谈到经典的特殊，以及它与现代的差别，我们可以作一个很形象的比较，就是古典音乐与流行音乐的关系。大家可以感受一下，古典音乐与流行曲在现代是一个什么情况？我们可以设置一个问卷，在年轻人当中，甚至扩大到整个人群中去调查，看喜欢流行音乐的有多少？喜欢古典音乐的有多少？我感觉这个问卷不问即知，喜欢流行音乐的占绝大多数，喜欢古典音乐的寥寥无几。大家可以看一看港台歌星，大陆歌星的演唱会，歌星往台上一站，眼睛一闭，台下人山人海，群情亢奋，有时简直到了疯狂的地步。而演奏古典音乐呢？情况就大不相同了，演奏厅里静悄悄的，人也少得多，最多在一曲终了，有些掌声，这个反差太大了。现代的人为什么喜欢流行歌曲？为什么不喜欢古典音乐？这是非常值得思考的问题，这反映出了现代人的内心世界。透过这个现象我们可以发现许多问题。流行歌曲在过去叫做下里巴人，它是一种很浅白的音乐。比如唱爱情的歌，它似乎把什么都唱出来了，爱得死去活来，爱得发疯，不管你在什么时候，什么心态下，你一听都会知道它是首爱情歌曲。可是古典的音乐呢？情况就不同了，比如我们听贝多芬的《月光奏鸣曲》，你不静下心来，你不认真的去感受，你根本就不知道这首乐曲的主题是什么。音乐和歌曲都是为了抒发内心，表达志意。流行歌曲较古典音乐在表达上虽然更加直截了当，但是，正如古人所说：书不尽言，言不尽意。对于很深沉的内心世界，对于复杂的感情，这种很浅白的旋律是没有办法表达的。可是大家为什么还要这样偏爱它呢？从这样一个喜好，我们可以感受到，现代人的浮躁心理，现代人的急功近利。他们只喜好吹糠见米的东西，做什么都要立马见功，而不愿意静下心来感受什么，体悟什么，这种情况令人忧心。在中医界，为什么要取消经典？为什么对经典的重视程度日益下降？中医界的这个情况正好可以用上面这个例子来说明。经典就好比古典音乐，而现在的这些书籍，包括各种教材，就好比流行歌曲。经典的东西不像现代的教材这样白，拿起来什么就明了，它需要你去感受，需要你去悟。这个过程与听受古典音乐十分相近。要真正感悟出“味”来，并不那么容易，而一旦你感悟出这个“味”了，你才真正知道它的意义，你才知道音乐的真正生命力在古典音乐那里。同样，中医的真正生命力亦存在经典里面。大家应该都喝过茶，喝过饮料，茶与饮料有什么区别呢？饮料很方便，打开来就能喝，而且立马可以尝到它的滋味。可是茶就不那么方便了，它讲究沏泡，特别是功夫茶，这个过程很讲究，而且味要慢慢品，这个比饮料要麻烦得多。所以，很多人没这个耐心，宁可去喝饮料。但是，饮过以后的回味，饮过以后的感受，饮料是没法跟茶比的。相信大家都有过这样的经验。读经典与读后世的书就有点像品茶与喝饮料，大家可以认真琢磨，看是不是这么回事。所以，我们不能用喝饮料的眼光去看茶，同样也不能用流行歌曲的标准去衡量古典音乐，如果我们把茶当成饮料来喝，这个味你是品不出来的。
（3）《中基》能不能取代《内经》
经典为什么要改成选修？甚至很多人干脆主张取消经典。很重要的一个原因是，他们认为现在不是有《中基》教材吗？《中基》不就是从《内经》里来的？而且较《内经》更清楚、更明白。所以，《中基》为什么不可以取代《内经》呢？应该完全可以。《中基》取材于《内经》，这是不争的事实。但是，《中基》能否真正涵盖《内经》？进而取代之呢？我们想举两个例子来说明。第一个是病机，病机这个概念是中医一个很关键性的概念，它出自《素问·至真要大论》。综观《内经》全篇，就是这一章讨论这个问题。这样一个问题放在“至真要”里来讨论，已足见它的重要性。与之相对应，在《中基》里，病机亦立了专门的章节，而且在章节下罗列了许多内容。可是你看完这整个章节后，你就会感到这是在挂羊头卖狗肉。为什么呢？因为真正的《内经》中的病机，它只字不提。用《内经》的病机做名，可实际上《内经》中那么丰富的病机内容却不提，这个差别大家可以自己去感受，此其一也。另外，就是《中基》对病机这个概念的解释。这里我们引用它的原文：“病机，即疾病发生、发展与变化的机理。”病机能不能作机理讲？这个差距有多大？我们可以从文字上去考究。病，这里当然可以作疾病讲，当然与疾病的发生、发展、变化有关，但是，“机”作什么讲呢？机是不是机理？我们翻《说文》、翻《康熙》，都看不到这样的解释。机的原义我们可以从说文那里看到：“主发谓之机。”箭在弦上要发出去，必须拨动这个机。其他任何事情都是这样，都有一个机，只有触动这个机，事情才会发生，不触动这个机，其他的条件再多，也没办法引发事件。机就是这么一个东西，它是事情发生的最关键因素。它是点，不是面。可是触动这个点，就能带动面。所以，病机就是疾病发生、发展、变化的最关键因素，这个关键与机理显然不是一码事。这就让我们看出了《中基》与《内经》的不同，《中基》有些时候很难说明《内经》。这是第一个例子。
第二个是“肺主气，肺主治节”。我们首先来看“肺主气”，在《中基》里，这个气指的是一身之气和呼吸之气。肺所主的这个气究竟是不是指的一身之气和呼吸之气呢？从《内经》里我们知道，肺主气实际上说的是“肺者，气之本”，这段经文出自《素问·六节藏象论》里。《六节藏象论》在讲说肺的这一重要功能前，首先探讨了气的概念。让我们来看一段黄帝与岐伯的对话，黄帝问曰：“愿闻何谓气？请夫子发蒙解惑焉。岐伯曰：此上帝所秘，先师传之也。帝曰：请遂闻之。岐伯曰：五日谓之候，三候谓之气，六气谓之时，四时谓之岁，而各从其主治焉。”上面这段对话是很关键的对话，但也不失幽默。黄帝说我很想知道气这个概念是说的什么，请夫子给我发蒙解惑，好让我清楚它。可这一问触到了岐伯的难处，这个问题本来不应该轻易说出来，这是“上帝所秘”的东西，是先师单传下来的，可是碰到黄帝老子问起来，又不能不回答。没办法，只好如实言之。什么是气呢？五日为一候，三候为一气，也就是十五天，这个十五天的周期就叫做气。大家算一算一年有多少个“气”呢？一年有二十四个气。原来这个气指的就是节气。这不很简单吗？现在读小学都能背二十四气歌，翻翻日历我们也知道，2月 4号立春，再过十五天就是雨水，再过十五天就是惊蛰，似乎没什么稀奇。可是大家想一想，在当时这可是一个要命的问题，你如果知道了它，老天的奥秘你就知道了，天地变化的节律你就知道了。所以，这不是一个小问题。中医一个很重要的特色就是整体观念，天人合一。天人怎么合一呢？说白了就是天地在变化，人也要跟着变化，这个变化的节律要能够同步。从上面这个气的概念中，我们知道了天地变化的基本节律就是气，也就是十五天一个变化，十五天一个变化。在这个节律上，人也要有一个类似的同步变化，这个变化跟上了，天人就合一了。那么，在人体内，具体是哪个部门负责这个基本节律层次上的天人同步变化呢？就是肺。所以，肺者，气之本，说的是这么一件事。这个气与呼吸之气，与一身之气又有什么关联呢？显然没有什么大的关联。
再一个就是“肺主治节”，《中基》里把这个“治节”说成“治理和调节”，这个差距似乎就更大了。什么是治节呢？治节这个概念出于《素问·灵兰秘典论》，它与后面的气之本是相呼应的。我们前面讲的这个三候为一气，实际还是一个笼统的称呼，细分起来，一个月的两个气，一个叫节气，一个叫中气。所以，统称为二十四节气。这样一来，我们就知道了节与气实际上是非常相近的概念。治节当然是治的这个“节”，怎么会扯到治理和调节的问题？即便它是调节，调节什么呢？有关上面的“肺主气”、“肺主治节”，我们还可以从其他一些方面来思考。肺处胸中，其外包以肋骨，大家数一数，肋骨有多少根呢？左十二，右十二，一共是二十四根，正好是二十四节气这个数，这是巧合还是必然呢？是一年先有二十四节气变化，还是先有二十四根肋骨呢？大家可以思考这个问题。另外，节与关节也有关联，我们先看一看人的四肢大关节一共有多少？一共有十二个，每一个关节由两个关节面组成，合起来还是二十四个面，这里一个面与节气相应，一个面与中气相应。四肢应四时，每一肢有六个关节面，正好应“六气为一时”。关节与节气相关，与天气变化有关，这是平常老百姓都知道的。我们可以问一问周围上年纪的人，特别是一些关节有毛病的人，她们对天气变化的敏感程度往往超过气象仪器。气象预报说有雨，她可以说没雨，结果真的就没雨。她为什么敢这样断言呢？因为她的关节有反应，这个反应与天气的变化是十分相符的。所以，我们完全可以把关节看做是人体对天气变化的一个感应器。而这个感应器是由肺来掌管的。弄清了肺与节气的这层关系，肺的意义也起了根本的变化。天人相应，实际上在很大程度上就落实在这个“肺主气”、“肺主治节”上面。但是，我们看一看《中基》，却根本没有谈到这方面的问题，如果现在就急着用《中基》来取代《内经》，大家想一想会是一个什么结局？
6.如何学好经典
（1）直觉与工具的重要
学习经典必须有方法，而基本的一个方法就是（咬文嚼字是中国文化之最高境界）要懂得借重工具。经典至少产生在东汉以前，由于特殊历史条件的限制，它必须用很精练的语言文字来表述它那深广的内涵，这是经典的一个特色。我们现在学习经典，你凭什么去了解经典深广的内涵呢？别无他法，惟有从文字开始。了解文字就要借重工具。所以，学习中医经典要有像样的工具书，光是《新华字典》还不够。古人云：文以载道。我们要明白道，当然就要首先知晓文。所以，《康熙字典》始终是案头翻动最多的一部书。翻弄多了，对文字你就会有感受，你就会觉得中国的文字的确有很多优越的地方，你就会对它生起感情。中国文字是以象形文字为基础的，很注重形义之间的关系。所以，看到一个文字，除了查阅工具外，你还要分析它的结构，形部的结构需要分析，声部的结构也要分析，两者都与义有关联。以“味”字为例，味是由口去感觉的，所以，它用一个口作形部部首。声部呢？由未组成。义除与形部有关外，与声部似乎有更特殊的关联。未是十二地支之一，它位于西南方，西南这块地方在五行中属土，属长夏；后天卦中属坤；五藏属脾。弄清了未的上述涵义，我们就知道“味”字为的观点。这什么要用它来作声部。学过《中基》我们懂得，脾开窍于口，脾和口方能知味。也就是说味觉是由脾来掌管的，而脾属土，土在西南，所属的这个方位正好是由脾来主理的。所以，用一个未，已然将与脾相关的这样一些生理全包括进去了。这是其学作用。其二呢？味在古代涵义很广，在《内经》里称五味，实际上，凡属食物一类的东西都归于味，当然也包括药物。大家可以考虑，大地生长的食物，特别是粮食一类，主要成熟于什么时候呢？在长夏。味成熟于长夏，这个成熟显然又与未有关联。另外，未处西南，在我们国家，西南这个地方由四川所居。四川还有一个特别的称呼，就是“天府之国”，为什么叫做“天府之国”呢？因为这个地方的物产特别丰富，味特别丰富。而我们反过来思考，为什么这个地方的物产丰富，味属丰富呢？因为它属未，属西南，属土，土生万物。所以，从文字的造字，从文字的结构，我们可以感受到，它里面的涵义太深太深了。像这样一个味字，它的形、声、义结构已然将许多很深沉的理论包含进去了。一个文字包融这样深广的内涵，这在其他文字是难以做到的。因此，要想深入经藏，文字就是一块敲门砖，一把钥匙。而要解决文字，当然就得依靠工具，依靠对文字结构的一种直觉。二者不可缺一。
（2）曾国藩的读经窍诀
When discussing the uniqueness of classics and their differences from modern works, we can make a very vivid comparison: the relationship between classical music and pop music. Everyone can feel what the current situation is for classical music and pop songs in modern times. We could design a questionnaire to survey young people, or even the general population, to see how many like pop music and how many like classical music. I feel this questionnaire needs no asking; the answer is obvious: the vast majority like pop music, while only a few like classical music. You can look at concerts by Hong Kong, Taiwan, and mainland singers. When a singer stands on stage, closes their eyes, the audience below is a sea of people, excited and fervent, sometimes reaching a state of madness. But what about performing classical music? The situation is quite different. Concert halls are quiet, and there are far fewer people. At most, there is some applause when a piece ends. This contrast is too stark. Why do modern people like pop songs? Why don't they like classical music? This is a question worth pondering, as it reflects the inner world of modern people. Through this phenomenon, we can discover many issues. Pop songs were once called "Xiali Baren" (folk songs), representing a very shallow form of music. For example, love songs seem to say everything, depicting loves that are life-and-death matters or driving one mad. No matter when you listen or what your mindset is, you immediately know it is a love song. However, with classical music, the situation is different. For instance, when listening to Beethoven's *Moonlight Sonata*, if you do not calm your mind and seriously feel it, you cannot possibly know the theme of the piece. Both music and songs are meant to express the inner heart and convey aspirations. Although pop songs are more direct than classical music in expression, as the ancients said: "Books cannot fully record words, and words cannot fully express meaning." For deep inner worlds and complex emotions, such shallow melodies are incapable of expression. Yet why do people still favor them so much? From such preferences, we can sense the restlessness and utilitarianism of modern people. They only favor things that yield immediate results, wanting instant success in everything, unwilling to calm down to feel or comprehend anything. This situation is worrying. In the field of Traditional Chinese Medicine (TCM), why cancel the classics? Why is the emphasis on classics declining day by day? The situation in TCM can be perfectly illustrated by the above example. Classics are like classical music, while current books, including various textbooks, are like pop songs. Classic works are not as plain as modern textbooks where everything is clear upon picking them up; they require you to feel and comprehend. This process is very similar to listening to classical music. It is not easy to truly perceive the "flavor," but once you do, you truly understand its significance and realize that the true vitality of music lies in classical music. Similarly, the true vitality of TCM exists within the classics. Everyone should have drunk tea and beverages. What is the difference between tea and beverages? Beverages are convenient; you open them and drink, tasting the flavor immediately. But tea is less convenient; it requires brewing, especially Gongfu tea, which involves a meticulous process and a slow tasting of the flavor, much more troublesome than beverages. Therefore, many people lack the patience and prefer drinking beverages. However, the aftertaste and feeling after drinking cannot be compared between beverages and tea. I believe everyone has had such experience. Reading classics versus reading later works is somewhat like tasting tea versus drinking beverages. Everyone should ponder carefully whether this is true. Thus, we cannot view tea through the lens of drinking beverages, nor can we measure classical music by the standards of pop songs. If we treat tea as a beverage, you will never taste its true flavor.
(3) Can *Fundamentals of Traditional Chinese Medicine* Replace *Huangdi Neijing* (The Yellow Emperor's Inner Canon)?
Why should classics be changed to elective courses? Even many advocate canceling them entirely. A very important reason is that they think, "Don't we have the *Fundamentals of Traditional Chinese Medicine* textbook now?" Isn't *Fundamentals of Traditional Chinese Medicine* derived from *Huangdi Neijing*? And isn't it clearer and more explicit than *Huangdi Neijing*? So, why can't *Fundamentals of Traditional Chinese Medicine* replace *Huangdi Neijing*? It should be completely possible. That *Fundamentals of Traditional Chinese Medicine* draws material from *Huangdi Neijing* is an indisputable fact. But can *Fundamentals of Traditional Chinese Medicine* truly encompass *Huangdi Neijing* and thus replace it? We want to give two examples to illustrate this. The first is Bingji (Pathogenesis). This concept is a crucial one in TCM, originating from *Suwen: Zhi Zhen Yao Da Lun* (Basic Questions: On the Most Essential and Important Principles). Looking through the entire *Neijing*, only this chapter discusses this issue. Placing such a problem in the "Most Essential" chapter already demonstrates its importance. Correspondingly, in *Fundamentals of Traditional Chinese Medicine*, a special chapter is also established for Pathogenesis, listing much content under it. However, after reading this entire chapter, you will feel it is "hanging a sheep's head but selling dog meat." Why? Because the true Pathogenesis of *Huangdi Neijing* is not mentioned at all. Using the name of *Huangdi Neijing*'s Pathogenesis, yet not mentioning its rich content, creates a gap that everyone can feel themselves; this is the first point. Additionally, it is the explanation of the concept of Pathogenesis in *Fundamentals of Traditional Chinese Medicine*. Here we quote its original text: "Pathogenesis refers to the mechanism of the occurrence, development, and change of diseases." Can Pathogenesis be explained as mechanism? How big is this gap? We can examine it linguistically. "Bing" (Disease) here naturally refers to disease, certainly related to its occurrence, development, and change. But what does "Ji" mean? Is Ji mechanism? Flipping through *Shuowen Jiezi* (Explanation of Simple Characters and Analysis of Compound Characters) and *Kangxi Dictionary*, we do not see such an explanation. The original meaning of Ji can be seen in *Shuowen*: "That which initiates emission is called Ji." An arrow on the string must pull this trigger to be released. Everything else is the same; there is always a Ji. Only by touching this Ji will events occur; without touching this Ji, no matter how many other conditions exist, events cannot be triggered. Ji is precisely such a thing; it is the most critical factor for the occurrence of events. It is a point, not a plane. However, touching this point can drive the plane. Therefore, Pathogenesis is the most critical factor for the occurrence, development, and change of diseases. This "critical factor" is obviously not the same as "mechanism." This reveals the difference between *Fundamentals of Traditional Chinese Medicine* and *Huangdi Neijing*; sometimes *Fundamentals of Traditional Chinese Medicine* struggles to explain *Huangdi Neijing*. This is the first example.
The second is "Lung Governs Qi, Lung Governs Regulation." Let us first look at "Lung Governs Qi." In *Fundamentals of Traditional Chinese Medicine*, this Qi refers to Whole-Body Qi and Respiratory Qi. Does the Qi governed by the Lung actually refer to Whole-Body Qi and Respiratory Qi? From *Huangdi Neijing*, we know that "Lung Governs Qi" actually means "The Lung is the Root of Qi." This scripture comes from *Suwen: Liu Jie Zang Xiang Lun* (Basic Questions: Chapter on Six Periods and Viscera Manifestations). Before explaining this important function of the Lung, *Liu Jie Zang Xiang Lun* first explores the concept of Qi. Let us look at a dialogue between Huangdi and Qibo. Huangdi asked: "I wish to hear what is meant by Qi. Please enlighten and resolve my doubts, Master." Qibo replied: "This is kept secret by Heaven and Earth, passed down by former masters." Huangdi said: "Please let me hear it further." Qibo said: "Five days are called Hou (a period); three Hous constitute Qi; six Qis constitute Shi (season); four Shis constitute Sui (year), each following its governing authority." The above dialogue is key, yet humorous. Huangdi said he really wanted to know what the concept of Qi referred to, asking the master to enlighten him so he could understand clearly. But this question touched upon Qibo's difficulty. This problem should not be spoken of lightly; it is something "kept secret by Heaven and Earth," transmitted singly by former masters. However, facing Huangdi's inquiry, he could not refuse to answer. Helplessly, he told the truth. What is Qi? Five days make one Hou, three Hous make one Qi, which is fifteen days. This fifteen-day cycle is called Qi. Calculate how many "Qis" are in a year? There are twenty-four Qis in a year. Originally, this Qi referred to Solar Terms. Isn't this simple? Primary school students today can recite the Song of Twenty-Four Solar Terms. Checking the calendar, we know February 4th is Lichun (Start of Spring), fifteen days later is Yushui (Rain Water), and fifteen days later is Jingzhe (Awakening of Insects). It seems unremarkable. But think about it; at that time, this was a life-or-death issue. If you knew it, you would know the mysteries of Heaven, and the rhythm of changes in heaven and earth. So, this is not a small issue. One very important feature of TCM is the Holistic Concept and the Unity of Heaven and Humanity. How do Heaven and Humanity unite? Simply put, as Heaven and Earth change, humans must change accordingly, and the rhythm of these changes must synchronize. From the concept of Qi above, we learned that the basic rhythm of changes in heaven and earth is Qi, meaning a change every fifteen days. On this rhythm, humans must also have a similar synchronized change. If this change keeps pace, Heaven and Humanity unite. Then, in the human body, specifically which department is responsible for this synchronization of Heaven and Humanity at the level of basic rhythm? It is the Lung. Therefore, "The Lung is the Root of Qi" speaks of this matter. What connection does this Qi have with Respiratory Qi and Whole-Body Qi? Obviously, there is no major connection.
Another point is "Lung Governs Regulation." *Fundamentals of Traditional Chinese Medicine* explains this "Regulation" as "governing and regulating," which seems to create an even larger gap. What is Zhijie (Regulation)? This concept comes from *Suwen: Ling Lan Mi Dian Lun* (Basic Questions: Secret Records of the Spiritual Pivot), echoing the "Root of Qi" mentioned earlier. The "three Hous make one Qi" we discussed earlier is actually a general term. Subdivided, the two Qis in a month are called Jieqi (Solar Term) and Zhongqi (Mid-term). Thus, collectively called the Twenty-Four Solar Terms. In this way, we know that Jie (Term/Joint) and Qi are actually very similar concepts. Zhijie naturally governs this "Jie." How did it get twisted into "governing and regulating"? Even if it is regulation, what is being regulated? Regarding "Lung Governs Qi" and "Lung Governs Regulation," we can also think from other aspects. The Lung resides in the chest, wrapped by ribs. Count them: twelve on the left, twelve on the right, totaling twenty-four. This exactly matches the number of the Twenty-Four Solar Terms. Is this a coincidence or necessity? Did the Twenty-Four Solar Terms changes come first, or the twenty-four ribs? Everyone can ponder this. Additionally, Jie relates to joints. Let us first see how many major joints are in the four limbs? There are twelve in total. Each joint consists of two articular surfaces, totaling twenty-four surfaces. Here, one surface corresponds to the Solar Term, and one to the Mid-term. The four limbs correspond to the Four Seasons. Each limb has six articular surfaces, exactly corresponding to "Six Qis make one Season." Joints relate to solar terms and weather changes, which common people know well. We can ask older people around us, especially those with joint problems, that their sensitivity to weather changes often exceeds meteorological instruments. Meteorological forecasts say rain, she says no rain, and indeed, there is no rain. Why dares she assert this? Because her joints react, and this reaction matches weather changes perfectly. Therefore, we can completely regard joints as sensors in the human body for weather changes. And this sensor is managed by the Lung. Once the relationship between the Lung and solar terms is clarified, the significance of the Lung undergoes a fundamental change. The correspondence between Heaven and Humanity is largely implemented in "Lung Governs Qi" and "Lung Governs Regulation." But looking at *Fundamentals of Traditional Chinese Medicine*, it does not discuss these aspects at all. If we rush to use *Fundamentals of Traditional Chinese Medicine* to replace *Huangdi Neijing* now, imagine what the outcome would be.
6. How to Study Classics Well
(1) The Importance of Intuition and Tools
Studying classics must have methods, and a basic method is (chewing over words and analyzing characters is the highest realm of Chinese culture) to know how to rely on tools. Classics were produced at least before the Eastern Han Dynasty. Due to restrictions of special historical conditions, they had to use concise language and characters to express their profound and broad connotations. This is a characteristic of classics. Now, when we study classics, by what basis do we understand their profound and broad connotations? There is no other way but to start with characters. To understand characters, one must rely on tools. Therefore, studying TCM classics requires decent reference books; merely having the *Xinhua Zidian* (New Chinese Dictionary) is not enough. The ancients said: "Literature carries the Dao." To understand the Dao, we must naturally first know the Wen (literature/characters). Thus, the *Kangxi Dictionary* remains the most frequently consulted book on the desk. After flipping through it often, you will have a feeling for characters and realize that Chinese characters indeed have many superior qualities, leading you to develop affection for them. Chinese characters are based on pictographs, paying great attention to the relationship between form and meaning. Therefore, seeing a character, besides consulting tools, you must analyze its structure. The analysis of the radical (form part) and the phonetic component (sound part) is necessary, both relating to meaning. Taking the character "Wei" (Flavor/Taste) as an example: Wei is perceived by the mouth, so it uses the mouth radical (口) as its form part. The sound part is composed of "Wei" (未). Meaning, besides relating to the form part, seems to have a more special association with the sound part. "Wei" (未) is one of the Twelve Earthly Branches, located in the Southwest. In the Five Elements, this region belongs to Earth and Changxia (Late Summer); in the Later Heaven Bagua, it belongs to Kun; among the Five Zang Organs, it belongs to the Spleen. Once the aforementioned meanings of "Wei" are clarified, we understand the viewpoint behind the character "Wei." Why use it as the sound part? Having studied *Fundamentals of Traditional Chinese Medicine*, we understand that the Spleen opens into the mouth, and only the Spleen and mouth can perceive taste. That is to say, taste is managed by the Spleen. The Spleen belongs to Earth, Earth is in the Southwest, and this direction is exactly governed by the Spleen. Therefore, using "Wei" already includes these physiological aspects related to the Spleen. This is its academic function. Secondly, the ancient meaning of "Wei" was very broad. In *Huangdi Neijing*, it is called Wuwei (Five Flavors). Actually, anything belonging to food is classified as Wei, including medicine. Everyone can consider: when do foods grown by the earth, especially grains, mainly mature? In Changxia (Late Summer). Wei matures in Changxia, and this maturity is obviously related to "Wei" (未). Additionally, "Wei" is in the Southwest. In our country, the Southwest is inhabited by Sichuan. Sichuan has a special title, "Land of Abundance" (Tianfu Zhiguo). Why is it called this? Because the local products are particularly abundant, and flavors are particularly rich. Thinking inversely, why are the products and flavors so rich in this place? Because it belongs to "Wei," to the Southwest, to Earth. Earth generates all things. Therefore, from the formation of characters and their structures, we can feel that their connotations are extremely deep. For a character like "Wei," its form, sound, and meaning structure already contain many profound theories. A character containing such deep and broad connotations is difficult to achieve in other writing systems. Therefore, to delve into the canon, characters are a stepping stone and a key. To solve the problem of characters, one must naturally rely on tools and rely on an intuition regarding character structure. Neither can be lacking.
(2) Zeng Guofan's Secrets for Reading Classics