谢缙翁曰∶“《脉经》论脉二十四种，初无表里九道之目。其言芤脉为阴，《脉诀》乃以芤为七表
之阳。仲景辨脉云∶‘浮大动数滑，阳也。沉涩弱弦微，阴也。’《脉诀》九道以动为阴，
七表以弦为阳。似此之类颇多。”
吴草庐曰∶“脉之浮沉、虚实、紧缓、数迟、滑涩、长短之相反配匹，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。似豆粒而摇摇不定者动也，
似鼓皮之如如不动者革也。俱对待也。又有促、结、代皆有止之脉，促疾结缓，故为可对，代则无对。
总二十七脉，不止于七表八里九道二十四脉也。”
戴同父曰∶“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，岂可以一浮二芤为定序，而分七八九
名之乎！庐山刘立云以浮沉迟数为纲而教学人，虽似为快捷方式，然必博而反约，乃能入妙，若以此为足，亦自画矣。”
李时珍曰∶“《脉经》论脉只有二十四种，无长短二脉。《脉诀》之歌亦止二十四种，增长短而去数散，
皆非也。《素》《难》仲景论脉，止别阴阳，初无定数。如《素问》之鼓搏喘横，仲景
之卑高章刚损纵横逆顺之类是也。后世失传，无所根据准，因立名为之指归耳。今之学人，按图索骥，犹
若望洋，而况举其全旨乎！此草庐公之独得要领也。”
滑伯仁曰∶“脉之阴阳表里，俱以对待而言。高阳生之七表八里九道，盖穿凿矣。求脉之明，反为脉之晦。”
谢缙翁说：“《脉经》论述的脉象有二十四种，起初并没有‘表里九道’的分类名称。书中说芤脉属于阴，《脉诀》却把芤脉归为七表中的阳脉。张仲景在《辨脉法》中说：‘浮、大、动、数、滑，属于阳；沉、涩、弱、弦、微，属于阴。’而《脉诀》将九道中的‘动’脉归为阴，七表中的‘弦’脉归为阳。像这样的错误还有很多。”
吴草庐说：“脉象中浮与沉、虚与实、紧与缓、数与迟、滑与涩、长与短这些相反相配的脉象，本来就不容易区分，更何况那些更难辨别的脉象呢？比如洪脉和散脉都表现为大而无力，但洪脉有力，散脉无力；微脉和细脉都表现为小，但微脉无力。芤脉类似浮脉，但特点是边有中无（指重按中间空）；伏脉类似沉脉，但特点是边无中有（指轻取不应，重按推筋着骨始得）。像豆粒一样动摇不定的脉是动脉；像鼓皮一样坚劲而不动的脉是革脉。这些都是相对待而言的。还有促脉、结脉、代脉都是有止歇（间歇）的脉象，促脉疾速、结脉缓慢，所以可以相对待，而代脉则没有相对的脉象。总共二十七种脉象，并不局限于七表、八里、九道这二十四种脉象。”
戴同父说：“脉象不可以用表里来定名。黄帝、岐伯、越人（扁鹊）、叔和（王叔和）都没有说过表里，《脉诀》窃取叔和的名目而立出七表、八里、九道，造成了世人的极大困惑。脉象的变化源于阴阳，只能以阴阳对待来说明，各自归类，怎么能以第一浮脉、第二芤脉作为固定的顺序，从而分出七、八、九的名称呢！庐山刘立云以浮、沉、迟、数为纲领来教学，虽然看似快捷，但必须广博之后才能返璞归约，这样才能进入精妙境界，如果以此为满足，那就是自我画地为牢了。”
李时珍说：“《脉经》论述的脉象只有二十四种，没有长、短两种脉象。《脉诀》的歌诀也只包含二十四种，增加了长、短脉而去掉了数、散脉，都是错误的。《素问》、《难经》及张仲景论述脉象，只辨别阴阳，起初并没有固定的数量。如《素问》中提到的鼓搏、喘横，张仲景提到的卑高、章刚、损纵横逆顺等类别就是证明。后世失传，没有依据标准，于是创立名称作为指引罢了。现在的学医者，按图索骥，尚且感到茫然不知所措，何况要掌握其全部宗旨呢！这是吴草庐先生独到的见解，抓住了要领。”
滑伯仁说：“脉象的阴阳表里，都是以相对待而言的。高阳生提出的七表、八里、九道，大概是牵强附会、穿凿附会的。想要明白脉象，反而使脉象变得晦涩难懂。”
Xie Jinweng stated: "The *Mai Jing* (Pulse Classic) discusses twenty-four types of pulses, originally without the categories of 'Seven Superficial, Eight Interior, and Nine Dao'. It states that the Kou pulse (Hollow pulse) belongs to Yin, whereas the *Mai Jue* (Pulse Rhymes) classifies it as Yang within the Seven Superficial. Zhang Zhongjing in his *Bian Mai Fa* (Differentiation of Pulses) said: 'Floating, Large, Moving, Rapid, and Slippery are Yang; Deep, Choppy, Weak, String-taut, and Minute are Yin.' However, the *Mai Jue* classifies the Dong pulse (Moving pulse) within the Nine Dao as Yin, and the Xian pulse (String-taut pulse) within the Seven Superficial as Yang. There are many such errors."
Wu Caolu stated: "The opposite pairings of pulses such as Floating and Deep, Deficient and Excessive, Tight and Relaxed, Rapid and Slow, Slippery and Choppy, Long and Short are not easy to distinguish, let alone those that are even more difficult to differentiate. For instance, both Hong (Surging) and San (Scattered) pulses appear large, but the Hong pulse is forceful while the San pulse is weak. Both Wei (Minute) and Xi (Fine) pulses appear small, but the Wei pulse lacks force. The Kou pulse resembles the Floating pulse but is characterized by emptiness in the center with fullness at the edges (when pressed); the Fu pulse resembles the Deep pulse but is characterized by absence at the superficial level and presence only when pressed deeply to the bone. The pulse that moves like a bean grain and is unstable is the Dong pulse (Moving pulse); the pulse that is firm and unmoving like a drum skin is the Ge pulse (Leather pulse). These are all defined by their opposition. Furthermore, the Cu (Rapid-intermittent), Jie (Slow-intermittent), and Dai (Intermittent) pulses all have pauses. The Cu pulse is rapid and the Jie pulse is slow, so they can be paired oppositely, but the Dai pulse has no opposite. In total, there are twenty-seven pulses, not just the twenty-four comprising the Seven Superficial, Eight Interior, and Nine Dao."
Dai Tongfu stated: "Pulses cannot be named according to Superficial and Interior. Huangdi, Qibo, Yue Ren (Bian Que), and Shuhe (Wang Shuhe) never spoke of Superficial and Interior. The *Mai Jue* stole Shuhe's terminology to establish the Seven Superficial, Eight Interior, and Nine Dao, causing great confusion in the world. Pulse changes arise from Yin and Yang; they can only be discussed in terms of Yin-Yang opposition and classified accordingly. How can one fix an order starting with the first Floating pulse and second Kou pulse, thereby dividing them into names of seven, eight, and nine? Liu Liyun of Mount Lu taught students using Floating, Deep, Slow, and Rapid as the main principles. Although this seems like a shortcut, one must be extensive before becoming concise to attain subtlety. If one considers this sufficient, it is merely drawing boundaries around oneself."
Li Shizhen stated: "The *Mai Jing* discusses only twenty-four types of pulses, excluding Long and Short. The song in the *Mai Jue* also contains only twenty-four types, adding Long and Short while removing Rapid and Scattered, which are all incorrect. The *Su Wen* (Yellow Emperor's Inner Canon), *Nan Jing* (Classic of Difficult Issues), and Zhang Zhongjing discussed pulses by distinguishing only Yin and Yang, initially without fixed numbers. Examples include the descriptions in the *Su Wen* such as Drum-beating, Panting, Horizontal, and Vertical, and those in Zhang Zhongjing's works such as Low/High, Chapter/Rigid, Damage, Long/Short, Oblique/Smooth, Reverse, and Favorable. Later generations lost the transmission and had no basis or standard, thus establishing names as guides. Modern learners, searching for horses according to a picture, still feel overwhelmed like gazing at the ocean, let alone grasping its full purport. This is Mr. Caolu's unique insight, capturing the essence."
Hua Borun stated: "The Yin-Yang and Superficial-Interior of pulses are all discussed in terms of opposition. Gao Yangsheng's Seven Superficial, Eight Interior, and Nine Dao are likely forced interpretations. Seeking clarity in pulses instead renders them obscure."