仲景书有浊唾，有涎唾。涎唾，后人或称淡唾。淡言其薄，以别于浊唾也。淡字去 加
即
为痰。《巢源》而下，唾皆称痰，即于唾之不薄者，亦称痰不称唾。如凝唾谓之胶痰，粘唾
谓之腻痰，皆与古书相戾也。第古人名病，必名其所可见，薄唾称淡，有淡可见，若无淡可
见，焉得冒淡之名？因知《金匮》四饮中之痰饮，虽本一作痰，而走于肠间之水，淡不淡尚
未可卜，仲景亦必不凭空名之。淡饮之淡，当为流字之误。走于肠间，正谓其流，与溢字、
悬字、支字，皆是状其水行以为别。水之行象，必得此四者方备。《巢源》论饮，悉本《金
匮》，于四饮独无淡饮，有流饮，所列流饮症状，正即《金匮》之淡饮，隋时《金匮》不误
，巢所据足为的证。《千金翼》配入留饮为五次，改悬饮为 饮，支饮为淡饮，而于肠间动
作有声之饮，亦作流饮，与巢氏合。缘“流”字似淡，传写误之，寻又改为痰，其迹显然。
近有粗知训诂者，谓痰字从炎，病必属火。根据彼论治，岂不大谬信乎？辨之不可不审也！
脉有左右如相低昂者，谓之散，如树叶之动、榆荚之落，（《玉函》聂聂如落榆荚者，
名曰散
也。《八十一难》作厌厌聂聂。根据义当作 ，《广韵》 ，叶动貌； ，树叶动貌。）
物
轻而泛于水，（《素问》秋脉来急去散，故曰浮，又如物之浮，曰肺死，）车行而望其盖，（
《伤寒论》脉蔼蔼如车盖者，名曰阳结也。《八十一难》以为肺平脉。）其象莫不如是，故
历拟之也。左右如相低昂，与数脉相似。其实数之促急，以径言，散之低昂，以横言；数之
促急起线，散之仰昂不起线∶大不相同，故言如数。（《素问》冬脉其去如数，正谓散也。
示从容肝急沉散似肾。）又如物之浮，是散之粘着而兼实者；如车之盖，是散之有力而兼大
者。（《素问》如物之浮，如风吹毛。成注《伤寒论》蔼蔼如车盖者，大而厌厌聂聂也。）故
一为肺死脉，一为阳结脉，皆非散之正。故仲景以如落榆荚为正。又惟散之低昂以横言，故
紧脉亦兼散象。（王注《素·示从容》急紧而散曰肝。）惟散之低昂不起线，故洪脉亦沿散名
。（《八十一难》浮而大散者心也。）引而申之，触类而长之，天下之能事毕矣。
张仲景的著作中有“浊唾”和“涎唾”之分。所谓涎唾，后世有时称为“淡唾”。“淡”字形容其稀薄，用以区别于浊唾。“淡”字去掉三点水（氵）即为“痰”。从《诸病源候论》（巢元方著）以下，所有的唾都称为痰，即使是那些不稀薄的唾，也称之为痰而不称唾。例如将凝固的唾称为胶痰，粘稠的唾称为腻痰，这些都与古书相违背。只是古人命名疾病，必定要描述其可见的特征，稀薄的唾称为淡，是因为有“淡”这一特征可见；如果没有“淡”的特征可见，怎么能冠以“淡”的名号呢？因此可知，《金匮要略》中四饮之一的“痰饮”，虽然原本有的版本写作“淡”，但其中流动于肠间的水液，是稀是稠尚不可知，张仲景也不会凭空命名。这里的“淡饮”之“淡”，应当是“流”字的误写。流动于肠间，正是指其“流”动之态，这与溢饮、悬饮、支饮一样，都是用水运行的状态来加以区分。水的运行形态，必须得到这四个字才完备。《诸病源候论》论述饮证，完全依据《金匮要略》，但在四饮中唯独没有“淡饮”，而有“流饮”，所列出的流饮症状，正好就是《金匮要略》中的淡饮，隋代的《金匮要略》原文无误，巢元方的记载足以作为确凿的证据。《千金翼方》将留饮配入分为五次，改悬饮为“湮”饮，改支饮为“淡”饮，而对于肠间动作有声的饮证，也作“流”饮，这与巢氏的观点相符。因为“流”字形似“淡”字，在传抄中发生错误，后来又被改为“痰”，其痕迹非常明显。近来有些粗通文字训诂的人，认为“痰”字从“炎”旁，病必然属于火。如果根据他们的理论来治疗，岂不是大错特错吗？对此进行辨析是不可不审慎的！
脉象左右起伏如互相高低对应者，称为“散脉”，就像树叶摇动、榆荚飘落的样子。（《玉函经》中说：“聂聂然如落榆荚者，名为散脉。”《难经·八十一难》作“厌厌聂聂”。根据文义应当作“萋萋”，《广韵》中解释为：萋萋，树叶摇动的样子；萋萋，树叶晃动的样子。）就像物体轻而漂浮在水面上，（《素问》中说秋脉来时急去时散，所以叫浮脉，又如物体漂浮，称为肺死脉。）又像乘车远望车盖，（《伤寒论》中说脉象蔼蔼然像车盖一样，名为阳结脉。《难经·八十一难》认为这是肺平脉。）其形象无不是这样的，所以逐一用这些事物来比拟它。左右如互相高低起伏，与数脉相似。其实数脉的促急，是从纵向上说的，散脉的高低起伏，是从横向上说的；数脉的促急呈直线上升，散脉的高低起伏不成直线：大不相同，所以说它像数脉。（《素问》说冬脉去的时候像数脉，正是指散脉。示从容篇中提到肝急沉散类似肾脉。）又如同物体漂浮，这是散脉中粘着而兼有实邪的表现；像车盖一样，这是散脉中有力而兼大的表现。（《素问》说如物体漂浮，如风吹毛。成无己注《伤寒论》说蔼蔼然像车盖，是大而厌厌聂聂的样子。）所以一个是肺死脉，一个是阳结脉，都不是散脉的正象。因此张仲景以像榆荚飘落为正象。又因为只有散脉的高低起伏是从横向来说的，所以紧脉也兼有散脉的形象。（王冰注《素问·示从容》篇说：急紧而散叫做肝脉。）只有散脉的高低起伏不成直线，所以洪脉也沿用了散的名称。（《难经·八十一难》说：浮而大散的是心脉。）引申开来，触类旁通，天下的医理就完备了。
In Zhang Zhongjing's writings, there is a distinction between "turbid saliva" (zhuo tuo) and "thin saliva" (xian tuo). The term "thin saliva" is sometimes referred to by later authors as "dan tuo" (light/thin saliva). The character "dan" describes its thinness, used to distinguish it from turbid saliva. Removing the water radical (氵) from the character "dan" yields the character for "phlegm" (tan). From *Zhubing Yuanhou Lun* (General Treatise on the Causes and Symptoms of All Diseases) by Chao Yuanfang onwards, all forms of saliva were termed "phlegm," even those that were not thin; they were called phlegm rather than saliva. For instance, coagulated saliva was called "glutinous phlegm" (jiao tan), and sticky saliva was called "greasy phlegm" (ni tan); both contradict ancient texts. However, ancients named diseases based on visible characteristics. Thin saliva is called "dan" because the quality of being "thin/light" is visible. If there is no visible "thinness," how can it be named "dan"? Therefore, it can be inferred that in the *Jingui Yaolue* (Essential Prescriptions of the Golden Cabinet), among the Four Types of Fluid Retention (Si Yin), the "Tan Yin" (Phlegm-Fluid), although some versions write it as "Dan Yin," refers to water flowing in the intestines. Whether this fluid is thin or thick is uncertain, yet Zhang Zhongjing would not have named it arbitrarily. The "Dan" in "Dan Yin" should be a scribal error for "Liu" (Flow). Flowing in the intestines precisely denotes its "flowing" nature. This parallels "Yi Yin" (Overflowing Fluid), "Xuan Yin" (Hanging Fluid), and "Zhi Yin" (Supporting Fluid), all of which differentiate fluid retention by the manner of water movement. The imagery of water movement requires these four terms to be complete. *Zhubing Yuanhou Lun* discusses fluid retention entirely based on *Jingui Yaolue*, but among the Four Types, it lacks "Dan Yin" and instead lists "Liu Yin." The symptoms listed for Liu Yin correspond exactly to the Dan Yin in *Jingui Yaolue*. The Sui dynasty version of *Jingui Yaolue* was correct; thus, Chao Yuanfang's account serves as definitive evidence. *Qianjin Yifang* incorporated Liú Yin into five categories, changed Xuan Yin to "Yan Yin," and Zhi Yin to "Dan Yin," while also describing fluid with audible movement in the intestines as "Liu Yin," aligning with Chao's view. Since the character "Liu" resembles "Dan," a transcription error occurred, which was subsequently altered to "Tan" (Phlegm), leaving obvious traces. Recently, some who superficially understand philology argue that since the character "Tan" contains the radical "Yan" (flame), the disease must belong to Fire. Treating according to such theory would be a grave error. Such distinctions must be examined with utmost care!
A pulse that rises and falls alternately on the left and right sides is called the "Scattered Pulse" (San Mai), resembling the motion of leaves or the falling of elm seeds. (*Yuyan Jing* states: "Rustling like falling elm seeds is named Scattered Pulse." *Nan Jing·81st Difficulty* writes "Yan Yan Nie Nie." Based on meaning, it should be "Qi Qi"; *Guang Yun* defines Qi Qi as the appearance of moving leaves.) It is like a light object floating on water (*Su Wen* states: "The Autumn pulse comes rapid and goes scattered, hence it is called Floating; similarly, like an object floating, it indicates Death of the Lung."), or like looking at a carriage canopy from afar (*Shanghan Lun* states: "A pulse vast and grand like a carriage canopy is named Yang Jie (Yang Knot)." *Nan Jing·81st Difficulty* considers this the normal pulse of the Lung.). The imagery is none other than these, hence the various analogies are employed. Alternating rise and fall resembles the Rapid Pulse (Shu Mai). However, the urgency of the Rapid Pulse is described longitudinally, whereas the rise and fall of the Scattered Pulse is described transversely; the Rapid Pulse's urgency forms a straight line, while the Scattered Pulse's undulation does not form a straight line—they are vastly different, hence it is said to resemble the Rapid Pulse. (*Su Wen* states: "The Winter pulse departs like a Rapid pulse," which precisely refers to the Scattered Pulse. The *Shi Cong Rong* chapter notes that Liver Stagnation with Deep Scattered pulse resembles Kidney pulse.) Furthermore, "like an object floating" refers to a Scattered Pulse that is adherent and combined with Excess; "like a carriage canopy" refers to a Scattered Pulse that is forceful and combined with Bigness. (*Su Wen* mentions "like an object floating, like wind blowing feathers." Cheng Wuji's commentary on *Shanghan Lun* explains "vast and grand like a carriage canopy" as large and rustling/weak.) Thus, one is the Pulse of Death of the Lung, and the other is the Pulse of Yang Jie; neither is the true image of the Scattered Pulse. Therefore, Zhang Zhongjing takes "falling like elm seeds" as the standard image. Moreover, since only the Scattered Pulse's rise and fall is described transversely, the Tight Pulse (Jin Mai) also shares the image of the Scattered Pulse. (Wang Bing's commentary on *Su Wen·Shi Cong Rong*: "Urgent, tight, and scattered is the Liver pulse.") Only because the Scattered Pulse's rise and fall does not form a straight line does the Surging Pulse (Hong Mai) also bear the name "Scattered." (*Nan Jing·81st Difficulty*: "Floating, large, and scattered is the Heart.") Extending these principles and applying them by analogy, the mastery of medical arts is complete.