一是编乃云洲先生效吴蒙斋《伤寒指掌图》而作。其为赋、为歌、为论，俱因病寻源，辞明义显，兼易
去俚俗之语，高出蒙斋之上，故一遵其式。
一学医必先明天地阴阳之理，人身造化之机，脉病证治有要诀，经络运气有时宜。故于“病机赋”后摘取
岐黄秘旨，先哲格言，汇为一篇，名曰“经论总抄”，使入门者咸知所本。
一临病参方，先记药性，故首卷后即附龚云林之“药性歌”，似为易简。
一旧刻如论有所未发，则参平日所自得而曲尽其根源。或方有所未载，则补先哲所经验，以默襄其延医，
庶几不虚“指掌”之名。
一旧刻每篇细证各画一图，方则另成一集，却不便于检翻。今每篇首列歌、论，次附脉法，脉法后直开各
款，各款后随注成方，例用加减，按以发明，俾学人因脉辨证，缘证施治，无俟旁搜博采之浩繁。
一按旧刻云∶赋者，便初学记诵，略举其概，未详其义。此乃逐一证述一歌，务尽其旨焉。
一歌括少白四句，多至数十句，欲赅病情，无拘长短。
一凡论中引《素问》，则曰经云，引朱、张、刘、李及诸贤之说，则直标姓氏，并足为歌之显证。
一旧本尚阙伤寒一科，盖谓蒙斋有书，便于记诵，然亦间有挂漏。愚僭以陶节庵家秘为主，而以蒙斋歌赋
参焉。窃常苦心于此，名曰∶《续明医指掌》，嗣刻问世。
葑溪邵达识
一是本书的编纂，是云洲先生效法吴蒙斋《伤寒指掌图》而创作的。其中采用的赋、歌、论等形式，都是因病寻源，辞意明白，义理显豁，并且去除了俚俗之语，水平高出吴蒙斋之上，因此完全遵循其体例。
一是学习医学必须先明了天地阴阳的道理，人身造化（生命生成变化）的机理，脉象、病证、治疗有要诀，经络与运气学说有时令适宜性。所以在“病机赋”之后，摘录岐黄（岐伯与黄帝，代指中医经典理论）的秘旨和先哲的格言，汇集成一篇，命名为“经论总抄”，使入门者都知道学习的根本依据。
一是临证参酌方剂时，先需记住药性，所以在第一卷之后附上龚云林的“药性歌”，这似乎更为简易。
一是旧刻本中如果论述有所未发之处，则参考平日所自得的心得来详尽探究其根源。或者如果有方剂未曾记载，则补充先哲所经验的方子，以默默辅助其延请医生治病，这样才不辜负“指掌”之名。
一是旧刻本每篇详细证候各画一图，方剂则另成一集，却不便于检阅翻阅。现在每篇首先列出歌、论，其次附上脉法，脉法之后直接列出各项内容，各项内容之后随即注明成方，体例上采用加减方法，按照条目进行发明阐释，使得学人能够因脉辨证，缘证施治，无需等待旁搜博采的浩繁过程。
一是按旧刻本说：赋，是为了方便初学者记诵，略举其概略，未详述其义理。这里则是逐一证候叙述一首歌，务必穷尽其旨意。
一是歌括少则四句，多至数十句，想要概括病情，不拘泥于长短。
一是凡论中引用《素问》，则称“经云”，引用朱（朱丹溪）、张（张从正）、刘（刘完素）、李（李东垣）及诸贤之说，则直接标明姓氏，并作为歌诀的显著证据。
一是旧本尚缺伤寒一科，大概认为吴蒙斋已有书籍，便于记诵，然而也间或有遗漏。我冒昧地以陶节庵的家传秘本为主，而以吴蒙斋的歌赋参合其中。私下里曾苦心钻研于此，命名为《续明医指掌》，随后刊刻问世。
葑溪邵达识
The compilation of this book was created by Mr. Yunzhou, modeling after Wu Mengzhai's *Shanghan Zhizhang Tu* (Diagram of the Finger and Palm Guide to Cold Damage). The fu (rhapsody), ge (song), and lun (treatise) forms employed all trace diseases to their origins; the language is clear, and the principles are explicit. Vulgar expressions have been removed, elevating the work above that of Mengzhai. Therefore, the format strictly adheres to his model.
To study medicine, one must first understand the principles of Heaven and Earth Yin-Yang (Heaven and Earth Yin-Yang), the mechanisms of human creation (the generation and transformation of life), the essential keys to pulse, disease, syndrome differentiation, and treatment, and the seasonal appropriateness of meridians and Six Qi movements (Six Qi movements). Thus, after the "Bingji Fu" (Rhapsody on Pathogenesis), I have excerpted the secret teachings of Qibo and Huangdi (Qibo and Huangdi, referring to TCM classic theories) and the maxims of ancient sages, compiling them into a single section titled "Jinglun Zongchao" (General Excerpts from Classics and Treatises), so that beginners may know their foundation.
When consulting formulas for clinical cases, one must first memorize herb properties. Therefore, following the first volume, Gong Yunlin's "Yaoxing Ge" (Song of Herb Properties) is appended, which seems to be simpler and easier.
Where the old edition left discussions unelaborated, I have incorporated insights gained through personal reflection to thoroughly explore their roots. Where formulas were not recorded, I have supplemented those experienced by ancient masters, thereby silently assisting in medical practice, so as not to disserve the name "Zhizhang" (Finger and Palm Guide).
In the old edition, each detailed syndrome had its own diagram, while formulas were compiled separately, making them inconvenient to consult. Now, at the beginning of each chapter, songs and treatises are listed first, followed by pulse methods. After the pulse methods, specific items are directly listed, with established formulas annotated thereafter. The format employs modifications and additions, explained item by item, enabling students to differentiate syndromes based on pulses and apply treatments based on syndromes, without needing the extensive process of searching widely elsewhere.
According to the old edition: "Fu" is intended to facilitate memorization for beginners, offering only a general overview without detailed explanation of meanings. Here, however, each syndrome is described in a song, striving to exhaust its meaning fully.
Songs vary from four lines to dozens, aiming to encompass the condition regardless of length.
Whenever the *Suwen* (Plain Questions) is cited in the discussion, it is referred to as "Jing yun" (The Classic says). Citations from Zhu (Zhu Danxi), Zhang (Zhang Congzheng), Liu (Liu Wansu), Li (Li Donggong), and other virtuous scholars are marked directly by surname, serving as explicit evidence for the songs.
The old edition lacked a section on Shanghan (Cold Damage), presumably because Mengzhai already had books suitable for memorization, yet there were occasional omissions. I presumptuously took Tao Jie'an's family secret texts as the main basis, incorporating Mengzhai's songs and rhapsodies. Having devoted myself to this with great care, I named it *Xu Mingyi Zhizhang* (Continuation of the Clear Physician's Finger and Palm Guide), to be published subsequently.
Shao Da of Fengxi records this.