诸本无篇字。
帝问何急 张云。急者先也。
春青风（止）各不同形 甲乙青风、作温风。是。张云。春之青风得木气。夏之阳风得火气。秋之
凉风得金气。冬之寒风得水气。凡此四时之风。各有所王。有所王则有所制。故其所病。各不同形也。
黄色薄皮（止）不胜冬之虚风也 张云。黄者土之色。黄色薄皮弱肉者。脾气不足也。故不胜
春木之虚风。而为病。白者金之色。白色薄皮弱肉者。肺气不足也。故不胜夏火之虚风而为病。青者木之色。
青色薄皮弱肉者。肝气不足也。故不胜秋金之虚风而为病。赤者火之色。赤色薄皮弱肉者。
心气不足也。故不胜冬水之虚风而为病。志云。皮肤腠理之间。五脏元真之所通会。是以薄皮弱肉。则脏真之
气虚矣。五脏之气虚。则不能胜四时之虚风。虚风者。虚乡不正之邪风也。
黑色而皮浓（止）外内皆然乃病 张云。黑者水之色。黑色而皮薄肉不坚。及色时变而不一者。肾气
不足也。故不胜长夏土令之虚风而为病。若黑色而皮浓肉坚者。虽遇长夏之虚风。亦不能病。但既感于风。又
感于寒。是为重感。既伤于内。又伤于外。是为外内俱伤。乃不免于病也。然则黑色而皮肉坚者。诚有异于他
色之易病者矣。志云。外内皆然乃病。谓外受天之寒邪。内伤肾脏之水气。伤寒小青龙真武汤证。即此义也。
夫人之忍痛（止）愿闻其故 张注。一本无悸字。更改、一本作变化。今诸本与一本同。张云。此问
能忍痛与不能忍痛者。非由勇怯而然也。夫男士之气刚。而有不能忍痛者。见难虽不恐。而见痛则退矣。怯士
之气馁。而有能忍痛者。闻难则恐。而遇痛不动也。又若勇而忍痛者也。见难与痛。皆不惧怯。而不忍痛者。
见难与痛。则目转眩旋。面 惊顾。甚至失言变色。莫知死生。此四者之异。各有所由然也。简案、 、音系。
说文。恨观貌。于义难叶。疑是眄讹。眄、音面。袤视也。班固叙传。虞卿以顾眄而捐相印。又马援。据鞍顾
眄。即与张义符。
勇士者（止）毛起而面仓 张云。目者五脏六腑之精也。目深、以因脏气之坚也。长衡、阔大也。即
从衡之意。直扬、视直而光露也。三焦理横。凡刚急者肉必横。柔缓者肉必纵也。其心端直者。刚勇之气也。
大以坚满以旁者。旁即旁开之谓。过于人之常度也。怒则气盛而胸张。 裂而目扬者。
勇者之肝胆强。肝气上冲也。毛起者。肝血外溢也。面苍者。肝色外见也。此皆勇士之由然。然则勇怯之异。
其由于肝胆者为多。故肝曰将军之官。而取决于胆。简案、长衡直扬。五变篇。衡、作冲。当考彼篇。史、刺
客传。注。燕丹子云。田光曰。夏扶血勇之人。怒而面赤。宋意脉勇之人。怒而面青。武阳骨勇之人。怒而面
白。光所知荆轲神勇之人。怒而色不变。与本节之旨异。
怯士者（止）故不能久怒 诸本三焦理纵、作其焦理纵。张云。减当作缄。封藏之谓。目大不缄者。
神气不坚也。阴阳相失者。血气易乱也。即转 惊顾之意。其焦理纵者。肉理不横也。 KT 短小者。其心卑
小。而甘出人下也。肝系缓者。不急也。胆不满而纵者。汁少形长也。肠胃挺者。曲折少也。胁下空者。肝气
不实也。此其肝胆不充。气不能满。以故旋怒旋衰。是皆怯士之由然。简案、其焦理纵。马云。内之三焦纹理
则纵。今考焦理即腠理。亦作焦理。（见岁露篇等）而上文有三焦理横之语。盖三焦理。亦是腠理之谓。张以
肉理横释之。似是。
酒者水谷之精（止）名曰酒悖也 张云。栗、急也。悍、猛也。酒之性热气悍。故能胀胃、浮肝。上
气、壮胆。方其醉也。则神为之惑。性为之乱。自比于勇。而不知避。及其气散肝平。乃知自悔。是因酒之所
使。而作为悖逆。故曰酒悖。马云。盖酒为水谷之精。熟谷之液。此语又见营卫生会篇。
各版本中均无“篇”字。
黄帝问：为什么会有这种急迫的情况？
张介宾注：急，意为先、首要。
春季的青风（风邪）与其他季节不同，其致病形态各异。《甲乙经》中“青风”写作“温风”，这是正确的。张介宾注：春季的青风得木气之助；夏季的阳风得火气之助；秋季的凉风得金气之助；冬季的寒风得水气之助。这四时的风邪，各自在当令之时旺盛。当令则克制他行，因此它们所导致的疾病，形态各不相同。
肤色黄、皮肤薄的人（止）：不能耐受冬季的虚风（非时之邪风）。
张介宾注：黄色是土的颜色。肤色黄、皮肤薄、肌肉软弱的人，是脾气不足。因此不能耐受春季木气的虚风而发病。白色是金的颜色。肤色白、皮肤薄、肌肉软弱的人，是肺气不足。因此不能耐受夏季火气的虚风而发病。青色是木的颜色。肤色青、皮肤薄、肌肉软弱的人，是肝气不足。因此不能耐受秋季金气的虚风而发病。赤色是火的颜色。肤色赤、皮肤薄、肌肉软弱的人，是心气不足。因此不能耐受冬季水气的虚风而发病。张志聪注：皮肤腠理之间，是五脏元气真精相通汇聚之处。所以皮肤薄、肌肉软弱，意味着脏真之气虚弱。五脏之气虚弱，就不能抵御四时的虚风。所谓虚风，是指来自非时令方向的不正之风。
肤色黑且皮肤厚实的人（止）：只有内外都受邪才会生病。
张介宾注：黑色是水（肾）的颜色。肤色黑但皮肤薄、肌肉不坚实，以及面色时常变化不一的人，是肾气不足。因此不能耐受长夏土令的虚风而发病。如果是肤色黑且皮肤厚实、肌肉坚实的人，即使遇到长夏的虚风，也不会生病。但如果既感受了风邪，又感受了寒邪，这叫做“重感”；如果内部脏腑受伤，外部形体也受伤，这叫做“外内俱伤”。这样才难免生病。那么，肤色黑且皮肉坚实的人，确实不同于其他颜色者容易生病。张志聪注：“外内皆然乃病”，意思是外受天之寒邪，内伤肾脏之水气。伤寒论中的小青龙汤证和真武汤证，就是这一道理。
人之所以能忍受疼痛（止）：希望听听其中的缘故。
张介宾注：另一个版本没有“悸”字。“更改”一词，另一个版本作“变化”。现在各版本与另一版本相同。张介宾注：这个问题关于能忍痛与不能忍痛的人，并非完全由勇敢或怯懦决定。男子的阳气刚强，但也有不能忍痛的，见到危难虽不恐惧，但见到疼痛就会退缩。怯懦之人气馁弱，但也有能忍痛的，听到危难就恐惧，但遇到疼痛却不动声色。还有那种勇敢且能忍痛的人，见到危难和疼痛都不畏惧；而不能忍痛的人，见到危难和疼痛，就会眼球转动眩晕，脸色惊恐四顾，甚至言语错乱、面色改变，不知生死为何物。这四种情况的差异，各有其原因。简按：“ ”字，音系。《说文解字》解释为恨视的样子，于义难通，怀疑是“眄”字的讹误。“眄”，音面，意为斜视。班固《叙传》：“虞卿以顾眄而捐相印。”又有马援“据鞍顾眄”，这与张介宾的解释相符。
勇士的特点（止）：毛发竖起，面色发青。
张介宾注：眼睛是五脏六腑精气汇聚之处。目眶深陷，是因为脏气坚实。长衡，指眼眶宽阔大，即纵横之意。直扬，指目光直视而光亮外露。三焦的纹理横向分布，凡是性格刚急的人，肌肉纹理必横；性格柔缓的人，肌肉纹理必纵。其心脏端正正直，体现的是刚勇之气。心脏大而坚实、饱满并向旁扩展，这里的“旁”即旁开之意，超过常人的尺度。发怒时气盛而胸廓张开，胁肋部的筋脉裂开而目光上扬，这是勇士肝胆强健、肝气上冲的表现。毛发竖起，是肝血外溢的表现。面色发青，是肝色外现的表现。这些都是勇士形成的原因。然而，勇敢与怯懦的差异，大多源于肝胆。所以说肝是将军之官，而决断取决于胆。简按：“长衡直扬”，在《五变》篇中，“衡”写作“冲”，应当参考考证该篇。《史记·刺客列传》注引《燕丹子》说：田光说，夏扶是血勇之人，发怒时面红；宋意是脉勇之人，发怒时面青；武阳是骨勇之人，发怒时面白；我所知道的荆轲是神勇之人，发怒时脸色不变。这与本节的旨意不同。
怯懦者的特点（止）：所以不能长久愤怒。
各版本中“三焦理纵”多作“其焦理纵”。张介宾注：“减”当作“缄”，意为封藏。目大而不缄闭，说明神气不坚固。阴阳失调，气血容易紊乱。这就是前面所说的转眼珠、惊恐四顾的意思。“其焦理纵”，指肌肉纹理不横（而是纵）。胆囊短小，说明心志卑下，甘居人下。肝系松弛，说明不急迫。胆囊不满而松弛下垂，说明胆汁少且胆囊形长。肠胃挺直，说明弯曲较少。胁下空虚，说明肝气不实。这些情况导致肝胆不充实，气不能充盈，所以怒气易起易衰。这都是怯懦者形成的原因。简按：“其焦理纵”，马云认为：体内的三焦纹理则是纵的。现在考证“焦理”即“腠理”，也写作“焦理”（见《岁露》篇等）。而上文有“三焦理横”的说法，大概“三焦理”也是指腠理。张介宾用肌肉纹理横来解释，似乎是合理的。
酒是水谷的精微物质（止）：名叫“酒悖”。
张介宾注：“栗”意为急迫，“悍”意为猛烈。酒的性质热气猛烈，所以能使胃胀、使肝气浮越、使上气壮盛、使胆气壮盛。当其醉酒时，精神被迷惑，本性被扰乱，自比于勇敢，而不知道躲避危险。等到酒气消散、肝气平和之后，才知道后悔。这是因为被酒所驱使，从而做出悖逆之事，所以称为“酒悖”。马云说：酒确实是水谷的精微，熟谷的液体。这句话也见于《营卫生会》篇。
In all editions, the character "Pian" (Chapter) is absent.
The Yellow Emperor asked: Why is there such urgency?
Zhang Jiebin's commentary: "Ji" (Urgency/Emergency) means prior or primary.
The Qingfeng wind (Wind pathogen) of spring differs from that of other seasons, and its pathological manifestations vary. The *Jia Yi Jing* writes "Qingfeng" as "Wenfeng" (Warm Wind), which is correct. Zhang Jiebin's commentary: The Qingfeng wind of spring derives support from Wood Qi; the Yangfeng wind of summer derives support from Fire Qi; the Liangfeng wind (Cool Wind) of autumn derives support from Metal Qi; the Hanfeng wind (Cold Wind) of winter derives support from Water Qi. These four seasonal winds each flourish in their respective ruling periods. When one flourishes, it controls others; therefore, the diseases they cause present with different morphological characteristics.
Those with yellow complexion and thin skin (end of passage): Cannot withstand the Xu Feng (Deficiency Wind/Non-seasonal Evil Wind) of winter.
Zhang Jiebin's commentary: Yellow is the color of Earth. Those with a yellow complexion, thin skin, and weak flesh suffer from Spleen Qi deficiency. Thus, they cannot withstand the Xu Wind of Spring Wood and fall ill. White is the color of Metal. Those with a white complexion, thin skin, and weak flesh suffer from Lung Qi deficiency. Thus, they cannot withstand the Xu Wind of Summer Fire and fall ill. Green/Cyan is the color of Wood. Those with a green/cyan complexion, thin skin, and weak flesh suffer from Liver Qi deficiency. Thus, they cannot withstand the Xu Wind of Autumn Metal and fall ill. Red is the color of Fire. Those with a red complexion, thin skin, and weak flesh suffer from Heart Qi deficiency. Thus, they cannot withstand the Xu Wind of Winter Water and fall ill. Zhang Zhicong's commentary: Between the skin and interstices lies the convergence point where the Yuan Zhen Qi (Original True Qi) of the Five Zang Organs communicates. Therefore, thin skin and weak flesh indicate that the Zang Zhen Qi (True Qi of the Zang Organs) is deficient. If the Qi of the Five Zang Organs is deficient, it cannot resist the Xu Winds of the four seasons. Xu Wind refers to irregular winds coming from non-seasonal directions.
Those with black complexion and thick skin (end of passage): Illness occurs only when both internal and external factors are involved.
Zhang Jiebin's commentary: Black is the color of Water (Kidney). Those with a black complexion but thin skin and unfirm flesh, whose facial colors change frequently and inconsistently, suffer from Kidney Qi deficiency. Thus, they cannot withstand the Xu Wind of the Late Summer Earth period and fall ill. However, if one has a black complexion with thick skin and firm flesh, even encountering the Xu Wind of Late Summer will not cause illness. But if one is simultaneously affected by Wind pathogen and Cold pathogen, this is called "Chong Gan" (Double Pathogenic Influence); if internal organs are injured and external form is also injured, this is called "Wai Nei Ju Shang" (Simultaneous Internal and External Injury). Only then is illness inevitable. Thus, those with black complexion and firm skin/flesh are indeed distinct from those of other complexions who are prone to illness. Zhang Zhicong's commentary: "Wai Nei Ju Ran Nai Bing" (Illness arises only when both internal and external conditions are met) means externally suffering from Heaven's Cold Evil, and internally injuring the Water Qi of the Kidneys. The Xiao Qing Long Tang syndrome and Zhen Wu Tang syndrome in *Shang Han Lun* illustrate this principle.
The reason why humans can endure pain (end of passage): I wish to hear the explanation.
Zhang Jiebin's commentary: Another version lacks the character "Ji". The term "Geng Gai" is written as "Bian Hua" in another version. Currently, all versions align with this other version. Zhang Jiebin's commentary: This question concerns those who can and cannot endure pain, which does not solely depend on bravery or cowardice. Men possess rigid Qi, yet some cannot endure pain; seeing danger, they may not fear, but upon seeing pain, they retreat. Cowardly individuals have feeble Qi, yet some can endure pain; hearing of danger, they fear, but upon encountering pain, they remain unmoved. Furthermore, there are those who are brave and can endure pain; seeing danger and pain, they feel no fear. Conversely, those who cannot endure pain, upon seeing danger and pain, experience dizziness and spinning eyes, look around in fright, and may even lose speech or change color, unaware of life and death. These four differences arise from distinct causes. Jian An: The character [missing] has the pronunciation "Xi". *Shuo Wen Jie Zi* defines it as a hateful gaze, which fits poorly semantically; it is suspected to be an error for "Mian" (glance sideways). "Mian" is pronounced "Mian", meaning to glance sideways. Ban Gu's *Xu Zhuan*: "Yu Qiang donated his chancellor seal due to a sidelong glance." Also, Ma Yuan "glanced sideways while holding the saddle," which aligns with Zhang's interpretation.
Characteristics of the Brave Warrior (end of passage): Hair stands erect, face turns cyan/green.
Zhang Jiebin's commentary: The eyes are the convergence of essence from the Five Zang and Six Fu Organs. Deep-set eyes indicate solid Zang Qi. "Chang Heng" refers to wide and broad orbits, implying horizontal and vertical dimensions. "Zhi Yang" means looking straight ahead with bright, exposed light. The texture of San Jiao (Triple Burner) runs horizontally; generally, those with rigid and urgent temperaments have horizontal muscle textures, while those with soft and relaxed temperaments have vertical muscle textures. A heart that is upright and straight reflects rigid and courageous Qi. A heart that is large, solid, full, and extends laterally—where "lateral" means opening outward—exceeds normal human dimensions. Anger causes Qi to surge and chest to expand, tearing ligaments in the hypochondrium and raising the gaze; this indicates strong Liver and Gallbladder of the brave warrior, with Liver Qi rushing upward. Erect hair indicates Liver Blood overflowing outward. Cyan/green face indicates Liver Color manifesting outward. These are the origins of the brave warrior. Thus, the difference between bravery and cowardice largely stems from the Liver and Gallbladder. Hence, the Liver is called the "General Officer," and decision-making depends on the Gallbladder. Jian An: In the *Wu Bian* chapter, "Heng" is written as "Chong"; this should be cross-referenced. *Records of the Grand Historian: Biographies of Assassins* commentary cites *Yan Dan Zi*: Tian Guang said, Xia Fu is a person of Blood Courage, turning red-faced when angry; Song Yi is a person of Pulse Courage, turning green-faced when angry; Wu Yang is a person of Bone Courage, turning white-faced when angry; Jing Ke, whom I know, is a person of Divine Courage, whose face does not change color when angry. This differs from the purport of this section.
Characteristics of the Coward (end of passage): Therefore, he cannot maintain anger for long.
All versions read "San Jiao Li Zong" as "Qi Jiao Li Zong". Zhang Jiebin's commentary: "Jian" should be "Jian" (seal/close), meaning storage and preservation. Eyes that are large but not closed/sealed indicate unstable Shen Qi (Spirit Qi). Loss of Yin-Yang harmony leads to easy disorder of Blood and Qi. This corresponds to the previously mentioned eye-rolling and fearful glancing. "Qi Jiao Li Zong" means muscle texture is not horizontal (but vertical). A short and small gallbladder indicates a humble heart/mind, content to stay below others. A lax liver tie indicates lack of urgency. A gallbladder that is not full and hangs loosely indicates little bile and an elongated shape. Straight intestines and stomach indicate fewer curves. Empty hypochondrium indicates insufficient Liver Qi. These conditions result in underfilled Liver and Gallbladder, with Qi unable to fill completely, hence anger rises and fades quickly. These are the origins of the coward. Jian An: "Qi Jiao Li Zong": Ma Yun states that the internal San Jiao textures are longitudinal. Upon examination, "Jiao Li" is synonymous with "Cou Li" (Intercellular Spaces/Pores), also written as "Jiao Li" (see *Sui Lu* chapter, etc.). Since the earlier text mentions "San Jiao Li Heng" (Horizontal San Jiao Texture), "San Jiao Li" likely also refers to Cou Li. Zhang's explanation using horizontal muscle texture seems plausible.
Wine is the essence of water and grain (end of passage): It is named "Jiu Bei" (Wine Recklessness).
Zhang Jiebin's commentary: "Li" means urgent; "Han" means fierce. The nature of wine is hot and fierce, causing stomach distension, floating Liver Qi, surging Upper Qi, and strengthening Gallbladder Qi. While intoxicated, the spirit is confused, and nature is disrupted; one considers oneself brave and fails to avoid danger. Once the Qi dissipates and Liver Qi levels out, regret follows. This is being driven by wine, leading to rebellious behavior, hence termed "Jiu Bei". Ma Yun says: Wine is indeed the essence of water and grain, the liquid of cooked grains. This phrase also appears in the *Ying Wei Sheng Hui* chapter.