫情者也；收收者，修夫形者也；收藏者，修夫體者也。藏生者，修夫聖者也；藏長者，修夫賢者也；藏收者，修夫才者也；藏藏者，修夫術者也。

"The 'life of life' cultivates 'intent'; 'life of growth' cultivates 'speech'; 'life of collection' cultivates 'images'; 'life of concealment' cultivates 'numbers.' 'Growth of life' cultivates 'benevolence'; 'growth of growth' cultivates 'ritual'; 'growth of collection' cultivates 'righteousness'; 'growth of concealment' cultivates 'wisdom.' 'Collection of life' cultivates 'nature'; 'collection of growth' cultivates 'emotion'; 'collection of collection' cultivates 'form'; 'collection of concealment' cultivates 'body.' 'Concealment of life' cultivates 'sagehood'; 'concealment of growth' cultivates 'virtue'; 'concealment of collection' cultivates 'talent'; 'concealment of concealment' cultivates 'technique.' The sixteen categories from the previous passage are each matched with a heading here: intent, speech, images, numbers belong to the Book of Changes; benevolence, ritual, righteousness, wisdom belong to the Book of Documents; nature, emotion, form, body belong to the Book of Poetry; sagehood, virtue, talent, technique belong to the Spring and Autumn Annals."

修夫意者，三皇之謂也；修夫言者，五帝之謂也；修夫象者，三王之謂也；修夫數者，五伯之謂也。修夫仁者，有虞之謂也；修夫禮者，有夏之謂也；修夫義者，有商之謂也；修夫智者，有周之謂也。修夫性者，文王之謂也；修夫情者，武王之謂也；修夫形者，周公之謂也；修夫體者，召公之謂也；修夫聖者，秦穆之謂也；修夫賢者，晉文之謂也；修夫才者，齊桓之謂也；修夫術者，楚莊之謂也。

Those who cultivated "intent" are the Three Sovereigns; those who cultivated "speech" are the Five Emperors; those who cultivated "image" are the Three Kings; those who cultivated "numbers" are the Five Hegemons of the Spring and Autumn period. Those who cultivated "benevolence" are the time of Yu and Shun; those who cultivated "ritual" are the Xia Dynasty; those who cultivated "righteousness" are the Shang Dynasty; those who cultivated "wisdom" are the Zhou Dynasty. Those who cultivated "nature" are King Wen of Zhou; those who cultivated "emotion" are King Wu of Zhou; those who cultivated "form" are Duke of Zhou; those who cultivated "body" are Grand Duke Zhao Gao. Those who cultivated "saintly virtue" are Duke Mu of Qin; those who cultivated "virtue" are Duke Wen of Jin; those who cultivated "talent" are Duke Huan of Qi; those who cultivated "artifice" are Duke Zhuang of Chu. Shao Yong assigned each of the sixteen categories from the previous passage to specific dynasties and individuals, thus incorporating history into his four-by-four grid.

皇、帝、王、伯者，《易》之體也；虞、夏、商、周者，《書》之體也；文、武、周、召者，《詩》之體也；秦、晉、齊、楚者，《春秋》之體也。意、言、象、數者，《易》之用也；仁、義、禮、智者，《書》之用也；性、情、形、體者，《詩》之用也；聖、賢、才、術者，《春秋》之用也。用也者，心也。體也者，跡也。心跡之間，有權存焉者，聖人之事也。

The four categories of Emperor, King, Sovereign, and Hegemon are the "body" of the Book of Changes; the four dynasties of Yu, Xia, Shang, and Zhou are the "body" of the Book of Documents; the four figures of King Wen, King Wu, Duke Zhou, and Zhao Gong are the "body" of the Book of Poetry; and the four states of Qin, Jin, Qi, and Chu are the "body" of the Spring and Autumn Annals. The four aspects of intention, speech, image, and numbers are the "use" of the Book of Changes; the four virtues of benevolence, righteousness, propriety, and wisdom are the "use" of the Book of Documents; the four elements of nature, emotion, form, and body are the "use" of the Book of Poetry; and the four categories of sage, virtuous person, talent, and technique are the "use" of the Spring and Autumn Annals. The "use" refers to the mind; the "body" refers to the traces. Between the mind and the traces there is a "flexibility" — adapting to the times and adjusting according to circumstances, which is the proper duty of the sages.

三皇同意而異化，五帝同言而異教，三王同象而異勸，五伯同數而異率。同意而異化者，必以道。以道化民者，民亦以道歸之，故尚自然。夫自然者，無為無有之謂也。無為者，非不謂也，不固為者也，故能廣；無有者，非不有也，不固有者也，故能大。廣大悉備而不固為固有者，其惟三皇乎？是故知能以道化天下者，天下亦以道歸焉。所以聖人有言曰：“我無為而民自化，我無事而民自富，我好靜而民自正，我無慾而民自樸。”其斯之謂歟？

Three Emperors shared the same intention but had different teachings, Five Emperors shared the same words but had different instructions, Three Kings shared the same images but had different encouragements, and Five Hegemons shared the same numbers but had different leadership. What is called the same intention but different teachings must rely on the Dao. Using the Dao to cultivate the people, the people would then use the Dao to follow him, so the era of the Three Emperors emphasized naturalness. What is called naturalness is "non-action" and "non-possession." Non-action does not mean doing nothing, but not being rigid in action, thus being broad-minded; non-possession does not mean having nothing, but not being rigid in possession, thus being grand. Being broad and grand, possessing everything yet not being rigid in action or possession, this is probably something only the Three Emperors could achieve. Therefore, one can understand that those who use the Dao to cultivate the world will have the world follow them with the Dao. Thus, the 57th chapter of the Laozi says: "I do not act recklessly, and the people naturally become harmonious; I do not meddle in affairs, and the people naturally become prosperous; I love tranquility, and the people naturally become upright; I have no greed, and the people naturally become simple." This is exactly what it refers to. Note: The character "wei" in "non-acting is not not doing" is likely a mistake for "wei" (action), as the original text reads so, and we preserve the original version.

三皇同仁而異化，五帝同禮而異教，三王同義而異勸，五伯同智而異率。同禮而異教者，必以德。以德教民者，民亦以德歸之，故尚讓。夫讓也者，先人後己之謂也。以天下授人而不為輕，若素無之也。受人之天下而不為重，若素有之也。若素無素有者，謂不己無己有之也。若己無已有，則舉一毛以取與於人，猶有貪吝之心生焉，而況天下者乎？能知其天下之天下，非己之天下者，其惟五帝乎？是故知能以德教天下者，天下亦以德歸焉。所以聖人有言曰：“垂衣裳而天下治。”蓋取諸乾坤，其斯之謂歟？

Three Emperors shared the virtue of "ren" (benevolence) but had different teachings, Five Emperors shared the virtue of "li" (ritual) but had different guidance, Three Kings shared the virtue of "yi" (righteousness) but had different encouragement, and Five Hegemons shared the virtue of "zhi" (wisdom) but had different leadership. The saying that they shared the same ritual but had different teachings must be based on "de" (virtue). Using virtue to teach the people, the people would then use virtue to follow him. Therefore, in the time of the Five Emperors, the practice of humility and selflessness was highly valued. Humility means putting others first and oneself last. Giving the entire world to someone else without feeling it is an easy abandonment, as if one had never possessed it; receiving the world from someone else without feeling it is a heavy burden, as if one had always possessed it. The phrase "never having had it and always having had it" means not attaching oneself to the concepts of "non-existence" and "existence." If one's mind is attached to the thoughts of "I do not have it" or "I have it," then even giving a single hair would give rise to greed and stinginess, let alone the whole world. To understand that the world belongs to all people and not to oneself alone, this understanding was probably only possessed by the Five Emperors. From this, we can see that those who use virtue to guide the world will have the world follow them with virtue. Therefore, the "Great Treatise" of the "Zhou Changes" says, "governing the world by hanging one's robe and folding one's arms." This is modeled after the meanings of the Qian and Kun trigrams, which convey exactly this idea.

三皇同性而異化，五帝同情而異教，三王同形而異勸，五伯同體而異率。同形而異勸者，必以功。以功勸民者，民亦以功歸之，故尚政。夫政也者，正也，以正正夫不正之謂也。天下之正，莫如利民焉；天下之不正，莫如害民焉。能利民者正，則謂之曰王矣；能害民者不正，則謂之曰賊矣。以利除害，安有去王耶？以王去賊，安有弒君耶？是故知王者正也，能以功正天下之不正者，天下亦以功歸焉。所以聖人有言曰：“天地革而四時成。湯武革命，順乎天而應乎人。”其斯之謂歟？

Three Emperors were the same in nature but had different teachings, five Emperors were the same in emotion but had different guidance, three Kings were the same in form but had different encouragement, and five Hegemons were the same in body but had different leadership. What is meant by being the same in form but different in encouragement is that it must rely on "merit." Using meritorious deeds to encourage the people, the people would then use meritorious deeds to follow him. Therefore, the age of the three Kings emphasized governance. What is meant by governance is "rectitude," using rectitude to correct what is not rectitude. The most rectitudinous thing in the world is to benefit the people; the most unrectitudinous thing is to harm the people. To benefit the people is to be rectitudinous, and such a person is called a King; to harm the people is to be unrectitudinous, and such a person is called a bandit. Using the beneficial to remove the harmful, how can it be called removing a King? Using a King to remove a bandit, how can it be called弑君 (killing the sovereign)? From this we can know that a King is rectitude; one who can use meritorious deeds to correct the unrectitude of the world, the world will then use meritorious deeds to follow him. Therefore, the Commentary on the Judgment of the "Revolution" hexagram in The Zhou Changes says: "Heaven and Earth undergo change, and the four seasons are formed. King Tang of Shang and King Wu of Zhou changed the mandate of heaven, above conforming to the will of heaven and below responding to the hearts of the people." This is exactly the meaning of this.

三皇同聖而異化，五帝同賢而異教，三王同才而異勸，五伯同術而異率。同術而異率者，必以力。以力率民者，民亦以力歸之，故尚爭。夫爭也者，爭夫利者也。取以利不以義，然後謂之爭。小爭交以言，大爭交以兵，爭夫強弱者也。猶借夫名焉者，謂之曲直；名也者，命物正事之稱也；利也者，養人成務之具也。名不以仁，無以守業；利不以義，無以居功。利不以功居，名不以業守，則亂矣，民所以必爭之也。

Three Emperors shared the virtue of "sainthood" but had different teachings, Five Emperors shared the virtue of "virtue" but had different guidance, Three Kings shared the virtue of "talent" but had different encouragement, and Five Hegemons shared the virtue of "method" but had different leadership. What is meant by the same method but different leadership is certainly relying on "force." Using military force to lead the people, the people will use military force to submit to him, so the age of the Hegemons emphasized competition. What is meant by competition is competing for profit. Taking things only considers profit and not righteousness, this is called competition. Small disputes are settled by verbal arguments, great disputes are settled by weapons, competing for who is stronger. In the midst of competition, one must rely on a name, which is called "right and wrong." "Name" is the term that defines things and establishes the proper order; "profit" is the means to sustain people and achieve success. If name is not based on benevolence, the foundation will not be maintained; if profit is not based on righteousness, the merit will not be upheld. Profit obtained without merit and name held without foundation will lead to chaos in the world, and the people will have no choice but to compete.

五伯者，借虛名以爭實利者也。帝不足則王，王不足則伯，伯又不足則左衽矣。然則五伯不謂無功於中國，語其王則未也，過左衽則遠矣。周之東遷，文武之功德於是乎盡矣，猶能維持二十四君，王室不絕如線，秦楚不敢屠害中原者，由五伯借名之力也。是故知能以力率天下者，天下亦以力歸焉。所以聖人有言曰：“眇能視，跛能履。履虎尾，咥人凶。武人為于大君。”其斯之謂歟？

The Five Hegemons were people who used empty titles to compete for real benefits. If one's status as an emperor was insufficient, they would step down to be a king; if one's status as a king was insufficient, they would step down to be a hegemon; if one's status as a hegemon was still insufficient, then the Central Plains would become a land of uncivilized people with uncombed hair and left sleeves, known as the夷狄. Thus, the Five Hegemons cannot be said to have no contributions to the Central Plains. To say they were worthy of the Way of the King, they still lacked one level, but compared to becoming夷狄, it was still far better. After the Eastern Migration of the Zhou Dynasty, the virtues and merits of King Wen and King Wu had already been exhausted, yet they could still maintain twenty-four kings. Although the royal house was declining, it had not perished, and the states of Qin and Chu dared not openly slaughter the Central Plains. This was precisely due to the power generated by the titles of the Five Hegemons. From this we can see that whoever could use military force to rule the world, the world would use military force to submit to him. Therefore, the Line Statement of the sixth line in the third position of the "Foot" hexagram in The Zhou Changes says: "Having half-blind eyes yet trying to see, having a lame leg yet trying to walk; stepping on a tiger's tail, being bitten by the tiger, dangerous; this is the appearance of a brave person serving the great sovereign." This is precisely describing the situation of the Five Hegemons.

夫意也者，盡物之性也；言也者，盡物之情也；象也者，盡物之形也；數也者，盡物之體也。仁也者，盡人之聖也；禮也者，盡人之賢也；義也者，盡人之才也；智也者，盡人之術也。盡物之性者謂之道，盡物之情者謂之德，盡物之形者謂之功，盡物之體者謂之力。盡人之聖者謂之化，盡人之賢者謂之教，盡人之才者謂之勸，盡人之術者謂之率。道德功力者，存乎體者也；化教勸率者，存乎用者也。體用之間有變存焉者，聖人之業也。

The term "intent" refers to thoroughly examining the nature of things; "speech" refers to thoroughly examining the emotions of things; "image" refers to thoroughly examining the forms of things; and "number" refers to thoroughly examining the essence of things. "Ren" refers to thoroughly examining the saintly qualities within a person; "Li" refers to thoroughly examining the virtuous qualities within a person; "Yi" refers to thoroughly examining the talents within a person; and "Zhi" refers to thoroughly examining the techniques within a person. Thoroughly examining the nature of things is called "Dao"; thoroughly examining the emotions of things is called "De"; thoroughly examining the forms of things is called "Gong"; and thoroughly examining the essence of things is called "Li". Thoroughly examining the saintly qualities within a person is called "Hua"; thoroughly examining the virtuous qualities within a person is called "Jiao"; thoroughly examining the talents within a person is called "Qian"; and thoroughly examining the techniques within a person is called "Lv". Dao, De, Gong, and Li belong to the category of "body" (ti), while Hua, Jiao, Qian, and Lv belong to the category of "function" (yong). Between body and function lies a "change" (bian), which is the endeavors of sages.

夫變也者，昊天生萬物之謂也；權也者，聖人生萬民之謂也。非生物，非生民，而得謂之權變乎？

The term "change" refers to the Heaven generating all things; the term "authority" refers to the sage nurturing all people. If one cannot generate all things and nurture all people, how can it be called change and authority? The previous text mentioned that between essence and function there is "change," and between mind and action there is "authority." Here it clarifies that change and authority are not mere ad hoc adjustments in dealing with affairs, but rather the continuous capacity of creation and governance.