尝谓胸中有万卷书，笔底无半点尘者，始可着书；胸中无半点尘，目中无半点尘者，才许作古书注疏。夫
着书固难，而注疏更难。着书者往矣，其间几经兵燹，几番播迁，几次增删，几许抄刻，亥豕者有之，杂伪者
有之，脱落者有之，错简者有之。如注疏者着眼，则古人之隐旨明、尘句新；注疏者失眼，非依样葫芦，则另
寻枝叶，鱼目溷珠， 硖胜玉矣。《伤寒论》一书，经叔和编次，已非仲景之书。仲景之文遗失者多，叔和之
文附会者亦多矣。读是书者，必凝神定志。慧眼静观，逐条细勘。逐句研审，何者为仲景言，何者是叔和笔，
其间若脱落、若倒句，与讹字、衍文，须一一指破，顿令作者真面目见于语言文本间。且其笔法之纵横、详
略不同，或互文以见意，或比类以相形，可因此而悟彼、见微而知着者，须一一提醒。更令作者精神见于语
言文本之外。始可羽翼仲景，注疏《伤寒》。何前此注疏诸家，不将仲景书始终理会、先后合参？但随文敷衍，
故彼此矛盾，黑白不辨，令 硖与美璞并登。鱼目与夜光同珍。前此之疑辨未明，继此之迷涂更远。学人将何
赖焉？如三百九十七法之言，既不见于仲景之序文。又不见于叔和之序例，林氏倡于前，成氏程氏和于后，其
不足取信。王安道已辨之矣。而继起者，犹琐琐于数目，即丝毫不差，亦何补于古人，何功于后学哉？然此犹
未为斯道备累也。独怪大青龙汤。仲景为伤寒中风无汗而兼烦躁者设，即加味麻黄汤耳。而谓其伤寒见风，又
谓之伤风见寒，因以麻黄汤主寒伤营，治营病而卫不病；桂枝汤主风伤卫，治卫病而营不病；大青龙主风寒两
伤营卫，治营卫俱病。三方割据瓜分。太阳之主寒多风少、风多寒少，种种蛇足，羽翼青龙，曲成三纲鼎立之
说，巧言簧簧，洋洋盈耳，此郑声所为乱雅乐也。夫仲景之道，至平至易，仲景之门，人人可入，而使之茅塞
如此，令学人如夜行歧路，莫之指归，不深可悯耶？且以十存二三之文，而谓之全篇，手足厥冷之厥，混同两
阴交尽之厥，其间差
谬，何可殚举？此愚所以执卷长吁，不能已于注疏也。丙午秋，校正《内经》始成，尚未出而问世。以《伤寒》
为世所甚重，故将仲景书校正而注疏之，分篇汇论，挈其大纲，详其细目，证因类聚，方附带之，倒句讹字，
悉为改正，异端邪说，一切辨明。岐伯、仲景之隐旨，发挥本论各条之下，集成一帙，名《论注》。不揣卑鄙，
敢就正高明，倘得片言首肯，亦稍慰夫愚者之千虑云尔。
慈水柯琴韵伯氏，题时己酉初夏也。
我曾说过，只有胸中藏有万卷书、笔下毫无尘俗之气的人，才可以著书立说；只有胸中毫无尘俗之气、眼中毫无世俗偏见的人，才允许为古书作注疏。
著书固然艰难，而为古书作注疏则更加困难。古代著书者已经逝去，其间经历了多次战火兵燹，数次流离迁徙，几次增删修改，以及众多的抄写刻印。因此，书中出现了文字错乱（如“亥豕”之误）、混杂伪作、内容脱落、竹简次序错乱等情况。
如果注疏者眼光独到，就能使古人的深意明朗化，让陈旧的语句焕发新意；如果注疏者眼光短浅，不是机械地模仿前人，就是另辟蹊径寻找枝节末流，导致鱼目混珠，劣石胜过美玉。
《伤寒论》这本书，经过王叔和编次整理后，已不再是张仲景的原貌了。张仲景的原文遗失了很多，而王叔和附会添加的内容也很多。阅读这本书的人，必须凝神定志，用慧眼静心观察，逐条仔细勘验，逐句研究审察。要分清哪些是张仲景的话，哪些是王叔和的笔迹。其中若有脱落、倒装句，以及讹误字、衍文，都必须一一指出并纠正，顿时让作者的真面目在语言文本中显现出来。
并且，对于其笔法的纵横变化、详略不同，或是通过互文来体现意义，或是通过类比来相互映衬，可以由此悟出彼处、见微知著的地方，也必须一一提醒。进而让作者的精神体现在语言文字之外。只有这样，才能辅助张仲景，对《伤寒论》进行注疏。
为什么以前的注疏各家，不将张仲景的书从头到尾彻底理解、前后综合参考？只是随着文意敷衍了事，所以彼此矛盾，黑白不分，让劣石与美玉并列，鱼目与夜明珠同等珍贵。之前的疑惑辨析不明，后来的迷途就更远。学习者还能依赖什么呢？
像所谓“三百九十七法”的说法，既不见于张仲景的序文，也不见于王叔和的序例。林亿在前倡导，成无己、程郊倩在后附和，这些说法不足取信。王安道已经辨析过这一点。但后来继起的人，仍然琐碎地纠结于数字，即使丝毫不差，对古人有什么补益？对后学又有什么功劳呢？
然而这还算不上是对这门学问最大的拖累。唯独奇怪的是关于大青龙汤的解释。张仲景设立大青龙汤，是为了治疗伤寒中风无汗且兼有烦躁症状的患者，它不过是加味的麻黄汤罢了。却有人说它是“伤寒见风”，又说是“伤风见寒”。于是认为：麻黄汤主治寒邪伤营，治疗营病而卫不病；桂枝汤主治风邪伤卫，治疗卫病而营不病；大青龙汤主治风寒两伤营卫，治疗营卫俱病。这三方被割据瓜分。太阳病主寒多风少、风多寒少，种种画蛇添足的做法，都是为了辅助大青龙汤，曲意促成“三纲鼎立”的理论，巧言令色，洋洋盈耳，这就是所谓的“郑声”扰乱“雅乐”。
张仲景的道理，极其平正简易，张仲景的门径，人人皆可进入，却被弄得如此闭塞不通，让学习者如同在岔路上夜间行走，没有人指引归宿，难道不可悲吗？
况且，以仅存十分之二三的残缺文章，却称之为全篇；将手足厥冷的“厥”，混同为两阴交尽的“厥”，其中的差错谬误，怎么能列举得完？这就是我拿着书卷长叹，不能不进行注疏的原因。
丙午年秋天，我校正《黄帝内经》刚刚完成，尚未拿出来问世。因为《伤寒论》被世人高度重视，所以我便将张仲景的书进行校正并加以注疏，分篇汇集成论，提纲挈领，详述细目，将证候病因分类聚集，方剂附带其后，倒装句和讹误字全部改正，异端邪说全部辨明。在发挥本论各条之下，阐发岐伯、张仲景的深意，集成一册，命名为《伤寒论注》。我不揣冒昧，敢于向高明之士请教，倘若能得到片言只语的肯定，也能稍微安慰愚者千虑之心罢了。
慈水人柯琴，字韵伯，题于己酉年初夏时节。
I have always said that only those who harbor ten thousand volumes of books in their chests and have not a speck of dust beneath their brushes are qualified to write original works; only those with no speck of dust in their minds and no speck of dust in their eyes are permitted to annotate and comment on ancient texts.
Writing original works is indeed difficult, but annotating and commenting on them is even more so. The authors of ancient works have long passed away. In the meantime, these texts have undergone multiple instances of destruction by war, frequent displacements, several rounds of additions and deletions, and numerous copies and engravings. Consequently, there are errors such as "Hai Shi" (confusion of characters), mixed-forgeries, missing passages, and disordered bamboo slips.
If an annotator has keen insight, the hidden intentions of the ancients will become clear, and stale sentences will be renewed; if the annotator lacks insight, they will either mechanically imitate others or seek out trivial branches, resulting in fish eyes being confused with pearls, and inferior stones surpassing jade.
The *Shanghan Lun* (Treatise on Cold Pathogenic Diseases), after being compiled and arranged by Wang Shuhe, is no longer the original work of Zhang Zhongjing. Many of Zhang Zhongjing's original texts have been lost, while Wang Shuhe has added many apocryphal interpretations. Readers of this book must concentrate their spirits and stabilize their wills. With wisdom and calm observation, they must examine each clause carefully and scrutinize each sentence. They must distinguish what was spoken by Zhang Zhongjing from what was written by Wang Shuhe. Any missing parts, inverted sentences, erroneous characters, or superfluous text must be pointed out one by one, instantly revealing the true face of the author within the language and text. Furthermore, regarding the vertical and horizontal variations in writing style, differences in detail and brevity, meanings conveyed through intertextuality, or similarities drawn through analogy, where one can comprehend the other from this, or perceive the significant from the minute, these must all be highlighted. This allows the spirit of the author to appear beyond the language and text. Only then can one assist Zhang Zhongjing and annotate the *Shanghan Lun*.
Why did previous commentators fail to thoroughly understand Zhang Zhongjing's work from beginning to end and integrate it comprehensively? Instead, they merely elaborated superficially according to the text, leading to contradictions between each other, inability to distinguish black from white, and placing inferior stones alongside beautiful jade, and fish eyes alongside night-shining pearls. Because doubts and辨析 from the past were not clarified, the confusion for subsequent generations became even deeper. What reliance do students have?
For instance, the claim of "three hundred and ninety-seven methods" appears neither in Zhang Zhongjing's preface nor in Wang Shuhe's introductory examples. Lin Yi advocated this view earlier, and Cheng Wuji and Cheng Jiaoqian followed suit later; these claims are unreliable. Wang Andao has already refuted this. Yet, successors continue to pedantically obsess over numbers. Even if they are accurate to the slightest degree, what benefit does this bring to the ancients, and what merit does it offer to future learners?
However, this is still not the greatest burden on this path. What is truly strange is the explanation regarding Da Qing Long Tang (Major Blue Green Dragon Decoction). Zhang Zhongjing established this formula for cold damage or wind strike presenting with no sweating and accompanied by irritability; it is essentially Ma Huang Tang (Ephedra Decoction) with added ingredients. Yet, some claim it treats "cold damage seeing wind," and others call it "wind strike seeing cold." Thus, it is argued that Ma Huang Tang governs cold damaging the Ying (Nutrient) level, treating Ying pathology while Wei (Defensive) remains healthy; Gui Zhi Tang (Cinnamon Twig Decoction) governs wind damaging the Wei level, treating Wei pathology while Ying remains healthy; and Da Qing Long Tang governs both wind and cold damaging Ying and Wei, treating simultaneous pathology of both. These three formulas are partitioned and divided. Regarding Taiyang disease (Disease of the Solar Channel), claiming cold predominates over wind or vice versa, and various superfluous arguments are made to support Da Qing Long Tang, artificially constructing the theory of the "Tripartite Standstill." Such clever words are pleasing to the ear, much like the music of Zheng disrupting the elegant music of Ya.
The Way of Zhang Zhongjing is extremely plain and easy; the gate of Zhang Zhongjing is accessible to everyone. Yet, it has been made so obscure, leaving students wandering like travelers at night on diverging paths without guidance. Is this not deeply pitiable?
Moreover, taking a text that retains only two or three tenths of its original form and calling it a complete chapter; conflating the "Jue" (Cold extremities) of cold limbs with the "Jue" of the exhaustion of two Yin levels—the errors and discrepancies here are countless. This is why I sigh long while holding the scroll and cannot refrain from annotating.
In the autumn of the Bingwu year, my collation of the *Neijing* (Inner Canon) was just completed, and it had not yet been released to the world. Since the *Shanghan Lun* is highly valued by the world, I proceeded to collate and annotate Zhang Zhongjing's work. I divided it into chapters and compiled discussions, extracting the main outline and detailing the sub-items. Symptoms and causes were categorized together, and formulas were attached accordingly. Inverted sentences and erroneous characters were corrected, and heterodox theories were clearly refuted. Beneath each clause of the original text, I expounded upon the hidden intentions of Qibo and Zhang Zhongjing, compiling it into a single volume titled *Lun Zhu* (Annotations on the Treatise). Presuming my own inadequacy, I dare to seek correction from the enlightened. If I receive even a word of approval, it will slightly comfort the thousand reflections of a fool.
Ke Qin, courtesy name Yunbo, from Cishui, inscribed in early summer of the Jiyi year.