Women's Gu Sui Fu

The Women's Gu Sui Fu opens with the best kind of woman's chart: Tian Fu or Tian Xiang in the Life Palace, a noble son and a worthy husband. When the ancients read a woman's chart, the point was not her own achievements but her husband and son. That is the yardstick of the whole chapter, and it helps to know it before reading on. Tian Fu is the treasury and Tian Xiang the seal; both are steady stars that keep what they have, which the ancients thought ideal for running a household. The volume two chapter The Nature of Tian Xiang likewise says Tian Xiang in a woman's chart 「旺夫貴子顯門庭」. Women with these two stars in the Life Palace tend to be steady, reliable and good at managing resources; they suit management, finance and administration, and can hold up both a family and a career.

Lian Zhen in a woman's Life Palace is 「清白能相守」, and Tian Tong the same. Elsewhere in the Quan Shu Lian Zhen is often called a secondary peach-blossom star, hot-tempered and quarrelsome, yet for women this line rates it chaste and faithful, and volume two's The Nature of Lian Zhen also says 「女人身命值廉貞，內政清廉格局新」. Lian Zhen's transformed qi is 'prisoner', which carries a sense of self-restraint; in a woman's chart it is read as keeping to the rules. Tian Tong governs blessings and a mild temper, and volume three says 「女命天同必是賢」, though it adds the exception 「己亥逢此化吉雖美必淫」. A woman with Lian Zhen in the Life Palace has principles and discipline; one with Tian Tong is easygoing and puts family first.

Zi Wei or Tai Yang in a woman's Life Palace: upright, and an early meeting with a worthy husband. Zi Wei is the emperor star and Tai Yang a star of rank, and in a woman's chart they are read as a good 'husband star': Tai Yang stands for the husband in a woman's chart in any case, as What Does Tai Yang Govern? puts it, 「此星男得之為父星，女得之為夫星」. Volume three's Star Combinations: Zi Wei adds conditions: Zi Wei is auspicious in Yin, Wu and Shen, ordinary in fallen positions, and in Zi, You, Si or Hai with the four malefics it is 「美玉瑕玷」. Women with Zi Wei or Tai Yang in the Life Palace have opinions of their own and a generous bearing; they set a high bar for a partner and often meet one with good prospects, and they may well be the one who makes the decisions at home.

Tai Yang from Yin to Wu (Yin, Mao, Chen, Si, Wu) meeting auspicious stars is a blessing in the end. These five palaces trace the sun from sunrise to noon, and on Xingge's brightness table Tai Yang is Wang in Yin, Miao in Mao and Wang in Chen, Si and Wu: all places where it is bright. Volume three's Star Combinations: Tai Yang has the version 「居卯辰巳午無殺，旺夫益子」, dropping Yin. In a woman's chart Tai Yang is the husband star, and a bright Tai Yang means a husband with achievement and standing. A woman with a bright Tai Yang in the Life Palace is warm, outgoing and willing to give, and can shine at work and at home, though she should watch that giving too much does not wear her out.

Zuo Fu or Tian Kui in a woman's Life Palace bring blessings and long life; You Bi or Tian Xiang bring blessings. All four are stars of support and helpful people. Volume three's Star Combinations: Tian Xiang breaks 「右弼天相福來臨」 down by year stem: Zi for those born in Gui years, Yin for those born in Gui or Ji years and so on are noble patterns, Chou, Wei and Hai are not noble, and Zi, Wu, Mao and You have few blessings; the conditions there are much stricter. Women with these stars in the Life Palace are well liked and readily helped, and suit teamwork and supporting roles; those with Zuo Fu and You Bi, or Tian Kui and Tian Yue, often find someone lending a hand at the critical moment.

First half: Lu Cun in a woman's Life Palace is solid, with food and clothing in plenty. Lu Cun keeps wealth, and What Does Lu Cun Govern? says of women 「清淑機巧能幹能為，有君子之志」. Second half: Fu Xiang Chao Yuan, Tian Fu and Tian Xiang shining on the Life Palace from the San Fang, means sure glory. This noble pattern applies to men and women alike and is mentioned again in this chapter on women. Lu Cun's 'solid and weighty' today means steady, reliable and good with money. Note that Lu Cun is always flanked by Qing Yang and Tuo Luo, so women with Lu Cun in the Life Palace often come across as cautious and reserved: the two sides of a star that guards wealth.

Zi Wei and Tian Fu in Si and Hai 「相互輔」. On the chart, Zi Wei in Si always sits with Qi Sha, and the opposite palace, Hai, always holds Tian Fu alone; with Zi Wei in Hai, Tian Fu is opposite in Si. So Zi Wei and Tian Fu in Si and Hai always shine on each other across the opposite palace, and that is what 'support each other' means. Add Zuo Fu and You Bi and blessings are sure to follow. A woman with Zi Wei and Qi Sha in the Life Palace, or Tian Fu there with Zi Wei and Qi Sha opposite, is capable and takes on responsibility; with Zuo Fu and You Bi in the San Fang as well, she has reliable helpers and can manage both career and family.

First half: Ju Men and Tian Ji in a woman's Life Palace, ruin and dissolute living. Ju Men and Tian Ji share a palace only in Mao and You. Volume three's Star Combinations: Ju Men says 「女命巨機於卯酉，雖富貴不免淫佚，若陷地下賤」, which shows that the ancients' low opinion of this pair in women's charts was mainly about love and morals. Second half: Tian Liang and Tai Yin make a woman poor. Tian Liang is aloof and Tai Yin soft and yin; the ancients held that together they leave a woman solitary and poor. A woman with Ju Men and Tian Ji is clever, articulate and quick to change her mind; one with Tian Liang and Tai Yin is independent, high-minded and cares little for material things. Neither needs to be read literally as dissolute or poor.

First half: Qing Yang or Huo Xing in a woman's Life Palace, base. Both are fierce malefic stars, and since women in old China were expected to be meek, fierce stars rate especially low in a woman's chart. Volume three's chapter on Huo Xing and Ling Xing says 「擎羊火鈴為下格 女人廟旺猶可，陷地下賤」, adding the condition of brightness. Second half: Wen Chang or Wen Qu in a woman's Life Palace, incomplete blessings. In a man's chart these literary stars mean success in the examinations, but in a woman's the ancients thought too much talent made her restless. Women with Qing Yang or Huo Xing have drive and nerve; those with Wen Chang or Wen Qu have talent and express themselves well. Both are strengths, and the old verdicts reflect that era's view of the sexes.

Wu Qu in a woman's Life Palace is a 'widow's star', the fate of a widow; Po Jun's nature is hard to read. Wu Qu is a general star and a wealth star, upright and decisive, and the ancients held that a woman too hard would bring harm to her husband. Yet volume two's The Nature of Wu Qu says 「女人武曲命中逢，天府加之志氣雄，左右祿存相逢聚，富貴雙全美無窮」, the opposite verdict; the key is whether Tian Fu, Zuo Fu and You Bi, or Lu Cun are present. Of Po Jun in a woman's chart volume two also says 「剋害良人非一次」. A woman with Wu Qu is independent, earns well and makes decisions, often a strong figure at work; one with Po Jun does not play by the book and dares to change things.

First half: Tan Lang in a woman's Life Palace, cruel inside and much given to lewdness. Tan Lang's transformed qi is peach blossom, and the ancients judged peach blossom in women especially harshly. Volume three's chapter on Tan Lang says 「女命貪狼多嫉妒」, with the condition of Tan Lang in Hai or Zi meeting Qing Yang and Tuo Luo. Second half: Qi Sha in a woman's Life Palace, brooding, and blessings that do not flourish. What Does Qi Sha Govern? quotes the secret classic, 「七殺居陷地，沉吟福不生」, and volume two's The Nature of Qi Sha says of Qi Sha in a woman's chart 「作事果斷又聰明，氣高志大無男女，不免刑夫歷苦辛」. A woman with Tan Lang is many-talented and sociable; one with Qi Sha has drive and big ambitions, and in love does best with a partner who respects her independence.

Hua Lu (Transformation of Wealth) from the ten stems is the most glorious, and a woman's chart that meets it is greatly auspicious. Hua Lu follows the birth-year stem: Jia Lian Zhen, Yi Tian Ji, Bing Tian Tong, Ding Tai Yin, Wu Tan Lang, Ji Wu Qu, Geng Tai Yang, Xin Ju Men, Ren Tian Liang, Gui Po Jun. The 'Your chart' comparison lists each of these ten stars with Hua Lu in the Life Palace. Hua Lu governs blessings, resources and goodwill; in the Life Palace it means a life without want for food and clothing, and good relations with people. Nothing in the line makes it specific to women; the chapter simply stresses the benefit of Hua Lu once more. When reading the chart, see whether the main star of the Life Palace carries the Lu mark. See also the lesson on Hua Lu.

This continues the last line: Hua Lu with Lu Cun joining it makes the husband prosper, benefits the children and brings the favour of the court. Hua Lu with Lu Cun is 'double Lu', doubled wealth. 'The favour of the court' refers to honours granted to a woman because of her husband's or son's high rank. A woman with double Lu in or meeting the Life Palace has resources and good fortune with money of her own, can support her family and is often its financial mainstay. Keep in mind that Lu Cun is flanked by Qing Yang and Tuo Luo; when the two Lu share a palace, Qing Yang and Tuo Luo sit on either side too, so more money also tends to bring competition and pressure.

This line and the next two form a group listing the stars bad for a woman's chart: Huo Xing, Ling Xing, Qing Yang, Tuo Luo and Ju Men, plus Tian Kong (Di Kong, as the note explains) and Di Jie. Ju Men is listed alongside the Six Malefic Stars, which shows the ancients saw it as a star of gossip and quarrels, especially bad for women. The line has no verdict of its own; the verdict is in segments 16 and 17: these stars in the San Fang Si Zheng, and above all in the Spouse Palace, mean deep trouble. Read the three lines together.

Continuing the last line: add Tan Lang, Qi Sha and Lian Zhen, and with Wu Qu arriving too, harm intrudes. These four plus the seven of the previous line make up almost every malefic and hard main star in the Quan Shu. Notice that segment 2 has just called Lian Zhen 「清白能相守」 and here it is listed among the harmful stars; segment 10 called Wu Qu a widow's star, and so does this one. The same star means one thing in the Life Palace and another in the Spouse Palace or shining from the San Fang. The key to reading these lines is 'the husband's palace' in the next segment.

Malefics in the San Fang Si Zheng are bad already; in the Spouse Palace the trouble runs deeper. This is the chapter's central judgement on women: the Spouse Palace is the key palace in a woman's chart. The Zeng Bu Tai Wei Fu also says 「凡觀女人之命，先觀夫子二宮」. The 'Your chart' comparison here only tags the Six Malefic Stars in the Spouse Palace. Malefics in the Spouse Palace point to arguments or long stretches apart in marriage; a later marriage and a partner of complementary temperament suit such a chart. The Zeng Bu Tai Wei Fu's 「定三嫁而心不足」 is the same kind of verdict and likewise should not be taken literally.

「本宮無正曜」 is usually read, as the note says, as a Spouse Palace with no main star, though some read it as the Life Palace. For an empty Spouse Palace the ancients said 「必主生離剋害」. An empty palace borrows the main stars of the opposite palace (here the Career Palace), so the marriage is pulled along by work, or the image of the spouse is not sharply defined. Volume three's chapter on Di Kong, Di Jie, Tian Shang and Tian Shi says 「命無正曜二姓延生」, taking the Life Palace reading. People with an empty Spouse Palace hold more flexible views of love, and their marriage may take a form different from the traditional one; whether separation follows depends on whether malefics or Hua Ji sit in that palace.

This is the book's own note that everything above is essential teaching for reading fates. It draws a line: the first seventeen segments are the text proper of the Women's Gu Sui Fu, and what follows is appended pattern poems and kinds of people. Most of these poems make no distinction between men and women, for example Shi Zhong Yin Yu, the Huo Gui pattern and the fate of monks, so from segment 19 on the content is no longer limited to women. It is also a trace of how the editors stitched together material from different sources, something that happens often in the Quan Shu.

The Dui Mian Chao Dou pattern (facing the Dipper from opposite): the heading says Lu Cun in Zi or Wu, the poem says Lu Cun opposite in the Travel Palace. Lu Cun can be in Zi (Gui years) or Wu (Ding and Ji years), but never in Chen, Xu, Chou or Wei. Lu Cun in the Travel Palace means income shining into the Life Palace from outside, hence 'favours income and office'. Volume three's Star Combinations: Tian Ma, Hua Ke, Hua Quan and Hua Lu has a 'facing the Son of Heaven from opposite' with a different condition: the Travel Palace in Zi or Wu holding Hua Lu, rather than Lu Cun as here. Such a chart finds resources away from home and in outside networks, and suits postings elsewhere or outward-facing work.

The Ke Quan Lu Zhu pattern uses Zhou Bo as its example: the poem says he met Hua Lu and Hua Quan in his Life Palace and became chancellor. The Gu Sui Fu version is 「科祿巡逢周勃欣然入相」, with Hua Ke and Hua Lu; here it is Hua Lu and Hua Quan, two conditions for one example. The pattern's name, Ke Quan Lu Zhu, includes all three, and can be taken as the birth year's Hua Lu, Hua Quan and Hua Ke falling in or shining on the Life Palace, close to San Qi Jia Hui. Zhou Bo's real birth data cannot be checked; the example only borrows a famous name to illustrate the pattern.

The Zuo You Chao Yuan pattern: Zuo Fu and You Bi in the San Fang of the Life Palace, shining on it. Zuo Fu and You Bi govern help, and in the San Fang that means help in career, money and life away from home. The poem says a military man becomes an eminent aide and a man of letters ranks among the dukes and ministers. This agrees with the Tai Wei Fu's 「紫微天府全依輔弼之功」: Zuo Fu and You Bi amplify a pattern. Such a person has capable colleagues, staff or friends around them and suits leading a team. On the chart, open the Life Palace and check whether Zuo Fu and You Bi sit on the San Fang Si Zheng lines.

The Jian Wen Wu pattern (both civil and martial): Wen Qu and Wu Qu in the Body or Life Palace, per the heading's note. Wen Qu governs talent and eloquence, Wu Qu practical decisions, one civil and one martial, hence 'versed in a hundred matters'. The poem adds that only with no Qi Sha or Po Jun in the Life Palace does the glory flow on. The Gu Sui Fu likewise has 「文曲武曲為人多學多能」. As for Wu Qu and Wen Qu in one palace: Wen Qu is placed by the birth hour, so it shares a palace with Wu Qu fairly often. These are people who can both talk and deliver, at home in several fields, well suited to sales, management and starting businesses.

The Wen Xing Chao Ming pattern (literary stars facing the Life Palace): Wen Chang and Wen Qu in the Life Palace; the poem says the person is born into a rich and noble family, and with auspicious stars from the San Fang it is flowers added to brocade. The poem rates the pair very highly, in stark contrast to segment 9's 「文昌文曲福不全」: within one chapter, the women's text proper says the pair's blessings are incomplete and the later pattern poem calls them the most glorious. Two things follow: the text proper deals only with women while the pattern poems apply to everyone, and the Quan Shu is pieced together from several sources whose verdicts often disagree. When reading a chart, go by the brightness of Wen Chang and Wen Qu and by what is lucky or unlucky in the San Fang.

The Shi Zhong Yin Yu pattern: Ju Men in the Life Palace in Zi or Wu, which is Shi Zhong Yin Yu (jade hidden in stone). The poem says it brings rank and glory in the Body or Life Palace, and more with Hua Ke and Hua Lu from the San Fang. Volume three's chapter on Ju Men adds year-stem conditions: Xin and Gui people are the top grade, Ding and Ji people next. Volume two's The Nature of Ju Men also says that meeting Hua Ke, Hua Quan and Hua Lu gives 「終身福厚」, but meeting Qing Yang, Tuo Luo, Huo Xing, Ling Xing and Hua Ji, 「若不夭折，男盜女娼」, so this pattern too cuts both ways. Ju Men alone in Zi or Wu is Wang in brightness with Tian Ji opposite: the jade has to be polished before it shows, a sign of success that comes late.

The Huo Gui pattern (noble through fire): Tan Lang meeting Huo Xing, shining on the Body or Life Palace from the trine, per the heading. This is the Huo Tan pattern: Huo Xing ignites Tan Lang's desires and success often comes suddenly. The poem promises a marquisate and a stipend, and with no malefics in the San Fang, blessings and long life into old age. The Gu Sui Fu also says 「貪狼火星居廟旺名鎮諸邦」, which requires Miao or Wang. Huo Tan's hallmark is the burst: opportunities arrive fast and success comes hard, but it can leave just as fast. It suits fields that reward explosive effort and timing, such as sales, investing and start-ups; the key is holding on to success once it comes.

Here the classification of people begins, starting with merchants. The conditions fall into two groups: Ju Men, Tai Yang, Zi Wei or Tian Fu in or shining on the Life Palace give a person who keeps to his place and is clean; Tai Yin, Tan Lang, Tian Tong, Qi Sha or Hua Ji give a scheming, insatiably greedy one. The first group 'serves as scholar or official'; only the second becomes the merchant who 'seeks profit late at night'. This reflects the old ranking of scholars above merchants: trade is painted as greed and endless rushing about. The second group's stars are quick to spot business opportunities, willing to push hard and to endure hardship, exactly what business needs; 'seeking profit late at night' can be read as long working hours.

Following on, the poem says Tan Lang, Tai Yin, Tian Tong and Qi Sha meeting Tian Ji and Tian Liang make a merchant who calculates gain, lies awake at night and rushes about like the tide. Tian Ji and Tian Liang from Ji Yue Tong Liang are pulled in here, in contrast to the Gu Sui Fu's 「機月同梁作吏人」: the same group of stars is a clerk in one place and a merchant in the other. The ancients evidently thought people of Ji Yue Tong Liang went either into government service or into trade, both paths needing care and calculation. Such people are meticulous and good with numbers, well suited to finance, trade and sales.

Another merchant poem: Zi Wei and Tian Fu meeting Qing Yang, Wu Qu in the Travel Palace, Qi Sha, Po Jun and Lian Zhen with Zuo Fu and You Bi, and Qing Yang, Ling Xing and Huo Xing are all charts of merchants. The combinations listed are a mixed bag; what they share is 'a strong main star, but with a malefic or away from home': Zi Wei and Tian Fu meeting Qing Yang put punishment into the emperor star, which then does not take the official road; Wu Qu in the Travel Palace puts the wealth star outside. Volume three's chapter on Wu Qu also says 「武曲遷移巨商高賈」. These people are able and bold but do not fit well into hierarchies; running a business or trading lets them show what they can do.

This segment is about 'art', which, as the note says, means skills and handicrafts. The condition: the Life Palace in Yin, Shen, Si or Hai, or Chen, Xu, Chou or Wei, with Tan Lang or Wu Qu there taking Hua Ji or with malefics. Tan Lang governs many talents and Wu Qu practical work; Hua Ji or malefics block the official road, so they turn to a craft. Volume three's Star Combinations: Wu Qu also says 「武曲貪狼加殺忌技藝之人」. Tan Lang takes Hua Ji in Gui years and Wu Qu in Ren years. These are technical and professional people, such as engineers, designers, chefs and artisans, whose standing today is entirely different from what it was then.

The poem says Tan Lang in an idle palace makes a butcher or a blacksmith, skilled in every craft and fond of hunting. It is the same kind of verdict as the Gu Sui Fu's 「貪狼陷地作屠人」, except that here it is an 'idle palace' rather than a fallen one. On Xingge's brightness table Tan Lang is Ping in Yin and Shen and Li in Mao and You, middling positions. Where the ancients said butcher and blacksmith, one can now read work that needs strength, skill and nerve. 「性好遊畋並捕獵」 also shows Tan Lang's other side: a love of the outdoors, sport and adventure.

Another craft poem: Po Jun and Wu Qu in Wei have many skills, and a Life Palace in Si or Hai suits too; Po Jun and Lian Zhen in Mao or You make a skilled person. As the note says, Po Jun and Wu Qu share a palace only in Si and Hai, so what 'Wei' means is unclear. Po Jun in Wei always sits with Zi Wei, and Wu Qu in Wei with Tan Lang; Po Jun and Wu Qu never share Wei, so this may be a copying error. With Po Jun and Lian Zhen in Mao or You, Po Jun is Xian and Lian Zhen Ping, neither in a good position, and the ancients thought such people turned to perfecting a craft instead. People with these combinations are good with their hands, suited to technical work, crafts, repairs and making things.

This poem's conditions are tangled: Tian Ji or Tian Xiang in the Life or Body Palace, 「帝令財星入墓中」, and Tian Fu in the Travel Palace. One fact on the chart matters here: the palace opposite Tian Fu always holds Qi Sha, so Tian Fu in the Travel Palace means Qi Sha in the Life Palace, and the Life Palace cannot hold Tian Ji or Tian Xiang at the same time. So 'in the Life or Body Palace' can in practice only mean Tian Ji or Tian Xiang in the Body Palace. The 'Your chart' comparison uses 'Life or Body Palace', which leaves room for exactly this case. What 「帝令財星入墓中」 means is unclear, as the note says. With a poem whose conditions are this hard to pin down on a chart, it is enough to take its conclusion: remarkable handiwork.

This segment deals with the fate of leaving home for religion, under three sets of conditions: Zi Wei in Mao or You meeting Di Kong and Di Jie; no main star in the Life Palace together with Qing Yang, Huo Xing, Di Kong, Di Jie and Hua Ji; or birth in a Yin year, Shen month, Si day and Hai hour with malefics and Hua Ji in the Si Zheng. A further rule is added, 「更看父母妻子三宮有殺者方可斷」: the palaces of the six relations must also show harm. The ancients clearly judged entry into religion with care, stacking condition on condition. Zi Wei in Mao or You always sits with Tan Lang; the emperor star meeting peach blossom and then Di Kong and Di Jie turns away from the world. Such a chart points to an interest in religion, philosophy and spiritual practice, or a liking for solitude and little interest in material things; it does not mean actually becoming a monk or nun.

The poem says Zi Wei in Mao or You meeting Di Kong and Di Jie makes nine monks out of ten, living in quiet leisure. This agrees with the Gu Sui Fu's 「極居卯酉多為脫俗僧人」, and volume three's chapter on Zi Wei has it too. But the Zeng Bu Tai Wei Fu says 「卯酉二空聰明發福」: the same Mao or You position with Di Kong or Di Jie, and the verdict is cleverness and prosperity. The Quan Shu holds more than one view of this combination. The difference may lie in whether Zi Wei is present: Zi Wei and Tan Lang in Mao or You meeting Di Kong and Di Jie leave the world, while other main stars meeting them are clever.

Another poem: a Life Palace sitting in an empty place means leaving home for religion; literary stars meeting it deserve praise; Wen Qu in the Body or Life Palace brings protection, leisure and fine blessings. The 'empty place' could be Di Kong or Di Jie, or Xun Kong or Jie Kong; the 'Your chart' comparison tags only Di Kong. The point of the poem is in its second half: a monk with literary stars is a learned one, and with Wen Qu he has leisure and blessings. People with an empty star in the Life Palace think in detached ways; with literary stars added they suit research, writing, religion or philosophy and can achieve something in the life of the mind.

Another poem: Tian Ji, Qi Sha, Po Jun and Tian Liang together are the fate of Taoist priests and monks; with Tai Yang and Zi Wei as well, the person is solitary to the end. The 'treatise on monks and Taoists' in The Ten Grades of Wealth, Rank and Poverty also lists Tian Ji, Tian Liang, Qi Sha, Po Jun, Di Kong and Di Jie together with Zi Wei. Tian Ji and Tian Liang share a palace only in Chen and Xu, and Qi Sha and Po Jun never share one. Reading 'together' as meeting in the San Fang Si Zheng does not rescue it either: on Xingge's charts Tian Ji and Tian Liang never meet Qi Sha or Po Jun in the San Fang Si Zheng either (the first pair belongs to Ji Yue Tong Liang, the second to Sha Po Lang), and Zi Wei never meets Tai Yang, so the full set can never come together on one chart; read it as a list of stars that each lean this way. Between them they govern change, aloofness, severity and loss, a group not at ease with ordinary life. Such people are independent and do not follow the crowd, suited to freelance or spiritual work.

This segment is about loneliness and harming kin: harming one's wife, children or parents, one or two of these, means if not a monk or Taoist then a poor and base person. The method is to look first at the Parents Palace, then the Spouse Palace, then the Children Palace; where a palace is fallen with malefics and Hua Ji, the verdict is widower, widow, orphan or childless. It is one of the Quan Shu's rare complete step-by-step procedures: check the three kin palaces in turn for brightness, lucky and unlucky stars, and malefics or Hua Ji. Malefics or Hua Ji in a kin palace point to a thinner bond with that kind of relative and a relationship that needs more care, not necessarily to harm. The same order works well for reading a chart, but the conclusions should be gentler.

The poem says Tan Lang in Miao is strongest, and with the Southern Pole star (Tian Liang) life is long; Zi Wei without evil malefics brings long life and good fortune. In the Quan Shu Tan Lang is called a god that 'resolves dangers', and in Miao it governs longevity; volume three's Star Combinations: Tan Lang also says 「貪狠入廟壽元長」 (狠 there is a slip for 狼). Tan Lang and Tian Liang never share a palace, so 'together' cannot mean the same palace; and since the two always sit three palaces apart, Tian Liang never falls in Tan Lang's San Fang Si Zheng either, so on Xingge's charts the pairing cannot be met literally. This poem is the 'long life' of this section's 'long life, early death and lewdness'; the next one is the 'lewdness', and the same Tan Lang in Miao gets opposite verdicts in the two poems.

The poem says Qi Sha in the Body Palace means early death, Tan Lang in Miao a harlot, and with the trine shining on it, an affair like Han Shou's. What Does Tan Lang Govern? also has 'in Miao, sure to be a harlot', while the Gu Sui Fu has 「貪狼入命必為娼」. Read beside the previous poem's 「貪狼入廟最高強」, the same condition yields long life in one poem and harlotry in the next; the Quan Shu itself is not consistent. What Does Tan Lang Govern? follows the line with 「喜見空亡，返主端正」, so the ancients also believed there was a remedy. People with Tan Lang in Miao are magnetic and full of feeling; what matters is self-restraint.

The poem says malefics in both the Body and Life Palaces bring craving for women and wine and deep trouble; when the Decade and Minor Luck join in, success is followed by a fall. Its point is 'malefics in both Body and Life' plus 'the two lucks matching': trouble runs deep only when the luck periods stack on top of malefics already in the natal chart. This is the same three-layer structure as the Gu Sui Fu's 「命衰身衰限衰終身乞丐」. People with malefics in the Body and Life Palaces need restraint most when things are going well, and should not let a moment of success turn into excess, because when the luck turns the problems come to the surface.

This segment gives the method for judging physical disability: first check whether the main star of the Life Palace is fallen, then whether Qing Yang, Tuo Luo, Huo Xing, Ling Xing, Di Kong, Di Jie or Hua Ji are present, then the brightness and the lucky or unlucky stars of the Health Palace. It is a clear two-step method: the Life Palace shows one's constitution, the Health Palace the specific part of the body. The Dou Shu Zhun Sheng also says 「疾厄逢忌定有尪羸」. On a Xingge chart, open the Life Palace to see its main star's brightness and any malefics, then open the Health Palace to see its main star and Hua Ji. This is a reminder about health, not a medical diagnosis; those with Hua Ji in the Health Palace do well to have the related parts checked regularly.

The poem says Qing Yang and Tuo Luo in the Life Palace, Qi Sha in the Body Palace and Huo Xing and Ling Xing shining on them mean serious trouble: if not years in bed, then a hunched back. 「陀腰曲背」 is very likely tied to the 陀 of Tuo Luo, a star of delay and bending that the ancients linked to a hunchback. The Xing Xing Fu says Qing Yang means 「身體遭傷」, the same kind of bodily verdict. People with this combination do well to look after the spine, posture and long-term strain, exercise more and sit less; 'bedridden for years' is the extreme case, and can only be judged together with the Health Palace and the luck periods.

This poem is about disfigurement: malefics in the Palace of Appearance (the Parents Palace) with the punishing star in the trine, and Qing Yang meeting Hao and Shi in the Health Palace, bring broken limbs. The Dou Shu Zhun Sheng says 「相貌逢凶必帶破相」, which matches the first half. How to read Hao and Shi is covered in the note; they are usually taken as Tian Shang and Tian Shi. Tian Shi is always in the Health Palace, so 'Qing Yang meeting Shi in the Health Palace' in practice just means Qing Yang in the Health Palace. Such a chart calls for care with accidents and injuries, in sport or on the road, for example; today verdicts like this mostly show up as surgical scars or minor injuries.

This poem is about cleverness: Wen Qu, Tian Xiang or Po Jun in the Life Palace give many stratagems and a nimble nature; with Wen Chang and Wen Qu in the San Fang, fame for skill all one's life. Wen Qu as a clever star is easy to see; Tian Xiang and Po Jun here are less usual. Tian Xiang governs coordination and reads people well; Po Jun governs breaking new ground and tries new methods; both count as 'full of stratagems'. Volume two's chapter on the nature of Po Jun also says Po Jun 「好博禽捕獵」, the same nimble, restless side. People with these three stars in the Life Palace react quickly and have plenty of ideas, suited to work that calls for creativity and strategy.

This poem is about wealth: Tai Yin bright in Miao, the wealth star in the wealth place, and no loss stars or malefics intruding, mean heaped gold and piled jade. Tai Yin's transformed qi is wealth, and it is best in Miao (Hai, Zi, Chou); on Xingge's brightness table Tai Yin is Miao in Hai, Zi and Chou. 'The wealth star entering the wealth place' usually means Wu Qu in the Wealth Palace, as the note says, and the 'Your chart' comparison accepts either. The Tai Wei Fu's 「財居財位，遇者富奢」 says the same. People with a bright Tai Yin manage money well and value security; property and savings are how they build wealth.

This poem is about poverty and low station: no auspicious stars in the Life Palace, Huo Xing, Hua Ji, Qing Yang and Tuo Luo intruding from the Si Zheng, and Wu Qu, Lian Zhen, Ju Men and Po Jun meeting as well, mean a violent temper and poverty all one's life. The conditions stack three layers: no auspicious stars, malefics present, and hard main stars. 'Violent temper' is worth noticing: the ancients tied poverty to temper, reasoning that hard stars plus malefics make for a bad temper and bad relations with people, and so little chance of getting rich. People with such a chart benefit from learning to manage their emotions; once the temper settles, many opportunities will stay.

This poem is about thieves: Po Jun, Da Hao, Tan Lang and Lian Zhen in the Life Palace, Qi Sha shining on the Body Palace from the San Fang and Wu Qu in the Travel Palace mean the marks of the tattoo punishment ever fresh. Tattooing was the ancient punishment for criminals. The conditions are a mixed bag; what they share is Sha Po Lang plus Lian Zhen, with Wu Qu away from home. The Quan Shu has similar verdicts elsewhere, such as 「貪狼加殺同鄉女偷香而男鼠竊」 in Star Combinations: Tan Lang. People with these combinations are bold and break the rules; without good guidance they easily go astray, and in a good environment they become pioneers.

The last poem is about 'a mixed-up life': auspicious stars supporting while malefics arrive, so that none of a hundred crafts goes smoothly; with evil stars in the Body and Life Palaces as well, one can only slaughter oxen and horses. 'Mixed-up' means good and bad jumbled together, a notion that also appears in the Tai Wei Fu's 「處世孤貧數中逢乎駁雜」. People with both kinds of stars often know a little of everything and master nothing. The lesson for such a chart is to choose one direction and dig deep, turning many talents into a real specialty instead of scattering one's energy.