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原文标题：金声章
混沌未开。一元含于太极无形之始；乾坤既判，万物成于文章着见之中。故未有其事，而先有象，可预得其体，而兆其来。所以苍颉制字，接云霞蝌斗之文；至圣着书，采随宜义理之用。一字之善，千古流传；半点之疵，万年不泯，君子哉非挥毫而莫辨；小人焉一执笔而即知。是以消长盛衰，困极而知变，吉凶祸福，至诚而见神。写来江汉秋阳，皓皓乎不可尚已；意在螽斯洗羽，绳绳兮与其宜焉。惟存好利喜施，则落笔终须各别；必欲离尘脱俗，而开首自是不同。若夫烟雾云霞，则聚散去来神变化；风雷日月，其盈虚消息妙裁成。鹦鹉等禽，人皆云其巧舌；虎豹之类。谁不惧其张威。生息蕃盛者，乃稼穑禾苗；与物浮沉者，是江河湖海。渊中鱼跃，水向东流何沮止；天上鸢飞，日从西落四时同。百兽俱胎孕而生，独报麟祥之喜；诸禽皆飞腾之物，只言凤德之衰。禽之鸣也噪也，有形小体大之分；兽之利也钝也，有轻清重浊之辨。香花灯烛，偏宜于朔望之时；铃铎鼓钟，独可见于晨昏之际。点点滴滴，万里征衫游子泪，层层叠叠，九行密线老人心。至于犬豕牛羊，叱之即便去；鸡鱼鹅鸭，欲用则不生。狐貉羔裘，无济于夏；红炉黑炭，偏喜于冬。幽林深圃夜无人，情不诬也；楼阁厅堂时有位，理之必然。琴书剑箱，可断儒生负腋；戏裘肥马，当推志士同袍。墨有渐减之虞，笔有久坚之弱。书成笔架，疑上悯山；写到砚池，寓中闷海。如在其上，秋到一天皆胶月；如在其下，春临遍地产黄金。挥出琵琶，到底是写怨之具；描来箫管，终须为耗气之端。假如云雨雾，皆时敝日之光，天正阴时原是吉；又若精气神，本是扶身之主，人来问病反为凶。水急流清，意偕游鱼濊濊；烟飞篆渺，心从云树茫茫。农家落笔，草盛田禾实不足；商者书篆，丝多交易乱如麻。紫鲛金章，无者不必写出；蜗名蝇利，有者即便书成。锁铃金汤，必任国家之重任；羽毛干戚，是祈海甸以清宁。挂锦扬帆，风顺之方必利；舒衾酒帐，雨到之候成欢。礼乐射御书数，如求一艺可执；孝友睦娴任，定其天事皆宜。草木逢雨时生而旺，要详春秋气候；轿马行际日近而远，亦揆寒暑光阴。试看画饼望梅，何止饥渴；镜花水月，竟是空虚。欲造字相之微，请明章中之理
Overall Paraphrased Meaning
In the undivided chaos, the origin of the universe was concealed within the formless and shapeless Taiji 🌌; after heaven and earth were separated, all things manifested through patterns and forms. Thus, before events occur, their omens already appear, allowing us to perceive the essence and predict the future by observing appearances. When Cang Jie created characters, he drew inspiration from the patterns of clouds and the textures of tadpoles; when Confucius wrote, he selected appropriate principles for application. A single well-written character can be passed down for millennia; a minor flaw may remain unforgotten for ages. A nobleman’s character cannot be discerned without witnessing his brushstrokes, while a petty person’s intentions are revealed the moment they pick up a brush. The cycles of rise and fall change at their extreme; fortune and misfortune can connect with the divine through utmost sincerity. Writing as radiant as the autumn sun over rivers and lakes is sublime and unsurpassable; intentions as continuous as the molting of katydids are timely and appropriate. Thoughts of gain and generosity naturally manifest differently in writing; aspirations to transcend worldly vulgarity result in uniquely distinctive beginnings. As for mist and clouds, their gathering and dispersion are mysteriously unpredictable; wind, thunder, sun, and moon wax and wane with naturally innate artistry. Parrots and other birds are praised for their clever tongues; tigers and leopards are feared for their majestic might. What thrives vibrantly are crops and seedlings 🌾; what flows with the currents are rivers and seas 🌊. Fish leaping in deep waters signify an unstoppable eastward flow; kites soaring in the sky reflect the unchanging cycle of the setting sun and the four seasons. All beasts are viviparous, yet the qilin alone symbolizes auspiciousness; all birds can fly, yet only the phoenix’s virtue is deemed profound. The calls of birds vary in clamor, with distinctions in size and form; the sharpness and dullness of beasts differ in weight, clarity, and turbidity. Incense, flowers, lamps, and candles are especially suited for the first and fifteenth days of the lunar month; bells, chimes, drums, and gongs are uniquely heard at dawn and dusk. Drop by drop, tears stain the travel-worn garments of wanderers; layer by layer, the loving stitches of elders mend clothing. As for dogs, pigs, cattle, and sheep, they depart when scolded; chickens, fish, geese, and ducks are desired yet often unavailable. Fox, raccoon, and lamb fur are useless in summer; red stoves and black charcoal are cherished in winter. Deep forests and secluded gardens, silent at night—this sentiment is genuine; towers, pavilions, and halls, ever occupied—this logic is inevitable. Lutes, books, swords, and cases are essentials for scholars; fine furs and robust horses are shared among the ambitious. Ink faces the worry of gradual depletion; brushes suffer from the weakness of long preservation. Writing of a brush rest may evoke thoughts of Min Mountain; depicting an inkstone pool may symbolize sinking into a sea of melancholy. As if above, autumn arrives under a sky of brilliant moonlight; as if below, spring brings golden hues across the land. Strumming a pipa ultimately serves as a tool for expressing sorrow; playing a flute remains a means of expending energy. If clouds, rain, and mist obscure the sun, overcast skies may yet be auspicious; just as essence, energy, and spirit sustain the body, inquiries about illness may paradoxically signal misfortune. Clear waters flow swiftly, intentions as carefree as swimming fish; drifting smoke and faint seals evoke hearts lost amidst vast clouds and trees. When farmers write, lush grasses may signify insufficient harvests; when merchants inscribe, abundant threads may symbolize tangled transactions. Purple silks and golden seals need not be written without cause; snail-sized fame and fly-sized gain are recorded whenever they arise. Locks, bells, and impenetrable fortresses signify bearing national重任; feathers and shields are prayers for peace within the seas. Hanging brocade and raising sails promise favorable winds; spreading quilts and sprinkling bedding celebrate the joy of rain. Rituals, music, archery, charioteering, writing, and mathematics—if one skill is mastered, it suffices; filial piety, friendship, harmony, grace, and responsibility—if innate qualities align, all is well. Plants and trees thrive with rain, yet one must consider the climates of spring and autumn; sedans and horses travel near and far, yet one must observe the passage of cold and heat. Consider painted cakes and envisioned plums—how can they quench hunger or thirst? Mirror flowers and water moons—ultimately, they are emptiness. To understand the subtleties of character forms, contemplate the principles of this chapter.
(Note: Although this chapter does not include specific case studies of the Eight Characters, it deeply explains the core methodology of "observing phenomena to derive meanings" in Yi studies, providing a philosophical foundation for understanding the system of命理 symbols.)
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