人身经脉十二。回环之道。有升有降。阴阳不同。言脉度者。左右男女不同。此人
道也。本输皆出于四末（一）。阳受气于四末。积阳为天。天之在我者。德也。阳为之
主。阴为之辅。名为经正。手足三阳为主。手足三阴辅之。三阴合三阳。名为六合。皆
至外而内。不同于经脉脉度之常道。故篇名经别。盖五脏六腑之经脉离合出入。合于天之
道也。故本输各脏腑之穴为合。盖指井本乎天气。入肘膝四关（一）。乃合于人身脏腑
之气。自内而外。偏重五脏真机。自外而内。禀受六元正纪。此人之合于天道也。
手三阴合手三阳。足三阴合足三阳。十二正凡六合。详见经别篇。
渔翁 （咏手太阴肺五 穴）
少商湖海一渔翁。鱼际大渊任转篷。漫道经渠不可测。还教尺泽起蛟龙。
夜色 （咏手阳明大肠六 穴）
商阳茆屋二三间。合谷阳溪第几弯。九曲池边云影淡。满天星斗浴波澜。
秋风 （咏足阳明胃六 穴）
秋风厉兑内庭西。陷谷冲阳过解溪。三里未知何日到。几番翘首欲思齐。
野寺 （咏足太阴脾五 穴）
隐白云中一老僧。大都离俗少人憎。几回太白商丘过。汲饮阴陵泉几升。
班师 （咏手少阴心五 穴）
少冲少府把师班。兵马神门得胜还。灵道战书前日发。而今少海已归山。
观涨 （咏手太阳小肠六 穴）
浮萍少泽任东西。前谷渊源绕后溪。腕骨又通阳谷涧。交流小海欲倾 。
茅亭 （咏足太阳膀胱六 穴）
茅亭结起至阴边。通谷浮云四望烟。束骨近同京骨峙。昆仑遥与委中连。
远眺 （咏足少阴肾五 穴）
秋高间眺涌泉边。然谷太溪豁眼帘。复溜一帆阴谷去。江山览胜碧连天。
秋雁 （咏手厥阴心包络五 穴）
中冲孤雁彻云霄。几度劳宫破寂寥。转过大陵来间使。深渊曲泽莫招摇。
咏蝶 （咏手少阳三焦六 穴）
关冲桃李液门裁。中渚阳池次第开。花落支沟香满涧。一天井字蝶飞来。
别恨 （咏足少阳胆六 穴）
窍阴别后恨相牵。几侠溪临泣杜鹃。怀抱丘墟情未毕。烦君阳辅寄陵泉。
春游 （咏足厥阴肝五 穴）
云霞烟锁大敦峰。忘却行间转太冲。坐望中封无路入。曲泉流水听淙淙。
按∶此明万厉梁大川题李南丰医学入门之作。仙与任君应秋讨论之。润色之。附之篇末。以博当代儒而医者一粲。
人体的十二经脉，其循环运行的道路，有上升也有下降，阴阳属性各不相同。谈论脉度的长短时，左右两侧以及男女之间是有差异的，这是符合人体生理规律的道理。
本输穴都出于四肢末端（一）。阳气在四肢末端受纳，积聚的阳气如同天，天赋予我们的称为“德”。阳气作为主导，阴气作为辅助，这被称为“经正”。手三阳经和足三阳经为主导，手三阴经和足三阴经为辅佐。三阴经与三阳经相合，称为“六合”。这些经脉都是走向由外向内，不同于十二正经脉度运行的常规道路，所以该篇名为《经别》。大概是因为五脏六腑的经脉离合出入，是契合于天道规律的。所以本输穴与各脏腑的穴位相合，大概是指井穴本乎天气，进入肘膝四关（一），于是与人身脏腑之气相合。从内向外，偏重于五脏的真机；从外向内，禀受六元正纪。这是人契合于天道的表现。
手三阴经合入手三阳经，足三阴经合入足三阳经，十二正经总共形成六合，详细内容详见《经别》篇。
渔翁（咏手太阴肺经五穴）
少商穴如湖海中一位老渔翁。鱼际、大渊二穴任凭风浪转篷般变化。莫说经渠穴深不可测，还要看尺泽穴兴起蛟龙。
夜色（咏手阳明大肠经六穴）
商阳穴像茅屋二三间。合谷、阳溪穴蜿蜒在第几弯？九曲池边云影淡薄，满天星斗沐浴在波澜之中。
秋风（咏足阳明胃经六穴）
秋风中厉兑、内庭穴位于西方。陷谷、冲阳穴经过解溪穴。三里穴不知何时能到，几次抬头翘望想要思齐。
野寺（咏足太阴脾经五穴）
隐白云中的一位老僧。大都穴远离世俗少有人憎恶。几次经过太白、商丘穴，汲取饮用阴陵泉的水有多少升？
班师（咏手少阴心经五穴）
少冲、少府穴把军队带回。兵马神门穴得胜归来。灵道穴的战书前日发出，而今少海穴已归山。
观涨（咏手太阳小肠经六穴）
浮萍般的少泽穴任凭东西漂流。前谷穴渊源环绕后溪穴。腕骨穴又通向阳谷涧，交流小海穴欲倾泻水流。
茅亭（咏足太阳膀胱经六穴）
茅亭建起在至阴穴旁边。通谷穴浮云四望烟雾缭绕。束骨穴近同京骨穴对峙。昆仑穴遥远地与委中穴相连。
远眺（咏足少阴肾经五穴）
秋高气爽时在涌泉穴边远眺。然谷、太溪穴豁然映入眼帘。复溜穴如一帆船向阴谷穴驶去，江山览胜碧绿连天。
秋雁（咏手厥阴心包络五穴）
中冲穴如孤雁响彻云霄。几度劳宫穴打破寂寥。转过大陵穴来到间使穴，深渊曲泽穴不要招摇。
咏蝶（咏手少阳三焦经六穴）
关冲穴旁的桃李如液门穴剪裁而成。中渚、阳池穴次第开放。花落支沟穴香满山涧，一天井字形的蝴蝶飞来。
别恨（咏足少阳胆经六穴）
窍阴穴分别后恨意牵连。几侠溪、临泣穴如杜鹃啼血。怀抱丘墟穴情意未尽，烦请阳辅穴寄信给陵泉穴。
春游（咏足厥阴肝经五穴）
云霞烟雾锁住大敦峰。忘却行间穴转而到达太冲穴。坐望中封穴无路可入，曲泉穴流水听淙淙之声。
按：这是明代万历年间梁大川题写在李南丰《医学入门》上的作品。吴棹仙与任应秋君讨论并润色此诗，附于篇末，以博得当代儒医一笑。
The twelve meridians of the human body have a circular path of circulation, with ascending and descending movements, and their yin and yang attributes differ. When discussing meridian lengths (maidu), there are differences between the left and right sides, as well as between men and women; this is the principle of human physiology.
The Ben Shu (Primary Transport) acupoints all emerge from the four extremities. Yang Qi receives its nourishment at the four extremities; accumulated Yang Qi constitutes Heaven. What Heaven endows upon us is called "De" (Virtue/Power). Yang acts as the master, and Yin serves as the assistant; this is referred to as "Jing Zheng" (Correct Meridians). The three Yang meridians of the hand and foot act as the masters, while the three Yin meridians of the hand and foot serve as assistants. The combination of the three Yin and three Yang meridians is called the "Six Combinations" (Liu He). These meridians travel from the exterior to the interior, differing from the regular pathways of the twelve primary meridians; hence, this chapter is titled "Jing Bie" (Divergent Meridians). This is because the joining, separating, entering, and exiting of the meridians of the five Zang organs and six Fu organs align with the Way of Heaven. Therefore, the Ben Shu acupoints correspond to the acupoints of each Zang and Fu organ. It is generally understood that the Jing-Well acupoints originate from Heavenly Qi, and upon entering the Four Passes of the elbows and knees, they combine with the Qi of the human body's Zang and Fu organs. Moving from the interior to the exterior, emphasis is placed on the true mechanism of the five Zang organs; moving from the exterior to the interior, one receives the Six Yuan Zheng Ji (Six Primary Ordinances). This represents humanity's alignment with the Way of Heaven.
The three Yin meridians of the hand combine with the three Yang meridians of the hand, and the three Yin meridians of the foot combine with the three Yang meridians of the foot. The twelve primary meridians form a total of six combinations. For detailed information, see the chapter on Divergent Meridians.
Fisherman (Ode to the Five Acupoints of the Hand-Taiyin Lung Meridian)
Shao Shang (LU-11) is like an old fisherman in the lakes and seas. Yu Ji (LU-10) and Da Yuan (LU-4) allow the sail to turn with the wind. Do not say that Jing Qu (LU-8) is unfathomable; it is still up to Chi Ze (LU-5) to raise the dragon.
Night Color (Ode to the Six Acupoints of the Hand-Yangming Large Intestine Meridian)
Shang Yang (LI-1) resembles two or thatched cottages. He Gu (LI-4) and Yang Xi (LI-5) curve around which bend? By the Nine-Bend Pool, cloud shadows are faint; the sky full of stars bathes in the waves.
Autumn Wind (Ode to the Six Acupoints of the Foot-Yangming Stomach Meridian)
In the autumn wind, Li Dui (ST-45) and Nei Ting (ST-44) lie to the west. Xian Gu (ST-43) and Chong Yang (ST-42) pass through Jie Xi (ST-41). Who knows when San Li (ST-36) will arrive? Several times raising my head, I long to emulate him.
Wild Temple (Ode to the Five Acupoints of the Foot-Taiyin Spleen Meridian)
An old monk hides among the white clouds. Da Du (SP-20) is detached from the secular world and rarely hated. Several times passing Tai Bai (SP-9) and Shang Qiu (SP-5), how many sheng of water have I drawn from Yin Ling Quan (SP-9)? *Note: Text implies drawing from Yin Ling Quan, though Tai Bai/Shang Qiu are mentioned in transit.*
Returning Troops (Ode to the Five Acupoints of the Hand-Shaoyin Heart Meridian)
Shao Chong (HT-9) and Shao Fu (HT-8) lead the troops back. The army returns victorious via Shen Men (HT-7). The battle letter was sent from Ling Dao (HT-4) the day before yesterday; now Shao Hai (HT-3) has returned to the mountain.
Observing the Rising Tide (Ode to the Six Acupoints of the Hand-Taiyang Small Intestine Meridian)
Like duckweed, Shao Ze (SI-1) drifts east or west. The source of Qian Gu (SI-2) winds around Hou Xi (SI-3). Wan Gu (SI-4) connects to the Yang Gu stream; exchanging flow, Xiao Hai (SI-8) threatens to pour out.
Thatched Pavilion (Ode to the Six Acupoints of the Foot-Taiyang Bladder Meridian)
A thatched pavilion is built near Zhi Yin (BL-67). Tong Gu (BL-66) sees floating clouds and smoke in all directions. Shu Gu (BL-65) stands tall like Jing Gu (BL-64). Kun Lun (BL-60) is far connected to Wei Zhong (BL-40).
Gazing into the Distance (Ode to the Five Acupoints of the Foot-Shaoyin Kidney Meridian)
High in autumn, gazing by Yong Quan (KI-1). Ran Gu (KI-2) and Tai Xi (KI-3) suddenly come into view. Fu Liu (KI-7) sails away toward Yin Gu (KI-10); viewing the beautiful rivers and mountains, green stretches to the sky.
Autumn Wild Geese (Ode to the Five Acupoints of the Hand-Jueyin Pericardium Meridian)
Zhong Chong (PC-9) is a lone goose piercing the clouds. How many times has Lao Gong (PC-8) broken the loneliness? Turning past Da Ling (PC-7) to arrive at Jian Shi (PC-5), may the deep abyss of Qu Ze (PC-3) not be ostentatious.
Ode to Butterflies (Ode to the Six Acupoints of the Hand-Shaoyang Sanjiao Meridian)
Guan Chong (TE-1) and Tao Li are trimmed by Ye Men (TE-2). Zhong Zhu (TE-3) and Yang Chi (TE-4) bloom in order. Flowers fall, Branch Gou (TE-6) fills the ravine with fragrance; a butterfly shaped like the character 'Jing' flies in from the sky.
Parting Regret (Ode to the Six Acupoints of the Foot-Shaoyang Gallbladder Meridian)
After parting at Qiao Yin (GB-46), regret remains linked. At Xia Xi (GB-43) and Lin Qi (GB-7), the cuckoo cries. Holding Qiu Xu (GB-40), feelings are unfinished; please let Yang Fu (GB-38) send word to Ling Quan. *Note: Ling Quan likely refers to a poetic imagery or specific point context not standardly paired here, possibly referring to Yin Ling Quan or similar, but text says Ling Quan.*
Spring Outing (Ode to the Five Acupoints of the Foot-Jueyin Liver Meridian)
Clouds and mist lock the peak of Da Dun (LR-1). Forgetting Xing Jian (LR-2), one turns to Tai Chong (LR-3). Sitting and gazing at Zhong Feng (LR-4), no path enters; listening to the murmuring water of Qu Quan (LR-8).
Note: This poem was inscribed by Liang Dachuan of the Wanli era of the Ming Dynasty on Li Nanfeng's "Introduction to Medical Knowledge". Wu Zhaoxian discussed and polished it with Mr. Ren Yingqiu, attaching it to the end of the chapter to amuse contemporary Confucian scholars who are also physicians.