Dive into the Wei Dynasty's blend of grandeur, mystical events, and extraordinary characters shaping its unique historical narrative.
Wei Wendi’s most beloved beauty was surnamed Xue, named Lingyun, and she hailed from Changshan. Lingyun’s father was named Xue Ye, serving as the magistrate of the Zongxiang township, while her mother was named Chen. Lingyun and her mother lived next to her father Xue Ye in the township. The family of Lingyun was impoverished, and their social status was lowly. In the evenings, Lingyun and her mother often joined neighboring women to spin hemp and weave cloth, using hemp stalks and mugwort for illumination. As Lingyun grew to the age of fifteen, she possessed an extremely beautiful appearance, unmatched in her time. Young men from neighboring households often came at night to catch a glimpse of her but never succeeded. In the first year of the Xianxi era, Gu Xi was appointed as the Prefect of Changshan. He heard that the village head Xue Ye had a beautiful daughter from a very poor family. Meanwhile, Emperor Wen of Wei was selecting girls from virtuous families to enter the palace as concubines. Gu Xi offered a significant bride price of a thousand gold pieces and numerous precious treasures to propose to Lingyun. After the marriage was settled, Gu Xi presented Lingyun to Emperor Wen. Upon hearing that she would be separated from her parents for a long time, Lingyun wept continuously, and her tears soaked her clothing. When Lingyun boarded the carriage to set off, she used a jade spittoon to collect her tears, and the tears inside the spittoon turned red. From Changshan to the capital city, by the time they arrived, the tears inside the spittoon had solidified into blood-like clots.
Emperor Wen of Wei sent ten lavishly decorated carriages to welcome Xue Lingyun. These carriages had intricately carved metalwork adorning the edges of their wheels, and the central part of the wheels was painted red. The curved wooden parts placed on the necks of the oxen were crafted into the forms of dragons and phoenixes, with each dragon and phoenix holding a hundred small bells in their mouths. When the carriages moved, the bells would collide, producing a resonant and melodious sound that echoed through the mountains and fields. The carriages were pulled by matched pairs of blue-hoofed oxen, each capable of traveling three hundred li (Chinese miles) in a day. These oxen were tribute animals from the Shitu Kingdom and had hooves resembling those of horses. On both sides of the main road, stone leaf incense was lit. This type of incense, arranged in overlapping layers resembling mica, emitted flames and fragrances that could dispel fierce diseases. It was tribute incense from the Futi Kingdom. When Xue Lingyun was still dozens of li away from the capital, the road was illuminated continuously by candlelight, and the road was filled with attendants and carriages, raising dust that obscured the starlight and moonlight. People at that time referred to it as the “Dust Night.” Emperor Wen also constructed a thirty-zhang high earthen platform called the “Candle Platform,” which was lit with candles below. It appeared as though the stars from the heavens had fallen to the earth. Along the sides of the main road, bronze mile markers were erected every li, each measuring five feet in height, to indicate the distance. Therefore, travelers sang, “Green and blue locust trees grow on both sides of the road, carriages and attendants raise dust. In the distance, the imperial palace towers magnificently. A gentle breeze carries the fragrance, and bronze columns stand on the land, while candlelight illuminates the entire earthen platform.”
The final seven words of these lyrics foreshadow abnormal phenomena. The bronze mile markers erected along the sides of the main road symbolize gold growing from the earth. Placing candles below the earthen platform represents fire beneath the earth. During the Han Dynasty, the rule was associated with the virtue of fire, while the Cao Wei Dynasty was associated with the virtue of earth. When fire descends, earth rises, and gold grows from the earth, heralding the rise of the Jin Dynasty after the fall of Cao Wei. When Xue Lingyun was just ten li away from the capital, Emperor Wen of Wei came to welcome her in a royal carriage adorned with carved patterns made of jade and stone. Upon witnessing the grand procession of carriages and attendants, Emperor Wen remarked, “In the past, people used to say, ‘In the morning, it turns into moving clouds, and in the evening, it becomes falling drizzle.’ But now, there are neither drifting clouds nor gentle rain; it’s neither morning nor evening.” Consequently, he changed Lingyun’s name to “Yelai.” After entering the palace, Yelai received great favor. Later, a foreign tribute included a pair of dragon and phoenix hairpins adorned with Fire Qi pearls. Upon seeing them, Emperor Wen remarked, “She finds even pearl and jade jewelry too heavy to wear, let alone dragon and phoenix hairpins!” and prevented them from being brought in. Yelai’s needlework was incredibly exquisite, and even in a dark room with multiple layers of curtains, she could quickly complete cutting and sewing without the need for light or candles. Any clothing not sewn by Yelai, Emperor Wen would not wear. She was renowned in the palace as the “Needle Goddess.”
Xiao Qilu said: The changes in the Five Elements, for individuals, represent the cycles of life and death, while for dynasties, they signify the rise and fall that are all revealed in prophecies. In the Spring and Autumn period, the omen of the Duke of Jin annihilating the Guo state appeared in children’s rhymes. During the late Western Han Dynasty, the proliferation of prophecies during the reigns of Emperors Ai and Ping foreshadowed the decline of the country. Some of these prophecies were recorded in the classics of our ancestors, while others relied on various divination methods. A detailed study of the prophecies in the “He Tu” and “Luo Shu” reveals that these prophecies simply adapt to different circumstances. Tang Yao ruled with the virtue of fire and later abdicated the throne to Yu Shun, who possessed the virtue of earth. Similarly, the Han Dynasty ruled with the virtue of fire and was later succeeded by the Cao Wei, which embodied the virtue of earth. Each dynasty developed in accordance with the changing pattern of the Five Elements, appearing at the right time. The fame of scholars and the wealth of the nobility were also based on specific historical events. Some women were introduced to the palace because of their charming beauty, while others gained favor through their exquisite tailoring and sewing skills. They sought to showcase their graceful demeanor and secured rare wealth and splendor. Some even seized the power of the court, escaping their humble origins, and thus perpetuating their luxurious lifestyles.
When Emperor Ming of Wei constructed the Lingyun Terrace, he personally participated in digging the earth, and his ministers also carried tools to assist in excavation. During this time, the weather was cold, and many people perished from exhaustion and exposure. Their lifeless bodies were scattered on the ground. The bells and tripods in Luoyang and Ye regions would chime and move by themselves during the night, while mysterious sighs could be heard underground in the palace. High-ranking officials like Gao Tanglong and others jointly submitted a memorial to advise Emperor Ming. They emphasized that a ruler should govern with frugality and prioritize the welfare of the people. They expressed concern about the extravagant waste that was leading to these unusual occurrences and urged the emperor to promote thriftiness and simplicity in society. However, Emperor Ming ignored their advice and continued to seek rare and precious items, amassing treasures and constructing pavilions and towers. It took several years for the project to be completed. As more ministers offered counsel, Emperor Ming eventually reduced the heavy burdens on the people, returned to a more frugal way of life, and buried the remains of those who had died. It was only then that the common people and spirits were moved, and various auspicious signs began to appear. Below Mount Tai, there were two connected stone roots with intricate patterns, each twelve zhang (approximately 36 meters) high, resembling cypress trees. The stone patterns were clear and radiant, resembling meticulously carved artwork. These two stones were connected from the bottom to the top, with only a six-foot-wide gap in the middle, giving the appearance of a real tree. Local elders said, “During the late Qin Dynasty, these two stones were more than a hundred paces apart, covered with dense undergrowth, and there was no path between them. It was only since the founding of the Cao Wei that the two stones gradually moved closer, resembling the palace gates.” Earth and stones are both Yin elements, and the Cao Wei dynasty embodied the virtue of Earth. The connected stone roots were a supernatural omen. In both imperial gardens and ordinary households, there were plants connected by their roots. There was a type of mimosa called the “Godly Grass,” which resembled the appearance of a cypress tree during the day, with numerous stems and branches. However, at night, all the stems would come together to form a single stem, even if there were ten thousand stems, none would be left behind. A Kirin appeared in the land of Pei, and all of these were auspicious signs of Earth’s virtue. Consequently, Emperor Ming of Wei constructed the Wujitai altar. There was a yellow star that twinkled at night, and he later built the Maobitai altar to worship this yellow star, which represented Wei’s destiny. Emperor Ming offered sacrifices to it annually.
Prince Rencheng, Cao Zhang, was the son of Wei Wu Emperor Cao Cao. From a young age, Cao Zhang displayed strength and determination. He studied the arts of Yin and Yang, as well as the divination and theology of oracle texts. He could recite thousands of sentences from classics like the “Six Classics” and the “Hongfan.” When Wei Wu Emperor Cao Cao sought strategies for campaigns against the Wu and Shu states, he consulted Cao Zhang for his valuable insights. Prince Rencheng excelled in archery, being able to shoot with precision using both hands, and he also mastered the art of fencing. He could hit the whiskers and hair on a person’s head from a hundred paces away. During that time, the kingdom of Lelang presented a tiger with beautiful patterns on its body, resembling brocade. The tiger was enclosed in an iron cage, and even the bravest warriors dared not approach. However, Cao Zhang fearlessly wrapped the tiger’s tail around his arm, and the tiger obediently submitted without making a sound. His incredible bravery earned him widespread admiration. Once, a small white elephant from the kingdom of Nanyue stood before Emperor Wu of Wei. Cao Zhang placed his hand on the elephant’s trunk, and the elephant immediately knelt down, remaining motionless. Emperor Wen of Wei had a massive bell weighing ten thousand jin cast and placed it in the Chonghua Hall. When the decision was made to move it later, even a hundred strong men couldn’t budge it, but Cao Zhang could lift the giant bell and walk with it. Hearing of Cao Zhang’s extraordinary valor, regional lords withdrew their troops and fortified their borders. Emperor Wen of Wei remarked to Cao Zhang, “With your strength and might, conquering the land of Ba-Shu would be as easy as an owl catching a dead mouse.” After Cao Zhang’s passing, his funeral was as grand as that of the Eastern Prince of Han, Dongping. During the procession, hundreds of voices were heard weeping in the sky. Those involved in the funeral procession mentioned that in the past, those who had died from chaotic warfare had not received proper burials. Cao Zhang, known for his compassion, collected and interred these remains. The deceased found solace underground, and their spirits were grateful. People praised Prince Rencheng, Cao Zhang, for his virtues. The Wei dynasty’s official historian also compiled a three-volume work titled “Records of Prince Rencheng’s Deeds.” In the early years of the Jin dynasty, this book was still preserved in the imperial archives.
In the third year of Jian’an (198 AD), the Xutu Kingdom presented a Chiming Stone Chicken. This chicken had feathers as red as cinnabar, was the size of a swallow, and usually lived underground. It would only chirp when it sensed favorable circumstances, and its call could be heard from a great distance. The people of Xutu would offer sacrifices of pigs and sheep whenever they heard the chicken’s call. People would dig in the vicinity where they heard the chicken, and they would find this unique bird. In times of peace throughout the land, these birds would soar both in the sky and underground, which was considered an auspicious omen, and they were known as “Treasure Chickens.” In Xutu, there were no regular chickens, so people relied on the underground chicken’s chirping to tell time. According to Daoist legends, “Long ago, the immortal Tongjun ventured into the mountains to collect stones. After entering a cave and traveling several miles, he obtained a Chiming Stone Chicken. Tongjun crushed the stone chicken to create medicinal pills. Consuming these pills would grant people a resonant voice, abundant energy, and the prospect of immortality.” In the first year of Yuanding during the reign of Emperor Wu of Han, many precious and exotic items were presented as tributes from countries in the Western Regions. Among them was a Tiger-Soul Swallow that, when placed in a quiet room, would chirp on its own. It may have been a similar creature to the Chiming Stone Chicken. The “Luoshu” divination text stated, “The treasures of the imperial court are the signs of Earth’s virtue, and the auspicious omens of Cao Wei.”
In the second year of Emperor Ming of Wei’s reign (228 AD), the Lingqin Garden was constructed. Exotic birds and animals brought from distant foreign lands as tributes were kept in the Lingqin Garden. Among them was a Hoopoe Golden Bird presented by the Kunming Kingdom. The emissaries from Kunming said, “Our country is nine thousand miles away from Ranzhou, where these birds are found. They resemble sparrows, with yellowish feathers that are soft and fine. They often soar above the sea, and capturing one is considered very auspicious. We have heard of the benevolence of the Great Wei reaching distant lands, so we crossed mountains and seas to present the Hoopoe Golden Bird.” Emperor Ming of Wei received this bird and kept it in the Lingqin Garden, feeding it with pearls and providing turtle brains as its drink. The Hoopoe Golden Bird often spat out tiny golden grains, about the size of millet seeds. These golden grains could be melted down to create various objects. In the time of Emperor Wu of Han, someone had presented a Divine Sparrow, likely a similar bird. The Hoopoe Golden Bird was sensitive to frost and snow, so Emperor Ming ordered the construction of a small cottage for it to live in and named it the “Cold-Avoidance Pavilion.” The cottage had doors and windows made of crystal to allow light to pass both inside and outside. Concubines and palace maids competed to use the golden grains spat out by the bird to decorate their golden hairpins and jade ornaments. They referred to these golden grains as “Cold-Avoidance Gold.” Consequently, palace women teased each other, saying, “If you don’t wear Cold-Avoidance Gold, how can you win the Emperor’s favor?” Some concubines and palace maids vied for the Emperor’s favor by carrying these precious golden grains as their personal accessories, even when walking or sleeping. After the downfall of the Wei Dynasty, the palaces, pavilions, and towers turned to ashes, and the Hoopoe Golden Bird flew away on its own.
In the second year of the Xianxi era (265 AD), a strange creature was discovered within the imperial palace during the night. This creature was entirely white, shining and pure, moving about the palace chambers. Upon seeing it, eunuchs reported the situation to Emperor Yuan of Wei. Emperor Yuan remarked, “If there are strange creatures in the depths of the palace, it surely portends no good omen.” He ordered the eunuchs to secretly observe, and sure enough, they saw a small white tiger moving among the palace chambers. Those who were waiting in secret hurled a spear at the white tiger, hitting it in the left eye. However, when they approached to examine it, they found only bloodstains on the ground and no sign of the small white tiger. A thorough search of the palace and various wells and ponds turned up no trace of the animal. Subsequently, an examination of the treasury where treasures were stored revealed a jade pillow shaped like a tiger. The jade tiger had an injured eye, and there were still fresh bloodstains on it. Emperor Yuan of Wei, well-versed in history, said, “After Dong Han’s Liang Ji was killed, a similar jade tiger pillow was found in his residence. It was said to have been presented by the State of Danchi. Upon inspecting the underside of the jade tiger, inscriptions in seal script were found, claiming it to be the pillow of King Zhou of Shang. King Zhou of Shang once shared this pillow with Daji. This is a treasure from the late Shang Dynasty.” According to the Records of the Grand Historian, the reign of King Zhou of Shang occurred toward the end of the Shang Dynasty. By the time of Emperor Yuan of Wei during the Xianxi era, many years had passed since the inception of this artifact. It seems that over time, extraordinary treasures such as these can develop a supernatural aura and may even become inhabited by spirits or supernatural entities.
In the year when Emperor Cao Huan of Wei abdicated the throne in favor of the Sima family of Western Jin, there was a bright white light resembling the shape of a bird or sparrow frequently flying about beneath the palace hall to the north of the imperial palace. Upon hearing of this, the responsible officials reported it to Emperor Yuan of Wei. Emperor Yuan ordered it to be captured and found that it was a white swallow. Everyone at the time considered it to be a divine and extraordinary phenomenon. Consequently, a golden cage was made, and the swallow was placed within the palace. However, ten days later, the bird disappeared without a trace. People speculated, “This is an auspicious sign of the Metal Element. In the past during the time of Shi Kuang, there was also a white swallow that came and built a nest.” Consulting the “Illustrated Records of Auspicious Signs,” it indeed confirmed the accounts. The color white aligns with the Metal Element, and Shi Kuang, who lived during the Spring and Autumn period in the state of Jin, carries historical significance in the context of the Five Elements theory.
Xue Xia, a native of Tianshui, was a highly learned and talented individual. When Xue Xia’s mother was pregnant with him, she dreamt of a person gifting her a box of clothing and saying, “Madam, you will give birth to a son of great talent and wisdom, who will be highly respected by emperors.” Xue Xia’s mother remembered the date of the dream. When Xue Xia was born and reached the age of twenty, his intellect and eloquence surpassed that of ordinary individuals. Emperor Wen of Wei once engaged in a conversation with Xue Xia that lasted an entire day without rest. Xue Xia effortlessly provided insightful answers to all questions, leaving no room for doubt. Emperor Wen remarked, “In the past, Gong Sunlong was renowned for his eloquence, quick wit, and talent, but his words sometimes tended to be extravagant and irrelevant. Today, your words are either those of sages or you refrain from speaking altogether. You possess the talent of disciples like Ziyou and Zixia, and none can surpass you. If Confucius lived in the Wei Kingdom, you would surely be one of his closest disciples.” Emperor Wen personally wrote the words “入室生” (born into the household) for Xue Xia, and he held the position of Minister of the Secretariat. Xue Xia lived a modest and humble life. Emperor Wen once took off his own clothes to gift to Xue Xia, aligning with the initial dream his mother had. Xue Xia became renowned throughout the realm during his time, known as a person of noble character and high moral standing.
Tian Chou was a native of Youbei Ping. When Liu Yu was killed by Gongsun Zan, Tian Chou held deep admiration and longing for Liu Yu. He went to Liu Yu’s tomb, where he offered chickens and wine as a tribute, and he wept bitterly. His mournful cries echoed through the woods and mountains, causing birds to wail and beasts to howl in sorrow. Tian Chou lay in the grass near Liu Yu’s tomb when suddenly he heard someone announce, “Liu Yu has arrived and wishes to discuss the experiences of his life with Mr. Tian.” Tian Chou, a man of extraordinary intelligence and far-reaching knowledge, recognized that this was the spirit of Liu Yu. Before long, the spirit of Liu Yu approached, and Tian Chou knelt in reverence, his tears flowing uncontrollably. They sat down together, exchanged drinks, and shared meat. As Tian Chou became intoxicated, Liu Yu spoke, “Gongsun Zan is searching for you, and the situation is perilous. You should go into hiding to evade pursuit.” Tian Chou, still kneeling, replied, “I have heard of the noble principles between lords and subjects, and as long as I am alive, I must fulfill the duty of a loyal subject. Today, I have the honor of meeting your spirit, and I hope to join you in the afterlife. Dying alongside you will ensure my name lives on for eternity. How could I flee?” Liu Yu said, “You are one of the rare individuals throughout history known for unwavering determination and upright conduct. You should prudently safeguard your life!” With those words, Liu Yu disappeared, and Tian Chou’s drunkenness wore off.
Cao Hong was the cousin of Wei Wudi Cao Cao, and he was exceptionally wealthy with numerous fine horses. During Cao Cao’s campaign against Dong Zhuo, Cao Cao lost his own horse during a night march. Cao Hong then offered his own horse, named “White Goose,” to Emperor Wu. When this horse galloped, it seemed as if the wind whistled past, and its hooves barely touched the ground. When they reached the banks of the Bian River, Cao Hong had no means to cross, so Emperor Wu pulled him up onto the horse, and they crossed the river together. In just the blink of an eye, they covered hundreds of miles. After crossing the river, not a single hair on the horse’s legs was wet. People at the time believed that this horse must have been propelled by the power of the wind, making it a legendary and divine steed. There was even a saying: “The one who races through the sky is Cao Hong’s White Goose.”
Xiao Qilu said, “Monarchs expand their territory and establish their states by relying on the vast sea and towering mountains to build cities. This is originally the foundation for appeasing the people and cultivating moral virtue, leading to the ultimate goal of governing without excessive action. Eliminating the expenses of extravagant tours, guiding the people to focus on etiquette, and avoiding the admiration of grand palaces, a small garden is sufficient. Even a single oak tree should not be cut down, as Tang Yao exemplified through his enlightened frugality. Residing in simple and humble houses, consuming plain and simple food, Xia Yu used this to guard against the extravagance of his time. However, in the three generations of Xia, Shang, and Zhou, the rulers abandoned these virtues. They squandered the wealth of the state, depleted the strength of the people, and indulged in extravagant and luxurious living, boasting about it among themselves. The magnificence of their palaces was a display of extraordinary craftsmanship, achieved at the expense of the toil and hardship of the laboring people. By the time of the Spring and Autumn period, the royal families had declined, and the laborers who built the cities often wrote songs to express their grievances, exhausted from their arduous toil. Duke Jin’s construction of the Siqi Palace led to widespread complaints due to the prolonged labor. The laborers who built Zemen for King Wen of Song lamented their fatigue and exhaustion. There was the labor-intensive Gusu Terrace in the past, and the wearying Afang Palace in the later period. They believed that these grand constructions would secure the imperial legacy and the stability of the state for generations, but in the end, the imperial rule crumbled, and the state was lost. It is for this reason that we grieve deeply.”
I see that Emperor Ming of Wei trod upon the vast plains of the Central Plains, his prestige reverberating throughout the four directions, surpassing all emperors of the past. During his reign, there were continuous records of auspicious omens and miraculous treasures, and the treasury overflowed with precious offerings from distant lands. This led to the situation of the Three Kingdoms vying for supremacy, dominating the realm. However, during this period, the Confucian rites and teachings were not as exemplary as the times of Emperor Yao and Great Yu. The social morals of Wei’s generations fell short of those in the Zhou Dynasty and the two Han Dynasties. Moreover, they were blocked in the east by Min and Wu, and troubled in the west by the Shu Kingdom of Qiongdi. Continuous warfare drained the state’s resources. Emperor Ming failed to adapt to the changing times to improve the lives of the common people, instead pursuing grand palaces, vast ponds, and splendid pavilions. Ultimately, this led to the downfall, possibly preordained. Prince of Rencheng, Cao Zhang, was a deep thinker and extraordinarily brave, with meticulous strategy and outstanding martial prowess. Even those with exceptional swordsmanship and archery skills like Lai Dan and Feng Meng could not surpass him. Tian Chou treated his deceased friend as if he were still alive, maintaining his integrity. His sincerity even moved the spirits. Cao Hong was loyal, caring for his family and worrying about the state. Only King Mu of Zhou’s divine steed could be said to match his “White Goose” in prowess.
文帝所愛美人，姓薛名靈芸，常山人也。父名鄴，為酇鄉亭長，母陳氏，隨鄴舍於亭傍。居生穷賤，至夜，每聚鄰婦夜績，以麻蒿自照。靈芸年至十五，容貌絕世，鄰中少年夜來竊窺，終不得見。咸熙元夫，谷習出守常山郡，聞亭長有美女而家甚貧。時文帝選良家子女，以入六宮。習以千金宝賂聘之，既得，乃以献文帝。靈芸聞別父母，歔欷累日，淚下沾衣。至升車就路之時，以玉唾壺承淚，壺則紅色。既發常山，及至京師，壺中淚凝如血。帝以文車十乘迎之，車皆鏤金為輪輞，丹畫其轂，軛前有雜寶為龍鳳，銜百子鈴，鏘鏘和鳴，響於林野。駕青色之牛，日行三百里。此牛屍屠國所献，足如馬蹄也。道側燒石葉之香，此石重疊，狀如雲母，其光氣辟惡厲之疾。此香腹題國所進也。靈芸未至京師數十里，膏燭之光，相續不滅，車徒咽路，塵起蔽於星月，時人謂為“塵宵”。又築土為台，基高三十丈，列燭於台下，名曰“燭台”，遠望如列星之墜地。又於大道之傍，一里一銅表，高五尺，以志里數。故行者歌曰：“青槐夾道多塵埃，龍楼鳳闕望崔嵬。清風細雨雜香來，土上出金火照台。”此七字是妖辞也。為銅表志里數於道側，是土上出金之義。以燭置台下，則火在土下之義。汉火德王，魏土德王，火伏而土興，土上出金，是魏滅而晉興也。靈芸未至京師十里，帝乘雕玉之輦，以望車徒之盛，嗟曰：“昔者言‘朝為行雲，暮為行雨’，今非雲非雨，非朝非暮。”改靈芸之名曰“夜來”，入宮後居寵愛。外國獻火珠龍鸞之釵。帝曰：“明珠翡翠尚不能勝，况乎龍鸞之重！”乃止不進。夜來妙於針工，雖處於深帷之內，不用燈燭之光，裁製立成。非夜來縫製，帝則不服。宮中號為“針神”也。
錄曰：五帝之運，迭相生死，起伏因循，顯於言端。童謠信於春秋，讖辞煩於漢末，或著明先典，或托見圖記。僉詳《河》、《洛》，應運不同。唐堯以炎正禪虞，大漢以火德受魏，世歷沿襲，得其宜矣。夫升名藉璧，因事而來。既而柔曼之質見進，亦以裁縫之妙要寵，媚斯婉約，榮非世載，取或一朝，去彼疑賤，延此華軒。
魏明帝起凌雲台，躬自掘土，群臣皆負畚鍤，天陰凍寒，死者相枕。洛、鄴諸鼎，皆夜震自移。又聞宮中地下，有怨歎之聲。高堂隆等上表諫曰：“王者宜靜以養民，今嗟歎之聲，形於人鬼，願省薄奢費，以敦儉樸。”帝猶不止，廣求瑰異，珍賂是聚，飭台榭累年而畢。諫者尤多，帝乃去煩歸儉，死者收而葬之。人神致感，眾祥皆應。太山下有連理文石，高十二丈，狀如柏樹，其文彪發，似人雕鏤，自下及上皆合，而中開廣六尺，望若真樹也。父老云：“當秦末，二石相去百余步，蕪沒無有蹊徑。及魏帝之始，稍覺相近，如雙闕。”土石陰類，魏為土德，斯為靈徵。苑囿及民家草樹，皆生連理。有合歡草，狀如蓍，一株百莖，晝則眾條扶疏，夜則合為一莖，萬不遺一，謂之“神草”。沛國有黃麟見於戊己之地，皆土德之嘉瑞。乃修戊己之壇，黃星炳夜。又起昴畢之台，祭祀此星，魏之分野，歲時修祀焉。
任城王彰，武帝之子也。少而剛毅，學陰陽緯候之術，誦《六經》、《洪范》之書數千言。武帝謀伐吳、蜀，問彰取便利行師之決。王善左右射，學擊劍，百步中髭發。時樂浪獻虎，文如錦斑，以鐵為檻，梟殷之徒，莫敢輕視。彰曳虎尾以繞臂，虎弭耳無聲。莫不服其神勇。時南越獻白象子在帝前，彰手頓其鼻，象伏不動。文帝鑄萬斤鍾，置崇華殿，欲徙之，力士百人不能動，彰乃負之而趨。四方聞其神勇，皆寢兵自固。帝曰：“以王之雄武，吞並巴蜀，如鴟銜腐鼠耳！”彰薨，如漢東平王葬禮。及喪出，空中聞數百人泣聲。送者皆言，昔亂軍相傷殺者，皆無棺槨，王之仁惠，收其朽骨，死者歡於地下，精靈知感，故人美王之德。國史撰《任城王舊事》三卷，晉初藏於秘閣。
建安三年，胥徒國獻沉明石雞，色如丹，大如燕，常在地中，應時而鳴，聲能遠徹。其國聞鳴，乃殺牲以祀之，當鳴處掘地，則得此雞。若天下太平，翔飛頡頏，以為嘉瑞，亦為“寶雞”。其國無雞，聽地中候晷刻。道家云：“昔仙人桐君采石，入穴數里，得丹石雞，舂碎為藥，服之者令人有聲氣，後天而死。”昔漢武帝寶鼎元年，西方貢珍怪，有虎魄燕，置之靜室，自於室中鳴翔，蓋此類也。《洛書》云：“皇圖之寶，土德之徵，大魏之嘉瑞。”
明帝即位二年，起靈禽之園，遠方國所獻異鳥殊獸，皆畜此園也。昆明國貢嗽金鳥。國人云：“其地去燃洲九千里，出此鳥，形如雀而色黃，羽毛柔密，常翱翔海上，?者得之，以為至祥。聞大魏之德，被於荒遠，故越山航海，來獻大國。”帝得此鳥，畜於靈禽之園，飴以真珠，飲以龜腦。鳥常吐金屑如粟，鑄之可以為器。昔漢武帝時，有人獻神雀，蓋此類也。此鳥畏霜雪，乃起小屋處之，名曰“辟寒台”，皆用水精為戶牖，使內外通光。宮人爭以鳥吐之金用飾釵珮，謂之“辟寒金”。故宮人相嘲曰：“不服辟寒金，那得帝王心？”於是媚惑者，亂爭此寶金為身飾，及行臥皆懷挾以要寵幸也。魏氏喪滅，池台鞠為煨燼，嗽金之鳥，亦自翱翔矣。
咸熙二年，宮中夜有異獸，白色光潔，繞宮而行。閹宦見之，以聞於帝。帝曰：“宮闈幽密，若有異獸，皆非祥也。”使宦者伺之。果見一白虎子，遍房而走。候者以戈投之，即中左目。比往取視，惟見血在地，不復見虎。搜檢宮內及諸池井，不見有物。次檢寶庫中，得一玉虎頭枕，眼有傷，血痕尚濕。帝該古博聞，云：“漢誅梁冀，得一玉虎頭枕，云單池國所獻，檢其頷下，有篆書字。云是帝辛之枕，嘗與妲己同枕之。是殷時遺寶也。”又按《五帝本紀》云，帝辛殷代之末。至咸熙多歷年所，代代相傳。凡珍寶久則生精靈，必神物憑之也。
魏禪晉之歲，北闕下有白光如鳥雀之狀，時飛翔來去。有司聞奏帝所。?之，得一白燕，以為神物，於是以金為樊，置於宮中。旬日不知所在。論者云：“金德之瑞。昔師曠時，有白燕來巢。”檢《瑞應圖》，果如所論。白色葉於金德，師曠晉時人也，古今之義相符焉。
薛夏，天水人也，博學絕倫。母孕夏時，夢人遺之一篋衣云：“夫人必產賢明之子也，為帝王之所崇。”母記所夢之日。及生夏，年及弱冠，才辯過人。魏文帝與之講論，終日不息，應對如流，無有疑滯。帝曰：“昔公孫龍稱為辯捷，而迂誕誣妄；今子所說，非聖人之言不談，子游、子夏之儔，不能過也。若仲尼在魏，復為入室焉。”帝手製書與夏，題云“入室生”。位至秘書丞。居生甚貧，帝解御衣以賜之，果符元所夢。名冠當時，為一代高士。
田疇，北平人也。劉虞為公孫瓚所害，疇追慕無已，往虞墓設雞酒之禮，慟哭之音，動於林野，翔鳥為之淒鳴，走獸為之吟伏。疇臥於草間，忽有人通云：“劉幽州來，欲與田子泰言平生之事。”疇神悟遠識，知是劉虞之魂。既近而拜，疇泣不自支，因相與進雞酒。疇醉，虞曰：“公孫瓚求子甚急，宜竄伏以避害！”疇拜曰：“聞君臣之義，生則盡禮，今見君之靈，願得同歸九地，死且不朽，安可逃乎！”虞曰：“子萬古之貞士也，深慎爾儀！”奄然不見，疇亦醉醒。
曹洪，武帝從弟，家盈產業，駿馬成群。武帝討董卓，夜行失馬，洪以其所乘馬上帝。其馬號曰“白鵠”。此馬走時，惟覺耳中風聲，足似不踐地。至汴水，洪不能渡，帝引洪上馬共濟，行數百里，瞬息而至。馬足毛不濕。時人謂為乘風而行，亦一代神駿也。諺曰：“憑空虛躍，曹家白鵠。”
錄曰：王者廓萬宇以為邦家，因海岳以為城池，固是安民養德，垂拱而治焉。去乎遊歷之費，導於敦教之道，無崇宮室，有薄林園。採椽不斫，大唐如斯昭儉；卑宮菲食，伯禹以之戒奢。迄乎三代之王，失斯道矣。傷財弊力，以驕麗相誇，瓊室之侈，璧台之富，窮神工之奇妙，人力勤苦。至於春秋，王室凌廢，城者作謳，疲於勤勞。晉築祈褫之宮，為功動於民怨；宋興澤門之役，勞者以為深嗟。姑蘇積費於前，阿房奮竭於後。自以業固河山，名超萬世，覆滅宗祀，由斯哀哀。竊觀明帝，踐中區之沃盛，威靈所懾，比強列代，禎祥神寶，史不絕書，殊方珍貢，府無虛月，鼎據三方，稱雄四海。而聖教微於堯、禹，歷代劣於姬、漢，東鯁閩、吳，西病邛蜀，師旅歲興，財力日費，不能遵養黎元，遠瞻前樸，宮室窮麗，池榭肆其宏廣，終取夷滅，數其然哉！任城淵謀神勇，智周祥藝，雖來舟、蓬蒙劍射之好，不能加也。田疇事死如生，守以直節，精誠之至，通於神明。曹洪忠烈為心，愛親憂國。此穆滿之駿，方之“白鵠”，可謂齊足者也。