夫证之不齐，莫可端倪，而尽欲以三指洞其机，则戛戛乎难之矣。语云，胸中了了，指下难明。
此深心体认，不肯自欺之言。然脉虽变化无定，而阴阳、表里、寒热、虚实之应于指下，又自有
确乎不易之理。思之思之，鬼神将通之耳。一曰，比类以晰其似。所以明相类之脉，比其类而
合之，辨其异而分之，鲜不决之疑矣。如迟之与缓，似乎同也，而迟则一息三至，脉小而衰；缓
则一息四至，脉大而徐。沉之于伏，似乎同也，而沉则轻举则无，重按乃得；伏则重按亦无，推
筋乃见。数、紧、滑，似乎同也，而数则来往急迫，呼吸六至；紧则左右弹指，状如切绳；滑则往来
流利，如珠圆滑。浮、虚、芤，似乎同也，而浮则举之有余，按之不足；虚则举之迟大，按之则无；芤
则浮沉可见，中候则无。濡之与弱，似乎同也，而濡则细软而浮；弱则细微而沉。微之与细，似
乎同也，而微则不及于细，若有若无，状类蛛丝；细则稍胜于微，应指极细，状比一线。弦、长，似
乎同也，而弦则状如弓弦，端直挺然而搏指；长如长竿，过于本位而不搏指。短与动，似乎同
也，而短为阴脉，无头无尾，其来迟滞；动为阳脉，无头无尾，其来数滑。洪之与实，似乎同也，而
洪则状如洪水，盛大满指，重按稍减；实乃充实，应指有力，举按皆然。牢之与革，似乎同也，而
牢则实大而弦，牢守其位；革则虚大浮弦，内虚外急。促、结、涩、代，似乎同也，而促则急促，数时
暂止；结为凝结，迟则暂止，涩则迟短涩滞，至至带止，三五不调；代则动而中止，不能自还，止
数有常，非暂之比。一曰，对举以明相反之脉。有可因此而悟彼，令阴阳不乱也。如浮、沉者，脉
之升降也。以察阴阳，以分表里；浮法天为轻清，沉法地为重浊也。迟、数者，脉之急慢也。脉以
四至为平，如见五至，必形气壮盛，或闰以太息，（五至。）皆为无 之象。不及为迟，太过为数。迟
阴在脏，数阳在腑。数在上为阳中之阴，在下为阴中之阳。迟在上为阳中之阴，在下为阴中
之阳。虚、实者，脉之刚柔也。皆以内之有余不足，故咸以按而知。长、短者，脉之盈缩也。长有见
于尺寸，有通于三部，短只见于尺寸。盖必质于中而后知。过于中为长，不及于中为短。滑、涩
者脉之通滞也。千金曰∶“滑者血多气少，血多故流利圆滑。涩者气多血少，血少故艰涩而
散。”洪、微者，脉之盛衰也。血热而盛，气随以溢，满指洪大，冲涌有余，故洪为盛。气虚而寒，血
随以涩，应指而细，欲绝非绝，故微为衰。紧、缓者，脉之张弛也。紧为寒伤营血，脉络激搏，若风
起水涌，又如切绳转索。缓为风伤卫气，营血不流，不能疾速。数见关上，形如豆大，厥厥动摇，
异于他部者，动也。藏于内不见其形，脉在筋下者，伏也。结、促者，脉之阴阳也。阳甚则促，脉疾
而时止。阴甚则结，脉徐而时止。至于代、牢、弦、革、芤、濡、细、弱八脉，则又不可对举也。《三因》尽
为偶名，不知既非，一阴一阳，宁必过凿乎！经曰，前大后小，前小后大。来疾去徐，来徐去疾，去
不盛来反盛。乍大乍小，乍长乍短，乍数乍疏。是二二脉偶见也，不可不知。一曰，辨兼至者。所
以明相互之脉。大抵脉独见为证者鲜，合众脉为证者多，姑举一二，以例其余。如似沉、似伏，
实、大、弦、长之合为劳极；软、浮细之合为濡之类是也。合众脉之形为一证者，如浮、缓为不仁；
浮、滑为饮；浮、洪、大而长为风眩颠疾之类是也。有二合脉有三四合脉者，然又有一脉独见
而为病亦多者，如浮为风，又为虚，又为气，此一脉之证合也。一曰察平脉以定其常。所以明
本部之脉，而治无病之候。未能精稔，将有无病妄药之弊矣。如足厥阴肝脉弦细而长，足少
阴肾脉沉实而滑，足太阴脾脉沉软而缓，足少阳胆脉弦大而浮，足阳明胃脉浮长而缓，足
太阳膀胱脉洪滑而长，手少阴心脉洪大而散，手太阴肺脉浮涩而短，手厥阴心包络脉浮
大而散，手少阳三焦脉洪大而急，手阳明大肠脉浮短而滑，手太阳小肠脉洪大而紧。一曰，
准时令者所以见四时之变其状，各自不同，脉与之应也。十二月大寒至二月春分为初之
气，厥阴风木主令，经曰，厥阴之至其脉弦。春分至小满为二之气，少阴君火主令，经曰，少阴
之至其脉钩。小满至六月大暑为三之气，少阳相火主令，经曰，少阳之至大而浮。大暑至八
月秋分为四之气，太阴湿土主令，经曰，太阴之至其脉沉。秋分至十月小雪为五之气，阳明
燥金主令，经曰，阳明之至短而涩。小雪至十二月大寒为六之气，太阳寒水主令，经曰，太阳
之至大而长。一曰，察真藏脉者。所以明不治之脉与决短期。往而不返，如水之流；止而不扬，
如杯之覆。使其在肺，则上而微茫下而断绝，无根萧索。使其在肾，则解散而去，欲藏无入，去
如解索，弹搏而来，所藏尽出，来如弹石。在命门右肾与左肾同，但内藏相火，故其绝也，忽尔
静中一跃，如虾之游，如鱼之翔，火欲绝而忽焰之象也。使其在膀胱，则泛滥不收，至如涌泉，
以其藏津液而为州都之官，故绝形如此。凡斯六者皆脉中至为吃紧之处，况有象可求学
者精勤，则熟能生巧，三指多回春之德矣。若不揣者，乃妄图形象，弄巧成拙，最为可笑。夫脉
理渊微，须心领神会，未可以言求，而可以图标乎！如脉之浮沉、大小、长短、弦细，犹可图也，如
迟数、结促，亦何从描画乎！欲学岐黄精蕴，而为纸上筌蹄，是又执形象而趋于愚妄者矣。
病症的表现千差万别，难以捉摸端倪，如果完全试图仅凭三指（寸、关、尺）来洞察其机理，那就非常困难了。俗话说：“心中明白，但手指下却难以分辨。”这是深刻体悟后不肯自欺欺人的真话。然而，脉象虽然变化不定，但阴阳、表里、寒热、虚实在指下的反映，自有其确定不移的道理。深思熟虑，鬼神也会来通晓它。
第一种方法是“比类以晰其似”，即通过类比来辨析相似的脉象。以此阐明性质相近的脉象，比较它们的类别而合并观察，辨别它们的差异而分开识别，这样很少会有决断不明的疑惑了。例如迟脉与缓脉，似乎相同，但迟脉是一息跳动三次，脉形小而衰弱；缓脉是一息跳动四次，脉形大而徐缓。沉脉与伏脉，似乎相同，但沉脉是轻取感觉不到，重按才能触及；伏脉是重按也感觉不到，必须推筋至骨才能见到。数脉、紧脉、滑脉，似乎相同，但数脉是往来急迫，一息六次；紧脉是左右弹指，形状像切绳子；滑脉是往来流利，像圆珠一样光滑。浮脉、虚脉、芤脉，似乎相同，但浮脉是举之有余（轻取有力），按之不足（重按无力）；虚脉是举之迟大（轻取宽大无力），按之则无；芤脉是浮取和沉取都能见到，中取（中候）则无。濡脉与弱脉，似乎相同，但濡脉是细软且浮；弱脉是细微且沉。微脉与细脉，似乎相同，但微脉比细脉更微弱，若有若无，形状像蛛丝；细脉稍强于微脉，应指极细，形状像一根线。弦脉与长脉，似乎相同，但弦脉形状像弓弦，端直挺然且搏指（冲击手指）；长脉像长竿，超过本位但不搏指。短脉与动脉，似乎相同，但短脉属阴脉，无头无尾，来势迟滞；动脉属阳脉，无头无尾，来势数而滑。洪脉与实脉，似乎相同，但洪脉形状像洪水，盛大满指，重按时稍减；实脉是充实，应指有力，轻取重按皆如此。牢脉与革脉，似乎相同，但牢脉是实大而弦，牢固守位；革脉是虚大浮弦，内虚外急。促脉、结脉、涩脉、代脉，似乎相同，但促脉急促，数中偶尔有止；结脉为凝结，迟中偶尔有止；涩脉迟短涩滞，每次跳动都带停止，三五不调；代脉是跳动中止，不能自行恢复，停止的次数有规律，不是偶尔的停止。
第二种方法是“对举以明相反之脉”，即通过对比来阐明相反的脉象。可以由此悟出彼理，使阴阳不混乱。如浮脉与沉脉，是脉的升降。用以察阴阳，分表里；浮法天，主轻清；沉法地，主重浊。迟脉与数脉，是脉的急慢。脉以四至为平脉，如果见到五至，一定是形气壮盛，或者是因叹息而致（五至），都是无病之象。不及四至为迟，超过四至为数。迟脉主阴，病在脏；数脉主阳，病在腑。数脉在上部为阳中之阴，在下部为阴中之阳。迟脉在上部为阳中之阴，在下部为阴中之阳。虚脉与实脉，是脉的刚柔。都以内部有余或不足为依据，所以都要通过按压来知晓。长脉与短脉，是脉的盈缩。长脉有的见于尺寸两部，有的贯通三部；短脉只见于尺寸两部。必须质询于中部后才能知晓。超过中部为长，不及中部为短。滑脉与涩脉，是脉的通滞。《千金方》说：“滑脉是血多气少，因为血多所以流利圆滑。涩脉是气多血少，因为血少所以艰涩而散。”洪脉与微脉，是脉的盛衰。血热而盛，气随之溢出，满指洪大，冲涌有余，所以洪脉代表盛。气虚而寒，血随之涩滞，应指而细，欲绝非绝，所以微脉代表衰。紧脉与缓脉，是脉的张弛。紧脉是寒伤营血，脉络激搏，像风起水涌，又像切绳转索。缓脉是风伤卫气，营血不流，不能疾速。数脉出现在关上，形状像豆子大小，厥厥动摇，不同于其他部位的，就是动脉。深藏于内不见其形的，脉在筋下的，就是伏脉。结脉与促脉，是脉的阴阳表现。阳盛则促，脉疾而时止。阴盛则结，脉徐而时止。至于代脉、牢脉、弦脉、革脉、芤脉、濡脉、细脉、弱脉这八种脉，就不能简单地对举了。《三因方》把它们都列为偶名，不知道既然不是一阴一阳的关系，何必非要牵强附会呢！经文说：前大后小，前小后大。来疾去徐，来徐去疾，去不盛来反盛。乍大乍小，乍长乍短，乍数乍疏。这些是两两相对的脉象同时出现的情况，不可不知。
第三种方法是“辨兼至者”，即辨别同时出现的多种脉象。以此阐明相互关联的脉象。大抵脉象单独出现作为证候的很少，合众脉象作为证候的多。姑且列举一二，以举例其余。如似沉、似伏，结合实、大、弦、长，合为劳极证；软、浮、细结合为濡脉之类。将众脉的形状合为一证，如浮、缓合为不仁；浮、滑合为饮邪；浮、洪、大、长合为风眩颠疾之类。有二合脉，有三四合脉，但也有一种脉单独出现而致病也很多的情况，如浮脉既主风，又主虚，又主气，这是一脉对应多种证候的结合。
第四种方法是“察平脉以定其常”，即考察正常脉象以确定常态。以此明了本部所属的正常脉象，从而治疗无病之候。如果不能精通熟悉，将有把无病当作有病而乱用药物的弊病。如足厥阴肝脉弦细而长，足少阴肾脉沉实而滑，足太阴脾脉沉软而缓，足少阳胆脉弦大而浮，足阳明胃脉浮长而缓，足太阳膀胱脉洪滑而长，手少阴心脉洪大而散，手太阴肺脉浮涩而短，手厥阴心包络脉浮大而散，手少阳三焦脉洪大而急，手阳明大肠脉浮短而滑，手太阳小肠脉洪大而紧。
第五种方法是“准时令者”，即根据时令来观察四时的变化。其状各自不同，脉象与之相应。十二月大寒至二月春分为初之气，厥阴风木主令，经文说，厥阴之至其脉弦。春分至小满为二之气，少阴君火主令，经文说，少阴之至其脉钩。小满至六月大暑为三之气，少阳相火主令，经文说，少阳之至大而浮。大暑至八月秋分为四之气，太阴湿土主令，经文说，太阴之至其脉沉。秋分至十月小雪为五之气，阳明燥金主令，经文说，阳明之至短而涩。小雪至十二月大寒为六之气，太阳寒水主令，经文说，太阳之至大而长。
第六种方法是“察真藏脉者”，即考察真脏脉以明了不治之脉并判断死期。往而不返，像水流一样；止而不扬，像杯覆一样。如果在肺，则上而微茫下而断绝，无根萧索。如果在肾，则解散而去，想藏却无法入，去如解索，弹搏而来，所藏尽出，来如弹石。在命门右肾与左肾相同，但内藏相火，所以其绝也，忽然在静中一跃，像虾游动，像鱼翔飞，是火欲绝而忽焰的现象。如果在膀胱，则泛滥不收，至如涌泉，因为它贮藏津液而为州都之官，所以绝灭的形态如此。以上六种都是脉学中极为关键的地方，况且有形象可以学习。学者若能精勤，则熟能生巧，三指之间便有了回春之德了。如果不揣度实情，只是妄图描绘形象，弄巧成拙，最为可笑。脉理渊微，须心领神会，不可以言语求得，也不可以用图表展示吗？如脉的浮沉、大小、长短、弦细，还可以绘图；如迟数、结促，又从哪里描画呢？想要学习岐黄之术的精蕴，却只停留在纸上的工具层面，这是执着于形象而趋于愚妄的人了。
The manifestations of syndromes are diverse and difficult to discern, so attempting to fully grasp their mechanisms solely through the three fingers (cun, guan, chi) is extremely difficult. As the saying goes, "Clear in mind, yet unclear under the fingers." This is a statement born of deep personal experience and an unwillingness to deceive oneself. Although pulse qualities vary endlessly, there are indeed immutable principles regarding the reflection of Yin-Yang (Yin and Yang), exterior-interior (Biao-Li), cold-heat (Han-Re), and deficiency-excess (Xu-Shi) under the fingers. Through profound contemplation, even spirits will understand it.
The first method is "classifying similarities to clarify resemblance" (Bi Lei Yi Xi Qi Si). This clarifies pulses with similar characteristics by comparing their categories to merge observations, and distinguishing their differences to separate them, thereby minimizing diagnostic uncertainty. For instance, Chi (Slow) and Huan (Moderate) pulses seem similar, but Chi pulse beats three times per respiration and is small and weak; Huan pulse beats four times per respiration and is large and leisurely. Chen (Deep) and Fu (Profound) pulses seem similar, but Chen pulse is imperceptible on light pressure and palpable only on heavy pressure; Fu pulse is imperceptible even on heavy pressure and requires pushing the tendons to bone to be felt. Shu (Rapid), Jin (Taut), and Hua (Slippery) pulses seem similar, but Shu pulse is rapid and urgent, beating six times per respiration; Jin pulse beats against the fingers from both sides, resembling a cut rope; Hua pulse flows smoothly, like a round pearl. Fu (Floating), Xu (Deficient), and Kou (Hollow) pulses seem similar, but Fu pulse is abundant on light pressure and deficient on heavy pressure; Xu pulse is slow and large on light pressure but disappears on heavy pressure; Kou pulse is visible on both light and heavy pressure but absent on medium pressure. Ru (Soggy) and Ruo (Weak) pulses seem similar, but Ru pulse is fine, soft, and floating; Ruo pulse is fine, minute, and deep. Wei (Minute) and Xi (Fine) pulses seem similar, but Wei pulse is weaker than Fine, seeming present yet absent, like a spider's thread; Xi pulse is slightly stronger than Minute, extremely fine upon contact, like a single thread. Xian (Wiry) and Chang (Long) pulses seem similar, but Xian pulse resembles a bowstring, straight and stiff, striking the fingers; Chang pulse resembles a long pole, extending beyond its normal position but not striking the fingers. Duan (Short) and Dong (Moving) pulses seem similar, but Duan pulse is a Yin pulse, without head or tail, arriving sluggishly; Dong pulse is a Yang pulse, without head or tail, arriving rapidly and slippery. Hong (Surging) and Shi (Full) pulses seem similar, but Hong pulse resembles floodwater, vast and filling the fingers, slightly reduced on heavy pressure; Shi pulse is solid and full, forceful upon contact, whether light or heavy pressure. Lao (Firm) and Ge (Leather-like) pulses seem similar, but Lao pulse is solid, large, and wiry, holding its position firmly; Ge pulse is empty, large, floating, and wiry, with internal emptiness and external tension. Cu (Crisis), Jie (Knotted), Se (Choppy), and Dai (Intermittent) pulses seem similar, but Cu pulse is rapid with occasional pauses; Jie pulse is knotted, with occasional pauses in a slow rhythm; Se pulse is slow, short, and choppy, pausing with each beat, irregular in rhythm; Dai pulse stops during movement and cannot recover spontaneously, with regular intervals between pauses, unlike occasional stops.
The second method is "contrasting opposites to clarify opposing pulses." This allows one to comprehend one principle through another, preventing confusion between Yin and Yang. For example, Fu (Floating) and Chen (Deep) represent the ascending and descending of the pulse. They are used to examine Yin-Yang and distinguish exterior-interior; Fu corresponds to Heaven, being light and clear; Chen corresponds to Earth, being heavy and turbid. Chi (Slow) and Shu (Rapid) represent the urgency and slowness of the pulse. A healthy pulse beats four times per respiration; if five beats are seen, it indicates robust form and qi, or perhaps a sigh causing an extra beat (five beats), which is a sign of health. Fewer than four beats is Slow, indicating Yin and disease in the Zang organs; more than four beats is Rapid, indicating Yang and disease in the Fu organs. A Rapid pulse in the upper position is Yin within Yang; in the lower position, it is Yang within Yin. A Slow pulse in the upper position is Yin within Yang; in the lower position, it is Yang within Yin. Xu (Deficient) and Shi (Excess) pulses represent the rigidity and flexibility of the pulse. Both depend on internal excess or deficiency, so they must be assessed through pressing. Chang (Long) and Duan (Short) pulses represent the fullness and contraction of the pulse. Chang pulse may appear in the Cun and Chi positions or span all three positions; Duan pulse appears only in the Cun and Chi positions. One must consult the middle position to know this. Extending beyond the middle is Long; falling short of the middle is Short. Hua (Slippery) and Se (Choppy) pulses represent the patency and stagnation of the pulse. The *Qian Jin Fang* states: "Slipperiness indicates abundant blood and scarce qi; because blood is abundant, it flows smoothly. Choppy nature indicates abundant qi and scarce blood; because blood is scarce, it is difficult and scattered." Hong (Surging) and Wei (Minute) pulses represent the prosperity and decline of the pulse. When blood is hot and excessive, qi overflows with it, making the pulse feel vast and surging, thus Hong represents prosperity. When qi is deficient and cold, blood becomes stagnant, feeling fine upon contact, on the verge of disappearing but not quite, thus Wei represents decline. Jin (Taut) and Huan (Moderate) pulses represent the tension and relaxation of the pulse. Jin pulse results from cold injuring Ying Blood, causing vessel spasms, like wind rising and water surging, or cutting a rope. Huan pulse results from wind injuring Wei Qi, causing Ying Blood to stagnate and move slowly. If a Rapid pulse appears at the Guan position, shaped like a bean, trembling distinctly, differing from other positions, it is a Dong (Moving) pulse. Deeply hidden internally, not visible, located beneath the tendons, is a Fu (Profound) pulse. Jie (Knotted) and Cu (Crisis) pulses reflect Yin and Yang. Extreme Yang leads to Cu pulse: rapid with occasional stops. Extreme Yin leads to Jie pulse: slow with occasional stops. However, the eight pulses—Dai, Lao, Xian, Ge, Kou, Ru, Xi, and Ruo—cannot simply be paired. The *San Yin Fang* lists them as pairs, failing to recognize that since they do not strictly follow a Yin-Yang pairing, forcing such connections is arbitrary. Classics state: Large front and small back, small front and large back. Fast arrival and slow departure, slow arrival and fast departure, weak departure but strong arrival. Suddenly large, suddenly small; suddenly long, suddenly short; suddenly rapid, suddenly sparse. These are cases where two pulses appear together, which must be known.
The third method is "distinguishing combined pulses" (Bian Jian Zhi Zhe). This clarifies mutually interacting pulses. Generally, a single pulse presenting as a syndrome is rare; multiple pulses combining to form a syndrome is common. Taking a few examples for illustration: Similarities to Chen and Fu, combined with Shi, Da, Xian, and Chang, constitute the syndrome of Exhaustion (Lao Ji); combinations of Ruan, Fu, and Xi constitute Ru pulse. Combining multiple pulse shapes into one syndrome: Fu and Huan combined indicate Numbness (Bu Ren); Fu and Hua combined indicate Fluid Retention (Yin); Fu, Hong, Da, and Chang combined indicate Wind Vertigo and Epilepsy (Feng Xuan Dian Ji). There are dual-combination pulses and triple/quadruple-combination pulses. However, many diseases also arise from a single pulse appearing alone. For instance, Fu pulse can indicate Wind, Deficiency, or Qi disturbance; this is a case of one pulse corresponding to multiple syndromes.
The fourth method is "examining healthy pulses to determine norms" (Cha Ping Mai Yi Ding Qi Chang). This clarifies the normal pulse of each channel to treat those without illness. Without mastery, there is a risk of misdiagnosing health as disease and prescribing incorrectly. For example: Foot-Jueyin Liver pulse is Xian, Xi, and Chang; Foot-Shaoyin Kidney pulse is Chen, Shi, and Hua; Foot-Taiyin Spleen pulse is Chen, Ruan, and Huan; Foot-Shaoyang Gallbladder pulse is Xian, Da, and Fu; Foot-Yangming Stomach pulse is Fu, Chang, and Huan; Foot-Taiyang Bladder pulse is Hong, Hua, and Chang; Hand-Shaoyin Heart pulse is Hong, Da, and San; Hand-Taiyin Lung pulse is Fu, Se, and Duan; Hand-Jueyin Pericardium pulse is Fu, Da, and San; Hand-Shaoyang Sanjiao pulse is Hong, Da, and Ji; Hand-Yangming Large Intestine pulse is Fu, Duan, and Hua; Hand-Taiyang Small Intestine pulse is Hong, Da, and Jin.
The fifth method is "aligning with seasons to observe changes" (Shun Shi Ling Zhe). The appearances differ according to the season, and the pulse responds accordingly. From Great Cold (Da Han) in December to Spring Equinox (Chun Fen) in February is the First Qi, governed by Jueyin Wind-Wood. The Classic says: "When Jueyin arrives, its pulse is Xian (Wiry)." From Spring Equinox to Minor Fullness (Xiao Man) is the Second Qi, governed by Shaoyin Sovereign Fire. The Classic says: "When Shaoyin arrives, its pulse is Gou (Hooked)." From Minor Fullness to Great Heat (Da Shu) in June is the Third Qi, governed by Shaoyang Minister Fire. The Classic says: "When Shaoyang arrives, its pulse is Da (Large) and Fu (Floating)." From Great Heat to Autumn Equinox (Qiu Fen) in August is the Fourth Qi, governed by Taiyin Wet-Earth. The Classic says: "When Taiyin arrives, its pulse is Chen (Deep)." From Autumn Equinox to Light Snow (Xiao Xue) in October is the Fifth Qi, governed by Yangming Dry-Metal. The Classic says: "When Yangming arrives, its pulse is Duan (Short) and Se (Choppy)." From Light Snow to Great Cold in December is the Sixth Qi, governed by Taiyang Cold-Water. The Classic says: "When Taiyang arrives, its pulse is Da (Large) and Chang (Long)."
The sixth method is "examining True Zang pulses" (Cha Zang Mai). This clarifies untreatable pulses and predicts life expectancy. Arriving and not returning, like flowing water; stopping and not rising, like an overturned cup. If in the Lung, it is faint above and severed below, rootless and desolate. If in the Kidney, it scatters and departs, unable to store, departing like untying a knot, arriving with a snapping motion, expelling all stored essence, arriving like throwing stones. In the Mingmen (Gate of Life) right kidney and left kidney, it is the same, but containing Minister Fire, so upon death, there is a sudden jump in stillness, like a shrimp swimming or fish gliding, a phenomenon of fire about to extinguish flaring up suddenly. If in the Bladder, it floods uncontrollably, rushing like a spring, because it stores fluids and serves as the official of the capital, its dying form is thus. These six aspects are critical points in pulse diagnosis. Scholars who study diligently based on these images will achieve skill through practice, bringing healing power through the three fingers. Those who do not examine reality but merely attempt to depict forms will spoil cleverness with clumsiness, which is laughable. Pulse theory is profound and subtle; it must be understood intuitively. It cannot be sought through words, nor can it be fully captured by diagrams? Pulses like Fu/Chen, Da/Xiao, Chang/Duan, Xian/Xi can be diagrammed. But how can Chi/Shu, Jie/Cu be drawn? To seek the essence of Qibo and Huangdi while remaining bound to superficial tools is to cling to images and fall into folly.