凡欲诊脉，先调自气，压取病患脉息，以候其迟数，过与不及，所谓以我医彼，智与神
会，则莫之敢违。
凡诊脉，须先识脉息两字。脉者，血也；息者，气也。脉不自动，为气使然，所谓长则
气治，短则气病也。
凡诊，须识人迎、气口，以辨内外因，其不与人迎、气口相应，为不内外因，所谓关前
一分，人命之主。
凡诊，须先识五脏六经本脉，然后方识病脉。岁主脏害，气候逆传，阴阳有时，与脉为
期，此之谓也。
凡诊，须认取二十四字名状，与关前一分相符；推说证状，与病者相应，使无差忒，庶
可根据源治疗。
《经》云∶常以平旦，阴气未动，阳气未散，饮食未进，经脉未盛，络脉调匀，
乃可诊有过之脉。或有作为，当停宁食顷，俟定乃诊，师亦如之。
释曰∶停宁俟定，即不拘于平旦。况仓卒病生，岂待平旦，学人知之。
《经》云∶切脉动静，而视精明，察五色，观五脏有余不足，六腑强弱，形之盛衰，可
以参决死生之分。
释曰∶切脉动静者，以脉之潮会，必归于寸口。三部诊之，左关前一分为人迎，以候六
淫，为外所因；右关前一分为气口，以候七情，为内所因；推其所自，用背经常，为不内外
因。三因虽分，犹乃未备，是以前哲类分二十四字，所谓七表八里九道。七表者，浮芤滑实
弦紧洪；八里者，微沉缓涩迟伏濡弱；九道者，细数动虚促结代革散。虽名状不同，证候差
别，皆以人迎、气口一分而推之，与三部相应而说证。故《脉赞》曰∶关前一分，人命之主
，左为人迎，右为气口，神门决断，两在关后。而汉论亦曰∶人迎紧盛伤于寒。以此推明，
若人迎浮盛则伤风，虚弱沉细为暑湿，皆外所因；喜则散，怒则激，忧涩思结，悲紧恐沉惊
动，皆内所因。看与何部相应，即知何经何脏受病，方乃不失病机也。其如诊按表里，名义
情状，姑如后说。但《经》所述，谓脉者血之腑也，长则气治，短则气病，数则烦心，大则
病进。文藻虽雅，义理难寻，动静之辞，有博有约。博则二十四字，不滥丝毫；约则浮沉迟
数，总括纲纪。故知浮为风为虚，沉为湿为实，迟为寒为冷，数为热为燥。风湿寒热属于外
，虚实冷燥属于内，内外既分，三因颖别，学人宜详览，不可惮烦也。
《经》中所谓视精明者，盖五脏精明聚于目，精全则目明，神定则视审，审视不了，则
精明败矣；直视上视，眩瞑 瞑，皆可兼脉而论病状也。
所谓察五色者，乃气之华也，赤欲如帛裹朱，不欲如赭；白欲如白璧之泽，不欲如垩；
青欲如苍玉之泽，不欲如蓝；黄欲如罗裹雄黄，不欲如黄土；黑欲如漆重泽，不欲如炭。五
色精败，寿不久矣。
所谓观五脏有余不足者，候之五声。五声者，脏之音，中之守也。中盛则气胜，中衰则
气弱。故声如从室中言者，是气之涩也；言微终日乃复言者，是气之夺也，谵妄不避善恶，
神明之乱也；郑声言意不相续，阴阳失守也。故曰得守者生，失守者死。
所谓六腑强弱，以候形之盛衰。头者精明之府，头倾视深，精神夺矣；背者胸中之府，
背曲肩随，府将坏矣；腰者肾之府，转摇不能，肾将惫矣；膝者筋之腑，屈伸不能，筋将惫
矣；骨者髓之府也，行则振掉，骨将惫矣。仓廪不藏者，肠胃不固也；水泉不止者，膀胱不
藏也。得强者生，失强者死。此等证状，医者要门，在脉难明，惟证易辨。是故圣智备论垂
教，学人宜兼明之，不可忽也。
凡是要诊脉，先要调整自己的气息，按压并获取病人的脉搏信息，以观察其脉率的快慢、是否超过正常范围或不及正常，这就是所谓的“以我之医道应对彼之病患”，智慧与精神相契合，那么就没有人敢违背这一原则。
凡是诊脉，必须先认识“脉”和“息”这两个字。脉，指的是血液的运行；息，指的是气的运行。脉本身不会自动跳动，是因为气的推动所致，所谓脉长表示气机调畅，脉短表示气机有病。
凡是诊察，必须认识人迎穴和气口穴的脉象，以辨别内因和外因，如果脉象与人迎、气口的对应关系不符，则属于不内外因，这就是所谓的“关前一分，是人的生命主宰”。
凡是诊察，必须先认识五脏六经的本脉（正常脉象），然后才能认识病脉（异常脉象）。岁运主脏受邪，气候逆乱传变，阴阳各有定时，并与脉象变化相应，说的就是这种情况。
凡是诊察，必须识别二十四种脉象的名称和形态，并与关前一分的脉象相符；推演症状表现，要与患者的实际情况相应，使没有差错，这样才能根据源头进行治疗。
《内经》说：通常要在清晨平旦时分，阴气未动，阳气未散，饮食未进，经脉未盛，络脉调和均匀的时候，才可以诊察有病的脉象。如果有其他活动，应当停止休息片刻，等身体平静后再诊察，医生也是如此。
解释：停宁等待身体平静，即不拘泥于必须在平旦时分。况且疾病突然发生，难道还要等到平旦吗？学习者应当知晓这一点。
《内经》说：切按脉动的动静，观察眼睛的神采，察看五色，观察五脏的有余和不足，六腑的强弱，形体的盛衰，可以据此决断死生的界限。
解释：切按脉动动静，因为脉的潮会，必然汇聚于寸口。三部诊法中，左关前一分为人迎，用以候察六淫，属于外所因；右关前一分为气口，用以候察七情，属于内所因；追溯其来源，背离常规，属于不内外因。三因虽然分开，但还不够完备，所以前代哲人分类为二十四字脉象，所谓七表、八里、九道。七表者，浮、芤、滑、实、弦、紧、洪；八里者，微、沉、缓、涩、迟、伏、濡、弱；九道者，细、数、动、虚、促、结、代、革、散。虽然名称形态不同，证候有别，都以人迎、气口一分来推究，与三部相应来说明证候。所以《脉赞》说：关前一分，是人命的主宰，左边为人迎，右边为气口，神门在关后两侧决定判断。而汉代论述也说：人迎脉紧盛说明伤于寒。以此推论，若人迎脉浮盛则伤风，虚弱沉细则为暑湿，都属于外所因；喜则脉散，怒则脉激，忧则脉涩，思则脉结，悲则脉紧，恐则脉沉，惊则脉动，都属于内所因。看脉象与何部相应，就知道何经何脏受病，这才不失病机。至于诊按表里的名义情状，姑且如下面所说。但《内经》所述，谓脉是血的府库，脉长表示气机调畅，脉短表示气机有病，脉数表示心烦，脉大表示病势进展。文辞虽雅，义理难寻，关于动静的描述，有的广博，有的简约。广博则指二十四字脉象，不差丝毫；简约则指浮、沉、迟、数，总括纲纪。因此知道浮脉主风主虚，沉脉主湿主实，迟脉主寒主冷，数脉主热主燥。风湿寒热属于外因，虚实冷燥属于内因，内外既已区分，三因也就清晰分别了，学习者应当详细阅览，不可怕麻烦。
《内经》中所谓“视精明”，大概是指五脏的精明之气聚于目，精气充足则目光明亮，神志安定则视物清晰，如果视物不清，则精明败坏了；直视或上视，眩晕昏蒙，都可以结合脉象来讨论病状。
所谓“察五色”，乃气的荣华表现。赤色欲如帛裹朱砂，不欲如赭石；白色欲如白璧的光泽，不欲如白垩；青色欲如苍玉的光泽，不欲如蓝草；黄色欲如罗纱裹雄黄，不欲如黄土；黑色欲如漆的重泽，不欲如炭。五色精气败坏，寿命就不长了。
所谓“观五脏有余不足”，通过听五声来候察。五声，是脏器的声音，是中气的守持。中气盛则声音洪亮，中气衰则声音微弱。所以说话声音像从室中传出闷哑的，是气机涩滞的表现；说话声音微弱，整天才说一句话的，是气被夺失的表现；胡言乱语不分善恶的，是神明混乱的表现；郑声言语意思不相连续的，是阴阳失守的表现。所以说得守者生，失守者死。
所谓“六腑强弱”，通过观察形体的盛衰来候察。头是精明的府库，头低垂视物深陷，精神被夺失了；背是胸中的府库，背部弯曲肩膀下垂，府库将要毁坏；腰是肾的府库，转动摇晃不能，肾脏将要疲惫；膝是筋的府库，屈伸不能，筋将疲惫；骨是髓的府库，行走时身体震颤抖动，骨骼将疲惫。仓廪不能藏纳的，是肠胃不固；水泉不止的，是膀胱不能藏纳。得到强健则生，失去强健则死。这些证状，是医者的要门，在脉象上难以明确，只有在证状上容易辨别。所以圣智之人详尽论述垂教后世，学习者应当兼通明白，不可忽视。
Whenever one wishes to palpate the pulse, one must first regulate one's own breath, press to obtain the patient's pulse information, and observe whether it is slow or rapid, excessive or insufficient. This is referred to as "using my medical approach to address the patient," where wisdom and spirit converge, so that no one dares to violate this principle.
In all pulse diagnoses, one must first understand the terms "pulse" (Mai) and "breath/respiration" (Xi). Pulse refers to the movement of blood; breath refers to the movement of Qi. The pulse does not move on its own but is driven by Qi. As stated, a long pulse indicates regulated Qi, while a short pulse indicates diseased Qi.
In all examinations, one must recognize the Renying (Human Welcome) and Qikou (Qi Mouth) pulses to distinguish between external and internal causes. If the pulse does not correspond with Renying and Qikou, it belongs to the non-internal-non-external cause. This is known as "the one-fen point before the Guan (Cun-Guan-Chi position), which is the master of human life."
In all examinations, one must first recognize the original pulses of the Five Zang organs and Six Jing meridians before recognizing pathological pulses. When the yearly influence harms the Zang organs and climatic conditions transmit in reverse, Yin and Yang have their times, corresponding with the pulse changes; this is what is meant.
In all examinations, one must identify the names and forms of the twenty-four pulse types and ensure they correspond with the one-fen point before the Guan; deducing symptoms must correspond with the patient's condition to avoid errors, thereby enabling treatment based on the root cause.
The Classic states: "Usually, at dawn (Pingdan), when Yin Qi has not yet stirred, Yang Qi has not yet dispersed, food and drink have not been taken, the Jing Mai are not yet full, and the Luo Mai are harmonious and even, only then can one diagnose abnormal pulses." If there has been physical exertion, one should pause and rest for a moment until calm before diagnosing; the physician should also follow this rule.
Explanation: Pausing and waiting for calmness means not being strictly bound to the time of dawn. Moreover, if illness arises suddenly, why wait for dawn? Students should be aware of this.
The Classic states: "By palpating the dynamic stillness of the pulse, observing the clarity of the eyes, examining the five colors, observing the excess and deficiency of the Five Zang organs, the strength and weakness of the Six Fu organs, and the flourishing and declining state of the body, one can determine the division between life and death."
Explanation: Palpating the dynamic stillness of the pulse relies on the fact that the pulse tide converges at the Cun Kou (Radial Artery). In the three-position diagnosis, the one-fen point before the left Guan corresponds to Renying, used to monitor the Six Exogenous Pathogens (Liu Yin), representing the external cause; the one-fen point before the right Guan corresponds to Qikou, used to monitor the Seven Emotional Factors (Qi Qing), representing the internal cause; tracing the origin contrary to the classics represents the non-internal-non-external cause. Although the Three Causes are distinguished, this is not yet complete. Therefore, ancient sages categorized them into twenty-four pulse characters, known as Seven Superficial (Qi Biao), Eight Interior (Ba Li), and Nine Pathological (Jiu Dao). The Seven Superficial are: Floating (Fu), Knotted/Empty (Kou), Slippery (Hua), Full/Solid (Shi), Taut/String-like (Xian), Tight (Jin), and Surging (Hong). The Eight Interior are: Fine/Micro (Wei), Deep (Chen), Slow (Huan), Rough/Astringent (Se), Delayed (Chi), Hidden (Fu), Soft (Ru), and Weak (Ruo). The Nine Pathological are: Thin (Xi), Rapid (Shu), Agitated (Dong), Deficient (Xu), Hasty (Cu), Knotted (Jie), Intermittent (Dai), Leather (Ge), and Scattered (San). Although names and forms differ and symptoms vary, all are deduced through the Renying and Qikou one-fen points and correspond with the three positions to explain symptoms. Thus, the *Pulse Eulogy* states: "The one-fen point before the Guan is the master of human life; the left is Renying, the right is Qikou; Shenmen determines judgment, located on both sides behind the Guan." Han dynasty theories also state: "A tight and surging Renying indicates injury by Cold." By deduction, a floating and surging Renying indicates injury by Wind; weak, deep, and thin indicates Summerheat-Dampness; these are all external causes. Joy makes the pulse scatter, anger makes it agitated, worry makes it astringent, thought makes it knotted, grief makes it tight, fear makes it deep, and shock makes it agitated; these are all internal causes. By seeing which position the pulse corresponds to, one knows which meridian and Zang organ are diseased, thus not missing the disease mechanism. Regarding the meaning and state of superficial-interior diagnosis, see below. However, the Classic states that the pulse is the residence of blood; a long pulse indicates regulated Qi, a short pulse indicates diseased Qi, a rapid pulse indicates vexation in the heart, and a large pulse indicates disease progression. Although the literary style is elegant, the principles are hard to find. Descriptions of movement and stillness vary from broad to concise. Broadly speaking, the twenty-four pulse characters leave no detail unexamined; concisely speaking, Floating, Deep, Delayed, and Rapid summarize the guidelines. Thus, we know that Floating indicates Wind and Deficiency; Deep indicates Dampness and Excess; Delayed indicates Cold and Chilling; Rapid indicates Heat and Dryness. Wind, Dampness, Cold, and Heat belong to the external; Deficiency, Excess, Cold, and Dryness belong to the internal. Once external and internal are distinguished, the Three Causes become clear. Students should study carefully and not shy away from complexity.
What the Classic means by "observing the clarity of the eyes" is that the bright essence of the Five Zang organs gathers in the eyes. When essence is complete, the eyes are bright; when spirit is settled, vision is clear. If vision is unclear, the bright essence is ruined. Fixed gaze upward or dizziness and dimness can all be discussed alongside pulse analysis.
What is meant by "examining the five colors" is observing the brilliance of Qi. Red should resemble white silk wrapping cinnabar, not ochre; white should resemble the luster of a white jade disc, not chalk; green/blue should resemble the luster of dark jade, not indigo; yellow should resemble raw realgar wrapped in silk, not loess soil; black should resemble the heavy gloss of lacquer, not charcoal. If the five colors lose their essence, longevity will not be long.
What is meant by "observing the excess and deficiency of the Five Zang organs" is monitoring through the five sounds. The five sounds are the voices of the Zang organs, the guardians of the interior. When the interior is abundant, Qi is strong; when the interior is depleted, Qi is weak. Therefore, a voice sounding like it comes from within a room indicates stagnant Qi; speaking faintly and only speaking once a day indicates Qi depletion; delirious speech without regard for good or evil indicates chaos of the Spirit (Shen); fragmented speech lacking continuity indicates loss of Yin-Yang balance. Thus, it is said: those who retain balance live, those who lose balance die.
What is meant by "the strength and weakness of the Six Fu organs" is monitored by observing the flourishing and declining state of the body. The head is the residence of bright essence; a drooping head and sunken eyes indicate depleted spirit; the back is the residence of the chest; a curved back and drooping shoulders indicate the residence is failing; the waist is the residence of the Kidneys; inability to turn and sway indicates impending Kidney exhaustion; the knees are the residence of the sinews; inability to flex and extend indicates impending sinew exhaustion; the bones are the residence of the marrow; trembling while walking indicates impending bone exhaustion. Inability to store grain indicates unstable intestines and stomachs; continuous leakage of urine indicates the Bladder's failure to store. Retaining strength leads to life; losing strength leads to death. These symptoms are essential gates for physicians; they are difficult to clarify through pulse alone but easy to distinguish through symptoms. Therefore, the sages and wise ones have thoroughly discussed and taught these; students should understand them comprehensively and not neglect them.