晦庵朱子曰∶古人察脉非一道，今世惟守寸关尺之法。所谓关者多不明，独俗传脉诀，词最鄙浅，非
叔和本书，乃能直指高骨为关。然世之高医，以其书赝，遂委弃而羞言之。（跋郭长阳书）
东阳柳贯曰∶王叔和撰脉经十卷，为医家一经，今脉诀熟在人口，直谓叔和所作，不知叔和西晋时尚
未有歌括，此乃宋之中世人伪托，以便习肄尔。朱子取其高骨为关之说，不知其正出脉经也。
庐陵谢缙翁曰∶今称叔和脉诀，不知起于何时，宋熙宁初，校正脉经，尚未有此，除孔硕始言脉诀出
而脉经隐，则脉诀乃熙宁以后人作耳。惟陈无择三因方，言高阳生剽窃作歌诀，刘元宾从而和之，其说似
深知脉经者，而又自着七表八里九道之名，则陈氏亦未尝详读脉经矣。
河东王世相曰∶诊候之法不易精也。轩岐微蕴，越人、叔和撰难经、脉经，犹未尽泄其奥，五代高阳
生着脉诀，假叔和之名，语多 牾，辞语鄙俚，又被俗学妄注，世医家传户诵，茫然无所下手，不过借此
求食而已，于诊视何益哉。
云间钱溥曰∶晋太医令王叔和着脉经，其言可守而不可变。及托叔和脉诀行，而医经之理遂微。盖叔
和为世所信重，故假其名而得行耳。然医道之日浅，未必不由此而误之也。
金陵戴起宗曰∶脉不可以表里定名也。轩岐、越人、叔和皆不言表里，脉诀窃叔和之名，而立七表八
里九道，为世大惑。脉之变化从阴阳生，但可以阴阳对待而言，各从其类，岂可以一浮二沉为定序，而分
七、八、九之名乎？大抵因浮而见者皆为表，因沉而见者皆为里，何拘于七、八、九哉？庐山刘立之以浮
沉迟数为纲，以教学人，虽似快捷方式，然必博学反约，然后能入脉妙，若以此自足，亦画矣。
撄宁滑寿曰∶脉之阴阳表里，以对待而为名象也。高阳生之七表、八里、九道，盖凿凿也，求脉之明，
为脉之晦。
谢氏曰∶脉经论脉二十四种，初无表里九道之目，其言芤脉，云中央空两边实，云芤则为阴。而脉诀以
芤为七表属阳。云中间有，两头无。仲景脉法云，浮、大、数、动、滑为阳，沉、涩、弱、弦、微为阴，而
脉诀以动为阴，以弦为阳。似此背误颇多，则脉诀非叔和书，可推矣。
草庐吴澄曰∶俗误以脉诀为脉经，而王氏脉经，知者或鲜，脉书往往混牢、革为一，夫牢为寒实，革
为虚寒，安可混乎？脉之浮沉、虚实、紧缓、数迟、滑涩、长短之相反，匹配自不容易，况有难辨，如∶
洪、散俱大，而洪有力，微、细俱小，而微无力；芤类浮，而边有中无，伏类沉，而边无中有；若豆粒而
摇摇不定者动也，若鼓皮而如如不动者革也，俱对待也。又有促、结、代，皆有止之脉，促疾，结缓，故
可为对，代则无对。总之凡二十七脉，不止于七表、八里、九道，二十四脉也。（详文集）
濒湖李时珍曰∶脉经论脉，止有二十四种，无长短二脉，脉诀歌脉，亦有二十四种，增长短而去数散，
皆非也。素、难、仲景论脉，只别阴阳，初无定数。如∶素问之鼓抟、喘横，仲景之 平、荣章、纲损、
纵横、逆顺之类是也。后世脉之精微失传，无所根据准，因立名而为之归着耳。今之学人，按图索骥，犹若
望洋，而况举其全旨乎？此草庐公说，独得要领也。
朱晦庵先生说：古人诊察脉象的方法不止一种，如今世人只拘守寸、关、尺三部的诊法。所谓“关”的位置，大多人不明白，唯独民间流传的《脉诀》，文辞最为粗浅鄙陋，并非王叔和的原著，却是它明确指出了以高骨（桡骨茎突）作为关部的位置。然而世间的名医们，因为这本书是伪作，于是将其抛弃并羞于提及。（跋郭长阳书）
东阳柳贯说：王叔和撰写了《脉经》十卷，成为医家的经典著作。如今《脉诀》熟记在人口中，人们直接称它是王叔和所作，却不知道王叔和处于西晋时代，当时还没有歌诀这种体裁，这乃是宋代中期的人伪造托名，为了方便学习背诵罢了。朱子采纳了他关于以高骨为关的说法，却不知道这一说法正是出自《脉经》。
庐陵谢缙翁说：如今所称的王叔和《脉诀》，不知道起源于何时。宋神宗熙宁初年，校正《脉经》时，还没有这本书。直到孔硕才开始谈论《脉诀》出现而《脉经》隐没，那么《脉诀》就是熙宁年以后的人所作罢了。只有陈无择在《三因方》中说，是高阳生剽窃（《脉经》内容）写成歌诀，刘元宾又跟着附和，这种说法似乎很了解《脉经》，但他又自己创立了“七表、八里、九道”的名称，那么陈氏也未曾详细阅读过《脉经》啊。
河东王世相说：诊察脉候的方法不容易精通。黄帝、岐伯深奥的理论，以及扁鹊（越人）、王叔和撰写的《难经》、《脉经》，都未能完全揭示其中的奥秘。五代时期的高阳生编写《脉诀》，假借王叔和的名义，言语多有矛盾，文辞鄙俗粗野，又被世俗学者胡乱加注，导致世间的医生家传户诵，却茫然不知从何下手，不过是借此谋生而已，对临床诊视有什么益处呢？
云间钱溥说：晋代太医令王叔和撰写《脉经》，其言论值得坚守而不能随意更改。等到托名王叔和的《脉诀》流行后，医学经典的道理就逐渐衰微了。大概是因为王叔和被世人所信任和尊重，所以假借他的名字才能通行于世。然而医道的日益浅薄，未必不是由此造成的误导。
金陵戴起宗说：脉象不可以用表、里来定名。黄帝、岐伯、扁鹊、王叔和都不曾言及表里，《脉诀》窃取王叔和的名声，而立出“七表、八里、九道”，造成世人的极大困惑。脉的变化源于阴阳，只能从阴阳相对的角度来说明，各自归类，怎么能以浮、沉为固定顺序，并划分出七、八、九的名称呢？大抵因浮而显现的脉象都属于表，因沉而显现的脉象都属于里，何必拘泥于七、八、九的分类呢？庐山刘立之将浮、沉、迟、数作为纲领来教导后人，虽然看似快捷，但必须博学而后返归简约，然后才能进入脉学的精妙境界，如果以此自满，也就画地为牢了。
撄宁滑寿说：脉的阴、阳、表、里，是以相对关系来命名象意的。高阳生的“七表、八里、九道”，大概是穿凿附会的，本意是想让脉理明晰，结果反而使脉理更加晦涩不明。
谢氏说：《脉经》论述脉象有二十四种，起初并没有表、里、九道的目次。书中论及芤脉（Kou Mai, Cuspidate Pulse），说“中央空两边实”，又说“芤则属阴”。而《脉诀》将芤脉归为七表属阳，说“中间有，两头无”。张仲景的脉法说：“浮、大、数、动、滑为阳，沉、涩、弱、弦、微为阴”，而《脉诀》却将动脉归为阴，将弦脉归为阳。像这样背谬错误很多，那么《脉诀》不是王叔和的书，就可以推断了。
草庐吴澄说：世俗错误地将《脉诀》当作《脉经》，而知道王氏《脉经》的人或许很少。脉书往往混淆牢脉与革脉，牢脉主寒实，革脉主虚寒，怎么可以混淆呢？脉象的浮沉、虚实、紧缓、数迟、滑涩、长短等相反的特征，匹配起来本来就不容易，何况有难以辨别的，如：洪脉（Hong Mai, Surging Pulse）与散脉俱大，但洪脉有力，微脉（Wei Mai, Minute Pulse）与细脉俱小，但微脉无力；芤脉类似浮脉，但边有中无；伏脉（Fu Mai, Deeply Impounded Pulse）类似沉脉，但边无中有；像豆粒一样摇摇不定的脉象是动脉（Dong Mai, Pulsating Pulse），像鼓皮一样如如不动的脉象是革脉（Ge Mai, Drum-taut Pulse），这些都是相对的。又有促脉（Cu Mai, Intermittent Rapid Pulse）、结脉（Jie Mai, Intermittent Slow Pulse）、代脉（Dai Mai, Intermittent Regular Pulse），都是有止歇的脉象，促脉疾速，结脉迟缓，所以可以相对，代脉则没有对应的脉象。总之凡二十七种脉象，并不止于七表、八里、九道或二十四脉。（详见文集）
濒湖李时珍说：《脉经》论述脉象，只有二十四种，没有长、短二脉；《脉诀》歌咏脉象，也有二十四种，增加了长、短而去掉了数、散，都是不对的。《素问》、《难经》、张仲景论述脉象，只辨别阴阳，起初没有固定的数量。如《素问》中的鼓抟、喘横，张仲景中的平、荣章、纲损、纵横、逆顺之类就是证明。后世脉学的精微之处失传，无所依据标准，于是创立名称并加以归类罢了。现在的学医者，按图索骥，尚且感到迷茫如同望洋兴叹，更何况要掌握其全部宗旨呢？这是草庐公（吴澄）的说法，独得要领。
Mr. Zhu Xi (Hui'an) stated: The ancients employed various methods to inspect the pulse, whereas modern practitioners adhere solely to the method of the Cun, Guan, and Chi positions. The location of the "Guan" is often misunderstood; only the popularly circulated *Mai Jue* (Pulse Manual), despite its crude and shallow language, explicitly identifies the high bone (radial styloid process) as the Guan position. However, eminent physicians of the time, recognizing the book as a forgery, discarded it and shied away from mentioning it. (Postscript on Guo Changyang's Book)
Liu Guan from Dongyang stated: Wang Shuhe authored the *Mai Jing* (Classic of Pulse Diagnosis) in ten volumes, which became a classic for medical practitioners. Today, the *Mai Jue* is widely memorized, and people directly attribute it to Wang Shuhe. They fail to realize that during Wang Shuhe's time in the Western Jin Dynasty, verse formulas did not yet exist. This work was forged by someone in the mid-Song Dynasty to facilitate learning and recitation. Mr. Zhu adopted the theory of using the high bone as the Guan, unaware that this concept actually originates from the *Mai Jing*.
Xie Jinweng from Luling stated: It is unknown when the so-called Wang Shuhe *Mai Jue* originated. In the early Xining era of the Song Dynasty, when the *Mai Jing* was collated, this book had not yet appeared. It was only after Kong Shuo began discussing the emergence of the *Mai Jue* and the obscurity of the *Mai Jing* that it became clear the *Mai Jue* was composed by someone after the Xining era. Only Chen Wuyi, in his *San Yin Fang* (Formulas of Three Causes), claimed that Gao Yangsheng plagiarized content to create verse formulas, and Liu Yuanbin followed suit. While this view seems to demonstrate a deep understanding of the *Mai Jing*, Chen himself coined the terms "Seven Superficial, Eight Interior, Nine Unusual," indicating that he had not studied the *Mai Jing* in detail.
Wang Shixiang from Hedong stated: Mastering the art of pulse diagnosis is not easy. The profound theories of Huangdi and Qibo, as well as the *Nan Jing* (Classic of Difficult Issues) and *Mai Jing* compiled by Bian Que (Yueren) and Wang Shuhe, did not fully reveal their mysteries. Gao Yangsheng of the Five Dynasties period wrote the *Mai Jue*, falsely attributing it to Wang Shuhe. Its language is contradictory and vulgar, and it has been annotated with erroneous comments by secular scholars. Although passed down through generations and recited by households, doctors are bewildered and do not know where to begin. It serves merely as a means of livelihood and offers no benefit to clinical diagnosis.
Qian Pu from Yunjian stated: Wang Shuhe, Grand Imperial Physician of the Jin Dynasty, authored the *Mai Jing*, whose principles should be upheld and not altered arbitrarily. However, once the *Mai Jue*, falsely attributed to Wang Shuhe, gained popularity, the principles of medical classics gradually declined. This occurred because Wang Shuhe was highly trusted by the world, allowing works bearing his name to circulate. Nevertheless, the gradual superficiality of medical practice may well have been misled by this.
Dai Qizong from Jinling stated: Pulse qualities cannot be defined by "Superficial" (Biao) and "Interior" (Li). Huangdi, Qibo, Yueren, and Wang Shuke never discussed Biao and Li. The *Mai Jue* stole Wang Shuhe's reputation by establishing the categories of "Seven Superficial, Eight Interior, and Nine Unusual," causing great confusion. Pulse variations arise from Yin and Yang; they can only be described through Yin-Yang opposition and categorized accordingly. How can one fix an order based on Floating and Sinking and divide them into names of seven, eight, and nine? Generally, pulses revealed by floating belong to the Exterior, and those revealed by sinking belong to the Interior. Why restrict oneself to the categories of seven, eight, and nine? Liu Lizhi of Mount Lu used Floating, Sinking, Slow, and Rapid as guidelines to teach students. While this may seem like a shortcut, one must study extensively and then return to simplicity to enter the subtleties of pulse diagnosis. If one becomes complacent with this, one limits oneself.
Hua Shou (Yingning) stated: The Yin, Yang, Biao, and Li of the pulse are named based on opposing relationships. Gao Yangsheng's "Seven Superficial, Eight Interior, Nine Unusual" are likely forced interpretations. Seeking clarity in pulse diagnosis, he instead made the pulse principles more obscure.
Mr. Xie stated: The *Mai Jing* discusses twenty-four types of pulses, initially without categories of Biao, Li, or Nine Unusual. Regarding the Kou Mai (Cuspidate Pulse), it states, "Empty in the center, solid on both sides," and "Kou indicates Yin." However, the *Mai Jue* classifies Kou under Seven Superficial (Yang), stating, "Present in the middle, absent at the ends." Zhang Zhongjing's pulse law states, "Floating, Large, Rapid, Pulsating, and Slippery are Yang; Deep, Choppy, Weak, String-taut, and Minute are Yin." Yet the *Mai Jue* classifies Pulsating as Yin and String-taut as Yang. Given such numerous errors, it can be deduced that the *Mai Jue* is not a work by Wang Shuhe.
Wu Cheng (Caolu) stated: Secular people mistakenly equate the *Mai Jue* with the *Mai Jing*, while few know of Wang's *Mai Jing*. Pulse texts often confuse Lao Mai (Solid Pulse) and Ge Mai (Drum-taut Pulse). Lao indicates Cold Excess, while Ge indicates Deficiency Cold; how can they be confused? Matching opposite pulse qualities such as Floating/Sinking, Deficiency/Excess, Tight/Relaxed, Rapid/Slow, Slippery/Choppy, and Long/Short is difficult enough. Consider the hard-to-distinguish pairs: Hong Mai (Surging Pulse) and San Mai (Scattered Pulse) are both large, but Hong is forceful, while Wei Mai (Minute Pulse) and Xi Mai (Fine Pulse) are both small, but Wei is weak. Kou resembles Floating, but is empty in the middle and solid on the sides; Fu Mai (Deeply Impounded Pulse) resembles Sinking, but is absent on the sides and present in the middle. A pulse that wavers like a bean is Dong Mai (Pulsating Pulse); a pulse that remains still like a drum skin is Ge Mai. These are opposites. There are also Cu Mai (Intermittent Rapid Pulse), Jie Mai (Intermittent Slow Pulse), and Dai Mai (Intermittent Regular Pulse), all characterized by pauses. Cu is rapid, Jie is slow, so they correspond; Dai has no corresponding pair. In total, there are twenty-seven pulse types, not limited to Seven Superficial, Eight Interior, Nine Unusual, or even the twenty-four pulses. (See detailed writings)
Li Shizhen (Binhu) stated: The *Mai Jing* discusses only twenty-four pulse types, excluding Long and Short. The *Mai Jue* also lists twenty-four, adding Long and Short while removing Rapid and Scattered; both are incorrect. The *Su Wen* (Yellow Emperor's Inner Canon), *Nan Jing*, and Zhang Zhongjing discuss pulses by distinguishing Yin and Yang, without fixed numbers. Examples include the Drumming and Rolling, Panting and Horizontal from the *Su Wen*, and Ping, Rong Zhang, Gang Sun, Zong Heng, Ni Shun from Zhang Zhongjing. The subtleties of pulse diagnosis were lost in later generations due to lack of standards, leading to the creation of names and classifications. Modern students, searching for horses according to a picture, feel overwhelmed as if facing a vast ocean, let alone grasping the full essence. This statement by Mr. Caolu (Wu Cheng) hits the nail on the head.