Zhou Yi Qian Shu (周易淺述)

臣等謹案，《周易淺述》八卷，國朝陳夢雷撰。夢雷字省齋，閩縣人。康熙庚戌進士，官翰林院編修。緣事謫戍。後蒙恩召還，校正銅板。復緣事謫戍。卒於戍所。是編成於康熙甲戌，乃其初赴尚陽堡時所作。大旨以朱子《本義》為主，而叅以王弼注、孔穎達疏、蘇軾傳、胡廣《大全》、來知德注。諸家所未及，及所見與《本義》互異者，則別抒己意以明之。蓋行篋乏書，故所據止此。

We have carefully examined: "A Plain Account of the Zhou Changes" consists of eight volumes and was written by Chen Menglei of this dynasty. Chen Menglei, whose courtesy name was Shengzai, was from Fuzhou, Min County. He passed the imperial examination in the Gengxu year of the ninth year of the Kangxi era and held the position of compiler in the Hanlin Academy. Later he was exiled and sent to the frontier due to involvement in a case; subsequently, he was recalled to the capital by imperial grace to participate in the correction of movable type printed books; afterwards, he was again convicted of an offense and exiled, ultimately dying in exile. This book was completed in the Jiaxu year of the thirty-third year of the Kangxi era, precisely when he was first exiled to Shangyang Fortress. The main focus of the book is based on Zhu Xi's "The Original Meaning of the Zhou Changes," while also consulting Wang Bi's "Commentary on the Zhou Changes," Kong Yingda's "Collected Commentaries on the Zhou Changes," Su Shi's "Commentary on the Changes by Dongpo," Hu Guang's "Comprehensive Treatise on the Zhou Changes," and Lai Zhide's "Collected Commentaries on the Zhou Changes." Any parts not covered by these scholars, as well as his own views conflicting with "The Original Meaning," are explained by him personally. It is likely that due to the lack of books in his belongings, he only relied on these few references.

其凡例稱解易數千家，未能廣覽，道其實也。然其說，謂易之義蘊不出理數象占。顧數不可顯，理不可窮，故但寄之於象。知象則理數在其中，而占亦可即象而玩，故所解以明象為主。持論多切於人事，無一切言心言天支離幻冥之習。其詮理雖多尊朱子，而不取其卦變之說。取象雖兼採來氏，而不取其錯綜之論。亦頗能掃除轇轕。

He claimed in his preface that there have been thousands of interpretations of the Book of Changes throughout history, but he himself was unable to read them all, and this statement is indeed true. However, his position is that the meaning of the Book of Changes can be summarized into four aspects: 'li' (principle), 'shu' (numbers), 'xiang' (images), and 'zhan' (divination). But 'shu' cannot be directly expressed, and 'li' cannot be fully explained in words, so the sages had to寄托 them in the 'xiang' of the hexagrams and their lines. Once one understands the images, both principle and numbers are included within them; divination can also be contemplated through the images. Therefore, his commentary mainly focuses on explaining the images of the hexagrams. His arguments are closely related to human affairs, and he avoids the风气 of discussing the mind and heaven in a fragmented and vague manner. Although he often respects Zhu Xi's interpretations of the principles, he does not adopt Zhu Xi's theory of 'guabian' (changing hexagrams). In terms of images, he draws on Lai Zhide's approach but does not adopt Lai's theories of 'cuogua' (opposite hexagrams) and 'zonggua' (inverted hexagrams). This can be considered as effectively eliminating tangled and confusing discussions.

惟卷末所附三十圖，乃其友楊道聲所作。穿鑿煩碎，實與夢雷書不相比附。以原本所載，且說易原有此一家，姑仍其舊存之，置諸不論不議可矣。乾隆四十六年九月恭校上。總篡官臣紀昀、臣陸錫熊、臣孫士毅。總校官臣陸費墀。

Only the thirty illustrations appended at the end of the volume were drawn by his friend Yang Daosheng. These illustrations are forced and overly detailed, and do not match the purpose of Chen Menglei's book. Since these illustrations were originally included in the text, and interpreting the Yi Jing has always had this school of thought, we have decided to retain them as they were, setting them aside without comment. Presented with respectful diligence in the ninth month of the forty-sixth year of Qianlong. Chief editors: Minister Ji Yun, Minister Lu Xixiong, and Minister Sun Shi yi. Chief proofreaders: Minister Lu Fei chi.

一、易之為書，義蘊雖多，大抵理數象占四者盡之。有是理乃有是數，有是數即有是理。六經皆言理，獨易兼言數。顧數不可顯，理不可窮，故但寄之於象。夫子謂立象以盡意，而全彖六爻之傳皆稱象曰，則理數之備於彖可知。故今所註釋，多即其取象之由釋之。蓋知象則理數在其中。且可隨類旁通，不拘於一隅之見。不獨先儒精義可融洽，即時解所稱君臣政教，亦不妨借為設象之觀矣。

The first point is that the Book of Changes contains a great deal of meaning, but essentially it can be summarized in four aspects: "li" (principle), "shu" (number), "xiang" (image), and "zhan" (divination). There is such a principle, hence such a number; there is such a number, hence such a principle. The Six Classics all discuss principle, but only the Book of Changes also discusses number. However, number cannot be directly expressed, and principle cannot be fully explained, so it must be conveyed through images. Confucius said, "Establishing images to exhaust meaning," and both the Commentary on the Judgment and the commentaries on the six lines all begin with "xiang yue" (image says), indicating that principle and number are fully contained within the hexagram texts. Therefore, the annotations in this book mostly explain the reasons behind the images. Once the images are understood, both principle and number are included within them. Moreover, one can understand related categories by analogy, without being limited to a single perspective. In this way, not only can the insights of previous Confucian scholars be integrated, but even contemporary interpretations concerning the relationship between ruler and minister and political education can be used as perspectives for establishing images.

一、有象即有占。本義分龍馬日月之辭為象，吉凶悔吝之辭為占。然占即在象中。蓋龍馬日月之辭，象也，即占也。吉凶悔吝之辭，占也，亦卦爻中有此象也。繫辭傳謂居則觀其象而玩其辭，動則觀其變而玩其占。然必平日審於象，既筮乃明於占。蓋觀象貴能變通，臨筮乃以我所問之事合之所占。自能分其義類，以定可否矣。

Its second point is that whenever there is an image, there is also a divination. Zhu Xi in his "Benyi" classifies terms such as dragon, horse, sun, and moon under "xiang" (image), while terms like auspicious, ominous, regret, and hardship are classified under "zhan" (divination). However, zhan is actually contained within xiang. Because the terms of dragon, horse, sun, and moon are images, and at the same time they are also divination; the terms of auspicious, ominous, regret, and hardship are divination, but they are also originally present in the hexagram lines as images. The "Xici Zhuan" says: when in peace and without affairs, one should observe the hexagram images and contemplate the hexagram line statements; when about to take action, one should observe the changing lines and contemplate the divination statements. However, one must clearly observe the images in daily life, so that when actually performing a divination, one can clearly understand the divination statements. Because observing images values flexibility and adaptability, while actual divination involves combining the question asked with the hexagram obtained, thus naturally distinguishing which category of meaning it belongs to, and thereby determining whether it is feasible or not.

一、是書雖參註疏大全及蘇氏來氏之解，而要以本義為主。亦有本義所云，大全中朱子又存疑義者。則本義尚有朱子未定之解，自宜叅之他家，以求其歸也。間有註疏大全所無，妄附臆見者，必明言與本義異同之故。非敢立異，正以心有未安，又不敢以己見托之先儒，故明言附一知半解，以待高明指摘耳。

Thirdly, although this book refers to Wang Bi's commentary, Kong Yingda's annotations, Hu Guang's Zhou Yi Duan Bian, and the interpretations of Su Shi and Lai Zhide, its main basis is still Zhu Xi's Benyi. There are also instances where Benyi has already made a judgment, but Zhu Xi later raised doubts in the Duan Bian; this shows that there are explanations in Benyi which Zhu Xi himself did not finally decide upon. Naturally, we should consult other sources to reach a conclusion. Occasionally, when annotations and Duan Bian do not mention something, and I dare to add my own speculative views, I will certainly explain the similarities and differences between my views and Benyi. This is not an act of daring to be original, but rather a feeling of unease within me. I also dare not attribute my own opinions to the names of past Confucian scholars, so I clearly state that these are just my partial understandings, waiting for the guidance of more enlightened scholars.

一、解易數千餘家，未能廣覽。來氏獨於取象最詳。然一卦之中內卦、外卦、二互卦、六爻變卦、變卦中互卦，取象已博。若再錯綜卦取象，亦太泛矣。愚意謂互變猶本卦也，錯綜則已屬意求之。如震為龍，乾亦言龍，正不必過拘也。

Fourthly, there are thousands of interpretations of the Book of Changes, but I have not had the opportunity to study them all extensively. Among them, only Lai Zhide's explanation is the most detailed and comprehensive regarding the use of symbolic imagery. However, within a single hexagram, there are already the inner trigram, the outer trigram, two inter-trigrams, the hexagrams derived from each of the six lines, and the inter-trigrams within the resulting hexagram; the use of imagery is already quite broad. If we further add the opposite hexagram and the inverted hexagram, the use of imagery would become excessive. In my personal opinion, the inter-trigrams and the changes of the lines are still things that naturally arise from the original hexagram. The opposite hexagram and the inverted hexagram, however, are deliberately sought after. For example, the hexagram Zhen is taken as representing a dragon, and the hexagram Qian also speaks of a dragon. It is not necessary to be overly concerned about where these images come from.

一、易之有圖，原列於經首，蓋卦畫在未有經之先也。今所附楊子道聲圖說，則有先後天配合，及方圓卦分合之圖，多後人之論矣。不知圖者，固不得經之原。然不讀全經，亦未能究圖之蘊。故附圖說於後，使人先從誦讀，求其文義，然後探其本原也。

Its fifth point, the Book of Changes is accompanied by diagrams, originally placed before the text because the trigrams were created before the textual explanations. Now, the diagram explanations appended by Mr. Yang Daosheng include both Earlier Heaven and Later Heaven diagrams, as well as square and circular diagrams that combine and differentiate, most of which are later interpretations. Those who do not understand the diagrams will naturally miss the fundamental principles of the text; yet those who do not thoroughly read the entire text will also be unable to explore the profound meanings within the diagrams. Therefore, the diagram explanations are appended at the end of the book, encouraging people to first study the text through reading and understanding its meaning, and then proceed to investigate its fundamental principles.

一、是書義蘊本之先儒，圖說本之楊子，間皆附以臆見。獨於卦變有疑。凡彖傳言卦變者，程傳本義多異同，朱子亦多存疑。三覆再三，究未得其不易之解。今凡彖傳言卦變者，俱照來氏綜卦言之，於理甚順。故闕卦變之圖，以待異日。

The sixth point is that the principles of this book are based on the teachings of previous Confucian scholars, while the diagrams are based on those of Mr. Yang Daosheng. In between, I have included my own personal opinions. However, I have doubts regarding the concept of "guabian" (hexagram transformation). Whenever the "彖传" (Commentary on the Judgment) discusses guabian, there are discrepancies between Cheng Yi's "Yichuan Commentary on the Changes" and Zhu Xi's "Benyi" (Commentary on the Principles). Zhu Xi himself also expressed doubts. I have repeatedly pondered and considered this issue, but I have not yet reached a definitive and unchangeable conclusion. Therefore, in this book, whenever the "彖传" discusses guabian, I have followed Lai Zhide's concept of "zonggua" (inverted hexagram), which is the most logical approach. Therefore, this book omits the diagram of guabian, leaving it to be completed in the future.

一、易之為書，雖理數象占所包者廣，大旨無非扶陽而抑陰，隨時而守正。教人遷善改過，憂勤惕厲，以終其身。學易者苟不悟此，則詮理雖精，探數雖微，觀象雖審，決占雖神，總於身心無當。故所解多於前後總論一卦大意，及逐爻象傳之下，發明聖人言外示人大意。雖未敢謂神明默成之道盡是，然借一二言自儆身心，庶克道聽途說之咎雲。

The seventh point, the Book of Changes, although it encompasses a wide range of principles, numbers, images, and divination, its main purpose is simply to support the yang and restrain the yin, to follow the times and adhere to the right path, teaching people to reform their mistakes, be diligent and cautious, and thus live out their lives. If those who study the Book of Changes do not understand this, then no matter how refined their understanding of principles is, how subtle their exploration of numbers, how careful their observation of images, or how divine their divination, they will still find no grounding for their body and mind. Therefore, the explanations in this book focus mostly on summarizing the general meaning of each hexagram at the beginning and end of each hexagram, as well as elaborating on the intentions conveyed by the sages beyond the text in the commentaries on each line. Although we dare not say that the profound understanding and natural cultivation of virtue of the sages are entirely contained here, using a few sentences to warn and guide our body and mind may help us avoid the errors of hearing things from others and spreading them without verification.

昔者伏羲氏仰觀於天，俯察於地。近取諸身，遠取諸物。見天下萬有不齊之變，不外由太極而生陰陽。故畫一奇以象陽，畫一偶以象陰，而兩儀具。見一陰一陽有各生一陰一陽之象，故增二畫，而太陽太陰少陽少陰之四象成。疊之為三而三才既備，則天地雷風水火山澤之八卦列。謂之卦者，言懸卦物象以示於人也。八卦既成，則八卦皆可為太極。復生兩儀而十六，四象而三十二，八卦而六十四，而萬物之變盡於斯矣。

Fuxi once looked up to observe celestial phenomena and looked down to examine geographical features. He took inspiration from the human body nearby and from all things in the distance. He saw that the myriad changes in the world ultimately stemmed from the generation of yin and yang from the Taiji. Therefore, he drew a continuous horizontal line to symbolize yang and a broken horizontal line to symbolize yin, thus completing the two principles. He then observed that each of the yin and yang could generate another yin and yang, so he added two lines to each of the two principles, completing the four images: Taiyang, Taiyin, Shaoyang, and Shaoyin. When the lines were arranged in three layers, the structure of heaven, earth, and humanity, the three principles, was complete. The eight trigrams of heaven, earth, thunder, wind, water, fire, mountain, and marsh thus emerged in order. The term 'gua' is used because it refers to hanging up the images of things to display them to people. Once the eight trigrams were drawn, each trigram could itself be considered a Taiji. Regenerating the two principles from each would result in sixteen, regenerating the four images would result in thirty-two, and regenerating the eight trigrams would result in sixty-four. Thus, the changes of all things under heaven and earth were exhausted.

伏羲雖有六十四卦之畫，而未有文義。至文王始作彖辭，以斷一卦之吉凶。如乾之元亨利貞是也。周公始作爻辭，以占所動之爻之吉凶。如乾初九之潛龍勿用，九二之見龍在田、利見大人者是也。伏羲六十四卦，夏商相承用之，皆有其書。夏曰連山首艮，商曰歸藏首坤，至文王周公則首乾。連山歸藏不傳。今經則文王周公所作，故曰周易也。

Fuxi drew the hexagrams but did not write any characters or explanations. It was King Wen of Zhou who first composed the "Tuan Ci" to judge the fortune and misfortune of each hexagram, for example, the "Yuan Heng Li Zhen" in the hexagram Qian. It was the Duke of Zhou who first composed the "Yao Ci" to judge the fortune and misfortune of the changing line, for example, the "Qian Long Wu Yong" in the first line of Qian and the "Jian Long Zai Tian, Li Jian Da Ren" in the second line of Qian. Fuxi's sixty-four hexagrams were passed down through the Xia and Shang dynasties, each having its own book: the Xia dynasty's was called "Lian Shan", with the hexagram Gen as the first; the Shang dynasty's was called "Gui Cang", with the hexagram Kun as the first; it was only during the time of King Wen and the Duke of Zhou that the hexagram Qian became the first. The books "Lian Shan" and "Gui Cang" have not been passed down. The present text of the classic is what King Wen and the Duke of Zhou composed, hence it is called the "Zhou Yi".

易之為字，從日從月，陰陽具矣。易之為義有二。曰交易，陰陽寒暑上下四方之對待是也。曰變易，春夏秋冬循環往來是也。易分上下兩經。上經首乾坤而終坎離，下經首咸恆而終既濟未濟。意義所該者廣，圖說亦發明其略，非以簡帙重大而分也。孔子始作十翼。

The character 「易」 has 「日」 on top and 「月」 at the bottom, indicating that yin and yang are already contained within its form. The meaning of 「易」 has two layers: one is 「交易」, referring to the mutual interaction between yin and yang, cold and heat, upper and lower, and the four directions; the other is 「变易」, referring to the cyclical movement of the four seasons. The Book of Changes is divided into upper and lower classics: the upper classic begins with 「乾」 and 「坤」 and ends with 「坎」 and 「离」, while the lower classic begins with 「咸」 and 「恒」 and ends with 「既济」 and 「未济」. This division encompasses a broad range of meanings, and the diagrams and explanations at the end roughly elaborate on these ideas, not merely because the volume was too heavy to be kept as a single book. Confucius was the first to compose the 「Ten Wings」.

上彖一，下彖二，上象三，下象四，上繫五，下繫六，文言七，說卦八，序卦九，雜卦十。周易上下二篇合孔子十翼凡十二篇。後人以彖傳象傳文言分入諸卦，而上下繫傳及說卦序卦雜卦附於下經之後。故曰易為四聖之書者，此也。

The ten appendices are: Commentary on the Judgment (upper) as the first, Commentary on the Judgment (lower) as the second, Image Commentary (upper) as the third, Image Commentary (lower) as the fourth, Great Treatise (upper) as the fifth, Great Treatise (lower) as the sixth, Wenyan as the seventh, Shuogua as the eighth, Xugua as the ninth, and Zage as the tenth. The Zhou Changes consists of upper and lower parts, plus the ten appendices by Confucius, making a total of twelve chapters. Later scholars split Commentary on the Judgment, Image Commentary, and Wenyan, and attached them to each hexagram. The upper and lower Great Treatises, Shuogua, Xugua, and Zage were attached after the lower section. People say the Book of Changes was composed by Fuxi, King Wen, the Duke of Zhou, and Confucius, and the reason for this is here.

乾。有天地而後萬物生焉。萬物莫尊乎天，周易所以首乾也。其象為天，其卦純陽。健而不息，故其象為天。統言其象占，則有大亨之道而利於正固。就其理析言之，則四德具焉。此全彖之大旨也。

The Qian hexagram. Only after heaven and earth were formed did all things come into being, and among all things, none is more exalted than heaven. Therefore, the Zhou Changes places the Qian hexagram first in the entire book. Its symbolic image is heaven, and its structure is entirely yang; strong and vigorous, it never ceases, hence it is taken as the image of heaven. In summary, its image and divination signify the great and smooth path, which is favorable for maintaining uprightness. When analyzing its meaning in detail, the four virtues of "origin," "smoothness," "favorability," and "uprightness" are all contained within it. This is the main idea of the hexagram's zhou (general interpretation).

卦既純陽，變化不測，故六爻皆取象於龍。具龍德而在上，則居天位以應天，天子之事也。具龍德而在下，則盡天理以順天，學者之事也。生而知之，安而行之，潛見惕躍飛亢各隨其時者，聖人也。觀象玩辭，觀變玩占，固守其潛，積學待見，當惕而惕，當蹊而躍，飛則應時，亢不至悔者，君子也。此六爻之大旨也。

The hexagram is entirely yang, and its changes are difficult to measure, so all six lines take the image of a dragon. Possessing the virtue of a dragon and occupying a high position means being in the position of the Son of Heaven, aligning with the heavenly way, which pertains to the Son of Heaven. Possessing the virtue of a dragon and occupying a low position means fulfilling the heavenly principles one has received and following the heavenly way, which pertains to scholars. Those who inherently know and calmly act, moving according to the appropriate time in the stages of concealment, emergence, alertness, leaping, flying, and exaltation, are sages. Observing the hexagram, contemplating the line statements, observing the changing lines, and contemplating the divination, concealing when it is appropriate, waiting quietly for emergence when it is appropriate, being cautious when it is appropriate, leaping when it is appropriate, flying when it is appropriate, and reaching the extreme of exaltation without causing regret, are gentlemen. This is the main idea of the six lines.

乾。元亨利貞。三畫皆陽，其卦為乾，其象為天。乾者，健而不息之謂。天體純陽，健而無息。以形體言為天，以主宰言為帝，以性情言謂之乾。下三畫內卦也，上三畫外卦也。六畫皆陽，內外皆乾，乾之純，健之至也。元亨利貞，文王所繫之詞，以斷一卦之吉凶，所謂彖辭者也。元，大也。亨，通也。

The hexagram "Qian" (Heaven) is characterized by "Yuan, Heng, Li, Zhen." All three lines are yang lines, and this hexagram is called "Qian," whose image is the heavens. "Qian" signifies firmness and strength without ceasing. The nature of the heavens is entirely yang, firm and unceasing. In terms of form, it is called "Heaven"; in terms of sovereign, it is called "Di"; in terms of nature, it is called "Qian." The lower three lines form the inner trigram, and the upper three lines form the outer trigram; all six lines are yang, so both inner and outer trigrams are Qian, representing the purest yang and the ultimate strength. "Yuan, Heng, Li, Zhen" are the words attached by King Wen to the hexagram, used to judge the fortune and misfortune of the hexagram, which is known as the "Tu Cí" (Commentary on the Hexagram). "Yuan" means great, and "Heng" means smooth and unimpeded.

利，宜也。貞，正而固也。六奇純陽，有元氣渾淪無所不包，而發生暢茂，各得其宜，皆歸於至正之象。學易者筮得此卦而六爻不變，則占當得大通，而必利在正固，以保其終也。按，大全謂諸家解元亨利貞皆作四德，獨本義作占辭，然惟理如是，則數亦如是，見於象占亦如是。經言四德，就其理析言之也，本義則就其象斷其占，為體易者言之。其意亦並行不悖也。

"Li" means suitability, and "Zhen" means upright and firm. A hexagram with all six lines as yang lines represents pure yang energy, which is a primordial qi that is unified and encompasses everything. It leads to the flourishing of all things, each in its proper place, ultimately returning to the most upright state. Those who study the I Ching and cast this hexagram with none of the lines changing should interpret it as a very smooth and open outcome. However, it is essential to maintain firm adherence to the upright path in order to preserve its conclusion. Note: Hu Guang's "Zhou Yi Daquan" states that various scholars interpret "Yuan, Heng, Li, Zhen" as four virtues, but Zhu Xi's "Ben Yi" treats them as divinatory phrases. In reality, the principles and numbers are the same, and they are also expressed in the same way through the images and divination. The classic text discusses the four virtues by analyzing their meanings separately, while Zhu Xi's "Ben Yi" determines the divinatory meaning based on the hexagram's image, which is intended for practical use of the I Ching. Both approaches can be used together without contradiction.

初九。潛龍勿用。凡畫卦自下而上，故下爻為初。按，本義大全凡揲筮得三奇，則所餘三十六策，合四九之數為老陽。得二偶一奇，則所餘二十八策，合四七之數為少陽。老變而少不變，故陽爻稱九。按，來注引繫辭參天兩地而倚數。謂參天者，天之三位，天一天三天五也。兩地者，地之二位，地二地四也。

Initial Line: A dragon hidden in the depths, not yet in use. Since the hexagrams are drawn from the bottom up, the lowest line is called "Initial." According to Zhu Xi's "Basic Meaning" and Hu Guang's "Comprehensive Collection," when divining with yarrow stalks, if all three changes result in odd numbers, the remaining stalks are thirty-six, which corresponds to four times nine, belonging to "old yang"; if two are even and one is odd, the remaining stalks are twenty-eight, which corresponds to four times seven, belonging to "young yang." Old yang changes, while young yang remains, so all yang lines are called "nine." Furthermore, Lai Zhide's commentary cites the "Great Treatise" saying "three heavens and two earths, relying on numbers." "Three heavens" refers to the three positions of heavenly numbers: heavenly one, heavenly three, heavenly five; "two earths" refers to the two positions of earthly numbers: earthly two, earthly four.

倚者，依也。天一依天三，天三依天五而為九。所以陽皆言九。地二依地四而為六，所以陰皆言六。取生數不取成數，此說亦可參用。龍八十一鱗，九九之數。變化不測，純陽之物。故諸爻皆取象於龍。初陽在下，故有潛龍之象。此時未可有為，故有勿用之象。勿用雖戒占者之辭，實卦爻中有此象也。

The term "yi" refers to reliance. Heaven one relies on Heaven three, which in turn relies on Heaven five, accumulating to nine, so yang lines are all called "nine." Earth two relies on Earth four to form six, so yin lines are all called "six." This approach uses only the numbers one to five, known as "sheng shu" (generative numbers), rather than the numbers six to ten, known as "cheng shu" (completed numbers). This explanation can also be referenced. A dragon's body has eighty-one scales, which is the number nine multiplied by nine. Since the dragon is a purely yang creature, all six lines are modeled after the dragon. The initial yang line is at the very bottom, hence the image of a "qian long" (hidden dragon). At this time, no action should be taken, hence the image of "wu yong" (not to be used). Although "wu yong" is a warning to the diviner, such an image is inherently present within the hexagram lines.

九二。見龍在田。利見大人。二，自下而上第二爻也。後仿此。出潛離隱，故有見龍之象。澤能及物，猶田之得雨，耕穫有功，故有在田之象。雖非君位，而在下卦之中，有君之德，故有大人象。澤能及物，故有物所利見之象。占者得此，則利見此人。若占者有見龍之德，則可以得君行道，利見九五在上之大人矣。

Nine in the Second: Seeing the dragon in the field, it is advantageous to see a great person. 'Second' refers to the second line counted from the bottom upwards, with the following lines following the same pattern. This line has moved out of concealment and left hidden places, hence the image of 'seeing the dragon' (the dragon has appeared). Grace can benefit all things, just as the field receives rain, and farming and harvest are successful, hence the image of 'in the field'. Although Nine in the Second is not in the position of a ruler, it is in the central position of the lower trigram, possessing the virtue of a ruler, hence the image of a great person. Grace benefiting others makes it a figure that people are pleased to see. If one obtains this line in a divination, it is advantageous to meet such a great person. If the person seeking divination possesses the virtue of the dragon, they can gain the recognition of a ruler and promote their own way, which is advantageous to meet the great person in the upper position, Nine in the Fifth.

九三。君子終日乾乾，夕惕若，厲無咎。九，陽爻。三，陽位。在下卦之上，重剛而不中，乃危地也。六爻取象三才，則三為人位。故不取象於龍，而稱君子。處危地而以學問自修，君子之事，非可言龍也。三，下乾終而上乾繼，故其性體剛鍵，有朝乾乾自惕之象。若者，擬議之辭。三居下卦之終，故言終日。夕亦日之終也。

Nine Three: The gentleman is diligent all day long without rest, and remains vigilant even at night. Though in a dangerous situation, there is no mistake. 'Nine' indicates a yang line, and 'Three' is a yang position. A yang line occupying a yang position and being at the top of the lower trigram, it is a place of danger. The six lines are taken as images of heaven, earth, and humanity. The third line belongs to the human position, so here the image is not dragon but 'gentleman'—being in a dangerous situation yet cultivating oneself through learning, this is the duty of a gentleman, and dragon is no longer appropriate. The third line is at the boundary where the lower trigram Qian ends and the upper trigram Qian begins. Therefore, its nature is strong and vigorous, symbolizing diligence from morning to night. 'If' is a particle used for deliberation and inference. The third line is at the end of the lower trigram, so it is said 'all day long'; 'night' is also the end of the day.

終日乾乾，自始至終，無日不戒懼也。夕又惕若，自晝至夜，無時不戒懼也。重剛不中，所處危地，有厲象。雖處危地，而剛健得正，自修不息，有雖危無咎之象。凡言無咎者，本皆可致咎，善處之，故咎可無也。程傳擬舜之玄德升聞，時解作相臣憂勤任重。不必泥。

"Zong ri Qian Qian" means that from beginning to end, there is no day without vigilance; "Xi Ti ruo" means that from day to night, there is no moment without caution. When strong is added to strong without being in the center, and one is in a dangerous position, there is an image of danger ("Li"). Although in a dangerous position, one remains strong and upright, self-cultivating without ceasing, hence there is also an image of being in danger yet without blame. Whenever the Book of Changes mentions "wu jiu" (without blame), it originally refers to situations that could lead to blame, but because of proper handling, the blame is avoided. Cheng Yi's Yichuan Commentary on the Changes compares this line to the time when Shun's hidden virtue became known to the court; contemporary commentaries interpret it as ministers of state being anxious and diligent, bearing heavy responsibilities. These comparisons need not be rigidly adhered to.

九四。或躍在淵，無咎。九陽四陰，在上卦之下，或者，疑而未定之辭。進退之際，無適無莫，無可不可。人不能測，故以或言之。淵者，上空下洞，深昧不測。龍之所棲也。淵雖卑于田，然田非龍所居。在田則下於地，淵正龍所從變化之處。

Nine in the Fourth: Perhaps it leaps up, perhaps it remains in the deep abyss, without fault. Nine is a yang line, and four is a yin position, and it is located at the very first line of the upper trigram. "Or" is a word indicating hesitation. Between advancing and retreating, it neither blindly adheres to anything nor entirely rejects anything; it can be said to be acceptable or not acceptable, and others cannot measure it, hence the use of the word "or." The "abyss" refers to a place above which is open and below which is dark and deep, an unfathomable water realm, which is precisely where the dragon resides. Although the abyss is lower than the field, the field is not a place where the dragon should dwell; being in the field is like falling below the surface, while the abyss is exactly where the dragon can transform and rise.

躍則已離於地而將向於天矣。九，陽動，故有躍象。四，陰虛，故有淵象。以陽居陰，居上之下。又變巽為進退為不果。有進退未定，可上可下，能隨時進退，則可無咎之象。乾至健知險，六爻皆不言吉。而險莫如三四，故善處之，僅可無咎而已。程傳擬舜之歷試諸艱，胡氏擬之儲貳。皆存而不可泥也。

Once it leaps up, it has already left the ground and is about to fly into the sky. The number nine is yang, which is active, so there is the image of "leaping"; the number four is yin, which is empty, so there is the image of "a deep pool." A yang line in a yin position, and located at the very bottom of the upper trigram, combined with the movement of this line causing the lower trigram to become Xun, which in Shuo Guai is associated with advancing and retreating, hesitation and indecision, there is an image of indecision, being able to go up or down, and adjusting according to the right timing to avoid mistakes. The Qian hexagram is extremely strong and vigorous, precisely because of its strength and vigor that it can recognize dangers, so none of its six lines say "auspicious." Among the dangers, the third and fourth lines are the most perilous, so even if one is good at self-cultivation, one can at most achieve "no blame." Cheng Yi's Yichuan Commentary on the Changes compares this line to Shun enduring various hardships, while Hu Guang's school compares it to the crown prince. These interpretations can coexist, but one need not be overly rigid.

九五。飛龍在天，利見大人。易卦皆以五為君位，以其居上卦之中也。上雖尊而過乎中，則擬之賓師矣。卦體純陽，剛健也。以陽居中，中正也。純陽居上之中而得正，有飛龍在天之象。居上之中，人所共仰，有利見大人之象。二與五皆剛健中正，而五居尊位。以聖人之德居天子之位，故萬人樂得而見之。即文言所謂聖人作而萬物覩也。然使有德位者占此，則所利見者九二在下之大人，如堯之得舜可也。

Nine in the Fifth: The dragon soars in the sky, which is favorable for meeting a great person. The fifth line of each hexagram in the Book of Changes is regarded as the position of the ruler, because it is in the central position of the upper trigram. Although Upper Nine is more exalted, it has gone beyond the central position, so it can only be compared to the status of a guest or a teacher. The hexagram Qian is composed entirely of yang lines, so it is strong and vigorous; a yang line in the central position makes it upright and just. A pure yang line in the central position of the upper trigram and in the correct position gives the image of "a dragon soaring in the sky." Being in the central position of the upper trigram, it is looked up to by all people, hence the favorable condition of meeting a great person. Both Nine in the Second and Nine in the Fifth are strong, vigorous, upright, and just, but Nine in the Fifth is also in a position of honor. This is like a sage sitting on the throne of a king, so all people are happy to see him, which is what the Wenyan says, "When the sage arises, all things look up to him." However, if someone who already has virtue and position comes across this line, then the great person he is favorable to meet is like Nine in the Second, who is in a lower position, such as Yao meeting Shun.

上九。亢龍有悔。上者，最上一爻之名。亢者，過於上而不能下。龍由潛而見而躍而飛，至秋分又蟄於淵，知進退者也。過此不蟄則亢矣。五者，位之極。中正者，得時之極。過此則為亢矣。陽極於上，有龍之過亢而動必有悔之象。唯聖人知進退存亡，乃可免也。凡言有者，非必然之辭。曰有悔，亦自有無悔之道可知。

The top line says: The dragon rises too high, leading to regret. "Top" refers to the top line. "Excess" means rising too high to descend again. The dragon moves from being hidden to appearing, from leaping to flying, and then at the autumn equinox returns to the deep abyss, showing understanding of advancement and retreat. If it does not retreat at the proper time, it becomes "excess." In terms of position, the ninth at the fifth line is the highest position; in terms of timing, the middle and correct position is the peak of the right time. Going beyond this is called "excess." The yang energy reaches its peak at the top line, hence the image of the dragon rising too high, and any movement will bring regret. Only the sage understands the proper measure between advancement and retreat, existence and non-existence, thus avoiding this. Any statement in the Book of Changes that says "there is" does not mean it must necessarily be so; when it says "there is regret," it also implies that there is a way to avoid regret.

用九。見群龍無道，吉。九變而七不變。凡筮得陽爻皆用九，而獨乾稱用九。蓋他卦不純陽，獨乾之六爻皆變，則純陽為陰，所用皆九矣。人為勢位所移，為才氣所使，是為九所用，非能用九者。因時變化，無適無莫，故獨稱用九。坤之用六仿此。六爻皆動，有群龍象。陽皆變陰，不以剛為物。先剛而能柔，有群龍無首象。龍未嘗無首而首不可見，善藏其用者，吉之道也。六爻皆不言吉，獨此言吉，聖人不恃剛也如此。

Use of Nine: A group of dragons appears but does not take the lead, which is auspicious. (The original text says "wu dao," but the commentary and the commonly accepted version say "wu shou.") The old yang nine changes, while the young yang seven remains unchanged. All yang lines in divination are referred to as nine, but the Qian hexagram has a separate section called "Use of Nine." This is because other hexagrams are not entirely yang, while the Qian hexagram has all six lines changing, making it entirely yang, which turns entirely into yin. When people are driven by power and status or by talent and temperament, they are being used by "nine," not using "nine." Only those who can adapt to circumstances, neither clinging to attachment nor to rejection, are worthy of being called "using nine." The "Use of Six" in the Kun hexagram follows the same reasoning. With all six lines in motion, there is the image of a group of dragons; when all yang turns into yin, it no longer uses strength to deal with things. Though originally strong, it becomes gentle, hence the image of "a group of dragons without a leader." Dragons are not actually without a head; the head is hidden and not visible. Being able to conceal one's role is the way to gain auspiciousness. The Qian hexagram does not mention "auspicious" in any of its six lines, but here it does, showing that the sage does not rely on strength to this extent.

彖曰。大哉乾元，萬物資始，乃統天。彖即文王所繫元亨利貞之辭。彖曰以下謂之彖傳，孔子所以釋彖辭也。彖，獸名，豕形而有六牙。卦有六爻，彖則總六爻之義，故以為名焉。彖傳以天道明乾義，又析元亨利貞四德而言聖人之法天。此一節首釋元義也。

The Commentary on the Judgment says: How magnificent is the primordial energy of the Trigram Qian! All things depend on it to begin, and it governs the entire heavenly way. The term "tuang" refers to the phrase "Yuan, Heng, Li, Zhen" attached by King Wen beneath each hexagram. What follows "Tuang says" is called the Commentary on the Judgment, which Confucius used to explain the tuang phrases. Originally, "tuang" was the name of an animal, resembling a pig with six teeth. Each hexagram has six lines, and the tuang phrase summarizes the meaning of all six lines, hence the name. The Commentary on the Judgment uses the heavenly way to explain the meaning of the Trigram Qian, and it also analyzes the four virtues "Yuan, Heng, Li, Zhen," explaining how sages model themselves after heaven. This section first explains the meaning of the character "Yuan."

卦以陽為大，陰為小。六爻純陽，故曰大哉，讚歎之也。元字兼大始二義。大者，無所不包，物莫有外者。始者，無所不達，物莫有先者。元之為德不可見也。可見者，物之資始而已。天以生物為心，而物之生必有所始，乾元實能資之。既資以始，即資以終。自始而終，終而復始，皆一元生意貫徹其間，是能統乎天也。資始者，無物不有。統天者，無時不然。此乾元之所以大也。

The Book of Changes takes yang as great and yin as small. The Qian hexagram has six lines all yang, so it is said "Great indeed," which is an expression of praise. The character "yuan" has two meanings: "great" and "beginning." Saying it is "great" means it encompasses everything, nothing exists outside of it; saying it is "beginning" means it reaches everywhere, nothing precedes it. As a virtue, yuan is invisible; what is visible is only that all things begin through it. Heaven's purpose is to generate and nurture all things, and the generation of all things must have a beginning. The Qian yuan genuinely provides this beginning. Since it provides the beginning, it continues to provide through the whole process; from beginning to end, after the end it begins again, all sustained by the same vital energy of yuan. Therefore, it is said that yuan can govern heaven. "Zi shi" means no thing is without its beginning from yuan, and "tong tian" means there is no moment when it is not so—this is why yuan is called great.

雲行雨施，品物流形。此釋乾之亨也。既資其始，自然亨通。元氣薰蒸，油然雲行。淋漓布獲，沛然雨施。資始之初，渾淪未辨，故曰萬物。此則形質可別，故曰品物。流者，川流不息。形者，明白不紊。所謂亨也。經未言亨字。然雲行雨施氣之亨，品物流形物之亨也。

Clouds move and rain falls, and all kinds of creatures take shape and flow. This passage explains the "Qian" hexagram's "Heng." Since all things begin with the Qian Yuan, they naturally move toward smoothness and success. The vital energy rises and gathers, so clouds naturally move; the moisture spreads widely, so rain falls heavily. In the beginning of creation, everything was undifferentiated, so the text refers to "all things." By this point, forms and substances can be distinguished, so it refers to "classified things." "Flow" is like the continuous movement of river water, and "form" is the distinct and orderly shaping of each thing. This is what is meant by "Heng." The text itself does not use the word "Heng," but the movement of clouds and the falling of rain represent the smooth flow of energy, while the shaping of things represents the smooth flow of matter.

大明終始，六位時成，時乘六龍以御天。此言聖人體天之元亨也。始即元，終即貞。不貞無以為元，不終無以為始。故曰終始。來注以終為上爻，始為初爻，引繫辭原始要終。亦可兼用，蓋六爻即有元貞之義也。

Understanding thoroughly the principles of beginning and end, the six lines of the hexagram each take their proper place according to their time, and the sage thus follows the timing to control these six dragons and govern the heavenly way. This refers to the sage embodying heaven's 'Yuan Heng.' 'Begin' is Yuan, 'End' is Zhen; without Zhen's convergence, there can be no Yuan's beginning again, and without an end there is no beginning, so together they are called 'beginning and end.' Lai Zhide interprets 'end' as the top line and 'beginning' as the first line, citing the 'Great Treatise' saying 'originating from the beginning and concluding at the end.' This interpretation can also be used alongside the other, since the six lines themselves contain the meaning of Yuan and Zhen.

大明之者，深知其所以然之故也。六位即六爻潛見惕躍飛亢之位。位隨其時，皆有一定而不可易，故曰時成。成者，位自成。垂者，聖人垂之。既曰六位，又言六龍者。位有一定，因時變化，與之咸宜者，聖人也，故曰時垂六龍。

The term "daming" refers to a deep understanding of the reasons behind things. The "six positions" refer to the six stages of the hexagram lines: hidden, emerging, cautious, leaping, flying, and exalted. These positions are determined by the timing, each having a fixed boundary, hence it is said "shi cheng." "Cheng" means the positions naturally come into being, while "cheng" (here written as "chui") refers to the sage actively guiding them. Since the previous text explained the "six positions," this text mentions "six dragons" because although the positions are fixed, only the sage can adapt to the timing and harmonize with each position, hence it is said "shi cheng liu long."

不曰行天道，而曰御天者。與時偕宜，造化在我，猶控御之也。言聖人大明乾道之終始，見卦之六位各以時成，而能因時變化以合乎天，則聖人即天矣。六位已兼利貞，而謂聖人之元亨者。言其功業作用，未及其究竟也。

Not saying "to follow the Way of Heaven" but "to govern Heaven," this is because the sage acts in harmony with the right timing, and the power of creation and transformation seems to be in his own hands, like driving a carriage and controlling the reins. This means: the sage thoroughly understands the beginning and end of the principle of Heaven, sees that each of the six positions in a hexagram is fulfilled according to its proper time, and can adjust with the timing to conform to Heaven. Thus, the sage becomes one with Heaven. The six positions already include "advantage" and "upright," yet here it is still considered as the sage's "great beginning and prosperity" in harmonizing with Heaven, because this sentence refers to the practical application of his achievements, not yet to the final outcome.

乾道變化，各正性命，保合太和，乃利貞。此釋利貞之義也。乾道即乾元之道。變者，化之漸。化者，變之成。萬物由變而化也。各正者，不相混淆，無偏也。物所受為性，天所賦為命。保者，存而不失。合者，聚而不散。太和，陰陽會合，沖和之氣也。

The movement and transformation of the Heaven's path enable all things to maintain their inherent nature and heavenly mandate, preserving and gathering the most harmonious and tranquil vital energy. This is what is meant by "beneficial" and "upright." This passage explains the meaning of "beneficial" and "upright." "Heaven's path" refers to the principle of Heaven's origin. "Change" refers to gradual transformation, while "transformation" means the process of change leading to completion. All things are transformed through gradual change. "Each maintaining its proper course" means that they do not mix with each other and remain without deviation. The nature that each thing receives is called "nature," and the mandate bestowed by Heaven is called "heavenly mandate." "Preserving" means holding on without losing it, and "gathering" means collecting without dispersing. "Great harmony" refers to the vital energy formed by the meeting and blending of yin and yang, which is tranquil, empty, and harmonious.

各正者，得於有生之初，萬物各具一元也。保合者，全於有生之後，萬物統會一元也。乾道由變而化，萬物華者向實，生理各足無偏，此利也。太和元氣，保全凝合，又含將來生意，此貞也。各正性命言理，而氣在其中。保合太和言氣，而理在其中。然皆元之所為，此元之所以統天也。

Each thing receives its own proper nature at the moment of its coming into being; all things possess their own original principle. After coming into being, they maintain and preserve this principle, and all things converge toward the same original principle. The process of transformation in the Heaven's way is gradual, and all things progress from blooming to bearing fruit, each having a complete and balanced physiological function, which is called "beneficial." The great harmonious vital energy is preserved and凝聚ed, containing the potential for future growth and development, which is called "upright." "Each thing possesses its own proper nature" refers to the principle, while the vital energy is within it; "preserving and harmonizing the great unity" refers to the vital energy, while the principle is within it. However, all these are actions of the original principle, which is why the original principle is able to govern Heaven.

首出庶物，萬國咸寧。此言聖人體天之利貞也。首出庶物，聰明睿智出乎庶物之上。以君臨天下，猶乾道之變化也。乃恭已無為，而四海各遂其生，各復其性，猶萬物之各正性命而保合太和也。此聖人功業成就究竟，故謂之利貞。

The sage rises above all others and takes the leading position, bringing peace and stability to the world. This refers to the sage embodying Heaven's "benefit and uprightness." "First emerging among all things" means his wisdom and intelligence surpass those of ordinary people, and he governs the world as a sovereign, just as the movement and transformation of the Heaven Trigram. Thus, he need only maintain proper conduct with reverence, without needing to act in every matter. The people throughout the four seas then naturally fulfill their lives and return to their true nature, just as all things properly fulfill their destiny and maintain the great harmony. This is the ultimate achievement of the sage's deeds, hence it is called "benefit and uprightness."

又按，古本大明終始節在利貞之下，首出庶物之前。則聖人體天之元亨，與體天之利貞，不必分屬，尤為渾融。大抵彖傳以乾備四德，而要以元氣流行無間，發生萬物。聖人備四德，亦體元出治，以致太平。此聖人得天位，行天道，致太平之占。而占者得之，亦隨其所處時位論之，不必拘也。

Another point to note is that the ancient version of The Zhou Changes places the section "Da Ming Zhongshi" (Great Illumination of Beginning and End) between "Nai Li Zhen" (It is advantageous to maintain integrity) and "Shou Chu Shu Wu" (First to emerge among all things). With this arrangement, the sage's embodiment of the heavenly principles of originality, strength, and continuity does not need to be divided and assigned separately, making the reading more coherent and unified. In general, the Commentary on the Judgment explains that the hexagram Qian (Heaven) possesses four virtues, and its conclusion lies in the continuous flow of the primordial qi, thus giving rise to all things. Similarly, the sage possessing these four virtues also manifests through observing this primordial qi to govern the world and achieve peace. This passage discusses the auspicious signs of the sage attaining the position of the Son of Heaven, practicing the heavenly way, and achieving peace. As for ordinary diviners who receive this hexagram, they should interpret it according to their own time and position, without rigidly applying it to the sage.

象曰。天行健。君子以自強不息。書不盡言，言不盡意，故聖人立象以盡意。卦之上下兩象，伏羲所取。六爻之象，周公所繫也。此節謂之大象，孔子作傳，以釋伏羲所取之象也。潛龍以下，謂之小象，孔子作傳，以釋周公所取之象也。

The Image Commentary says: Heaven's movement is strong and unceasing, and the gentleman takes this as a model, striving ceaselessly on his own. Words cannot fully express the meaning, and speech cannot fully convey the mind, so the sages established the hexagrams to fully express their meaning. The images of the two trigrams above and below in each hexagram are taken by Fuxi; the images of each of the six lines are added by the Duke of Zhou. The section "Heaven's movement is strong" is called "Great Image," which is the commentary by Confucius explaining the hexagram images taken by Fuxi; the section "When the dragon is hidden, it should not be used, for the yang is at the bottom" and following is called "Small Image," which is the commentary by Confucius explaining the line images added by the Duke of Zhou.

上下卦有重義，天則一而已。但言天之行，則今日一周，明日又一周，至健之象也。以，用也。君子體易而用之，常存天理。不以人慾害其天德之剛，則自強不息。若間以一念之私則息矣。凡大象之傳，皆夫子所自取，故與卦爻不相屬。行健者，在天之乾。不息者，在我之乾。上句以卦言，下句以人事言。他卦仿此。

The Heavenly Stems are: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui. The Earthly Branches are: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai. The Trigrams are: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth). Hexagram Statement refers to the statement of the hexagram, Line Statement refers to the statement of the line. Confucius is the name of the philosopher. Other hexagrams, when their upper and lower trigrams are combined, can be said to be "repeated" or "superimposed." However, Heaven has only one trigram, so there is no need for two layers. Therefore, here it only refers to the movement of Heaven: today it circles around once, tomorrow it circles around again. This is the image of extreme strength and vigor. "With" means to use. The gentleman observes the principles of the Book of Changes and applies them, always keeping the principles of Heaven in his heart, not allowing personal desires to harm the innate strength of Heaven's virtue, thus being able to strive ceaselessly. If a thought of private desire is introduced in between, this vigorous movement will be interrupted. All the statements of the great images are the personal interpretations of Confucius, so they are not connected to the Hexagram Statements or Line Statements. "Moving vigorously" refers to Heaven's Qian trigram, "not ceasing" refers to the Qian trigram within oneself. The first sentence refers to the hexagram image, the second sentence refers to human affairs. The statements of the great images of other hexagrams follow the same pattern.

潛龍勿用，陽在下也。自此至用九，夫子小象之傳，以釋周公取象之意也。陽謂九。初爻在下，陽氣在下。君子處微，未可以有為也。聖人於乾之初，憂其在下。於坤之初，慮其始凝。已有扶陽抑陰之意。

"The dragon remains hidden and should not act" because the yang energy is still below. From here to the section on "All Nines," these are the small image commentaries by Confucius, explaining the intention behind the images used by the Duke of Zhou. "Yang" refers to the number nine. The first line is positioned at the very bottom, indicating that the yang energy is still in the lower position; at this time, the gentleman's situation is weak and he should not yet take action. The sage expresses concern about the first line of the Qian hexagram because the yang energy is still below, and concern about the first line of the Kun hexagram because the yin energy has just begun to condense—this contrast already shows the intention of supporting yang and restraining yin.

見龍在田，德施普也。德即剛健中正之德。二雖未得位，而德化足以及物，所施普矣。終日乾乾，反復道也。反覆，往來進退動止必合乎道也。下乾已盡，上乾復來。乾而復乾，無他途轍。猶云反反覆覆，只在這條路也。二德及於人。三惟道修於己，以所處危地也。

"Seeing the Dragon in the Field" means that the benevolence has already spread widely. Here, "de" refers to the virtue of being strong, upright, and just. Although Nine Two has not yet attained the position of a ruler, his virtue is sufficient to influence all things, thus his benevolence naturally extends universally. "Constantly striving upward" means continuously proceeding along the path of the Dao.the so-called "repetition" refers to movement and stillness, advance and retreat, all of which must conform to the Dao. The lower trigram Qian has just been completed, and the upper trigram Qian follows immediately; Qian after Qian, there is no other path, just as if one keeps repeating the same path, always moving along this single path. Nine Two spreads his virtue to others, while Nine Three merely cultivates the principle within himself, because he is in a dangerous position.

或躍在淵，進無咎也。量可而進，適其時則無咎。增一進字，以斷其疑也。飛龍在天，大人造也。造，作也。聖人興起，在天子位也。此釋飛龍在天。至同聲相應節，乃言利見大人。亢龍有悔，盈不可久也。乾之上九，陽之盈也。盈則必消不可久，致悔之由。人知其不可久，防於未亢之先，則有悔者無悔矣。防其亢者，復返於潛而已。

"The dragon may leap from the depths," which means to advance without error. To measure what is feasible before moving forward, and to act at the right time, is to avoid mistakes. The line statement originally used the vague term "or," but the image commentary specifically added the character "advance," thereby resolving the uncertainty. "The dragon flies in the sky" refers to the rise of a great person. "Zao" means to establish or initiate, referring to the sage rising to the position of emperor. This sentence only explains "the dragon flies in the sky," while "it is advantageous to see a great person" will be discussed in the section of the "Wenyan" titled "Harmonious Response." "The dragon in excess has regret," because fullness cannot last. The upper ninth line of the "Qian" hexagram represents the fullness of yang energy; when fullness occurs, it inevitably leads to decline and cannot be sustained, which is the reason for regret. If a person understands that fullness cannot last and takes precautions before reaching the peak of excess, then what would originally bring regret will no longer do so. The way to prevent excess is simply to return to "being hidden."

用九，天德不可為首也。天德即乾道。陽剛天德，不可為物先。群龍無首，用九之象。不可為首，為人之用九者言也。然惟其不可為首，所以能首出庶物。蓋乾本為萬物之所資始，已具首出之德。而物極必變，善體乾者，剛而能柔，謙卑遜順，不為天下先，故曰不可為首。非於乾有所不足也。

"Use of the Nine" refers to the principle that the strong virtue bestowed by Heaven should not take precedence over all things. "Heavenly Virtue" corresponds to the trigram Qian (Heaven). Yang strength is a virtue given by Heaven, yet it should not be used to compete for the first position. The image of "a group of dragons without a leader" represents the concept of "Use of the Nine"; "not being the leader" is a guideline for those who apply the principle of the Nine. However, precisely because he is unwilling to take the lead, he can surpass others and occupy the first position. It is important to understand that Qian is the origin of all things, already possessing the virtue of being the first. Yet, when things reach their extreme, they must turn back. Those who understand the way of Qian are strong yet capable of turning into gentleness, humble and yielding, not taking the lead in the world. This does not mean that Qian itself is lacking.

文言曰。元者，善之長也。亨者，嘉之會也。利者，義之和也。貞者，事之幹也。他卦彖象，作傳而已。獨乾坤為諸卦之父母，故夫子更設文言，以畫二卦之蘊。依文以言其理，故曰文言，又為有文之言詞也。此乃釋元亨利貞為四德者字也。字，夫子悠然有會於其妙而讚歎之，非詮解之詞。

The Wenyan says: "Yuan is the beginning of all good; Heng is the gathering of all beauty; Li is the harmony of principles; Zhen is the mainstay of matters." For other hexagrams, Confucius only composed the Commentary on the Judgment and the Image Commentary. But the Qian and Kun hexagrams are regarded as the parents of the sixty-four hexagrams, so Confucius specially established the Wenyan to elaborate on their essence. Following the text to explain its meaning, hence it is called "Wenyan," which also implies eloquent and refined language. These words are Confucius' exclamation upon his profound understanding of the subtleties, rather than a word-by-word explanation.

元者，生物之始。天地之德，渾涵於此。於時為春，於人為仁。四時之運，皆此元氣周流。義禮智之善，皆從此生生，惻怛之心發端，故曰善之長也。亨者，生物之通。物至於此莫不嘉美。於時為夏，於人為禮。萬物至夏發生暢茂。一物如此，萬物無不如此。眾美之物無不會聚，故曰嘉之會也。

"Yuan" is the beginning of nurturing all things, embodying the virtue of heaven and earth in its entirety. It corresponds to the season of spring and to the human heart as "ren" (benevolence). The circulation of this vital energy ensures the continuous operation of the four seasons; the beginnings of virtues such as yi (righteousness), li (ritual), and zhi (wisdom) also originate from here, emerging from a compassionate and empathetic heart. Therefore, it is called "the leader of all good things." "Heng" signifies the flourishing of all things, and at this stage, nothing is not beautiful. It corresponds to the season of summer and to human affairs as "li" (ritual). In summer, all things flourish and thrive; each thing is like this, and so are all things. All beautiful things gather together, hence it is called "the gathering of all beauty."

利者，生物之遂。物各得宜，不相妨害。於時為秋，秋於人為義。秋氣嚴肅，義也。然無此氣，不能各遂其生。人人親其親長其長，義也。即此便和，所以為利。若不親其親而親他人之親，至於不和，又安有利。不於利上求利，義之和處便是利。蓋處置得宜，不逆於物，利莫大焉者也。

"Li" refers to the nurturing and flourishing of all things, allowing each to attain its proper place and function without mutual obstruction. When paired with the season, it corresponds to autumn; when paired with human affairs, it corresponds to "yi" (righteousness). The autumn atmosphere is severe and decisive, which is the embodiment of righteousness. However, without this quality, all things would not be able to flourish and develop properly. When people love and care for their own parents and respect their elders, this is righteousness; and in this way, harmony is achieved, hence it is called "Li." Conversely, if one does not love one's own parents but instead loves others' parents, leading to discord among people, where is the "Li" then? Therefore, one should not seek "Li" for personal gain. When righteousness brings about harmony, that is true "Li." In general, proper handling that does not contradict the nature of things brings about the greatest benefit.

貞者，生物之成。實理具備，隨在各足。於時為冬，於人為智。萬物至冬收斂完固，實理充足。故貞下起元，來歲復能發生。人之有知，見理既明。知而弗去，靈明內涵，萬變由我。猶木之有乾，枝葉從此以生也。此節發明乾之四德，天理之自然也。下節乃言君子體乾之學，人事之當然也。

"Zhen" represents the completion of nurturing all things, with the fullness of truth present everywhere, self-sufficient and without deficiency. When paired with the season, it corresponds to winter; when paired with human qualities, it corresponds to "wisdom." In winter, all things withdraw and become firm, and the fullness of truth is abundant, so "Zhen" reaches its end and gives rise to "Yuan," allowing new beginnings in the following year. When a person possesses wisdom, they understand principles clearly; after understanding, they hold on firmly, with clarity residing within the heart, enabling them to control all changes, just as a tree has its main trunk, from which branches and leaves grow. This passage explains the four virtues of the "Qian" hexagram, describing the natural way of heavenly principles; the next section will discuss the study of the principles of "Qian" that a gentleman should follow, explaining the proper conduct in human affairs.

君子體仁，足以長人。嘉會，足以合體。利物，足以和義。貞固，足以幹事。體仁，以身法天地生物之心。所存所發無不在是。全體皆仁，無一物不在所愛。有君長之道，故足以長人。嘉會，本義曰嘉其所會。謂眾美畢集，動容周旋，無不盡善。不失之過，不失之不及，故曰合禮。義，體嚴而用和。君子使天下君君臣臣父父子子，各得所利。情既相安，分乃不凟，故義無不和。貞固者，真知理之正而固守之。凡事從此立矣，故曰足以幹事。

A gentleman who embodies benevolence within himself is sufficient to become the leader of the people; by gathering all virtues together, he is sufficient to conform to propriety; by enabling all things to gain their benefits, he is sufficient to harmonize righteousness; by holding firm to the correct path and being steadfast, he is sufficient to bear responsibilities. What is meant by "embodiment of benevolence" is to use one's own body and mind to imitate the heart of heaven and earth in nurturing all things. Whatever is stored in the mind and whatever is expressed outwardly, all of it is based on this. The entire body and mind are benevolence, with nothing outside the scope of his love, thus possessing the principles of being a leader, so he is sufficient to be the leader of the people. What is meant by "excellent gathering" is explained by Zhu Xi in his "Original Meaning" as "the gathering of things is beautiful," meaning that all virtues are gathered together, and every movement and every interaction is perfect, neither excessive nor deficient, hence conforming to propriety. Righteousness, in its essence, is solemn and in its function harmonious: the gentleman enables the sovereign to be a sovereign, the minister to be a minister, the father to be a father, and the son to be a son, each receiving their due benefits. The feelings are harmonious, and the distinctions of rank are not violated, so righteousness is always harmonious. What is meant by "steadfastness" is to truly recognize the correctness of principles and firmly hold on to them; by establishing the foundation of all things from this, it is said that he is sufficient to bear responsibilities.

君子行此四德者，故曰乾，元亨利貞。天行健而四德備。君子亦體天之健以行四德。君子之乾也。四德，人所同具。唯君子能自強不息以法乎乾，乃能行之。故言元亨利貞，必先以乾也。自元者善之長至此，皆以申明彖傳之意。然下文申明彖傳皆係以子曰，此則否者。疑古人已有其辭，故左傳穆姜嘗稱引之，夫子亦有取焉者也。

The gentleman practices these four virtues, so it is said, "Qian: Yuan, Heng, Li, Zhen." Heaven moves vigorously and possesses all four virtues, and the gentleman also embodies Heaven's vigorous movement by practicing these four virtues, which is the Qian in the gentleman. These four virtues are common to all people, but only the gentleman can tirelessly strive to emulate Qian and truly accomplish them; thus, when speaking of "Yuan, Heng, Li, Zhen," the term "Qian" is necessarily placed before them. From "Yuan is the beginning of goodness" onwards, this is explaining the meaning of the Commentary on the Judgment. However, the following sections explaining the Commentary on the Judgment all begin with "Zi Yu" (Master Zisi said), except this one, which does not. Perhaps ancient people already had this approach—Mu Jiang of Lu State cited it in the Zuo Zhuan, and Confucius also adopted it.

初九曰，潛龍勿用，何謂也。龍德而隱者也。不易乎世，不成乎名。遯世無悶，不見是而無悶。樂則行之，憂則違之。確乎其不可拔，潛龍也。自此至乃見天則，夫子申言彖傳之意。而此節六爻設為問答之辭。龍德，聖人之德也。聖人神明不測，故曰龍德。

The line statement for the first line, "Initial Nine," says, "The dragon is hidden and should not be used." What does this mean? The answer is that it refers to a person who possesses the virtue of a dragon but remains hidden and does not act. He does not change himself due to the world, does not seek fame, and remains in seclusion without being troubled. He is not disturbed by praise or lack of recognition. He does what he finds pleasing and avoids what causes worry, remaining firm and unshakable. This is what is meant by the "hidden dragon." From this point to the later statement "then he appears in accordance with heaven's principle," these are explanations by Confucius of the Commentary on the Judgment. This passage presents each of the six lines as a question and answer format. The so-called "dragon virtue" refers to the virtue of the sage: sages are mysterious and unpredictable, hence they are called dragon virtue.

初九陽在下，聖人之在側陋也。不易乎世，謂自守其道，不因世而變易。不成乎名，謂自晦其跡，不求其名之成。行與世違，遯世矣。而道足自樂，故無悶。已不求名，不見是於人矣。而心可自信，故無悶。時當可樂，則不私其有，以同乎人。時當可憂，則不失吾已，違而去之。憂與悶不同。為一身起見為悶，為天下起見為憂。

Chujiu is a yang line at the very bottom, like a sage still in a humble and remote position. "Not changing with the world" means he holds fast to his own way, not altering it due to the customs of the world; "not achieving fame" means he hides his actions, not seeking the accomplishment of reputation. When his actions differ from the world, it is withdrawal from society, but his way is sufficient for him to find joy within himself, so he is not troubled. Since he does not seek fame, naturally he is not praised by others, but his heart can be confident, so he is not troubled. When the time is worth rejoicing, he does not claim the gain as his own, but shares it with all; when the time is worrying, he does not lose himself, but withdraws and leaves. Note that "grief" and "trouble" are not the same: being troubled is for oneself, while being worried is for the world.

此六句皆言龍德確乎其不可拔，隱也。然確乃的確之確，非堅確之確，蓋非意專於退也。憂樂一隨乎時，行違一準乎道，非一己之私。所謂用舍無與於已，行藏安於所遇。富貴不淫，貧賤不移。所見真確者也。六爻皆以聖人言之，有隱顯而無淺深。

The above six sentences all discuss the firm and unshakable nature of a person of dragon virtue, referring to the aspect of "retreat" or "withdrawal." However, this "确" refers to "indeed" or "genuine," not "stubbornness" or "obstinacy," because he is not solely focused on withdrawal. His sorrow and joy are all in accordance with the timing, his actions and retreats are all based on the Way, without any personal intent. Whether he is appointed or discarded is irrelevant to himself; whether he enters officialdom or retreats into seclusion, he remains content with his circumstances. Wealth and honor cannot make him indulge, and poverty and low status cannot make him change his principles—this is because the truth he sees is genuine and certain. The six lines of the Qian hexagram all refer to the sage, differing only in their expressions of manifesting and withdrawing, without any difference in depth of attainment.

九二曰，見龍在田，利見大人，何謂也。子曰。龍德而正中者也。庸言之信，庸行之謹。閒邪存其誠，善世而不伐，德博而化。易曰，見龍在田，利見大人，君德也。正中，正當下卦之中也。蓋上下卦以二五為中也。德而曰龍，似神奇不可測矣，不知聖人只修其庸言庸行而已。庸常之言亦信，庸常之行亦謹。

The Line Statement of Nine in the Second says, "Seeing a dragon in the field, it is advantageous to see a great person." Confucius said: This refers to a person who possesses the virtue of a dragon and resides in the central position. In ordinary speech, he speaks with sincerity; in ordinary actions, he acts with caution. He guards against evil thoughts to preserve the sincerity of his inner self, benefits the world without boasting of his merits, and spreads his virtue widely, thus being able to influence others. The Book of Changes says, "Seeing a dragon in the field, it is advantageous to see a great person," meaning that he already possesses the virtue of a ruler. The term "central position" refers to the central position of the lower trigram—the upper and lower trigrams each have their central position, which is the second line and the fifth line respectively. The virtue is called "dragon," which seems mysterious and unfathomable; yet, it is not something beyond the ordinary. What the sage cultivates is nothing more than ordinary speech and ordinary behavior: ordinary words are spoken with sincerity, and ordinary deeds are carried out with care.

則無不信與謹，盛德之至矣。猶且閒邪存誠，猶詩所謂無斁亦保，雖無厭斁而常自保守也。邪自外入，故言閒。誠本我有，故言存。邪閒則誠自存。蓋妄去則真全，非別求所謂誠者而存之也。乾二畫實，故言誠。坤二畫虛，故言敬。誠敬者，聖學之源。見於乾卦坤卦，實天地自然之理也。

When one reaches this level, there is no place of untrustworthiness or carelessness, which is the ultimate expression of great virtue. Yet he still guards against evil thoughts and preserves sincere intent, as the Book of Poetry says, "Without weariness, yet preserved"—although not weary or lazy, he still constantly maintains himself. Evil thoughts come from outside, so it is said "to guard against" (to prevent); sincerity is originally inherent in oneself, so it is said "to preserve" (to hold on to). When evil thoughts are blocked, sincerity naturally remains; because false thoughts are removed, true nature is complete; it is not necessary to look for another thing called "sincerity" to hold onto. The yang line of the Qian hexagram is solid, so from Qian we speak of "sincerity"; the yin line of the Kun hexagram is empty, so from Kun we speak of "reverence." Sincerity and reverence are the origins of the sage's learning, respectively embodied in the Qian and Kun hexagrams, truly reflecting the natural principles of heaven and earth.

去其不謹信之邪，存其謹信之誠。由是上可格君，下可善俗。則善不徒在一身，而及於一世矣。不見為己之善，而見為世人之善，何伐之有乎。善被於一世，德之博也。已既不伐，人亦不知其所以然。正己而物正，化也。自誠之純粹言之曰善，自其及人者言之曰德。二非五，未居之君之位，而正中已有君之德，故稱大人也。

By removing reckless and untrustworthy thoughts, one maintains sincere and cautious sincerity. Thus, one can influence the sovereign above and improve customs below, enabling goodness to extend beyond oneself and permeate the entire era. He does not regard this as his own goodness, but as a shared goodness of the people. How then could he boast? The benevolence of goodness benefiting an entire generation demonstrates the breadth of virtue. Since he does not boast of his merits, others also do not know why things have improved. By rectifying himself, he brings about the rectification of all things, which is called "change." From the purity of his inner sincerity, it is called "goodness"; from its extension to others, it is called "virtue." Although Nine Two is not Nine Five and has not yet ascended the throne, he occupies the central position and already possesses the virtue of a sovereign, hence he is called "Great Person."

九三曰，君子終日乾乾，夕惕若，厲無咎，何謂也。子曰。君子進德修業。忠信，所以進德也。修辭立其誠，所以居業也。知至至之，可與幾也。知終終之，可與存義也。是故居上位而不驕，在下位而不憂。故乾乾因其時而惕，雖危無咎矣。本義謂六爻者以聖人言之，有隱顯而無淺深。言所處時位有不同，非自初而上有積漸也。三爻爻辭稱君子，亦君子而求至於聖人者也。進德就存諸心言，修業就見諸事言。

The line statement of the third line says, "The superior man is diligent all day, and remains cautious at night, as if he were constantly on guard; though in danger, there is no blame." Confucius said: The superior man is constantly improving his virtue and cultivating his affairs. Sincerity and trustworthiness are used to enhance virtue; refining his words and establishing sincerity is used to stabilize his career. Knowing the ultimate goal and truly achieving it, one can discuss subtle matters; knowing the final destination and truly completing it, one can share in upholding righteousness. Therefore, he remains humble when in a high position and not anxious when in a low position, so he is diligent without slack, ever watchful according to the occasion, and though in a dangerous situation, there is no fault. Zhu Xi's "Original Meaning" says that all six lines refer to the sage, differing only in their visibility, not in depth, meaning that the time and position vary, and it is not a gradual progression from the first line upwards. The line statement of the third line refers to "the superior man," meaning those who are striving to reach the sage's state. "Improving virtue" refers to cultivating it within the heart, while "cultivating affairs" refers to expressing it through actions.

忠信，存諸心者無一念之不誠也。德欲進而不已。然使無真實之心，德安能進。故忠信，所以進德也。修辭立其誠，見於事者無一言之不實也。人之不實多在於言。若口不擇言，雖有忠信之心不能立。立其誠，即立此忠信。隨事檢點，不敢妄言。雖不言制行，而制行在其中矣。

What is meant by "zhongxin" (loyalty and sincerity) is having no thought that is not genuine in one's heart. Virtue must be constantly cultivated, but if one does not have a sincere heart, how can virtue be advanced? Therefore, zhongxin is used to promote virtue. What is meant by "xiu chi li qi cheng" (cultivate words to establish sincerity) is that in actions, there is no word that is not true. People's insincerity mostly comes from speech: if one speaks without choosing words carefully, even if one's heart is loyal and sincere, it will not hold firm. "Li qi cheng" (establish sincerity) is to establish this loyalty and sincerity; when encountering matters, one constantly examines oneself, dares not speak recklessly, although it does not directly speak of restraining actions, restraining actions is already included within it.

業既言修，又言居者。修者治而弗怠，居者守而勿失。如屋之既修，居之乃為我有也。修辭立誠，業為我有，故曰所以居業也。忠信修辭，言所以進德修業之道。知至知終，又詳其始終用功之序。知至至之，進德之事。理無加於忠信，故曰至。至之，則進而不已也。誠偽微茫之判曰幾。與，許也。人惟所見未真，故不敢進。疑似之際，不能自主。

Discussing "career" (业), the previous text spoke of "cultivation" (修), and here it speaks of "residence" (居), because "cultivation" refers to the continuous effort of tidying up and not slackening, while "residence" refers to holding on and not losing it: just as a house has been built, it can then truly be considered mine. Cultivating speech and establishing sincerity allows one's career to become truly one's own, so this is called "residing in one's career." Loyalty and trustworthiness, along with cultivating speech, discuss methods for enhancing virtue and managing one's career; "knowing the limit" (知至) and "knowing the end" (知终), however, further elaborate on the sequence of effort from beginning to end. "Knowing the limit and reaching it" (知至至之) relates to advancing in virtue: there is no higher principle than loyalty and trustworthiness, so it is called "the extreme" (至). "Reaching the extreme" (至之) means advancing continuously without stopping. The subtle boundary between true and false is called "the moment" (几). The "with" in "those who are worthy" (可与) means permission. People often fail to move forward because their vision is not clear; at the critical point where something seems right but may not be, they cannot take the initiative.

知至則實見是非端的。知德之極至在是，而以實心必欲赴之。則凡意念所動，微茫之際，不差此幾之動，乃可許之，而德日進矣。知終終之，居業之事。萬事究竟歸於一誠，故為終。終之則居而不失也。事物有裁制之宜為義。義與幾非二。在心之初動為幾，然幾尚有善惡。所動皆善，見之於事，則為義矣。存之即居之也。

Being able to "know the ultimate" means truly seeing where right and wrong lie: knowing the extreme of virtue, one must with a sincere heart go directly there. In this way, whenever a thought arises, even in the most subtle moment, it will not deviate in this initial movement called "a few" (ji), so it is said "it can grasp the initial movement." Virtue thus improves day by day. "Knowing the end and completing it" relates to matters of settling and establishing: all things ultimately come down to the character "cheng" (sincerity), so it is called "end"; "completing it" means to dwell here without losing it. When things are properly judged and handled in moderation, it is called "yi" (propriety). "Yi" and "ji" are not two separate things: when something first arises in the mind, it is called "ji," but "ji" still contains both good and evil possibilities; if what arises is entirely good, when it is realized in action, it becomes "yi." Here, the term "cun" (to exist or maintain) is also "ju" (to dwell).

人不知究竟所在，則不知所終。知之而不務至乎其極，雖所行偶有合宜，亦不能存。知終則深知萬事歸於一誠，而以修辭立誠終之。則凡事之裁制合宜而為義者皆無不存，而業自修矣。知開其始，行要其終。內實其心，外實其事。以此居上居下，安往不宜。所以終日乾乾，夕猶惕若，無一息之間也。三在內卦為上，合外卦為下。不驕不憂，所謂無咎，進德修業之效也。

A person who does not know where his ultimate destination lies will not know where to end his endeavors. Even if he knows, but does not put in the effort to reach the utmost, then his actions, although occasionally appropriate, will not be sustained. If one truly understands the end, he will deeply realize that all things ultimately return to sincerity. Thus, he will conclude his affairs by refining his words and establishing sincerity, and all matters that are properly judged and deemed righteous will be preserved, and his undertakings will naturally be well cultivated. Knowing is the beginning, and acting is the conclusion. Internally, he makes his heart sincere; externally, he makes his affairs sincere. With this approach, whether he is in a high position or a low one, he will not be inappropriate in any place. Therefore, he remains diligent and unremitting throughout the day, and continues to be cautious and vigilant at night, without a moment of interruption. The third line of the inner trigram is the highest among the inner trigrams, and when viewed together with the outer trigram, it is also in the lower position. Not being arrogant or fearful is what is called 'no blame,' which is precisely the result of his progress in virtue and the cultivation of his affairs.

九四曰，或躍在淵，無咎，何謂也。子曰，上下無常，非為邪也。進退無恆，非離群也。君子進德修業，欲及時也。故無咎。或之為言，可上可下可進可退。上下無常，疑為邪矣。然欲及時而上，故有時或下，非為邪枉也。進退無恆，疑於離群矣。然欲及時而進，故有時或退，非離群類也。四處危疑之地，進德修業與九三同。三因時，四欲及時。無常乃所以為常，無恆乃所以為恆，故無咎也。

The fourth line statement says, "Sometimes leaping up from the depths, no blame." Confucius said: going up and down without regularity does not mean doing perverse things; advancing and retreating without fixed rules does not mean departing from one's kind. A gentleman cultivates virtue and manages his affairs to seize the right opportunity, so there is no fault. The character "or" means that he can go up or down, advance or retreat. Going up and down without regularity may make people suspect him of perverse behavior; but he is actually trying to seize the opportunity and move upward, so sometimes he may appear to go down, which is not perverse. Advancing and retreating without fixed rules may make people suspect him of departing from his kind; but he is actually trying to seize the opportunity and move forward, so sometimes he may appear to retreat, which is not departing from his kind. The fourth line is in a dangerous and doubtful position. His cultivating virtue and managing affairs is the same as the third line: the third line is cautious in following the opportunity, while the fourth line is trying to seize the opportunity and acting. It seems changeable, but this is his constancy; it seems inconsistent, but this is his consistency, so there is no blame.

九五曰，飛龍在天，利見大人，何謂也。子曰。同聲相應，同氣相求。水流溼，火就燥。雲從龍，風從虎。聖人作而萬物覩。本乎天者親上，本乎地者親下。則各從其類也。此言凡物各從其類。聖人，人類之首，故為人所歸。以釋利見之義也。鶴鳴子和，雄嗚雌應，同聲相應也。取火於日，取水於月，同氣相求也。

The Line Statement of the Fifth Line says, "A dragon soars in the sky, advantageous to see a great man." Confucius said: those with the same sound respond to each other, and those with the same nature attract each other. Water flows to low and damp places, fire burns in dry areas; clouds arise with the dragon, and wind rises with the tiger. When a sage arises, all things look up to him. The origin from heaven is close to above, the origin from earth is close to below—ultimately, each follows its own kind. This passage explains that all things follow their own kind: a sage is the leader among humans, so he is looked up to by all. This explains the meaning of "advantageous to see a great man." An old crane calls and a young crane answers; a male bird sings and a female bird responds—this is "mutual response through the same sound." Using a yang mirror to obtain fire from the sun, using a fang zhu vessel to obtain water from the moon—this is "mutual seeking through the same nature."

下溼易潤，水先趨之。乾燥易焚，火先燃之。龍，陽物。薰蒸之氣為雲。虎，陰物。肅殺之氣為風。凡此皆以類相感者也。聖人，人類之首，故為人之利見亦然。作者首出於上，覩者下觀而化也。又以物之親上親下，以見人之於聖人亦然。本乎天，日月星辰輕清成象者皆親之。本乎地，蟲獸草木重濁成形者皆親之。蓋屬陽者從上，屬陰者從下也。類各有本，本各有親。聖人萬物一體，利見又何疑乎。

Low-lying and damp places are easily moistened, so water flows there first; dry things are easily set on fire, so fire burns there first. The dragon is a yang creature, and the vapor it produces becomes clouds; the tiger is a yin creature, and its sharp and killing energy becomes wind. All these examples show mutualsympathetic response between similar things. The sage is the leader of humanity, so people are happy to see him, and the principle is the same. "Zuo" means he leads and arises above, while "di" (to look up to) means people below look up and are influenced by him. Confucius also uses the fact that things either attach to above or below to explain how people relate to the sage: those originating from heaven, such as the sun, moon, and stars, which are light and clear and form images, all attach to above; those originating from earth, such as insects, beasts, grasses, and trees, which are heavy and turbid and form forms, all attach to below. Because yang things follow above and yin things follow below. Each category of things has its origin, and each origin has its own attachment. Since the sage and all things are one body, why is there any doubt about "benefiting from seeing a great person"?

上九曰，亢龍有悔，何謂也。子曰。貴而無位，高而無民，賢人在下位而無輔，是以動而有悔也。九為龍，貴矣。而陽不得陽位，位在於五，是無位也。上而亢，高矣。而純陽無陰，是無民也。九三之賢在下，而敵體不應，是無輔。是以動而有悔。然致悔在動。不動而復於潛，則悔可無矣。

The line statement of the Upper Nine says, "The dragon soaring high brings regret." Confucius explains: when one holds a high position but lacks a real position, resides at the top but has no people, and the virtuous person below does not come to assist, then any movement brings regret. The Nine symbolizes the dragon, which is already noble; but the Upper Nine is a Yang line without a Yang position—the true sovereign position is at the Fifth Line, so it is said to have "no position." It is elevated to the highest point, reaching the extreme of height, but the entire hexagram is pure Yang with no Yin, and Yin symbolizes the people, so it is said to have "no people." The virtuous person at the Third Line is below, but both lines are Yang, equal in strength but not in harmony, so it is said to have "no assistance." Therefore, any movement brings regret. However, the key to causing regret is "movement": if one remains still and returns to the state of "hidden," regret can be avoided.

潛龍勿用，下也。陽在下也。釋潛龍以氣言，此釋勿用以人言。言在下未可用也。見龍在田，時舍也。舍作舍止之舍。見止在田，尚未大用。時舍者，暫止於此，勢非久安也。終日乾乾，行事也。進德修業，行所當行也。即行健不息之意。或躍在淵，自試也。自試，斟酌之意。試其時之可否而不輕進，非中無所主而漫以嘗試也。飛龍在天，治也。得位而行，居上以治下也。

"The dragon remains hidden and is not yet used," because it is in a low position. The previous small commentary said "Yang is at the bottom," which explains "the hidden dragon," referring to the energy; here it says "at the bottom," explaining "not yet used," referring to the person, meaning that since one is in a low position, one is not yet fit for appointment. "The dragon appears in the field," because the situation causes it to temporarily stay. The character "舍" here is pronounced as in "stop and rest." The dragon appears but stays in the field, not yet fully employed; the term "time to rest" means that at present it is temporarily staying here, and the situation is not yet suitable for long-term stay. "The dragon is constantly active all day," is about carrying out what should be done. Enhancing virtue and cultivating one's affairs is doing what one should do, which is exactly the meaning of the great image "movement is vigorous and unceasing." "The dragon leaps in the deep pool," is about self-testing. "Self-testing" means weighing and considering: testing whether the opportunity is suitable without acting rashly, not meaning to take chances without any plan. "The dragon flies in the sky," is about governing the world. When one attains the appropriate position and implements the way, one resides in the upper position to govern below.

亢龍有悔，窮之災也。陰陽一氣無窮，而時位有窮。窮極則災生也。乾元用九，天下治也。言乾元用九，見與他卦不同。蓋一百九十二陽爻皆用九，各有所指。獨乾之用九為剛而能柔，人君治天下之道也。元者，仁也，足以長人者也。

"Overreaching the Dragon brings regret," meaning that reaching the extreme leads to calamity. The principle of yin and yang is endless, but specific times and positions have their limits; when reaching the extreme, calamity arises. "The Supreme Ultimate employs the Nine," meaning the world is well governed. Here it specifically mentions "the Supreme Ultimate employs the Nine," showing that it is different from other hexagrams. Among the sixty-four hexagrams, there are a total of one hundred ninety-two yang lines, all referred to as "Nine," each with its own meaning. Only the hexagram of Qian (Heaven) uses "Nine" to indicate that strength can transform into flexibility, which is exactly the method of a sovereign governing the world. "Yuan" refers to benevolence, the virtue sufficient to be the leader of all people.

人君體乾之元，用乾之九。至誠惻怛之意，行於剛果之中。寬猛得宜，天下自無不治矣。四德獨言元，元可包四德也。亢之後言元，貞下起元也。天下自無不治，一元之運，無為之化也。自潛龍勿用下也至此，申言象傳之意。

The sovereign should embody the "origin" (元) of the Trigram Qian, apply the "nine" (九) of Qian, and infuse his sincere and compassionate mind into decisive and resolute actions. He should maintain a proper balance between leniency and strictness, so that the whole world will naturally be well governed. Among the four virtues, "origin" (元) is specially mentioned because it can encompass the other three virtues. After discussing "excess" (亢), "origin" is again mentioned to signify the idea of "genuine foundation leading to origin" (贞下起元), meaning the cycle of beginning and end. Saying that the world will naturally be well governed refers to the natural influence of this vital energy (元气) flowing without effort. From "When the dragon is hidden and not yet active, it is the lower stage" to here, all is elaborating on the meaning of the Image Commentary (象传).

潛龍勿用，陽氣潛藏。陽氣潛藏，君子亦當悔隱。初一潛而天下陽之屬皆宜潛也。曰下曰隱曰藏，反覆發明示人，不必強立分別。見龍在田，天下文明。文者，經緯成章。明者，光顯不昧。二雖不在上位，天下已被文明之化。如孔子是也。此爻變離，有文明象。

"Qian Long Wu Yong" is because the yang energy is still hidden and concealed. Since the yang energy is hidden, the gentleman should also restrain himself and retreat. When the first line is hidden, all yang things in the world should be concealed. The three instances mention "down," "hidden," and "concealed," respectively, merely repeating the idea to enlighten future generations, without needing to distinguish between high and low. "Jian Long Zai Tian" signifies the beginning of civilization throughout the world. "Wen" refers to the structured order formed by intersecting lines, while "Ming" means brightness and clarity, not darkness. Although the Nine in the Second Line is not in a high position, the world has already been influenced by its civilizing and educational influence, just as Confucius was. Moreover, when this line changes, the lower trigram becomes "Li," which represents fire and the sun, symbolizing the image of civilization.

終日乾乾，與時偕行。兼無時不然，隨時加謹二意。天行健，無息時。與天時俱不息，法天之學也。時當危厲，理宜乾惕，處危之道也。或躍在淵，乾道乃革。離下內卦而上外卦。時當變革，勢不得輕。

"Always striving diligently" means moving in harmony with the right timing. This phrase contains two meanings: one is to do so without ceasing at any time, and the other is to be especially cautious when following the trend of the times. The heavens move with strength and vigor, never ceasing for a moment; humans who keep pace with the heavens never stop, which is the study of emulating heaven. The time one is in is particularly dangerous and perilous, so by principle one should be diligent and cautious, which is the way to deal with danger. "Perhaps leaping from the depths" indicates a change in the way of the heavens. The nine in the fourth position leaves the inner trigram and rises into the outer trigram. The situation is at a turning point, and the circumstances do not allow for careless action.

飛龍在天，乃位乎天德。六爻皆天德。而五乃天位，天德之得位者。唯有是德，乃宜居是位也。亢龍有悔，與時偕極。此窮極之極，非至極之謂也。時既極，而我不能變通，則與時運俱極，故言偕。偕極有悔，非德也。故初曰德之隱。二曰正中。三四曰進德。五曰天德。獨上不言德。知進退存亡之聖人，則雖偕極，而有窮變通久之道矣。

"The dragon soars in the heavens" refers to being above the Heavenly Virtue. All six lines possess Heavenly Virtue, but the fifth line is the position of Heaven. Therefore, the Nine in the Fifth is both endowed with Heavenly Virtue and holds the proper position. Only those who possess such virtue are worthy of such a position. "The dragon reaches its peak and incurs regret" signifies that one has reached the extreme of the times. This "extreme" refers to the end, not the perfect state. When the times have reached their limit and I am unable to adapt, I follow the fortune to its end, hence the term "together." Following the fortune to its end brings regret, which is no longer virtue. Therefore, the first line speaks of "hidden virtue," the second line speaks of "correct center," the third and fourth lines speak of "advancing virtue," the fifth line speaks of "Heavenly Virtue," and the top line does not mention virtue. As for the sage who understands advancement and retreat, existence and non-existence, even when in harmony with the extreme of the times, he can still find a path of transformation, which leads to change, which leads to smoothness, which leads to longevity.

乾元用九，乃見天則。則者，理之有節限而無過不及者也。剛柔適中，天之則也。用九剛而能柔，乃合乎天之則也。言用九而冠以乾元，有統天之德，而後九可用也。自潛龍勿用下也至此，皆反覆申言象傳之意。或言其時，或言其位，或言其用，不必強有所分。

"Qian Yuan uses the Nine," thus revealing the principle of Heaven. The term "rule" refers to the principle that has proper limits, neither exceeding nor falling short. The balance between firmness and softness is the principle of Heaven; using the Nine is firmness that can transform into gentleness, which exactly conforms to the principle of Heaven. Here, the term "using the Nine" is preceded by "Qian Yuan," indicating that one must first possess the original virtue that governs the way of Heaven before the Nine can be applied. From "The Hidden Dragon is not yet in action, the lower stage" up to here, all these passages repeatedly elaborate on the meaning of the Image Commentary: some discuss it from the perspective of timing, some from the position, and others from the function; there is no need to force a classification.

乾元者，始而亨者也。彼此至天下平也，又申彖傳之意。承上言乾元用九，又嘆乾元之妙。前以元亨利貞析為四德，至此又若以元亨利貞分言之，而統歸於一元。因贊乾德之妙，唯聖人能體元以法天也。他解有謂自此至天下平，申言乾元用九天下治者，非。

The concept of Qian Yuan is the one that initiates all things and makes them harmonious and smooth. From here to "the world is peaceful," it further explains the meaning of the Commentary on the Judgment. Following the previous discussion of "Qian Yuan uses all nines," it then praises the subtlety of Qian Yuan. Earlier, "Yuan, Heng, Li, Zhen" was divided into four virtues, but here it seems to treat Yuan, Heng, Li, and Zhen separately, yet ultimately concludes everything to the single concept of Yuan. This is done to praise the subtlety of the Qian virtue, indicating that only the sage can comprehend this Yuan and emulate Heaven. Others who believe that from here to "the world is peaceful" is merely elaborating on "Qian Yuan uses all nines, the world is governed" are wrong.

蓋用九六爻皆變，取其剛而能柔。此言剛健中正，六爻發揮，則以純乾之德言之。蓋夫子因言乾元，因申彖傳未盡之意也。始即資始之始。而始則必亨。蓋有息則不能亨，不息則理勢必亨。增而字，有漸次而無斷續。天地生生之氣，自微而著。始而亨，則亨而利，利而貞，皆可知矣。

Because "use of all nines" refers to all six lines changing, taking the meaning of strong yang turning into gentle yin; whereas here it says "strong and upright," "six lines unfolding," which refers purely to the nature of Qian. These are not the same thing. This is how Confucius continued the discussion to talk about Qian's origin, thus explaining the meaning not fully expressed in the Commentary on the Judgment. The "beginning" here refers to the "beginning" in the Commentary on the Judgment's "all things receive their beginning." Once there is a beginning, there must be smooth progress: because if there is an interruption, the flow cannot continue; if there is no interruption, then by nature and momentum, it must be smooth. The addition of the word "and" indicates a gradual progression without interruption. The vital energy of heaven and earth that produces life never ceases, moving from subtle to manifest. Since "beginning" can lead to "smoothness," then from "smoothness" to "advantage," and from "advantage" to "constancy," can also be inferred.

利貞者，性情也。收斂歸藏，乃見性情之實。元亨時，乾之發見。利貞則各有成就。如草木之種。春時發芽，夏則千枝萬葉。至秋漸收斂，冬乃堅實。前此發見時，共一性情。至此則各一性情，猶前言各正性命也。遡性之本言之，則曰性情。情又可發生，貞下又起元矣。

"Li Zhen" discusses nature and emotion. After convergence and concealment, the true nature and emotion become evident. In the stage of "Yuan Heng," it is the outward manifestation of the virtue of Qian; but in the stage of "Li Zhen," each thing has achieved its own completion. It is like the seed of plants: in spring it sprouts, in summer it grows into myriad branches and leaves, in autumn it gradually converges, and in winter it forms a solid fruit. In the earlier stage of manifestation, all things share the same nature and emotion; but at this stage, each thing achieves its own nature and emotion, which is what the "Commentary on the Judgment" mentioned earlier as "each corrects its own nature and destiny." Tracing back to the origin of nature, it is called "nature and emotion"; and since emotion can again initiate growth, after "Zhen" is completed, "Yuan" arises again.

乾始能以美利利天下，不言所利大矣哉。乾始，乾元之始也。乾始之道，能使庶類生成，天下蒙其美利，能以美利利天下也。坤利牝馬，他卦利建侯，涉川，皆有所指。乾始無所不利，非可指名，故言利，不言所利也。乾之始即元而亨者，元可包亨也。利天下者，利不言所利者，貞不言貞者，利可包貞也。然乾始能以之，則亨利貞皆在元之中矣，故贊其大。

The creative power of Qian (Heaven) can bestow beautiful benefits upon the world without specifying where the benefit lies, truly great indeed. "Qian's beginning" refers to the start of Qian Yuan. The creative way of Qian Yuan enables the generation of all things, and the whole world receives its beautiful benefits, which is called "bestowing beautiful benefits upon the world." The hexagram Kun says "favoring the virtuous mare's constancy," and other hexagrams mention "favoring the establishment of feudal lords" or "favoring crossing great rivers," each with specific references. Only Qian's creative power benefits all without specific designation, so it only says "favor" without specifying "what is favored." The beginning of Qian is "originating and harmonious," showing that origin encompasses harmony. "Benefiting the world" is benefit, "not specifying what is favored" is constancy, yet here only benefit is mentioned without constancy, showing that benefit encompasses constancy. However, all these are achieved through "Qian's beginning," so harmony, benefit, and constancy are all included within origin. Thus, it is praised as great.

大哉乾乎。剛健中正，純粹精也。四德一元，元一乾也，故曰大哉乾乎。其體堅強，不可屈撓，剛也。其用循環，無少間斷，健也。其行若有所限，而無過不及，中也。其立君若有所專，而不偏不倚，正也。剛健之極，不雜於陰柔，純也。中正之極，不入於邪惡，粹也。純粹至於至極，無有形容，精也。乾屬剛，而又言中正者。蓋分乾坤而言，則有陰陽剛柔動靜之不同。自一元之氣周流無間之本體言之，則無所不包也。

How magnificent is Qian! It is strong, vigorous, moderate, and upright; pure, refined, and refined to the extreme. The four virtues are all unified in one origin, and that origin is unified in Qian, hence the saying "How magnificent is Qian!" Its essence is firm and unyielding, which is "strength"; its function is cyclical and unceasing, which is "vigour"; its movement has a boundary yet neither oversteps nor lacks, which is "moderation"; its establishment is firm yet not biased, which is "uprightness." When strength and vigour reach their peak without mingling with yin, it is "purity"; when moderation and uprightness reach their peak without falling into evil, it is "refinement"; when purity reaches its extreme, it becomes indescribable, which is "subtlety." Although Qian is inherently strong, it is also said to be "moderate and upright" because: when speaking separately of Qian and Kun, there are distinctions of yin and yang, strength and weakness, motion and stillness; but when speaking of the original qi that flows continuously without interruption, it is all-encompassing.

六爻發揮，旁通情也。乾德之精，不容言矣。可言者其情耳。故聖人以六爻發揮，曲盡其情，而乾之道在易矣。時垂六龍，以御天也。雲行雨施，天下平也。六爻曲盡易之道，而唯九五有德位之大人能體備乎乾之蘊，故獨以有天下之聖人言之。六龍即六爻。時垂句增也字，與上不同。上重垂龍，此重御天。言垂龍者將以御天也。六爻不外一時。聖人以時垂此六龍，將以御天下也。

Six yao are laid out, revealing the nature of the virtue of Qian from various perspectives. The subtle essence of Qian's virtue is beyond words, and what can be spoken of is only its manifested expressions. Therefore, the sage uses the six yao to elaborate and express these expressions, fully capturing the nature of Qian. Thus, the way of Qian is entirely contained within the Book of Changes. "At the right time, riding the six dragons to govern the heavens; clouds move and rain spreads, bringing peace to the world." Although the six yao fully express the way of the Book of Changes, only the great person who possesses virtue and position can fully embody the essence of Qian. Therefore, here it refers specifically to the sage who rules the world. "Six dragons" refers to the six yao. The phrase "At the right time, riding the six dragons to govern the heavens" differs from the original phrase in the Commentary on the Judgment by adding the word "also." The previous text focused on "riding the dragons," while this one emphasizes "governing the heavens," meaning that riding the six dragons is for the purpose of governing the world. The six yao all revolve around the concept of "time." The sage governs the six dragons according to the right time, which is to govern the world.

雲行雨施，就聖人言之。政教如雲之行。德澤如雨之施，天下自無不平也。御天而云行雨施，聖人之以美利利天下也。天下皆平，聖人之不言所利也。至此而乾之道在聖人矣。又按，彖以元亨利貞言乾，文言即以元亨利貞屬之君子。乾之德在君子躬行之中也。彖以雲行雨施言乾，文言即以屬之聖人。乾之功即在聖人運用之內也。此天人之合。君子自強不息以法乎天，不可以已也。

Here "yun xing yu shi" refers to the sage: decrees and teachings spread like clouds, and virtue and kindness descend like rain, so the world naturally becomes peaceful and orderly. To govern the world with such cloud-like movement and rain-like benevolence is precisely what the sage means by "benefiting the world with beauty and advantage." When the world is at peace, it is exactly what the sage means by "not speaking of personal benefit." At this point, the principle of the Creative (Qian) is embodied in the sage. Note: The "Commentary on the Judgment" uses "yuan heng li zhen" to explain the Creative, and the "Words of the Rites" assigns "yuan heng li zhen" to the gentleman, showing that the virtue of the Creative is realized through the gentleman's personal practice. The "Commentary on the Judgment" uses "yun xing yu shi" to explain the Creative, and the "Words of the Rites" assigns it to the sage, showing that the function of the Creative lies within the sage's application. This is the unity of heaven and humanity. The gentleman constantly strives to emulate heaven, never ceasing for a moment.

君子以成德為行，日可見之行也。潛之為言也，隱而未見，行而未成。是以君子弗用也。德，得於心者也。行，見於事者也。日可見，猶指日可待之意。理得於心，可以見之行事矣。但當隱而未見之時，德雖可行，而時位未能成其所行。君子知其時位之未可，是以弗用。此以下又申象傳未盡之意。

A gentleman applies the virtue he has cultivated into action, which is a visible daily practice. However, the term "qian" means hidden and not yet revealed, with some action taken but not yet completed, so the gentleman temporarily refrains from acting. "De" refers to virtue obtained from the heart, while "xing" refers to action manifested in deeds. "Ri kan jian" is like saying something that can be achieved in a short time. The principle has already been understood in the heart, so it should naturally be manifested in action. However, during the period when it is concealed and not yet apparent, although virtue can be practiced, the timing and position are not yet suitable for achieving results. The gentleman understands that the time and circumstances are not yet appropriate, so he does not act. From here on, it further explains the meaning not fully expressed in the Image Commentary.

君子學以聚之，問以辨之，寬以居之，仁以行之。易曰，見龍在田，利見大人，君德也。九二有正中之龍德。然所以成德者，亦由學問之功。之，指正中之理。言理之得於天者，雖我所固有，然散見於事物，不學則聞見者寡，無以聚於吾心也。聚矣而不問，則不知所擇。

A gentleman accumulates it through study, clarifies it through inquiry, cultivates it through abundance, and practices it through benevolence. The Book of Changes says, "A dragon appears in the field, advantageous to see a great man," which refers to the virtue of a ruler. The Nine in the Second possesses the virtue of a dragon that is centered and upright, yet he achieves this virtue still through the efforts of study and inquiry. The "this" in these four sentences refers to the principle of being centered and upright. It means that the principle given by heaven, although inherently possessed by me, is spread out and manifested in various things. Without learning, one's knowledge is limited, and thus unable to gather it into the heart; once gathered, without inquiry, one does not know how to choose and discern.

故問所以辨其是非同異也。聚矣辨矣，狹隘其心，則此理非我有。故必有涵養寬裕之意，優遊厭飫，勿忘勿助，而所聚所辨者，庶融會貫通，與心為一矣。至於仁者，吾心之全德，即天之元。吾之所學所問者此也。既聚既辨之後，既居於心，即見之於行事。亦猶天之行健，無或一息之間。則莫非天理，無一毫私慾之間。而乾元之德全。雖未居君之位，而已具君之德矣。

Therefore, "questioning" is used to discern the right from the wrong and the differences and similarities. Once things have been gathered and discerned, if one's mind is narrow and confined, these principles will still not become part of one's own. Therefore, one must cultivate a broad and generous disposition, being at ease and content, savoring and fully comprehending what has been gathered and discerned, neither forgetting nor hastening it. In this way, what has been gathered and discerned may eventually be integrated and become one with one's mind. As for "ren" (benevolence), it is the complete virtue within my heart, which is also the "yuan" (primordial) of Heaven. What I study and inquire into is precisely this. After gathering and discerning, once one has settled upon it in the heart, it must be put into action. This is like the movement of Heaven, which is vigorous and unceasing, so that all one's actions are in accordance with the principles of Heaven, without the slightest admixture of private desires. Thus, the virtue of the Primordial Power of Heaven is complete. Although the Nine Two has not yet ascended to the position of a ruler, it already possesses the virtue of a ruler.

九三，重剛而不中。上不在天，下不在田。故乾乾因其時而惕，雖危無咎矣。重剛，陽爻位也。按，來注三居下卦之上，四居上卦之下，以剛按剛，故皆曰重。此解亦可參。不中，非二五也。不在天，非上之中。不在田，非下之中。時本可危，因時而惕以防危，故雖危無咎。

Nine Three, the yang line is in a yang position and is strong, but it is not in the center. It cannot reach the heavenly position above and cannot leave the earth position below, so it can only be diligent and unremitting, following the situation with caution, thus although there is danger, there is no fault. The term 'heavy yang' refers to the yang line being in a yang position. According to Lai Zhide's commentary: the third line is above the lower trigram, and the fourth line is below the upper trigram; both are strong lines adjacent to strong lines, so both lines are called 'heavy'. This interpretation can also be considered. 'Not in the center' means it is neither the second line nor the fifth line. 'Not in the heavenly position' means it is not in the central position of the upper trigram; 'not in the earth position' means it is also not in the central position of the lower trigram. The time it is in is inherently dangerous, but by following the situation and being cautious to prevent danger, it is dangerous yet without fault.

九四，重剛不中。上不在天，下不在田，中不在人。故或之。或之者，疑之也。故無咎。重字衍。三四皆人位，而四居人之上而近君，故曰不在人。重剛不中之中，二五之中也。中不在人之中，六爻中間之中也。下以二為中，三則過。上以五為中，四則不及。過則憂，不及則疑。然憂所當憂，卒於無憂。疑所當疑，卒於無疑。故皆可以無咎。

Nine Four is strong but not in the central position. It cannot reach the heavenly position above, nor can it leave the earthly position below. It is in the central area but not in the position of people, so the word 'or' is used to describe it. The use of 'or' indicates uncertainty and indecision, hence there is no fault. (Chen's note: The word 'heavy' here is an addition, because Nine Four is a yang line in a yin position and does not count as heavy yang.) The third and fourth lines both belong to the position of people, but the fourth line is above the position of people and close to the position of the ruler, so it is said 'not in the position of people.' The 'central' in 'heavy yang not central' refers to the second and fifth central positions; the 'central' in 'central but not in people' refers to the central area among the six lines. The lower trigram takes the second line as central, but the third line has already exceeded it; the upper trigram takes the fifth line as central, but the fourth line has not yet reached it. Exceeding causes worry, and not reaching causes doubt. However, the worry is exactly what should be worried about, and in the end, there is no worry; the doubt is exactly what should be doubted, and in the end, there is no doubt. Therefore, both lines can avoid blame.

夫大人者，與天地合其德，與日月合其明，與四時合其序，與鬼神合其吉凶。先天而天弗違，後天而奉天時。天且弗違，而況於人乎，況於鬼神乎。前同聲相應節言利見之意。此專就大人言，而利見之意在其中。九五之為大人，大以道也。天地者，道之原。大人無私，以道為體，則合於天地易簡之德矣。天地之有象，而照臨者為日月，循序而運行者為四時，屈伸往來生成萬物者為鬼神。名雖殊，道則一也。

The so-called Great Person has a virtue that harmonizes with heaven and earth, a radiance that harmonizes with the sun and moon, a principle that harmonizes with the four seasons, and a fortune that harmonizes with ghosts and spirits. He acts before the heavenly timing, and heaven does not contradict him; he acts after the heavenly timing, and still reverently follows the heavenly timing. Even heaven does not contradict him, how much less would people or ghosts and spirits? The previous section "Harmonious Sounds Respond to Each Other" discussed the meaning of "beneficial to see," while this section focuses specifically on the "Great Person" himself, with the meaning of "beneficial to see" already contained within it. The reason why the Nine in the Fifth is called the Great Person is because his greatness lies in the Dao. Heaven and earth are the origin of the Dao. The Great Person has no private intentions and takes the Dao as his own essence, thus harmonizing with the simple and easy virtue of heaven and earth. The manifestations in heaven and earth are: illuminating all things is the sun and moon, sequentially moving is the four seasons, bending and stretching, coming and going, generating all things is ghosts and spirits. Although their names are different, their principles are the same.

大人既與天地合德，故其明目達聰合乎日月之照臨，刑賞慘舒合乎四時之代禪，遏揚彰癉合乎鬼神之福善禍淫。先天弗違，如先王未有之禮可以義起。蓋雖天之所未有，而吾意默與道契，雖天不能違也。後天奉時，如天秩天序天理所有，吾奉而行之耳。蓋人與天地鬼神本無二理，特蔽於有我之私而不能相通。大人與道為一，即與天為一，原無彼此先後之可言。其曰先天後天者，亦極言或先或後，皆與天合也。

A great person has already merged his virtue with that of heaven and earth, so his ears are keen and his eyes are clear, capable of perceiving all directions, which corresponds to the illumination of the sun and moon. Punishment and reward, severity and leniency, correspond to the succession of the four seasons. To restrain or commend, to promote virtue or punish wrongdoing, corresponds to the blessings bestowed upon the virtuous and the calamities upon the wicked by spirits and deities. The saying 'to act before heaven does not contradict heaven' means that if a previous king did not have a certain ritual, later generations may establish it according to righteousness. Though such a ritual has not existed in heaven, my mind secretly aligns with the Dao, so even heaven will not contradict me. The saying 'to act after heaven and follow its timing' means that the ranks, order, and constant principles established by heaven already exist; I merely follow them. One must know that humans, heaven, earth, and spirits and deities originally share the same principles, but are separated by the private self-interest of 'having a self.' When a great person merges with the Dao, he also merges with heaven, and there is no distinction of before or after. Here, the terms 'Earlier Heaven' and 'Later Heaven' are merely used to emphasize that regardless of whether it is before or after, it aligns with heaven.

亢之為言也，知進而不知退，知存而不知亡，知得而不知喪。進退以身言。窮上反下，退矣。存亡以位言。過五居上，亡矣。得喪以物言。無輔無民，喪矣。是之謂亢，所以動而有悔。其唯聖人乎。知進退存亡而不失其正者，其唯聖人乎。

"The character '亢' means to know only advancement and not retreat, to know only continuation and not cessation, to know only gain and not loss. Advancement and retreat are considered from the perspective of the self: when one reaches the top, one should return to the lower position, which is retreat. Continuation and cessation are considered from the perspective of the yao position: crossing the fifth line to occupy the top line, the position is lost, which is cessation. Gain and loss are considered from the perspective of external things: without assistance from others, without people to govern, that is loss. This is called '亢,' so any movement brings regret. 'Perhaps only the sage understands advancement, retreat, continuation, and cessation without losing the correct path. Perhaps only the sage does so!'"

知進退存亡，則無得喪矣，故不復言得喪。不失其正，處之以道，非計私以避害也。正即貞也。乾元歸於一貞，聖人法天體元歸於一正。隨其時，不失其正，非聖人不能也，故再言其唯聖人乎。此卦六爻，周公皆取象於龍，夫子文言皆屬之於聖。非聖人固不能體天，然易非專為聖人言也。

Understanding advancement and retreat, preservation and loss, one no longer cares about gain and loss, so the next sentence does not mention "gain and loss." "Not losing the right path" means to act according to the right way, not to calculate private interests to avoid misfortune. This "right" is the same as "zheng" (correctness). The ultimate conclusion of Qian yuan is "zheng," and the sage models himself after heaven and observes yuan, ultimately arriving at "zheng." Maintaining correctness throughout different times is not something the sage cannot do, so Confucius repeats "It is only the sage who can do this" twice. In this hexagram, the Duke of Zhou took the image of a dragon for all six lines, while Confucius' "Wenyan" attributed them all to the sage. Indeed, it is not possible for anyone other than a sage to fully embody the way of heaven, but the Book of Changes is not solely for the sage.

自天子以至於庶人，自聖賢以至於愚不肖，皆可觀象玩辭，觀變玩占，而以聖人為法耳。蓋人生天地之間，吉凶悔吝無一息之停，聖人隨其時所值，而皆有以處之，使得其正。此不獨乾卦之義，而實全易之義。易之所以開物成務，聖人所以為天下後世法者，此也。

From the Son of Heaven down to common people, from the sage to the foolish and unworthy, all can observe the hexagram images, ponder the line statements, observe the changes of lines, and contemplate the divination judgments, taking the sages as role models. Because human beings live between heaven and earth, and the auspicious, ominous, regret, and hardship never cease; when sages encounter different situations, they have methods to properly manage their conduct, so as not to lose the right path. This is not only the meaning of the hexagram Qian, but actually the meaning of the entire Book of Changes. The reason why the Book of Changes can enlighten the people's wisdom and achieve great undertakings, and why the sages could establish principles for the world and future generations, lies exactly here.

坤。歸藏首坤，其義未知所取。周易以坤繼乾，以地承天，萬物之父母也。全卦以柔順得正為地道臣道妻道之宜。六爻唯二五言吉利，而五不如二之正。他則皆有扶陽抑陰之微旨焉。坤卦之大略也。

The hexagram Kūn. The Shang dynasty's "Guicang" began with the hexagram Kūn, but the intention behind this arrangement is unknown. The "Zhou Changes" placed Kūn after Qian, symbolizing the earth receiving the heavens. Heaven and earth are the parents of all things. The entire hexagram emphasizes flexibility and adherence to the right path, considering this to be in accordance with the nature of the earth, the subject, and the wife. Among the six lines, only lines six-two and six-five mention good fortune, but line six-five is less virtuous in upholding the right path than line six-two; the other lines all contain the deep meaning of supporting the yang and restraining the yin. This is the general idea of the hexagram Kūn.

坤。元亨。利牝馬之貞。君子有攸往。先迷後得主。利。西南得朋。東北喪朋。安貞吉。三偶為陰，其卦為坤，其象為地。陰之成形，莫大乎地。地勢卑順，故名為坤。六畫皆陰，內外皆坤。陰之純，順之至也。純陰至順，一承乎陽。循物無違，居心順應。理無不通，故占亦可大亨。然必守此順德，久而不變，故曰利牝馬之貞。

The hexagram K'un signifies great success and smoothness. It is advantageous to hold firm and steadfast, like a female horse. A gentleman who goes forward may become lost if he goes ahead too quickly, but if he follows after, he will find benefit. Going to the southwest brings companions, while going to the northeast leads to losing companions. To remain in the correct path brings good fortune. The three lines are all broken even lines, which represent yin. This hexagram is called K'un, and its image is the earth. Among things formed by yin, none is greater than the earth. The earth is lowly and yielding, hence its name K'un. All six lines are yin, with both the outer and inner trigrams being K'un. This represents the purest form of yin and the ultimate degree of yielding. Pure yin and complete yielding, constantly serving the yang, following things without resistance, and maintaining a single-minded compliance, thus making the way unobstructed. Therefore, the divination can be greatly successful. However, one must maintain this yielding virtue for a long time without change, hence the saying 'advantageous is the firmness of the female horse.'

牝馬，柔順而健行者。馬為乾象。曰牝馬，明配乾也。陽得其全，陰得其半。以柔順得正為利，則其他有所不利矣。陽先陰後。君子占比，欲有所往，率先首事，必至於迷。居後順從，乃得其當。故曰先迷後得。主利，本義謂陽主義而陰主利。大全謂占此卦便主利此事，非坤道主利萬物也。時解皆從之。今按，蘇傳來注皆以後得主為句。謂陽為陰主，乾為坤主。居後從乾，得其所主，所以為利也。此雖與本義不合，然觀後文言後得主而有常句，似非遺去利字，且於理義甚順，宜存之。

A mare is a domestic animal that is gentle and capable of swift movement. The horse is originally the symbolic image of the trigram Qian (Heaven). Here, the term "female horse" is used to indicate that it is in harmony with Qian. Yang is complete, while Yin is only half, so the trigram Kun (Earth) only benefits from being gentle and upright, and is not beneficial in other aspects. Yang comes first, while Yin follows: if a gentleman obtains this hexagram and wishes to move forward, and he takes the lead, he will certainly be confused; only by following behind and being obedient is it appropriate. Therefore, it is said, "those who go first are confused, while those who follow later gain benefit." The phrase "mainly beneficial" is interpreted by Zhu Xi's "Original Meaning" as Yang being the principle and Yin being the benefit; however, Hu Guang's "Complete Collection" says that obtaining this hexagram means benefiting in this matter, not that the nature of Yin is to benefit all things. Current commentaries follow this interpretation. Now, according to Su Shi's "Commentary on the Changes" and Lai Zhide's annotations, the phrase "later obtaining the master" is taken as a single sentence, meaning that Yang is the master of Yin and Qian is the master of Kun. By following behind and being subordinate to Qian, one finds the master to rely on, thus gaining benefit. Although this differs from Zhu Xi's punctuation, the text in the "Words and Meaning" mentions "later obtaining the master and having constancy," suggesting that the character "benefit" may not have been omitted, and the meaning is very coherent. Therefore, this interpretation should be retained.

西南，陰方。東北，陽方。西南致養之地，與坤同道，故得朋。東北反乎西南，故喪朋。陰體柔而躁，妄作以求全，則非矣。必安於正乃吉，故曰安貞吉。蓋陰之德減於陽之半。故體乾之君子，可先亦可後。而體坤之君子，但為後不可為先。所遇雖得喪之不同，而要以安於正則吉，此地道臣道妻道也。

The Southwest is a yin direction, and the Northeast is a yang direction. The Southwest is the place where all things are nurtured, and it follows the path of the Earth, so it is said 'to gain friends.' The Northeast is opposite to the Southwest, so it is said 'to lose friends.' Yin is weak and easily restless; if one acts recklessly in pursuit of completeness, it is wrong. One must remain in the correct path to be auspicious, so it is said 'to be steadfast in the right way is吉祥.' Since yin's virtue is only half that of yang, the gentleman embodying the way of Heaven may act first or last, while the gentleman embodying the way of Earth can only act after and cannot take the lead. Although the situations encountered may differ between gaining and losing friends, ultimately one must remain steadfast in the right path to be auspicious—this is the way of the Earth, the way of the minister, and the way of the wife.

此三句本義解如此，時解皆從之。今按，蘇傳及來注皆謂文王圓圖，西南、兌離巽三女所居，坤之朋也。東北，震坎艮三男所居，非朋也。陰以從陽為正，去其三女之朋，求主於東北，則為安貞之吉矣。此雖與本義悖，而說可存。

The above three sentences are interpreted in this way by Zhu Xi's "Ben Yi," and current commentaries also follow this interpretation. Now, according to Su Shi's "Dongpo Yi Chuan" and Lai Zhide's annotations, they both base their explanations on the Later Heaven Trigrams circle of King Wen: the southwest area is where the three female trigrams, Dui, Li, and Xun, are located, belonging to the same category as Kun, that is, the so-called "peng"; the northeast area is where the three male trigrams, Zhen, Kan, and Gen, are located, which are not of the same category. Yin follows Yang as the proper way, so they should abandon the three female trigrams in the southwest, and instead seek their own support in the northeast, thus achieving the "good fortune of maintaining integrity." Although this interpretation conflicts with "Ben Yi," it can still be held alongside it.

彖曰。至哉坤元，萬物資生，乃順承天。此以地道明坤之義，而首言元也。至，極也。乾曰大，無所不包也。坤曰至，無所不盡也。乾之大無方。坤則未離乎方也，故但曰至。元非別有一元。乾施坤受，一氣而已。資始者有其氣，資生則有其形。然非坤自為，順天氣而承之以生。不先不後，所以為至也。

The Commentary on the Judgment says: The ultimate essence of the Earthly Hexagram is the origin of all things, which relies on it for growth, and it follows and receives the Heaven. This section uses the concept of Dao to explain the meaning of the Earthly Hexagram, beginning with the explanation of the character "yuan." "Zhi" means extreme or ultimate. The Heaven Hexagram says "great indeed," meaning it encompasses everything; the Earthly Hexagram says "ultimate indeed," meaning it extends to everything. The Heaven's greatness has no fixed direction, but the Earth has not yet escaped the limitations of direction, so it is only described as "zhi." The Earth's origin is not a separate origin; rather, the Heaven gives and the Earth receives, and they are originally the same essence. "Zi shi" means that all things receive the essence from the Heaven, while "zi sheng" means that all things receive their forms from the Earth. However, this is not the Earth acting on its own, but rather following the essence of Heaven to receive and generate it; neither going ahead nor lagging behind, hence it is called "zhi."

坤厚載物，德合無疆。含弘光大，品物咸亨。此言亨也。坤之德厚，持載萬物，合於乾之無疆。無疆即乾之不息也。不息則可久，無疆則可大矣。其靜也翕，故曰含弘。含言無所不容，弘言無所不有。其動也闢，故曰光大。光言無所不著，大言無所不被。所以德合無疆。而品物之流形者，咸暢茂條達，無不亨矣。

The Earthly Mother is thick and solid, bearing all things. Its virtue harmonizes with the boundless nature of the Heaven. It is inclusive and rich, bright and vast, so all kinds of creatures thus achieve prosperity. This section discusses 'prosperity' (hen). The virtue of the Earthly Mother is profound, capable of supporting all things, thus harmonizing with the boundless nature of Heaven. 'Without boundaries' refers to the unceasing nature of Heaven. Because it does not cease, it can endure; because it has no boundaries, it can be vast. When the Earthly Mother is still, it is gathering and closing, hence 'inclusive and expansive' — 'inclusive' means nothing is excluded, 'expansive' means nothing is lacking. When it moves, it is opening and spreading, hence 'bright and great' — 'bright' means nothing is hidden, 'great' means nothing is left uncovered. Because of this, its virtue harmonizes with the boundless nature of Heaven, and all forms of creatures that flow and take shape are flourishing and unimpeded, none failing to prosper.

牝馬地類，行地無疆。柔順利貞，君子攸行。此言利貞也。馬，乾象。而曰地類者，馬行地之物，牝則陰之類也。行地無疆，則順而健矣。地承天施，柔順也。生物有終，利貞也。坤之德如此，君子所行如之，則有先迷後得之慶矣。

The mother horse belongs to the category of earth animals, able to run endlessly over the earth; it is gentle and conducive to upholding correctness, which is exactly what the gentleman should follow. This section discusses 'beneficial uprightness' (利贞). Although the horse originally takes its image from the Heaven (乾), here it is said to belong to the earth category because the horse is an animal that moves on the earth, and the mother horse belongs to the yin category. Being able to run endlessly over the earth signifies both gentleness and strength. The earth receives the gifts from heaven, which is being gentle; nurturing all things and enabling them to reach their completion is 'beneficial uprightness'. The virtue of the earth is like this; when the gentleman acts accordingly, he will attain the auspicious result of 'first being lost and then gaining'.

先迷失道，後順得常。西南得朋，乃與類行。東北喪朋，乃終有慶。居先則迷惑而失坤之道，居後則順利而得地之常。西南，與陰之類行，故得朋。東北，非其類，故喪朋。然反而與類行，亦終有得朋之慶矣。本義所解如此。程傳謂東北從陽，成生物之功，曰有慶。蘇傳來注同之。今按，獨陰不生，從陽有慶為是。

Rushing ahead leads to losing the way, while following behind and being obedient leads to following the constant principles. Going to the southwest brings companions, which means going with like-minded people; going to the northeast leads to losing companions, yet ultimately there is still joy. Being ahead leads to confusion and losing the way of the Earth, while being behind leads to smoothness and following the constant path of the Earth. The southwest is going with like-minded Yin, hence gaining companions; the northeast is not its kind, hence losing companions—yet turning back, one still goes with like-minded people, and ultimately there is still joy in gaining companions. Zhu Xi's "Benyi" explains it this way. Cheng Yi's "Yichuan Commentary on the Changes" holds that the northeast is following the yang and thus achieving the function of nurturing all things, hence saying "there is joy." Su Shi's "Dongpo Commentary on the Changes" and Lai Zhide's annotations both agree with Cheng's view. Now, according to this, having only Yin cannot nurture all things; therefore, the interpretation that "only by following yang can there be joy" is more comprehensive.

安貞之吉，應地無疆。安而且貞，地之德也。彖有三無疆。德合無疆，坤配乾之無疆。行地無疆，坤之德無疆也。應地無疆，人法地之無疆也。無疆本天德。唯地能合天之無疆，則地亦無疆。君子能法地之無疆，君子亦無疆。君子法地，地法天，一天德之無疆已矣。

"The reason why 'maintaining sincerity' is auspicious is because it corresponds to the boundless nature of the earth. To be at peace and to uphold righteousness is precisely the virtue of the earth. The 'Commentary on the Judgment' of the 'Kun' hexagram contains three instances of 'without boundaries': 'virtue harmonizes without boundaries' refers to the harmony between Kun and Qian's boundlessness; 'moving across the earth without boundaries' refers to the boundless virtue of Kun itself; 'responding to the earth without boundaries' refers to humans emulating the earth's boundlessness. Originally, boundlessness is the virtue of heaven, but only the earth can harmonize with heaven's boundlessness, thus the earth also becomes boundless. A gentleman who emulates the earth's boundlessness also becomes boundless. A gentleman emulates the earth, the earth emulates heaven, and ultimately, it is merely the boundlessness of the heavenly virtue."

象曰。地勢坤。君子以厚德載物。天以氣運故曰行，地以形載故曰勢。上下卦皆地，然其象一而已，故不言重，而但言其勢之順。蓋地非以平為順。高下相因，正見其順也。高下相因無窮。地勢之順，以地德之厚也。厚，故萬物皆載焉。君子以之法地德之厚，而民物皆在所載矣。至乾之大象不言乾而言健，地則不言順而言坤，朱子謂用字偶有不同，不必穿鑿。

The Image Commentary says: The earth's form is represented by the hexagram of K'un. The gentleman takes this as a model, cultivating a deep virtue to carry all things. Heaven moves by its vital energy, hence it is said "to move"; the earth supports by its form, hence it is said "to have a trend." Both trigrams are earth, but the image of earth is singular, so it is not said "double," but only its gentle trend. One must know that the earth is not gentle merely because it is flat: high and low are interdependent and continuous, which shows its gentleness. And this interdependence of high and low has no end. The earth's gentle trend is due to its deep virtue; precisely because it is deep, it can carry all things. The gentleman thus models himself after the earth's profound virtue, so that the people and all things are included within his carrying capacity. As for the great image of Qian, it does not say "Qian" but "strong," while the great image of K'un does not say "gentle" but "K'un." Zhu Xi considers this merely a difference in word choice, and there is no need to force an interpretation.

初六。履霜堅冰至。陰爻言六者，凡揲筮得三偶，則所餘二十四策，合四六之數為老陰。得二奇一偶，則所餘三十二策，合四八之數為少陰。老變而少不變，故陰爻稱六。又按，兩地之義合河圖，地二地四而為六。取地之生數，不取成數，則亦為六也。

Six at the Beginning: Stepping on thin frost, one knows that hard ice is about to come. The reason why a yao is called 'six' is because when using the divination method with yarrow stalks, if all three transformations result in even numbers, the remaining stalks are twenty-four, which corresponds to four multiplied by six, and is called 'old yin'; if two odd numbers and one even number are obtained, the remaining stalks are thirty-two, which corresponds to four multiplied by eight, and is called 'young yin'. Old yin changes while young yin does not, so all yin lines are called 'six'. Also, the concept of 'two places' mentioned earlier corresponds to the Yellow River Chart: the second place of earth added to the fourth place of earth equals six. This also only takes the 'original numbers' of earth and not the 'completed numbers', and the calculation still results in six.

霜，一陰之象。冰，六陰之象。霜，陰氣所結，其勢猶微，及其既盛，則水凍而為冰。初陰有霜象，六陰有冰象，陰有冰象。陰爻雖始生於下，其端甚微，而其勢必盛。故聖人示人以戒辭，當履霜則知堅冰之將至也。蓋陰陽，造化之本，不能相無。而消長有常，亦非人所能損益。然其類則陽生陰殺，陽善陰惡，陽君子而陰小人。故聖人於易，每致扶陽抑陰之旨，亦參贊天地之微權也。

Frost represents the image of a single yao (line) of yin; ice represents the image of six yao of yin. Frost is formed by the condensation of yin energy, and its force is still weak. When yin energy reaches its peak, water turns into ice. Therefore, the line "Six at the Beginning" represents the image of frost, while a hexagram with all six lines yin represents the image of ice. When yin energy accumulates to that point, it produces the image of ice. Although the yin line has just emerged from the lowest position and its beginning is extremely subtle, its strength will inevitably grow stronger. Therefore, the sage uses admonishing words to remind people: when one steps on thin frost, one should know that hard ice is about to come. As for yin and yang, they are the fundamental principles of creation, neither can exist without the other, and their decline and growth follow their own regular patterns, not something that human effort can increase or decrease. However, when classified, yang represents life and yin represents destruction, yang is good and yin is evil, yang represents the gentleman and yin represents the petty person. Therefore, the sage repeatedly expresses the principle of supporting yang and restraining yin in the Book of Changes. This is also a subtle balance used in participating in the workings of heaven and earth.

象曰。履霜堅冰，陰始凝也。馴致其道，至堅冰也。本義謂魏志作初六履霜，當從之。馴，順習也。道，即小人道長之道。經言堅冰至，要其終也。象傳至堅冰，原其始也。當其履霜，不過陰之始凝耳。乃至於堅冰，則惟其因循順習以致之耳。戒占者當豫防，不可自我致之也。始於微而終於著，陰陽均也。而陰之為物，弱而易入。易以陷入，故戒其馴習而致之。即子產水弱民玩之意。

The Image Commentary says: Treading on thin frost and knowing that hard ice is about to come, this indicates the beginning of the gathering of yin energy; following this path step by step, one eventually reaches the state of hard ice. Zhu Xi's "Benyi" says that the text in "The Records of the Three Kingdoms: Wei Zhì" cites this passage as "Chilu Lushuang" (without the words "jinfeng"), and we should follow that version. "Xun" means following the habit; "dao" refers to the "dao" of "xiaoren zhi dao ri chang" (the path of the petty person grows longer). The text says "jinfeng zhi" (hard ice arrives), looking at the outcome; the Image Commentary says "zhi jinfeng" (arriving at hard ice), looking at the cause. When he first steps on thin frost, it is merely the beginning of yin energy gathering; yet it eventually becomes hard ice, which is the result of following the habit step by step. This is a warning to the diviner to be vigilant and not let it develop gradually on his own. Things start small and end in prominence; yin and yang are like this. However, yin is soft and weak, and easy to enter, and people are also prone to fall into it without realizing, so it is especially emphasized to not let it develop through habit, just as Zi Chang said in the "Zuo Zhuan" that "water is soft and weak, so the people look down on it," but they end up suffering its consequences.

六二。直方大。不習無不利。乾五爻皆取象，獨九三指其性體剛健者言之。坤五爻皆取象，獨六二指其性體柔順者言之。初三五柔順而不正，非陰位也。四上柔順而不中，非上下卦之中也。唯六二柔順而中正，得坤道之純者也。

Six in the Second: Upright, square, vast and grand, without needing deliberate study, it brings benefit in all directions. The five lines of the Qian hexagram are all taken from external objects, but only the Nine in the Third directly points out its nature of being strong and vigorous. The five lines of the Kun hexagram are also taken from external objects, but only the Six in the Second directly points out its nature of being soft and yielding. The lines Initial Six, Six in the Third, and Six in the Fifth are soft and yielding but do not occupy the correct position, because the positions of Initial, Third, and Fifth are yang positions rather than yin positions. The lines Six in the Fourth and Upper Six are soft and yielding but do not occupy the central position, because they are not in the central position of the upper or lower trigrams. Only the Six in the Second is both soft and yielding and occupies the central position, thus fully embodying the pure nature of the Kun hexagram.

正則無私曲而內直，中則無偏黨而外方。內直外方，其德自然盛大。不假修習，而自無不利也。不揉而直，不矩而方，不廓而大，故曰不習。不待學習，自然直方大，故曰無不利。蓋習而利，則利止於所習矣。唯不習，故無不利。言以乾之德為德也。乾，其動也直，坤亦直。乾圓而坤則方。乾不息而坤德合無疆，則與乾並大矣。占者有是德，則其占如是。初六占在象中，此則象在占中。

If one attains the correct position, there is no private desire or deceit, thus the inner nature is upright. If one occupies the central position, there is no partiality or factionalism, thus the outer appearance is square. Inner uprightness and outer squareness naturally lead to great virtue, without the need for deliberate cultivation, and thus everything becomes favorable. There is no need for artificial straightening, no need for measuring tools to achieve squareness, no need for expansion to attain greatness. Therefore it is said 'without practice' (不习). Without needing to learn, one naturally achieves uprightness, squareness, and greatness, thus it is said 'without any disadvantage' (无不利). If one had to rely on learning to gain advantage, then the advantage would be limited to what was learned. But because there is no need for learning, advantage is without limit. This means that the second line (六二) takes the virtue of the Creative (乾) as its own. The Great Treatise says the Creative 'moves uprightly' (其动也直), and here the Earthly (坤) also speaks of uprightness. The Creative is round, while the Earthly is square. The Creative is ever-moving, while the Earthly's virtue conforms to the Creative's boundless nature, thus becoming equally great. If the person making the divination possesses such virtue, then the divination result will be accordingly. The first line (初六) is the divination contained within the hexagram, while this line is the hexagram contained within the divination.

象曰。六二之動，直以方也。不習無不利，地道光也。地之直方，於其動觀之，即生物之無屈撓。見其直，即賦形之無變易。見其方，蓋唯承天而動故也。直方則大也，故不言大。地道之光，自然而然。無所勉強，不可揜蔽也。

The Image Commentary says: The movement of the Second Line is upright and square. It does not need to be learned and brings benefit in all directions, which is the brightness of the Earth's path. The uprightness and squareness of the Earth are seen in its movement: from its nurturing all things without bending or twisting, one can see its "uprightness"; from its giving form to all things that is fixed and unchanging, one can see its "squareness." This is because it moves only by following Heaven. Being both upright and square, it naturally becomes great, so the Image Commentary does not mention "greatness" again. The brightness of the Earth's path is natural and effortless, without any constraint, and nothing can obscure it.

六三。含章可貞。或從王事。無成有終。坤為吝嗇又為文。六三陰居陽位，剛柔相雜，內含章美之象。體純陰，可貞以守之象。居下卦之上，有位者也。有或出而從王事，不終含藏之象。三居下卦之終，有終之象。三居陽不正，故不曰貞曰可貞。不欲輕進，故曰或。不敢造始，故曰從。人臣之道，凡事不最居其成功，唯奉事以守終，故曰無成有終也。本義謂始雖無成，後必有終，意似不同。然全卦有先迷後得之象，而三爻多凶。凡占者得此，即如所占可也。

Sixth line three: It contains and conceals literary beauty and can maintain uprightness; or it may emerge to engage in the affairs of the sovereign, not taking the lead in achievements but still attaining a favorable conclusion. The "Commentary on the Hexagrams" says that the hexagram of Earth is associated with meanness and also with literary beauty. The sixth line three, being a yao of yin in a yang position, combines hardness and softness, symbolizing the concealment of literary beauty within. The hexagram as a whole is entirely yin, symbolizing the ability to maintain uprightness. It is also located at the top of the lower trigram, indicating a person in a position, thus symbolizing the possibility of emerging to serve the sovereign without always remaining concealed. The sixth line three is at the top of the lower trigram, hence the image of having a conclusion. Since it is a yin yao in a yang position and thus not properly placed, it does not directly say "uprightness" but rather "can be upright." It does not act rashly, hence the use of "or." It does not initiate matters on its own, hence the use of "following." The conduct of a minister is to not take credit for success but to carry out duties and maintain a favorable conclusion, hence "no success but a favorable conclusion." Zhu Xi's "Original Meaning" interprets it as initially having no success but eventually achieving success, which seems different from this interpretation. However, the entire hexagram has the image of being lost at first and then gaining, and the third line is also associated with danger. Those who obtain this line should interpret it according to their specific situation.

象曰。含章可貞，以時發也。或從王事，知光大也。處下之道，必能含其美，乃為得正。然義所當為，則以時而發，非有所隱而不盡也。或從王事，乃能無成有終，以其知之光大故也。蓋天下唯能含者乃能發。圭角淺露，不可有為矣。唯知光大者乃能含。闇昧不明，妄自炫耀矣。大知光明者不事匿名晦跡，而驕矜不形。涵養深沉者不用見事風生，而事業自遠。此即象傳所謂含弘光大也。

The Image Commentary says: To conceal one's talents and remain steadfast in righteousness is to wait for the right time to reveal them; or to take part in the affairs of the sovereign is because one's insight is broad and enlightened. When in a low position, one must be able to conceal one's virtues in order to be considered righteous. However, when it comes to matters of righteousness, one should reveal them in accordance with the right timing, not hide them out of fear or reluctance. Therefore, even though one may take part in the sovereign's affairs, one can still achieve a good outcome without taking the lead, precisely because one's insight is broad and enlightened. One must understand that only those who can conceal their talents can truly reveal them; those who are sharp and showy, superficial and outwardly apparent, cannot accomplish anything. Only those with broad insight and an enlightened heart can conceal their talents, while those who are dull and confused will only show off recklessly. Those with great insight and an open heart do not deliberately hide their names or avoid being noticed, and thus do not display arrogance; those with deep cultivation do not need to make a big show when facing affairs, and their careers will naturally endure. This is precisely what the Commentary on the Judgment refers to as 'containing and being expansive, bright and great.'

六四。括囊。無咎無譽。陰虛能受，故坤有囊象。重陰凝閉，有括囊之象。三以陰居陽，猶或可出。四以陰居陰，逼近於君，唯有謹密晦藏而已。不但言語之簡然，凡一切動止皆然。如此則無僨事之咎，亦無成事之譽。蓋四近君，譽則逼上，譽即咎之招。無咎者，以無譽也。求譽，則不能括囊矣。

Six in the Fourth: It is like closing a bag tightly, keeping one's mouth shut, neither committing a fault nor gaining praise. Yin is empty and can hold things, hence the image of the Earth (Kun) as a bag. Six in the Fourth, being Yin on Yin, is stagnant and obstructed, hence the image of tightly closing a bag. Six in the Third, though Yin in a Yang position, may still be able to act. However, Six in the Fourth, being Yin in a Yin position and close to the ruler's position, can only follow the path of caution, carefulness, and concealment. This is not merely about being silent in speech, but also about being careful in all actions and movements. By doing so, one avoids both mistakes and praise. Because Six in the Fourth is close to the ruler's position, gaining praise would be seen as pressing upon the ruler. Praise itself becomes the cause of blame. Therefore, it is 'without blame' because it is 'without praise'; if one seeks praise, one cannot maintain the tight closure of the bag.

象曰。括囊無咎，慎不害也。

The Image Commentary says: Just as one seals a bag tightly and remains silent without fault, it is because of caution that misfortune does not arise. This explains why the sixth line in the fourth position is 'without blame': it is entirely due to the word 'caution'. Being in a position close to the sovereign's position, one restrains speech and actions, thus misfortune cannot reach him.

能慎，則不害也。君子當否塞之時，不求有功，當思遠害。

One who is cautious and restrained will not invite calamity. When a gentleman finds himself in a time when heaven and earth are closed off and above and below are not in communication, he should not aim to establish great achievements, but rather should think about how to avoid misfortune. This is precisely why the line 'Six in the Fourth' says 'binding the bag'—tightening the mouth of the bag, keeping one's words and actions concealed—thus leading to 'no blame'.

六五：黃裳，元吉。黃，中色，地之色也；裳，下飾，坤為裳也。然不於二言之，獨於五言之者，蓋六二陰而在下，柔順中正，自然無不利。六五以陰居尊，必中順之德充於內而見於外，乃得大善之吉，否則凶矣。程傳以羿、莽、武氏臣妾居尊位者言之，先儒或病其拘。蓋卦本臣道妻道，而五居尊位。然易之為占皆因人立教。為臣妾者得此，則宜忠信卑順，以盡其道；為君得此，則宜居中謙遜，以下賢也。

Six in the Fifth: A yellow lower garment, great auspiciousness. 'Yellow' is the central color among the five colors, and also the color of the earth; 'garment' refers to the clothing worn on the lower body. The trigram 'Kun' represents earth and obedience, so the image of 'garment' is used. Why is the central color mentioned in the context of Six in the Fifth rather than Six in the Second? Because Six in the Second, with a yin line in the lower trigram, is gentle, proper, and content in the position of a minister, naturally benefiting in all directions. However, Six in the Fifth, with a yin and soft quality occupying the highest position, must allow the virtues of center and obedience to be internalized and expressed externally, to be worthy of great auspiciousness; otherwise, it would be ominous. The 'Cheng Transmission' uses examples such as Hou Yi, Wang Mang, and Wu Zetian, who usurped the supreme position with the status of a minister or concubine, to explain this line. Later scholars criticized Cheng Yi for being too rigid. Chen Menglei defended Cheng Yi, stating that the 'Kun' hexagram discusses the principles of ministers and wives, and the fact that Six in the Fifth occupies the supreme position is not contradictory. However, the divination text of the 'Book of Changes' is based on the moral teachings for people: if a minister or concubine comes across this line, they should be loyal, trustworthy, and obedient, fulfilling their role; if a ruler comes across this line, they should maintain the virtue of center and humility, and be respectful to the virtuous.

象曰：黃裳元吉，文在中也。坤為文，又居五之中。文生於相錯，陰陽專一則無文。陰有陽德，則黃中之文充於中而見諸外也。

The Image Commentary says: "Yellow garments are originally auspicious," because the beauty is contained within the central position. The Hexagram of Earth itself takes the image of "beauty," and the line Six in the Fifth is precisely in the central position of the Upper Trigram. Beauty arises from the intermingling of yin and yang; if it is purely yin or purely yang, and not mixed, there can be no beauty. Although the line Six in the Fifth is a yin line, it contains the virtue of yang, and through the intermingling of yin and yang, the yellow beauty, which is centered but not revealed, fills the interior and naturally manifests externally.

上六：龍戰于野，其血玄黃。陰宜從陽者也。純陰在上，盛於陽矣，故與陽皆有龍象。盛則必爭，故有戰象。上動不已，進至於外，故有戰于野之象。陰雖極盛，豈能獨傷陽哉，故有兩敗俱傷之象。氣陽血陰，陽衰於陰，故與陰皆有血象。象如此，不言凶而凶可知矣。乾上但言亢，而坤則言戰者，蓋陰陽不可相無，然乾尊則無對待，坤卑而盛極，必至侵傷也。初曰堅冰至者，防龍戰之禍於始；上曰龍戰野，則著堅冰之禍於終也。餘意文言詳之。

The sixth line at the top: A dragon fights in the open fields, its blood a mixture of dark blue and yellowish earth. Yin should obey Yang, but now the six lines of the hexagram "Kun" are all pure Yin, and the sixth line at the top is at the highest position, so the Yin energy is so strong that it can oppose Yang. Therefore, it also takes the image of "dragon." Since it has become strong enough to challenge Yang, conflict is inevitable, hence the image of "fighting." The sixth line at the top is active and does not stop, advancing all the way beyond the hexagram, hence the image of "fighting in the open fields." Although Yin is extremely strong, can it injure Yang alone without suffering any damage itself? Therefore, there is an image of mutual destruction. Qi belongs to Yang and blood belongs to Yin. At this time, Yang has already been exhausted within Yin, so it also takes the image of "blood." The image is clear enough, so the line statement does not explicitly say "misfortune," but misfortune is evident. The ninth line at the top of "Qian" only says "excess," while the sixth line at the top of "Kun" says "fighting," because Yin and Yang cannot exist without each other. However, "Qian" holds the exalted position and has no counterpart, so it only mentions excess. "Kun," being originally lowly yet reaching the extreme of strength, must inevitably attack and harm Yang. The first line says "treading on frost, the ice is coming," warning of the disaster of dragon fighting from the beginning. The sixth line says "dragon fighting in the open fields," confirming the consequence of the initial warning. The rest of the meaning is explained more thoroughly in the "Wenyan."

象曰：龍戰于野，其道窮也。陰盛窮極，勢必爭而傷也。然道豈驟窮，由初之馴致也。

The Image Commentary says: "The dragon struggles in the fields," because the path of yin softness has reached its limit. When yin reaches its extreme, there is no way to retreat, so it must contend with yang, resulting in mutual harm. However, the path of yin does not suddenly reach its end; it gradually accumulates from the beginning, as in "treading on frost" at the start. "Gradually leading to" signifies a gradual and continuous process.

用六：利永貞。坤之用六，以凡筮得陰爻六變而八不變也。然凡陰爻皆用六。獨坤以純陰而皆變為陽，則得稱用六也。陰柔不能固守，變而為陽，則能永貞矣。

Use of Six: It is advantageous to maintain a firm and upright position over the long term. The hexagram "Kun" has a separate section called "Use of Six" because in divination, an old yin line is numbered six and changes, while a young yin line is numbered eight and remains unchanged. When divining, the changing line is used, so all yin lines are referred to as "Six." Since all yin lines in other hexagrams are also called "Six," why is it only in the hexagram "Kun" that "Use of Six" is used? This is because "Kun" is entirely yin, and when all six lines change, the entire hexagram becomes "Qian." Only in this case is it appropriate to call it "Use of Six." The nature of yin and softness is not able to maintain stability; only when it changes to yang and gains the quality of firmness and strength can it maintain a long-term upright position.

不牽於私慾，不惑於常變，固守其順，所以利也。坤本有元亨，此獨言永貞者，蓋乾以元資始，坤以貞大終。六爻皆變，則其德減半，故不言元亨也。前言安貞之德，而此言永貞者，蓋安者順而不動，永者健而不息。變而為乾，故言永也。乾吉在於無首，坤利在於永貞。蓋以剛健居人之首，則物之所不與也；以柔順而為不正，則佞邪之道也。乾變坤，剛而能柔；坤變乾，雖柔必強。變化氣質之道，陽本先於陰，而陽之極不為首；陰本小於陽，而陰之極以大終。審時觀變之學也。

Not being moved by private desires, not being confused by routine and sudden changes, and firmly holding onto the virtue of yielding and gentle nature, this is where "benefit" lies. The hexagram statement of the "Earth" (Kun) originally contains four virtues: "Great Beginning," "Vastness," "Benefit," and "Constancy." Why does the phrase "use six" here only mention "Everlasting Constancy"? Because "Great Beginning" is the virtue of the "Heaven" (Qian) that initiates all things, while the "Earth" (Kun) relies on "Constancy" to complete the final stage of all things. After all six lines change, the virtue of the Earth has been lost by half, so "Great Beginning" and "Vastness" are no longer mentioned. The hexagram statement previously mentioned "Resting in Constancy," but here it says "Everlasting Constancy," the difference being that "Resting" means to follow without action, while "Everlasting" means to be vigorous and unceasing. Since all six lines have changed into the "Heaven" (Qian), it has acquired the nature of Qian, which is vigorous and unceasing, so it now says "Everlasting." The good fortune of the "Heaven" (Qian) lies in "use nine" with "no head," while the benefit of the "Earth" (Kun) lies in "use six" with "Everlasting Constancy." Relying on a strong and vigorous nature to take the lead among people, people will not follow; but with a yielding and gentle nature, if one does improper things, it becomes a path of wickedness and deceit. The transformation from Qian to Kun is being strong yet yielding; the transformation from Kun to Qian is being yielding yet necessarily strong. This is the practice of changing one's nature and character: Yang is originally prior to Yin, yet when Yang reaches its extreme, it does not take the lead; Yin is originally less than Yang, yet when Yin reaches its extreme, it can achieve great completion. This is a study of observing the right time and adapting to change.

象曰：用六永貞，以大終也。陰小陽大，先陰而後陽，始小而終大也。小者，小人之道；大者，君子之道。美其善變也。

The Image Commentary says: "With all six lines being yang, one should maintain sincerity." This is because it concludes with "greatness." Yin represents smallness, and yang represents greatness. The six lines of the hexagram Qian are transformed from yin to yang, starting with smallness and ending with greatness, beginning small and ultimately becoming great. "Small" refers to the way of the petty person, and "great" refers to the way of the superior person. Transitioning from small to great signifies moving from the way of the petty person to the way of the superior person. The Image Commentary expresses this to praise Qian's skill in transformation.

文言曰：坤至柔而動也剛，至靜而德方。此釋牝馬之貞也。動者，生物所動之機；德者，生物所得之質。坤不專成，本至柔也，而承天發生，勃不可禦，動之剛也；坤不造始，本至靜也，而生物賦形，一定不易，德之方也。乾剛健而中正，所以為大；坤柔靜中有剛方，所以為至。不必於柔靜之外別求剛方也。

The Wenyan says: The Earthly Hexagram is extremely soft, yet when it moves, it is strong; it is extremely still, yet its virtue is square. This explains the Hexagram Statement "the steadfastness of the female horse." "Movement" refers to the mechanism that propels the generation of all things, while "virtue" refers to the nature that all things receive from it. The Earthly Hexagram does not independently create all things; though originally the most soft, it receives the vital energy from heaven and initiates the vital force, a vigorous momentum that cannot be blocked, hence the movement within softness is actually strong. The Earthly Hexagram does not originate things; though originally the most still, it nurtures all things and gives them form, each thing having a fixed shape that does not change, hence the virtue within stillness is actually square. The Heaven Hexagram is strong and vigorous yet upright and just, so it is called "Great"; the Earth Hexagram contains strength and squareness within its softness and stillness, so it is called "Ultimate." Thus, strength and squareness are inherent in softness and stillness, and there is no need to seek them outside of softness and stillness.

後得主而有常。按，本義主下當有利字，即彖傳後順得常之意。今按，蘇來二說，後乎乾，得乾為之主，坤道之常也。觀其文勢，主下無利字為是。

The Wenyan says: Only by being later can one obtain the master, thus having constancy. Chen Menglei comments: Zhu Xi's Benyi suggests that there should be a "li" character under the "zhu" character, making it "hou de zhu li," which aligns with the Commentary on the Judgment's "hou shun de chang." Now, following the views of Su Shi's Dongpo Commentary on the Changes and Lai Zhide's Collected Commentaries on the Zhou Changes, "hou" refers to the K'un hexagram following the Qian hexagram, thus obtaining Qian as its master. This is the regular course of the K'un path. Considering the flow of the text, omitting the "li" character under "zhu" sounds more natural, so Chen Menglei does not follow the Benyi here.

含萬物而化光。復明亨義。即彖傳含弘光大之意。靜翕則含生意於中，動則有闢光輝也。

The Wenyan says: "The Earthly Mother contains and accommodates all things, and her function of nurturing and transforming is vast and great." This sentence again explains the meaning of the hexagram statement "Qing" (smoothness), which is also what the Commentary on the Judgment "Hán Hóng Guāng Dà" (inclusive magnanimity) refers to. When the Earth is still, it gathers and closes, containing the potential for growth; when it moves, it spreads and opens, thus manifesting the brilliance of its nurturing and transforming function. "Xī" means to gather, and "Bì" means to open.

坤道其順乎，承天而時行。承天之健，順天之時以行。即彖傳順承天之意。自坤至柔至此，皆以申言彖傳之意。

The Wenyan says: The way of the Earth (Kun) is basically characterized by "following" (shun). It supports the Heaven above and acts in accordance with the seasons. What is meant by "supporting Heaven and acting in accordance with the seasons" is that the Earth receives the strong and vigorous energy of the Heaven (Qian) and follows the timing of the seasons to act. This corresponds to the meaning of the Commentary on the Judgment ("following and supporting Heaven"). From the previous statement "Kun is extremely soft but when it moves, it is strong," up to this point, all is elaborating on the meaning of the Commentary on the Judgment.

積善之家，必有餘慶；積不善之家，必有餘殃。臣弒其君，子弒其父，非一朝一夕之故，其所由來者漸矣，由辨之不早辨也。易曰：履霜堅冰至，蓋言順也。順，本義作慎。凡事皆由積漸所致，宜辨之於微而加慎也。或曰順即馴，即馴致其道，言因循以致之也，更通。

The Wenyan says: Those who accumulate good deeds will surely leave excess blessings for their descendants; those who accumulate evil deeds will surely leave excess calamities for their descendants. When a subject kills his sovereign or a son kills his father, these are not things that happen in a day or two, but result from gradual accumulation. The problem lies in not detecting the evil at an early stage. The Book of Changes says, "Treading on frost, one knows ice is coming," which refers precisely to the concept of "shun" (smoothness or following the right path). Chen Menglei pointed out that the character "shun" in this context was written as "shen" (caution) in Zhu Xi's Benyi. According to the Benyi, it means that all things are formed gradually, and one should be cautious and discern clearly at the very beginning. Some people say that "shun" means "xun" (taming), which is the same as the "xun" in the Xiangzhuang "xun zhi qi dao," meaning that things develop gradually through following the right path. This interpretation is more reasonable, and Chen Menglei adopted it.

直其正也，方其義也。君子敬以直內，義以方外，敬義立而德不孤。直方大，不習無不利，則不疑其所行也。何以謂直？言其心之本體無邪，正也。何以謂方？言其心之妙用合宜，義也。此六二直方之所由名也。下則言求直方之功。君子惟主敬，則其內自直。兢兢業業，主一無適，一私不擾，直矣。惟守義，則其外自方。凡所施行，因時制宜，一定不易，方矣。敬義既立，事君則忠，事親則悅，交友則順，所謂不孤。至此，不期大而自大矣。蘇氏謂直內方外，如碩（蘇氏易傳「碩」作「名」）師良友之在吾側，是以特立而不孤也。此說較勝。

The Wenyan says: "Straight" refers to the correctness of the heart's nature, and "square" refers to the appropriateness of conduct. A gentleman uses "reverence" to make his inner self straight, and uses "righteousness" to make his external actions square. Once reverence and righteousness are established, virtue will not be lonely. What is meant by "straight and square, without need for practice, there is no disadvantage" is that he no longer has doubts about what he does. Why is it called "straight"? Because the nature of the heart has no crookedness, which is called "correctness." Why is it called "square"? Because the subtle workings of the heart are always appropriate, which is called "righteousness." This is the reason why the second line is named "straight and square." The following discusses the practice of achieving "straight and square." A gentleman merely needs to focus on reverence, and his inner self will naturally be straight—being cautious and devoted, single-minded without distraction, so that even a single private thought cannot enter, which is "straight." He merely needs to hold fast to righteousness, and his external actions will naturally be square—whatever he does is appropriate to the time and circumstances, once decided, it will not change, which is "square." Once reverence and righteousness are firmly established, serving the ruler will be loyal, serving parents will be joyful, and making friends will be harmonious. This is what is meant by "virtue is not lonely." When this is reached, one does not deliberately seek greatness but naturally becomes great. Su Shi explained "straight within and square without" as being like having a great teacher and good friend constantly by one's side, thus being able to stand alone and not be lonely (In the Su Shi Yi Zhuan, the character "shuo" is written as "ming," meaning "great teacher and good friend"). Chen Menglei believed that Su's interpretation was superior to previous ones.

凡事必有所疑，故習而後利。體全用備如此，無施不可。坦然行之而無疑，復何假於習乎。乾於二言誠，於二言敬。乾於二言仁，坤於二言義。先儒以誠敬屬乾坤，仁義分陰陽，蓋本於此。

Anything that requires prior practice is because there is still doubt in the mind; once one has fully understood and mastered it, there is nothing that cannot be carried out, and one can proceed confidently without hesitation, so why bother with practice? This is what is meant by "without practice, there is no harm." Chen Menglei further explains another aspect: the "sincerity" is mentioned in the second line of the Qian hexagram, and "reverence" in the second line of the Kun hexagram; "ren" is mentioned in the second line of the Qian hexagram, and "yi" in the second line of the Kun hexagram. Later Confucian scholars assigned "sincerity" and "reverence" to Qian and Kun respectively, and "ren" and "yi" to yang and yin, based on this.

陰雖有美，含之。以從王事，弗敢成也。地道也，妻道也，臣道也。地道無成，而代有終也。三以陰居陽，雖有美而含之。非其才有所不足，分有所不敢也，以從王事，不敢專其成功。蓋以地成天，即以妻承夫、以臣從君之道也。地道不敢專成功，不過代天而終所未終，況妻道臣道乎。以數言之，天數終於九，亦以地十終之。

The Wenyan says: Although阴 has good virtue, it keeps it hidden and uses it to carry out the king's affairs, not daring to claim the success for itself. This is the way of earth, the way of wife, and the way of minister. The way of earth does not dare to claim success, but only completes what heaven has not yet finished. Chen Menglei explains: The sixth line in the third position, with a阴 line in a yang position, although possessing good quality, knows to conceal it, not because its ability is insufficient, but because it does not dare to claim it by name. By carrying out the king's affairs, it does not dare to take sole credit for success. Because earth completes the affairs of heaven, which is the same as a wife serving her husband and a minister obeying his sovereign. The way of earth still dares not claim success, but only completes what heaven has not yet finished. How much more so for the way of wife and the way of minister? Furthermore, from the perspective of numbers, the heavenly numbers end with nine, and after nine, it is the earthly numbers that complete the ending. This is exactly the meaning of "taking over and completing."

天地變化，草木蕃。天地閉，賢人隱。易曰：括囊，無咎無譽，蓋言謹也。天地二句引起下文之辭。天地交感，則變化萬物，雖草木亦蕃；若重陰閉塞，雖賢人亦隱。初言慎，母縱夫微陰之長也；四言謹，母衒於重陰時也。

The Wenyan says: When the energies of heaven and earth interact and change, grass and trees flourish; when the energies of heaven and earth are blocked and uncommunicative, the virtuous retreat. The Yi says, "A bag tied up, no blame, no praise," which refers to the character "caution." Chen Menglei points out that the phrases "heaven and earth change" and "heaven and earth are closed" are introductory remarks leading to the following discussion. When heaven and earth interact and generate each other, all things are produced, even grass and trees flourish; if heavy yin prevails and there is no interaction, even the virtuous have to hide. The line "Chu Liu" says "caution," reminding one not to indulge in the slight growth of a bit of yin; the line "Li Si" says "caution," reminding one not to display oneself when heavy yin prevails. "Mu" here is the same as "mu," meaning prohibition.

君子黃中通理。此釋黃字之義，中德在內。曲鬯旁通，無私慾之滯塞；條理分明，無私慾之混淆。中德在內不可見，即通理二字形容其蘊，所謂文在中也。本爻既變，坎為通通（「通通」疑為「中通」）之象；本爻未變，坤為文理之象。

The Wenyan says: The superior man possesses the virtue of yellow in the center and understands the principles of culture and order. This explains the meaning of the character "huang" in the line statement. It refers to the virtue of uprightness and correctness hidden within. The term "tong" means to be smooth and unimpeded, with no private desires obstructing; "li" means clear order, with no private desires disturbing. The virtue of the center is internal and not visible, so the term "tong li" is used to describe its inner essence, which is what the Image Commentary says: "Culture is in the center." From the perspective of the trigrams: When the line six five changes, the upper trigram becomes Kan, which has the image of "tong" (here the term "tong tong" is suspected to be "zhong tong," meaning "middle passage," as Kan represents middle passage); when line six five remains unchanged, the original trigram is Kun, which has the image of cultural order.

正位居體。此釋裳字之義。雖在尊位，而居下體。美在其中，而暢於四支。發於事業，美之至也。德之美者既在其中，由是暢於四支，而和順在一身。發於事業，而順治者在天下。內外融貫，乃為美之至。此讚歎之，以見元吉之故。

The Wenyan says: Being in the correct position and situated in the lower trigram. This explains the meaning of the character "裳" in the Line Statement: Although the sixth line in the fifth position holds a lofty position, it still remains gentle and compliant, just as the lower garment is on the lower part of the body. The Wenyan also says: Beauty lies within, flows smoothly through the limbs, and is expressed in undertakings, which is the ultimate beauty. The beauty of virtue is already stored within the heart, thus flowing smoothly through the limbs, making all movements harmonious; when applied to undertakings, the world receives proper governance. The internal and external are unified, which is called "the ultimate beauty." The Wenyan praises it in this way precisely to point out the reason why the sixth line in the fifth position is "originally auspicious."

陰疑於陽必戰。為其嫌於無陽也，故稱龍焉。猶未離其類也，故稱血焉。夫玄黃者，天地之雜也，天玄而地黃。三雖有美含之，猶知有陽也。上則均敵，無小大之差，疑於陽矣，其勢必戰。十月純陰，古人稱曰陽月，亦以天道不可一日無陽。故稱龍於盛陰之時，以存陽也。氣陽血陰，未離乎陰，故曰類。玄黃，天地之正色，言陰陽皆傷也。全卦唯二五居中，為坤德之美。二居中得正，故不習而利。

The Wenyan says: When yin becomes so strong that it matches yang, conflict is inevitable. To prevent people from thinking that yang has already disappeared, it is specially called "dragon"; yet since it has not completely separated from the yin category, it is also called "blood." As for "xuanyuang," it refers to the mixture of the two fundamental colors of heaven and earth, where heaven is dark blue and earth is yellow. Chen Menglei explains: The sixth line in the third position (six three) although possessing beauty and concealment, still knows that there is yang above; whereas the sixth line at the top (six six) has already reached a state of equal strength with yang, without distinction between large and small, and thus must inevitably clash with yang. The tenth month is the month of pure yin, yet the ancients called it "yang month," because the heavenly way cannot go a day without yang; hence, in the time when yin is most dominant, it is specially called "dragon," which is to leave a thread of yang's vitality. Qi belongs to yang, and blood belongs to yin; thus, the sixth line at the top (six six) has not left its yin category, hence it is said "has not left its category." Xuanshui and huang are the original colors of heaven and earth respectively; now they are mixed together, indicating that both yin and yang have been harmed. Looking at the entire hexagram, only the second and fifth lines are in the center, and they best embody the beauty of the earth's virtue: the second line is in the center and upright, hence "without practice, there is no disadvantage."

五以柔中居尊，必中順而吉。三以陰居陽，貴乎含。四以陰居陰，在乎括。初勢猶微，宜辨於始。上勢已極，必凶於終矣。蓋陰陽二氣，天地不能相無。而因時有扶陽抑陰之妙，又聖人裁成輔相之功，所以參贊天地者也。

Six in the Fifth is yin and gentle, residing in the center and holding a high position; it must be upright, correct, gentle, and compliant to achieve good fortune. Six in the Third, though a yin line in a yang position, is valuable because of the word 'contain'; Six in the Fourth, being a yin line in a yin position, focuses on the word 'enclose'. Six at the Beginning has a weak yin force and should clearly distinguish itself at the start; Six at the Top has reached the extreme of yin force, and the outcome must inevitably be凶 (misfortune). In summary, yin and yang are the two forces in the world; neither can be absent. However, according to the changing circumstances, there is a subtle function of supporting yang and restraining yin. With the assistance and regulation of the sage, human beings are able to participate in and assist the transformation and nurturing of heaven and earth. This is the overall meaning of the six lines in the Hexagram of Earth.

屯卦，震下坎上。震一陰動於二陰之下，故其德為動，其象為雷；坎一陽陷於二陰之間，故其德為陷為險，其象為雲為雨為水。有天地，而後萬物生焉。屯者，難也。物之始生，鬱結未通，故其為字，象草穿地始出未申。此屯所以次乾坤之後也。其卦以震遇坎，乾坤始交而遇坎陷，故其名為屯也。六爻二陽四陰。凡卦爻中陰陽以少者為主，故二陽為四陰之主。然五坎體，陷而失勢；初震體，動而得時。屯難之世，陽剛善下，可以有為，故初為全卦之主也。五但小貞吉而已。餘四爻皆因初起義：四應初則往吉，三不應初則往吝，二乘初則不進，上遠初則道窮。此全卦六爻之大略也。

The hexagram Zhun has the lower trigram Zhen and the upper trigram Kan. Zhen is one yang moving among two yin, so its virtue is movement and its image is thunder; Kan is one yang sunk between two yin, so its virtue is sinking and danger, and its image is cloud, rain, and water. Only after heaven and earth are formed do all things come into being. The meaning of Zhun is difficulty. When all things are just beginning, they are blocked and not yet unobstructed, so the character Zhun resembles young grass sprouting through the soil but not yet spreading out. This is why Zhun follows Qian and Kun. In terms of the hexagram structure, Zhen meets Kan, and after Qian and Kun first come together, they immediately meet Kan, which is why it is called Zhun. The six lines consist of two yang and four yin. In any hexagram, the side with fewer lines is considered the main one, so the two yang lines are the main ones among the four yin lines. However, the line nine in the fifth position is within the Kan trigram, sinking into danger and losing power; the line nine in the first position is within the Zhen trigram, capable of movement and in the right time. In times of difficulty, yang strength must be willing to humble itself and submit to others in order to achieve something, so the line nine in the first position is the main line of the hexagram, while the line nine in the fifth position is only 'small fidelity brings good fortune'. The other four lines are defined in relation to the line nine in the first position: line six in the fourth position corresponds with the line nine in the first position, so 'going is good'; line six in the third position does not correspond with the line nine in the first position, so 'going is difficult'; line six in the second position is riding on the line nine in the first position, so it cannot advance; line six in the sixth position is farthest from the line nine in the first position, so 'its path is exhausted'. This is the general meaning of the six lines of the hexagram.

屯：元亨利貞。勿用有攸往，利建侯。乾坤始交而遇險陷，世界草昧之時。震動在下，坎險在上。在險中有震動之才，可以大亨。但出險有機，利於守正，未可妄進。震性好動，故戒以勿輕往也。三四五互為艮止，勿用攸往之象。震一君二民，又為長子，震驚百里，有侯象。初九陽居陰下，為成卦之主，是以賢下人，得民而可君，故利於建侯。筮立君者遇之則吉也。蓋盈天地之間者萬物，萬物以人為首，人道以君為尊。草昧之時，震動出險，立君得正，乃以繼天立極。此屯所以具四德而繼乾坤也。

The Hexagram Zun (Obstruction) Statement says: Greatly prosperous and smooth, favorable for maintaining correctness; not suitable for going forward, favorable for establishing feudal lords. When the Trigrams Qian (Heaven) and Kun (Earth) first combine, they meet with danger, which is the time when heaven and earth are just beginning and the world is in a state of confusion. There is a Zhen (Thunder) below and a Kan (Water) above: being in danger but possessing the ability to move, thus it can be greatly prosperous; but escaping from danger must wait for the right time, so only maintaining correctness is suitable, not reckless advancement. Zhen is characterized by movement, hence it specifically warns against using it for going forward. From the hexagram's structure, the third, fourth, and fifth lines form Gen (Mountain), which signifies stopping, hence the image of "not using it for going forward." Zhen has one yang line and two yin lines, symbolizing one ruler and two subjects, also representing the eldest son. The Hexagram Zhen mentions "shocking a hundred miles," which all contain the image of feudal lords. The line Chou Ji (Nine at the Beginning) has a yang line below a yin line, being the main line that generates this hexagram. Being a virtuous person who is willing to be subordinate to others, gaining the people's support can become a ruler, hence "favorable for establishing feudal lords." When consulting about establishing a ruler and encountering this hexagram, it is auspicious. Between heaven and earth, filled are myriad things, with human beings being the leader, and among human affairs, the ruler is most esteemed. In the time of confusion, emerging from danger through movement, establishing a ruler in a proper way, only then can one inherit the heavenly way and establish the human standard. This is why the Hexagram Zun possesses the four virtues of originality, prosperity, benefit, and correctness, and follows immediately after the Hexagrams Qian and Kun.

彖曰：屯，剛柔始交而難生。乾坤之後，一索得震為始交，再索得坎為難生。此正昏冥雜亂之時，此以二體釋屯之名義也。

The Commentary on the Judgment says: The hexagram Zun is about the initial meeting of the yang and yin energies, which leads to difficulty. Chen Menglei explains: After the hexagrams Qian and Kun, the initial union of Qian and Kun produces Zhen, which is "the beginning of the meeting of yang and yin"; the second union produces Kan, which represents danger, hence "difficulty arises." At this time, it is a period of darkness and confusion. This sentence uses the hexagrams Zhen and Kan to explain the meaning of the hexagram Zun.

動乎險中，大亨貞。動乎險中，未遽出險。震體能動，故可大亨；坎在險中，故宜正。自此以下釋元亨利貞，皆不言四德，用文王本意。此以二體之德釋卦辭也。

The Commentary on the Judgment says: Being able to move within danger, thus achieving great success and being appropriate for upholding correctness. What is meant by "moving within danger" is that although movement is possible, one has not yet emerged from the danger. The trigram Zhen (Thunder) is characterized by movement, hence achieving great success; the trigram Kan (Water) remains within danger, hence being appropriate for upholding correctness. From here on, the explanation of "original success, great success, beneficial for uprightness, and constancy" does not treat them as the four virtues of the trigram Qian (Heaven) but rather takes the original meaning of King Wen's hexagram statement, that is, "great success and beneficial for uprightness." This sentence uses the virtues of the trigrams Zhen (Thunder) and Kan (Water) to explain the hexagram statement.

雷雨之動滿盈，天造草昧，宜建侯而不寧。此以二體之象釋卦辭也。雷，震象；雨，坎象。物之生未有不待雷雨者，然必霽而後見其功。當其方動，充滿凟亂，不知所從，則氣運鬱塞之時也。孔子即此以言世道，言此乃天造之草昧。草者，如草不齊，震為蕃草之象；昧者，如天未明，坎為月，天尚未明，又坎水外暗內明，亦昧之象。此時，天使之然，如天所造。天下未定，名分未明，雜亂晦冥之際，宜立君以統治之。然君初立，治理猶疎，日夜不遑寧處，乃可成撥亂反正之功。如更始既立，日夜縱情聲色，非不寧者矣。蓋惟侯心不寧，方可求天下之寧也。

The Commentary on the Judgment says: The movement of thunder and rain fills the heavens and earth. Heaven created the chaotic age, and at this time it is appropriate to establish princes and not to indulge in ease. This sentence uses the two trigrams Zhen (Thunder) and Kan (Water) to explain the Hexagram Statement. Thunder is the image of Zhen, and rain is the image of Kan. The growth of all things depends on thunder and rain, but one can only see the results after the rain has passed and the sky is clear. At the very moment when thunder and rain are active, one sees only chaos in the sky and does not know where to go, which is precisely the time when the vital energies are blocked and stagnant. Confucius used this to talk about the world's condition, saying this is the chaotic age created by Heaven. "Grass" refers to the uneven and disorderly growth of grass, which is the image of Zhen; "darkness" refers to the time before dawn, which is the image of Kan, as the moon is associated with Kan, and the sky is not yet bright. Also, Kan water is dark on the outside but bright within, which is also the image of "darkness." This situation is caused by Heaven's will, just as Heaven has created it. When the world is not yet settled and the distinctions are not clear, and when things are in a state of confusion and darkness, it is appropriate to establish a ruler to govern. However, when the ruler is just established, governance is still crude and rough, and the ruler must not rest day or night, only then can he achieve the great work of restoring order. For example, Liu Xuan, the regent emperor, once ascended the throne and indulged himself in pleasures day and night, which was not "not resting." One must understand that only when the princes are restless can the world be at peace.

自屯卦以下，彖傳皆先釋卦之名義，後釋卦辭。而釋卦辭又各有所取，或卦體，或卦象，或卦德，或卦變，而彖之旨盡矣。此皆先儒所未及。說似拘，而分疏清析，不可易也。

Chen Menglei pointed out a general principle of the entire work: starting from the Zun hexagram, the Commentary on the Judgment first explains the meaning of the hexagram name, then proceeds to explain the hexagram statement. When interpreting the hexagram statement, different approaches are taken: some explain it based on the structure of the hexagram, others based on its symbolic imagery, others based on its moral qualities, and others based on its transformation. The intent of the Commentary on the Judgment lies entirely in this. This principle was not mentioned by previous scholars. Although this approach seems rigid, it is clear and distinct, and cannot be altered.

象曰：雲雷，屯。君子以經綸。坎不言水而言云者，在雷之上，鬱而未通，雨而未成也。坎在震下，則為雷雨之解矣。彖言雷雨，象言雲雷；彖言其動，象著其體也。經綸，治絲之事。君子治世，猶治亂絲，解其紛結。經者，理其緒而分之，猶雷自斂而發；綸者，比其類而合之，猶云自散而聚。屯難之世，人皆惶懼沮喪，不知正君子經綸之時也。

The Image Commentary says: Clouds above thunder, this is the hexagram Zun; the gentleman takes this as a model, to manage the affairs of the world. Here, the trigram Kan does not say "water" but "cloud," because Kan is above Zhen, and the clouds are gathering but not yet released, wanting to rain but not yet raining; if Kan were below Zhen, it would become the hexagram Jie with "thunder and rain." The Commentary on the Judgment says "thunder and rain," while the Image Commentary says "cloud and thunder"; the Commentary on the Judgment discusses its movement, while the Image Commentary shows its form. "Jinglun" originally refers to the process of managing silk. A gentleman governing the world is like untangling a mass of threads; he must resolve the knots: "Jing" is to separate the threads by drawing out their strands, like thunder emerging from gathering; "Lun" is to gather them by comparing and classifying, like clouds gathering from dispersing. In times of difficulty and hardship, people are all anxious and discouraged, but they do not realize this is precisely the time for the gentleman to display his ability in managing affairs.

初九：磐桓，利居貞，利建侯。磐桓，難進之貌。陽剛動體，才足濟屯。但初在下無勢，應四柔無援，當險陷之交，故有磐桓之象。然陽居陽位為得正，故利於居貞。又初，成卦之主，以陽下陰，為民所歸，有君之象，故占者如是，則利建以為侯。此爻為卦之主，大意與彖同。磐桓即勿用有攸往，利居貞即利貞。利建侯雖同，而合全卦言之，則侯指人；自初爻言之，則侯指己。占者得之，則隨所處以為占，不必泥也。

Initial Nine: Being hesitant and unable to advance, it is advantageous to remain in a stable position and uphold correctness, and it is also advantageous to establish feudal lords. "Pánhuán" refers to the state of being unable to move forward. Initial Nine is a yang line, and it is located within the trigram Zhen (Thunder), which represents movement, so it has the ability to overcome difficulties. However, it is located at the very bottom of the hexagram, lacking power, and the line it corresponds to, Six in the Fourth, is yin and weak, thus unable to provide assistance. Moreover, it is at the point where danger and safety meet, hence the image of hesitation and difficulty in advancing. Nevertheless, since it is a yang line in a yang position, it is in the correct place, thus it is advantageous to remain in a stable position and uphold correctness. Furthermore, Initial Nine is the main line that generates this hexagram. With a yang line in a yin position, it is the object of people's reliance, symbolizing a ruler. Therefore, if the person consulting the oracle adopts this position, it is advantageous to establish him as a feudal lord. This line is the main line of the entire hexagram, so its general meaning is similar to the hexagram statement: "Pánhuán" corresponds to the hexagram statement's "Do not go anywhere," "Advantageous to remain in correctness" corresponds to "Advantageous to uprightness," and "Advantageous to establish feudal lords" is exactly the same as the hexagram statement. However, when considering the entire hexagram, the "feudal lord" referred to is someone else; but when considering only this line, the "feudal lord" refers to oneself. When consulting this line, the oracle should be interpreted according to one's own position, without being confined to one interpretation.

象曰：雖磐桓，志行正也；以貴下賤，大得民也。磐桓，非晏安棄務，志在行正也。正為濟屯之本，居之將以行之也。陽貴陰賤，初爻陽在陰下。屯難之世，人皆思主。貴能為賤下，所以大得民心，可以為君也。

The Image Commentary says: Although hesitating and finding it difficult to advance, the will is still devoted to promoting the right path; by placing a noble position in a humble status, it thus gains great popular support. The term "panhuan" does not mean idling or neglecting one's duties, but rather having the determination to promote the right path. "Zheng" is the fundamental principle for overcoming difficulties. At present, staying in a stable and proper position is precisely for the purpose of promoting it in the future. Yang is noble, Yin is humble; the first yang line is a yang爻 situated among many yin lines. In times of difficulty, everyone longs for a leader; by being noble yet willing to be humble, it thus gains great popular support and can become the ruler.

六二：屯如邅如，乘馬班如，匪寇婚媾，女子貞不字，十年乃字。屯如以時言，鬱塞而未通也；邅如以遇屯之時者言，遲迴而未進也。班，分佈不進之貌。震於馬為足為作足，班如之象。女子許嫁，笄而字。六二變兌為少女，女子之象。三四五互為艮止，不字之象。三三四互為坤，坤數十，十年之象。六二陰柔中正，上應於五，然以乘初之剛，故為所難而邅回不進。然初非為寇也，乃求與已為婚媾耳。但二與五為正應，二貞於五，異於五者皆寇矣，焉知其德哉，故守正而不之許。至於十年，則妄求者去，正應者合，數窮理極而可許，故不字於初，終字於五也。爻象如此，占者得之，則宜如是。

Six Two: It is difficult and hesitating, like riding a horse that circles without moving forward; the one coming is not a strong enemy, but a suitor. The woman remains steadfast and does not agree to marriage, and after ten years she finally agrees. "屯如" refers to the situation, meaning blocked and obstructed; "邅如" refers to the person in the situation, meaning hesitating and not moving forward. "班" means dispersing and not moving forward. The trigram Zhen (Thunder) is associated with the image of a horse, and "foot" and "making foot" represent circling without moving forward. When a woman is engaged and marries, she takes a name upon reaching adulthood, so "字" means being engaged. When Six Two changes, the lower trigram becomes Dui (Lake), which represents a young woman, the image of "woman"; the trigrams three, four, and five form Gen (Mountain), which represents stopping, the image of "not being engaged"; the trigrams two, three, and four form Kun (Earth), whose number is ten, the image of "ten years." Six Two is a yin and flexible line in the middle and proper position, and it corresponds with Nine Five. However, it is restrained by Nine One above, which is yang and strong, causing hesitation and not moving forward. But Nine One is not a strong enemy, but only a suitor. However, Six Two corresponds with Nine Five, and remains steadfast to Nine Five; all others are considered enemies, so there is no need to distinguish their virtue. Therefore, she remains steadfast and does not agree. After ten years, the unworthy suitor withdraws, and the proper suitor comes, when the time is exhausted and the matter is complete, she finally agrees to marriage, so she does not agree to Nine One, but eventually agrees to Nine Five. Since the line is like this, those who divinate and get this line should act accordingly.

蓋全卦雖以屯初為主，而各爻又各以所處之位論其吉凶。唯二乘初剛，故為所難；二之質柔，故受人所制；欲應五不得，故屯邅不字；所應者正，故終有可字之時也。易爻有己正，而他爻視之為邪者；有己凶，而他爻得之為吉者。屯之初，正也，而二視之，則為寇；旅之上，凶也，而五承之，則有譽命。蓋皆以所處之時位論之，不可泥也。

To understand this, the entire hexagram is primarily based on the first line of the hexagram Zun, but each line is also judged according to its own position for determining fortune or misfortune. Only the second line, six two, is resting upon the first line, nine one, which is yang and strong, so it is constrained by it. The second line is weak and flexible, thus being controlled by others. It wishes to respond to the fifth line, nine five, but cannot, hence it is hesitating and unwilling to commit. However, the fifth line it corresponds to is a correct correspondence, so eventually there will be a day when it can commit. In the Yi, the lines have examples where a line that is originally correct is seen as incorrect by another line, and a line that is originally凶 is turned into good by another line. The first line of Zun, originally a correct line, is seen as a 'bandit' by the second line. The top line of Lu, originally a凶 line, is turned into 'reputation and honor' by the fifth line. All these judgments are based on the time and position of each line, and one should not be rigid in one's interpretation.

象曰：六二之難，乘剛也；十年乃字，反常也。乘剛，居初之上，為初所迫，失其常也。然理之所在，十年必反。守正不變，不悖常矣。終獲正應，復其常也。

The Image Commentary says: The difficulty of line six in the second position is because it is riding on a yang line; "after ten years it becomes a child" means it finally returns to the normal course. By "riding on a yang line," it is meant that line six in the second position is above line nine at the beginning, and is pressed by it, thus losing its normal state. However, according to the principles of heaven, after ten years it will certainly turn back. It maintains its correctness without change, originally not deviating from the normal course; finally combining with nine in the fifth position, the correct corresponding line, it restores the normal course.

六三：即鹿無虞，惟入于林中。君子幾，不如舍，往吝。六三，下卦六陰而居三之陽位，以求上六，不安於陰，而又貪求陽。不中不正，無正應而妄行，取困者也。鹿，陽物；虞，虞人；無虞，無應也。陽在五而不在上，求陽不獲，即鹿無虞之象。林，陰象，在六二六四之間，入于林中之象。卦下體震，動也；互體有艮，止也。聖人於其震之動，庶幾其艮之止，曰君子見幾，不如舍去。若往逐不舍，心致羞吝矣。

Six in the Third: Pursuing a wild deer without a guide to lead the way, one will only end up lost in the forest. A gentleman who sees the beginning of something should not persist in his pursuit; continuing further will bring regret. Six in the Third is a yao of yin in the lower trigram, yet occupies the yang position of the third. It reaches upward to seek correspondence with the upper six, neither content with its own yin nature nor content with the yang. It is not in the center and does not hold the correct position, without proper correspondence yet acting recklessly, thus inviting misfortune. "Deer" is a yang symbol, and "Yu" refers to the official who manages mountains and marshes and guides hunting expeditions. "Without Yu" means there is no correspondence. The yang yao is at nine five and not at upper six, so six in the third seeks yang but fails to find it, which is the image of "pursuing a deer without a guide." "Forest" is a yin symbol, and six in the third is between six two and six four, both yin, which is the image of "entering the forest." The lower trigram is zhen, which represents movement; in the mutual trigrams there is gen, which represents stillness. The sage sees the movement and hopes that it will use the stillness, so he says a gentleman who has seen the beginning should not persist. If one continues chasing without stopping, he will eventually bring regret to his heart.

象曰：即鹿無虞，以從禽也；君子舍之，往吝窮也。妄動由於多欲。無虞而即鹿，以有貪禽之心。君子見幾則必舍。若往，則羞吝而至困窮矣。經曰不如舍，辨之明也；傳曰舍之，去之決也。

The Image Commentary says: Pursuing a deer without a herdsman to guide the way is because one is solely focused on chasing game; the gentleman abandons it because proceeding further would lead to disgrace and hardship. The root of reckless action lies in excessive desire. Pursuing a deer without a herdsman is precisely because one's mind is filled with greed for game. When a gentleman sees the signs, he certainly abandons it; if he still proceeds, he will invite disgrace and eventual hardship. The Line Statement says 'It is better to give up,' emphasizing the importance of clear discernment; the Image Commentary says 'Abandon it,' emphasizing the necessity of decisive action.

六四：乘馬班如，求婚媾，往吉無不利。坎為下首薄蹄之馬。陰柔居屯，不能上進，故有乘馬班如之象。然初九守正於下，以應於己，故初來求四，四往應之，則吉也。本義謂下求婚媾，蓋以初求四為以陽求陰。往者，適人之意也。時解以四近五為大臣，初剛為賢，四求賢輔君，乃以濟屯。然以陰求陽，有害婚媾之義。且初為卦主，有可君之德，如湯之於伊尹，昭烈之於孔明，皆以君下臣，以求濟屯。然後往而應之，正不必復言輔五。又剛柔相濟，亦以濟屯，亦不必專以則為濟屯之賢也。

Six in the Fourth: Riding a horse that circles and hesitates, it is going to propose marriage; the journey is auspicious and there is no disadvantage. In the image of the horse, the trigram Kan (Water) represents a horse that is 'lower in rank' and has 'thin hooves'. The line Six in the Fourth is yin and soft, and is in a difficult situation, so it cannot move forward, hence the image of 'riding a horse circling'. However, Nine at the Beginning is below and holds to the correct position, and is in harmony with Six in the Fourth. Therefore, it is Nine at the Beginning who comes to propose to Six in the Fourth, and Six in the Fourth goes to respond, which is auspicious. Zhu Xi's 'Original Meaning' says this refers to 'proposing marriage', meaning that Nine at the Beginning, being yang, comes to seek Six in the Fourth, being yin. 'Going' refers to a woman marrying someone else. The traditional interpretation says that Six in the Fourth is close to Nine in the Fifth, being a minister, and Nine at the Beginning is yang and strong, being a virtuous person. Therefore, Six in the Fourth seeks the virtuous person to assist the sovereign, which is good for overcoming the difficulties. Chen Menglei does not accept this interpretation. First, if it is considered that Six in the Fourth, being yin, seeks Nine at the Beginning, being yang, it would contradict the original meaning of 'marriage proposal' where a man proposes to a woman. Second, Nine at the Beginning is the main line of the whole hexagram, possessing the virtue of a sovereign. It is like King Tang seeking Yi Yin, or Emperor Zhao Lie seeking Zhuge Liang, where the sovereign humbles himself to seek the help of a minister to overcome difficulties. Then Six in the Fourth goes to respond, and there is no need to involve assisting Nine in the Fifth. Moreover, the balance between yang and yin is sufficient to overcome difficulties, and there is no need to view Nine at the Beginning solely as a virtuous minister assisting the sovereign.

象曰：求而往，明也。初來求我而後往應，非明理知幾者不能。觀象傳意，更與本義合。

The Image Commentary says: When others come to seek me, then I go, this is wise. Only when the Nine at the Beginning comes to seek me, then I go to respond, can someone who is wise and sees the subtle signs do this. Looking at the meaning of the Image Commentary, it aligns more closely with Zhu Xi's "Ben Yi" which explains that the Nine at the Beginning seeks the Six in the Fourth. This shows that the "Ben Yi" is superior to the current interpretation.

九五：屯其膏，小貞吉，大貞凶。九五雖以陽剛中正居尊位，然當屯之時，陷於險中。六二雖為正應，而陰柔才弱不足以濟。初九為眾所歸，則人心已他屬。坎體雖有膏潤，而不得施，故為屯其膏之象。以處小事，則守正猶可獲吉；以處大事，則雖正亦凶矣。初與五皆陽，而五以中居尊，反遜於初者：初在下而動，為眾所歸，時之方來者也；五在上而陷於險，人心他屬，時之已去者也。六爻獨二五言屯者：二在下而柔，遇時之屯者也；五在上，以剛而陷於柔，自屯者也。守貞不字，無濟變之才；屯膏吝賞，非大君之道。皆不能濟屯者也。

Nine in the Fifth: The moistening grace is blocked and cannot be applied downward; handling minor matters by holding to the right path brings good fortune, but handling major matters even with the right path leads to misfortune. Nine in the Fifth, although it holds the exalted position with a strong yang and upright nature, is in a time of difficulty and trapped within the dangerous situation of Kan. Six in the Second, though its proper counterpart, is weak andyin softness, and cannot help. Initial Nine is the one to whom the people turn, but the people's hearts have already moved elsewhere. The nature of Kan originally suggests a moistening and nourishing quality, but it cannot be expressed, hence the image of "Zhun Qi Gao" (accumulated fat). In such a situation, handling minor matters while holding to the right path can bring good fortune, but handling major matters even with the right path leads to misfortune. Initial Nine and Nine in the Fifth are both yang lines, but Nine in the Fifth, although in the middle and holding the exalted position, is actually less favorable than Initial Nine. The reason is that Initial Nine is below and can act, being the one to whom the people turn, representing a favorable time; Nine in the Fifth is above and trapped in danger, with the people's hearts elsewhere, representing a time that has passed. Among the six lines, only Six in the Second and Nine in the Fifth mention "屯": Six in the Second is below and weak, encountering the difficulty of "屯"; Nine in the Fifth is above, with a strong line trapped among many weak lines, causing the difficulty of "屯" by itself. Six in the Second holds to purity but lacks the ability to adapt and rescue in times of crisis; Nine in the Fifth has accumulated nourishment but is reluctant to bestow rewards, thus losing the way of a sovereign. Both are unable to overcome the difficulty of "屯."

象曰：屯其膏，施未光也。光，陽德也。陷於二陰之間，人君澤不下及，所施未光大也。

The Image Commentary says: "The richness is blocked," meaning the benevolence of the ruler has not yet extended widely. "Light" represents the virtue of the yang. The nine in the fifth line is trapped between the six in the fourth and the six at the top, two yin lines. As a ruler, his benevolence does not reach the people, so it is said that his giving has not yet been extensive.

上六：乘馬班如，泣血漣如。坎為血卦又為水，有泣血漣如之象。陰柔無應，處屯之終，進無所之，唯有憂懼，遂至於泣血漣如而已。

Six at the Top: It is like a horse circling without moving forward, crying with bloodshot tears. In the "Say on the Trigrams," Kan is called the "blood trigram," and since it represents water, there is an image of "crying blood and tears flowing." The sixth line is a yin and soft line, with no support, and it is at the final stage of difficulty. There is no way forward, leaving only sorrow and fear, eventually leading to the state of crying blood and tears.

象曰：泣血漣如，何可長也。屯難窮極，莫知所為，顛沛如此，何能久乎。全卦當屯難之世，居上陷險，而下方震動。陽剛奮發而能下人，則可以為君；柔順待求而應，則可以為輔；居上而澤不下究，則僅可小安；居下而應遠被迫，則但當守正。若貪慾妄行，勢必取困；窮極憂懼，理難久長。知此，可以處世變矣。

The Image Commentary says: Tears and blood flow, how can such a situation last long? The difficulties of the time of turmoil have reached their peak, people do not know what to do, and they are in a state of hardship and distress to this extent, how can they endure for long? Looking at the whole hexagram: in the time of turmoil, those in high positions are in danger, while those below are in turmoil. Those who are strong and vigorous yet willing to humble themselves can be the ruler, this is the initial line; those who are gentle and wait for others to approach them can be the assistant, this is the fourth line; those in high position who do not extend their grace to the people can only seek a small measure of security, this is the fifth line; those in low position whose proper alignment is too distant and who are oppressed can only maintain correctness, this is the second line. If desires are indulged recklessly, one will surely bring about hardship, this is the third line; when one is in the utmost poverty and only filled with fear and anxiety, by nature such a situation cannot last long, this is the top line. Understanding these, one can deal with the changes of the world.

蒙卦，下坎上艮。艮一陽止於二陰之上，故其德為止，其象為山。坎為水為險。內既險陷不安，外又行之不可，蒙之象也。水，必行之物，遇山而止，莫知所之，亦蒙之象。蒙次於屯。蓋屯者物之始生，物生必蒙。蒙者，物之穉。蒙昧未明，蒙所以次屯也。乾坤之後，屯主在震之初九，蒙主在坎之九二，此長子代父、長兄次弟之象。艮為少男，方有待於開發者也。此屯蒙次乾坤之義也。又屯之建侯，有君道焉；蒙之養正，有師道焉。天地既位，君師乃立。此又乾坤屯蒙之序也。

The hexagram "Meng" has the lower trigram Kan and the upper trigram Gen. Gen is a single yang line resting on two yin lines, so its virtue is "to stop," and its image is a mountain; Kan represents water and danger. Inside there is already danger and instability, and outside there is no way out, which is the image of "Meng." Water is something that must flow, but when it meets a mountain, it is blocked and does not know where to go, which is also the image of "Meng." The hexagram "Meng" follows immediately after "Zun." "Zun" discusses the initial emergence of all things, and since things are born they are naturally in a state of ignorance; "Meng" represents the childish state of all things, a state of confusion and darkness, so "Meng" comes after "Zun." After "Qian" and "Kun," the main line of "Zun" is at the beginning of Zhen, and the main line of "Meng" is at the second line of Kan. This is the image of the eldest son taking the place of the father and the eldest brother guiding the younger brother; Gen represents the young male, who is a generation yet to be developed. This is the reason why "Zun" and "Meng" follow immediately after "Qian" and "Kun." Furthermore, "Zun" discusses establishing a feudal lord, which includes the way of a ruler; "Meng" discusses cultivating correctness, which includes the way of a teacher. After the heavens and earth have been established, the ruler and the teacher can then be set in place. This is also the purpose behind the order of the four hexagrams "Qian," "Kun," "Zun," and "Meng."

六爻二陽四陰，亦以陽爻為主。然九二剛而得中，故能為蒙之主；上九過剛不中，則但可擊蒙禦寇而已。上下四陰爻皆因二以起義：五應二，則為童蒙之吉；初承二，則為發蒙之利；四遠二不明，則為困蒙之吝；三乘二不順，則不以蒙待之，故獨此爻不言蒙。此六爻之大略也。

The six lines consist of two yang lines and four yin lines, with the yang lines being dominant. However, nine in the second position is strong and upright, and it is in the center, so it can be the main line of the hexagram of "Meng" (Innocence). Nine at the top is overly strong and not in the center, so it can only be used for "ji meng" (to strike the innocent) and "yu kou" (to guard against thieves). The four yin lines above and below are defined in relation to nine in the second position: six in the fifth position corresponds with nine in the second, so it is "tong meng" (innocent innocence) which is auspicious; initial six follows nine in the second, so there is the benefit of "fa meng" (to start teaching); six in the fourth position is far from nine in the second and cannot be enlightened, so it is "kun meng" (trapped in ignorance) which is a misfortune; six in the third position is on top of nine in the second and does not obey, so it is no longer considered as being in a state of ignorance, hence this line is the only one among the six that does not mention the word "meng." This is the general idea of the six lines.

蒙：亨。匪我求童蒙，童蒙求我。初筮告，再三凟，凟則不告。利貞。物生之初，蒙昧不明，然蒙者不終於蒙，則有亨道；而卦之九二以剛居中，與六五陰陽相應，能發人之蒙，亦有亨道也。我，指二；童蒙，幼穉而蒙昧，謂五也。禮無往教，故非我往求童蒙，必待童蒙之求我也。其所以必待童蒙之求我者，何也？凡求教者，必其心精專而吾之言易入，故童蒙來求我則告之。若再三，則以我求蒙為褻凟；凟則雖告之無當，與不告同矣。凡若此者，蓋以蒙者為物所蔽，其中之正未亡也。俟其求發而告之，使歸於正，所以利也。若求蒙至再三褻凟，彼終不得其正，何利何亨之有乎。

The Hexagram of Enlightenment states: It is smooth. It is not I who seek the child in ignorance, but the child in ignorance who seeks me. If he asks once, I will tell him; if he asks repeatedly, it is a sign of disrespect, and then I will not tell him. It is advantageous to maintain uprightness. At the beginning of all things, there is ignorance and confusion, but those who are ignorant are not always ignorant. Therefore, there is a path to smoothness; moreover, in this hexagram, the Nine in the Second, a strong yang line, is in the center and corresponds with the Six in the Fifth, a yin line, thus enabling him to enlighten others from ignorance, which is also a path to smoothness. "I" refers to the Nine in the Second, and "the child in ignorance" refers to the immature and ignorant Six in the Fifth. According to ritual, the teacher does not actively seek out the student, so it is not I who seeks the child in ignorance, but the child in ignorance who must seek me. Why must he seek me? Because those who actively seek instruction are focused in mind, and my words are more likely to be heard. Therefore, when the child in ignorance seeks me, I will tell him. If he asks repeatedly, it becomes as if I am seeking him to be taught, which is disrespectful. Once disrespectful, even if I tell him, he will not benefit, and it is the same as if I had not told him. This is how the teaching is established, because those who are ignorant are only obscured by external things, but their inherent righteousness has not been lost. Only when they themselves seek to learn should I tell them, so that they may return to the right path. This is the meaning of "advantageous to maintain uprightness." If the seeking becomes disrespectful, he will never attain that righteousness, and then what is the use of talking about benefit or smoothness?

本義以初筮再筮為喻言，初筮指問者之精專，凟指問者之煩凟。於理固順，但易皆取象，不必作喻言。觀彖傳以剛中及凟蒙二語，似非指問者言。來注以初筮指二，再三指三四，說又近鑿。今按，蒙有九二之發蒙，則不終於蒙，有亨象。二不求五而五求二，有不求童蒙、童蒙求我之象。坎一陽為內卦，初筮所得，初筮告之象。艮一陽止於上，再三則不告之象。九居二，六居五，似非正矣，然二以剛中為正，五以應二為正，利貞之象。

Zhu Xi's "Ben Yi" treats "chushi" and "zai san" as metaphors, saying "chushi" describes the person asking the question with a focused mind, and "du" describes the person asking the question being tedious and disrespectful. Although this explanation is logical, the "Yi" often uses symbolic imagery rather than metaphorical language. Looking at the "Tuan Zhuan," which uses "yi gang zhong ye" and "du meng ye" to explain these two passages, it seems not to refer to the person asking the question. Lai Zhide's "Zhou Yi Ji Zhu" interprets "chushi" as referring to the second line, "zai san" as referring to the third and fourth lines, and his interpretation seems somewhat forced. Chen Menglei's own view is that the "Meng" hexagram has the second line, which can enlighten, so the confusion does not last a lifetime, which is the "heng" image; the second line does not seek the fifth line, but the fifth line seeks the second line, which is the image of "fei wo qiu tong meng, tong meng qiu wo." The first line of the inner trigram, which is a single yang, represents the initial divination, which is the image of "chushi gao." The third line of the outer trigram, which is a single yang stopping at the top, represents "zai san du, du ze bu gao." Although the second line is not in the correct position and the fifth line is not in the correct position, the second line, being strong and in the center, is correct, and the fifth line, responding to the second line, is also correct, which is the image of "li zhen."

彖曰：蒙，山下有險，險而止，蒙。山下有險，上峻而難升，下險而莫測，以卦象釋蒙之義也。內險則危殆不安，外止則窒礙難往，以卦德釋蒙之義也。

The Commentary on the Judgment says: "Meng" signifies danger beneath the mountain. When encountering danger and stopping, it is called Meng. The phrase "danger beneath the mountain" means that above there is a mountain with steep and difficult terrain, and below there is the water of the Kan trigram, deep and mysterious, which is using the image of the hexagram to explain the meaning of Meng. As for "danger and stopping," the inner trigram is Kan, indicating danger and peril; the outer trigram is Gen, indicating stopping and obstruction, which is using the virtue of the trigrams to explain the meaning of Meng. The same sentence is divided into two aspects: image and virtue, clearly showing that the Commentary on the Judgment explains the names of the hexagrams by taking different aspects.

蒙，亨，以亨行時中也。匪我求童蒙、童蒙求我，志應也。初筮告，以剛中也。再三凟、凟則不告，凟蒙也。蒙以養正，聖功也。此以卦之體釋卦辭也。卦以九二當發蒙之任者。以亨行時中，謂九二以可亨之道，發人之蒙，所行皆得其時之中也。時者，當其可之謂。五之志未與二應而告之，非時也；再三而凟，亦非時也；蒙當養正，過此而後養，亦非時也。故下文皆言行時中之事。

The Commentary on the Judgment says: The hexagram "Meng" is smooth because it follows the way of smoothness and acts in accordance with the proper middle. "It is not I who seeks the child who is in ignorance, but the child who seeks me" indicates that the hearts of the two are in harmony. "First divination tells" because Nine in the Second is a strong yang line that is in the center. "If divination is done again and again, it is not told" because that would be disrespectful to the one in ignorance. To cultivate the correct nature during the time when ignorance is still unformed is the practice that leads to the way of the sage. This passage explains the hexagram statement by referring to the structure of the hexagram. The entire hexagram is based on Nine in the Second taking on the responsibility of enlightening. What is meant by "acting in accordance with the proper middle" is that Nine in the Second uses the method that can lead to smoothness to enlighten others' ignorance, and his actions are all appropriate at the right time. "Time" means "the right moment": if the heart of Six in the Fifth has not yet harmonized with Nine in the Second and he is told too soon, it is not the right time; if after repeated inquiries, which is disrespectful, he is still told, it is also not the right time; the ignorance should be cultivated when it is still unformed, and if one waits until after that time to cultivate it, it is also not the right time. Therefore, the following statements all refer to matters of acting at the right time.

二不求五，而五求二，志自相應也。初筮得九二，以剛居中，故告之，有節也。凟蒙則與不告同，以蒙不可凟也。人皆學為聖人，而聖學不外於養正。人惟當蒙之時，因時而告，則有以養之使正，即為作聖之功。甚言蒙之不可不養，而養之必以時，乃亨也。

Nine Two does not seek out Six Five, but Six Five comes to seek Nine Two; the hearts of the two naturally correspond, which explains 'zhi ying' (mutual aspiration). Initially, when divination yields Nine Two, Nine Two is in the central position with yang strength, so it is told, and the telling is done with restraint, which explains 'yi gang zhong' (because of its strong central position). To ask carelessly is no different from not being told at all, because matters of ignorance are most intolerant of carelessness, which explains 'du meng' (careless inquiry). Everyone should strive to become a sage, and the study of sages does not go beyond cultivating the righteous nature. People can only educate them at the right time when they are still in a state of ignorance, so that they may be guided back to the right path; this is precisely the practice of becoming a sage. The Commentary on the Judgment says this to strongly emphasize that ignorance must not be left unattended, and that cultivation must be done at the right time, only then can 'hen' (smoothness) be achieved.

象曰：山下出泉，蒙。君子以果行育德。泉，水之始出者。出而遇險，未有所之，故有（文瀾本「故有」作「故為」）蒙象。然泉之既出，勢有必行，君子體坎之剛中，以果決其行；水尚在山，涵蓄深沉，君子體艮之靜止，以養育其德。

The Image Commentary says: Mountains with spring water flowing out, this is the hexagram of "Obstinacy"; the gentleman takes inspiration from this, acting decisively and cultivating his virtue. "Spring water" refers to water just beginning to flow. Spring water has just emerged and meets obstacles, not yet knowing where to go, hence the image of confusion. However, once the spring water has begun to flow, it must proceed forward. The gentleman understands the nature of Kan, which is strong and central, and thus acts decisively. The water is still stored in the mountain, deep and concealed, so the gentleman understands the nature of Gen, which is still and quiet, and thus uses it to cultivate his virtue. "Decisive action" corresponds to Kan, "cultivating virtue" corresponds to Gen. Within one sentence, both the upper and lower trigrams are addressed.

初六：發蒙，利用刑人，用說桎梏，以往吝。初六以陰居下，蒙之甚也。欲發其蒙，利用刑人，謂痛加懲責，使知敬學也；用說桎梏，謂暫去拘束，以待自新。坎為刑為桎梏，故有其象。然坎初變為兌，則為毀折，又有脫之之象。桎梏用之未刑，刑時未有不脫桎梏者。若既刑又桎梏，一住而不舍，拘束太苦，則失敷教在寬之義，必致羞吝矣。

First Line: To enlighten the ignorant, it is appropriate to use punishment to correct people, and also appropriate to remove their restraints; but if this continues unchecked, there will be regret. The First Line is a yin line in the lowest position of the entire hexagram, representing the most extreme ignorance. To enlighten this ignorance, "using punishment on criminals" means to impose severe punishment so that they will respect learning; "using the image of shackles" means to temporarily remove the restraints, waiting for them to reform themselves. In the *Sayings of the Hexagrams*, Kan represents punishment and shackles, so these images are present; and the first line of Kan changing to Dui indicates destruction, which also symbolizes the removal of shackles. According to the legal system of the time, shackles were applied before punishment, and once punishment was carried out, shackles were always removed. If punishment is used and shackles are applied for a long time, and if one continues to restrain without letting go, making the person suffer too much, then the original intention of "extending education with leniency" is lost, and inevitably, there will be regret.

象曰：利用刑人，以正法也。發蒙之初，法不正則人玩。故懲戒之，以正教之之法，蓋明刑以弼教也。

The Image Commentary says: "It is advantageous to use punishment," which is to correct the law. The beginning of enlightening the people requires that the law be established properly. If the law is not set aright, people will be careless and neglectful, so punishment must be applied to correct the law. This is exactly what the Book of Documents, Great Yu's Mandate says: "Be clear about the five punishments, to assist the five teachings"—using punishment to support education, not substituting punishment for education.

九二：包蒙吉，納婦吉，子克家。此一爻而具三象也。包蒙對上下四陰言，納婦克家皆對六五言。九二以陽剛統治群陰，當發蒙之任。然物性不齊，不可一概取必，唯剛而得中，故能有所包容而吉也。坎中陽而五陰，以陰應陽，二能納之，納婦之象也。五位尊，有父之象；二居下位而能任上事，又為子克家之象也。時解謂大臣能敷教以寬，以無負君之委任，善教之良臣，猶克家之肖子也，亦通。

Nine in the Second: Being able to encompass ignorance brings good fortune, being able to accept a wife brings good fortune, and the son can shoulder the family's affairs. This line contains three symbolic meanings: "encompassing ignorance" refers to the four yin lines above and below, "accepting a wife" and "shouldering the family's affairs" both refer to the line Six in the Fifth. Nine in the Second, with its yang strength, leads all the yin lines and bears the responsibility of enlightening others; however, the qualities of people vary, so one cannot impose uniformity. This is because Nine in the Second is strong and balanced, thus it can encompass and achieve good fortune. The middle line of Kan is yang, and Six in the Fifth is yin, so yin responding to yang is "accepting a wife." Six in the Fifth holds the position of authority, symbolizing a father; Nine in the Second, though in a lower position, can shoulder the responsibilities above, which is the image of "the son who can manage the family." The traditional interpretation says this refers to a minister who can generously carry out education and not fail the sovereign's trust. A capable minister who is good at teaching is like a good son who can support the family's affairs—this interpretation also makes sense.

象曰：子克家，剛柔接也。程傳謂子而克治其家者，父之信任專也；二能主蒙之功者，五之信任專也。此重五之能接二也。本義但言指二五之應，謂剛柔往來相接也。二說本義為優，全卦不重在五也。

The Image Commentary says: "The son can manage the family," because the yao of yin and yang are connected. Cheng Yi's Commentary on the Changes says that a son can govern the family well because the father's trust is exclusive; nine in the second can take charge of the enlightening function because six in the fifth trusts exclusively—this places the emphasis on six in the fifth's ability to accept nine in the second. Zhu Xi's "Benyi" only mentions that nine in the second and six in the fifth correspond, with yang and yin interacting. Comparing the two interpretations, Chen Menglei prefers the "Benyi," because the weight of the whole hexagram originally lies with nine in the second, not six in the fifth; if following Cheng's interpretation, the roles of host and guest would be reversed.

六三：勿用取女，見金夫不有躬，無攸利。三變為巽為長女，有女象。九二陽剛得乾金之中爻，有金夫象。六而居三，陰柔而不中正，女之見有金之夫，而不有其躬以從之者也。取女得如是之人，何所利乎，故戒占者以勿取也。王注謂三應在上，有男女之義。

Six Three: Do not marry such a woman, for when she sees a wealthy man, she cannot maintain her self-discipline, and there is no benefit. When Six Three changes, the lower trigram becomes Xun, which represents the elder daughter, hence the image of 'woman'; Nine Two is yang and is supported by the middle line of Qian, hence the image of 'gold husband'. Six Three, being a yin line in the third yang position, is both yin and flexible, and not in the correct position, which is exactly the type of woman who cannot hold herself back when she sees a wealthy man and follows him directly. To marry such a woman, what benefit is there? Therefore, it warns the diviner not to marry. Wang Bi's commentary states that Six Three's proper match is Upper Nine, and between them there is the meaning of mutual response between male and female.

三之動為女先求男，故有此象。不如大全合屯六二參觀，而以三趨二取象為優。蓋屯之六二，近初九之陽而正應在五，然震之性動而趨上，而所居又中正，故曰女子貞不字，十年乃字。蒙之六三，近九二之陽而正應在上，然坎之性陷而趨下，而所居又不中正，故曰見金夫不有躬。六五中正，故為可納之婦；三不中正，故為淫奔之女。六四質柔，雖困猶可教，故得稱為蒙；三狥欲趨利而忘身，併不得言蒙矣。故言勿用以拒之，亦不屑之教也。

According to Wang Bi, the sixth line in the third position (six three) actively moves to respond to the ninth at the top (nine nine), thus forming the image of a woman seeking a man first, hence this image. Chen Menglei thinks it is not as good as the Zhou Yi Dianquan which compares the second line in the second position of the Zun hexagram. Instead, using the third line in the third position approaching the second line in the second position to form the image is better. His reasoning is that in the Zun hexagram, the second line in the second position is close to the first line's yang, yet its proper response is to the fifth line's yang. However, the nature of the Zhen trigram is to move upward, and the position of the second line in the second position is central and upright, thus it is said, "A woman remains chaste and does not marry, for ten years she marries." In the Meng hexagram, the third line in the third position is close to the second line's yang, yet its proper response is to the top line's yang. However, the nature of the Kan trigram is to be trapped and to move downward, and the position of the third line in the third position is neither central nor upright, thus it is said, "Seeing a man of metal, she does not have the virtue." Both are close to yang but distant from their proper response. One can hold on, the other cannot. The difference lies entirely in the nature of the hexagram and the position of the line. The fifth line is central and upright, thus it is a woman who can be married. The third line is not central or upright, thus it is a woman who runs away. The fourth line is soft and weak, though it is trapped, it can still be guided, thus it is still called "Meng." The third line, however, is driven by desire and profit and forgets itself, so it is not even worthy of being called "Meng." Therefore, the line statement uses "Do not take this woman" to reject her. This is also a method of teaching described by Mencius as "not worth teaching."

象曰：勿用取女，行不順也。順亦作慎。按，程傳作邪僻不順，亦可。舍正應之夫而從金夫，是不順也。

The Image Commentary says: "Do not take this woman as a wife," because her behavior is not harmonious. The character "顺" is found in some versions as "慎." Chen Menglei comments: Cheng Yi's Yichuan Commentary on the Changes interprets it as perverse and not harmonious, which also makes sense. Abandoning the proper match, the superior nine, and following the wealthy man, the nine in the second position, is what is meant by "not harmonious."

六四：困蒙吝。六四以陰居陰，既遠於陽，無正應又在二陰之間，為困於蒙之象。蓋氯質既昏，錮蔽又甚，可羞吝之甚也。然能尊師取友，困而學之，猶或可免。終焉，則真吝矣。

Six in the Fourth: Being trapped by ignorance, there is regret. Six in the Fourth, with a yao (line) of yin in a yin position, is far from the two yang yao, having neither proper correspondence nor support from the yin yao in the Third and Fifth positions. This represents being trapped by ignorance. Its nature is already dim (the original text mistakenly uses 'chlorine' instead of 'qi'), and external obstructions are even heavier, making it truly regrettable and shameful. However, if it is willing to respect teachers and seek friends, as the Analects says 'when in difficulty, one should study', it may still avoid this regret. But if it ends its life like this, that would indeed be a great regret.

象曰：困蒙之吝，獨遠實也。陽實陰虛。唯剛明有實德者能發蒙，四獨遠之。欲從九二則隔三，欲從上九則隔五。又乏正應。異於初與五也。言獨，使反而知恥也。

The Image Commentary says: "Confusion" has a sense of regret because it is the only one that is far from reality. Yang represents reality, while Yin represents emptiness. Only the Yang lines, which are strong, vigorous, wise, and possess real virtue, can enlighten confusion. However, the line six in the fourth position is the furthest away: it wants to follow nine in the second, but there is six in the third in between; it wants to follow nine at the top, but there is six in the fifth in between; and it has no proper response to rely on. This is very different from the line six at the beginning, which is closely followed by nine in the second, or six in the fifth, which responds properly to nine in the second. The Image Commentary deliberately uses the word "only" to encourage self-reflection and awareness of shame.

六五：童蒙吉。艮為少男，有童象。所謂童蒙者，不失赤子之心，純一未發以聽於人，非幼穉之謂也。五以柔中居尊，下應九二，所謂童蒙求我，有可亨之道者，故吉。時解作幼主任賢，亦近之，勿拘。

Six in the Fifth: Like a child who is naive but receptive to teaching, it is auspicious. The trigram Gen (Mountain) represents a young man, hence the image of a child. The term 'childlike ignorance' refers to retaining the innocence of a newborn, being pure and undivided, and not yet having become clever in one's own way, but being willing to listen to others. It does not mean being physically young. The line Six in the Fifth is gentle and upright, occupying a high position, and corresponds with Nine in the Second below. This is exactly what the Hexagram Statement refers to as 'the childlike one seeks me,' indicating the potential for achieving harmony and success, hence the auspiciousness. The traditional interpretation often refers to a young king who employs virtuous ministers, which is somewhat similar, but one need not be rigidly confined to this interpretation.

象曰：童蒙之吉，順以巽也。中爻為坤順，變則為巽。順以爻之柔言之，舍己從人，順也；巽以志之應言之，降志下求，巽也。

The Image Commentary says: "The child who is naive and unenlightened" is auspicious because it is both compliant and yielding. From the perspective of the image, the second, third, and fourth lines together form the trigram坤 (Earth), which represents compliance; when the fifth line changes, the upper trigram becomes 巽 (Wind), which represents yielding. From the perspective of meaning, "compliance" refers to the nature of the lines being flexible and yielding—abandoning one's own opinions and listening to others is compliance; "yielding" refers to the alignment of the heart and will—lowering one's position to seek guidance from others is yielding. One speaks of nature, the other of will.

上九：擊蒙，不利為寇，利禦寇。艮為手，有擊之象。以剛居上，治蒙過剛，有擊蒙之象。艮止於上，不利為寇之象；應爻坎為盜賊，利禦寇之象。本義取必太過，攻治太深，則必反為之害，是猶為寇者矣，故不利；惟捍其外誘，以全其真純，則雖過於嚴密，乃為得宜，猶禦寇者也，故利。全卦取象以誨人言，程傳以用兵言，唯本義謂凡事皆然，不止為誨人也，得周易立象以盡意之旨。占者隨事以思其義可也。今以此爻合之彖辭，卦中二陽爻。二，初筮之告者也。

The topmost line, Nine at the Top: strike the ignorant; it is not advisable to act as a strong aggressor, but rather to resist strong aggressors. The trigram Gen (Mountain) represents the hand, so there is an image of striking. Nine at the Top, being a yang line at the top, is overly strong in governing the ignorant, hence the image of striking the ignorant. Gen (Mountain) stops at the top, indicating an unfavorable situation for acting as an aggressor; the line responding to Six in the Third belongs to the trigram Kan (Water), which represents thieves, hence the favorable situation for resisting aggressors. Zhu Xi's "Benyi" says: being overly demanding and overcorrecting can actually harm the other party, which is like acting as an aggressor oneself, hence "unfavorable"; however, if one merely helps resist external temptations to preserve the other's natural innocence, even if it is overly strict, it is still appropriate, just like resisting strong aggressors, hence "favorable." In general, the entire hexagram is traditionally interpreted as teaching, but Cheng Yi's "Yichuan Commentary on the Changes" interprets it in terms of military strategy. Only Zhu Xi's "Benyi" states that this principle applies to all matters, not limited to teaching, thus truly grasping the Zhou Changes' principle of "establishing images to convey meaning." Diviners should understand the meaning according to their own situations. Now, considering this line in relation to the hexagram statement: the hexagram contains two yang lines, and Nine in the Second is the one corresponding to "the first divination reveals."

上之擊蒙，近於再三之凟者也。敷教在寬，非徒取於擊者。然如三之縱慾忘身，猶之寇也。擊之，禦寇之道。若一概施之他爻則凟，是上自為寇矣，又何利乎。禦寇，貞也。為寇，則非貞矣。如此解，則與彖意更相發明。

The "strike the ignorant" of the upper ninth line is close to the meaning of "repeatedly offending" in the hexagram statement. Implementing education and guidance should be based on kindness and tolerance, not solely through punishment. However, if a line like six in the third indulges in desires and forgets self-discipline, it is like a strong bandit, and striking it is the way to "ward off bandits." If this method is applied indiscriminately to all other lines, it becomes disrespectful and arrogant, and the upper ninth line itself becomes the bandit, leaving nothing beneficial. "Warding off bandits" is upholding righteousness, while "being a bandit" is not upholding righteousness. With this interpretation, the meaning of the line statement and the hexagram statement becomes clearer and more complementary.

象曰：利用禦寇，上下順也。上陽爻，擊蒙者；下四陰，皆蒙也。上之剛不為暴，止之順也；下得擊去其蒙，下之順也。全卦有作師之道。大抵正蒙者，貴有剛中之德，而有所包容，不必過暴以為之害，此二之包蒙所以吉；而止之擊蒙，但利於禦寇，不宜凟而至於為寇也。為蒙者，貴於柔順中正以聽於人，不宜自遠於剛明之德，尤不可縱慾以忘其身，此童蒙所以吉，困蒙所以吝，而見金夫不有躬者，併不得數於蒙也。

The Image Commentary says, "It is advantageous to guard against bandits," because both the upper and lower parts are in harmony. The upper ninth line is a yang line, representing the side that enlightens the confused; the four lower yao are all yin lines, representing the confused side. The upper ninth line, though strong, does not act violently, which shows that the superior position can restrain and thus achieve harmony; the lower lines are able to be enlightened, which shows that the lower position receives instruction and thus achieves harmony. Looking at the entire hexagram, it contains the principle of being a teacher. Generally, those who correct the confused should possess the virtue of being strong yet moderate, and also be inclusive, without being overly harsh, for that would harm others. This is why the nine second line's "encompassing enlightenment" is auspicious; while the upper ninth line's "enlightening the confused" is only advantageous for defending against external threats, it should not be arrogant enough to become the aggressor itself. As for those in the confused position, they should be gentle, proper, and willing to accept guidance, and should not distance themselves from the strong and virtuous. Especially, they should not indulge in desires and forget themselves: this is why "childlike confusion" is auspicious and "trapped confusion" is a curse. The six third line, which says "seeing a man of metal but not keeping to oneself," is even excluded from the category of confusion.

初亦陰爻，宜言蒙而言發蒙之道宜痛懲而暫舍者，蓋亦因其材質之陰柔卑下，故正蒙之道宜如此。若能為五之童蒙，則刑可不用矣。六爻於正蒙之道，最為明白詳盡。然而聖人立象以盡意，不必專為一事而言。凡治己教人，一切應事接物，皆可推其意而悟之也。

The initial line, Six at the Beginning, is also a yin line, and by nature it should speak about its own confusion. However, the line statement instead speaks about the method of dispelling confusion, which requires severe punishment and temporary release from restraint. This is because its nature is weak and lowly. The only way to correct it is through such measures. If it could be like the line Six in the Fifth, which is a 'child in confusion,' punishment would not be needed. The hexagram of 'Confusion' explains the principles of correcting confusion more clearly and thoroughly than any other hexagram. However, the sage established images to express meaning fully, not merely to speak about a single matter. All matters of self-cultivation, teaching others, and dealing with affairs can derive understanding from this principle.

需卦，下乾上坎。以卦象言，水在天上，未遽下地，必待陰陽之交，薰蒸而後成雨，需之象也。以卦德言，乾健坎險，以剛遇險，而不遽進以陷於險，需之義也。需次於蒙。按，序卦，蒙，物之穉也，物穉不可不養也，故受之以需。需者，飲食之道也。物之幼穉，必需飲食長養。雲上於天，有蒸潤之象。飲食所以潤益萬物，故需為飲食之道，所以次蒙也。卦之大意取須待之義，序卦取所需之大者耳。按，左傳云，需，事之賊，言猶豫不決之害事也。易需非不決之謂，見險而不動，能動而不輕動者也。

The hexagram "Xu" has the lower trigram Qian (Heaven) and the upper trigram Kan (Water). In terms of the image of the hexagram, water in the sky has not yet fallen to the ground, and it must wait until the yin and yang energies meet and rise up before it can become rain. This is the image of "Xu," meaning waiting. In terms of the virtue of the hexagram, Qian represents strength and initiative, while Kan represents danger and difficulty. A strong and vigorous nature encountering danger does not rush forward and fall into peril, which is the meaning of "Xu." The hexagram "Xu" comes after "Meng." According to the "Xugua" (Order of Hexagrams), "Meng" represents the immature state of all things, and since immaturity requires nourishment, the next hexagram is "Xu." "Xu" is associated with the way of food and drink. All things in their immature state must be nourished through food and drink; clouds rising in the sky have the image of rising moisture, and food and drink are used to nourish and sustain all things, so "Xu" is called the way of food and drink, and thus follows "Meng." However, the main meaning of this hexagram is "waiting," and the "Xugua" merely points out the most important thing that needs to be waited for, which is food and drink. Additionally, according to the "Zuo Zhuan," "Xu" means "a hindrance to affairs," referring to hesitation causing harm. However, the "Yi" (Book of Changes) does not mean indecision, but rather, when encountering danger, one does not act recklessly, and although one can act, one does not act lightly.

內三爻以見險不輕進為需，外三爻以入險而待人以共進為需。六爻初九九五之吉不待言，餘四爻雖有悔吝，然終歸於吉。如二曰終吉，三曰敬慎不敗，蓋有剛健之德，而能相機度勢，從容少待，鮮有敗者。四曰順以聽，上曰敬之終吉，蓋雖入險中，而待陽剛之德以共進，故亦吉也。卦雖四陽二陰，然三陽不輕進，坎五居尊有孚。二陰非卦義所重，故不得為卦之主。

The inner trigram's third line indicates encountering danger but not advancing lightly, which is called "Need." The outer trigram's third line shows having already entered danger, thus waiting for others to advance together, which is also called "Need." Among the six lines, the good fortune of the first line and the fifth line is self-evident. The remaining four lines, although accompanied by regret and hardship, ultimately lead to good fortune. For example, the second line says "eventually good fortune," and the third line says "cautiousness prevents failure," because they possess the virtue of strength and firmness, can assess the situation and act calmly and with patience, thus rarely failing. The fourth line says "following in harmony," and the top line says "showing respect leads to good fortune," because even though they have fallen into danger, they are willing to wait for those with the virtue of yang to advance together, hence also leading to good fortune. This hexagram, although consisting of four yang lines and two yin lines, has the lower three yang lines not advancing lightly. The line nine in the fifth position of the trigram Kan holds a noble position and has sincerity. The two yin lines are not the focus of the hexagram's meaning, so they cannot become the main element of the entire hexagram.

需：有孚，光亨，貞吉，利涉大川。需坎水在前，乾健臨之，將涉水而不輕進之象，乃事所當待，非不當待而待者也。九五坎體中實，陽剛中正而居尊位，為有孚得正之象。三四五互為離，光明之象。坎為通，亨通之象。乾濟乎坎，有涉大川之象。乾陽在下，皆有所需；九五坎陽在上，又為眾所需。

The Hexagram Need (Xu) Statement says: holding inner sincerity, brightness and smoothness prevail, maintaining uprightness brings good fortune, and it is advantageous to cross a great river. In the Hexagram Need, the Water (Kan) is in front, and the Heaven (Qian) with its strong and vigorous nature approaches it, indicating a situation where one is about to cross water but is not ready to advance hastily; this signifies that the matter should be waited for, not that waiting is wrong and deliberately delayed. The line Nine in the Fifth (Jiu Wu) is within the Water (Kan), and the middle line of Water is yang, which is full and solid. Also, the Nine in the Fifth is yang, upright, and occupies the honorable position, thus indicating the image of having sincerity and correctness. The lines three, four, and five form the image of Fire (Li), which represents brightness, hence the image of "light." Water (Kan) represents smoothness, hence the image of "smoothness." Heaven (Qian) crossing over Water (Kan) represents crossing a great river. The three yang lines of Heaven are below, each waiting in turn; the yang line of Nine in the Fifth, which is in the middle of Water, is above, and is the object that all others are waiting for.

需之道貴於實心，又貴於實心，又貴於得正。人之需有出於不得已者，需而無實，無光而且亨之時。必實有有守能待之心，則無私計較而光明，不恤得失而亨通矣。然世有心雖誠實而處事，未正者。需而非正無吉，而且利之理，必所為皆合於義，不圖行險僥倖，則居常凡事皆吉，而濟險歷難亦利矣。蓋有孚以善其需，貞又所以善其孚。孚貞者，盡所需之道；光亨吉利，則得所需之效也。

The way of waiting is valuable, especially in having a sincere heart and being able to hold firm to the right path. Waiting that lacks sincerity will not bring about a time that is both bright and smooth. One must truly have the patience and determination to wait, so that one's mind remains clear and untroubled by private intentions, and one's affairs proceed smoothly without worrying about gains and losses. However, there are also people whose hearts are sincere but whose actions are not upright: waiting that is not in accordance with the right path will not bring about good fortune and benefit. One must act in accordance with righteousness, without hoping for risky chances, so that in ordinary times everything is auspicious, and even in times of hardship and danger, there is no disadvantage. In summary, "having sincerity" is what makes waiting effective, and "uprightness" is what makes "having sincerity" effective; "sincerity" and "uprightness" are the complete way of waiting, while "bright, smooth, and auspicious" are the results of waiting.

彖曰：需，須也，險在前也。剛健而不陷，其義不困窮矣。需者，須也。理勢所在，不得不待也。剛健者，多以輕躁而陷於險。剛健而能不陷，故善其不至困窮也。坎陷而云不陷何也？需然後進，所以不陷。不陷，則終能出險，故不因窮。乾三陽進而迫乎險，遇險而能需者也；坎一陽居中守正，處險而能需者也。遇險而能需，則不至犯險；處險而能需，則又將出險矣。故曰不陷。此以卦德釋卦名義也。

The Commentary on the Judgment says: The hexagram "Need" means waiting, because there is danger ahead; though strong and vigorous, it does not fall into danger, so its meaning does not lead to hardship. "Need" means waiting: the situation and circumstances are present, so one cannot help but wait. Usually, the strong and vigorous are often impetuous and fall into danger, but here, being strong and vigorous yet not falling into danger, it is praised as not leading to hardship. The trigram Kan is originally about falling into danger, so why is it said "not falling"? Because it advances only after waiting, so it does not fall; not falling means it will eventually escape from danger, so it does not lead to hardship ("not due to hardship" should be read as "not leading to hardship"). The three yang lines of Qian advancing and approaching danger represent encountering danger and waiting; the single yang line of Kan in the center and upholding righteousness represents facing danger and waiting. Encountering danger and waiting means not violating danger; facing danger and waiting means about to escape from danger. Therefore, it is said "not falling." This passage explains the meaning of the hexagram name through the qualities of the trigrams.

需、有孚、光亨、貞吉，位乎天位，以正中也。利涉大川，往有功也。正中與中正同，指五也。正則規模宏遠，無慾速之為；中則中心寧靜，無喜功之念。唯以中正居天位，故雖險在前，而終必克濟，非若蹇之見險而止；雖坎居上，而剛健不陷，非若困之剛揜。人知奮發者能有功，不知以剛健之德，能臨事而懼，從容整暇，氣定神全，不往則已，往必有功。此以卦象釋卦辭也。

The Commentary on the Judgment says: The Hexagram "Need" states, "With sincerity, there is bright success, constancy brings good fortune," because the Nine in the Fifth occupies the position of Heaven and is both upright and in the center. "It is advantageous to cross a great river" means that going forward will surely achieve success. "Upright and centered" and "centered and upright" have the same meaning, referring to the Nine in the Fifth. Upright means having a broad vision and not acting hastily; centered means being tranquil in mind and free from the desire for immediate success. Because it possesses the virtue of being upright and centered while occupying the position of Heaven, it can ultimately cross over difficulties, unlike the Hexagram "Obstruction," which stops at the first sign of difficulty. Although the Trigram Kan (Water) is in the upper position, it remains strong and vigorous without being overwhelmed, unlike the Hexagram "Obstinacy," where the yang is obscured by yin. People only know that those who strive hard can achieve success, but they do not realize that those with the virtue of strength and vigor, because they are cautious in affairs, composed and unhurried, and calm in spirit, act only when the time is right, and once they act, they achieve success. This passage explains the Hexagram Statement through the imagery of the hexagram.

象曰：雲上於天，需。君子以飲食宴樂。雲氣上蒸於天，必待陰陽之和而自成雨，無所作為也。事之當需者亦然。內有孚，外守正，但飲食宴樂，俟其自至。飲食以養其氣體，宴樂以和其心志。所謂居易以俟命，非若後世麴櫱之託、昏冥之逃者也。

The Image Commentary says: Clouds rising to the sky, this is the hexagram Need; the gentleman takes this as a model, cultivating himself through food, drink, and music. Clouds ascend to the sky and must wait until yin and yang are in harmony before rain naturally comes; people in the middle do nothing. Things are also like this, requiring patience. Within there is sincerity, and outside there is uprightness; one merely eats and enjoys music, waiting for things to come naturally. Food is used to nourish the body and blood, music is used to harmonize the mind, which is what the Doctrine of the Mean calls "the gentleman resides in ease and waits for destiny." This is not the later practice of using wine to indulge oneself and escape from worldly affairs.

初九：需于郊，利用恆，無咎。郊，曠遠之地。用恆，守其常也。初遠於險，有需郊之象；而九陽剛居陽位，有恆於其所之象。同人于門於宗，而後於郊，處近而遠也；需由郊，而沙而泥，自遠而近也。既能需于郊，又戒以利用恆者，人需於始，或不能需於終，唯以義命自安，身既遠險，又心不妄動，乃無咎也。

Chujiu: Waiting in the outskirts, it is advantageous to maintain constancy, with no fault. "Jiao" refers to a vast and remote place, and "yongheng" means holding fast to one's constant way. The initial line is farthest from danger, hence the image of waiting in the outskirts; it also holds a yang line in a yang position, symbolizing the steadfast adherence to its place. This can be compared with the "Tongren" hexagram: "Tongren" moves from "yuming" (at the gate) to "yuzong" (at the clan) and then to "yuyě" (in the wilderness), moving from near to far; while "Xu" moves from "jiao" (outskirts) to "sha" (sand) to "ni" (mud), moving from far to near. Since one can wait in the outskirts, why is there a warning to "yongheng"? Because a person may be able to wait at the beginning, but may not be able to wait until the end; only by being content with righteousness and destiny, and by being physically distant from danger and mentally unmoving, can there be no fault.

象曰：需于郊，不犯難行也；利用恆無咎，未失常也。險難由人自犯，於郊則不冒險而行矣。恆即彖之孚也貞也。貞者，乾之常。利用恆，未失處需之常道也。

The Image Commentary says: "Waiting at the outskirts" means not taking risks to move forward; "It is advantageous to maintain constancy without blame" means not losing the constant way. Difficulties are mostly self-inflicted; since one is staying at the outskirts, there is no need to take risks. Here, "constancy" refers to the "faith" and "uprightness" mentioned in the Hexagram Statement. "Uprightness" is the constant nature of the Creative. So, "it is advantageous to maintain constancy" means that it has not lost the constant way one should follow during the period of waiting.

九二：需于沙，小有言，終吉。水近則有沙，二近險，有需于沙之象。二三四互得兌為口舌，有言語相傷之象。剛中能需，有終吉之象。既近於險，雖未陷患害，群小從而訾議之。然言語之傷，災之小者。初以剛居剛，雖遠於陷，猶有戒辭；二以剛居柔，守中寬裕，故雖近險，可斷其終之吉也。爻多以相應為吉，此又不然者，見險在前，有待而進，故無取於相應也。

Nine in the Second: Waiting on the beach, there is some verbal harm, but in the end it is吉利. Being close to the water there is sand, so the situation of 'waiting on the sand' is indicated. The second, third, and fourth lines form the trigram Dui, which represents mouth and speech, hence the image of verbal harm. It is strong and upright, and it waits, hence the image of 'eventually吉利'. Although it is already close to danger, it has not yet fallen into calamity. A group of petty people then follow with slander and criticism. However, the harm from words is only minor. Initially, the first line is a strong line in a strong position, though it is far from danger, the line statement still adds a warning. The second line is a strong line in a flexible position, it maintains the center and is broad-minded, so even though it is close to danger, it can still be determined to eventually be吉利. The Book of Changes usually considers two lines that correspond to each other as吉利, but this line does not follow this rule, because danger is ahead, and waiting is necessary before advancing, so it does not depend on whether there is a proper correspondence.

象曰：需于沙，衍在中也；雖小有言，以吉終也。衍，寬也。以寬居中，不急於進。蓋剛居柔位，故謂剛為衍也。

The Image Commentary says: "Waiting by the sand" is because it is ample and resides in the center; although there may be slight verbal harm, it ultimately ends in good fortune. "Yan" means ample. To dwell in the center with a broad and generous heart, without hastening forward. It is called "Yan" because Nine Two is a strong line in a flexible position; when strength is tempered by flexibility, it appears ample.

九三：需于泥，致寇至。水涯有泥。三將陷於險，有需于泥之象。坎為盜賊，有寇之象。三過剛不中，有自我致寇之象。

Nine in the Third: Waiting in the mud leads to the arrival of strong bandits. There is mud by the water. Nine in the Third is about to fall into danger, hence the image of 'waiting in the mud.' Kan represents thieves, hence the image of 'bandits.' Nine in the Third is overly firm and not centered, hence the image of inviting strong bandits on its own—bandits come because it invites them.

象曰：需于沙，災在外也；自我致寇，敬慎不敗也。外謂坎在外卦。謂之外，則禍不自已作。但以過則妄動，以近於險，則寇乃我致之也。然卦為需，能敬慎，猶可不至於敗。此則象中本無此意，本義所謂發明占外之占，使人之逼近於險者，思所以善處之道也。

The Image Commentary says: "Waiting in the mud, disaster is in the outer trigram; 'self-invoking the enemy,' if one is respectful and cautious, there will be no failure" (the original text here says "waiting on the sand," which is an error from the previous line in the printed edition). The term "outer" refers to the trigram Kan being in the outer position. Saying that disaster is in the outer trigram means that the source of the calamity is not self-made. It is only because Nine in the Third is overly strong and acts recklessly, and is close to danger, that the strong enemy is thus self-invoked. However, this hexagram is "Need," and if one is respectful and cautious, it is still possible to avoid failure. The idea of "respectful and cautious, no failure" is not originally present in the line statement. It is Zhu Xi's "Ben Yi" which explains "the interpretation of the outer divination" — adding another layer of interpretation beyond the line statement, prompting those close to danger to think about proper ways of handling situations.

六四：需于血，出自穴。內卦三陽以見險不輕進為需。外卦入險矣，以待人共進為需。血者，殺傷之地；穴者，險陷之所。四入乎險，坎為血卦，故有需于血之象。然以陰居柔得正，初為正應，所居得正，又待正應之陽剛為援，可以不終陷於穴矣，故有出自穴之象。

Six in the Fourth: Waiting in a place of bloodshed, one can escape from a pit. The inner trigram has three yang lines, indicating the awareness of danger without rash action, which is called 'Need.' The outer trigram has already entered the dangerous situation, so it waits for others to advance together, which is also called 'Need.' 'Blood' represents a place of injury, and 'pit' represents a dangerous trap. The line six in the fourth has already entered the danger, and in the 'Explanation of the Trigrams,' Kan is called the 'blood trigram,' so there is the image of 'waiting in the blood.' However, since it is a yin line in a yin position and is correct, and the line nine at the beginning is its proper corresponding line, it is in the correct position and can wait for the yang and strong line nine at the beginning to provide support, so it does not remain trapped in the pit for life. Therefore, there is the image of 'emerging from the pit.'

象曰：需于血，順以聽也。陰柔入險中，疑不能出矣。然能順以聽初之陽剛，則不冒險以進，是以能出穴也。三能敬，則雖迫坎之險而不敗；四能順，則雖陷坎之險而得出。敬與順，固處險之道也。

The Image Commentary says: "Waiting by the blood," because it is flexible and willing to obey. A yao of yin flexibility entering a dangerous situation appears to be trapped, yet it can emerge from the pit by flexibly obeying the guidance of the initial yang line, without taking reckless risks. The line nine in the third position can "revere," so although it is close to the danger of kan, it does not fail. The line six in the fourth position can "follow," so although it is trapped in the danger of kan, it can ultimately escape. This shows that "reverence" and "following" are originally the two ways to deal with danger.

九五：需于酒食，貞吉。坎有酒食之象。九五為需之主，以一陽處二陰之間，以待三陽同德之援，需于酒食之象。居中得正，三陽自來，陽彚進而陰退，則坎可平而險可夷，貞吉之象。人君位乎中正之天位，與天下相安於日用飲食之常，無為而治者也。然又必正乃吉，非可宴酣無度也。飲食男女，人之大欲存焉。屯蒙多言男女，需言飲食。蓋雲上於天，物資雨澤以為養；需于酒食，人亦藉飲食以為養故也。

Nine in the Fifth: One calmly waits amidst food and drink, maintaining righteousness brings good fortune. The trigram Kan represents water and also symbolizes food and drink. Nine in the Fifth is the central element of the hexagram Need. It is a yang line situated between the two yin lines, Sixth and Upper, waiting for the three yang lines below, which are of the same virtue, to come to its aid. Thus, there is the image of 'waiting amidst food and drink'. It is in the central position and upholds righteousness, so the three yang lines will naturally come to support it. Yang lines gathering together advance, while yin lines retreat. Thus, the water of Kan can be calmed, and dangers can be overcome, which is the image of 'righteousness brings good fortune'. A ruler who occupies the central and upright position of heaven, living in harmony with the people in the ordinary aspects of daily life and sustenance, embodies the image of governance through non-action. However, one must still uphold righteousness to achieve good fortune, and this does not mean indulgence in feasting and drinking. 'Food, drink, and sexual desire are the great desires of human beings.' The hexagrams Zun and Meng focus more on matters of men and women, while the hexagram Need focuses on food and drink, because clouds rising above the sky nourish all things through rain; similarly, humans are nourished through food and drink.

象曰：酒食貞吉，以中正也。五居中得正，是以貞則吉也。

The Image Commentary says: "With food and drink, the divination is auspicious." This is because the Nine in the Fifth is both central and upright. The Nine in the Fifth occupies the center of the upper trigram and also has a yang line in a yang position, thus achieving both centrality and uprightness. Therefore, as long as one maintains uprightness, auspiciousness is attained. This sentence precisely links the character "zheng" (uprightness) in the line statement to the "zhongzheng" (central uprightness) of the hexagram structure.

上六：入于穴，有不速之客三人來，敬之，終吉。六居上，陰居險極，無所復需。變巽為入，有入穴之象。下應九三，而三下二陽連類並進，有不速之客三人來之象。居柔得正，以待陽剛，變巽亦為順，有敬之之象。然陰動於上，三陽至健知險，可以拯溺，待以共濟，亦將出險矣，故有終吉之象。

The sixth line at the top: falling into a pit, three unexpected guests arrive; honoring them brings a favorable outcome. The sixth line is a yao of yin in the highest position of the hexagram, at the end of danger, with nothing more to wait for. When it changes, the upper trigram becomes Xun, which represents entering, hence the image of "entering a cave." It corresponds below to the third line, and the third line has the second and first lines, two yang yao, which are similar and advancing together, hence the image of "three unexpected guests arriving." It is a yin yao in a proper position, waiting for yang to come to its aid; the changed Xun also represents following, hence the image of "honoring them." Although the sixth line is only a yin yao moving at the top, the three yang yao are extremely strong and well aware of the danger, able to rescue from drowning. As long as they all go through the danger together, they will be able to escape from the peril, hence the image of "a favorable outcome in the end."

象曰：不速之客來，敬之終吉，雖不當位，未大失也。六居上，陰之當位者，曰不當位，以應爻言。三與上正應，當位者也。今三陽同來而敬之，非其位，似有失矣。然入穴之時，三陽能援我，猶論位之當否而敬之，失權變矣。故初二雖不當位，亦敬以待之以出險，則亦未大失（文瀾本「未大失」作「未為大失」）也。

The Image Commentary says: A guest who comes without being invited has arrived, and by treating them with respect one ultimately attains good fortune; although their position is not appropriate, there is no great mistake. The sixth line at the top is a yao of yin in a high position, which is originally appropriate, but here it is said to be "inappropriate," referring to the response line: nine three and the sixth line at the top are the proper response to each other, and they are the appropriate ones. Now three yang yao come together, and the sixth line at the top treats them all with respect, but two of them are not its proper response. It seems to be a mistake. However, when one is about to fall into a pit, the three yang yao can all help. If one were to decide whether to show respect based on whether the position is appropriate, then one would not understand the principle of flexibility. Therefore, although the first nine and the second nine are inappropriate, the sixth line at the top still treats them with respect, borrowing their strength to escape danger. In this way, it is not considered a great mistake (in this passage, the Wenlan Pavilion edition reads "not considered a great mistake").

全卦以遇險不遽進為義。內卦乾健知險，有所須而不輕進。外卦坎險，待剛健之材以共濟險。九五孚貞，需之適當其時。其他或近或遠，要於須而不輕進。需于泥，已迫險矣，然能敬，猶不至敗；入穴，已陷險矣，然能敬，猶可終吉。敬者，處險之學。敬則無不貞，無不孚矣。此象傳又發彖外之旨也。

Looking at the whole hexagram, the meaning focuses on encountering danger without rushing forward. The inner trigram is Qian (Heaven), which is strong and knows the danger, so it waits rather than acting hastily. The outer trigram is Kan (Water), representing danger, so one must wait for a strong and capable person to jointly overcome the danger. Nine in the Fifth is both trustworthy and upright, indicating that waiting at the right time is appropriate. The other lines, whether near or far from danger, all emphasize the principle of 'waiting without rushing forward.' Nine in the Third 'needs at the mud' is already close to danger, yet it remains respectful and thus does not fail. Six at the Top 'enters the cave' is already in danger, yet it remains respectful and can still achieve good fortune. 'Respect' is a key aspect of dealing with danger: when one is respectful, there is no wrongness and no lack of sincerity. This part of the Image Commentary adds another layer of meaning beyond what is expressed in the Commentary on the Judgment.

訟卦，下坎上乾。以二象言之，天陽上行，水性就下，其行相違。以二體言之，上剛陵下，下險伺上，剛險相接。又以一人言，內險而外健；以二人言，此險而彼健，所以訟也。訟卦次需。按，序卦，飲食必有訟，故受之以訟。人所須者飲食，既有所須，訟端以起，訟所以次需也。

The hexagram "Strife" has the lower trigram Kan (Water) and the upper trigram Qian (Heaven). From the two trigrams, Heaven's yang energy rises upward, while Water's nature flows downward; their directions are opposite. From the structure of the two trigrams, the upper Qian is strong and oppressive toward the lower Kan, while the lower Kan is dangerous and secretly watches the upper Qian; strength and danger are in contact. From an individual's perspective, it is inner deceit and outer strength; from two people, it is one being deceitful and the other strong. These are the reasons for "Strife." The hexagram "Strife" comes after "Waiting." According to the "Sequence of Hexagrams," there must be disputes when there is food and drink, so "Strife" follows "Waiting." Human needs include food and drink; since there are needs, disputes arise, hence "Strife" comes after "Waiting."

六爻不外彖傳訟不可成一言。九五居尊中正，為聽訟之主，故吉。餘五爻皆訟者。大抵剛者能訟，柔者不能訟。初與三柔，故皆終吉。二四上皆剛，而二與五對，顧勢不敵；四與初對，知理不可，亦以居柔，故得無眚而安貞也。獨上處卦之窮，三柔不敵，故雖暫勝而不足敬。此全卦六爻之大旨也。

The principles of the six lines in the hexagram are not outside the Commentary on the Judgment which says, "Dispute cannot be resolved." The line nine in the fifth position holds a noble and upright position, being the one who hears and decides cases, hence it is auspicious. The other five lines are all parties involved in a lawsuit. In general, strong lines are capable of disputing, while weak lines are not. The lines initial six and six in the third position are weak, so they both end up auspicious. The lines nine in the second, nine in the fourth, and nine at the top are strong, but nine in the second faces nine in the fifth, realizing it cannot overcome the power; nine in the fourth faces initial six, understanding that the case is not just, and also because it is in a weak position, so it can be without calamity and remain steadfast. Only nine at the top is at the extreme position of the entire hexagram, facing six in the third which is weak and cannot resist, so although it wins the case temporarily, it is not respected. This is the main idea of the entire hexagram.

訟：有孚窒，惕中吉，終凶，利見大人，不利涉大川。天水違行，乾剛在上以制下，坎險在下以伺上。又為內險外健，己險彼健，皆訟之象。九二中實而沉二陰之中，上無應與，有有孚而見窒之象。坎卦為加憂，剛居二在下卦之中，為惕而得中之象。上九過剛，有終極其訟之象。九五剛健中正，有大人之象。三陽在坎上，以剛乘險，以實履陷，有不利涉大川之象。

The Hexagram of Strife states: Within there is sincerity but it is blocked, the mind is cautious, moderate and stops, which is auspicious; to fight the lawsuit to the end is inauspicious. It is favorable to meet a great person, but unfavorable to cross a great river. Heaven and Water are in opposition, Heaven's strength is above suppressing the lower, while Water's danger is below watching the upper. It is also internal danger and external strength, oneself being subtle and the other being strong: these are the images of 'Strife'. The second line is a yang line that is full in the middle, yet it is submerged in the two yin lines of the first and third lines, and there is no corresponding line above, so there is an image of 'having sincerity' but being 'blocked'. In the Book of Changes, Water represents 'increased worry', and a yang line in the second position in the lower trigram, which is in the middle, gives an image of 'caution' and 'moderation'. The top line is overly strong, giving an image of taking the lawsuit to the extreme. The fifth line is strong, upright, and moderate, giving an image of 'a great person'. The three yang lines of Heaven are pressing down on Water, using strength to take advantage of danger and solid reality to tread on a perilous situation, so there is an image of 'unfavorable to cross a great river'.

蓋訟非得已，必理直受誣，有孚見窒而後可。又必憂惕存心，適中即止，不可終極其訟以取凶。又利見中正之大人以取直，不可冒險以求勝。聖人慾人無訟，故不言元亨貞。言吉兼言凶，言利即言不利。蓋至於訟必無全吉，所以貴謀始以絕訟端也。此卦與需反對。與需卦皆言有孚，以中實皆同也。但坎在上則為光亨，坎在下則為窒惕。乾在坎下，剛健不陷，故利涉大川；乾在坎上，為健無所施，故涉川不利。

In summary, initiating a lawsuit is not something that can be done casually: it must be when one's cause is just yet one is falsely accused, and one's heart is sincere but obstructed, then one may proceed. Moreover, one must remain anxious and cautious, and know when to stop, avoiding dragging the lawsuit to its end which may bring misfortune. One should rely on a just and upright superior to obtain a fair judgment, and not take reckless risks in seeking victory. The sage's intention is to prevent litigation, so this hexagram does not mention "original virtue," "smoothness," or "uprightness" as auspicious qualities. When it speaks of "auspiciousness," it also mentions "misfortune," and when it speaks of "favorable," it also mentions "unfavorable." This is because once litigation arises, there is certainly no complete good fortune. Therefore, the importance lies in planning ahead and preventing disputes from arising in the first place. This hexagram is opposite to the hexagram "Need," both speaking of "sincerity," because the yao in the middle of Kan is the same. However, when Kan is the upper trigram, it becomes "bright smoothness," and when Kan is the lower trigram, it becomes "obstruction" and "caution." When Qian is below Kan, it is strong and vigorous without falling, hence "Need" says "favorable to crossing great rivers." When Qian is above Kan, it is strong and vigorous with nowhere to be expressed, hence "Strife" is unfavorable for crossing rivers.

彖曰：訟，上剛下險，險而健，訟。此以卦德釋卦名義。訟、有孚窒、惕中吉，剛來而得中也。終凶，訟不可成也。利見大人，尚中正也。不利涉大川，入于淵也。剛來得中。按，本義以卦變言。易言卦變者始於此。自上而反下為來，自下而升上為往為進。此自遯卦艮體九三來而居二，在下卦之中也。今按，卦變之說，本於虞翻，先儒亦多異同，義多牽強，今俱以綜卦論之。

The Commentary on the Judgment says: The hexagram of Strife is characterized by a strong upper trigram and a dangerous lower trigram, both danger and strength being present, thus forming strife. This sentence explains the meaning of the hexagram through its trigram qualities. The Commentary on the Judgment also says: "With sincerity, obstruction occurs, but in the middle of vigilance, it is auspicious," because a strong line has come into the middle position; "eventually misfortune occurs," because lawsuits should not be pursued to the end; "favorable to see a great man," because it values the middle and uprightness; "unfavorable to cross a great river," because that would lead to falling into a deep abyss. Regarding "a strong line coming into the middle position": Zhu Xi's "Original Meaning" explains this through the concept of hexagram transformation. In the Yi Jing, hexagram transformation begins here, with movement from the upper to the lower trigram called "coming," and movement from the lower to the upper trigram called "going" or "advancing." According to the "Original Meaning," the hexagram of Strife originates from the hexagram of Retreat, with the strong line in the third position of the mountain trigram moving down to the second position, thus occupying the middle of the lower trigram. Chen Menglei, however, says that the theory of hexagram transformation originates from Yu Fan. Previous scholars had different interpretations, and the meanings were often forced, so he entirely changed the approach, using the inverted hexagram instead, flipping the hexagram upside down to explain it.

需訟相綜，需上之坎來居下卦。坎中剛居柔位，剛中為有孚。與五敵而不相應為窒。窒塞而坎體常懷惕懼之心，不過於訟為吉，皆以剛來而得中也。得中則吉，終之則凶，故以不可成戒之。此皆以綜卦言也。二得中，五居中得正。中則其心不偏，正則所斷合理，窒者可伸矣。此以卦體言之也。以乾剛臨坎水之上，欲訟以陷人，反自陷於淵。此以卦象言也。

The hexagram Need (Xu) and the hexagram Strife (Song) are mutual inverted hexagrams. When Need is inverted, the trigram Kan (Water) in the upper position moves to the lower position, forming the hexagram Strife. The middle line of Kan is a strong line in a yin position, which is called "having sincerity" because it is strong but in the middle. It is in opposition to the line nine in the fifth position, which is equal in strength but not in harmony, resulting in "blockage." Since it is blocked, and the nature of Kan is always to be cautious and not to take the case to extremes, it is considered auspicious. All of this comes from "strong line coming to the middle." Being in the middle brings auspiciousness, but going to extremes brings misfortune, so the warning "strife cannot be successful" is given. All of this is based on the inverted hexagram. Now looking at the structure of the hexagram: line nine in the second position is in the middle, and line nine in the fifth position is both in the middle and in the correct position. Being in the middle means the mind is not biased, and being in the correct position means judgment is reasonable, allowing the blocked sincerity to be expressed. This is based on the structure of the hexagram. Finally, looking at the symbolic meaning: the strong trigram Qian (Heaven) is placed over the trigram Kan (Water), intending to use litigation to trap others, but ends up falling into the abyss himself. This is based on the symbolic meaning of the hexagram.

象曰：天與水違行，訟。君子以作事謀始。天上水下，相背而行，所以致訟。違而後謀，則無及矣。欲絕訟端，必謀之於始。天為三才之始，水為五行之始。君子法之以謀始。又乾陽生於坎水，坎水生於天一。乾坎始本同氣，其後至於違行，有天淵之隔。故其幾之萌不可不謹。

The Image Commentary says: Heaven and water are moving in opposite directions, which is the meaning of the hexagram "Strife"; the gentleman takes this as a model, and thus begins to plan matters at the very beginning. Heaven is above and water is below, moving in opposite directions, hence leading to disputes. If one only begins to plan after the disagreement has already arisen, it will be too late; to eliminate disputes, one must plan at the very beginning. Heaven is the beginning of the three elements of heaven, earth, and humanity, and water is the beginning of the five phases of water, fire, wood, metal, and earth. The gentleman takes this as a model, hence "planning at the beginning." Moreover, the yang of Heaven arises from the water of Kan, and the water of Kan arises from "Heaven One" — the Yellow River Chart says "Heaven One produces water" — thus showing that Heaven and Kan originally shared the same energy, but later moved in opposite directions, becoming as distant as heaven and a deep abyss. Therefore, when the slightest sign appears, one must not be careless.

初六：不永所事，小有言，終吉。好訟者多剛。初六質柔，不能與人訟者，故有不永所事之象。然不曰不永所訟，而曰所事者，訟端初起，猶冀其不成訟也。初變為兌，有小有言之象。此小有言與需不同：需二在人有言語之傷，此則在我有爭辨之語也。有事不永則易收，有言而小則易釋，所以終吉，以其質柔在下故也。

Initial Line Six: Not prolonging the matter, there is some verbal dispute, ultimately leading to good fortune. Those who are often involved in lawsuits are mostly strong-willed. Initial Line Six is weak and lacks the strength to engage in disputes, hence the image of 'not prolonging the matter'. The line statement does not say 'not prolonging the lawsuit' but 'not prolonging the matter', because the dispute has just begun and there is hope that it will not escalate to litigation. When Initial Line Six changes, the lower trigram becomes Dui, which represents speech and words, hence the image of 'a little verbal dispute'. The 'a little verbal dispute' here differs from the 'being spoken of by others' in the Second Line of Need. In Need, the Second Line refers to being slandered by others, whereas here it refers to a few words of argument from one's own side. Since the matter is not prolonged, it is easy to resolve, and since the verbal dispute is minor, it is easy to resolve, hence 'eventually good fortune' — ultimately because of its weak nature and its position at the lower level.

象曰：不永所事，訟不可長也；雖小有言，其辨明也。訟不可成，長則成矣。不可長，不欲其成也。小有言語，因辨得明，所以終吉也。

The Image Commentary says: "Not prolonging the matter" is because disputes should not be extended; although there may be minor quarrels, the truth is thereby clarified. A lawsuit should not be pursued, for prolonging it leads to its becoming a lawsuit; saying "it should not be prolonged" means not wishing it to become a legal case. Only a few words are involved, yet through clarification, right and wrong are made clear, so ultimately there is good fortune.

九二：不克訟，歸而逋其邑人三百戶，無眚。九二陽剛為險之主，本欲訟者。然以剛居柔，得下之中，而九五陽剛居尊，勢不可敵，故有不克訟之象。坎為隱伏，有逃之象。坤為國土，二變坤有邑象。二三四互為離，離數三，三百戶之象。坎為眚，二變坤無眚之象。歸而逋二句，本義謂自處卑約以免災患，蓋邑過三百，非為竄也。

Nine Two: The lawsuit cannot be won, so he returns to hide, and his territory is reduced to only three hundred households, with no calamity. Nine Two is yang and is the master of the Kan trigram, which represents danger. Originally, he intended to sue, but since it is a yang line in a yin position, it is in the center of the lower trigram. Nine Five is also yang and is in a superior position, so its power is greater, leading to the image of 'not winning the lawsuit.' Kan represents concealment, hence the image of fleeing. Kun represents the territory, and when Nine Two changes, the lower trigram becomes Kun, hence the image of 'territory.' The lines two, three, and four form the Li trigram, whose number is three, hence the image of 'three hundred households.' Kan represents '眚' which means calamity, but when Nine Two changes to Kun, the Kan image disappears, hence the image of 'no calamity.' The phrase 'returning and fleeing with his territory's three hundred households' is interpreted by Zhu Xi in his 'Original Meaning' as being in a humble and simple state to avoid calamity. This means that if the territory exceeds three hundred households, it would not be considered fleeing to avoid disaster.

竄而據強，災未免也。退處卑小，故得無眚。按，此二句王注本義皆同。而於邑人句終覺牽強。今按，蘇氏作一句讀。逋其邑人三百戶者，猶曰亡其邑人三百戶去爾。失眾知懼，猶可少安，故曰無眚。蓋以下訟上而不勝，故其私邑之人亦懼而逋逃也。然居柔知儆，災眚或可免耳。此說較順。

According to Zhu Xi's "Ben Yi": fleeing and yet still holding onto a strong territory will inevitably bring disaster; retreating to a small place, therefore, can achieve "no calamity". Chen Menglei comments: these two sentences are interpreted in the same way by Wang Bi's commentary and Zhu Xi's "Ben Yi", but when it comes to the phrase "邑人", it always feels forced. His own view is that Su Shi read it as a single sentence: "Bū qí yì rén sān bǎi hù", meaning that his three hundred households of people in the territory all fled. Losing the people yet knowing fear, one can still attain a slight peace, hence "no calamity". This is because the Nine in the Second, having committed offenses below and failed in lawsuits, even frightened his own people in his private territory into fleeing; yet since he is in a soft position and knows to be cautious, perhaps calamity can still be avoided. This interpretation makes the meaning smoother.

象曰：不克訟，歸逋竄也；自下訟上，患至掇也。掇，拾取也。以下訟上，則禍患自取。邑人之逋，自掇之患也。

The Image Commentary says: "Not being able to win the lawsuit" means retreating and fleeing; when the lower position sues the upper position, the calamity is like picking it up with one's hand. "掇" means to pick up. When the lower violates the upper and initiates a lawsuit, the calamity is self-inflicted; the scattering of the people is precisely the calamity he himself has picked up.

六三：食舊德，貞厲終吉，或從王事，無成。食舊德，如祖宗有世德，子孫得食其報之類。六三本陰也，變而為陽，則陰柔為舊德矣。然守其陰柔，不欲爭訟，故有食舊德之象。不改其素為貞。然所居剛位，故有貞厲之象。守舊居剛，雖見侵凌，終不罹禍，有終吉之象。然三雖不欲訟，而與上應。上九方剛，其勢必訟，故有或從王事之象。此與坤從王事無成有終不同。從王事，即訟事也。上位高，將訟之於天子也。無與毋同，作戒辭。訟不可成。即不得已而或至於從王之事，亦守舊以待，無使訟之成也。

Six in the Third: Enjoying the old virtue of ancestors, remaining steadfast and aware of danger, ultimately brings good fortune; or, to participate in royal affairs, but do not complete it. 'Enjoying the old virtue' is like the virtue accumulated by ancestors over generations, which the descendants can benefit from. The line Six in the Third is originally a yin line, but when it changes, it becomes a yang line. Therefore, its original yin softness is its 'old virtue.' It holds onto this yin softness and does not wish to engage in disputes, hence the image of 'enjoying the old virtue.' To remain unchanged is 'zheng,' but since it occupies a yang position, there is also 'zheng li'—steadfastness with danger—hence the image. Holding onto the old virtue while in a yang position, even though it is attacked, will not lead to calamity, hence the image of 'ultimately good fortune.' However, although Six in the Third does not wish to engage in litigation, it corresponds with Nine at the Top, which is strong and will inevitably initiate litigation, hence the image of 'participating in royal affairs.' The phrase 'participating in royal affairs, without success' differs from the line Six in the Third of the Book of Changes, which says 'participating in royal affairs, without success but with a good ending.' Here, 'participating in royal affairs' refers to litigation. Nine at the Top is in a high position and will take the case to the Son of Heaven. 'Wu' is similar to 'mu,' meaning a warning. Litigation should not be completed. Even if one is forced to involve in this case that has reached the royal court, one should remain steadfast in the old virtue and wait, not allowing the litigation to actually take place.

六爻獨三與上辭無訟字。然三主於讓，上主於爭。或從王事，不得已而訟者也。錫之鞶帶，則由訟而得也。此爻程傳本義蘇氏來注所解各不同。註疏雖對上九一爻言之，而意未盡。姑出臆見，以待就正。

Among the six lines, only the line six in the third position and the line nine at the top do not mention the word 'strife' in their line statements. However, the idea behind line six in the third position is 'yielding,' while the idea behind line nine at the top is 'contention.' Line six in the third position says 'perhaps following the king's affairs,' indicating that it is reluctantly involved in a lawsuit. Line nine at the top says 'given a belt of embroidered cloth,' implying that the ceremonial garment is obtained through winning a lawsuit. On this line, Cheng Yi's 'Yichuan Commentary on the Changes,' Zhu Xi's 'Original Meaning,' Su Shi's 'Dongpo Commentary on the Changes,' and Lai Zhide's 'Collected Commentaries on the Zhou Changes' all offer different interpretations. Kong Yingda's 'Correct Meaning of the Zhou Changes,' although commenting on line nine at the top, has not fully explained its meaning. Chen Menglei therefore tentatively expresses his own opinion, awaiting correction from experts.

象曰：食舊德，從上吉也。守其柔貞，以從上九，故得吉也。此亦與本義不同。

The Image Commentary says: "Feeding on old virtue," which means that one attains good fortune by following the superior. Six in the Third maintains her own proper virtue of flexibility and firmness, thus following Nine at the Top and thus attains good fortune. Chen Menglei points out that this interpretation of "following the superior" in the Image Commentary differs from Zhu Xi's explanation in the Benyi. Zhu Xi takes "superior" generally as those in higher positions, while here it is specifically identified as Nine at the Top.

九四：不克訟，復即命，渝，安貞吉。即，就也。命，正理也。渝，變也。九四剛而不中，故有訟象。以其居柔，故又為不克而復就正理，能變易其心以安於正之象。占者如是則吉也。二與五訟，四與初訟，而皆曰不克者，二四皆以剛居柔也。然二以下訟上，不克者勢也；四以上訟下，不克者理也。九二坎體，其心本險，見勢之不敵而逃，無眚而已。九四乾體，其性至健，知理之不可而渝，故遂可獲吉。聖人不責人以無過，而望人改過。欲人審勢，尤欲人知命也如此。

Nine in the Fourth: If you cannot win a lawsuit, you should turn back and follow the correct principles, change your original intentions, and remain steadfast in righteousness, which brings good fortune. "即" means to follow or adhere to, "命" refers to the correct principles, and "渝" means to change. Nine in the Fourth is yang but not in the center, hence there is an image of initiating a lawsuit; however, since it occupies a yin position, there is also an image of the lawsuit not succeeding, turning back to follow the correct principles, and being able to change one's original heart to remain steadfast in righteousness. If the person seeking divination can do this, it is auspicious. Nine in the Second and Nine in the Fifth are in dispute, and Nine in the Fourth is also in dispute with Six at the Beginning. Both sides say "cannot win," because both Nine in the Second and Nine in the Fourth are yang lines occupying yin positions. However, Nine in the Second is suing a superior, and the inability to win is due to the situation not allowing it; Nine in the Fourth is suing a subordinate, and the inability to win is due to the principle not allowing it. Nine in the Second belongs to the Kan trigram, which is inherently deceitful; upon realizing that it cannot overcome the opponent's strength, it retreats, resulting only in "no misfortune." Nine in the Fourth belongs to the Qian trigram, which is extremely strong and vigorous; upon realizing that the lawsuit is not justified by principle, it changes its position, thus being able to obtain good fortune. The sage does not demand that people be without fault, but hopes that they can change their faults; hopes that people can understand the situation, and even more so, that they can understand the correct principles — the intention is right here.

象曰：復即命渝安貞，不失也。始不免於有失，能改則不失矣。

The Image Commentary says: Returning to follow the right path, changing one's original intention and being content with uprightness, there will be no error. Nine in the Fourth originally started a lawsuit, which naturally involved some loss; but if it can change its mistakes, then it does not count as a loss. The Image Commentary's use of 'no loss' clearly shows that its benefit lies entirely in the word 'change'.

九五：訟，元吉。陽剛中正以居尊位，聽訟而得其平者也。占者遇之，孚窒者可伸矣，故為大善之吉也。然聖人貴無訟，乃以元吉與五何也。蓋上有中正聽訟之君，下乃有無訟之化。初之不永，三之無成，二四不克，即上亦終褫，以有五之中正故也。故曰利見大人也。朱子謂刑獄之官皆足以當之，不必專言人君。然五實君位，大抵必有德位之大人耳。

Nine in the Fifth: Resolving disputes, great auspiciousness. Nine in the Fifth, being yang and upright in the central position and holding a high position, is a person who can fairly adjudicate disputes. When the diviner encounters this line, the blocked sincerity can be expressed, hence it is a great auspiciousness. However, the sage values 'no litigation' above all, so why does it give 'original auspiciousness' to Nine in the Fifth? Because there is a just and upright ruler at the top, there can be a风气 of no litigation at the bottom: initial six does not prolong matters, six in the third does not escalate the lawsuit, nine in the second and nine in the fourth both fail to win the case, even the top nine is ultimately stripped of his status. All of this is due to the uprightness of Nine in the Fifth at the top. Therefore, the hexagram statement says 'favorable to see a great person'. Zhu Xi says that officials in charge of criminal justice are all qualified for this 'great person', not necessarily referring specifically to the sovereign. However, Nine in the Fifth is the sovereign position, so in general, only a great person who possesses both virtue and position is worthy of it.

象曰：訟元吉，以中正也。中則聽不偏，正則斷合理。謂以九居五也。

The Image Commentary says: "The case is originally most auspicious," because the Nine in the Fifth is both central and upright. Being central means that when hearing cases, there is no partiality toward either side; being upright means that when making judgments, they are in accordance with reason. What is meant by central and upright is that a yang line, the Nine, occupies the fifth position, which is a respected position. Occupying the center of the upper trigram is called "central," and a yang line in a yang position is called "upright."

上九：或錫之鞶帶，終朝三褫之。鞶帶，命服之飾。褫，奪也。乾為衣為圜，有帶象。上以剛居訟極，三柔而不抗，故能勝之，有錫命受服之象。曰或者，亦未必然之辭也。變兌為毀折，過剛不中，以訟得之，豈能安久，故又有終朝三褫之象。蓋好訟不已，以無理而取勝，其所得，終亦必失也。

Upper Nine: Perhaps he will be given a wide sash, but it will be taken away three times in the morning. A sash is an ornament on court robes, and 'chī' means to take away. Qian represents clothing and a circular ring, so there is an image of a sash. Upper Nine, being a strong Yang line at the extreme of contention, faces a weak and non-resistant line six in the third, so he can win the lawsuit and thus there is an image of receiving court robes. The use of 'perhaps' also conveys an uncertain tone. If Upper Nine changes, the upper trigram becomes Dui, which represents destruction. Since it is overly strong and not in the center, and the robes were obtained through litigation, how can he hold onto them for long? Thus there is also the image of 'losing the sash three times in the morning.' In summary, persisting in litigation without reason, winning by improper means, will eventually lead to losing what has been gained.

象曰：以訟受服，亦不足敬也。受服尚不足敬，況三褫隨之乎。甚言以愧之也。全卦以九五為聽訟之大人，餘皆訟者。聽訟者，欲其有中正之德，化天下於無訟。訟者，欲其有孚惕之心，不可成其訟。初三質柔而不欲成訟，四知理而不欲成訟，所以皆吉。二知勢而不敢成訟，所以無眚。獨上終訟，故雖訟而不足敬也。

The Image Commentary says: Those who obtain official titles through litigation are not worthy of respect. Even receiving an official title through grace is not something to be respected, let alone the subsequent "three dismissals." The Image Commentary speaks so strongly in order to make him feel ashamed. Looking at the entire hexagram: the Nine in the Fifth represents the great person who hears cases, while the other lines represent the parties involved in litigation. The one who hears cases should possess the virtue of uprightness and justice, and lead the world to a state of no disputes. The litigant should be sincere and cautious, and avoid bringing lawsuits. The initial line and the sixth line are weak in nature and do not wish to bring lawsuits, so they receive good fortune. The Nine in the Fourth understands the principles and does not wish to bring lawsuits, so he receives "no calamity." Only the Nine at the Top brings the lawsuit to its conclusion, so although he wins the case, he is not worthy of respect.

師，下坎上坤。二體為地中有水，聚眾之象。二卦之義，內險外順。險道而以順行，有師之義。六爻以一陽統眾陰，有大將率師之象。二剛居下，五柔居上任之，人君命將出師之象。故名為師。師次於訟。按《序卦》，訟必有眾起，故受之以師。師旅之興，由於有爭，所以次訟也。出師貴乎得正，而用將在乎得人。此全彖之大旨也。

The lower trigram of the Hexagram "Military Campaign" is "Kan" (Water), and the upper trigram is "Kun" (Earth). When viewed together, "Kun" represents Earth and "Kan" represents Water. Water is stored within the earth, gathering without dispersing, which is the image of gathering people. In terms of the virtues of the trigrams, the inner trigram "Kan" signifies danger, while the outer trigram "Kun" signifies compliance. The path taken is inherently dangerous, yet it is carried out with a gentle and compliant virtue, which aligns with the principles of military campaigns. Considering the six lines, the entire hexagram contains only one yang line, nine two, which leads the other five yin lines, like a general commanding the army. Nine two, a strong line in a lower position, and six five, a weak line in a higher position, entrusting the military command to nine two, is the image of a sovereign appointing a general to lead an expedition. Therefore, this hexagram is named "Military Campaign." The Hexagram "Military Campaign" follows the Hexagram "Contention." The "Sequence of Hexagrams" states: when contention arises, people naturally gather in response, hence the Hexagram "Contention" is followed by the Hexagram "Military Campaign." The origin of military campaigns lies in contention, which is why it comes after "Contention." The most important aspect of military action is the proper name or justification, and the most crucial part of appointing a general is selecting the right person—these two statements are the main points of the hexagram's statement.

九二以陽剛在下卦之中，為老成之將。六五相應，為任將之君。三四亦皆將兵之臣。二以居中持重而吉。三以躁妄而凶。四以柔自守，僅可無咎。初為出師之始，貴其紀律之明。上為行師之終，尤欲論功行賞之當。蓋六爻而行師之道備矣。

Nine in the Second, with its yang strength occupying the central position of the lower trigram, represents a mature and cautious general; Six in the Fifth is above it and corresponds with it, representing the monarch who entrusts the general; Six in the Third and Six in the Fourth are also officers leading troops. Nine in the Second, because it is in the central position, is able to be cautious and thus attains good fortune; Six in the Third, being impetuous and reckless, leads to misfortune; Six in the Fourth, by being gentle and compliant, maintains the entire army and retreats without error, achieving only the avoidance of mistakes; Six at the Beginning, located at the start of the military campaign, is valuable for its strict discipline; Six at the Top, located at the end of the military campaign, is most important for properly rewarding meritorious deeds. The six lines, arranged from beginning to end in this way, fully encompass the principles of military conduct.

又師與比反對，皆以一陽統眾陰，而義各有所取。蓋先王之制民，居則為比閭族黨，故比則眾在內，而一陽在上為之主，君象也。行則為伍兩卒旅，故師則眾在外，而一陽在下為之統，將帥象也。此又二卦取義之意也。

Furthermore, the hexagram "Military Campaign" (师) and "Following" (比) are "opposite" hexagrams, with their trigrams reversed. Both consist of a single yang line governing five yin lines, but their meanings emphasize different aspects. In ancient times, the sovereign organized the people: in times of peace, they were grouped into "bi" (比), "lv" (闾), "zu" (族), and "dang" (党), so the hexagram "Following" has five yin lines inside and one yang line at the top, symbolizing the ruler. When going out to fight, they were organized into "wu" (伍), "liang" (两), "cu" (卒), and "lv" (旅), so the hexagram "Military Campaign" has five yin lines outside and one yang line at the bottom, symbolizing the general. This is the meaning behind the distinct interpretations of these two hexagrams.

師：貞，丈人吉，無咎。師，兵眾也。下坎上坤。以卦象言，地中水聚，猶師之聚。以卦德言，坎險坤順，古者寓兵於農，伏至險於大順，藏不測於至靜之中。卦唯九二一陽在下卦之中，為將之象。上下五陰從之，為眾之象。又九二以剛在下統眾，六五以柔在上而應之，為人君命將出師之象。

The Hexagram Statement of "Military Campaign" says: To hold to the right path, and have an experienced and prudent elder in command of the army is auspicious, and there will be no mistakes. "Military Campaign" refers to the army and the people. The lower trigram is "Kan" (Water) and the upper trigram is "Kun" (Earth). From the image of the hexagram, water gathered in the earth is like the gathering of people into an army; from the virtue of the trigrams, "Kan" represents danger and "Kun" represents compliance. In ancient times, soldiers were embedded among farmers, which is like hiding extreme danger within a very gentle form, and concealing unpredictable danger within the quiet routine of daily life. The entire hexagram has only one yang line, nine two, in the middle position of the lower trigram, which represents the general; the five yin lines above are following it, representing the soldiers. Moreover, nine two, with its yang strength in a lower position, leads the people, while six five, with its yin softness in a higher position, corresponds with it, which is the image of a ruler appointing a general and sending troops into battle.

貞，正也，所謂仁義之師、師出有名者也。丈人，老成持重、眾所畏服者也。言行師之道，當以貞為本。而用將，又必得老成持重之人，乃有全師戰勝之吉，無窮兵黷武之咎。言吉而又曰無咎者，蓋動眾而無功，罪也。有功而貽患，亦非善也。故必吉乃無咎，而吉又貴於無咎也。

"Zhen" means "correct," referring to a righteous and virtuous army that has a just cause for going to war. "Zhangren" refers to an elder who is mature, steady, and respected and trusted by others. This means: in conducting warfare, one must take the correctness of name and position as the fundamental principle; and in appointing generals, it is essential to have the support of such elders, thereby ensuring the safety of the entire army and the ability to defeat the enemy, bringing auspiciousness rather than the calamity of unnecessary and excessive warfare. Although it has already said "ji" (auspicious), why is "wu jiao" (no blame) also mentioned? Because launching a military campaign without achieving any success is a fault; even if there is success but leaving behind future troubles, it is not considered good. Therefore, only when there is "ji" can there be "wu jiao," and the value of "ji" lies precisely in its ability to avoid faults.

彖曰：師，眾也；貞，正也。能以眾正，可以王矣。此以卦體釋師貞之義。以，能左右之也。坎以一陽而能統上下五陰，皆歸於正道，則順天應人，可以為王者之師矣。以之正則為王，微有不正則為霸。行一不義，殺一不辜，而得天下不為，所謂以眾正，而為王者之師也。

The Commentary on the Judgment says: "Shi" means multitude, and "Zhen" means uprightness; being able to lead the multitude to follow the upright path can accomplish the imperial cause. This passage uses the "hexagram structure" -- that is, the yao arrangement of one yang line governing five yin lines -- to explain the hexagram name "Shi" and the hexagram statement "Zhen." "Yi" means to be able to control or guide: a yang line in Kan can govern the five yin lines above and below, bringing them all to the upright path. Thus, it accords with heavenly principle above and responds to human hearts below, qualifying as the army of a king. To use the multitude in uprightness is the way of the king; if even slightly deviating from uprightness, it falls into the way of the hegemon. To commit an unjust act or kill an innocent person in order to gain the world, a king would not do it -- this is called "using the multitude in uprightness," and only then can one be called the army of a king.

剛中而應，行險而順，以此毒天下而民從之，吉又何咎矣。以卦體言之，九二剛中而六五應之。剛而得中，恩威並濟。五與為應，則君之信任專矣。以卦德言之，坎險坤順，雖行危道而順人心。以此興師，雖勞民傷財，不無毒於天下，而民悅而從，則有吉而無咎矣。此釋丈人吉無咎之義也。

The Commentary on the Judgment continues: Yang strength is in the center with support above, proceeding along a dangerous path yet acting with gentleness. By doing so, the whole world suffers but the people still follow. Since it brings good fortune, where is there any fault? In terms of the structure of the hexagram, Nine in the Second is Yang strength in the center of the lower trigram, while Six in the Fifth is above and corresponds with it. Yang strength in the center means both benevolence and authority are exercised without bias. Six in the Fifth corresponds exclusively with it, indicating the ruler's trust is single-minded. In terms of the hexagram's virtue, "Kan" represents danger and "Kun" represents gentleness. Although the path taken is that of military action, which is dangerous, it follows the people's will. By employing such a method of warfare, even though it may cause hardship and harm to the people, it cannot be said to have no harmful effects on the world. However, since the people are pleased and follow, there is good fortune and no fault. This passage explains the hexagram statement "The elder man is auspicious, no fault."

象曰：地中有水，師。君子以容民畜眾。地中有水，有包容畜聚之象。古者兵出於民，容保其民，即以畜聚其眾。水不外於地，兵不外於民也。容民則無流民，畜眾則無叛眾。容之畜之於無事之時，而用之於有事之日。

The Image Commentary says: The earth contains water, which is the image of the卦 of Military Campaign. The gentleman takes this image as a model, to embrace the people and to gather the masses. The earth can contain water, and water can gather in the earth, thus forming the image of containment and gathering. In ancient times, the source of soldiers came from the people. To embrace and preserve the people is equivalent to gathering one's soldiers; water is not outside the earth, and soldiers are not outside the people. To embrace the people will prevent the existence of wandering and homeless people; to gather the soldiers will prevent the occurrence of rebellious troops. During times of peace, one embraces and nurtures them, and when there is a need, they can be used.

初六：師出以律，否臧凶。律即紀律。否臧謂不善，即無紀律之謂也。初，出師之始，出師之道當謹於始。以律則吉，不善則凶。蓋以初六才柔，故有否臧之戒。然以律不言吉，否臧則凶者，律令謹嚴，出師之常，勝負猶未可知。若失律，則凶立見矣。象曰：師出以律，失律凶也。按，《程傳》釋臧為勝，謂失律雖勝亦凶也。今按，《象傳》似竟以否臧為失律為是。

Initial Line Six: Military campaigns depend on orders and discipline; if discipline is poor, it will be disastrous. 'Law' refers to discipline; 'fu zang' means poor discipline, that is, no discipline. Initial Line Six is at the beginning of a military campaign, and the way of military action most requires caution at the start: with discipline it is auspicious, but with poor discipline it is disastrous. Because Initial Line Six is yin and weak, it is prone to disorder and slackness, so it specifically warns against 'fu zang'. However, the line statement does not grant a 'auspicious' judgment for 'using law', but directly states 'disastrous' for 'fu zang', because strict orders are just the usual aspect of military campaigns; even if they are present, victory is not certain, and the outcome is still uncertain; once discipline is lost, disaster comes immediately. The Image Commentary says: military campaigns depend on discipline; losing discipline brings disaster. According to the 'Cheng Transmission', 'zang' is interpreted as victory, meaning that even if losing discipline leads to aby chance victory, it is still disastrous. However, in today's view, it is more appropriate to directly interpret 'fu zang' as 'losing discipline' as the Image Commentary does.

九二：在師中，吉無咎，王三錫命。九二以剛居柔，在下卦之中，有在師中吉無咎之象。上應六五之柔，為君所寵任者也，有王三錫命之象。在師中吉無咎，竟作在師而得中，不必又云在師之中。蓋剛柔兼濟，故有克敵全師之吉，無躁妄逗撓之咎。此即彖之所謂丈人也。錫命至於三，言極其寵，故權無中制，所向得有功也。

Nine Two: Being in the army yet able to maintain the middle path brings good fortune and no blame. The king bestows three mandates. Nine Two, with a yang line in a yin position, is located in the center of the lower trigram, thus reflecting the image of 'being in the army and achieving good fortune without blame.' It is in harmony with the yin line of Six Five, indicating a person favored and entrusted by the sovereign, hence the image of 'the king bestowing three mandates.' The phrase 'being in the army and achieving good fortune without blame' can be directly understood as 'being in the army and maintaining the middle path,' without needing to interpret it as 'being in the center of the army.' Nine Two combines both yang and yin, thus achieving victory over the enemy while preserving the entire army, without the faults of rash action or hesitation. It is the 'elder man' mentioned in the hexagram statement. The repeated bestowal of mandates three times signifies extreme favor, implying that the general is stationed abroad without being controlled by the court, and wherever his forces go, they achieve success.

象曰：在師中吉，承天寵也；王三錫命，懷萬邦也。爻就二之剛中得吉，兼由上之寵任言。《象傳》專重人君任將之道言。言二之中而得吉，以承天之寵故也。人君三錫命於將，亦非徒私於一將也。蓋將以綏懷萬邦，必專其事權，以責其成功也。

The Image Commentary says: "It is auspicious to be in the army," because it receives the favor and trust of the sovereign; "The king bestows the mandate three times," in order to pacify and win over all the states. The Line Statement speaks of the auspiciousness of Nine in the Second, which is strong and in the center, and thus obtains good fortune, while also mentioning the sovereign's favor and appointment. The Image Commentary, however, discusses exclusively the way of the sovereign appointing a general. It says that Nine in the Second attains good fortune by maintaining the center, precisely because it receives the sovereign's favor and trust. The sovereign bestowing the mandate repeatedly is not merely favoring a single general. The purpose of bestowing the mandate is to pacify and win over all the states, and for this it is necessary to entrust the authority solely to him, so that he may be held accountable for success.

六三：師或輿尸，凶。六三眾陰在上，有積尸之象。坤為輿，坎為輪，有輿尸象。六三以陰居陽，不中不正，才弱志剛，輕躁以進，師徒覆敗，輿尸以歸也。此按，《本義》如此。又按，《程傳》《蘇傳》皆以輿為眾。尸，主也。小人掣肘，號令不一，必至敗也。今觀下文弟子輿尸，則程、蘇之說為順。象曰：師或輿尸，大無功也。本欲躁妄以圖功，而至於大無功，非徒小挫而已。

Six in the Third: The army may return by carriage carrying corpses, which is ominous. Above the Sixth in the Third, there are many yin lines stacked together, symbolizing a pile of corpses. "Kun" represents carriages, and "Kan" represents the wheels of a carriage, together forming the image of carrying corpses. The Sixth in the Third, with a yin line in a yang position, is neither in the center nor in the correct position. It has a weak quality but a strong and impetuous will, leading to reckless advances and the complete defeat of the army, which can only return by carriage carrying the dead. This is according to Zhu Xi's "Benyi." Alternatively, according to Cheng Yi's "Chengzhuan" and Su Shi's "Suzhuan," "yu" is interpreted as "the people" and "shi" as "the master": meaning that petty people interfere from the side, and everyone wants to be the master, leading to a lack of unified command and certain failure. Considering the following line, Sixth in the Fifth, "disciples carry corpses," Cheng and Su's interpretation is more coherent. Therefore, Chen Menglei presents both interpretations but prefers Cheng and Su's. The "Image Commentary" says: the army may return carrying corpses, which is a great effort with no result. The intention was to achieve military success through reckless and risky advances, but the result is no achievement at all, not just a minor setback.

六四：師左次，無咎。軍尚右。左次，退舍也。陰柔不中而居陰得正，故有左次之象。全師以退，賢於六三，故無咎。象曰：左次無咎，未失常也。恐人以退為怯，故云。知難而退，師之常也。

Six in the Fourth: The army retreats to the left, without fault. In ancient times, the right side was considered honorable and for advancing, so "retreating to the left" signifies the army withdrawing and taking up position. Six in the Fourth isyin softness and not in the central position, yet it occupies a阴 position and is correct, hence the image of "retreating to the left." It preserves the entire army before retreating, which is far superior to the situation in Six in the Third, where the army is defeated and the dead are carried away. Therefore, there is no fault. The Image Commentary says: Retreating to the left without fault is because it does not violate the usual principles of warfare. This is to prevent people from viewing retreat as cowardice, so it specifically points out that knowing when to retreat when unable to fight is itself a standard practice in warfare.

六五：田有禽，利執言，無咎。長子帥師，弟子輿尸，貞凶。六五用師之主，柔順而中，不為兵端者也。然敵加於己，不得已而應之。應坎為豕，為田中有禽害稼之象。言，語辭。利於摶執之，無窮黷之咎也。長子，九二也。弟子，三四也。長子即丈人，自眾尊之曰丈人，自爻象之曰長子。二互三四為震，長子之象。五獨與二為應，故有使長子帥師之象。

Six Five: There are wild animals in the fields causing damage, it is advantageous to capture them, there will be no fault; it is appropriate to entrust the experienced elder to lead the army, but if young men are involved together, they will return with corpses, even if the cause is pure, it will be dangerous. Six Five is the ruler who commands the military, it is gentle and occupies the central position of the upper trigram, originally not the one who initiates the war; only because the enemy attacks, it is forced to take up arms. It corresponds to Nine Two, which belongs to 'Kan', Kan represents pigs, so the image is of wild animals trampling the crops in the fields. 'Yan' is a grammatical particle with no real meaning. Since wild animals are damaging the crops, it is advantageous to capture them, thus avoiding the mistake of excessive warfare. 'Changzi' refers to Nine Two, 'disizi' refers to Six Three and Six Four. 'Changzi' refers to the 'zhangren' in the hexagram statement: from the perspective of being respected by the people, it is called 'zhangren', but from the perspective of the line, it is called 'changzi'—Nine Two together with Six Three and Six Four form 'Zhen', Zhen represents the elder son, so there is the image of 'changzi'. Six Five corresponds only with Nine Two, thus there is the image of entrusting the elder son to lead the army.

又因以戒之，言任將在審且專。設若任君子而使小人參，則使之輿尸以歸。出師之名義雖正，不免覆敗之辱矣。此彖既言貞，而又言必用丈人乃吉之意也。按，《本義》弟子輿尸句其解如此，未免弟子下費一轉折。不如程、蘇二傳，任長子而使眾弟子參之，雖正亦凶，於文義尤順也。

The line statement then proceeds to warn: appointing generals should be cautious and exclusive. If one has already appointed a gentleman but also sends commoners to interfere, then the result will be returning with corpses; even if the military campaign is justified in name, it will still lead to defeat and disgrace. This is exactly the meaning behind the hexagram statement which first mentions "uprightness" and then necessarily refers to "the elder brother" as being auspicious. According to the "Benyi" (Original Meaning), the explanation of the phrase "disciples carry corpses" is as above, though the term "disciples" requires an additional turn of phrase to make sense. It is better to follow the interpretations of Cheng Yi and Su Shi: if one has already appointed the eldest son but allows a group of disciples to interfere, then even if the cause is pure, it will still be ominous—this interpretation is more coherent in meaning.

象曰：長子帥師，以中行也；弟子輿尸，使不當也。長子所以可帥師者，以剛中之德行之也。弟子非不可使，使叅長子之權，則不當矣。眾之死生，國之存亡，在君之使，可不審哉。

The Image Commentary says: Assigning the eldest son to lead the army is because he can act in the middle way; sending a younger son back with the corpse is because the king's appointment is improper. The eldest son is able to lead the army precisely because he possesses the virtue of being strong and upright while maintaining the middle path. A younger son is not absolutely unfit for appointment, but if he is sent to divide the eldest son's military authority, then the appointment is inappropriate. The lives of all the soldiers and the survival of the entire country depend on how the king appoints people. How can this not be approached with caution?

上六：大君有命，開國承家，小人勿用。上，師之終，論功行賞之時。坤為土，有開國承家之象。陽大陰小，陰爻重疊，小人之象。變艮為止，勿用之象。按，《本義》，小人雖有功，不可使有國土，但優以金帛可也。蓋以兵多詭道，立功不必皆君子，故小人之賞雖不可無，而用之使有國有家則不可。此說雖順，然論功封爵土，必無但賞以金帛以金帛之理。不如來注以用為任之以政事為是。蓋小人功大開國，功小承家，使之享有爵土，不必任以政事。如光武雲臺之將，鄧禹、賈復外不任以政是也。

Upper Six: The Son of Heaven issues an imperial decree, granting titles to those with great merit as feudal lords, and lesser titles to those with less merit as ministers. Commoners should not be appointed to office. Upper Six is at the end of the "Militant Force" hexagram, which is the time for rewarding merit. "Kun" represents land, so there is an image of granting fiefs and establishing families. Yang represents greatness, while Yin represents smallness. Here, the Yin lines are repeated, indicating the image of commoners. If Upper Six changes, the Upper Trigram becomes "Gen," which means stopping, hence the image of "not using" them. According to the "Ben Yi" interpretation: although commoners may have merit, they should not be given fiefs; instead, they should be rewarded with gold and silk. Because warfare often involves deceit, those who achieve merit may not all be virtuous, so rewards for commoners should not be omitted, but granting them states or families should not be allowed. This interpretation is reasonable, but if it is about rewarding merit with titles and land, there is no reason to merely give them gold and silk. It is better to follow Lai Zhide's interpretation, which takes "use" as "entrusting them with government affairs": even commoners with great merit are granted states, and those with lesser merit are granted families, allowing them to enjoy titles and land, but not entrusting them with government affairs. For example, the Han Guangwu Emperor's cloud platform generals, except for a few like Deng Yu and Jia Fu, were not allowed to participate in government affairs, which was exactly this method.

象曰：大君有命，以正功也；小人勿用，必亂邦也。論功行賞以正其功，君子小人皆在所錄也。但用之使豫國家之事，則邦必亂矣。出師本以綏懷萬邦，豈復容小人亂之哉。錫命於行師之始，專在丈人；有命於行師之終，戒在小人。用將不可不知人也。

The Image Commentary says: The Son of Heaven issues decrees to determine the merits of individuals; small persons should not be appointed, for employing them will surely bring disaster to the state. Appraising merit and rewarding accordingly is to evaluate the merits of each person properly, whether they are gentlemen or small persons, all are included in the scope of appointment; however, if small persons are allowed to participate in state affairs, the state will certainly be in great disorder. The purpose of military campaigns is originally to pacify and bring peace to all states, so how could it be that small persons are allowed to disrupt it? At the beginning of a military campaign, the decree is specifically given to the "elder statesman"; at the end of the campaign, the decree specifically warns against small persons. This shows that appointing generals must not fail to recognize people properly.

全卦於用師之道最為詳盡。王者之師在於得正，尤貴於擇人。專任君子而不以小人叅之，此人君御將之道也。行師者貴有剛中之德，而又得君之委任。師之出必紀律嚴明而後可以制勝。其或敵強我弱，則當知難而退，寧為四之左次，勿為三之輿尸，此為將之道也。至於論功行賞，則有開國承家茅土之封，而小人必不可豫家國之事。此聖人之垂戒深遠，非若後世權謀苟且之事。凡命將出師之道盡於斯矣。

Looking at the entire hexagram, it discusses the principles of warfare in the most detailed manner. The army of a sovereign ruler first requires proper moral standing, and especially emphasizes the selection of people: employing exclusively virtuous men and preventing the involvement of petty men, which is the way for a ruler to manage his generals. Those leading troops must possess the virtue of being strong yet moderate, and also receive exclusive appointment from the sovereign. When the army moves out, strict discipline is essential for victory. If the enemy is strong and we are weak, we should retreat when faced with difficulties, preferring to retreat to a single lodging place as in the fourth line, rather than suffering a complete defeat as in the third line—this is the way of being a general. As for rewarding merit, those with great achievements should be given land and titles, while those with lesser achievements should be entrusted with family matters. Petty men, no matter how capable, must never be allowed to participate in state affairs. The admonition conveyed by the sage here is extremely profound, far surpassing the petty and cunning strategies of later generations. All the principles concerning the appointment and deployment of generals are fully contained within this hexagram.

比卦，下坤上坎。以二體言之，水之在地上，親切無間，有比之象。又卦以九五一陽為上下五陰所親附，亦比之義，故曰比也。比卦次師。按《序卦》，眾必有所比，故受之以比。人類既多，必相親附而後能安，比所以次師也。

The lower trigram of the "Compare" hexagram is "Kun" (Earth), and the upper trigram is "Kan" (Water). Considering the two trigrams together, water lying on top of the earth, closely adhering to it without any gap in between, represents the concept of "compare" — which signifies closeness and mutual support. Furthermore, from the perspective of the lines, the entire hexagram is characterized by the single yang line, "Nine in the Fifth," being closely approached and attached by the five yin lines above and below. This also embodies the meaning of "compare," hence the name of the hexagram. The "Compare" hexagram follows the "Military" hexagram. According to the "Sequence of Hexagrams," when people gather together, they must have someone to rely on, hence the "Military" hexagram is followed by the "Compare" hexagram. When people come together in numbers, they must be close and supportive of each other in order to achieve stability, which is why the "Compare" hexagram comes after the "Military" hexagram.

卦以九五為君象，陽剛中正，為眾所歸，相親相輔。但當自審於先，不可失之於後。此全彖之大旨也。六爻以五為比之王，五陰皆求比之。初以先而吉，上以後而凶。二以應五為自內，四以承五為外比，故皆吉。唯三失其所比，離五既遠，而應於無位之上，所以傷也。此六爻之大略也。

This hexagram uses nine five as the image of a ruler: yang and strong, occupying the central position and being upright, everyone comes to rely on him, and the upper and lower are close and supportive of each other. However, if one wishes to rely on others, one should examine them clearly beforehand, and not wait until later to rely on them. These two points are the main idea of the hexagram statement. In terms of the six lines, nine five is the king who is relied upon by all the yin lines: the first six, because it was the first to rely, gains good fortune; the sixth at the top, because it was the last to rely, incurs misfortune; the sixth two, which corresponds with nine five, relies from the inner trigram; the sixth four, which closely follows nine five, relies from the outer trigram, so both are good. Only the sixth three has lost the object it should rely on—the distance from nine five is great, and it corresponds with the sixth at the top, which is an unoccupied line, so it suffers harm. This is the general idea of the six lines.

比：吉。原筮元永貞，無咎。不寧方來，後夫凶。比，親輔也。卦以九五一陰為上下眾陰所歸，以一人而撫萬邦，以四海而仰一人，故有親輔而吉之象。原筮，再筮也。蒙卦坎一陽在下曰初筮，比坎一陽在上曰原筮。比本坤卦，以再筮得乾之五，具乾之與坤之永貞，故有原筮元永貞無咎之象。水性流動，終有所歸，有不寧方來之象。九五一陽已為眾所歸，上後來以陰變陽，兩雄不併棲，有後夫凶之象。

The Hexagram of "Comparison" states: auspicious. If one again consults the oracle, as long as one possesses great virtue, enduringness, and firmness, there will be no fault. Originally unstable countries in all directions will come to submit, but those who come too late will be inauspicious. "Comparison" means to be close and assist. This hexagram has the line nine five as the common destination of all the yin lines above and below (the original text says "one yin," but according to the meaning, it should be "one yang"). With one person, the myriad states are pacified; with the four seas, all look up to one person, hence the image of being close and obtaining auspiciousness. "Original divination" means re-divination: the "Kan" in the Hexagram of "Meng" is one yang at the bottom, hence called "first divination"; the "Kan" in the Hexagram of "Comparison" is one yang at the top, hence called "original divination." The Hexagram of "Comparison" originates from the Hexagram of "Kun," and through re-divination, the yang line of the Hexagram of "Qian" enters the fifth position, thus combining the "origin" of "Qian" and the "enduring sincerity" of "Kun" (the original text says "combining the yang of Qian and the enduring sincerity of Kun," with a possible missing "origin" after "Qian"), hence the image of "original divination, origin, enduring sincerity, no fault." Water is flowing, and eventually it must have a destination, hence the image of "unresting countries coming to submit." The line nine five, with one yang, has already become the destination of all, but the line six at the top comes later and wants to change from yin to yang to claim leadership. Two strong males cannot dwell together, hence the image of "the one who comes late is inauspicious."

占者得此，則我當為人所親輔而吉。然人之歸我，歸於德也。必我有元善永長正固之德，然後可以當眾之歸而無咎。其未比於我而有所未安者，亦將來歸。若彼遲而後至，則此交已固，彼來已晚而得凶矣。

The person who draws this hexagram will find themselves being closely supported and assisted by others, resulting in good fortune. However, the reason others come to me is due to my virtue. I must possess great goodness, enduring strength, and firm integrity, so that I can bear the support of many without causing any mistakes. Those who have not yet come to support me and still feel uncertain will eventually come to me. If they arrive late, then by that time my alliances have already become solid, and their late arrival will bring misfortune.

卦就人比我言之。《本義》謂我比人，以是反觀。然玩彖意，則比人之占已在其中。蓋卦以坎五為比之主，故我有元永貞之德，則人自當速比於我，而彼之後至者凶矣。若我無其德，則必求有是德者比之，我不可自取後夫之凶。蓋卦具此象，筮者各隨所問以為占，不可執一而論也。

This hexagram is presented from the perspective of "others coming to attach themselves to me." Zhu Xi's "Benyi" interprets it as "I going to attach myself to others," urging people to think in reverse. However, upon careful consideration of the meaning in the "Tuan Zhuan," the idea of "I going to attach myself to others" is actually already included. Since the entire hexagram takes the nine five line of the upper trigram Kan as the main element of "comparison," if I possess the virtues of "origin," "eternity," and "uprightness," others should naturally come to attach themselves to me, and those who come late will be in danger. If I lack these virtues, I must seek out someone who has them and attach myself to him, and I must not fall into the danger of being the "late husband." In summary, the hexagram encompasses both aspects, and those who divinate should judge according to their own specific questions, without rigidly adhering to only one aspect.

彖曰：比，吉也。《本義》謂三字皆衍。《大全》謂衍「也」字，今從之。

The opening of the Commentary on the Judgment says "比，吉也." Zhu Xi's Benyi argues that these three characters are all later additions and should not have been included. The Zhou Yi Dianquan, however, believes only the character "也" is an addition, and the original text of the Commentary on the Judgment should read "比，吉" as a complete sentence, followed by "比，辅也" and so on. Chen Menglei follows the Zhou Yi Dianquan's view here, retaining "比吉" and deleting the "也" character.

比，輔也，下順從也。比之所以吉者，以比有輔之義，臣下皆順從之，所以吉也。順者，情不容己。從者，分不可逃。謂陽居尊而陰在下也。此以卦體釋卦名及比吉之義。

The Commentary on the Judgment says: "To 'compare' or 'unite' means to assist. The many yin lines below are all obedient to the single yang line above. The reason the卦 of 'Comparison' is auspicious is because 'comparison' includes the meaning of close assistance. The line nine in the fifth position, being yang and strong, occupies the honorable position, and the five yin lines all obey and assist him, hence the auspiciousness. What is meant by 'obedience' is that there is a natural affection and eagerness to adhere; what is meant by 'following' is that by virtue of rank, one must obey and has no choice but to do so. This describes precisely the situation where a yang line is in a high and honorable position while the many yin lines are below. This sentence uses the 'structure of the hexagram,' that is, the arrangement of lines with one yang and five yin, to explain the name of the hexagram 'Comparison' and why it is auspicious.

原筮元永貞，無咎，以剛中也。不寧方來，上下應也。後夫凶，其道窮也。此亦以卦體釋卦辭也。剛謂五。以者，因也。因剛中則私無所留，所以為元。剛中則健而不息，所以為永。剛中則正固不偏，所以為貞。上下謂五陰。凡卦皆以剛柔兩爻相應，此則以五陰應五之一陽，又為一例。然師亦一陽五陰，以專以五為應者？師以君任將，則其任專。比以君臨下，則其分嚴也。

The Commentary on the Judgment says: The Hexagram Statement says "Original divination, great virtue, constant uprightness, no blame," because the Nine in the Fifth is yang and occupies the center; it says "Those who are not at peace will come," because all the yin lines above and below respond to it; it says "Those who come late will meet with misfortune," because the line at the top is already at the extreme. This section also uses the structure of the hexagram to explain the Hexagram Statement. "Yang" refers to the Nine in the Fifth, "because" is the reason. Yang occupying the center leaves no private thoughts in the heart, so it is called "great virtue" (yuan); yang occupying the center is vigorous and unceasing, so it is called "long-lasting" (yong); yang occupying the center maintains uprightness firmly without deviation, so it is called "uprightness" (zhen). "Above and below" refers to the other five yin lines. Usually, a hexagram has one yang and one yin line corresponding to each other in pairs. However, in this hexagram, five yin lines respond to one yang line, the Nine in the Fifth, forming a special case. However, the hexagram of "Military Campaign" also has one yang and five yin lines, yet it only takes the line at the Fifth position as the corresponding line. This is because the hexagram of "Military Campaign" represents a ruler entrusting military power to a general, appointing one person specifically, so only one line corresponds; the hexagram of "Following" represents a ruler personally visiting all the people under heaven, with clear distinctions, so all five yin lines must come to submit.

既曰上下應，又曰其道窮者。五陰皆有當應之道。獨上以一陰在最後，勢處於窮，所以凶也。乾上九曰窮之災，坤比上六皆曰道窮，皆以處上極窮故也。

The Commentary on the Judgment says both "the yin and yang correspond" and "its way is exhausted," which seems contradictory at first. In reality, the five yin lines originally all have the reasoning to correspond with nine five. However, the upper six is a yin line at the very end, and the situation has reached its limit, so it is judged as凶. The upper nine of the Qian hexagram is called "disaster of exhaustion" in the Wenyan; the upper six of the Kun hexagram and the upper six of the Bi hexagram both say "its way is exhausted": all these are because they are located at the top of a hexagram, have reached the extreme, and have no way to retreat.

象曰：地上有水，比。先王以建萬國，親諸侯。水比於地，不容有間。先王畫疆分國[文瀾本“國”作“野”]，使連屬相親。則諸侯知尊君親上，而天下從之矣。本義謂彖意人來比我，此取我往比人。然封建以治天下，使天下親於諸侯，即使諸侯親於天子，亦人來比我之意也。井田封建，先王治天下之大者也。於師得井田之法，使民自相合而無間。於比得封建之法，使君與民相合而無間。

The Image Commentary says: There is water on the ground, which is the image of the hexagram "Comparison." The former kings took this as a model, establishing the feudal system to enfeoff myriad states and to be close to the feudal lords. Water adheres to the ground, closely and seamlessly, leaving no space at all. The former kings set boundaries and enfeoffed states, making the states connected and close to each other. Thus, the feudal lords understood to honor the king and be close to their superiors, and the whole world would then follow accordingly. Zhu Xi's "Benyi" holds that the Commentary on the Judgment speaks of others coming to adhere to me, while the Image Commentary here takes the idea of me going to adhere to others. In reality, implementing the feudal system to govern the world and making the people adhere to the feudal lords is equivalent to making the feudal lords adhere to the Son of Heaven. It is still the meaning of others coming to adhere to me. The well-field system and the feudal system are the two major things the former kings used to govern the world. From the hexagram "Army," we derive the well-field system, making the people join together with no gaps; from the hexagram "Comparison," we derive the feudal system, making the ruler and the people unite with no gaps.

初六：有孚比之，無咎。有孚盈缶，終來有他吉。易六爻皆歸正應，獨比諸多皆以比五為義。他卦陽爻皆言有孚，此陰爻亦言有孚。程子所謂中實者信之質，中虛者信之本也。當比之始，虛中求比，意無他適，有有孚比之無咎之象。

The Line Statement for the initial line, Six at the Beginning: With sincere faith, one approaches others in intimacy, without fault; sincere faith is full like a jar, eventually bringing unexpected good fortune. In The Zhou Changes, the six lines generally take their conclusion from the proper correspondences between the first and fourth, second and fifth, and third and top lines. However, in the卦 of "Comparison," all lines are defined by their relationship with the nine in the fifth line. In other hexagrams, only the yang lines mention "sincere faith," but in this one, the yin line also mentions "sincere faith." This is exactly what Cheng Yi said: the solid line represents the essence of sincerity, while the hollow line represents the origin of sincerity. The initial line is at the beginning of intimacy, approaching others with a heart that is empty yet sincere, with no other intention, hence the image of "sincere faith in comparison, without fault."

坤為土。缶，土器。以陰變陽，又為仰盂。坎水下流，初變為屯。屯者，盈也。有水流盈缶之象。不與五應，而終比於五，有終來有他吉之象。言凡比之初，貴乎有信，則可以無咎。若誠信之心既充，則在我無他向之心。不但無咎，終且有他吉之來也。時解就人臣始仕者言，亦不必拘。凡事君交友有所資於人，皆從其占也。

In terms of imagery, the lower trigram is Kun (Earth), and the character 「fu」 (a vessel) is precisely a container made from clay; the first line, which changes from yin to yang, appears in the hexagram as an upturned basin. The upper trigram is Kan (Water), which flows downward; when the first line changes, the entire hexagram becomes Zun (Hexagram 1), and 「zun」 implies fullness, so there is an image of water flowing and filling the clay vessel. Originally, the first line corresponds with the fourth line rather than the fifth, yet ultimately it aligns with the fifth, hence the image of 「finally coming with additional good fortune」. This means that at the beginning of attachment, the most important thing is sincerity; with sincerity, there will be no mistakes. If sincerity is already full, one's heart will not be drawn elsewhere, not only avoiding mistakes but also eventually receiving additional good fortune. The ancient interpreters of the classics specifically applied this line to a minister's first appointment, but this need not be strictly adhered to; anyone serving a ruler or making requests of a friend can use this line for divination.

象曰：比之初六，有他吉也。言他吉，即於其初而信之，不待其終而見之也。六二：比之自內，貞吉。內外卦之分始見於此。以二應五，故曰比之自內。謂之自內，則涵養有素。道可格君，學可匡時。非以名求，以偽應者也。柔順而中正，故曰貞吉。

The Image Commentary says: The first line of the卦 of "Approach" has unexpected good fortune. Saying "he is auspicious" refers to having gained the trust of others from the beginning of attachment, without needing to wait until the end to see results. The line statement of the sixth line in the second position: it approaches the nine in the fifth from within the inner trigram, maintaining correctness and thus being auspicious. The distinction between the inner and outer trigrams becomes evident for the first time at this line. The sixth line in the second position resides within the inner trigram and corresponds to the nine in the fifth, so it is said "approaching from within." Saying "from within" shows that he has cultivated himself well: the principles he upholds are sufficient to correct the ruler, and the skills he possesses are enough to save the times. It is not someone who seeks advancement through reputation or uses false flattery. The sixth line in the second position is gentle and resides in the center and correctness, hence it is judged as "correctness brings auspiciousness."

象曰：比之自內，不自失也。陰柔恐自失其身，得正則不自失矣。已無所失，然後可以比人也。六三：比之匪人。六陰柔而居三，不中不正。承四乘二應上皆陰，所比皆非其人，不言凶而凶可知矣。

The Image Commentary says: To be closely attached to the inner trigram is to not lose oneself. A person with a yielding and weak nature is most afraid of losing their own conduct. If they can maintain uprightness, they will not lose themselves. Only when they do not lose themselves can they then go on to closely attach to others. The line statement of six three says: The one it is closely attached to is not the one it should be closely attached to. Six three, with a yielding and weak nature in the third position, is neither in the center nor does it occupy a yang position appropriately, as a yin is in a yang place. It is above six four, below six two, and corresponds to upper six. On all three sides, it is attached to yin lines, so the ones it is closely attached to are not appropriate. Although the line statement does not explicitly say 'misfortune,' misfortune is clearly implied.

象曰：比之匪人，不亦傷乎。比以求安也。上無首而三應之，所以傷也。承乘應皆陰。所應非人，尤重所應，如所事非人。所承所乘，如居之有鄰，學之有友，仕之有同寮皆是也。二、四皆吉，然皆陰爻，故統謂之匪人。

The Image Commentary says: To be close to the wrong person, is it not to invite harm? People seek closeness in order to seek security; now, the upper six 'compares without a leader,' and the six three goes to respond to it, thus suffering injury. The six three is supported by, rides upon, and responds to all yin lines. Among these, 'response' is most important, equivalent to serving an inappropriate person; as for the support and riding upon, they are like having neighbors at home, friends in study, and colleagues in officialdom. The six two and six four themselves both receive good fortune, but since they are both yin lines, they are here collectively referred to as 'wrong people.'

六四：外比之，貞吉。以柔居柔，外比九五為得其正，吉之道也。初不係四而比五曰他。四不係初而比五曰外。二曰自內，有以心許國之意。四曰外比，有公爾忘私之意。陰柔近君近於媚，故皆戒以貞吉。

The Line Statement for the Fourth Line: It approaches the Nine in the Fifth externally, maintains correctness and is auspicious. The Fourth Line, with its Yin and soft nature in a Yin position, is properly placed and correct. It approaches the Nine in the Fifth above, which is in accordance with the Way, thus indicating an auspicious path. The Initial Line does not cling to its proper corresponding Sixth Line but instead approaches the Nine in the Fifth, and the Line Statement calls this 'other auspiciousness'; the Fourth Line does not cling to its proper corresponding Initial Line but instead approaches the Nine in the Fifth, and the Line Statement calls this 'external alignment'. The Second Line says 'from within', implying sincere dedication to the state; the Fourth Line says 'external alignment', implying selflessness for the public good. Yin and soft lines close to the Sovereign's position are easily inclined towards flattery, so both lines use 'upright auspiciousness' to warn them to remain on the correct path.

象曰：外比於賢，以從上也。五以剛明中正之賢，又居君位。四外比之，豈徒以其賢哉。正以上下之分，有所必從，無所逃也。

The Image Commentary says: To attach oneself to a virtuous person externally is to follow the superior. Nine in the Fifth is a virtuous person who is strong, decisive, and upright, and holds the position of the sovereign. Six in the Fourth attaches itself to him externally; is it merely because he is virtuous? Rather, it is because the distinction between superior and inferior is established, and obedience is required, with no place to escape. The phrase 'to follow the superior' is emphasized here, clearly indicating that the meaning of the 'Comparison' hexagram does not lie in private friendship, but in the proper relationship between sovereign and subject.

九五：顯比。王用三驅，失前禽。邑人不誡，吉。五以一陽居尊，為眾陰所附，陽明光顯，有顯比之象。比為師之反。陽在上而統眾，有王用三驅之象。四陰皆順乎五。獨上背之，而五無容心，有失前禽之象。坤為土為邑為眾。五下四陰皆比，聽上之背去，邑人不誡之象。三驅宜從舊解，三度逐禽而射之也。

The line statement of the fifth line (nine five): To act with brightness and correctness, drawing the whole world to one's side. The king hunts and practices the ritual of driving animals three times, releasing those that run ahead; even those within his own territory are not guarded against, which is auspicious. The nine five, a yang line, occupies the exalted position, drawing all the yin lines to its side. The yang virtue is clearly visible, hence the image of 'manifesting comparison.' The hexagram of 'Comparison' is the reversed hexagram of 'Army.' In 'Army,' the single yang line is at the bottom, representing the general; in 'Comparison,' the single yang line is at the top, representing the king. The yang line at the top leading and commanding the people gives the image of 'the king driving animals three times.' All four yin lines are obedient to the nine five, except for the upper six, which is rebellious, yet the nine five does not mind, hence the image of 'losing the animals that run ahead.' The earth (kun) represents soil, territory, and the people. The four yin lines below the nine five all come to adhere, allowing the upper six to depart, which is the image of 'the people within the territory not being guarded against.' The 'three drives' should be interpreted as driving the animals three times and shooting them.

失前禽者。古田獵之禮。置旃以為門，刈草以為圍。獵者三面合圍，開其前門。天子自門驅而入，車三發，徒三刺謂之三驅。禽獸由門而出者皆免，惟在圍之中者殺之。圍三面而空其門，所謂天子不合圍，開一面之綱者此也。從門出者為前，故曰失前禽也。王用三驅句，不過言天子之田。失前禽句，中自有三面不合圍之意。若以三驅為三面驅禽以待射，則非矣。

When talking about "losing the birds that run ahead," one must first understand the ancient rituals of hunting. A flag was set up as a gate, and weeds were cleared to form the hunting ground. Hunters surrounded from three sides, leaving the front gate open. The Son of Heaven would drive in from the gate, with archers on the chariot shooting three arrows and infantry attacking three times. This was called "three drives." Animals that ran out through the gate were all let go, and only those remaining inside were killed. Surrounding from three sides while leaving one gate open was the meaning of the Son of Heaven not surrounding from all sides, but opening a way. Those that ran out through the gate were called "ahead," hence "losing the birds that run ahead." The phrase "the king uses three drives" merely refers to the usual hunting ritual of the Son of Heaven. The phrase "losing the birds that run ahead" naturally includes the meaning of not surrounding from three sides. If one interprets "three drives" as driving animals from three sides to shoot them, that would be a misunderstanding.

邑人不誡者，天子聽其去而不問。既無必得之心，則邑中之人亦無警備之意也。師比之五皆取禽象。然師之田有禽，害物之禽也。在師則執之，王者之義也。比之前禽，遠我之禽也。在比則失之，王者之仁也。然使邑人不喻上意，有唯恐失之之心，則禽無遺類，其仁不廣矣。故失前禽而邑人不誡，乃為吉也。此爻取象極得帝王之用心。蓋王者未嘗不欲萬國皆在綏懷之中，然惟順我撫而親之，其叛去者亦姑舍之。在內者安之，在外聽之。其心光明正大，在下亦相忘其化，王道所以隆也。

"The people of the town do not take precautions," means that the Son of Heaven allows fleeing animals to leave without pursuing them; since there is no determination to capture them above, the people in the town also do not think of being on high alert. Both the sixth line of the "Military Campaign" hexagram and the ninth line of the "Following" hexagram use animals as symbols, but the "Military Campaign" hexagram's "There are game in the fields" refers to animals that harm crops, which should be captured in "Military Campaign," representing the ruler's "righteousness"; the "Following" hexagram's "the game ahead" refers to animals that have moved away, which should be allowed to escape in "Following," representing the ruler's "benevolence." If the people of the town fail to understand the ruler's intention and everyone becomes anxious about losing them, then not a single animal would remain, and the ruler's benevolence would not be extended. Therefore, only when "the game ahead is lost" and "the people of the town do not take precautions" is it considered auspicious. This line's symbolism deeply reflects the ruler's mind: the ruler does not desire all states to be under his gentle influence, but he nurtures and draws close those who are obedient, and those who have left are left alone. Those within are made secure, while those outside are left to their own devices. The ruler's mind is broad and upright, and the people below are gradually influenced without realizing it, thus the way of the king flourishes.

象曰：顯比之吉，位正中也。舍逆取順，失前禽也。邑人不誡，上使中也。位在正中，心無偏黨，比之所以顯而得吉也。舍逆取順者。古人之獵，喜其向我而縱，惡其背我而殺之，似縱其順而殺其逆。今藉以為喻。但取往者不追，來者不拒之意。故以向我出圍者為逆，以縱之為舍。以背我入圍者為順，以殺之為取。舍逆取去，取其順者。順逆兩忘，德怨不任也。上使中者。王心無取舍，邑人亦無得失。共化於中，若上使之也。

The Image Commentary says: "Manifesting comparison" is auspicious because the Nine in the Fifth is both upright and central in its position; "abandoning the contrary and taking the harmonious" corresponds to "losing the bird before the net." "The people of the city are not warned" is because the sovereign governs them with the middle way. The Nine in the Fifth is central and upright, with no private favoritism, so the way of intimacy is clearly manifest and thus auspicious. As for "abandoning the contrary and taking the harmonious": in ancient times, when hunting, people favored those that ran toward them and let them go, while they disliked those that ran away and shot them. It seemed as if they were letting go of the harmonious ones and killing the contrary ones. Here, these two words are used as a metaphor, meaning "not pursuing those who leave and not refusing those who come." Therefore, those that run toward the hunter and break out of the net are called "contrary," and letting them go is called "abandoning." Those that run away from the hunter and remain in the net are called "harmonious," and killing them is called "taking." So "abandoning the contrary and taking the harmonious" means abandoning the contrary ones and taking the harmonious ones. Neither the harmonious nor the contrary occupy the mind, nor do grievances and kindnesses burden the heart. What is meant by "the sovereign governs with the middle way" is that the sovereign has no personal choice, so the people of the city have no sense of gain or loss, and both above and below are transformed by the middle way, as if the sovereign intentionally directed them.

上六：比之無首，凶。按，王注云，乾剛惡首，比吉惡後。五君元首之象，上六居五之後，比之不先，無首之象。即卦所謂後夫凶者也。本義謂陰柔居上，無以比下，為無首之象。蓋以卦畫之序言之，則上為後而初為先。以上下之體言之，則上為首而初為足。其才既不足以高人而為人之首，又不能自卑以後人而失其首。二意亦相貫也。乾以純剛盡變為柔曰無首，比以陰居上亦曰無首。而吉凶各異者。乾之無首，剛而能柔，不為首者也，故吉。比之無首，陰柔不足為首者也，故凶。

The line statement for the sixth line at the top says: being close but without a leader, it is凶 (unfavorable). According to Wang Bi's commentary, the Hexagram Qian consists entirely of strong lines, and it is to be avoided to compete for the leading position. The Hexagram Bi is primarily favorable, and it is to be avoided to be behind others. The line nine in the fifth is the ruler, symbolizing the head. The line six at the top is located after the line nine in the fifth, and its closeness is not early enough, which is the image of "without a leader," which is exactly what the Hexagram Statement says: "the one who comes later is凶 (unfavorable)." Zhu Xi's "Ben Yi" says: the line six at the top isyin softness (yin and soft) and is located at the highest position in the entire hexagram, so it lacks the strength to be close to the people below, hence the image of "without a leader." In fact, according to the order of the lines in the hexagram, the top is later and the first line is earlier; according to the positions of upper and lower parts, the top is the head and the first line is the foot. The line six at the top, due to its insufficient ability to surpass others and become the leader, and also unwilling to be humble and willing to be behind others, ends up losing even the position of the leader. The two interpretations can be connected. The Hexagram Qian, which is entirely strong lines and all six lines change to soft lines, is called "group of dragons without a leader." The Hexagram Bi, with a yin line at the top, is also called "without a leader," but the fortune is completely opposite. This is because: the "without a leader" in Qian is due to being strong yet flexible and voluntarily not taking the leading position, hence favorable; the "without a leader" in Bi is due to yin and soft nature being inherently insufficient to be the leader, hence unfavorable.

象曰：比之無首，無所終也。其德不足以為首，則其效不能以有終矣。全卦以一陽統眾陰，有君臨萬邦之象。故五陰皆以比五為義，而不論爻位之相應。五為人所比。貴於顯，顯則正大光明。取內四陰之比，而舍上之後比，不以為嫌。餘五爻皆比人者。惡其後，後則無始無終。故三以應上而傷。初以能比於先而吉。二以中正內比。四以得正外比。故皆有貞吉之占也。卦爻大意，取象於事君交友。而得此卦者，亦隨事以為占，不必泥也。

The Image Commentary says: If one is attached but lacks a leader, there will be no good outcome. If one's virtue is insufficient to be a leader, the result will naturally not be favorable. The entire hexagram is symbolized by a single yang line leading all the yin lines, representing a ruler governing all under heaven. Therefore, the five yin lines all take their meaning from their attachment to the nine in the fifth line, rather than according to their usual positional correspondences. The nine in the fifth line is the one being attached to, and its value lies in the word "manifest" — meaning upright and open. It accepts the attachment of the four yin lines within the inner trigram, yet does not mind the late attachment of the six at the top. The other five lines are those who are attaching themselves to others. They are most to be avoided if they lag behind, for lagging behind leads to an incomplete outcome. Thus, the six in the third line is injured because it corresponds to the six at the top. The six at the beginning gains good fortune because it was the first to attach. The six in the second line, by attaching from within with the virtue of being upright and correct, and the six in the fourth line, by attaching outwardly with the virtue of being properly positioned, both receive the divination of "upright good fortune." The general meaning of the line statements is taken from serving a sovereign or making friends. However, those who consult this hexagram should interpret it flexibly according to the specific question, without rigidly adhering to a single pattern.

小畜。小畜，乾下巽上。巽一陰伏於二陽之下，故其德為巽為入，其象為木為風。畜，止之也。畜止剛鍵，莫如巽順。乾在上之物，乃居巽下，為巽所畜，故為畜也。然以陰畜陽，能係而不能固。以柔順柔其剛健，非能力止之也。所畜者小之義也。又卦唯六四一陰得位，上下五陽說之，皆為所畜。

The hexagram Xiao Xu (Small Accumulation) has the lower trigram Qian (Heaven) and the upper trigram Xun (Wind). Xun is a yao of yin hidden beneath two yao of yang, so its trigram virtue is Xun, meaning compliance and entering. Its image is wood and wind. "Xu" means to stop. To stop something strong and vigorous, there is no better way than with compliance. Qian, which is originally in the upper position, is now beneath Xun and is thus restrained by it, hence the name "Xu." However, using yin to stop yang can only bind it loosely and not hold it firmly. Using compliance to soften its strength is not by force, so the amount restrained is small, which is the meaning of "small accumulation." Moreover, the entire hexagram has only one yao of yin in the correct position and proper alignment, and the five yao of yang above and below all submit to it and are restrained by it. (The original text "gāngjiàn" refers to strength and vigor.)

陰小陽大，以小畜大之義也。故為小畜。彖傳不及二體，但言六四畜諸陽，蓋舉其重言之也。小畜次比。按，序卦，比必有所畜，故受之以小畜。物相比附則為畜聚，又相親比則志相畜，小畜所以次比也。全彖內健外巽，二五剛中，其志得行，有可亨之道。然其畜未極，則施亦未行。占者得此，能亨而未可大有所為。此全彖之大旨也。

Heavenly Stems: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui Earthly Branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai Trigrams: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth) Glossary: Hexagram Statement = Gua Ci Commentary on the Judgment = Tuan Zhuan Inner Trigram = Nei Gua Outer Trigram = Wai Gua Nine in the Second = Jiu Er Six in the Fourth = Liu Si Nine in the Fifth = Jiu Wu The yin is small and the yang is great, which means that the small holds back the great. This is the meaning of the name 'Small Accumulation.' The Tuan Zhuan does not mention the virtues of the upper and lower trigrams, but instead focuses on the six in the fourth, which is a single yin holding back many yangs, highlighting the most important point. The hexagram 'Small Accumulation' comes after 'Comparison.' According to the Xù Guà Zhuan, when people are close and compare with each other, they must have something to accumulate, so 'Comparison' is followed by 'Small Accumulation.' When things are close to each other, they tend to gather; when people are close to each other, their hearts and wills are restrained. This is why 'Small Accumulation' follows 'Comparison.' Looking at the whole hexagram, the inner trigram is strong and vigorous, and the outer trigram is yielding and compliant. The nine in the second and the nine in the fifth are both yang in the center, allowing their wills to be carried out, thus there is a way to achieve success. However, the holding back has not yet reached its extreme, so the grace and benefits have not yet been fully extended. Those who draw this hexagram may find success, but they are not yet able to make great achievements. This is the main meaning of the hexagram's statement.

六爻上三爻巽為畜者也，下三爻受畜者也。初與四為正應，二近初而剛中，故初復自道，而二亦以牽復而吉也。三近四而非正應，故為反目。四以一陰畜眾陽，在憂懼之中，故有孚而血去惕出也。五助四以畜乾，四得五為合志。五合志於四，為以鄰也。至上則畜極而成。然以陰畜陽，聖人憂之，故危詞示戒。此六爻之大略也。

In the division of the six lines, the third line of the upper trigram Xun is the one that restrains and holds back, while the third line of the lower trigram Qian is the one being restrained. The line Chouji (Initial Nine) and Liu Si (Six in the Fourth) are in a correct correspondence. The line Ji'er (Nine in the Second), being adjacent to Chouji and possessing a strong yang line in the center, allows Chouji to 'return along the right path'. Ji'er also benefits from being connected to Chouji and thus attains good fortune. The line Ji-san (Nine in the Third), although adjacent to Liu Si, is not in correct correspondence, hence the phrase 'husband and wife turn against each other'. Liu Si, being a single yin line restraining multiple yang lines, is in a state of anxiety and fear, so it must maintain sincerity to achieve 'blood ceases and fear is dispelled'. Ji-wu (Nine in the Fifth) assists Liu Si in restraining the Qian trigram: Liu Si gains Ji-wu and thus 'harmonizes with the upper intention', while Ji-wu harmonizes with Liu Si and thus 'prospers by associating with neighbors'. When reaching Shangjiu (Nine at the Top), the restraint has reached its peak and the matter is completed. However, since it is yin restraining yang, the sage expresses concern, thus using words of danger and fear as a warning. This is the general idea of the six lines.

小畜：亨。密雲不雨，自我西郊。卦以巽陰畜乾陽，爻以一陰畜五陽，皆以小畜大，畜而不固，小畜之義也。以卦德言之，內健外巽。有可為之才。以卦體言之，二五皆以陽剛居中。有得為之勢。其道有可亨也。

The Hexagram of Xiao Xu states: It is smooth. Dense clouds are present but no rain falls, with the clouds drifting in from the western outskirts. In terms of the two trigrams, it is using the Yin and柔 of Xun to restrain the Yang and strength of Qian; in terms of the lines, it is using one Yin line to restrain five Yang lines: this is the meaning of "small restraint." From the nature of the trigrams, the inner trigram is strong and vigorous, and the outer trigram is yielding and compliant, indicating the potential for action. From the structure of the hexagram, both Nine in the Second and Nine in the Fifth are Yang lines in the center, indicating favorable conditions for action: thus, the path is smooth.

陰在天上，有云象。雲雖密而陽多，足以制之。又坎為雨。三四五互為離，坎之反也，故為不雨象。互體得兌為西方，有西郊象。四為主。四互成兌在外卦。又為巽風。雲氣雖密，遇巽風。雲自西而東，陰倡而陽不和，不能成雨。故有密雲不雨，自我西郊之象。

In terms of imagery, the rising yin energy in the heavens represents the image of clouds; although the clouds are dense, the trigram contains many yang lines, which are sufficient to restrain them. The trigram Kan represents rain. In this hexagram, the third, fourth, and fifth lines form the trigram Li, which is the opposite of Kan, hence the image of 'no rain'. The interacting trigrams also include Dui, which is located in the west, thus forming the image of 'the western suburbs'. The sixth line in the fourth position is the main line of the entire hexagram. It participates in forming the trigram Dui, which is located in the outer trigram; the outer trigram itself is Xun, representing wind. Although the clouds are dense, they meet the wind of Xun, which blows them from west to east. The yin energy initiates, but the yang energy does not respond, so rain ultimately does not form. Therefore, the image is 'dense clouds without rain, originating from the western suburbs'.

占者得此，其道可亨，而不能大有所為。或以臣畜君。則臣道雖盛，未能得君以施其澤。或以小人畜君子。則雖受其拘縻，而守道不為所困。或以應事。則大事未有所成，而為小事所阻。不必執一以論也。本義以為文王與紂之事，似亦不必拘。

The person who draws this hexagram may find their path smooth, but they will not achieve great success. If applied to a minister restraining the sovereign, the minister's virtue may flourish, yet they will not gain the sovereign's favor to implement their benevolence. If applied to a petty person restraining a gentleman, the gentleman may be restricted and entangled, yet they can still maintain the right path and remain untrapped. If applied to handling affairs, major matters may not be accomplished at once, and instead be hindered by minor issues. One should not rigidly adhere to a single interpretation. Zhu Xi's "Ben Yi" interprets "dense clouds without rain, coming from the west suburb" as a reference to King Wen and King Zhou, but this does not need to be strictly followed.

彖曰：小畜，柔得位而上下應之曰小畜。柔得位，六居四也。上下應，五陽也。卦為一陰，則四為主。故獨言其得位。四得位而不能大有所畜者，陰柔故也。此以卦體釋卦名義也。

The Commentary on the Judgment says: The hexagram "Small Accumulation" refers to the yao of yin being in the proper position and the five yang lines above and below all responding to it, hence called "Small Accumulation." "Yin in the proper position" refers to the sixth line in the fourth position, which is a yin line in a yin place. "Above and below responding" refers to the other five yang lines. The entire hexagram has only one yin line, which is the sixth line in the fourth position, and thus it is the main line that forms the hexagram. Therefore, the Commentary on the Judgment specifically mentions its proper position. Although the sixth line in the fourth position is in the proper position, it cannot greatly accumulate, precisely because its nature is yin and weak. This sentence explains the meaning of the hexagram name by referring to the structure of the hexagram.

健而巽，剛中而志行，乃亨。剛健果決，則能秉正嫉邪。巽順舒徐，則非用壯用罔。五剛中正，二與合德。君子居中用事，正氣得伸，志可行也，乃亨。乃者，亦難之之詞。陽為陰畜，宜不亨矣。以健巽剛中志行，乃亨也。此以卦德卦體而言，見陽道猶可亨也。

The Commentary on the Judgment says: internally strong and vigorous, externally yielding and compliant, with yang strength in the center and the mind's will able to be carried out, thus it is smooth and unimpeded. Being strong and decisive, one can uphold the right path and detest wrong ways; being yielding and composed, one does not become overly forceful or act without restraint. Nine Five is yang and upright in the center, and Nine Two is in harmony with it in virtue. The gentleman holds the central position and manages affairs, thus the righteous energy is extended and the mind's will can be carried out. Therefore, it is said, "It is smooth." The word "乃" carries an implication of "not easy": yang is restrained by yin, and by nature should not be smooth, but because internally it is strong and vigorous and externally yielding and compliant, with yang strength in the center and the will carried out, it becomes smooth. This passage combines the virtues of the hexagram with its structure, explaining that the way of yang strength can still be smooth.

密雲不雨，尚住也。自我西郊，施未行也。尚往，陽也。指二五兩陽而言。陽升而陰不能固止之，陽以得行為亨也。施未行，陰也。指六四一陰而言。陰不能固諸陽，未能鬱蒸成雨，所施未得行也。

The Commentary on the Judgment says: "Dense clouds without rain" is because the yang energy is still rising upward; "From the western suburbs" is because the yin energy's nourishing influence has not yet been exerted. (The original text says "still staying," but according to the usual interpretation of the Commentary on the Judgment, it should be read as "still moving forward.") "Still moving forward" refers to the yang, specifically the two yang lines, nine two and nine five: yang energy rises, and the yin lines cannot firmly restrain it, so yang's upward movement is smooth and unobstructed. "Nourishing influence not yet exerted" refers to the yin, specifically the single yin line, six four: yin cannot fix the many yang lines, so it cannot condense into rain, and its nourishing influence has not yet been carried out.

然曰未行，則非終不行。上九既雨既處，則畜極而雨，陰施亦行矣。蓋上九論一爻之德，則有畜極而施之理。彖論全卦之體，則有密雲不雨之象。夫子彖傳於陽則曰志行，於陰則曰未行，則又扶陽仰陰之微旨也。

But since it says "not yet acted," it does not mean that it has never acted. The line statement of the Upper Ninth line says "rain has already fallen and settled," which indicates that when the accumulation has reached its extreme, rain comes, and the yin's nurturing influence begins to spread. This is because the Upper Ninth line discusses the virtue of a single line, thus embodying the principle that when accumulation reaches its peak, it gives way to action; the Commentary on the Judgment, however, discusses the entire hexagram as a whole, hence presenting the image of "dense clouds without rain." Confucius, in composing the Commentary on the Judgment, says "will is carried out" for the yang and "not yet acted" for the yin. Here there is also a subtle implication of supporting the yang and restraining the yin.

象曰：風行天上，小畜。君子以懿文德。陰陽和，則畜極而為雨。陽氣盛而畜之不固，則散而為風。雨則澤施。風則號令雖布，所施猶未行。此風行天上，所以為小畜也。本義謂風有氣無質，能畜而不能久。蓋對大畜言之。謂山體剛而風質柔，然不必泥。懿，美也。大畜多識前言往行，所畜者大。道德經論之事也。小畜未能厚積遠施，所畜者小。但美其文德，如文章才藝之末而已。

The Image Commentary says: Wind moving across the heavens, this is the hexagram of Xiao Xu; the gentleman takes it as a model to cultivate his literary accomplishments and virtues. Yin and yang harmonize, and when the accumulation reaches its peak, it transforms into rain; if yang is too strong and the accumulation is not firm, it disperses as wind. Rain represents the bestowal of grace, while wind signifies that the decree has been issued but the actual benefits have not yet been realized. This is why "wind moving across the heavens" is called "small accumulation." Zhu Xi's "Ben Yi" says that wind has only qi but no form, capable of holding back but not enduring, which refers to the hexagram of Da Xu. The meaning is that Da Xu has the upper trigram Gen, mountain, which is solid and firm, while Xiao Xu has the upper trigram Xun, wind, which is soft and empty. This distinction does not need to be strictly adhered to. "Yi" means beauty. Da Xu discusses "knowing many previous words and deeds," accumulating great things, which belong to the category of moral and political affairs. Xiao Xu cannot yet accumulate much and apply it far, so it accumulates small things, which can only beautify one's literary virtue, being merely a minor aspect such as literary skill. (The original text refers to "moral and political affairs," i.e., the moral and political order.)

初九：復自道，何其咎。吉。下卦乾體純陽，本在上之物，故自下升上。曰復自道，言由其故道也。本義謂初九居下得正，前遠於陰。雖與四為正應，而能自守以正，不為所畜。故有進復自道之象。今時解皆從之，謂如君子不援小人以進也。

The Line Statement for the initial line, "Initial Nine": Returning along one's own path, what fault could there be? It is auspicious. The lower trigram is Qian (Heaven), which is entirely yang. Being an element that naturally resides in a superior position, it should ascend from below. The phrase "returning along one's own path" means following its inherent way. Zhu Xi's "Original Meaning" states that the Initial Nine is at the very bottom, with yang in a yang position, thus being in the right place and upholding correctness. Although it is still far from the yin line ahead, although it has a proper correspondence with the fourth line, it can maintain its correctness and not be restrained by the fourth line. Therefore, it has the image of advancing while following its own path. The interpreters of the classics at that time followed this interpretation, comparing it to a gentleman who does not seek advancement by clinging to petty men.

然爻義雖取進復，全卦則取畜止。四以一陰畜眾陽，初適與應，自有畜象。但九居初，自處以正，而所應又正。雖為所畜而其進以道，則不受其拘縻。所以為小畜也。此與本義不為所畜意稍異，然於卦義為順。以人事言之，則如孔子之於季桓子。雖為所召而墮其都，亦復自道之義也。如此，則無咎而吉可必矣。象曰：復自道，其義吉也。吉斷以義，不待事後始知也。

But the meaning of the line refers to "advancing and returning," while the whole hexagram takes the meaning of "accumulation and restraint." The line six in the fourth, being a yin line, restrains the many yang lines. The line nine at the beginning corresponds exactly with it, and originally there is an image of being restrained. However, the line nine is in the first position, properly placed, and the line six in the fourth is also properly placed. Although it is restrained, its advancement follows the correct path, so it is not restricted by it—this is why it is called "small accumulation." This interpretation differs slightly from the meaning in "The Original Meaning" that "it is not restrained," but it is more consistent with the overall meaning of the hexagram taking "accumulation" as its meaning. Using human affairs as an analogy: it is like Confucius' relationship with Ji Huanzi. Although he went to office in response to Ji's summons, he used the opportunity to carry out the policy of demolishing the three cities. This is the meaning of "returning to the correct path." If one can do this, it is certain to have no faults and to achieve good fortune. The "Image Commentary" says: following the original path and returning, from the point of view of reason, is good. Good and bad should be judged from the point of view of reason, without waiting until the matter is completed to know the outcome.

九二：牽復吉。王注程傳皆以二五同志為牽復，本義以連初為牽復。今從本義。蓋五與四鄰，主畜者也，不得牽二。下卦三陽，同志上進者也。二漸近陰，似不能復矣。然以剛居中，故能與初九牽連而復。譬則君子同道彙征。亦吉道也。象曰：牽復在中，亦不自失也。初復自道，固不失已。二有剛中之德，亦可同道，不至自失也。

The line statement for the second line says: being pulled back together, it is auspicious. Wang Bi's commentary and Cheng Yi's "Cheng Transmission" both interpret "牵复" as the harmony of the second line and the fifth line in their shared aspirations and mutual connection. Zhu Xi's "Ben Yi" interprets "牵复" as the second line being pulled back together with the first line. We follow Zhu Xi's interpretation: since the fifth line and the fourth line are adjacent, they are the ones responsible for restraint and should not be the ones pulling the second line back. The three yang lines in the lower trigram are the ones with shared aspirations and advancing together. The second line gradually approaches the yin line, appearing as if it cannot return, but because it holds a yang strength in the center, it can be pulled back together with the first line. As an analogy, this is like virtuous people advancing together, which is an auspicious path. The "Image Commentary" says: being pulled back together and occupying the central position, this is not losing one's way. The first line's "复自道" did not lose its way originally; the second line, with its yang strength in the center, can also be on the same path as the first line, thus not losing its way.

九三：輿說輻，夫妻反目。按，來注，乾錯坤，有輿象。今按，坤為輿，取其能載。然乾亦可為輿，取其健行。如震為龍，乾亦為龍。不必從錯卦取象也。輻，車所以利輪之轉也。輻無脫理，必輪破轂裂而後可脫。

The line statement for the third line (Nine in the Third): The spokes of the chariot fall off, the husband and wife look at each other with mutual suspicion. According to Lai Zhide's commentary: The opposite hexagram of Qian is Kun, and Kun represents a carriage, hence the image of a chariot. However, it should be noted: Kun represents a carriage because it can carry things, but Qian can also represent a carriage because it signifies continuous movement. Just as Zhen can represent a dragon, so can Qian represent a dragon. The image does not have to be derived solely from the opposite hexagram. "Spokes" are the parts of the wheel that make it turn smoothly; spokes do not fall off by themselves. They fall off only when the wheel breaks or the hub cracks.

三與四本非正應也，志從上進而迫近於陰。見制於四，為陰所畜，不能自進。互四得兌為毀折，有輿脫輻之象。以陽遇陰，受其畜而不能平。乾為夫。巽長女為妻。有夫妻象。互四兌又為口舌。互四五得離為目。有夫妻不和，反轉其目，不相對視之象。重剛非正，故不能如初之自道。不中，故不能如二之牽復。象曰：夫妻反目，不能正室也。夫不能正其室家，由自處不以道也。三剛而不中，四為卦主，自制於四。

Nine at the Third and Six at the Fourth were originally not in a proper correspondence. Nine at the Third is eager to advance upward, but it closely approaches the yin line, being restrained by Six at the Fourth and thus held back by yin, unable to move forward on its own. The mutual structure involving Nine at the Third includes Dui, which signifies destruction. Therefore, there is an image of a carriage losing its spokes. When a yang line meets a yin line, it is restrained by the yin, causing inner resentment. Qian represents the husband, and Xun, the long daughter, represents the wife, thus forming an image of husband and wife. The mutual structure also includes Dui, which signifies speech, and the mutual structure of lines Three, Four, and Five includes Li, which signifies the eye. Thus, there is an image of husband and wife not in harmony, looking away from each other. Nine at the Third, being yang in a yang position, is overly strong and not properly positioned, so it cannot like Nine at the Beginning 'return along the correct path.' It is also not in the central position, so it cannot like Nine at the Second 'pull back and return.' The Image Commentary says: husband and wife turning their backs on each other, indicates the husband failing to maintain discipline in his household. The husband's failure to manage his household is due to his own improper position. Nine at the Third is overly strong and not in the center, and Six at the Fourth is the main line of the hexagram, so it is reversed and restrained by Six at the Fourth.

六四：有孚，血去惕出，無咎。外卦主為畜者，四又畜之主也。以一陰畜眾陽，本有傷害憂懼。以其柔順得正，虛中巽體，而五上二陽助之，有有孚之象。坎為血，又為加憂。四互三五為離。離，坎之反，有血去惕出之象。血去，身可無傷。惕出，心可無憂。得以無咎矣。占者必誠信感人，乃可遠害。若不然，則凶咎也。象曰：有孚惕出，上合志也。上合志，謂二陽與四同心畜乾也。

The fourth line statement says: If one maintains sincerity, blood injuries will be removed, fear will be dispelled, and there will be no fault. The outer trigram is originally the one that holds back, and the fourth line is the main line of holding back. A yin line holding back many yang lines is naturally prone to injury and fear; however, because it is gentle and proper, with a hollow center and belonging to the trigram Xun, and also has the two yang lines nine five and nine at the top assisting it, there is the image of having sincerity. The trigram Kan represents blood and also signifies worry; the fourth line together with the third and fifth lines forms the trigram Li, which is the opposite of Kan. Therefore, there is the image of blood injuries being removed and worries being dispelled. When the blood is gone, the body is not harmed; when fear is dispelled, the mind is free from worry, thus there is no fault. Those who divinate this line must use sincerity to move others in order to avoid calamity; if they cannot do so, they will face misfortune. The Image Commentary says: Maintaining sincerity and dispelling fear is because the upper yang line aligns with its intention. The phrase 'upper alignment of will' refers to the two yang lines nine five and nine at the top working together with the fourth line to hold back the trigram Qian.

九五：有孚攣如，富以其鄰。五上同為巽體，與四合志畜乾者也。而九五居中處尊，勢能有為以兼乎上下。四中虛，五中實，皆言有孚。中虛者，信之本。中實者，信之質也。攣與牽，皆有相連之義。二連初以上進，有牽引之象。五合四上以畜乾，非攣固不可。然唯五居尊，能使之攣如也。上比上，下比四，有鄰象。

The Line Statement of Nine in the Fifth: The heart is sincere and connected, using one's wealth to benefit the neighbors. Nine in the Fifth and Nine at the Top both belong to the trigram Xun, and both combine with Six in the Fourth to jointly restrain the trigram Qian. However, Nine in the Fifth is in the central position and holds a high status, thus being able to take action and balance both above and below. In the line drawing, Six in the Fourth is hollow in the center, while Nine in the Fifth is solid in the center. Both lines speak of "having sincerity." The hollow center represents the origin of sincerity, while the solid center represents its substance. "Luan" and "qian" both mean connection: Nine in the Second connects with Nine at the Beginning and moves upward, symbolizing a pulling force; Nine in the Fifth unites with Six in the Fourth and Nine at the Top to restrain the trigram Qian, and it must tightly connect them. Only Nine in the Fifth, being in a high position, can make all the lines connected as one. Nine in the Fifth is adjacent to Nine at the Top above and Six in the Fourth below, thus symbolizing "neighbors."

四陰虛乏而五陽實，又巽為利市三倍，有富象。推其富以助六四而畜之，是為以其鄰之象。以陰畜陽，雖能有所畜，終非聖人之所與也。故初二皆有吉占，而四五則否。象曰：有孚攣如，不獨富也。言助四以畜乾也。

Six four is a yao of yin, which is hollow and empty in the center; nine five is a yao of yang, which is solid and full in the center. Moreover, the trigram Xun has the image of "profit threefold," so nine five has the image of "wealth." By extending its wealth to the adjacent yao, it helps six four to restrain the Qian trigram, which is the image of "using its neighbor." However, using yin to restrain yang, although it can hold it, is not what the sage approves. Therefore, both initial nine and nine two have auspicious omens, while six four and nine five do not. The Image Commentary says: holding to sincerity and being connected, one does not possess wealth alone. This means that nine five shares its strength with six four to jointly restrain the Qian trigram.

上九：既雨既處，尚德載。婦貞厲，月幾望。君子征凶。上九變巽為坎，為雨為月之象。畜極而成，陰陽和矣。不雨者既雨矣。尚往者既處矣。尚，尊之也。載，積而滿載也。猶詩言厥聲載路也。陰不盛不能畜陽。今既雨既處，由於尊尚陰德至於積滿而然也。婦德如此，雖正亦厲。蓋陰盛抗陽，如月之將望。君子不可以有行矣。婦雖貞亦厲，戒陰不得加陽。君子有征必凶，戒陽不可失道，以受制於陰也。

The line statement for the topmost line says: rain has already fallen, and the atmosphere has become calm, which is the result of promoting and accumulating yin virtue to its fullest; a woman, even if she remains virtuous, may still face danger, for the moon is about to be full, and at this time a gentleman's journey will certainly bring misfortune. When the topmost line changes, xun becomes kan, kan represents rain and moon, so there is an image of rain and moon. Accumulation and restraint reach their peak and thus achieve completion, and yin and yang are in harmony: what was previously not raining now rains, and what was previously rising continuously now stops and settles. "Shang" means to promote, and "zai" means to accumulate fully, just as in the Book of Songs, "Jue sheng zai lu" where "zai" is used. Yin energy is not strong enough to restrain yang energy, but now both rain and calmness appear, precisely because yin virtue has been promoted and accumulated to its fullest. When a woman's virtue reaches this level, even if she remains virtuous, she may still face danger, because yin is strong and is opposing yang, just as the moon is about to be full. At this time, a gentleman must not take action. Saying "fu sui zhen yi li" is a warning that yin should not surpass yang. Saying "junzi you zheng bi xiong" is a warning that yang should not lose its proper path and be controlled by yin.

象曰：既雨既處，德積載也。君子征凶，也有所疑也。由積載而雨處，則陰之積當防其漸矣。巽為畜者，必有孚而後可畜。而乾上進者，必有疑而後免凶。蓋陰疑於陽必戰，有凶象。有所疑而豫制之，或可免於凶也。陽為君子。上與三應。上畜已極，三進不已。至於反目，所謂征凶也。

The Image Commentary says: Rain has fallen and the atmosphere has become calm, which is due to the accumulation of Yin Virtue; a gentleman going out faces misfortune because there is doubt and suspicion. (The original text says 'also has some doubt,' with an extra 'also' character.) From the fact that fullness leads to rain and calmness, we can see that the accumulation of Yin energy should be guarded against at the very beginning. When the trigram Xun acts as a container, it must first have sincerity to hold on; when the trigram Qian seeks advancement, it must first have suspicion to avoid misfortune. Because Yin and Yang are in opposition to the point of mutual suspicion, they inevitably clash, hence the ominous sign of misfortune. If one maintains vigilance and takes precautions in advance, perhaps misfortune can be avoided. Yang represents the gentleman, and the upper nine and the ninth in the third are in correspondence: the upper nine has reached the extreme of containment, while the ninth in the third continues to advance without stopping, leading to 'husband and wife turning against each other,' which is called 'signaling misfortune.'

全卦為小畜，其象不雨，故陽道可亨。上爻變為需，則云上於天而雨。則向之尚往者，至此而征凶矣。易之大旨扶陽抑陰，而此卦最重此意。乾受畜者，以尚往而不受所畜為善。故初得正應。而二以剛中。皆得吉占。獨三以不中而非正應，為反目。巽為畜者，以合志同力為善。然主畜者有防患之危，而僅免於咎。以鄰者有攣如之固，而未得吉占。

The entire hexagram of Xiao Xu represents "no rain," so the path of yang is still smooth. When the line at the top (Shang Jiū) changes, the hexagram becomes Xū, which represents "clouds above the sky" and eventually rain. Thus, the yang that has been rising all along now faces "danger in going forward." The main purpose of the Zhou Changes is to support yang and restrain yin, and this hexagram emphasizes this meaning particularly. The trigram Qian is the one being restrained, and it is good if it can continue to rise without being restrained. Therefore, the line at the beginning (Chū Jiǔ) has a proper response and remains correct, and the line at the second position (Jiǔ Èr), being yang and in the center, also receives a favorable omen. Only the line at the third position (Jiǔ Sān), which is neither in the center nor has a proper response, ends up in "mutual hostility." The trigram Xun is the one carrying out the restraint, and it is good if there is harmony and united effort. However, the line at the fourth position (Liù Sì), which is in charge of the restraint, has a sense of danger and fear, and although it avoids mistakes, it does not receive a favorable omen. The line at the fifth position (Jiǔ Wǔ), although rich and able to connect with the adjacent line, ultimately does not receive a favorable omen either.

至於畜極而成，猶云雖正亦厲。雖戒君子之徵，實畏陰德之盛也。占者得此，當各從其類以為占。大抵陽為君子為夫為大事為善，陰為臣為小人為妾婦為小事為惡。又論我之所處。主於畜人或受人所畜，隨事以求其吉凶，不可執一以論也。

As for the line "Upper Nine," which signifies the culmination of restraint and the completion of an action, the line statement says, "The wife remains loyal but faces danger." On the surface, it is a warning to the gentleman not to act, but in reality, it expresses fear that excessive virtue may lead to peril. Those who divinate this hexagram should interpret it according to their own category. Generally, yang represents the gentleman, the husband, major matters, and goodness, while yin represents the minister, the petty person, the concubine, minor matters, and evil. One should also consider their own position: whether they are the one restraining others or being restrained by others. One should judge the fortune and misfortune of the matter in question according to its specific context, and not apply a single interpretation mechanically.

又按，來注以五上二爻不宜作同力畜乾，宜作與陽同德。引陽尚往。蓋謂陽為君子，陰為小人。五上不宜佐小人以防君子。又以彖有剛中志行為陽之亨，故以德積載為載三陽俱上也。不知陽雖可亨而卦本取於畜，原不必拘君子小人之解。即以君子小人論之。小人之畜君子，非盡害之也，正欲引用之耳。如季桓子之於孔子，蔡京之於楊龜山。乃可為小畜，蓋牢籠羈縻之而已。君子雖為所引，不受其牢籠。故陽德猶可往，所以為小畜。

Lai Zhide's commentary argues that the lines nine in the fifth and nine at the top should not be interpreted as working together with six in the fourth to restrain the Qian trigram, but rather as aligning with Yang virtue and guiding the Yang lines to continue ascending. His reasoning is that Yang represents the gentleman and Yin represents the petty person, so nine in the fifth and nine at the top should not assist the petty person in restraining the gentleman. Furthermore, the Commentary on the Judgment mentions "strong and central, with aspirations realized," which refers to the smooth passage of Yang. Therefore, "de ji zai" is interpreted as carrying the three Yang lines upward together. However, this overlooks the fact that although Yang can be smooth, this hexagram originally derives its meaning from "restraining," and there is no need to be rigid about the distinction between gentleman and petty person. Even if we consider the gentleman and petty person, the petty person restraining the gentleman does not necessarily mean harming him; often it is an attempt to bring him out for their own use, as in the case of Ji Huanzi restraining Confucius or Cai Jing restraining Yang Shi, which can be called "small restraint," but it is merely a cage and restraint. Although the gentleman is drawn out, he is not trapped, so Yang virtue can still ascend, which is called "small restraint."

彖就全卦言之，故以五為剛中志行。若單就五一爻而言，自宜主畜乾之說。蓋五變則為大畜。君子不家食，引正小人引用君子之時也。若上變為需，則畜極而陰已盛矣。故戒君子之往，非能載三陽以上也。

The Commentary on the Judgment discusses the entire hexagram, hence referring to the Nine in the Fifth as "strong and central, with his will carried out." If considering only the Nine in the Fifth as a single line, it would be more appropriate to explain it as "governing the containment and stopping of the Heaven element." Because when the Nine in the Fifth changes, the entire hexagram becomes the Great Accumulation, which speaks of "being auspicious when not eating at home," meaning that a gentleman taking office and receiving salary is precisely the time when small people can refer to the gentleman. As for the Nine at the Top, when it changes, it becomes the Need, which represents the state of containment and stopping reaching its extreme, with the Yin element already dominant. Therefore, the line statement warns the gentleman not to go forward, not because the Nine at the Top can carry three Yang lines upward together.

履。履卦，下兌上乾。兌一陰見於二陽之上，其德為說，其象為澤。天在上而澤居下。上下之分，尊卑之義，理之常也，禮之本也，常履之道也。又內和悅而外尊嚴，禮之象也，故為履。履卦次小畜。按序卦，物畜然後有禮，故受之以履。物既畜聚，則有大小之別，高下之等，美惡之差，而禮起，履所以次小畜也。

The hexagram "Lu" has the lower trigram "Dui" and the upper trigram "Qian." "Dui" represents a yao that is yin appearing above two yang yao, and its hexagram virtue is "shuo," meaning joy and harmony, with the image of a marsh. Heaven is above and a marsh is below: the distinction between upper and lower, and between respect and humility, is a natural principle, the foundation of ritual, and the way people conduct themselves daily. Moreover, inner joy and outer dignity embody the image of ritual, hence the hexagram is named "Lu." The hexagram "Lu" follows "Xiao Xu." According to the "Xu Gua Zhuan," after things are gathered, there is ritual, so "Xiao Xu" is followed by "Lu." When things have been gathered, there are distinctions of size, high and low, and good and bad, and thus ritual arises, which is why "Lu" comes after "Xiao Xu."

人之所履，和悅卑遜。斯為有禮。全彖以和柔躡剛強之後，處危而不見傷。九五陽剛居尊，所履中正。其道光明，有亨之象。在上陽剛中正，在下和柔卑順，禮也。人之所履當如是也。此全彖之大旨也。又禮主謙柔。陽爻處陰位，謙也。故六爻以剛履柔者吉，以柔履剛者凶，以剛履剛者厲。初言往，上言旋，一進一反，有踐履之義。

What people should practice is to be harmonious and humble, which is called propriety. Considering the entire hexagram statement: following strength with gentleness, even when in a dangerous position, one remains unharmed; nine in the fifth is a strong yang line in a noble position, acting with uprightness, thus its path is bright and there is a favorable outcome. Those above are strong and upright, while those below are gentle and submissive, which is propriety. This is the main idea of the entire hexagram statement. Furthermore, propriety is based on humility and gentleness. A yang line in a yin position represents humility. Therefore, there is a general rule for the six lines: a yang line in a flexible position is auspicious, a yin line in a strong position is inauspicious, and a yang line in a strong position is dangerous. The line initial nine speaks of "going forward," while the line upper nine speaks of "returning," representing a movement from going to returning, which exactly matches the meaning of "practicing propriety."

初陽履剛，以在下而無咎。九二之幽人，九四之愬愬，上九之考祥，皆以剛履柔。能行而不輕於行，所以吉也。六三之跛履，以柔履剛。不能行而強於行，所以凶也。九五之夬履，能行而決於行，所以厲也。此六爻之大略也。

Chujiu has a yang line in a yang position, so it is a strong line on a strong position. However, because it is at the very bottom and does not compete with others, there is no fault. The 'you ren' of Jiuer, the 'susu' of Ji si, and the 'kaoxiang' of Shangjiu are all cases of a yang line in a yin position: they have the ability to act but do not act rashly, hence they are auspicious. The 'bo neng lu' of Li san is a case of a yin line in a yang position: lacking the ability to act yet forcing action, hence it is dangerous. The 'guai lu' of Wu wu is having the ability to act yet being overly decisive, hence there is danger. This is a general summary of the six lines.

履虎尾，不咥人，亨。程傳以履為承藉之義。謂乾上而兌下，乾乘兌而兌承之也。本義以履為躡後之義。謂乾前而兌後，剛在前而兌以柔和踵其後也。今按，虎尾字則躡之意為是。

Hexagram Statement: Walking on the tiger's tail, the tiger does not bite, it is smooth and prosperous. Cheng Yi in his "Cheng Transmission" interprets "履" as "cheng jie," meaning to bear or support from below: Qian above and Dui below, with Qian resting upon Dui, which supports it. Zhu Xi in his "Ben Yi" interprets "履" as "nie hou," meaning to follow and step behind: Qian in front and Dui behind, the strong one leading ahead, Dui following closely behind with its softness. Now, since the line statement uses the term "tiger's tail," the interpretation of "nei hou" is more appropriate.

乾剛強有虎象。兌以和躡之，有履虎尾不見傷之象。人之入世，多近危機。不為所傷，乃見所履以柔應剛。謙以自處，其道自亨。惟禮可以免禍也。按，來注以兌錯艮為虎象，遂以履作踐履之履。不知震為龍，乾亦為龍，取其陽也。艮為虎，乾亦為虎，取其剛也。若必作踐履，於彖傳履剛句不通矣。

Heavenly Stem Jia represents strength and firmness, hence the image of a tiger; Dui follows with its harmonious and joyful nature, hence the image of walking on the tiger's tail without being harmed. In the world, people often approach danger, yet remain unharmed, which shows that their actions are responding to strength with flexibility: being humble and self-effacing, their path naturally becomes smooth and unobstructed—only propriety can protect one from calamity. Note: Lai Zhide's commentary interprets the opposite hexagram Gen as the tiger image, thus interpreting "履" as "to tread." However, he did not consider that Zhen represents a dragon, and Jia can also represent a dragon by taking its yang nature; Gen represents a tiger, and Jia can also represent a tiger by taking its strength. If one insists on interpreting it as treading, then the phrase "flexible treading on strength" in the Commentary on the Judgment would not make sense.

彖曰：履，柔履剛也。以柔弱躡剛強之後，此以二體釋卦名義也。說而應乎乾，是以履虎尾，不咥人，亨。此以卦德釋彖辭也。以兌說應乎乾剛，則和而不激，順而不拂，可以亨矣。

The Commentary on the Judgment says: The hexagram "Foot" signifies that the soft follows the strong and treads upon it. With the soft and weak following behind the strong and firm, this explains the meaning of the hexagram name through the two trigrams. The Commentary on the Judgment also says: Harmonious and responsive to Heaven, thus treading on a tiger's tail without being bitten, leading to success. This explains the hexagram statement through the virtue of the hexagram: using the joyfulness of the trigram兑 to respond to the strength of the trigram乾, thereby achieving a gentle rather than sharp, compliant rather than rebellious manner, thus attaining success.

剛中正，履帝位而不疚，光明也。上文釋彖已畢，此又專就九五一爻推廣其義。二三四互為離，有光明象。以剛居尊位而得正，所履之無咎者也。德盛輝光，功業顯著，豈不亨乎。此又發彖辭言外之意。

The Commentary on the Judgment continues to say: Yang is strong and upright, occupying the throne of the sovereign without guilt in the heart, bright and open. The explanation of the Hexagram Statement has already been completed, and here it specifically extends the meaning to the Nine in the Fifth line. The second, third, and fourth lines form the mutual structure of Li, which represents fire and the sun, thus producing the image of brightness. The Nine in the Fifth, with its Yang strength in the exalted position and being in the proper place and correct position, has no faults in its actions; its virtue is great and its radiance extends outward, its achievements are prominent, how could it not be prosperous? This sentence further develops the meaning implied but not directly expressed in the Hexagram Statement.

象曰：上天下澤，履。君子以辨上下，定民志。立卦之義取乎踐履。人之所履禮而已矣。禮者，所以辨上下，定民志。古人位必稱德，終身居之，得其分而志安焉。位或未稱，則君進之。士修其學，學至而君求之，已無所慕也。農工商賈各勤其業，所享亦有定限，無所貪也。此上下之志定，而天下之治定也。後世位不稱德，則上下不辨。不辨則公卿妄意尊榮，士庶僥倖求利。分不明則志不定，治所以難也。此君子觀履之象而分別上下，使各當其分以定民志也。

The Image Commentary says: Above is Heaven, below is Marsh, thus forming the hexagram of "Footsteps" (履). The gentleman takes this as a model to distinguish the proper roles between superiors and inferiors, and to stabilize the people's minds. The meaning of this hexagram is derived from "footsteps," and what people actually practice is ritual propriety. Ritual propriety is precisely used to distinguish between superiors and inferiors and to stabilize the people's minds. In ancient times, official positions were always commensurate with virtue, and people remained in their positions for life, each fulfilling their proper roles and thus having stable minds. If a person's position did not match his virtue, the sovereign would promote him. Scholars cultivate their learning, and when their learning is complete, the sovereign would naturally invite them, without needing to covet anything. Farmers, artisans, and merchants each diligently perform their respective duties, enjoying only what is appropriate, without any desire for excess. When the minds of superiors and inferiors are stabilized, the governance of the world is also stabilized. In later generations, when official positions do not match virtue, the distinctions between superiors and inferiors cannot be clearly defined. When distinctions are not clear, ministers and officials desire higher honors, while common people seek personal gain. When distinctions are not clear, minds become unstable, and this is the reason why the world becomes difficult to govern. Therefore, the gentleman observes the image of the hexagram of "Footsteps," distinguishing the ranks of superiors and inferiors, ensuring that everyone remains in their proper roles, thus stabilizing the people's minds.

初九：素履往，無咎。初九以陽在下，居履之初。未為物遷，率其素履以往。所謂素位而行。可無咎也。六爻皆以陽居陰為善。初雖陽位而在下，在下能安其素，不變所守，雖未得吉，咎可無矣。象曰：素履之往，獨行願也。初無應故曰獨。獨行其志願，不為紛華所奪。即所謂不願乎其外也。民有志，必辨分而始定。士有願，則能獨行其素矣。

The Line Statement for the first line, initial nine: proceeding with one's original simple conduct, there is no fault. The initial nine, with a yang line in the lowest position, is at the beginning of action, not yet influenced by external things, proceeding according to one's habitual conduct, which is what the Doctrine of the Mean refers to as 'acting in accordance with one's position with simplicity.' Although this line is a yang line in a yang position, it is at the very bottom; being at the bottom yet content with simplicity and not changing one's principles, even though it is not yet considered auspicious, fault can be avoided. The Image Commentary says: proceeding with simple conduct, is to act alone according to one's own will. The initial nine has no proper correspondence, hence it is said 'alone'; acting alone according to one's will, not being distracted by worldly distractions, which is the meaning of the Doctrine of the Mean 'not desiring things outside.' When the people have a will, they must first distinguish their roles to achieve stability; when the gentleman has a will, he can act alone with his simple conduct.

九二：履道坦坦，幽人貞吉。二變震為大塗，履道坦坦之象。剛中在下，無應於上，幽獨守貞之象。人之所履，未有不合道而吉者。以剛居中，道也。剛而居柔，坦也。在下無應，幽也。坦則平易而無險阻，幽則恬靜而不炫耀。又幽獨之人，多賢者之過，坦坦則不索隱行怪以驚世駭俗，宜其貞吉矣。

The Line Statement for Nine in the Second Line says: The path is smooth and wide, and the person who lives in seclusion maintains uprightness and thus achieves good fortune. When Nine in the Second Line changes, the Lower Trigram becomes Zhen, which represents the Great Path, hence the image of "walking on a smooth path." It is a yang line in the center, located in the Lower Trigram, and there is no corresponding line above it, hence the image of living in seclusion and upholding uprightness. Human actions that do not conform to the Way cannot be good. Being yang and in the center is the Way; being yang and in a yin position is smoothness; being in the Lower Trigram without a corresponding line is seclusion. Smoothness means easy and without obstacles; seclusion means quiet and not showing off. Moreover, those who live in seclusion often fall into the trap of being overly virtuous. However, "smooth and wide" indicates that he does not seek out obscure or strange ways to shock the world, hence the judgment of "upright good fortune" is appropriate.

以陽居陰，不得言正。而曰貞吉者，戒辭。恐其幽靜難久，剛化為柔，故戒以惟貞吉也。此卦二五皆剛中，二貞吉而五貞厲者。二以剛居柔，五以剛居剛也。以剛居柔，所履謙下，禮之本也。故六爻唯九二盡履之道。象曰：幽人貞吉，中不自亂也。二有中德，在幽而貞，外物不得而亂之也。

Nine Two, with a yang line in a yin position, is inherently not considered 'correct' (zheng), yet the line statement still says 'zheng ji' (maintaining correctness brings good fortune). This is a warning: fearing that its quietude may not last, and that its strength will gradually become soft and yielding, thus advising that only by maintaining correctness can good fortune be achieved. In this hexagram, both Nine Two and Nine Five are yang yang in the center, but Nine Two receives 'zheng ji' while Nine Five receives 'zheng li' (maintaining correctness brings danger). The difference lies in the fact that Nine Two has a yang line in a yin position, while Nine Five has a yang line in a yang position. When a strong line is in a soft position, the action is humble and yielding, which is the fundamental principle of propriety. Therefore, among the six lines, only Nine Two can fully embody the practice of propriety. The Image Commentary says: a secluded person who maintains correctness brings good fortune, because he has a clear mind and does not become confused. Nine Two possesses the virtue of being in the center, and although he is in a secluded position, he can maintain correctness, so external disturbances cannot affect him.

六三：眇能視，跛能履。履虎尾，咥人凶。武人為于大君。視不正曰眇。行不中曰跛。六三互二四為離有目象。互四五為巽有股象。兌為毀折，有眇跛之象。逼近於乾，有履虎尾之象。獨與上應，履其尾而首應之，有咥人象。

The statement of the third line says: A one-eyed person thinks he can see, a lame person thinks he can walk; stepping on a tiger's tail, bitten by the tiger, ominous; a warrior overstepping the duties of the great ruler. To see improperly is called 'miǎo', to walk improperly is called 'bǒ'. The third line forms the trigram Li with lines two and four, and since Li represents the eye, there is an image of eyes; it also forms the trigram Xun with lines four and five, and since Xun represents the thigh, there is an image of legs. Moreover, Dui represents destruction, hence the image of a single eye and a lame leg. The third line is close to the upper trigram Qian, hence the image of stepping on a tiger's tail; it corresponds only with the top line nine, so the tiger's head turns back to respond, hence the image of being bitten.

陽主寬和，陰主肅殺。六三以一陰成卦之主，欲統五陽，又以兌陰變為陽為純乾，有武人為大君之象。六三不中不正，柔而志剛以履乾，必見傷害，故占為凶。又如剛武之人得志肆暴，必不能久也。

Yang represents kindness, tolerance, and peace, while Yin represents strictness and severity. The line Six in the Third is a Yin line that becomes the main line of the hexagram, yet it attempts to lead five Yang lines. Moreover, the Yin line of Dui (Lake) would change to Yang if it were to become Yang, making the entire hexagram pure Qian (Heaven). Therefore, it is said "the warrior acts as the great sovereign"—a symbol of a warrior overstepping his role as a sovereign. Since Six in the Third is neither in the center nor in the proper position, its nature is Yin and soft, yet its will is harsh and fierce. It forcefully attempts to dominate the Qian structure, inevitably leading to harm, hence the judgment is ominous. This is also like a strong and fierce person who, once in power, acts tyrannically and cannot last long.

象曰：眇能視，不足以有明也。跛能履，不足以與行也。咥人之凶，位不當也。武人為于大君，志剛也。自以為能視，明實不足。自以為能履，行實不足。爻柔故不足，位剛故自以為能。不中不正，位之不當。以柔居三，其志務剛。皆凶道也。

The Image Commentary says: A one-eyed person thinks he can see, but his vision is insufficient to discern clearly; a lame person thinks he can walk, but his strength is inadequate for long journeys; the danger of being bitten by a tiger arises from being in an improper position; a warrior acting as a ruler improperly is due to a harsh and fierce heart. Thinking one can see when vision is actually insufficient; thinking one can walk when strength is actually inadequate. The nature of the yao is yin and soft, so its ability is insufficient; the position of the yao is yang and strong, so it thinks it can act. Being neither in the center nor in the proper position is called 'position is improper'; occupying a yang position with a yin and soft nature, with a heart that is overly strong and fierce: these are all paths leading to misfortune.

九四：履虎尾，愬愬終吉。愬愬，畏懼之意。九四亦以不中不正履九五之剛。然以剛居柔，故有履危知戒而終得吉之象。全卦以乾為虎，此爻又以五為虎。唯五以剛居剛也。卦彖爻之三言履虎尾，而吉凶不同者。全卦以和說履乾剛之後，故不咥人亨。三以柔居剛，故咥人而凶。四以剛居柔，故畏懼而吉也。二與四皆以剛居柔，而二有坦坦之安，四有之愬愬危者。二得中而四不得中也。

The fourth line statement says: Treading on a tiger's tail, being cautious and anxious, eventually attains good fortune. "Susu" refers to a state of fear. The fourth line is neither in the center nor in the proper position, yet it is situated beneath the strong nine five; however, it holds a yang line in a yin position, thus showing the image of being in a dangerous situation yet aware of caution, ultimately achieving good fortune. The entire hexagram takes the trigram Qian as the tiger, and this line specifically refers to nine five as the tiger, because only nine five holds a yang line in a yang position, adding strength upon strength. The hexagram statement and three line statements all mention "treading on a tiger's tail," yet their outcomes of good or bad fortune differ. The entire hexagram is characterized by harmonious following after the strong Qian, thus "not biting people, favorable." The sixth line three holds a yin line in a yang position, thus being bitten and resulting in misfortune. The fourth line holds a yang line in a yin position, thus being aware of fear and achieving good fortune. Both the second and fourth lines hold yang lines in yin positions, but the second line has "tangent" comfort, while the fourth line has "susu" anxiety, due to the second line being in the center while the fourth line is not.

象曰：愬愬終吉，志行也。以剛居柔，謙志得行，所以終吉。志剛者不足與行，愬愬者其志得行，而人可審所履矣。時解以此爻作大臣畏慎，得君行志言。蓋初曰獨行，遠君也。四曰志行，近君也。柔順以事剛決之君，得行其志也。亦是，但不必拘。

The Image Commentary says: Being cautious and vigilant yet ultimately obtaining good fortune, this is because one's aspirations can be carried out. By having a yang force in a yin position, one's modest and retiring aspirations can be realized, hence ultimately achieving good fortune. Previously, the six in the third position, who had a strong will, was not able to go along with him; here, the one who is anxious and cautious is able to have his aspirations realized. Thus, people can examine themselves and understand how they should conduct themselves. The ancient interpreters of the text interpreted this line as referring to a minister who was cautious and respectful, gaining the trust of the sovereign and thus being able to carry out his ambitions: since the nine at the beginning says 'acting alone,' it indicates being distant from the sovereign; the nine in the fourth says 'aspirations being carried out,' indicating being close to the sovereign, serving the decisive and strong sovereign with flexibility, thus being able to realize his aspirations. This interpretation is also reasonable, but one need not be overly rigid about it.

九五：夬履，貞厲。九五以陽剛中正履帝位，而下以兌說應之。凡事必行，無所疑礙，故有夬決其履之象。然在上者純任其剛，在下者一主於悅。君驕臣諂之漸也，故雖貞亦厲。蓋在下者不患其不憂，患其不能樂。故二之履坦曰貞吉，喜之也。在上者不患其不樂。患其不能憂。故五之夬履曰貞厲，戒之也。

The Line Statement of the Fifth Line: Act decisively, uphold righteousness yet still face danger. The Fifth Line, being a strong yang line that is upright and central, assumes the position of the sovereign. Below it is the trigram Dui (Lake), which signifies harmony and joy, responding to it. Thus, everything can be done promptly without doubt or obstruction, embodying the image of decisive action. However, those in power may indulge in their strength, while those below may focus solely on pleasing, which marks the beginning of the sovereign's arrogance and the ministers' flattery. Therefore, even though upholding righteousness, there is still danger. Generally, those in lower positions do not fear not being anxious, but fear not being able to enjoy peace, hence the Second Line 'Walking on a level path' is judged as 'Upright Goodness,' which is commendable. Those in higher positions do not fear not enjoying comfort, but fear not being anxious, hence the Fifth Line 'Decisive Walking' is judged as 'Upright Danger,' which is a warning.

然彖辭剛中正光明，而爻辭則厲，何也。蓋以全卦言。六爻未動，剛中正所以為善。此就九五一爻言之。且變乾為離，自恃其明，愈過於夬決。在本卦上決下說，變又上下成睽，此所以厲也。象曰：夬履貞厲，位正當也。以剛居五，正當尊位，傷於所恃故也。

Then the Commentary on the Judgment says about the Nine in the Fifth, "Yang is central and upright, and bright," but the Line Statement says "dangerous." Why is this so? Because the Commentary on the Judgment discusses the entire hexagram: when none of the six lines have yet moved, Yang being central and upright is naturally good. However, the Line Statement considers only the fifth line; moreover, when this line changes, the upper trigram Qian becomes Li, which represents brightness. When one relies on cleverness, one becomes overly decisive. The original hexagram already has the upper part making decisions and the lower part seeking approval; once it changes, the upper and lower parts become the hexagram Kui, which signifies separation and opposition. This is the origin of danger and peril. The Image Commentary says: "Decisive action is upright but dangerous," because the position is too proper. A Yang line occupying the fifth position is precisely the honorable position. Because of relying on this position, one is actually harmed by it.

上九：視履考祥，其旋元吉。履上與小畜上皆不取本爻義。小畜取畜之極，從六四一陰來，以陰盛為凶。履取履之終，合諸爻而觀其始終，故以其旋為元吉。旋謂周旋無虧欠也。吉事有祥。祥非外來，視吾所履，則祥可考。若以此往，此旋皆無虧欠，則得大善之吉矣。

The line statement for the top nine (上九) of the "Foot" hexagram says: Looking back upon one's entire life of conduct, examining the signs; if one's movements and returns have been without fault, then it is extremely auspicious. The top nine of the "Foot" hexagram and the top nine of the "Small Accumulation" hexagram do not take the meaning of the line itself. The top nine of the "Small Accumulation" hexagram signifies that accumulation has reached its extreme, arising from the fourth line, which is a yin line, thus indicating misfortune due to excessive yin. The top nine of the "Foot" hexagram signifies that one has reached the end of conduct, observing the entire hexagram's lines from beginning to end, thus taking "its rotation" as "great auspiciousness." "Rotation" means that one's movements and retreats have been without fault. Auspicious events have their signs, and these signs do not come from outside. By looking back upon one's own actions, one can discern the signs. If one goes and returns without fault in this way, one can attain great auspiciousness.

又按，來注以視履為句，其旋為句。言周旋中規，折旋中矩，則履之盡善者，可以大吉也。意同本義，而解旋字更順。象曰：元吉在上，大有慶也。人心難於有終。元吉在上，是所履至終大善，故福慶亦大也。全卦以履為禮，又取踐履為義。大抵危而能亨，乃見所履之善。剛而居柔，乃獲所履之吉。觀履之吉凶，而處世可悟矣。

Again, according to Lai Zhide's commentary, "shi lu" is taken as one sentence, and "qi xuan" as another, meaning to move in a circle as measured by a compass and to turn in a square as measured by a square, which represents the highest goodness of practicing what is right, thus leading to great good fortune. This is the same as the meaning in "Ben Yi," and his explanation of the character "xuan" is more smooth. The "Xiang Zhuan" says: great good fortune appears at the top line, indicating great blessings. The hardest part for the human mind is to have a beginning and an end; "yuan ji" appearing at the top line precisely shows that what is practiced is completed in the end, thus resulting in great blessings. The entire hexagram takes "lu" as ritual, and establishes its meaning based on "jian lu." In general, being able to achieve success while in a dangerous situation shows the goodness of one's actions; a yang line residing in a yin position leads to good fortune. By observing the good and bad fortune of the six lines in the hexagram of "Lu," one can understand the principles of dealing with the world.

泰。泰卦，乾下坤上。內陽外陰，天地氯交，萬物生成。君子進用，世道方亨。故為泰。泰次於履。按，序卦，履而泰，然後安，故受之以泰。蓋履得其所，乃得安舒，履所以次之以泰也。泰以中為善。故二為輔泰之臣。

The Tai hexagram has the Qian trigram as the lower trigram and the Kun trigram as the upper trigram. Inside it is yang, outside it is yin, and the energies of heaven and earth interact, thus generating all things. The gentleman is appointed to office, and the world is in a state of prosperity, hence the name Tai. The Tai hexagram comes after the Li hexagram. According to the Sequence of Hexagrams, after proper conduct and behavior, one reaches a state of Tai, and after Tai comes peace, hence the sequence of Li followed by Tai. When people are in their proper places, they can be at ease and secure, which is why the Li hexagram is followed by the Tai hexagram. The Tai hexagram values the middle as good, so the Nine in the Second is the minister who supports and maintains the state of Tai. (The original text says 'tian di lü jiao', meaning the energies of heaven and earth interact.)

五為保泰之君。皆得吉占。初為君子進用之始。四則過中欲否之時矣。三為消長之會，猶可有為。上則極盛而衰，不免於吝矣。自有天地人物以來，蒙以教之，需以養之，訟以平之，師以衛之，比以附之，畜以聚之，履以辨之，而後得泰。乃過中而否之幾伏矣。甚矣，致泰之難，保泰之不易。雖曰天數，不可無人事也。

Six in the Fifth is a ruler who maintains the stability of the state. Both these lines are favorable. Nine at the Beginning is the time when a gentleman begins to be employed; Six in the Fourth has already passed the central position and is approaching a turning point towards decline; Nine in the Third is at a critical point where the process of decline and growth is changing, and still has something to do; Six at the Top has reached its peak and is beginning to decline, inevitably leading to disgrace and regret. Since the beginning of heaven and earth and the emergence of people, the Book of Changes has been used to educate them, to nurture them, to resolve disputes, to protect them, to bring them together, to gather them, and to distinguish between superior and inferior positions, thus achieving the state of Tai. But once the central position is passed, the signs of decline are already hidden. This shows how difficult it is to bring about the state of Tai and how hard it is to maintain it. Although there is a heavenly order, human effort is indispensable at every moment.

泰：小往大來，吉亨。泰，通也，天地交而二氣通，故為泰。內卦三陽，正月之卦也。陰小陽大。坤往居外，乾來居內。以綜卦言之，有小往大來之象。占者有陽剛之德，則吉而亨也。蓋坤本在下之物，自下而上故曰往。陽本在上之物，自外而內故曰來。往者去而來者當時用事，故為吉亨。

The hexagram statement says: "Greatness" (Tai). The small goes out, the great comes in, resulting in a favorable and smooth situation. "Tai" means being open and unobstructed. When heaven and earth interact and the yin and yang energies flow smoothly, it is called "Tai." The inner trigram consists of three yang lines, which in the twelve lunar month trigrams corresponds to the first month. Yin represents smallness, and yang represents greatness: the earth (Kun) moves upward to the outer trigram, while the heaven (Qian) descends to the inner trigram. From the perspective of the inverted hexagram (the hexagram "Bu" reversed becomes "Tai"), there is an image of "the small going out and the great coming in." If the person who draws this hexagram possesses the virtue of yang strength, it will be favorable and smooth. This is because the earth, which was originally at the bottom, now ascends upward, hence called "going out"; the yang, which was originally at the top, now enters inward, hence called "coming in." What should leave has left, and what should arrive is now in charge, hence it is judged as favorable and smooth.

彖曰：小往大來吉亨，則是天地交而萬物通也，上下交而其志同也。內陽而外陰，內鍵而外順，內君子而外小人。君子道長，小人道消也。天地高卑之形不可交而氣可交，交則萬物化生。君臣上下之分不可交而心可交，交則君臣同德。

The Commentary on the Judgment says: "When the small goes away and the great comes, it is auspicious and smooth." This means that heaven and earth interact and thus all things are harmonious; above and below interact and thus hearts and minds are aligned. Inside is yang, outside is yin; inside is strong and vigorous, outside is soft and compliant; inside is the gentleman, outside is the petty person. The way of the gentleman grows day by day, while the way of the petty person declines day by day. Heaven and earth are one high and one low, and cannot interact in form, but the two energies can interact; once they interact, all things are generated and nurtured. The sovereign and the minister are one above and one below, and cannot be confused in rank, but their hearts can interact; once they interact, the sovereign and the minister will be in harmony and share the same virtue. (The original text says "inner strength," i.e., "inner vigor.")

陰陽以氣言，順健以德言。此二句，造化之小往大來也。君子小人以類言。此三句，人事之小往大來也。內外釋往來之義。陰陽、健順、君子小人，釋大小之義。蓋陰陽不能相無者，天地之氣。而欲天下皆君子而無小人者，聖人之心。泰否之機歸宿於君子小人之消長，主持世運者所當知也。然小人必不能盡去。但使君子居中，而制其命。小人在外，不為無措。君子之氣已伸，天下已泰矣。

Yin and yang refer to the nature of qi, while being strong and healthy refers to virtue. The phrases "heaven and earth interacting" and "upper and lower interacting" discuss the small movement and great movement in the process of creation. The categories of君子 and小人 refer to classes, while the three sentences following "inner yang and outer yin" discuss the small movement and great movement in human affairs. The words "inner" and "outer" explain the meaning of "coming and going," while "yin and yang," "strength and gentleness," and "junzi and xiaoren" explain the meaning of "small and great." One must understand that yin and yang cannot be separated, as this is the actual situation of heaven and earth's qi; yet the wish for the world to be entirely composed of junzi and have no xiaoren is the wish of the sages. The key to Tai and Yu lies in the rise and decline of junzi and xiaoren, which is something those who guide the world's course should understand. However, xiaoren will never be completely eliminated. As long as junzi are placed in the inner position and hold power, and xiaoren are placed in the outer position without being left without a place, the strength of junzi will be extended, and the world will become harmonious.

象曰：天地交，泰。后以財成天地之道，輔相天地之宜，以左右民。天地之道，以形氣全體言。財成，在在其過也。如氣化流行相續，聖人分之以春夏秋冬。地形廣邈交錯，聖人限之以東西南北之類是也。

The Image Commentary says: When heaven and earth interact, this is the hexagram Tai; the ruler takes it as a model, regulates and completes the way of heaven and earth, assists and promotes the suitable transformation of heaven and earth, to help the people. "The way of heaven and earth" refers to the whole of form and qi. "Cai cheng" is actually "Cai cheng," meaning to regulate and correct excess. For example, when the process of qi transformation flows continuously, the sage divides it into spring, summer, autumn, and winter; when the terrain is vast and intersecting, the sage defines it as east, west, south, and north, all fall into this category. (The original text "zai zhi qi guo ye" should be "cai qi guo ye.")

天地之宜，以時勢所適言。輔相，以補其不及也。如春生秋殺，聖人使春耕秋斂。高燥下溼，聖人使高黍下稻之類是也。裁成輔相，皆所以左右輔助乎民。自乾坤以後，陰陽各三十畫而為泰。而泰之陰陽各三，是泰由陰陽無過不及而成。故既泰之後，裁其過，補其不及，所以保泰也。

"The suitability of heaven and earth" refers to what is appropriate according to the circumstances. "Auxiliary and supportive" means to supplement what is lacking; for example, in spring things grow and in autumn they wither, so sages teach the people to plow in spring and harvest in autumn; high places are dry and low places are damp, so sages teach the people to plant millet in high areas and rice in low areas, all of which fall into this category. Both "forming and shaping" and "auxiliary and supportive" are meant to assist the people. Counting from the "Qian" and "Kun" hexagrams onwards, up to the "Tai" hexagram, there are thirty yin lines and thirty yang lines respectively; and the "Tai" hexagram itself consists of three yin and three yang lines. This shows that the "Tai" hexagram is formed when yin and yang are neither excessive nor deficient. Therefore, after achieving a state of harmony and prosperity, it is still necessary to restrain excesses and supplement deficiencies, which is the proper way to maintain the state of Tai.

初九：拔茅茹以其彚，征吉。乾初變巽，坤初變震，皆屬木。三陰三陽皆相連以上，故泰否初爻皆有拔茅茹之象。茹，根之牽連者。三陽在下，初動則相連以進。眾君子同德以升，泰運初開之時。占者有陽剛之德，則往而得吉矣。初曰以其彚。

The first line statement of initial nine says: uprooting wild hemp, the roots are connected in clusters, going forward is auspicious. The first line of Qian changes to Xun, and the first line of Kun changes to Zhen. Xun and Zhen both belong to wood. The hexagrams Tai and Po both have three yin and three yang lines connected in a single flow, so both hexagrams have the image of "uprooting wild hemp." "Ru" refers to the interconnected roots. Three yang lines are at the bottom, and when the first line moves, it connects and moves together: the virtuous men act in harmony, which is the beginning of the prosperous time. If one who has yang strength draws this line, going forward will be auspicious. The first line of nine speaks of "by its kind," meaning by its like.

三陽欲進而以之者在初，君子與君子為類也。四曰以其鄰。三陰欲復而以之者在四，小人與小人為類也。初曰征吉，四則否者，易為君子謀也。象曰：拔茅征吉，志在外也。君子之志在天下，不為一身。故當泰之時，志欲上進也。

Three yang lines are advancing upward, and they are led by the line at the beginning (Chu Jiū), showing that gentlemen associate with other gentlemen. The line six in the fourth (Liù Sì) says "with its neighbor": three yin lines are returning downward, and they are led by the line at six in the fourth, showing that petty people associate with other petty people. It is the same kind of connection, but the line at the beginning is judged as "advancing is auspicious," while the line six in the fourth is not. This is because the Zhou Changes always consider the interests of the gentleman. The Image Commentary says: pulling up a wild grass and going forward is auspicious, because the mind is outward. The gentleman's aspiration is for the world, not just for himself; therefore, when the time is favorable, he is fully committed to advancing upward.

九二：包荒，用馮河，不遐遺，朋亡，得尚于中行。卦內君子而外小人。三陰在外荒穢，小人之象。九二當保泰之任，有宜包容荒穢之象。以九合五，成坎河象。健臨之，有馮河之象。五陰在外，隔三與四，遐遠之象。二應之，不遺遐遠之象。三陽朋象。二居中不偏，上應乎五。專意事君，不立朋黨，有朋亡之象。

The second line statement says: It encompasses disorder and filth, dares to walk across the river on foot, does not abandon distant people, does not form cliques, and can cooperate with the sovereign who is in the center. The inner part is the gentleman and the outer part is the petty person: three yin lines are outside, indicating a state of wilderness and filth, which is the image of petty persons. The second line bears the responsibility of maintaining the prosperous era, so it has the image of encompassing disorder and filth. The second line combines with the fifth line to form Kan, which represents water or a great river; the second line belongs to the Qian trigram, which is strong and vigorous, thus it has the image of walking across the river on foot. The fifth line is in the outer trigram, with the third and fourth lines in between, indicating a distant image; the second line still responds to it, so it has the image of not abandoning distant people. Three yang lines are of the same type, indicating a clique; but the second line is in the center without bias, focusing solely on responding to the fifth line and wholeheartedly serving the sovereign, thus it has the image of 'the clique vanishes'.

泰欲得中。二，大臣輔泰者，當使君子小人皆得其所。不能包荒，使小人無所容，則非中。然能包荒而無果斷，亦非中也。二以中上應乎五，有包容之德。以剛應柔，又有馮河之勇。遺棄疎遠，使小人不得效其力，固非中。然能不遺遠，而君子在近自成朋黨，亦非中也。

The Way of Tai values the principle of "center." Nine in the Second is a minister who supports the stability of Tai, and should ensure that both the virtuous and the petty are placed in appropriate positions. If it cannot tolerate disorder and allows the petty to have nowhere to take refuge, then it is not center. However, if it only tolerates without decisiveness, it is also not center. Nine in the Second, by virtue of its central nature, corresponds to Six in the Fifth above, demonstrating a refined capacity for inclusion. By a yang force responding to a yin force, it also shows courage like crossing a river on foot. To neglect distant people and prevent them from contributing is not center. Yet, even if it does not abandon those afar, but allows the virtuous nearby to form factions, it is still not center.

二遠應乎五，遠人在所懷。居中不倚，近者亦無可暱。剛柔相濟，無偏無黨。合四者言之，合中行之道也。然二居中，固為中行。今曰尚，則中行又指五也。五之象曰中以行願。蓋泰欲得中，上有中行之君，下非有中行之臣，不能上輔乎五而保泰矣。故二曰尚，五曰歸，所謂上下交而志同。曰得尚，喜之之辭也。以陰爻言，五取小人。以位言，又取君。此又不可為典要者也。象曰：包荒，得尚于中行，以光大也。二變為離，有光大象。人惟心胸光明正大，故能兼容果斷，不至遺遠而暱近。獨言包荒，舉一以該其餘也。

Nine Two is far from Six Five, yet all people in the distant lands are within its embrace; it resides in the center without leaning to one side, and those around it cannot be close or intimate. The strong and the gentle balance each other, neither partial nor forming factions. When we consider the four qualities—embracing the vast and the obscure, crossing rivers without hesitation, not neglecting the distant, and the absence of factionalism—together, they conform to the way of the middle path. However, Nine Two itself is in the center, and thus already embodies the middle path. Yet the line statement says "to be esteemed," indicating that "middle path" here refers to Six Five. The image commentary on Six Five says "centered in action with sincerity," which is exactly this meaning. The way of Tai (Peace) values the middle path; if above there is a sovereign who follows the middle path, but below there is no minister who also follows the middle path, then it will not be possible to support Six Five and maintain the state of Tai. Therefore, Nine Two says "to be esteemed," and Six Five says "to return," which is precisely what the commentary on the judgment calls "the upper and lower interact and their wills are the same." Saying "to be esteemed" expresses a tone of joy. From the nature of a yin line, Six Five is considered a small person; yet from its position, it is the sovereign. This is one of the reasons why the Zhou Changes cannot be treated as rigid rules. The image commentary says that being able to embrace the vast and the obscure while aligning with the middle path is due to a bright and upright heart. When Nine Two changes to Li (Fire), which represents brightness, there is an image of brightness and uprightness. A person can only be both inclusive and decisive, without alienating distant people or being overly familiar with those nearby, if his heart is bright and upright. The image commentary singles out the phrase "embracing the vast and the obscure" as a representative of the other qualities.

九三：無平不陂，無往不復，艱貞無咎，勿恤其孚，于食有福。九三將過於中，泰將極而否欲來之時也。陽居內為平，往外則為陂。陰出外為往，返內則為復。乾三朝乾夕惕，有艱貞象。變兌為口，食象。天下無常平而不陂者，無常往而不反者。唯艱危其思慮，正固其施為，則可以無咎。恤，憂也。孚，理之信然者也。食，享之也。

The third line statement says: There is no everlasting level ground that does not slope, and no departure that does not return. To remain steadfast in righteousness amidst hardship brings no fault, and there is no need to worry about this principle, for enjoying one's salary brings its own blessings. The third line is about to cross over the lower trigram, indicating that the time of prosperity is nearing its peak and the time of adversity is about to arrive. A yang line residing within the inner trigram is 'level,' but moving to the outer trigram becomes 'slope' (inclined). A yin line moving to the outer trigram is 'departure,' but returning to the inner trigram becomes 'return.' The third line of the Qian hexagram originally embodies the meaning of 'rising early and being cautious at night,' hence the image of 'difficult yet firm.' When this line changes, the lower trigram becomes Dui, which represents the mouth, hence the image of 'food.' The world has no level ground that does not slope, nor any departure that does not return. Only by placing one's thoughts on hardship and maintaining firm action can there be no fault. 'Xu' means worry; 'Fu' means something that is necessarily so and trustworthy; 'Shi' means to enjoy.

平陂往復，天運之必至而信然者也。若以此動其心，則不能艱貞矣。唯盡其處泰之道，而不以此為憂恤，則可以食享其福也。蓋平陂往復者，天運所不能無。艱貞勿恤者，人事所當自盡也。象曰：無往不復，天地際也。古本有無平不陂。天地際，謂陰陽交會消長之際也。

When things are level, they will eventually become uneven; when there is movement, there will be a return. This is an inevitable and certain occurrence of heaven's course. If one is shaken by this, they will not be able to remain steadfast in hardship. As long as one fulfills their duty in times of ease, without worrying about it, they can enjoy happiness and blessings. In summary: the alternation between level and uneven, movement and return, is an essential part of heaven's course; to remain steadfast in hardship without worry is what people should do. The Image Commentary says: there is no going without a return, this is the boundary where heaven and earth meet. The ancient text had the words "no level without uneven" above this sentence. "Heaven and earth's boundary" refers to the meeting point of yin and yang, where one decreases and the other increases.

六四：翩翩不富以其鄰，不戒以孚。六四已過乎中，有泰極為否之漸。六四一陰既動，則五上二陰同類，有翩然而下，不約而同之象。陽實陰虛，故曰不富。鄰指五上。以，四以之也。小人合謀，自外而內。不待戒令，自然相信。君子所當戒也。陽之升曰拔茅。以自下而上，升之難也。陰之復曰翩翩。以自上而下，復之易也。

The Line Statement for the Fourth Line (Six in the Fourth): It descends swiftly and lightly, though not rich itself, it can lead its neighbors. There is no need for prior agreement, yet mutual trust is established. The Fourth Line has already passed the central position, indicating the beginning of a change from prosperity to adversity. When this single Yin line moves, the two other Yin lines, the Fifth and the Top, follow, hence the image of a graceful descent and mutual agreement without prior arrangement. A Yang line represents richness, while a Yin line represents lack of richness, hence the statement 'not rich'. 'Neighbor' refers to the Fifth and the Top lines; 'with' indicates that the Fourth line leads them. Small people conspire, infiltrating from outside, without orders or admonitions, yet they naturally trust each other—this is precisely what the gentleman should be wary of. The ascent of a Yang line is called 'uprooting grass', because it rises from below, with difficulty. The descent of a Yin line is called 'gracefully falling', because it falls from above, with ease.

象曰：翩翩不富，皆失實也。不戒以孚，中心願也。失實謂陰虛也。以失實，恐不容於君子。欲傷正勢，必結於小人，乃中心所願也。六五：帝乙歸妹，以祉元吉。三四五互為雷，二三四互為澤，有歸妹象。史謂湯為天乙，左傳謂紂父帝乙。姑兩存之。程傳謂帝乙始制王姬下嫁之禮，本義謂帝乙歸妹時占得此爻。今從程傳。

The Image Commentary says: swift descent without richness is because of emptiness and loss of substance; not needing to make an agreement yet being trusted is because the heart is naturally willing. "Loss of substance" refers to the emptiness of the yao. Because of this emptiness and lack of substance, fear of not being accepted by the gentleman, wanting to damage the strength of the righteous, inevitably leads to joining with the petty people, which is what they naturally desire. The line statement for the fifth line: Emperor Yi married off his young daughter, thus gaining blessings, which is greatly auspicious. The third, fourth, and fifth lines together form Zhen (Thunder), and the second, third, and fourth lines together form Dui (Lake). Thunder above and Lake below form the hexagram "Returning to Marry," hence the image of "returning to marry." Historical records refer to Tang as "Tian Yi," while the "Zuo Zhuan" refers to Zhou Wang's father as "Di Yi." Both accounts are presented here. Cheng Yi's "Cheng Transmission" holds that it is Emperor Yi who first established the ritual of marrying off royal daughters, while Zhu Xi's "Ben Yi" holds that it is during the marriage of a sister by Emperor Yi that this line was obtained. Here we follow Cheng Yi's interpretation.

蓋以陰居尊為泰之主，柔中虛已下應九二。以柔中之君，倚任剛明之臣，可以保泰獲福，有帝女之貴下從其夫而受福之象。全卦三陰皆為小人。以五一爻言之，則保泰之君。不可執一論也。象曰：以祉元吉，中以行願也。居中應二，行其志願，非勉強也。

Since the line six in the fifth position is a yin and flexible line occupying a high position, it is the main line of the hexagram Tai. It is gentle, compliant, and in the center, humbly responding to nine two. As a ruler with a flexible and moderate character who relies on the strong and clear-minded minister, it can maintain the prosperous situation and gain blessings. Therefore, there is an image of a royal daughter who is noble but marries down to her husband and thus receives blessings. In the entire hexagram, the three yin lines are considered small people; but when considering only line six in the fifth position, it is the ruler who maintains prosperity. This shows that one cannot apply a single interpretation rigidly. The Image Commentary says: therefore, gaining blessings and great good fortune, because it is in the center and realizes its own will. Line six in the fifth is in the central position and responds to nine two below, promoting its own aspirations, which is not forced or artificial.

上六：城復于隍，勿用師。自邑告命，貞吝。坤土復反於下，有城復于隍之象。掘隍土積累以成城，如治道積累以成泰。及泰之終，將反於否如城土頹圯，復反於隍也。坤上為泰，坤下為否，以陰陽之氣言也。若言其質，則坤土本在下之物，在上有必頹之理。

The line statement for the sixth line at the top says: The city wall collapses and returns to the moat, do not use military force; only issue orders from one's own territory, even if one remains upright, there is still shame and regret. The trigram坤 represents earth, and earth returning to below gives the image of the city wall collapsing back into the moat. Digging up soil from the moat and piling it layer by layer to build the city wall is like gradually accumulating virtue to achieve peace and prosperity; when peace and prosperity reach their limit and turn to decline, it is like the earth collapsing back into the moat. When坤 is at the top, it is the trigram Tai (Peace), and when坤 is at the bottom, it is the trigram Po (Decline). This refers to the rising and falling of yin and yang energies; if we consider its physical nature, earth which naturally belongs to the lower position, when placed at the top, inevitably leads to collapse.

曰復者，反其初也。坤為眾，有師象。又為國土，有邑象。泰極而否，眾心已散，難以力爭。勞民傷財，必至散亂。窮守一邑，罪已下詔，收拾人心可也。然不能保邦未危，而播告之修不能及遠，雖正亦可羞矣。象曰：城復于隍，其命亂也。命，政令也。其命先亂，故至於否，不盡關天運也。告命，乃盡人事以治之，非付之不可為也。

The commentary on "Returning to the Original State" explains that it refers to returning to the original condition. The Earthly Element坤 represents the people, hence the image of an army; it also represents the land, hence the image of a city. When the prosperous era reaches its peak and turns into a time of decline, the people's hearts have already become scattered, and it is difficult to restore order through force. Resorting to military action forcefully would only burden the people and cause waste, eventually leading to chaos. At this point, the only feasible course is to defend a single city, issue an imperial decree of self-reproach, and gather the people's support. However, it is regrettable that the country was not preserved in time when it was still safe, and now the issued decrees cannot reach distant areas. Even if the actions taken are correct, it is still a source of shame. The Image Commentary says: The city walls return to the ditches, indicating that the imperial decrees have already become disordered. "Ming" refers to the imperial decrees. The disorder of the decrees first leads to the decline, and it is not entirely due to heavenly circumstances. "Self-reproach from the city to announce the decree" signifies making full use of human effort to remedy the situation, rather than passively accepting fate and believing that nothing can be done.

全卦以小往大來為義。故內三陽屬泰，外三陰屬否。初為泰運方開，君子並進。二為保泰之臣。三則陰陽消長之會也。四為過中將否之時。五為保泰之君。上則泰極為否之日也。泰以方中為幸，故二五皆能保泰。初陽始進則可幸。四陰方動則可憂。三陽已極則艱貞，猶可有為。上陰已復則命亂，已難於治。唯聖人保於方泰之時，而不敢自弛於泰極之日。雖天運有所必然，而人事無時不宜自盡也。

The entire hexagram is based on the concept of "small things receding and great things coming." Therefore, the inner trigram has three yang lines, representing Tai (Prosperity), and the outer trigram has three yin lines, representing Po (Obstruction). Initially, the first line, Nine at the Beginning, marks the beginning of the prosperous era when gentlemen advance together. The second line, Nine in the Second, represents the ministers who maintain prosperity. The third line, Nine in the Third, is the critical point where yin and yang change. The fourth line, Six in the Fourth, indicates that after passing the center, the trend is turning toward obstruction. The fifth line, Six in the Fifth, represents the ruler who maintains prosperity. The sixth line, Six at the Top, signifies the day when prosperity turns into obstruction. Prosperity is considered favorable because it is in the correct central position, so both Nine in the Second and Six in the Fifth can maintain the prosperous state. The first line, with yang energy just entering, is worth celebrating. The fourth line, with yin energy beginning to move, is a cause for concern. The third line, with yang energy reaching its peak, can still hold firm and act with difficulty. The sixth line, with yin energy returning downward, leads to disorder in governance, making it hard to manage. Only the sage, when prosperity is in order, takes care to preserve it, and even on the day of extreme prosperity, does not slacken. Although heavenly movement has its inevitable course, human affairs have no moment that does not require personal effort.

否。否卦，坤下乾上，天地不交，萬物不通，隔絕閉塞，故為否。否卦次泰。按，序卦，物不可以終通，故受之以否。通極必塞，氣化之常，否所以次泰也。否與泰反。故全彖之辭皆與泰反，而六爻大意亦然。內三爻為否，而外三爻漸極而為泰。初為小人用事之始。二則小人得志之時。三則小人有知羞之意。四則否過中，有將泰之極。五則人君休否之事。而上則否傾為泰矣。天運無終泰，亦無終否。此天人所以常相勝，而主持世道者，當盡人事以迴天心也。

The Hexagram of "Opposition" has the Lower Trigram as Kun (Earth) and the Upper Trigram as Qian (Heaven). The energies of Heaven and Earth do not interact, so all things are blocked and unable to flow smoothly, hence the name "Opposition." The Hexagram of "Opposition" comes after the Hexagram of "Prosperity." According to the "Sequence of Hexagrams," things cannot remain prosperous forever, so after "Prosperity" comes "Opposition." When prosperity reaches its peak, it inevitably turns to obstruction, which is the natural principle of change, hence "Opposition" follows "Prosperity." "Opposition" is the opposite of "Prosperity," so the entire Hexagram Statement is opposite to that of "Prosperity." The meaning of the six lines is also opposite: the three lines of the Inner Trigram indicate opposition, while the three lines of the Outer Trigram gradually reach their peak and turn to prosperity. The line "Initial Six" represents the beginning of small people gaining power; "Six in the Second" represents the time when small people are in power; "Six in the Third" indicates that small people have begun to feel ashamed; "Nine in the Fourth" is the time when the period of opposition has passed the middle and is about to turn to prosperity; "Nine in the Fifth" is the time when the ruler stops the period of opposition; and at "Nine at the Top," the period of opposition is overturned and turns to prosperity. The natural order has no permanent prosperity or permanent opposition, which is the reason why Heaven and humanity constantly influence each other. Those who govern the world should do their utmost to restore the will of Heaven.

否之匪人。不利君子貞。大往小來。否，閉塞也。三陰在內，七月之卦也。匪人，非人道也。天地交而萬物生，萬物唯人最靈。不交則不生，人道絕矣。其占不利於君子之正道。貞有何不利。但此時小人用事，不利於君子之貞。大往小來，謂陽生往居外，陰來居內也。泰先言小往大來。而後言吉亨。否先言不利君子貞，而後言大往小來。聖人以泰歸之天，否責之人也。

The Hexagram Statement says: In a time of blockage, human ways cannot be established, and it is not favorable for the gentleman to maintain uprightness. The great moves outward, and the small moves inward. "Blockage" means obstruction. Three yin lines are within, and in the twelve message hexagrams, this is the hexagram of the seventh month. "Not a person" means that human ways cannot be established: heaven and earth interact and all things are generated; among all things, humans are the most refined. If heaven and earth do not interact, all things will not be generated, and human ways will also be cut off. Therefore, the divination indicates it is not favorable for the gentleman to maintain uprightness. Why is maintaining uprightness itself unfavorable? It is only because at this time the petty people are in power, which is unfavorable for the gentleman's uprightness. "The great moves outward and the small moves inward" means that the yang energy moves upward to the outer trigram, and the yin energy moves inward to the inner trigram. The hexagram Tai first says "the small moves outward and the great moves inward" and then says "auspicious and smooth." The hexagram Po, however, first says "not favorable for the gentleman to maintain uprightness" and then says "the great moves outward and the small moves inward." This is because the sage attributes Tai to heavenly will and attributes Po to human affairs.

彖曰：否之匪人，不利君子貞，大往小來，則是天地不交而萬物不通也，上下不交而天下無邦也。內陰而外陽，內柔而外剛，內小人而外君子。小人道長，君子道消也。無邦，謂上下隔絕，雖有邦與無邦同也。陰陽以天道言，剛柔以地道言。君子小人以人道言。泰言健順，此言剛柔者。泰天地之氣交，故言其德。否氣既不交，則言其質而已。

The Commentary on the Judgment says: In a time of blockage and separation, human principles cannot be established, and it is not advantageous for the gentleman to maintain uprightness. The great things move outward, the small things move inward. This is the situation where heaven and earth do not interact and all things are not connected, and where above and below do not interact and the world is as if there were no states. Inside is yin, outside is yang; inside is soft and weak, outside is strong and firm; inside is the petty person, outside is the gentleman. The way of the petty person grows day by day, while the way of the gentleman declines day by day. What is meant by "no state" is that above and below are separated. Although there are states, they are as if there were none. Yin and yang refer to the heavenly way, while hardness and softness refer to the earthly way, and gentleman and petty person refer to the human way. The Tai hexagram speaks of "strength and compliance," but here it speaks of "hardness and softness." The difference lies in this: Tai is when the energies of heaven and earth interact, so it speaks in terms of its virtues; while Po is when the energies have ceased to interact, so it can only speak in terms of its physical qualities.

象曰：天地不交，否。君子以儉德辟難，不可榮以祿。收斂其德，不形於外，以免小人之忌。象坤陰之吝，收斂於內也。德既斂藏，人不知我，故不得以祿位榮之。象乾德之剛，遠避於外也。

The Image Commentary says: Heaven and Earth do not interact, which is the hexagram of "Obstruction"; the gentleman takes this as a model, restraining his virtue to avoid calamity, and does not take official rank as a source of glory. By keeping virtue hidden, not displaying it outwardly, to avoid the resentment of petty people — this is symbolized by the lower trigram Kun's meanness and restraint within. When virtue is already concealed, others do not understand me, so they cannot use official rank to honor me — this is symbolized by the upper trigram Qian's strength, which remains far away.

初六：拔茅茹以其彚，貞，吉亨。三陰在下，當否之時，小人連類而進，亦有拔茅茹以其彚之象。然初之惡未形，故許以貞則吉亨，欲其變為君子也。小人苟得，故戒之以貞也。然君子小人有何定名，能貞則君子矣。易為君子謀。否乃不利君子貞之時，乃戒小人以貞。為小人謀，正為君子謀也。

The line statement for the first line (initial line) says: uprooting wild hemp, the roots are connected in clusters; if one can maintain uprightness, it will be auspicious and smooth. Three yin lines are at the bottom, which corresponds to the time of 'no' (obstruction), when petty people are connected with their kind and rise together, hence the image of 'uprooting hemp with its roots in clusters'. However, the evil of the initial line has not yet shown, so it is allowed to say 'maintaining uprightness brings auspiciousness and smoothness', hoping for its transformation into a gentleman. Petty people are accustomed to seeking benefits through improper means, so the word 'zheng' (uprightness) is specifically used to warn them. In reality, there is no fixed distinction between gentleman and petty person; maintaining uprightness is what makes one a gentleman. The Zhou Changes always considers the gentleman's interests. The hexagram 'No' is a time when 'it is not favorable for the gentleman to maintain uprightness', yet here 'zheng' is used to warn the petty person. Considering the petty person's interests is also considering the gentleman's interests.

象曰：拔茅貞吉，志在君也。泰初九應六四。六，陰也民也。初陽志在澤民，不獨善其身，故曰志在外。否初六應九四。九，陽也君也。初六志在愛君，不自植其黨，故曰志在君。小人以愛君為念，則不計其私，變為君子矣。大抵小人初進，猶有君國之念。其後乃患得患失之心日勝，彌縫奔競日工。故此爻為始進者戒之。小人君子之分，視其志而已。

The Image Commentary says: pulling out the reeds while holding to the correct path brings good fortune, indicating that the mind is fixed upon the sovereign. In the卦 of Tai, the line Nine at the Beginning and the line Six in the Fourth correspond with each other. Six represents Yin, symbolizing the people, while Nine at the Beginning, being a Yang line, has the aspiration to benefit the people and refuses to focus only on self-cultivation. Therefore, it is said "the mind is outside." In the卦 of Po, the line Six at the Beginning and the line Nine in the Fourth correspond. Nine represents Yang, symbolizing the sovereign, while the line Six at the Beginning has the aspiration to care for the sovereign and does not seek to build private alliances. Therefore, it is said "the mind is with the sovereign." If a petty person genuinely cares for the sovereign, he will no longer calculate private gains, and thus becomes a gentleman. Generally, when a petty person is first appointed, he still retains some thoughts of serving the state; but later, his mind becomes increasingly preoccupied with gains and losses, and he becomes more skillful in covering up his faults and seeking favor. Therefore, this line serves as a warning for those who have just been appointed. The difference between a petty person and a gentleman lies solely in their aspirations.

六二：包承。小人吉。大人否亨。否包承與泰包荒同。否對外卦三陽言。六二為得位之小人，有欲包羅群陽，而以承順取之之象。小人能如是在小人為吉道也。然大人處此，則當身安於否而道可亨。不可以彼包承於我，而失其所守，妄意出否以求亨也。

The Line Statement for Line Two (Six Two): Encompassing and flattering. It is吉利 for the small person; for the great person, being in a state of blockage, their path is unimpeded. The 'encompassing and flattering' in the '否' hexagram corresponds in structure to the 'encompassing the vast' in the '泰' hexagram's Nine Two. Both are addressing the three yang lines in the outer trigram. Six Two is a properly positioned and central small person, who desires to include all the yang lines, using flattery and compliance to gain their favor. For the small person, this approach is a favorable path. However, for the great person in such a situation, they should remain content with their state of blockage and ensure their path remains unimpeded. They should not lose their position due to the flattery of others and foolishly attempt to escape the adverse situation in search of success.

初惡未形，故不曰小人。二則直以小人稱矣。初曰吉亨，猶望反否為泰。二則否亨，遂成否矣。小人不安於否，求亨何所不至。故否亨者，大人之事，非小人之所能也。象曰：大人否亨，不亂群也。三陰，小人之群也。大人妄意出否以求亨，則入於小人之群矣。身否道亨，乃不亂於其群也。

The evil of the first line has not yet taken shape, so the line statement does not call it "a petty person"; by the second line, it directly refers to it as "a petty person." The first line says "auspicious and smooth," still hoping to reverse the situation from obscurity to prosperity; the second line says "obscurity is smooth," indicating that the state of obscurity has become fixed. Petty persons cannot be content with obscurity and will do anything to seek success; therefore, "personal obscurity but the way is smooth" is the affair of a superior person, not something petty persons can achieve. The image commentary says: a superior person experiences personal obscurity but the way is smooth, not sharing the same path as petty persons. Three yin lines represent the group of petty persons; if a superior person foolishly tries to escape the condition of obscurity in search of success, he would fall into the group of petty persons. Only when one is personally in obscurity but the way is smooth can one be said not to mix with that group.

六三：包羞。以陰居陽，不中不正。欲包群陽，故有包羞之象。三，否之極，小人之在高位者。故亦欲包群陽。然二居柔，猶知承順乎君子。所居中正，故吉。三居剛，故不言承。所居不中正，則取羞而已。包承如彌子之於孔子，包羞則丁謂之拂須是也。三否已極矣。然世雖極亂，必無善類盡滅之理。

The third line statement says: "It is concealed shame." The third line is a yin line in a yang position, which is neither in the center nor in the proper position, yet it still tries to include all the yang lines, hence the image of "concealed shame." The third line is at the extreme of the inner trigram, representing the peak of the "no" situation. It is the position of a petty person in a high position, so it also tries to include the yang lines. However, the second line is in a flexible position and understands how to be submissive to the gentleman, and it is in the center and upright, so it is judged as favorable. The third line is in a strong position, so the line statement does not say "submission." Since it is neither in the center nor upright, it ends up bringing shame upon itself. "Concealed submission" is like the flattery of Mi Zi Xia to Confucius, while "concealed shame" is like the sycophancy of Ding Wei to his superior. At this time, the "no" situation has reached its extreme. However, even though the world is chaotic to the extreme, there is no reason for the virtuous to be completely exterminated.

君子有否亨之道，小人亦不能盡肆其惡，猶有所包藏。且君子終有有命之時，小人亦不能無愧於心，故猶懷羞恥。以其惡未肆而知羞也，故不言凶咎之戒。象曰：包羞，位不當也。小人所以包而取羞者，豈心之所甘哉。但以不中不正，所處之位不當故耳。開小人以悔過也。

A gentleman has his own way to achieve success through virtue, and a petty person cannot fully carry out his malicious intentions, for there is always something concealed. Moreover, a gentleman will eventually receive the favor of heaven's mandate, and a petty person's heart is not entirely free from guilt, so he still harbors shame. Precisely because his evil has not yet been fully expressed and he knows shame, the line statement does not issue a warning of calamity. The image commentary says: concealing and feeling ashamed, is due to an improper position. Why does a petty person desire to attract the other yang forces yet ends up bringing himself disgrace? Is it by his own will? No, it is only because he is not in the right position, neither proper nor upright. Thus, this explanation leaves a way for the petty person to repent.

九四：有命，無咎，疇離祉。程傳以命為君命，謂九四近君，凡事必由君命，以圖濟否也。本義以命為天命。泰極而否，否極泰來，天之所命，即泰三「平陂往復」之義也。今從本義為優。

The statement of the fourth line (nine in the fourth) says: "There is a mandate above, and there will be no mistake; all similar ones will share the blessing." The term "there is a mandate" is interpreted by Cheng Yi in his commentary "Yichuan's Commentary on the Changes" as the mandate of the sovereign, explaining that since the fourth line is adjacent to the fifth line, which represents the sovereign's position, all matters must be carried out in accordance with the sovereign's command in order to reverse the situation of stagnation and decline. Zhu Xi, in his "The Original Meaning of the Zhou Changes," interprets it as the mandate of heaven, stating that when the situation of prosperity reaches its peak, it turns into one of decline, and when decline reaches its peak, it turns back to prosperity. This cycle of movement and return is determined by heaven, which is the same principle as the statement in the third line of the "Tai" hexagram, "Without levelness there is slope, without going there is return." Comparing these two interpretations, the explanation from "The Original Meaning" is more appropriate, as the entire statement of this line discusses the shifting between prosperity and decline, attributing it to heaven, which is more coherent than limiting it to the sovereign's command.

九四以陽居陰，不極其剛。否過中而將泰之時，有「有命自天，我不致咎，疇類三陽皆可獲福」之象。蓋否泰之運皆天命也。泰變否易，故於內卦言之；否轉為泰難，故於外卦言之。泰之三必無咎而後有福，否之四必無咎而後離祉。蓋乾坤交接之會，陰陽消長之際，必我自立於無過，而後可為福，而後可為疇類之福也。泰三「平陂往復」，冀其艱貞，勉君子也。

Nine in the Fourth is a yang line in a yin position, strong but not overly so. At this point, the period of否 has passed its midpoint and is moving toward the period of泰. Therefore, there is an image of 'the mandate comes from heaven and I do not bring about misfortune; the three yang lines of the same kind can all gain blessings.' Both the periods of否 and泰 are governed by heaven's mandate. The transition from泰 to否 is easier, so the meaning of this is placed in the inner trigram's Nine Three of the卦泰; the transition from否 to泰 is more difficult, so the meaning is placed in the outer trigram's Nine Four of the卦否. In the卦泰, Nine Three must first avoid wrongdoing before there can be blessings; in the卦否, Nine Four must also first avoid wrongdoing before it can receive blessings. At the critical point where the heavens and earth meet and yin and yang change, one must first stand firm in a position of no wrongdoing before talking about blessings, and only then can one bring blessings to others. The卦泰's Nine Three says 'without levelness there is slope, without going there is return,' which is a hope that people will remain upright in hardship, and it is a encouragement to the gentleman.

否四有命無咎，喜其獲祉，戒小人也。君子有命自天，當否有可亨之道，否極有泰來之祉。小人之慾包君子者，不誠可羞哉！彌子謂孔子主我，孔子亦曰有命，即此意也。象曰：有命無咎，志行也。有命自天又必無咎者，人與天合，轉否為泰之志始行也。

The Nine in the Fourth of the Hexagram of "Non-Communication" says, "There is destiny, no misfortune," which expresses the joy of the gentleman receiving blessings, and also serves as a warning to the petty person. The gentleman carries the mandate of heaven upon him; even in times of blockage, there is a path through his difficulties and the way of success. When the period of non-communication reaches its end, there will be a return to prosperity and blessings. Those who try to entrap and conceal the gentleman are truly deserving of shame! The "Book of Mencius, Part Upper of Wan Zhang" records that the favored minister of the State of Wei, Mi Zi Xia, asked Zi Lu to convey a message to Confucius, saying that if Confucius would stay in his home, the position of minister of state in Wei would be his. Confucius simply replied with "There is destiny," which is exactly the meaning here. The "Image Commentary" says: having destiny without error, is the will to transform non-communication into prosperity that can be carried out. Having destiny from heaven, one must also not commit errors oneself. When human affairs and heavenly will are in harmony, the will to transform non-communication into prosperity can begin to take effect.

九五：休否，大人吉。其亡其亡，繫于苞桑。九五陽剛中正以居尊位，能休時之否，大人之事。占此爻者，大人遇之則吉也。然方欲休之，否未盡傾，故必常存危亡之心，乃有苞桑之固。

The Line Statement of the Nine in the Fifth: It brings a halt to the obstruction, and it is auspicious for a great person; one must constantly think, 'It is about to collapse, it is about to collapse,' in order to be as firm as a vine tied to the roots of a mulberry tree. The Nine in the Fifth, with its yang strength, occupies the central and correct position and holds the exalted position, thus being able to terminate the obstruction. This is something only a great person can accomplish. When one is just beginning to end the obstruction, the obstruction has not yet completely collapsed, so one must always remain vigilant about the imminent danger, in order to achieve the firmness of a vine tied to the roots of a mulberry tree.

桑根深固。苞，叢生者，其固尤甚也。三四五互為巽木，苞桑象。巽又為繩，繫之之象。二五皆以大人言。二有德無位，故守其否而道亨；五有德有位，則能休時之否矣。二時方否，故與小人並言；五否已過，則大人獨居其位矣。然非有戒懼之心，不能為休否之事，未可盡聽之天也。

The roots of the mulberry tree are deep and firm. "Bao" refers to growth in clusters, with roots intertwined, making it even more secure. The third, fourth, and fifth lines of the primary hexagram form the trigram Xun, which represents wood, hence the image of "bao sang" (clustered mulberry roots). Xun also represents a rope, matching the image of "xi" (binding). Both lines six in the second and nine in the fifth use the term "da ren" (great man): line six has virtue but no position, so it can only remain steadfast in times of blockage, allowing its path to be clear; line nine has both virtue and position, thus able to end the blockage. Line six is in the midst of blockage, so the line statement mentions both great and small men; when line nine is in position, the great man alone occupies it. However, without a cautious and respectful attitude, one cannot accomplish the task of ending the blockage, and one cannot leave everything to heaven's arrangement.

象曰：大人之吉，位正當也。唯有位故能休否。與二之大人否亨者，德同而位不同也。無位時不能否亨，得位未有能休否者。

The Image Commentary says: The reason why the great man is auspicious is because his position is appropriate. Because he holds this exalted position, he is able to end the condition of blockage. Comparing him with the person in the second line who is 'in a blocked position but with a smooth path,' both have the same virtue, but they are in different positions. If a person, when not holding an office, cannot achieve a smooth path while being in a blocked situation, then when he does obtain a position, he will never be able to end the condition of blockage.

上九：傾否，先否後喜。以陽剛居否極，能傾時之否者也。不曰否傾而曰傾否，不恃天運而貴人事也。變兌為悅，有喜象。先否後喜，先有其亡之懼，則終有傾否之喜也。

The line statement for the Upper Nine: Remove the obstruction and overturn the situation of blockage, first there is blockage, then there is joy. The Upper Nine, with its yang strength, is at the end of the period of obstruction, and is the one capable of overturning the adverse situation. The line statement does not say 'the obstruction is overturned' but 'overturn the obstruction,' indicating that one does not rely on natural improvement of heaven's fortune, but rather values human initiative — the active force lies with people, not heaven. When the Upper Nine changes, the upper trigram becomes Dui, which represents joy, hence the image of joy. 'First obstruction then joy' means: first there is the anxiety of 'its demise, its demise' as in the Nine in the Fifth, and finally there is the joy of overturning the adverse situation.

象曰：否終則傾，何可長也。天下無終否之時，必有陽剛之才以傾之也。全卦以大往小來之義。內三陰皆屬否，外三陽則漸為泰。初小人之惡未形，猶可不至於否；二則小人得志，否之成；三則小人知羞，否之極矣；四之有命，否已過中，有欲泰之極；五之休否，則有轉泰之事；至傾否，則否極為泰矣。泰以三陰在外為小人，而六五居尊應二，又為保泰之主；否以三陰在內為小人，而六二中正，可言否亨之大人。則因爻起義，不可執一也。

The Image Commentary says: When the state of opposition reaches its extreme, it will collapse, how can it last long? The world has no time when it is always blocked, there must be a man of yang strength who will overturn it. The whole hexagram takes the meaning of "great going out and small coming in": the inner trigram has three yin lines which belong to opposition, while the outer trigram has three yang lines which gradually turn to prosperity. At the beginning line, the evil of the small person has not yet shown, it is not yet opposition; when the second line the small person gains power, the state of opposition is formed; when the third line the small person feels ashamed, opposition has reached its extreme; when the fourth line there is heavenly favor, the state of opposition has passed its midpoint, and there is already a trend towards prosperity; when the fifth line ends opposition, there will be achievements turning to prosperity; when the top line overturns opposition, opposition reaches its extreme and becomes prosperity. The hexagram of Tai has three yin lines outside as small persons, while the fifth line holds the noble position and responds to the second line, being the main line that maintains the prosperity. The hexagram of Pǐ has three yin lines inside as small persons, while the second line holds the central position and is upright, thus it can be called "body in opposition but the way is smooth" as a great person. It is evident that interpreting the Book of Changes should follow the movement of each line, and not stick to a fixed rule.

同人 同人，離下乾上。離一陰麗於二陽之間，其德為麗為文明，其象為火為日為電。天在上而火炎上，有同之象。上乾為天為君。下離六二一爻在離之中，居人之位。卦中上下五陽同欲二之一陰，而二五又以中正相應，有以天同人、以君同人之義，故曰同人。

The hexagram "Tong Ren" (Union with People) has the trigram Li (Fire) below and Qian (Heaven) above. The trigram Li consists of a yao (line) that is yin attached between two yang lines, and its virtue is attachment and civilization, symbolizing fire, the sun, and lightning. Heaven is above and fire ascends, so both elements move upward together, giving the image of "union." The upper trigram Qian represents Heaven and the ruler; the lower trigram Li's second line, six two, is located in the center of the trigram, corresponding to the position of "human" in the three elements. All five yang lines in the hexagram desire to be the same as the single yin line, six two. Moreover, six two and nine five are both in the center and upright, and they correspond with each other above and below. This contains the meaning of Heaven and human being the same, and the ruler and human being the same, hence the name of the hexagram is "Tong Ren."

同人次否。按，序卦，物不可以終否，故受之以同人。天地不交則為否，上下相同則為同人。又世既否，必與人同力乃濟，同人所以次否也。同人取其大公，不欲其狹小。大公至正，乃可以有為。此全彖之大旨也。

The hexagram Tong Ren comes immediately after the hexagram Po. According to the "Xu Gua Zhuan," since all things cannot remain closed off forever, the hexagram Po is followed by Tong Ren. When the energies of heaven and earth are not in communication, it becomes Po; when above and below recognize and agree with each other, it becomes Tong Ren. Moreover, when the world is closed off, one must unite with others to overcome difficulties, which is why Tong Ren follows Po. The virtue of Tong Ren lies in great public spirit, not being confined to narrow and partial interests. Only by upholding great fairness and justice can one achieve something. This is the main idea of the hexagram's statement.

六爻雖以二為成卦之主，然以私繫而吝，反不如初之無私，猶無所咎也。三四與五爭二而不克同者，然三怯於力，不如四之反於理為得吉也。五雖為三四所隔，然終以正應而得同。上雖免於三四之爭，然以遠而終未遂同之志。合六爻而論之，欲與人同，貴於公正，又可見矣。

Among the six lines, although the second line (six two) is the main line for forming the hexagram, it receives the character "lìn" (meaning hardship or difficulty) due to its private and self-serving nature, making it less commendable than the first line (nine at the beginning), which lacks private motives and thus does not commit errors. The third line (nine in the third) and the fourth line (nine in the fourth) both vie for the second line, but ultimately fail to achieve harmony. The third line gives up due to its inferior strength, while the fourth line is able to reflect and correct itself, thus attaining good fortune. The fifth line (nine in the fifth), although separated from the third and fourth lines, ultimately achieves harmony with the second line through proper correspondence. The top line (nine at the top) although free from the struggle with the third and fourth lines, fails to fulfill its desire for harmony due to its distant position. When considering all six lines together, the desire to harmonize with others is most valued when it is based on fairness, a point that becomes even clearer.

同人于野。亨。利涉大川。利君子貞。天火性同。二五中正德同。五陽喜陰情同。天與火，其性光明正大，其勢曠遠無私，有同人于野而得亨通之象。乾性健行，同則可以濟險，有利涉大川之象。內文明而外剛健，中正有應，君子之正道也。有利君子貞之象。

The Hexagram Statement says: In the wilderness, it is the same as people, hence it is smooth and favorable for crossing a great river, and favorable for the gentleman to maintain uprightness. Heaven and fire share the same nature. The line six in the second and the line nine in the fifth both occupy the central position and are upright, with the same virtue. The five yang lines all favor the one yin line, sharing the same sentiment. Heaven and fire, with their nature of brightness and uprightness, have a vast and impartial momentum, hence the image of being the same as people in the wilderness and thus being smooth. Heaven is strong and vigorous, and when people are the same, they can jointly overcome dangers, hence the image of being favorable for crossing a great river. The inner trigram is civilized, and the outer trigram is strong and vigorous. The lines six in the second and nine in the fifth occupy the central position and are upright, and they correspond with each other, which is exactly the proper path of the gentleman, hence the image of 'favorable for the gentleman to maintain uprightness'.

同人于野，其同也大。利君子貞，其同也正。人能大同有亨之道，故大川可涉。然有所同大而未必正者矣，故又戒以正為本。占者能大公至正，則可亨而大有所為矣。

"The Great Harmony in the Wild" indicates that the scope of harmony is extensive; "Beneficial for the Noble Man to Uphold Correctness" indicates that the stance of harmony is pure. When a person can harmonize with the whole world, there is a path to success, so even a great river can be crossed. However, there are cases where harmony may be extensive but not necessarily pure, so the Hexagram Statement warns to take "correctness" as the fundamental principle. Those who divinate this hexagram, if they can achieve complete impartiality and correctness, will find success and achieve great accomplishments.

又按，夫子言君子周而不比，和而不同，卦名取比與同者何也。蓋比以一陽為眾陰所比。獨坎五一陽得正，故彖有元永貞。則其比所以為君子之周也。

Again, it is noted that Confucius said, "The superior man is inclusive but not partisan," and "The superior man is harmonious but not uniform." Since both "partisan" and "uniform" are condemned by him, why does the Zhou Changes still use them as names of hexagrams? The hexagram "Bi" consists of a single yang line being attached by many yin lines, but in the upper trigram Kan, the line nine in the fifth is a yang line in the center that is correct and upright, hence the hexagram statement contains the judgment "original, enduring, sincere." Such "Bi" is precisely what Confucius refers to as the "Zhou" of the superior man, meaning universal affinity without forming factions.

同人以一陰為五陽所同。唯二五之應以正，故彖言利君子貞。其同所以為君子之和也。至兩卦六爻之中，兼正不正言之。唯正則為君子。此夫子贊易之外，又有周而不比、和而不同之說也。

The Hexagram of Tongren (Union) consists of one yao that is yin being recognized by five yang yao. Only the correspondence between line six in the second position and line nine in the fifth position is pure, hence the Hexagram Statement says "It is advantageous for the gentleman to be steadfast." This kind of "union" is precisely what Confucius refers to as the "harmony" of the gentleman. Regarding the six lines in these two hexagrams, both those that adhere to the correct position and those that do not are present. Only those that adhere to the correct position are considered gentlemen. This is why Confucius, in addition to his commendations in the Commentary on the Judgment and the Image Commentary, made the remarks "to be just without partiality" and "to be harmonious yet different."

彖曰：同人，柔得位得中而應乎乾曰同人。柔謂六二。乾指五。此以卦體釋卦名義。同人[文瀾本“同人”作“同人曰”]。舊作衍文。來注謂敘述卦辭而釋之語氣，謂六二應乾，固名同人矣。然卦辭曰「同人于野，亨，利涉大川」者何也？起下「乾行」句為是。

The Commentary on the Judgment says: "Tongren" means that the yao of the flexible line is in the correct position and in the center, and corresponds above to the Qian trigram, hence it is called "Tongren." "Flexible" refers to the line six in the second position, and "Qian" refers to the line nine in the fifth position. This is an explanation of the meaning of the hexagram name based on the structure of the hexagram. The text then again mentions the term "Tongren" (the edition from Wenlan Pavilion reads "Tongren Yu"). Old interpretations considered these two characters to be redundant words added during transmission. However, Lai Zhide in his Collected Commentaries on the Zhou Changes suggested that this is a way of first restating the hexagram statement and then adding an explanation: meaning that since the line six in the second position corresponds above to the Qian trigram, it can indeed be called "Tongren," but the hexagram statement also says "Tongren Yu ye, Xing, Li she da chuan," so why is that? This is used to lead into the next sentence "Qian Xing Ye." We follow Lai's interpretation.

同人于野，亨，利涉大川，乾行也。文明以健，中正而應，君子正也。唯君子為能通天下之志。乾行句，釋利涉大川之由。二為同人之主，應乾固亨矣。至於利涉大川，非二所能。乃乾以剛健之天德，同乎人以涉險，故曰乾行也。文明以健二句，合二體言之，釋利君子貞之意。內文明則能燭理，明乎大同之義。

The Commentary on the Judgment continues: "In the wilderness, being the same as people, it is smooth and advantageous for crossing a great river," which refers to the nature of the Trigram Heaven. Civilized yet strong and vigorous, residing in the center and maintaining uprightness while harmonizing with above and below, this is the pure virtue of the gentleman. "The movement of Heaven" explains the reason for "advantageous for crossing a great river." The second line, six two, is the main line of the Hexagram Tongren, and since it corresponds with the Trigram Heaven, it is naturally smooth. However, crossing a great river is not something that six two can undertake; rather, it is the Trigram Heaven, with its strong and vigorous Heavenly Virtue, that acts in harmony with people to face difficulties. Therefore, it is said "the movement of Heaven." The phrase "civilized with strength, centered and responding" combines both the upper and lower trigrams to explain the meaning of "advantageous for the gentleman to be upright." The inner trigram being civilized allows for the illumination of matters, understanding the great principle of universal harmony.

外剛健則能克己，盡乎大同之道。二五皆居中得正，內無私心而外合天德。凡此四者，皆君子之正道也。正者，人心所同。然君子唯以正，而天下之志已在吾心，所以利君子貞也。

The outer trigram is strong and vigorous, capable of overcoming one's private desires and carrying out the great path of universal harmony to its fullest. Both the second line and the fifth line are in the center and upright, with no private thoughts within and in harmony with the Heavenly Virtue externally. The four qualities of civilization, strength, uprightness, and correspondence are all the correct paths for the gentleman. The term "uprightness" is originally something universally acknowledged by all people; when the gentleman adheres solely to uprightness, the hearts and minds of all under heaven are already within him. Therefore, it is said "beneficial for the gentleman to be upright."

象曰：天與火，同人。君子以類族辨物。天在上而火炎上，同而異，異而同也。類族者，天之生物各族殊分，法乾之無私者，於殊分之族，而類聚其所同，異中之同也。辨物者，火之所及，凡物畢照，法離之有辨者，於均照之物，而辨析其異，同中之異也。

The Image Commentary says: Heaven and fire represent the image of the hexagram "Following." The gentleman takes this as a model, gathering together similar tribes and distinguishing differences among things. Heaven is above and fire ascends, both being similar yet different, and different yet similar. What is meant by "gathering tribes": Heaven nurtures all things, and each tribe is originally distinct. The gentleman models himself after Heaven's impartiality, gathering together similar tribes from among these distinct ones, thus seeing sameness within difference. What is meant by "distinguishing things": The light of fire reveals all things, and the gentleman models himself after fire's ability to discern, distinguishing differences among things that are all illuminated, thus seeing difference within sameness.

初九：同人于門，無咎。兩戶為門。初變艮為門，有門象。同於門外，雖非野之可比，然亦所同者廣而無私。同人之初，未有私主。以剛在下，上無繫應。占可無咎。

Initial Nine Line Statement: Going out to the gate and being the same as others, there will be no mistake. Two doors closing together are called 'gate'; the Initial Nine changes the lower trigram to Gen, which represents a gate, hence the image of a gate. Being the same as others outside the gate, although not as extensive as 'harmonizing with people in the wild,' the scope of being the same is still broad and impartial. Being at the beginning of the Hexagram of Harmonizing with People, there is still no private attachment; also, a Yang line is in the lowest position, and there is no corresponding line above it. If this line is divined, there will be no mistake.

象曰：出門同人，以誰咎也。門以內，家人也，於宗是也。門以外，天下之人也。雖未至於野，而非私暱矣。必出門而所同乃大，人自無咎之者。他卦又誰咎，有在我取禍無所歸咎者。此則謂其無私，人不得而咎之也。

The Image Commentary says: Going out and being the same as others, who would blame him? Within the door is a family, so the line 'harmonizing with relatives' in the second line belongs to this category. Outside the door is the world. Although the first line has not yet reached the extent of 'the wild', it is no longer private and intimate. Only when one goes out and harmonizes with a wide range of people does one's conduct become truly extensive, and others naturally have no grounds for blame. In other hexagrams, the phrase 'who would blame him' often refers to misfortune caused by oneself, for which others are not to blame. Here, however, the phrase 'who would blame him' indicates that he has no private intentions, so others have no grounds for blame.

六二：同人于宗，吝。宗，黨也。乾為諸卦之祖。離中變為乾，有同於宗之象。六二中正，有應於上。在一卦為同之主，宜得吉占。然同之道，貴乎大公。二既專有所應，則不能大同矣。又以陰從陽，臣妾順從之道也，故吝。易之悔自凶趨吉，吝則自吉趨凶。本以相應為善，反以過於私暱而得吝。蓋全卦取大同之義，於爻義又示阿黨之戒也。象曰：同人于宗，吝道也。狹而不公，有可吝之道也。

The Line Statement for the Second Line (Six in the Second): It only shares similarity within its own clan and faction, which is regrettable. "Clan" refers to one's own group or faction. The trigram Qian is the ancestor of all trigrams, and the middle line of the trigram Li changes into Qian, hence the image of sharing similarity within one's own clan. The line Six in the Second is in the center and in the correct position, with the line Nine in the Fifth above it corresponding. In the whole hexagram, it is the main line representing "sameness," so it should be a favorable judgment. However, the way of sameness is valued for its universal impartiality. Since Six in the Second is specifically corresponding to one thing, it cannot achieve universal harmony. Moreover, it is yin and soft, following yang and strong, which is the way of a servant following a master. Therefore, it is judged as "regret." In The Zhou Changes, "regret" refers to a transition from misfortune to fortune, while "regret" here refers to a transition from fortune to misfortune. Originally, being in correspondence is a good thing, but because of excessive private affection, it results in "regret." This shows that the whole hexagram emphasizes the principle of universal harmony, while in the line meaning it specifically warns against factionalism and partiality. The Image Commentary says: sharing similarity only within one's own clan is the way of regret. The scope is narrow and cannot be universally impartial, naturally containing a path that is regrettable.

狹而不公，有可吝之道也。九三：伏戎于莽，升其高陵，三歲不興。離為戈兵，有戎象。二三四互為巽木，有莽象。二與五為正應。三剛而不中，欲同於二，懼五見攻，伏於下以伺五之隙，有伏戎于莽之象。三變陰互為（文瀾本「為」作「得」）艮，有高陵象。三居下卦之上，下窺二之動，有升其高陵之象。自三至上三爻，上無正應，有三歲不興之象。

Continuing from the previous text, the line statement for six two says: it is only in close proximity, with limited interaction that cannot be made public, hence there is a sense of shame and regret. The line statement for nine three says: troops are hidden in the grasslands, and from a high hill they look out, for three years they dare not take military action. In terms of symbolic imagery, the upper trigram 'Li' represents weapons, hence the image of military force; the second, third, and fourth lines together form 'Xun', which represents wood, hence the image of the grasslands. Six two and nine five originally form a correct correspondence. Nine three is yang but not in the central position, eager to align with six two, yet fearing an attack from nine five, so it hides below, watching for the opportunity to strike at nine five's weakness, which is the image of 'hiding troops in the grasslands'. If nine three becomes a yin line, the interacting trigrams form 'Gen', which represents mountain, hence the image of a high hill (here the word '为' is in the Wenlan edition '得'). Nine three is at the top of the lower trigram, looking down to observe the movements of six two, hence the image of 'ascending to the high hill'. Counting from nine three to upper nine, there are three lines, and upper nine does not correspond with nine three, with no external support, hence the image of 'three years without action'.

三欲同二，而二非正應，則理不直。五居尊位，勢又不敵，故三年之久不敢動。此強同而不得者也。象曰：伏戎于莽，敵剛也；三歲不興，安行也。敵剛指五。安行，言上無應必不可行，至於三歲之久，又安能行乎。

Nine in the Third is like Six in the Second, but Six in the Second is not its proper corresponding line, which by nature is not straightforward. Nine in the Fifth is in a position of authority and its power is not something Nine in the Third can match. Therefore, it hesitates for three years before taking action. This is a case of forced conformity that ultimately fails. The Image Commentary says: "The army is hidden in the grass and thorns because the enemy is a strong Nine in the Fifth; the three years of hesitation show that there is no way forward." The term "enemy is strong" refers specifically to Nine in the Fifth, while "no way to move forward" indicates that Upper Nine and Nine in the Third are not in correspondence, so there is no path to take, and how could they move forward after three years?

九四：乘其墉，弗克攻，吉。四則不中正，欲同六二而為三所隔。自三欲下取二，故有乘墉以攻之象。然以剛居柔，知二非正應，故有自反不克攻之象。能改過可以得吉，則賢於三矣。蓋三伏於莽，自下而伺五也；四之乘墉，乘三以攻二也。三惡五之親二，故有犯上之心；四惡二之比三，故有陵下之志。然三以剛居剛，懼五之攻，屈於勢也；四以剛居柔，終不克攻，反於義也。反義，得吉道矣。此始強同而終能改過者也。

The statement of the fourth line says: "He climbed the city wall but ultimately did not attack, which is auspicious." The fourth line is neither central nor properly positioned, wanting to align with the second line, but is blocked by the third line. It intends to cross over the third line to seize the second line, hence the image of climbing a city wall to attack. However, it is a yang line in a yin position, and it is aware that the second line is not its proper match, so it reflects inward and does not attack, hence the image of "not being able to attack." Being able to change and correct oneself brings auspiciousness, which is wiser than the third line. The third line is a hidden army in the grass, watching from below for the fifth line; the fourth line is climbing the city wall to attack the second line. The third line resents the fifth line's closeness to the second line, hence its rebellious intent; the fourth line resents the second line's favor towards the third line, hence its desire to dominate below. However, the third line is a yang line in a yang position, fearing an attack from the fifth line, and thus submits to the situation; the fourth line is a yang line in a yin position, and ultimately does not attack, returning to the path of righteousness. Returning to righteousness brings the way to auspiciousness. This is a case where one initially forces conformity but eventually is able to change and correct oneself.

象曰：乘其墉，義弗克也；其吉，則困而反則也。已乘其墉，則力非不足也，斷以義而弗克攻耳。義者，天則不可逾。志欲攻而知義不可攻，困於心而反於法則，能改過者，所以吉也。與人同，善事也，乃三四皆有爭奪之象。四乘墉有其意，三伏莽則已見其形矣。四惡二三，所欲攻者臣；三敵五，則欲攻其君矣。涉世者不可不知。而三四有吉否之不同，又好剛強同者所宜戒也。

The Image Commentary says: Climbing the city wall signifies that according to principle, one should not attack; yet it is auspicious because one is constrained by inner distress and returns to the principle. Having already climbed the city wall, it shows that strength is not lacking, but one refrains from attacking because of principle. Principle is the natural law, which cannot be transgressed. One may desire to attack, yet knows it is against principle, thus being constrained within and returning to the principle, which allows for repentance, hence the auspiciousness. Being similar to others is a good thing, but both nine three and nine four show signs of contention: nine four climbing the wall is merely an intention, while nine three has hidden troops in the wilderness and has already revealed its form. Nine four resents six two and nine three, yet still intends to attack as a subject; nine three and nine five are enemies, meaning it is about to attack the sovereign. Those who engage in the world must not fail to understand this distinction. The great difference between the misfortune of nine three and the auspiciousness of nine four is precisely what those who are inclined to be stubborn and force conformity should take as a warning.

九五：同人先號咷而後笑，大師克相遇。五剛中正，二柔中正，本正應也，而為三四所隔，不得其同。然正應者終不得而問也。隔於三四，號咷之象。五變為離，互三四又為兌說，又火無定體，故有先號咷而後笑之象。離為戈兵，有大師象。三四剛強，九五以陽剛之德勝之，故有大師以克之象。二五終為正應，相遇之象。

The Line Statement of the Fifth Line says: It is the same as others, first wailing and weeping, then laughing and rejoicing, using a great army to overcome those who block the way, thus meeting the person it should meet. The Fifth Line is Yang and strong, upright, and the Second Line is Yin and soft, upright, originally a proper correspondence, but it is blocked by the Third and Fourth Lines, so they cannot be the same. However, since it is a proper correspondence, it cannot be separated or interfered with. Because it is blocked by the Third and Fourth Lines, there is the image of wailing. When the Fifth Line changes, the upper trigram becomes Li (Fire). The mutual trigrams of the Third and Fourth Lines also form Dui (Lake), which represents joy. Moreover, fire has no fixed form, so there is the image of first wailing and then laughing. Li represents weapons and soldiers, so there is the image of a great army. The Third and Fourth Lines are strong and firm, but the Fifth Line uses its Yang strength to overcome them, so there is the image of mobilizing a great army to defeat the enemy. The Second Line and the Fifth Line are ultimately a proper correspondence, so there is the image of meeting.

九五大君，三四以臣隔君，大逆也，故興大師以克強暴，而後遇正應也。然人君宜與天下相孚於大同，乃不免於先號後笑，用師以克，如敵國之爭，何也。蓋以全卦言之，以大同為亨；而就二五一爻言之，終未免於私吝，故不得言吉也。象曰：同人之先，以中直也；大師相遇，言相剋也。中，理直，故不勝其忿，先至於號咷也。直，即君子之正也。相遇必由於中直乃克，非至正，無以通天下之志也。

Nine Five represents the great sovereign of the country. Nine Three and Nine Four, as ministers, separate the sovereign from the ministers, which is a great rebellion, so they must raise a large army to suppress the strong and violent, and then meet with the correct corresponding line. However, the sovereign should naturally be in harmony with the people of the world, achieving great unity. Now, it is unavoidable to first wail and then laugh, and even resort to military victory, like rival states at war. Why is this so? Because, in the entire hexagram, achieving great unity is the way to success. But when considering only the lines Six Two and Nine Five, there is still a tendency towards partiality and stinginess, so it cannot be considered a favorable outcome. The Image Commentary says: The reason for the initial wailing is because the line is in the center and has the right reason. The mention of a great army meeting is to indicate that only after a confrontation can victory be achieved. 'Center' means having the right reason, so one cannot restrain anger and thus wails first. 'Righteousness' refers to the virtue of the gentleman. To achieve victory in a meeting, one must rely on being centered, upright, and righteous. Without the extreme of uprightness, one cannot unify the hearts of the people.

上九：同人于郊，無悔。乾有郊象。居外無應，去陰已遠，物莫與同，故有同人于郊之象。野遠而郊近。但野遠而郊近。但野乃大眾往來之道，無人不同；郊在郭外荒僻之處，無人可同也。然無所爭，可以無悔。象曰：同人于郊，志未得也。

The line statement of Upper Nine says: To be with others in the outskirts, there is no regret. The upper trigram Qian represents the outskirts. Upper Nine is located outside the hexagram and has no responding line. The Yin line Six Two is far away, so there is nothing to be the same as. Therefore, there is the image of "being with others in the outskirts." The wild is a common path where people travel, and no one cannot be with others; the outskirts are beyond the outer city in a remote place where no one can be with others. However, since there is no competition, there can be no regret. The Image Commentary says: To be with others in the outskirts, indicates that the mind has not yet been realized.

爻曰無悔，以其無爭於人喜之；夫子則以不能同於人病之。唯君子能通天下之志，今無人可同，則於同人之志，亦未得遂也。易卦有以此爻為主，而吉凶與彖同者，如屯之初、比之五是也；有成卦在此爻而不得為主，吉凶與彖異者，則此卦之二五是也。

The line statements only mention the absence of regret, indicating joy in not competing with others; however, Confucius in the Image Commentary regards the inability to be in harmony with others as a flaw. Only a gentleman can unify the hearts of all people. Now, with no one to share the same aspirations, the aspiration of "harmonizing with others" cannot be realized. In the Book of Changes, some hexagrams have a particular line as their main focus, and the fortune of that line agrees with the Tai Cai. For example, the initial line of the Zun hexagram and the fifth line of the Bi hexagram. There are also hexagrams where although the hexagram is formed by a particular line, that line does not serve as the main line, and its fortune differs from the Tai Cai. The second line and the fifth line of the present hexagram are like this.

蓋論全卦，以五陽同一陰，又二五皆中正，故有曠遠無私之象。若就一爻論，則所應既專，在我有私暱之嫌，在人有忿爭之事矣。故二吝而五不免於號咷，三四皆爭，上以遠而忘志不遂，初亦以比二而僅免咎。六爻之義皆不及全彖之德。君子欲通天下之志，非大公至正不能也。

Considering the whole hexagram, five yang lines are together with one yin line, and both six two and nine five are central and upright, so there is an image of being distant and impartial. If we consider each line separately, since the response is singular, there is a suspicion of partiality and favoritism in oneself, and disputes arise with others. Therefore, line six two has a deficiency, and nine five is also not free from lamentation; nine three and nine four are both in competition; upper nine is unable to fulfill his aspirations because of being too distant; and initial nine only avoids blame by being close to six two. The meanings of the six lines cannot match the virtue described in the entire "Tu." A gentleman must understand the hearts of all people; without utmost fairness and uprightness, it cannot be achieved.

大有。大有，乾下離上。火在天上，其明及遠，萬物畢照，有盛大豐有之象。又一陰居尊位，眾陽並應。易以陽為大有，所有者大之義，故曰大有。大有次同人。按，序卦：與人同者，物必歸焉，故受之以大有。眾物所歸，所有乃大，大有所以次同人也。小畜亦一陰五陽，而曰小，此則稱大者。

The hexagram "Great Possession" (Da You). The hexagram "Great Possession" has the lower trigram Qian (Heaven) and the upper trigram Li (Fire). Fire in the sky, its light shines very far, illuminating all things, symbolizing a great abundance. There is also a yao (line) of yin in the honorable position, with all the yang lines responding to it. The Book of Changes takes yang as the great, so "Great Possession" means that the possessor is great, hence the name of the hexagram. The hexagram "Great Possession" comes after "Harmony with Others." According to the "Sequence of Hexagrams," those who can harmonize with others will have all things coming to them, hence it is followed by "Great Possession." All things come to it, and thus all things become great, which is the reason why "Great Possession" follows "Harmony with Others." The hexagram "Small Accumulation" also has one yin and five yang lines, yet it is called "Small," while here it is called "Great," and there is a distinction between the two.

小畜陰居四，欲統諸陽，其勢逆；大有陰居五，則位尊，以統諸陽，則勢順。故小畜之亨，不在六四而在上下五陽；大有之元亨，不在上下五陽而六五。五以柔居尊，而為上下所應，合全卦又有內剛健外文明之德，自可大亨，此全彖之大旨也。六爻皆從五起義：初遠五而有艱，二應五而無咎，三以公而亨於五，四以謙而能承五，上以近五而獲天祐。此六爻之大略也。

In the hexagram "Xiao Xu," the yao (line) that is yin is in the fourth position, wanting to lead the many yang lines, but its movement is against the natural order. In the hexagram "Da You," the yin line is in the fifth position, which is a noble position, and thus it leads the yang lines in a harmonious way. Therefore, the success of "Xiao Xu" is not in the fourth line but in the five yang lines above and below; the great success of "Da You" is not in the five yang lines above and below but in the fifth line. The fifth line, though yin and soft, holds a noble position and is responded to by all above and below. When viewed as a whole, the hexagram has the strength of the inner trigram being strong and vigorous, and the outer trigram being civilized and harmonious. Thus, it naturally achieves great success, which is the main idea of the entire "Tuan" (Commentary). All six lines derive their meaning from the fifth line: the first line is far from the fifth line and thus faces difficulties, the second line responds to the fifth line and thus has no faults, the third line, as a prince or marquis, presents offerings to the fifth line, the fourth line, through humility, can serve the fifth line, and the top line, by being close to the fifth line, receives heavenly blessings. This is the general idea of the six lines.

大有：元亨。大有，所有之大也。火在天上，無所不照。一陰居尊得中，五陽宗之。乾健離明，居尊應天，尊位能柔，物情所與。諸爻之有，皆六五之有，豈不大哉。所有者大，則其亨亦大矣，皆治世極盛之象也。

The Hexagram Statement of 《Dà Yǒu》 says: Greatness is smooth and unimpeded. "Great Possession" refers to the great ownership of all things. Fire in the heavens illuminates everything; a yao (line) of yin occupies the honorable position and is in the center, while the five yang lines all honor it. The Inner Trigram Qian represents strength, and the Outer Trigram Li represents brightness. Occupying the honorable position and corresponding to the heavenly way; being in the honorable position yet flexible and yielding, this is exactly what people delight in following. The possessions of each line are all the possessions of line six in the fifth. Is this not great? Since its possession is great, its smoothness and unimpededness are also great. This is the grand appearance of a well-governed and flourishing age.

彖曰：大有，柔得尊位大中而上下應之曰大有。同人大有，一柔五剛均也。柔在下，曰得位、得中、曰應乎乾而為同人，我同乎彼，卑附於尊之辭也；柔在上，曰尊位、曰大中、曰上下應而為大有，我有其大，上統乎下之義也。此以卦體釋卦名義也。

The Commentary on the Judgment says: "Great Possession" refers to a yin line that is in a尊位 and occupies the central position, with both upper and lower lines responding to it, hence called "Great Possession." The hexagram "Tong Ren" (Union with Others) and "Da You" (Great Possession) both have one yin line and five yang lines, so they are similar in this aspect. When the yin line is in the lower trigram, it is said to "be in a proper position," "occupy the central position," and "respond to Heaven," forming the hexagram "Tong Ren," which signifies that the inferior unites with the superior, representing the idea of the humble relying on the superior. When the yin line is in the upper trigram, it is said to "be in a尊位," "occupy a great central position," and "have upper and lower lines responding," forming the hexagram "Da You," which signifies that the superior possesses great power and governs the inferior. This section explains the meaning of the hexagram name based on the structure of the hexagram.

其德剛健而文明，應乎天而時行，是以元亨。上節自柔得尊位以下，專主六五一爻以論人君之位，能有眾陽之大；自其德剛健以下，兼上下兩體以論人君之德，能致元亨之治也。內剛健則克勝其私，外文明則灼見其理。上下應之者，眾陽應乎六五也；應天時行者，五以柔應乾二之剛也。天之道不外乎時而已。憲天出治，順時而行，是以大亨也。

The Commentary on the Judgment continues to say: Its virtue is internally strong and vigorous, and externally civilized and refined, responding to the heavenly way and acting in accordance with the proper time, thus achieving great success. The previous section, starting from "the flexible line occupies the exalted position," focuses on the line six five, discussing the position of the ruler, who can possess all the yang lines. Starting from "its virtue is strong and vigorous," it considers both the upper and lower parts, discussing the virtue of the ruler, who can bring about the great success of the beginning. Internally strong and vigorous, it can restrain one's private desires; externally civilized and refined, it can clearly understand the principles of things. What is meant by "the upper and lower respond to it" is that all the yang lines respond to line six five. What is meant by "responding to the heavenly way and acting in accordance with the time" is that line six five, being flexible, responds to the strong line nine two of the upper trigram. The heavenly way is nothing but the concept of "time." By following the heavenly way in governance and acting in accordance with the proper time, great success is achieved.

象曰：火在天上，大有。君子以遏惡揚善，順天休命。凡物未見，則有無不可知。火在天上，無物不照，始見其有之大。所有既大，不可無以治之也。天命有善而無惡，君子於惡之未著者遏絕之，使不復作；善之隱者顯揚之，使樂於為。去惡歸善，所以順天休美之命也。謂之順者，天討有罪，吾遏之以天；天命有德，吾揚之以天，於我無與也。君子在上則以此治世，在下則以此治身，故本義云：反之於身，亦若是而已矣。

The Great Image Commentary says: Fire above the sky represents the image of great abundance. Therefore, the gentleman restrains evil and promotes goodness, following and upholding the virtuous commandments of heaven. All things that are not yet manifest cannot be known as existing or non-existing; but when fire is in the sky, nothing is left in darkness, thus revealing the fullness of abundance. Since abundance is great, there must be a way to govern it. Heaven's mandate is only goodness and not evil. The gentleman restrains evil before it becomes evident, preventing it from arising again; he promotes hidden goodness, encouraging people to do good. To eliminate evil and return to goodness is to follow the virtuous mandate of heaven. The reason it is called 'following' is that when heaven punishes the guilty, I act in accordance with heaven's will to restrain them; when heaven bestows virtue upon the virtuous, I act in accordance with heaven's will to promote them. There is no private intention of my own. When the gentleman is in a position of authority, he governs the world by this principle; when he is in a lower position, he governs himself by this principle. Therefore, the Original Meaning says: applying this principle to oneself is no different.

初九：無交害，匪咎，艱則無咎。害者，害我之大有也。富者怨之府，故當大有之時，最易有害。初居下位，凡民而享大有，家肥屋潤，人或害之。離為戈兵，又以離火克乾金，有惡人傷害之象。而初陽在下，上無繫應，未與物接，去離尚遠，未涉乎害，何咎之有。然自以為匪咎，而以易心處之，反有咎矣，故必艱難其志，慎終如始，乃得無咎。蓋匪咎者，此爻之義；艱則無咎，則處此爻之道也。

The line statement for the initial yang line says: There is no harm from interaction, it is not a fault, if one endures hardship there will be no fault. Here, the term "harm" refers to harm to great wealth. Wealth brings resentment, so during the time of great wealth, it is easiest to attract harm. The initial yang line is in a low position, enjoying great wealth as a common person, with a prosperous home and well-maintained property, which may lead others to harm him. The trigram Li represents weapons and warfare, and also represents fire overcoming the trigram Qian (Heaven), indicating the image of evil people causing harm. However, the initial yang line is a yang line in a low position, with no corresponding connection above, and has not yet interacted with external things. The fire of the upper trigram Li is still far away, and has not yet involved harm, so how can there be a fault? However, if one thinks there is no fault and handles things carelessly, there will be a fault. Therefore, one must be determined in hardship and remain cautious from beginning to end in order to have no fault. "Not a fault" is the meaning of this line; "endure hardship to avoid fault" is the method for dealing with this line.

象曰：大有初九，無交害也。交則有害。處卑無應，未有驕盈之失，得以無害故也。九二：大車以載，有攸往，無咎。坤為太（文瀾本「太」作「大」）輿。九二體乾而曰大車者，輿指軫之方而能載者言，車則以其全體而言。引之以馬之健，行之以輪之圜，皆乾象也。況九二以剛居柔，柔則其虛足以受，剛則其健足以行，有大車象。

The Image Commentary says: The first line of the Great Possession hexagram is free from the harm of interaction. Interaction leads to harm; the first line is in a low position and has no responding line, thus avoiding the fault of arrogance and excess, hence it is free from harm. The line statement of the second line says: Using a large cart to go somewhere, there is no fault. The earth element represents a large cart (the character "太" in the Wenlan edition is "大"). The second line, although belonging to the heaven element, mentions "large cart" because "cart" refers to the square body of the cart that can carry things, while "cart" as a whole refers to the entire vehicle. Using strong horses to pull and round wheels to move are both images of the heaven element. Moreover, the second line has a yang yang in a yin yin position. Yin is internally empty and thus sufficient to carry things, while yang is strong and thus sufficient to travel far, hence the image of a large cart.

上應乎五，載上之象。如是而有所往，可以無咎，可以任重而致遠也。不言吉者，處大有之時，任天下之重，分所當然，得以無咎而已。此大臣才德兼全，足以任重者也。象曰：大車以載，積中不敗也。車大足以任重，雖多積於中而車行不至於敗也。

Nine Two corresponds with Six Five above, which is the image of bearing the responsibility. Thus, when moving forward, there is no fault, and one can bear great weight and travel far. The Line Statement does not say "auspicious" because during the time of great abundance, it is natural to shoulder the heavy responsibility of the world. Being without fault is sufficient. This is a minister of great ability and virtue, capable of bearing great responsibilities. The Image Commentary says: using a large cart to carry the load, the goods are in the cart without causing it to overturn. A large cart is sufficient to bear heavy loads, even though it carries much, the cart does not overturn as it moves.

九三：公用亨于天子，小人弗克。亨作享。按，本義作享獻之享，時解因之，取大臣獻替之義。今按，左傳卜偃戰克而王享之言，作宴享之享為優。三四五互兌為口，三變六為坎，有飲食象。九三居下之上剛而得正，有公侯之象。上有六五之居，虛中下賢，有亨于天子之象。然三變六為陰為小，又有小人弗克之象。占者得此，有剛正之德，則足以受天子之寵榮；若不然，則雖有享宴之榮，亦負素餐之愧也。此與本義稍殊，然於卦爻較切。

The statement of the third line says: "A marquis presents tribute to the Son of Heaven, but a petty person cannot bear the responsibility." Here, "亨" is read as "享," meaning tribute or offering. According to the "Ben Yi," this refers to the act of presenting tribute, and the traditional interpretations have followed this meaning, implying that ministers advise the sovereign on matters of state and correct his mistakes. However, according to the "Zuo Zhuan," which records the words of Bo Yan, "after a battle, the king enjoys the victory," the term "享" should be understood as banquet or feast. The third, fourth, and fifth lines together form the trigram Dui, which represents mouth; the transformation of the third line from Yang to Yin changes the lower trigram into Kan, which symbolizes food and drink. The third line is at the top of the lower trigram, representing a strong and upright person, thus resembling a marquis. Above it is the fifth line, which is Yin and empty, yet it is respectful and humble, thus symbolizing the presentation of tribute to the Son of Heaven. However, the transformation of the third line into Yin makes it weak and petty, thus symbolizing the inability of a petty person to bear the responsibility. If a person who draws this line possesses upright virtue, they are capable of receiving the honor of the Son of Heaven. If not, even if they enjoy the honor of a banquet, they may feel ashamed for being in a position without fulfilling their duties. This interpretation differs slightly from the "Ben Yi," but it is more consistent with the hexagram's line images.

象曰：公用亨于天子，小人害也。小人妄叨君寵，反為害也。乾金三變為兌，亦金也，迫近離火，與初無交害者不同，故有害。九四：匪其彭，無咎。彭，鼓聲，以盛多之貌，即大有之大也。四變中互為震，震為鼓，有彭象。大有皆六五之有也，然以柔中居尊，而九四以剛近之，且居四陽之首，率諸陽以進，盛多蓋彭矣。近君，聲勢不宜太盛，唯以剛居柔，雖盛大而不有其大，故有匪其彭之象。占者如是，則無咎也。

The Image Commentary says: A marquis or duke presents tribute to the Son of Heaven, but for a petty person, this becomes a calamity. Petty persons wrongly seize the favor of the sovereign, and thus harm themselves. Qian represents metal, and the third line, Nine Three, changes to Dui, which is also metal. Dui closely approaches the upper trigram Li, which represents fire. This is different from the situation of the first line, Nine at the Beginning, which does not suffer mutual harm, hence there is harm. The line statement of Nine Four says: Not taking pride in such grandeur, there is no fault. "Peng" refers to the sound of a drum, used to describe abundance, which is the meaning of "Da You" (Great Possession). When Nine Four changes, the middle and interacting trigrams form Zhen, which represents a drum. Therefore, there is an image of Peng. The Great Possession originally belongs to Six Five, but Six Five, being gentle and central in the exalted position, is approached by Nine Four, which is yang and strong, and occupies the first position among the four yang lines, leading the other yang lines forward. Its momentum can be described as grand as a drum. Approaching the sovereign, the momentum should not be too great. Only by occupying a position of yin with yang strength can one be grand without taking pride in it, hence the image of "Fēi qí Péng" (Not its grandeur). If the person divining can do so, there will be no fault.

象曰：匪其彭無咎，明辨皙也。四為離之初，有明皙之象。有盛大之勢，而無燭理之明，僭逼震主，則柔中之君有所不安矣。當大有之時，不自有其大，非明皙者不能，故曰明辨。辨其所居之地，乃別嫌多懼之地；辨其所遇之時，乃盛極將衰之時，凡事貶損以處之，斯皙然明理見幾者矣。

The Image Commentary says: Not taking pride in great power and thus having no faults, is to be clear in understanding and enlightened. The first line of the fourth line in the Li hexagram has the image of clarity. If one merely has the appearance of great power but lacks the wisdom to perceive things clearly, and thus oversteps and disturbs the sovereign, then the gentle and moderate sovereign would become anxious. At the time of great abundance, not taking pride in one's great position, is something that a wise and enlightened person would not fail to do. Therefore, it is said 'clear understanding'. To discern one's own position is to be in a position that requires caution and humility; to discern the current situation is to be in a time when prosperity is about to decline; to handle all matters by self-restraint is the way of a person who understands things clearly and can foresee the subtle signs.

六五：厥孚交如，威如，吉。六五為大有之主，離體中虛，有厥孚之象；柔中以應九二，上下歸之，有交如之象；一變純乾，有威如之象。當大有之時，柔中居尊，上下孚信，然太柔，則人心玩矣，濟之以威，所以吉也。初曰交害，五曰交如者，臣有交則私，故害；君有交則虛，故吉也。三有戒辭，初二四僅得無咎，獨五言吉者，當大有之世，盡臣道之常，僅可免咎；而君能剛柔並用，使上下泰交，則可常保其大有矣，故曰吉。

The Line Statement of the Fifth Line says: His sincerity brings mutual trust between above and below, and he also has authority, which is auspicious. The Fifth Line is the ruler of the Great Possession. The trigram Li (Fire) is in the middle hollow, symbolizing sincerity and trust; with a soft and central quality, it corresponds to the Second Line (Nine in the Second), so above and below are united in trust. When the Fifth Line changes, it becomes the pure trigram Qian (Heaven), symbolizing authority. At the time of Great Possession, with a soft and central quality in a high position, there is mutual trust between above and below. However, being too soft may cause people to become careless, so authority is used to correct this, hence the auspicious result. The First Line says 'mutual harm', while the Fifth Line says 'mutual harmony', because if ministers have private connections, it leads to partiality and thus harm; but the ruler interacts with people from a sincere and open heart, which is auspicious. The Third Line has a warning statement, and the First Line, Second Line, and Fourth Line only avoid blame, but the Fifth Line says auspicious because in the time of Great Possession, ministers act according to their proper roles and only avoid blame; whereas the ruler can combine firmness and gentleness, bringing harmony between above and below, thus being able to maintain his Great Possession for a long time, hence the auspicious result.

象曰：厥孚交如，信以發志也。一人之信，以發上下孚信之志，所謂上下交而其志同也。威如之吉，易而無備也。恐人心慢易，至於無備，故威不可無也。上九：自天祐之，吉無不利。

The Image Commentary says: His sincerity brings mutual trust between above and below, using sincerity to inspire the aspirations of both above and below. When a person is sincere, it inspires mutual trust between above and below, which is called mutual trust between above and below with the same aspirations. The Line Statement also says: The reason why authority is auspicious is because it fears people's negligence leading to complete lack of caution. Fearing that people's hearts may become careless and unguarded, authority is therefore essential. The Line Statement of Upper Nine says: Being protected by heaven, it is auspicious and beneficial in all things.

大有唯六五一陰，而上下五陽從之。上九能下從六五，以陽從陰，處盛時，居高位，享自然之福，有自天祐之之象。曰天祐、曰吉、曰無不利，其為福多矣。象及傳皆不言所以致福之由，故繫辭謂履信思順尚賢。蓋五之交孚，信之也，上能履之；謙退不居，思順也；志從於五，尚賢也。天助順，人助信，有自天祐之吉無不利之象。時解作人君信順下賢以保有。

The hexagram "Great Possession" contains only one yin line, the sixth line, with the five yang lines above and below following it. The top line, Nine at the Top, is willing to humble itself and follow the sixth line, a yang line following a yin line. It is in a time of prosperity and occupies a high position, enjoying the natural blessings, hence the image of "being favored by heaven." Speaking of heaven's favor, speaking of good fortune, and speaking of no difficulties, the blessings received are indeed abundant. The line statement and the image commentary do not explain the reasons for attaining these blessings, so the "Commentary on the Hexagrams" adds three meanings: "walking with trust," "thinking in accordance with order," and "valuing the virtuous." The sixth line, by mutual trust, demonstrates trust, and the top line carries it out; humility without self-aggrandizement shows thinking in accordance with order; the mind aligns with the sixth line, showing the value of the virtuous. Heaven assists those who are in harmony, and people assist those who are trustworthy, hence the image of "being favored by heaven, good fortune without difficulties." The interpretations of the time explained this as the ruler maintaining the world by being trustworthy, orderly, and valuing the virtuous.

照繫辭傳大意而歸重於君也。大全作功成身退之耆舊賓師，就六爻合論，對五而言之也。然皆不必拘，占者得之，亦隨其所處之位以為占。大抵有剛明之德，居崇高之位，得天之祐者，而以人事言之，唯履信思順尚賢則吉也。

That is in line with the general meaning of the Xici Zhuan, focusing on the ruler. The Zhou Yi Duan explains it as a retired elder statesman who has achieved success, which corresponds to the general interpretation of the six lines and is addressed to the sixth line of the fifth trigram. However, neither of these interpretations should be rigidly adhered to. When a diviner encounters this line, he should judge it according to his own position. Generally, this refers to someone with a strong and enlightened virtue, holding a high position and receiving the protection of heaven. In terms of human affairs, only those who practice sincerity, think in harmony and value the virtuous can achieve good fortune.

象曰：大有之吉，自天祐也。上居君上，有自天象。曰自天祐之，言其非倖致也。全卦為盛世至治之象，以六五之君為主。初之無交，盛世之逸民也；上之順五，功成身退之耆舊，或在賓師之位者也。中爻三位為臣，二大臣，當大有之任者也。

The Image Commentary says: The good fortune of the Great Possession comes from the protection and blessings of Heaven. The line 'Nine at the Top' is situated above the sovereign's position, symbolizing the influence coming from Heaven. Saying 'blessed by Heaven' indicates that this fortune is not achieved by chance. The entire hexagram portrays the image of a prosperous and well-governed era, with the line 'Six in the Fifth' as the central line representing the sovereign. The line 'Nine at the Beginning' is described as 'without interaction,' symbolizing the reclusive scholars in the age of prosperity. The line 'Nine at the Top' following 'Six in the Fifth' represents an elder statesman who retires after achieving success, or someone in the position of a teacher or advisor. The three middle lines represent the positions of ministers, among which 'Nine in the Second' is the chief minister, the one who bears the great responsibility of the Great Possession.

三外臣也，以公侯而受寵者也，以不中，故有戒辭。四近臣也，近於君而自抑損者也，以剛居柔，臣道之宜，故與初同無咎。五以中虛之信，孚乎上下，又一變純乾，剛以濟之，上下交應，剛柔並用，君明臣良，故能長保其大有之盛治也。

Nine in the Third represents an outer minister, receiving favor in his position as a marquis or duke; because he does not occupy the central position, the line statement carries a warning. Six in the Fourth is a close minister, near the sovereign yet able to restrain himself; occupying a yin position with a yang quality, it is exactly suitable for the conduct of a minister, so it shares the same lack of fault as Nine at the Beginning. Six in the Fifth, with its sincere and open virtue, gains trust from above and below, and through a change becomes pure Qian (Heaven); using yang to supplement its yin, it achieves harmony between the superior and inferior, combining both yang and yin. The sovereign is wise and the minister is virtuous, thus being able to maintain a great and flourishing era.

謙。謙卦，艮下坤上。內止外順，為謙之意；山高地卑，屈而處其下，為謙之象，故曰謙也。謙次大有。按，序卦：有大者不可以盈，故受之以謙。大則易於滿盈，道在謙損，謙所以次大有也。全彖極言謙德之亨。六爻雖以九三一陽為主，然內三爻皆吉，外三爻皆利，蓋靜則多吉，順則多利。六十四卦未有如謙之盡善者，君子可以知所處矣。

The hexagram "Qian" (Humility). The hexagram "Qian" has the lower trigram Gen (Mountain) and the upper trigram Kun (Earth). The inner trigram represents stillness while the outer trigram represents compliance, which is exactly the meaning of humility. Mountains are naturally high and earth is naturally low, yet the mountain bends down to be beneath the earth, which is the image of humility. Therefore, the hexagram is named "Qian". The hexagram "Qian" comes after "Da You" (Great Possession). According to the "Xu Gua Zhuan", once something is great, it cannot be self-satisfied, hence it is followed by "Qian". Greatness easily leads to fullness, and the way is to humble oneself and reduce one's own status, which is the reason why "Qian" follows "Da You". The entire "Tu Ci" (Commentary on the Image) strongly praises the prosperity of the virtue of humility. Although the six lines focus on the yang line nine three, all the three lines of the inner trigram are auspicious, and all the three lines of the outer trigram are beneficial. This is because the trigram Gen represents stillness, and stillness brings more auspiciousness; the trigram Kun represents compliance, and compliance brings more benefit. Among the sixty-four hexagrams, none is as perfect as "Qian". Therefore, the gentleman can understand the way of self-cultivation from it.

謙：亨，君子有終。謙者，有而不居之義。止乎內而順乎外，山高而處乎地之下，皆有而不居者也。他卦或有待而亨，謙則即亨；他卦始亨而未易保其終，唯謙則始雖卑而終益尊，始雖晦而終益光。蓋謙者人情所樂與，故必亨；始雖不居，終有成就，故有終。

The Hexagram of Humility states: It is smooth and favorable, the noble person achieves a good outcome. What is meant by "humility" is to possess something without claiming it. The inner trigram is Earth, which represents stopping, and the outer trigram is Earth, which represents following. A mountain may be high but is situated beneath the earth, which also represents possessing without claiming. Other hexagrams may require waiting before they become smooth and favorable, but the Hexagram of Humility is smooth and favorable immediately. Other hexagrams may start off smooth but find it difficult to maintain the outcome, but the Hexagram of Humility begins in a lowly position and becomes more exalted later, begins in obscurity and becomes more illustrious later. Humility is something people naturally wish to associate with, so it is certainly smooth and favorable. Beginning without claiming, yet ultimately achieving success, thus it is said to have a favorable conclusion.

艮終萬物，亦有有終之象。程傳謂小人雖暫謙，未必能久，唯君子終身不易，是謂謙之有終也；本義謂先屈而後伸，是謂亨之有終也。然二意宜兼。蓋君子唯始終能謙，所以始終能亨。若暫時勉為謙恭，偶然倖獲通泰，皆非君子也。

The trigram Gen signifies the meaning of concluding all things, hence it also represents the image of "having an end." Yichuan's Commentary on the Changes holds that though small people may be humble and yielding for a time, they are unlikely to maintain it, whereas only the gentleman remains steadfast throughout his life, which is the meaning of "having an end" in the context of "Qian." The Original Meaning of the Zhou Changes interprets it as first bending and then extending, which refers to "Heng" having an end. Both interpretations should be taken into account. Because the gentleman can remain humble throughout his life, he can also maintain success throughout his life; if one merely pretends humility temporarily and偶然ly attains success, it cannot be considered true virtue.

彖曰：謙，亨，天道下濟而光明，地道卑而上行。天氣下降，以濟萬物，天之謙也；化育之功光明著見，則謙之亨也。地勢卑順，處物之下，地之謙也；其氣上行以交於天，則謙之亨也。天地猶不敢以自滿，況於人與鬼神乎。此以天地言謙之必亨。

The Commentary on the Judgment says: Humility leads to success because the heavenly way flows downward to assist all things and becomes more luminous, while the earthly way remains low but its energy rises upward. The heavenly energy descends to assist all things, which is the humility of heaven; the luminous and evident function of nurturing and cultivating is the success of humility. The earth's position is low and obedient, lying beneath all things, which is the humility of earth; the earth's energy rises to meet the heavenly energy, which is the success of humility. Heaven and earth dare not be self-satisfied, how much more so human beings and spirits? This passage uses heaven and earth to illustrate that humility must certainly lead to success.

天道虧盈而益謙，地道變盈而流謙，鬼神害盈而福謙，人道惡盈而好謙。謙尊而光，卑而不可踰，君子之終也。虧盈益謙以氣言，日中則昃，月滿則缺是也；變盈流謙以形言，高岸為谷，深谷為陵是也；害盈福謙以理言，滿則招損，謙則受益是也；惡盈好謙以情言，滿盈取忌，退巽見推是也。四者皆出於自然而非有心，故曰道也。蓋太極之中，本無一物，事業功勞，於我何有。天地生萬物而不言所利，此天地人鬼所以皆有取于謙也。

The Commentary on the Judgment also says: The way of Heaven is to reduce the full and increase the humble; the way of Earth is to change the full and flow the humble; the way of spirits and ghosts is to harm the full and bless the humble; the way of human beings is to dislike the full and prefer the humble. A person who is humble holds a high position and his virtue becomes more illustrious; he occupies a low position and others cannot surpass him. This is the good outcome for a gentleman. "Reducing the full and increasing the humble" refers to the movement of energy; when the sun reaches its zenith it begins to set, and when the moon is full it starts to wane. "Changing the full and flowing the humble" refers to form; high hills become deep valleys, and deep valleys become hills. "Harming the full and blessing the humble" refers to principle; self-satisfaction brings loss, while humility brings gain. "Disliking the full and preferring the humble" refers to human feelings; fullness invites resentment, while humility earns recommendation. These four aspects all arise naturally, not through deliberate effort, so they are called "the Way." In the center of the Taiji there is nothing at all; achievements and merits, how can they be claimed as mine? Heaven and Earth nurture all things without boasting of their benefits. This is precisely why Heaven, Earth, humans, and spirits all follow the example of humility.

然六爻皆以三為主。三居下卦之上，有尊象；光，艮體也。三居上卦之下，有卑象；不可踰，德莫之過也。蓋人居尊而不光者有矣，謙者處尊而能下人，其德愈光；人處卑則皆得而踰之，謙者處卑，所謂我自卑而人莫我高，又孰得而踰之。君子之終，言此所以為君子有終也。不於其終觀之，則爭而得、謙而失者，蓋有之矣，惟要於究竟，然後知謙之終必亨也。

However, all six lines take the Nine in the Third (九三) as the main line. The Nine in the Third is at the top of the lower trigram, symbolizing respect and honor; it is called "light" because it belongs to the trigram Gen (艮), which represents stillness and firmness. The Nine in the Third is also at the bottom of the upper trigram, symbolizing humility; it is called "not to be surpassed" because its virtue is unmatched. There are cases where people in positions of honor fail to illuminate others, but a humble person in a position of honor can lower themselves and serve others, and their virtue becomes even more radiant. When people are in low positions, everyone can surpass them, but a humble person in a low position, by willingly remaining low, cannot be pushed down by others, and thus no one can surpass them. "The final outcome of a gentleman" means this is why a gentleman attains a good result. If we do not look at the end result, there are indeed cases where competition leads to gain and humility leads to loss; only when we consider the ultimate truth can we understand that humility ultimately leads to success.

象曰：地中有山，謙。君子以裒多益寡，稱物平施。不言山在地中而言地中有山，言卑下之中蘊其崇高也。外卑下而內蘊崇高，謙之象也。山之在地，高者降而下，卑者升而上，一升一降，高卑適平矣。物之多者裒取而使之寡，猶降山之高使之卑也；寡者增益而使之多，猶升地之卑而使之高也。一裒一益，而多寡適平矣。

The Great Image Commentary says: A mountain within the earth represents humility. Therefore, the gentleman takes from the abundant to supplement the deficient, and balances things so that distribution is fair. It does not say "a mountain in the earth" but "a mountain within the earth," to indicate that the lofty is contained within the humble. Appearing humble yet containing the lofty, this is the image of humility. A mountain situated within the earth causes the high to descend and the low to ascend, so that the high and low become balanced. Those with much take some away to make it less, just as the high parts of the mountain are lowered to make it more humble; those with little receive some to make it more, just as the low parts of the earth are raised to make it higher. By taking away and adding, the amount becomes balanced.

稱物平施，謂稱物之多寡而損益之，然後所施均平，而多者不偏多，寡者不偏寡也。蓋謙之為名，生於過也，物過然後知有謙。謙者使物不過，期得中而已。聖人即謙之名，使一切返於中，善用謙者也。凡大象皆於卦外教人用易之理。裒多益寡稱物平施，俾小大長短各得其平，非君子謙德之象，乃君子治一世，使歸於謙之象也。

The concept of "称物平施" refers to assessing the quantity of things and making adjustments, then distributing them evenly so that more is not excessive and less is not deficient. The term "Qian" (谦) arises precisely because of "excess": when things become excessive, one realizes the need for humility. Humility is about preventing excess and striving for the right balance. The sage uses the principle of humility to guide everything back to the middle path, which is the skill of those who truly understand humility. All the interpretations in the "Great Image" (大象) are meant to teach the application of the principles of the Book of Changes beyond the meaning of the hexagrams. Adjusting by taking from the more and giving to the less, distributing evenly so that all things are balanced in size, length, and so on, is not merely a reflection of personal humility but also a model for a gentleman to govern the world and bring all under the principle of humility.

初六：謙謙君子，用涉大川，吉。以柔處下，有謙而又謙之象。三四五互為震木，二三四互為坎水，木在水上，涉川之象。用涉與利涉稍殊，利涉者無往不利，用涉者涉川不可爭先。用謙謙之道以涉則吉。人當險難之時，非深自屈折不足以濟，故必用謙謙以涉也。

The line statement of the first line says: A gentleman who is humble and humble again, using this attitude to cross a great river, is auspicious. The first line, being yin and soft, is at the very bottom, symbolizing the image of being humble and humble again. The third, fourth, and fifth lines together form Zhen, which represents wood; the second, third, and fourth lines together form Kan, which represents water. Wood on water is the image of crossing a river. "Use to cross" and "favorable to cross" have slight differences: "favorable to cross" means success in all directions, while "use to cross" means one should not rush ahead when crossing. Using the attitude of being humble and humble again to cross, one attains auspiciousness. When people are in perilous situations, they cannot overcome difficulties without deeply bending and yielding, so they must use the way of humility to cross.

全卦以三為主，故與彖同言君子。初亦得稱君子者，蓋三在下卦之上，有勞而謙，在上之君子，尊而光者也；初在下卦之下，謙而又謙，在下之君子，卑而不可踰者也。用以涉川，則雖濟患難可矣，況平居乎。占者有其德，則常變皆吉也。

The entire hexagram takes the third line, nine three, as the main line, so the Commentary on the Judgment says "the gentleman," and this line also refers to the gentleman. The line six at the beginning can also be called the gentleman because nine three is above the lower trigram, having achieved merit yet remaining humble, representing a gentleman in a superior position, which is what the Commentary on the Judgment refers to as "honored and radiant." The line six at the beginning is below the lower trigram, being even more humble, representing a gentleman in an inferior position, which is "humble yet not to be surpassed." Using such virtue to cross a river, one can even overcome difficulties, let alone times of peace. If the person divining possesses such virtue, then both in ordinary times and in times of change, fortune will be favorable.

象曰：謙謙君子，卑以自牧也。牧，如牛羊使之馴服也。養德之地，未有不基於至卑者。養者至，則愈卑而不可踰矣。六二：鳴謙，貞吉。陰陽唱和為鳴。卦以三為主，三互四五為震，善鳴者也。易凡與震相應者皆言鳴，豫初、中孚二是也，故此卦二上皆言鳴謙。蓋三以勞而能謙。

The Image Commentary says: A gentleman who is humble and yet more humble cultivates himself by being lowly. "Pasturing" is like herding cattle and sheep to make them tame. The foundation for cultivating virtue is never laid in anything lofty; when the practice of cultivation is perfected, it becomes all the more lowly and no one can surpass it. The line statement of the second line says: Humble virtue is expressed externally, and maintaining the correct position brings good fortune. The mutual resonance between yin and yang is called "ming" (sound). The primary hexagram takes the third line as its main focus, and the third line together with the fourth and fifth lines forms the trigram Zhen (Thunder), which is good at producing sound. In the Book of Changes, any line that corresponds to Zhen is said to "ming" (sound). This is also the case with the first line of the Yu hexagram and the second line of the Zhongfou hexagram, so the second and sixth lines of this hexagram are both said to "ming" (sound) in humility. This is because the third line has merit and remains humble.

故凡聞其風者皆相從於謙，和之而鳴。言論稱述，皆自處於卑下，所謂鳴其謙也。二與三比，柔順中正，謙出於性，故有貞吉之象。此爻本義謂以謙有聞，解鳴字亦可通。但此卦（文瀾本「卦」以下有「之義當」三字）以三為主，諸爻所解與三無涉，於取象又未見確解，意義稍淺。今按，蘇傳解之，覺於三爻意義融貫。

Therefore, whenever people hear of the virtue of nine three, they follow the example of humility and respond in harmony. Their words and statements place themselves in a low position, which is called expressing humility externally. Six two is adjacent to nine three, being both gentle and upright, and humility comes naturally, thus showing the image of maintaining correctness and gaining good fortune. This line, according to the "Ben Yi" (Original Meaning), is interpreted as having a reputation due to humility, and explaining the character "ming" (sound) in this way is also reasonable. However, since the primary hexagram takes nine three as its main focus (the text in the Wenlan edition continues with "zhi yi dang" three characters after "gua"), if the explanations of each line have nothing to do with nine three and the symbolic meaning is not clearly evident, the meaning becomes somewhat shallow. Following Su Shi's interpretation in the "Dongpo Commentary on the Changes," I find it more consistent with the meaning of this line, so I adopt Su's explanation.

象曰：鳴謙貞吉，中心得也。二所居中正，謙本於中心所自得，非由勉強，正與上爻對。九三：勞謙，君子有終，吉。一陽居下之上，剛而得正，上下所歸，有勞而能謙者也。廉非難，勞而能謙為難。一陽為成卦之主，勞矣，乃不處上而處下，故有勞而能謙之象。上不疑而下不忌，自能保終而吉也。艮終萬物，三居艮之終，得其正位，故以彖辭君子有終歸之。

The Image Commentary says: "Ming Qian, maintaining sincerity and uprightness, brings good fortune, for it is something one naturally attains within. The line six two resides in the center and uprightness, its humility arising naturally from within, not forced, thus forming a contrast with the line upper six. The line statement of nine three says: A gentleman who has merit and remains humble will have a favorable outcome. A yang line occupying the position above the lower trigram, being strong and upright, gains the support of both above and below, thus representing a person who has merit and remains humble. Integrity is not difficult, but to have merit and still remain humble is difficult. This yang line is the main element in forming the hexagram, thus possessing merit, yet it does not occupy the upper position but the lower one, hence the image of 'laboring with humility.' Those above do not suspect, and those below do not resent, thus naturally preserving the outcome and achieving good fortune. Gen signifies the completion of all things. Nine three occupies the final position of the Gen trigram and attains the correct position, hence the phrase 'the gentleman has a proper conclusion' from the Tai Chuan is attributed to it."

象曰：勞謙君子，萬民服也。卦中五陰有民象。非服其勞，服其勞而能謙。所謂汝惟不伐，天下莫與汝爭功。萬民服即有終也。六四：無不利，撝謙。柔而得正，上而能下，其占無不利矣。然功不及三而居其上，必當發揮其謙，以示不敢自安之意。蓋勞謙者雖無忮害之心，而在四則亦有自盡之道也。象曰：無不利撝謙，不違則也。理之當然，非過於法則也。

The Image Commentary says: A gentleman who has merit but remains humble will have the people of the world submit to him. The five yin lines in the hexagram symbolize the people. People do not submit to his merit, but to his humility in the face of merit, which is exactly what the Book of Documents says: "If you do not boast, no one will contend with you for merit." The submission of the people is also called "a complete outcome." The line statement of the fourth line says: Nothing is not beneficial; one should cultivate the virtue of humility. The fourth line is yin and occupies the correct position, being in a high position yet willing to humble oneself and be below. Therefore, the divination naturally indicates nothing is not beneficial. However, since its merit is less than that of the third line and it is above the third line, it must cultivate humility to show it does not rest content. The third line is laborious and humble, though without any ill will, yet in the fourth line, there is also its own proper way. The Image Commentary says: To have nothing not beneficial and to cultivate humility is not to violate the principle. This is naturally appropriate and not an excessive adherence to principle.

六五：不富以其鄰，利用侵伐，無不利。陰柔，不富之象。以柔居尊，五謙皆為之用，不富而能以其鄰之象。坤為眾，五變互三為離為戈兵，又有行師之象。五君位。君德不必以謙見，且謙柔之過，或不能以自立矣，故不言謙。然不自用而用人，謙之大者。

The Line Statement of the Fifth Line says: Though not rich oneself, one can gain the support of the people around, which is favorable for military campaigns and beneficial in all matters. The Fifth Line is Yin and柔, symbolizing lack of richness; with Yin and柔 in a position of honor, the humility of the other lines is all used by it, which is the image of not being rich yet gaining the support of the people. The Earth element represents the people, and when the Fifth Line changes, the interacting trigrams form Fire, which represents weapons and military forces, indicating the image of military action. The Fifth Line represents the position of the ruler. A ruler's virtue does not necessarily have to be shown through humility, and excessive humility may actually prevent self-establishment, so the Line Statement does not mention the word 'humility'. However, not relying on one's own abilities and being able to use others is the greatest form of humility.

謙者不爭，然居君位而使人有不服，非稱物平施之謂矣。故為君，苟不自用而能用人，雖以之侵伐，亦無不利，蓋無害於為謙也。象曰：利用侵伐，征不服也。言其侵伐非得已，非外謙而內好勝也。

A humble person does not compete with others, but if one holds a position of authority and others feel resentful, then it is not "equitably distributing things and treating all equally." Therefore, a ruler who does not rely on his own abilities and can utilize others, even if he uses this to wage war, will have no obstacles, because it does not interfere with his humility. The Image Commentary says: It is advantageous to go to war, to subdue those who are不服. This means his warfare is out of necessity, not because he appears humble but actually desires victory.

上六：鳴謙，利用行師，征邑國。上與三應，亦有鳴謙之象。坤為地為眾，有國邑征伐之象。僅可征己之邑國，不能如五之無不利也。象曰：鳴謙，志未得也；可用行師，征邑國也。

The line statement of the sixth line at the top says: Humility is expressed externally, it is advantageous to go to war, and to attack one's own fiefdom state. The sixth line at the top corresponds with the ninth line in the third position, also indicating the expression of humility. The hexagram Kun represents earth and the multitude, indicating the image of a state's military campaign. It can only attack its own fiefdom, not like the sixth line in the fifth position which is advantageous in all matters. The Image Commentary says: The expression of humility indicates that the mind's aspirations have not yet been realized; it is advantageous to go to war, but only to attack one's own fiefdom.

二柔順中正故貞吉。上所居不中，特以與三應，故亦鳴其謙，謙之實有不足矣。謙實不足，故己之邑國或叛之。然上鳴在於謙，則叛者不利；叛者不利，則征之者利矣。以謙得人心，故利用行師。非五之位，故不能無不利；非二之中，故不能貞吉。是以鳴謙雖與二同，而未得遂其志也。

Six in the Second is flexible and upright, thus maintaining correctness and achieving good fortune. Upper Six, although not in the central position, is able to express humility externally because it corresponds with Nine in the Third. However, the true essence of humility is insufficient. Because of this insufficiency, his own territory might rebel against him. Nevertheless, the expression of humility by Upper Six still relates to humility, so those who rebel are at fault and thus suffer disadvantage. If those who rebel suffer disadvantage, then those who go to attack them naturally gain advantage. By possessing the virtue of humility, it is beneficial to go to war. It is not the position of Six Five, the sovereign, so it cannot be universally advantageous; nor is it in the central position like Six in the Second, so it cannot maintain correctness and achieve good fortune. Therefore, although its expression of humility is the same as that of Six in the Second, its aspirations have not been fully realized.

全卦以九三一陽爻為主。而五陰所處，雖有尊卑廣狹常變之不同，而由艮體之靜，皆得吉占；由坤德之順，皆得利占。則甚矣，謙德之可貴也。

The entire hexagram takes the yang line at the third position, nine three, as its main focus. Although the five yin lines are in different positions with varying degrees of respect, breadth, constancy, and change, because the trigram gen, representing stillness, leads to a favorable judgment, and because the trigram kun, representing compliance, leads to a beneficial judgment. In this way, the virtue of humility appears to be exceptionally precious.

豫。豫卦，下坤上震。九四一陽為卦之主，上下群陰應之。內順外動，由順以動，無不和悅，有豫之義。又雷閉地中，動而出地，通暢和豫，豫之象也。豫卦次謙。按，序卦：有大而能謙必豫，故受之以豫。大而能謙，則有豫樂，豫所以次謙也。

The hexagram Yu. The hexagram Yu has the lower trigram Kun (Earth) and the upper trigram Zhen (Thunder). The line Nine in the Fourth is the dominant yang line of the entire hexagram, with all the yin lines above and below responding to it. The inner trigram is harmonious and the outer trigram is active; moving from harmony to action, there is no lack of joy, which is the meaning of 'Yu'. Also, the energy of thunder is concealed within the earth, but once it moves, it emerges onto the surface, resulting in smoothness and joy, which is the image of Yu. The hexagram Yu comes after the hexagram Qian. According to the 'Sequence of Hexagrams', after being great and able to be humble, there must be joy, hence it follows Yu. Being great and humble leads to joy, which explains why Yu comes after Qian.

然豫有三義，曰備豫、曰和豫、曰逸豫。知備豫，則和豫隨之；然和豫之過，則逸豫生矣。繫辭傳：重門擊檄柝以待暴客，蓋取諸豫，此備豫之意，彖象所未及也。然建侯行師，雖主人心和豫，而建藩禦侮，備豫之意隱寓其中矣。六爻唯九四之豫以和樂言，他則皆有心求豫，失豫之正而流於逸豫也。唯二以中正不溺於豫，然有先幾之識，則其知備豫可知。然則凡事宜豫而豫不可溺，此全卦之六爻之大旨也。

However, the concept of "Yü" (豫) has three meanings: first, preparation; second, joy and harmony; third, ease and indulgence. Understanding preparation leads to joy and harmony; but if joy becomes excessive, ease and indulgence arise. The "Xì Cí Zhuàn" says that setting up gates and beating drums for night patrols to guard against bandits is probably symbolic of the Yü hexagram, representing preparation. This meaning is not mentioned in the "Tuàn Zhuàn" or "Xiàng Zhuàn". Yet the hexagram statement "Jian Hou Xing Shi" (establishing feudal lords and marching armies) mainly emphasizes inner joy and harmony, but the idea of establishing defenses and resisting external threats already implies preparation. Among the six lines, only the line nine in the fourth position (Nine in the Fourth) refers to joy, while the other lines are about seeking joy, losing the proper balance and falling into ease and indulgence. Only the line six in the second position (Six in the Second) maintains the middle and upright without becoming immersed in joy, and possesses the insight to foresee and act in advance, showing that it understands preparation. Thus, everything should be prepared in advance, but joy should not be indulged. This is the main idea of the entire hexagram.

豫：利建侯行師。豫兼三義，本義但以和樂言之。蓋備豫者，所以致和樂之由；而逸豫者，又和樂之過。故正解專取和樂，蓋彖意尚未他及也。震動坤上，長子主器，有建國治民象；坤順震下，一陽統眾陰，有行師動眾象。屯有震無坤，故不及行師；謙有坤無震，故不及建侯；豫兼二卦，故有此象。建侯必百姓歸心，行師必三軍用命，人心和樂，則二者利矣。

The Hexagram Statement of 《Yu》 says: It is advantageous to establish feudal princes and to go to war. 《Yu》 combines three meanings, but 《Ben Yi》 only takes the meaning of harmony and joy. This is because preparation is the origin of harmony and joy, while ease and indulgence are excessive forms of joy. Therefore, the positive interpretation focuses solely on harmony and joy. The original meaning of 《Tuang Cis》 has not extended to other aspects. The movement of Zhen is above Kun, indicating the eldest son managing ritual vessels, which symbolizes establishing states and governing the people. Kun's smoothness below Zhen indicates one yang controlling many yins, which symbolizes going to war and mobilizing troops. 《Zun》 has Zhen but not Kun, so it does not mention military campaigns. 《Qian》 has Kun but not Zhen, so it does not mention establishing feudal princes. 《Yu》 has both elements, so both symbols are present. Establishing feudal princes requires the people's loyalty, and going to war requires the army's obedience. When people's hearts are harmonious and joyful, these two things become advantageous.

彖曰：豫，剛應而志行，順以動，豫。九四一陽，上下應之，其志得行，此以卦體言其豫也；以坤遇震，為順以動，此以卦德言其所以致豫也。豫，順以動，故天地如之，而況建侯行師乎。順理以動，人心悅服，建侯天地而不悖可也。

The Commentary on the Judgment says: "Yü is when the strong line finds support from many lines and its aspirations are realized, moving in accordance with the right way, hence it is called Yü. The line nine in the fourth position is a yang line, and all the yin lines above and below respond to it, thus its aspirations are realized; this is the meaning of Yü in terms of the structure of the hexagram. When the hexagram K'un meets Zhen, it is moving in accordance with the right way, hence this is the reason for achieving Yü in terms of the nature of the hexagram. The Commentary on the Judgment also says: Yü is moving in accordance with the right way, hence the heavens and the earth are also like this; how much more so for establishing feudal lords and going to war. Moving in accordance with the right way, the people's hearts are pleased, and using this to establish feudal lords, even if tested by heaven and earth, would not be contrary."

天地以順動，故日月不過而四時不忒；聖人以順動，則刑罰清而民服。豫之時義大矣哉。日月之行，景長不過南陸，短不過北陸，故分至啟閉，不差其序，以順陰陽之氣而動也。刑必當罪，順乎民心，非一己喜怒之私，民所以服也。時義，此時之義也。此極言而贊其大，使人涵泳言中，而推其意於言外也。

The Commentary on the Judgment says: Heaven and Earth move in accordance with the Way, so the sun and moon move without deviation and the four seasons do not become confused. The sage moves in accordance with the Way, so punishments are clear and simple and the people are loyal and devoted. The meaning of the hexagram Yu is truly great. The movement of the sun and moon, the longest shadow is at the southern solstice, the shortest at the northern solstice, so the two equinoxes, two solstices, and the four cardinal points of the beginning and end are not confused in order. This is moving in accordance with the movement of yin and yang. Punishments must be in accordance with the crime, following the people's will, not arising from one's own private likes and dislikes, so the people are loyal and devoted. What is called "the meaning of the time" is the moral principle of this particular moment. This is a very great thing, which is spoken of with great praise, so that people may contemplate and savor it in this sentence, and extend its meaning beyond the words.

象曰：雷出地奮，豫。先王以作樂崇德，殷薦之上帝，以配祖考。陽閉地中，奮震出地，則通暢和豫矣。先王作樂，象雷之聲，又取其和之義。殷，盛也。樂無所不用，薦上帝，配以祖考，盛之至也。周祀稷於南郊，配以祖也；祀文王於明堂，配以考也。

The Great Image Commentary says: Thunder arises from beneath the earth and becomes vigorous, which is the meaning of Yu. Therefore, the former kings composed music to honor their virtues, offering sacrifices in a flourishing manner to the Supreme Deity, and also including their ancestors in the worship. When the yang energy is concealed within the earth and then vibrates and emerges onto the surface, it becomes smooth and harmonious. The former kings composed music, taking the sound of thunder as a model, and also drawing upon its harmonious nature. "Yin" means grandeur. Music is used everywhere, offering sacrifices to the Supreme Deity and including ancestors in the worship, which is the utmost grandeur. The Zhou people worshipped heaven at the southern altar with Houji included, which is pairing with an ancestor; they also worshipped King Wen in the Bright Hall, which is pairing with a father.

初六：鳴豫，凶。陰柔在下，獨與四應。四震善鳴，欲與倡和，有鳴象。然四大臣近君，其志大行之時；初位卑，所居不中正，小人在下，上得強援，當時用事，不勝其豫，誇大自張，故有凶象。卦以樂豫為義，取眾心之樂也。六爻自四外皆自樂者，則逸豫之過矣，故有吉凶之異。初爻，謙上之反對，皆與震應，故皆以鳴言。然謙者卑下自處，以聞於人者，故猶有利；豫者妄自張大，因人為樂者，故凶。

The line statement for the first line (initial six) says: "Announcing joy and singing aloud externally, it is ominous." The first line is yin and flexible, occupying a lower position, and corresponds only with the fourth line (nine in the fourth). The fourth line belongs to Zhen, which is good at making sound. The first line wishes to harmonize with it, hence the image of "singing aloud." However, the fourth line is a great minister close to the sovereign, at the time when his aspirations are flourishing. The first line is in a low position, and its position is neither central nor proper. This is a small person below, while above has strong support, temporarily enjoying power, rejoicing excessively, exaggerating and boasting, hence the ominous image. The primary hexagram takes the meaning of harmony and joy, representing the hearts of all people being joyful. Among the six lines, except for the fourth line, the others seek their own joy, which is excessive indulgence and self-indulgence, hence different outcomes of good and bad fortune. The first line of this hexagram is precisely the transformed line from the upper six of the hexagram of "Modesty." Both lines correspond with Zhen, hence both use the word "singing." However, modesty is being humble and letting one's name be known to others, hence it is beneficial; while the hexagram of "Joy" is self-aggrandizing and seeking pleasure through others, hence it is ominous.

象曰：初六鳴豫，志窮凶也。窮謂滿極。六二：介于石，不終日，貞吉。二三四互為艮，有石象；二變互三四為離，不終日而作之象。樂豫易以溺人，溺則憂矣。六爻獨二中而得正，自守之安靜，堅確如石。靜之至，故其思慮明審，不俟終日而見事理之幾微，是不溺於逸豫而知備豫者也。

The Image Commentary says: The line "Six at the Beginning spreads joy outward" indicates that the mind is full to the extreme, thus leading to misfortune. "Exhaustion" means fullness to the utmost. The line statement of six in the second position says: "Upright and firm as stone, without waiting for the end of a day, one sees the subtle signs and acts accordingly, maintaining uprightness and thus attaining good fortune." The second, third, and fourth lines together form the trigram Gen (Mountain), which represents stone, thus embodying the image of stone. The line six in the second position changes to form the trigram Li (Fire) with the third and fourth lines, which represents brightness, indicating the image of acting without waiting for the end of a day. Enjoyment is easily suffocating, and once submerged, one incurs worries. Among the six lines, only six in the second position is in the center and upright, maintaining quietude and firmness like stone. Quietude reaches its extreme, so thoughts are clear and cautious, allowing one to perceive the subtle aspects of things without waiting for the end of a day. This is the way of someone who does not indulge in ease but understands preparation.

蓋此卦當逸豫，以無所繫應為善。初應四而三五比之，皆有係而溺於豫者，故為凶為悔為疾。二特立於眾陰之中，而無遲戀之意，故靜則如石之堅，動則有不終日之速，不失其正而得吉也。象曰：不終日貞吉，以中正也。中正者，處豫之道也。

This hexagram occurs at a time of ease, and it is advisable to have no attachments or support. Initially, the line six at the beginning corresponds to nine in the fourth, and six three and six five also closely align with nine in the fourth. All these are attached and immersed in the joy of the hexagram, so they are respectively judged as凶 (misfortune), 悔 (regret), and 疾 (illness). Only line six two stands out among the other yin lines, without hesitation or attachment, so when still it is firm as stone, and when moving it is swift without waiting for a full day, thus maintaining correctness and achieving good fortune. The Image Commentary says: not waiting for a full day to hold to correctness and achieve good fortune, because it is centered and upright. Centered and upright is the proper way to deal with the hexagram of joy.

六三：盱豫，悔，遲有悔。盱，上視也。陰不中正而近於四，四為豫主，六三不中不正，希其逸樂而上視之，有盱豫致悔之象。故占者事當速悔，若悔之遲，必至於有悔也。三質柔而位剛，猶有能悔之象，故戒之，恐其悔之遲也。蓋盱豫者溺於逸豫，遲悔則又失於猶豫矣。聖人兩言悔，始則示人以致悔之端，終則勉人以悔過之勇也。

The Line Statement of the Third Line says: Looking up in search of pleasure, there is regret; if regret is delayed, there will be regret again. "Xu" means looking up. The Sixth Line is yin and flexible, not in the center and not in the proper position, and is adjacent to the Ninth Line in the Fourth, which is the main line of the hexagram Yu. Since the Sixth Line is neither in the center nor in the proper position, it seeks pleasure by looking up, thus giving the image of seeking pleasure by looking up and thereby causing regret. Therefore, when a person encounters a situation, they should quickly repent. If they delay repentance, they will certainly face regret. The Sixth Line is soft in nature but occupies a strong position, and thus shows the possibility of repentance. Therefore, it is warned, fearing that it will repent too late. Seeking pleasure by looking up indicates indulgence in ease and pleasure, while delaying repentance shows hesitation and indecision. The sage mentions "regret" twice: the first points out the beginning of regret, and the second encourages one to have the courage to repent.

象曰：盱豫有悔，位不當也。言所處不中正，與六二反也。九四：由豫，大有得，勿疑，朋盍簪。九四，卦所由以致豫者，眾陰應之，有大有得之象。以陽居陰，不能無疑，故戒之。德陽而位陰，故五陰亦有朋象。盍，合也；簪以貫髮者。

The Image Commentary says: Looking upward in pursuit of joy yet having regret indicates an improper position. This refers to its being neither central nor upright, exactly opposite to the six in the second. The line statement of nine in the fourth says: The whole hexagram achieves harmony and joy through it, gaining much, without doubt, for its kind will gather together like a hairpin used to fasten hair. Nine in the fourth is the line through which the whole hexagram achieves joy, with all the yin lines responding to it, indicating great gain. However, since it is a yang line in a yin position, it cannot help but have some doubt, hence the warning. Its virtue is yang but its position is yin, so the five yin lines also show the image of gathering together. "He" means gathering, and "zhan" is a hairpin used to fasten hair.

一陽貫五陰之中，有以簪貫髮之象。四，大臣以陽剛任上事，致君澤民，合天下以為豫，大有得矣。又必開誠佈公，使朋類之賢俱進，合志和衷，則可常保其豫也。象曰：由豫大有得，志大行也。由已致天下於豫，可謂大行其志矣。

A yang line passes through five yin lines, symbolizing the image of a hairpin used to fix hair. Nine Four represents a minister, who, with strong yang energy, shoulders the tasks of those above, supports the virtue of the sovereign, benefits the people, and unites the strength of the world to achieve harmony and joy. This can be said to be a great achievement. However, it is also necessary to be open and sincere, employing all virtuous men of the same kind, working together with the same mind and virtue, in order to maintain this harmony and joy. The Image Commentary says: Through this, there is ease and great gain, indicating that one's aspirations are greatly realized. By himself causing the world to attain harmony and joy, it can be said that he has greatly realized his aspirations.

六五：貞疾，恆不死。貞疾猶言痼疾，不得言正，蓋六五非正也。三四五互為坎為心病，貞疾之象。當豫之時，以柔居尊，沈溺於豫，又乘九四之剛，事權歸四，眾心不附，處勢危矣。然以其得中，故又為恆不死之象。

The Line Statement of the Fifth Line says: There is a long-term illness that does not heal, yet it does not lead to death. "Zhen jie" is like "gudji" meaning a chronic illness. Here, "zhen" cannot be interpreted as "correct" because the Fifth Line is not in the correct position. The Lines Three, Four, and Five together form Kan, which represents heart disease, symbolizing a chronic illness. At the time of Yu, the Fifth Line, being flexible, holds the exalted position, indulges in ease and comfort, and oversteps the Fourth Line, which is strong. The authority is transferred to the Fourth Line, and the people's hearts do not align with it, making the situation perilous. However, because it is in the central position, it also signifies a long-lasting survival.

二五皆不言豫。六二貞吉，以中且正，當豫之時而不為豫者，所以吉也；六五貞疾，中而不正，當豫之時而不得豫者，雖未至於凶，亦僅矣。人生於憂患而死於安樂。以五之得中而僅得不死，則過中者，豈生道哉。以君象言之，周末之共主是也。使剛而不中，則魏之曹髦；柔而不中，則唐之僖昭矣。可不戒哉。

Six in the Second and Six in the Fifth do not mention the word "豫." Six in the Second is upright and auspicious because it is both central and upright, and although it is the proper time for豫, it does not seek豫 for itself, hence its auspiciousness. Six in the Fifth has a chronic illness because it is central but not upright; although it is the proper time for豫, it does not attain豫, so although it does not lead to misfortune, it can onlywith difficulty preserve itself. People die in comfort and live in hardship; if even the central position of Six in the Fifth can only achieve survival, then those who have passed the central point have no way to survive. If we consider the image of a ruler, it is like the nominal emperor at the end of the Zhou dynasty, who had only a hollow title. If one is strong but not central, it becomes the case of Cao Mao, the virtuous but ineffective emperor of the Cao Wei dynasty; if one is gentle but not central, it becomes the case of Emperor Xizong and Emperor Zhaozong of the Tang dynasty. Should we not take this as a warning?

象曰：六五貞疾，乘剛也；恆不死，中未亡也。乘剛，故權下移；得中，故位號猶可保也。上六：冥豫，成有渝，無咎。以陰柔居豫極，有昏冥於豫之象。然以其動體，又有事雖成而能有渝之象，能改過則可無咎矣，勉人以遷善也。又豫上六變則為晉，明出地上，不終昏冥，樂極哀生，有悔心之萌者，所以無咎也。然初鳴豫，即斷其凶，嚴於初以遏其惡也；上冥豫開之以無咎，恕於終以引其善也。

The Image Commentary says: Six in the Fifth has a chronic illness because it is overpowering the strong line; it remains alive for a long time because the virtue of being in the center has not been lost. Overpowering the strong line causes authority to be transferred downward; being able to remain in the center allows the position to be preserved. The Line Statement of Six at the Top says: being immersed in comfort and ease, although things have already been accomplished, there is still a possibility of change, thus there is no blame. Six at the Top, being a yin and flexible line at the extreme of Yu, shows the image of being immersed in comfort and ease. However, it belongs to the dynamic nature of Zhen, indicating the possibility of change even after things have been accomplished; being able to change mistakes leads to no blame, which encourages people to improve themselves. Moreover, the upper six of Yu changes into Jin, where brightness arises above the earth, not ending in darkness; joy reaching its peak leads to sorrow, and regret begins to arise, so there is no blame. However, initial six, once it proclaims its joy, is immediately judged as凶 (fate of misfortune), which is strict at the beginning to prevent evil; upper six, immersed in darkness of joy, is given a path to no blame, which is lenient at the end to guide goodness.

象曰：冥豫在上，何可長也。豫至昏冥，不可久矣，言當速改也。全卦以九四一陽為主，與彖之樂豫同義，其他皆過於豫而至於逸豫者。爻之吉凶皆從四起義：二遠於四而中正，所以吉；上雖遠於四而處豫之極，又與四同震體，故為冥。

The Image Commentary says: To be confused and complacent in comfort and to occupy a high position, where can such a state last long? When the hexagram reaches the state of confusion and darkness, it cannot last long, meaning that one should act quickly to change. The entire hexagram takes nine four as its main yang line, which is consistent with the meaning of harmony and joy mentioned in the Tai Ji section. The other lines are all excessive in ease and flow into indulgence. The fortune or misfortune of each line is derived from nine four: six two is far from nine four yet is both central and upright, hence it is auspicious; upper six, although also distant from nine four, is at the extreme of ease and shares the same zhen structure as nine four, hence it is judged as confused and dark.

初則應四而鳴豫者也；三以比四而盱豫者也；五又以乘四而溺於豫，究不得豫者也。總之，豫宜眾不宜私，故世道不可無豫，人心不可有豫。初凶而五疾，三悔而上渝。為國者當如四之勿疑，守己者則當如二之介石矣。

Chu Liu is in harmony with Ji Si and thus enjoys ease; Li San is close to Ji Si and looks up for joy; Li Wu again oversteps Ji Si and becomes immersed in ease, ultimately failing to attain ease. In summary, ease should be shared by all and not be a private possession. Therefore, the world cannot lack ease, and the human heart should not harbor ease. Chu Liu is凶, Li Wu is diseased, Li San is regretful, and Shang Liu changes. Those governing the state should be like Ji Si, open and sincere without suspicion, while those cultivating themselves should be like Li Er, upright and unyielding like stone.

隨。隨卦，下震上兌，震動兌說，此動而彼說，隨之義也；以少女從長男，隨之象也。隨卦次豫。按，序卦：豫必有隨，故受之以隨。悅豫之極，物之所隨，隨所以次豫也。

The hexagram "Following." The hexagram "Following" has the lower trigram Zhen (Thunder) and the upper trigram Dui (Lake). Zhen represents movement and Dui represents joy; when one moves, the other is joyful, which is exactly the meaning of "Following." It also represents a young woman following a young man, which is the image of following. The hexagram "Following" comes after "Joy." According to the "Sequence of Hexagrams," harmony and joy must have someone to follow, hence it is followed by "Following." Joy and harmony reach their peak, and all things come to follow, which is the reason why "Following" comes after "Joy."

全彖以物隨為義，此感彼隨，可以大通，而要之於正，則隨人之意亦在其中矣。爻兼隨物為義，此動彼說而至於隨，易於自失其身。大抵陽爻則人隨我，陰爻則我隨人。而隨人者，宜隨上，不宜隨下，爻陰位剛者猶知所隨，此三隨四所以有得，二係初則失，上無所隨則不言隨也。居上者宜為人所隨，五君位為二所隨，故貞吉；四臣位為三所隨，故貞凶。初雖陽爻而在下，故不言隨言係，而言交。此六爻之大略也。

The entire "Tu Ci" (彖辞) takes the meaning of "following what comes" (物来随我): when one side is moved, the other follows, thus achieving great communication; but in the end, it comes down to the character "zheng" (正), meaning correctness, which includes the idea of following others. The "Yao Ci" (爻辞) takes the meaning of "I follow things": when one side moves and the other is pleased, they follow each other, which easily leads to losing oneself. In general, yang lines represent others following me, while yin lines represent me following others; and when following others, one should follow those above, not those below. A yao (line) that is yin but in a yang position still knows how to follow appropriately, so when six three follows nine four, there is gain; but when six two ties to initial nine, there is loss. Upper six has nothing more to follow, so it does not mention "following." Those in superior positions should be followed by others: nine five is the sovereign position, followed by six two, thus maintaining correctness brings good fortune; nine four is the ministerial position, followed by six three, thus even though correct, it is still ominous. Initial nine, although a yang line, is in a lower position, so it does not mention following or tying, but instead says "meeting" (交). This is the general idea of the six lines.

隨：元亨利貞，無咎。隨，從也，隨者，我有以致物，而物自隨乎我。故占當得大亨，然必利於正，乃得無咎；若不正，則雖亨而不免於咎矣。按，左傳穆姜之言，以隨四德與乾同，雖非本旨，然所論深合利貞無咎大意（文瀾本「意」作「義」）。諸卦中屯、臨、無妄、革皆言元亨利貞，獨隨係以無咎。蓋動而說，易至於不正而有咎，故示戒辭。

The Hexagram of Following: It is greatly prosperous and smooth, favorable to maintaining the correct course, without fault. "Following" means to follow along. What is meant by following is that I have sufficient virtue to attract external things, and external things naturally follow me. Therefore, the divination should result in great prosperity; however, it is necessary to be favorable in maintaining the correct course in order to have no fault; if not correct, then even though prosperous, there will inevitably be fault. According to the record in the "Zuo Zhuan," Mu Jiang said that the four virtues of the Hexagram of Following are the same as those of the Hexagram of Heaven. Although this is not the original meaning of the Hexagram of Following, her discussion is in deep agreement with the meaning of "favorable in maintaining the correct course without fault" (the character "yi" in the Wenlan edition is written as "yi"). Among all the hexagrams, the Hexagrams of Zhun, Lin, Wuwang, and Ge all mention "original prosperity, favorable in maintaining the correct course," but only the Hexagram of Following adds the two characters "without fault" at the end. This is because movement accompanied by joy is easily leading to incorrectness and fault, so a special warning is given.

彖曰：隨，剛來而下柔，動而說，隨。按，本義謂以卦變卦體釋卦名義，謂自困卦九來居初，自噬嗑九來居五，自未濟來兼此二變，皆剛來下柔也。今按，來注但以綜卦言之。隨蠱相綜，雜卦原對言之，隨以蠱之艮反兌居上，巽反震居下，是剛來下柔也。以後凡言卦變者，皆從綜卦。

The Commentary on the Judgment says: Following is when a yang line comes and bends beneath a yin line, moving with joy, hence it is called Following. According to The Original Meaning, this uses the changing of the hexagram and its structure to explain the meaning of the hexagram name. It says that the hexagram of Following comes from the hexagram of Being Impressed by Difficulty with the line nine moving to the first position, and from the hexagram of Crackling Thunder with the line nine moving to the fifth position. From the hexagram of Not Yet Completed, both changes occur, and they are all cases of a yang line coming to reside beneath a yin line. Now according to Lai Zhide's commentary, it only uses the inverted hexagram: Following and蛊 are inverted hexagrams of each other. The Miscellaneous Hexagrams Commentary originally contrasts the two hexagrams. Following is obtained by turning the upper mountain of蛊 into lake and placing it above, and turning the lower wind of蛊 into thunder and placing it below. This is the case of a yang line coming to reside beneath a yin line. In the following discussions of hexagram changes, all will be based on the inverted hexagram.

大亨貞無咎，而天下隨時。王注、程傳皆作隨時，謂隨時得正，則天下皆隨其時也；本義作隨之，意尤順。蓋論全卦之義，重我有以致物之隨也。隨時之義大矣哉。依本義作隨之時義，尤順。

The Commentary on the Judgment continues to say: Great prosperity while maintaining uprightness brings no fault, and the whole world moves in accordance with the times. Wang Bi's commentary and the Yichuan Commentary on the Changes both interpret it as "following the times," meaning that each follows its proper course in accordance with the situation, so the whole world follows its time. The Benyi interpretation reads it as "following," which is more smooth in meaning. This is because here the discussion concerns the meaning of the entire hexagram, emphasizing that what is important is that I possess sufficient virtue to attract external things to follow. The Commentary on the Judgment also praises: The meaning of following the times is indeed great. According to the Benyi interpretation, reading it as "the meaning of following the times" is also more smooth.

象曰：澤中有雷，隨。君子以嚮晦入宴息。雷二月出地，八月入地，澤亦地也。又兌正秋，八月正兌之時，震下兌上，有雷入地中之象，君子取之。及向昏晦，則居內休息。造化有晝有夜，人生有作有息，人心有感有寂，有動有靜，此造化之自然，亦人事之當然也。

The Great Image Commentary says: There is thunder within a marsh, which symbolizes following. Therefore, the gentleman rests indoors when the sky grows dark in the evening. Thunder emerges from the earth in the second month and returns to the earth in the eighth month; the marsh is also the earth. The trigram兑 belongs to the proper season of autumn, and the eighth month is precisely the time of兑. With震 below and兑 above, there is an image of thunder entering the earth. The gentleman takes this as a model: when the sky becomes dark, he retreats indoors to rest. Nature has day and night, and human life has labor and rest. The human mind has moments of connection and stillness, as well as movement and stillness. This is the natural order of nature, and also the proper order of human affairs.

初九：官有渝，貞吉，出門交有功。初九以陽為震之主，有官守之象。居下無隨我者，剛體非隨人者，然初動體，則改其常矣，故為有渝之象。陽居陽位得正，有貞吉之象。前臨陰偶，二三四互為艮，有出門之象。與四同德，不言隨而言交，有交有功之象。

The line statement of the first line says: The thing it is responsible for is changing, but if it maintains correctness, it will be auspicious, and going out to meet others will bring success. The first line, which is a yang line, is the main line of Zhen. It represents a duty. It is located at the very bottom, with no one following it; it is a strong element, and by nature it does not follow others. However, since the first line is a moving element, it must change its usual state, hence the image of 'change'. Being a yang line in a yang position and achieving correctness, it shows the image of maintaining correctness and gaining auspiciousness. It faces a yin line in front, and the second, third, and fourth lines together form Gen, which represents a gate, indicating the image of going out. It shares the same yang virtue with the ninth line in the fourth position, so instead of saying 'follow', it says 'meet', indicating the image of meeting others and achieving success.

初九，卦之所以為隨者，雖人無隨我，我未隨人，而震動之體體已渝其常矣。然居正得吉，出門交四同德，不繫私暱，正不必言隨人，而自有功也。象曰：官有渝，從正吉也；出門交有功，不失也。交不失其正，則有功也。人雖未隨我，我亦不隨人，以陽剛得正故也。

The first line, "Initial Nine," is the one that makes the whole hexagram "Following" come into being. Although no one follows it, and it does not follow others, it is of the nature of movement and transformation, so its essential nature has already changed from the usual. However, it is in the correct position and thus attains good fortune. It goes out and meets the noble "Nine in the Fourth," which shares the same virtue, without being attached to private affection. Therefore, it is not necessary to follow others, and naturally it achieves success. The *Image Commentary* says: the thing it governs is in motion, which is fortunate because it follows the right path; going out and associating brings success, because it does not lose the right. Associating without losing the right brings success. Although others do not follow me, I do not follow others, precisely because it is strong and upright in its position.

六二：係小子，失丈夫。初陽在下而近，以在下有小子象；五陽正應而遠，以君位有丈夫象。二與五正應，宜得所隨矣，然當隨之時，以陰爻陰位為過於柔，不能自守以待正應，而係於初，有係小子失丈夫之象。人隨我為隨，我隨人為係。

The Line Statement of the Second Line says: "It is attached to the young man, and loses the husband." The Initial Nine is a Yang line, located below and close to the Second Line, so it is symbolized as "the young man." The Nine in the Fifth is also a Yang line, which is the proper corresponding line to the Second Line but is distant because it occupies the position of the ruler, so it is symbolized as "the husband." The Second Line and the Fifth Line are naturally corresponding, and should be in harmony with the right person. However, at the moment of following, since the Second Line is a Yin line in a Yin position, it is too weak and cannot remain steadfast to wait for the proper corresponding line, but instead attaches itself to the Initial Nine. Thus, there is the image of being attached to the young man and losing the husband. When others follow me, it is called "following." When I follow others, it is called "attachment."

曰失，惜之也。象曰：係小子，弗兼與也。係此失彼，不能兼也。六三：係丈夫，失小子，隨有求得，利居貞。九四陽爻，亦有丈夫之象；小子亦謂初也。三近係四而遠於初，有係丈夫失小子之象。四陽當任，三則以陰隨之，有求而必得之象。

The character 「失」means to lose, expressing regret. The Image Commentary says: being tied to the young man, one cannot attend to both sides. If one is tied to this side, one loses the other; one cannot have both. The Line Statement of the Third Line says: being tied to the husband, one loses the young man. Following this, one's requests will be fulfilled, and it is advantageous to remain in a stable and upright position. The Fourth Line is a Yang line, which also represents the husband; 「young man」refers to the same as the First Yang line. The Third Line is close to the Fourth Line and is tied to it, while being distant from the First Line, hence the image of being tied to the husband and losing the young man. The Fourth Line, being Yang and strong, is in a position of responsibility, while the Third Line, being Yin and flexible, follows it. Therefore, when there is a request, it will be fulfilled.

三言係又言隨者，三有得，猶可言隨也。三不中正，宜失所隨矣，然以居剛稍知自主，勝於二之過柔，故猶知係四而不係初，而有得也。然六居三不正，九居四亦不正也，以不正相比，至於求而有得，不可言矣，故戒之居貞則利。初九以陽居陽，故得貞吉；六三以陰居陽，故示以居貞而不得言吉也。象曰：係丈夫，志舍下也。舍初之在下者也。

Six Three mentions both 'binding' and 'following' because it has something to gain and can also be said to follow. Six Three is neither central nor upright, so it should not follow the wrong person. However, it is in a strong position, slightly knowing self-direction, which is better than Six Two's excessive softness. Therefore, it knows to bind Nine Four but not Nine One, thus gaining something. However, Six in the Third position is not upright, and Nine in the Fourth position is also not upright. Two unupright lines are close to each other, and they seek and gain something, which is not good. Therefore, it is warned that staying in place and being upright is beneficial. Nine One is yang in yang, so it can gain the good fortune of uprightness. Six Three is yin in yang, so it is only taught to stay in place and be upright, and cannot be considered as good fortune. The Image Commentary says: binding a man, is the mind abandoning the lower. That is abandoning the lower Nine One.

九四：隨有獲，貞凶，有孚在道以明，何咎。九四以剛居上之下，與五同德而三係之，有得人之隨之象；然勢陵於五，有雖正亦凶之象。變則為坎，有有孚之象；互三二為艮，有光明之象。

The statement of the fourth line says: Following and obtaining something, although upright, it is still ominous; with sincerity and in accordance with the right path, and being able to clearly demonstrate, what fault could there be? The fourth line, being a yang line, occupies the lowest position of the upper trigram, and is in harmony with the fifth line, also a yang line, while the third line is connected to it, indicating the image of obtaining followers. However, its power is pressing upon the fifth line, hence the image of being upright yet still ominous. If the fourth line changes, it becomes Kan, which represents sincerity and trust, indicating the image of 'having sincerity'; the third and second lines together form Gen, indicating the image of brightness.

卦中三陰三陽，陰宜隨陽。初以在下不足為人所隨，故但言交；四與五同德，故人隨之。然四大臣之位，上有剛德之君，雖君信民歸，隨皆有獲，然使恩威不自五出，雖正亦有震偪之凶矣。故必中有孚誠，動皆合道，使心跡光明，君民共諒，乃得無咎也。

In the hexagram, there are three yin lines and three yang lines. Yin should naturally follow yang. The line Initial Nine is at the lower position and is not strong enough to lead others to follow, so it is only described as 'meeting'. The lines Nine in the Fourth and Nine in the Fifth are both yang lines with virtue. Therefore, people follow them. However, the line Nine in the Fourth is in the position of a minister, above which is a king with strong virtue. Although the king trusts and the people support it, it can gain benefits everywhere. But if the rewards and punishments do not come from the line Nine in the Fifth, even though it remains upright, there will be a凶 (dangerous situation) of shaking and pressing the sovereign. Therefore, one must have sincerity in heart and actions in accordance with the right path, making one's intentions clear and bright, so that both the sovereign and the people can understand and forgive, thus avoiding mistakes.

豫隨九四皆大臣之位，豫有得不言凶，而隨四之有獲言凶者。蓋豫卦一陽五陰，卦之所以隨者在四，五又以柔居其上，四志可行，故戒不在臣而在君，五之所以貞疾也；隨卦三陰三陽，卦能得隨之中正者在五，四偪於五而得人心，未必上安而下從之也，故戒不在君而在臣，四之所以貞凶也。然豫四曰勿疑，隨四曰有孚，居危疑之地，無論其吉與凶，宜以至誠自將則一也。

The nine in the fourth position of both the hexagram "Yù" (Joy) and "Suí" (Following) occupies the position of a minister. However, the nine in the fourth of "Yù" has great gains but does not indicate misfortune, while the nine in the fourth of "Suí" has some gain but is said to be ominous. Why is this so? Because "Yù" has one yang line and five yin lines; the key to the overall situation of the hexagram lies in the nine in the fourth. The six in the fifth, being gentle, is above it, allowing the nine in the fourth to carry out its intentions. Therefore, the cautionary words are not directed at the minister but at the ruler, which is why the six in the fifth says "Zhen Ji" (maintaining sincerity to overcome illness). In contrast, "Suí" has three yin and three yang lines; the one that can achieve the middle and upright position is the nine in the fifth. The nine in the fourth is close to the nine in the fifth and has gained the people's support, but it is not certain whether it can bring peace above and obedience below. Therefore, the cautionary words are not directed at the ruler but at the minister, which is why the nine in the fourth says "Zhen Xiong" (maintaining sincerity to avoid misfortune). However, the nine in the fourth of "Yù" says "Wu Yi" (do not doubt), and the nine in the fourth of "Suí" says "You Fu" (possessing sincerity). Both are in a situation of danger and doubt, and whether to judge as favorable or unfavorable, they should both maintain the utmost sincerity. This is consistent in both cases.

象曰：隨有獲，其義凶也；有孚在道，明功也。有獲豈必皆凶，有致凶之理，故曰其義凶也。有孚在道，以有明哲之功也。爻曰以明，言以此明其心跡也；傳曰明功，言有明哲之功，則不為利慾所昏，而心跡自光明也。

The Image Commentary says: To follow and gain something, in terms of principle, is ominous; to have sincerity and align with the right path is the result of wisdom. Does gaining something necessarily mean misfortune? It is only that there is a reason for misfortune, hence it is said, "its meaning is ominous." To have sincerity and align with the right path is due to the achievement of wisdom. The Line Statement says "with clarity," meaning using this to show one's inner disposition; the Image Commentary says "achievement of clarity," meaning having the achievement of wisdom, one will not be blinded by profit and desire, and one's inner disposition will naturally be bright.

九五：孚于嘉，吉。九五陽剛中正，得眾爻之隨，隨之主也。然所應唯在中正之二，是信於善者也，故有孚于嘉之象，而占則吉也。四五皆以陽居三上二陰之中，陽內陰外，有中實之象，故皆曰孚。然四之孕，戒之也，欲其孚於五也。

The line statement of the fifth line says: When sincerity is shared in goodness, it is auspicious. The fifth line is a strong yang line that is central and upright, gaining the following of all other lines, making it the main line of the hexagram of following. It corresponds only to the central and upright line six in the second position. This is the image of being sincere in goodness, hence the phrase 'sincerity in goodness' and the divination result is auspicious. Both the fourth and fifth lines are strong yang lines located between the two yin lines at the third and top positions. Yang is within and yin is outside, showing a full and central image, so both lines mention 'sincerity'. However, the sincerity in the fourth line (the original text has 'pregnancy' here, which should be 'sincerity') is a warning, urging it to maintain sincerity towards the fifth line.

五之孚，喜之也，喜其孚於二也。大亨貞無咎而天下從之，五足當之矣。象曰：孚于嘉吉，位正中也。五與二皆正中，故謂孚于嘉也。然以二之正中，在五謂之嘉，在二反有失者。蓋隨之為義，貴我致人之隨，而不欲徒隨於人。隨人者有陽剛之德，猶可自主；若一於陰柔，則係於近而失正應之可隨者矣。故五孚於二，則有君臣同德之象；而二之係初，則有背公植黨之戒也。

The "faithfulness" of nine five is to be joyful, happy that it can be faithful to six two. The "Tong Ci" says that great success is achieved by holding to the correct position without error, and all under heaven follow him, and nine five is capable of fulfilling this. The "Image Commentary" says that faithfulness in goodness brings good fortune, because it is in the correct position and in the center. Nine five and six two are both in the correct and central position, so it is said "faithful to the good." However, although both six two and nine five are in the correct and central position, in nine five it is called "good," while in six two itself there is a loss. Why is this? Because the meaning of following is that it is valuable to be able to attract others to follow, rather than just following others. If one follows others with yang strength, one can still be self-directed; but if one follows others solely with yin softness, one will be attached to the nearby and lose the correct response. Therefore, the faithfulness between nine five and six two shows the image of a ruler and minister sharing the same virtue; while six two being attached to initial nine becomes a warning against forming private factions.

上六：拘係之，乃從維之，王用亨于西山。上六以柔居柔，處隨之極，有拘係又維之之象。兌為西為巫，二三四互為艮為山，一變純乾為王，有王亨于西山之象。程傳以王為太王，亨作亨通之亨，指太王遷岐之事，謂其得民心也；本義以亨為祭享之享。今從本義，而王宜作太王。

The statement of the sixth line at the top says: He is restrained and bound, then further tied with ropes. The king holds a sacrifice on the western mountain. The sixth line at the top, being a yin line in a yin position, is at the extreme of following, showing the image of both restraint and binding. The trigram Dui represents the west and the shaman, and the second, third, and fourth lines together form Gen, which represents a mountain. When the sixth line changes, it becomes pure Qian, which represents the king. Therefore, there is the image of the king holding a sacrifice on the western mountain. The Yichuan Commentary on the Changes interprets "wang" as Taiwang and reads "heng" as hengtong (smooth passage), referring to Taiwang's migration to Qi and how he thus gained the people's support. The Benyi, however, reads "heng" as jixiang (sacrificial offering). Here, we follow the Benyi's reading of "heng" as jixiang, while "wang" should still be interpreted as Taiwang according to Cheng's view.

蓋六爻之義，陰宜隨陽，下宜隨上。上勢居最上無所隨，而質柔又不足以致人之隨，居五之上而非天子之位，與三非正應而兩陰同德，有固結於幽陰之象。太王避狄，去豳遷岐，我非隨人，而人之隨我者亦未廣，然誠敬以享于山川，有固結維繫之意，人心從此而集，天命從此而基。占者得此，則其象亦如是也。

Because the principles of the six lines in divination are that yin should follow yang, and the lower should follow the upper. The line at the top (上六) is already at the highest position and has no one above it to follow; moreover, it is soft and weak, insufficient to attract others to follow. The line at the fifth position (九五) is not the position of the Son of Heaven, and the line at the third position (六三) is neither in a proper corresponding position nor does it share the same yin quality. Thus, there is an image of being firmly bound in darkness and obscurity. King Taiwang left his homeland, Bao, to move to Mount Qi in order to avoid the Di people. He was not going to follow others, but rather others were coming to follow him at that time. However, by sincerely offering sacrifices to the rivers and mountains, there was an inherent meaning of binding and maintaining the people's hearts, and thus the people gathered together, and the Mandate of Heaven was established from that point. When a diviner obtains this line, the image it represents is just as described.

象曰：拘係之，上窮也。處隨之極故也。全卦物來隨我，我往隨物，皆貴於正。然此動彼說而至於隨，易於失身，尤以陽剛為貴。故諸爻吉凶得失別為一例，唯陽爻能為物所隨。五有陽剛之德，又居君位，當為物所隨者，故吉。四居三之上，有大臣之象，故三係之有得；而在四有偪五之嫌，竟受人之隨，則又不免於貞凶矣。

The Image Commentary says: To restrain and bind others is because the upper sixth line has reached the extreme. This is because it is located at the extreme of the following hexagram. In the entire hexagram, whether things come to follow me or I follow things, the principle of correctness is valued. However, when one side moves, the other side is pleased and follows, which easily leads to losing oneself, so it is especially important to value yang strength. Therefore, the fortune, misfortune, and gains or losses of each line follow a separate set of principles: only yang lines can be followed by others. The nine fifth line possesses the virtue of yang and holds the position of the sovereign, thus it is appropriate to be followed by others, hence it is auspicious. The nine fourth line is above the six third line, symbolizing a minister, so the six third line binds it and gains something; however, for the nine fourth line itself, there is a suspicion of pressing upon the nine fifth line, and by receiving the following of others, it inevitably incurs misfortune even though it is correct.

初雖陽爻，為隨之主而在下位，以在下則不應為人所隨。然以陽爻為隨之主，則不肯上係於人，又不能安靜以處，故不言隨不言係，而言交。陽居陽位，故交而有功也。

Initial Nine is a yang line, and it is the main line of the hexagram of following. However, it is in the lower position; since it is in the lower position, it should not be following others. Yet, as a yang line serving as the main line of following, it is unwilling to connect with others above, and it cannot remain quietly in its place. Therefore, the line statement does not say 'follow' or 'connect,' but instead says 'interact.' It is a yang line in a yang position, so its interaction brings about success.

三陰爻皆隨物者，則不言隨而言係。然隨居陰位者柔而無主，故二以舍五係初而失；陰居陽位稍知自立，故三以舍初係四而得。至上以隨之極，陰爻陰位，所應又陰，則固結之極，然不可以人道言矣，故為享於鬼神之象。蓋他卦六爻以相應為善，此則又貴其自處之能剛；他卦陰爻亦以得正為善，此則又不欲其過柔而失主。蓋當隨之時，義當如是。隨之喜剛，亦猶履之善柔，故曰觀彖辭則思過半矣。

Three yao of yin are all following external things, so they are not called "following" but "binding." However, yin yao are weak and lack initiative because they are in yin positions, so the yao six two abandons nine five and binds to nine one, which is a loss. When yin yao are in yang positions, they are slightly independent, so yao six three abandons nine one and binds to nine four, which is a gain. As for yao six at the top, it is at the extreme of following, with a yin yao in a yin position, and the corresponding yao is also yin. Thus, it reaches the extreme of being fixed, but it can no longer be explained by human affairs, so it takes the image of sacrificing to ghosts and spirits. In other hexagrams, the six yao are considered good when they correspond with each other, but in this hexagram, it values the ability to be strong on its own. In other hexagrams, yin yao are considered good when they are in the correct position, but in this hexagram, it does not want them to be too weak and lose their initiative. This is because at the time of following, the principles of righteousness should be like this. The hexagram of Following prefers strength, just as the hexagram of Treading prefers softness, so the "Xici" says that looking at the "Tao" can lead to understanding half of it.

蠱。蠱卦，巽下艮上。按，左氏：風落山，女惑男。以長女下於少男，惑亂其情，蠱之象也。風遇山而回，物皆撓亂，亦有事之象。本義謂上苟止而下卑巽，彼此怠緩，積弊致蠱。謂之蠱者，壞極而有事也。文從蟲從皿。

The hexagram Gǔ. The hexagram Gǔ has the lower trigram Xun (Wind) and the upper trigram Gen (Mountain). According to the Zuo Zhuan, the wind blows the grass and trees from the mountain, causing a woman to bewilder a man. A senior daughter is placed below a younger son, confusing his emotions, which is the image of Gǔ. When wind meets mountain, it turns back and twists, causing chaos to all things, which also indicates a situation requiring action. The Benyi says that the upper part is careless and stops, while the lower part is humble and compliant, and they follow each other lazily, leading to accumulated evils and forming Gǔ. It is called Gǔ because it has reached the extreme of corruption and there is something to be done. The character Gǔ is written with the radical for insect and the radical for vessel.

聚蟲皿中，使自壞爛，蠱之義也。然卦中兼治蠱意，治蠱而曰蠱，猶治亂而曰亂也。蠱卦次隨。按，序卦：以喜隨人者必有事，故受之以蠱。喜悅隨人，過中失正，則蠱惑壞亂之事自此起，蠱所以次隨也。全彖謂蠱治則亂極復治，而治蠱之道，有取於更新丁寧，此全彖之大旨也。六爻五為治蠱之君，下四爻為治蠱之臣，而上則為事外之臣。事外者，理亂不關，故不言蠱。

Putting insects into a vessel so that they destroy each other is the meaning of the character "蛊." However, the hexagram also includes the meaning of governing and eliminating "蛊." To govern and eliminate "蛊" yet still call it "蛊" is like governing and eliminating chaos yet still calling it "chaos." The hexagram "Gǔ" comes after "Suí." According to the "Xù Guà Zhuàn," those who follow joyfully will inevitably create troubles, hence the next hexagram is "Gǔ." Joyful following leads to going beyond the middle and losing the right path, from which the occurrence of deception and disorder originates. This is the reason why "Gǔ" follows "Suí." The entire "Tuàncí" states that when "Gǔ" is overcome, it means the extreme of disorder is restored to order. The method of governing "Gǔ" derives its meaning from "renewal" and "caution," which is the main idea of the entire "Tuàncí." Among the six lines, the line "Jiǔ Wǔ" is the sovereign who governs "Gǔ," the four lines below are the ministers who govern "Gǔ," and the line "Shàng Jiǔ" is a minister who remains detached. Those who remain detached have no connection with the governance of order and disorder, hence the line statement does not mention the word "Gǔ."

餘皆治蠱者。而蠱為前人已壞之緒，故又以子道言之。治蠱以剛柔相濟為善。初爻柔位剛故無咎，二爻剛位柔故得中，三爻位俱剛故有悔，四爻位俱柔故未得，五亦以爻柔位剛，居中有應，故用譽。而五之一爻，自處則為子，二視之為母，上視之又為君，則其取象屢遷，不可為典要者也。

The other lines all represent people who are dealing with the蛊. The蛊 is a matter that has already been ruined by previous generations, so it is explained using the principle of a son continuing his father's profession. In dealing with the蛊, it is good to balance both strength and flexibility. The line Six at the Beginning is flexible but occupies a strong position, so it has no fault. The line Nine in the Second is strong but occupies a flexible position, so it is in the center. The line Nine in the Third is both strong and occupies a strong position, so it has regret. The line Six in the Fourth is both flexible and occupies a flexible position, so it cannot achieve success. The line Six in the Fifth is flexible but occupies a strong position, is in the center, and has support from below, so it can gain good reputation. However, the line Six in the Fifth, when considered in itself, is the son; from the perspective of Nine in the Second, it is the mother; and from the perspective of Nine at the Top, it is the ruler. This shows that the symbolic meanings change frequently and cannot be regarded as a fixed method.

蠱：元亨，利涉大川，先甲三日，後甲三日。蠱，本義謂壞極而有事也。壞極為蠱，有事則兼治蠱意。亂極當治，有元亨象。治蠱必勇往以求必濟，中互震木在兌澤之上，有利涉大川象。

The Hexagram Gǔ Statement: Greatly smooth and unimpeded, favorable for crossing a great river, three days before the Jia day and three days after the Jia day. "Gǔ" is said in the Original Meaning to be something ruined to the extreme with affairs. When ruined to the extreme it is called Gǔ, and saying "with affairs" includes the meaning of governing Gǔ. When disorder reaches its peak, it should be rectified, hence the image of original smoothness and unimpededness. To govern Gǔ one must advance courageously to ensure success. In the hexagram, the mutual trigrams include Zhen (Thunder) as wood above Dui (Lake), symbolizing wood moving upon water, hence the statement that it is favorable to cross a great river.

然治蠱宜勇，亦須有道以治之。甲，日之始，事之端。先甲三日為辛，後甲三日為丁。前事已壞，取先甲三日之辛以更新之，不使至於大壞；後事方新，取後甲三日之丁以丁寧之，不使至於速壞。此治蠱而致亨之道也。

However, although courage is needed to deal with a pestilence, one also needs a method. "Jia" is the beginning of ten days and also the start of a matter. Three days before Jia is Xin day, and three days after Jia is Ding day. If the previous matter has already gone wrong, take the Xin day three days before Jia, since Xin sounds like "new," using it to renew and prevent it from becoming beyond repair. If the matter has just been renewed, take the Ding day three days after Jia, since Ding sounds like "dingning," meaning to remind repeatedly, so as not to let it deteriorate quickly again. This is the method of dealing with a pestilence to achieve success.

先甲後甲，按，本義及舊解皆同，於理固順，而蠱取甲，巽取庚，未見著落。來注照圓圖，但取艮巽二卦之義，亦未見的確。今按，蘇傳所解與本義異，而似可存。

Regarding the terms 「先甲」and 「后甲」, according to the interpretations in the 「Benyi」and old commentaries, they are consistent and make sense in principle. However, the reason why the hexagram 「Gu」chooses Jia and why 「Xun」chooses Geng remains unclear. Lai Zhide's commentary follows the Earlier Heaven circle diagram and only takes the meanings of the hexagrams Gen and Xun, which may not be entirely accurate. Now, according to Su Shi's 「Dongpo Commentary on the Changes」, the explanation differs from the 「Benyi」, yet it seems to be able to coexist.

按，蘇傳：蠱之與巽，一也；上下相順與下順而上止為媮，一也。而巽之所以不為蠱者，有九五以乾之，而蠱無是也。故蠱之彖曰先甲三日、後甲三日、終則有始，而巽之九五曰無初有終、先庚三日、後庚三日、吉。陽生於子盡於巳，陰生於午盡於亥。陽為君子，君子為治。

According to Dongpo's Commentary on the Changes, the hexagram Gu and Xun are essentially the same; both have mutual compliance, and the situation where the lower part complies and the upper part merely stops, leading to a state of mere convenience and neglect, is also the same. The reason why Xun is not called Gu is that it has the nine in the fifth line to govern, while Gu does not have such a line. Therefore, the Tuangeng of Gu says, "Three days before the first day, three days after the first day, the end leads to the beginning," while the fifth line of Xun says, "No beginning but a conclusion, three days before the seventh day, three days after the seventh day, auspicious." Yang energy begins at Zi and ends at Si, while Yin energy begins at Wu and ends at Hai; Yang represents the gentleman, and the gentleman governs the world.

陰為小人，小人為亂。夫一日十二乾，相值支五干六而後終（蘇氏易傳「終」作「復」），世未有不知者也。先甲三日、後甲三日，世所謂六甲也；先庚三日、後庚三日，世所謂六庚也。甲庚之先後，陰陽相反，故易取此以寄治亂之勢也。

Yin represents small people, and small people signify times of disorder. Within a single day, the twelve earthly branches align with the ten heavenly stems. The earthly branches complete five cycles, while the heavenly stems complete six cycles, and then a full cycle is completed (the term "zhong" [终], as interpreted by Su Shi in his "Yi Zhuan" [Commentary on the Changes], is actually "fu" [复]). This is something that all people are familiar with. "Three days before Jia" and "three days after Jia" are known as the Six Jia; "three days before Geng" and "three days after Geng" are known as the Six Geng. The sequence of Jia and Geng is exactly opposite in terms of yin and yang, so the Book of Changes uses this to symbolize the trend of order and disorder.

先甲三日，子戌申也，申盡於巳而陽盈，盈將生陰，治將生亂，故受之以後甲。後甲三日，午辰寅，寅盡於亥，然後陰極陽生。蠱無九五以乾之，則其治亂，皆極其自然之勢，勢窮而後變，故曰終則有始，天行也。

Three days before the Jiazi day, the days are Jiazi, Jiaxu, and Jiashen; proceeding from Shen downward to Si, this is the time when yang energy is full. When fullness is reached, yin begins to arise, and order gives way to chaos. Therefore, the following Jia day is used. Three days after the Jia day, the days are Jiawu, Jiachen, and Jiayin; proceeding from Yin downward to Hai, then yin reaches its extreme and yang begins to arise. The hexagram Gu does not have a Nine in the Fifth like Xun, so its order and chaos depend entirely on natural momentum. When the momentum is exhausted, change occurs. Therefore, the Commentary on the Judgment says, "After termination comes the beginning; this is the way of heaven."

巽則不然，雖失之，後必有以起之，譬之於庚。先庚三日，午辰寅也；後庚三日，子戌申也。庚之所後，甲之所先，故先庚三日盡於亥，後庚三日盡於巳。先陰後陽，先亂後治，故曰無初有終，曰吉。不言於彖而言於九五，明此九五之功，非巽之功也。

The hexagram of Xun is not like this: although there may be a temporary loss, there will certainly be a way to recover, which is why it uses Geng as a comparison. Three days before Geng are Wu, Chen, and Yin; three days after Geng are Zi, Xu, and Shen. The latter part of Geng corresponds to the former part of Jia, so the three days before Geng end at Hai, and the three days after Geng end at Si. First comes yin, then yang; first disorder, then order. Therefore it says "no beginning but a good end," and "auspicious." This statement is not placed in the Tuang Cis but in the line statement of nine in the fifth, which clearly indicates that this is the achievement of the fifth line of nine, not the achievement of the Xun hexagram itself.

彖曰：蠱，剛上而柔下，巽而止，蠱。剛上柔下以卦體言，艮剛居上，巽柔居下也；以卦綜言，反隨之震上為艮，兌下為巽也。上太剛則情不下接，下太柔則情難上達，上下不交以致蠱也。巽而止以卦德言，則下卑巽而上苟止，皆積弊以致蠱者也。

The Commentary on the Judgment says: "Gǔ is when a strong line is above and a yielding line is below, being humble and巽 yet stopping hastily, thus forming Gǔ." "Strong above and yielding below" refers to the structure of the hexagram, where the strong line of Gèn is above and the yielding line of Xùn is below; in terms of the reverse hexagram, it is the hexagram of Suí turned upside down, with the upper Zhen of Suí becoming Gèn and the lower Duì becoming Xùn. If the upper part is too strong, the sentiment will not descend; if the lower part is too yielding, the sentiment will find it hard to ascend; thus, the upper and lower parts fail to communicate, leading to Gǔ. "Xùn and stopping" refers to the nature of the hexagram, where the lower part is humble and yielding, while the upper part stops hastily, both contributing to the accumulation of evils that cause Gǔ.

蠱，元亨而天下治也。利涉大川，往有事也。先甲三日，後甲三日，終則有始，天行也。他解以巽而止為治蠱者，非。蓋下卑巽而上苟止，乃致蠱之由，非所以治蠱。治蠱意當於此節言之。既蠱又言元亨，亂極復治之象也。

The Commentary on the Judgment says: When the situation of chaos is rectified, the world becomes peaceful; it is favorable to cross a great river, indicating a journey with something to accomplish; beginning three days before the first day and ending three days after, the cycle continues, which represents the operation of the heavenly way. Other interpretations that take "flexible and still" as the method to deal with chaos are incorrect. If the lower part is humble, compliant, and gentle while the upper part is merely superficially still, this is precisely the cause of chaos, not the way to rectify it. The meaning of rectifying chaos should be explained in this section. After chaos has already occurred, yet it says "originally harmonious and flourishing," this is the image of chaos reaching its extreme and then returning to order.

曰往有事而不言有功者，當蠱之時，宜有事以濟險，不可以無事視之。若巽懦而止，則終蠱而不能元亨矣。甲者十日之始。亂之終，治之始，天運之行如是。治蠱者終前事，始後事，一番更新，一番丁寧，亦如天之行也。

It only mentions "going forward with matters" but not "achieving success," because at the time of the蛊, one should take action to overcome difficulties, and should not regard it as a time of inaction. If one is merely weak and timid, and stops halfway, it will eventually lead to the failure of the蛊 and the loss of the original state of harmony and prosperity. "Jia" is the beginning of the ten days: the end of chaos and the beginning of order, just as the movement of heavenly energy proceeds in this way. Those who govern the蛊 conclude the previous matters and initiate the new ones, bringing about a renewal and a reminder, just as the heavenly way operates.

象曰：山下有風，蠱。君子以振民育德。山下有風，物壞而有事矣。治己治人事之大者。風在內而能振動外物，則象之以振動其民；山在外而能涵育內氣，則象之以涵育其德。振者，作興人之善，新民之事；育者，培養己之善，明德之事。

The Great Image Commentary says: Below the mountain is the wind, which is the hexagram of蛊. Therefore, the gentleman thus revives the people and cultivates virtue. Below the mountain is the wind, which signifies the decay of all things and the occurrence of affairs. Governing oneself and governing others are the greatest of affairs. The wind in the inner trigram is able to move external things, hence it is taken as symbolizing the revival of the people; the mountain in the outer trigram is able to nurture the inner energy, hence it is taken as symbolizing the cultivation of one's own virtue. "Revive" refers to arousing the goodness of others, which belongs to the matter of renewing the people; "cultivate" refers to nurturing one's own goodness, which belongs to the matter of illuminating virtue.

易言育德，多取于山，故蒙亦言育德。而巽之申命行事，亦振民之意。當蠱之時，風俗敗壞，由民之不新；民之不新，由己德之不明。故必有以振作聳動其民，而在己宜進德不已。此皆所以治蠱也。

In the Yi Jing, the concept of "cultivating virtue" (育德) is often symbolized by mountains. Therefore, the Great Image (大象) of the Meng hexagram also speaks of cultivating virtue. The Xun hexagram refers to issuing commands and governing affairs, which means to stir up the people. At the time of Gu, customs have deteriorated because the people are unable to renew themselves; the people's inability to renew themselves is due to their lack of clarity in virtue. Therefore, there must be a way to inspire and motivate the people, while oneself should constantly cultivate virtue. These are the methods for governing Gu.

初六：幹父之蠱，有子考無咎，厲終吉。乾，木之幹，枝葉所附以立者。以身任其事而不敢避，故曰乾。中互震木，下巽木，有乾之象。蠱之災非一日之故，必世而後見，故皆以父子言之，明父養其疾，至子而發也。子能幹之，克蓋前愆，則振飭而興起矣。

The line statement of the first line says: Rectifying the faults left by the father, having such a son, the father has no fault; although there is danger and hardship, in the end there is good fortune. "Gan" is the main trunk of a tree, the branches and leaves rely on it to stand upright; taking on the responsibility oneself without avoiding it, thus it is called "Gan." In the hexagram, the interacting trigrams Zhen (Thunder) represent wood, and the lower trigram Xun (Wind) also represents wood, thus there is the image of "Gan." The calamity of a ruined situation is not formed in a day, it must pass through a generation before it becomes evident. Therefore, each line uses the relationship between father and son to indicate that the illness caused by the father becomes apparent in the son's time. If the son can rectify it, he covers up the previous generation's mistakes, and the family business is then revived and flourishes.

初六以陰在下，所應又柔，似不足以治蠱者。然以其時言之，在蠱之初，蠱未深而事易濟，且質柔而位剛，故有子能治蠱，考得無咎之象。質柔位剛，子專父事，有厲象；知危而戒，終承己志，有終吉之象。象曰：幹父之蠱，意承考也。不承其事而承其意，所謂善繼人之志者也。

Six at the Beginning, with a yao of yin in the lowest position, corresponds to Six in the Fourth, which is also a yin line. It seems insufficient to deal with the蛊. However, considering the situation, it is at the beginning of the蛊, and the蛊 is not yet deep, so the matter is easy to resolve. Moreover, its nature is soft but its position is strong, hence the image of a son who can deal with the蛊 and the father having no fault. Although the nature is soft and the position is strong, the son alone takes on the father's responsibilities, which indicates a dangerous situation. Knowing the danger and being cautious, he ultimately continues the father's will, thus achieving a favorable outcome. The Image Commentary says: Rectifying the faults left by the father is to continue the father's mind. Not continuing his deeds but continuing his mind is precisely what is meant by being good at continuing the will of ancestors.

九二：幹母之蠱，不可貞。母指六五也。艮止於上，巽順於下，無為而尊於上者，父道也；服勞而順於下者，子道也。故五爻皆言幹父之蠱，取艮之上爻為父也。二獨與五應，五雖艮體而質柔，故有母象。在五自處亦為子，自二親五則為母。

The statement of the second line says: Rectify the disorder left by the mother, do not be rigid in uprightness. "Mother" refers to the sixth line. The trigram Gen (Mountain) is stationary at the top, and the trigram Xun (Wind) is yielding at the bottom: those who do nothing yet hold a high position are following the father's way; those who work hard and are yielding to those below are following the son's way. Therefore, the other five lines all speak of rectifying the father's disorder, taking the top line of the upper trigram Gen as the father. Only the second line and the sixth line correspond with each other. Although the sixth line belongs to the trigram Gen, its nature is soft and weak, so it has the image of the mother. From the perspective of the sixth line itself, it is also a son, but when the second line approaches it, it becomes the mother.

此又取象之變，不可為典要者也。九二剛中上應六五，有子幹母蠱則得中之象。以剛承柔而治其壞，故又戒以不可堅貞，言當巽以入之也。貞者事之幹，而曰不可貞，非不可正也，不可固執以為正也。

This is again about taking images that vary according to context, and should not be regarded as a fixed method. Nine in the Second, being yang and in the center, corresponds above to Six in the Fifth, showing an image of a son rectifying his mother's disorder, and achieving the image of the center. It uses yang to support yin in rectifying disorder, so it also warns against being rigid and stubborn, meaning that one should approach things with a gentle and yielding attitude, gradually making progress. "Zhen" originally refers to the main structure of a matter, but here it says "not zhen," which does not mean one should not uphold correctness, but rather not be rigid in one's own views and assume one is correct.

母性多柔暗，以二之剛承（文瀾本「承」作「成」）五之柔，固守其正，或至傷恩害義，必巽以入之，乃得中也。若以君臣論，則周公之事成王，成王有過遇撻伯禽，亦此意也。象曰：幹母之蠱，得中道也。九二以剛居柔，在下卦之中，有中道之象。得中道而以柔濟剛，善於幹母之蠱者也。

A mother's nature is often gentle and confused. If one uses the firmness of Nine in the Second to support the softness of Six in the Fifth, and sticks rigidly to correctness, it might harm affection and damage righteousness. One must instead enter with a flexible and yielding attitude, thus achieving the middle path. If we consider the relationship between ruler and minister, the Duke of Zhou assisted King Cheng, and when King Cheng made mistakes, he would punish Bo Qin as a lesson, which is exactly this meaning. The Image Commentary says: Rectifying the faults left by the mother is to attain the middle path. Nine in the Second, with a yang strength in a yin position, is in the middle of the lower trigram, thus symbolizing the middle path. Achieving the middle path and using flexibility to balance strength is precisely the skill of managing a mother's influence.

九三：幹父之蠱，小有晦，無大咎。過則不中，故有小悔；巽體得正，故無大咎。象曰：幹父之蠱，終無咎也。爻言無大咎，宜不免於小咎，而傳謂終無咎者，幸之也。以九居三剛之至，君之諍臣，父之諍子，不使君父陷於不義者也。

The line statement of the third line says: Rectifying the defects left by the father, there is slight regret, but no great fault (the original text of the line statement says 'small obscurity,' while the commonly circulated version says 'slight regret'). Excessive strength is not appropriate, hence there is slight regret; yet because it belongs to the trigram Xun and occupies the correct position, there is no great fault. The image commentary says: Rectifying the defects left by the father, ultimately there is no fault. The line statement only mentions no great fault, indicating that minor faults are inevitable, but the image commentary says ultimately there is no fault, which is expressing joy. With a yang line in the third position, it represents strength reaching its extreme, which is like a loyal minister to the sovereign or a dutiful son to the father, preventing the sovereign or father from falling into wrongdoing.

蓋幹蠱之道，以剛柔相濟為善。故初六六五之柔而居剛，九二之剛而居柔，皆可幹蠱。不則與其為六四之裕而吝，不若九三之悔而無咎。裕而吝者，由吉而趨凶；悔而無咎，則自凶而趨吉也。六四：裕父之蠱，往見吝。以陰居陰，不能有為，有寬裕以治蠱之象。如是則蠱將日深，往則見吝矣。蓋目前雖可苟安，如是以往，必致吝也。

The principle of rectifying and eliminating corruption should be balanced with both firmness and flexibility. Therefore, the lines Six at the Beginning and Six in the Fifth are flexible lines occupying strong positions, while Nine in the Second is a strong line occupying a flexible position; all of them can be used to eliminate corruption. If one cannot achieve a balance between firmness and flexibility, then it is better to be like Nine in the Third, which has regret but no fault, rather than like Six in the Fourth, which is lenient and procrastinating, leading to disgrace. Being lenient and procrastinating leads from good to bad; having regret but no fault leads from bad to good. The line statement of Six in the Fourth says: "Being lenient and procrastinating in dealing with the corruption left by the father, going forward will result in disgrace." Six in the Fourth is a flexible line occupying a flexible position, thus unable to take action, and this reflects the image of leniency and procrastination in dealing with corruption. If this continues, the corruption will deepen day by day, and going forward will certainly result in disgrace. Although it may seem safe in the present, if this continues, it will eventually lead to disgrace.

象曰：裕父之蠱，往未得也。目前以為得矣，循此以往，未為得也，欲人急於改圖也。六五：幹父之蠱，用譽。二以五為母，謂以柔居尊也。然五之上有上，則五又有子道，若繼世之君也。用譽，用陽剛之臣以致譽也。五柔中居尊，九二承之以德，能用陽剛之臣以幹父之蠱者，可以致聞譽矣。譬若周宣王之用仲山甫召穆公，能用良臣而幹蠱有譽者也。

The Image Commentary says: To deal leniently with the defects left by the father, moving forward will not bring gain. Although one may think oneself to have gained something in the present, if one continues in this way, there will be no real gain. This is a warning to change one's plan quickly. The Line Statement of the Fifth Line says: To rectify the defects left by the father, thus gaining a good reputation. The Nine in the Second line regards the Fifth Line as a mother, referring to its position of softness in a noble position. However, above the Fifth Line is the Nine at the Top, so the Fifth Line also has the duty of a son, just as the successor of a former ruler. The term 'use reputation' refers to employing a virtuous and strong minister, thus gaining a good reputation. The Fifth Line is soft but in a noble position, and the Nine in the Second line supports it with virtue. It can employ a strong and virtuous minister to rectify the defects left by the father, thus naturally gaining a good reputation. Just as King Xuan of Zhou employed Zhongshanfu and Zhao Mugu, he was a person who could employ good ministers and thus achieve a good reputation.

象曰：幹父用譽，承以德也。二承以剛中之德，德在臣，譽在君，上下一德矣，故不見前人之蠱。上九：不事王侯，高尚其事。陽剛居上，在事之外，有不事王侯、高尚其事之象。初至五皆言蠱，此不言蠱者，上九蠱之終，事之壞者，六五干之已畢，則亂極而治之時矣。

The Image Commentary says: Rectifying a father's wrongdoing and gaining a good reputation is the minister using virtue to serve his superior. Nine in the Second, with a strong and central virtue, serves above: virtue belongs to the minister, reputation belongs to the superior, and both above and below share the same virtue, so the previous disorder is no longer visible. The line statement of Upper Nine says: Not serving the prince, but regarding his own affairs as lofty. Upper Nine is yang and occupies the highest position, remaining detached, showing the image of not serving the prince and regarding his own affairs as lofty. The first to fifth lines all speak of蛊, but this line does not, because Upper Nine is at the end of蛊: the disorder has already been rectified by Six in the Fifth, and it is precisely the time when extreme disorder is restored to order.

故不言蠱也。初至五皆言父子，不及君臣者，臣之事君，猶子事父母。當蠱之時，身在事中，必視國事如家事乃可，故言父子，而君臣之道在其中矣。上九言不事王侯，又不言父子者，於父母無可諉之事，無一日可離之時；君臣以義合者也，則當以其位與時論之。

Therefore, we no longer speak of the hexagram Gu. The first to fifth lines refer to father and son but do not involve ruler and subject, because subjects serving their ruler are like sons serving their parents; when in the situation of Gu, one is involved in the affairs, and must regard state matters as family matters. Thus, it speaks of father and son, and the way of ruler and subject is included within it. The line 'Nine at the Top' says not to serve the prince and lord, yet does not mention father and son, because there is no duty that can be shirked towards parents, nor a day that can be separated from them; ruler and subject are united by righteousness, and should be considered according to their position and circumstances.

身在其位則盡力以乾，如子事父母，不以為汙；不在其位，則超然遠引，不事王侯，而不以為傲。時當艱難則鞠躬盡瘁，不避險患，不以為勞；世已昇平則功成身退，辭榮謝寵而不以為矯。上九者，無位之逸民，功成身退之耆舊也。

He is in his position and gives his utmost effort to manage it, like a son serving his parents, without feeling ashamed; if he is not in a position, he withdraws calmly, neither serving the prince nor being considered arrogant. In times of hardship, he devotes himself completely without avoiding danger or hardship, without feeling tired; when the world is peaceful, he retires after achieving success, abandoning honor without seeming artificial. The line of the top is precisely the reclusive gentleman without a position and the elder who withdraws after accomplishing his task.

象曰：不事王侯，志可則也。潔身高尚如子陵，功成身退如范蠡，其事高，其志可為法則矣。全卦名蠱而皆言治蠱。蠱之可亨，猶否極則泰，雖天運自然，而人事宜盡，所以有取於更新丁寧，以為致亨之道。家事國事皆有蠱，為子為臣無異道，總以剛柔相濟為善。然與其柔而致吝，又不若剛而免咎，聖人望人之意切矣。

The Image Commentary says: Not serving the prince or the marquis, his mind can be taken as a standard. Like Yan Zileng who kept himself clean and pure, and had lofty aspirations, like Fan Li who retired after achieving success: their conduct was noble, and their minds could be taken as a model to follow. The entire hexagram is named Gǔ (Guilt), yet the whole text discusses the governance of guilt. The reason why Gǔ can be prosperous is like the transition from a period of stagnation to one of flourishing; although it is the natural course of heaven, in human affairs one should make efforts, hence the meaning is taken from 'renewal' and 'caution', as the way to achieve prosperity. Both family matters and state affairs may involve guilt, and the principles for sons and ministers are the same; it is always good to balance firmness and flexibility. However, it is better to be strong and avoid mistakes than to be gentle and invite regret. The intention of the sage for the world is indeed sincere.

臨。臨卦，兌下坤上。澤上有地，岸臨於水，相臨最切。又有進而侵凌之義，二陽侵其長以逼於陰，故曰臨也。臨卦次蠱。按，序卦：有事而後可大，故受之以臨。臨者，大也。可大之業，由事而生。二陽方長，陰小陽大，陽氣將盛，是謂可大，臨所以次蠱也。

The hexagram "Lín" (Approach). The hexagram Lín has the lower trigram Dui (Lake) and the upper trigram Kun (Earth). It represents land over water, with the shore closely adjacent to the water, indicating the closest proximity between the two. It also contains the meaning of advancing and encroaching. Two yang lines are growing upward, pressing toward the multitude of yin lines, hence the name Lín. The hexagram Lín comes after Gu. According to the "Xù Guà Zhuàn" (Sequence of Hexagrams), after there is something to deal with, one can accomplish great things, hence it follows Gu. Lín means great. Great undertakings arise from having affairs. In this hexagram, two yang lines are growing, with yin being small and yang being great. The yang energy is about to become powerful, which is called "can be great," hence Lín comes after Gu.

全彖以陽長為亨，而以陰生為戒，亦扶陽抑陰之意。六爻以二陽偏臨四陰，二當任而初不當任，故以二為臨之主。上四陰皆受陽之臨者。三不中正，迫陽而應非正之上，故無利；四五皆應陽，上附五而厚於二，故皆吉也。而三曰甘臨，四至臨，五知臨，上敦臨，又有上臨下、柔凌剛之義。雜卦云：臨觀之義，或與或求，言彼此相與為臨也。

The entire "Tu Ci" (Commentary on the Images) takes the growth of yang as the means to achieve harmony and the proliferation of yin as a warning, which reflects the idea of supporting yang and restraining yin. The six lines are arranged so that two yang lines are in a position of influence over four yin lines: nine two is in a position of responsibility while nine one is not yet in a position of responsibility, so nine two is the main line of "Lin" (Approaching). The four yin lines above are all influenced by yang. Six three is neither in the center nor in the correct position, approaching the yang line, and its corresponding upper six is not in the correct position, so it is not beneficial. Six four and six five both respond to the yang lines below, and upper six relies on six five and shows favor to nine two, so both are favorable. Six three says "sweet approach," six four says "complete approach," six five says "knowing approach," and upper six says "firm approach," which also contains the meaning of those above approaching those below and the soft overpowering the strong. The "Za Gua Zhuan" (Commentary on the Miscellaneous Trigrams) says that the meanings of "Lin" (Approaching) and "Guan" (Observing) are one of giving and one of receiving, meaning that mutual interaction is called "Lin."

臨：元亨利貞，至于八月有凶。

The Hexagram Statement of 临 says: It is greatly smooth and favorable to maintain the correct course; by the eighth month, there will be danger.

臨，《本義》謂進而凌逼於物。言凡逼近者為臨，不專居上臨下之意也。二陽侵長以逼於陰，故為臨。而卦中上下彼此又互有相臨之象。於一歲中為十二月之卦也。下說上順，九二剛中，上應六五，故占者大亨而利於正也。

The meaning of the character 「临」 is explained by Zhu Xi in The Original Meaning of the Zhou Changes as advancing and pressing upon external things. It refers generally to anything that is close to each other, not specifically to a superior governing a subordinate. In the primary hexagram, the two yang lines at the beginning and second positions rise up and approach the four yin lines above, hence the name 「临」. Within the hexagram, the lines above and below also exhibit mutual proximity. In the twelve hexagrams representing the yearly cycle, 「临」 corresponds to the twelfth lunar month. The lower trigram is 兑 (Dui), meaning joy, and the upper trigram is 坤 (Kun), meaning順 (smoothness). The line nine at the second position, being a yang line in the middle of the lower trigram, is considered 「刚中」 (strong and central), and it corresponds upward to the line six at the fifth position, a yin line in the middle, forming a harmonious relationship. Therefore, those who draw this hexagram may experience great success and benefit from maintaining the right path.

又按，元亨利貞者，乾道之變化。陽長之卦，獨臨與乾同者。易道貴中。二陽方主於中，乾之體用全備於此，故四德咸歸之也。八月有凶，戒辭。何氏以建子至建未為八月。褚氏以建寅至建酉為八月。孔氏據王注「小人道長，君子道消」，以建申為八月。按，《大全》不言建申。隆山李氏主建酉為觀卦，謂當自臨數，不當自復數也。《本義》主建未為遯卦，謂文王作卦時，只就周正紀之也。

Again, "Yuan, Heng, Li, Zhen" are originally the four virtues of the Qian hexagram, representing the complete nature of the Qian principle of change. Among the hexagrams with gradually increasing yang energy, only the Lin hexagram shares the four virtues with Qian. This is because the Way of the Yi values "zhong" (center). In the Lin hexagram, two yang lines are precisely governing the center of the lower trigram, and here the essence and function of Qian are already fully present, so all four virtues are attributed to it. "Bāyuè yǒu xiōng" is a warning phrase. The exact month referred to as "bāyuè" has been subject to different calculations throughout history: He Tuo counts from the first month of Jiuzi to the sixth month of Jiwu as the eighth month, Chu Zhongdu counts from the first month of Jiyin to the eighth month of Jiyousheng as the eighth month, and Kong Yingda follows Wang Bi's commentary "the way of the petty person grows long, the way of the gentleman declines," taking the seventh month of Jishen as the eighth month. However, the "Zhou Yi Duan" does not mention the seventh month. Longshan Li Shunchen argues that the eighth month is Jiyousheng (the Guan hexagram), reasoning that the counting should start from the Lin hexagram itself rather than from the Fu hexagram. Zhu Xi's "Benyi" argues that the eighth month is Jiwu (the Duan hexagram), reasoning that King Wen composed the hexagram statements according to the Zhou dynasty's official calendar.

今按，文王作卦在紂之時，未用周正，正朔之說可不必拘。以陰陽消長之數論之，當自復數至遯為是。蓋否卦陰陽各半，觀卦四陰勝陽，其凶不待言矣。今曰有凶者，亦將盛之辭也。於二陽方盛之時，即為二陰方盛之慮，聖人防微杜漸之意也。不然則凡陽盛之卦，八月皆有陰盛之時，何獨於臨言有凶哉。又按，復言亨而此言元亨，復不言利貞而此言利貞。蓋復初陽未盛，至臨則大矣。復陽之萌，無有不善；臨則陽盛，易於肆矣。此聖人所以於臨獨有戒辭也。

Nowadays, it appears that King Wen composed the hexagram statements during the time of King Zhou of Shang. At that time, the Zhou calendar had not yet been universally adopted, so there is no need to strictly follow the method of using the Zhou calendar to determine the months. If we consider only the yin and yang changes reflected in the trigrams, we should start counting from the hexagram Fu (Reversion), which marks the beginning of one yang line, and count up to the hexagram Duan (Retreat), which indicates two yin lines have already emerged. Because when we reach the hexagram Pǒ (Opposition), yin and yang are evenly divided, and when we reach the hexagram Guān (Observation), four yin lines have already surpassed two yang lines; at that point, the danger is obvious. Now, the statement only says "there is danger," which reflects the situation when yin is about to become strong but has not yet become dominant. To worry about the rise of yin before the two yang lines are at their peak is precisely the intention of the sage to prevent small problems from growing. Otherwise, every hexagram with strong yang would eventually encounter a period of strong yin in the following eight months. So why does the hexagram Lin (Approach) specifically mention "there is danger"? Furthermore, the hexagram Fu only says "smooth" but here it says "original smoothness"; the hexagram Fu does not mention "favorable to uprightness" but here it does: the initial yang line in Fu is still very weak, but by the time we reach Lin, the yang has become strong. The yang in Fu is just beginning to stir, so it is not yet harmful, but in Lin, the yang is already strong and may become reckless. This is why the sage specifically added a warning statement to the hexagram Lin.

彖曰：臨，剛浸而長。此以卦體釋卦名也。爻辭上下皆有相臨之意，此獨取以陽臨陰。「浸長」內兼二意：有漸長不驟之意，又有方來未艾之意。說而順，剛中而應。內卦說，則陽之進也不逼內，不激於意氣矣；外卦順，則陰之從也不逆外，皆中於機宜矣。此以卦德言卦之善也。九二剛中，在我有強毅之才；應五柔中，在上有知人之主。此以卦體言卦之善也。

The Commentary on the Judgment says: "Lín" means that the yang force gradually infiltrates and grows. This explains the name of the hexagram by referring to the structure of the hexagram. The line statements contain the meaning of mutual adjacency between the upper and lower lines, but here it specifically takes the meaning of yang approaching yin. The words "infiltrate and grow" contain two meanings: one is gradual growth without being hasty, and the other is that it is just beginning and has not yet stopped. The Commentary on the Judgment also says: harmonious and gentle, with yang in the center and harmony between upper and lower. The inner trigram Dui represents joy, so the advance of yang will not press inward, thus avoiding rashness; the outer trigram Kun represents compliance, so the compliance of yin will not be contrary outwardly, and everything is in harmony with the situation. This is explaining the goodness of the hexagram from the aspect of its qualities. The line Nine in the Second is yang and in the center, indicating strong and resolute ability on my part; it corresponds to Six in the Fifth, which is yin and in the center, indicating a wise and discerning ruler above. This is explaining the goodness of the hexagram from the aspect of its structure.

大亨以正，天之道也。剛長而說順，大亨也；剛中應柔中，以正也。剛長之時其善如此，以之臨人、臨事、臨天下，莫不大亨。而必以正者，天道宜然也。天道扶陽而抑陰，黜邪而崇正者也。至于八月有凶，消不久也。言二陽方盛之時，然至八月為遯，則陽之消亦不久矣。此雖天運之自然，而君子所當戒也。

The Commentary on the Judgment says: Greatly prosperous and adhering to the right path, this is the principle of Heaven. Yang increases gradually while the qualities of the hexagram are harmonious and gentle, hence it is said 'greatly prosperous'; Nine in the Second is strong and central, and corresponds with Six in the Fifth which is gentle and central, hence it is said 'adhering to the right path'. When Yang is increasing, its goodness is so great that when it governs people, affairs, and the world, there is nothing that is not greatly prosperous. Yet it is necessary to adhere to the right path because the way of Heaven is like this—Heaven always supports Yang and restrains Yin, suppresses evil and upholds the upright and correct. The Commentary on the Judgment also says: Until the eighth month there is misfortune, meaning that the decline of Yang is not far off. This refers to when two Yangs are flourishing, but by the eighth month it becomes the hexagram of Retreat, and the decline of Yang is soon to come. Though this is the natural cycle of Heaven, it is precisely what the gentleman should be cautious about.

象曰：澤上有地，臨。君子以教思無窮，容保民無疆。不曰「地下有澤」，而曰「澤上有地」，主澤之二陽而言也。地臨於澤，上臨下也。二者皆臨下之事。「教思無窮」，澤潤地之象也；「容保民無疆」，地容澤之象也。不徒曰「教」而曰「教思」，其意念如澤之深；不徒曰「保」而曰「容保」，其度量如地之廣。

The Great Image Commentary says: There is a marsh over land, which is the hexagram of Approaching. The gentleman thus understands that the mind of teaching the people is boundless, and the measure of nurturing and preserving the people has no limits. It does not say "a marsh under the earth" but rather "a marsh over the land," emphasizing the two yang lines within the marsh. The land approaches the marsh, which is like the superior approaching the inferior; teaching and nurturing are also matters of approaching the inferior. "Teaching and thinking are endless" takes the image of the marsh moistening the land; "nurturing and preserving the people without limit" takes the image of the land containing the marsh. It does not merely say "teaching" but "teaching and thinking," indicating that the mind is deep like the marsh; it does not merely say "nurturing" but "nurturing and preserving," indicating that the measure is vast like the land.

初九：咸臨，貞吉。按，王注及《程傳》皆以「咸」作「感」之義，《本義》以「咸臨」作「徧臨」，謂以二陽徧臨四陰也。從王注、《程傳》為順，而「徧臨」意可兼。蓋「咸」者無心之感。二陽在上，無為而天下化，所以為觀；二陽在下，無心而天下應，所以為咸。初以正，二以中，我中正而天下自應，故皆曰「咸」。初二兩爻與四五正應，皆有咸臨之象。初以剛居初得正，有貞吉之象。四，大臣之位，無所感而臨，則不獲乎上。然自處不正，所應非正，亦枉道狥人者矣。唯剛而得正，所應又正，故曰「咸臨貞吉」也。

Initial line nine: Coming with a responsive heart, maintaining uprightness brings good fortune. According to Wang Bi's commentary and Cheng Yi's Yichuan Commentary on the Changes, the term "Xian" is interpreted as "sensibility." Zhu Xi's Benyi, however, interprets "Xian Lin" as "universal presence," meaning that two yang lines universally approach four yin lines. Following the meaning of Wang's commentary and Cheng's transmission is more coherent, and the meaning of "universal presence" can also be taken into account. "Xian" refers to a natural and spontaneous response without deliberate intent: when two yang lines are above, without action the world naturally transforms, which is the case of the Guan hexagram; when two yang lines are below, without deliberate action the world responds, which is the case of Xian. Initial line nine relies on "uprightness," line nine two relies on "centering," and here, with both uprightness and centering, the world naturally responds, so both lines are described as "Xian." Initial line nine, line nine two, and lines six four and six five each form proper correspondences, and all exhibit the image of "Xian Lin." Initial line nine, with a yang yang in the initial position and uprightness, exhibits the image of "Zhen Ji." Line six four is the position of a minister; if it comes without any response, it will not gain the trust of above; however, if it is not upright and the corresponding line is also not upright, then it is merely bending the Dao to conform to others. Only when one is strong and upright and the corresponding line is also upright, it is said "Xian Lin Zhen Ji."

象曰：咸臨貞吉，志行正也。自處以正，所應又正，則得以行其正道矣。時解以此爻作君子臨小人以正。陰雖小人，然爻中未有此象。九二：咸臨，吉無不利。二應於五，上有中正之君，既見信任，得行其志，故有吉無不利之象。此爻為臨之主。蓋陽在初猶微，至此乃盛。初之咸臨，謂與二協力以為臨也；二之咸臨，謂率初同往以為臨也。

The Image Commentary says: "When approaching with sincerity and correctness, it is auspicious because the implementation of one's aspirations aligns with the right path. By maintaining correctness in self-cultivation and having the right response, one can carry forward the right path. The traditional interpretation often explains this line as the gentleman approaching with the right path towards the petty person; although阴 may be compared to the petty person, there is no such imagery in the line itself. Nine in the Second: Approaching with a responsive heart, it is auspicious and beneficial in all respects. Nine in the Second corresponds with Six in the Fifth, and above it is the upright and righteous ruler. Since it is trusted and can carry out its aspirations, there is the image of 'auspicious and beneficial in all respects.' This line is the main line of the Hexagram of Approaching. When the Yang is in the initial position, it is still weak, but by the time it reaches Nine in the Second, it has become strong. The line of Nine at the Beginning says 'sincerely approaching,' meaning collaborating with Nine in the Second to approach; the line of Nine in the Second says 'sincerely approaching,' meaning leading Nine at the Beginning to approach together."

象曰：咸臨吉無不利，未順命也。九二以剛居柔，非苟且以取悅於上者，有「未順命」之象。五順體而二說之，疑以苟從取悅矣。然剛而得中，以此為五所信任，非苟將順君命以取容者也。《本義》於此爻傳云「未詳」。今從此解，得聖人教人以道事君之意，然爻中亦實有此象也。

The Image Commentary says: "The joy of approaching the superior is auspicious and beneficial without any disadvantage," because it is not merely blind obedience to the sovereign's commands. Nine in the Second, with a yang strength in a yin position, is not someone who flatters the sovereign for personal gain, hence the image of "not following the command." Six in the Fifth, being of the yin and compliant nature, and Nine in the Second being amiable toward it, might easily lead people to suspect that Nine in the Second is being hypocritical and seeking favor. However, Nine in the Second is strong and moderate, and by this virtue it is trusted by Six in the Fifth. It is certainly not someone who bends the will of the sovereign to secure a place. Zhu Xi's "Original Meaning" only notes "unknown" here in the Image Commentary of this line. Now adopting the above interpretation, we can grasp the sage's teaching of serving the sovereign according to the right path, and the line's image indeed contains this meaning.

六三：甘臨，無攸利，既憂之，無咎。卦以陰陽相臨為臨。三陰柔說體，逼近二陽，而與上非正應。坤土味甘，變兌為口舌，無實心相接，但以甘說臨人之象。不中不正，下乘二陽，上無正應，有「無攸利」之象。二陽上逼，互卦得震，有憂懼之象。一變為乾、為泰，有「無咎」之象。蓋在上以甘說臨人，固無所利，然知憂懼自改，則咎可無。若小人在上，知君子非可以甘言要結，能改過以合乎剛正，則咎自可無矣。象曰：甘臨，位不當也；既憂之，咎不長也。位不當，不中正也。始雖有咎而後可無，其咎不長也。

Six Three: Coming with sweet words, there is no benefit; since there is concern about this, there will be no fault. This hexagram is named "Approach" because yin and yang are adjacent. Six Three is a yin and flexible line in the Dui trigram, which represents joy and speech. It is close to the two yang lines below and does not have a proper response with the upper Six. The Kun trigram represents earth, and earth has a sweet taste; when Six Three changes, the lower trigram becomes Dui, which represents mouth and speech. Without sincerity, only using sweet words to please others, this is the image of "Sweet Approach." It is not in the center and does not occupy the correct position, pressing down upon the two yang lines below, and has no proper response above, hence the image of "no benefit." Two yang lines are below and pressing upward, and the interacting trigrams form Zhen, which represents movement and alarm, hence the image of worry and fear. When Six Three changes, the lower trigram becomes Qian and the whole hexagram becomes Tai, hence the image of "no fault." Generally, when someone in a superior position approaches those below with sweet words, there is no benefit; but if one is aware of the concern and corrects oneself, fault can be avoided. If a small person is in a superior position, knowing that a gentleman cannot be won over by sweet words, and if he changes his ways and follows the path of firmness and correctness, fault will naturally be absent. The Image Commentary says: "Sweet Approach" is because the line is in an improper position; since there is concern, the fault will not last. The term "improper position" refers to the fact that it is neither in the center nor in the correct position. Although there was initially a fault, it can be corrected later, so it is said that the fault will not last.

六四：至臨，無咎。以陰居陰，處得其位，與三之不當者異；下應初九，應得其正，與三之乘陽者異。又坤兌之交，地澤相比，相臨之切至者也。「至」非至極之謂，言誠意以相與也，故無咎。象曰：至臨無咎，位當也。言位之當，而正應之意在其中矣。

Six in the Fourth: Coming with the utmost sincerity, there is no fault. Six in the Fourth occupies a yao in a yin position, thus being in the correct place, differing from Six in the Third which is in an improper position. It is in correspondence with Nine at the Beginning, and this correspondence is also correct, differing from Six in the Third which is riding over a yang yao. Moreover, it is located at the point where the upper Kun and the lower Dui meet, with earth and marsh closely attached to each other, representing the closest and most intimate connection. "To the utmost" does not mean to the extreme, but rather refers to approaching others with sincere intent, hence there is no fault. The Image Commentary says: "Coming with sincerity brings no fault," because the position is appropriate. Here, only the appropriateness of position is mentioned, while the correct correspondence with Nine at the Beginning is already included within it.

六五：知臨，大君之宜，吉。五變坎為通，「知」之象。以柔居中，下應九二，不自用而用人，「知」之事也。自用其知者其知小，不自用而用人者其知大。以此臨下，乃大君之所宜，吉之道也。象曰：大君之宜，行中之謂也。中者，天理之當然，非出於矯飾也。

Six Five: Coming with wisdom, this is what a great sovereign should do, and it brings auspiciousness. When Six Five changes, the upper trigram becomes Kan, which represents communication and clarity, symbolizing 'knowledge'. It is positioned in the middle of the upper trigram, being a yin and flexible element, and responds to Nine Two below. It does not display its own abilities but instead employs the talents of others, which is the actual manifestation of 'knowledge'. Those who rely solely on their own wisdom have limited insight, while those who do not rely on themselves but can utilize others possess true wisdom. Approaching the people in this manner is exactly what a great sovereign should do, and it is the way to gain auspiciousness. The Image Commentary says: The suitability of a great sovereign refers to his following the middle path. The 'middle' is the natural way of heaven and earth, not something artificially fabricated.

上六：敦臨，吉無咎。上六居地之上畫，爻本坤土，又變艮土，有積累至於極厚之象。舊說以上最遠於陽，不敢以柔臨剛，厚之至也。以厚接物，未有不安者，故厚敦（文瀾本「厚敦」作「敦厚」）於臨，乃吉而無咎之道也。然按《象傳》「志在內」，則非不敢臨之意。按《蘇傳》：六五既已應九二矣，上六又從而附益之，謂之「敦臨」；復之六四已應初九矣，六五又從而附益之，謂之「敦復」。此說解「敦」字為切，言附五以加厚於二也。

The sixth line at the top says: approaching with sincerity and earnestness brings good fortune without blame. The sixth line is at the top of the upper trigram, which is the trigram of earth. The line itself belongs to the earth element, and when it changes, it becomes the trigram of mountain, which is also earth. This represents the image of accumulating layer by layer until it becomes extremely thick. The old interpretation says that the sixth line is farthest from yang, so it does not dare to approach yang with its softness, which shows the utmost sincerity. Approaching others with sincerity and earnestness brings no instability, so approaching with sincerity and earnestness is the way to gain good fortune without blame. However, according to the Image Commentary, it says 'the intention is within,' indicating it is not about being afraid to approach. Furthermore, according to Su Shi's Commentary on the Changes, since the fifth line has already corresponded with the second line, the sixth line follows to enhance it, which is called 'dun lin'; in the Fu trigram, since the fourth line has already corresponded with the first line, the fifth line follows to enhance it, which is called 'dun fu'. This explanation of the character 'dun' is most accurate, meaning to rely on the fifth line to add strength to the second line.

象曰：敦臨之吉，志在內也。上六與九二非正應，而志在於九二之陽，附五以相臨，厚之至也。上以志在陽為吉，三以志在上而無利可知矣。卦義以陽臨陰，而六爻自三以上陰亦臨陽。陽氣方升，陽臨陰，在所宜，故皆吉。陰上陽下，雖有以上臨下之勢，而嫌其逼於陽，故獨於三爻無利。上以遠於陽而志在陽，反得吉。至四之無咎、五之吉，則又皆應於陽者。陽氣方盛，勢正上進，吉多凶少，聖人言外扶陽抑陰之意又可見矣。

The Image Commentary says: The reason why the situation of firm and earnest approach is auspicious is because the mind is attached to the yang of the inner trigram. Although the sixth at the top and the ninth in the second are not properly corresponding, the mind is still attached to the yang of the ninth in the second, and it joins with the sixth in the fifth to approach together, thus being extremely firm. Since the sixth at the top attains auspiciousness because its mind is attached to yang, then the sixth in the third, which has its mind attached to the sixth at the top, naturally has no benefit. The overall meaning of the hexagram is that yang approaches yin, but among the six lines, from the sixth in the third upwards, yin also approaches yang. Yang energy is rising, so yang approaching yin is natural, hence all are auspicious. When yin is above and yang is below, although there is a situation of upper approaching lower, it is regarded as too pressing upon the yang lines, hence the sixth in the third has no benefit. The sixth at the top, although farthest from yang, attains auspiciousness because its mind is attached to yang. As for the sixth in the fourth having no blame and the sixth in the fifth being auspicious, these are also due to their correspondence with yang. Since yang energy is flourishing and its trend is upward, auspiciousness prevails and misfortune is rare—thus the intention of the sage to support yang and restrain yin is clearly evident here.

觀卦，下坤上巽。風行地上，徧觸乎物，有自上觀下之義，則為去聲之觀；二陽在上，四陰所仰，有自下觀上之義，則為平聲之觀。全彖取以上示下之義，故卦名取去聲之觀也。觀卦次臨。按《序卦》：物大然後可觀，故受之以觀。觀所以次臨也。彖取上觀下之義。在上者致其潔清，不輕自用，民自信而仰之。此全彖之大旨也。

The Guan hexagram has the lower trigram Kun (Earth) and the upper trigram Xun (Wind). Wind moves over the earth, reaching all things universally, which contains the meaning of observing from above. At this time, the character "观" is read with a falling tone, meaning "to show to others." Two yang lines are above, and the four yin lines below look up to them, which contains the meaning of observing from below. At this time, "观" is read with a level tone, meaning "to look up." The entire hexagram's "Tongci" takes the meaning of observing from above to below, so the name of the hexagram is read with a falling tone, "Guan." The Guan hexagram comes after the Lin hexagram. According to the "Xu Guashu," after things become great and flourishing, there is something to observe, so the Guan hexagram follows the Lin hexagram. This is why Guan comes after Lin. The "Tongci" takes the meaning of those above being observed by those below: those in superior positions should maintain purity and sincerity, not easily act on their own will, so the people will naturally believe in and look up to them. This is the main idea of the entire hexagram's "Tongci."

六爻以四陰自下仰觀二陽。然上不得位，故以五為觀之主。而下四陰則近者吉而遠者凶。四觀光而三進退，二利女而初則吝矣。蓋臨卦二陽在下，進而凌陰，故陰欲遠陽；觀卦二陽在上，陰自下仰，故陰欲近陽。此又扶陽抑陰之微意也。

In the context of the six lines, four yin lines are observed from below looking up at the two yang lines above. However, the upper nine (上九) is not in the position of a ruler, so the nine in the fifth position (九五) becomes the main line of the hexagram. The four yin lines below are considered fortunate if they are close to yang and unfortunate if they are far from yang: the fourth line (六四) can observe the brilliance of the country, the third line (六三) can only measure its own advancement and retreat, the second line (六二) is only favorable for a woman's constancy, while the first line (初六) is inevitably subject to disgrace and regret. Generally, in the hexagram of approaching (临卦), the two yang lines are at the bottom, advancing and pressing against the yin lines, so the yin lines wish to distance themselves from yang. In the hexagram of observing (观卦), the two yang lines are at the top, and the yin lines look up from below, so the yin lines wish to approach yang. There is also a subtle intention of supporting yang and restraining yin contained within this.

觀。盥而不薦，有孚顒若。觀者，以中正示人，為人所仰也。盥者，將祭而潔手。薦，奉酒食以祭也。顒若，尊敬之貌。盥者無不薦。盥時誠意精專，薦亦未至於懈。今雲盥而不薦者，風行地上，萬物肅清，然無形可見，有盥而不薦之象。然氣之所至，自然鼓動萬物，有孚而顒若之象。

Observing: When performing worship, one has already washed hands but has not yet offered wine and food, with the heart full of sincerity and a solemn expression. The term "observe" refers to displaying the virtue of uprightness and correctness to others, who then look up to it. "Guàn" refers to washing hands before the ritual; "jiàn" means offering wine and food for the sacrifice; "yóng ruò" describes a respectful demeanor. After washing hands, one does not fail to proceed with the offering, but the sincerity is most concentrated at the time of washing hands, and not necessarily slackened when offering the sacrifice. Now, when it is said "guàn ér bù jiàn," it is because the wind spreads over the earth, causing all things to become solemn and clear. However, the wind itself is invisible, just as the sincerity at the time of washing hands is sufficient but has not yet reached the form of offering. Yet, wherever the wind goes, it naturally moves all things, which is precisely the image of "having sincerity and being respectful."

聖人潔清自治，恭己無為。不待政教號令之行，而群下信而仰之，莫不整肅。猶祭者方盥手於洗，誠意精專。不待牲牢酒食之陳，而精誠使人皆肅然生敬也。又按，大壯則取四陽之盛，觀則不言四陰之盛，反取二陽在上為四陰所仰，則又聖人扶陽抑陰之意也。

The sage maintains purity, sincerity, and clarity in self-cultivation, being respectful and non-action oriented. He does not need to wait until political orders and teachings are fully implemented for the people to naturally believe and look up to him, all being orderly and disciplined. This is like the chief priest who has just washed his hands before the ritual, his sincere intention concentrated, without needing to wait for the sacrificial animals and wine to be set out, the sincerity itself already commands respect. Furthermore, the Great Strength hexagram is established based on the fullness of four yang lines, while the Observing hexagram does not mention the fullness of four yin lines, but instead takes two yang lines above being looked up to by four yin lines. This again reflects the sage's intention to support yang and restrain yin.

彖曰：大觀在上，順而巽中正，以觀天下。陽為大，故曰大觀。在上以位言。順巽中正以德言。中正指九五也。有位無德、有德無位，皆不足以觀天下。順則心於理無所乖，巽則事於理無所拂。具順巽之德（文瀾本「順巽之德」作「巽順之美德」），以我之中正，觀天下之不中正者。此節以卦體卦德釋名義也。觀，盥而不薦，有孚顒若，下觀而化也。非有意於感人，而觀者自化也。此釋卦辭也。

The Commentary on the Judgment says: Great observation is high above, flexible and yielding, with the middle and correct position, thus observing the world. Yang is great, so it is called "Great Observation"; "being above" refers to the position of the line, while "flexibility, yielding, and correctness" refers to virtue, with the middle and correct position referring to the Nine in the Fifth. Having a position but no virtue, or having virtue but no position, is insufficient to observe the world. "Flexibility" means the mind has no deviation from principle, while "yielding" means actions have no contradiction with principle. Possessing the virtues of flexibility and yielding, using my middle and correct virtue to observe those in the world who are not middle or correct. This section explains the meaning of the hexagram name through the structure and virtue of the hexagram. The Commentary on the Judgment also says: Observing, washing but not offering, with sincerity and awe, the people below observe and naturally are transformed. It is not intentional to move others, but the observer himself is transformed. This section explains the hexagram statement.

觀天之神道，而四時不忒。聖人以神道設教，而天下服矣。神者，無形與聲，而妙不可測。天運自然，四時不忒。天之所以為觀，神道也。聖人亦不俟號令政教之煩，使天下自服。聖人之所以為觀，以天之神道設教也。不薦之孚，聖人之神道也。猶中庸之篤恭而天下平、上天之載無聲無臭也。此因卦辭而極言之。

The Commentary on the Judgment says: Observing the divine way of Heaven, the four seasons proceed without error; the sage follows this divine way to establish teachings, and thus the world naturally submits. The term "divine" refers to something formless and soundless, subtle and unfathomable. Heaven moves naturally and the four seasons never fail, and Heaven is revered by all things precisely because of its divine way; the sage does not need to issue commands or enact laws, yet the world naturally obeys, for the sage is revered by the world precisely because he follows the divine way of Heaven in establishing his teachings. "Without recommendation yet with sincerity" refers to the divine way of the sage, just as the Doctrine of the Mean says, "Sincerity and reverence bring peace to the world," and "Heaven's carrying forth is without sound or smell." This passage explains the hexagram statement to its fullest extent.

象曰：風行地上，觀。先王以省方觀民設教。風行地上，徧觸萬物，有周觀之象。先王體之，省方以觀民風而設教。如「國奢示儉，國儉示禮」之類是也。坤為土，有土有民。省方觀民，坤之象。巽以申命，設教巽之象。

The Great Image Commentary says: Wind moving over the land is the Observing Hexagram. The former kings derived the idea of touring the four directions and observing the customs of the people in order to establish education and guidance. Wind moving over the land touches all things universally, symbolizing a thorough observation. The former kings took inspiration from this, traveling around to observe the people's customs and then establishing teachings. For example, if a country's customs were extravagant, they would teach them frugality; if a country's customs were overly frugal, they would teach them propriety and culture, and so on. The Earth (Kun) represents land, and where there is land there are people, so "touring the four directions and observing the people" takes the image of Kun. The Great Image Commentary of the Xun Hexagram says "Xun is to issue commands," so "establishing teachings" takes the image of Xun.

初六：童觀，小人無咎，君子吝。卦以觀示為義，據九五為主也。爻以觀瞻為義，皆觀乎九五也。初六陽位而陰爻，陽則男而陰則稚，又居卦之下。如未有知識之童子，不能遠見，有童觀之象。小人無咎而君子則吝者。蓋下民日用而不知，乃其常也。君子不著不察，則可羞矣。象曰：初六童觀，小人道也。小人之常也。

Initial Line Six: Viewing it like a child, the petty person has no fault, but the gentleman is ashamed. This hexagram derives its meaning from "Observing and Displaying," with Nine in the Fifth as the main focus; the six lines derive their meaning from "Observing Appearance," all looking up to Nine in the Fifth. Initial Line Six occupies a yang position but is itself a yin line. Yang represents masculinity, while yin represents immaturity. Moreover, it is located at the very bottom of the hexagram, like an uneducated child who cannot see far, hence the image of "a child observing." The petty person has no fault, while the gentleman is ashamed, because the people use this principle daily without realizing it, which is normal. If the gentleman is also ignorant and unable to reflect, then he is ashamed. The Image Commentary says: "Initial Line Six, a child observing," refers to the way of the petty person. This means it is merely the usual state of the petty person.

六二：闚觀，利女貞。六二質柔位陰，女子之象，自內窺外。雖與五為應，而為三四所隔。三四五互為艮，有自門內闚視、所見者小、不見其全之象。此女子之正道也。象曰：闚觀女貞，亦可醜也。在丈夫則可丑矣。

Six in the Second: Observing from a crack in the door, it is advantageous for a woman to maintain uprightness. Six in the Second is gentle and weak, and occupies a yin position, symbolizing a woman. It looks outward from within. Although it corresponds with Nine in the Fifth, it is separated by Six in the Third and Six in the Fourth. The interaction of Three, Four, and Five forms Gen, which represents a gate or threshold. This signifies looking through a crack, seeing only a small part and not the whole. For a woman, this is precisely the way of uprightness. The Image Commentary says: 'Observing from a crack, the virtue of a woman is still considered shameful.' This means that if such limited insight were possessed by a man, it would be shameful.

六三：觀我生，進退。諸爻皆觀乎五，故三上不取相應之義。我生，我之所行也。六三隔四，不能觀國。居下之上，可進可退。故不觀九五，而觀己之所行，可否何如，以為進退，量己而後入官者也。他卦居中多吉，三不中多凶。此獨以觀之遠近取義，故四最善而三次之。象曰：觀我生進退，未失道也。進退合宜，未失其常道也。

Six Three: Observing one's own actions and deciding whether to advance or retreat based on them. All the lines look up to Nine Five for their meaning, so Six Three does not take the meaning of mutual correspondence with Upper Nine. "I am born" refers to one's own actions. Six Three is separated from Nine Five by Six Four, so it is not able to "observe the country"; yet it is above the lower trigram, so it can either advance or retreat. Therefore, it does not look to Nine Five, but only observes its own actions to determine whether they are appropriate, and then decides to advance or retreat. This is the person who first examines himself before taking office. In other hexagrams, being in the center is usually auspicious, and the third line is often inauspicious, but in this hexagram, the meaning is determined by the distance of observation, so Six Four is most favorable and Six Three comes next. The Image Commentary says: Observing one's own actions to decide advance or retreat, is not losing the right path. Advancing or retreating in an appropriate manner, is not losing the constant way.

六四：觀國之光，利用賓于王。六四下互坤土，有國象。互五為艮，近陽爻，有光明象。五為君王象。四承五最近，而柔順得正，賓于王之象。其占利於朝覲仕進也。象曰：觀國之光，尚賓也。士不苟進，君以賓禮待臣，有非常之遇矣，故其志尚樂於進用也。

Six in the Fourth: Observing the brilliance of a state, it is favorable to serve as a guest of the king. Six in the Fourth, together with the yin lines below it, forms the trigram坤 (Kun), representing earth, which symbolizes a state; the lines three, four, and five together form the trigram艮 (Gen), representing mountain, which is close to the yang line and symbolizes brightness; nine in the Fifth represents the king. Six in the Fourth follows closely after nine in the Fifth, being the most intimate, and is flexible and proper, hence the image of 'serving as a guest of the king.' The divination indicates favorable conditions for attending court and being appointed to office. The Image Commentary says: Observing the brilliance of the state, this is to value the ceremony of a guest. A scholar does not seek advancement through improper means; the king treats his ministers with the courtesy of a guest. This is an unusual meeting, so his aspirations are joyful at being recommended for office.

九五：觀我生，君子無咎。九五陽剛中正，以居尊位，下四陰仰而觀之，君子之道也。然必返而自觀我之所行，果合於君子，乃得無咎。蓋觀本四陰侵陽之卦，故有危詞。苟我之所行不足以觀示四方，反有咎矣。象曰：觀我生，觀民也。人君有臨民之責。而曰觀我生，非置民而不問也。王者通天下為一身。觀我所行之善否，即可以知民之善否矣。觀我，正所以觀民也。《本義》又當觀民德之善否。似作言外補意，稍緩。

Nine Five: Observing one's own actions, if they conform to the Way of the gentleman, there will be no fault. Nine Five is yang and upright, occupying the exalted position. The four yin lines below all look up to him, which is the Way of the gentleman. However, one must reverse and examine one's own conduct; only if it truly conforms to the Way of the gentleman can there be no fault. Since the Guan hexagram is one in which four yin lines encroach upon two yang lines, the wording carries a sense of danger and caution. If one's conduct is insufficient to serve as a model for the people, and instead leads to error, then there is a problem. The Image Commentary says: "Observing my life" is equivalent to observing the people. A ruler has the responsibility of governing and caring for the people, yet here it says "Observing my life," which does not mean neglecting the people. The sovereign, viewing the world as his own body, can know the goodness or badness of the people by observing his own actions. Therefore, observing oneself is the way to observe the people. Zhu Xi's "Ben Yi" also says, "One should also observe whether the people's virtue is good or not," which seems to add an additional layer of meaning beyond the text, and is somewhat slow compared to the original text.

上九：觀其生，君子無咎。上九以陽剛居尊位之上，亦為下所觀瞻，若賓師之位也。故亦當反觀己之所行，求免於咎也。曰其生者，上無位，不當事任。避九五，不得稱我也。象曰：觀其生，志未平也。自省其身，未得自安，故曰未平，不敢以不居其位而晏然不自省也。

The upper ninth line: Observing his actions, if they conform to the way of the gentleman, then there is no fault. The upper ninth line, with a yang line in the highest position, is also observed by those below, like the position of a guest teacher, so it should also reflect on one's own conduct to avoid faults. The text says "his birth" rather than "my birth," because the upper ninth line does not hold a rank, does not bear the responsibility of governance, and must avoid the position of the ninth five. Therefore, it does not use "I." The Image Commentary says: Observing his birth, indicates that his mind is not yet at peace. Self-reflection has not yet brought calmness, hence it is said "not yet peaceful" — not daring to be at ease simply because one does not hold the position.

觀為陰盛之卦。而九五陽剛得位，故有可以觀示下民之象。然高位為眾所仰，非可易居，而陰盛亦多戒懼，故五僅無咎而上志未平也。四陰觀在上之陽。位高則所觀者大，卑下則所觀者狹。此四觀光、三進退，而初二則羞吝也。

The Guan hexagram is essentially one of great yin strength, but the nine five yang line is in the correct position, so there is an image of being able to display to the people below. However, a high position is looked up to by all, and it is not easy to hold. Moreover, during a time of great yin, there is much to be cautious about, so the nine five only achieves 'no blame', and the top nine only has 'unfulfilled aspirations'. Four yin lines look up to the yang line above: those in high positions see great things, while those in low positions see only narrow things. Therefore, the fourth line can observe the glory of the country, the third line can only measure its own advancement and retreat, while the first line and the second line inevitably suffer from shame and regret.

噬嗑，下震上離。噬，齧也。嗑，合也。口中有物間之，必齧而後合。卦上下兩陽而中虛，頤口之象。九四一陽間於其中，必齧之而後合，故為噬嗑。噬嗑次觀。按《序卦》：可觀而後有所合，故受之以噬嗑。嗑者，合也。既有可觀，然後有來合者，噬嗑所以次觀也。

The hexagram Shìkè has the lower trigram Zhen (Thunder) and the upper trigram Li (Fire). "Shì" means to bite, and "kè" means to join. When something is stuck in the mouth, it must be bitten through so that the upper and lower parts can join. This hexagram has two yang lines at the top and bottom with an empty space in the middle, which resembles the image of the mouth; the line nine in the fourth position is a yang line that is stuck in the middle, so it must be bitten through before joining, hence the name "Shìkè." Shìkè comes after Guān. According to the "Xù Guà Zhuàn," when there is something worth observing, then there is a meeting, so Shìkè follows Guān; "kè" means to join. Since there is something worth observing, people come to meet, which is why Shìkè comes after Guān.

口有物間之，必噬而後合。天下有強梗讒邪間之，亦必治之以法而後治成。又火為明，雷為震，皆有當於治獄之道，故全卦皆以治獄之事言之。六爻則初上無位，為受刑之人；中四爻為用刑之官。大抵以爻位之剛柔論噬之難易，要歸於能謹。此全卦六爻之大略也。

There is something stuck in the mouth, which must be bitten through before it can be closed. Similarly, in the world, there are strong and tyrannical people and deceitful and wicked individuals who obstruct things, and they must be dealt with by legal measures before the way of governance can be established. Moreover, the fire of Li represents clarity and insight, while the thunder of Zhen signifies powerful movement, both of which are in harmony with the way of governing and judging cases. Therefore, the entire hexagram is explained through the context of judging criminal cases. Regarding the six lines, the initial line and the top line have no rank, representing those who are punished; the four middle lines are the officials who carry out the punishment. Generally speaking, the difficulty of removing the obstruction is judged by the yao's yin or yang nature, and it all comes down to the principle of being cautious. This is the general idea of the six lines of the hexagram.

噬嗑：亨，利用獄。上下兩陽而中虛，口之象。天下之物，中有所間則不通，齧之而合則通矣，故有亨象。此概論天下之事，用獄則噬嗑中之一事也。天地生物，有為造物之梗者，必用雷電擊搏之；聖人治天下，有為民之梗者，必用刑獄懲治之。上離電之明，所以察獄也；下震雷之威，所以決獄也。六五以柔居中，有威與明而得中者也，故有利用獄之象。又相噬以求合，教化之衰也，故但利用獄。

Shihhe: It is favorable to be open and smooth, and it is advantageous to use legal punishment. The upper and lower lines are yang and the middle is empty, which represents the mouth. In the world, when there is an obstruction in the middle, it is not smooth, but when it is bitten and made to close again, it becomes smooth, hence the image of being open and smooth. This is a general statement about the world, and the use of legal punishment is merely one instance of this. The heavens and earth nurture all things, and when there is an obstruction in the natural order, they must use thunder and lightning to strike it. The sage governs the world, and when there is harm to the people, he must use legal punishment to punish it. The upper trigram Li represents the brightness of lightning, so it can investigate cases. The lower trigram Zhen represents the power of thunder, so it can decide cases. The line six in the fifth, being yin and soft in the middle of the upper trigram, combines both power and brightness and is in the center, hence the image of 'being advantageous for legal punishment.' Moreover, to bite in order to achieve harmony is a manifestation of declining education, hence it only says 'being advantageous for legal punishment' and does not mention anything else.

彖曰：頤中有物，曰噬嗑。上下兩陽頤象，中一陽有物象。此以卦體釋卦名義，所謂近取諸身者也。噬嗑而亨，剛柔分，動而明，雷電合而章。柔得中而上行，雖不當位，利用獄也。

The Commentary on the Judgment says: In the mouth there is something blocking the way, called Shihhe. The two upper yao are the image of the mouth, and the single middle yao is the image of something obstructing. This is using the structure of the hexagram to explain the meaning of the hexagram name, which is what the Great Treatise refers to as 'drawing near to observe the body'. The Commentary on the Judgment then says: By biting through, there is smoothness; the strong and the weak yao are evenly divided. The lower yao moves and the upper yao is bright, thunder and lightning combine to make it clear. The weak yao is in the middle and moves upward, although its position is not appropriate, it is beneficial to use the judicial system.

噬之而嗑，乃得亨通。以治道論，寇盜作梗；以倫紀論，讒邪作梗。治而去之則合矣。彖傳增而字，所謂以卦名釋卦辭也。三陰三陽，剛柔均分，此以卦體釋卦辭也。下動而上明，言夫嗑以前，以噬而致亨；雷震電耀相須並見，曰合而章，言既噬之後，以嗑而致亨。所謂以卦德二象釋卦辭也。此以上皆釋噬嗑之亨也。

It was only after biting open that it could be closed again, thus achieving smoothness. In terms of governance, it refers to bandits causing trouble; in terms of ethics and order, it refers to slanderous and wicked people causing trouble. By governing and removing them, the world becomes harmonious. The Commentary on the Judgment adds one character "而" to the Hexagram Statement, which is called using the hexagram name to explain the Hexagram Statement. The hexagram has three yin lines and three yang lines, with the yin and yang lines evenly distributed, which is called using the structure of the hexagram to explain the Hexagram Statement. The lower trigram is Zhen (Thunder) and the upper trigram is Li (Fire), which means before the act of "kou" (biting), it is achieved through "shi" (biting); thunder shaking and lightning shining depend on each other and appear together, called "he er zhang" (combined and harmonious), which means after biting, it is achieved through "he" (harmonizing). This is called using the hexagram's virtue and the two images to explain the Hexagram Statement. All of the above explain why the hexagram of "Shi He" (Biting Through) is smooth.

柔得中句。《本義》謂爻變自益卦六四上行於五而得其中，然與得中上行不合。今依卦綜，賁之離二本得中，今上行於五，為是；以柔居五，為不當位。然剛柔相濟，治獄所宜，此以卦綜釋卦辭也。此二語釋利用獄也。

"The statement 'flexible and moderate, ascending upwards' is interpreted by Zhu Xi in The Original Meaning of the Zhou Changes as a yao change, where the sixth line of the fourth position in the Yi hexagram ascends to the fifth position and thus attains the center. However, this interpretation does not align with the meaning of 'attaining the center and ascending upwards.' Now, considering the mutual reversal of the hexagrams, the hexagram Shihe and Ben are reverses of each other. In the Ben hexagram, the sixth line of the second position, which is in the center, originally resides in the lower trigram Li, and now it ascends to the fifth position. This explanation is more appropriate. However, a yao that is flexible and resides in the fifth position, a yang position, is considered 'not in the right place.' Yet, this combination of yin and yang is exactly what is suitable for governing a court of justice, which is explained by the reversal of hexagrams. These two lines are explaining 'suitable for litigation.'"

象曰：雷電噬嗑，先王以明罰勅法。雷電當作電雷。明者，辨別精審之意，象電之明，所以示民而使之知避也；勅者，整飭嚴整之意，象雷之威，所以防民而使之知畏也。罰者，一時所用之法；法者，平日所定之罰。明罰勅法猶不知戒，不得已乃有豐之折獄致刑。

The Great Image Commentary says: Thunder and lightning intersect, which is the Hexagram of噬嗑; from this, the former kings understood the need to clarify punishments and regulate laws. "Thunder and lightning" should be interpreted according to the upper and lower trigrams as "lightning and thunder." "Clarify" refers to discerning and being meticulous, symbolized by the brightness of lightning, used to inform the people to take precautions. "Regulate" signifies strictness and order, symbolized by the power of thunder, used to deter the people and make them aware of fear. "Punishment" refers to temporary measures applied, while "law" refers to the established rules in daily life. After clarifying punishments and regulating laws, if the people still do not take heed, then it becomes necessary to resort to the Hexagram of丰's Great Image, which speaks of "judging cases and imposing punishments."

初九：履校滅趾，無咎。初上受刑之象，中四爻用刑之象。校，足械也。屨校者，校其足如納屨然。趾所以行，滅其趾，遮沒其趾使不得行，受刑之小者也。震為足，初應四；三四五互為坎為桎梏；初爻最下，故有屨校之象。震變坤，不見其足，滅趾之象。罪小而受薄刑，小懲可以大誡，故無咎也。象曰：履校滅趾，不行也。震主動，變坤則靜。不敢妄動，不進於惡矣。

The first line: He is wearing restraints on his feet that cover his toes, and there is no fault. The first line and the top line represent the image of being subjected to punishment, while the middle four lines represent the act of punishment. "Xiao" refers to restraints on the feet; "ju xiao" means to put restraints on the feet, like wearing shoes. The toes are used for walking, so "ming qi zhi" means covering the toes to prevent walking, which is a lighter form of punishment. Zhen represents the foot, and the first line corresponds with the fourth line. The interaction of the third, fourth, and fifth lines forms Kan, which represents restraints. The first line is at the very bottom, so it has the image of "ju xiao." When Zhen changes, it becomes Kun, and the foot becomes invisible, which is the image of "ming zhi." A minor offense results in a light punishment; a small punishment can serve as a great warning, hence there is no fault. The Image Commentary says: Wearing restraints on the feet and covering the toes, this prevents him from walking. Zhen is characterized by movement, but when it becomes Kun, it becomes still; not daring to act recklessly, he will not go towards evil.

六二：噬膚滅鼻，無咎。中四爻言用刑之人，皆取食物為象。膚，豕腹下柔軟無骨之肉，噬而易嗑者；滅鼻，深入至沒其鼻也。六二陰柔中正，聽斷得理，噬之最易合者。二三四互艮為鼻，二變則為離，故有深沒其鼻之象。蓋以乘初之剛，以柔治剛，深痛治之，不至於有咎也。此解照《程傳》。按，《本義》謂傷滅其鼻，占者雖傷而終無咎；然噬膚無傷鼻之理，不如《程傳》之順。象曰：噬膚滅鼻，乘剛也。噬膚至於滅鼻，疑於深矣。所以無咎者，以乘剛故也。蓋在下有強梗之人，恐過柔以治之則廢，故深嚴而得宜，乃得其中也。

Six in the Second: Biting soft flesh, penetrating to the point of obscuring the nose, without fault. The fourth line discusses the person administering punishment, using food as a symbolic representation. 'Flesh' refers to the soft, boneless meat beneath a pig's abdomen, which opens easily when bitten; 'obscuring the nose' means penetrating to the point of concealing the nose. Six in the Second is a yin and flexible line that is upright and proper, making its judgment reasonable and easy to apply. The combination of lines two, three, and four forms the trigram Gen (Mountain), which represents the nose; when line six changes, the lower trigram becomes Li (Fire), hence the image of deeply obscuring the nose. This is because it is situated above the yang strength of line one, using flexibility to control strength, and must apply severe punishment to avoid fault. This interpretation follows Cheng Yi's Commentary on the Changes. According to Zhu Xi's Original Meaning, it refers to injuring one's own nose, implying that the person may suffer injury but ultimately has no fault; however, the idea that biting soft flesh could injure the nose is illogical, and thus Cheng Yi's explanation is more coherent. The Image Commentary says: biting soft flesh and obscuring the nose is because it is situated above a yang line. Biting soft flesh to the point of obscuring the nose seems excessive, yet there is no fault, precisely because it is situated above a strong line. Generally, if there are strong and unruly people below, one should not be overly lenient in dealing with them, as that could lead to problems. Therefore, being strict yet appropriate is in accordance with the middle path.

六三：噬臘肉，遇毒，小吝無咎。臘肉，小獸全體骨而乾之者，堅韌之物也。六三柔中有剛，有臘肉象。互坎，有遇毒象。六三陰柔不中正，治久年疑獄而人不服者也，故占小吝。然時當噬嗑，於義亦無咎也。象曰：遇毒，位不當也。以柔弱居剛強之位故也。

Six Three: Chewing on dried meat from a wild animal, one encounters a poisonous taste, there is slight regret but no fault. 'Dried meat' refers to a whole wild animal, including bones, dried in the wind, which is a tough substance. Six Three, though yin and soft, contains a yang quality, hence the image of dried meat. It is also located within the interacting trigram Kan, which represents danger and peril, hence the image of encountering poison. Six Three is yin and soft, yet not in the center or in the proper position, symbolizing someone who is handling an old unresolved case and is not accepted by others, hence the phrase 'minor regret.' However, during the time of the resolution of difficulties, according to reason, there is no fault. The Image Commentary says: encountering poison is due to the improper position of the line. This means that a soft and weak element is occupying a strong and vigorous position.

九四：噬乾胏，得金矢，利艱貞吉。乾胏，肉之帶骨者，至堅而難噬者也。金矢，《本義》謂入鈞金束矢而後聽之。然《周禮》束矢鈞金，所以禁民訟獄，使瑣屑之事不敢妄興訟，非聽訟之正道也，不如《程傳》以金剛矢直為得治獄之宜。

Nine in the Fourth: To bite meat of the乾 with bones, obtaining metal and arrows, is advantageous to maintain uprightness amidst difficulties. '乾胏' refers to meat with bones, which is the hardest to bite. 'Gold and arrows'—Zhu Xi's 'Ben Yi' says that according to the 'Rites of Zhou', one must pay a certain amount of gold and a bundle of arrows before handling a case. However, the reason the 'Rites of Zhou' required payment of gold and arrows was to limit people from initiating lawsuits, preventing trivial matters from being reported recklessly, and was not the proper way to handle cases. Instead, Cheng Yi's 'Yichuan Commentary on the Changes' interprets 'gold' as representing firmness and 'arrow' as representing uprightness, which is most appropriate for the administration of justice.

九四離體，離為乾，乾胏之象。三四五互坎，坎得乾之中爻，有金象。坎又為矢，得金矢之象。九四以剛居柔，居大臣之位。所斷之獄，又非若膚臘之易者，必如金之剛則不撓，如矢之直則無私。然剛直非易行，恐瞻顧而不果矣，故必艱難正固則吉。象曰：利艱貞吉，未光也。離有光明之象。四離體而居下，大臣之位，不便威福自已。治此大獄，雖以剛直為主，未免艱難戒懼，故曰未光。

Nine Four belongs to the trigram Li, which represents dryness, hence the image of dry flesh; the interaction of trigrams Three, Four, and Five forms Kan, which is formed by receiving the middle line of Qian, symbolizing metal, and Kan also represents an arrow, hence the image of 'obtaining metal and an arrow'. Nine Four, with a yang line in a yin position, occupies the position of a high official. The cases it adjudicates are not as simple as 'skin' or 'fat', requiring a firm and unyielding strength like metal and a straight and impartial judgment like an arrow. However, being firm and upright is not easy to implement, and there is a fear of hesitating and being indecisive. Therefore, it is fortunate to remain steadfast and resolute in adversity. The Image Commentary says: 'It is advantageous to be firm and resolute in hardship, which is fortunate, but it is not yet bright.' Li symbolizes brightness; although Nine Four belongs to Li, it is located below the upper trigram, representing the position of a high official who cannot act independently. Handling such major cases, although primarily requiring firmness and uprightness, inevitably involves difficulty and caution, hence the statement 'not yet bright'.

六五：噬乾肉，得黃金，貞厲無咎。乾肉，難於膚而易於臘胏者也。六五君位。小事不至於君，故所噬非膚之易；君威無所不加，故不至如臘胏之難。黃金，《本義》謂指鈞金。蓋《周禮》小事束矢，大事鈞金。大臣大小兼聽，唯鈞金則以聞之君者也。今從《程傳》作剛中之德為優。

Six in the Fifth: Biting the meat of the乾 (Heaven) is like obtaining gold; maintaining uprightness while being aware of danger brings no fault. The meat of乾 is harder to bite than the skin (肤), yet easier than the腊 (fatty meat) or胏 (tender meat). Six in the Fifth represents the position of the ruler: minor matters do not reach the ruler, so what he bites is not the easily obtainable skin; yet the ruler's authority extends everywhere, so it is not as difficult as the腊 or胏. 'Gold' refers to the standard of the Zhou Li (Book of Rites), where small cases required a bundle of arrows and large cases required a measure of gold. Only major cases involving gold were reported to the ruler. However, it is better to follow Cheng Yi's interpretation in the Yichuan Commentary on the Changes, which sees it as the virtue of firmness and uprightness.

離中變乾為金，黃金之象。蓋大臣貴其不撓，尤貴於無私；君則無可私矣，唯恐其優柔不斷而已。黃，中色；而金，剛德。六五柔順居尊，剛柔相濟，得其中矣。然刑者，聖人不得已而用之，不可無戒懼之心也，故雖貞亦厲，但於義則無咎也。

In the trigram Li, when the middle line changes, it becomes Qian, which represents metal. Thus, there is an image of gold. Generally, ministers of high rank should be firm and not yield, especially without partiality. The sovereign, by nature, has no partiality, but he should beware of being indecisive. "Yellow" is the color of the center, and "metal" represents strength and firmness. The line Six in the Fifth is soft and proper in position, balancing softness and strength, thus following the middle path. However, punishment is something that sages resort to only when necessary, so there should be caution. Therefore, even though it maintains correctness, it is still described as "dangerous," but in terms of principle, there is no fault.

五位與二同，而五能噬乾肉，二但能噬膚者，二以柔居柔而五以柔居剛，五之才勝乎二也。五之才與三同，而五得黃金，三不免遇毒者，三之柔不中，五之柔得中，五之位勝乎三之位也。六五之才之位勝二三，而爻辭但言無咎，不及九四之吉者，五之柔不如四之剛也。蓋九四以剛噬者，有司執法之公；六五以柔噬者，人君不忍之仁。然治獄本有司之事，而有司雖威照並行，必以剛直為主，故論治獄之道，必以九四為則也。

Six in the Fifth and Six in the Second are both flexible lines in central positions, but Six in the Fifth can bite the flesh of Heaven while Six in the Second can only bite soft flesh, because Six in the Second is flexible in a flexible position, while Six in the Fifth is flexible in a strong position. The talent of Six in the Fifth surpasses that of Six in the Second. Six in the Fifth and Six in the Third are both flexible lines, but Six in the Fifth receives gold while Six in the Third is inevitably confronted with poison, because the flexibility of Six in the Third is not in the central position, while the flexibility of Six in the Fifth is in the central position. The position of Six in the Fifth surpasses that of Six in the Third. The talent and position of Six in the Fifth surpass those of Six in the Second and Six in the Third, yet the line statement only says 'no blame', which is not as good as Nine in the Fourth's 'auspicious'. This is because the flexibility of Six in the Fifth is not as strong as the strength of Nine in the Fourth. Generally, Nine in the Fourth uses strength to bite, representing the fairness of officials in law enforcement; Six in the Fifth uses flexibility to bite, representing the compassionate heart of a ruler who cannot bear to inflict pain. However, the governance of justice is the responsibility of officials. Although officials need both severity and clarity, they should ultimately rely on integrity and firmness. Therefore, when discussing the principles of justice, it is necessary to take Nine in the Fourth as the standard.

象曰：貞厲無咎，得當也。得當，謂處剛而得中也。彖言不當位，以位言也；爻言得當，以事言也。四爻言吉而傳曰未光，五爻僅無咎而傳言得當者：九四臣位，必艱貞而後吉，權難自主，所以未光；五君位，用刑人無不服，而以艱貞危厲為心，蓋欽恤之道當然，故在五為得其當也。

The Image Commentary says: "Zhen Li Wu Jiu" means there is no blame because the matter is properly handled. What is meant by "properly handled" is that a yao with a yin quality is in a yang position and is in the center. The Commentary on the Judgment says "not in the proper position," referring to the position of the yao; while the Image Commentary says "properly handled," referring to the reasoning behind the matter. The fourth line says "good fortune," yet the Image Commentary says "not yet bright." The fifth line only says "no blame," yet the Image Commentary says "properly handled." The reason is that the fourth line is the position of a minister, who must be diligent and adhere to the correct path before achieving good fortune, and has limited authority, hence it is said "not yet bright." The fifth line is the position of a ruler, who can enforce punishment without resistance, yet still maintains diligence, adherence to the correct path, and a sense of danger and caution. This is exactly the way described in the Book of Documents, "Revere, revere, be mindful of punishment." This is the proper way, so even the fifth line is considered properly handled.

上九：何校滅耳，凶。何，負也。本爻離為槁木。三四五互坎為耳為桎梏。坎耳在下，有何校而滅其耳之象。居卦之極，怙終不悛，罪之大者，故凶。象曰：何校滅耳，聰不明也。罪其聽之不聰，怙終而陷於大罪也。九未變為離之明，今變不成離，故不明也。

The topmost line, Upper Nine: Shouldering a wooden枷 that covers the ears, it is dangerous. "He" means to bear a burden. This line belongs to the trigram Li (Fire), which represents withered wood. The interaction of lines three, four, and five forms Kan (Water), which represents ears and shackles. The image of ears in Kan is located below, hence the image of shouldering a wooden枷 that covers the ears. It occupies the extreme position of the hexagram, persisting in wrongdoing without repentance, thus being a person of great guilt and evil. The Image Commentary says: Shouldering a wooden枷 and covering the ears, indicating lack of clarity in hearing. This is blaming him for failing to hear clearly and persisting in evil, thus falling into great guilt. When Upper Nine remains unchanged, it is the brightness of Li; but now it changes, so it is no longer Li, hence "not clear."

全卦以物由噬而得合，莫甚於用獄以懲奸，故所論皆用獄之事。初上無位，為受刑之人。初過小而在下，為治獄之始；上惡極而怙終，為用刑之終。中四爻皆治獄之人，然卦才之剛柔不同，故所噬之難易亦異。

The entire hexagram discusses how things come together only through forceful separation, and among these, the most important is using legal punishment to deal with wickedness. Therefore, the discussion centers on judicial cases. Initially, the lines "Chu Ji" and "Shang Ji" have no rank, indicating those who are punished. "Chu Ji" has minor guilt and is in a lower position, representing the beginning of legal proceedings. "Shang Ji" has extreme wickedness and refuses to change, representing the conclusion of punishment. The four middle lines are all those involved in administering justice, but since each line differs in the quality of its yin and yang, the difficulty of what is being separated varies.

六二以柔居柔故噬膚，最易者也。六五以柔居剛為得中者，故噬乾肉，然比膚則難矣。六三柔中有剛則噬臘肉，然比膚則難矣。六三柔中有剛則噬臘肉，比乾肉難矣。九四剛中有柔，則噬乾胏，噬之最難者也。難易雖有不同，而四艱貞、三亦遇毒，五貞厲、而二亦滅鼻，則治獄之道，期於敬謹一也。

Six in the Second, with a yao of flexibility in a flexible position, bites soft flesh, which is easiest. Six in the Fifth, with a yao of flexibility in a strong position and in the center, bites dry meat, which is more difficult than soft flesh. Six in the Third, thoughyin softness but with some strength, bites preserved meat, which is also more difficult than soft flesh—this sentence is repeated twice in the original text, and the second time it says 'more difficult than dry meat,' meaning that preserved meat is even more difficult than dry meat. Nine in the Fourth, with yang strength but with some flexibility, bites dry meat with bones, which is the most difficult to bite. Although the difficulty varies, Nine in the Fourth requires perseverance, Six in the Third encounters poison, Six in the Fifth requires perseverance and danger, and Six in the Second causes nose damage. This shows that the way of governing punishment lies in one thing: reverence and caution.

賁卦，下離上艮。山下有火。山者，草木百物所聚，火照之其上，百物皆被光彩，有賁飾之象。又卦綜剛柔交錯，卦德文明以止，皆有賁飾之義，故為賁。賁次噬嗑。按《序卦》：嗑者，合也。物不可以苟合而已，故受之以賁。人物合聚，必有次序行列、威儀上下，而文飾生焉。賁所以次噬嗑也。

The hexagram Bén is composed of the lower trigram Li (Fire) and the upper trigram Gen (Mountain). It represents fire beneath the mountain: the mountain is a place where grass, trees, and all things gather, and fire shines from below, giving all things a bright and radiant appearance, symbolizing ornamentation. Furthermore, from the perspective of the hexagram's reverse, it shows the intermingling of yang and yin, and from the perspective of its moral qualities, it indicates inner civilization and the ability to restrain externally, both of which contain the meaning of ornamentation. Therefore, the hexagram is named Bén. Bén comes after Shìkè. According to the "Xù Guà Zhuàn," "kè" means to join together; things cannot merely be loosely combined, so after Shìkè comes Bén. Since people and things have come together, there must be order, rank, and distinctions of hierarchy, thus leading to the need for ornamentation. This is why Bén follows Shìkè.

賁雖尚文，必以質為本。凡事無本不立，無文不行，故全彖以賁有可亨之道。然本大而文小，故不過小利於所往。六爻初四以相應為賁，而二與三、五與上則以相比為賁。三爻在內者離體，則以文明為賁，故賁趾、賁須、濡如皆有所設飾；三爻在外者艮體，則又以篤實為賁，故皤如、丘園、白賁皆取於質素。

The hexagram Bén values ornamentation, but it must be based on simplicity. Without a foundation, nothing can stand, and without ornamentation, nothing can be expressed. Therefore, the commentary on the hexagram says that Bén has the way to be prosperous. However, the essence is great, while ornamentation is small, so it can only bring small benefit in some direction. Among the six lines, the first line and the fourth line form Bén through mutual response, while the second line and the third line, as well as the fifth line and the top line, form Bén through mutual comparison. The third line of the inner trigram, which is the trigram Li (Fire), represents civilization and ornamentation, so "ornamenting the feet," "ornamenting the beard," and "moist and soft" each have their own embellishments. The third line of the outer trigram, which is the trigram Gen (Mountain), represents sincerity and simplicity, so "white and plain," "a quiet garden," and "white Bén" all derive from simplicity and purity.

然內三爻雖以文明為賁，二之賁須既出於自然，初之舍車則取其高隱，三之濡如即戒其永貞。於賁飾之時，皆以不賁為賁。此又聖人返樸還淳之妙用、維持世道之深意。此六爻之大略也。

However, the third line of the inner trigram, though associated with refinement and ornamentation, the 'ornamenting the beard' of line six-two originates from nature rather than being artificially added. The 'abandoning the carriage and walking on foot' of line initial-nine reflects its purity and self-restraint. The 'dampness' of line nine-three further warns against deviation, emphasizing the need for enduring uprightness. Thus, during the proper time for ornamentation, each line actually exemplifies the virtue of not adding ornamentation. This is the subtle method of the sage returning to simplicity and purity, embodying a profound intention to maintain the moral order and the hearts of people. This is the general idea of the six lines.

賁：亨，小利有所往。賁，飾也。凡事無文不行，有賁之文，文以輔質，此賁所以亨。然文勝又恐滅質，內文明而艮止於外，收斂其文，不欲盡發，故小利有攸往。蓋凡事以本為大，而文則小也。又按，小利有攸往，固所利者小之意，亦有唯小則利之意。蓋陰小陽大，小利往而大不宜往矣。故以下六爻，陰爻皆宜動而陽爻多有戒辭。此又賁而剝之漸也。

The hexagram Zhen (Brightness) signifies smoothness and slight advantage in going somewhere. "Zhen" refers to ornamentation. Nothing can proceed without ornamentation, but when ornamentation is applied to the essence, it becomes Zhen, which is why it is smooth. However, excessive ornamentation may obscure the essence. In this hexagram, the inner trigram is Li (Fire), representing civilization, while the outer trigram is Gen (Mountain), which restrains. Thus, ornamentation is restrained and not fully revealed, hence the statement "small advantage in going somewhere." Generally, essence is primary, and ornamentation is secondary. Moreover, "small advantage in going somewhere" implies not only that the benefit is small, but also that it is advantageous precisely because it is small. Yin represents smallness, Yang represents greatness. Smallness is advantageous in movement, while greatness is not. Therefore, the six lines below show that the yin lines are favorable for movement, while the yang lines often carry warnings. This is also a sign of the gradual transition from Zhen to Bo.

彖曰：賁，亨。亨字疑衍。柔來而文剛，故亨；分剛上而文柔，故小利有攸往。天文也。柔來二句以卦綜言。蓋噬嗑以初五兩爻為主爻，此二上兩爻為主爻。噬嗑五柔來為賁二，居初三兩剛之中，所謂黃離元吉、得中道者也，文在其中，是以謂之賁亨；噬嗑初上而為賁上，居四五兩爻之終，所謂敦良之吉、以厚終者也，文成其終，是以小利有攸往。

The Commentary on the Judgment says: "Bian,亨." The character "亨" is likely a later addition. The Commentary on the Judgment also says: "Because the flexible line comes and adorns the strong line, it is smooth; and because the strong line separates and ascends to adorn the flexible line, it is advantageous to go somewhere small — this is the cultural splendor of heaven." The two sentences about "flexible coming" are referring to the reversed structure of the hexagram. The hexagram Shihhe (噬嗑) takes its main lines from the first and fifth lines, while the hexagram Bian (贲) takes its main lines from the second and top lines. The sixth line of Shihhe, which is six, when reversed becomes the second line of Bian, located between the first line and the third line, both of which are strong lines. This corresponds to the position of the second line in the hexagram Li (离), "Huang Li Yuan Ji, De Zhong Dao" (Yellow Li originally brings good fortune, being in the center), where cultural splendor resides, hence it is called "Bian亨." The first line of Shihhe, which is nine, when ascending becomes the top line of Bian, located at the end of the fourth and fifth lines, both of which are flexible lines. This corresponds to the position of the top line in the hexagram Gen (艮), "Dun Gen Zhi Ji, Yi Hou Zhong" (Good fortune in firmness, due to a thick conclusion) (the original text writes "Gen" as "Liang"), where cultural splendor is completed at the end, hence it is said "small advantage in going somewhere."

柔來不言分，離反為離，中偶不動也；剛上言分者，震反為艮，下畫移居上畫也。天文也上有剛柔交錯四字。日月五星之運行，不過剛柔一往一來而已，故曰天文。文明以止，人文也。此以卦德言之。君臣父子夫婦兄弟朋友之間，燦然有禮以相接，文之明也；截然有分以相守，文之止也。

The phrase "flexible comes" is used without mentioning "division," because in the hexagram噬嗑, the line of Li remains Li when reversed, and the central line has not moved. The phrase "strong goes up" includes the word "division," because in the hexagram噬嗑, the line of Zhen becomes Gen when reversed, and the lowest line moves to the top. Originally above the words "astronomical phenomena" were the words "strong and flexible intermingle." The movement of the sun, moon, and five stars is simply the coming and going of strong and flexible elements, hence it is called "astronomical phenomena." The Commentary on the Judgment also says: "civilized yet with restraint," this refers to human elegance. This section discusses the nature of the hexagram: among ruler and subject, father and son, husband and wife, siblings, and friends, there is a brilliant display of etiquette in their mutual interactions, which is the "brightness" of culture; and a clear distinction of roles which is the "restraint" of culture.

觀乎天文，以察時變；觀乎人文，以化成天下。聖人觀日月之次、昏旦之星，以察四時寒署之變；觀於君臣父子之間，有禮有分，而導之以禮樂詩書，列之以來章服物，化舊為新而風俗成於天下。占此卦者雖小利於所往，而賁之為用又大如此。

The Commentary on the Judgment says: Observing the patterns of Heaven allows one to examine the changes of the seasons; observing the patterns of human beings allows one to cultivate and perfect the world. The sage observes the movement of the sun and moon, and the stars seen at dusk and dawn, to understand the changes of cold and heat in the four seasons. Observing the propriety and distinctions between ruler and subject, father and son, the sage uses rites, music, poetry, and books to guide them, and distinguishes them through the ranks of chariots, clothing, and utensils. Thus, the old becomes new and beautiful, and the customs of the world are established. The person who draws this hexagram may only have a small advantage in going somewhere, yet the function of the hexagram is so great.

象曰：山下有火，賁。君子以明庶政，無敢折獄。山下有火，明不及遠。明庶政，事之小者，離明在內之象；折獄，事之大者，艮止於外之象。又山在上，法有所必守；火居下，明有所不矜。君子體此，於錢穀簿書之小，必精審之，以成文明之治；至折獄則無敢。無敢非不折也，蓋獄貴詳審得情。若自恃明察，深文緣飾，沒其實，是之謂敢。敢則民命不可問矣。

The Great Image Commentary says: A mountain beneath a fire represents the hexagram of Zhen. A gentleman thus understands the need to clearly illuminate all administrative affairs, yet dares not hastily decide on legal cases. A mountain beneath a fire cannot illuminate distant places. "Clarifying various government affairs" refers to minor matters, taking the image of fire shining within; "resolving legal cases" refers to major matters, taking the image of mountain standing firm outside. Moreover, the mountain above signifies that laws and regulations must be firmly upheld; the fire below signifies that clarity must not be relied upon solely. A gentleman comprehends this principle, and for minor matters such as financial records, he must carefully examine them to achieve a refined and civilized governance. As for legal judgments, he says "dare not." "Dare not" does not mean to cease judgment, but because legal cases require careful examination to reveal the true facts. If one relies on his own cleverness, fabricates elaborate interpretations, and embellishes words, thus concealing the truth, this is called "daring." Once "daring" occurs, the lives of the people would be in peril.

初九：賁其趾，舍車而徒。初在下為趾象。二三四互為坎為車象。初雖與四應而在最下，艮止於上，故以剛德明體自賁於下，為舍非道之車而安於徒步之象。蓋君子以義為榮，不以徒行為辱故也。初四相應，四求初為貴德，初求四則為趨勢，故以徒行為賁。壯初剛居剛而健體，故壯于趾；賁初剛居剛而明體，故賁其趾。車馬幣帛主於文飾，故賁六爻取象及之。象曰：舍車而徒，義弗乘也。君子取舍決於義，每於在下之時、發足之初觀之。徒義而車非義，故弗乘，非惡寶貴而逃之也。

Initial Line Nine: He adorns his toes, abandoning the carriage and walking on foot. Initial Line Nine is at the very bottom, symbolizing the toes; Lines Two, Three, and Four form the trigram Kan, which represents a carriage. Although Initial Line Nine corresponds with Line Six in the Fourth, it is at the lowest position, and there is the trigram Gen (Mountain) above it, which stops it. Therefore, it can only adorn itself with the virtue of strength and the form of civilization at the lower level, symbolizing the abandonment of an unrighteous carriage and the choice to walk on foot. This is because a gentleman takes righteousness as his honor and does not consider walking on foot as a disgrace. The correspondence between Initial Line Nine and Line Six in the Fourth: Line Six in the Fourth seeks out Initial Line Nine, showing respect for virtue; but if Initial Line Nine seeks out Line Six in the Fourth, it becomes a pursuit of power. Therefore, it is better to adorn oneself by walking on foot. In the卦 of Zhan (Great Strength), Initial Line Nine is strong in a strong position and belongs to the trigram Qian (Heaven), so it is said "strong at the toes." In the卦 of Ben (Decoration), Initial Line Nine is strong in a strong position and belongs to the trigram Li (Fire), so it is said "decorating the toes." Carriages, horses, money, and silk are all things that are used for adornment, so the six lines of the卦 of Ben often take these things as symbols. The Image Commentary says: abandoning the carriage and walking on foot, this is in accordance with righteousness. A gentleman's taking and abandoning depend on righteousness, and this can often be seen in his initial position and first step. Walking on foot is in accordance with righteousness, while riding in a carriage is not, so he does not ride, not because he dislikes wealth and avoids it.

六二：賁其須。須鬚同。在頤曰須，在口曰髭，在頰曰髯。三至上有頤體。二在頤下，須之象。須亦人身之有文飾者，故以須言之。二以陰柔居中正，三以陽剛而得正，皆無應與。然須附頤以成其文，二爻相比以為賁者，故二附三而動，有賁須之象。蓋須生面美，非外飾者。六二柔麗乎中正，固有其美須之賁，非待於外也。然陰柔不能自動，必附麗於陽，如須雖美必附於頤。占者宜資人共濟，從上之陽剛而動，則可有為也。象曰：賁其須，與上興也。不能自興，隨上而動也。

Six Two: Adorning his beard. 'Xu' and 'Xu' are the same character. Hair growing below the chin is called 'xu', hair growing on the lips is called 'zi', and hair growing on the cheeks is called 'ran'. From the third line to the top line there is the form of the jaw (mouth and cheeks), and Six Two is below the jaw, so it is the image of the beard. The beard is also something on the human body that has a decorative quality, so it is used as an example. Six Two is a yin and flexible line in the center and is in the correct position, while Nine Three is a yang and strong line in the correct position. The two lines do not have corresponding lines. However, the beard must be attached to the jaw to have its decorative appearance, and these two lines are precisely forming the image of the decorative pattern by being adjacent to each other. Therefore, Six Two moves by relying on Nine Three, and thus there is the image of 'adorned beard'. Generally, a good beard makes the face beautiful, and this is not an external decoration. Six Two is flexible and gentle, and it is attached to the central and correct position, so it originally has the decorative appearance of a good beard, and does not need external decoration. However, yin and flexible cannot act on their own, and must rely on yang. Just as a beautiful beard must be attached to the jaw. Those who have this line should rely on others to accomplish their affairs, and follow the movement of the superior yang line, and thus can achieve something. The Image Commentary says: 'Adorned beard' is to rise together with the superior. One cannot rise by oneself, but can only move by following the superior.

九三：賁如濡如，永貞吉。三互坎一陽居二陰之間，得其賁而潤澤者也，故有濡如之象。然坎體有濡象，亦有陷溺之象。九三非不貞也，能永其貞而不溺於所安，則二陰於我有潤澤之濡，而我無陷溺之悔矣，故吉。此爻與二以相比為賁，然小利往，故二隨上而三則宜永貞也。象曰：永貞之吉，終莫之陵也。陵生於狎。以正自持，顰笑不假，誰能陵之。

Nine in the Third: Having obtained refinement and appearing moist and nourished, maintaining a steady adherence to the right path brings good fortune. Nine in the Third is located within the mutual trigram Kan, with a yang line sandwiched between two yin lines. This situation is likened to having both refinement and nourishment, hence the image of "moist and nourished." However, the trigram Kan also signifies both being moistened and being submerged. Nine in the Third is not inherently improper; as long as it maintains its correct position without becoming immersed in present comfort, the two yin lines above and below will only provide nourishment rather than cause regret, thus resulting in good fortune. This line and Six in the Second form the image of Bi through their adjacent relationship. However, since it is only "slightly advantageous to move forward," Six in the Second can follow the superior line, while Nine in the Third should maintain its steady adherence to the right path. The Image Commentary says: The reason why enduring uprightness is auspicious is that ultimately no one can bully him. Bullying arises from familiarity and intimacy. By holding firmly to the right path, not even a single expression or gesture is easily lent to others, so who could possibly bully him?

六四：賁如皤如，白馬翰如，匪寇婚媾。皤，髮之白者。四變，互二三為巽為白；不變，互為坎為馬。四與初以相應為賁，乃為三所隔，心雖合而跡暌，不得所賁，為皤如之象。然本正應，不肯他從，往求之心如飛翰之疾，有白馬翰如之象。九三剛正，非為寇者也，乃求婚媾耳。

Six in the Fourth: The decoration is as pure and white as a white horse galloping swiftly, and what comes is not a strong enemy but a suitor seeking marriage. 'Pó' refers to white hair. If Six in the Fourth changes, it forms with Two and Three the trigram Xun, which represents white; if it does not change, it forms with them the trigram Kan, which represents a horse. Six in the Fourth and Nine at the Beginning correspond to each other to form the image of a decorated object, but they are separated by Nine in the Third. Though their hearts are in harmony, their outward appearances are apart, and they do not achieve the desired decoration, hence the image of 'white hair'. However, since it is a proper correspondence, it does not yield to others, and the eagerness to seek the corresponding partner is as swift as a flying bird, hence the image of 'a white horse galloping swiftly'. Nine in the Third is yang and in the correct position, and it is not coming as a strong enemy, but merely as a suitor seeking marriage.

此與屯六二相似。屯剛柔始交，賁剛柔相襍，皆有婚媾象。然屯之乘馬班如意甚緩，賁白馬翰如意獨急者：屯二以下求上，難進易退；賁四以上求下，虛己求助也。此爻與初以相應為賁，然小利往，故初賁趾而四則翰如也。象曰：六四當位，疑也；匪寇婚媾，終無尤也。四與初遠，為三所隔，所當之位有可疑也。然位雖近三，心實在初，守正不與，理直義勝，三不得而尤之也。

This is similar to the second line of the Zun hexagram. Zun represents the initial meeting of strong and weak elements, while Ben represents the intermingling of strong and weak elements, so both have the image of marriage. However, the Zun hexagram's line "riding horses in hesitation" shows a slow attitude, while the Ben hexagram's line "white horse galloping swiftly" shows a more urgent attitude. The reason for this difference is that the second line of Zun is seeking upwards, finding it difficult to advance but easy to retreat; whereas the fourth line of Ben is seeking downwards, humbly seeking help from others. This line and the first line form a mutual support in the Ben hexagram. However, since it only brings "small benefit from movement," the first line merely holds onto its "ornate foot" while the fourth line acts urgently like "galloping." The Image Commentary says: the position of the fourth line is questionable. The one coming is not a strong enemy but a suitor, so there is no resentment. The fourth line is far from the first line and is blocked by the third line, so its position is indeed questionable. However, although it is close to the third line, its heart is truly with the first line. It maintains righteousness and does not hastily associate with the third line, thus the third line cannot resent it.

六五：賁于丘園，束帛戔戔，吝終吉。六五柔中為賁之主。離之文明至艮而有所止，漸近敦本而尚實。上九艮體有丘象。五互三四震木有園象。五比上以成賁者，人君虛己以求山林隱逸之賢，故有不賁於朝市而賁于丘園之象。陰性吝嗇，淺小薄物可以自將，故有束帛戔戔之象。如此雖可羞吝，然禮奢寧儉，禮賢貴質實，不事虛文，故得終吉。蓋賁以文飾成卦，過則流於靡矣。自五與上皆有敦本返始之象。象曰：六五之吉，有喜也。方逐末之時，人君崇儉反本，人心世道之幸也。

Six in the Fifth: Adorning reaches the hills and gardens, a bundle of silk is meager and scarce, though it seems shameful and stingy, it ultimately leads to good fortune. Six in the Fifth, being flexible and in the center, is the main line that forms the卦 of Zhen (Brightness). The civilizing influence of Li (Fire) comes to a stop at Gen (Mountain), gradually tending towards valuing the root and emphasizing simplicity. Nine at the Top belongs to the nature of Gen (Mountain), symbolizing hills and mounds; Six in the Fifth and Three and Four lines together form Zhen (Thunder), which represents wood, symbolizing gardens and orchards. Six in the Fifth and Nine at the Top are adjacent and form Zhen (Brightness), just like a ruler humbly seeking virtuous men in the mountains and forests. Therefore, there is an image of not adorning the court and marketplaces but adorning hills and gardens. The nature of Yin is stingy, only able to offer a meager and thin gift, hence the image of 'a bundle of silk is meager and scarce'. Although this seems shameful and stingy, ritual is better with frugality than extravagance, and honoring virtuous men values simplicity rather than empty formalities, so it ultimately leads to good fortune. Generally, the卦 of Zhen (Brightness) is formed by adornment, but excessive adornment leads to superficiality. From Six in the Fifth to Nine at the Top, there is an image of returning to the root. The Image Commentary says: Six in the Fifth is fortunate because there is something commendable. In a time when the world is chasing superficial things, a ruler who values frugality and returns to the root is a fortunate event for the people's hearts and the world's way.

上九：白賁，無咎。居賁之極，反本復於無色，有白賁之象。如此則善補過矣，故占為無咎。此爻與五相比以成賁。五君以束帛相加，上則遂其高隱之志。唯以樸質為本，唯小利往，故五可賁于丘園，而上但宜守其白賁也。象曰：白賁無咎，上得志也。居卦之上，在事之外。不假文飾而有自然之文，可謂優遊自得矣。以人事言，則六五以束帛聘，而上高尚自守以成其志，亦得志也。

Six at the Top: Using plain white as ornamentation, there is no fault. Six at the Top is at the extreme of the Cinnamon (B贲) hexagram, returning to the root and reverting to colorlessness, hence the image of 'White Cinnamon.' Thus it is adept at correcting excess, so the divination is without blame. This line is adjacent to Six in the Fifth to form Cinnamon: Six in the Fifth, as a ruler, uses bundles of silk to invite, while Six at the Top is able to fulfill his lofty and reclusive aspirations. Since it is based solely on simplicity and only brings small benefit from movement, Six in the Fifth can 'adorn the hillside garden,' while Six at the Top is only suitable to maintain his 'White Cinnamon.' The Image Commentary says: 'White Cinnamon without blame' means being in a high position and having one's aspirations fulfilled. Six at the Top is at the top of the hexagram, detached from affairs, not relying on ornamentation yet possessing natural elegance, which can be said to be at ease. In terms of human affairs, it refers to Six in the Fifth inviting with bundles of silk, while Six at the Top remains lofty and self-restrained to fulfill his aspirations, which is also being successful.

全卦以賁飾為義。華美外飾，世趨所必至也。然無所止，則奢而至於偽。故文明而有所止，乃可以為賁也。內卦文明漸盛，故由趾而須。至於濡如則極矣故，戒以貞。文明而知永貞，則返本之漸也。故四之皤如猶求相應以成賁也。五之丘園則返樸，上之白賁則無色矣。由文返質，所謂有所止也。

The entire hexagram establishes its meaning through ornamentation. Ornamental embellishment is naturally inclined in the world; however, if without restraint, it will lead to extravagance and falsehood. Therefore, it must be civilized and have limits, which is called "Bén" (ornamentation). The inner trigram shows the gradual increase of civilization, so it progresses from "Bén zhi" (ornamented feet) to "Bén xū" (ornamented mustache); when it reaches "Rú rú" (smooth and moist), it has reached its extreme, so it warns to maintain the correct path. Being civilized and knowing how to hold fast to the correct path is the beginning of returning to the root, so the line six four's "Pó rú" (white and smooth) is still seeking the correct response to complete the ornamentation. When it reaches line six five's "Qiū yuán" (mountain and garden), it has already returned to simplicity, and line upper nine's "Bái Bén" (white ornamentation) has entirely no color. Returning from ornamentation to substance is exactly what is meant by "having limits."

六爻以三陰三陽剛柔交錯而為賁，如錦繍藻繪，間雜成章。凡物有以相應而成賁者，則初四是也；有相比而成賁者，則二三是也；有相比而漸歸淡樸以為賁者，則五上是也。蓋文質相須者，天地自然之數，賁之所以成卦。而質為本文為末，質為主文為輔，務使返樸還淳，則聖人所以繫之辭、而維持世道之心也。至於初應四而四翰如，二比三而二與上興，五比上而五賁丘園，三陰爻多利於往。此又陰盛之漸，所以賁之後為剝也。

The six lines of the hexagram are formed by the intermingling of three yin and three yang lines, which are both strong and weak, creating the image of a decorative pattern, like embroidered silk or painted ornamentation. Those that form the hexagram through mutual correspondence are the initial line (Chu Ji) and the fourth line (Liu Si); those that form it through adjacent lines are the second line (Liu Er) and the third line (Jiu San); and those that form it through adjacent lines and gradually return to simplicity are the fifth line (Liu Wu) and the top line (Shang Ji). Generally, culture and substance depend on each other, and they are the natural numbers of heaven and earth, thus forming the hexagram of Zhen. However, substance is the essence, culture is the embellishment, substance is the main, and culture is the auxiliary. Therefore, one must return to simplicity and purity, which is the earnest intention of the sage in composing the line statements to maintain the world's order. As for the initial line corresponding to the fourth line, and the fourth line saying "like a bird in flight," the second line being adjacent to the third line, and the second line saying "rising together with the superior," the fifth line being adjacent to the top line, and the fifth line saying "decorating the hillside retreat," the three yin lines are mostly favorable for movement, which is another sign of the gradual increase of yin energy. Therefore, after Zhen comes the hexagram of Po.

剝卦，下坤上艮。山高於地而附著於地，有傾頹之象。又卦五陰自下漸長，消剝一陽，故為剝。剝卦次賁。按《序卦》：賁者，飾也。致飾然後亨則盡矣，故受之以剝。文飾之極，反而剝落，剝所以次賁也。

The hexagram of Pei (Breakdown) has the Lower Trigram as Kun (Earth) and the Upper Trigram as Gen (Mountain). Although the mountain is high above the earth, it is attached to the earth, symbolizing the image of collapse and falling apart. Moreover, this hexagram has five yin lines growing gradually from the bottom, which gradually consume the single yang line that remains. Therefore, the hexagram is named Pei (Breakdown). The hexagram of Pei comes after the hexagram of Bian (Brightness). According to the "Xu Guan Zhuan," Bian represents ornamentation; when ornamentation is pursued to the extreme, it becomes exhausted, hence Pei follows Bian. When ornamentation reaches its peak, it turns into breakdown, which is why Pei comes after Bian.

全彖取順時而止之義，故君子不可有所往。六爻以上九為主，故於上爻幸一陽之存。而下五爻，凡有與於陽者吉，無與於陽者凶。五以承陽故無不利。三以應陽故無咎。初二遠陽而剝未盡，故皆蔑貞凶。獨六四以迫於陽而剝極，故直言凶也。此全卦六爻之大略也。

The entire hexagram's "Tuan Ci" takes the meaning of stopping in accordance with the trend of the times, so a gentleman should not go forward. The six lines take the top line, upper nine, as the main focus, so they rejoice that one yang line remains in the top line. As for the five yin lines below, those connected to yang are auspicious, and those not connected to yang are inauspicious: six five is auspicious because it follows a yang line, so it says "no disadvantage." Six three is also auspicious because it corresponds with upper nine, so it says "no blame." Initial six and six two are far from yang and the destructive force has not yet reached its end, so both say "no sincerity is凶." Only six four, being close to yang, has reached the extreme of destruction, so it directly says "disadvantageous." This is the general idea of the six lines of the hexagram.

剝：不利有攸往。剝，落也。五陰盛而一陽將消，九月之卦。陰盛陽衰，小人壯而君子病。又內坤而外艮止，有順時而止之象，故占者不利於有所往也。彖曰：剝，剝也，柔變剛也。自姤而遯否而觀而剝，皆以柔而變其剛。至此則欲以五陰變上之一陽也。此以卦體釋卦之名義也。

The hexagram Pei indicates it is not favorable to go somewhere. "Pei" means to peel off or to decline. Five yin lines are flourishing while one yang line is about to be exhausted, which corresponds to the ninth month of the lunar calendar. Yin is dominant and yang is declining, indicating the rise of small people and the hardship of the virtuous. Moreover, the inner trigram is坤 (Kun, Earth), representing compliance, and the outer trigram is艮 (Gen, Mountain), representing stopping. This suggests an image of following the trend and stopping, hence it is unfavorable to go somewhere. The Commentary on the Judgment says: Pei means peeling off, which is the softness changing the firmness. Starting from the hexagram Guo where one yin line begins to arise, through Du, Pi, Guan, up to Pei, all represent the softness changing the firmness. By the time we reach the hexagram Pei, five yin lines are used to change the top yang line. This is explaining the name of the hexagram through its structure.

不利有攸往，小人長也。順而止之，觀象也。君子尚消息盈虛，天行也。五陰剝陽，小人之長也，此以卦體言也。卦有順而止之象，君子觀之。陽消陰息，陰盈陽虛。天運之行如是，君子尚之。順時而止，所以合乎天之行也。知天行之方剝，則不至不量力以取禍。知剝之必有復，亦不至怨天尤人而變其所守矣。

The Commentary on the Judgment says: It is not advantageous to go anywhere because the small people are increasing. To stop in accordance with the situation is based on observing the hexagram. The gentleman values the principle of waxing and waning, because this is how the heavens operate. The five yin lines are stripping away the yang, which is the growth of the small people, as explained by the structure of the hexagram. This hexagram has the image of following a trend and then stopping, from which the gentleman gains insight. Yang is retreating while yin is increasing; yin has become full while yang has become diminished. This is how the heavenly course proceeds, which is why the gentleman values it. To stop in accordance with the trend is precisely to align with the heavenly course. Knowing that the heavenly course is declining, one will not act beyond one's capacity and invite misfortune; knowing that extreme decline must eventually be followed by renewal, one will not blame heaven or humanity and change what one has held fast to.

象曰：山附地上，剝。上以厚下安宅。山附於地，下基不厚則上不安，高者有剝落之象。為君子者，以此制田裡，教樹畜，以厚下民，即以自安其居也。卦以下剝上取義，小人剝君子，所以成剝也。象以上厚下取義，人君厚下民，所以治剝也。不以陰陽消長為論，而以上厚薄為言。於極危之卦，得極安之道。此聖人用卦之微權也。

The Great Image Commentary says: Mountains attached to the earth represent the Hexagram of Decrease; those in high positions thus understand the need to treat the people below with kindness and ensure the stability of their own position. Mountains attached to the earth, if the foundation below is not thick, the upper part will be unstable, and there will be an image of erosion and decline. A gentleman, based on this, plans the cultivation of land and teaches the people to plant trees and raise livestock, in order to treat the people below kindly, thus ensuring the stability of his own dwelling. This hexagram derives its meaning from the act of taking from below to weaken above, where small people erode the virtues of the gentleman, hence forming the hexagram of Decrease. However, the Great Image derives its meaning from the attitude of those in high positions towards those below, emphasizing the importance of kindness and generosity. The ruler, by treating the people below with kindness, is thus able to manage the decline. It does not discuss the waxing and waning of yin and yang, but rather speaks of the thickness or thinness of the treatment given by those above to those below. Within a hexagram of extreme danger, it seeks to achieve extreme stability, which is the subtle balance skillfully applied by the sage in using the hexagrams.

初六：剝床以足，蔑貞凶。蔑，滅也。床者，人之所安其體，上實下虛。剝一陽下五陰，有床象。坤土艮山本至安，剝則危矣，故卦有剝床象。初在下有足象。剝自下起，侵蔑正道，其占凶也。方剝足而即言蔑貞，如履霜而知堅氷至也。象曰：剝床以足，以滅下也。侵滅正道，自下而上也。

Initial Line Six: The bed is stripped starting from the foot, extinguishing the correct path, which is ominous. "Mie" means to extinguish. A bed is an object used by people to rest their bodies, with the upper part solid and the lower part empty; the hexagram of Pei has one yang line at the top and five yin lines below, which exactly resembles a bed. The trigrams of Kūn (Earth) and Gèn (Mountain) are originally most stable, but once eroded, they become dangerous, hence this hexagram is called Pei (Erosion) and resembles a bed. The Initial Line is at the very bottom, symbolizing the foot of the bed. The erosion begins from below, gradually extinguishing the correct path, and the omen is ominous. Just stripping the foot of the bed is described as "Mie Zhen," just as when your foot touches frost, you know that hard ice is coming. The Image Commentary says: "Stripping the bed from the foot" indicates that the erosion begins from the bottom. Extinguishing the correct path is a process that proceeds step by step from the bottom up.

六二：剝床以辨，蔑貞凶。辨，床乾也，床身與足上下分辨之處也。二陰侵上，占與初同。象曰：剝床以辨，未有與也。二陰徒與未大盛，危之中有幸之之意。

Six in the Second: The bed is being stripped down to the junction between the bed frame and the legs, extinguishing the right path, which is ominous. '辨' refers to the bed frame, which is the dividing line between the bed frame and the legs. The second yao is again invaded by the yin, and the divination text is the same as that of the first yao. The Image Commentary says: Stripping the bed at '辨' is because there is still no support from a companion. At this time, the yin's followers are not yet very strong, so there is a mixture of danger and a slight sense of relief.

六三：剝之無咎。眾陰方剝陽而三獨與上應，去邪黨而從正者也，咎可無矣。剝之三同復之四。復四與初應而不許以吉，剝三與上應而許以無咎，何也。復，君子之事，不言其吉，明道不計功者也。剝，小人之事，許以無咎，欲人遷善改過也。剝以近陽者為善，應陽者次之，故五利而此無咎。象曰：剝之無咎，失上下也。上下，四陰也。居四陰之中而獨與陽，所失者陰，其失也乃所以為得也。

Six in the Third: It is in the state of decline but without fault. The many yin lines are removing the yang, yet the line six in the third alone corresponds with the line nine at the top. This shows that it is departing from the wrong group and following the right path, thus fault is avoided. The line six in the third of the Hexagram of Decline corresponds to the line six in the fourth of the Hexagram of Return. The line six in the fourth of the Hexagram of Return corresponds with the line nine at the beginning, but it is not said to be 'auspicious'. However, the line six in the third of the Hexagram of Decline corresponds with the line nine at the top and is said to be 'without fault'. Why is this so? The Hexagram of Return relates to the deeds of the gentleman; it is not said to be 'auspicious' to indicate that the focus is on clarifying the way rather than on the results. The Hexagram of Decline relates to the deeds of the petty person; it is said to be 'without fault' to encourage people to change their ways and correct their mistakes. The Hexagram of Decline favors those close to the yang line most, and those corresponding with the yang line next. Therefore, the line five says 'favorable', while this line only says 'without fault'. The Image Commentary says: 'The absence of fault in the Hexagram of Decline is because it has lost its kindred in the upper and lower positions.' 'Upper and lower' refers to the other four yin lines. The line six in the third is in the middle of four yin lines but alone attaches itself to the yang line, thus losing only the yin group. This loss is precisely its gain.

六四：剝床以膚，凶。四在下卦之上，猶人臥處，有剝床及肌膚之象，故不復言蔑貞，而直凶也。象曰：剝床以膚，切近災也。陰禍已迫其身也。

Six Four: The bed has been stripped down to the skin, which is ominous. Six Four is above the lower trigram, corresponding to the area where a person lies, thus resembling the image of stripping the bed to the skin. Therefore, it does not mention '蔑贞' but directly states '凶'. The Image Commentary says: Stripping the bed to the skin indicates that calamity has become close and imminent. The harmful influence of yin has already reached him.

六五：貫魚，以宮人寵，無不利。魚，陰物。宮人，陰之美，望寵於陽者也。五變巽，有魚象。巽為繩，貫之之象。以者，后妃以之也。六五柔中居尊，率群陰以從陽，故有后妃之象。卦德內順外止，猶后妃以宮人備數循序以進御於君，後德之美者也。

Six in the Fifth: It is like a string of fish leading the palace attendants to receive the king's favor, which brings no disadvantage. Fish are creatures of yin; palace attendants are the beautiful ones among yin, longing for the favor of yang. When the line six in the fifth changes, the upper trigram becomes Xun, which symbolizes fish. Xun is also a rope, symbolizing the act of stringing them together. 'With' refers to the queen consort leading her attendants. The line six in the fifth is soft and in the center, occupying a high position, leading the other yin lines to follow yang. Thus, it has the image of the queen consort. The trigram's inner aspect is smooth and the outer aspect is still, just like the queen consort leading her attendants in order, presenting herself to the king according to rank, which represents the beauty of the queen consort's virtue.

故占無不利。蓋剝至於五極矣，陰不可以再長，陽不可以終消也，故不取剝義。自初至四以陰剝陽，此則循序而以陰從陽。聖人示之戒。若曰，與其以坎剝陽而至凶，孰若以次從陽之無不利乎。故彖言不利有攸往，為君子謀也。此言無不利，為小人勉也。此聖人慾人悔過之心也。

Therefore, the divination indicates there is no disadvantage. Generally, when the hexagram reaches the fifth line, it has reached its extreme point. Yin cannot grow further, and Yang cannot be completely exhausted. Therefore, this line does not signify the concept of decline. From the first line to the fourth line, Yin is declining Yang, but here, in order, Yin follows Yang. The sage uses this to warn people. It seems to say: rather than persistently declining Yang and eventually leading to misfortune, why not follow Yang step by step and achieve no disadvantage? Thus, the "Tong Ci" says "not advantageous to go somewhere," which is for the君子 (gentleman); this line says "no disadvantage," which encourages the小人 (commoner). This precisely reflects the sage's wish for people to repent and change.

然六三應上九而寧失群陰之心，六五率群陰而上求一陽之寵，則天道之不可一日無陽、世道之不可一日無君子也。又按，遯剝皆陰長之卦。遯陰微可制，故授權於陽，於九三曰畜臣妾吉，陽制陰之道也。剝陰盛難制矣，故示教於陰，於六五曰以宮人寵，陰人陽之道也。陰陽消長出於自然，爻中自有此象，而扶陽抑陰不可無人事之功，此聖人繫辭之深心也。

However, the sixth line in the third position should be able to lose the hearts of the other yins and still maintain harmony, while the sixth line in the fifth position leads the other yins upward to seek the favor of a single yang. This shows that the way of heaven cannot go a day without yang, and the way of the world cannot go a day without a gentleman. Furthermore, the hexagram Dùn and the hexagram Bō are both hexagrams of increasing yin: in Dùn, yin is still weak and can be controlled, so the power is given to yang, and in the third line it says "keeping the servants and concubines is auspicious," which is the method of yang controlling yin; in Bō, yin has already become strong and is difficult to control, so it turns to educate the yin, and in the fifth line it says "using the palace attendants to gain favor," which is the method of bringing yin back into yang. The waxing and waning of yin and yang comes from nature, and such images are inherent in the lines; yet, supporting yang and restraining yin cannot be without human effort, which is precisely the profound intention of the Great Treatise.

象曰：以宮人寵，終無尤也。眾陰逼陽，疑有尤也。循序以從，尤終可無也。上九：碩果不食，君子得輿，小人剝廬。艮為果蓏。一陽獨存於上，如碩大之果不為人所食，獨留木末之象。

The Image Commentary says: Because of the favor of the palace attendants, there is ultimately no resentment. The many yin lines press upon the yang line, which should naturally lead to resentment; but now they follow in order and obey, so resentment can finally be dispelled. The line at the top: A large fruit is not eaten, the gentleman receives a carriage, while the petty person loses his house. Gen represents fruit and melon. A single yang line existing at the very top is like a large fruit that has not been picked, remaining alone at the tip of the branch.

果不食必爛，核墮地又復生仁。窮上反下，陽將復生也。坤為輿。五陰載上九之一陽，有君子得輿之象。上九變柔有小人象。一陽覆五陰有廬象，變偶則破敗矣，有剝廬象。一陽未盡猶可復生。君子得此，則為小人所載。小人居之，則剝極於上，自失所覆，如剝其廬。蓋君子能存陽德，能覆小人。小人陰屬，勢必欲害君子。然自古未有君子亡而小人能自容其身者。廬剝，則小人亦無所容矣。象如是，而占因君子小人而分也。

A fruit that is not eaten will inevitably rot, and the seed inside the fruit, when dropped to the ground, will grow again. This is the process of reaching the extreme at the top and returning to the bottom, with Yang about to be reborn. The trigram Kun represents a carriage, with five Yin lines supporting the single Yang line at the top, symbolizing the image of a gentleman receiving a carriage. If the top Yang line becomes a Yin line, it represents the image of a petty person. A single Yang line covering five Yin lines symbolizes a dwelling, and when it changes to an even line, forming a roof, the dwelling becomes ruined, symbolizing the image of a ruined house. Although one Yang line has not yet completely disappeared, it can still be reborn. When a gentleman is in this position, he is supported by petty persons; but when petty persons occupy it, they reach the extreme of destruction, losing their protection, like having their own house stripped away. Generally, a gentleman can preserve Yang virtue and protect petty persons; petty persons belong to Yin, and their power inevitably harms the gentleman. However, throughout history, there has never been a case where a gentleman perished and petty persons could still remain secure. Once the dwelling is ruined, petty persons have nowhere to take refuge. This is the image, and the divination depends on whether it is a gentleman or a petty person, leading to two different outcomes.

象曰：君子得輿，民所載也。小人剝廬，終不可用也。民指眾陰。剝極思治。陽剛君子，民所共載。小人至此欲剝盡諸陽，不知其終不可用也。全卦當陰盛陽衰之時，故君子不利於所往。然能以陰承陽者無所不利，而應陽者亦得無咎，唯遠陽而剝陽者凶。雖聖人之戒辭，亦陰陽消長之定理也。

The Image Commentary says: A gentleman attains a carriage, meaning he is supported by the people; a petty person strips away the house, meaning he ultimately cannot be used. "People" refers to the multitude of yin. When yin reaches its extreme, the people desire governance, and the yang noble gentleman is precisely what the people universally support; a petty person, at this point, still wants to strip away all the yang, but does not realize that he ultimately cannot be used. The entire hexagram is at the time when yin is strong and yang is weak, so a gentleman is not favorable to going anywhere. However, those who can serve yang with yin will have no difficulties, and those who correspond with yang will have no mistakes, while those who distance themselves from yang and strip away yang will meet misfortune. This is although a warning from the sage, yet it is also the definite principle of the waxing and waning of yin and yang.

復卦，下震上坤。一陽生於五陰之下，陰極而陽復。君子之道消而復長，有返於善之義，故為復。復卦次剝。按《序卦》：物不可以終盡，剝窮上反下，故受之以復。陽剝極於上，復生於下，復所以次剝也。

The hexagram Fu is composed of the lower trigram Zhen (Thunder) and the upper trigram Kun (Earth). A single yang line arises above five yin lines, indicating that yin has reached its extreme and yang returns. After the way of the superior person has declined, it re-emerges, implying a return to the virtuous path, hence the name of the hexagram is "Fu." The hexagram Fu follows the hexagram Bo. According to the "Xu Guan Zhuan," things cannot end in exhaustion; when Bo reaches its extreme, it turns back to the lower, hence Fu comes after Bo. Yang was exhausted at the top, but now it reappears at the bottom, which is why Fu follows Bo.

全彖以陽剛來反，理勢必亨。又震動坤順，所往皆利。天地以生物為心。天地之一陽初動，猶人善念之萌，聖人所最重。此全彖之大旨也。六爻以初爻為主，故凡有得於初陽者吉，無則否。二比初曰下仁，四應初曰從道，此皆得於陽者也。餘三皆無得於陽者。獨五以得中而無悔。三不中則頻失頻復而厲。上則去初最遠，居卦之窮，迷而不復，宜其凶也。此六爻之大略也。

The entire hexagram's "Tu Cí" explains that the return of yang is essential, and from the perspective of reason and momentum, it is certain to be smooth and successful. Moreover, the inner trigram Zhen (Thunder) is dynamic, and the outer trigram Kun (Earth) is compliant, so all directions are favorable. Heaven and Earth are concerned with the birth and nourishment of all things. The initial movement of yang in the universe is like the first thought of goodness in the human heart, which is the most valued by the sage. This is the main idea of the entire hexagram's "Tu Cí." The six lines focus on the line Chushiyi (Nine at the Beginning), so any line that gains something from this yang is auspicious, while those that do not gain anything are inauspicious. The line Liushier (Six in the Second) is close to Chushiyi, and the "Image Commentary" says it "shows benevolence." The line Liusu (Six in the Fourth) corresponds with Chushiyi, and the "Image Commentary" says it "follows the Dao" — these are all cases where yang is gained. The other three lines do not gain anything from yang: only the line Liuwu (Six in the Fifth), because it is in the center, gains "no regret"; the line Liusan (Six in the Third), not being in the center, repeatedly loses and regains, thus facing danger; the line Shangliu (Six at the Top), being farthest from Chushiyi and located at the extreme end of the hexagram, is confused and does not know to turn back, so its danger is appropriate. This is the general idea of the six lines.

復：亨，出入無疾，朋來無咎，反復其道，七日來復，利有攸往。復，陽復生於下也。剝盡則為純坤，十月之卦。陽氯漸生，至十一月，一陽之體始成，其卦為復。陽往而復反有亨象。內震外坤，陽動於下，順而上行。反下為入，上行為出，皆以順行，有出入無疾之象。

The hexagram Fu signifies smoothness, with no illness in going out or coming in, and no mistakes from like-minded people coming together. It follows the regular course, and after seven days, it returns. It is favorable to go forth. "Fu" indicates the return of yang at the lower position. When yin is completely exhausted, it becomes the pure hexagram Kun, which corresponds to the tenth lunar month. Yang energy gradually emerges, and by the eleventh lunar month, a single yang line is formed, which is the hexagram Fu. Yang goes away and then returns, hence the image of smoothness. The inner trigram is Zhen, and the outer trigram is Kun. Yang moves downward and then ascends smoothly. Returning to the lower position is called "entering," and moving upward is called "exiting." Both entering and exiting proceed smoothly, hence the image of "no illness in going out or coming in."

先出後入，於語順也。諸陽自此可亨，有朋類之來皆得無咎之象。又自五月姤卦一陰始生，至此七月而一陽來復，乃天運自然反覆之道。此時剛德既長，君子可以有為，故於占利有攸往也。不言月而言日，猶詩言一之日、二之日也。臨卦於陰之長則曰八月，欲陰長之緩也；此於陽之長則曰七日，欲陽之速也。又七為陽數，日為陽物，故於陽長之卦言之；八為陰數，月為陰物，故於陰長之卦言之。

First mention "coming out" and then "entering," merely for the sake of smooth expression. The numerous Yang forces can now become unimpeded, hence the image of like elements coming together without blame. Starting from the beginning of Yin in the fifth month's Guo hexagram, after seven months, one Yang returns, which is the natural cycle of heaven. At this point, the virtue of Yang has already grown, so the gentleman may take action, hence the oracle says "favorable for going somewhere." It does not say "month" but "day," just as the "July" in the "Book of Songs" says "first day" and "second day." The Lin hexagram, which discusses the growth of Yin, mentions "eighth month," hoping for slower growth of Yin; here, discussing the growth of Yang, it mentions "seventh day," hoping for faster growth of Yang. Moreover, seven is a Yang number, and day is a Yang thing, so it is used in hexagrams concerning the growth of Yang; eight is a Yin number, and month is a Yin thing, so it is used in hexagrams concerning the growth of Yin.

彖曰：復亨，剛反。剛德復反，有可亨也。動而以順行，是以出入無疾，朋來無咎。剝以順而止，復以順而行。道消之極，道長之初，未有不順而能免咎者。出入朋來，陽之動；無疾無咎，以順行故也。反復其道，七日來復，天行也。陰陽消長，天運之自然也。利有攸往，剛長也。既生則漸長，故利於往。自內出為往。動而順行以下，以卦德言；反復其道以下，以卦體言。

The Commentary on the Judgment says: Returning and being prosperous is because the yang is returning. The virtue of yang has returned, so there is the possibility of prosperity. The Commentary on the Judgment also says: Moving in accordance with the right way, so there is no illness in going out or coming in, and the like come without fault. The hexagram of Bao is to move in accordance with the right way and know when to stop, while the hexagram of Fu is to move in accordance with the right way and be able to act. When the way of darkness reaches its extreme, the way of brightness begins, and there is no way to avoid fault without following the right way. "Going out and coming in" refers to the movement of yang, while "no illness" and "no fault" are because of following the right way. The Commentary on the Judgment also says: Going and returning follow the constant way, and after seven days it returns, which is the movement of heaven. The waxing and waning of yin and yang is naturally the movement of heaven. The Commentary on the Judgment also says: It is advantageous to go forward because yang is growing. Once it has grown, it will gradually increase, so it is advantageous to go forward. "Moving in accordance with the right way" refers to the virtue of the hexagram, while "returning and following its way" refers to the structure of the hexagram.

復其見天地之心乎。天地以生物為心。積陰之下，天地生物之心幾息。一陽來復，而天地之心可見。在人，則惡極而善念萌動之時也。先儒以靜為天地之心，《程傳》以動為天地之心。然陰陽分動靜善惡，不可太拘。蓋天地之氣，純陰寂靜之中未嘗無陽。然必一陽之動，而後生物之心可見。在人，則所動之念有善有惡，必其善端之動，乃可謂見天地之心也。

The Commentary on the Judgment says: From the hexagram of Returning, one can roughly see the heart of heaven and earth in generating life. Heaven and earth take nurturing myriad things as their heart. Beneath successive layers of yin, the heart of heaven and earth in generating life is almost ceased; when one yang reappears, the heart of heaven and earth becomes visible. In terms of human beings, this is when evil has reached its extreme and a thought of goodness begins to arise. Previous Confucian scholars took 'stillness' as the heart of heaven and earth, while Cheng Yi's Yichuan Commentary on the Changes took 'movement' as the heart of heaven and earth. However, dividing yin and yang into stillness and movement, goodness and evil, should not be overly rigid: the vital energy of heaven and earth, even in pure yin and stillness, is never devoid of yang, yet it is only when one yang begins to move that the heart of heaven and earth in generating life becomes visible; in human beings, the thoughts that arise are both good and evil, but it is only when the good beginning emerges that one can say the heart of heaven and earth is seen.

象曰：雷在地中，復。先王以至日閉關，商旅不行，后不省方。閉關，休息安靜以養微陽也。在人心，則善端之萌甚微，亦必莊敬以養之，不然復亡之矣。卦辭言出入無疾，而象言閉關息事。蓋動者天地生物之心，而靜者聖人裁成之道也。

The Great Image says: Thunder beneath the earth represents the hexagram of Return. From this, the former kings understood the practice of closing the borders on the day of Winter Solstice, stopping merchants from traveling and the sovereign from touring the land. "Closing the borders" is a way of resting and being quiet in order to nurture the faint yang energy. In terms of the human mind, when the beginning of goodness first emerges, it is extremely weak, and it must be cultivated with seriousness and reverence, otherwise it will be lost again. The hexagram statement says "entering and exiting without illness," but the Great Image speaks of closing the borders and ceasing activities. This is because: movement is the heart of the heavens and earth in generating life; stillness is the way of the sage in regulating and completing things.

初九：不遠復，無只悔，元吉。一陽復生於下，復之生也。只，至也。居事之初，失之未遠，復於善而不至於悔，大善而吉之道也。人有過失，或至於微色發聲、困心衡慮。此則有不善未嘗不知，知之未嘗復行也。象曰：不遠之復，以修身也。修身之道無他，知不善而速改而已。

Initial Line Nine: Going only a short distance and then turning back, there is no regret, and it is highly auspicious. A yang line at the bottom renews the beginning, which is precisely the vital energy of the Returning Hexagram. "Only" here means "to the utmost." He is at the beginning of a matter, so his mistake is not yet far. Returning to the right path without regret is the great good and auspicious way. Usually, people have faults which only become evident through their expressions, sounds, or after much mental struggle. But this line knows wrongdoing without needing to reach that point; once he knows it, he stops doing it. The Image Commentary says: Returning from a short distance is used for self-cultivation. The way of self-cultivation is simply to recognize wrongdoing and quickly correct it.

六二：休復，吉。柔順中正，近於初九之仁人。能比而下之，取友以輔仁者。復之休美，吉之道也。象曰：休復之吉，以下仁也。克己復禮為仁。初，剛德之復仁者也。二能親而下之，故吉。

Six in the Second: Returning beautifully, it is auspicious. Six in the Second is gentle and proper, and is close to Nine at the Beginning, the benevolent person. She can be close to him and be willing to be beneath him, which is exactly what the Analects says, 'friends assist in cultivating benevolence.' This is the beauty of returning, and the way to gain auspiciousness. The Image Commentary says: The auspiciousness of returning to the original state comes from being willing to submit to the benevolent person. 'Overcoming oneself and returning to propriety' is benevolence; Nine at the Beginning is the return of the yang virtue, which is the benevolent person. Six in the Second can be close to him and be willing to be beneath him, hence it is auspicious.

六三：頻復，厲無咎。不中不正，處動之極。復而不固，有頻失而頻復之象。頻失則厲，復則無咎。蓋三爻在上下進退之間。巽以柔為主。巽九三剛而不中以比柔，故頻巽而吝。復以剛為主。復三柔而不中以比柔而位剛，故頻得，雖厲而無咎。象曰：頻復之厲，義無咎也。得補過之義。

Six in the Third: Repeatedly looking back, there is danger but no fault. Six in the Third is neither in the center nor in the correct position, and is at the extreme of movement; looking back but unable to hold on, hence the image of repeatedly losing and repeatedly regaining. Repeated loss leads to danger, but being able to regain leads to no fault. Generally, the Third line is in the middle of ascending and descending: the Wind Hexagram is characterized by softness, and the Yang line in the Third of Wind is not in the center and is below the soft, hence 'repeatedly bending' and resulting in shame and regret; the Returning Hexagram is characterized by strength, and the soft line in the Third of Returning is not in the center, though it is below the soft, yet it is in the position of Yang strength, hence repeatedly gaining, though dangerous, there is no fault. The Image Commentary says: the danger of repeated returning is, in principle, without fault, because it conforms to the meaning of correcting past mistakes.

六四：中行獨復。四在上下四陰之中，有中行之象。不比群陰而與初應，有與眾俱行、獨能從善之象。此時陽氣甚微，未足有為，故不言吉。然理所當然，吉凶非所論，吉凶非所論，所謂明其道不計其功者也。象曰：中行獨復，以從道也。以其從陽剛，君子之善道也。修身以道，修道以仁。仁與道，皆所以修身也。

Six in the Fourth: Walking among many yin lines yet turning back alone. Six in the Fourth is located in the center of the four yin lines above and below, thus embodying the image of 'acting in the middle.' It does not closely associate with the other yin lines but instead corresponds uniquely with the first nine, symbolizing the image of walking with the people yet being able to act virtuously. At this time, the yang energy is still very weak and insufficient for action, so the line statement does not say 'auspicious.' However, this is the proper way things should be, so auspiciousness and misfortune are not considered. (The original text repeats this sentence.) This is what is meant by 'clarifying the way without considering the results.' The Image Commentary says: 'Acting in the middle and turning back alone' is to follow the correct path. Because it follows yang strength, this is the virtuous path of the gentleman. Cultivating oneself should follow the way, and cultivating the way should follow benevolence; benevolence and the way are both used for self-cultivation.

六五：敦復，無悔。坤土有敦厚之象。四以應初而復。五雖與初無應，然以柔中居尊，因四之獨復而能篤其行、厚其養，以復於善者，猶臨之有敦臨也，故可無悔。按，來注謂不遠復者，善心之萌；敦復者，善行之固。無只悔者，入德之事；無悔者，成德之事。是以五勝於初也。然初曰元吉，五僅曰無悔，不得以五勝初。竊意此乃困知勉行，所謂人一己百、人十己千，百倍其功者。能如是，悔亦可無也。

Six in the Fifth: To return with sincerity, without regret. The Earth trigram represents soil, which symbolizes sincerity and steadfastness. Six in the Fourth returns because it corresponds with Nine at the Beginning; although Six in the Fifth does not correspond with Nine at the Beginning, it is in a central position, is gentle, and holds a high position. Because of the return of Six in the Fourth, it can be sincere in its actions and deep in its cultivation, thus returning to the right path. Just as the卦 of Approaching has 'sincere approach,' it can therefore have no regret. Note: Lai Zhide's commentary says, 'Not far from returning' is the sprouting of good intentions, 'sincere return' is the firmness of good deeds; 'no small regret' is the beginning of entering virtue, 'no regret' is the completion of virtue. Therefore, he thinks that Six in the Fifth surpasses Nine at the Beginning. However, Nine at the Beginning says 'original good fortune,' while Six in the Fifth only says 'no regret,' so it cannot be said that Six in the Fifth surpasses Nine at the Beginning. In my opinion, this is the way mentioned in the Zhongyong, 'to know through hardship and to act with effort,' which is 'when others do it once, I do it a hundred times; when others do it ten times, I do it a thousand times,' requiring a hundredfold effort. If one can do this, regret can be avoided.

象曰：敦復無悔，中以自考也。五居中，中即天地之心。考，成也，以中道自成也。二四待初而復，學知利行者也，故曰下仁曰從道。五與初非比非應而復，困知勉行者也，故曰自考。自即人一己百之意。蓋五本遠於陽，但以居中能順，困四自返，加厚其功，故能自成也。

The Image Commentary says: "Returning to sincerity without regret, thus achieving self-realization through the middle path." The hexagram line six in the fifth position is in the center, and "middle" refers to the heart of heaven and earth. "Kao" means accomplishment, meaning to complete oneself through the middle path. The lines six in the second and six in the fourth return due to the influence of line nine at the beginning, and they belong to the category of "learning through study and acting when it is beneficial," so the Image Commentary says they "practice benevolence" and "follow the way." Line six in the fifth position returns neither because it is adjacent nor because it corresponds with line nine at the beginning, and thus belongs to the category of "realizing through hardship and acting through effort," hence it is said "self-accomplishment." The character "self" here precisely means "others do once, I do a hundred times." Generally, line six in the fifth position was originally far from yang, but because it is in the center and follows the way, and through hardship and effort returns to itself, it doubles its effort and thus achieves self-realization.

上六：迷復，凶，有災眚。用行師，終有大敗，以其國君凶，至于十年不克征。上六以陰柔居復終。位高而無下仁之美，剛遠而失遷善之機，厚極而有難開之蔽，質柔而無改過之勇，無應而無從道之明，是終昏冥而不復者也。災自外來，眚自己作。坤先迷，今居其極，有迷復象。坤為土為眾，有行師象。在上近五，有以其國君象。地數十，有十年不克征之象。

The Sixth at the Top: Lost and not knowing to turn back, it is dangerous, with both natural disasters and man-made calamities; if used for military campaigns, it will ultimately result in a great defeat, causing the sovereign to also face misfortune, leading to a period of ten years during which military campaigns cannot be carried out. The Sixth at the Top, being a yin and flexible line, is located at the end of the复卦: it holds a high position but lacks the virtue of humbling oneself and being benevolent to others, is too far from yang strength and thus loses the opportunity for improvement, its thickness reaches an extreme and becomes an obstacle that is difficult to remove, its nature is weak and lacks the courage to change, it has no response and lacks clear understanding of following the Dao. This is the case of someone who finally becomes dull and does not know to turn back. "Disaster" comes from outside, while "misfortune" is self-inflicted. The坤卦 originally has the concept of "first being lost," and the Sixth at the Top is located at the extreme of坤, thus giving the image of "repeating the loss."坤 represents earth and the multitude, hence it has the image of military deployment; it is located above and close to the Nine in the Fifth, hence the image of "affecting the sovereign"; the number of earth is ten, hence the image of "ten years without being able to campaign."

象曰：迷復之凶，反君道也。陽剛在上，君之道。此剝之上九，所以為民所載也。復上反之，故以其國君凶也。全彖以氣數言。復有必亨之理。故出入可以無疾，朋來亦得無咎。所以然者，以七日赤數反覆之道，天運之自然也。六爻以人事言。

The Image Commentary says: The reason why the situation of returning to the original state is ominous is because it violates the way of a ruler. Yang strength residing at the top is the way of a ruler, and the Nine at the Top of the Guai hexagram is therefore supported by the people; whereas the Six at the Top of the Fu hexagram is exactly the opposite, hence it is said, "because of its ruler, there is calamity." The entire hexagram's Taicang is speaking about fate: Fu has the inherent principle of smoothness, so going out and returning can be without illness, and the coming of friends can be without error. The reason for this is that the constant cycle of seven days is the natural movement of heaven (the original text says "seven days red number," "red" is likely a mistake for "of"). The six lines, however, speak about human affairs.

剛德為善端之復，質柔以從剛為貴，人事之當然也。故五之自考不如四之從道，四之從道不如二之下仁，二之下仁不如初之修身。三頻復雖危，猶知復也。上迷復反道，則災眚所必至矣。聖人示人以復善改過、取友修身之功，莫切於此。

Yang strength's virtue is the beginning of goodness, and those with weak nature should value following Yang strength, which is how human affairs should be. Therefore, the "self-examination" of line six five is not as good as the "following the Dao" of line six four, the "following the Dao" of line six four is not as good as the "showing benevolence below" of line six two, and the "showing benevolence below" of line six two is not as good as the "cultivating oneself" of line initial nine. Although line six three repeatedly returns despite being in danger, it still knows to turn back; line upper six, however, is lost and does not return, violating the right path, so natural disasters and human calamities are certain to come. The sage points people back to the right path, corrects their mistakes, and cultivates themselves by choosing good friends, and there is no divination text more intimate than this one.

無妄，下震上乾。無妄者，實理自然之謂。震，動也。動以天為無妄，動以人則妄矣。無妄次復。按《序卦》：復則不妄矣，故受之以無妄。復者，反於道也。既復於道，合於正理而無妄矣。無妄所以次復也。

The hexagram Wuwang is composed of the lower trigram Zhen (Thunder) and the upper trigram Qian (Heaven). The term "wuwang" refers to the natural and genuine order of things. Zhen represents movement; acting in accordance with heavenly principles is wuwang, but acting out of personal desires is considered妄. The hexagram Wuwang comes after Fu. According to the "Xu Guashu" it says: once one returns to the right path, there will be no false expectations, hence Wuwang follows Fu. "Fu" means returning to the right path; having already returned to the right path, following the correct principles leads to wuwang. This is why Wuwang comes after Fu.

全彖大亨而利於正，不正則所往不利。蓋正則合於無妄，不正則妄矣。六爻下三爻震體，時當動而動者，故動則應天。初之往吉，二之利往，三曰行人之得，皆動而無妄者也。上三爻乾體，時當靜而靜者，故動則拂天。四之可貞，五之勿樂，上之有眚，皆以不動為無妄者也。乾體非靜。但震動之時已過，則宜順乎天，不必復有所動耳。此六爻之大略也。

The entire hexagram's "Tu Cí" says that great is the passage and favorable for maintaining correctness. If not correct, then going forward is not favorable, because maintaining correctness is in harmony with Wuwang (no false action). Not being correct is to act falsely. Among the six lines, the lower three lines belong to the Zhen (Thunder) trigram, which is appropriate for action, so when they act, they should conform to the way of heaven: the line "Chu Ji" says "going is auspicious," the line "Li You Wang" says "favorable to go somewhere," and the line "Liu San" says "the traveler's gain," all are actions without false action. The upper three lines belong to the Qian (Heaven) trigram, which is appropriate for stillness, so when they act, they go against the way of heaven: the line "Jiu Si" says "maintain correctness," the line "Jiu Wu" says "no medicine" (the original text says "no joy"), and the line "Shang Ji" says "there is a calamity," all are about not acting as the way of Wuwang. The Qian trigram itself is not still, but since the time of shaking has passed, it should follow the way of heaven and not act anymore. This is the general idea of the six lines.

無妄：元亨利貞，其匪正有眚，不利有攸往。無妄，實理自然之謂。《史記》作無所期望而得，亦即自然之意，蓋有所期望皆妄也。天之化育萬物，生生不窮，各正其性命，本無妄也。下震上乾，動與天合，自可大亨，而必利於正固。若有不正即妄也，則有過眚而所往不利矣。吉凶悔吝生乎動，卦以震動為主，故聖人多戒辭。

The hexagram Wuwang means great success and favorable for maintaining correctness; those who do not maintain correctness will encounter calamities and are unfavorable for going forward. "Wuwang" refers to the natural and genuine way of things. The "Records of the Grand Historian" interprets it as "without expecting to gain," which means naturalness—anything that involves expectation is considered false. Heaven nurtures all things, endlessly generating life, enabling each thing to fulfill its proper destiny, and originally there is no falsehood. This hexagram has Zhen below and Qian above, movement harmonizing with Heaven, thus naturally achieving great success. However, it is favorable to maintain correctness; if there is incorrectness, it is false, leading to loss and calamity, and going forward becomes unfavorable. Good and bad fortune, regret, and hardship all arise from movement. Since this hexagram is primarily about Zhen (Thunder), the sages often use admonishing words.

彖曰：無妄，剛自外來而為主於內，動而健，剛中而應，大亨以正，天之命也。其匪正有眚，不利有攸往，無妄之往何之矣，天命不祐行矣哉。剛自外來而為主於內，以卦綜言也。大畜艮在外為主，今反為震為主於內，此卦之所以為無妄也。動健以下，一正一反。能如本卦之德動健，剛中而應，則以正合乎天命矣。若其不以正，則私意妄動，必不可行也。

The Commentary on the Judgment says: "Without Pretense" refers to the yang strength coming from outside and becoming the master of the inner trigram. When it moves, it is strong and vigorous; the yang strength is in the center and corresponds with above and below, thus achieving great success while maintaining correctness, which is the command of heaven. Those who do not maintain correctness will suffer misfortune and it is not beneficial to go anywhere. If one acts without pretense yet goes forth, where can one go? If heaven's command does not protect and support, how can one proceed? "Yang coming from outside to become the master within" refers to the reversal of the hexagram: the Great Accumulation hexagram has the mountain trigram outside as the master, but now it is reversed so that the thunder trigram is inside as the master, which is precisely why this hexagram is called "Without Pretense." "When it moves and is strong" and the following discussion cover both positive and negative aspects: if one moves with the virtue of the original hexagram, being strong and vigorous, with strength in the center and corresponding with above and below, then one is in harmony with heaven's command. If one does not act with correctness, it is a matter of private desire and reckless movement, which will certainly not succeed.

震動乾健，以卦德言。九五剛中而應六二，以卦體言。天之命，天理之當然也。無妄之往何之，承上匪正言。無妄而不正，往復何所之乎。不正則逆天之命，天必不祐，其猶可行乎哉。

"The movement of Zhen (Thunder) and Qian (Heaven)" refers to the nature of the trigrams. "Nine in the Fifth is strong and central, and corresponds above to Six in the Second" refers to the structure of the hexagram. "Heaven's mandate" means the way things should be according to the heavenly principle. The phrase "If one goes without being sincere, where can one go?" follows from the previous statement "It is not proper." If something is called "without being sincere" yet does not adhere to the proper path, where can it go? Not being proper means going against the heavenly mandate. Heaven certainly will not support such an action, so how can it succeed?

象曰：天下雷行，物與無妄。先王以茂對時，育萬物。天下雷行，震動發生。萬物各正其性命，物物與之以無妄也。先王法此，對其所育之時，養育人民。使昆蟲草木無不得宜，亦物物與之以無妄也。對時，如孟春犧牲毋用牝、斧斤以時入山林之類。茂者，盛大之意。無時不對，無時不育也。即盡人性、盡物性、贊化育之謂也。天下雷行，物物與以無妄。物物各具一性，物物一自然之天也。聖人因物之性以育萬物，使物物各得其天，聖人一自然之天也。

The Great Image says: Thunder moves across the heavens, and all things are endowed with the nature of no false action. The sage kings thus understood the need to cultivate the earth in accordance with the heavenly timing, nurturing all things. Thunder moves across the heavens, causing vibrations that bring forth all things, and each thing fulfills its proper nature. This is the way heaven bestows upon each thing the nature of no false action. The sage kings followed this principle, nurturing the people according to the proper seasons for the birth and growth of all things, ensuring that insects, plants, and all things receive their proper treatment. This is also the way heaven bestows upon each thing the nature of no false action. The term 'according to the season' refers to practices such as the rites in the Book of Rites, where in the first month of spring sacrifices do not involve domesticated animals, and axes are only allowed into the forests at the proper time. 'Mature' means flourishing: there is no season that is not followed, no season that is not nurtured. This is the meaning of the Doctrine of the Mean, which speaks of fully realizing human nature, fully realizing the nature of all things, and assisting in the nurturing of heaven and earth. Thunder moves across the heavens, and each thing is endowed with the nature of no false action: each thing possesses its own inherent nature, and each thing is a natural heaven. The sage follows the inherent nature of all things in nurturing them, allowing each thing to receive its proper heaven. The sage himself is also a natural heaven.

初九：無妄往吉。初當位而動，為無妄之主。動之得正者也，何往非吉。按，他卦皆以應為吉。此則二應五、三應上，乃三有災、五有疾，而上不免於眚，獨初以無應而吉者。蓋卦名無妄，貴於無心。有心於應而往，則妄矣。震陽初動，誠一未分。剛實無私，動與天合。不必有應，而得無心之吉也。象曰：無妄之往，得志也。誠能動物，往無不通也。

Initial Nine: Not delusive, going forward brings auspiciousness. Initial Nine is in the correct position and is active, being the main line of the卦 of "No Delusion." All movements are in accordance with the right way, so where can one go without auspiciousness? It is noted that other hexagrams consider having a corresponding line as auspicious, but in this hexagram, Six Two corresponds with Nine Five, Six Three corresponds with Upper Nine, and both Six Three and Nine Five suffer misfortune, while Upper Nine is also not free from calamity. Only Initial Nine, because it does not correspond with any line, attains auspiciousness. The reason is that the hexagram is called "No Delusion," which values sincerity without intent. If one seeks correspondence with intent and moves forward, that becomes delusion. The movement of Zhen (Thunder) is the initial yang, sincere and undivided, solid and without private intent. Once it moves, it harmonizes with Heaven, without needing correspondence, naturally attaining auspiciousness through sincerity. The Image Commentary says: Going forward in "No Delusion" is when one's aspirations are fulfilled. Sincere intent can move external things, so going forward will not meet any obstruction.

六二：不耕穫，不菑畲，則利有攸往。耕，農之始。獲，其成也。田一歲曰菑，三歲曰畲。始耕終獲，先種後畲，此自然之常。今皆曰不，統付之無心也。或作不耕而自獲、不菑而自畲，或作不以耕而計獲、不以菑而計畲。唯《本義》謂四者俱無。不耕不菑，無所為於前；不獲不畲，無所冀於後也。蓋無妄之時，有所為所得付於兩忘，而自然如此者。

Six in the Second: One does not till the land in order to harvest, nor clear fields in order to have fertile land; only then is it advantageous to move forward. "Tilling" is the beginning of farming, and "harvesting" is its result. Clearing land for one year is called "zui," and for three years "yu." First tilling and then harvesting, first sowing and then having fertile land, is the natural order. Now, the word "not" is added to all these, implying that everything is left to unconsciousness. Some interpret this as not tilling yet naturally having a harvest, or not clearing land yet naturally having fertile fields. Others interpret it as not being concerned with harvests because of tilling, or not being concerned with fertile land because of clearing. Only Zhu Xi's "Ben Yi" says that none of these four things occur: not tilling and not clearing are actions not undertaken beforehand; not harvesting and not having fertile land are results not expected afterwards. Generally, in a time of proper non-pretense, both actions and results are forgotten, and things naturally come about in this way.

互卦上巽下震，耕耨之象。震為未稼，收穫菑畲之象。六二柔順得中正，因時順理，而無私意期望之心，故有不耕穫、不菑畲之象。占者如是，則利於有所往矣。蓋假象之醉，不可以辭害意也。象曰：不耕穫，未富也。

This hexagram has an interacting structure with upper Xun and lower Zhen, symbolizing the image of plowing and weeding; Zhen also represents unripe grain, symbolizing the image of harvest and clearing land for farming. The line Six in the Second is gentle and proper, following the timing and principles without any private desire or expectation, hence the image of "not plowing but harvesting, not clearing land but cultivating." If the person consulting the oracle can act in this way, it will be favorable for going somewhere. Generally, these are all expressions using symbolic images, and one should not be confined by the literal meaning and thus hinder the original intent. The Image Commentary says: "Not plowing but harvesting" does not mean seeking wealth.

未富，如非富天下之意，言非計其利而為之也。六三：無妄之災，或繫之牛，行人之得，邑人之災。三變離，牛象。互巽為繩，艮為鼻，繫牛之象。震為大塗，中爻人位，行人之象。卦之無妄皆以正而亨，六三則不中不正矣，故有無妄致災之象。

The "not yet rich" mentioned in the Image Commentary of line six-two is the same as the meaning of "not enriching the world" in the Mencius. It refers to those who till the land without thinking of harvest, or clear the fields without expecting them to be fertile. They do not wait for benefits before taking action. The line statement of line six-three says: calamity arising without cause — someone ties up his ox by the roadside, and a passerby takes it without thinking, and the local people end up suffering. First, looking at the symbolic imagery: when line six-three moves, the lower trigram "Zhen" (Thunder) changes to "Li" (Fire), and "Li" represents an ox. The interacting trigrams "Xun" (Wind) represent a rope, and "Gen" (Mountain) represents the nose, forming the image of tying up an ox by the nose. "Zhen" also represents a big road, and line six-three is in the position of "ren" (person), so there is the image of a passerby. The entire hexagram speaks of "no false movement," which requires upholding the correct path to achieve success. However, line six-three is not in the center, and a yin line is in a yang position, thus it is not appropriate. Therefore, there is an image of suffering calamity without any false action.

行人牽牛以去，居者反遭詰捕之擾，所謂無妄之災也。震主動，故去者猶可倖免，居者反以無妄致災。占者得此，以其行止分其吉凶也。象曰：行人得牛，邑人災也。得者有無妄之福，邑人有無妄之災。

A traveler leading a cow away is free from trouble, while those remaining in the town are harassed by the authorities, which is called "wu wang zhi zai" (unjust misfortune). The lower trigram "Zhen" (Thunder) represents movement, so the person who leaves can escape trouble, while those who stay in place suffer without cause. When this line appears in a divination, one should consider whether they are "moving" or "stationary," to determine fortune or misfortune. The Image Commentary says, "The traveler gains the cow, while the townspeople suffer disaster," meaning the person who led the cow away gains an unexpected blessing, while the people in the town suffer an unexpected misfortune—this same event brings gain and loss to two different parties.

九四：可貞，無咎。九居四非貞也，然陽剛乾體，不事應與，可以自守其正。不可以有為，亦不至於有咎也。蓋下卦震體，以動為無妄；四交乾，則動之時已過，以不動為無妄。可貞則不雜以妄矣。

The statement of the fourth line says: It is possible to hold on to the correct position without error. In terms of the position of the line, a yang line in the fourth position is in a yin position, and thus is not naturally considered 'correct'; however, it is of yang strength and belongs to the upper trigram 'Qian', and it does not attach itself to a corresponding line (the first line is also a yang line, and thus does not correspond with it). Therefore, it is able to maintain its own correctness. In this situation, there is not an appropriate time for action, but it does not lead to calamity or blame. The reason is that the lower trigram is 'Zhen', which expresses 'wuwang' (no false movement) through action; but by the fourth line, it has entered the body of 'Qian', and the time for action has already passed, so it should now express 'wuwang' through stillness. If one can maintain this stillness, then one's mind will not be tainted by false thoughts.

象曰：可貞無咎，固有之也。有猶守也。天命之正，人所固有。貞者，守其所固有也。九五：無妄之疾，勿藥有喜。五變，互三四為坎，有疾之象。互巽木、艮石，藥之象。乾剛中正，以居尊位。當無妄之時，容有非常意外之事，靜以待之則自消，如有疾勿藥而自愈也。

The Image Commentary says, "It is possible to be steadfast without blame, for this is inherent." Here, the character "有" means "to hold on" or "to keep." The righteous principle bestowed by Heaven is originally possessed by everyone. So, "steadfastness" refers to holding on to this inherent quality, rather than seeking another external righteousness. The fifth line of the hexagram says: a disease arising without cause, yet taking no medicine brings good fortune. In terms of imagery, the fifth line changes to form the trigram "Kan" (Water), which represents illness, together with the third and fourth lines, forming an interacting trigram "Kan." Additionally, the interacting structure contains "Xun" (Wood) and "Gen" (Mountain), symbolizing medicinal herbs and stones. The fifth line is a strong yang line in the central position, occupying the position of the ruler, and is at the time of "Wu Wang" (no false movement). It is inevitable to encounter unexpected events. If one remains calm and waits, the matter will naturally resolve itself, just as some diseases may heal without medication.

象曰：無妄之藥，不可試也。無妄而試藥，反為妄矣，故不可。上九：無妄，行有眚，無攸利。上居乾之終，純乎天矣，無妄之至也。然卦當窮極，以九居上，其位不正，行則無利，即彖所謂匪正有眚、不利有攸往也。

The Image Commentary says, "The medicine for no false movement is not to be tried." Originally there is no false movement, yet one attempts to use medicine to treat it, and this very attempt becomes false movement, hence it is said to be not advisable. The line statement for the top line says: being at the extreme of no false movement, proceeding further will bring calamity, and there will be no benefit. The top line occupies the highest line of the "Heaven" trigram, purely embodying the flow of heavenly principle, which can be said to have reached the extreme of "no false movement." However, when a hexagram reaches this point, it has reached its extreme, and since a yang line is in the upper position and not in the proper position, further movement will bring no benefit, which is exactly the meaning of the hexagram statement "It is not proper, there will be calamity, and it is not advantageous to go forward."

象曰：無妄之行，窮之災也。無妄宜可行，然時位窮極而行，則自為妄以取災也。全彖無妄二字義，兼《本義》實理自然與《史記》無所期望二意。無妄而出於正則利，不正則有眚。天下有無妄之福、無妄之禍，而自處不可不出於正也。六爻內三爻以動為正，故初往吉、二往利、三之行人亦得牛，皆有無妄之福也。外三爻以不動為正，故四可貞、五勿藥、上行則有眚。蓋雖有無妄之禍，而能靜守其正，則眚亦可無也。無妄之禍福聽於天，唯正則不失可亨之道，聖人示人切矣。

The Image Commentary says, "Unwarranted actions lead to calamity." In theory, "no unwarranted action" implies that action is permissible, but if one continues to act when both time and position have reached their extremes, then one is creating unwarranted actions that bring misfortune. Looking at the entire hexagram, the term "no unwarranted action" encompasses two meanings: first, as Zhu Xi explains in The Original Meaning of the Zhou Changes, it refers to the natural reality of things, meaning that the true nature of things is as it is; second, as recorded in the Records of the Grand Historian, "no unwarranted action" refers to events that do not come from expectation. Combined, if one acts in accordance with the right path while being unwarranted, it brings benefit; if not, it brings disaster. The world has both unexpected good fortune and unexpected misfortune, yet people must act in accordance with the right path. Among the six lines, the third line of the lower trigram is considered correct to act, so the movement of the initial line brings good fortune, the movement of the second line brings benefit, and the movement of the third line, which is the traveler, also receives an ox, all of which are examples of unexpected good fortune. The third line of the upper trigram is considered correct to remain still, so the fourth line should only maintain the right path, the fifth line does not need to take medicine, and the top line, if it moves, brings disaster. This shows that even if one encounters unexpected misfortune, by remaining still and maintaining the right path, the disaster can be eliminated without being realized. Whether good fortune or misfortune comes is determined by heaven, and only by maintaining the right path can one not lose the path of success. In this regard, the sage's teaching is truly earnest.

大畜，下乾上艮。天在山中，所畜者大，則有畜聚之義；乾健上進，為艮所止，則有畜止之義。以陰畜陽，所畜者小，則為小畜；以陽畜陽，畜之力大，則為大畜。大畜次無妄。按《序卦》：無妄然後可畜，故受之以大畜。物有其實，乃可畜聚，大畜所以次無妄也。

The hexagram "Da Xu" has the lower trigram "Qian" (Heaven) and the upper trigram "Gen" (Mountain). Heaven is contained within the mountain, and what is stored is extremely vast, which reflects the meaning of "accumulation." "Qian" is strong and vigorous, tending to move upward, but it is restrained by "Gen," which signifies "accumulation through restraint." The hexagram "Xiao Xu" uses one yin line to contain many yang lines, and the power being accumulated is small, hence it is called "small." In contrast, this hexagram uses the yang of "Gen" to contain the yang of "Qian," indicating a greater power of accumulation, hence it is called "great." The hexagram "Da Xu" follows "Wu Wang." According to the "Xu Guan Zhuan," after having the sincerity of "Wu Wang," one can then talk about accumulation, hence "Da Xu" comes next. Things must first have genuine substance before they can be accumulated, which is the reasoning for "Da Xu" following "Wu Wang."

全彖兼畜德、畜賢、畜健之意，總以見畜之大。六爻上三爻艮為畜者，下三爻乾受畜者。初受四之畜，故初有厲而四言牿牛也；二與五應，受五之畜，故二言說輹而五豶豕也。至三與上則合志上行，又畜極而通矣。此六爻之大略也。

The Hexagram Statement "Tuan" contains three layers of meaning related to "xu" (to restrain): cultivating one's own virtue, nurturing talented people, and restraining strength. In summary, it shows the great significance of "xu." The six lines are divided as follows: the three lines of the upper trigram belong to "Gen" (Mountain), which represents the side that restrains; the three lines of the lower trigram belong to "Qian" (Heaven), which represents the side that is restrained. Initially, line one is restrained by line four, so line one says "there is danger," and line four mentions adding a crossbar to a young calf. Line two corresponds with line five and is restrained by line five, so line two says the carriage has removed the young rabbit, and line five mentions castrating a pig. When lines three and nine, both yang lines, move together upward, the restraint reaches its peak and becomes unobstructed. This is the general structure of the six lines.

大畜：利貞，不家食吉，利涉大川。大，陽也。以艮畜乾，畜之大者。內乾剛健，外艮篤實輝光，能日新其德，所畜者大矣。異端曲學，所畜多而不正者有矣，故利於貞。所畜既正，可以享天祿而有為於天下。在一身為畜德，在國為畜賢。故賢人有是德，則其占不畜於家而畜於朝，一身之吉，亦天下之吉也。互兌為口，在乾之上，食天祿之象。所畜既大，能應乎天，可以濟險；又互體震木在兌澤之上，如舟之行，乾健應之，故又有利涉大川之象，蓋畜極而通也。

The hexagram statement says: The Great Accumulation is favorable to maintaining correctness. It is not good to stay at home and live off one's own resources, but rather to take up official duties and receive salary, which brings good fortune. It is also favorable to cross a great river. The term "great" refers to yang. The upper trigram "Gèn" (Mountain) holds back the lower trigram "Qián" (Heaven), which is the greatest form of containment. The inner trigram "Qián" is strong and vigorous, never ceasing, while the outer trigram "Gèn" is solid and sincere, radiating brilliance. Thus, its virtue is renewed day by day, and what is accumulated naturally becomes great. However, erroneous doctrines and perverse learning may accumulate much but not in accordance with correctness, so the hexagram statement specifically mentions "favorable to uprightness." When what is accumulated is correct, one can receive salary from the court and achieve something for the world. When it applies to an individual, it is the accumulation of virtue; when it applies to a country, it is the accumulation of virtuous talents. Therefore, when a virtuous person possesses such virtue, he should not remain confined at home, but should take up official duties in the court. The good fortune of one person is the good fortune of the world. In terms of symbolic representation, the mutual trigrams "Duì" (Lake) is the mouth, located above "Qián" (Heaven), symbolizing receiving heavenly salary. When what is accumulated is great and can respond to heaven, it can overcome difficulties. Furthermore, the mutual trigram "Zhèn" (Thunder) is like a wooden boat floating on the "Duì" (Lake), and the strong and vigorous "Qián" (Heaven) below pushes it forward, thus symbolizing "favorable for crossing a great river." This is precisely when accumulation reaches its peak, it becomes unimpeded.

彖曰：大畜，剛健篤實輝光，日新其德。此以卦德釋卦名義也。在他卦艮但言止，此言篤實輝光者，艮止故能篤實，此艮一陽之所以能畜也。篤實自有輝光，蓋畜於中而見於外也。以乾體之剛健，無人慾之私；艮之篤實，無虛偽之飾。則闇然日章，自有輝光。畜之不已，其德必日新矣。彖畜字有三義：以蘊蓄言之，蓄德也；以畜養言之，畜賢也；以畜止言之，畜健也。此專言蘊蓄之義，下文乃以畜賢畜健言之。

The Commentary on the Judgment says: The hexagram Great Accumulation is characterized by firm strength, sincerity, and radiance that is evident externally. It is using the nature of the hexagram to explain the meaning of its name. In other hexagrams, when the term "Gentle" is mentioned, it is only said to mean "to stop," but here it says "sincere and radiant," because "Gentle" is able to stop, so its inner substance is solid and not superficial. This is precisely because the single yang line at the top of "Gentle" is able to contain the strong yang of "Heaven." Sincerity naturally produces radiance, because whatever is contained within must eventually be revealed externally. The nature of "Heaven" is firm and strong, so it has no private desires or distortions; the nature of "Gentle" is sincere, so it has no false adornments. Thus it is as the "Doctrine of the Mean" says, "dark but growing brighter each day," and radiance naturally arises. Continuous cultivation leads to a constant renewal of virtue. The character "xu" (accumulation) in the Commentary on the Judgment has three meanings: in terms of accumulation, it refers to accumulating virtue; in terms of nurturing, it refers to nurturing the virtuous; in terms of stopping, it refers to restraining strength. This sentence specifically refers to the meaning of accumulation, and the following text then discusses nurturing the virtuous and restraining strength separately.

剛上而尚賢，能止健，大正也。以卦綜言之，無妄下卦之震，上為大畜之艮，剛上也。以卦體言，六五居中，尊尚上九，所謂尚賢也。以卦德言，以艮之止，止乾之健，如禁強暴之類，所謂能止健也。不曰健而止，而曰能止健者，以乾之健受艮之止，卦之所以稱大畜也。大正，總承上以剛陽在上，尊尚賢德，能止至健，皆非大正不能，以釋利貞之義也。

The Commentary on the Judgment continues to say: Yang strength is in a superior position and honors the virtuous, thus being able to restrain the strong and vigorous, which is great and just. In terms of the 'complementary' aspect of the hexagram (which reverses the hexagram's upper and lower trigrams), the lower trigram of the hexagram 'Wu Wang' (No Falsehood) when reversed becomes the upper trigram of 'Da Xu' (Great Accumulation), which is 'Gen' (Mountain). Therefore, it is said 'Yang is above'. In terms of the hexagram's structure, the line 'Six in the Fifth' is in a middle position and honors the superior line 'Nine at the Top', which is 'Honoring the Virtuous'. In terms of the hexagram's virtue, using 'Gen' (Mountain) to restrain 'Qian' (Heaven), which represents strength and vigor, is like stopping the violent, which is 'Being able to restrain strength'. Here, it does not say 'Strength and restraint' but rather 'Being able to restrain strength', to emphasize that the strong and vigorous nature of 'Qian' can be restrained by 'Gen'—precisely for this reason, it is worthy of the name 'Great Accumulation'. The final phrase 'Great Justice' summarizes the above: Yang strength in a superior position, honoring the virtuous, and restraining the most vigorous forces—these three things cannot be accomplished without a great and just force, hence using it to explain the hexagram statement 'Beneficial to Uphold Righteousness'.

不家食吉，養賢也。亦取尚賢之象。方陽剛在上，六五所尊之時，占者得之，宜食實祿於朝，所以不家食也。利涉大川，應乎天也。亦以卦體言。涉險非乾健不能，六五下應乎乾，故能涉川。天者，時而已矣。有蘊蓄之才，又有乾健之力，自可乘時濟險。

The Commentary on the Judgment says, "Not eating at home is auspicious, because it is about nurturing the virtuous." This also reflects the image of "valuing the virtuous": when the yang is strong and in a superior position, being honored by the sixth line in the fifth position, the person divining should take up official duties and receive the actual salary from the court, rather than remain confined to his own modest sustenance, hence "not eating at home." It also says, "It is advantageous to cross a great river, because it responds to heaven." This refers to the structure of the hexagram: crossing a dangerous river cannot be accomplished without the strength of the Qian trigram, which represents firmness and perseverance. Since the sixth line in the fifth position is below and corresponds to the Qian trigram, it can successfully cross the great river. Here, "heaven" is not something else, but rather the right opportunity. With long-accumulated ability and the ceaseless strength of Qian, one naturally can seize the opportunity and overcome difficulties.

象曰：天在山中，大畜。君子以多識前言往行，以畜其德。天在山中，《本義》謂不必實有是事。然天包地外，地下有天，是即山中之天也。山中有天，所畜至大。君子以此多識前古之言、已往之行，以畜其德之大者。小畜言懿文德，不過文章才藝之末而已；此則就道德性命言之。

The Great Image Commentary says: Heaven is contained within the mountain, which is the image of the hexagram Great Accumulation; the gentleman thus widely records the good words of former generations and the virtuous deeds of past sages, to cultivate his own virtue. Regarding "Heaven in the mountain," Zhu Xi in The Original Meaning of the Zhou Changes says it should not be taken as a literal occurrence. However, Heaven is enclosed outside the earth, and the earth beneath is also Heaven, so that is Heaven within the mountain. The mountain contains Heaven, and thus its capacity for accumulation is boundless. The gentleman takes this as a model, widely recording the words and deeds of ancients, to cultivate his great virtue. The Great Image of the hexagram Small Accumulation only mentions "excellent moral virtue," focusing only on efforts in literary skills and arts; here, however, it directly addresses the fundamental aspects of morality and destiny, and the grandeur is entirely different.

初九：有厲利已。已，止也。乾之三陽為艮所止，初九為六四所止。若恃其陽剛而銳於進往，必有危，故利於止也。他卦取陰陽相應為吉，此取其能畜，故外卦以畜止為義，內卦以自止為義。獨三與上畜極而通，則不以止言也。以自止為義者以陰陽言，若君子之受畜於小人；以畜止為義者以上下言，若有位之禁止強暴。象曰：有厲利已，不犯災也。自止則不犯災。

The line statement of initial nine says: there is danger, and it is advisable to stop. "Already" means to stop. The three yang lines of Qian are stopped by the upper trigram Gen. Specifically, initial nine is stopped by line six four. If it relies on its yang strength and rushes forward, it will certainly face danger, so stopping is advisable. Other hexagrams take yin and yang correspondence as auspicious, but this hexagram takes "ability to restrain" as its meaning. Therefore, the third line of the upper trigram takes the meaning of restraining others, and the third line of the lower trigram takes the meaning of self-restraint. Only nine three and upper nine are restrained to the extreme and then become unobstructed, so they are no longer discussed in terms of stopping.the so-called "self-restraint" refers to the relationship between yin and yang, like a gentleman being restrained by a petty person.the so-called "restraining others" refers to the relationship between superior and inferior, like the ruler prohibiting violence. The Image Commentary says "there is danger, but it is advantageous to stop, because it does not provoke calamity." If one is willing to stop, it will not provoke disaster.

九二：輿說輹。輹，車傍橫木，行則縛，止則脫，暫止旋起之義。輹脫則車破敗，輹脫但不欲行而已。故小畜之脫輹在人，而大畜之脫輹在已。蓋九二亦為六五所畜，以其剛中，故能自止而不進。乾有輿象，互兌為毀折，故有脫輹之象。象曰：輿說輻，中無尤也。以其剛而得中，不至於過。

Nine Two Line Statement says: The carriage axle is removed. "Fu Tu" refers to the transverse wooden bar beneath the carriage body that holds the axle in place; it is fastened during travel and removed when stopping, symbolizing a temporary halt that allows for resumption of movement at any time. If the spokes of the wheel break off, the carriage is ruined; but removing the "Fu Tu" merely indicates a temporary decision not to move. Therefore, the "say Fu Tu" in the Book of Lesser Accumulation is due to being forced by others, while the "say Fu Tu" in the Book of Great Accumulation is a voluntary choice. Nine Two is also restrained by Six Five, but because it is yang and in the center, it can restrain itself and refrain from advancing recklessly. In terms of symbolic imagery, "Qian" represents a carriage, and the interacting trigrams "Dui" signify destruction, thus indicating the removal of the axle. The Image Commentary says, "The carriage axle is removed, and there is no blame," because it is strong and in the center, so it does not go too far, and thus there is no fault.

九三：良馬逐，利艱貞，曰閒輿衛，利有攸往。三以陽居健極，上以陽居畜極，畜極而通之時也。乾為良馬，與上之陽合志，三互震為作足之馬，故有良馬逐之象。然恐其過則銳進，故戒以利於艱貞，而日閒習其輿衛，則利有攸往也。輿者，任重之物；衛者，應變之具。乾有輿象，陰爻兩列在前有衛象。以人事言，君子不終家食，以一身任天下之重者，輿也；以一身應天下之變者，衛也。必多識前言往行之理，畜剛健篤實之德，以待時而動也。

The statement of the third line says: A good horse gallops forward, it is appropriate to remain steadfast in adversity, to practice daily the matters of chariots and their guards, and to proceed to advantage. The third line, which is a yang line, occupies the extreme strength of the lower trigram, while the top line, also a yang line, occupies the extreme of stopping. This is precisely the moment when restraint reaches its limit and becomes passage. "Qian" represents a good horse, and both the third line and the top line are yang lines with aligned aspirations. The third line is in the mutual trigram "Zhen," which is the "horse with strong legs," hence the image of a good horse galloping. However, there is a fear that it may go too far and rush forward without restraint, so it is advised to remain steadfast in adversity and to practice daily the matters of chariots and their guards, thus proceeding to advantage. "Yu" refers to something that carries great responsibility, and "Wei" refers to the means to deal with unexpected events. In terms of imagery, "Qian" represents chariots, and the two preceding yin lines standing side by side resemble the image of guards surrounding. In terms of human affairs, a gentleman, who does not wish to live at home and support himself alone, must shoulder the great responsibility of the world, which is "Yu"; and he must be able to deal with the changes of the world, which is "Wei." To reach this level, one must widely remember the words and deeds of the past, cultivate a strong, firm, and solid virtue, and then wait for the right moment to act.

象曰：利有攸往，上合志也。陽志上進，且畜已極，故上不下畜三而合志上進也。六四：童牛之牿，元吉。童牛，未角之稱；牿，施橫木於牛角以止觸者。六四變離，牛象；應初，童牛象；互震木，施木牛角，為牿之象。六四畜初，防之於始，禁惡於未形，為力則易，故有防牛觸於未角之象，其占為大善之吉也。

The Image Commentary says, "It is advantageous to go forward, because the upper trigram shares the same aspiration." The nature of the yang is to ascend, and since the restraining has reached its extreme, the upper nine no longer restrains the nine in the third below, but instead moves upward in harmony with it. The line statement of the sixth line four says: "To add a crossbar to a young ox that has not yet grown horns brings great good fortune." "Child ox" refers to a young ox that has not yet grown horns, and "gù" is a crossbar fastened to the ox's horn to prevent it from pushing. In terms of the symbolic meaning, the change of the sixth line four transforms the upper trigram into "Li" (Fire), which represents an ox. It corresponds with the first line, which is at the very bottom, hence "child ox." The interacting trigrams include "Zhen" (Thunder), which represents wood. Adding wood to the ox's horn symbolizes the crossbar. The sixth line four restrains the first line at the very beginning of the matter, preventing evil before it takes shape, using little effort and achieving great results. Therefore, the image of "preventing the ox from pushing before it has horns" is used, indicating a great auspicious outcome.

象曰：六四元吉，有喜也。喜其不勞而無傷也。六五：豶豕之牙，吉。坎為豕，坎陽得乾之中畫，故有二亦有豕象。二之陽已長，而止之不若初之易矣。然五以柔中居尊，是以得其機而可制。如豕牙之猛利，制其牙則力勞，惟豶去其勢，則剛自止，故亦吉，但不如四之元吉耳。又按來注：天下無齧人之豕。引《埤雅》云：牙者，以杙繫豕也。此與童牛之牿同例。豶，走豕也。豶字與童字同，牙字與牿字同。互震木，有牙象；五變巽為繩，有繫象。此說亦可存。

The Image Commentary says, "Six in the Fourth is originally auspicious, there is joy," and the joy is that it avoids harm without effort. The Line Statement of the Fifth Line says: "A castrated pig's teeth are auspicious." In terms of imagery, "Kan" represents a pig, and the yang line of "Kan" comes from the central line of "Qian," so the Nine in the Second also carries the image of a pig. The yang energy of the Nine in the Second has already matured, and stopping it is not as easy as stopping the Nine at the Beginning. However, the Six in the Fifth, being gentle and proper in the central position and occupying a high position, is able to seize the key and has the means to control it. For example, a pig's teeth are fierce and sharp; trying to file them down by force is laborious and unproductive. Only by castrating the pig's strength does that fierce energy naturally subside—thus it is also auspicious, though not as auspicious as the "original auspiciousness" of the Six in the Fourth. According to Lai Zhide's commentary, there is another interpretation: there are no biting pigs in the world. He cites the "Biya" saying that "tooth" refers to the wooden stake used to tie up a pig. This interpretation is consistent with the phrase "a young bull with a yoke," where "fen" refers to a moving pig, and "fen" corresponds to "tong" (young), while "tooth" corresponds to "gu" (yoke); the interacting elements "Zhen" (Thunder) represent wood, symbolizing the wooden stake, and the Six in the Fifth changing to "Xun" (Wind) represents a rope, symbolizing the act of tying up. This interpretation can also be considered alongside the previous one.

象曰：六五之吉，有慶也。制惡有道，則不至於決裂，天下之福慶也。上九：何天之衢，亨。何字，《程傳》謂衍文，《本義》謂何其通達之甚也，驚喜之詞，今從《本義》。艮為徑路，天之衢則大通矣。艮本畜乾，乃畜極而通，三陽上達，在卦之上，故有天衢之象。始抑而今乃大通，故若訝之喜之，其亨可知矣。

The Image Commentary says, "The good fortune of the sixth line in the fifth position is a blessing." When evil matters are properly controlled, they do not escalate to mutual destruction, which is a blessing for the world. The line statement for the top nine says: "How broad is the great path of heaven, it is smooth and prosperous." Regarding the character "何" (how), Cheng Yi in his Yichuan Commentary on the Changes considers it an extraneous addition, while Zhu Xi in his The Original Meaning of the Zhou Changes interprets it as "how remarkably smooth and open," an exclamation. Chen follows Zhu Xi's interpretation here. In terms of imagery, "Gen" (mountain) represents a narrow path, while "the great path of heaven" represents a broad, well-connected road. Originally, "Gen" restrains "Qian" (heaven), but when it reaches its extreme, it becomes open. The three lower yang lines ascend smoothly, and the top line is at the highest position of the entire hexagram, thus forming the image of the great path of heaven. Initially, there was constant suppression, but now there is sudden openness, so the tone contains both surprise and joy, and its smoothness and prosperity are evident.

象曰：何天之衢，道大行也。賢路大開，君子之道可大行矣。全卦兼畜德、畜賢、畜健，六爻則專取畜止。受畜者當知自畜之道，主畜者貴有豫畜之功。至於畜極而通，則又理數之自然，不可強者也。然畜之所以大，恃艮上之一陽，乃四五陰爻有畜止之事，至上反不言畜者，蓋唯所畜者大，則所通者亦大。故小畜之上九，畜道之成，反有征凶之戒；而大畜之上九，畜道已散，反有大行之亨。又喜陽惡陰之微旨也。

The Image Commentary says, "What is the heavenly thoroughfare? The way is greatly flourishing." The path for promoting virtuous people is fully open, so the way of the gentleman can be widely practiced in the world. Looking at the entire hexagram, the Hexagram Statement encompasses three meanings: cultivating virtue, nurturing talents, and restraining strength. However, the six lines focus specifically on the meaning of "nurturing and restraining." The party being nurtured and restrained should understand the way of self-restraint; the party doing the nurturing and restraining should value the effort made in advance. As for the transition from being restrained to becoming unimpeded, this is a natural result of principle and number, not something that can be forced by human effort. However, the reason "nurturing" is called "great" is because of the single yang line at the top of the mountain trigram (Gen). Yet the actual nurturing and restraining is done by the two yin lines, six four and six five. At the top nine, it no longer speaks of "nurturing" — this is because what is nurtured is great, and so is what is ultimately achieved. Therefore, in the upper nine of the Minor Hexagram of Nurturing, the nurturing path has just been completed, yet there is a warning of "danger in going forward." In the upper nine of the Great Hexagram of Nurturing, the nurturing path has already dissolved, yet there is a smooth passage. This also contains a subtle meaning of the Book of Changes favoring yang and disfavoring yin.

頤卦，下震上艮。上下兩陽，中含四陰，上止下動，頤之象也。口所以飲食，故卦名頤，而取義於養。頤次大畜。按《序卦》：物畜然後可養，故受之以頤。物既畜聚，必有所以養之，頤所以次大畜也。全彖言養人自養皆歸於正，而極言養道之大。六爻下震動，多言求人之養，求養者多不正，故多凶；上良止，多言養人，養人者多得正，故多吉。此全卦六爻之大旨也。

The hexagram "Yi" has the lower trigram "Zhen" (Thunder) and the upper trigram "Gen" (Mountain). Each trigram contains one yang line, with four yin lines in between. The upper part is still, while the lower part is active, resembling the action of chewing where the upper jaw remains still and the lower jaw opens and closes. The mouth is used for eating, so the hexagram is named "Yi" and its meaning is derived from "nourishment." "Yi" follows "Da Xu." According to the "Xu Gua Zhuan," after things have been accumulated, they can then be nourished, hence "Yi" comes after "Da Xu." Once things have been stored, there must be a way to nourish them, which is the reasoning for "Yi" following "Da Xu." The hexagram statement discusses the importance of proper nourishment for both others and oneself, emphasizing the great significance of the principle of nourishment. Among the six lines, the lower trigram "Zhen" represents activity, often referring to seeking nourishment from others. Those seeking nourishment are often not upright, hence there are many ominous lines. The upper trigram "Gen" represents stillness, often referring to nourishing others. Those who nourish others are usually upright, hence there are many auspicious lines. This is the main idea of the entire hexagram.

頤：貞吉，觀頤，自求口實。頤，口旁也。卦取頤之象，而口之食物，所以養也，故取養之義。頤中有物曰噬嗑，恐言其所養，故不取養義。頤中虛未受外物，則當擇其所養，唯正則吉也。觀頤，《本義》謂觀其所養之道，就養德言；自求口實，《本義》謂觀其所以養身之術，就養身言。觀其養德者，果出於聖賢而不入於他途；養身者，果合於理義而不害於飢渴，則得正而吉矣。今時解皆從之。

The Hexagram Statement says: "The Hexagram of Cultivation (Yi) advises that maintaining correctness leads to good fortune; observe the principle of nourishment and seek one's own sustenance." The character "颐" originally refers to the cheek near the mouth. This hexagram uses the image of the mouth and cheek, as the mouth is the organ used for eating, which is essential for nourishing the body. Hence, it is extended to mean "nourishment." Similarly, the hexagram with two upper and lower yang lines containing a yin line, if the mouth has an extra horizontal line, forming the shape of something contained, becomes the Hexagram of Breaking Apart (Shihe), because it focuses on the object being chewed, so it does not take the meaning of "nourishment." The Hexagram of Cultivation, however, shows an empty mouth, not yet containing external things, and at this time one should choose what to nourish. Only by maintaining correctness will it be auspicious. The phrase "Observing Cultivation" is interpreted by Zhu Xi in The Original Meaning of the Zhou Changes as observing the principles of cultivating virtue, referring to moral cultivation. The phrase "seeking one's own sustenance" is interpreted by Zhu Xi as observing the methods of nourishing the body, referring to physical cultivation. One should observe whether the person's cultivation of virtue is truly based on the path of sages and not deviating; one should observe whether the person's physical nourishment is in accordance with reason and morality and not harmed by hunger and thirst. In this way, correctness is achieved and auspiciousness follows. The current common interpretations follow this approach.

然按《正義》及《程傳》皆以為觀其養人及自養。今觀彖傳，語意近之，則所謂觀頤者，觀其所以養人，不可不得其道；所謂自求口實者，求其所以自養，不可徒狥其欲也。自養者小，養人者大，故彖傳極其義於天地聖人，則養人之義不可無。又自養有道，則不以口腹累其心志，雖言養身，而養德之意已在其中，不必以觀頤為養德也。

But according to Kong Yingda's "The Correct Meaning of the Zhou Changes" and Cheng Yi's "Yichuan's Commentary on the Changes," both interpret these two sentences as "observing how he nourishes others" and "observing how he nourishes himself." When comparing the wording of the "Commentary on the Judgment," the meaning is even closer to this interpretation. Therefore, "Guan Yi" refers to observing the method of nourishing others, which should not be contrary to the Way; "Zi Qiu Koushi" refers to seeking the way of nourishing oneself, which should not be solely driven by one's own desires for food and drink. Nourishing oneself is a minor matter, while nourishing others is a major one. Hence, the "Commentary on the Judgment" extends this meaning to the heavens and sages, showing that the concept of nourishing others cannot be omitted. Moreover, if one has a proper way of nourishing oneself, one will not let desires for food and drink interfere with one's aspirations. Although this is about nourishing the body, the meaning of cultivating virtue is already included. Therefore, it is not necessary to interpret "Guan Yi" as specifically about cultivating virtue. This is the reason why Chen's interpretation chose the "Correct Meaning" and "Yichuan's Commentary" over the "Original Meaning."

彖曰：頤貞吉，養正則吉也。觀頤，觀其所養也；自求口實，觀其自養也。觀彖傳所養自養，作養人自養為是。君子在上足以養人，在下足以自養。卦中上下二陽為卦之主爻，所養指上九，自養指初九也。

The Commentary on the Judgment says: The hexagram "Yi" (Nourishment) brings good fortune when one holds to the correct path, meaning that what is being nourished conforms to the right way. "Observing Nourishment" refers to observing whom one is nourishing and how one is nourishing them; "seeking food oneself" refers to observing how one nourishes oneself. From the two phrases "what is being nourished" and "self-nourishment" in the Commentary on the Judgment, it is most appropriate to interpret them as "nourishing others" and "self-nourishment." A gentleman in a superior position is sufficient to nourish others, while in an inferior position he is sufficient to nourish himself. The two yang lines in the hexagram are the main lines of the hexagram: "what is being nourished" refers to the line at the top, the Nine at the Top, and "self-nourishment" refers to the line at the beginning, the Nine at the Beginning.

天地養萬物，聖人養賢以及萬民，頤之時義大矣哉。此極言養道之大，皆得其正者也。天地之於萬物，無庸區別，陰陽運行而萬物各遂其生，一出於正而已。若不正，則二氣繆戾，何以養萬物乎。

The Commentary on the Judgment continues to say: Heaven and Earth nurture all things, and the sage nurtures virtuous talents and extends his care to all people. The meaning and timing contained in the Hexagram of Nourishment are indeed great. This takes the principle of nurturing to its extreme, and all things receive their proper order. Heaven and Earth treat all things without distinguishing between near or distant, thick or thin; yin and yang move in their proper directions, and all things thus grow and develop in their proper ways. In the end, it is all about the principle of correctness. If this principle is not maintained, yin and yang would be discordant and chaotic, and then what could be used to nurture all things?

聖人之養人，不能家賜而人益之也，必擇賢才，與共天祿，使之施澤於天下，是養賢以及萬民，亦一出於正而已。若不正，則賢人不在上位，澤何由下究乎。此極言養之大，故專就所養言之也。

The sage nurtures people, but it is impossible to reward every household or provide assistance to each individual. Therefore, he must select virtuous talents and share the state's salary with them, enabling them to extend their benevolence throughout the world. This is called "nurturing virtuous people to benefit all the people," and it is all about the principle of "correctness." If there is no correctness, the virtuous people will not hold office, and where would the benevolence come from to be passed down? This passage emphasizes "nurturing" to its fullest extent, so it speaks specifically about the aspect of "nurturing people."

象曰：山下有雷，頤。君子以慎言語，節飲食。帝出乎震，萬物得養而生；成言乎艮，萬物得養而成，所以取於養也。言語飲食皆頤之動，慎之節之，法艮之止也。慎言語所以養德，節飲食所以養身。此則專就自養言之，已得其養，然後可以及人也。彖傳言養之大者，故極其所養，至於萬物天下；象傳言養之切者，故先其自養，而始於言語飲食，要皆出於正者也。

The Great Image Commentary says: Mountains below with thunder resounding, this is the image of the Hexagram of Nourishment; thus the gentleman is cautious in his words and restrains his diet. The Discourse on the Hexagrams states, "The Emperor arises from the Thunder," meaning all things receive nourishment and sprout; it also states, "The completed word is expressed in the Stillness," meaning all things receive nourishment and achieve completion—these two hexagrams together fully express the meaning of "nourishment." Words and diet are activities of the mouth and sustenance, and being cautious and restrained is following the stillness of the hexagram艮. Being cautious in speech is for cultivating virtue, and restraining diet is for cultivating the body. This passage specifically discusses self-cultivation: one must first be able to cultivate oneself before being able to extend to others. The Commentary on the Judgment discusses the great aspect of nourishment, thus extending the concept of nourishment to all things and the world; the Great Image Commentary discusses the immediate aspect of nourishment, thus first speaking of self-cultivation and starting from the intimate aspects of speech and diet. In the end, both must come from the right path.

初九：舍爾靈龜，觀我朵頤，凶。上宜養下，然陽又宜養陰。初陽在下，不能養人，故以自養言之。靈龜，不食之物；朵，動；朵頤，食物之貌。離體中虛為龜，全卦有靈龜象。我指四也。上三爻主養人者，初與四正應，宜待養於四，不宜凶者。然陰則待養，陽宜養人，初九陽剛在下，不能養人，猶當善於自養，乃以震體而上應六四之陰，有舍靈龜、觀於四而朵其頤、欲有所食之象。靈龜以氣自養，不求養於外，養之得正者也；朵頤則貪慾而易其清除摻，養不以正，宜其凶矣。

The line statement for the initial yang line says: "Abandon your self-sustaining spiritual turtle, yet stare at me and eat greedily, which is dangerous." In terms of position, those in higher positions should nourish those below; in terms of yin and yang, the yang line should nourish the yin line. The initial yang line is a yang line but located at the very bottom, so it does not have the position to nourish others, and thus can only be discussed in terms of self-nourishment. "Spiritual turtle" refers to a mythical creature that breathes but does not eat; "duo" means to move; "duoyi" means the act of chewing. The trigram "Li" (Fire) is hollow in the middle, resembling a turtle shell, and the entire trigram has yang lines above and below with a hollow center, which resembles the image of a spiritual turtle. The "I" in the line statement refers to the line six four. The third line of the upper trigram is responsible for nourishing others, and the initial yang line and line six four are in a correct response relationship. Normally, line six four should nourish the initial yang line, so it would not be dangerous. However, yin lines need to be nourished by yang lines, and yang lines should nourish yin lines. The initial yang line, being yang and located at the bottom, although it cannot nourish others, should be good at self-nourishment. Now, however, it has the nature of the trigram "Zhen" (Thunder), which is active and moves upward, responding to line six four, a yin line. Thus, there is an image of abandoning the spiritual turtle and staring at line six four, opening the mouth to eat. The spiritual turtle sustains itself through vital energy without seeking external nourishment, which is proper nourishment. However, opening the mouth to eat is driven by greed, replacing the originally tranquil way of life. Nourishing without proper means leads to danger.

象曰：觀我朵頤，亦不足貴也。陽剛以能養人為可貴，今乃不能自養，至為欲所累，不足貴也。六二：顛頤，拂經，于丘頤，征凶。上之養下，理之常經也。然陰不能自養，必欲從陽求養。今二求養於初，則顛倒而違於常理矣。上九最高，有丘象，二求養於上，則非正應，往必取凶矣。六二在他卦為柔順中正，在頤則為動於口體，上動於下，下動於初，皆自養之不以正者也。

The Image Commentary says, "Observing my chewing, it is not worth much": the value of yang lies in its ability to nourish others; now, if even self-nourishment is impossible, and one is dragged down by desires, it is not worth much. The line statement of the second line says: seeking nourishment in reverse is against the norm; turning to seek nourishment from the high hill, going there will bring misfortune. It is the norm that the superior nourishes the inferior. However, a yin line cannot nourish itself and must depend on the yang line for nourishment; now, the second line seeks nourishment from the first line below, reversing the relationship and violating the norm. The ninth line at the top is the highest position, symbolizing a hill. If the second line seeks nourishment from the ninth line above, it is not the proper match, and going there will certainly bring misfortune. In other hexagrams, the second line is considered a good line because it is flexible and upright, but in the hexagram of Nourishment, it becomes a line that moves recklessly for food, moving upward to the ninth line or downward to the first line, and in both cases, it is self-nourishment without correctness.

象曰：六二征凶，行失類也。拂經之義易明，不必言矣。于丘頤乃曰征凶者，以上非正應，失其類也。《本義》兼初爻言之，似不必。六三：拂頤，貞凶，十年勿用，無攸利。三與上為正應，待養於上，得頤之貞者也。然自處不中不正，居動之極，是媚上以貪求而無厭者，拂頤之貞矣，其占必凶。互得坤，有十年之象。不中正而妄動，無所往而利者也。蓋全彖以正而吉，三不中正故凶。

The Image Commentary says, "Six in the Second, going on a journey brings calamity, because it loses the principle of following its kind." The meaning of "violating the norm" is already clear, so there is no need to explain it again. Here, the statement "going on a journey brings calamity" is specifically referring to "at the hillside, nurturing." This is because the Nine at the Top is not the proper corresponding line to Six in the Second, and seeking to rely on it would mean losing the principle of following one's kind. Zhu Xi's The Original Meaning of the Zhou Changes explains this statement together with Nine at the Beginning, but this seems unnecessary. The line statement for Six in the Third says: violating the principle of nurturing, clinging to it also brings calamity, for ten years there should be no action, and there will be no benefit. Six in the Third and Nine at the Top are properly corresponding, and relying on Nine at the Top to nurture it is in line with the principle of maintaining correctness in the YI hexagram. However, Six in the Third is neither in the center nor in the correct position, and it is precisely at the top of the lower trigram ZHEN, which represents movement. This is like flattering the superior and being insatiable in desire, thus violating the principle of correctness required by the YI hexagram, and the divination must therefore indicate calamity. In terms of symbolic representation, the interacting trigrams form KUN, and KUN is associated with the number ten, symbolizing "ten years." Being neither correct nor upright and acting recklessly, it will bring no benefit wherever it goes. In summary, the hexagram statement takes "correctness" as auspicious, and since Six in the Third is neither correct nor upright, it is therefore calamitous.

象曰：十年勿用，道大悖也。不中正而妄動，大悖頤養之道也。六四：顛頤吉，虎視眈眈，其欲逐逐，無咎。上三爻皆以養人言之，而陰宜待養於陽，四與初又正應，故《程傳》《本義》皆謂此爻求養於下以養人者，時解從之，作大臣用賢以養民之義。然以虎視為四，則爻中未見養人及施下之象，於象傳上施之言不合。今從《蘇傳》，作以四養初為順。

The Image Commentary says, "For ten years, do not use it; this is a great contradiction." Since it is neither upright nor proper, it greatly violates the way of nurturing. The line statement for the fourth line says: seeking nourishment in reverse is actually auspicious, like a tiger staring intently, with continuous desires, without fault. The third line of the upper trigram originally discusses "nurturing others," but since the yao is yin, it should be nourished by the yang. Moreover, the fourth line and the first line are in proper correspondence. Therefore, Cheng Yi's Yichuan Commentary on the Changes and Zhu Xi's The Original Meaning of the Zhou Changes both interpret this line as "seeking nourishment from the first line, using it to nourish the people." Contemporary interpreters follow this interpretation, explaining it as ministers employing virtuous talents to nourish the people. However, if the subject of "staring intently" is taken as the fourth line, the line statement does not clearly show the image of nurturing others or bestowing benefits upon the people, and it does not match the Image Commentary's statement "the superior applies light." Therefore, Chen's interpretation follows Su Shi's Dongpo Commentary on the Changes, interpreting it as the fourth line nourishing the first line, making the meaning coherent.

蓋上宜養下，陽宜養陰。以上下之位言之，二求養於初固顛頤；以陰陽之義言之，初求養於四亦顛頤也。但四居初之上，所處得正，又為正應。自初而言之，則初之見養於四為凶；自四而言之，則四之能養初九為吉。初九之剛，其視若虎之眈眈，不可馴也；六四順其所欲而致之，逐逐焉而來，不失以上養下之正，咎可無矣。綜卦本不宜取象，但自四視初，則震反為艮，故初有虎視之象。

In general, the superior should nourish the inferior, and the yang should nourish the yin. Considering the positions of upper and lower, the hexagram 'Dian Yi' (Reversal of Nourishment) arises when the second line (six in the second) seeks nourishment from the first line (nine at the beginning). Considering the principle of yin and yang, the first line (nine at the beginning) seeking nourishment from the fourth line (six in the fourth) is also 'Dian Yi'. However, the fourth line is above the first line, is in the proper position, and is in the correct correspondence with the first line. From the perspective of the first line, it is unfortunate that it receives nourishment rather than giving it. From the perspective of the fourth line, it is fortunate that it can nourish the first line. The first line has strong yang energy, with eyes like a tiger fixed and unrelenting, difficult to control. The fourth line follows its desires and provides it with nourishment, so the first line comes repeatedly. The fourth line does not lose the proper path of nourishing the inferior, so it has no fault. According to the example, the 'inverted hexagram' is usually not used for imagery, but looking from the fourth line back to the first line, the lower trigram 'Zhen' (Thunder) inverted becomes 'Gen' (Mountain), and 'Gen' represents a tiger, so the first line has the image of a tiger watching.

象曰：顛頤之吉，上施光也。按《蘇傳》謂六四於初為上，六四之所施，可謂光矣。今按施固在四，不妨兼上爻言之。蓋上爻，物所由以養，六四與上同體，四所以逐逐能繼者，亦賴與上同體，得以恩施及下也。以人事言，五，君也；上，相也；四則奉令行政之大臣，膏澤下於民者也。

The Image Commentary says, "The good fortune of the颐 hexagram comes from the illumination at the top." According to Su Shi's Commentary on the Changes, six in the fourth position is considered "the top" in relation to nine at the beginning. What six in the fourth provides can be said to be expansive. Now, although the giving is indeed from six in the fourth, it is not inappropriate to include nine at the top as well: nine at the top is the source from which all things receive nourishment. Six in the fourth and nine at the top share the same "Geng" structure. The reason six in the fourth can continuously provide support is because it shares the same body as nine at the top, thus conveying the benefits down to the lower positions. Using human affairs as an analogy: six in the fifth is the ruler, nine at the top is the prime minister, and six in the fourth is the minister who carries out the ruler's orders, conveying the benefits all the way to the people.

六五：拂經，居貞吉，不可涉大川。以上養下，常經也。六五以陰居尊，不能養人，反賴上九以為之養，拂於經矣。然居尊而能順陽剛之德以為養，又艮體之中，故有靜安於正而得吉之象。陰柔不可以大有所為，故又有不利涉大川之象。六二拂經而凶，此拂經而猶吉者：二動體，貪求於人以自養，則失正而凶；五止體，雖不能養人，而能用人以養人，則正矣，故吉。時解作君用賢養民，近之。象曰：居貞之吉，順以從上也。能從上九之賢，以養天下故也。

The line statement of the fifth line says: going against the norm, remaining in a stable and upright position brings good fortune, but crossing a great river is not advisable. It is the norm that the superior position nurtures the inferior one; however, the fifth line, being a yin and flexible line in the position of a ruler, is unable to nurture others, and instead depends on the top line to nurture the world, thus violating the norm. Nevertheless, although it holds a position of honor, it can follow the virtue of yang and act in a way that nurtures. It is also located within the 'Gèn' trigram, which represents stillness, so there is an image of quiet stability and good fortune. Since yin and flexibility cannot achieve great things, there is also an image of not being suitable for crossing a great river. Both the second line and the fifth line are described as 'going against the norm,' but the second line is凶 (unfavorable) while the fifth line is吉 (favorable). The difference lies in the fact that the second line belongs to the 'Zhèn' trigram, which represents movement, and it desires to be nurtured by others, thus losing its proper position and resulting in misfortune. The fifth line, however, belongs to the 'Gèn' trigram, which represents stillness. Although it cannot personally nurture others, it can appoint virtuous people to do so, thus aligning with the proper position and resulting in good fortune. The current interpretation that a ruler employs virtuous ministers to nurture the people is close to the original meaning. The 'Image Commentary' says, 'Residing in uprightness brings good fortune, because it follows the superior,' as it follows the top line, a virtuous person, and uses his strength to nurture the world.

上九：由頤，厲吉，利涉大川。六五順上九以養人，是物由上九以養也，故曰由頤。然位高任重，易失之專，故必危厲而吉。五不利涉大川而上利者，五柔而上剛也。此居大臣之位而澤及天下，可以濟變者也。象曰：由頤厲吉，大有慶也。言天下被其澤也。全卦言自養養人，皆貴於得正。六爻以上下之勢言之，則在上宜養人，在下則不能，故上三爻多言養人，而下三爻多言自養。

The statement of the top line says: The world is sustained by it, and if one remains cautious and fearful, it is auspicious, and it is appropriate to cross a great river. The fifth line is in harmony with the top line, and the world is sustained by the top line, so it is called 'Nourishing the Mouth.' However, because it holds a high position and bears great responsibility, it is easy to become domineering, so it must remain constantly cautious to achieve auspiciousness. The fifth line is not suitable for crossing a great river, while the top line is, because the fifth line is yin and weak, and the top line is yang and strong. This refers to someone who holds a position of great authority, whose grace extends throughout the world, and who can manage crises. The Image Commentary says, 'Nourishing the Mouth, being cautious and auspicious, brings great blessings,' meaning that the whole world benefits from his grace. Looking at the entire hexagram, whether it is about self-nourishment or nourishing others, it values uprightness. Considering the six lines in terms of their positions, those above should nourish others, while those below do not hold such a position, so the third line of the upper trigram often discusses nourishing others, and the third line of the lower trigram often discusses self-nourishment.

以陰陽之分言之，則陽能為養，而陰待養於陽，故初上有養人之才，而中四爻皆有藉於初上。上九居上卦之上，又有陽剛之德，六五藉之以養天下者，故最吉。初九其位雖不能養人，其陽剛猶可以自養，乃動於四而自養，併失其正者也，故凶。四五雖不能養人，而能資人之養，又推以養人者也。

If we look at the distinction between yin and yang, yang can provide nourishment, while yin relies on yang for sustenance. Therefore, the two yao, initial nine and upper nine, possess the quality to nourish others. The four middle yin yao all depend on these two extremes. The upper nine is located at the top of the upper trigram and possesses the virtue of yang strength. The sixth five yao relies on it to nourish the world, so it is most auspicious. The initial nine, although in a low position and lacking the status to nourish others, can sustain itself through its yang strength. However, it is pulled upward by the fourth six and seeks nourishment from above, thus losing the proper path of self-sustenance, which makes it inauspicious. The fourth six and fifth six, although unable to nourish others themselves, can obtain sustenance through others and then pass this sustenance on to others.

故雖未能如上之涉川，而皆有吉道。二三既待養於人，又急於求賢（文瀾本「賢」作「養」），則自養之大遠於正者也，故其凶又有甚於初矣。要之，自養得正，然後可以養人。君子必由慎言語、節飲食以為自養之功，極之至如天地之養萬物、聖人之養賢以及萬民，以盡所養之道，庶有得於頤卦之旨矣。

Therefore, although they are not as capable as the upper nine in crossing great rivers, they all have ways to achieve good fortune. The sixth line and the third line depend on others for sustenance and rush about seeking everywhere (in the Wenlan edition, the character 'xian' is written as 'yang'), so their path of self-cultivation is even further from 'correctness,' hence their misfortune is heavier than that of the initial nine. In summary, one must first cultivate oneself correctly before being able to nurture others. The gentleman must certainly begin with the practical efforts of being cautious in speech and restraining diet, gradually extending this to the level of the heavens and earth nurturing all things, and the sage nurturing virtuous people and extending this care to all the people. Only when the way of nurturing is fully practiced can one truly understand the principle of the Hexagram of Nourishment.

大過，下巽上兌。澤以潤木，乃至滅木，有大過之象。陽大陰小，中四陽極盛，初上二陰不能勝，大者過也，故名大過。大過次頤。按《序卦》：頤者，養也，不養則不可動，故受之以大過。凢物養成，而後所動者大，非常之事，大過於人，由於所養者大，大過所以次頤也。

The hexagram "Great Excess" has the lower trigram "Xun" (Wind) and the upper trigram "Dui" (Lake). Normally, water from the lake nourishes the trees, but now it completely drowns them, showing the image of "excess." Yang represents the great, and Yin represents the small. The four middle yang lines are extremely strong, while the two yin lines at the bottom and top cannot withstand this. The "great" aspect has gone beyond its limit, hence the name "Great Excess." The hexagram "Great Excess" follows "Yi" (Nourishment). According to the "Sequence of Hexagrams," "Yi" means nourishment; without nourishment, there can be no action, so "Great Excess" comes next. Once something is fully developed, it can then move with great momentum; extraordinary actions that far exceed ordinary ones are precisely due to the vast cultivation accumulated over time—this is the reasoning behind "Great Excess" following "Nourishment."

又六十四卦次序多由相綜，惟乾與坤錯，坎與離錯。此則澤風與山雷相錯，下經則以風澤與雷山相錯也。全彖以四陽雖過，而二五得中，內順外說，其道可行，故所往皆亨。六爻則以剛柔相濟者為善，而過剛過柔者皆凶。二四爻剛而位柔，故二利而四吉；初爻柔而位剛，故無咎；三五重剛而三又不中者也，故三凶而五丑；至上則以柔居柔，過於柔者也，故凶。大抵剛柔相濟，則有大過人之才，行大過人之事；否則過於剛、過於柔，皆失之於過者也。此全卦六爻之大旨也。

In addition, the arrangement of the sixty-four hexagrams mostly depends on the "comprehensive" method, which involves flipping the previous hexagram upside down to form the next one; only the hexagrams Qian (Heaven) and Kun (Earth), Kan (Water) and Li (Fire) are "opposite" hexagrams, meaning all six lines are reversed in yin and yang. Here we also have opposite hexagrams: Zhefeng Da Guo (Lake Wind Great Excess) and Shanlei Yi (Mountain Thunder Nourishment); in the lower section of the book, Fengze Zhongfu (Wind Lake Middle Trust) and Leishan Xiaoguo (Thunder Mountain Small Excess) are also opposite hexagrams. Looking at the hexagram statements from the Tuang (Commentary on the Hexagrams), although four yang lines are excessive, nine two and nine five each occupy the central positions. The inner trigram Xun (Wind) is smooth and the outer trigram Dui (Lake) is joyful, so the path is still feasible, hence the overall situation is favorable. Looking at the six lines, it is good when yin and yang are balanced; excessive yang or excessive yin is bad: nine two and nine four are yang lines in yin positions, so nine two is beneficial and nine four is favorable; initial six is a yin line in a yang position, so there is no blame; nine three and nine five are both yang lines in yang positions and are heavy yang, and nine three is not in the central position, so nine three is bad while nine five is "not good"; upper six is a yin line in a yin position, and the yin is excessive, so it is bad. In general, only when yin and yang are balanced can one possess extraordinary ability to accomplish extraordinary things; otherwise, being overly yang or overly yin leads to excess. This is the main idea of the entire hexagram.

大過：棟橈，利有攸往，亨。大，陽也。四陽居中過盛，故為大過，上下二陰不能勝。又卦之大象坎，坎為棟又為矯揉，故有棟橈之象。然二五得中，內巽外說，有可行之道，故所往皆亨也。既有棟橈之象，而又利於往而可亨者，有陽剛之才，則雖當甚危之時，無不可為之事，此所以大過乎人也。

The Hexagram Statement says: "Great Excess" refers to a bent house beam, suitable for going forward, and it is smooth and unimpeded. The term "great" refers to the yang. Four yang lines are in the center and are excessive, hence called "Great Excess." The two yin lines above and below cannot support it. Looking at the overall structure of the hexagram: the middle is solid, while the upper and lower parts are empty, forming the shape of "Kan." "Kan" symbolizes a beam and also the act of bending wood, hence the image of a bent house beam. However, Nine in the Second and Nine in the Fifth each occupy the central positions. The inner trigram "Xun" is compliant, and the outer trigram "Dui" is joyful, indicating a path that can be taken, so going forward is smooth and unimpeded. Although the image of a bent beam is presented, it still says it is suitable to go forward and smooth, because if a person has yang strength, even in extremely dangerous situations, nothing is impossible. This is precisely his superiority over ordinary people.

彖曰：大過，大者過也。謂陽過也。此以卦體釋卦名義也。棟橈，本末弱也。本謂初，末謂上，弱謂陰柔也。此又以卦體釋卦辭也。剛過而中，巽而說行，利有攸往，乃亨。以卦體言之，剛雖過而二五得中；以卦德言之，巽順而和悅以行。如此則不激於意氣，不拂於物情，調劑合宜，委曲盡善，所往皆利，乃可亨也。乃者，難之之辭。大過之時義大矣哉。以大過人之材，立非常之大事，創不世之大功，成絕俗之大德，唯其時為之。無其時，不可過；有其時無其才，不能過也。

The Commentary on the Judgment says: "Great Excess" refers to the excess of the yang element, which is excessive. This is an explanation of the meaning of the hexagram name based on the structure of the hexagram. It also says, "The beam is bent, because the beginning and the end are weak." Here, "beginning" refers to the first line, "end" refers to the sixth line, and "weak" refers to their being yin and soft. This is still an explanation of the hexagram statement based on the structure of the hexagram. Furthermore, it says, "Yang is excessive but in the center, the inner trigram 'Xun' is yielding and the outer trigram 'Dui' is joyful, thus it is advantageous to go somewhere and then success comes." In terms of the structure of the hexagram, although yang is excessive, the lines nine in the second and nine in the fifth are in the central positions. In terms of the trigram qualities, the inner trigram 'Xun' is yielding and the outer trigram 'Dui' is joyful, so acting upon this will not be impulsive, nor will it go against human feelings and reason. It is well balanced, flexible and thorough, so that going anywhere is advantageous and success is achieved. The word "then" in the sentence indicates a tone of difficulty and the need for some effort. The last sentence, "The meaning of the time of Great Excess is great indeed," means that with extraordinary ability, one can accomplish great things, create great achievements, and attain great virtue. However, this depends on the opportunity. Without the opportunity, one should not exceed. If there is the opportunity but not the ability, exceeding is not possible.

象曰：澤滅木，大過。君子以獨立不懼，遯世無悶。澤以潤木，而今滅沒之，大過之象也。君子之行，不求同俗而求同理。天下非之而不顧，獨立不懼也；不求人知而求天知，舉世不知而不悔，遯世無悶也。此皆大過人之行也。

The Great Image Commentary says: A marsh flooding trees is the image of the hexagram Great Excess; thus, the gentleman is able to stand alone and act with courage, retreating from the world without distress. A marsh should nourish trees, but now it drowns them, which is the image of 'excess'. The gentleman's conduct does not seek to conform to the common ways, but only to align with righteousness: although the world criticizes him, he does not change his course, which is 'standing alone without fear'; he does not seek recognition from people, but only from heaven: even if the whole world does not know him, he does not regret, which is 'retreating from the world without distress'. These are all virtues far beyond the ordinary.

初六：藉用白茅，無咎。卦以棟橈為象，初則本之弱者，然但以棟橈為言，則天下事付之不可為矣，故又因爻取象。巽為木，有茅象；初在下，以柔承剛，有藉用白茅之象。初六以陰居陽，雖弱猶愈於上；又大過之初，居事之始，苟能過於謹慎，猶可自全。如木中剛本柔，苟錯於地，或致缺折，藉以白茅，庶幾無傷。以其能畏懼，故得無咎也。象曰：藉用白茅，柔在下也。下柔承剛，當過於慎也。

The line statement for the first line says: Using white reeds as a cushion, there is no fault. The entire hexagram takes the image of a bent beam, with the first line representing the root, which is soft and weak. However, if we only say that the beam will break, then all worldly affairs would be considered irreversible. Therefore, another image is taken from the position of the line. "Xun" represents wood, which has the image of reeds; the first line is at the very bottom, and with its softness it supports the strength above, symbolizing the use of white reeds as a cushion beneath. The first line is a yin line in a yang position, though weak, it is still stronger than the sixth line above. Moreover, it is at the beginning of the hexagram "Da Guo," meaning the matter has just begun. As long as one is cautious to an excessive degree, one can preserve oneself. For example, a piece of wood may be strong in the middle but weak at the root. If it is casually placed on the ground, it may be damaged. But if white reeds are used as a cushion, it is unlikely to be harmed. Because it knows fear, there is no fault. The image commentary says, "Using white reeds as a cushion, softness is at the bottom." Softness at the bottom supporting strength is naturally a matter of being overly cautious.

九二：枯楊生稊，老夫得其女妻，無不利。稊，根之榮於下者；女妻，年之少者。九二陽之過，有枯楊象；二三四互純乾，有老夫象；初陰在下，有女妻象。既處於陰，又與初比，得陰之滋，有稊根復秀、女妻得遂生育之象，其占無不利也。此剛資於柔以成務者也。象曰：老夫女妻，過以相與也。二剛之過，得初陰以相與，以成天下之事也。

The line statement of the second line says: A withered poplar tree produces new shoots from its roots, an old man marries a young wife, there is no disadvantage. "Tí" refers to new shoots growing from the root, and "nǚ qī" refers to a young wife. The second line is a yang line in a yin position, so it has the image of a withered poplar tree; the second, third, and fourth lines together form the trigram "Qian" (Heaven), which represents old age, so it has the image of an old man; the first line is a yin line in a lower position, so it has the image of a young wife. The second line, being a yang line in a yin position, is adjacent to the first line, thus receiving the nourishment of yin energy, resulting in the image of the withered roots regrowing and the young wife being able to bear children. The divination concludes that there is no disadvantage. This is an example of a strong force achieving success by relying on flexibility. The Image Commentary says, "Old man and young wife, excess is balanced by mutual interaction": the second line has excessive yang, and only by receiving the yin line of the first line can it achieve success in the world.

九三：棟橈，凶。三四居卦之中，三又變坎，皆有棟象。全卦弱在初上，乃於三言棟橈者，蓋以剛居剛，又與上應，上以柔居柔，既不能勝，三過剛必折，是故橈者在三。此大臣之過於剛，而不勝其任者也。象曰：棟橈之凶，不可以有輔也。剛強之過，不能取於人，人亦不能輔之。

The Line Statement for the third line says: "The roof beam bends, which is ominous." The third and fourth lines are located in the middle of the hexagram. The third line, when changed, becomes "Kan" (Water), and both lines carry the image of a roof beam. The weak points of the entire hexagram are originally at the first line and the top line, but the warning about "the roof beam bending" is specifically given at the third line. This is because the third line has a Yang line in a Yang position, representing excessive strength and rigidity, and it corresponds with the top line, which has a Yin line in a Yin position, representing excessive softness and weakness. The top line cannot support the third line, and the third line's excessive strength will inevitably lead to breaking. Therefore, the bending of the roof beam falls upon the third line. This is like a minister who is overly stubborn and cannot bear the responsibility of his own duties. The Image Commentary says, "The ominousness of the bent roof beam is because it cannot be assisted." A person who is overly strong refuses to take advantage of others' strengths, and others cannot assist him.

九四：棟隆，吉，有他，吝。九四在三之上，以剛居柔；上與初應，以柔居剛，剛柔相濟，以成天下之務者也，故其棟橈有隆起之象，而占則吉也。有他吝，反言以決之。謂當大過之時，必剛柔相濟，如四乃可；不然而或失之剛，或失之柔，皆吝道也。

The statement of the fourth line says: The roof beam is raised, which is auspicious; but if there is another desire, there will be regret. The fourth line is above the third line, with a yang line in a yin position; it is in a high position and corresponds with the first six, which is a yin line in a yang position. The two sides are perfectly balanced between yang and yin, forming a proper combination to accomplish all affairs under heaven. Therefore, the beam that should be bent is instead raised, and the judgment is auspicious. The phrase "there is regret" is said from the opposite side: it means that at the time of the Great Excess, it is necessary to balance yang and yin, and the fourth line is the right way to do it. Otherwise, if one is too yang or too yin, it will lead to regret.

象曰：棟隆之吉，不橈乎下也。四以剛居柔，初亦以柔遇剛，則其下不致橈折矣。《本義》以應初為有他，以不繫於初為不撓。然細觀全卦，以陽之過而有棟橈之象，蓋凡物以過剛而遇過柔，必有橈折也。三四皆棟象，而三獨言橈，以三之過於剛也；初上本末皆弱，而上獨最凶，以上之過於柔也。三以應上得凶，則四以應初得吉可知矣，故不必以應初嫌也。

The Image Commentary says, "The good fortune of the beam being strong is because it does not bend under the weight below." Nine in the Fourth, which is a yang line in a yin position, and Six at the Beginning, which is a yin line in a yang position, are connected, so the lower part does not bend. However, Zhu Xi's The Original Meaning of the Zhou Changes interprets "there is another" as corresponding with Six at the Beginning, and "not bending" as not being connected to Six at the Beginning, which is exactly the opposite. But if we examine the entire hexagram, the image of the beam bending arises because yang is excessive. Whenever something is overly strong and meets something overly soft, it will break. Nine in the Third and Nine in the Fourth both have the image of a beam, but only Nine in the Third is said to "bend," because it is overly strong. Six at the Beginning and Six at the Top are both weak at the ends, but Six at the Top is most dangerous because it is overly weak. Nine in the Third corresponds with Six at the Top and thus meets misfortune, so it is clear that Nine in the Fourth, corresponding with Six at the Beginning, meets good fortune. Therefore, there is no reason to be concerned about its correspondence with Six at the Beginning. Chen's argument here, which deviates from The Original Meaning, is based on this reasoning.

九五：枯楊生華，老婦得其士夫，無咎無譽。九五亦陽之過，有枯楊象；陰爻在上，以五變為震，震為，有華生於枯楊之象。五陽爻，變為震，又少於上，有士夫象；比於上六，有為老婦所得之象。蓋陽爻為夫，陰爻為婦，又以爻之上下分老少，取象不可易也。陰雖過極，得陽不為無益，故亦無咎，蓋陰欲陽，非陽之咎也。然二之老夫女妻，以剛為主而柔輔之；五之老婦士夫，則以柔為主，而剛反輔之矣，何譽之有。

The line statement of the fifth line says: A withered poplar tree produces flowers, an old woman marries a young man, there is no blame and no praise. The fifth line is also a yang line, so it has the image of a withered poplar tree; the sixth line, a yin line, is above it, and the fifth line changes, making the upper trigram 'Zhen' (Thunder). 'Zhen' represents something (the original text is missing one character here), hence the image of flowers blooming on a withered poplar tree. The fifth line was originally a yang line, but after changing to 'Zhen', it is younger than the sixth line, so it has the image of a young man; it is adjacent to the sixth line, so it has the image of being taken by an old woman. Generally, a yang line represents a husband and a yin line represents a wife, and according to their positions above and below, they are divided into old and young. This system of imagery is fixed. Although yin has reached its extreme, receiving yang is still not entirely without benefit, so it says 'no blame'—because it is yin seeking yang, not the fault of yang. However, the 'old man and young wife' in the second line is a case where the strong (yang) is the main and the weak (yin) assists; whereas the 'old woman and young man' in the fifth line is a case where the weak (yin) is the main and the strong (yang) assists, so what is there to praise?

象曰：枯楊生華，何可久也；老婦士夫，亦可醜也。枯楊生華，旋即枯矣；老婦雖得士夫，安能成生育之功乎。上六：過涉滅頂，凶，無咎。兌為澤，涉水之象；一變為乾，為坎，又居最上，有過涉於水、滅沒其頂之象。其凶甚矣，而得無咎者，四陽方過盛，上以陰爻居位，陰不敵陽，自其分也。如棟之橈，必自其最弱之處橈折，理勢固然，無足怪者。以人事言之，則當大過之時，才弱不能自濟，然理窮勢極，殺身成仁，於義為無咎也。

The Image Commentary says, "A withered willow tree produces flowers, how can this last long? An old woman marries a young man, yet how can she bear children?" A withered tree produces flowers, but it will soon wither again; an old woman may marry a young man, but she cannot fulfill the function of bearing children. The line statement of the sixth line at the top says: crossing a deep river, the head is submerged, which is dangerous, yet there is no blame. In terms of imagery, "Dui" represents a marsh, which symbolizes crossing water; the sixth line changes the upper trigram to "Qian," making the entire hexagram close to "Kan." Moreover, since the sixth line is at the top, it symbolizes crossing water too deeply, with the head submerged. Although danger is extreme, it is said there is no blame, because four yang lines are in proper position, and the sixth line, being a yin line, is above them. Yin cannot overcome yang, which is natural. Just as a beam will break, it will break at the weakest point, which is the natural way and trend, so it is not surprising. In terms of human affairs, when the hexagram "Da Guo" is in effect, one's strength is insufficient to save oneself; yet when reason is exhausted and the situation is at its limit, sacrificing oneself to achieve righteousness is in accordance with the way, and thus there is no blame.

象曰：過涉之凶，不可咎也。事雖無濟，理勢當然，不可咎之也。全卦以陽過乎陰，取棟橈之象。大過不能無橈，卦中二五陽皆在中，故猶可亨。六爻皆欲其剛柔相濟，以適乎中，然後當大過之時，不至於有過。大抵剛中有柔、柔中有剛者吉，偏剛偏柔者凶；陽剛在上為主而陰柔輔之者宜，陰柔在上為主而陽剛輔者否。

The Image Commentary says, "The danger of crossing a river is not to be blamed": although the matter could not be saved, the principles and circumstances were naturally like this, so it cannot be blamed. Looking at the whole hexagram, because the yang is excessive over the yin, it takes the image of a bent house beam. Since it is called "Great Excess," it is impossible not to bend; fortunately, the two yang lines, nine two and nine five, are in the central positions, so it can still be smooth. All six lines require the mutual adjustment of yang and yin, leading to the middle path, so during the time of "Great Excess" it does not really become excessive. In general: good fortune comes from yang containing yin and yin containing yang; misfortune comes from being overly yang or overly yin. It is appropriate when yang is dominant at the top and yin supports from the side; it is not appropriate when yin is dominant at the top and yang goes to support.

初上本末皆弱，然上以柔居柔，又居最上，故凶；初以柔居剛，又所處下，故無咎。三四皆象於棟，然四以剛居柔，以居上而下取初之輔，故吉；三以剛居剛，以自下而附上之柔，故凶。五以剛居剛，又自下而上比於上，故丑；二以剛居柔，在上而取初之比，故利。人當大過之時，必以剛為主，以柔為輔，非剛無以任天下之重，非柔無以成天下之功。在下位，則當柔而能剛，敬以承（文瀾本「承」作「成」）上，庶幾白茅之義；身上上位，則當剛而能柔，求賢自輔，得棟隆之吉、老夫之利矣。若以剛居剛，反上附於陰，不凶必丑；若柔弱已極，而居最上，唯有取凶而已。

Chu Li, Shang Liu, both are the beginning and the end, and are both weak. However, Shang Liu is a yao of yin in a yin position, and is located at the top of the entire hexagram, so it is ominous. Chu Li is a yao of yin in a yang position, and is located at the very bottom, so it has no blame. Ji San and Ji Si both take the image of a beam, but Ji Si is a yao of yang in a yin position, located above and taking the initial Chu Li as support, so it is auspicious. Ji San is a yao of yang in a yang position, and from below it clings to the above yin, so it is ominous. Ji Wu is a yao of yang in a yang position, and moves upward closely to Shang Liu, so it is 'not good'. Ji Er is a yao of yang in a yin position, located above and taking Chu Li as a neighbor, so it is beneficial. When a person is in the time of Da Guo, they must take yang as the main and yin as the auxiliary: without yang, they cannot bear the weight of the world; without yin, they cannot achieve the success of the world. If one is in a lower position, they should be soft yet strong, and respectfully serve above. Approximately, this corresponds to the meaning of 'using white reed grass'. If one is in a higher position, they should be strong yet soft, seeking out virtuous people to assist themselves, thus obtaining the auspiciousness of 'the beam being strong' and the benefit of 'an old man marrying a young wife'. If a yang yao is in a yang position and instead clings to the yin above, it will not be ominous but certainly not good. If one is already weak to the extreme yet occupies the highest position, then there is only the path of misfortune.

坎卦，一陽陷於二陰之中，陽實陰虛，上下無據，為坎陷之義，故卦名坎。坎次大過。按《序卦》：物不可以終過，故受之以坎。坎者，陷也。理無過而不已，過極必陷，坎所以次大過也。坎為險陷，全彖取一陽在中，以為內實有常，剛中可以有功，時世有險而此心無險，故雖險而亨，此全卦之大旨也。

The Hexagram of Kan represents a single yang line trapped between two yin lines: yang signifies reality and yin signifies emptiness, with neither support above nor below, precisely matching the meaning of "falling into a pit." Therefore, the hexagram is named Kan. Kan follows Da Guo in the sequence. According to the Xugua Zhuan, things cannot continue to "exceed" indefinitely, so Kan comes next; "Kan" means a pit. By nature, there is no exceeding without stopping; when exceeding reaches its extreme, it must fall into a pit, which is the reason Kan follows Da Guo. Kan signifies danger and falling into a pit, yet the Commentary on the Hexagram focuses on the central yang line: since the center is solid, there is a constant principle within; being strong and centered, one can achieve accomplishments. Although the situation is dangerous, the mind remains steadfast, so even in perilous circumstances, one can still achieve success. This is the main idea of the entire hexagram.

六爻皆不言吉。二五雖剛中，而皆在險中，五得位而二不得位，故五既平而二僅小得也。四陰爻亦皆從陽爻起義，三四在陽爻之中，猶愈於初上在陽爻之外。三以失位乘陽而無功，四以得位承陽猶得無咎；若初上則在兩陽之外，初居險之下，而上居險之極，故凶為最甚。此六爻之大略也。

The six lines of the hexagram do not mention 'auspiciousness' in any of them. Although nine two and nine five are strong and in the center, they are still in danger. Nine five is in the proper position while nine two is not, so nine five says the danger is about to be calm, while nine two only says 'a small gain'. The meanings of the four yin lines are all derived from the two yang lines: six three and six four are between the two yang lines, so they are better than initial six and upper six which are outside the two yang lines. Six three is out of position and dominates nine two, so it has no merit; six four is in the proper position, follows nine five, and thus can avoid blame. As for initial six and upper six, they are both outside the two yang lines: initial six is at the very bottom of the danger, while upper six is at the extreme of the danger, so they have the heaviest misfortune. This is the general principle of the six lines.

習坎：有孚，維心亨，行有尚。習，重習也；坎，險陷也，水象。陽陷陰中，外虛內實，險陷之象。此卦上下皆坎，是為重險，故言習。乾坤六爻同一爻，可不言習。坎卦序在六子之先，此言習，而他皆以重習起義可知矣。坎卦中實而水內明，有有孚心亨之象。世可險而心不可險，身可陷而心不可陷，誠信在中，則安於義命而不僥倖苟免；此心有主，不為利害所動而心亨矣。心亨則洞察時勢，取必於理，而行自必有功，此所以為處坎之道也。

The Hexagram Statement says: In a situation of repeated dangers and difficulties, one must maintain sincerity and integrity; only with this sincerity can one achieve smoothness and success in moving forward. "Xí" means repetition or overlap; "Kǎn" represents danger or difficulty, symbolized by water. A yang line is trapped within yin, appearing externally empty but internally solid, which is the image of danger. This hexagram has "Kǎn" both above and below, representing repeated danger, so the character "Xí" is specially used to indicate this. The hexagrams "Qián" and "Kūn" have six lines of the same type stacked together, so there is no need to mention "Xí." "Kǎn" is the first among the "Liù Zǐ" (six sons), which are Zhen, Kǎn, Gen, Xun, Li, and Dui. Here, "Xí" is pointed out, and the other repeated hexagrams can be understood in the same way as repetition. The middle line of "Kǎn" is solid, like muddy water that is clear from within, symbolizing sincerity in the center and smoothness of the mind. The world may be dangerous, but the human heart should not be. The body may be trapped, but the mind should not be. If sincerity is present in the heart, one can be at ease with righteousness and fate, without seeking escape throughby chance (taking chances). When the mind has a master, it is not moved by gains and losses, and the mind naturally becomes smooth. With a smooth mind, one can perceive the situation clearly, and everything depends on reason, so actions naturally bring success. This is the way to deal with danger.

彖曰：習坎，重險也。危難洊至，險而又險也。此釋卦之名義。水流而不盈，行險而不失其信。水流足此通彼，無有盈溢，雖奔突險阻，專赴於壑，而不失不盈之信。蓋水性趨下，不盈即趨下也。此以卦象釋有孚之義也。

The Commentary on the Judgment says, "To practice hardship, it is a repetition of danger": dangers follow one after another, danger upon danger, which explains the meaning of the hexagram's name. It also says, "Water flows without overflowing; it moves through danger without losing its faithfulness": water flows on, filling this place and then flowing to the next, never overflowing; even when rushing through dangerous terrain, it always flows downward to the lower gullies, without losing its constant nature of not overflowing. The nature of water is to flow downward, and not overflowing is precisely its expression of continuous movement downward. This uses the hexagram's image to explain the meaning of the hexagram statement "having sincerity."

維心亨，乃以剛中也；行有尚，往有功也。二五以剛在中，實心無累，何往不通。如是而行，必有功也。蓋坎以能行為功，若止而不行，則常在險中矣。天險不可升也，地險山川丘陵也，王公設險以守其國，險之時用大矣哉。

The Commentary on the Judgment says, "The mind is open and smooth, because it is strong and centered; when moving forward, there is a high regard, and when going forward, there will be success." Nine Two and Nine Five, with their strong yang in the central position, have sincere hearts without any entanglements, so where they go they can achieve success. By acting in this way, they will certainly achieve results. Because in the situation of "Kan" (Water), action leads to success. If they stop and do not move, they will be forever trapped in danger. Then it continues, "Heaven's danger is something that cannot be climbed, and Earth's danger includes mountains, rivers, hills, and ridges. Kings and princes set up dangers to guard their countries. The use of danger is indeed great." The meaning shifts from "being in danger" to "using danger."

不可升，無形之險；山川丘陵，有形之險；王公因有形之險為無形之險，是謂人險。坎卦四陰二陽，二陽，中實之象，體水之德，為有孚心亨，處險之道也；四陰，險陷之象，因坎之形，而設險守國，用險之方也。往有功以上，皆言處險之道，此則言用險之方。

Heaven is high and cannot be climbed, representing an invisible danger; mountains, rivers, hills, and valleys are tangible dangers. Kings and princes rely on tangible mountains and rivers, and further strengthen their defenses with city walls, gates, laws, and commands, creating an invisible威慑, which is called man-made danger. The "Kan" hexagram has four yin lines and two yang lines: the two yang lines represent the充实 in the middle, embodying the virtue of water, achieving "having sincerity in the heart and thus the way is unimpeded," which is the way of dealing with danger. The four yin lines represent the image of danger, relying on the form of "Kan" to set up defenses and protect the country, which is the method of using danger. The Commentary on the Judgment from the beginning to "going forward and achieving success" discusses the way of dealing with danger; these sentences now turn to discuss the method of using danger.

象曰：水洊至，習坎。君子以常德行，習教事。水流不已，以成大川；人學不已，以成大賢。君子於己之德，務於常久；於教人之事，務於熟習。初六：習坎，入于坎窞，凶。坎中小穴旁入者曰窞。以陰柔居重險之下，其陷益深，故其象占如此。

The Great Image says: Water flows continuously, wave after wave, which is the image of the hexagram Kan; thus, the gentleman cultivates his virtue constantly and repeatedly practices teaching. Water flows without ceasing, thus forming great rivers; people study without ceasing, thus becoming great sages. The gentleman insists on the constancy of his virtue and the mastery of teaching. The line statement of the first line says: In a deep pit, falling into a small hole at the bottom, which is ominous. A small opening beside a pit is called "kann." The first line, with its yin and soft nature, resides at the very bottom of a deep peril, thus sinking especially deeply, so its image and judgment are as such.

象曰：習坎入坎，失道凶也。深入於險，失出險之道也。有孚心亨，所謂道也。九二：坎有險，求小得。處重險之中，未能自出，故為有險之象；然剛而得中，故有求而小得之象。象曰：求小得，未出中也。雖有剛中之才，未能出坎中之險。

The Image Commentary says, "To be immersed in danger, losing the path of safety, leads to misfortune." The depth of the peril is due to having lost the way out. The Hexagram Statement mentions "having sincerity, the heart is unimpeded," which refers to the "path" mentioned here. The Line Statement for the Second Line says: "There is still danger within the peril; what is sought can only be a small gain." The Second Line is in a situation of double peril and has not yet been able to escape on its own, hence the image of "there is still danger." However, it is yang and occupies the central position, hence the image of "seeking something and obtaining a little." The Image Commentary says, "seeking a small gain, not yet having emerged from the center": although possessing the quality of being strong and centered, it has not yet escaped the perilous situation of the坎陷.

六三：來之坎坎，險且枕，入于坎窞，勿用。陰柔不中正，而履重險之間，來往皆險，前險而後又枕於險之象。其陷益深，不可用也。初入于坎窞則曰凶，此曰勿用，初不可出，此猶可出也。象曰：來之坎坎，終無功也。未有出險之道。

The Line Statement for the third line says: coming is dangerous, going is dangerous, both ahead and behind are dangerous, falling into a deep pit, there is nothing to be done. The third line is yin and weak, not in the center and not in the proper position, standing at the junction of two dangers. Coming and going are both dangerous, with danger ahead and danger behind. It is deeper in the danger, so there is nothing to be done. The Line Statement for the initial line says 'entering the deep pit' and is judged as 'dangerous,' but here it says 'do not act,' the difference being that the initial line is trapped at the very bottom and cannot escape, while the third line still has a chance to get out. The Image Commentary says 'coming through the danger, ultimately without success,' because it has not yet found a way out of the danger.

六四：樽酒簋貳，用缶，納約自牖，終無咎。貳，副貳之意，益之也；牖，室之所由以明者。坎有酒食之象，四變互巽木，樽簋之象；互離中虛，有瓦缶及牖象。按《本義》，以樽盛酒，以簋盛食，復以瓦缶為副樽；按來注，一樽之酒，二簋之食，樂用瓦缶。

The line statement of the fourth line says: one vessel of wine, two bowls of food, placed in earthenware vessels, and offered through the window with simple sincerity, ultimately without fault. "Er" means secondary or additional; "you" refers to the window through which light enters a house. In terms of symbolic imagery, "Kan" represents wine and food; the fourth line, when transformed, forms the trigram "Xun" (Wood), symbolizing the vessel and bowl. The trigram "Li" in the middle is hollow, symbolizing the earthenware vessel and the window. There are two interpretations of this line: Zhu Xi in The Original Meaning of the Zhou Changes interprets it as using a vessel for wine and a bowl for food, and using earthenware jars as secondary vessels. Lai Zhide's commentary, however, reads it as "one vessel of wine and two bowls of food," and interprets the earthenware jars as musical instruments to accompany the offering.

覺來注為順，且與象傳合。總言當險難之時，不事多儀而尚誠實也。自牖，言不由正道，因其所明者而進結之，蓋當艱險之時，不能直致，自間道以上達也。六四居大臣之位，處險之中，本其至誠，因君之所明者委曲獻納，則雖歷艱險而終得無咎也。

Compared to other interpretations, Lai Zhide's approach seems smoother and more consistent with the Image Commentary. The overall idea is that in times of danger, one should not focus on elaborate rituals but instead emphasize sincerity. The phrase "self from the window" means approaching the matter without taking the main path, but rather by seizing on the point that the other party already understands, to make a connection. In times of difficulty, direct communication is not possible, so one must take a side path. The Sixth Line is in a position of a high official, yet in a dangerous situation, and with sincere intent, it gently presents its suggestion to the ruler at the point where the ruler already has an understanding. Thus, despite the difficulties along the way, there will be no mistake.

象曰：樽酒簋貳，剛柔際也。《本義》謂無貳字。人情同樂則相猜，共患則相倚。四與五比，君臣相接，在險難之中，不事煩文，以誠相向可以上達，將出於險矣。九五：坎不盈，只既平，無咎。九五在坎之中，陰之下，有不盈之象。只，至也。以陽剛中正居尊位，上止一陰，勢將出險，有既平之象。不盈猶有險也，既平則無險矣。二居重險之中，故有險；五出重險之外，故既平。將出於險，可無咎矣。

The Image Commentary says, "A cup of wine and a pair of bowls, indicating the interaction between the strong and the flexible." Zhu Xi in The Original Meaning of the Zhou Changes believes that the character "贰" was originally not present here. Human nature is such that when people enjoy together, they tend to suspect each other, but when they face difficulties together, they rely on each other. The sixth line and the ninth line in the second are closely adjacent, representing the moment when a ruler and a minister meet. In times of danger, they do not observe elaborate formalities, and sincerity allows them to reach above, and they are about to escape the danger. The line statement of the ninth line in the fifth says: "The water in the Kan is not yet full, until it reaches the level of the bank, there is no fault." The ninth line in the fifth is in the Kan, with a yin line above it, so there is the image of "not full." "只" should be understood as "to reach." It is in a position of strong yang and upright, holding a noble position, with only one yin line above it, indicating that the momentum is about to escape the danger, hence the image of "already level." The water is not yet full, indicating that the danger still exists; when it reaches the level of the bank, the danger is gone. The ninth line in the second is trapped in a double danger, hence "there is danger"; the ninth line in the fifth is already outside the double danger, hence "already level." Approaching the escape from danger, naturally there is no fault.

象曰：坎不盈，中未大也。剛中居尊，宜濟天下之險，乃猶在坎中，有中德而未光大也。大有六五以柔居中乃曰大中，此以剛居中反曰未大者，大有柔能統剛，坎則剛猶陷於柔也。上六：係用徽纆，寘于叢棘，三歲不得，凶。

The Image Commentary says, "The water is not full, for the center is not great." The nine in the fifth is yang and strong, residing in the center and holding a high position. It should be able to rescue the world from danger, but now it is still in the坎 (water) trigram, possessing virtue but not yet able to fully manifest it. In the hexagram Da You, the six in the fifth, being yin and in the center, is called "great center" by the Commentary on the Judgment. Here, the nine in the fifth, being yang and in the center, is called "not great," because in Da You, the yin is able to lead all the yangs, while in Kan, the yang is still trapped within the yin. The line statement of the upper six says: bound with ropes and thrown into a prison full of thorns, unable to escape for three years, resulting in misfortune.

三股曰徽，兩股曰纆，皆索名。叢棘，獄牆所設。坎為刑獄，上變巽為繩，上六以陰柔居險極，故有此象。《周禮》司圜收教罷民，能改者三年而舍，其不能改而出圜土者殺。三歲不得，罪大不能改者也，占者得之，則不能出險可知。象曰：上六失道，凶三歲也。

Three strands twisted together are called "huī," and two strands twisted together are called "mò," both being names for ropes. "Cóngjí" refers to brambles planted outside the prison walls. In terms of symbolic meaning, "Kan" represents punishment and litigation. The sixth line at the top, when changed, becomes "Xun," which symbolizes rope. Also, the sixth line at the top, being a yin and flexible line in the extreme dangerous position, gives this symbolic meaning. The "Rites of Zhou" records that the official in charge of prisons manages those who are morally corrupt. Those who reform after three years are released, but those who do not reform and escape from the prison are executed. Here, "three years without success" refers to a serious crime with no willingness to reform. When this line appears in divination, it is clear that one cannot escape from danger. Therefore, the "Image Commentary" states, "The sixth line at the top loses the right path, resulting in misfortune for three years."

三歲，久之極。所以至此者，失處險之道也。全卦二五中實，故有有孚心亨之象，然處險之道即在是矣，故六爻惟二五得有孚心亨之道。二在險下，但可小得；五在險上，則既平也（文瀾本「也」作「矣」）。初以最下而凶，上以險極而甚，三以處前後險之間而勿用，惟四際五，僅得無咎，然樽酒納約，亦得有孚心亨之義故也。

"Three years" is used to emphasize the length of time. The situation has reached this point because the method of dealing with danger has been lost. Looking at the entire hexagram, the middle part between nine two and nine five is full, so there is the image of "having sincerity, the way is smooth." The way to deal with danger is precisely here, so among the six lines, only nine two and nine five possess the way of "having sincerity, the way is smooth." Nine two is at the lower part of the danger, so it can only gain a little; nine five is at the upper part of the danger, indicating that the danger is "already calm" (in the Wenlan edition, the word "also" here is written as "already"). Initially, because it is at the very bottom, it is dangerous; the top line, because it is at the extreme of danger, is even more dangerous. Six three is between the front and back dangers and cannot act. Only six four, which is close to nine five, can barely achieve "no blame" — this is also because it offers a single cup of wine and makes a simple offering, which is consistent with the meaning of "having sincerity, the way is smooth."

離卦，一陰麗於上下之陽，有附麗之義；中虛有光明之義。離，麗也，明也。於象為火，體虛麗物而明者也；又為日，亦麗天而明者也，故卦名離。離卦次坎。按《序卦》：坎者，陷也，陷必有所麗，故受之以離。離者，麗也。陷於險難之中，必有所附麗，理之自然，離所以次坎也。

The hexagram "Li" consists of a yao (line) that is yin situated between two yang lines above and below, symbolizing the meaning of "attachment." The middle is empty, which also represents "light." Therefore, the character "Li" contains two meanings: one is "attachment," and the other is "brightness." In terms of physical objects, it represents fire, which has no physical form and requires attachment to something else in order to burn and emit light; it also represents the sun, which shines by being attached to the sky. Hence, the hexagram is named "Li." The hexagram "Li" follows "Kan." According to the "Xu Guan Zhuan," "Kan" means a pit or a trap; when one falls into a dangerous situation, there must be something to rely on, so "Li" comes next; "Li" means attachment. When a person is in a dangerous situation, they must find something to rely on, which is a natural principle, so "Li" follows "Kan."

又按，上經終於離，下經終於既濟未濟。六十四卦以乾坤為首，而坎離居其中。蓋坎離二卦，天地之心也，造化之本也。天一生水，地二生火。坎藏天之陽中，受明為月；離麗地之陰中，含明為日。坎為水而司寒，離為火而司暑；坎為月而司夜，離為日而司晝。故先天之圖乾南坤北，後天則離南而坎北。

Furthermore, the Upper Classic ends with the trigram Li, and the Lower Classic ends with Ji Ji and Wei Ji. The sixty-four trigrams begin with Qian and Kun, while Kan and Li are exactly in the middle of the entire Classic. This is because the trigrams Kan and Li are the hearts of heaven and earth, the fundamental principles of creation and transformation. The Yellow River Chart states, "Heaven produces water with the first heavenly number, and earth produces fire with the second earthly number." Kan is hidden within the yang of heaven, receiving sunlight to become the moon; Li is attached to the yin of earth, containing brightness to become the sun. Kan represents water and governs cold, while Li represents fire and governs heat. Kan represents the moon and governs night, while Li represents the sun and governs day. Therefore, the Earlier Heaven Trigrams of Fuxi have Qian in the south and Kun in the north, while the Later Heaven Trigrams of King Wen have Li in the south and Kan in the north.

坎離為乾坤之繼體，此上經終坎離、下經終既濟未濟之意。而道家亦以人身為小天地，以心腎分屬坎離，而其功用取於水火之既濟，蓋亦從易說而旁通之者也。全卦以柔順得正為吉，六爻以二陰爻為主，二中正而五非正，故不如二。其四陽爻則從陰爻起義（文瀾本「義」作「意」），初上在陰爻之外，勝於三四在陰爻之中。三日昃而四焚如，以在二五兩陰之內也；初能敬而上出征，以在二五兩陰之外也。蓋坎離二卦奇耦反對，故爻象之吉凶亦相反也。

The hexagrams Kan and Li are the continuation of Qian and Kun. This is why the Upper Canon ends with Kan and Li, and the Lower Canon ends with Ji Ji and Wei Ji. Daoism also regards the human body as a small universe, matching the heart with Li and the kidney with Kan. Their cultivation draws upon the harmonious union of water and fire, known as Ji Ji, which is an interpretation derived from the principles of the Book of Changes. In terms of the entire hexagram, it is considered auspicious to be gentle and proper. Among the six lines, the two yin lines are the main ones. Six Two is both central and properly positioned, while Six Five is central but not properly positioned, so Six Five is less favorable than Six Two. The meanings of the other four yang lines are derived from the yin lines: Chou Qi and Shang Qi are outside the yin lines, thus surpassing Ji San and Ji Si, which are between the yin lines. Ji San is "the sun setting" and Ji Si is "burning bright," because they are sandwiched between Six Two and Six Five. Chou Qi can maintain "respect" and Shang Qi can "march out," because they are outside the influence of Six Two and Six Five. In summary, the positions of the yang and yin lines in the hexagrams Kan and Li are exactly reversed, so the fortune and misfortune of the lines are also exactly opposite.

離：利貞，亨，畜牝牛，吉。離之為麗，猶亂之為治，以陰麗於陽也。物之所麗，貴乎得正，故正則有可亨之道也。又離得坤之中畫，牝牛皆取陰象。坤以全體配乾而行，故為牝馬之行；離以二五附乾而居，故當為牝牛之畜。蓋所麗得正則亨，又當柔順自處則吉也。坎離二卦爻畫反對，故其義其占皆相反。蓋坎之明在內，當以剛健行之於外；離之明在外，當以柔順養之於中。坎水潤下，愈下則陷，故以行為尚；離火炎上，愈上則焚，故以畜為吉也。

The Hexagram Statement says: "The Hexagram of Li is favorable for maintaining correctness and achieving success; raising a female ox is auspicious." The term "Li" is interpreted as "attachment," just as the character "luan" can be interpreted as "zhi" (order), which is a reverse interpretation; here it refers to yin attaching to yang. All things that depend on something else must attach correctly, so maintaining correctness leads to success. Now looking at the symbolic representation: the central line of "Li" comes from "Kun," and the female ox also represents the image of yin's softness. "Kun" is paired with the entire structure of "Qian" and moves accordingly, so the Hexagram of Kun says "the constancy of a mare," taking its ability to move. "Li" is characterized by the two yin lines, six two and six five, attaching to the structure of "Qian" and settling in place, so it says "raising a female ox," taking its ability to nurture. In summary, correct attachment leads to success, and being gentle and compliant brings auspiciousness. The lines of the Hexagrams of Kan and Li are reversed, so their meanings and interpretations are entirely opposite: "Kan" has its brightness inside, so it is appropriate to act outwardly with strength; "Li" has its brightness outside, so it is appropriate to be gentle and cultivate inwardly. Water in Kan flows downward, the deeper it goes, the more it sinks, so "movement" is commendable; fire in Li rises upward, the higher it goes, the more it burns, so "nurturing" is auspicious.

彖曰：離，麗也。日月麗乎天，百穀草木麗乎土，重明以麗乎正，乃化成天下。日月麗天，以氣麗氣而成明；百穀草木麗土，以麗形而成文。君臣上下皆有明德，而處於中正，則可以成天下文明之化。此皆以釋卦之名義也。柔麗乎中正，故亨，是畜牝牛吉也。二中正，五中而不正，中正，統言之。此以卦體釋卦辭也。

The Commentary on the Judgment says: "Li" means attachment. The sun and moon are attached to the sky, and all grains and plants are attached to the earth. The upper and lower parts are both bright and attached to the right path, thus being able to cultivate and form the world. The sun and moon are attached to the sky, thus producing light by attaching their qi to the sky's qi; grains and plants are attached to the earth, thus producing color by attaching their form to the earth's form. The king and ministers, as well as the upper and lower ranks, all possess the virtue of brightness and are in the middle and upright positions, thus being able to achieve the civilization of the world. These sentences are all explaining the meaning of the hexagram name. It also says, "Softness is attached to the middle and upright, thus being smooth, which is why it is auspicious to raise a female ox." In reality, the sixth line in the second position is both middle and upright, while the sixth line in the fifth position is only middle but not in the correct position. Here, the term "middle and upright" refers to both lines combined and spoken of generally. This sentence uses the structure of the hexagram to explain the hexagram statement.

象曰：明兩作，離。大人以繼明照于四方。明兩作，兩明相繼而起也。繼明，猶以聖繼聖也。前言重明，以上下言之，取象於君臣；此言兩作，以先後言之，取象於帝王之父子。若以人事言之，則日新又新、緝熙不已，繼明之義也；洞達事理、光被四表，照于四方之義也。

The Great Image Commentary says: Two lights rising together symbolize the image of the Fire hexagram. Great persons thus cause the light to continue generation after generation, illuminating all directions. "Two lights rising" refers to two successive lights appearing one after another. "Continuing the light" is like having sages succeeding one another. Previously, the Commentary on the Judgment spoke of "double brightness," referring to the superior and inferior positions, symbolizing the ruler and minister. Here, "two lights rising" refers to the sequence of time, symbolizing the father and son of the sovereign. When applied to human affairs, it means renewal without end and unceasing brightness, as the Book of Poetry says "collecting and brightening," which means "continuing the light." Understanding things thoroughly and shining throughout the four seas is what "illuminating all directions" means.

初九：履錯然，敬之無咎。剛明在下，其性炎上。剛則，明則察，二者襍於胸中，所履交錯之象。能敬則心有主，不至於錯，可以無咎矣。火在下而未上炎，猶有可制，雖戒占者之辭，亦其象然也。象曰：履錯之敬，以辟咎也。剛明而不妄動，咎可闢矣。

The line statement for Chou Jiuping says: When actions are confused and entangled, maintaining reverence will result in no blame. Chou Jiuping is strong and bright, located at the very beginning, and the nature of fire is to rise upward. Being strong (the missing character here is likely 'and' or 'but'), being bright allows for clear discernment; these two qualities are mixed within the heart, thus giving the appearance of confused actions. If one maintains reverence, the mind will have a master, not becoming confused, thus avoiding blame. Fire is at the bottom and has not yet risen, so there is still room to control it. Though these words are a warning to the person casting the divination, the yao image is indeed like this. The Image Commentary says, "Walking with confusion requires reverence to avoid blame": being strong and bright without acting recklessly, one can avoid mistakes.

六二：黃離，元吉。黃，中色，坤為黃，離中爻乃坤土，有黃象。柔麗乎中而得其正，以此事君，將順而能匡救；以此治民，渾厚而能精明。上可正君，下可成化，純臣之道，大善而吉之占也。象曰：黃離元吉，得中道也。言中而正在其中矣。

The line statement for the second line says: "Yellow adheres, great auspiciousness." Yellow is the central color among the five colors, and "Kun" is associated with yellow. The middle line of "Li" originates from "Kun" earth, hence the image of yellow. The second line is soft and adheres to the central position, and it is in the correct place. With such character, serving the sovereign can both follow and uphold his virtue, and correct his mistakes. Governing the people, it is both broad and harmonious, yet precise and sincere. It can correct the sovereign above and accomplish education below. This is the way of a pure minister, hence the divination is great good fortune and auspicious. The Image Commentary says, "Yellow of Li, great auspiciousness, attains the middle way": it mentions only the word "middle," but "correctness" is already included within it.

九三：日昃之離，不鼓缶而歌，則大耋之嗟，凶。重離之間，前明將盡，有日昃之象。離中虛缶象，互五為兌口，歌與嗟之象。死生猶晝夜之常理，鼓缶而歌，安常以自樂可也；不然而徒以大耋為嗟，則窮蹙以死而已，故凶。蓋數之所至，當安於命也。象曰：日昃之離，何可久也。求人以繼其事，退處以休其身可也。

The line statement for the third line says: When the sun is setting, if one does not sing by beating a clay pot, one will lament the approaching end of life, which is ominous. The third line is sandwiched between the two 'Li' trigrams above and below. The previous light is about to be exhausted, hence the image of the sun setting. The 'Li' trigram is hollow in the middle, resembling a clay pot; the upper interacting trigram to the fifth line forms 'Dui', which represents the mouth, hence the image of singing and sighing. Life and death are like the alternation of day and night, which is a natural occurrence. Singing by beating a clay pot, accepting the natural order and finding joy in it, is appropriate. If one does not do so, and instead only laments the approaching end of life, then one is merely waiting for death in hardship and suffering, hence the ominous outcome. When the fate has reached this point, one should accept the heavenly mandate. The 'Image Commentary' says, 'The sun is setting in the 'Li' trigram, how long can it last?' At this time, seeking someone to continue one's affairs and retiring to cultivate one's body and mind is the proper course of action.

九四：突如其來如，焚如，死如，棄如。前明盡而後明忽迫，有突如其來如之象；其炎正盛，焚如之象；履非其位，逼近至尊，勢不能終，死如之象；無應無承，眾無所容，棄如之象。象曰：突如其來如，無所容也。無所容總釋上文，舉突如句可該。

The statement of the fourth line (Nine in the Fourth) says: It comes suddenly, like a burning fire, like death, like being cast away. The previous brightness has just vanished, and the next brightness suddenly rushes in, hence the image of 'suddenly coming.' Its fire is at its height, hence the image of 'burning like fire.' It is a yang line in a yin position and is not in the proper place, and it is closely approaching the supreme yin line five, so this trend will not end well, hence the image of 'like death.' It has no support above and no continuation below; everyone cannot accommodate it, hence the image of 'like being cast away.' The Image Commentary says, 'Suddenly coming, there is no place for it.' 'No place for it' is a summary of the above statements, and the phrase 'suddenly coming' alone is sufficient to encompass the entire line.

六五：出涕沱若，戚嗟若，吉。以柔順剛，不得其正，而迫於上下之陽。互卦兌澤之流，兌口之開，故有出涕沱若、戚嗟若之象。然居尊位而知憂懼，故占得吉也。象曰：六五之吉，離王公也。居王公之位而知憂懼，故吉也。三前明將盡，則不宜為大耋之嗟；五柔中居尊，則宜以戚嗟自戒。

The Line Statement of the Fifth Line says: tears flow in torrents, sorrow and sighing never cease, and it is auspicious. The Fifth Line, though possessing a gentle and compliant nature, is positioned above the strong, and is not in the proper place, further being pressed by the two yang lines above and below. In terms of imagery, the mutual trigrams form 'Dui' (Lake), which symbolizes a marsh, and the outflow of water from the marsh represents tears; 'Dui' also represents the mouth, and the opening of the mouth signifies sighing. Thus, there is an image of torrential tears and sorrowful sighing. However, because it holds a position of honor and knows to be cautious and vigilant, the divination is auspicious. The Image Commentary says, 'The auspiciousness of the Fifth Line is due to its resemblance to a prince or duke.' Being in a position of honor and knowing to be cautious and vigilant leads to auspiciousness. Although both involve sighing, the Third Line, at the moment when the previous phase of brightness is about to end, should not merely express sorrow for old age coming to an end; whereas the Fifth Line, being gentle and compliant in the center and holding a position of honor, should instead use sorrow and sighing as a self-restraint. The meanings derived from these two instances are exactly opposite.

上九：王用出征，有嘉折首，獲其匪丑，無咎。離為甲冑戈兵，故有出征之象；上九為五所麗，有王用之之象。有嘉，言有嘉美之功；折首，但誅首惡也；獲匪其醜，言不及其徒眾也。陽剛在上，有出征有嘉之象；離為科上槁，折首之象；剛明在上，所照及遠，有折首不及其丑之象。如此則威震而刑不濫，何咎之有。

The line statement of the top nine says: The king sent him on a military campaign, achieving a glorious merit, cutting off the head of the principal offender, and capturing not his followers, thus having no fault. In terms of symbolic representation, "Li" represents armor and weapons, thus indicating a military campaign; the top nine relies on the sixth five, thus indicating "the king employing him." "Having a glorious merit" refers to achieving a glorious military achievement; "cutting off the head" means only executing the principal offender; "capturing not his followers" means not involving his followers. A yang line at the top of the entire hexagram thus indicates a military campaign and achieving merit; the "Sayings of the Hexagram" states "Li is the withered branches on top," where the upper part of the tree is withered and easy to break, which is the image of "cutting off the head." The brightness and clarity at the top illuminate far away, thus indicating only executing the principal offender without involving his followers. Thus, the power is intimidating while punishment is not excessive, so there is no fault to speak of.

象曰：王用出征，以正邦也。寇賊亂邦，上能以剛明除天下之惡，所以正邦也。全卦以居中得正，有可亨之道，而以柔順自處，自能獲吉。六爻惟二兼中正柔順之德，故為最吉；五中而不正，而居尊位以照臨四方，故雖憂懼而亦有吉道。又火性炎上，在下則有勢易制，在上則其明及遠，所以皆無咎。若三處前明之盡，四居後明之逼，則凶不待言矣。

The Image Commentary says, "The king uses military force to correct the state": thieves and bandits disturb the state, and the superior nine can eliminate evil throughout the world by relying on his strength and clarity, hence it is said to correct the state. Looking at the entire hexagram, the way to achieve success is to be in the center and upright, and to be gentle and compliant, thus naturally attaining good fortune. Among the six lines, only the six two possesses both the virtues of being in the center and upright and being gentle and compliant, hence it is most auspicious; the six five is in the center but not in the proper position, yet it is in a high position to illuminate all around, hence although it is anxious, it still has a path to good fortune. Furthermore, fire tends upward: when it is in a lower position, the fire is still small and easy to control; when it is in a higher position, it shines brightly and reaches far. Hence both the initial nine and the superior nine can avoid blame. As for the nine three, it is at the end of the first layer of brightness, and the nine four is under the pressure of the second layer of brightness, so misfortune is inevitable.

咸卦，下艮上兌，取相感之義。兌少女，艮，少男也，男女相感之深，莫如少者。又艮體篤實，兌體和說，男以篤實下交，女心說而上應，感之至也，故名為咸。下經首咸。按《序卦》：有天地然後有萬物，有萬物然後有男女，有男女然後夫婦，有夫婦有父子，有父子然後有君臣，有君臣然後有上下，有上下然後禮義有所錯。天地，萬物之本；夫婦，人倫之始。

The hexagram "Xian" has the lower trigram "Gen" and the upper trigram "Dui." This reflects the idea of mutualsympathetic response, or response. "Dui" represents a young woman, and "Gen" represents a young man; the depth of their mutual attraction is unparalleled in youth. Moreover, "Gen" embodies steadfastness, while "Dui" embodies harmony and joy. A man with a steadfast heart submits below and connects with her, while a woman with a joyful heart responds above. This is the extreme of mutualsympathetic response, hence the name "Xian." The lower section of the Classic begins with "Xian." According to the "Xu Gua Zhuan," after heaven and earth come all things; after all things come male and female; after male and female come husband and wife; after husband and wife come father and son; after father and son come sovereign and subject; after sovereign and subject comes distinction between above and below; and only then does propriety and righteousness have a place. Heaven and earth are the root of all things, while husband and wife are the beginning of human relationships.

所以上經首乾坤，下經首咸，繼以恆也。又按《繫辭》：天地定位，山澤通氣。位欲其對待而分，故天地分為二卦；氣欲其流行而合，故山澤合為一卦也。全卦取男女夫婦之義，唯正則吉。六爻皆以人身取象，下卦象下體，自拇而腓而股；上卦象上體，自心而背而口。拇腓股隨體而動，應感者也。

Therefore, the Upper Classic begins with the hexagrams 乾 (Heaven) and 坤 (Earth), while the Lower Classic starts with 咸 (Mutual Influence), followed by 恒 (Permanence). According to the citation from Chen's commentary, which refers to the text from the "Commentary on the Hexagrams"—though this passage actually appears in the "Commentary on the Trigrams"—it says, "Heaven and Earth are positioned, mountains and marshes communicate through their energies." The arrangement of positions emphasizes mutual opposition and distinction, so Heaven and Earth are divided into the hexagrams 乾 and 坤. The concept of energy emphasizes circulation and mutual interaction, so mountains and marshes combine into the hexagram 咸. The entire hexagram takes the meaning of husband and wife, emphasizing the importance of maintaining proper conduct for good fortune. All six lines take the human body as a model: the lower trigram represents the lower part of the body, from the big toe to the calf and thigh; the upper trigram represents the upper part of the body, from the heart to the back and mouth. The big toe, calf, and thigh move along with the body, belonging to passive responding parts.

晦不能思，無感者也。口以言為說，不足以感人者也。皆不能盡感之道。唯心為感之主。乃無心者無所感，有心者憧憧往來亦不能以為感，則感道之難言也。此全彖六爻之大略也。

The "mò" taken by the Nine in the Fifth is located on the back, obscure and unclear, incapable of thought, and is a part that does not respond at all. The "mouth and tongue" taken by the Six at the Top rely only on words to please others, but relying solely on one's mouth is insufficient to move someone. These two aspects do not fully explain the principle of "response." The true master of response is the "heart." However, those whose hearts are empty and who have no thoughts at all do not respond at all, while those who have thoughts and keep turning them over in their minds also do not truly respond. This shows that the principle of "response" is indeed difficult to explain completely. This is a general explanation of the "Xian" hexagram's hexagram text and its six lines.

咸。亨，利貞，取女吉。咸，感也。不曰感而曰咸。咸，皆也。無心之感，無所不感也。所謂寂然不動，感而遂通天下之故者。若有心於感，則非易之道矣。故卦名咸。

The Hexagram Statement of 《Xian》 says: Smooth, favorable for upholding the correct path, and auspicious for marriage. "Xian" meanssympathetic response (response or mutual influence). It is not called "Gan" (sensation) but "Xian" because "Xian" has the meaning of "all, everywhere": only a response without private desire can be felt everywhere. This is exactly what the 《Xici Zhuan》 says: "Still and unmoving, yet when moved by sensation, it communicates with all things and understands the causes of the world." If one seeks response with a particular intention, it is not the way of the 《Yi Jing》, so the hexagram is named "Xian" rather than "Gan."

艮以少男先下於兌，感之專也。兌以少女而悅少男，應之至也。男先下女，得男女之正。感則必通，故占為亨。然必貞而取女則吉。若不以正，則失其亨而所為皆凶矣。又按，八卦各有正位：艮在三，兌在六。艮屬陽三，則以陽居陽；兌屬陰六，則以陰居陰。男女皆其正，故曰貞吉。

"Gen" represents the Young Male, yet it takes precedence in position below "Dui" the Young Female, showing a sincere and devoted heart. "Dui" the Young Female, due to the Young Male's approach, feels joy, indicating a sincere and earnest response. A man bowing to a woman first is in accordance with the proper way of interaction between men and women. Since the feeling is sincere and devoted, it will inevitably lead to communication and success, so the divination concludes as "Heng" (smooth). However, one must maintain proper conduct; only then is marriage auspicious. If not following the proper path, even the original success will be lost, and all actions will turn into misfortune. Additionally, each of the Eight Trigrams has its own "correct position." The correct position of "Gen" is the Third Line, and that of "Dui" is the Sixth Line. "Gen" is yang but occupies the Third Line, which is a yang position; "Dui" is yin but occupies the Sixth Line, which is a yin position. Both male and female are in their proper positions, hence maintaining proper conduct is considered auspicious.

彖曰：咸，感也。本卦二體，初陰四陽，二陰五陽，三陽六陰，皆陽感陰應、陰感陽應。六畫皆相與，卦之名義由（文瀾本「由」作「如」）此。柔上而剛下，二氣感應以相與，止而說，男下女，是以亨、利貞、取女吉也。以卦體言之，兌柔在上，艮剛在下，六畫陰陽相應。以卦德言之，艮止則情專，兌說則應切。以卦象言之，少男先下於少女。柔上剛下，感應相與，所以亨也。夫婦之道，止而不說則離，說而不止則亂。止而說，所以利貞也。婚姻之道，無女先於男，必女守正而男先下之，所以取女吉也。

The Commentary on the Judgment says: "Xian means mutual感应." In the Primary Hexagram, the two trigrams above and below are paired in pairs: the first line is yin, the fourth line is yang; the second line is yin, the fifth line is yang; the third line is yang, the sixth line is yin. All of them are cases where yang approaches and yin responds, or yin approaches and yang responds. The six lines interact with each other, and the meaning of the hexagram name comes from this (in the Wenlan Pavilion edition, the character "由" is written as "如"). The Commentary on the Judgment then says: "Yin is above and yang is below; the two energies感应 and interact with each other. It is a state of stopping yet being joyful, with the male below the female, so it is beneficial and proper, and it is auspicious to take a wife." From the structure of the hexagram, "Dui" (representing yin) is above, and "Gen" (representing yang) is below. The six lines of yin and yang correspond one by one. From the moral qualities of the hexagram, "Gen" represents stopping, and stopping means devotion; "Dui" represents joy, and joy means sincere response. From the symbolic meaning, the young male is ahead and submits to the young female. With yin above and yang below, the two energiessympathetic response and interact, so it is possible to achieve harmony. In the relationship between husband and wife, if one only holds on without joy, there will be separation; if one only enjoys without holding on, there will be disorder. If one can both hold on and enjoy, then it is said to be "beneficial and proper." In marriage, it is not the case that the woman initiates first; instead, the woman must be proper and the man must first come forward to propose, hence it is said to be auspicious to take a wife.

天地感而萬物化生，聖人感人心而天下和平。觀其所感，而天地萬物之情可見矣。天地無心而成化，一自然之運也。聖人有心而無為，一至誠之理也。

The Commentary on the Judgment says: "Heaven and Earth are moved by mutual attraction, and thus all things are transformed and generated. The sage moves the people's hearts and thus the world becomes peaceful. By observing what is moved, the nature of Heaven and Earth and all things becomes evident." Heaven and Earth do not have a mind to move things; all things naturally flourish and are generated, which is the natural course of things. The sage may have such a mind, but does not deliberately act to manage affairs, which is the natural expression of the principle of utmost sincerity.

誠能動物。人心之和平，一至誠之理也。誠能動物。人心之和平，一至誠所感，非邀結之為也。分言之，天地自天地，聖人自聖人；合言之，則天地之翕闢，即聖人之呼吸；天地之慘舒，即人之哀樂。故有感必通，天地萬物之情所同也。寂然不動者性（文瀾本「性」作「心」），感而遂通者情，即有感必通之道，引伸之而情可見矣。

True sincerity can move external things; the peace of the human mind is precisely the result of this principle of sincerity. The repetition of the phrase "sincerity can move things, the peace of the human mind" in the original text is likely an error in the printed version. Sincerity can move external things, and the peace of the human mind comes entirely from the influence of sincerity, not from efforts to ingratiate or form alliances. Separately, heaven and earth are heaven and earth, and sages are sages; but when combined, the opening and closing of heaven and earth correspond to the inhalation and exhalation of sages, and the withering and flourishing of heaven and earth correspond to the sorrow and joy of humans. Therefore, whenever there is a response, there must be a connection; this is a shared reality among all things in heaven and earth. The still, unmoving aspect is "nature" (in the Wenlan Pavilion edition, the character "heart" is used instead of "nature"), while the responsive, interconnected aspect is "emotion," which is the principle that whenever there is a response, there must be a connection. From this principle, we can understand the emotions of heaven, earth, and all things.

象曰：山上有澤，咸。君子以虛受人。澤性潤下，土性受潤。澤之潤有以感乎山，山之虛有以受乎澤，咸之象也。山上有澤，氣以虛而通；人心以虛而受，虛受則能感矣。若心之不虛，私意先入為主，雖投之不受，感通之機窒矣。

The Great Image Commentary says: "A mountain with a marsh on top, this is the Hexagram of Mutual Attraction. The gentleman thus learns to be receptive to others." The nature of a marsh is to flow downward and moisten, while the nature of earth is to receive and bear the moisture. The moistening of the marsh can move the mountain, and the mountain's emptiness can receive the marsh, which is the image of the Hexagram of Mutual Attraction. A marsh on top of a mountain can communicate because there is emptiness in the middle; the human heart must also be empty in order to hold others. Only by being humble and receptive can one achieve mutual understanding. If the heart is not empty, and one's own preconceptions and private intentions take precedence, then others' words cannot be received, and the opportunity for communication is blocked.

初六。咸其拇。拇，足大指也。卦取男女之感，六爻皆以人心取象。初在下，有拇之象。拇非能感人者，特以人身形體上下，象所感有淺深耳。拇隨足而動，欲進未能。初感於最下，所感尚淺，以其未至妄動，故不言吉凶。象曰：咸其拇，志在下也。初與四正應，雖所感尚淺，未遽動，而志知其在九四矣。

The line statement for the first line (Initial Six) says: "It touches the big toe." "Big toe" refers to the big toe of the foot. This hexagram takes the meaning of mutual attraction between men and women, and all six lines use parts of the human body to represent the heart's response. Since the first line is at the very bottom of the hexagram, it symbolizes the big toe. The big toe itself cannot move or attract others, but it uses the body parts from bottom to top to indicate the depth of feeling. The big toe moves with the foot, wanting to move forward but unable to do so. The first line begins the feeling at the very bottom, indicating a shallow response, as it has not yet reached the point of reckless action. Therefore, the line statement does not say whether it is auspicious or inauspicious. The Small Image Commentary says: "It touches the big toe, the mind is at the bottom." Although the first line and the fourth line are properly corresponding, although the feeling is still shallow and no action has been taken yet, its mind is clearly attached to the fourth line.

六二。咸其腓，凶，居吉。腓，足肚也，欲行則先自動，妄不能固守者也。二在下體之中，故有腓象。二與五為正應，然君位非可妄動求感。二變巽為入，則不待五之感而先動，躁妄故失之凶。然有中正之德，故能居其所，則吉也。又按，艮之六二曰艮其腓，象與咸同而不言凶。今咸曰凶者，以動故也。能居，則如艮之本體，可以吉矣。象曰：雖凶居吉，順不害也。吉言居者，非戒之使不得感也。陰性本靜，艮體本止，順其本然，不累於欲，感可不害矣。

The line statement for line six-two says: "It touches the calf of the leg, which is ominous, but if it remains in place, it is auspicious." The calf of the leg is the part of the leg that moves first when a person walks, and it is a part that is light and restless, and cannot hold on. Line six-two is in the middle of the lower trigram, so it takes the image of the calf of the leg. Line six-two and line nine-five are originally in a proper correspondence, but line nine-five is the position of the ruler, and it is not appropriate for line six-two to act rashly in seeking a connection with it. If line six-two moves, the lower trigram becomes "Xun" (wind), which signifies entering. Thus, it does not wait for line nine-five to initiate the connection but acts prematurely, acting rashly and recklessly, hence the ominous outcome. However, line six-two originally possesses the virtue of being in the center and upright. If it remains in its proper position without moving, it will be auspicious. Additionally, in the "Gen" hexagram, line six-two says "It stops the calf of the leg," which takes the same image as in "Xian," but does not say it is ominous. Here, in "Xian," it is ominous because it moves. If it remains still, it is like the nature of "Gen," and thus naturally brings auspiciousness. The "Small Image Commentary" says: "Although it is ominous, remaining in place is auspicious, because it follows without causing harm." The line statement says that remaining in place is auspicious, but it is not a prohibition against having a connection. The nature of yin is originally still, and the nature of "Gen" is originally to stop. Following this natural disposition, not being dragged by desires, the connection will not bring harm.

九三。咸其股，執其隨，往吝。三居下體之上，互巽有股象。執者，專主之意。股，主於隨足而動，不能自專者也。下二爻皆欲動，三以陽剛不能自守，欲應於上六（文瀾本「六」作「矣」）。上，悅體之極，三往而從之，但主於隨。以人事言，猶君子說小人之富貴者，往必吝矣。象曰：咸其股，亦不處也。志在隨人，所執下也。亦者，對下二爻而言。二爻陰，躁其動固也。三以陽剛居止之極，乃不自安處而但隨人，所守汙下，不足言矣。

The line statement for the third line says: "It is salty in the thigh, it holds on to the following, and going forward brings regret." The third line is at the top of the lower trigram, and the second, third, and fourth lines together form the trigram "Xun." "Xun" represents the thigh, so there is an image of the thigh. "Holding on" means to be exclusively focused or to fixate. The thigh's function is only to follow the feet; it cannot act on its own. The two lines below, the first line and the second line, are both restless and eager to move. The third line, being a yang line, cannot hold itself steady, and is eager to respond to the sixth line above (in the Wenlan Pavilion edition, the character "six" is written as "yi"). The sixth line is the top of the trigram "Dui," which represents joy. The third line going forward to follow it is all about "following." In terms of human affairs, it is like a virtuous person envying the wealth of a petty person and going to attach himself to him, which will certainly bring disgrace and regret. The Small Image Commentary says: "It is salty in the thigh, also not staying still. The mind is to follow others, and what it holds on to is low." The word "also" refers to the two lines below: those two lines are yin, and their restlessness was expected. The third line, being a yang line, is at the extreme of the trigram "Gen," which represents stopping, yet it cannot stay still, and follows others exclusively. What it holds on to is so low, it is even less worth mentioning.

九四。貞吉悔亡，憧憧往來，朋從爾思。九四居股之上、脢之下，三陽之中，心之象，咸之主也。心之感物，必正而固，乃得其理。九四以陽居陰，非其正也，而曰貞吉悔亡，戒之也。

The fourth line statement says: "Zhen Ji Hui Wang, Chong Chong Wang Lai, Peng Cong Er Si." The fourth line is located above the thigh and below the spine, in the middle of the three yang lines, symbolizing the "heart." It is also the main line for thesympathetic response (response and interaction) of the entire hexagram. The heart responds to things, and it must be upright and firm in order to conform to the proper principle ofsympathetic response. The fourth line is a yang line in a yin position, which is inherently not proper. However, the line statement says that maintaining properness brings good fortune and the disappearance of regret. This is a warning to it to maintain properness.

憧憧往來，謂一心計我之所以感，又計彼之所以應。有明道計功之意。初與四為正應，有朋象。思者，心之用也。心不可見，故言心之用。九四心之象，咸之主。若能正而固，則虛中無我，無所不感（文瀾本無「無所不感」四字），無所不應而自然獲吉，悔可亡矣。若此心一有計功謀利之私，則未免憧憧然於往來，不過其朋類從之。又安能廓然大公，物來順應而無所不通哉。象曰：貞吉悔亡，未感害也。憧憧往來，未光大也。未感害，當從程傳，未為私感所害也。憧憧往來，以私心相感，則感之道狹矣，故曰未光大也。

"Chongchong wanlai" refers to a state of constantly calculating what one can do to move another person and also pondering what the other person might do in response, driven by private intentions of both reasoning and seeking results. Since the initial line (Chu Li) and the fourth line (Jiu Si) are in a correct correspondence, there is an image of "friends." "Si" refers to the function of the mind; since the mind itself is invisible, it is described by its function. The fourth line represents the image of the mind and the master ofsympathetic response (response and resonance). If this mind is upright and firm, then the mind remains clear and free from a private self, thus being able to respond to all things (the text of Wenlan Pavilion edition does not include the phrase "wu suo bu gan"), and naturally attains good fortune, eliminating regret. However, if this mind harbors private intentions of calculating gains and benefits, it inevitably leads to ceaseless calculations in interactions, and what can be moved is only a few people of similar disposition. How could one speak of a broad and impartial spirit, responding to things as they come and being universally responsive? The "Small Image Commentary" states: "Zhen Ji Hui Wang, Wei Gan Hai Ye. Chongchong Wanlai, Wei Guang Da Ye." The phrase "Wei Gan Hai" is interpreted by Chen Menglei according to Cheng Yi's "Cheng Zhuan" as meaning that it has not yet been hindered by private-minded感应 (response). As for "Chongchong Wanlai," it refers to moving others with private intentions, thus narrowing the path of感应, hence it is said to be "Wei Guang Da" (not yet broad and expansive).

九五。咸其脢，無悔。脢，背肉，在心之上，而相背昧，無所知，不能感物者也。五在上卦之中、心之上，故以取象。然以其無私繫也，故亦可以無悔。此卦諸爻皆動而無靜，五則靜而無動，皆非心之正也。僅以無私繫而得無悔，非取之也。象曰：咸其脢，志末也。孤孑絕物，所志已末。

The line statement for the fifth line (九五) says: "It touches the nape, without regret." "Nape" refers to the flesh on the back, located above the heart, yet it is opposite and obscure, a place that cannot feel things. The fifth line is in the middle of the upper trigram and above the position of the heart, so this image is taken. However, because it has no private attachments, it can avoid regret. In this hexagram, all other lines are only active and not still, while the fifth line is only still and not active, so neither conforms to the proper way of the heart. The fifth line merely avoids regret by not having private attachments, but this is not what the Book of Changes truly approves. The Small Image Commentary says: "It touches the nape, the will has reached its end." Being isolated from external things, the established will has already fallen into the end of the path.

上六。咸其輔頰舌。兌為口舌。上六居卦之最上，故有輔頰舌之象。舌動則輔應而頰從之，三者相須，皆所用以言者。以陰居說之終，處咸之極，無其實而徒以口舌感人者也。人情喜諛說佞，口舌容有感人之時。然其事已不足道矣，故凶悔吝，皆可不言也。

The line statement for the sixth line at the top says: "It is pleasant to the cheek and tongue." "兑" represents the mouth and tongue, and the sixth line at the top is at the very top of the hexagram. Therefore, it symbolizes the jaw, the cheek, and the tongue. When the tongue moves, the jaw responds, and the cheek also moves. The three are interdependent and are all parts used for speaking. The sixth line at the top, being a yin line, is at the end of the "兑" trigram representing joy, and at the end of the "Xian" hexagram representing mutual attraction. There is nothing substantial in the heart, and it only relies on the mouth to move people. Human nature naturally enjoys flattery and likes to be fawned upon. Relying solely on words can sometimes be persuasive; however, such matters are no longer significant, so the judgments of danger, regret, and difficulty are no longer necessary.

象曰：咸其輔頰舌，滕口說也。滕，騰通。馳騁其辭辯，以取說於人也。全卦以相感為義。感之道莫大於男女，故彖以取女言之，而要於正則吉。感之用莫神於心，故六爻以四之心為主，而要於正則悔亡。心有動有靜。靜而無動則脢也，不能感者也。動而不靜，腓也股也輔頰舌也，感之不以正者也。蓋上卦雖主於說，下卦則取於止。必也未感之先，心本於虛。方感之時，一出於正。所謂寂然不動，感而遂通者，庶得咸之義矣。又按，蘇傳，咸者以神交。夫神者將遺其心，況於身乎，身忘而後神存。心不遺則身不忘，身不忘則神忘。

The Small Image Commentary says: "The feeling is in the cheek and tongue, which is the act of flattery." "Teng" is the same as "Teng," meaning to display eloquence and skill in speech to win others' favor. The entire hexagram is based on mutual感应 (response). The way of感应 has nothing greater than the感应 between men and women, so the彖辞 uses "taking a woman" as an example, and concludes that only by upholding the right path is it auspicious. The use of感应 has nothing more subtle than the "heart," so the six lines focus on the "heart" in the fourth line, and conclude that only by upholding the right path does regret vanish. The heart has both a moving aspect and a still aspect: if it is only still and not moving, it is the "mian" of the fifth line, which is incapable of producing感应; if it is only moving and not still, it is the "fei" of the second line, the "gu" of the third line, and the "che jia she" of the sixth line, which are forms of感应 that do not follow the right path. The upper trigram, although centered on "Dui" (Joy), the lower trigram takes the meaning of "Gen" (Stillness): one must first have a mind that is empty and clear before any感应 occurs; when the proper感应 comes, every action and movement must be right. This is exactly what the Xici says: "Still and unmoving, but when moved, it communicates with all things." This is almost the fundamental meaning of the Xian hexagram. Furthermore, according to Su Shi's Dongpo Commentary on the Changes, "Xian" is about spiritual connection. The "spirit" refers to a state where even one's own heart is forgotten, let alone the body. Only when the body is forgotten can the spirit remain; if the heart is not forgotten, the body cannot be forgotten, and if the body cannot be forgotten, the spirit is forgotten as well.

故神與身非兩存也，必有一忘。足不忘屨，則屨之累也甚於桎梏。要不忘帶，則帶之為虐也甚於縲絏。人之所以終日躡屨束帶而不知厭者，以其忘之也。道之可以名言者，皆非其至。而咸之可以分（文瀾本「分」作「象」）別者，皆其粗也。是故在卦者，咸之全也。在爻者，咸之粗也。爻配一體，自拇而上至於口。當其處者有其德，德有優劣而吉凶生焉。合而用之，則拇履、腓行、心慮、口言，六職並舉而我不知。此其為卦也。離而觀之，則拇能履而不能提，口能言而不能聽。此其為爻也。方其為卦也，見為咸而不知其所以咸。猶其為人也，見其人而不見其體也。六體各見，非全人也。見其所以咸，非全德也。是故六爻未有不相應者，而皆病焉。不凶則吝，其善者免於悔而已。此說可叅。

Therefore, the "spirit" and the "body" cannot both be preserved; one must be forgotten. If the foot cannot forget the shoe, the shoe's burden on the foot is worse than foot chains; if the waist cannot forget the belt, the belt's torment is more painful than the ropes used to bind criminals. People wear shoes and tie belts all day long without feeling tired, precisely because they have forgotten them. Any "Dao" that can be expressed in words is not the ultimate Dao; any explanation of the hexagram "Xian" that can be discussed item by item (in the Wenlan Pavilion edition, the character "fen" is written as "xiang") is only its superficial aspect. Therefore, looking at the entire hexagram, it is the whole of "Xian"; looking at each line, it is only the superficial aspect of "Xian." Each line corresponds to a part of the body, from the big toe upward to the mouth. The virtue of each part depends on its position, and the virtue has high and low levels, from which good and bad fortune arise. When used together, the big toe is responsible for stepping, the lower leg for walking, the heart for thinking, and the mouth for speaking. The six functions operate simultaneously without the person being aware of them; this is how the hexagram takes shape. When viewed separately, the big toe can step but cannot lift, the mouth can speak but cannot hear; this is how each line takes shape. When it is considered as a hexagram, one sees only the "Xian" but does not know why it can be "Xian," just as seeing a person without noticing his separate limbs. If the six limbs are each presented separately, they do not form a complete person; if one focuses only on why it can be "Xian," it does not form a complete virtue. Therefore, none of the six lines is not in harmony, yet each line has its own flaw: either it is凶 (evil) or 吝 (austerity), and the best among them is only free from regret. One may refer to Su's view on this.

恆卦，巽下震上，取有常能久之意。彖傳取義有四：剛上柔下，一也；雷動風應，二也；由順而動，事乃可久，三也；剛柔相應，乃理之常，四也。故卦名恆。恆次於咸。按，序卦，夫婦之道不可以久也，故受之以恆。

The Lower Trigram of the Hexagram "Heng" is "Xun" (Wind), and the Upper Trigram is "Zhen" (Thunder), symbolizing constancy and unchanging nature. The Commentary on the Judgment explains the name of the Hexagram, with four meanings: first, the Yang is above and the Yin is below; second, the Thunder moves and the Wind responds accordingly; third, to act in accordance with the principles before taking action ensures lasting results; fourth, the six lines of Yin and Yang correspond one by one, which is the natural order. Therefore, the Hexagram is named "Heng" (Constancy). The Hexagram "Heng" follows "Xian". According to the Sequence of Hexagrams, the way of husband and wife cannot be without constancy (the original text lacks the character "not"), so after "Xian" comes "Heng".

恆，久也。咸，夫婦之道。夫婦之道，終身不變者也，故咸之後繼以恆也。咸少男在少女之下，以男下女，男女交感之義也。恆長男在長女之上，男尊女卑，夫婦居室之常也。論交感之情則少為親切，論尊卑之序則長為謹嚴，故兌艮為咸而震巽為恆也。全彖以有常則亨，又貴於得正。以往兼不易不已二義，能盡乎恆之道者也。六爻雖上下相應，而皆於恆之義未盡。

"Constant" means enduring. The Book of Changes explains that the hexagram "Xian" deals with the relationship between husband and wife, and since the relationship between husband and wife is unchanging throughout life, "Xian" is followed by "Heng." "Xian" represents a young man below a young woman, with the man bending down to meet the woman, symbolizing mutualsympathetic response between male and female; "Heng" represents an elder son above an elder daughter, with male superiority and female subordination, symbolizing the normal state of husband and wife in daily family life. In terms of mutualsympathetic response, the young are more intimate; in terms of hierarchy, the older are more formal. Therefore, "Dui" and "Gen" are paired to form "Xian," while "Zhen" and "Xun" are paired to form "Heng." The main idea of the "Tuan Ci" is that only by being constant can one achieve smoothness, and upholding correctness is most valued. As for the phrase "beneficial to go somewhere," it includes both "unchanging" and "unending" meanings, thus fully explaining the principle of "Heng." Although the six lines are all corresponding above and below, none of them fully capture the meaning of "Heng."

初在下之下，四在上之下，皆未及乎恆者，故泥常而不知變。三在下之上，上在上之上，皆已過乎恆者，故好變而不知常。惟二五得上下體之中，似知恆之義者。而五位剛爻柔，以柔中為恆，故不能制義，而但為婦人之吉。二位柔爻剛，以剛中為恆，而居位不當，亦不能盡守常之義，故但可悔亡亾而已。蓋恆之道難言，必如彖所云而後可也。

Chu Li is at the very bottom of the lower trigram, and Ji Si is at the very bottom of the upper trigram, both still not reaching the concept of 'constant' (heng), so they are rigidly clinging to routine without understanding change. Ji San is at the top of the lower trigram, and Li Wu is at the top of the upper trigram, both have exceeded the measure of 'constant', so they are overly eager for change without understanding constancy. Only Ji Er and Wu Wu are in the middle of the upper and lower trigrams, seeming to understand the meaning of 'constant'. However, Wu Wu is in the fifth position, which is a yang position, but the line is yin, so it can only be constant through gentle moderation, thus unable to make decisive judgments, resulting only in a woman's good fortune. Ji Er is in the second position, which is a yin position, but the line is yang, so it is constant through strong moderation, but the position is not appropriate, so it cannot fully embody the principle of constancy, thus only achieving the elimination of regret. Clearly, the principle of 'constant' is really difficult to explain, and one must follow exactly what the 'Tian Cis' says to be considered qualified.

恆。亨，無咎，利貞，利有攸往。恆，常久也。常有不易之義，久有不已之義。字從心從一日，立心如一日也。人能常久其道，則可以亨通而無咎。然必利於得正，乃得常久之道而利於有所往也。利貞，有不易之意。利有攸往，有不已之意。

The Hexagram of Constancy states: It is smooth, there is no fault, it is beneficial to maintain the correct path, and it is beneficial to go forward. "Constancy" refers to enduring and lasting. "Endurance" implies unchangeableness, while "lasting" implies continuity. The character "恒" is composed of "心" (heart), "一" (one), and "日" (sun), meaning to establish one's mind and remain steadfast day after day. When a person can maintain his way for a long time, he can achieve smoothness without fault. However, only by benefiting from maintaining the correct path can one truly attain the way of constancy, and only then can going forward be beneficial. Therefore, the phrase "beneficial to maintain the correct path" expresses the meaning of "unchangeable," while the phrase "beneficial to go forward" expresses the meaning of "unending."

彖曰：恆，久也。剛上而柔下，雷風相與，巽而動，剛柔皆應，恆。以卦體言之，艮剛上而巽柔下，名分之常。以卦象言之，雷震則風從，氣化之常。以卦德言之，巽順理而雷動有為，操行之常。又以卦體言之，六爻剛柔皆應，情理之常。此皆以釋卦之名義也。

The Commentary on the Judgment says: "Heng means constancy. The strong is above and the yielding is below; thunder and wind interact, the yielding is active, and the strong and the yielding correspond with each other, hence Heng." From the structure of the hexagram, the strong is above and the yielding is below, which represents the established order; from the symbolic meaning, thunder moves and wind follows, which represents the constant principle of natural transformation; from the moral qualities, the yielding is in harmony with things and the thunder is active and takes action, first following the principles and then acting, which represents the constant principle of conduct; further, from the structure, the six lines correspond one by one between the strong and the yielding, which represents the constant principle of human relations. All of these are used by the Commentary on the Judgment to explain the meaning and principles of the hexagram.

恆亨、無咎、利貞，久於其道也。天地之道，恆久而不已也。《本義》重「貞」字。按，文意宜重「道」字，道即貞也。言恆亨、無咎，而必曰利貞者，恆之義雖取於久，必久於其道也。天地之所以恆久不已者，道也。若久而非道，則不得謂之貞矣，安得亨而無咎乎。

The Commentary on the Judgment says: The hexagram of Constancy is able to be smooth, without error, and favorable to maintaining the correct path, because it can remain steadfast on its proper course for a long time. The principle of operation of heaven and earth is also constant and unceasing. Zhu Xi in his commentary The Original Meaning of the Zhou Changes emphasizes the word "zheng" (constancy). Chen Menglei's note suggests, however, that according to the meaning of the text, the emphasis should be on the word "dao" (the Way), since the "dao" referred to here is the same as "zheng". The text already states that constancy brings smoothness and no error, yet it necessarily adds the phrase "favorable to constancy" because although the meaning of "constancy" comes from "long duration", it must be a long duration on the correct path to be valid. Heaven and earth can remain constant and unceasing precisely because of this "dao". If something is merely enduring for a long time but not in accordance with the Way, then it cannot be called "zheng", and how could it be smooth and without error?

利有攸往，終則有始也。久於其道，終也；利有攸往，始也。蓋一定不易之中，即有隨時變易之理。天地晝之終即夜之始，寒之終即暑之始，循環無端，所以可常可久，故居恆而利於往也。此二節釋彖辭。

The Commentary on the Judgment also says: "It is advantageous to go somewhere, for the end leads to a new beginning." To remain steadfast on the right path for a long time refers to the conclusion of a phase; to be advantageous in moving forward refers to the beginning of a new phase. Originally, within the constant and unchanging principles, there is inherently the principle of change with the times. In the world between heaven and earth, the end of day is the beginning of night, and the end of severe winter is the beginning of summer; the cycle continues without interruption, thus maintaining the norm and ensuring continuity. Therefore, when a person is in the state of constancy, it is actually advantageous to take action. The above two passages are both explanations by the Commentary on the Judgment of the Hexagram Statement.

日月得天而能久照，四時變化而能久成，聖人久於其道而天下化成。觀其所恆，而天地萬物之情可見矣。此極言恆久之道，見恆之利於貞也。日月，陰陽之精，以得天之道，往來盈虧而能久照。四時，陰陽之氣，亦得天之道而變化之，故寒暑相禪以成歲功。聖人亦常久於道，皆出於正，故天下化之以成風俗。故恆有所以恆者，道也，即貞也。日月之久照、四時之久成、聖人之化成，皆以此也。故曰天地萬物之情可見矣。

The Commentary on the Judgment continues: "The sun and moon receive the mandate of Heaven and thus can shine for a long time; the four seasons change in accordance with the mandate of Heaven and thus can complete the cycle of a year. The sage remains steadfast in the Dao for a long time, and thus the world is transformed. By observing what is constant, the true nature of heaven, earth, and all things becomes evident." These words fully express the principle of constancy. It is precisely to show that "constancy" must be based on "uprightness and correctness." The sun and moon are the essence of yin and yang; because they follow the Dao, they can rise and set, wax and wane, and shine continuously. The four seasons are the energies of yin and yang; because they follow the Dao, they change and transform in order, thus completing the cycle of a year. The sage also remains steadfast in the Dao for a long time, acting with uprightness in every movement, thus transforming the world and forming customs. Clearly, the reason why "constancy" can be constant is because there is something that makes it constant, which is the "Dao," that is, "uprightness." The sun and moon can shine continuously, the four seasons can complete their cycles, and the sage can transform the world, all because of this. Therefore, it is said: by observing what a thing holds constant, the true nature of heaven, earth, and all things becomes evident.

象曰：雷風，恆。君子以立不易方。方，理之不可易者。巽性入而在內，雷性動而在外，雷風至變而不失其常。君子體之，常變經權皆不可易之理，非膠於一定之謂也。

The Great Image Commentary says: "Thunder and wind, constancy. The superior person thus establishes himself without changing his course." The term "direction" refers to an unchangeable principle and standard. The lower trigram of the Hexagram of Constancy is Xun, which represents penetration and is located internally; the upper trigram is Zhen, which represents movement and is located externally. Thunder and wind are the most changeable elements in heaven and earth, yet they never lose their inherent nature. By observing this, the superior person understands that whether maintaining constancy or adapting to change, whether adhering to established principles or employing flexible measures, there is an unchangeable truth involved—this is called "establishing oneself without changing one's course," which does not mean clinging to a fixed routine.

初六：浚恆，貞凶，無攸利。初與四為正應，理之常也。然在下，未可深有所求。四震體，陽性動而不下，又為二三所隔，應初之意異乎常（文瀾本「異乎常」作「甚微」）矣。初之柔暗不能度勢，巽性善（文瀾本「善」作「務」）入故深，以常理求之，為浚恆之象。如是則雖貞亦凶，而無所利矣，況爻象本不正乎。象曰：浚恆之凶，始求深也。交際之道，自有淺深。交始而遽以深望之，豈常理哉。

The line statement for the first line (Initial Six) says: "Junneng, zheng xiong, wu yu li." "Junneng" means to dig deeply, indicating that at the beginning one seeks too much from the other. Initially, the line six and line four are yin and yang, which is a proper pairing, according to normal principles. However, line six is at the very bottom of the hexagram, and it is not appropriate to seek deeply at this stage. Line four belongs to the upper trigram Zhen, which has a yang nature that tends to move upward rather than downward. Between them are lines two and three, which block the connection. Therefore, the response of line four to line six is not ordinary (the Wenlan edition writes "yi hu chang" as "shen wei," meaning weak). Line six is yin, weak and confused, and cannot accurately assess the situation. Moreover, the nature of Xun is to go deep, so the deeper it seeks, the more it digs. If one only follows normal expectations, it becomes the image of "Junneng." In this case, even if one remains steadfast, danger is inevitable, and there can be no benefit. Moreover, this line is yin in a yang position, which is not proper. The Small Image Commentary says: "The danger of Junneng arises from seeking too deeply at the beginning." Interaction naturally proceeds from shallow to deep. To expect deep connection from the start is not in line with normal principles.

九二：悔亡。以陽居陰，本當有悔，以久於中道，故悔可亡。象曰：九二悔亡，能久中也。過不及皆不能久，可久之道唯中而已。諸爻以不中故不能久。蓋正者或未必中，中者可以兼正也。

The line statement for line two (Nine Two) says: "Regret disappears." Nine Two, being a yang line in a yin position, is in an improper place and should naturally produce regret; however, it remains steadfast in the central position of the lower trigram for a long time, so regret disappears. The Small Image Commentary says: "Nine Two's regret disappears because it can remain in the central position for a long time." Anything that goes beyond its limits or fails to reach the right position cannot last. The only path that allows for lasting is the concept of 'center' (zhong). In the hexagram of Constancy, all other lines cannot last because they do not occupy the central position. It is important to understand that being in the proper position and maintaining correctness does not necessarily mean one is in the center, but those who can achieve the center can also attain correctness. This is why Chen Menglei particularly emphasizes the importance of 'center' here.

九三：不恆其德，或承之羞，貞吝。位雖得正，然過則不中，志從於上而不能久。蓋巽為不果，又為躁卦，故有不恆其德、或承之羞之象。承，進也。或者，不知誰何，人得而進之以羞也。如是則雖正亦吝矣。象曰：不恆其德，無所容也。過剛，又介二剛之間，進退無所容也。

The third line statement says: "Not maintaining its virtue, it may receive disgrace, and thus be in a difficult situation." The third line is a yang line in a yang position, though its position is correct, its strength is excessive and it is not in the center. Its mind is overly attached to the upper sixth line and cannot maintain a long-term stance. The lower trigram is Xun, which originally has a gentle and indecisive image, and it is also a restless trigram, so there is an image of "not being able to maintain its virtue" and "receiving disgrace from someone." Here, "承" means to present or offer; "或" means not specifically referring to someone, implying that anyone could bring disgrace upon it. Thus, even if it maintains correctness, it is still regrettable. The Small Image Commentary says: "Not maintaining its virtue, it has nowhere to be accommodated." The third line is overly strong, and is sandwiched between the second and fourth lines, both of which are yang lines. It cannot advance or retreat, and thus has nowhere to be accommodated.

九四：田無禽。坤為眾，四變坤有田象；應初巽，為無禽象。師六五變坎中實，所應又剛，故為有禽；此變坤陰虛，所應又柔，故有無禽之象。以陽居陰，已非其位；所處不中，震體好動。曲學異端，返之身心而無益，措之天下而無功者也。象曰：久非其位，安得禽也。以陽居陰，非所久而久也。九二亦非位而悔可亡，此則不然者，又中與不中之辯也。

The line statement for the fourth line, nine in the fourth, says: "There are no game in the fields." This means going out to hunt but getting nothing. The lower trigram is坤, representing many, and when the fourth line changes, the upper trigram becomes坤, symbolizing the fields. The line corresponds to the initial six, which is巽, thus resulting in the image of no game. This can be compared to the hexagram 师, where the fifth line, six in the fifth, changes to become坎. The middle line of坎 is solid, and the corresponding nine in the second is yang, hence resulting in "there is game." In the hexagram 恒, the fourth line, nine in the fourth, changes to become坤, which is yin and empty, and the corresponding initial six is also yin and soft, hence resulting in "there is no game." The fourth line, which is a yang line in a yin position, is already not in the proper position; it is also not in the center, and it has the nature of 震, which is active and restless. Such a person is like one who specializes in perverse learning and heretical doctrines, and when he withdraws to reflect on his body and mind, there is no benefit, and when he goes out to implement his ideas in the world, there is no effect. The Small Image Commentary says: "Remaining in an inappropriate position for a long time, how can there be game?" A yang line in a yin position is not the proper place to stay, yet it remains there. Someone might ask: the second line, nine in the second, is also not in the proper position, so why does regret disappear, but not for the fourth line? This is still the difference between being in the center and not being in the center.

六五：恆其德，貞，婦人吉，夫子凶。以柔中而應剛中，陰柔之正，有恆其德貞之象。五變兌為少女，婦人之象。以柔為恆，婦人之道，非夫子所宜，故婦人得此爻則吉，在夫子則凶也。象曰：婦人貞吉，從一而終也；夫子制義，從婦凶也。婦人從一夫而終，無專制之義。夫子剛斷，以義制事，乃柔順而從婦道，則凶矣。

The Line Statement for the sixth line (six in the fifth): "Maintaining virtue, upholding constancy, it is auspicious for a woman, but ominous for a man." The sixth line, being a yin line, occupies the central position of the upper trigram, and corresponds below to the second line, which is a yang line in the central position. This represents the proper path for the yin and yang lines. Therefore, there is an image of "maintaining virtue and upholding constancy." When the sixth line changes, the upper trigram becomes Dui, which represents a young woman, hence the image of a woman. Taking gentleness as the path of constancy is the proper conduct for a woman, but not for a man. Therefore, if a woman obtains this line, it is auspicious, but if a man obtains it, it is ominous. The Small Image Commentary says: "A woman's constancy is auspicious because she remains faithful to one husband; a man's conduct is ominous because he follows the path of a woman." A woman's life should be devoted to one husband, and she has no reason to act independently. A man, on the other hand, should be resolute and decisive, judging matters according to reason. If he is overly gentle and follows the path of a woman, it will be ominous.

上六：振恆，凶。以一卦之極言之，居恆之極，不能常矣；以上卦之極言之，處震之終，過於動矣；以上六之一爻言之，質陰柔不能固守居上，又非所安矣。故有震動其恆之象，而其占則凶也。象曰：振恆在上，大無功也。居上必有恆德，乃可有功。躁動如此，安能有所成乎。曰大無功，上無益於國家，下不利於生民也。

The line statement for the sixth line at the top says: "Zhen Heng,凶." "Zhen" means to shake or move. Looking at the entire hexagram, the sixth line at the top is at the end of the Heng hexagram, and has lost the ability to maintain stability. Looking at the upper trigram, it is at the last position of the Zhen trigram, having moved too much. Considering this line alone, it is of a yin and soft nature, unable to hold on, and is located at the highest position, which is not a suitable place for it to be. Therefore, there is an image of "shaking away the constant," and the judgment is ominous. The Small Image Commentary says: "Zhen Heng at the top, great without achievement." Those in high positions must possess enduring virtue in order to accomplish great deeds. How could one achieve anything with such restlessness and disorder? "Great without achievement" refers to no benefit to the state above and no benefit to the people below.

恆卦象甚善，而六爻鮮有全吉。蓋以爻配位，陰陽得失各有不同。大抵或守常而失之拘，或厭常而失之躁，皆不能中正以盡乎恆之義。初四皆守常而拘者也，而初之凶甚於四；三上皆厭常而躁者也，而上之凶甚於三；二五皆中而不正，故五有不能制義之凶，即二亦僅悔亡而已。盡恆之義，必如彖之所云乎。

Chen Menglei summarized the entire hexagram: The hexagram of Heng is originally good, but its six lines are rarely entirely auspicious. The reason is that when the lines are matched with their positions, the yin and yang are either in proper or improper positions, which differ. Generally, there are two types: one type adheres to the conventional and thus becomes rigid, and the other type rejects the conventional and thus becomes restless. Both types fail to achieve the middle and correct position, thus failing to fulfill the meaning of "Heng" (constancy). The line Chiu Li and Ji Si both belong to the type that adheres to the conventional and becomes rigid, but the misfortune of Chiu Li is more severe than that of Ji Si. The line Ji San and Shang Li both belong to the type that rejects the conventional and becomes restless, but the misfortune of Shang Li is more severe than that of Ji San. The lines Ji Er and Liu Wu, although occupying the middle position, are not in the correct position, so Liu Wu has the misfortune of "being unable to judge by righteousness," while Ji Er only manages to eliminate regret. To fully realize the meaning of "Heng," it is probably only possible by following what the Hexagram Statement and the Commentary on the Judgment have explained.

遯。遯卦，艮下乾上。二陰浸長，陽當退避；又乾陽外往而艮能止，有違遯之義，故為遯。不言退而言遯者，退但有退後之義，無避去之義故也。遯卦次恆。按，《序卦》：恆者，久也。物不可以久居其所，故受之以遯。久則有退去之理，遯所以次恆也。全彖以君子能遯，則身退而道亨；小人則不可以陰之浸長，而遽迫於陽。此全彖之大旨也。

The Hexagram of Retreat, with the lower trigram being Gen (Mountain) and the upper trigram being Qian (Heaven). The entire hexagram has two lower lines that are yin, indicating that yin energy is gradually growing, and yang energy should therefore retreat and withdraw. Moreover, the upper trigram Qian represents yang energy that is forcefully advancing outward, while the lower trigram Gen can stop it. Together, this conveys the meaning of 'retreating and separating,' hence the name 'Retreat.' The term 'retreat' is not used but instead 'Retreat' is used, because 'retreat' only implies moving backward, but does not include the meaning of avoiding and leaving. The Hexagram of Retreat comes after the Hexagram of Constancy. The 'Sequence of Hexagrams' says: 'Constancy means enduring. Things cannot remain in their place for long, hence it is followed by Retreat.' When something stays in one place for too long, it naturally leads to withdrawal, hence Retreat follows Constancy. The main points of the hexagram's statement have two aspects: a gentleman who can retreat in time, though his body may retreat, his path remains open; whereas a petty person should not take advantage of the growing yin energy to urgently force yang energy. This is the general meaning of the entire hexagram's statement.

六爻獨二不言遯。蓋全卦以二陰迫陽，二乃卦之所以為遯者，故（文瀾本「故」作「故其」）遯之意至堅，而不言遯，恐其迫陽也。遯貴速而遠：三近二，故有係；四應初，故有小人之戒；五得中，為嘉遯；上最遠，為肥遯。獨初與同體而在眾陽之後，則又以不遯免災。故當遯之時，不可不見機遠去也。

Among the six lines, only the line six in the second position does not mention the word "遯." The entire hexagram is formed by two yin lines pressing upon the yang lines, and line six in the second position is the reason that makes this hexagram "遯." It is the most resolute in promoting the retreat. The reason it is not mentioned in the line statement is to prevent it from turning around to press upon the yang. The way of retreat is valuable for being quick and distant: line nine in the third position is adjacent to line six in the second, so it has "係遯," meaning it is restrained; line nine in the fourth position responds to line six at the beginning, so it has a warning against small people; line nine in the fifth position is in the center of the upper trigram, so it is "嘉遯," meaning a beautiful retreat; line nine at the top is farthest from the yin lines, so it is "肥遯," meaning a broad and comfortable retreat. Only line six at the beginning and line six in the second position share the nature of the mountain trigram, yet they are placed after all the yang lines, and because they do not retreat, they avoid misfortune. Therefore, when it is time to retreat, one must not hesitate to leave quickly.

遯，亨，小利貞。遯卦陰浸長而陽避，六月之卦也。亨指四陽而言，知時而遯，故身雖退而道亨。小利貞，《程傳》謂不可大貞而尚利小貞，《本義》以小為小人言，小人當利於守正，不可以浸長而迫於陽也。今按，此句宜指二陰而言，《本義》為是。蓋易雖為君子謀，未嘗不望小人之為君子。小而能貞，則亦君子矣。當遯之時，君子固以遯而亨，小人亦以正為利。諷君子而儆小人，亦扶陽抑陰之意。

The Hexagram Statement says: "Dun, smooth, small benefit in uprightness." The Hexagram of Dun represents a time when Yin energy gradually increases and Yang energy retreats. In the twelve hexagrams associated with the lunar months, it corresponds to the sixth month. "Smooth" refers to the four upper Yang lines: knowing when to retreat, one may withdraw physically but still maintain a smooth path. As for the phrase "small benefit in uprightness," Cheng Yi in his commentary "Yichuan's Commentary on the Changes" interprets it as not being suitable for great uprightness, but rather for small uprightness. Zhu Xi in his "The Original Meaning of the Zhou Changes" takes "small" to mean small people, suggesting that small people should benefit by upholding uprightness at this time, and should not take advantage of the increasing Yin energy to pressure Yang. Chen Menglei's commentary concludes that this phrase refers to the two lower Yin lines, and Zhu Xi's interpretation is correct. The Book of Changes often plans for the gentleman, yet it also hopes for the transformation of small people into gentlemen. If small people can uphold uprightness, they too become gentlemen. At this time of retreat, gentlemen achieve smoothness through retreat, and small people should also benefit by upholding uprightness. This serves both to remind gentlemen and to warn small people, with the same purpose of supporting Yang and restraining Yin.

彖曰：遯，亨，遯而亨也。剛當位而應，與時行也。五以陽剛中正與二之陰柔中正相應。二陰能順五，可以不遯矣；然二陰浸長，時不可以不遯。有知時而遯之能，所以致亨。小利貞，浸而長也。二陰浸長，而利於貞。不以勢之將盛而凌君子，小人之福也。

The Commentary on the Judgment says: "Retreating, it is favorable. Retreat leads to favorable outcomes. The strong is in the proper position and corresponds with the time, thus acting in accordance with the time." Nine in the Fifth, being a strong yang line in the center and properly positioned, corresponds with Six in the Second, a yin line in the center. By principle, since the two yin lines can obey Nine in the Fifth, they should not need to retreat. However, the yin energy is gradually increasing, and the situation forces them to retreat. It is precisely because they possess the ability to recognize the situation and retreat that they achieve favorable outcomes. The Commentary on the Judgment also says: "Minor benefit comes from uprightness, as the yin lines are gradually growing." The two yin lines are indeed increasing, and at this time, uprightness is beneficial for them. Not relying on their growing strength to oppress the gentleman is precisely the fortune of the petty person.

遁之時義大矣哉。陰方長而處之甚難，時在天而義在我。不審時，不知遯；不斷以義，不能遯。去就大節所關，非與時偕行者不能也。易中大矣哉有二：有贊其所係之大者，豫革之類是也；有嘆其所處之難者，大過遯之類是也。

The Commentary on the Judgment concludes with a praise: "The meaning of the time for retreat is great indeed." Yin energy is growing, and in such a situation it is extremely difficult to know how to act. The situation belongs to Heaven, but the principles of choice and rejection lie with me. Without examining the situation, one does not know when to retreat; without making decisions based on principle, one cannot retreat. This involves a great matter of whether to take office or retreat from the world. It is not something that those who cannot keep pace with the times can achieve. In the Book of Changes, the exclamation "great indeed" appears in two types: one praises the importance of the matter it relates to, such as the hexagram of Joy and the hexagram of Revolution; the other laments the difficulty of the situation it is in, such as the hexagram of Great Excess and the hexagram of Retreat. This case belongs to the latter category.

象曰：天下有山，遯。君子以遠小人，不惡而嚴。天不必遠於山也，乃山勢雖高，而天去之自遠；君子不必示惡聲厲色於小人也，乃小人雖近，君子遠之自嚴。不惡者，待彼之禮；嚴者，守己之節。遠小人，艮止之象；不惡而嚴，乾剛之象也。

The Great Image Commentary says: "Heaven over mountains, retreat. The superior person thus keeps a distance from petty people, showing neither hatred nor leniency. Heaven does not deliberately seek to be far from the mountains, yet the mountains, though high, are naturally far from Heaven. Similarly, the superior person does not need to display hatred toward petty people, yet even if petty people are nearby, the superior person naturally remains distant without losing dignity. 'Not hating' refers to the proper etiquette in dealing with others, while 'dignity' refers to maintaining one's integrity. Keeping a distance from petty people takes the image of the mountain (Geng hexagram) representing stillness; not displaying hatred yet naturally maintaining dignity takes the image of the Heaven (Qian hexagram) representing strength and vigor."

初六：遯尾，厲，勿用有攸往。遯而在後，尾之象；其勢已危，欲往不及。然在下無位，所居不正，無德無位之凡民，遯亦無益，晦處靜俟，庶可免耳。象曰：遯尾之厲，不往何災也。不往，即晦藏之意。初所居非貞，不往即其貞也。

The line statement for the first line (Initial Line) says: "Retreating at the end, dangerous, do not go anywhere." This refers to being at the end, which is the image of the tail; the situation is already dangerous, and trying to move away is too late. However, this line is in a low position, without a position or status, and is in an improper place. It represents an ordinary person with neither virtue nor position. Following the retreat would be of no use, so it is better to remain hidden and quiet, perhaps avoiding disaster. The Small Image Commentary says: "Danger of retreating at the end, why disaster if not going?" The term "not going" means to remain hidden and concealed. Since the first line is in an improper position, being still and not acting recklessly is its "zheng" (constancy).

六二：執之用黃牛之革，莫之勝說。二陰迫陽，卦之所由以遯者，而艮為手，有執之之象。二居中陰畫，黃牛象。《本義》謂二以中順自守，志在必遯，人莫能解，故有此象。然卦以陽遯陰，故陽爻皆言遯，二陰不必言遯。蓋二，陰也，勿迫乎陽，必堅其交五之志而不可解。此說雖與《本義》悖，而與彖小利貞句相應。

The line statement for the second line says: "It is bound with the hide of a yellow ox, and no one can loosen it." This means it is tied with the hide of a yellow ox, and no one can untie it. Two yin lines are pressing against the yang line, which is the reason this hexagram is called "Retreat." The lower trigram is艮 (Mountain), which represents the hand, hence the image of "holding on." The line six-two is in the middle of the lower trigram, representing a yin line. Yellow is the color of the center, and oxen are gentle, so the image of "yellow ox" is used. The "Ben Yi" explains that line six-two, being in the center and gentle, holds fast and is determined to retreat, so others cannot loosen it, hence this image. However, Chen Menglei argues that this hexagram is about yang retreating from yin, so all yang lines are said to retreat, and the two yin lines do not need to be said to retreat. Since line six-two is a yin line, its role is not to press against yang, but to tightly bind its intention to connect with line nine-five, making it unbreakable. Although this view differs from the "Ben Yi," it corresponds well with the hexagram statement's phrase "small benefit in uprightness" — this is the reason for choosing one and rejecting the other.

象曰：執用黃牛，固志也。舊說謂志之固，非外物所能移也。此爻卦之所以為（文瀾本「為」作「謂」）遯而不言遯，蓋未行而志之決，實由於此也。今作固其交五之志。蓋君子皆遯，小人豈能自存，小人得志能固留君子，小人之貞也。

The Small Image Commentary says: "Using a yellow ox, this signifies firmness of will." The old interpretation is that the mind is firm and not shaken by external things. This line is the key to the whole hexagram becoming "Retreating," as the text in the Wenlan edition states, "This line is why the hexagram is called Retreating." However, the term "Retreating" is not mentioned in the line statement, because the yang line has not yet truly departed; the determination to depart is actually forced out from here. Now Chen Menglei reinterprets "firmness of will" as: maintaining a firm connection with the line nine five. If the gentlemen all retreat completely, where would the petty people be able to survive alone? When petty people are in power, if they can firmly retain the gentlemen, that is the "uprightness" for the petty people's side.

九三：係遯，有疾厲，畜臣妾，吉。二陰迫陽，陽宜遯矣。然三與陰近，又艮體為止，故有遯而有所係之象。艮為閽寺，有臣妾象。君子不可有所繫於小人；若臣妾之屬，則撫之以恩以得其心亦可。然曰畜之，則亦不使侵逼於陽矣。象曰：係遯之厲，有疾憊也；畜臣妾吉，不可大事也。當遯而係，勢必困憊矣。臣妾畜之則吉，非可使之干預大事也。一作臣妾最易係戀，畜養之則可；若出處去就之大事，則不可有所係也。此二意宜兼。

The line statement for the third line (nine in the third): "Attached to retreat, there is illness and hardship, to keep concubines and servants, it is auspicious." Two yin lines press upon the yang line, and the yang line should naturally retreat. However, the third line is closely adjacent to the yin line below, and since it is of the nature of Gen (mountain), which signifies stopping, there is an image of "wanting to retreat but being held back." Gen also symbolizes the gatekeeper or court attendant, hence the image of "concubines and servants." A gentleman should not be attached to petty people; however, for servants and concubines, using kindness to win their loyalty is acceptable. Nevertheless, since it says "to keep," it implies that they should still not be allowed to encroach upon the yang. The Small Image Commentary says: "Attached to retreat brings hardship, due to fatigue and exhaustion; to keep concubines and servants is auspicious, but they should not be entrusted with major affairs." Wanting to retreat but being held back inevitably leads to hardship and exhaustion. Keeping concubines and servants is auspicious, but they should not be involved in major matters. Another interpretation is that concubines and servants are most likely to cause attachment and longing. It is acceptable to keep them, but when facing decisions about entering or retiring from official life, or matters of choice and departure, one must not be attached. Chen Menglei believes these two meanings should be taken together.

九四：好遯，君子吉，小人否。下應初六，有情好之象；而乾體剛健，能絕之以遯之象。惟以義制欲、剛克之君子能之，小人不能，故占者君子得之則吉，小人則否也。象曰：君子好遯，小人否也。小人有係戀之私，必不能自克也。

The line statement for the fourth line says: "A good retreat, the gentleman is auspicious, the petty person is not." The fourth line is in the upper trigram Qian, which is strong and vigorous, indicating the ability to cut off this affection and retreat. Only a gentleman, who can control desires with reason and restrain himself with strength, can do this. A petty person cannot. Therefore, if the person seeking the divination is a gentleman, this line is auspicious; if a petty person, it is not. The Small Image Commentary says: "The gentleman retreats well, the petty person does not." A petty person, burdened with attachments and affection, certainly cannot restrain himself.

九五：嘉遁，貞吉。陽剛中正，下應六二，亦柔順而中正，然不以相應而有所係，遯之嘉美者也，占者能正則吉矣。五雖君位，而遯非人君之事，故不以君言。此君子未見疎於小人，而能與時偕行，超然遠引，可不遯而遯者也。隨六三言係而五曰孚于嘉，遯亦於三言係、於五言嘉。蓋非正應而相暱曰係，以中正而相應則曰嘉也。

The line statement for the fifth line says: "A good retreat, the correct and auspicious course." The fifth line is yang and strong, occupying the central position and being in the correct position. It corresponds below to the second line, which is yin and gentle, also occupying the central position and being in the correct position. However, the fifth line does not become bound by this correct correspondence. This is the most excellent form of retreat, so if the person divining maintains correctness, it will be auspicious. Although the fifth line is in the position of a ruler, retreat is not the duty of a ruler, so here it is not discussed in terms of a ruler. Instead, it describes a kind of gentleman who has not yet been expelled or distanced by small men, yet can follow the trend of the times and withdraw from affairs, being someone who could have remained but chooses to retreat. In the Qian hexagram's third line, it speaks of "binding," while the fifth line speaks of "trustworthiness in goodness." In the Duan hexagram, the third line also speaks of "binding," and the fifth line speaks of "goodness." This shows that "binding" is not due to being in correct correspondence and being close to each other, but rather "goodness" is due to mutualsympathetic response through virtue and correctness.

象曰：嘉遯貞吉，以正志也。九五嘉遯，無係無執無好。不事於外，正在我之志而已。二以陰應陽，其志當固；五以陽應陰，其志當正。

The Small Image Commentary says: "A joyful retreat and a firm virtue bring good fortune, because they maintain a correct will." The reason why the retreat of nine five is beautiful and good is that it is not entangled, unlike six two which holds on to something, nor like nine four which is burdened by affection. It does not seek anything outside, but simply maintains a correct will within. Six two, with a yin line responding to a yang line, values a firm will; nine five, with a yang line responding to a yin line, values a pure will. The difference in their focus lies here.

上九：肥遯，無不利。肥者，寬裕自得之意。陽道常饒，或損者，陰剝之也。以陽剛居卦之外，去柔最遠，高而能應剛而無決，無有疾憊，故稱肥焉，而占無不利也。

The line statement for the top nine (上九) is: "Fatty retreat, no disadvantage." "Fatty" means being affluent and at ease, enjoying oneself. The nature of yang is inherently abundant and sufficient. Sometimes it appears to be lacking, due to the erosion by yin. The top nine, being yang and located at the outermost position of the entire hexagram, is farthest from the yin below. It is high in position yet still able to correspond with others. It is strong and vigorous without needing to exert effort in making decisions or choices. It does not suffer from the state of "having fatigue" as in the third line (九三), hence it is called "fatty." Therefore, the divination result is without disadvantage.

象曰：肥遯無不利，無所疑也。剛健決去，無所復疑。有係者憊，無疑則肥矣。全卦雖主於遯，然下三爻艮體主止，故為不往、為執、為係；上三爻乾體主行，故為好遯、為嘉、為肥。蓋四陽以遯為亨，二陰以不迫陽為貞。三雖陽而艮體，不免於係。故欲盡彖遯亨之義，唯乾之三爻用可言之。

The Small Image Commentary says: "Fatty retreat brings no disadvantage, there is no doubt." To leave decisively and resolutely, with no hesitation in one's heart. Those who are held back become exhausted, while those without doubt appear broad-minded and at ease. Overall, the hexagram emphasizes retreat. The lower three lines belong to the structure of艮 (Stillness), which represents stillness, so they are respectively symbolized as "not going," "holding on," and "being tied." The upper three lines belong to the structure of乾 (Heaven), which represents action, so they are respectively symbolized as "favorable retreat," "good," and "fat." In summary, the four yang lines achieve success through retreat, while the two yin lines maintain correctness by not forcing the yang. Although nine three is a yang line, it is located within the structure of艮, so it still cannot avoid being tied. Therefore, to fully explain the meaning of the hexagram statement "retreat and success," only the three lines of乾 structure are worthy of such interpretation.

大壯。大壯，乾下震上。四陽盛長，大者壯盛，故為大壯。乾剛震動，以剛而動，大壯之義；又雷之威震於天上，大壯之象，故為大壯。大壯次遯。按，《序卦》：遯者，退也。物不可以終遯，故受之以大壯。遯為違去，壯為壯盛，消而復長，違去之後仍復壯盛。遯則必壯，大壯所以次遯也。全彖以陽壯之時亨不待言，唯利於得正。天地之情，亦不過正大而已。

The Great Strength hexagram has the lower trigram Qian (Heaven) and the upper trigram Zhen (Thunder). The entire hexagram has four lines at the bottom which are all yang, indicating a great and vigorous growth of yang energy. This is called "Great Strength" because the yang aspect is at its peak of strength. In terms of the trigram qualities, Qian represents strength and firmness, while Zhen represents movement and shaking. By using strength to initiate action, this is the meaning of "Great Strength." In terms of the trigram imagery, the power of thunder resounds in the heavens, which is also an image of Great Strength. Therefore, the hexagram is named Great Strength. Great Strength follows the hexagram Duan (Retreat). The "Sequence of Hexagrams" says: "Things cannot continue to retreat, hence it is followed by Great Strength." "Retreat" means to turn away and withdraw, while "strength" means vigorous growth. After the retreat of yang energy, it must necessarily revive again; after withdrawal, it will again become strong. When retreat reaches its limit, it must turn to strength, so Great Strength comes after Retreat. The overall meaning of the hexagram's statement is: when yang energy is strong, success is already implied and does not need to be mentioned again. What is important is whether one can maintain the correct path. The actual situation of heaven and earth is nothing more than the two words "correct" and "great."

六爻當陽壯之時，多以處陰位為美。九四乃壯之所以為壯者，以不極其剛許其決藩。二亦履柔能守者也，故貞吉。初三皆以剛居剛，躁進過暴，所以征凶而羸角也。若上之二陰，則五以柔中受陽之壯，故可以無悔；若上以柔居柔，則以不能壯者而用壯，所以有不能退不能遂之戒也。此全卦六爻之大略也。

The six lines of the hexagram are in a time of strong yang energy, and it is usually considered favorable for the line to be in a yin position. The fourth line, nine four, is the line that makes the hexagram become "strong," because it does not push yang to the extreme, so it is allowed to achieve "breaking through the barriers." The second line, nine two, is also on a yin position and can maintain itself, so it is said to be "upright and auspicious." The first line, nine one, and the third line, nine three, are both yang lines in yang positions, acting rashly and overly violently, so one is凶 when going to war, and the other is like a sheep's horn caught in the barriers. As for the two upper yin lines: line five, six five, is gentle and in the center, receiving the strong yang energy, so it has no regret; line six, upper six, is in a yin position with yin energy, inherently unable to be strong yet insists on being strong, so there is a warning of "not being able to retreat or advance." This is the general trend of the six lines of the hexagram.

大壯。利貞。大謂陽也。四陽盛長，大者壯盛，二月之卦也。陽壯則亨不待言，但利於正而已。六爻初三正而二四不正，而四為成卦之主，喜其震動得時，又恐以剛動而失其正也，故戒之。又大壯與遯相綜之卦。陰之進不正，則小人得以凌君子，故遯言小者利於貞；陽之進不正，則君子不能勝小人，故大壯言大者利於貞也。

The Hexagram Statement says: "Great Strength, favorable to uprightness." "Great" refers to Yang. Four Yang lines are flourishing strongly, and the "great" aspect is at its peak of strength, corresponding to the second month in the twelve hexagrams of the changing cycle. Since Yang is already strong, success is not in question; what matters is the favor of uprightness. Among the six lines, the first line and the third line are in proper position and thus upright, while the second line and the fourth line are not in proper position. The fourth line is the main line of this hexagram. On one hand, it is joyful that it is active at the right time, but on the other hand, there is concern that it may act recklessly due to its strength and thus lose the path of uprightness. Therefore, the Hexagram Statement issues a warning. Furthermore, Great Strength and Retreat are complementary hexagrams (each is the reverse of the other). When Yin advances without uprightness, the small person can oppress the superior person, hence Retreat says "the small one is favorable to uprightness." When Yang advances without uprightness, the superior person cannot overcome the small person, hence Great Strength says "the great one is favorable to uprightness."

彖曰：大壯，大者壯也。剛以動，故壯。以卦體言，四陽盛長，大者壯也；以卦德言，乾剛震動，所以壯也。卦體則勢壯，卦德則理壯，此皆以釋卦之名義也。大壯利貞，大者正也。正大而天地之情可見矣。所以大者，以其正也。陽正陰邪，陽大陰小，若不正則非大矣。天地無不覆載，無不生成，其情不過正大。大者正，大字指陽；下正大二字就理言。雷在地中，天地生物之機未露，有以見天地之心；雷在天上，天地生物之心已達，有以見天地之情。

The Commentary on the Judgment says: "Great Strength, great in strength. Strong and active, hence strength." From the structure of the hexagram, four strong yang lines are vigorously growing, which is "great in strength." From the nature of the hexagram, the strong yang in the lower position and the moving zhen (thunder) in the upper position are the reasons for its strength. The structure refers to the vigorous momentum, while the nature refers to the moral strength. Both sentences are used to explain the meaning of the hexagram's name. The Commentary on the Judgment also says: "Great Strength is favorable to uprightness, for the great is upright. Uprightness and greatness reveal the truth of heaven and earth." It is called "great" because it is "upright." Yang is upright, while yin is perverse; yang is great, while yin is small. If it is not upright, it cannot be called great. Heaven and earth cover and sustain all things, generate and nourish all things, but their true nature is simply "uprightness and greatness." The "great" in "great is upright" refers to the yang line, while the "upright and great" in the next sentence refers to the moral aspect. This also needs to be compared with the hexagram Fu (Return). The hexagram Fu has thunder beneath the earth, and the mechanism of heaven and earth generating life has not yet appeared, from which we can see the "heart" of heaven and earth. The hexagram Da Zhuang has thunder above the earth, and the mechanism of heaven and earth generating life has already become manifest, from which we can see the "emotion" of heaven and earth.

象曰：雷在天上，大壯。君子以非禮勿履。人之克己，能如雷在天上，則威嚴果決，非禮在所必去矣。曰勿履，猶禁止之辭；弗，則自不為矣。雷在天上，聲勢之壯；非禮弗履，義理之壯。

The Great Image Commentary says: "Thunder above the sky, Great Strength. The gentleman acts in accordance with propriety and does not step on what is improper." A person who disciplines himself can be as resolute and formidable as thunder resounding in the sky, thus surely eliminating anything that is not in accordance with propriety. The text says "do not step on," which carries a prohibitive tone; if it were said "do not step on naturally," that would mean doing it without effort, representing a higher level of attainment. Thunder above the sky represents strength in terms of momentum; not stepping on what is improper represents strength in terms of moral principle. What the gentleman seeks is precisely this latter kind of strength.

初九：壯于趾，征凶有孚。初陽在下，當壯時而急於進，有壯于趾之象。征凶有孚，言進必取凶也。此以剛居剛，剛之過者也。象曰：壯于趾，其孚窮也。言必困窮。九二：貞吉。以陽居陰，非正也，然所處得中，不恃其剛，使因中求正，非禮弗履，則吉矣。王注謂居中得位（文瀾本作「居得中位」）以陽居陰，履謙不亢，是以貞吉，亦通。象曰：九二貞吉，以中也。中則不恃壯妄進也。

The first line statement says: "Strong at the toes, going forward brings danger but with sincerity." The first line is a yang line in the lowest position of the hexagram, which is the time of strength. However, it is eager to move forward, symbolizing strength at the toes. "Going forward brings danger but with sincerity" means that such hasty advancement will certainly lead to danger. It is a yang line in a yang position, which is overly strong. The Small Image Commentary says: "Strong at the toes, sincerity is exhausted." This means it will certainly fall into hardship. The second line statement says: "Uprightness brings good fortune." The second line is a yang line in a yin position, which is not upright by nature. However, it is in the center, not relying on its strength. If it can use this "center" to achieve "uprightness," and refrain from doing anything against propriety, it will be auspicious. Wang Bi explains that the second line is in the center and in the right position (the text in the Wenlan edition reads "in the center position"), with a yang line in a yin position, practicing humility and not being overbearing, thus achieving upright goodness. Chen Menglei also finds this explanation reasonable. The Image Commentary says: "The second line's upright goodness is due to its being in the center." By maintaining the center, it will not rely on strength to advance recklessly.

九三：小人用壯，君子用罔，貞厲。羝羊觸藩羸其角。罔，宜如不思則罔之罔，冒昧而進也。過剛不中，當壯之時，在小人用之以為壯，君子用之為罔而已。血氣之剛，無禮之勇，雖以九居三，正亦危矣。三四五為兌有羊象；三欲應上而隔於四，震為竹木，有藩象；陽剛欲進，有角象；為四所困，有羸象。此恃壯輕進而取困者也。象曰：小人用壯，君子罔也。小人之壯，非真壯也。在小人以為壯，在君子則不過冒昧妄行而已，其困不待言矣。

The line statement for the third line says: "The petty person uses strength, the superior person uses confusion, being firm and dangerous. A ram strikes against a fence and gets its horns entangled." The character "罔" should be understood as in the "Analects" where "learning without thinking leads to confusion," referring to a state of ignorance and blind advancement. The third line is overly strong and not centered, situated in a time of vigorous strength: in the hands of the petty person, this strength is regarded as strength; in the hands of the superior person, it is merely reckless action. Relying on the strength of passion and acting with rude courage, even though the yang line is in a yang position and thus considered correct, it is still dangerous. In terms of imagery, the third, fourth, and fifth lines form the trigram Dui (Lake), which has the image of a ram; the third line wishes to correspond with the top line but is blocked by the fourth line, and Zhen (Thunder) represents bamboo and wood, symbolizing a fence; the excessive yang energy striving forward has the image of a ram's horn; being blocked by the fourth line results in the image of the horns being entangled. This describes someone who relies on strength and acts recklessly, thus bringing about self-imposed difficulties. The Small Image Commentary says: "The petty person uses strength, the superior person is confused." The strength of the petty person is not real strength; to the petty person it is showing off strength, but to the superior person it is confusion and reckless action, and thus falling into difficulty is inevitable.

九四：貞吉悔亡，藩決不羸，壯于大輿之輹。九四前二陰，震為大塗；附（文瀾本「附」作「互」）兌為附決，有潘決之象。輹，車之中乾也，輹壯則車強。四變坤，下乘三陽，有大輿壯輹之象。以陽居陰，疑於不正；所處非中，似乎有悔。然當壯之時，為壯之主，以剛居柔，行不違謙，不極其剛，不失其壯，故凡事得正則吉，悔可亡也。

The line statement for the fourth line, "Nine in the Fourth": "Zhen Ji Hui Wang, Fan Jue Bu Ling, Zhuang Yu Da Yu Zhi Fu." Before the fourth line are the fifth line, "Six in the Fifth," and the sixth line, "Six at the Top," both yin lines. The upper trigram is Zhen, symbolizing a great road. Looking further at the intercalated trigram (the text says "mutual trigram" in the Wenlan edition), Dui represents attachment and destruction, so there is an image of a fence being broken through. "Fu" is a transverse wooden beam under the carriage, and a strong "Fu" makes the carriage sturdy. When the fourth line changes, the upper trigram becomes Kun, which represents a large cart. Below it are three yang lines, so there is an image of "a large cart with a strong Fu." The fourth line is a yang line in a yin position, seeming to be out of proper place. It is not in the central position, so it seems there should be regret. However, at this time of strength, it is the main line of the whole hexagram's strength. With its strong and vigorous nature in a gentle and yielding position, it acts without going against humility and retreat. It does not use its strength to the extreme and does not lose its strength. Therefore, as long as things are in accordance with the right way, they will be auspicious, and regret will disappear.

所以然者，前臨二陰如藩之決，無阻隔之勢；後乘三陽，如輹之壯，有大行之具也。貞吉悔，咸九四同，但在咸為不得其正，故有憧憧往來之戒；在壯又為不極其剛，所以有藩決不羸之喜也。又大畜九二在三陽之中，為六五正應所畜，故有脫輹之象；壯則九四在三陽之上，六五陰勢方衰，故有壯輹之象也。

This is because it faces two yin lines in front, like a fence having been broken through, with no further obstruction ahead; and it is supported by three yang lines behind, like a strong axle, providing the means for a long journey. The phrase "Zhen Ji Hui Wang" is the same as in the Xian hexagram's line nine in the fourth position (the text here may be missing a "Wang" after "Hui"), but in Xian, line nine in the fourth position is not properly aligned, hence the warning of "chaotiously coming and going." In Da Zhuang, however, since it does not push yang to its extreme, it instead brings the joy of "the fence being broken through without the horn being entangled." Comparing it with Da Xu: in Da Xu, line nine in the second position is sandwiched between three yang lines and is restrained by the properly aligned line six in the fifth, hence the image of the axle falling off. In Da Zhuang, line nine in the fourth position is situated above three yang lines, and the yin strength of line six in the fifth is waning, hence the image of a strong axle. Using the same image of the axle, fortune or misfortune depends entirely on the position.

象曰：藩決不羸，尚往也。九二但能自守而已，四則可以往矣。六五：喪羊于易，無悔。全卦似兌，多取象於羊。羊性牴觸，外柔內剛。五又互兌，有羊象。易，宜作疆場之場。卦以陽盛名大壯，而六五無陽，以柔居尊，不能牴觸，或失其壯，有喪羊于易之象。然陽勢方盛，陰柔不敵，理之宜也，故亦得無悔。

The Small Image Commentary says: "The fence is broken but the animal is not exhausted, still it can go forward." Nine in the Second can only defend itself, but Nine in the Fourth is already able to move forward freely. The Line Statement of Six in the Fifth says: "Losing a sheep in the field, no regret." The overall shape of the Great Strength hexagram is similar to the Dui hexagram, so it often uses the image of sheep—sheep are naturally resistant, appearing gentle on the outside but strong inside. Six in the Fifth is located within the mutual structure of Dui, hence the image of sheep. The character "易" should be read as "field," referring to the pastureland. This hexagram is named for its strong Yang energy, but Six in the Fifth is a Yin line, not possessing Yang strength. It is gentle and occupies a high position, thus unable to resist. This is like losing one's own share of strength, hence the image of losing a sheep in the field. However, since Yang energy is still strong and Yin is naturally weaker, this is a logical outcome, hence there is no regret.

象曰：喪羊于易，位不當也。以陰居陽，又在尊位，過於畏縮，宜有所喪。上六：羝羊觸藩不能退，不能遂，無攸利，艱則吉。全卦有羊象，壯終動極，有觸藩不能退之象；質柔非壯，有不能遂之象；猶幸不剛，不敢妄進，有艱難自守之象；一變為大有，有終得吉之象。蓋以柔居剛，不能剛而強為剛，則無利；若能量己詳審，猶可得吉也。

The Small Image Commentary says: "Losing a sheep through ease, because the position is not appropriate." The line six in the fifth holds a yin line in a yang position and is in a noble position, yet it is overly timid and yielding, thus it should suffer a loss. The line six at the top says: "A male sheep collides with a fence, unable to retreat or advance, there is no benefit, but hardship brings good fortune." The entire hexagram has the image of a sheep: line six at the top is at the end of strength and the extreme of movement, thus there is the image of a male sheep colliding with a fence and unable to retreat; its nature is yin and weak, not strong, thus there is also the image of being unable to advance; fortunately, it is not strong, and does not dare to advance recklessly, thus there is the image of holding on to itself in hardship; when line six changes, the entire hexagram becomes Great Possession, thus there is the image of ultimately achieving good fortune. In summary, holding a yin line in a yang position, originally not strong yet pretending to be strong, brings no benefit; if one can assess oneself and be cautious and thorough, it is still possible to achieve good fortune.

象曰：不能退不能遂，不詳也；艱則吉，咎不長也。質本非剛，見剛之壯亦從之，不詳審故也。艱難自守，久則變矣，故雖有咎不長也。臨三變泰，大壯上變大有，故咎皆不長也。

The Small Image Commentary says: "Unable to retreat, unable to advance, this is not auspicious; hardship brings good fortune, and the misfortune does not last long." The essence of the upper sixth line is originally not strong, and seeing the yang lines flourishing, it follows along, which is due to its lack of careful and thorough examination. If it can maintain itself through hardship, over time the situation will naturally change, so even if there is a mistake, it will not last long. This can be compared with the卦 of Qian: the sixth line of Qian changes to Tai, and the sixth line of Da Zhuang changes to Da You. Both say "the misfortune does not last long," and the reason is that after the change of the line, the situation turns towards smoothness.

全卦當陽壯之時，必以正得吉，不正則雖壯不可恃也。六爻又皆以不恃壯者為吉，人未有違謙越禮能全其壯者也。故方壯之始，宜如二之貞吉，不宜如初之壯趾；方壯之盛，宜如四之決藩，不宜如三之羸角。居壯之位，無壯之才，因不免於有喪；處壯之極，有不敢恃壯之心，庶幾其終得吉。君子但當以正大為心，不宜以用罔取困也。

Chen Menglei's general discussion: The entire hexagram is in a period of strong yang energy, and one must rely on uprightness to achieve good fortune; if not upright, even though strong, it is unreliable. All six lines emphasize that "not relying on strength" brings good fortune, and no one has ever been able to preserve their strength by violating humility and propriety. Therefore, in the initial stage of rising strength, one should be like Nine in the Second, upholding uprightness and achieving good fortune, and not like Nine at the Beginning, who rushes forward recklessly with strength in his toes. In the peak stage of strength, one should be like Nine in the Fourth, breaking through the barriers, and not like Nine in the Third, who gets entangled in the fence like a ram's horn. As for Six in the Fifth, although occupying a position of strength, lacking the ability of strength, inevitably leading to loss. Upper Six, located at the end of strength, fortunately maintains the mind of not relying on strength, thus barely hoping for final good fortune. The gentleman should only keep the two words "uprightness and grandeur" in mind, and not act blindly and foolishly like Nine in the Third, leading to self-imposed difficulties.

晉。晉卦，下坤上離。日出地上，進而益明。以綜卦言之，明夷之離在下，今則進而上行，故為晉。不言進而言晉者，進但有前進之義，無明之義，晉則進而光明故也。晉次大壯。按，《序卦》：物不可以終壯，故受之以晉。晉者，進也。既壯無止，理必進，以至於極。晉所以次大壯也。

The hexagram Jin is composed of the lower trigram Kun (Earth) and the upper trigram Li (Fire). The sun rises from the ground, becoming brighter as it moves forward. From the perspective of the conjugate hexagram, Mingyi (Darkness) has Li in the lower trigram, but now Li advances and rises to the upper trigram, hence it is called Jin. It does not say "Jin" because it only means "to advance," which implies movement without brightness, while "Jin" signifies advancing while emitting light. The hexagram Jin follows Da Zhuang. The "Xu Guan Zhuan" states: "Things cannot remain strong forever, hence it is followed by Jin. Jin means advancement." Once something has reached its peak of strength, it will not stop, and by nature it must continue to advance until it reaches its extreme, hence Jin comes after Da Zhuang.

全彖取方盛明之時，以坤順之臣，上接離明之君，而君復以柔進居尊，是以有功臣受寵之象。六爻以五為主，專取柔進之義。五自下而升，已進者也，故往吉無不利。下三爻皆欲進者，九四以剛間之，故有鼫鼠之象。三與五近，下接二柔，志在上行，眾莫能間，故悔亡。二去五漸遠，憂不得進，故愁。初最遠於五，應四反為所抑，故摧。上居卦之窮，無可進矣，故有吉而不免於吝。此全卦六爻之大略也。

The entire hexagram statement reflects a time of great brightness and prosperity. It portrays a minister, like the Earth (Kun), who is gentle and compliant, ascending to serve a wise and enlightened ruler, represented by the Fire (Li). This ruler, however, occupies a high position through a subtle and yielding approach, thus symbolizing the favor bestowed upon capable ministers. The focus of the six lines is on the fifth line, which embodies the meaning of "gentle compliance and upward progress." The fifth line originally rises from below to reach its position, indicating that it has already reached its proper place, hence the statement "moving forward is auspicious, and there is no disadvantage." The lower three lines all desire upward movement, but the fourth line, being strong and yang, blocks the way, thus producing the image of a "mouse with five claws." The third line is close to the fifth line and is connected to two yin lines below, striving upward with determination, so it is said "regret disappears." The second line is further away from the fifth line and feels anxious about not being able to advance, hence "grief." The first line is farthest from the fifth line and corresponds with the fourth line, thus being suppressed, hence "ruin." The top line is at the very end of the hexagram, with no further progress possible, so although it is auspicious, it also carries a touch of regret. This outlines the general trend of the six lines in the hexagram.

晉。康侯用錫馬蕃庶。晝日三接。晉，進也。康侯，能致一世於康寧之侯也。錫馬蕃庶，言受賜之多；畫日三接，言親禮之至也。坤有土有民，有康侯象；坤為牝馬為眾，有錫馬蕃庶象；離為日為中虛，坤為眾為文，有畫日三接之象。全卦明出地上，為盛明之時，坤順附於離明，則君臣道合。六五柔中虛己之君，當明盛之時，臣以功進，君以恩接，故禮遇之隆如此。占者得之，有是德者，宜受是寵也。

The Hexagram Statement says: "Jin. The well-being Duke uses the gift of many horses, being received three times in one day." "Jin" means advancement. "The well-being Duke" refers to a feudal lord who brings peace and stability to the world. "The gift of many horses" indicates that the rewards received are extremely abundant; "being received three times in one day" means that the ruler attends to him three times in a single day, showing the utmost closeness and courtesy. In terms of symbolic meaning:坤 represents land and people, thus symbolizing a feudal lord;坤 also represents female horses and multitude, thus symbolizing the gift of many horses; Li represents the sun, with the central line empty, and坤 represents multitude and ornamentation, thus symbolizing being received three times in one day. The entire hexagram represents the rising light emerging from the earth, a time of flourishing and prosperity. The softness and compliance of坤 adhering to the clarity and wisdom of Li represents the harmony between ruler and minister. The line Six in the Fifth is a ruler who is gentle and virtuous, and who humbly waits for others. At this time of clarity and prosperity, ministers advance by their merits, and the ruler shows them great honor and courtesy, thus reaching such a level of honor. If one receives this hexagram, as long as they truly possess such virtue, they should receive such favor.

彖曰：晉，進也。釋卦名義。明出地上，順而麗乎大明，柔進而上行，是以康侯用錫馬蕃庶，晝日三接也。以卦象言之，以離乘坤，明出地上，此賞罰清明之時也；以卦德言之，坤順麗乎離明，順德之臣附於大明之君也；以卦綜言之，明夷下卦之離，進而為上卦之離，柔中此虛己之君也。康侯遇是時，有是德，遇是君，是以有用錫馬蕃庶畫日三接之象也。

The Commentary on the Judgment says: "Jin means advancement." This sentence explains the meaning of the hexagram's name. The Commentary continues: "Light emerges from the earth, following and attaching to great brightness, the flexible and advancing moves upward, thus the well-governed lord is given many horses, and is received three times in a single day." In terms of the hexagram's image, the trigram Li (Fire) is above the trigram Kun (Earth), with light rising from the earth, indicating a time of clear rewards and punishments. In terms of the hexagram's virtue, the flexible and yielding nature of Kun adheres to the illuminating wisdom of Li, symbolizing virtuous ministers who submit to the enlightened sovereign. In terms of the hexagram's reverse, the trigram Li rising in the lower trigram of Mingyi (Light in Darkness) becomes the upper trigram of Jin (Advance), with the line six in the fifth, a yin line in the center, representing a sovereign who humbly awaits the people. The well-governed lord, encountering such an era, possessing such virtue, and serving such a sovereign, thus attains the image of "being bestowed with many horses and receiving three times in a single day."

象曰：明出地上，晉。君子以自昭明德。日本明也，然入地則晦，出地則明矣；人之德性本明也，物慾蔽之則昏，自強不息則昭矣。至健莫如天，君子以之自強；至明莫如日，君子以之自昭。《程傳》專就去蔽致知言之，然兼力行言亦可，蓋此即《大學》所謂明明德也。

The Great Image Commentary says: "The sun emerges from the earth, symbolizing the state of advancement. The gentleman takes this as a model to illuminate his own virtue." The sun is inherently bright, but when it is beneath the earth, it appears dark; when it rises above the earth, it becomes visible. Human virtue is also originally bright, but it becomes obscured by worldly desires and thus dim, and only through self-cultivation and ceaseless effort can it be fully manifested. The most vigorous is heaven, and the gentleman takes this as a model for self-strengthening; the most luminous is the sun, and the gentleman takes this as a model for illuminating his virtue. Cheng Yi's Commentary on the Changes explains this sentence primarily from the perspective of removing obstructions and promoting knowledge. Chen Menglei believes that it can also be interpreted from the perspective of practical implementation, as this is precisely what the Great Learning refers to as "illuminating the bright virtue."

初六：晉如摧如，貞吉，罔孚，裕，無咎。居初應四，欲進者也。但所居既不中正，所應又不中正。四互二三為艮為止，有在下始進而見摧抑之象；與四正應，貞吉之象；互坎為狐疑，罔字之象；坤土寬廣，初在下，有寬裕無咎之象。蓋當卑下之位，使以人之未信而慼慼不能自安，則有咎矣。故摧如在彼，吾不可以不貞；罔字在彼，而吾不可以不裕。蓋初以陰居陽非正，故戒以唯貞則吉；才柔志剛非裕，故戒之以唯裕則無咎。此君子之受抑而守正，以俟時者也。

The line statement for the first line (Initial Six) says: "Advancing as if crushed, remaining loyal brings good fortune, no trust, abundance, no blame." The first line corresponds with the fourth line (Nine in the Fourth), indicating a desire to advance. However, the first line is neither in the center nor in the proper position, and the fourth line is also neither in the center nor in the proper position. The fourth line, together with the second and third lines, forms the trigram Gen (Mountain), which signifies stopping. Thus, there is an image of "a strong force being crushed and restrained" as it tries to advance. Since the first and fourth lines are in a correct correspondence, there is an image of maintaining correctness and thus obtaining good fortune. The trigram Kan (Water), which signifies suspicion, is also present in the mutual trigrams, representing "no trust." The trigram Kun (Earth) represents the vast and generous earth, and since the first line is at the very bottom, there is an image of abundance and ease, leading to no blame. One should know that when a person is in a low position, if they become anxious and troubled because others do not trust them, they will indeed bring about mistakes. Therefore, being crushed and restrained is something imposed upon me by others; I should not therefore abandon correctness. Not being trusted is also something from the other side; I should not therefore fail to be generous. The first line, being a yin line in a yang position, is not correct, so it is warned that only by maintaining correctness can it bring good fortune. It is naturally soft and weak but has a strong and urgent heart, so it is not naturally generous; thus, it is warned that only by being generous can it avoid blame. This describes the manner of a gentleman who is oppressed yet remains correct, waiting patiently for the right time.

象曰：晉如摧如，獨行正也；裕無咎，未受命也。獨行正，言雖摧不可失其正也。寬裕以處，何以無咎，以未受君命，無官守言責故也。若已受命而不見信，則一日不可居矣，安得寬裕以曠其官乎。初居最下，應四不應五，有未受命之象。

The Small Image Commentary says: "The progress of the state is like something being crushed, yet it maintains its correctness; being affluent without blame is because it has not yet received the mandate." What is meant by "maintaining correctness" is that even if one is crushed, one should not abandon one's righteousness. As for why being affluent without blame does not lead to fault, it is because at this time one has not yet received the mandate of the sovereign. There is no official responsibility, nor is there a duty to make recommendations. If one has already received the mandate and is in office but is not trusted, then one should not stay for a single day, how could one talk about being affluent and at ease, occupying a position without doing anything? The line Six at the Beginning is located at the very bottom of the entire hexagram, and it corresponds to Nine in the Fourth rather than the sovereign's position of Six in the Fifth, which clearly reflects the image of "not yet having received the mandate."

六二：晉如愁如，貞吉，受茲介福，于其王母。二與五非正應，三四五互為坎為加憂，故有欲進而愁之象。然二居中得正，故許以貞吉。又五以陰居柔尊，有王母之象；上下同德，亦有受福之象。二不以應之有無為吉凶，而以在我不失其正為吉，故始雖若愁如，而終乃受福也。初與二，進身之始，皆言貞吉。初未有貞，言貞，勉之也；二本貞，因其貞而欲其固守之也。聖人慾人始進之必以正也如此。

The line statement for the second line (六二) says: "Advancing as if in sorrow, the line is auspicious, receiving this intermediate blessing from the Queen Mother." The second line and the fifth line are both yin lines, and they are not in a proper mutual response. The trigrams three, four, and five form Kan, which represents worry and sorrow, hence the image of advancing upward while feeling sorrowful. However, the second line is in the center of the lower trigram and is in the proper position, so it is permitted to be "auspicious and faithful." Moreover, the fifth line, being a yin line in a noble position, represents the image of the Queen Mother, a female elder. Both upper and lower are characterized by gentle and compliant virtue, thus also indicating the reception of great blessings. The second line does not take the presence of a proper response as the basis for auspiciousness or inauspiciousness, but rather considers maintaining its proper position as auspicious. Therefore, although it initially seems to be in sorrow, it ultimately receives blessings. Both the first line (初六) and the second line are in the beginning stage of advancement, and their line statements both say "auspicious and faithful." The first line, which has not yet reached the state of faithfulness, says "faithful" as an encouragement; the second line, which is already faithful, says "faithful" to affirm and urge it to hold on firmly. The sage wishes for people to definitely follow the correct path from the very beginning of their official careers, being so meticulous in their concern.

象曰：受之介福，以中正也。二本中正，與初不同，故得言受福也。六三：眾允，悔亡。三不中正宜有悔，然居坤體之上，與下二陰皆欲上進，是以為眾所允而悔亾也。坤為眾，有眾象；順之極，有允象。居下之上，眾陰之長，康侯之謂也。從此上進，則麗乎大明矣，故無摧愁之象，而不中正之悔可無也。

The Small Image Commentary says: "Receiving this moderate blessing is due to uprightness and correctness." The hexagram line six in the second is originally in the central position and in the correct place, which is different from the situation of line six at the beginning, so it is appropriate to receive blessings. The line statement of line six in the third says: "The people approve, regret disappears." Line six in the third is neither in the central position nor in the correct place, so it should have regret; however, it is in the highest position of the lower trigram, and together with the two lower yin lines, it desires to advance, thus gaining the approval of the people, and regret disappears. The trigram坤 represents the people, so there is an image of "the people"; its flexibility and submissiveness reach the extreme, hence there is an image of "approval." It is located above the lower trigram, being the leader of the yin lines. The hexagram statement's mention of "the healthy prince" refers exactly to this line. Advancing further, it attaches itself to the great bright sovereign, so it does not have the image of being crushed like line six at the beginning or the worry like line six in the second. Even the regret caused by not being in the central and correct position can be absent.

象曰：眾允之志，上行也。上附於大明之君也。九四：晉如鼫鼠，貞厲。九四互二三為艮，有鼠象。不中不正而居高位，三陰上進而己間之，貪位而忌能者。鼫鼠，田間食粟豆者，貪而畏人者也。其象如此，雖正亦危，況不正乎。

The Small Image Commentary says: "The aspirations of the people, ascending upwards." The reason why the sixth line in the third position can gain the approval of many is because its aspiration is to ascend and align with the great enlightened sovereign. The line statement for the ninth line in the fourth position says: "Advancing like a鼫鼠, remaining steadfast is dangerous." The ninth line in the fourth position, together with the second and third lines, forms the trigram Gen, which represents a mouse. Therefore, there is an image of a mouse. It is neither in the central position nor in a proper position, yet it occupies a high position. The three yin lines below wish to advance, but they are blocked by this line in the middle. This line represents someone who is greedy for power and jealous of the capable. A鼫鼠 is a large mouse that steals grain and beans in the fields, greedy and afraid of people. Since its image is like this, even if it remains steadfast, it is dangerous, let alone the fact that it is not in a proper position.

象曰：鼫鼠貞厲，位不當也。不中不正，以間柔進之三陰，皆不當也。六五：悔亡，失得勿恤，往吉無不利。以陰居陽宜有悔矣，然以大明在上，下皆順從，故悔可亡也。當進之時，易生得失之心；大明之中而才柔，易有得失之累，故戒以勿恤。言但當用其明於所當明，去其一切計功謀利之心，持此以往，自吉而無不利也。

The Small Image Commentary says: "The鼫鼠 is firm and dangerous, because its position is improper." The Nine in the Fourth is neither in the center nor in the proper position, and it also obstructs three soft and advancing yin lines, so it is inappropriate in all respects. The Line Statement of the Six in the Fifth says: "Regret disappears, do not worry about loss or gain, going forward is auspicious and beneficial without exception." The Six in the Fifth, being a yin line in a yang position, should naturally have regret; however, it holds the great brightness of virtue at the top, with all the lines below obeying it, so regret can be dispelled. When advancing, people are most prone to be concerned about gains and losses; the Six in the Fifth, although in the central position of great brightness, has a weak quality, making it more susceptible to being troubled by gains and losses. Therefore, the Line Statement advises it not to worry. This means: one should only use one's wisdom and discernment in the appropriate places, and remove all thoughts of calculating merits and seeking private benefits; with such an attitude, proceeding forward will naturally be auspicious and beneficial without exception.

三陰為四所間，有失象；終與五合，有得象；離火無定體，或得或失之象；互坎加憂，恤之象；五變不成坎，勿恤之象；變乾健行，往吉之象。五柔疑於進，故勉以往吉。失得勿恤者，立心宜然；吉無不利，又理勢之必然也。

From the perspective of taking images: the three yin lines below are separated by nine in the fourth, indicating the image of 'loss'; they eventually reunite with six in the fifth, indicating the image of 'gain'; li belongs to fire, which has no fixed form, exactly reflecting the image of either gaining or losing; the mutual structure contains kan, which represents worry, indicating the image of 'caution' or concern; after the change, six in the fifth no longer forms kan, thus indicating 'no need for caution'; after the change, it becomes qian, which represents strength and action, indicating 'favorable to go forward'. Six in the fifth is yin and soft, so it may hesitate in advancing, hence the line statement uses 'favorable to go forward' to encourage it. 'Loss and gain, no need for caution' speaks to the mindset one should hold, while 'favorable without any adverse result' is the inevitable outcome of reason and circumstances.

象曰：失得勿恤，往有慶也。心惟無私，乃自有慶。有純王之心，乃有純王之化也。上九：晉其角，維用伐邑，厲吉無咎，貞吝。角，剛而居上者也。上九剛進之極，有晉其角之象。應三坤為土，有邑象；離為戈兵，有伐之之象。剛躁之極，他無可用，惟以伐其私邑。過剛雖不無危厲，然以陽制陰，有必勝之勢，故吉而無咎。但離明在上，所照不遠，僅治小邑，則雖正亦吝矣。他卦皆取扶陽抑陰，此獨不足於剛。

The Small Image Commentary says: "Do not worry about loss or gain, for going forward brings blessings." If one's heart is free from selfish thoughts, blessings will naturally come; only with the sincere mind of a pure king can there be the genuine teachings of a king. The line statement for Upper Nine says: "The stag's horn, used only to attack the city, danger and good fortune, no blame, but keeping upright is regretful." "Horn" refers to something hard and long at the top. Upper Nine is strong and advancing to the extreme, hence the image of "advancing to the horn." The corresponding line Six in the Third belongs to the Earth trigram, which represents land and has the image of a city. The Upper Trigram is Fire, which represents weapons, hence the image of warfare. When strength and impatience reach their peak, there is no room for other uses, only the use of force against one's own private territory. Though excessive strength may bring some danger, using yang to control yin has a certain advantage, so it is auspicious and without fault. However, the brightness of Fire is high above, but its reach is limited, sufficient only to govern a small city. Thus, even when maintaining correctness, there is still regret. Most other hexagrams support yang and suppress yin, but this hexagram alone is suspicious of excessive yang.

四有鼫鼠之厲，上有貞吝之戒，所以然者，卦取柔進上行，離明以柔為主故也。象曰：維用伐邑，道未光也。離體光明，今不能光被天下，而僅治一邑故也。全彖當明盛之時，有功德之臣，以柔順受寵於離明之君，晉道之盛者也。君子難進易退，故六爻宜柔而不宜剛。遯尾厲，惡其後也；晉其角厲，惡其先也。晉角之躁、鼫鼠之貪，皆以剛而失者也。

Nine in the Fourth has the danger of the 'five-footed rat,' and Nine at the Top has the warning of 'uprightness and hardship.' This is because this hexagram follows the path of yielding and advancing. It is based on the brightness of the sun and is dominated by yin and softness. The Small Image Commentary says, 'It is only suitable for attacking a city, the way is not yet bright.' Nine at the Top originally belongs to the trigram of fire, which has brightness, but now it is not able to illuminate the whole world, only able to govern a single city, so it is said that its way is not yet bright. Overall, the hexagram statement describes a time of prosperity and brilliance, where virtuous ministers, with the virtue of yielding, are favored by the wise and enlightened sovereign. This is the most flourishing state of the hexagram of Progress. A gentleman finds it difficult to advance and easy to retreat, so the six lines should be soft rather than strong. In the hexagram of Retreat, the first line 'Retreating at the tail' has danger, because it lags behind; in the hexagram of Progress, the top line 'Advancing with the horn' has danger, because it rushes ahead. The impatience of advancing with the horn and the greed of the five-footed rat are both due to being too strong and inappropriate.

四陰爻，則在上者宜有得失勿恤之心，人自進附於我；在下者宜有寬裕貞正之守，我乃可進而受寵於君。故未受命則以裕而無咎，已受命者則以貞而受福，而居下之上者，亦必由信友而獲上。凡以柔進上行，道宜如此也。又按，需卦九五一陽在位，三陽在下卦反為需；晉則以陰居五，三陰在下卦乃為晉。則君子宜以剛德自強，而進退之際，宜柔順不宜剛躁，以可見矣。

Now looking at the four yao of yin: the six in the fifth position, which is in a high position, should hold the mind of not being troubled by gains or losses, and people will come to submit of their own accord. The six in the first, second, and third positions, which are in lower positions, should maintain the measure of being affluent and upright, and only then can they advance and gain the favor of the sovereign. The initial six, which has not yet been appointed, relies on being affluent and thus avoids mistakes; the six in the second, which has already been appointed, relies on uprightness to receive great blessings; and the six in the third, which is above the lower trigram, must first gain the trust of its peers before it can obtain support from above. All those who advance with the virtue of flexibility and gentleness should follow this principle. Chen Menglei adds: the need hexagram has one yang yao in the honorable position and three yang yao in the lower trigram, and thus becomes "need," which means waiting. The jin hexagram has a yin yao in the fifth position and three yin yao in the lower trigram, and thus becomes "jin," which means advancement. This shows that although gentlemen should cultivate the virtue of strength and diligence, in matters of advancement, retreat, choice, and decision, they should prefer flexibility and gentleness rather than being impetuous and aggressive. This point is now clearly understood.

明夷。明夷，下離上坤。是入地中，明傷而暗。以人事言之，則昏君在上，明者見傷之時也，故為明夷。明夷次晉。按，《序卦》：晉者，進也。進必有所傷，故受之以明夷。進之不已，必有所傷，理自然也。明夷所以次晉也。

The hexagram Mingyi has the lower trigram Li (Fire) and the upper trigram Kun (Earth). It symbolizes the sun sinking into the earth, with light being harmed and turning into darkness. In terms of human affairs, this represents a foolish ruler sitting in power, while the wise person suffers harm. Hence, it is called "Mingyi" — "yi" means injury. Mingyi comes after the hexagram Jin. The "Xu Guan Zhuan" says: "Jin means advancement. Advancement inevitably leads to injury, hence it is followed by Mingyi." To advance without stopping will surely lead to injury, which is a natural principle, so Mingyi follows Jin.

全彖言處明夷之道，在艱難而不失其正。文王箕子，後世之法也。然以二體言之，則離明為坤暗所傷；以六爻言之，則上一爻為暗君，下五爻皆為所傷。初去上最遠，垂翼而已；二傷股則害已深，而居中去上猶遠，故猶可拯也；三與上應，則以明而能去其暗者矣；四已入暗而淺，猶有可去之道；五則迫逐受傷，惟有自晦而已。此處明夷，隨其遠近淺深不同如此。

The entire hexagram statement discusses the way to maintain righteousness in a time of darkness and hardship. King Wen and Ji Zi are examples for future generations to follow. If we look at the upper and lower trigrams, the brightness of Li is harmed by the darkness of Kun. If we look at the six lines, the top line is a dark ruler, and the five lines below are all people who have been harmed. The first line is farthest from the top line, but only lowers its wings to avoid harm. The second line is injured on the thigh, the damage is already serious, but since it is in the central position and still far from the top line, it can still be rescued. The third line corresponds with the top line, and is a person who can use brightness to dispel darkness. The fourth line has already entered the darkness but not deeply, so there is still a way to leave. The fifth line is injured by being forced to chase, and the only way left is to hide oneself. This shows that in a time of darkness, each person's situation differs according to how far they are from the source of trouble and the depth of their injury, so their methods of dealing with it also differ.

明夷。利艱貞。以全卦言，日入地中，明而見傷；以六爻言，下五皆為上六所傷。占者得此，在艱難委曲以守其正，亦以自晦其明也。不必專指六五一爻。彖曰：明入地中，明夷。離日在坤地之下，此以卦象釋卦名也。

The Hexagram Statement says: "Mingyi, beneficial to endure hardship and maintain uprightness." Considering the whole hexagram, the sun has sunk into the earth, and its light is injured; considering the six lines, the five lines below are all injured by the sixth line at the top. When one obtains this hexagram, the approach is to endure hardship, be flexible in adversity, and maintain one's uprightness, while keeping one's wisdom concealed. This statement applies generally to the entire hexagram and does not necessarily refer specifically to the fifth line. The Commentary on the Judgment says: "The light enters the earth, hence Mingyi." The image of Li, symbolizing the sun, is located beneath the image of Kun, symbolizing the earth, thus explaining the name of the hexagram through its symbolic imagery.

內文明而外柔順，以蒙大難，文王以之。離明坤順，卦德如是。文王內有文明之德，不失其已；而外柔順以事紂，得免於禍，故雖見囚於紂而終得釋也。利艱貞，晦其明也。內難而能正其志，箕子以之。以六五一爻之義釋卦辭。內難，謂為紂近親，六五近於上六者也。文王箕子皆晦其明者，而箕子佯狂受辱，故艱貞於箕子尤切。象曰：明入地中，明夷。君子以蒞眾，用晦而明。自昭明德，以治己也；用晦而明，以治人也。不以察察為明，而寬容之中物情自照，用晦而明也。

The Commentary on the Judgment says: "Inner civilization and outer gentleness and compliance, thus enduring great difficulties, King Wen used this." The lower trigram is Li, meaning brightness, and the upper trigram is Kun, meaning compliance, which exactly matches the nature of the hexagram. King Wen of the Zhou dynasty held within him the virtue of civilization and never lost himself; externally, he acted with gentleness and compliance in serving King Zhou, thus avoiding disaster, so although he was imprisoned in Youli by Zhou, he was eventually released. The Commentary on the Judgment also says: "It is advantageous to endure hardship and maintain uprightness, for this is to conceal one's brightness. Facing inner difficulties yet maintaining one's correct aspirations, the Duke Ji used this." This explanation refers to the meaning of the fifth line, which is yin. The term "inner difficulties" refers to being a close relative of Zhou and suffering hardship, which corresponds to the fifth line being adjacent to the top line. Both King Wen and the Duke Ji concealed their wisdom, but the Duke Ji went further by feigning madness and enduring humiliation, so the term "enduring hardship and maintaining uprightness" is especially fitting for the Duke Ji. The Great Image says: "Brightness entering the earth, darkness. The superior man thus governs the people, by using obscurity to achieve clarity." The hexagram Jin speaks of "self-displaying virtue," which is used for self-cultivation; here it speaks of "using obscurity to achieve clarity," which is used for governing others. Not treating everything with strict scrutiny as clarity, but allowing things to naturally reveal themselves through tolerance and understanding, this is what is meant by "using obscurity to achieve clarity."

初九：明夷于飛垂其翼，君子于行，三日不食，有攸往，主人有言。離為雉，有飛鳥之象；在下見傷猶淺，有飛而垂巽之象。行、往，皆去也。主人，所之之地主我者也。君子見幾而作，行而三日不得食，然寧不食，不可以不行，行重於食故也。所往之地主我者，或訝其去之早然寧（文瀾本「早然寧」作「非宜、是」）主人有言，不可以不往。君子之獨見，非眾人所知也。《大全》以為伯夷太公之事，近之。

The line statement for the initial yang line, "Initial Nine," says: "The bright夷 flies, hanging its wings, the gentleman goes on his way, three days without food, there is a going forward, the host speaks." Since the trigram Li represents a pheasant bird, there is an image of a flying bird; since the initial nine is at the very bottom, the injury it suffers is still shallow, hence the image of flying with hanging wings. In the line statement, "going" and "going forward" both refer to leaving. "The host" is the person who takes him in at his destination. The gentleman, seeing the signs, immediately departs, and goes three days without food; yet he prefers to suffer hunger rather than stay, because going or not going is more important than eating. When he arrives at the new place, the host may be surprised that he left too early ("or wonder that his going is not appropriate" in the Wenlan edition), and thus the host has something to say; nevertheless, he cannot stay. The gentleman's unique insight is not something ordinary people can understand. The "Complete Commentary on the Zhou Changes" compares this to the cases of Bo Yi and Tai Gong avoiding King Zhou, which is somewhat similar.

象曰：君子于行，義不食也。去就以義，不食其實祿亦義也。六二：明夷，夷于左股，用拯馬壯吉。君臣一體，故明夷以人身取象。上為首而四腹心，二股肱也。二變為乾，有馬象。傷股，害於行矣；而左股，則傷未切。得馬之壯者，則救之速，可以去矣。蓋二較近於初，而猶有三四五之隔，故傷未甚而猶可救也。所謂吉者，得免而已，非可有為也。如文王賴散宜生有美女奇物之獻，以脫羑里之囚也。

The Small Image Commentary says: "A gentleman in action, upholds righteousness and does not accept sustenance." Whether to go or stay depends on righteousness, and not accepting that salary also comes from righteousness. The line statement for the second line says: "Darkness overcomes, the left thigh is injured, using a strong horse brings good fortune." The ruler and subject are one body, so the卦 of Darkness Overcoming uses the human body as a symbol: the upper sixth line is the head, the fourth line is the abdomen, and the second line is the thigh and arm. When the second line changes, the lower trigram becomes Qian, which represents a horse, hence the image of a horse. Injury to the thigh hinders movement; however, since the injury is to the left thigh, it is not critical. If one receives a strong horse, rescue will be swift and escape possible. The second line is closer to the upper sixth line than the initial ninth line, but still separated by the third, fourth, and fifth lines, so the injury is not severe and can still be recovered from. The "good fortune" mentioned here simply means escaping danger, not that one can act effectively. It is like King Wen's escape from Youli prison, which was made possible by San Yisheng's contribution of beautiful women and treasures.

象曰：六二之吉，順以則也。居中得正，二之則也。九三：明夷于南狩，得其大首，不可疾貞。離居南為戈兵，有南狩象；上失位而居最高，有大首象。九三以剛居剛，明之極而屈於至暗之下，正與上六為應，故有嚮明除害、得其首惡之象。以明伐昏似正矣，然此事間不容髮。天命已絕，則為獨夫；一日之間天命未絕，猶為天子，不可以為正，而急疾行之也。離性暴，故戒之。此湯武之事也。

The Small Image Commentary says: "The good fortune of line six in the second is due to following the principle." Line six in the second is in the center and in the proper position, which is the principle it upholds. The line statement for line nine in the third says: "In the southern hunt, brightness is obscured, capturing the chief offender, one should not act hastily in maintaining the correct course." In the Later Heaven Trigrams, Li is located in the south and also symbolizes weapons such as halberds and spears, hence the image of a southern hunt. Line six at the top is out of position and resides at the highest place, hence the image of the chief offender. Line nine in the third, with a yang line in a yang position, has brightness reaching its peak but is placed beneath the utmost darkness, and it corresponds directly with line six at the top, hence the image of turning toward brightness to remove evil and capturing the chief offender. Using brightness to attack darkness seems to conform to the right path, but the matter is delicate as fine as a hair. If heavenly mandate has already been cut off, then the person is merely a solitary tyrant; as long as there is still one day that heavenly mandate has not been cut off, he remains the Son of Heaven, and thus cannot act rashly in asserting correctness. Since Li is fierce in nature, the line statement specifically warns against this. This refers to events like those of King Tang of Shang and King Wu of Zhou.

象曰：南狩之志，乃大得也。志在救命去害，非利天下也。必有湯武之志乃可也。六四：入于左腹，獲明夷之心，出於門庭。坤為腹。左者，隱僻之所，又右前而左後。六四隔六五，是五入其右，四入其左矣。四在坤體之下，四變互巽為入，有入于左腹之象。陰偶為門，互震為足為動，四柔而得正，居闇尚淺，有獲明夷之心出門庭之象。

The Small Image Commentary says: "The aspiration of going south to hunt is a great gain." Its intention is to save the people's lives and eliminate evils, not to seize the world for personal gain; one must truly possess the heart of Tang of Shang and Wu of Zhou to do so. The line statement for the fourth line says: "Enter the left abdomen, gain the mind of Mingyi, and emerge from the gate." The trigram坤 represents the abdomen. "Left" refers to a secluded place, and in terms of direction, right is forward and left is backward. The fourth line and the top line are separated by the fifth line, so the fifth line enters on the right, and the fourth line enters on the left. The fourth line is at the very bottom of the坤 trigram, and when it changes, the interacting trigrams form巽, which represents entering, hence the image of "entering the left abdomen." A yin line is broken into two lines, symbolizing a gate; the interacting trigrams include震, which represents feet and movement. The fourth line is a yin line in the proper position, and although it is in darkness, it is not very deep, hence the image of "understanding the mind of the ruler of Mingyi and emerging from the gate."

《程傳》謂邪臣以隱僻結君心，而後行之於外也。按，卦以明見傷，邪臣得意，非明夷之義。《本義》謂得意而遠去，然大臣去國非得意之事。《大全》以微子之行遯言之。微子，紂至親，故知紂幽僻之事，至悉知其心意，決不可輔，故去之也。

Cheng Yi's commentary in Yichuan's Commentary on the Changes interprets this line as: wicked ministers use secret means to bind the ruler's mind, then carry out their evil schemes outside. Chen Menglei's annotation refutes this, saying that this hexagram discusses the injury of light; interpreting it as wicked ministers gaining power does not conform to the original meaning of 'mingyi' (light in darkness). Zhu Xi's The Original Meaning of the Zhou Changes interprets it as 'gaining the ruler's heart but departing far away,' but a minister leaving his country is not something to be considered as gaining power. The Zhou Changes Comprehensive Commentary uses the example of Wei Zi's departure to explain this line: Wei Zi was the closest relative of Zhou, so he knew most clearly about Zhou's hidden and secret deeds. Until he fully understood Zhou's mind and decided it was impossible to continue assisting him, he resolutely left. Chen Menglei adopts exactly this interpretation.

象曰：入于左腹，獲心意也。凡人心腹中事難知，今入于左腹，已深知其心意也。六五：箕子之明夷，利貞。明夷以象暗主，高而失位者也，故於上九象君，而五不言君。然居坤之中，近至暗之主，同體而親，宗臣之象。以柔居中，陰居陽位，自晦其明者，故為箕子之象。以六居五，疑於不貞，故戒占者如箕子之貞乃可耳。彖言艱貞，此獨言貞者，蓋如箕子，則艱不待言矣。

The Small Image Commentary says: "Entering the left abdomen, obtaining the mind." Things deeply hidden in the heart are the hardest to understand. Now, having reached the "left abdomen," it means the person's thoughts have been thoroughly understood. The line statement for the fifth line says: "Jizi's brightness obscured, beneficial to uprightness." The Mingyi hexagram uses the top line to symbolize a dark ruler, who is a person of high rank but has lost his position, so the image of the ruler is placed on the top line (the original text here says "upper nine"). The fifth line is no longer considered the ruler's position. The fifth line is within the earth trigram, closely adjacent to the most dark ruler, sharing the same trigram and being close, which represents the image of a minister of the same clan. It holds a yin line in the central position, and is a yin line in a yang position, indicating someone who conceals his wisdom. Therefore, the image of Jizi is used. Since it is a yin line in the fifth position, people may doubt whether it can be upright. Therefore, the line statement warns the diviner: one should be like Jizi and maintain uprightness. The hexagram statement says "difficult uprightness," but here it only says "uprightness," because in the situation of Jizi, the "difficult" is already implied and does not need to be repeated.

象曰：箕子之貞，明不可息也。明可晦不可息者，若失其貞則明息矣。上六：不明晦，初登于天，後入于地。以陰居坤之極，有不明而晦之象。下五爻以明而受夷者，上則晦而夷人者也。上居高位而夷人，有登於天之象；終則自傷而墜厥命，有入於地之象。

The Small Image Commentary says: "Jizi's uprightness, brightness cannot be extinguished." Wisdom may be concealed, but cannot be extinguished; once one loses uprightness, wisdom is extinguished. The line statement of the sixth line at the top says: "Not bright in darkness, first ascending to heaven, later descending to earth." The sixth line at the top, with a yin line in the extreme position of the坤 body, symbolizes darkness and confusion. The fifth line represents a person with wisdom who is harmed, while the sixth line represents a person in darkness who harms others. Being in a high position and harming others, it has the image of "first ascending to heaven"; eventually harming oneself and losing the mandate of heaven, it has the image of "later descending to earth."

象曰：初登于天，照四國也；後入于地，失則也。照四國，以位言之，言居其位宜有其明也。而後乃入於地，失其明，不足為四方之則也。六二受人之夷者，以順則而自全其明；上六夷人者，以失則而自墜厥命。《大全》以此爻為紂之事也。合全卦而論之，凡亂世君臣皆有此象。後人因商周之事有可擬合者，故因彖傳文王箕子之言、五爻箕子之占，因逐爻擬其人其事以明之。而聖人作易立教，初非以紀商周之事也。

The Small Image Commentary says: "At first ascending to heaven, it illuminates the four states; later descending into the earth, it loses its way." The phrase "illuminating the four states" refers to the position: being in that position, one should possess the virtue of illumination befitting that place, thereby enlightening the four surrounding states. However, later it falls into the earth, losing its brightness, and is no longer able to serve as a standard for the four states. Six Two is the party being harmed, preserving its brightness by following the principles. Upper Six is the party causing harm, losing the principles and thus losing the mandate of heaven. The Zhou Yi Comprehensive Commentary takes this line as referring to King Zhou. Considering the whole hexagram, all rulers and ministers in times of chaos have such an image. Later scholars, because the historical events of the late Shang and early Zhou dynasties can be compared, follow the words in the Commentary on the Judgment mentioning King Wen and Ji Zi, as well as the divination phrase "Ji Zi's brightness obscured" in Six Five, and thus assign each line to a particular person or event to explain it. In reality, the sages composed the Yi to teach, not to record the history of the Shang and Zhou dynasties.

家人。家人，下離上巽。風自火出，有由家及外之象。又卦中二五有男正位乎外、女正位乎內之象。以六爻推之，有上父初子、五三夫四二婦、五兄三弟之象，故為家人。家人次明夷。按，《序卦》：傷於外者必反於家，故受之以家人。被傷於外必反於內，家人所以次明夷也。彖專言女而彖傳推之一家，內正而外無不正也。六爻內三爻多言女子之事，外三爻多言男子之事。其間內外剛柔皆有定位，所以為家道之善也。

The Hexagram of the Family has the Lower Trigram as Fire and the Upper Trigram as Wind. Wind arises from fire, symbolizing the extension from within the family to outside. Looking at the two lines, nine five and six two, there is an image of a man standing properly in the outer position and a woman standing properly in the inner position. According to the six lines, upper nine represents the father, initial nine represents the son, nine five corresponds to six two, and nine three corresponds to six four, indicating husband and wife. Nine five is the elder brother, nine three is the younger brother, hence the name 'Family'. The Hexagram of the Family comes after the Hexagram of Suffering in the External. The 'Commentary on the Judgment' says: 'Those who are injured outside must return to their family, hence it follows the Hexagram of Suffering in the External.' If one is injured outside, he must return home, hence the Hexagram of the Family follows the Hexagram of Suffering in the External. The Hexagram Statement only mentions women, but the Commentary on the Judgment extends it to the whole family, because if the inner part is proper, the outer part will not be improper. Among the six lines, the three lines of the inner trigram mainly discuss matters concerning women, while the three lines of the outer trigram mainly discuss matters concerning men. Between them, the yin and yang have definite positions, which is the reason for the beauty and perfection of family life.

家人。利女貞。家人，一家之人也。九五居外，六二居內，男女正位之象；長女居上，中女居下，尊卑有序之象；四陽二陰，陽強陰弱，夫唱婦隨之象；二柔皆居柔位，執柔不敢抗之象；內明外巽，處家之象；自初至五皆貞，尊卑安於其分之象。而卦曰利女貞，女先正乎內也。八卦正位，離在二，巽在四。此卦長女位四，中女位二，女之貞也。正天下莫難於一家，一家莫難於一婦。一婦正則內正，而外無不正矣。

The Hexagram Statement says: "Family, it is advantageous for the woman to be steadfast." "Family" refers to the members of a household. The Nine in the Fifth is in the outer trigram, and the Six in the Second is in the inner trigram, symbolizing that men and women each occupy their proper positions. The upper trigram is Xun (Wind), representing the elder sister at the top, and the lower trigram is Li (Fire), representing the middle sister at the bottom, symbolizing proper hierarchy and order. There are four yang lines and two yin lines, with yang being strong and yin being weak, symbolizing the husband taking the initiative and the wife following. The two yin lines are in soft positions, symbolizing adherence to gentleness and reluctance to challenge. The inner part is wise and clear, while the outer part is humble and compliant, symbolizing the management of a household. From the first line to the fifth line, each occupies its proper place, symbolizing that both the superior and inferior are content with their roles. However, the Hexagram Statement emphasizes "it is advantageous for the woman to be steadfast," because a woman must first be upright within. According to the proper positions of the Eight Trigrams, the proper position of Li (Fire) is the second line, and the proper position of Xun (Wind) is the fourth line. In this hexagram, the elder sister is at the fourth line and the middle sister is at the second line, which is exactly the proper position for women. To rectify the world, the hardest part is to rectify the family; to rectify the family, the hardest part is to rectify a woman. When a woman is upright, the inner part is upright; when the inner part is upright, the outer part cannot be wrong.

彖曰：家人，女正位乎內，男正位乎外。男女正，天地之大義也。卦專言女，此兼言男。蓋男女內外俱正，乃為治家之道，故即卦中九五六二二爻而推言之也。家人有嚴君焉，父母之謂也。

The Commentary on the Judgment says: "The Hexagram of the Family, the woman holds the proper position within, and the man holds the proper position outside. When male and female are in their proper places, this is the great principle of heaven and earth." The Hexagram Statement only mentions the woman, but here the Commentary on the Judgment includes the man as well. Because only when both male and female, and inner and outer positions, are properly arranged can the way of governing the family be achieved. Therefore, it extends the discussion to the two lines, nine five and six two, in the hexagram. The Commentary on the Judgment continues by saying: "The family has a strict sovereign, which refers to the parents." Within the family there is also a sovereign who exercises authority, and that is the parents.

嚴君，尊嚴之君長也。前既言男女之正，此又推本於父母之嚴。蓋父母者，一家之君長也。君長嚴則臣下肅，父母嚴則家道齊。必父母之嚴於其子，如君之嚴於臣，則倫理一定，上下截然整齊矣。或疑父嚴母慈而此皆稱嚴者，蓋母之不嚴則庇子弟之過，亂內外之別，家之不齊率由於此。

The term "strict ruler" refers to a ruler who upholds dignity. The previous passage has already mentioned that men and women each fulfill their proper roles, and now it traces back to the strictness of parents. Because parents are the rulers of the family: a ruler must have authority for his subjects to be respectful; parents must have authority for the family to be orderly. The strictness of parents toward their children must be like the strictness of a ruler toward his subjects, so that ethical standards are established and the hierarchy is clear. Some may wonder: usually it is said that fathers are strict and mothers are kind, so why are both parents called "strict" here? Actually, if the mother is not strict, she will cover up her children's mistakes and disrupt the distinction between inside and outside the family. The main reason a family becomes disorderly is often from this.

故亦稱嚴，正恐其過於慈也。此節《本義》謂亦指二五，然五剛二柔於嚴義未甚合。按，《大全》丘氏謂此卦內三爻女子之事，外三爻男子之事：初為人女，二為人妻，三為人母；四為人子，五為人夫，上為人父。三上皆剛，有合於嚴君之義。且前節言夫婦，此言父母，末又以六爻旁通，取象一家，意尤曲盡。

Therefore, the mother is also called "Yan" (strict), precisely to prevent her from being too indulgent. In this section, Zhu Xi's "The Original Meaning of the Zhou Changes" still interprets it as referring to the lines six-two and nine-five. However, nine-five is yang and six-two is yin, which do not match well with the meaning of "strict." Chen Menglei's commentary cites the view of Qiu as recorded in "The Complete Zhou Changes": in this hexagram, the inner three lines discuss matters concerning women, while the outer three lines discuss matters concerning men—initial nine represents a woman, six-two represents a wife, nine-three represents a mother; six-four represents a son, nine-five represents a husband, and upper nine represents a father. Nine-three and upper nine are both yang and correspond well with the meaning of "strict ruler." Moreover, the previous section discussed husband and wife, this section discusses parents, and the final section uses all six lines to symbolize a family, with each part corresponding to the other, making the meaning particularly comprehensive. Therefore, he chose Qiu's view instead of the "Original Meaning."

父父、子子、兄兄、弟弟、夫夫婦婦，而家道正。正家而天下定矣。上父初子，上下相去甚遠而其分嚴；五兄三弟，上下相去甚近而其情親；五夫四婦，三夫二婦，雖相比而亦未嘗無上下之分也。卦但言女貞，夫子即爻象旁通言外之意，而治家之道乃盡也。

The Commentary on the Judgment says: "A father is a father, a son is a son, a brother is a brother, a younger brother is a younger brother, a husband is a husband, and a wife is a wife, and thus the family is properly ordered. When the family is properly ordered, the world is at peace." The top line is the father, the first line is the son, and they are the farthest apart, so their roles are most clearly defined. The fifth line is the elder brother, and the third line is the younger brother, and they are closest to each other, so their feelings are most intimate. The fifth line and the fourth line are husband and wife, and the third line and the second line are also husband and wife. Although they are close to each other, there is still a distinction of superior and inferior. The Hexagram Statement only mentions "female constancy," but Confucius, based on the line images, extends and elaborates on the implied meanings. The principles of family management are fully explained here.

象曰：風自火出，家人。君子以言有物而行有恆。火熾則風生。君子觀風火之象，知凡事由家而出，而家之本又在乎身也。脩身莫大於言行。言必有物，實而不虛；行必有恆，常而不變，則身修而家治矣。

The Great Image Commentary says: "Wind arises from fire, symbolizing the family. The superior person learns to speak with substance and act with consistency." When fire is strong, wind naturally arises. The superior person observes this wind-fire image and understands that all things originate from within the family, and the foundation of the family lies in oneself. Cultivating oneself has nothing more important than words and deeds: speech must have real content and be grounded, not empty or superficial; actions must have consistency and stability, not wavering. By achieving these two, one's self is cultivated, and the family is thereby harmonized.

初九：閒有家，悔亡。離體中虛有家象；變艮為門為止，有防閒之之象。凡事謹始，初之時當閒，而九之剛明能閒之。蓋離則有先見之明，陽剛則有威如之吉。如男不入，女不出，皆所以閒之也。推此類，凡事閒之於初，悔可無矣。然能謹閒可免悔，不閒且如何哉。象曰：閒有家，志未變也。志未變而豫防之，則易；若已變而治之，則傷恩失義亦無及矣。

The first line statement says: "A man keeps his household in order, and there is no regret." "Xian" means to set boundaries and restrain. The lower trigram is Li, with the central line empty, symbolizing a house or family. When the first line changes, the lower trigram becomes Gen, which represents a gate and stopping, symbolizing setting boundaries and restraint. In any matter, one should be cautious at the beginning. At this time, the first line is appropriate for setting boundaries, and the yang line "Chu Ji" is strong, wise, and clear, capable of taking on the responsibility of setting boundaries. Because Li represents foresight, and the yang line has authority and brings good fortune. For example, a man not entering the inner chamber and a woman not lightly leaving the middle gate are both examples of "xian." By extension, if one establishes rules at the beginning of any matter, regret can be avoided. Conversely, if one is only cautious and sets boundaries but still only avoids regret, what happens if one does not set any boundaries at all? The "Small Image Commentary" says: "Keeping the household in order, the will has not yet changed." If one prevents bad intentions before they arise, the matter is easy to handle. But if one waits until the will has already changed, then it is too late to mend the relationship and restore righteousness.

六二：無攸遂，在中饋，貞吉。六二上應九五，有無遂事而順從其夫之象。在下卦之中，互坎為酒食，有居中唯酒食是議之象。柔順中正，女之正位乎內者也，故曰貞吉。象曰：六二之吉，順以巽也。柔順中正而上應九五也。

The line statement for line six-two says: "No pursuit, in the middle of the household, sincerity brings good fortune." Six-two corresponds with nine-five, showing the image of "not taking the initiative, but being obedient to the husband." It is in the middle of the lower trigram, and the interacting trigrams include kan, which represents food and drink, so it shows the image of "being content at home, only worrying about food and drink." It is gentle and proper in position, exactly the line that represents "a woman standing properly in the inner position," so it is said to gain good fortune by maintaining correctness. The Small Image Commentary says: "The good fortune of line six-two comes from being gentle and yielding." It is gentle, upright, and harmonizes with nine-five above, hence the good fortune.

九三：家人嗃嗃，悔厲吉。婦子嘻嘻，終吝。九三重剛不中，故有嗃嗃嚴厲之象；比乎二四兩柔之間，又有婦子嘻嘻之象。治家之道，過剛不中，不無悔厲，然以義勝情，猶可獲吉；若縱情敗度，則家道以壞矣，豈不終可吝乎。悔自凶趨吉，吝自吉趨凶。象曰：家人嗃嗃，未失也；婦子嘻嘻，失家節也。過嚴未失治家之道，失節則必亂矣。

The line statement for the third line says: "The family is stern and severe, there is regret and danger but still a good outcome. The wife and children laugh and joke, eventually leading to regret." "Stern and severe" refers to harsh words and expressions, while "laugh and joke" refers to unrestrained laughter without restraint. The third line, which is a yang line in a yang position, is strong and not in the center, thus showing an image of sternness. It is also sandwiched between the second line and the fourth line, both of which are yin lines, thus also showing an image of the wife and children laughing and joking without restraint. Governing the family, if one is overly strong and not in the center, there will inevitably be regret and danger, but as long as one can overcome personal feelings with principles and righteousness, one can still achieve a good outcome. If one indulges in personal feelings and breaks the rules, the family will eventually fall apart, is it not ultimately regrettable? One should know that "regret" is a transition from bad to good, while "regret" is a transition from good to bad, and the two directions are exactly opposite. The Small Image Commentary says: "The family is stern and severe, has not yet lost it; the wife and children laugh and joke, have lost the family's discipline." Being overly stern is still not losing the way of governing the family; once the family's discipline is lost, disorder is inevitable.

六四：富家，大吉。陽主義，陰主利。六四以陰居陰，得位之正，介乎九三九五之間，以柔得剛，以虛受實；又巽為利市三倍，故有能富盛其家之象，大吉之占也。《大全》以主家之婦言之，時解以言大臣理財，於家人之義未協，然為人臣者占得之，則以為理財之占亦可也。象曰：富家大吉，順在位也。以柔順而居陰之正位，能保其富者也。

The line statement for the fourth line says: "A wealthy household, great good fortune." A yang line represents principles and righteousness, while a yin line represents wealth and profit. The fourth line is a yin line in a yin position, which is proper. It is situated between the third line (nine) and the fifth line (nine), both yang lines. It uses its gentle and compliant nature to support the strong and vigorous, and remains empty and open to receive the full and abundant. Moreover, the upper trigram is Xun, which in the "Discourse on the Divination of the Changes" is associated with the image of "profitable trade with threefold gain." Therefore, this line conveys an image of a prosperous household, and the divination is great good fortune. The "Comprehensive Commentary on the Zhou Changes" interprets this line as representing a woman managing the household. The commonly accepted interpretation, however, sees it as a minister managing finances. This is not entirely consistent with the original meaning of "Family." Nevertheless, if a minister comes across this line, interpreting it as a divination about financial management is also acceptable. The "Small Image Commentary" states: "A wealthy household, great good fortune, because of compliance in position." By possessing the virtue of compliance and occupying the proper position of a yin line, one is able to maintain this wealth and prosperity.

九五：王假有家，勿恤，吉。假，至也。九五剛健中正，應六二之柔順中正，能修身以至於其家者。勿用憂恤，吉可知矣。初閒有家，家道之始；此有家，家道之成。中互坎為憂，此出坎外，故有勿恤之象。象曰：王假有家，交相愛也。五愛二之內助，二愛五之刑家，所謂假也。

The line statement for the fifth line says: "The king goes to his family, without worry, it is auspicious." "假" means to go to or to be moved by. The fifth line is strong and upright, occupying the central and proper position. It corresponds with the second line, which is gentle and upright. This is someone who can cultivate himself and spread his virtue throughout the family. Since there is no need for worry, auspiciousness is evident. The first line speaks of "a quiet family," which marks the beginning of family affairs; here, "the king goes to his family" represents the achievement of family affairs. The mutual structure of the hexagram contains Kan, which represents worry, but the fifth line is already outside of Kan, hence the image of "no need to worry." The Small Image Commentary says: "The king goes to his family, they love each other." The fifth line loves the second line, which supports him internally, while the second line loves the fifth line and sets an example to regulate the whole family. They mutually move and love each other, which is called "假," meaning that the virtue has reached within the family.

上九：有孚，威如，終吉。陽爻實，有有孚之象；以剛居上，有威如之象。有孚則至誠惻怛，可聯一家之心而不至於離；威如則整齊嚴肅，可振一家之事而不至於瀆。故長久得吉也。三以剛居剛，故有悔厲；上以剛居柔，又卦之終以威為正家之本，故終吉。象曰：威如之吉，反身之謂也。

The line statement for the topmost yao, Upper Nine: "With sincerity, there is dignity, and ultimately good fortune." A yang yao is substantial, thus symbolizing sincerity; a yang yang in the highest position of the entire hexagram signifies dignity. With sincerity, one can unite the hearts of the family with utmost sincerity and prevent them from scattering; with dignity, one can regulate and unify, revitalize the family affairs and prevent negligence. Therefore, it can achieve enduring good fortune. Nine Three, with a yang yao in a yang position, has strong yang on top of strong yang, thus causing regret and danger; Upper Nine, with a yang yao in a yin position, is strong yet flexible, and being at the end of the hexagram, uses dignity as the foundation for governing the family, thus ultimately achieving good fortune. The Small Image Commentary says: "The good fortune of dignity comes from self-restraint."

反身自治則人畏服，非作意以威之也。如言有物，物有恆是也。全卦以正家必先乎內，又上下卦為長女中女之象，故專言女貞。彖傳六爻，則推為一家之象。彖傳以上為父，初為子，五三夫，四二婦，五兄，三弟，而一家之長幼備矣。先儒又謂內三爻女子之事，外三爻男子之事。男女有定位，而爻之剛柔亦不可易。女子未嫁，律身宜嚴，故九居初以自閒也。

The idea of "authority bringing good fortune" refers to making efforts within oneself, improving one's own character, so that others naturally respect and obey. It is not about deliberately displaying power to intimidate others. Just as the Great Image says, speech should have real content and actions should follow a regular pattern (the original text here reads "things have a constant nature," with "things" likely being a mistake for "actions"). Overall, the hexagram emphasizes that to properly manage a household, one must start from within. Since the upper trigram is the trigram of the elder daughter and the lower trigram is the trigram of the middle daughter, the hexagram statement specifically mentions "female constancy." In the Commentary on the Judgment and the six lines, the hexagram develops into a complete family image. In the Commentary on the Judgment, the top line represents the father, the first line represents the son, the fifth line corresponds to the second line as husband and wife, and the third line corresponds to the fourth line as husband and wife. The fifth line is the elder brother, and the third line is the younger brother, thus completing the family hierarchy. Earlier Confucian scholars also said that the inner three lines deal with matters concerning women, while the outer three lines deal with matters concerning men. Men and women each have their proper positions, and the yao's yin and yang should not be reversed. Before marriage, women should be strict in self-discipline, so a yang line in the first position is used, symbolizing self-protection.

婦道宜順，故六居二，無遂事也。母道恐慈之過，故寧為九三之嗃嗃。此女正位乎內也。子道宜順，故六四為富家；夫道貴義，故九居五則刑家；上則為人父之事，嚴君一家之主，威如所以吉也。此男正位乎外也。蓋正家之道莫詳於此，而占者又隨事以求其義，未可泥也。

The way of a wife should be gentle and compliant, hence using a yao of yin in the second position, signifying "not taking the initiative." The way of a mother should avoid excessive indulgence, thus preferring the attitude of Nine in the Third, which is strict and resolute. These lines discuss "women maintaining proper position within the household." The way of a son should be gentle and compliant, hence the use of Six in the Fourth, signifying "bringing prosperity to the family." The way of a husband should emphasize upholding righteousness, thus a yao of yang in the fifth position can serve as a role model and maintain discipline throughout the family. The top line, Nine at the Top, represents the duty of a father as the authoritative head of the household, and his virtue of strictness brings good fortune. These lines discuss "men maintaining proper position outside the household." In summary, this hexagram thoroughly explains the principles of family conduct; however, those interpreting it should seek its meaning according to their own circumstances, rather than rigidly adhering to the pairing of yao positions.

睽。睽卦，下兌上離。火炎上而澤潤下，二體相違，睽之義也；又二女同居，志不同行，亦睽之義也。睽次家人。按，《序卦》：家道窮必乖，故受之以睽。睽者，乖也。睽綜家人。家人離陰在二，巽陰在四，皆得其正；睽則兌陰居三，離居五，皆居陽位，不得其正。家道之窮必乖，睽所以次家人也。全卦以卦德，內說外明；卦綜，柔進居剛；卦體，六五下應九二。

The Kui hexagram has the lower trigram Dui (Lake) and the upper trigram Li (Fire). Fire has an upward nature, burning intensely, while water from the Lake flows downward, soaking into the earth. The upper and lower trigrams are thus opposing each other, which is the meaning of "Kui," meaning separation or discord. Moreover, Dui represents a young woman, and Li represents a middle-aged woman; two women living in the same house but with different aspirations also illustrate the meaning of "Kui." The Kui hexagram comes after the Jia Shen hexagram. The "Xu Guan Zhuan" says: "When family affairs reach their limit, discord arises, hence it is followed by Kui. Kui means discord." Kui and Jia Shen are complementary hexagrams: in Jia Shen, the yin line of Li is in the second position, and the yin line of Xun is in the fourth position, both occupying proper positions. In Kui, the yin line of Dui is in the third position, and the yin line of Li is in the fifth position, both occupying yang positions and thus not in proper positions. When family affairs reach their limit, discord arises, so Kui follows Jia Shen. The entire hexagram should be viewed in three aspects: from the nature of the trigrams, the inner part is harmonious and the outer part is wise and bright; from the complementary relationship, the yin and soft lines advance and occupy the strong positions; from the structure of the hexagram, the sixth line responds to the second line.

故離不宜大事，而小事猶吉。六爻皆有始睽終合之象。初喪馬，至四遇元夫而初四合；二遇巷，至五往何咎而二五合；三輿曳牛掣，至上遇雨而三上合。內卦皆睽而有所待，外卦皆反而有所應。天下未有終睽而不合者也。

Therefore, this hexagram is not suitable for undertaking great affairs, but it is favorable for small matters. All six lines show the image of initial discord and eventual union: the line Initial Nine lost his horse, but at Nine in the Fourth he met the "original husband," and thus Initial Nine and Nine in the Fourth united; Nine in the Second met the sovereign in the alley, and later at Six in the Fifth he said "Go where there will be no blame," and thus Nine in the Second and Six in the Fifth united; Six in the Third saw the chariot dragged and the oxen pulled back, but at Upper Nine "meeting the rain" occurred, and thus Six in the Third and Upper Nine united. The three lines of the inner trigram are all in a state of discord and waiting, while the three lines of the outer trigram all respond in reverse. The world has never had a case where discord continued without eventual union.

睽。小事吉。睽，乖異也。上火下澤，性相違異；中女少女，志不同歸，故為睽。長女中女同居則為家人，而中女少女同居則為睽者，家人離陰在二，巽陰在四，得女之正；睽則兌陰在三，離陰在五，非女之正也。

The Hexagram Statement says: "Kui, small matters are auspicious." "Kui" means to be estranged or to differ. The Upper Trigram is Fire and the Lower Trigram is Lake, and their natures are opposite to each other. The Trigram Li represents the middle daughter and the Trigram Dui represents the young daughter, and their aspirations are not aligned, hence it is called "Kui." Someone may ask: Why is it that when two women live together, the elder daughter and the middle daughter living together form the Hexagram of Family, but the middle daughter and the young daughter living together form the Hexagram of Kui? This is because in the Hexagram of Family, the yin line of Li is in the second position and the yin line of Xun is in the fourth position, which are the proper positions for women. In the Hexagram of Kui, the yin line of Dui is in the third position and the yin line of Li is in the fifth position, which are not the proper positions for women.

離上兌下為睽，僅可小事；兌上離下為革，則曰元亨利貞者，革以九居五，六居二，剛柔得位，故為湯武之大事；睽以六居五而九居二，剛柔失位，是以為小事也。又凡卦陽剛為主，則可以大事。睽柔進乎五者也，小過柔過乎剛，故不可大事；睽柔進居剛，故小事吉也。

The trigram Li (Fire) on top and Dui (Lake) at the bottom forms the hexagram Kui, which can only handle small matters. Conversely, when Dui is on top and Li at the bottom, it forms the hexagram Ge. The hexagram Ge says "original enlightenment, favorable to all things, advantageous to maintain correctness, and beneficial to perseverance," because in Ge, a yang line is in the fifth position and a yin line in the second, so the strong and weak are properly placed, enabling great achievements like those of King Tang of Shang and King Wu of Zhou. In contrast, Kui has a yin line in the fifth position and a yang line in the second, so both strong and weak are out of their proper places, hence it can only deal with small matters. Furthermore, any hexagram dominated by yang strength can accomplish great things. Kui is characterized by yin softness advancing to occupy the strong position, while Xiao Guo involves yin softness surpassing yang strength, so both are unsuitable for great endeavors. Since Kui is marked by yin softness advancing to occupy the strong position, it only speaks of small matters being auspicious.

彖曰：睽，火動而上，澤動而下。二女同居，其志不同行。火炎上而澤潤下，無相得之性；二女少則同處，長則各有夫家，有難合之情。此以卦象釋卦名義也。說而麗乎明，柔進而上行，得中而應乎剛，是以小事吉。以卦德言之，兌說麗乎離明，則心氣和平，明燭事機矣；以卦綜言之，家人下卦之離，進為睽之上卦，六居五尊位，有勢矣；以卦體言之，則以六五虛中之主，下應九二剛中之臣，得輔矣。

The Commentary on the Judgment says: "Kui, fire moves upward and water moves downward. Two women living together, their aspirations differ." Fire rises upward and water flows downward, which are inherently incompatible; two women living in the same house in childhood, later marrying different men, naturally have difficulties in uniting. This uses the image of the hexagram to explain its meaning. The Commentary on the Judgment also says: "Harmonious and attached to brightness, the flexible advances upward, occupies the center and corresponds with the strong, thus small matters are auspicious." From the nature of the hexagram, the joy of兑 (Lake) is attached to the brightness of离 (Fire), enabling a peaceful mind and clear understanding of matters. From the reverse hexagram, the lower trigram of the Family hexagram becomes the upper trigram of the Kui hexagram, with a yin line occupying the fifth position, a position of honor. From the structure of the hexagram, it is the sixth line, a humble and central ruler, corresponding with the ninth line, a strong and central minister, thus achieving support.

然三者皆柔之為也，故僅小事吉而已。柔進上行、得中而應乎剛，在鼎則為元亨，在睽僅為小事，則爻同而事異故也。天地睽而其事同也，男女睽而其志通也，萬物睽而其事類也。睽之時用大矣哉。天高地下，睽也，然陽降陰升而成化育之事，則同矣；男女異質，睽也，然男倡女隨，志則通矣；生物萬殊，睽也，然此感彼應，事則類矣。睽，小也，睽而終同，則其用大矣，故極贊之。

But these three things are all accomplished by the yin and flexible side, so we can only say that small matters are auspicious. Similarly, "the flexible advances upward and reaches the center, responding to the strong," in the Ding hexagram it is judged as "original prosperity," but in the Kui hexagram it is only considered auspicious for small matters. The reason is that although the structure of the lines is the same, the situations they are in are different. The Commentary on the Judgment continues: "Heaven and Earth are separated but their affairs are the same; men and women are separated but their aspirations are connected; all things are separated but their affairs are of the same kind. The use of Kui is great indeed." Heaven is high above, Earth is low below, which is separation; yet the yang energy descends and the yin energy ascends, together achieving the transformation and nurturing of all things, thus becoming the same. Men and women have different physical forms, which is separation; yet the man leads and the woman follows, and their aspirations are connected. All things are different, which is separation; yet when one side feels, the other responds, and the principles become of the same kind. "Kui" itself is small, but separation ultimately leads to unity, so its function is great, which is why the Commentary on the Judgment praises it greatly.

象曰：上火下澤，睽。君子以同而異。二卦合體而性不同。君子以此，於大同之中知所當異。和而不流，群而不黨是也。彖傳於睽言合，君子濟睽之功也；象於同言異，君子不苟同之性也。然惟有不苟同之君子，乃能合天下之睽。

The Great Image Commentary says: "Above is fire, below is marsh, forming the hexagram of睽 (Strife). The gentleman learns to be in harmony while being different." The two trigrams of fire and marsh combine into one hexagram, yet their natures are not the same. The gentleman thus understands that within great harmony, one must know where differences are appropriate. This is exemplified by the saying in the Zhongyong (Doctrine of the Mean) of being harmonious yet not yielding to the crowd, and the saying in the Lünyan (Analects) of being sociable yet not forming factions for personal gain, which is precisely this "being in harmony while being different." The Commentary on the Judgment discusses "harmony" in the context of discord, referring to the gentleman's achievement in reconciling discord. The Great Image Commentary discusses "difference" in the context of similarity, referring to the gentleman's character of not yielding to superficial agreement. However, only the gentleman who is unwilling to conform can truly reconcile the discord of the world.

初九：悔亡，喪馬勿逐自復，見惡人，無咎。初無正應，宜有悔也，然居睽之時，陽剛得正，悔亦可亡。下卦為兌為毀折，有所喪失之象；四互三五為坎為亟心之馬，有喪馬勿逐自復之象。坎又為盜，惡人之象，見惡人亦可無咎。所謂見者，不得已而遇之之詞，如孔子之於陽貨也；若往求見，則為逐矣。此爻言當睽之時，正應不可必得，不可強人之合。惟去者不追，聽其自還；來者不拒，雖惡人亦見。其善於處睽者也。

The line statement for the initial line, "Initial Nine": "Regret disappears, lost horse need not be pursued, it will return by itself; encountering an evil person, no blame." Initially, there is no proper correspondence, so regret is expected; however, in a time of discord, it is yang and in its proper position, maintaining correctness, so regret can vanish. The lower trigram is Dui, symbolizing destruction, indicating a loss; the line Nine in the fourth position interacts with lines three and five to form Kan, which represents a restless horse. Thus, there is the image of "a lost horse need not be pursued, it will return by itself." Kan also represents theft, which corresponds to the image of an evil person; encountering an evil person still brings no blame. Here, "seeing" refers to an unavoidable meeting, like Confucius meeting Yang Huo, whom he could not avoid; if one actively seeks out an evil person, it becomes "pursuing." This line teaches that in times of discord, proper correspondence may not be achieved, and one should not force others to align with oneself. If something has gone, do not pursue it, let it return by itself; if someone comes, do not refuse, even if they are an evil person, just meet them as is. This is how one skillfully handles discord.

象曰：見惡人，以辟咎也。此咎作殃咎之咎。九二：遇主于巷，無咎。二變互三四為艮為徑路，巷之象；二五正應，遇之之象。二五本正應也，以當睽之時，多所乖隔。二以剛中之才，具和悅之性，委曲相求，以得遇主而成濟睽之功，故無咎。象曰：遇主于巷，未失道也。正應，非有邪也。

The Small Image Commentary says: "Seeing an evil person, to avoid calamity." Here, "calamity" refers to misfortune, meaning to use this as a way to avoid disaster. The line statement for Nine in the Second says: "Meeting the ruler in a lane, without blame." After the change of the second line, Nine in the Second forms the trigram Gen (Mountain) with lines three and four, and Gen represents a narrow path, which is the image of "lane." Nine in the Second and Six in the Fifth are in a proper correspondence, so there is an image of meeting. Originally, these two lines are in a proper correspondence, but because they are in a time of discord, there are many obstacles in between. Nine in the Second, with its strong yang and central position, combined with the harmonious nature of the trigram Dui (Lake), seeks union in a roundabout way, thus meeting the ruler and achieving the accomplishment of reconciling discord, hence there is no blame. The Small Image Commentary says: "Meeting the ruler in a lane, not losing the way." They were originally in proper correspondence, meeting in the lane does not mean anything improper.

六三：見輿曳，其牛掣，其人天且劓，無初有終。三互坎有輿象；二以剛在後，輿為曳之象。離有牛象，四以剛居前，其牛掣之象。天，去髮之刑，劓，去鼻之刑，皆傷於上者。天而又劓，重傷也。離為目，有見之象。三與上皆言見，非實有是事，而見為如此耳。

The Line Statement of the Sixth Line: "Seeing a cart dragged, its ox held back, the person shaved and his nose cut off, no beginning but a conclusion." The Sixth Line is in the Kan trigram, which represents a cart, so there is an image of a cart. The Nine in the Second Line is a yang line behind it, forming the image of the cart being dragged backward. The Li trigram has the image of an ox, and the Nine in the Fourth Line is a yang line in front, forming the image of the ox being held back. "Shaved head" is a punishment of cutting off hair, and "nose cut off" is a punishment of cutting off the nose, both injuries to the upper body. Being subjected to both punishments indicates severe injury. The Li trigram represents the eye, so there is the image of "seeing." Both the Sixth Line and the Top Nine mention "seeing," indicating that these events did not actually happen, but only appear to be so.

三與上本正應，而二在後，有見輿曳之象；四隔於前，有見牛掣之象；上九猜狠方深，見為被傷天且劓之象。二陽厄之如此，是無初也；終得正應，有終矣。三以不正之陰，承乘應皆不正之陽，故其象如此。

Six in the Third and Nine at the Top were originally in proper correspondence, but Nine in the Second is blocking behind, creating the image of 'seeing a cart stuck'; Nine in the Fourth is in the way ahead, creating the image of 'seeing an ox held back'. At this time, Nine at the Top is full of suspicion and harshness, so Six in the Third is like being subjected to the punishments of髡 and劓, suffering injury. Being trapped by two Yang lines in this way is 'no beginning', meaning the start is not smooth; yet ultimately it still reunites with the proper correspondence, which is 'a proper end'. Six in the Third, with an improperly positioned Yin line, is above supported by and below supported by, and corresponds to, Yang lines that are also improperly positioned, so the line image is like this.

象曰：見輿曳，位不當也；無初有終，遇剛也。以六居三，在二陽之間，不當也。遇剛，正應也。三雖善遇，非上之剛明，亦不得遇也。九四：睽孤，遇元夫，交孚，厲無咎。九四無應，上下皆陰柔小人，有睽孤之象；初九同德，有遇元夫交孚之象。元善之長，惡之友，初剛而得正，故為元夫。然當睽之時，惟恐交孚之不至，必以危厲處之，乃無咎也。初視四為惡人，四視初為元夫者，初得正而四不正也。不正而終有遇者，喜其陽剛之同德也。

The Small Image Commentary says: "Seeing a cart being dragged, position is not appropriate; without beginning but with end, meeting a strong and wise person." A yao in the third position that is yin is in an inappropriate place, being between two yang yao. "Meeting a strong person" means finally meeting the proper corresponding yao. Although the six in the third is good at seeking a meeting, it cannot meet unless the upper nine is itself strong, wise, and enlightened. The line statement for the fourth yao says: "Being isolated in discord, meeting the great man, mutual trust, danger without blame." The fourth yao has no proper corresponding yao, and the adjacent ones are both yin and weak, so there is an image of being isolated in discord. The initial nine shares the same yang virtue, so there is an image of meeting a virtuous man and mutual trust. "Great" refers to the leader of all good qualities (the original text says "friend of evil," and the wording is possibly incorrect or missing). The initial nine is yang and in the proper position, so it is called "great man." However, during times of discord, the greatest danger is lack of deep mutual trust. One must approach with caution and awareness of danger to avoid mistakes. The initial nine sees the fourth yao as an evil person, while the fourth yao sees the initial nine as a great man, because the initial nine is in the proper position while the fourth yao is not. Although the fourth yao is not in the proper position, it can still meet because it appreciates the shared yang virtue of the initial nine.

象曰：交孚無咎，志行也。得人以濟睽也。六五：悔亡，厥宗噬膚，往何咎。睽時以陰居陽，有悔也，然居中得應，悔可亡矣。厥宗，指九二於五，猶宗臣也。二兌口有噬膚象。噬膚，《本義》謂其易合；《程傳》謂五雖陰柔之才，二輔以陽剛之道而深入之，如姬公之於周成，入之者深也。今兼用之：五柔易合，二入之者深，明良道合，往以濟睽，何咎之有。象曰：厥宗噬膚，往有慶也。傳推言之，言睽可濟天下之慶，豈但免咎已乎。

The Small Image Commentary says: "Mutual trust without blame, the will is carried out." One can only reconcile differences and carry out one's aspirations by finding like-minded people. The line statement for the fifth line says: "Regret disappears, the great minister bites flesh, going forward brings no blame." When there is discord, a yin line in a yang position should bring regret; however, since it is in the center and has a proper response, regret can be dispelled. "The great minister" refers to nine two. For six five, nine two is like a great minister of the same clan. Nine two belongs to Dui, which represents mouth, hence the image of biting flesh. Regarding "bite flesh," the original meaning says it symbolizes ease of union, like biting tender flesh which is effortless; the Cheng transmission says that although six five is only a weak and gentle talent, nine two supports it with strong and righteous action, like Zhou Gong to King Cheng of Zhou, entering deeply. Chen Menglei combines both interpretations: six five's gentleness makes union easy, and nine two enters deeply, thus the way of a wise ruler and a virtuous minister is in harmony. Thus, going forward to reconcile differences, how could there be blame? The Small Image Commentary says: "The great minister bites flesh, going forward brings celebration." This takes the meaning further: once differences are reconciled, the blessing of the whole world can be achieved, not merely avoiding blame.

上九：睽孤，見豕負塗，載鬼一車，先張之弧，後說之弧，匪寇婚媾，往遇雨則吉。上九六三正應，非孤而曰孤者，睽極多疑，孤生於所見也。三互四五為坎有豕象，又為水有塗象；三以陰居二陽之上，又坎為隱伏，有載鬼一車象。三見四，有牛掣象；上見三，為豕之負塗，且疑其汙我矣。三見二，有輿曳象；上見三，則為載鬼一車，且疑祟我矣。

The line statement for the top nine (上九) is: "Kui gu, xian shi fu tu, zai gui yi che, xian zhang zhi hu, hou shuo zhi hu, fei kou hun gou, wang yu yu ze ji." Although the top nine and the sixth three (六三) are originally in a proper correspondence and should not be isolated, it is said "gu" (solitary), because when there is extreme discord, there is great suspicion, and this sense of solitude arises from the illusions that the person perceives. The sixth three, together with the fourth and fifth lines, forms the trigram Kan, which represents pigs and water. Therefore, there is an image of a pig and mud. The sixth three, with a yin line occupying a position above two yang lines, and Kan also representing concealment, gives the image of "a cart full of ghosts." When the sixth three looks at the fourth line, it is an image of an ox being held back; when the top nine looks at the sixth three, it becomes an image of a pig covered in mud, and there is suspicion that it will soil itself. When the sixth three looks at the second line, it is an image of a cart being dragged; when the top nine looks at the sixth three, it becomes an image of a cart carrying ghosts, and there is suspicion that it will cause trouble.

弓矢本取象於睽，又坎為弓，又為狐疑。先張之弧，疑之也；後脫之弧，疑漸去矣。上變震為歸妹，有婚媾象。匪寇婚媾，知三非寇而實親也。坎又為雨，陰陽和則雨。遇雨則吉，遇六三也。言疑盡釋，睽終復合也。

The bow and arrow, as mentioned in the Great Treatise, are taken as symbols of the Guīguà (Strife) hexagram. The Kan line also represents the bow and signifies suspicion. Therefore, "first drawing the bow" indicates inner doubt, while "later putting down the bow" signifies the gradual disappearance of suspicion. When the top line (Upper Nine) changes, the entire hexagram becomes Guīmèi (Marriage), which is the hexagram of marriage and union. Thus, the image of marriage and union appears. "Not a bandit but a marriage partner" means that in the end, it is realized that the line six in the third is not a robber but a close relative. The Kan line also represents rain, and rain comes only when yin and yang are in harmony. The "meeting rain" in "if one meets rain, it is auspicious" refers to encountering the line six in the third. This means that all doubts are completely dispelled, and the discord is finally resolved into union.

象曰：遇雨之吉，群疑亡也。群疑，指上所見。全卦當睽之時，是以不可大有所為。而睽有終合之理，故小事猶可獲吉。六爻皆始睽終合。二五、三上以正應而終合。初四非應，以同德而亦終合。天下事未有終於乖違者，所以貴有濟睽之功也。

The Small Image Commentary says: "Meeting rain brings good fortune, for all doubts are dispelled." The so-called "all doubts" refers to the series of illusions mentioned earlier—such as the mud pig and the ghost chariot. Overall, the hexagram depicts a time of discord, so great achievements are not possible; however, within this discord there is an inherent principle of eventual union, so small matters can still result in good fortune. All six lines follow the pattern of initial discord and eventual union: nine two and six five, six three and upper nine, are united through proper correspondence; initial nine and nine four, though not properly corresponding, eventually unite through their shared yang strength. There is no matter in the world that remains in discord forever, so the achievement of reconciling discord is especially precious.

蹇。蹇卦，下艮上坎。險在前而止不能進也，故為蹇。蹇卦次睽。按，《序卦》：睽者，乖也。乖必有難，故受之以蹇。蹇者，難也。睽乖之時，必有蹇難，蹇所以次睽也。全彖取後天八卦艮坎在東北方，離坤在西南方。艮坎為蹇，則對方為出蹇矣。又九五以剛健中正之君在上，而六二以柔順中正之臣在下，又有利見大人之象。此全彖之大旨也。六爻以五為濟蹇之君。

The hexagram Jian is composed of the lower trigram Gen (Mountain) and the upper trigram Kan (Water). Obstacles and difficulties lie ahead, yet the subject is stopped and unable to proceed, hence it is called "Jian," meaning to limp or move with difficulty. The hexagram Jian comes after the hexagram Kui. The "Xu Guan Zhuan" states: "Kui means separation. Separation inevitably brings difficulties, hence it is followed by Jian. Jian means difficulty." When there is separation and discord, difficulties are bound to follow, so Jian follows Kui. The entire hexagram statement is based on the Later Heaven Trigrams' directional arrangement: Gen and Kan are located in the Northeast, while Li and Kun are in the Southwest. Gen and Kan together form Jian, so the opposite direction is the way to escape the difficulty. Moreover, the fifth line is a strong and upright ruler in the upper position, and the second line is a gentle and upright minister in the lower position, thus presenting the image of "being beneficial to see a great man." This is the main meaning of the hexagram's statement. Among the six lines, the fifth line represents the ruler who helps overcome the difficulty.

二為同患之臣。餘四爻雖處蹇，而無濟蹇之責。唯三以剛實具濟蹇之才。獨以與五非近非應，而反就二以同往，故言喜。四以比三，故言連。上以應三，故言來碩。蓋蹇中非有陽剛之才不能濟。故五之所待者，三之來也。三反從二以來，則朋來矣。獨初六才柔位卑，故以來譽勉之。此六爻之大略也。

Six in the Second represents a minister who shares hardship with the sovereign. The other four lines, although in the same difficult situation, do not have the responsibility to help overcome the difficulty. Only Nine in the Third, with its strong yang quality, actually possesses the ability to help overcome the difficulty. Yet it is neither adjacent nor in harmony with Nine in the Fifth, so it turns back and joins Six in the Second nearby to assist together, hence the line statement says 'joy'. Six in the Fourth is adjacent to Nine in the Third, so it is said 'connected'. Upper Six is in harmony with Nine in the Third, so it is said 'comes with a great virtue'. One should know that without strong yang talent, one cannot help overcome the difficulty, so what Nine in the Fifth is waiting for is precisely the arrival of Nine in the Third. Nine in the Third, turning back, brings Six in the Second along with it, which is 'companions come'. Only Six at the Beginning is weak and in a low position, so it is only encouraged with 'comes with praise'. This is the general trend of the six lines.

蹇。利西南。不利東北。利見大人。貞吉。蹇，足不能進，行之難也。前有水之陷，後有山之阻。又為見險而止之義，故曰蹇。又睽卦盡反則為蹇。睽取目有所見，重離在前也；蹇取足不能進，重坎在前也。利西南不利東北，按，《本義》謂西南平易，東北險阻。《程傳》謂西南坤方，坤，地也，體順而易；東北艮方，艮，山也，體止而險。

The Hexagram Statement says: "Jian, advantageous to the Southwest, disadvantageous to the Northeast, advantageous to see a great man, and to maintain sincerity brings good fortune." "Jian" means that the feet cannot move forward, and walking is difficult. In front there is a water pit, and behind there is a mountain blocking the way. It also contains the meaning of "stopping when danger is seen," hence the name Jian. Furthermore, the Hexagram Jian is the complete reversal of the Hexagram Kui. Kui takes the meaning of "seeing with the eyes," because Li represents the eye, and it is placed in front in a double form. Jian takes the meaning of "the feet cannot advance," because Kan represents danger, and it is placed in front in a double form. As for "advantageous to the Southwest and disadvantageous to the Northeast," Zhu Xi in The Original Meaning of the Zhou Changes explains that the Southwest is a flat terrain while the Northeast is a rugged terrain. Cheng Yi in Yichuan's Commentary on the Changes explains that the Southwest is the direction of Kun, which is earth, and has a nature of flexibility and ease, while the Northeast is the direction of Gen, which is mountain, and has a nature of stillness and ruggedness.

今按，卦象中無坤而言坤者，其說有二。以後天八卦言之。艮坎東北與西南離坤相對。艮坎合為蹇，不利東北。離坤合為晉，是為利西南矣。蹇卦無西南，就東北對方言之。猶坤卦言西南得朋，而兼言東北喪朋也。又以卦之六爻言之。蹇難之時，非有陽剛之才不可有為。卦中唯五與三為陽。

Chen Menglei commented that in the hexagram there was originally no Kun. Both schools used Kun to explain it, and there are two interpretations. The first is based on the Later Heaven Trigrams: the position of Gen and Kan in the Northeast is opposite to the position of Li and Kun in the Southwest. Gen and Kan together form Jian, hence "not favorable to the Northeast"; Li and Kun together form Jin, hence "favorable to the Southwest." The Jian hexagram itself does not contain the Southwest, but it refers to the opposite direction of the Northeast, similar to how the Kun hexagram mentions "gaining friends in the Southwest" and also mentions "losing friends in the Northeast" by implication. The second interpretation is based on the six lines of the hexagram: during times of difficulty, without strong yang lines, one cannot achieve anything. In this hexagram, only the lines nine in the fifth and nine in the third are yang lines.

五以陽剛為濟蹇之君。三非正應，然反而就二連四應上以輔乎五。五三變為純坤，則出東北之險阻，入西南之平易，蹇乃濟矣。故有利西南不利東北之象。六二柔順中正之臣，三反就之，遂與四上皆來互輔於五，以共濟蹇，有利見大人之象。六爻唯初不正，故宜見險待時。二以上皆正，可以濟蹇，故曰貞吉。占者得之，則見險者貴於能止，而不必終於止；處險者貴於能進，而又不可失其正也。

Nine in the Fifth is a yang strong ruler who takes on the responsibility of helping to overcome the difficulties of the蹇 (Obstruction) situation. Nine in the Third and Nine in the Fifth are not in a proper mutual response, yet Nine in the Third turns back to approach Six in the Second, connects with Six in the Fourth, and responds to Upper Six, all together assisting Nine in the Fifth. If both Nine in the Fifth and Nine in the Third change, the entire hexagram becomes a pure坤 (Earth) hexagram. This signifies moving out of the dangerous Northeast and entering the easy Southwest, thus alleviating the difficulties of Obstruction. Therefore, there is the image of 'favorable to the Southwest, unfavorable to the Northeast'. Six in the Second is a gentle and upright minister; Nine in the Third turns back to join with it, so Six in the Fourth and Upper Six also come together to assist Nine in the Fifth, jointly helping to overcome the Obstruction, hence the image of 'favorable to see a great person'. Among the six lines, only the first line is not in the proper position, so it is appropriate to see danger and stop waiting for the right time. The lines above Six in the Second are all in the proper position and can help overcome the Obstruction, so it says 'keeping firm and being auspicious'. When one gets this hexagram, they should understand: seeing danger, the important thing is to be able to stop, but not to stop completely; being in danger, the important thing is to be able to move forward, yet not to lose one's correctness.

彖曰：蹇，難也，險在前也。見險而能止，知矣哉。以卦德釋卦名義而贊之。蹇固足不能進之義。然知其不能進而不輕進，即知也。山水為蒙，水山為蹇。知者，蒙之友。

The Commentary on the Judgment says: "Jian means difficulty, with danger ahead. Seeing the danger and knowing when to stop, this is truly wise." This passage explains the meaning of the hexagram through its qualities and praises it. Although "Jian" literally means that the foot cannot move, knowing that one cannot proceed and thus refraining from rash action is itself wisdom. This can also be compared with the hexagram Meng: Mount Tai above and Water below is Meng, while Water above and Mount Tai below is Jian; wisdom is the opposite of ignorance (the original text says "friend of Meng," but "friend" is likely a mistake for "opposite").

蹇，利西南，往得中也。不利東北，其道窮也。利見大人，往有功也。當位貞吉，以正邦也。蹇之時用大矣哉。以卦綜言之，蹇卦綜解。解下卦之坎，往為蹇上卦之坎，九五得其中也。後天震在東，艮在東北。解上卦之震，下為蹇下卦之艮，正在蹇之方，其道窮也。以卦體言之，二五正應，三反四連而上來碩，皆可濟險，往有功也。自二至上，位皆得正。初雖不當，而陰柔在下亦正也。上下皆正，則邦可正，蹇可濟矣。坎睽蹇皆非順境，夫子以為此時，亦有可用者，故極贊其大。

The Commentary on the Judgment continues: "Jian is advantageous to go toward the Southwest, because it reaches the center; it is not advantageous to go toward the Northeast, because its path is blocked; it is advantageous to see a great person, because going forward brings merit; those in the correct position and maintaining uprightness will bring good fortune, because they will properly govern the state. The use of Jian at this time is indeed great." From the perspective of the reversed trigrams: Jian and Jie are reversed trigrams. In the Jie hexagram, the lower trigram Kan moves upward to become the upper trigram Kan in the Jian hexagram, so the nine five line is in the central position. In the Later Heaven trigrams, Zhen is in the East and Gen is in the Northeast. In the Jie hexagram, the upper trigram Zhen moves downward to become the lower trigram Gen in the Jian hexagram, which exactly falls in the direction of difficulty, so it is said "its path is blocked." From the structure of the hexagram: the six two line and the nine five line are in a correct response; the nine three line turns back, the six four line connects, and the upper six line comes forward to help, all of which can assist in overcoming danger, so it is said "going forward brings merit." From the second line to the top line, each position is correct; although the initial six line is not in the correct position, it is a yin and flexible line at the very bottom, which is also considered correct. If both upper and lower are correct, then the state can be properly governed, and the difficulty can be eased. The hexagrams Kan, Kui, and Jian are not in favorable conditions, yet Confucius believes that there is still usefulness in such times, so he strongly praises the great utility of Jian.

象曰：山上有水，蹇。君子以反身修德。水之蹇也，止而不流。君王之蹇也，反而自修。反身即思不出其位之義，艮象也；修德即常德行之義，坎象也。象傳言反身修德，五爻曰大蹇朋來。蓋得人心以反諸身為本，即孟子所謂（文瀾本「謂」作「雲」）其身正而天下歸之也。

The Great Image says: "Mountains with water above,蹇. The superior person thus turns inward to cultivate virtue." When water meets obstruction, it accumulates and does not flow; when a ruler meets difficulties, he turns inward and focuses on self-cultivation. "Turning inward" corresponds to the meaning of "thinking without overstepping one's position" in the Great Image of the Gen hexagram, taking the image of Gen; "cultivating virtue" corresponds to the meaning of "constant virtue being practiced" in the Great Image of the Kan hexagram, taking the image of Kan. The Great Image speaks of turning inward and cultivating virtue, while the line statement of the fifth line says "great difficulty with friends coming." When these two are considered together, it is clear that to gain the people's hearts, the fundamental lies in self-reflection. That is what Mencius said (the Wenlan edition reads "said"), when one's own conduct is upright, the world naturally follows.

初六：往蹇，來譽。

The line statement for the first line, "Initial Six," says: "Going forward meets difficulty, coming back brings praise." This means that moving forward encounters obstacles, while retreating brings commendation. This line follows the previous discussion that "Initial Six is weak and in a low position, so it is used to encourage it": in a time of difficulty, encountering obstacles leads one to know when to stop and not force forward. This self-awareness itself is commendable.

往，上進也。來，止而不進。蹇，行之難也。故諸爻皆以往來為言。他爻來字，指下一爻而言。初無可來，以不進為來。六非濟蹇之才，初非濟蹇之位。往則犯難，來則有見險能止之譽也。象曰：往蹇來譽，宜待也。待時而往，非終止也。

In the Line Statements of the Yi Jing, "往" refers to moving forward, while "来" refers to stopping and not proceeding further. The original meaning of "蹇" is difficulty in walking, so all six lines of the "Jian" hexagram are explained using "往" and "来". For other lines, "来" refers to retreating to the adjacent line below; however, since there is no line below the first line (初六), its "来" can only be interpreted as ceasing to move forward. In terms of the nature of the line, Six at the Beginning is yin and weak, lacking the ability to overcome difficulties. In terms of its position, it is at the very bottom and is not the appropriate position to take on the task of overcoming difficulties. Therefore, moving forward would be self-inviting danger, while retreating and not advancing would instead earn the praise of "seeing danger and being able to stop." The Small Image Commentary says "往蹇来誉，宜待也," meaning that this stopping is merely waiting for the right time to move forward, not giving up completely for life.

六二：王臣蹇蹇，匪躬之故。六二與五為正應，輔五以濟蹇者，有王臣之象。他爻外卦一坎而已，二互三四又得坎體，有蹇而又蹇之象。入難之深，致身王事，非為私也，故曰匪躬之故。他爻皆喜來惡往，二五獨不然。五乃濟蹇之君，二之柔順中正，濟蹇之臣也。當蹇之任，鞠躬盡力而已。成敗利鈍，皆非所計，故不言吉凶也。象曰：王臣蹇蹇，終無尤也。事雖不濟，亦無可尤也。二匪躬而不言濟蹇者，陰柔短於才故也。君子取其義而恕其才，故無尤。

"Six Two: The royal minister is resolute, not for his own sake." Six Two and Nine Five are in a proper response; with a gentle and compliant minister assisting Nine Five through difficulties, there is the image of "royal minister." The other lines have only the upper trigram Kan, representing danger, but Six Two itself forms another Kan through the interaction of trigrams three and four, indicating danger upon danger, hence the image of "difficulties compounded by difficulties." This shows that it is plunged into extremely deep hardship, yet still dedicates itself to the state and carries out royal affairs, not for its own benefit, hence the line statement says "not for his own sake." Other lines prefer "coming" and dislike "going," but Six Two and Nine Five are exceptions: Nine Five is the king who bears the responsibility of overcoming difficulties, and Six Two, being gentle and upright, is the minister who bears the responsibility of overcoming difficulties. Once appointed, there is only the duty to devote oneself wholeheartedly, regardless of success or failure, hence the line statement does not mention good or bad fortune. The Small Image Commentary says "in the end, there is no blame," meaning that even if the matter is not accomplished, there is nothing to blame. Six Two can "not for his own sake" but the line statement does not call it "overcoming difficulties," because the nature of the yin and soft is ultimately insufficient in ability; the gentleman takes its loyalty as a virtue and forgives its lack of ability, hence there is no blame.

九三：往蹇來反。三與五非正應，非當蹇之任者，故往則蹇。來，下就二也。此爻變為水地比，有親比於人之象。二有蹇之任，三有剛陽（文瀾本「剛陽」作「陽剛」）之才，下就二以圖共濟，則反而得所安矣。象曰：往蹇來反，內喜之也。內指二陰，喜從陽。三有濟蹇之才，雖未當其任，而匪躬之臣，有得人之喜矣。

"Nine in the Third: Going forward meets difficulty, returning brings reversal." Nine in the Third and Nine in the Fifth are both yang lines, and they do not form a proper mutual support relationship. Therefore, they are not the ones who should take responsibility for overcoming the difficulty. Going forward only leads to greater entanglement in the difficulty. "Coming" means retreating to be close to Six in the Second. This line changes from yang to yin, transforming the entire hexagram into "Water over Earth: Mutual Support," symbolizing the image of drawing close to others. Six in the Second bears the responsibility of overcoming the difficulty, and Nine in the Third, possessing strong yang strength, retreats to cooperate with Six in the Second to jointly overcome the difficulty, thus returning to a secure position. The "Small Image Commentary" says, "The inner trigram is joyful." "Inner" refers to the two yin lines in the inner trigram. Yin is naturally pleased to follow yang. Although Nine in the Third has the ability to overcome the difficulty but is not in the proper position, once it willingly submits to the position of Six in the Second, the "non-self-sacrificing" minister, Six in the Second naturally feels joy at having the assistance of a capable person.

六四：往蹇來連。六四已入險中，而陰柔不足以濟。往則益蹇，唯連於九三，則合力可以共濟矣。象曰：往蹇來連，當位實也。陰虛陽實，九三陽居陽位。言所以連於三者，以三之實，所居當位，可以共濟蹇也。

"Six in the Fourth: Go forward and encounter difficulty, come back and connect." Six in the Fourth has already entered the upper trigram Kan, which represents danger, and since it is a yin line, it lacks the strength to overcome the peril. Moving further forward would only lead to deeper entanglement. Therefore, it should retreat and connect with Nine in the Third, combining the strength of both lines to overcome the difficulty. The "Small Image Commentary" says, "It is in the proper position and solid." Yin lines are considered empty, while yang lines are considered solid. Nine in the Third is a yang line in a yang position, thus both "solid" and "in the proper position." This explains why Six in the Fourth needs to connect with Nine in the Third—because Nine in the Third is solid and properly positioned, and therefore reliable, enabling them to jointly overcome the difficulty.

九五：大蹇朋來。五君位而在險中，天下安危所繫。而有陽剛中正之德以居之，故曰大蹇。五變坤為眾，朋來之象。來者皆就二以輔五也。二與五為正應，既有匪躬之志。三於二能來反，復具濟蹇之才。四比三而上承五，協力以濟蹇。占者有其德，則有是助矣。象曰：大蹇朋來，以中節也。居位得中，可以節制聯屬之，故能成正邦之功也。

"Nine Five: Great Obstruction, Friends Come." Nine Five occupies the position of the ruler but is himself in the dangerous situation of the坎 (Water) trigram. The safety and peril of the world rest upon him alone. Since he possesses the virtue of yang strength and correctness, the burden he bears is the heaviest, hence it is called "Great Obstruction." If Nine Five changes from yang to yin, the upper trigram becomes坤 (Earth), which represents the people. This is the image of "Friends Come." The people who come are those who come to support Six Two to assist Nine Five. Six Two and Nine Five are in the correct responding position, and they have already expressed the determination to serve the country without regard for personal safety. Nine Three is able to step back and support Six Two, and also possesses the strength to overcome the obstruction. Six Four is close to Nine Three and above Nine Five, and also contributes to the effort together. If the person consulting the oracle truly possesses the virtue of Nine Five, he will naturally receive such assistance. The "Small Image Commentary" says "Because he maintains the middle and regulates," meaning that Nine Five occupies the central position and is in the correct position, thus being able to control and manage these people who come to assist, thereby achieving the accomplishment of rectifying the state.

上六：往蹇來碩，吉。利見大人。碩，大也。陽為大。《本義》《大全》皆作就九五以成大功。今按，六爻之義宜就三爻言之。蓋當蹇之時，非陽剛不足以濟。上以陰居蹇極，往則益蹇。唯來就九三之陽，可成大功。又蹇極將變為漸，則進矣，故許其吉。利見大人指九五言。就九三陽剛之才，利見九五之君，以濟其蹇也。

"Upper Sixth: Going on is difficult, coming back brings great success, auspicious. Advantageous to see a great man." "Shuo" means great, and in the Book of Changes, yang is considered great. Zhu Xi's "The Original Meaning of the Zhou Changes" and "The Complete Book of the Zhou Changes" both interpret "coming back to achieve great success" as returning to the Nine in the Fifth to accomplish great achievements. Now, the meaning of this line should be understood in relation to the Nine in the Third: when facing difficulties, only a strong yang can provide relief. The Upper Sixth, being a yin and flexible line, is at the extreme of difficulty, and proceeding further would only increase the difficulty. Only by retreating and returning to the yang of the Nine in the Third can great achievements be made. Moreover, when difficulty reaches its extreme, it will transform into "Zhan" (Gradual Progress), which signifies gradual advancement, precisely a time for moving forward. Therefore, the line statement allows for auspiciousness. As for "advantageous to see a great man," it refers to the Nine in the Fifth: the Upper Sixth, by utilizing the capable yang of the Nine in the Third, is also advantageous in seeing the sovereign of the Nine in the Fifth, thus being able to overcome the difficulty.

象曰：往蹇來碩，志在內也。利見大人，以從貴也。《大全》以在內指九五，時解從之。然於從貴之言似復複。今以在內，指內卦之九三言之。上柔無濟蹇之才，志在得內卦陽剛之才以共濟，而從九五之君也。

The Small Image Commentary says: "Going through difficulty and coming to a great gain, the mind is within." "It is advantageous to see a great man, to follow the noble." The Zhou Yi Dian explains that "within" refers to the Nine in the Fifth. At that time, the common interpretation followed this. However, this leads to repetition between "the mind is within" and "to follow the noble." Now, we should understand "within" as referring to the Nine in the Third of the Inner Trigram. The Six at the Top is yin and weak, lacking the ability to overcome difficulty. Its mind is to obtain the yang strength of the Inner Trigram to jointly overcome difficulty, while also following the noble ruler, the Nine in the Fifth. One sentence refers to the strength relied upon, the other to the ruler followed, and the two sentences then have distinct meanings.

全彖以卦象，有利西南不利東北之占。以卦體二五相應，有利見大人之占。大抵當蹇之時，欲其知止以善處蹇之道，又欲其陽剛以大濟蹇之功。需眾爻以濟蹇者五，故曰朋來。在蹇而輔蹇者二也，故曰匪躬。君臣當蹇之任者，故不得言往來。餘四爻皆不任濟蹇之責，故皆喜來而惡往。

Taking the whole hexagram into account: from the symbolic meaning of the hexagram, there is a divination statement saying "favorable to the southwest, unfavorable to the northeast"; from the structure of the hexagram, with the second and fifth lines corresponding, there is another divination statement saying "favorable to see a great person." In general, when facing difficulties, one should understand when to stop, which is a good way to deal with difficulties; at the same time, one should have strong yang qualities, which can achieve great accomplishments in overcoming difficulties. In the whole hexagram, the line nine in the fifth position needs the help of many lines to overcome the difficulty, so its line statement says "companions come"; the line six in the second position, being in the difficulty and making every effort to assist in overcoming it, so its line statement says "not for oneself." These two lines are the ruler and the minister, bearing the responsibility of overcoming the difficulty, so their line statements do not use "going" or "coming" to express. The remaining four lines do not bear the responsibility of overcoming the difficulty, so they all favor "coming" and dislike "going."

然蹇之時，惟陽剛與五同德，乃能共濟。三有濟蹇之才者，反而就二，則可以共濟矣。四以比三而來，上以應三而來，皆濟蹇之朋，能輔五者也。惟初陰柔在下，則惟有待時而往耳。然則蹇之時，在下者貴於知止，而在上者貴於濟蹇，庶幾得其正乎。

However, in times of difficulty, only those with yang strength who share the virtue of the Nine in the Fifth can join him to overcome the hardship. The Nine in the Third has the ability to overcome the difficulty, and by retreating back to the Six in the Second, they can work together to overcome it. The Six in the Fourth comes because it is close to the Nine in the Third, and the Six at the Top comes in response to the Nine in the Third; these are all companions in overcoming the difficulty and can support the Nine in the Fifth. Only the Six at the Beginning, being yin and occupying the lowest position, lacks both virtue and position, so it can only wait for the right time to move forward. Thus, in times of hardship, those in lower positions are valuable for knowing when to stop and not advancing recklessly, while those in higher positions are valuable for taking on the responsibility of overcoming the difficulty. Only in this way can each person be in the right place.

解卦，下坎上震，動於險外，出乎險也，故為患難解散之象。又震雷坎雨，陰陽交感，和暢解散，故為解。解卦次蹇。蹇者，難也。物不可以終難，故受之以解。難極必解散，所以次蹇也。全彖以解散之後，利於平易安靜，不宜久為煩擾。然小人者亂之根也，故六爻之義主於去小人。六三一陰為小人，非據以致天下兵者，諸爻皆欲去之。二之獲狐，獲三也。四之解拇，解三也。上之射隼，射三也。五之有孚，亦退三也。唯初六才柔位卑，不任解難而在解時，無咎而已。此全彖六爻之大指也。

The hexagram "Jie" (Release) has the lower trigram Kan (Water) and the upper trigram Zhen (Thunder). The movement of thunder occurs outside the danger of water, indicating that one has already emerged from peril, hence the image of troubles being dispersed. Also, Zhen represents thunder and Kan represents rain; thunder and rain working together signify the interaction of yin and yang, and the stagnant energy is thus smoothly dispersed, hence the name "Jie" (Release). The hexagram "Jie" follows "Jian" (Obstruction). The "Xu Gua Zhuan" says: "Jian means difficulty. Things cannot remain difficult forever, hence it is followed by Jie." Things will not always be in difficulty; when difficulty reaches its extreme, it must dissipate, which is why Jie follows Jian. The overall meaning of the hexagram is: after troubles have been dispersed, it is favorable to be easy and peaceful, and not to engage in prolonged disturbances. However, small people are the source of disorder, so the meaning of each line focuses on removing small people. The yin line at the third position is the small person, which occupies an improper position and thus brings forth the weapons of the world, so the other lines all aim to remove it: line nine two "field hunting three foxes" refers to capturing the third line; line nine four "loose the big toe" refers to removing the third line; line six six "shooting the falcon" refers to shooting at the third line; line six five "having sincerity" also aims to make the third line retreat. Only line six one is gentle and in a low position, not taking responsibility for resolving difficulties, yet encountering the time of resolution, so having no fault is enough. This is the main meaning of all six lines of the hexagram.

解：利西南。無所往，其來復，吉。有攸往，夙吉。解，難之散也。在險能動，出乎險之外，故為解。難既解，則宜於平易安靜，不可久為煩擾。其卦上震下坎，後天亦居東北之位，與坤亦對。蹇與解相綜，褰在險中，故言利西南，兼言不利東北。解已出險外，則但言利西南，而不利東北可不必言矣。無所往其來復者，復東北也。難已解，故復亦吉也。有所往，往西南也。夙，早也。若可往西南，又以早為吉也。蹇上卦之坎，來解為下卦，而二（「二」當作「五」，從文瀾本）仍居中，有來復吉之象。蹇下卦艮，綜解為上卦之震，反艮止為震動，有所往而夙之象。震東方日之初出，故曰夙吉。

The hexagram statement says: "Jie: Advantageous to the southwest. If there is no place to go, returning is favorable. If there is a place to go, going early is favorable." "Jie" means the dispersion of difficulties. Being in a dangerous situation yet able to act and eventually escape from it is called "Jie." Once the difficulties have been removed, it is suitable to be peaceful and quiet, not to engage in prolonged disturbances. This hexagram has Zhen above and Kan below. In the Later Heaven Trigram directions, Zhen is in the east and Kan is in the north, which is the northeast direction, facing the southwest direction of Kun. The hexagrams Jian and Jie are inverted to each other, forming a "complementary hexagram." Jian is still trapped in danger, so the hexagram statement says "advantageous to the southwest" and also mentions "unfavorable to the northeast." Jie has already escaped from danger, so it only says "advantageous to the southwest," and "unfavorable to the northeast" does not need to be mentioned again. "Its coming back" in "there is no place to go, its coming back" refers to returning to the northeast. Once difficulties are resolved, returning is also favorable. "Going" in "if there is a place to go" refers to going to the southwest. "Suo" means early. If one can go to the southwest, then going early is favorable. From the complementary hexagram perspective: The upper trigram of Jian, Kan, when inverted becomes the lower trigram of Jie, Zhen, while the nine five (originally written as "two," according to the Wenlan Pavilion edition it should be "five") remains in the central position, which is the image of "returning to the northeast and being favorable." The lower trigram of Jian, Gen, when inverted becomes the upper trigram of Jie, Zhen. From the stillness of Gen to the movement of Zhen, this is the image of "going" and being favorable to "going early." Zhen is in the east, the place where the sun first rises, so it is said "going early is favorable."

彖曰：解，險以動，動而免乎險，解。以卦德釋卦名義也。蹇遇險而止，才之不足也。解遇險而動，才之有餘也。屯動乎險中，難之未平。解動乎險外，則難之已散也。解利西南，往得眾也。其來復吉，乃得中也。有攸往夙吉，往有功也。

The Commentary on the Judgment says: "Jie, danger with movement, movement and escape from danger, Jie." This uses the qualities of the upper and lower trigrams to explain the meaning of the hexagram name. The hexagram Jian signifies encountering danger and stopping, indicating insufficient ability; the hexagram Jie signifies encountering danger and being able to move forward, indicating sufficient ability. The hexagram Zun has movement within danger, indicating that difficulties have not yet been resolved; the hexagram Jie has movement outside danger, indicating that difficulties have already been dispelled. The Commentary on the Judgment then says, "Jie benefits the southwest, going to gain the people." "Its coming back is auspicious, for it attains the center." "Going somewhere brings early auspiciousness, for going brings achievement," which is an explanation of each sentence of the hexagram statement.

以卦綜釋卦辭。坤為眾，西南入於坤體，故為得眾。得中有功，《本義》《大全》皆謂指九二，時解從之。然六爻獨重九二，未得其解。愚意謂指兩陽爻也。無所往則來復，取坎之得中。有所往則貴夙，取震之能動。

This section uses the concept of hexagram综 to explain the hexagram statement.坤 represents the multitude, and the southwest is the position of坤. Moving toward the southwest means entering the body of坤, hence it is said "to gain the support of the people." As for "to gain the center" and "to have merit," both The Original Meaning of the Zhou Changes and The Complete Collection of the Zhou Changes consider these specifically referring to nine two (九二). The common interpretation at that time followed this meaning; however, the hexagram of 解 has six lines, and there is no particular emphasis on nine two alone, making this explanation unsatisfactory. I believe it refers to both nine two and nine four, the two yang lines: when there is nowhere to go, returning is taken as the meaning of nine two in the trigram Kan (water) gaining the center; when there is a destination, it is important to act early, which refers to the dynamic nature of the trigram Zhen (thunder).

蹇上卦之坎，來解下卦，仍在下卦之中。來復得中，所以吉也。蹇下卦之艮，綜為解之震。震動有為，所以有功也。聖人於患難方平之際，不欲人以多事自疲，亦不欲人以無事自怠。故得中則不養禍，亦不擾民矣。有功則惡不滋，難永息矣。

The upper trigram of Jian is Kan, which comes down to become the lower trigram of Xie. The line Nine in the Second remains in the middle of the lower trigram, returning to the center, thus it is said to be auspicious. The lower trigram of Jian, Gen, when reversed, becomes the upper trigram Zhen of Xie. Zhen represents active movement and action, thus it is said to have merit. The sage, when the hardship is just about to be resolved, does not want people to be overly active and cause exhaustion, nor does he want people to be idle and lead to negligence. Being able to maintain the center means neither indulging in evils nor disturbing the people. Being able to have merit means that evils will not grow again, and hardship can be permanently eliminated.

天地解而雷雨作，雷雨作而百果草木皆甲拆，解之時大矣哉。雲雷為屯，故雷雨作為解。窮冬之時，陰陽固結不通。及陰陽交泰，則百果草木或甲或拆。天地所以成化功也。此極言而贊其大也。

The Commentary on the Judgment also says: "When heaven and earth are unblocked and thunder and rain arise, thunder and rain arise and all fruits and grasses and trees split open their husks. How great is the time of resolution!" Clouds condensing on top of thunder without dispersing is the hexagram Zun (Obstruction), but when thunder and rain have already fallen, it is the hexagram Jie (Resolution). In the depths of winter, yin and yang are closed and uncommunicating; but when yin and yang meet and harmonize, all fruits and grasses and trees either split open their husks or crack their shells to grow. Heaven and earth accomplish the function of nurturing and transforming through this process of resolution and dispersion, so the Commentary on the Judgment strongly praises the great significance of the time of resolution.

象曰：雷雨作，解。君子以赦過宥罪。雷者天之威，雨者天之澤。威中有澤，刑獄之有赦宥也。有過者，赦而不問可也。罪惡而赦之，非義也。矜其無知，宥而從輕而已（文瀾本「宥而從輕而已」作「而罪疑從輕」）。此所以推廣天地之仁也。雷雨交作，天地以之解萬物之屯。赦過宥罪，君子以之解萬民之難。故襍卦曰解緩也。

The Great Image Commentary says: "Thunder and rain arise, and the hexagram of Resolution emerges. The superior person thus pardons mistakes and forgives crimes." Thunder represents the authority of heaven, and rain represents the grace of heaven; authority combined with grace is like the judicial system that includes both pardon and forgiveness. For those who have committed mistakes, pardoning them and not pursuing further is appropriate; however, for genuine crimes, universal pardon would be unjust. In such cases, one should show mercy for their ignorance and forgive with leniency. (The Wenlan Pavilion edition of this sentence reads "and in cases of doubt, the lighter punishment is chosen.") This is precisely extending the compassion of heaven and earth. Thunder and rain combine to resolve the blockages of all things in the world; pardoning mistakes and forgiving crimes allows the superior person to resolve the difficulties of the people. Therefore, the Miscellaneous Hexagram Commentary says, "Resolution means to be lenient" — the meaning of "Resolution" is to be lenient and gentle.

初六：無咎。震陽動於險上，初與為應。卦之所藉以解散者，何咎之有。又方解之初，宜安靜而休息之，故爻辭簡以示意。象曰：剛柔之際，義無咎也。初柔四剛。際，過也。難之方解，不宜過剛過柔，以剛柔相際為得宜也。

"Initial Six: No blame." The upper trigram Zhen (Thunder) has its yang energy stirring above the lower trigram Kan (Water), which represents danger. Initial Six corresponds with Nine in the Fourth, and the whole hexagram can rely on this to dispel difficulties, with Initial Six also playing a part, so how could there be any blame? Moreover, at the very beginning of removing difficulties, one should remain calm and rest, so the line statement only uses two characters to briefly indicate the meaning. The Small Image Commentary says, "At the meeting of yang and yin, there is no blame." Initial Six is yin, Nine in the Fourth is yang, and "meeting" means connection. When difficulties are just being removed, it is not appropriate to be overly yang or overly yin. The most suitable is the mutual connection of yang and yin, so there is no blame in terms of principle.

九二：田獲三狐，得黃矢，貞吉。狐者，邪媚之獸。《本義》謂卦凡四陰，除六五君位，餘三陰，狐之象也。今按，三陰爻，上得正而初在下有應，爻辭皆不深貶。唯三不中不正，又無正應，又居下卦之上，猶小人以邪媚居高位者。當解之時，小人而在高位，在所必去。唯二以陽剛能去之。

"Nine in the Second: Hunting three foxes in the field, obtaining a yellow arrow, the line is auspicious." Foxes are evil and fickle beasts. The "Original Meaning of the Zhou Changes" states that the entire hexagram has four yin lines; excluding the six in the fifth position, which is the ruler's position, the remaining three yin lines represent the image of "three foxes." Now, among these three yin lines, the six at the top is in a proper position, and the six at the beginning is at the bottom and corresponds with the nine in the fourth position; the line statement does not criticize them severely. Only the six in the third position is neither central nor proper, has no proper correspondence above it, and is located above the lower trigram, resembling a petty person who occupies a high position through improper means. When dealing with difficulties, such a petty person in a high position must be removed. Among the entire hexagram, only the nine in the second position, with its yang strength, is capable of removing it.

又坎為狐。六三居三之位，故有田獲三狐之象。黃，中色。矢，直物。九二居中，有剛直之德，有得黃矢之象。九居二若非正，而中，自無不正矣，故曰貞吉。此大臣得君，能去邪佞以行其中直之道者也。象曰：九二貞吉，得中道也。居中自能守正也。

From the perspective of taking images: Kan represents a fox, and six three is precisely in the third position, so there is the image of 'capturing three foxes in the field.' 'Yellow' is the central color among the five colors, and 'arrow' is a straight object; nine two is in the center of the lower trigram and possesses the virtue of firmness and straightness, so there is the image of 'obtaining a yellow arrow.' Although a yang line is in the second position, which is a yin position, it seems not proper, but since it is in the center, being in the center naturally does not mean being improper, so it says 'the matter is auspicious.' This line speaks of a minister gaining the trust of the sovereign, being able to remove evil ministers, and thus promoting his path of uprightness and firmness. The 'Small Image Commentary' says 'being on the center path,' which precisely means that those who are in the center naturally can maintain uprightness.

六三：負且乘，致寇至，貞吝。以六居三，在下卦之上。坎為輿，有負荷之小人而乘車之象。二視三為狐，上視三為隼，四視三為拇，群起而攻，有致寇至之象。六三非貞而言貞者，高位乃君所與，亦貞也。雖以正得之，亦可羞也，唯避而去之可也。卦以解名，解難莫要於解小人，故諸爻皆欲解三，而三亦唯有自解而去，則寇亦解矣。

"Six in the Third: Carrying burdens yet riding in a carriage, leading enemies to come, constancy brings regret." The yao six, a yin line, occupies the third position, which is at the top of the lower trigram. The trigram Kan represents a carriage, so there is an image of a petty person who should be carrying heavy burdens yet riding in a carriage. Nine in the Second sees it as a fox, Six at the Top sees it as a falcon, and Nine in the Fourth sees it as a foot趾. All the lines come together to attack it, which is the image of "leading enemies to come." Although the yao six is not in the correct position, the line statement says "constancy," because its high position is granted by the superior, so in terms of rank it is considered proper. However, even if it has come to this position through proper means, sitting in this position is still shameful. Only by stepping down and leaving would it be good. This hexagram is named "Release," and the most important thing in releasing difficulties is to remove petty persons. Therefore, all the lines want to remove the yao six. The yao six can only resign and leave, and the external difficulties will naturally be resolved.

象曰：負且乘，亦可醜也。自我致戎，又誰咎也。負無可丑，負且乘，則可丑。戎由自致，不言凶而凶可知。九四：解而拇，朋至斯孚。按，《本義》以拇為初，朋為二。按，王注以拇為三，朋為初。皆未當。

The Small Image says: "Carrying burdens and riding in a carriage, this is what is shameful. Bringing war upon oneself, who else can be blamed?" Carrying burdens alone is not shameful, but carrying burdens while riding in a carriage is shameful. Warfare is self-inflicted, so although the Line Statement does not explicitly say "misfortune," misfortune can be inferred. "Nine in the Fourth: Removing the big toe, friends come and trust follows." According to The Original Meaning of the Zhou Changes, "big toe" refers to the First Line and "friends" refers to the Second Line; Wang Bi's commentary, however, takes "big toe" as the Third Line and "friends" as the First Line. Both interpretations are unsatisfactory.

今以朋指二，拇指三。蓋震為足，三在足下，有拇象。二與四同陽剛之德，四居大臣之位，宜與二同心以解難者。三以小人間之，解去三之拇，則二得以上比於四，同類之朋可相信矣。此大臣之去邪黨，以親善類者也。象曰：解而拇，未當位也。以九居四而與三比，故曰未當。設若居三居初，則得正而與二比。居五，則得當而與二同德矣。觀象傳，益見解拇宜指三。

I now take "朋" to refer to Nine in the Second and "拇" to refer to Six in the Third. The upper trigram Zhen represents the foot, and Six in the Third is located below Zhen, the foot, thus giving the image of a toe. Nine in the Second and Nine in the Fourth are both yang and virtuous, and Nine in the Fourth holds the position of a minister, who should work together with Nine in the Second to resolve difficulties. However, because Six in the Third, the small person, is in between them, they are separated. Therefore, to resolve the issue, Six in the Third, the "拇," must be removed, allowing Nine in the Second to connect with Nine in the Fourth. This enables the virtuous to trust each other. This line describes a minister removing evil influences and drawing close to the virtuous. The Small Image Commentary says, "It is not in the proper position." A yang line in the fourth position and in relation to Six in the Third indicates it is not in the proper position. If it were in the third or first position, it would be correct and able to connect with Nine in the Second. If it were in the fifth position, it would be in the proper position and share the same virtue with Nine in the Second. From this statement in the Small Image Commentary, it is clear that the "拇" referred to in "解拇" should be Six in the Third.

六五：君子維有解，吉。有孚于小人。按，《本義》卦凡四陰而六五當君位，與三陰同類者，必解而去之，則吉也。孚，驗也。君子有解，以小人之退為驗也。按，王注居尊履中而應乎剛，可以有解而獲吉矣。以君子之道解難釋險，小人雖闇猶知服之而無怨矣。

"Six in the Fifth: The gentleman maintains a state of release, which is auspicious. There is sincerity toward the petty person." According to The Original Meaning of the Zhou Changes, the entire hexagram has four yin lines, with six in the fifth occupying the position of the ruler. The other three yin lines are of the same type, so it is necessary to remove them in order to achieve auspiciousness; "faith" means verification. When the gentleman achieves release, the retreat of the petty person serves as the verification. Furthermore, Wang Bi's commentary states that six in the fifth occupies the exalted position and follows the middle path, and also corresponds with nine in the second, which is strong. Therefore, it is able to achieve release and gain auspiciousness. Using the way of the gentleman to remove difficulties and dispel dangers, even though the petty person is dull, they still know to be convinced and not to generate resentment.

今時解皆從《本義》，謂人君以去小人為驗也。然詳王注語意，釋有孚尤明順。六五當君位而得中，亦得稱君子。然五陰柔，非能解者。以應陽剛之二，能獲三狐。比陽剛之四，能解其拇。是能逐惡之賢臣，而五能信任之，故曰有解也。五維能任二四以解難，凡卦中諸陰皆信服而退聽。此賢君能用賢臣以除患，使小人畏服者也。象曰：君子有解，小人退也。從《本義》作退去之退，從註疏作退聽之退。可兼。

The current common interpretations follow The Original Meaning, considering it to mean that a ruler removes small people as a verification. However, upon careful examination of Wang Bi's annotations, they provide a particularly clear and smooth explanation of "having sincerity." The sixth line, which holds the position of a ruler, can be called "gentleman"; but the sixth line is of a yin and soft nature, and itself lacks the ability to resolve difficulties. It corresponds below to the yang and strong line nine in the second, which can "capture three foxes"; and it is adjacent above to the yang and strong line nine in the fourth, which can "remove its thumb." These two lines are both virtuous ministers capable of expelling villains. Since the sixth line can trust them, it is said to "have resolution." The sixth line only needs to employ the second and fourth lines to resolve difficulties, and all the yin lines in the hexagram will naturally be convinced and retreat. This line speaks of a virtuous ruler who uses virtuous ministers to eliminate troubles, making villains fear and submit. The Small Image Commentary says, "A gentleman has resolution, the small person retreats." The character "retreat" can be read as "retreating away" according to The Original Meaning, or as "listening and retreating" according to the traditional annotations; both meanings can coexist.

上六：公用射隼于高墉之上，獲之無不利。上六居卦之最上，又震體，故有公象。三居下卦之上，互二四為離為飛鳥，有隼在高墉之象。上與三非應，則敵也，有射隼于高墉之上之象。九二剛中，視三柔而不中，象狐之邪媚。上柔正，視三居剛不正，又象隼之鷙害。繫辭以三為小人，以上為藏器待時之君子。六爻唯上獨正故也。

"Upper Six: The public shoots a falcon on a high wall and obtains it without any disadvantage." Upper Six is at the top of the entire hexagram and belongs to the trigram Zhen (Thunder), which represents the elder son and the feudal prince, hence the image of "public." Six Three is at the top of the lower trigram, and from Two to Four it forms the trigram Li (Fire), which represents flying birds, hence the image of a falcon perching on a high wall. Upper Six and Six Three are both yao of the yin type, and they do not form a proper mutual response, so they become enemies, hence the image of shooting a falcon on a high wall. Nine Two is a yang line that is in the correct position, and it sees Six Three as a yin line that is not in the correct position, like the cunning of a fox; Upper Six is a yin line that is in the correct position, and it sees Six Three as a yin line occupying a yang position, which is inappropriate, like the fierce harm of a predatory bird—the difference in the images arises because the observers are in different positions. The "Great Treatise" considers Six Three as a petty person and Upper Six as a gentleman who waits for the right time to act, because among the six lines only Upper Six is in the correct position.

易於震動多有戒辭，今曰無不利。蓋自坎來，經歷多難。所謂待時而動者，動必不妄也。象曰：公用射隼，以解悖也。三竊位而不應，悖逆者也，故解之宜速也。此卦彖傳及二爻四爻五爻上爻，所見皆與《本義》不同，非敢求異，姑存疑義耳。

In the Book of Changes, whenever the trigram Zhen (Thunder) appears, there are often warnings of caution and vigilance. Here, however, it says "there is no disadvantage." This is because the sixth line at the top comes from the lower trigram Kan (Water) and has experienced many difficulties on the way up. It is exactly what the Great Treatise says, "waiting for the right time to act." When one acts, it will certainly not be reckless. The Small Image Commentary says, "the public uses an arrow to shoot a falcon, to remove the contradiction." The sixth line in the third place occupies an improper position and does not correspond with the superior line, thus being a person of rebellion. Therefore, removing such a person should be done quickly rather than slowly. Regarding the Commentary on the Judgment of the卦 of Jie (Release) and the lines nine in the second, nine in the fourth, six in the fifth, and six at the top, my interpretations differ from those in The Original Meaning of the Zhou Changes. I do not intend to be novel or different, but merely to temporarily preserve these doubtful interpretations.

損卦，下兌上艮。取損下益上之義，其說有四。山體高澤體深，下深而上益高，一也。澤在山下，其氣上通，潤及草木，二也。下為兌說，三爻皆上應，說以奉上，三也。損下乾剛而益柔，益上坤柔而成剛，四也。

The hexagram "Loss" has the lower trigram Dui (Lake) and the upper trigram Gen (Mountain). It signifies the concept of "reducing the lower to benefit the upper," which has four interpretations: first, the mountain is high and the lake is deep; the deeper the lake, the higher the mountain appears; second, the lake is below the mountain, and its vapor rises to nourish the grass and trees on the mountain; third, the lower trigram Dui represents joy, and all three lines correspond to the upper trigram, indicating joy in serving those above; fourth, in terms of change, the hexagram "Loss" comes from "Great Peace," where the lower trigram's strong line is removed, making the lower part soft, and the upper trigram's soft position is enhanced, making the upper part strong.

損上益下謂之益，損下益上謂之損。譬損牆上之土以培基，則安益也。取牆基之土以增其高，必危損矣。散君惠（文瀾本「散君」作「君施」）以結民心，益也。剝民以奉其上，損矣。故卦名損。損次解。按，《序卦》，解者，緩也。緩必有所失，故受之以損。縱緩必失，失則有損，損所以次解也。

Reducing what is above to increase what is below is called "Yi", while reducing what is below to increase what is above is called "Sun". For example: taking soil from the top of a wall to reinforce its foundation makes the wall more stable, which is Yi; taking soil from the foundation to raise the top of the wall will certainly lead to danger, which is Sun. Dispersing the ruler's grace to gather the people's support is Yi; exploiting the people to serve those above is Sun. Therefore, this hexagram is named "Sun". The hexagram "Sun" comes after "Jie". According to the "Xu Gua Zhuan": "Jie means to loosen. When something is loosened, there must be a loss, hence it is followed by Sun." Indulgence and looseness inevitably lead to loss, and loss is Sun, which explains why "Sun" follows "Jie".

全彖以損所當損則得，而要之於時。六爻則下三爻皆知損者，上三爻皆損中受益者。蓋損者聖人不得已而用之，唯合於時則得。若不宜損而損，則所損又不待言矣。此全卦之大旨也。

The overall meaning of the hexagram is: what is lost is indeed what should be lost, and this is considered appropriate, but the key lies in the word "time." Looking at the six lines, the lower three lines are those that understand self-restraint and self-sacrifice, while the upper three lines are those that benefit during the process of loss. Because "loss" is originally a means that sages resort to only when forced, and only when it is appropriate for the time is it considered proper. If something should not be lost yet one insists on losing it, the resulting harm is even more severe. This is the main idea of the entire hexagram.

損：有孚，元吉，無咎，可貞，利有攸往。損為減省之義。以人事言之，損下益上，損內益外，剝民奉君，皆是也。損非人情所欲，故必損所當損，使人皆有孚信之心。則有樂從之吉，無貪鄙之咎。可垂諸萬世而貞，可通行天下而利有攸往也。占辭繁而不殺。蓋以損之事，本未能大善而吉，未必可固守，未必可有往。唯損所當損而至於有孚，則兼得之。故損，不可不慎也。

The Hexagram Statement says: "Loss: There is sincerity, great good fortune, no misfortune, it is proper to maintain constancy, beneficial to go somewhere. "Loss" means reduction. In terms of human affairs, reducing from below to benefit above, reducing internally to benefit externally, and exploiting the people to serve the ruler, all fall under the concept of loss. Loss is not something people naturally desire, so one must reduce what should be reduced, so that everyone will have sincere trust and follow willingly; thus there will be good fortune in willing obedience, no faults of greed and hoarding, and it can be passed down for generations and be beneficial throughout the world. This statement lists these points in succession without omission, because the act of loss itself may not necessarily lead to great good fortune, may not be something that can be maintained, and may not allow for movement forward. Only by reducing what should be reduced and achieving sincere acceptance from the people can all these benefits be obtained together. Therefore, when carrying out the act of loss, one must not be careless.

曷之用，二簋可用享。曷，何也，問答之辭。言當損之時何所用乎。雖以二簋之薄，可用以享而無害於禮矣。彖曰：損，損下益上，其道上行。以卦體釋卦名義。損益二卦，皆損有餘以補不足也。損乾之九四曰損上，損乾之九三曰損下。蓋陽實陰虛，損下體本乾皆實，在所當損。上體本坤皆虛，在所當益。此所以損下益上而合於道之當然也。

The Hexagram Statement also says: "What should be used? Two bowls of food are sufficient for sacrifice." "曷" is "何," indicating a self-questioning and self-answering tone: When the situation of "Loss" arises, what should be used? The answer is that even with only two bowls of simple food, it can be used for sacrifice without violating propriety. The Commentary on the Judgment says: "Loss means reducing the lower part to benefit the upper part, and this principle operates upward." This explains the meaning of the hexagram through its structure. The hexagrams of "Loss" and "Gain" both involve reducing excess to supplement deficiency: reducing the upper part of the trigram Qian (Heaven) in the fourth line is called "loss from above," while the hexagram of "Gain" arises from "Obstruction," and it reduces the upper part of Qian's fourth line to benefit the first line. Reducing the lower part of the trigram Qian in the third line is called "loss from below," while the hexagram of "Loss" arises from "Greatness," and it reduces the lower part of Qian's third line to benefit the sixth line at the top. Yang lines represent substance, while Yin lines represent emptiness. In this hexagram, the lower trigram is originally Qian, with all three lines being substantive, thus requiring reduction. The upper trigram is originally Kun, with all three lines being empty, thus requiring benefit. This is why "loss from below to benefit above" is in accordance with the natural order.

損而有孚，元吉無咎，可貞，利有攸往。曷之用，二簋可用享。二簋應有時，損剛益柔有時，損益盈虛，與時偕行。當其可之謂時。二簋之用，時當損故也。以卦爻推之，凡損剛益柔皆有時，非剛皆所宜損也。以天下之理推之，凡損其盈，益其虛，益極復盈而損，損極復虛而益，皆隨時以行，雖聖人不能違乎時也。

The Commentary on the Judgment continues: "Through reduction there is sincerity, great good fortune without blame, consistent uprightness, and advantage in going forward. What is used? Two bowls of food can be offered in sacrifice. Two bowls should be used at the right time. Reduction of the strong and increase of the weak should also occur at the right time. Reduction and increase, fullness and emptiness, all proceed in harmony with the time." The term "time" refers to appropriateness. The reason why offering two bowls of simple food in sacrifice is feasible is because the situation is appropriate for reduction. In terms of the hexagram and its lines, any reduction of the strong and increase of the weak must be considered in relation to the time, not that the strong should always be reduced. In terms of the principles of the world, wherever there is reduction of fullness and increase of emptiness, when increase reaches its extreme it turns into fullness and thus requires reduction, and when reduction reaches its extreme it turns into emptiness and thus requires increase. All these actions are carried out in accordance with the time; even sages cannot go against the time.

象曰：山下有澤，損。君子以懲忿窒欲。忿易發難制，故曰懲。懲者，懲於今而戒於後也。欲之起甚微，故曰窒。窒者，遏絕之使不行，思禮義以勝之也。君子觀山之象以懲忿。蓋忿之來氯湧如山，況多忿如少男乎，故懲忿當如摧山。觀澤之象以窒慾。蓋欲之溺浸淫如澤，況多欲如少女乎，故窒慾當如防澤。忿之不懲，必至於遷怒。欲之不窒，必至於貳過。君子修身所當損者，莫切於此。

The Great Image Commentary says: "A mountain beneath a marsh, loss. The superior person uses this to punish anger and restrain desire." Anger is easily aroused and hard to restrain, hence the use of the character "惩" (punish), which means to punish it immediately and serve as a warning for the future. The emergence of desire is extremely subtle, hence the use of the character "窒" (block), which means to block it off so that it cannot proceed, overcoming it through thoughts of propriety and righteousness. The superior person observes the upper trigram,艮 (mountain), to punish anger: anger rises high and steep like a mountain, and since艮 represents the young male, who is naturally prone to anger, punishing anger should be like toppling a mountain. The superior person observes the lower trigram,兑 (marsh), to restrain desire: desire spreads widely and deeply like a marsh, and since兑 represents the young female, who is naturally prone to desire, restraining desire should be like building a dike to prevent the marsh from overflowing. If anger is not punished, it will inevitably lead to venting it on others; if desire is not restrained, it will inevitably lead to repeating past mistakes. The two things that the superior person should most urgently reduce in self-cultivation are none more important than these.

初九：已事遄往，無咎，酌損之。初九當損下益上之時，而以剛居剛，處於有餘，上應六四。故宜輟其所為之事，速往以益四則為無咎。然當損之初，又不宜自損之過。故當酌其淺深之時宜，庶不自傷其本量也。象曰：已事遄往，尚合志也。尚，上通。上與四合，宜速往也。

"Initial Nine: Having completed the task, go quickly without blame, and reduce it appropriately." Initial Nine is at the beginning of the process of reducing from below to benefit above, and since it is a yang line in a yang position, it has sufficient ability. It corresponds with Six Four above, so it should stop its current task and go quickly to benefit Six Four, thus avoiding blame. However, at the beginning of reduction, it is not appropriate to reduce too much, so it should measure carefully and act according to the timing, to avoid harming its own essence. The Small Image Commentary says, "It still aligns with the will," where "Shang" is the same as "Shang" meaning above, indicating that Initial Nine aligns with the will of Six Four above, so it is appropriate to go quickly.

九二：利貞，征凶，弗損益之。二剛中，無有不正。然不能自守而妄進，則不正矣，故戒以征凶也。弗損益之，蓋損己益人者，益止於所損。以弗損為益，其益已無方。初曰酌損，二則弗損者。初以剛居剛，勢處有餘，在所宜損。二以剛居柔，已得其中，又為說體，若過損以益上，是屈己以取媚，非貞者矣。故弗損者，不變其所守也。然以陽剛與六五相應，剛柔相濟，五已受其益，是弗損而有以益之也。

"Nine in the Second: It is advantageous to maintain correctness, going forward brings danger, and one should not harm oneself to benefit others." Nine in the Second is strong and occupies the central position, originally having nothing incorrect; but if it cannot hold fast to itself and rashly advances, it becomes incorrect, so the line statement warns it against "going forward brings danger." As for "not harming oneself to benefit others": whenever one harms oneself to increase others, the gain is at most equal to the loss; if one can benefit others without harming oneself, the gain has no limit. Initially, Nine at the Beginning says "moderate loss," while Nine in the Second says "no loss," because Nine at the Beginning is yang in yang, with excess power and position, originally belonging to those who should be reduced; Nine in the Second is yang in yin, already occupying the central position, and is in the form of Dui (Joy), if it excessively harms itself to please those above, it becomes bending oneself to flatter, which is not being upright. Therefore, "no loss" is precisely not changing what it holds fast to. Yet it is yang and corresponds with Six in the Fifth, combining yang and yin, and Six in the Fifth has already received its benefit, which is benefiting others without harming oneself in reality.

象曰：九二利貞，中以為志也。居二處說，疑於非正。中以為志，不以損為益則正矣。六三：三人行則損一人，一人行則得其友。此爻獨言損之義。天地間陰陽對待，唯兩而已，三則餘其一而當損。

The Small Image Commentary says, "It takes the middle as its aspiration." Nine in the Second, being a yang line in a yin position, and situated in the trigram Dui (Lake), which represents joy, is easily suspected of being improper. However, it aspires to uphold the middle, not viewing self-reduction as a way to benefit others, which is proper. "Six in the Third: When three people walk, one is lost; when one walks, he finds a friend." This line focuses on the meaning of "loss" itself. In the universe, yin and yang correspond in pairs, and the norm is to have pairs. When there are three, one is in excess, and the excess must be reduced.

蓋兩相與則專，三則雜而亂。下卦本乾，損上爻以益坤，三人行而損一人也。一陽上而一陰下，一人行而得其友也。上與三以剛柔相易而謂之損者，但言其減一耳。夫子繫辭以男女媾精言之，即指三上二爻。程傳又謂初二二陽，四五二陰同德相比，三與上應，皆兩相與。則又因夫子之言而推之六爻，以廣得友之義也。

When two trigrams intersect, the relationship is devoted and sincere; when three are involved, it becomes complicated and chaotic. The hexagram "Loss" comes from "Greatness" (泰). The lower trigram is originally Heaven (乾), and "Loss" removes the top line of Heaven (the line nine in the third position) to add it to the upper trigram Earth (坤), which is called "three people walking and one is lost." One yang line moves up and one yin line moves down, which is called "one person walking and finding a friend." The line six at the top and nine in the third position originally exchange yin and yang, but they are called "Loss," simply because it refers to the removal of one line. Confucius in the "Great Treatise" explains this line by comparing it to the union of male and female with their vital energies, referring specifically to the lines three and six. Cheng Yi in his "Commentary on the Changes" says that the lines nine at the beginning and nine in the second, both yang, share the same virtue and are in harmony, and the lines six in the fourth and six in the fifth, both yin, also share the same virtue and are in harmony. The line six in the third and the line six at the top are also in correspondence. This is extending Confucius' explanation to all six lines, broadening the meaning of "finding a friend."

象曰：一人行，三則疑也。一人行而得一人為友，三則疑其所與，理當損去其餘也。然細繹此爻取象，不過謂有餘在所當損，損而得當，則為得友耳。夫子繫辭以男女言之，蓋陰陽對待，不容或過。猶男女有偶，不容或叅。故道有所宜損者耳。非謂取友者，有取於二而不容有三也。若以辭害意，則不可通矣。

The Small Image Commentary says, "One person walking, three would cause doubt." When one person walks and meets another, with three people present, there is doubt about whom to follow. By principle, the extra person should be removed. However, upon careful consideration of the imagery of this line, it simply means that those who have excess should give up some, and if they do so appropriately, it is called "gaining a friend." Confucius, in the Great Treatise, uses the analogy of male and female because yin and yang are paired, and there can be no third party, just as male and female form a pair and cannot include a third. Therefore, there is a need for reduction in accordance with principle. This does not mean that friendship can only be formed between two people and not among three. If one is too literal and hinders the true meaning, the explanation becomes incoherent.

六四：損其疾，使遄有喜，無咎。四變互坎為心病，疾之象。卦取損下益上，四在上卦，宜不言損矣。然居損之時，在上之下，與剛相應，是能自損其陰柔之疾，以受陽剛之益者也。惟速則善而無咎矣。四與初皆言遄。蓋初方舍其事而速於益四，四亦必急去其疾以受初之益。若彼方汲汲，此乃悠悠，非受益者矣。初曰遄往，四曰使遄。初之過四，有以使之也。此能變化氣質以受益者也。占者能如是，則無咎矣。

"Six in the Fourth: Reduce the illness, so that quickly there is joy, no blame." When the fourth line changes, it produces the trigram Kan, which represents heart disease, thus symbolizing "illness." This hexagram takes the meaning of reducing from below to benefit above. The fourth line is already in the upper trigram, so by convention it should not mention "reduction." However, it is during the time of reduction, located below the upper trigram and corresponding with a yin line below, indicating someone who can reduce their own yin and flexible illness to accept the benefit of yang strength. It is only good to act quickly, thus avoiding blame. Both the first line and the fourth line mention the word "quickly": the first line's yang line quickly comes to increase the fourth line, and the fourth line must also quickly remove its own illness to accept the benefit of the first line. If one is hasty on one side and slow on the other, it cannot be considered as someone who benefits. The first line says "go quickly," and the fourth line says "make it quick," precisely because the first line comes to the door itself, having the effect of urging the fourth line. This is someone who can change their nature to accept benefits; if the person divining can do this, there will be no blame.

象曰：損其疾，亦可喜也。疾本無可喜，能因人而損之，亦可喜也。六五：或益之，十朋之龜弗克違，元吉。自二至上，中虛其體，似離而大，有十朋之龜之象。按，《食貨志》兩貝為朋。元龜長尺二寸，大貝十朋。朋直二百一十六，十朋直二千一百六十，大寶也。二應於五，而二既守正，以弗損為益。五虛中居尊，以受天下之益。若不知其益之所自來者，故曰或益之。而有其德則其實亦有不得辭者，故曰弗克違，元吉。

The Small Image Commentary says, "Reducing the illness, this is also something to rejoice in." The illness itself is not something to rejoice in, but being able to reduce it with the help of others is something to rejoice in. "Six in the Fifth: Perhaps it is increased, ten turtle shells of the first class cannot be avoided, original good fortune." From Nine in the Second to Nine at the Top, the middle is empty while the upper and lower parts are full, forming the shape of an enlarged Li trigram. Li is associated with the turtle, so there is the image of "ten turtle shells." According to the "Food and Goods Annals" of the "Book of Han," two shells make up one "peng," and the original turtle is one foot two inches long, worth ten "peng" of large shells. One "peng" is worth 216 coins, so ten "peng" is worth 2,160 coins, which is a very precious treasure. Nine in the Second and Six in the Fifth are in correspondence. Nine in the Second can maintain correctness and uses "not self-reduction" as a way to benefit others. Six in the Fifth is empty in the middle and occupies a high position, using it to receive the benefits from the world. These benefits come naturally, and the recipient seems not to know where they come from, so it is said "perhaps it is increased." However, the recipient indeed has such virtue, and in reality, they cannot refuse, so it is said "the ten turtle shells cannot be avoided, original good fortune."

象曰：六五元吉，自上祐也。德能動天，天祐之也。上九：弗損益之，無咎，貞吉，利有攸往，得臣無家。按，《本義》謂上九受益之極，欲自損以益人。然惠而不費，不待損己，然後可以益人也。惠而不費，則惠廣矣，故又曰得臣無家。今時解皆從之。

The Small Image Commentary says, "Six in the Fifth: original good fortune, aided by Heaven above." This means that virtue can move Heaven, and Heaven will then protect him. "Nine at the Top: not diminishing or increasing, no blame, firm good fortune, advantageous to go somewhere, gaining a minister without a family." According to The Original Meaning of the Zhou Changes, the Nine at the Top has benefited to the extreme and wishes to reduce himself to benefit others. However, giving without depletion does not require first reducing oneself in order to benefit others. Giving without depletion spreads the favor widely, hence it is also said, "gaining a minister without a family." The current common interpretation follows this explanation.

然上雖損卦之終，不得遽言損上益下之事。且上正受下之益者，又不得反言益人。按，王注處損之終，上無所奉。損終反益，剛德不損。處損之極，尚夫剛德，為物所歸，故曰得臣。天下為一，故無家也。此解雖不言益下，而於受益之義亦未明。

However, the upper ninth line, although it is at the end of the "Loss" hexagram, cannot immediately be said to be doing the action of "reducing above to benefit below"; moreover, the upper ninth line is precisely the line that receives the increase from below, so it should not be reversed to say that it benefits others. Note: Wang Bi's commentary says: The upper ninth line is at the end of the loss, and there is nothing above it to offer; when loss reaches its extreme, it turns into benefit, and the strong virtue is not diminished; being at the extreme of loss yet still upholding strong virtue, it is the gathering point for all things, hence it is called "obtaining the minister"; the world is one body, hence it is called "without a family." This explanation, although not explicitly stating that it benefits below, still fails to clearly explain the meaning of "benefit."

愚意此弗損益之與二爻不同。二爻言不損己以益人，此則不損人以自益也。蓋上爻乃損下卦之陽，益此爻之陰而成上九。今既稱九，則無可益。下應六三，三亦不容復損矣。蓋在全卦為損之極，在此爻為受益之極。故以不損於三為益也。損下之極，不復過損，於義無咎。

I thought that the phrase "Frugality does not harm or benefit" from the top line, and the meaning of "Nine in the Second" is different. "Nine in the Second" refers to not reducing oneself while benefiting others, whereas the top line refers to not reducing others to increase oneself. Since the top line originally became the top line by removing the yang line from the lower trigram and adding to its yin position, now that it is called "Nine," there is no more room for further increase. It corresponds to the sixth line in the third place, which also cannot be reduced further. In the whole hexagram, this is the extreme of reduction; in this line, it is the extreme of benefit. Therefore, it uses not reducing the sixth line in the third place as "benefit." Reducing below to the extreme but not overdoing it in reduction is morally correct.

然以九居上，疑於不正，故戒以唯貞剛吉。蓋取民有制，非若蠲租市惠之為，如是則利有所往矣。上以三為臣，三與上應，有得臣之象。然不過求於三，非以三為私有者，有得臣無家之象。若陳氏之以家量貸民以固人心，則意在得臣，實以為其家矣。得臣而非以為家，亦受益之中而自寓貶損之意者。如此則於損卦之義較合，姑以此備闕疑。

However, a yang line in a superior position is easily suspected of being improper, so the line statement warns that it can only be auspicious if it maintains proper conduct and upholds integrity. Taking from the people must be done with a certain standard and regulation, unlike reducing taxes or buying favor through artificial means. If done in this way, it would be beneficial for movement forward. The upper nine (上九) takes the sixth three (六三) as its minister, and the sixth three corresponds with it, which is the image of "obtaining a minister." However, it does not excessively demand from the sixth three, nor does it regard the sixth three as its private property, which is the image of "obtaining a minister without claiming it as one's own." For example, during the Spring and Autumn period, the Chen family of the state of Qi used large measures to lend grain and small measures to collect it, thereby winning the people's favor. This was an intentional act of "obtaining a minister," but in reality, it amounted to claiming the people as their own. To obtain a minister without claiming them as one's own is to benefit while still implying self-restraint. This explanation aligns more closely with the meaning of the Hexagram of Loss (损卦), and I have recorded it here as a possible interpretation to preserve the doubt.

象曰：弗損益之，大得志也。不損於下，為眾所歸，其益乃大，得其志矣。全彖當損之時，必信服於人心，乃得其當。故下三爻主損，皆知損者。初以爻位俱剛而可損，然在初剛宜酌。二爻剛位柔則不必損下以益上矣。三正當損者也。上三爻皆受益者。四自損以受人之益者也。五不求益而下樂損以益之者也。上已受益而不欲過損於下矣。損非美事，而得其道則皆吉，此彖辭所以詳言之也。

The Small Image Commentary says, "Not reducing or increasing, great success is achieved": not reducing the lower part, thus gaining the allegiance of the people, it gains great benefit, and its aspirations are fulfilled. In general, during a time of loss, it is necessary to gain the sincere loyalty of the people, which is considered proper. Therefore, the lower three lines focus on loss, and they are all those who understand self-reduction—initial nine is yang and is in the beginning, it is strong but appropriate for careful consideration; nine two is a yang line in a yin position, so it does not need to reduce the lower to benefit the upper; six three is the one that truly should be reduced. The upper three lines are all those who benefit—six four reduces its own illness to accept the benefit of others; six five does not seek benefit, but the lower is willing to reduce itself to increase it; upper nine has already benefited, so it does not wish to reduce the lower further. Loss is not a good thing, but as long as it follows its principles, all six lines are auspicious, which is why the hexagram statement explains it in detail step by step.

益卦，震下巽上。以卦象言之，風烈則雷迅，雷激則風怒，兩相助益，所以為益。以其義言，損下謂之損，則益下謂之益。以陽爻益坤之下爻，所以謂之益也。益卦次損。按，《序卦》，損而不已必益，故受之以益。

The hexagram Yi is composed of the lower trigram Zhen (Thunder) and the upper trigram Xun (Wind). In terms of the imagery, strong winds intensify the sound of thunder, and the sound of thunder intensifies the wind, with both reinforcing each other, hence the name "Yi" (Benefit). In terms of meaning, reducing the lower part is called "Sun" (Loss), so increasing the lower part is called "Yi" (Benefit). This hexagram is formed by adding a yang line to the lowermost line of the Kun trigram, hence it is called "Yi." The hexagram Yi follows the hexagram Sun. According to the "Xu Guan Zhuan," "If loss continues without ceasing, benefit will inevitably follow, hence it is followed by Yi."

蓋損卦天下富實之象。下實上虛，宜有所損以奉君。益卦朝廷富實之象。上實下虛，宜有所損以惠民。然損下謂損，損上謂益者，蓋民貧則上無所寄，民富則上無可憂。故損下君子反以為自損，損上反以為自益也。損益循環，理之自然，益之所以次損也。

The hexagram "Loss" represents the situation of the world being rich and full: the lower trigram is full while the upper trigram is empty, so it is appropriate to reduce the people's resources to serve the ruler. The hexagram "Gain" represents the situation of the court being rich and full: the upper trigram is full while the lower trigram is empty, so it is appropriate to reduce the court's resources to benefit the people. It is the same kind of reduction, but reducing the people is called "Loss," while reducing the ruler is called "Gain." This is because when the people are poor, the ruler has no support; when the people are wealthy, the ruler has no worries. Therefore, reducing the people is seen by the君子 as a loss for himself; reducing the ruler is seen as a gain for himself. Loss and Gain generate each other in a cycle, which is the natural way of things. This is why the hexagram "Gain" follows the hexagram "Loss."

全彖言益則無所不利。彖傳即君之及民，又推之學問造化，以贊其義之大。六爻下三爻皆受益者。初受四之益，必有以受之，故利大作。二受五之益而爻位皆陰，故宜永貞。三不中正不得當益，而當益下之時，故以凶事為益也。上三爻處益而當損者。四以順下之動為益。五以至誠感人為益。上處益之際，不能損己，反以求人，則或擊之矣。此全卦六爻之大指也。

The Hexagram Statement says that whenever "Benefit" occurs, there is no disadvantage. The Commentary on the Judgment first discusses the ruler benefiting the people, then extends this to learning and the workings of nature, praising the great significance of "Benefit." Among the six lines, the lower three lines all receive benefit: the first line receives benefit from the fourth line, and must make real efforts to deserve it, so it is favorable to "great action"; the second line receives benefit from the fifth line, and since both the line and its position are yin, it is favorable to "eternal uprightness"; the third line is neither central nor upright and should not receive benefit, but it is precisely the time for increasing benefit to the lower part, so it must be tempered with dangerous matters, which in turn becomes beneficial. The upper three lines are in the midst of benefit and should be willing to sacrifice: the fourth line benefits by following the movement of the lower part; the fifth line benefits by sincere appeal to others; the top line is at the end of benefit and refuses to sacrifice, turning instead to seek benefit from others, and thus faces attack. This is the main idea of the entire hexagram.

益：利有攸往，利涉大川。益，增益也。當益之時，無所不利，以行則利往，以濟則利涉也。二五皆居中得正，故利往。震巽皆木，舟行之象，故利涉。人君能以益下為心，贈處常處變無所不利矣。

The Hexagram Statement says: "Benefit: It is advantageous to go forward, and advantageous to cross great rivers." "Benefit" refers to increase or gain. When there is increase, nothing is disadvantageous: using it for action is advantageous for going forward, and using it for crossing great rivers is also advantageous. Both the Second line (Six Two) and the Fifth line (Nine Five) are in the center and upright, hence it is said "advantageous to go forward." The trigrams Zhen (Thunder) and Xun (Wind) in the "Commentary on the Hexagrams" belong to wood, and wood has the image of a boat, hence it is said "advantageous to cross great rivers." A ruler should always intend to increase the welfare of the people; whether in ordinary times or in times of change, there will be no disadvantage.

彖曰：益，損上益下，民說無疆。自上下下，其道大光。此以卦體釋卦名義也。損乾之下爻，益坤之下爻，有人君損所有，以惠民之象。民說之自無窮矣。陽爻居下，陰爻居上，有人君居九重之上，降已以下其下之象。則非私恩小惠之為，其道光眀顯著矣。說道光，何益如之。

The Commentary on the Judgment says: "Benefit, by reducing the upper and benefiting the lower, the people are delighted without limit. To descend from above to the lower, his way shines brightly." This uses the structure of the hexagram to explain the meaning of the hexagram name. The hexagram of Benefit comes from the hexagram of Opposition. It reduces the lower yao of the upper trigram Qian and adds it to the lower trigram Kun, symbolizing a ruler who reduces his own resources to benefit the people. The people's joy is boundless. A yang line descending to the lower position and a yin line ascending to the upper position symbolizes a ruler who resides in the highest position yet is willing to humble himself and attend to his subjects. This is not a private favor or minor kindness, but a great way that naturally shines brightly. The people are delighted, and the ruler's way is brilliant. What benefit could be greater than this?

利有攸往，中正有慶。利涉大川，木道乃行。此又以卦體卦象釋卦辭也。以卦體言之，五以中正應二，二亦以中正應五。君臣同德，天下受其福慶，所以利有攸往也。以卦象言之，木為舟，有濟險之才。震巽皆木。君臣同德，上下一心。不獨可以處常，且可濟變。木道之行也。

The Commentary on the Judgment also says: "It is advantageous to go somewhere, for the middle and the correct position bring good fortune. It is advantageous to cross great rivers, for the way of wood is then carried out." This is again using the structure of the hexagram and its imagery to explain the hexagram statement. In terms of the structure, nine in the fifth is in the middle and correct position and responds to six in the second, while six in the second is also in the middle and correct position and responds to nine in the fifth. Thus, the ruler and minister share the same virtue, and the whole world receives blessings, hence "it is advantageous to go somewhere." In terms of the imagery, wood can be used to make boats, which have the function of crossing dangerous waters, and both zhen and xun belong to wood. When ruler and minister share the same virtue and ruler and subject are united in heart, they can not only maintain stability but also overcome changes—this is what is meant by "the way of wood is then carried out."

益，動而巽，日進無疆。天施地生，其益無方。凡益之道，與時偕行。又以二卦之德，推之學問言之。則內卦震動，奮發有為。外卦巽順，潛心遜志。其進也無疆矣。以二卦之體推之造化言之。震剛卦之一陽在下，天陽之下施也。巽柔卦之一陰居四，地陰之上生也。萬物並育，其益無方矣。凡此之益皆道也。道皆時也，損與益皆合乎時而已。此皆以極贊益之大也。象曰：風雷，益。君子以見善則遷，有過則改。遷善當如風之速，改過當如雷之猛。又雷與風有交相助益之勢。速於遷善則過當益寡，決於改過則善當益純。學問之益，莫大乎此。

The Commentary on the Judgment says: "Benefit, movement and compliance, advancing daily without limit. Heaven gives, earth produces, its benefit has no fixed direction. The way of benefit is to go with the times." This uses the virtues of the upper and lower trigrams to explain learning: the inner trigram Zhen represents movement and initiative, indicating active effort; the outer trigram Xun represents compliance and humility, indicating quiet and modesty; with active effort and open-mindedness, progress naturally has no end. It also uses the structure of the upper and lower trigrams to explain the workings of nature: Zhen is a strong trigram, with its single yang line at the bottom, representing the yang energy of heaven descending; Xun is a gentle trigram, with its single yin line at the fourth position, representing the yin energy of earth ascending; the interaction of yin and yang leads to the flourishing of all things, and the benefits received have no limits. All these "benefits" are part of the Dao, and the Dao is always in harmony with the times. Whether it is loss or gain, it ultimately depends on the right timing. These words strongly praise the great nature of "benefit." The Great Image says: "Wind and Thunder, Benefit. The gentleman learns from good and changes, and corrects his mistakes." To move toward goodness should be as swift as wind, and to correct mistakes should be as decisive as thunder. Moreover, wind and thunder naturally support each other: swift movement toward goodness naturally reduces mistakes, and decisive correction of mistakes naturally increases goodness. The gains from learning and self-cultivation are nothing greater than this.

初九：利用為大作，元吉無咎。陰小陽大。初剛在下，與四正應。六四近君，信任乎初，正受上之益者。又震體主動，故有利用大作之象。蓋初以在下受上之益，非大有作為無以報效，故利用大作。然所作不盡善，未免於有咎矣。越分圖事必出萬全，得盡善之吉，乃可無咎也。他卦元吉以效言，此以功言。象曰：元吉無咎，下不厚事也。初在下位，本不當任重大之事。不盡善，不足以免咎。

"Initial Nine: It is advantageous to undertake great undertakings, resulting in the highest good without blame." In the Book of Changes, yin represents smallness and yang represents greatness. Initial Nine is a strong line located at the very bottom, corresponding with Six in the Fourth; Six in the Fourth is close to the position of the ruler and trusts Initial Nine. Initial Nine is the one who receives the benefits from above. Moreover, since it belongs to the trigram Zhen (Thunder), which represents movement, there is an image of "advantageous to undertake great undertakings." Initial Nine, being in a lower position, receives benefits from above. Without undertaking great endeavors, it cannot repay these benefits. Therefore, it is advantageous to achieve great success. However, if the undertaking is not fully accomplished, it is bound to lead to blame. As a lower line attempting to pursue great matters beyond its proper role, it must be fully secure and achieve the highest good ("original good") to avoid blame. In other hexagrams, "original good" usually refers to the outcome, but in this line, it refers to the accomplishment of the task. The Small Image Commentary says, "the lower line does not bear heavy responsibilities." Initial Nine, being in a lower position, should not bear major responsibilities. If it does not accomplish the task fully, it cannot escape blame.

六二：或益之，十朋之龜弗克違，永貞吉。王用享于帝吉。二以柔順中正上應乎五，又當益下之時。此爻即損五之綜，故象占亦同。在損曰元吉，此曰永貞吉。則位有剛柔之分，分有君臣之異也。二已得正，恐陰柔不能固守，則非為下受益之道，故戒以永貞。二非君位，自王者占之，則為享帝之吉占。亦以下而受上之益也。若自人臣占之，則事君如事天之義也。象曰：或益之，自外來也。外不專指五。五固正應，而二之柔順中正，人孰不願益之。或者，眾無定主之辭。

"Six Two: Perhaps it is increased, ten tortoises of the kind used for divination cannot be avoided, to maintain sincerity forever is auspicious. The king uses sacrifice to the supreme deity and it is auspicious." Six Two is flexible, obedient, upright, and corresponds to Nine Five above. It also coincides with the time when the lower part is being increased. This line is the reversed line of Six Five in the Hexagram of Reduction, so its symbolic image and divinatory statement are the same. The line Six Five in Reduction says "original auspiciousness," but here it says "maintaining sincerity forever is auspicious," because there is a difference between the yao positions of yin and yang, and between the roles of sovereign and subject. Six Two has already attained the correct position, but it fears that its yin and flexible nature cannot maintain it permanently, which would not be in line with the way of receiving benefits from below. Therefore, it warns it to "maintain sincerity forever." Six Two is not the position of the sovereign, so if a king divines this line, it becomes an auspicious omen for the king to sacrifice to the supreme deity. The king sacrificing to heaven is also receiving benefits from above while being in a lower position. If a subject divines this line, it means serving the sovereign as if serving heaven. The Small Image Commentary says, "Perhaps it is increased, from outside." This "outside" does not exclusively refer to Nine Five: Nine Five is indeed its proper corresponding line, but Six Two is both flexible and upright, so who would not wish to increase it? The word "perhaps" indicates that many people wish to increase it, but does not specify a particular person.

六三：益之用凶事，無咎。有孚中行，告公用圭。三爻多凶。六三陰柔，不中不正，不當得益者。然當益下之時，與上為應。而上立心勿恆，故有益之以凶事之象。警戒震動，使之困心衡慮，以增益其所不能也，如此可以無咎。

"The third line: Using gain for a dangerous matter, there is no blame. With sincere faith in the middle, the public is informed with a jade tablet." The third line of the hexagram is generally associated with misfortune. The third line is yin and soft, neither central nor upright, and is not naturally suited to receive gain. However, it is precisely a time when the lower part is being increased, and above it is the ninth line at the top, which corresponds with it. The ninth line at the top has an unstable mind, being fickle and changeable. This creates an image of using dangerous matters to increase the third line. The warning from the ninth line at the top causes the third line to be troubled in mind and blocked in thought, thus enhancing its originally inadequate abilities. In this way, there is no blame."

六爻中虛，有孚之象。三四皆居全卦之中，中行之象。上卦主益下者。上勿恆而五居位，非可告者。唯四近君，在三之上，有公象。震為玉圭，所以通信。三知上之所以警戒震動我者，益我也。信之篤而行之必合乎中，以通信於上，故有有孚中行，告公用圭之象。如此，則三有受益之道矣。

The entire hexagram has the middle three lines empty, which represents the image of "Zhongfu" (sincerity). The third and fourth lines are exactly in the center of the hexagram, symbolizing the image of "zhong xing" (acting in the middle). The upper trigram is originally responsible for benefiting the lower trigram, but the upper ninth line lacks consistency in its intention, and the ninth line in the fifth position holds the position of a ruler, so they are not direct channels for communication. Only the sixth line in the fourth position is close to the ruler and above the sixth line in the third position, thus representing the image of "gong" (public). Zhen represents jade, and a bi is a jade token used to express sincere intentions. The sixth line in the third position understands why the upper ninth line warns and causes self-movement, which is actually for self-benefit. Therefore, the sixth line in the third position has deep faith and will certainly act in the middle way. Then, by using the sixth line in the fourth position, the sincere intention is conveyed upward, hence the image of "having sincerity and acting in the middle, informing the ruler with a bi." In this way, the sixth line in the third position gains a path to benefit.

象曰：益用凶事，固有之也。困心衡慮則有之固也。六四：中行，告公從，利用為依遷國。三四在全卦之中，故皆言中行。四互二三為坤，有國象。中行告公，三告四也。從者，四從三也。巽為入，有從之之象。四本損之三，遷為益之四。依者，三依四，四依五也。故有為依遷國之象。

The Small Image Commentary says, "Benefit is used for calamitous affairs, which is a fixed principle." Things gained through hardship and obstruction in the mind are more firmly held. "Six in the Fourth: To act in the middle, to inform the sovereign and be followed, it is advantageous to rely on and move the state." The third and fourth lines are in the middle of the entire hexagram, so both are described as "acting in the middle." The sixth line in the fourth position forms with the second and third lines the structure of the hexagram of Kun, which represents earth, symbolizing "state." "Acting in the middle to inform the sovereign" refers to the sixth line in the third position informing the sixth line in the fourth position, and "follow" means the sixth line in the fourth position listens to the sixth line in the third position. Xun represents entry, symbolizing following and listening to words. The sixth line in the fourth position originally occupied the position of the ninth line in the third of the hexagram of Zhen, but has moved to become the sixth line in the fourth of the hexagram of Yi. "Relying" refers to the sixth line in the third relying on the sixth line in the fourth, and the sixth line in the fourth relying on the ninth line in the fifth, hence the image of "relying and moving the state."

言四以益三為心，合於中行，故三告之而見從也。三之告四，欲得所依以受益也。而古者遷國以益下，亦必有所依而後能立。如邢依齊，許依楚之類。今四上遷依於五，以柔依剛，以弱依強。四得所依矣，三亦得所依矣。遷國使民有所依，此自損以益下之大者也。象曰：告公從，以益志也。志在益下，故告於公而見從也。

This refers to the fact that the line six in the fourth position intends to increase the strength of the line six in the third, which aligns with the middle path. Therefore, the line six in the third comes to report, and it is heeded. The line six in the third reports to the line six in the fourth in order to find support to receive the increase. In ancient times, when states moved their capitals, it was for the convenience of the people, and they also needed support to establish the state, as seen in the case of the state of Xing moving to Yiyi and relying on Qi, or the state of Xu moving repeatedly and relying on Chu. Now, the line six in the fourth ascends and relies on the line nine in the fifth, thus relying on the strong with softness and the weak with strength. The line six in the fourth gains support, and so does the line six in the third. Moving the capital to provide the people with support is the greatest example of self-sacrifice to benefit the people. The Small Image Commentary says, "Reporting to the superior and being heeded, it increases the will." The line six in the fourth originally had the will to benefit the people below, so upon the line six in the third reporting, it is heeded.

九五：有孚惠心，勿問元吉。有孚惠我德。九五以剛中與二相應，天下皆受其益者也。故言上苟有信，以實心惠於下，不問而元吉可知矣。蓋我以實心惠下，則下亦實心感我之惠以為德也。自施者言心，惠出於心，非口惠也。自受者言德，德實及民，民皆感德，非邀結也。九五益之主，自損以益下者。至於惠我德，則不特益下，而上已大益矣。

"Nine in the Fifth: With sincerity, benefiting with a kind heart, no need to inquire, great good fortune. With sincerity, benefiting me with virtue." Nine in the Fifth, with the virtue of a strong and central position, corresponds with Six in the Second. The whole world benefits from it, so those in authority, if they have sincerity and genuinely benefit the people below, do not need to inquire further; great good fortune can be determined. When I sincerely benefit the people below, they in turn sincerely remember my kindness and regard it as virtue. From the perspective of the one giving the benefit, "heart" refers to the sincerity of the benefit, not just verbal kindness. From the perspective of the one receiving the benefit, "virtue" refers to the actual benefit reaching the people, who sincerely remember it, not through deliberate manipulation. Nine in the Fifth is the main line of the hexagram that benefits others. It sacrifices itself to increase the welfare of the people below. When it reaches the level of "benefiting me with virtue," it is not only benefiting the people below, but the one in authority also gains great benefit.

象曰：有孚惠心，勿問之矣。惠我德，大得志也。大德不德，不必問也。自損益民，君志大得，則上之益亦大矣。上九：莫益之，或擊之，立心勿恆，凶。按，《本義》以陽居益之極，求益不已，故莫益而或擊之。立心勿恆戒之。

The Small Image Commentary says: "With sincere faith and a benevolent heart, there is no need to ask. When I bestow my virtue upon others, this is a great fulfillment of one's aspirations." A person of great virtue does not consider himself virtuous, so he does not need to seek. By reducing his own excess to benefit the people, the ruler's aspirations are greatly fulfilled, and thus the ruler gains much. "Upper Nine: No one benefits it, some attack it, the mind is not constant, misfortune." According to The Original Meaning of the Zhou Changes, Upper Nine is a Yang line in the extreme position of the hexagram Yi, constantly seeking benefit, so no one benefits it, but some attack it; "the mind is not constant" is the warning given by the sage.

按，大全朱子云此處可疑，且闕之。今細按，卦以損上益下故名曰益，則下三爻皆言受益，上三爻宜言損上。四遷國，正自損以益下者。五雖陽爻而居中得正，故為能自損以受益者。獨上不中不正，以陽居益之極。雖與三應，而不自損以益下。則不獨不能受益，且有反擊之凶矣。卦以益名而反攻擊者，蓋為上者始終以損上益下為心，則立心有恆，終當受益。若始能自損，終反求益，則立心勿恆。不但無益，自當致凶矣。

According to the Zhou Yi Daquan, Master Zhu pointed out that this passage is doubtful and therefore left it unaddressed. Now, upon careful examination: this hexagram is named Yi because of the principle of "reducing from above to benefit below." Therefore, the lower three lines all discuss receiving benefits, while the upper three lines should discuss self-reduction. The line six in the fourth position, "migrating the state," is exactly an instance of self-reduction to benefit below. The line nine in the fifth position, although a yang line, is in the center and upright, so it is able to reduce itself and thus receive benefit in return. Only the line nine at the top is neither central nor upright, and although it is a yang line in the extreme position of Yi, even though it corresponds with the line six in the third, it is unwilling to reduce itself to benefit below. In this way, it not only fails to receive benefit, but instead incurs a dangerous attack. The hexagram is named Yi, yet the lines face attack, because if those in high positions always keep the principle of reducing above to benefit below, their intention is constant and they will eventually gain benefit. But if they start by reducing themselves, yet at the end turn around to seek benefit from others, their intention is inconsistent, and they will not gain benefit, naturally leading to danger.

此與損之上爻皆有極而必變之意。損卦損下益上為損。然上爻不損下，則損極而益之漸也。益卦以損上益下為益。至上爻反有求於下，則益極而損之漸也。損益循環，猶否泰之相因也。象曰：莫益之，偏辭也。或擊之，自外來也。

This line and the top line of the "Loss" hexagram both contain the idea that when things reach an extreme, they will change. The "Loss" hexagram represents loss through reducing the lower to benefit the upper, yet its top line does not take from below, which is a sign that loss has reached its extreme and is about to turn into gain. The "Gain" hexagram represents gain through reducing the upper to benefit the lower, yet its top line turns to seek from below, which is a sign that gain has reached its extreme and is about to turn into loss. Loss and gain alternate and generate each other, just as the "Obstruction" and "Prosperity" hexagrams are cause and effect to each other. The "Small Image Commentary" says: "Not benefiting others, this is a partial statement. Or striking it, coming from outside."

本義莫益之者，猶從其求益之偏辭而言也。若究而言之，則又有擊之者矣。按，此於偏辭句亦未眀。竊意上不損己以益下，上之偏也。自外來，即繫辭所謂莫之與則傷之者至之意。此卦三爻四爻上爻，雖說有可通，而不無牽強。來注蘇傳亦多異同，未見的確。姑合諸家酌其近理者如此。

The Original Meaning of the Zhou Changes explains that "No one benefits it" is merely a phrase referring to an obsessive pursuit of benefit; if we go to the root of it, there will be those who attack it. Note that the phrase "partial expression" is still not clear. In my own opinion, the upper ninth line is unwilling to reduce itself to benefit the lower, which is the partial nature of the upper ninth line. As for "coming from outside," this is what the Great Treatise says: "If no one supports it, then those who harm it will come." When no one is willing to be close to it, those who harm it will come to it. The third, fourth, and upper lines of the Beneficial Hexagram, although interpretations by different schools are also coherent, are inevitably forced. Lai Zhide's commentary and Su Shi's Commentary on the Changes differ greatly from each other, and there is no fixed conclusion. Here, I will briefly summarize the views of various schools and choose those that seem to be in line with reason as above.

夬卦，上兌下乾。以二體言之，水聚於澤，積上至高，勢必潰決。以爻論之，五陽在下，長而將極，一陰消而將盡，五陽決去一陰，故名夬也。夬卦次益。按，《序卦》，益而不已必決，故受之以夬。夬者，決也。理無常益，益極必決，夬所以次益也。

The hexagram "Gua" has the upper trigram Dui (Lake) and the lower trigram Qian (Heaven). Considering the two trigrams together, water gathers in the marsh, accumulating higher and higher, inevitably breaking through and flowing down. In terms of the yao positions, five yang lines grow from below, approaching their limit, while one yin line retreats, nearing its end. The five yang lines unite to overcome this single yin line, hence the name "Gua," meaning "to decide" or "to break through." The hexagram "Gua" follows the hexagram "Yi." According to the "Xu Guashu," "If gain continues without end, it will inevitably break, hence it is followed by 'Gua.' 'Gua' means 'to decide.' "In reality, there is no permanent gain; when gain reaches its extreme, it must break, which is why 'Gua' follows 'Yi.'"

全彖大意以雖處陰消陽之時，亦不容以易心處之。必相與同心戒懼，而後利有所往。六爻皆從上爻取義。陽之決陰，遠則不能相及，唯比與應當之。五比上，三應上，故皆言夬夬。決而又決，不繫於陰也。四介三五兩剛之間，欲決上而進退不果。二則遠而不相及，自備而已。初在下最遠，則不能勝矣。大抵君子之去小人，不可以易心處之。此全彖六爻之大旨也。

The overall meaning of the entire hexagram is: although it is the time when yin is declining and yang is increasing, one must not treat it with careless attitude. It is necessary for all the yang lines to be united and cautious, then it will be favorable to go forward. All six lines derive their meaning from the line at the top, line six: yang must decisively remove yin. Those that are far away cannot reach it, so only the two lines that are in comparison and correspondence with it bear this responsibility. Line nine in the fifth position compares with line six, and line nine in the third position corresponds with line six, so both lines say "decisively, decisively" — decisively removing it, never being attached to that yin. Line nine in the fourth position is between lines nine in the third and fifth, which are both strong lines. It wants to remove line six but is indecisive in advancing or retreating. Line two is far away and cannot reach, so it can only be cautious on its own. Line one is at the very bottom and farthest away, so it is even less capable. In general, a gentleman removing a petty person must not treat it with careless attitude. This is the main idea of the entire hexagram's six lines.

夬：揚于王庭，孚號有厲。告自邑，不利即戎，利有攸往。夬五陽一陰，三月之卦也。陰盛而陰將衰，決而去之，有君子決去小人之象。五陽去一陰，其勢甚易，恐人之安肆而忘戒懼也，故再三為警戒之詞。揚于王庭，《本義》作名正其罪。今按，彖傳柔乘五剛，此句宜指上六言之，言小人在君側得志也。孚號以下，指五陽爻。孚號，至誠孚號其眾，使合力也。有厲，有危道，不可肆也。告自邑，先治其私也。不利即戎，不可專尚威武也。能如是則可以有所往，亦不以贍顧而遂卻也。

The Hexagram Statement says: "Gua: To proclaim in the royal court, sincere proclamation with danger. To inform from the city, not favorable for immediate warfare, favorable for going somewhere." The Hexagram Gua consists of five yang lines and one yin line, corresponding to the trigram of the third month. Yang energy is flourishing and yin energy is about to decline (the original text's "yin is strong" should be a mistake for "yang is strong"), thus decisively removing it, which symbolizes a gentleman removing a petty person. With five yang lines removing one yin line, the situation is extremely favorable, but one should fear that people may become complacent and careless, thus the Hexagram Statement repeatedly warns against this. The phrase "proclaim in the royal court" is interpreted by The Original Meaning of the Zhou Changes as publicly revealing the crimes of the petty person. However, according to the Commentary on the Judgment, which says "the yin line is riding on the five yang lines," this phrase refers to the sixth line at the top, meaning that the petty person is currently favored by the ruler. The following phrase "sincere proclamation" refers to the five yang lines: "sincere proclamation" means calling upon people with sincerity to unite; "with danger" indicates there is still a dangerous path, so one should not be reckless; "inform from the city" means first to manage one's own private domain; "not favorable for immediate warfare" means one should not overly rely on military force. If one can do this, then one can go somewhere without being hindered by hesitation and retreat.

兌為口，有揚王庭象。陽實，孚象。乾為言，孚號告自邑之象。五陽恐剛或過，有有厲不利即戎之象。陽盛陰衰，有利有攸住之象。聖人於君子道長之時，戒懼叮嚀如此。蓋不以得為而自肆，又不以過葸而小卻也。彖曰：夬，決也，剛決柔也。健而說，決而和。釋卦名義而贊其德也。以五陽決一陰，乾健而濟以兌說，則不至於怯，亦不過於猛矣。其決之也得無過不及之中，非決而和乎。健而說，以德言。決而和，以事言。

From the perspective of symbolic representation: Dui represents the mouth, symbolizing the act of proclaiming in the royal court; a yang line represents substance, symbolizing sincerity; Qian represents speech, symbolizing the image of 'trustworthy proclamation' and 'informing from the city'; five yang lines advancing together may cause excessive rigidity, symbolizing 'danger' and 'unfavorable military action'; yang being strong and yin weak symbolizes 'favorable to go somewhere'. The sage, even when the way of the gentleman is flourishing, still repeatedly warns and cautions, indicating that one should not be self-reliant and reckless in action, nor should one be overly timid and retreat slightly. The Commentary on the Judgment says: 'Gua means to decide, to decisively resolve the soft. Strong and joyful, decisive yet harmonious.' This explains the meaning of the hexagram and praises its virtue. With five yang lines resolving one yin line, the strength of Qian combined with the harmony of Dui prevents timidity and excessive force; resolving precisely without excess or deficiency, this is precisely 'decisive yet harmonious.' 'Strong and joyful' refers to virtue, while 'decisive yet harmonious' refers to action.

揚于王庭，柔乘五剛也。孚號有厲，其危乃光也。告自邑，不利即戎，所尚乃窮也。利有攸往，剛長乃終也。柔乘五剛，以卦體言之。以一小人乘九五之君，跋扈橫恣之象也。其危乃光，危厲其心，必去小人，乃光顯也。所尚乃窮，言尚威武必至困窮。所以既告自邑而又不利即戎也。剛長乃終，謂一變純乾，乃無復小人也。

The Commentary on the Judgment continues: "To proclaim in the royal court, the softness riding upon five hard ones. Trustful calling with danger, its peril becomes brightness. To announce from the city, not advantageous to engage in war, the reliance has reached its end. Advantageous to go somewhere, the strength of the yang is completed." "The softness riding upon five hard ones" refers to the structure of the hexagram: a small person dominating the ruler of the fifth line, which is an image of arrogance and tyranny. "Its peril becomes brightness" means that if one remains mindful of danger, one must eliminate the small person, thus making the path clear and bright. "The reliance has reached its end" means that relying on force will lead to hardship, hence both "to announce from the city" and "not advantageous to engage in war" are said. "The strength of the yang is completed" means that the yang is extended to its fullest, transforming into pure Qian, thus eliminating the small person once more.

易於剛乘柔不書，於柔乘剛則書。剝言不利有攸往，不欲其為純坤。夬言利有攸往，則欲其為純乾。皆扶陽抑陰之意。然以五陽去一陰，其勢似易，而聖人所以周防戒備之詞無所不至。蓋小人有一之未去，皆足為君子之憂。人慾有一分之未盡，皆足為天理之累。此聖人所為三致意也。象曰：澤上於天，夬。君子以施祿及下，居德則忌。澤上於天，其勢不居。君子觀此施祿，使澤及於下也。居德，即屯膏之意。居其德而澤不下逮，人君所最忌也。

The structure of the Book of Changes: instances where a strong line dominates a weak line are not recorded, but when a weak line dominates a strong line, it is always recorded. The hexagram "Bao" says "It is not advantageous to go somewhere," which is because it does not wish to become the pure hexagram of Kūn; the hexagram "Guai" says "It is advantageous to go somewhere," which is because it wishes to become the pure hexagram of Qián. These are both expressions of supporting the strong yang and restraining the weak yin. However, when five yang lines remove one yin line, the situation seems easy, yet the sage's careful precautions and repeated admonitions are thorough. Because a single small person who is not completely removed can become a worry for the gentleman; human desires that are not entirely eliminated can become a burden to heavenly principles. This is why the sage repeatedly emphasizes this. The "Great Image Commentary" says: "Water above Heaven, Guai. The gentleman thus distributes honors to the people below and is cautious about holding onto virtue." Water vapor rising to the heavens does not stay long, and eventually must descend. The gentleman sees this image and distributes titles and honors, ensuring the favor reaches the people. "Residing in virtue" refers to the line nine five of the hexagram "Zun" "Zun its fat," meaning hoarding virtue without distributing it to the people, which is the most dangerous thing for a ruler.

初九：壯于前趾，往不勝為咎。陽壯之時居下無勢，有壯前趾之象。勇決前進，不勝其任。雖非背理，而反為小人所傷，則咎矣。此與壯初爻同。當壯之時，在下戒其用壯。當決之時，在下戒其過決。象曰：不勝而往，咎也。知其不勝而往，自取咎也。

"The First Line: 'Strong at the front toe, going without success leads to blame.' At the time when yang energy is just strong, the First Line is at the very bottom and lacks power and position, hence 'strong at the front toe'—an image of striving only at the toe. It is bold in decision-making and insists on moving forward, yet is not capable of shouldering this responsibility; although not contradictory in reasoning, it is harmed by small people, thus becoming a mistake. This line is the same as the First Line of the Great Strength hexagram: when strength is great, those in the lower position should beware of relying on their strength; when it is time to eliminate, those in the lower position should beware of excessive decisiveness. The Small Image Commentary says 'going without being able to bear it leads to blame': knowing one is not capable yet still going forward, the blame is self-inflicted."

九二：惕號，莫夜有戎，勿恤。二，地位。二變為離。離日在地，莫夜之象。離為戈兵，有戎之象。坎為加憂。離，坎之反，勿恤之象。九二當決之時，以剛居柔，則能自晦不至於過，憂惕號呼以自戒備，則雖莫夜兵戎驟至，亦可無憂患矣。象曰：有戎勿恤，得中道也。下卦之中，剛而能柔故（文瀾本「故」作「者」）也。

"Nine Two: Be alert and call out, there is no military threat at night, do not worry." The second line represents the position of earth; when the second line changes, the lower trigram becomes Li (Fire). Li represents the sun, and the sun setting below the earth signifies "mo ye" — the image of dusk. Li also represents weapons, which is the image of "you rong" (military threat). Kan represents added worry, and Li is the opposite of Kan, hence the image of "wu xu" (no worry). At Nine Two, the time for decisive action arrives, with a yang strong line in a yin position, capable of self-restraint without excess. It is also marked by vigilance and alarm, and preparedness. Thus, even if military threats suddenly appear in the evening, there will be no worry. The Small Image Commentary says, "There is military threat but no worry, because it is in the middle path": precisely because it is in the middle of the lower trigram, strong yet flexible (in the final character, the Wenlan Pavilion edition reads "zhe" instead of "gu").

九三：壯于頄，有凶。君子夬夬，獨行遇雨，若濡，有慍，無咎。九三居下卦之上，重剛不中，又乾為首，故有剛壯見於面目之象。以剛居剛，有夬而又夬之象。上與陰應，有獨行遇雨之象。君子之去小人，悻悻見於面目，則小人忌之，有凶道矣。然若果能果決，不繫於應與之私，則雖合於上六，如獨行遇雨至於若濡，而為眾陽之君子所慍，然終必能決去小人，無所咎也。《本義》以溫嶠之於王敦言之，亦近。

"Nine in the Third: Strong in the cheek, there is calamity. The gentleman resolutely decides, walks alone in the rain, his face gets wet, he is resentful, but there is no blame." "Cheek" refers to the cheekbone. Nine in the Third is at the top of the lower trigram, with two strong lines and not in the center. Since the trigram Qian represents the head, there is an image of strong energy appearing on the face. Being a yang line in a yang position, it shows a decisive and resolute nature. It is in correspondence with Six at the Top, showing the image of walking alone and encountering rain. The gentleman removes the small people; if he displays his resentment on his face, the small people will resent him, leading to a path of calamity. However, if he can truly be decisive and not be influenced by private considerations, even though he corresponds with Six at the Top, like walking alone in the rain and getting his clothes wet, and thus being disapproved by the other yang lines, he will still be able to remove the small people without blame. The Original Meaning of the Zhou Changes uses the example of Wen Qiao dealing with Wang Dun in the Eastern Jin Dynasty to illustrate this line, which is quite appropriate.

象曰：君子夬夬，終無咎也。所以無咎者，以有夬夬之心故也。跡可濡，心不可變。決之以心，不必見於面目也。九四：臀無膚，其行次且，牽羊悔亡，聞言不信。四亦為坎。坎為溝瀆，有臂象。兌為毀折，無膚之象。九四居上之下，以陽居陰，不中不正。居則不安，行則不進，有臂無膚其行次且之象。兌有羊象。牽羊者，當其前則不進，縱之使前而隨其後，則可以行。四欲決陰，必藉五為之前而隨其後，有牽羊之象。

The Small Image Commentary says, "The superior person is resolute, and thus ultimately has no blame." So there is no blame because he has a determination that is resolute again and again. His actions may be affected by external circumstances, but his will remains unshaken. The decision is made within, and need not be shown on his face. "Nine in the Fourth: The buttocks have no skin, his movement is hesitant, leading the sheep brings no regret, but hearing words is not trusted." Nine in the Fourth moves from the second to the fourth, forming the body of Kan, which represents a ditch or a depression, hence the image of the buttocks. Dui represents destruction, which is the image of "no skin." Nine in the Fourth is located below the upper trigram, with a yang line in a yin place, thus neither central nor correct. He is sitting uneasily and cannot move forward, hence the image of "the buttocks have no skin, his movement is hesitant." Dui also has the image of a sheep. The person leading the sheep is in front of the sheep, and the sheep does not move; if the sheep is in front and the person follows, then movement is possible. Nine in the Fourth wants to remove Six at the Top, but must rely on Nine in the Fifth to lead the way and follow behind, which is the image of "leading the sheep."

兌為口。四變陰則為坎為耳，有聞言之象。牽羊隨其後則悔亡，而九剛無下人之志。聞牽羊之言當信，而四柔必無克己之功。有聞言不信之象。蓋君子之去小人，勢未可遏，姑緩之。必上格君心兼藉同志，故一決而去之。若才柔志剛，專己自用，鮮有不敗者。王沂公之於丁謂牽羊悔亡者也，寇萊公則聞言不信矣。象曰：其行次且，位不當也。聞言不信，聰不明也。位不當，不中不正也。

The trigram兑 represents mouth, and when the line nine in the fourth position changes to a yao of yin, it becomes the trigram坎, which represents ear. Thus, there is the image of "hearing words." Following with a sheep behind it, regret is dispelled; however, the line nine in the fourth position, being strong with the number nine, lacks the heart to be content with being behind others. Although hearing the advice of "leading a sheep" should be believed, it is in the position of four, which is yin, and thus ultimately lacks the self-restraint. Therefore, there is the image of "not believing what is heard." Generally, a gentleman removing a petty person, if the situation cannot be controlled at once, should temporarily delay, and must both correct the ruler's mind and rely on the strength of like-minded people, in order to decisively remove the petty person. If one has a weak ability but a stubborn mind, being overly independent and self-willed, few are the ones who do not fail. In the Song dynasty, Wang Zeng dealing with Ding Wei was like the case of "leading a sheep, regret disappears"; but Kou Cheng belonged to "not believing what is heard." The Small Image Commentary says: "Its movement is hesitant, because its position is not appropriate. Not believing what is heard, because its wisdom is not clear." What is meant by "position not appropriate" is that it is neither central nor upright.

九五：莧陸夬夬，中行無咎。莧，馬齒。陸，商陸。皆感陰氣之多者。暴之難乾而脆易折，指上六小人之象。夬夬中行，按，《本義》決而決之而又不為過暴。大全丘氏謂勉之以夬夬而又戒其中行則無咎者。五當可決之位（文瀾本「位」作「時」），勢易於三。三唯其夬夬即可以無咎。五之夬夬或失之過暴，則猶為有咎也。

"Nine in the Fifth: Xian Lu Guai Guai, middle way without blame." "Xian" refers to purslane, and "Lu" refers to a type of plant called Shang Lu, both of which are plants that absorb the most yin energy, cannot be dried even when exposed to the sun, but have brittle and easily broken stems, which is used to symbolize the small person represented by the sixth line at the top. As for "Guai Guai in the middle way," the "Original Meaning of the Zhou Changes" interprets it as resolving again and again without becoming overly violent. The "Comprehensive Commentary on the Zhou Changes" records Qiu's view as encouraging resolution again and again, while also warning that it must conform to the middle way to avoid blame. Since nine five is in a position that is suitable for resolution (the text in the Wenlan Pavilion edition reads "position" as "time"), the situation is much easier than nine three: nine three only needs to resolve again and again to avoid blame, whereas nine five's repeated resolution might lead to excessive violence, thus still resulting in blame.

今按，象傳中未光之言，非慮其過暴也，特慮其不決耳。蓋馬齒之為物，莖脆而根甚固。一拔即折似易除，而根蔓延不已，非盡力決而又決不可。故以此取象小人。人主暱於近習，忽為易制。不忍治之太過，而卒以敗事者多矣。九三與上應而在下位，故雖夬夬不免於濡而得無咎者，諒其心也。

Now according to the Small Image Commentary, it says "the middle is not yet bright," which is not about worrying that Nine in the Fifth is too fierce, but rather about worrying that it does not decisively cut off. The plant known as purslane has a brittle stem but extremely firm roots; when pulled up, it breaks off easily, seeming easy to remove, but its roots spread extensively and do not stop, so one must exert great effort to uproot it completely. Therefore, it is used as a symbol for small people. A ruler who is close to his favored attendants may lightly think them easy to control, and be unwilling to deal with them severely, resulting in many examples of great disasters. Nine in the Third corresponds with Six at the Top but is in a lower position, so although it is "decisive and decisive," it still cannot avoid being affected. It can still have no blame because it takes into account its original intention.

五居君位，有可夬之權。特恐暱比之過，視為易制。不忍處之太甚，以過中為疑。故戒之曰勿謂莧陸之易折也，小草根蔓難除。必夬之又夬之，非過於暴也。如是乃合乎中行，僅可以免咎耳。如此於象傳始合。象曰：中行無咎，中未光也。以其有暱比之心，未得為光大也。

The Nine in the Fifth holds the position of a ruler and possesses the authority to make decisive decisions. However, it fears that due to its close relationship with the Sixth at the Top, it may underestimate the difficulty of dealing with the other party, hesitating to use strong measures. It also suspects that excessive punishment would go against the principle of moderation. Therefore, the Line Statement warns it: do not think that the plant called Xian Lu is easy to break; this small weed has deep roots and is hard to eradicate. It must be uprooted repeatedly, and this does not count as excessive force. Only in this way can it conform to the principle of moderation and merely avoid blame. This interpretation aligns with the Small Image Commentary. The Small Image Commentary says, 'Moderate behavior brings no blame, but the moderate path is not yet bright': precisely because it harbors the thought of being close to the other party, the 'moderation' is not yet upright and sincere.

上六：無號，終有凶。兌為口，變純陽為乾，無所號呼之象。上比五以自肆，而五則夬夬矣。應三以為援，三則亦夬夬也。小人窮極必敗，無所控訴也。占者有君子之德，則其敵當之，不然必凶矣。

"Six at the Top: No crying out, ultimately there is misfortune." The trigram兑 represents the mouth, and this line changes to form the pure yang trigram乾, which means the image of the mouth is gone, symbolizing no place to cry out. The line Six at the Top originally wanted to closely associate with Nine in the Fifth and act recklessly, but Nine in the Fifth has decided again and again. It also wanted to connect with Nine in the Third for support, but Nine in the Third has decided again and again. When small people reach the end of their path, they inevitably perish, with no place to appeal. If one attains the virtue of a gentleman, then the misfortune will fall upon his enemies; otherwise, the misfortune will fall upon himself.

象曰：無號之凶，終不可長也。一柔在上，終不可久，必為五陽所決也。全卦於君子去小人之道，言之最為委曲詳盡。叅之前史，君子小人消長之際，乃知聖人因理數之自然，立言以垂訓萬世者，至深切也。

The Small Image Commentary says, "The calamity of being without a cry will not last long." A yao of flexibility high up will ultimately not endure and will certainly be expelled by the five yang yao. The entire hexagram explains the way of a gentleman to remove petty persons in the most subtle and detailed manner. By comparing it with historical events of past dynasties, one can understand the turning points where gentlemen and petty persons rise and fall alternately. Thus, one realizes how deeply the sage followed the natural course of principles and established teachings for all generations.

姤卦，巽下乾上。風行天下，萬物無不經觸，乃遇之象。又卦爻五陽而一陰始生於下，陰與陽遇也，故為姤。姤卦次夬。按，《序卦》，夬，決也。決必有遇，故受之以姤。姤，遇也。本合則無所遇。夬決既離，乃復有遇。

The Gou hexagram has the Xun trigram as the lower trigram and the Qian trigram as the upper trigram. Wind moves across the heavens, touching all things, which symbolizes meeting. Additionally, this hexagram has five yang lines and one yin line that emerges from the lowest position, representing the meeting of yin and yang. The Gou hexagram follows the Guai hexagram. According to the Sequence of Hexagrams: "Guai means to decide. After deciding, there must be a meeting, hence it is followed by Gou. Gou means meeting." When things are combined, there is no meeting. After Guai has decided and separated, there is then a meeting.

又夬卦一陰將消於上則復生於下，姤所以次夬也。全彖以一陰遇五陽，壯盛不正之女，故戒以勿取。彖傳喜陽之得行正，以見陰生之未可忽也。六爻皆以初陰取義。遇非正道，故惟近者得之而正應反凶。

Furthermore, in the Hexagram Guai, the yao that is yin will be exhausted above and then regenerate below, which is why the Hexagram Gou follows Guai. The Hexagram Statement regards a single yin encountering five yang as a woman with great vigor but unconstant virtue, thus warning against marrying her. The Commentary on the Judgment is pleased that yang is able to be in the correct position and follow the right path, thereby showing that the initial emergence of yin should not be disregarded. All six yao derive their meaning from the initial yin, Six at the Beginning: since this "meeting" is not the proper way, it is actually the nearby yao that gains from it, while the yao that corresponds directly with it becomes dangerous.

二最近初，遇之最先者，故有魚。四雖與初正應，而初為二得，非已有矣，故無魚凶。三介二四兩剛之間，欲遇不得，猶夬四之慾去不能（文瀾本「不能」作「未能」）也。五去初遠，無相得之理矣，聽天命之自至而已。上則最遠而窮矣。蓋陰生必至敵陽，故彖戒以勿取。而陽得陰猶可制，故爻又欲其制陰。此全卦六爻，無非扶陽抑陰之意也。

Nine in the Second is closest to the first line, so it is said to 'enclose the fish'. Although Nine in the Fourth is in a proper correspondence with the first line, the first line has already been taken by Nine in the Second and is no longer available to it, hence it is said to 'enclose no fish, resulting in misfortune'. Nine in the Third is between Nine in the Second and Nine in the Fourth, two strong lines, and although it wishes to meet them, it cannot, just as in the卦 of Guai, Nine in the Fourth wishes to remove Six at the Top but cannot (the text in the Wenlan Pavilion edition reads 'cannot' as 'was unable'). Nine in the Fifth is far from the first line, and there is no reason for them to connect, so it can only wait for the mandate of heaven to arrive naturally. Nine at the Top is the farthest and has reached the extreme. Generally, when yin arises, it will inevitably become hostile to yang, so the hexagram warns against taking a wife. However, if yang can hold on to yin, it can subdue it, so the line statement hopes that yang will go to control yin. All six lines of this hexagram are essentially about supporting yang and restraining yin.

姤：女壯，勿用取女。姤，遇也。一陰生於五陽之下，五月之卦也。夬決之盡，則為純乾。一陰忽生於下，如不其而遇者，故為姤。一陰而遇五陽，女德之不貞而壯之甚者。取以自配，必害乎陽，故戒以勿取也。

The Hexagram Statement says: "Gou: A strong woman, do not take her as a wife." "Gou" means meeting. A single yin line arises among five yang lines, forming the hexagram of the fifth month. The hexagram "Guai" reaches its end and becomes pure Qian (Heaven), but suddenly a yin line appears below, like an unexpected meeting ("bu qi" should be "bu xi," meaning "unexpected"). Therefore, it is called "Gou." When one yin line meets five yang lines, it represents a woman who lacks virtue and has excessive strength; taking such a woman as a wife will surely harm the yang. Thus, it is advised not to take her.

彖曰：姤，遇也，柔遇剛也。五陽往而陰方來，故曰柔遇剛也。勿用取女，不可與長也。女德不貞，不能從一而長久也。天地相遇，品物咸章也。以卦體言之，五陽在上而一陰生於下。以陰遇陽，天地相遇也。以卦畫論，其時則為五月，萬物茂育蕃衍，品物咸章也。

The Commentary on the Judgment says: "Gou means meeting, the soft meeting the strong." Five yang lines are moving away, while one yin line is coming to meet them, hence it is said that the soft meets the strong. "Do not take a wife, she cannot be with a man for long" refers to the fact that this woman lacks virtue and cannot remain faithful to one man for a long time. "Heaven and Earth meet, all things are clearly manifested" refers to the structure of the hexagram, where five yang lines are above and one yin line arises below, with the yin meeting the yang, symbolizing the meeting of heaven and earth. In terms of the month associated with this hexagram, it corresponds to the fifth month, when all things are flourishing and thriving, hence all categories of things are clearly visible and distinct.

剛遇中正，天下大行也。《本義》專指九五，謂以剛明之君，遇建中表正之位。德因位顯，治化大行於天下也。今宜兼二五言。九二之剛德，遇九五中正之君。明良會合（文瀾本「會合」作「遇合」），道可行於天下也。彖辭慮陰之始生，彖傳又以遇之善者言之。天之遇地，臣之遇君。時當相遇，所關者不小。

The Commentary on the Judgment also says: "When the strong meets the upright, great progress is made under heaven." The Original Meaning of the Zhou Changes specifically refers to the Nine in the Fifth, stating that a ruler who is strong, vigorous, wise, and enlightened meets a noble and upright position, thus his virtue becomes prominent through his position, and his teachings spread throughout the world. However, according to the present interpretation, it should also refer to the Second and the Fifth lines: the strong and vigorous virtue of the Nine in the Second meets the upright and righteous ruler of the Nine in the Fifth, and when a virtuous minister meets a wise sovereign, the way can be carried out throughout the world. The Hexagram Statement is concerned about the initial emergence of the dark forces, but the Commentary on the Judgment speaks from the positive aspect of "meeting": the meeting of heaven and earth, the meeting of a minister and a sovereign, when the timing is right for such a meeting, the significance is indeed great.

姤之時義大矣哉。程傳專承天地君臣之相遇言之。《本義》謂幾微之際，聖人所謹。蓋以柔遇剛，遇之不善者也。天地相遇，剛遇中正，遇之善者也。陰陽，造化之本，不能相無，就姤而言，豈必無善者。然當品物咸章，治化大行之時，實為陰長陽消之幾（文瀾本「幾」作「機」）所自伏。當其時者，不可不思其義，預為扶陽抑陰之計也。

"Meeting" is a great principle. Cheng Yi in his commentary "Yichuan's Commentary on the Changes" focuses on the meeting of heaven and earth, and the relationship between sovereign and minister. Zhu Xi in his "The Original Meaning of the Zhou Changes" says this refers to the subtle beginning of movement, a time when sages must be especially cautious. The meeting of softness with strength is the negative aspect of "meeting"; whereas the meeting of heaven and earth, and the meeting of strength with the center and correctness, is the positive aspect of "meeting." Yin and Yang are the fundamental elements of creation, and they cannot exist without each other. In the context of the hexagram "Gou," how can it be said that there is no good aspect? However, at the time when all things are clearly evident and education and moral guidance are widely practiced, it is precisely when the signs of Yin growing and Yang declining are already hidden. Those who are in such a situation must not fail to understand this principle and make preparations in advance to support Yang and restrain Yin.

象曰：天下有風，姤。后以施命誥四方。風者，天之號令，所以鼓舞萬物。命者，君之號令，所以鼓舞萬民。施命誥四方，取風行天下之象也。君門深於九重，豈能與民相遇。惟施命誥四方，則君民相遇，猶風之遇物也。觀為地上之風旁行而通，姤為太虛之風自上而下。故觀言省方，而此則言施命也。

The Great Image Commentary says: "Heaven has wind, the Hexagram of Meeting. The sovereign should issue commands to all directions." Wind is the command of heaven, used to move all things; decrees are the commands of the sovereign, used to move the people. "Issuing commands to all directions" precisely reflects the image of wind spreading throughout the world. The sovereign resides deep within the palace, how could he meet every person personally? Only by issuing decrees and informing all directions can the sovereign and the people meet, just as wind meets objects. The Hexagram of Observing is wind above the earth, spreading horizontally and reaching all directions; the Hexagram of Meeting is wind in the vast void, blowing down from above. Therefore, the Great Image of the Hexagram of Observing says "examine the four directions" — touring the land to observe the people's customs, while this hexagram says "issue commands" — issuing decrees from above.

初六：繫于金柅，貞吉。有攸往，見凶。羸豕孚蹢躅。柅以止車。金柅，言其堅也。乾為金。初陰在下，宜靜正自守，有繫于金柅之象。其貞也如是則吉矣。然初陰已動，有攸往之象。故又言當遇之時，若以陰往遇陽，則立見其凶矣。設言一吉一凶，使之自擇也。

"Initial Six: Tied to the golden wedge, firmness brings good fortune. If going forward, one meets misfortune. A weak pig shows restlessness." "Wedge" refers to a wooden pin used to stop a wheel, and "golden wedge" describes its firmness; the upper trigram is Qian, which represents metal. Initial Six, being a yin line at the very bottom, should remain still and upright, symbolizing being tied to the golden wedge and staying still. This stillness brings good fortune. However, Initial Six is a newly born yin, already in motion, thus showing the image of going forward. Therefore, the line statement continues: at this meeting, if a yin line moves upward and meets a yang line, misfortune is immediately encountered. The line statement presents both good and bad outcomes, allowing the person seeking divination to make their own choice.

豕，陰物。初勢雖微，然在下而動，有羸豕蹢躅之象。言陰雖微，而躁動漸進侵陽。猶豕雖羸，其蹢躅跳躑有必然而可信者。不可不預為之備也。此爻只宜就陰不宜輕動遇陽言之，而戒小人儆君子之意皆在其中。不必專言小人之害君子。象曰：繫于金柅，柔道牽也。初四相應，將牽連而上，故柅以（文瀾本「柅以」作「以柅」）止之也。

Pigs are animals of the yin type. Although the power of the initial line is weak, it is restless at the bottom, hence the image of a thin pig leaping about. This indicates that although the yin force is slight, it is restless and gradually advancing to invade the yang. Just as a thin and weak pig is certain to kick and jump, this is a definite occurrence that should not be overlooked. This line should be interpreted in terms of "yin should not lightly and recklessly meet yang," serving as a warning to the petty and a reminder to the virtuous. It does not necessarily mean that the petty are harming the virtuous. The Small Image Commentary says, "Bound by the golden brake, the soft path is being pulled." The initial line corresponds with the fourth line, and is about to be pulled upward, so it needs the golden brake to stop it (the Wenlan Pavilion edition reads "with the golden brake" as "with the golden brake").

九二：包有魚，無咎，不利賓。魚，陰物。巽為白茅。二與初近，初在其內，為包有魚之象。得之則陰受制於陽矣，故無咎。乾尊有賓象。二包初而有之，則二為主而四為賓。四雖正應。反不得而月（「月」當作「有」，從文瀾本）初矣，故有不利之象。蓋卦以遇合為義。遇合之女未嘗擇配，二近，則先有之矣。象曰：包有魚，義不及賓也。一陰不能兼二陽。揆之於義，不能及之矣。譬眾漁之取魚，先至者得之，後至者雖善漁，不及也。

"Nine in the Second: It contains a fish, no blame, not favorable for the guest." A fish is a yin element; Xun represents white reeds, which can be used for wrapping. Nine in the Second is close to Initial Six, and Initial Six is within its wrap, hence the image of "containing a fish." Being able to wrap the fish means that yin is controlled by yang, hence no blame. The upper trigram Qian represents respect, hence the image of "guest." Nine in the Second wraps Initial Six and takes it for itself, making Nine in the Second the host and Nine in the Fourth the guest. Although Nine in the Fourth is in a proper correspondence with Initial Six, it does not obtain Initial Six (here the character "month" should be "have," according to the Wenlan Pavilion edition), hence the image of "not favorable for the guest." Since this hexagram is based on meeting and pairing, and this female figure has not chosen a spouse, Nine in the Second, being close, takes it first. The Small Image Commentary says, "Containing a fish, the meaning does not reach the guest." A yin line cannot belong to two yang lines at the same time, so by right the guest does not get it. It is like many people fishing together; the one who arrives first gets it, and even if the later one is better at fishing, he cannot get it.

九三：臀無膚，其行次且，厲無大咎。巽為股。三居巽之上，有臀象。過剛不中，與上無應。居則不安，有臀無膚之象。下不過初，為二所隔。行則不進，有其行次且之象。進退如此，雖有危厲，然無所遇，亦不為陰邪所傷，故無大咎也。夬四欲上決上而不能，此則欲下遇陰而不得，故取象皆同。

"Nine in the Third: The buttocks have no skin, his movement is halting, though there is danger, there is no great misfortune." Wind represents the thighs, and Nine in the Third is located above the body of Wind, where the thighs end and the buttocks begin, hence the image of the buttocks. It is overly strong and not in the center, and there is no responding line above it: sitting is unstable, hence the image of "the buttocks have no skin"; it cannot reach Six at the Beginning below, and is blocked by Nine in the Second in the middle, so movement is hindered, hence the image of "his movement is halting." Being trapped in such a difficult situation, although there is danger, it does not meet anything, so it is not harmed by evil forces, hence it says "no great misfortune." The Nine in the Fourth of the卦夬 is trying to move upward to overcome Six at the Top but cannot, while this line is trying to move downward to meet Six at the Beginning but cannot, hence their situations are similar and their images are the same.

象曰：其行次且，行未牽也。初陰上進又與四應。若有引進之者，故宜繫之。三孤孑無應，下又隔二。無牽引之者，是以行次且也。九四：包無魚，起凶。四與初正應，當遇者也。乃已遇於二，不及於四，有包無魚之象。人心已離，凶自此起矣。蓋遇本非正，故正應無遇之象。此即二之所謂不利賓也。

The Small Image Commentary says, "Its movement is hesitant, for its movement is not yet restrained." Initially, the Yin energy is advancing, and it corresponds with the Nine in the Fourth, as if someone is leading it forward, so it needs to be restrained with a golden hook. However, the Nine in the Third is alone without a corresponding line, and below it is blocked by the Nine in the Second, so there is no one to pull it forward, hence its hesitant movement. "The Nine in the Fourth: There is no fish in the net, and there is danger." The Nine in the Fourth corresponds with the Six at the Beginning, which should be a meeting pair. But since the Six at the Beginning has already met with the Nine in the Second, the Nine in the Fourth is left out, hence the image of "no fish in the net." The people's hearts have already dispersed, and danger thus begins. Since this hexagram's "meeting" is not in accordance with the right path, it is precisely the correct correspondence that ends up without meeting—this is exactly what the line statement of the Nine in the Second says, "It is not favorable for the guest."

象曰：無魚之凶，遠民也。陰為民。民之去已，猶已遠之也。陰陽之取象不一，或取於男女，或取於君子小人，或取於君民。姤取男女之遇，本非其正，故四不得初而二得之。然陰之初長，近者易制，遠者難及，故二取象於得魚。以言君子小人近而得制，故可無咎。但陽宜得陰以為正應，故四取象於君之失民，必至召凶。取象雖異，而大意皆扶陽抑陰。占者亦隨事變通以占之，不可執一也。

The Small Image Commentary says, "The danger of no fish is due to the people being far away." The yin lines represent the people, and when the people leave, it is as if the ruler is distancing himself from them. In the Book of Changes, the imagery of yin and yang is not limited to one form; some use male and female, others use gentleman and petty person, and others use ruler and subject. The hexagram Gou uses the meeting of male and female, which is inherently improper, so the line nine in the fourth position does not obtain the line six at the beginning, while the line nine in the second position does. Considering the initial growth of yin, those nearby are easier to control, while those far away are out of reach, so the line nine in the second position takes the image of "catching fish" — symbolizing the gentleman's ability to restrain the petty person when they are close, thus avoiding blame. However, yang should naturally connect with the corresponding yin, so the line nine in the fourth position takes the image of the ruler losing the people, which inevitably brings misfortune. Although the images differ, the general idea is to support yang and restrain yin. Those who interpret the oracle should adapt to the situation and not be rigid in their interpretations.

九五：以杞包瓜，含章，有隕自天。杞，高大堅實之木。九五陽剛中正，主卦於上，有杞象。瓜，柔蔓之物。初陰在下，有瓜象。五與初遠不相遇，勢不能相制，有以高大之杞欲包在地之瓜之象。姤，陰長之卦。而九五居陽明之位，有含晦其章美之象。

"Nine in the Fifth: With杞enveloping a melon, containing virtue, there is a falling star from heaven." "杞" refers to a tall and strong tree; Nine in the Fifth is yang and upright, governing the hexagram from above, hence the image of the杞tree. "Gua" refers to a soft and creeping plant; Six at the Beginning is a yao in the lowest position, hence the image of the melon. Nine in the Fifth is far away from Six at the Beginning, and they do not meet, the situation being that it cannot control it, just like a tall杞tree wanting to envelop the melon on the ground. The hexagram "Gou" represents a gradual increase of yin, while Nine in the Fifth is in a position of bright yang, hence the image of containing and restraining its brilliance.

瓜性善潰，終有必壞之時。陰陽消長，姤又有終復之勢。靜以待天心之復，有有隕自天之象。陽剛之君在上，小人方盛，勢未能制，姑靜晦以待元惡之自斃。若晉明帝之於王敦，其事類之。

Watermelons are prone to rotting and will eventually decay; yin and yang constantly wax and wane, and the hexagram Gou also shows a trend where yin reaches its extreme and yang returns. Quietly waiting for the heavenly will to restore balance is exactly 'a falling star from heaven'—a symbol of something descending from heaven. A strong yang ruler is above, but a small, aggressive force is flourishing. Since the situation is not yet under control, one should remain calm and hidden, waiting for the main culprit to bring about its own downfall. This is similar to how Emperor Ming of the Eastern Jin Dynasty dealt with Wang Dun.

象曰：九五含章，中正也。有隕自天，志不舍命也。居中得正，故能含其章美。不失之闇昧，亦不失於淺露也。志不舍命。蓋陰長而陽消，天之命也。有以勝之，人之志也。君子不以命廢志。九五之志堅，遇必有自天而隕者。言人之至者，天不能勝也。

The Small Image Commentary says: "Nine in the Fifth contains virtue, being centered and upright. There is a falling star from heaven, indicating that one's aspirations do not abandon destiny." Nine in the Fifth is in the center and upright, thus able to contain its brilliance, neither losing it through confusion nor revealing it too openly. As for "aspirations do not abandon destiny": the growth of yin and the decline of yang are the way of heaven, while striving to overcome this is the will of a person. A gentleman does not give up his will just because heaven's way is thus. Since the will of Nine in the Fifth is firm, what it meets will surely bring a turning point from heaven. This means that when human effort reaches its extreme, heaven cannot surpass it.

上九：姤其角，吝無咎。上九剛而在上，無位無應。不得所遇，為姤其角之象。吝道也。然不為陰邪所侵，亦無咎矣。蓋陰之初萌，能如二包而制之可也。四不能包，反受其凶。三以剛在下卦之上，故雖厲而無大咎。上以剛居上卦之上，雖吝無咎。蓋遇本非正，故不遇無可咎也。

"Upper Nine: Meeting its horn, there is hardship but no blame." Upper Nine is strong and occupies the highest position, having neither rank nor a responding line, encountering no one suitable to meet, hence "meeting its horn"—the image encountered is merely a hard horn, which is a path of meanness and hardship. However, since it is not disturbed by evil influences, there is no blame. Generally, when the yin energy first emerges, it is best to contain it like Nine Two and control it properly; Nine Four cannot contain it and instead suffers its harm. Nine Three, being strong in the upper position of the lower trigram, is thus in a dangerous situation but without major blame; Upper Nine, being strong in the upper position of the upper trigram, is thus in a state of meanness and hardship but without blame. Because the hexagram's "meeting" is not a proper path, not meeting someone is not something to be blamed.

象曰：姤其角，上窮吝也。剛上窮極，自無所遇也。大抵當姤之時，小人固不可使之進，而君子又不可無以蓄小人。彖但言陰長之宜防，而彖傳復言陽剛之可行。君子當此，正宜慎之於微也。初爻戒小人不可往。二四五皆言包制之道。唯三以重剛不中，上以剛居卦極，故厲而吝。然皆無咎，亦以與陰不相遇。皆不與陰之進也。

The Small Image Commentary says, "The meeting occurs at the horn, indicating the upper limit of limitation." When yang is advancing to its utmost, it naturally meets nothing. Generally, when meeting occurs, small people should not be allowed to advance, yet gentlemen should not lack the capacity to include small people. The Hexagram Statement only speaks of the gradual increase of yin and the need for vigilance; the Commentary on the Judgment further explains that the way of yang is open. At this critical moment, the gentleman should be cautious at the slightest sign. The first line warns against allowing small people to ascend; the second, fourth, and third lines all discuss the principles of inclusion and restraint. Only the third line is overly strong and not in the center, and the top line is strong at the very top of the hexagram, so one is in danger and the other is contemptible. Yet both lines have no blame, precisely because they do not meet yin. Among all six lines of the hexagram, none support the advancement of yin.

萃卦，下坤上兌。澤在地上，水之聚也。水潤澤其地，萬物群聚而生，萃之象也。又上說下順，九五剛中，二以柔中應之，萃之由也。故為萃。萃卦次姤。按，《序卦》，姤者，遇也。物相遇而後聚，故受之以萃。萃者，聚也。物相會遇則成群萃，萃所以次姤也。全彖當萃聚之時，理勢必亨。

The hexagram "Cui" has the lower trigram Kun (Earth) and the upper trigram Dui (Lake). A lake on the earth represents the gathering of water; water moistens the land, and all things gather and thrive together, which is the image of "Cui." Furthermore, the upper trigram Dui signifies joy, and the lower trigram Kun signifies compliance. The line nine in the fifth is strong and centered, while the line six in the second is gentle and centered, responding to it. This is the reason for the gathering, hence the name "Cui." The hexagram "Cui" follows "Gou." According to the "Xu Guan Zhuan": "Gou means meeting. Things meet and then gather, hence it is followed by Cui. Cui means gathering." When things meet, they form groups, which is the reason why "Cui" follows "Gou." The overall meaning of the hexagram is: at the time of gathering, both reason and circumstances are necessarily favorable.

但當得正，則可大有所為。此全彖之大旨也。六爻四陰萃於二陽。五得位而權分於四，故有元永貞之戒。四以陽有可萃之權，而不居其位，故必大吉而後無咎。初宜應四而隔於二陰，故眾笑而可往。二五正應而二中正，故有引吉之占。三比四不得應上，非正故不免於小吝。上無位，求萃不得，唯有齎諮涕洟而已。此六爻之大畧也。

It is only necessary to act properly that great achievements can be made. This is the main idea of the Hexagram Statement. Among the six lines, four yin lines are attached to two yang lines: although nine five holds the position of the sovereign, its authority is divided by nine four, hence the warning of "originally enduring and sincere"; nine four, with yang strength, holds the power to gather people, but does not hold the position of the sovereign, so it must be greatly auspicious before there is no fault; initial six should originally correspond to nine four, but is blocked by six two and six three, two yin lines in the middle, hence it will be laughed at, but still can proceed; six two corresponds properly with nine five and is also upright and proper, hence the divination statement of "leading to good fortune"; six three is close to nine four but does not correspond to six six above, its position is not proper, so it is inevitably subject to slight disgrace; upper six has no position, seeks to gather but fails, hence only lamenting and weeping. This is a general summary of the six lines.

萃：亨。王假有廟，利見大人，亨，利貞。用大牲吉，利有攸往。澤上於地，萬物萃聚之象。亨字衍文。廟，所以聚祖考之精神。人必先聚己之精神，乃可入廟而承祖考。當萃之時，故宜為卜祭之吉占也。既萃則宜見大人，可以得亨而貴於正，不正則亦不能亨矣。萃當物力豐盛之時，故祭享宜豐，用大牲則吉。萃當人心翕聚之會，故凡事可為而有所往則利也。

Hexagram Statement: "Cui: Qing. The king goes to the temple, it is advantageous to see a great person, Qing, advantageous to maintain uprightness. Using large sacrificial animals is auspicious, advantageous to go somewhere." The image is of a marshy water overflowing onto the ground, symbolizing the gathering of all things. The initial character "Qing" is a redundant addition from copying. The ancestral temple is the place where the spirits of ancestors gather; a person must first gather his own spirit before entering the temple to serve the ancestors. At the time of gathering, this is an auspicious omen for divination regarding worship. Once gathered, it is appropriate to see a great person, thus achieving Qing, and especially important to maintain uprightness—without uprightness, Qing cannot be achieved. At the time of gathering, it is a time of abundant resources, so the offering should be generous, using large sacrificial animals is auspicious; at the time of gathering, it is also a time when people's hearts are united, so all things are possible, and going somewhere is advantageous.

全卦六爻二三四互艮為門闕。內坤純陰有宗廟之象。九五居尊而二應之，有利見大人之象。二五皆居中得正，有利貞之象。大象坎為豕，外卦兌為羊，內卦坤為牛，大牲之象。損之時二簋可享，則萃之時宜用大牲矣。渙之時利涉大川，則萃之時宜利有攸住矣。

From the perspective of symbolic representation: the second, third, and fourth lines of the entire hexagram together form Gen, which represents a gate or threshold; the inner trigram is Kun, which is entirely yin and symbolizes the solemn and dark atmosphere of ancestral temples, hence the phrase "the king comes to the temple." The nine in the fifth line occupies the exalted position, while the six in the second line corresponds to it, symbolizing the image of "favorable to see a great man." Both the second and fifth lines are in the center and upright, symbolizing "favorable to maintain integrity." The overall structure of the hexagram resembles Kan, which represents a pig; the outer trigram is Dui, representing a sheep, and the inner trigram is Kun, representing a cow. With the presence of cow, sheep, and pig, all three sacrificial animals are complete, which is the image of "great sacrificial offerings." At the time of the hexagram Zhen, only two bowls of thin food were sufficient for sacrifice, so at the time of the hexagram Cui, it is natural to use great sacrificial offerings. At the time of the hexagram Huan, when people were scattered, it was still favorable to cross great rivers, so at the time of the hexagram Cui, it is even more favorable to go somewhere.

彖曰：萃，聚也。順以說，剛中而應，故聚也。以卦德卦體釋卦名。坤順兌說。五剛中在上，而二以柔中應之，君臣聚會之時也。王假有廟，致孝享也。利見大人亨，聚以正也。用大牲吉，利有攸往，順天命也。

The Commentary on the Judgment says: "Cui means gathering. Smoothness and joy, with a strong and central yang line that corresponds, hence gathering." This explains the name of the hexagram by referring to the qualities of the hexagram:坤 represents smoothness, 兑 represents joy; the nine in the fifth position is strong and central, and the six in the second position is flexible and central below, which is the time when the ruler and minister gather together. The Commentary on the Judgment then proceeds to explain each sentence of the Hexagram Statement, saying: "The king goes to the temple, to offer filial piety and sacrifices. It is advantageous to see a great man and to achieve harmony, because gathering is done with correctness. Using great sacrifices is auspicious, and it is advantageous to go somewhere, because it follows the mandate of heaven."

致孝享，言萃一己之精神以萃祖考之精神，所以盡孝享之心也。盡志以致孝，盡物以致享。二五正應，君臣遇合以道，所謂聚以正也。當萃之時，物力豐贍，事勢可為。時豐而豐，道隆而隆。皆天之正理，故曰順天命也。

The phrase "zhi xiao xiang" means gathering one's own spirit to connect with the spirit of ancestors, thus fulfilling the heart of filial piety and offerings: using one's utmost sincerity is called "zhi xiao," and preparing offerings is called "zhi xiang." The line six in the second and nine in the fifth are in proper correspondence, ruler and subject harmonize through the Way, which is called "ju yi zhen." At the proper time of gathering, resources are abundant and affairs are feasible; when the time is favorable, offerings are generous, and when the Way is flourishing, actions are grand. These are all the proper principles of heaven, so it is said "shun tian ming."

觀其所聚，而天地萬物之情可見矣。陽倡陰和，乾始坤生。天地之化育皆聚也。形交氣感，聲應氣求。萬物之生成皆聚也。於咸見情之通，於恆見情之久，於萃見情之同。然情之所以同，其理本一故也。人能聚其精神，則天地萬物與我一，造化在我心矣。

The Commentary on the Judgment concludes by saying: "By observing what gathers together, the nature of heaven and earth and all things can be seen." Yang initiates and Yin responds harmoniously; Qian represents the beginning and Kun represents generation, and the transformation of heaven and earth is all about gathering. When forms meet and energies resonate, like sounds harmonize and like energies seek each other, the generation of all things is also about gathering. In the Hexagram of "Sincerity," we see the mutual connection of feelings; in the Hexagram of "Permanence," we see the enduring nature of feelings; in the Hexagram of "Gathering," we see the similarity of feelings. Feelings can be similar because their principles are originally one. If a person can gather his spirit, then heaven and earth and all things will merge with him, and the workings of nature will be within him.

象曰：澤上於地，萃。君子以除戎器，戒不虞。澤在天上，有恩澤之意。在地上，有潤澤之意。潤澤故生萬物而萃也。水聚而不防則潰，眾聚而不防則亂。除者，去舊取新，除其弊壞，以為不虞之備也。曰戒不虞，則非以耀武矣。若秦之銷鋒鑄鐻，則非除戎器之謂。

The Great Image Commentary says: "Water gathering on the earth, gathering. The superior man uses this to remove weapons of war, and to be prepared for unforeseen events." Water in the sky represents the idea of benevolent grace descending, as in the卦夬 where "water gathers on the sky"; water on the earth represents the idea of nourishment, for through nourishment, all things grow and gather together. If water gathers without being guarded, it will break out; if people gather without being guarded, disorder will arise. "Remove" means to discard the old and replace it, repairing and replacing broken and deteriorated weapons in preparation for unexpected changes. Since it says "be prepared for unforeseen events," it is not for the purpose of displaying military strength. As for Qin Shi Huang destroying all the weapons in the world and casting them into bells and chimes, that cannot be called "removing weapons of war."

黷武窮兵，又非戒不虞之謂也。初六。有孚不終，乃亂乃萃，若號，一握為笑，勿恤，往無咎。初與四應，而質柔不能固守，有孚不終之象。二陰間之，同類妄聚，乃亂乃萃之象。應四又連兌體，若有所呼號之象。二陰群聚而非之。互體為艮為手，兌為說，有一握為笑之象。一握猶一群。曰握，小之也。大象坎為加憂，恤之象。初變不成坎，勿慍之象。初能勿恤二陰之笑，往從正應則無咎矣。比初無應而有孚盈缶，終有他吉。萃初有應而有孚於不終，至於乃亂乃萃者。比一陽得位，諸爻比之者其情專。萃二陽，四不得位，二陰得以間之，其志亂也。

Continuing from the previous passage in the "Great Image" section, which says, "The superior man thus prepares weapons and keeps watch against unforeseen events," if one resorts to war without restraint, that is not the original meaning of "keeping watch against unforeseen events." The line statement for the first line says: one holds sincere intentions but fails to maintain them, thus causing disorder followed by gathering, and then disorder again; once one calls for support, it is mocked by those who gather together; if one does not pay attention and follows the proper response, there is no fault. Why is it so interpreted? The first line originally corresponds with the fourth line, but it is of a yin nature and cannot sustain the sincerity of this correspondence, hence the image of "having sincerity but not maintaining it." The two yin lines at the second and third positions block the way, causing the yin lines to gather in disorder, hence the image of "disorder and gathering." The first line corresponds with the fourth line, and the fourth line is connected to the upper trigram, which is Dui (Lake), representing mouth, hence the image of calling out. The two yin lines gather together to mock it: the lines from second to fourth form the trigram Gen (Mountain), representing hands; the upper trigram Dui (Lake) represents joy, forming the image of "a handful of laughter." "A handful" is like saying "a group," using the word "hold" intentionally to make it seem small and light. The overall image of the hexagram resembles Kan (Water), which represents "adding worry," which is the image of the character "xu" (care). When the first line changes, the structure of Kan is broken, hence saying "do not worry," meaning there is no need for concern. If the first line does not take the mockery of the two yin lines to heart and follows the proper response of the fourth line, there is naturally no fault. This can be compared with the hexagram Bi (Approach): the first line of Bi has no proper response, yet it says "sincerity fills the jar," ultimately leading to good fortune; whereas in the hexagram Cui (Gathering), the first line does have a proper response, but sincerity cannot be sustained, leading to "disorder and gathering." The reason is that in Bi, there is only one yang line, which is in the proper position, and all the other lines are attached to it, showing exclusive devotion; whereas in Cui, there are two yang lines, with the fourth line being yang in a yin position, which is improper, allowing the two yin lines to block the way, causing the first line's intentions to become confused.

象曰。乃亂乃萃，其志亂也。為同類群陰所亂也。六二。引吉無咎，孚乃利用禴。互艮為手，牽引之象。中正相應，孚之象。艮為門闕。二變互離。禴為夏祭，利用禴之象。二與五為正應，君臣道合矣。然在二陰之間，必牽引其同類之初六六三以萃於五，則得以人事君之義。乃吉而無咎矣。又以二之柔順中正，應五之剛健中正。至誠交孚，不事煩文。猶四時之祭夏用禴，以聲為主，祭之薄矣。然用之亦利。當萃乃大牲可用之時，然誠意既孚，則雖薄亦可祭矣。蓋人臣薦賢為國，非以植黨，則誠意可以上達也。

The Small Image Commentary says, "It is disorderly and gathering, for its will is confused," meaning that the initial line is disturbed by a group of like-minded yin lines. The line statement of the second line says: if one leads similar ones to gather together, it is auspicious and without fault, as long as sincerity is in the center; even using the simplest "yue" sacrifice of summer is beneficial. In terms of symbolic representation, from the second to the fourth lines, the trigram is艮 (Gèn), which represents hands, symbolizing the act of leading; the second line is flexible, centered, and corresponds to the fifth line, which is strong and centered, symbolizing "sincerity";艮 also represents gates and thresholds, and when the second line changes, the trigram becomes离 (Lí), which represents fire, and "yue" is the name of a summer sacrifice, thus symbolizing "it is advantageous to perform the yue sacrifice." The second line and the fifth line are in a proper correspondence, indicating that the relationship between ruler and minister is harmonious; however, since it is located between the first line and the third line, both of which are yin, it must lead the first line and the third line to gather at the fifth line, which conforms to the principle of "using human affairs to serve the ruler" — that is, recommending virtuous talents to the sovereign — thus resulting in auspiciousness without fault. Moreover, the second line, being flexible, centered, and corresponding to the fifth line, which is strong and centered, has a sincere heart that communicates fully with the fifth line. There is no need for elaborate rituals: just like the four seasonal sacrifices, the summer sacrifice uses "yue," which is characterized by singing and has the simplest offerings, yet it is equally beneficial. When gathering, it is a time when cattle and sheep are easily available, but since sincerity has already been established, even with simple offerings, the sacrifice can still be presented. In the end, a minister recommending virtuous talents does so for the country, not for private interests; this sincerity naturally reaches the sovereign.

象曰。引吉無咎，中未變也。陰柔不能固守，則所萃不正。二有中正之德，不變所守也。六三。萃如嗟如，無攸利，往無咎，小吝。六三陰柔，不中不正。欲萃於四而非應，有萃如嗟如之象。如是則無所利。往從於上，我順彼說，可以無咎矣。然上陰無位，所應非正，故又小吝。與初之往無咎者不同也。

The Small Image Commentary says, "Attracting good fortune without blame, the middle remains unchanged." A Yin and flexible nature is naturally unstable, and what it gathers is easily improper. However, the Six in the Second possesses the virtue of being in the center and maintaining correctness, never changing what it holds. Therefore, it attracts similar ones and achieves good fortune without blame. The Line Statement of the Six in the Third says: attempting to gather but failing, only resulting in sighs and no benefit. Going to rely on the Six at the Top brings no blame, but with a slight sense of shame. The Six in the Third, being a Yin line in a Yang position, is neither in the center nor in the proper place. It wishes to rely on the Nine in the Fourth, but the Nine in the Fourth is not its proper match, hence "gathering as if sighing" — an image of wanting to gather but only sighing in vain. Naturally, there is no benefit. If instead it turns to the Six at the Top, with its flexible nature, it approaches the Six at the Top, which is joyful and receptive, thus achieving no blame. However, the Six at the Top is a Yin line without a position of honor, and its proper match is not correct, so there remains a slight sense of shame. This is different from the clean and straightforward "going without blame" of the Six at the Beginning.

象曰。往無咎，上巽也。上應雖非正，以其說體，能巽順以從之也。九四。大吉無咎。上比九五，下比眾陰，得其萃矣。然以陽居陰不正，非君位而得眾心，有僭逼之嫌。故必大吉然後可無逼君之咎也。此與隨四同義。隨四以承五致天下之隨，必有孚而後無咎。此以承五致天下之萃，必大吉而後無咎。所以戒人臣者至矣。

The Small Image Commentary says, "Going forward without blame, because it is in the upper trigram of Wind." Although the sixth line at the top is not the proper corresponding line to the third line, it belongs to the trigram of Joy, and the third line, being flexible and yielding, can follow and attach itself to it, thus going forward without blame. The line statement for the fourth line only says "Great good fortune without blame." The fourth line is above the fifth line and below the three yin lines, so it may be said to have gathered the hearts of the people. However, since it is a yang line in a yin position, it is not in the proper place, and as it is not the sovereign position yet has gathered the hearts of the people, there is a suspicion of overstepping one's station. Therefore, it must achieve "Great good fortune" — meaning that all its actions are perfect — before it can be said to have no fault of pressing forward. This is the same meaning as the fourth line of the Hexagram of Following: the fourth line of Following, by serving the fifth line, brings the whole world to follow, and must have "faith" to have no blame; this line, by serving the fifth line, brings the whole world to gather, and must achieve "Great good fortune" to have no blame. The intention of the sage in using these to warn ministers is truly profound.

象曰。大吉無咎，位不當也。不居君位也。九五。萃有位，無咎，匪孚，元永貞，悔亡。九五陽剛中正，以居尊位，當萃之時有位，則與四之不當者不同。足以至天下之萃而無咎矣。然有四分其權，故或有匪孚者，必修其元善永長正固之德，則無思不服而悔可亡也。

The Small Image Commentary says, "Great good fortune without blame, because the position is not appropriate." This means that the Nine in the Fourth does not hold the position of the sovereign, so it must be especially cautious. The Line Statement of the Nine in the Fifth says: when in a time of gathering, it holds the proper position, thus there is no fault; even if some people are not fully convinced, as long as one cultivates the virtues of original goodness, enduring longevity, and firm uprightness, regret will disappear. The Nine in the Fifth, with its yang strength and upright virtue, holds the exalted position during a time of gathering. It possesses both virtue and position, which is entirely different from the Nine in the Fourth, which is not in the proper position. Thus, it is sufficient to attract the allegiance of the world without causing blame. However, the Nine in the Fourth has lost part of its authority and reputation, so it is inevitable that there are still those who are not fully convinced; at this time, one must cultivate the three virtues of original goodness, enduring longevity, and firm uprightness, and then the world will have no one who is not convinced, and regret will naturally vanish.

象曰。萃有位，志未光也。有位而猶匪孚，志未光大。故反己修德為要也。上六。齎諮涕洟，無咎。齎諮，嘆息也。自目曰涕。自鼻曰洟。兌口之嘆，有齎諮象。兌澤之流，有涕洟象。處萃之終，陰柔無位。求萃不得，必如是然後可無咎也。

The Small Image Commentary says, "Cui has a position, but the will has not yet become illustrious." Since there is already a position yet still there are people who do not follow, it shows that the will has not yet become prominent, so self-reflection and cultivating one's virtue are the essential tasks. The line statement for the sixth line at the top says: sighing and weeping, without fault. "Zi ci" refers to sighing; what flows from the eyes is called "te," and what flows from the nose is called "ti." The upper trigram is Dui, representing the mouth, and the sighing from the mouth is the image of "zi ci"; Dui also represents a marsh, and the overflowing water of the marsh is the image of "te ti." The sixth line at the top is at the end of the Cui hexagram, being阴 and without a position, seeking gathering but failing to gather, thus it must sigh and weep with anxiety and self-reproach, only then can it avoid fault.

象曰。齎諮涕洟，未安上也。五為萃主而上乘之，心自不安也。按，萃卦六爻，或有應或無應，或當位或不當位，而皆曰無咎。蓋天地萬物之情既聚，吉多凶少，此萃所以亨也。然萃卦與比卦相似。比以五為主而言，萃亦以五為主而有匪孚者。

The Small Image Commentary says, "Carrying sorrow and weeping, it is not secure above." Nine in the Fifth is the central leader of the hexagram, but Six at the Top is above it, so its mind naturally cannot be secure. Note: In the hexagram of Cui, some lines have the right response while others do not, some are in proper position while others are not, yet all are said to have "no blame." This is because the feelings of heaven and earth and all things have already gathered together, so good fortune is more frequent and misfortune less common, which is the reason why the hexagram of Cui is called "smooth." However, the hexagram of Cui is very similar to the hexagram of Bi: the hexagram of Bi is explained with reference to Nine in the Fifth, and the hexagram of Cui is also explained with reference to Nine in the Fifth, yet it specifically mentions the phrase "not trustworthy."

比卦一陽，其情專。萃多九四一陽，其勢分也。然萃六爻皆無咎，而比之六三傷上六凶者。比則向背已定，其情私。萃則進退未定，其情猶公也。然比卦一陽為主，故於全彖言元永貞。萃卦二陽，獨於九五言元永貞。則凡人君者當萃比之時，非有元永貞之德，無以善其始終也。

The hexagram Bi has only one yang line, indicating that the many yin lines are devoted to one; the hexagram Cui has an additional yang line at the fourth position, causing the situation to become scattered. However, all six lines of Cui say there is no blame, while Bi has the line six in the third saying "comparing with the wrong person" which causes harm, and line six at the top saying "comparing without a leader" which brings danger. The reason for this is that in Bi, the attitude of attachment or rejection has already been decided, and the situation is almost biased; in Cui, the movement forward or backward is still undecided, and the situation remains fair. This is also why Bi, with one yang line as the main element, repeatedly mentions "original virtue, enduring, and firmness" in its hexagram statement; while Cui, having two yang lines, only mentions "original virtue, enduring, and firmness" on the line nine in the fifth position. This shows that for a ruler, when people gather together and are close, if he does not possess the virtues of original goodness, enduring, and firmness, he will not be able to manage everything properly.

升升卦，下巽上坤。木生地中，長而益高，升之象也。又卦綜萃，下卦之坤升為上卦，亦升之義也。升卦次萃。按，《序卦》：萃者，聚也。聚而上者謂之升，故受之以升。物之積聚益高而上，升所以次萃也。全彖內巽外順，九二剛中而六五虛中以應，君子進用之象。故可以見大人而利於前進。六爻六五為升之主。下四爻皆有可進之象。唯上當升之極，而猶升不已則冥升而已。此全卦六爻之大畧也。

The lower trigram of the hexagram Sheng is Xun, and the upper trigram is Kun. Trees growing in the earth rise higher and higher, which is the image of "ascending." Furthermore, the primary hexagram is the reverse of the hexagram Cui. The lower trigram Kun of Cui, when inverted, becomes the upper trigram of Sheng, also implying the idea of ascending. The hexagram Sheng comes after Cui. According to the "Xu Guan Zhuan," "Cui" means gathering; gathering and moving upward is called "ascending," so Cui is followed by Sheng. The more things accumulate, the higher they rise, which is why Sheng follows Cui. Looking at the entire hexagram statement, the inner trigram Xun represents yielding and entering, while the outer trigram Kun represents flexibility and obedience. Nine Two, with its yang strength in the center, and Six Five, with its virtue of emptiness and humility responding below, is the image of a gentleman being promoted. Thus, it is favorable to see a great person and to move forward. Considering the six lines, Six Five is the main line of Sheng. The four lines below all show the image of ascending. Only the top line, Six Six, is at the extreme of ascending and continues to rise without restraint, leading to confusion and darkness. This is a general summary of the six lines of the hexagram.

升。元亨。用見大人。勿恤。南征吉。升進而上也。木自地生。卦綜萃。坤升於上，內巽外順。九二剛中有應。皆有大亨之象。以剛中之臣遇柔中虛已之君，有宜見大人，不事憂恤之象。後天巽坤之中為離，有南征得吉之象。

The hexagram statement says: "Ascending, great success; it is appropriate to present oneself before a great person, without worry; proceeding southward is auspicious." "Ascending" refers to advancing upward. Wood grows from the earth; the present hexagram is also the inverted hexagram of the hexagram Cui. The hexagram Cui's upper trigram is Kūn (Earth), which ascends to the upper position. The inner trigram is Xun (Wind), which is compliant and enters, while the outer trigram is Kūn (Earth), which is soft and compliant. Nine in the Second is a strong yang line in the center, and above it is Six in the Fifth, which corresponds. These all form the image of great success. A strong and central minister meets a soft and central ruler who is humble and listens to advice, hence the image of "it is appropriate to present oneself before a great person, without worry." According to the Later Heaven trigrams, Xun is in the southeast, Kūn is in the southwest, and between them is Li (Fire) in the due south, hence the image of "proceeding southward is auspicious."

彖曰。柔以時升。按，《本義》謂以卦變釋卦名，謂解之三上居四也。陰陽二氣迭為升降。剛在上以為常，柔在上則以為時。亦扶陽抑陰之意也。來注以卦綜言，萃下卦之坤升而上也。然竊按，卦變柔進居上者多，即卦綜坤居上者亦多。

The Commentary on the Judgment says, "Yin is rising in its proper time." According to Zhu Xi's "Benyi," this is interpreted through the transformation of hexagrams, stating that the hexagram of Ascending comes from the hexagram of Resolving. In the hexagram of Resolving, the third line and the top line are exchanged, with the fourth line occupied. Yin and yang energies alternate in rising and falling; it is normal for yang to be above, but for yin to be above, it must wait for the right time. This also contains the idea of supporting yang and restraining yin. Lai Zhide's commentary, however, approaches this from the perspective of the inverted hexagram, suggesting that the lower trigram of Cui (Gathering) is the earth trigram rising upwards. But upon my own examination: in terms of hexagram transformation, there are many hexagrams where a yin line advances to the upper position; in terms of the inverted hexagram, there are also many hexagrams where the earth trigram is in the upper position. Neither approach is specific to the hexagram of Ascending.

獨此以升言，當以卦象言之。五行惟木最柔。然及時之既至，則自地下升於地上。又巽為風。風有氣無質，亦最柔者也。然時之既至，亦自地而上升。大象專言木，此魚木與風言之，故曰柔以時升。

Only this hexagram discusses "ascending," and it should be explained through the hexagram's imagery. Among the Five Phases, wood is the softest, yet when the season arrives, it rises from the ground to the surface; wind, represented by Xun, also has energy but no form, making it the softest, yet when the season comes, it also rises from the ground. The Great Image Commentary only mentions wood, but here it considers both wood and wind (the character "fish" is likely a mistake for "combine"), thus saying "soft things rise with the right time" — soft things rise in accordance with the right season.

巽而順，剛中而應，是以大亨。以卦德言之。內巽則沉潛觀理，外順則從容待時。以卦體言之。二有剛中之德，應五虛己之君。宜其大亨也。用見大人，勿恤。有慶也。南征吉，志行也。萃以五為大人。升以二為大人。聚者，下之所樂。故但見言利見大人。進者，上之所忌。故言用見大人。勿恤，慶在得君而志在行道也。

The Commentary on the Judgment says, "Flexible and yielding, strong and central with a response, thus great success is achieved." From the perspective of the trigram qualities: the inner trigram is Xun, indicating the ability to sink down and examine principles; the outer trigram is Kun, indicating calm and patient waiting for the right opportunity. From the structure of the hexagram: Nine in the Second possesses the virtue of a strong and central yang, corresponding with Six in the Fifth, a ruler who is humble and open to talents, thus it is appropriate for great success. The Commentary on the Judgment also says, "Seeing a great person, without worry, there is celebration; a southern campaign is auspicious, as the will is carried out." In the hexagram Cui, Nine in the Fifth is called "the great person," while in the hexagram Sheng, Nine in the Second is called "the great person." Gathering is something desired by those below, so the hexagram Cui only says "favorable to see a great person." Ascending, however, is something that is feared by those above, so the hexagram Sheng says "using to see a great person," with the word "using" showing the seriousness and difficulty involved. The reason for celebration in "without worry" is due to gaining the trust of the ruler, while the heart's aspiration lies in promoting one's own way.

象曰。地中生木。升。君子以順德，積小以高大。《本義》以順作慎。謂事事謹慎乃能積小以至高大也。然按，坤巽二卦皆有順義。木之生自小至大，人莫見其跡，順其自然也。學問積小以至高大，亦順其自然，不間以私意而已。

The Great Image Commentary says, "Wood grows from the earth, rising upward; the gentleman follows the virtue of顺应, accumulating small things to reach great heights." The original meaning interprets "顺" as "慎," meaning that being cautious in everything allows one to accumulate from small beginnings to great achievements. However, it should be noted that both the Kun and Xun hexagrams inherently contain the meaning of顺应. Just as a tree grows from small to large without visible traces, this is following nature's course. Similarly, accumulating knowledge from small to great is also following nature's course, but without letting personal intentions interfere.

初六。允升大吉。以柔居下，無應於上，本不能升。而二三當上升。初巽於二陽，二陽允之。故大吉也。晉三眾允，為二陰所信也。以陰信陰，不過悔亡而已。以陽信陰，故得大吉也。象曰。允升大吉，上合志也。《程傳》以上專指九二。然二陽皆欲上進者。初為巽主，與二陽同體，故從《本義》兼指二三。

The line statement for the first line says: Being recognized by others and ascending, great good fortune. The first line, being a yin line at the very bottom, has no proper corresponding yang line above it, so it would naturally not be able to ascend. However, when the second and third lines are ascending, the first line, being yin and flexible, adheres to these two yang lines. The two yang lines also recognize it, thus resulting in great good fortune. This can be compared to the third line of the Progress卦 (Jin), which says 'general trust,' where it is trusted by two yin lines, with yin trusting yin, but only resulting in the loss of regret. Here, however, yang trusts yin, thus achieving great good fortune. The Small Image Commentary says 'allowed to ascend, great good fortune, harmonizing with the will above.' The Cheng transmission believes 'above' refers specifically to the second line. However, both the second and third lines are ascending, and the first line is the main line of the Xun hexagram, being in harmony with both yang lines. Therefore, following the original meaning, 'above' refers to both the second and third lines.

九二。孚乃利用禴。無咎。萃六二以中虛為孚，此以中實為孚。二變互坎為隱伏，鬼神祭祀之象。以剛中之臣，應柔中之主。至誠相感，可以不事文飾。猶禴祭之簡質，可達於神也。如是，則可以無咎矣。象曰。九二之孚，有喜也。君臣相信，有得時行道之喜也。中互兌喜悅之象。二未言升，有喜則可升矣。

The line statement for line two says: With sincerity in the heart, it is appropriate to use a simple "yue" sacrifice, without error. In the hexagram Cui, line two is a yin line with emptiness in the middle, representing "fu" (credibility). This line, however, is a yang line with fullness in the middle, also representing "fu". When line two changes, the interacting elements form Kan, which represents concealment. This is exactly the image of spirits and deities being worshipped. A strong and central minister above corresponds to a gentle and central king; sincere feelings are sufficient, without any embellishment, just like the simple "yue" sacrifice, which can still communicate with the divine. Thus, there is no error. The Small Image Commentary says, "The credibility of line two brings joy": mutual trust between sovereign and minister brings the joy of timely and proper action. The interacting elements form Dui, which represents joy, and this is the image taken. This line does not explicitly mention "sheng" (ascending), but since there is already joy, ascending is possible.

九三。升虛邑。陽實陰虛。坤為國邑。九三以陽剛當升之時，進臨於坤，故有升虛邑之象。象曰。升虛邑，無所疑也。三得正應，可以無疑也。六四。王用亨于岐山，吉無咎。人積誠以達於神，有升而上通之義。故二四皆以祭享言之。五陰居尊，山象。四承之，亨于岐山之象。四未居尊位，文王在岐周時之象。又二大臣四近臣。升有偪上之嫌，故皆不言升，而以誠意上達為升。如是，則吉而無咎也。

The third line statement says: "Rising into an empty city." A yang line represents reality, while a yin line represents emptiness; the earth trigram represents a city-state. The third line, with its yang strength, is at the time of rising and approaches the upper trigram, which is earth, thus forming the image of "rising into an empty city" — like entering an unoccupied place. The Small Image Commentary says, "Rising into an empty city, there is no doubt." The third line and the sixth line above are in a correct correspondence, so advancing without hesitation is appropriate. The fourth line statement says: "The king holds a sacrifice on Mount Qi, which is auspicious and without fault." People accumulate sincerity and thus reach the divine, implying an upward movement and connection with the superior. Therefore, the second and fourth lines both use the image of sacrifice to express "rising." The fifth line, being a yin line in a superior position, represents a mountain; the fourth line supports it, forming the image of "sacrificing on Mount Qi." The fourth line has not yet reached the superior position, which corresponds to King Wen still being a feudal lord in the state of Qi and Zhou. Moreover, the second line represents a minister and the fourth line a close attendant; explicitly stating "rising" might imply an overbearing ascent, so both lines avoid directly mentioning rising and instead use the idea of sincere intent reaching upward as a substitute. Thus, it is auspicious and without fault.

象曰。王用亨于岐山，順事也。按，《本義》謂以順而升，登祭于山之象。竊按，順宜就文王言之。文王三分有二以服事殷，順之至也。守人臣之位，而以積誠上達為升，所謂順也。六五。貞吉升階。以陰居陽，疑於不正，故言必正固則吉，如升階之易矣。坤為土，有階象。六五以陰居尊，必有正固之德以居天子之位，則正朝廷以正萬民，如升階之易也。

The Small Image Commentary says, "The king used to offer sacrifices at Qishan, which is a sign of following the right course." According to the "Benyi" interpretation, this refers to the image of a gentle and compliant ascent, like offering sacrifices on a mountain. I personally think that the term "shun" should be understood in relation to King Wen himself: King Wen had already controlled two-thirds of the world, yet still remained loyal to the Shang dynasty, which was the highest degree of compliance. He carefully maintained the position of a subject, and regarded the accumulation of sincere virtue as his own "ascent." This is what is meant by "shun." The line statement of the fifth line says: maintaining the correct position brings good fortune, and ascending is like climbing steps. The fifth line, being a yin line in a yang position, appears to be improper, so it specifically emphasizes that it must be firm and upright to bring good fortune, making the ascent as easy as climbing steps. The earth element (Kun) has the image of steps. The fifth line, being a yin line in a noble position, must possess firm and upright virtue to be worthy of the position of the Son of Heaven. If he can properly regulate the court and thus the people, then his advancement will be as smooth as climbing steps.

象曰。貞吉升階，大得志也。居尊致治，其志大得。又自下而上，至君位而極矣。故曰大得志。上六。冥升。利于不息之貞。以陰居升之極，務進不已，昏冥於升者也。若能反其升位之心以升其德，則純亦不已，積而愈高。故曰利于不息之貞也。使不貞，則其不息何所利哉。

The Small Image Commentary says, "Maintaining uprightness brings good fortune, for it is a great realization of one's aspirations." Being in a position of honor and achieving great governance, one's aspirations can be truly realized. Moreover, ascending from below to the highest position is the peak, hence it is said "a great realization of one's aspirations." The line statement of the sixth line at the top says: ascending blindly and without clarity, it is appropriate to follow an unceasing upright path. The sixth line at the top, being a yin and flexible element at the peak of the Ascending Hexagram, strives upward without rest, which is the description of someone who is confused and blindly ascending. If one could reverse the desire for promotion into the cultivation of virtue, that would be what the Doctrine of the Mean calls "pure and unceasing." It accumulates continuously, hence it is said "favorable for an unceasing upright path." If one does not adhere to the upright path, then what is the benefit of an unceasing ascent?

象曰。冥升在上，消不富也。陰虛不富。升極必降，長極必消。昏冥不已，不能有其富矣。全卦以卦綜言之，則坤升巽上。以二象言之，則木自地升。以六爻言之，則六五為踐阼之君。升至此而極，為升之主。而下四爻皆上升者。二應五之大臣，四承五之近臣。皆嫌於言升，積誠上達亦升也。初在下，小臣也。得上援而升。三立功任事之臣也，升而得國。上無可升而務升不已。能為不息之貞，則衛武公之髦期進德也。若徒於位求升，君則周天元，臣則莽卓之臣而已，其昏冥何如哉。

The Small Image Commentary says, "Rising in darkness at the top, it is not rich." The yao is empty and not substantial, so it is said "not rich." Rising to the extreme must inevitably descend, and growth to the extreme must inevitably decline. Rising continuously in darkness will eventually fail to maintain its richness. Looking at the whole hexagram: from the inverted hexagram, it is the hexagram of Accumulation changing to the hexagram of Earth; from the upper and lower trigrams, it is wood rising from the earth; from the six lines, the sixth line is the already enthroned ruler, who has reached the extreme point of rising, which is the main point of the hexagram of Rising. The four lower lines are all rising: the second line is the minister corresponding to the fifth line, the fourth line is the close minister serving the fifth line, and they are not explicitly saying "rising," so they are considered to rise by accumulating sincerity and reaching upwards; the first line is the lowly official at the very bottom, rising by being supported by those above; the third line is the official who establishes achievements and takes responsibility, rising to occupy the state and territory; the sixth line has already reached the limit of rising yet still continues to seek rising. If it can instead achieve "constant sincerity," it would be like the state of Wei Wugong, who was ninety years old yet still diligently advanced in virtue. If one only seeks rising in official position, the ruler becomes a昏君 like the Northern Zhou Tianyuan Emperor, and the minister becomes someone like Wang Mang or Dong Zhuo, how could that darkness be described?

困困卦，下坎上兌。以二象言之，水在澤下。枯涸無水，困乏之象。以二體言之，兌陰在上，坎陽在下。以卦畫言之，上六在二陽之上，九二限二陰之中。皆以陰揜陽。故為困。困卦次升。按，《序卦》：升而不已必困，故受之以困。乾進不已，必取困窮，困所以次升也。全彖以處險而說。二五剛中，有處困而亨之道。然惟大人能之。但不可尚口以取困窮。此全彖之大旨也。六爻以三柔揜三剛。大抵柔揜剛者凶，而剛之被揜者吉。下卦初三凶而二吉，上卦四五吉而上悔。蓋在困不失其亨惟君子，故剛爻多吉也。上雖有悔而不至於初三之凶，則又困極而通之漸也。此六爻之大畧也。

The lower trigram of the困卦 is Kan (Water), and the upper trigram is Dui (Lake). Considering the two trigrams together, water is beneath the lake, and the lake is dry and lacks water, which represents the image of being in a state of hardship. In terms of the trigrams' nature, Dui belongs to yin and is located above, while Kan belongs to yang and is located below. In terms of the hexagram lines, the sixth line at the top presses down upon the second and fifth yang lines, and the second line is sandwiched between the first and third yin lines. These situations represent yin covering yang, hence the name "困" (hardship). The困卦 comes after the升卦. According to the "Sequence of Hexagrams" transmission, continuous upward movement without restraint will inevitably lead to hardship, hence the升卦 is followed by the困卦. To seek advancement without limit will certainly lead to self-imposed hardship, which explains why the困卦 follows the升卦. From the hexagram statement, the entire hexagram depicts a situation where one is in a dangerous situation yet remains joyful. The second and fifth lines, both yang and in the center, possess the conditions for being in hardship yet achieving success; however, this is only possible for a great person, and one must not engage in verbal disputes, which would only worsen the hardship. This is the main idea of the hexagram statement. In terms of the six lines, three yin lines cover three yang lines. Generally, yin lines that cover yang lines are ominous, while the yang lines that are covered are favorable. The first and third lines of the lower trigram are ominous, while the second line is favorable. The fourth and fifth lines of the upper trigram are favorable, while the sixth line has regret. Because only the gentleman can endure hardship without losing his success, the yang lines are mostly favorable. Although the sixth line has regret, it is not as ominous as the first and third lines, which is another sign that hardship has reached its peak and is about to turn into success. This is the general idea of the six lines.

困。亨。貞。大人吉。無咎。有言不信。困，窮不能自振也。坎剛為兌柔所揜，九二為初三所揜，四五為上六所揜，所以為困。坎險兌說。處險而說，有亨之象。困而能亨，得其正矣。

The Hexagram Statement says: "Confusion, smooth; it is appropriate to maintain uprightness; great men will be fortunate, without fault; at this time, if one speaks, others will not believe." "Confusion" means being in a state of distress and unable to recover on one's own. The yang of Kan is concealed by the yin of Dui: Nine Two is concealed by Initial Six and Sixth Three, while Nine Four and Nine Five are concealed by Upper Six, thus forming "Confusion." The lower trigram Kan represents danger, and the upper trigram Dui represents joy. Being in a dangerous situation yet maintaining inner joy brings about a smooth outcome; confusion leading to smoothness indicates that one has remained on the right path.

二五剛中，有大人象。身困道亨，非大人不能，其占吉而無咎也。兌為口，有言象。坎為耳痛，有言不信之象。當困之時，嘵嘵有言，人必不信，徒取困窮也。他卦言亨言貞，亨由於貞。此則亨所以為貞。蓋處困能亨，惟貞正之大人能之，所以吉而無咎。有言不信，則戒之之辭也。

Nine in the Second and Nine in the Fifth both have yang strength in the center, symbolizing the image of a great person. Although their situation is difficult, their path is smooth. It is not that a great person cannot do it, so the judgment is favorable without fault. Dui represents mouth, symbolizing speech; Kan represents ear pain, symbolizing that when one speaks, others do not believe. When one is in a difficult situation, persistently arguing will certainly not be believed, only leading to deeper hardship. Other hexagrams speak of "smoothness" and "uprightness," meaning smoothness comes from uprightness. This hexagram, however, considers smoothness itself as uprightness. Being inpredicament yet achieving smoothness can only be done by a truly upright great person, hence it is favorable without fault. As for "words not believed," it is the warning of the sage.

彖曰。困，剛揜也。不曰柔揜剛而曰剛揜，卦為君子設。言剛之受揜，若剛自為之。亦抑陰之意也。此以卦體釋卦名也。險以說，困而不失其所亨，其唯君子乎。貞大人吉，以剛中也。有言不信，尚口乃窮也。

The Commentary on the Judgment says, "Confusion is the concealment of the strong." It does not say "the soft conceals the strong," but rather "the strong are concealed," because the Book of Changes is intended for the gentleman: discussing the concealment of the yang, the tone seems as if the yang itself has invited this, and here too it contains the intention of restraining the yin. This is using the structure of the hexagram to explain the name of the hexagram. The Commentary on the Judgment then continues: "Perilous yet joyful, in confusion without losing the way of harmony, this is the way of the gentleman; uprightness brings good fortune to the great man, because of the strong and central yang; words without trust lead to destitution, for excessive talking leads to ruin."

困而不失其所亨，亨不於其身於其心，不於其時於其道也。剛中，指二五。凡人處困，大則失節，小則憂隕，以中不剛耳。剛中則知眀守固，居易俟命，所以貞大人吉也。兌口在上，有尚口之象。剛德在中，無藉於口。尚口欲以出困，反以致窮。蓋困時向人嘵嘵，即不能亨，即非貞矣。

The phrase "困而不失其所亨" means that success or smoothness is not in the body but in the mind, not in temporary fortune but in the path one holds fast to. "刚中" refers to the lines nine in the second and nine in the fifth. Usually, when people are inpredicament, they may lose their principles in serious cases or become anxious and despondent in lighter ones, because their hearts are not strong. When yang is strong and in the center, one's insight is clear and one's conduct is firm, able to remain in an ordinary place and wait for destiny, hence it is said "the upright great person is auspicious." The mouth of兑 is at the top, indicating a tendency towards speech; but with strong virtue in the center, one does not need to rely on words. Trying to escapepredicament by speaking a lot only brings more hardship: being inpredicament and talking endlessly to others means one cannot achieve success and is no longer upright.

象曰。澤無水。困。君子以致命遂志。水下漏則澤枯，故曰無水。致命，委致其身也。委命於天，以遂我之志。論是非不論利害，論可否不論死生，所謂困而亨也。致使有坎險之象，遂志有兌說之象。

The Great Image Commentary says, "A marsh without water is a state of being trapped; the superior person thus dedicates his life to fulfill his aspirations." When the water in the marsh leaks away, the marsh dries up, hence "without water." "Dedicating one's life" means offering oneself entirely: entrusting one's life to heaven in order to realize one's aspirations; considering only right and wrong rather than gains and losses, considering only whether something should be done rather than life and death, this is called being trapped yet able to achieve success. "Dedicating one's life" contains the image of the lower trigram Kan (water), representing danger, while "fulfilling one's aspirations" contains the image of the upper trigram Dui (lake), representing joy.

初六。臀困于株木。入于幽谷，三歲不覿。全卦剛為柔所困，六爻柔之困益甚。蓋在困時，無剛德則不能亨故也。人之體，行則趾為下，坐則臀為下。初六不能行而坐困者，故有臀象。株木，不可坐者。全卦水澤中互巽木，水草之區，故初三上皆以草木取象。

The Line Statement of the first line (Six at the Beginning) says: The buttocks are confined sitting on a bare tree stump, falling into a deep valley, three years without seeing the sun. The entire hexagram represents a yang line being trapped by yin lines, and the yin lines suffer more severe confinement, because during times of difficulty, without the virtue of yang, there is no smooth progress. In the human body, the toes are at the lowest when walking, and the buttocks are at the lowest when sitting. Since the first line (Six at the Beginning) cannot walk and can only sit in confinement, it takes the image of the buttocks. A "tree stump" is the remaining part of a felled tree, which is not something one can sit on. The entire hexagram is water and marsh, with the intermediate line of wind (Wood) in the middle, which is a place where water and grass grow. Therefore, the first line, the third line (Six in the Third), and the top line (Six at the Top) all take the image of grass and wood.

兌正秋。坎正比。初六在坎之下，大冬之時。蔓草凋脫，僅存株木，有困于株木之象。又坎險之最下，有入于幽谷之象。四本正應，而四亦在困中，不能振人。初距四三爻，不能遽遇於四，有三歲不覿之象。象曰。入于幽谷，幽不明也。陽眀陰暗。陰居最下[文淵本“最下”作“陽下”]，不明之極，自陷於深困也。能眀則亨矣。

The Trigram Dui corresponds to the season of autumn, and the Trigram Kan corresponds to due north. The line Initial Six is at the very bottom of Kan, which corresponds to the height of winter when vines and grasses wither completely, leaving only bare tree stumps, hence the image of "being confined by a bare stump." It is also at the very bottom of the dangerous Trigram Kan, hence the image of "entering a dark valley." The line Nine in the Fourth is its corresponding line, but since Nine in the Fourth is also in apredicament, it is unable to help others. Initial Six and Nine in the Fourth are separated by three lines, so they cannot meet immediately, hence the image of "not meeting for three years." The Small Image Commentary says, "entering a dark valley, dark and unclear." Yang represents brightness, while Yin represents darkness; Initial Six, with a Yin line at the very bottom, is extremely dark, as if it has fallen into a deeppredicament. If one understands the principles, then it becomes smooth and prosperous.

九二。困于酒食。朱紱方來。利用亨祀。征凶。無咎。坎為酒食。陽陷陰中，上無應與，有困于酒食，厭飫過宜之象。然與五同德。五雖亦在困中，緩乃終合。又二互三四為離，有朱紱方來之象。坎中實，誠意在中，利用享祀之象。無應而在險中，行非其時，有征凶之象。然朱紱之來，正宜竭誠圖報。雖時值艱難，征則有凶，而鞠躬盡瘁，於義無咎也。

The statement of the second line says: One is trapped by wine and food, a red sash is about to arrive, it is suitable to hold a worship ceremony; at this time, traveling is dangerous, but it is not a fault. The trigram Kan represents wine and food; the second line, which is a yang line, is trapped between two yin lines, and there is no corresponding yang line above, so there is an image of being trapped by wine and food, overeating leading to burden. However, it shares the same yang strength with the fifth line, although the fifth line is also trapped, it will eventually meet with it if it waits a while. Moreover, the second line together with the third and fourth lines forms the trigram Li, which represents red color, so there is an image of 'a red sash is coming' — the royal command is about to arrive. The middle line of the trigram Kan represents reality, symbolizing sincere intention in the heart, which is the image of 'suitable for worship'. Being without a corresponding line and in a dangerous situation, at this time, taking action is not appropriate, so there is an image of 'traveling is dangerous'. However, since the red sash is coming, one should sincerely strive to repay it; although at this difficult time, traveling is dangerous, but working hard without rest, in terms of righteousness, there is no fault.

象曰。困于酒食，中有慶也。雖困于酒食，而有剛中之德。終能當大任，以造福於天下也。六三。困于石。據于蒺藜。入于其宮。不見其妻。凶。六三不中不正，上無應與。將比於四而四扼之，四以兌體堅不可動，有困于石之象。乘乎九二之陽而剛銳不可倚，又坎為蒺藜，有據于蒺藜之象。六三居陽而上六居陰，故三以上為妻。互巽為入，互離而此爻變為有目不見。三求配於上，入其宮則是。而上六非正應，有入其宮不見其妻之象。上非所困而困，下非所據而據，身危而家不可保矣。

The Small Image Commentary says, "Being confined by food and drink, there is a celebration within." Although one is confined by food and drink, it possesses the virtue of a yang line in the center, and ultimately can shoulder great responsibilities and benefit the world. The line statement of six three says: being confined by a stone, and leaning against thorns, returning to one's home, yet not seeing one's wife, which is ominous. Six three is not in the center and is not in the proper position, and there is no correct corresponding line above. It wishes to approach nine four, but nine four blocks it. Nine four belongs to the trigram dui, which is hard and unyielding, hence the image of being confined by a stone. It is below nine two, which is a yang line, and nine two is sharp and cannot be relied upon. The trigram kan is thorns, hence the image of leaning against thorns. Six three is a yin line in a yang position, and upper six is a yin line in a yin position, so six three takes upper six as its "wife." The mutual trigram xun indicates entering, and the mutual trigram li originally represents the eye, but this line changes to a state where there is an eye but it cannot see. Six three seeks to pair with upper six, entering its dwelling is appropriate, but upper six is not its correct corresponding line, hence the image of entering its dwelling but not seeing its wife. The upper should not be confined but is confined, the lower should not be relied upon but is relied upon, thus the self is in danger and the household is also lost.

象曰。據于蒺藜，乘剛也。入于其宮，不見其妻，不祥也。三變為大過，有棺槨象。不祥，死期將至也。九四。來徐徐。困于金車。吝。有終。按，《本義》：初六九四正應。九四處位不當，不能濟物。而初六方困於下，又為九二所隔。故其象如此。然邪不勝正，故其占為可吝而必有終也。

The Small Image Commentary says, "Standing on thornbushes, riding on strength; entering his house, not seeing his wife, an omen of misfortune." When the sixth line changes, the whole hexagram becomes Great Excess, which symbolizes a coffin and its lid. The term "misfortune" refers to approaching death. The statement about the fourth line says: coming slowly and hesitantly, trapped by a chariot, there is shame and regret, but ultimately there is a result. According to the Meaning, the first line and the fourth line were originally in a proper correspondence. However, the position of the fourth line is improper, and it lacks the strength to help others. The first line is in a difficult situation below and is blocked by the second line, hence the hexagram appears as such. Yet evil ultimately cannot overcome righteousness, so the divination concludes that although there may be shame and regret, there will eventually be a good outcome.

今按，卦以剛掩於柔為名，則九四不宜困於九二之剛。宜合坎體言之初與四為正應。初受困而待拯於四，四以剛居柔力不能濟，故有來徐徐之象。兌為金。坎為輪。兌之二陽皆為上柔所揜，四復乘坎之險，有困于金車之象。如是誠可吝矣。然上陰五陽有與，故有終也。

Now my view is that the primary hexagram is named because of the yang being concealed by yin, so the nine in the fourth line should not be said to be trapped by the yang of the second line. Instead, it should be interpreted in relation to the trigram Kan. The first line and the fourth line are in a direct correspondence; the first line is trapped and waiting for the fourth line to rescue it. The fourth line, however, is a yang line in a yin position, and its strength is insufficient to help, hence the image of "coming slowly" — arriving late. The trigram Dui represents metal, and Kan represents a cart; the two yang lines of Dui are concealed by the yin of the sixth line at the top. Moreover, the fourth line is overpowering the dangerous position of Kan, hence the image of "trapped by a golden cart." This is indeed a disgrace. However, the sixth line at the top is yin while the fifth line is yang. The fourth line above the fifth line has something to rely on, so there is ultimately a resolution.

象曰。來徐徐，志在下也。雖不當位，有與也。按，《程傳》以初之正應為與。竊按，剛揜之卦無取於陰之與，宜作上承五陽為有與。有與則亨而有終矣。九五。劓刖。困于赤紱。乃徐有說。利用祭祀。

The Small Image Commentary says, "Coming slowly, the intention is to be below; although not in the proper position, there is support." According to the Cheng Transmission, the initial line is taken as "there is support." I personally think that in a hexagram where a strong line is concealed by a weak one, the yin line should not be considered as support. Instead, "there is support" should be interpreted as the ninth line in the fourth position supporting the ninth line in the fifth position. Having something to rely on allows for smooth progress and a favorable outcome. The line statement of the ninth line in the fifth position says: suffering a severe injury, like having the nose cut off and feet amputated, being trapped by a red sash, gradually turning into joy, it is appropriate to perform worship.

按，《本義》以上為陰揜，下則乘剛為劓刖。上下既傷，則赤紱無所用為困。竊按，剛揜之卦不宜以乘剛為揜。五居三陽之上，君位。宜合全卦論之。上揜於上六，有劓象。下困於坎初，有刖象。二三四互為離南方赤色。紱，下體之衣。為君而在困中，上下被揜，則雖衣純朱之赤紱，亦無所用矣，有困于赤紱之象。然而剛中說體，誠意可格於鬼神，故有徐有說，利用祭祀之象。

According to the original meaning, the nine fifth line is covered by a yin line above and is overlaid by a yang line below, hence called "劓刖" (nose and foot amputated); since both upper and lower are injured, the red sash becomes useless, thus resulting in a state of being trapped. I personally think that in a hexagram where a yang line is covered by a yin line, the term "overlaid by yang" should not be considered as covering. The nine fifth line is located above three yang lines, representing the position of the sovereign. It should be discussed in relation to the whole hexagram: being covered by the upper sixth line above represents the image of having the nose cut off; being obstructed by the lower trigram Kan below represents the image of having the foot cut off. The second, third, and fourth lines form the trigram Li, which is located in the south and has the color red. "Fu" is a ceremonial garment used to cover the lower body. As a sovereign being trapped, both upper and lower are covered, so even if wearing a purely red sash, it would be of no use, hence the image of "being trapped by the red sash." However, the nine fifth line is a yang line in the center, and also belongs to the trigram Dui, which represents joy. With sincere intentions, it is sufficient to move and harmonize the spirits, hence the image of "gradually finding relief and being suitable for worship."

象曰。劓刖，志未得也。乃徐有說，以中直也。利用祭祀，受福也。志未得，在困中主威不振也。中直，有剛中之德。是非有別，不惑群枉也。受福者至誠格天，則可祈天而永命矣。此困之亨也。

The Small Image Commentary says, "Nose-cutting and foot-cutting, the will has not yet been realized; only gradually does there come relief, because of uprightness in the center; it is advantageous to worship, receiving blessings." What is meant by "the will has not yet been realized" is that one is in a state of difficulty and the ruler's authority cannot be fully exerted. "Uprightness in the center" refers to possessing the virtue of a yang line in the center: discerning right and wrong clearly, not being misled by many false and crooked opinions. "Receiving blessings" means that sincere devotion can move heaven, thus being able to pray to heaven and prolong the mandate of heaven—this is precisely the way the困卦 achieves success.

上六。困于葛藟。于臲卼。曰動悔。有悔。征吉。澤，水草之區。水枯而草木叢襍，故困。三陰爻皆取於草木。坎北方。初，冬將盡。僅存株木。三，秋冬之交。草葉脫而刺存，故象蒺藜。兌上，初秋。蔓草未殺也，故有困于葛藟象。葛藟，在束縛之中。臲卼，不安之狀。曰動悔，言處困之極，則有悔也。有悔征吉之悔，與上不同。上言事必致悔，此言心能自悔也。言能自悔其所為，則不終於困，往而可以得吉，所謂困極而通也。九二征凶，在險中也。上六征吉，困之極出險之外也。

The line statement of the sixth line at the top says: being entangled by vines, situated in a place of instability, one will inevitably bring regret with any movement; if there is regret, then going forward will be auspicious. A marsh is a place where water and grass grow together. When the water dries up, the grass and trees become tangled and knotted, hence the situation of being trapped. The three yin lines are all symbolized by grass and trees. The trigram Kan is located in the north: the first line, six at the beginning, represents the end of winter, with only tree stumps remaining; the third line, six at the third, corresponds to the transition between autumn and winter, with leaves falling and thorns still present, hence symbolizing thorned plants; the sixth line at the top, located in the trigram Dui, represents early autumn, when weeds have not yet been killed by frost, hence the image of being entangled by vines. "Gelui" refers to being bound by vines, while "nianwu" describes a state of instability and unease. "Yue dong hui" means that when one is in the extreme situation of being trapped, any movement will inevitably lead to regret. The "regret" in "you hui zhi ji" is different from the previous one: the former refers to regret that is unavoidable, while the latter refers to regret that arises from within. If one can reflect and regret one's actions, then one will not remain trapped for life, and going forward will be auspicious, which is called the transition from extreme difficulty to smoothness. The second line, nine in the second, says "zheng xiong" because it is still in danger; the sixth line at the top, however, says "zheng ji" because having reached the extreme of being trapped, one has already moved beyond danger.

必曰有悔，聖人慾人之悔過也。象曰。困于葛藟，未當也。動悔有悔，吉行也。所行未當，所以受困，動而有悔也。然困悔而能有悔，則行為吉。行可以出困矣。全卦以剛揜為困。唯其剛，故在困而亨為貞，為大人。然剛中則亨，尚口則不信，處困之道盡是矣。六爻初困于株木，三困于石，而二之困酒食則有慶。初三凶而二吉也。四有終。五有說，而上則未當。四五吉而上凶也。蓋陽剛為能亨貞之大人，故陽爻雖困皆吉。陰爻唯上有有悔征吉，則聖人望人悔過之心。困而知悔，亦可學為君子矣。

The text specifically mentions "there is regret," indicating that the sage hopes people will repent. The Small Image Commentary says, "Being entangled in the thorny vine, it is not appropriate; when one moves, there is regret, but if one regrets and truly understands, then the action is auspicious." If one's actions are inappropriate, one becomes entangled, and any movement brings regret; however, if one is regretful and truly repents, then the action is auspicious and can lead to escaping the困境. Looking at the entire hexagram, the being trapped is due to the concealment of yang strength. Because it is yang, being trapped yet achieving success is called "uprightness" and is worthy of being called "great man." Yang strength in the center leads to success, while using words without substance leads to lack of trust, and the way of being in困境 is fully explained here. Among the six lines, the first line is trapped by the tree, the third line is trapped by the stone, while the second line, though trapped by food and drink, has "a celebration in the middle," meaning the first and third lines are inauspicious while the second is auspicious. The fourth line has "a conclusion," the fifth line has "a resolution," while the sixth line is "not appropriate," meaning the fourth and fifth lines are auspicious while the sixth is inauspicious. Generally, yang lines are the ones capable of success and uprightness, so yang lines are auspicious even when in困境. Among the yin lines, only the sixth line has "there is regret, and it is auspicious," which reflects the sage's earnest hope that people will repent. When inpredicament and realizing regret, one can begin to become a gentleman.

井井卦，下巽上坎。巽入於水，汲而上之，井之象。又以卦畫論之。初柔象泉源，三二則象泉，四柔井之中，五剛泉之上出，上柔井口，有全井之象。故名井。井卦次困。按，《序卦》：困乎上者必反下，故受之以井。上升至於困，必反於下。物之最下者莫如井。井所以次困也。全彖以井有常體，猶事有常法，時異而法不異。又當敬以守之，不可垂成而敗也。六爻以三陽為泉，三陰為井。二曰射，始達之泉。三曰渫，已潔之泉。五洌，則可食之泉矣。初泥，方掘之井。四甃，已修之井。上收，則出汲之井矣。

The lower trigram of the Well hexagram is Xun (Wind), and the upper trigram is Kan (Water). Xun represents entering, and entering into water to draw it up is the image of a well. Looking at the hexagram lines, the initial line, which is yin, represents the spring source; the two yang lines, nine two and nine three, represent the spring water; the fourth line, which is yin, represents the middle part of the well; the fifth line, which is yang, represents the place where the water rises; and the top line, which is yin, represents the well mouth. Together, they form a complete well, hence the name "Well." The Well hexagram comes after the hexagram of Being Entrapped. According to the "Sequence of Hexagrams," those who are entrapped above must return to below, so the Well hexagram follows the hexagram of Being Entrapped. When one ascends to a state of being trapped, one must descend again; among all things, the well is the lowest. This is why the Well hexagram comes after the hexagram of Being Entrapped. From the hexagram statement, the well has a fixed form, just as things have constant rules; even though times change, the rules remain the same. At the same time, one must guard it with reverence, not failing at the last moment. Looking at the six lines, the three yang lines represent the spring, and the three yin lines represent the well: nine two is called "Shè," meaning the spring beginning to appear; nine three is called "Xiè," meaning the spring has been cleaned; nine five is called "Liè," meaning the spring water is now drinkable. The initial line is called "Ní," meaning the well is just being dug; the fourth line is called "Zhòu," meaning the well has been built; the top line is called "Shōu," meaning the well is now ready for use.

又以六爻之序言之，初泥而二谷，井之地，在下未見於用者也。三渫而四甃，在人位，則人事儘可以待用矣。五洌而上收，則得乎天，功用及物，井道大成矣。此全卦六爻之大旨也。

Following the order of the six lines in the hexagram: the first line 'mud' and the second line 'valley' belong to the position of the well, being at the bottom and not yet in use; the third line 'cleansed' and the fourth line 'mended' belong to the position of people, where human efforts have been fully exerted and can now await use; the fifth line 'clear' and the sixth line 'reaped' are obtained from heaven, with the function extending to all things, and the well's function is thus completed. This is the main meaning of the entire hexagram.

井。改邑不改井。無喪無得。往來井井。汔至亦未繘井。羸其瓶。凶。巽木入於坎水之上下，上出其水，故謂之井。邑有改而井不改，其體有定也。井卦綜困。在困為兌，在井為巽。巽為市邑。今改為巽而坎卦不改，改邑不改井也。改邑而不改井，是以無得無喪。而往者來者皆井其井，其用有常也。汔，幾也。繘，綆也。巽為繩，繘象。中爻離，瓶象。羸，弱也，墜落之意。井之為用如此，而有事於井者，又當敬以處之。使汲井幾至，未盡綆而敗其瓶則凶矣。時解以言治道，言因革貴得其宜。然一切學問人事，皆可通也。

The hexagram statement says: Well. A city can be changed, but a well cannot be changed; the water of the well neither decreases nor increases; people coming and going all use this well. The water is drawn almost to the mouth of the well, but the rope has not yet been fully pulled up, and the jar is broken, which is ominous. The wood of Xun enters the upper and lower parts of Kan water, drawing the water up, hence it is called "Well." A city can be changed but a well cannot be changed because the form of the well is fixed. The Well hexagram is the inverted hexagram of the困 hexagram: in the困 hexagram, the lower trigram is Dui, while in the Well hexagram, the lower trigram is Xun, which represents a city; now Dui has changed to Xun while Kan remains unchanged, which is "changing the city but not the well." Since the city is changed but the well remains, therefore "there is neither gain nor loss"; and since people coming and going all use this well, it shows that its function is constant. "Qi" means almost, and "ju" is the well rope; Xun represents the rope, hence it is the image of "ju." The middle trigram and the interacting trigram form Li, which is the image of "jar." "Ling" means weak, and implies falling. Since the function of the well is thus, those who deal with the well should be respectful and cautious: if drawing water is almost at the top, but the rope has not yet been fully pulled up and the jar is broken, then it is ominous. The old interpretations often used this to discuss governance, saying that changes and additions should be appropriate; in fact, all learning and human affairs can be understood through this.

彖曰。巽乎水而上水，井。井養而不窮也。以卦象釋卦名義。木桶下汲水乃上，巽乎水而上水也。井取之無禁，用之不竭，養而不窮也。井，改邑不改井，乃以剛中也。汔至亦未繘井，未有功也。羸其瓶，是以凶也。以綜卦言之，兌改為巽而坎之剛中不改。在困居二之中，在井居五之中也。井以得水為功。未得水而羸瓶，井之養之道廢矣，故凶。

The Commentary on the Judgment says, "The trigram Xun is above water and draws water up, like a well; the well provides sustenance without end." This uses the image of the hexagram to explain its meaning: a wooden bucket is lowered into water and then drawn up, which is "the trigram Xun is above water and draws water up." Well water is available to everyone without restriction, and it never runs out, thus providing sustenance without end. The Commentary on the Judgment also says, "A well remains even if a city is changed, because the strong and central element remains; the water is nearly reached but the well has not yet been drawn, so there is no achievement; the bottle is broken, hence misfortune." From the inverted hexagram, Dui becomes Xun, while the yang strength in Kan remains in the center and is not changed: in the hexagram Guan, the Nine in the Second is in the center of the lower trigram, while in the hexagram Jing, the Nine in the Fifth is in the center of the upper trigram. The well's function is to obtain water; if the water is not yet reached but the bottle is broken, the well's function of providing sustenance is lost, hence misfortune.

象曰。木上有水。井。君子以勞民勸相。木上有水，程子作取水木器。《本義》疑瓶從瓦，作草木之津潤上行。竊按，古人罇罍亦以木為之，字乃從缶。則瓶亦有木器，從《程傳》為順。勞民者，以君養民。勸相者，使民相養。皆井養之義。

The Great Image says, "Wood above water, well; the superior man thus labors the people and encourages mutual assistance." "Wood above water" is interpreted by Cheng Yi as using wooden vessels to draw water; however, the original meaning of "bottle" is doubted by the Commentary on the Original Meaning, as the character "瓶" contains "wa" (a type of vessel), leading to the interpretation that it refers to the upward movement of sap in plants. In my private examination, ancient vessels such as zun and lei were also made of wood, yet the character "瓶" contains "fou" (a type of jar), indicating that "bottle" could also be wooden. Therefore, Cheng Yi's interpretation is more coherent. "Laboring the people" refers to the ruler providing for the people, while "encouraging mutual assistance" means enabling the people to support each other, both reflecting the meaning of nourishing through a well.

初六。井泥不食。舊井無禽。井以陽剛為泉，上出為功。初六陰柔在下，泥象，不可食矣。舊井，未渫者。井廢則舊，旁無汲水之餘瀝，禽安得而食之。坎有禽象。今在上卦，禽高飛莫顧，無禽之象。象曰。井泥不食，下也。舊井無禽，時舍也。所處汙下，為時所棄。

The line statement for the first line says: The well is filled with mud and cannot be used for drinking; the abandoned well even attracts no birds. A well relies on yang strength to bring up water, and its function is to bring water to the surface. The first line is yin and occupies the lowest position, symbolizing mud, which is not suitable for drinking. "Old well" refers to a well that has not been cleaned; once a well is abandoned, it becomes an old well, and even the remaining water left after drawing is absent, so birds have nowhere to drink. The trigram Kan originally has the image of birds, but now Kan is in the upper trigram, and the birds fly high without looking back, hence the image of "no birds." The Small Image Commentary says, "The well is muddy and not drinkable, because it is at the lowest position; the old well has no birds, because it is abandoned at the right time." This indicates that one is in a state of filth and lowliness, thus being abandoned by the times.

九二。井谷射鮒。甕敝漏。谷，井傍穴。鮒或作鯽，或去泥鰍，皆水中小魚，喜食泥者。巽為魚，鮒象。三四五互離甕象。九二上無正應，下比初六，有井谷射鮒之象。功不上行，又巽體下斷，有甕弊漏之象。此有德無援，不能濟物者也。象曰。井谷射鮒，無與也。上苟有與則汲而出，成井養之功矣。

The line statement for line two says: The water seeping out from the mouth of the well pit only reaches small fish, and the bucket used for drawing water is broken and leaking. "Valley" refers to the pit beside the well. "Fishes" are sometimes written as "carp" or are said to be mud-eating fish, all of which are small fish that feed on mud; wind, represented by Xun, is the image of "fishes." The trigrams three, four, and five are all Li, which is the image of a bucket. Line two has no direct correspondence above it, and only corresponds with line one, so the image is "the well pit shooting fish" — water only flows downward to feed the small fish. The function cannot ascend, and since the first line of Xun is broken, there is the image of "the bucket is broken and leaking." This represents a person of virtue who is not supported by others and cannot benefit others. The Small Image Commentary says, "the well pit shooting fish, there is no one to help": if someone above were to draw water, the water would be drawn up, and the function of the well to nourish people would be fulfilled."

九三。井渫不食。為我心惻，可用汲。王明。竝受其福。渫，渫去泥也。渫則清而可食矣。不食者，人不食也。九三以陽居陽，上雖正應，柔而無位。修己全潔，未為時用。二三四互兌為口。三變成震不成兌口，有井渫不食之象。坎為加憂，心惻之象。言如是則雖行道無與之人，亦為之惻然矣。然三之潔清，實有可用汲之泉。特無王眀耳。使王之眀汲之，則井養之功可成，豈獨三之遇哉。澤可大行，天下並受其福矣。五為王位，三四五互為離，王眀之象。五非其應，故有待於王之眀也。

The statement of the third line says: The well has been cleaned but no one drinks from it, which makes me feel sorrowful. This well can be used for drawing water, all that is needed is for the king to be clear-sighted, so that everyone can share its benefits. "Xie" means to clean out the mud, and once the water is clean it becomes clear and drinkable. Saying "not eaten" means that people are unwilling to come and take it. The third line, with a yang line in a yang position, although it has the sixth line above as its proper corresponding line, the sixth line is soft and has no rank. It cultivates itself, is pure and spotless, but is not used by the world. The second, third, and fourth lines together form the trigram of Dui (mouth), but when the third line changes, it becomes Zhen (thunder), and the trigram of Dui (mouth) is not formed, hence the image of "the well is cleaned but not used." Kan represents added worry, which is the image of "a sorrowful heart." This means that even a passerby who has nothing to do with it would feel sorry for it. However, the purity of the third line is indeed a well that can be drawn from, the only thing lacking is a clear-sighted king. If an enlightened king comes to draw from it, the well can nourish people, and this benefit would not be limited to the third line alone, but would spread widely, benefiting the whole world. The fifth line is the king's position, and the third, fourth, and fifth lines together form the trigram of Li (fire), which is the image of "a wise king." The fifth line is not the proper corresponding line of the third line, so the third line can only hope for the king's clear-sightedness.

象曰。井渫不食，行惻也。求王明，受福也。行惻，行道之人皆為心惻。求王明，非枉道乾進。孔孟之轍環是也。不求正應而求王眀，易之所以時也。六四。井甃。無咎。以六居四，陰柔非泉。然所居得正。雖未有及物之功，而能自修治者。故有井甃之象，亦可以無咎矣。

The Small Image Commentary says, "A well cleaned but not used, because of the path of compassion; seeking a wise king, receiving blessings." "Path of compassion" means that everyone on the road feels sympathy for him. "Seeking a wise king" does not mean bending the right path to seek favor; Confucius and Mencius traveled from state to state in their chariots, exactly meaning this. Not seeking the proper way to be recognized by the king, this is precisely the value of the Zhou Changes in adapting to the right time. The statement of the fourth line says: using bricks and stones to build the well wall, there is no fault. With a yin line in the fourth position, yin softness is not the spring water; yet it is in the correct position, though it has not yet achieved the function of benefiting others, it can self-cultivate, thus there is the image of "well wall," and there is no fault.

象曰。井甃無咎，修井也。初六不正在下，故為泥。六四正而在上，故為甃。甃所以禦泥達泉，閒邪存誠之功。故曰修井。三之渫，修於內以致潔。四之甃，修於外以禦汙。內外交修，濟物及人之本也。又四大臣近君，修井以儲九五之寒泉。能盡臣下之職，可因君以成井養之功矣。

The Small Image Commentary says, "The well's walls are built without blame, for it is the work of repairing the well." Initially, the line Six at the Beginning is not in the correct position and is at the bottom, so it represents mud; while the line Six in the Fourth is in the correct position and is at the top, so it represents the walls of the well. Building the well's walls is to block the mud and allow the spring water to flow through, which is analogous to a person guarding against evil thoughts and cultivating sincere intentions. Therefore, it is called "repairing the well." The "渫" of Nine in the Third refers to internal purification, while the "甃" of Six in the Fourth refers to external prevention of filth. The combination of internal and external cultivation is the fundamental way to benefit things and people. Moreover, the line Six in the Fourth, as a minister close to the sovereign, repairs the well to store the clear spring water of Nine in the Fifth. By fulfilling the duties of a minister, one can rely on the sovereign to accomplish the function of nourishing through the well.

九五。井冽。寒泉食。三居甃下，未汲之泉也。五居甃上，已汲之泉也。陽剛中正，功及於物，有井冽寒泉食之象。冽，潔也。渫，潔之也。渫已可食，至此乃食。蓋渫與洌性也，食不食命也。未有渫而不冽者。至此則井養之德已具，井養之功可行矣。象曰。寒泉之食，中正也。居中得正，故六爻唯五曰泉。雖未收上出之功，井之德已盡善矣。

The line statement of the fifth line says: "The well water is clear and cold, and the cold spring can be used for drinking." The third line is below the well wall, representing the spring that has not yet been drawn up; the fifth line is above the well wall, representing the spring that has already been drawn up. The fifth line is yang and strong, upright and central, so it has the image of "clear and cold spring for drinking." "Clear" refers to purity, and "渫" means to purify; after washing, the spring is already drinkable, but it is here that it is actually consumed. Originally, "渫" and "洌" are inherent qualities, while "whether it is eaten or not" depends on external circumstances. There has never been a case where a spring is washed but not clear. At this point, the virtue of nourishing through the well is complete, and the function of the well can be put into practice. The Small Image Commentary says, "Cold spring for drinking, because it is central and upright." The fifth line is central and upright, so among the six lines, only it is called "spring." Although it has not yet reached the stage of drawing water from the well, the virtue of the well is already perfect.

上六。井收勿幕。有孚元吉。收，成也，即小象之大成也。幕，蔽覆也，蓋井之具也。有孚者，其出有源而用不窮也。上六雖非陽剛，而井之功用在上。坎口不揜，故有井收勿幕之象。濟人澤物，元吉可知。象曰。元吉在上，大成也。他卦至終則變，井至上功乃大成也。按，水之大者不一，而聖人畫卦有取於井者。凡水皆水之下流，故他卦言水，皆以險言之。獨井泉在冬而溫，乃天一之真性也。是以古者建國，必先卜井泉之便而居之。井之為用大矣。時解專就治道養民言之。然養德民治己治世，皆可觀象於井。隨其所處，以占其吉凶也。

The statement of the top line says: When the well is completed but not covered, there is sincerity within, resulting in great good fortune. "Receiving" refers to completion, which is what the Small Image Commentary calls "great accomplishment." "Covering" refers to a covering tool used to cover the well. "Having sincerity" means that the spring water flows from a source and is inexhaustible. Although the top line is not yang, the function of the well is most effective at the top. The mouth of the Kan trigram is not obscured, hence the image of "the well is completed but not covered." Since it can benefit people and nourish things, great good fortune is naturally achieved. The Small Image Commentary says, "Great good fortune at the top, which is great accomplishment." Other hexagrams change when they reach their end, but the well hexagram only achieves its great accomplishment at the top line. Note: There are many types of large bodies of water, but the sage chose the well for the hexagram. All water flows downward, so other hexagrams that refer to water often use "danger" to describe them. However, the well water is warm in winter, which reflects the true nature of water originating from heaven. Therefore, ancient people established cities and towns, first consulting about the availability of well water before settling down. The function of the well is truly great. The previous interpretations only discussed governance and people's welfare. In reality, cultivating virtue, nurturing people, and improving oneself to govern the world can all be observed through the well, and the fortune or misfortune can be determined according to one's position.

革革卦，下離上兌。火燃則水涸，水決則火滅。又二女同居，志不相得。有變革之義，故為革。革卦次井。按，《序卦》：井道不可不革，故受之於革。井之為物久則汙，易之則潔。不可不革，革所以次井也。全彖以改革之事，不信於初而信於後，其占可以大亨，而必利於正固，見革之不可輕也。六爻下三爻有不輕於革之意。上三爻則革之善者。而上革道已成，又不可過有所更。此全卦六爻之大畧也。

The lower trigram of the Gé hexagram is Li (Fire), and the upper trigram is Dui (Lake). Fire burns and water dries up; water flows and fire is extinguished. It also represents two women living together with conflicting intentions, embodying the meaning of change, hence the name "Gé" (Change). The Gé hexagram follows the Jing hexagram. According to the "Xu Guashu" (Sequence of Hexagrams), since the well needs to be cleaned and changed, the Gé hexagram comes after Jing. A well, if left untouched for long, becomes dirty; it must be changed to become clean, hence the necessity of change, which explains why Gé follows Jing. From the hexagram statement, change begins with people's disbelief, and only after the change is achieved do they believe. Divination may lead to great success, but it must be favorable to uprightness, showing that change should not be easily initiated. Looking at the six lines, the lower three lines indicate a cautious attitude towards change, while the upper three lines show skill in change. The sixth line at the top signifies that the way of change is already established, and further changes should not be made. This is a general summary of the six lines of the hexagram.

革。巳日乃孚，元亨利貞，悔亡。革卦澤上火下，火燃水乾，水決火滅。又中少二女，合為一卦。少上中下，志不相得。故卦為革。日為離象。日入澤，有巳日象。民可與樂成，難於慮始。故不信於方革之時，而信於已革之日。內有文眀之德，外有和說之氣，占可大亨。然而改革之事，非可妄舉[文瀾本“舉”作“取”]。必得其正，則所革皆當而悔可亡。若不貞，則不孚而有悔矣。

The Hexagram Statement says: "Revolution. People only believe when the time comes, thus it is greatly smooth and favorable for uprightness. Regret disappears. The Revolving Hexagram has a lake above and fire below. Fire burns and water dries up; water breaks through and fire is extinguished. It is also composed of the Middle Young Girl (Fire) and the Young Girl (Lake), with the Young Girl above and the Middle Young Girl below, their hearts not in harmony, hence the name 'Revolution.' 'Day' is the image of Fire. When the sun falls into the lake, it becomes the image of 'Si day.' The people can share the fruits with them, but cannot plan the beginning with them. Therefore, they are unwilling to believe at the beginning of a change, but believe when the change is already accomplished. The Inner Trigram has the virtue of civilization, and the Outer Trigram has the atmosphere of harmony, thus the divination is greatly smooth. However, the matter of reform should not be taken lightly (the text in the Wenlan Pavilion edition says 'take' instead of 'take'). It must be done uprightly, so that each change is appropriate and regret disappears. If one does not uphold uprightness, then one cannot gain trust and will leave regret."

彖曰。革，水火相息。二女同居，其志不相得，曰革。以卦象釋卦名義，與睽相似。相違背為睽，相滅息為革。二女不同行，離而去之而已。不相得則相剋矣，故為革。

The Commentary on the Judgment says, "Revolution: water and fire mutually extinguish each other; two women living together, their aspirations do not harmonize, called revolution." This uses the hexagram image to explain the meaning of the hexagram name, similar to the hexagram of parting ways: mutual contradiction is called "parting ways," mutual destruction is called "revolution." The hexagram of parting ways is two women taking different paths, each departing separately; this hexagram, however, involves aspirations that do not align, leading to mutual control, hence it is called "revolution."

巳日乃孚，革而信也。文明以說，大亨以正。革而當，其悔乃亡。眀則燭事理，能見於已革之先。說則順人情，能孚於已革之後。大亨者。除弊興利，一事之大亨。伐暴救民，興世之大亨。正者，順天理合人心也。又亨以正，則革之當。革當而悔乃亡，見革之不可輕也。

The Commentary on the Judgment says, "On the fourth day, faith is established; through change, trust is gained; with civilization and joy, great success is achieved through correctness; change that is appropriate, and regret will vanish." "Brightness" can illuminate matters, seeing clearly even before change occurs; "Joy" can conform to human feelings, and after change, it can gain the trust of the people.the so-called great success refers to removing evils and promoting benefits, which is great success in a matter; waging war against tyrants and saving the people, which is great success in an era.the so-called "correctness" means above conforming to heavenly principles and below conforming to human hearts. It is also necessary for success to be in harmony with correctness, so that change is appropriate; when change is appropriate, regret vanishes, showing that change should not be undertaken lightly.

天地革而四時成。湯武革命，順乎天而應乎人。革之時大矣哉。天地帝王之革，皆視其時。先時後時[文瀾本“先時後時”作“後時先時”]，皆不可也。象曰。澤中有火。革。君子以治曆明時。四時之變，革之大者。歷之因時修改，革之義也。

The Commentary on the Judgment says, "Heaven and Earth change, and the four seasons are formed; King Tang and King Wu brought about a revolution, following the way of Heaven and responding to the will of people; the time of change is great indeed." Both the transformation of Heaven and Earth and the revolution of kings depend on grasping the right moment: acting too early or too late, as the Wenlan Pavilion edition states "after the time and before the time," is equally ineffective. The Great Image Commentary says, "Fire in the marsh, change; the superior person thus regulates the calendar and clarifies the time." The movement of the four seasons is the greatest form of change; revising the calendar according to the heavenly time is precisely in line with the meaning of "change."

初九。鞏用黃牛之革。黃，中色。牛，順物。離得坤之中，皆有牛象。雖當革時而居初位卑，無可革之權。無應，無共革之人。未可有為，當堅固以守，不可輕有所革。如用牛皮以束物者。故其鞏固，有用黃牛之革之象。當以中順自固也。初變為艮止，故有此象。象曰。鞏用黃牛，不可以有為也。時位不可。

The line statement for the first line (Initial Nine) says: "Use the hide of a yellow ox to bind firmly." Yellow is the color of the center, and an ox is a gentle creature; the line Li (Fire) receives the middle line of the trigram Kun (Earth), so both have the image of an ox. Although the Initial Nine is at the time of change, it is in the lowest position, lacking the authority for change; also, it has no proper correspondence, so there are no allies to act together. At this time, there should be no action, but rather firm self-preservation, not lightly making changes, just as using the hide of an ox to bind something tightly. Therefore, there is the image of "using the hide of a yellow ox" indicating firmness. One should maintain firmness through the middle way and gentleness. The first line changes into Gen (Mountain), which signifies stopping, hence this image. The Small Image Commentary says, "Binding with the hide of a yellow ox, there should be no action": both the timing and position do not permit action.

六二。巳日乃革之。征吉。無咎。六二柔順中正，文眀之主。有應於上，可以革矣。猶必巳日乃革，則征吉而無咎。彖言巳日，已革之日也。爻言巳日，日已至然後革也。蓋德與位皆可革，猶俟其時也。象曰。巳日革之，行有嘉也。行，將然之辭。革必俟時，將有嘉美。

The line statement of the second line says: Only after the proper day arrives should one initiate a change; going forward will be auspicious and without fault. The second line is gentle and upright, being the main line of the hexagram of civilization. Above it is the nine in the fifth position, which corresponds with it. It is originally appropriate to initiate a change, yet it still must wait until the day of 'Si' before changing. Only then will going forward be auspicious and without fault. The hexagram statement refers to the day of 'Si' as the day when the change has already taken place; the line statement refers to the day of 'Si' as the day when the time has arrived and then action is taken. This shows that although both virtue and position are suitable for change, one still needs to wait for the right opportunity. The Small Image Commentary says, 'On the day of Si, the change is made; going forward will bring good results.' 'Going forward' here has the meaning of something about to happen — change must wait for the right opportunity, and there will be good results.

九三。征凶貞厲。革言三就。有孚。應兌互乾為口為言，離居三，革言三就之象。中實，有孚之象。九三過剛不中，居離之極。自恃剛眀，躁於革[文瀾本“革”作“進”]者。故戒以征則凶，雖貞亦厲也。然時當可革，爻位居三。審量所革再三，已有成說，亦可見信於人，而在所當革矣。象曰。革言三就，又何之矣。至於再，至於三，無所待矣。

The line statement for the third line says: To act rashly is dangerous, even if one remains upright, there is still peril. The discussion about change has been considered three times, so it can be trusted by others. The third line corresponds to the sixth line above, which belongs to the trigram Dui, and the interacting trigram is Qian. Dui represents mouth, and Qian represents speech, while Li is exactly at the third line, thus forming the image of 'three times the discussion of change.' The middle line of the Li trigram represents reality, which is the image of 'having faith.' The third line is overly strong and not in the center, located at the top of the Li trigram, relying on its strength and wisdom, and eager for change (the Wenlan Pavilion edition reads 'change' as 'progress'), so it is warned: acting rashly is dangerous, even if one remains upright, there is still peril. However, the situation has indeed reached a time for change, and the line is at the third position. The matter to be changed has been thoroughly considered three times, forming a definite conclusion, thus being able to gain the trust of others, which is appropriate for change. The Small Image Commentary says 'three times the discussion of change, where else can it go?' By the second and third times, there is nothing more to wait for.

九四。悔亡。有孚。改命吉。以陽居陰，有悔之象。然卦已過中。水火之際，乃革之時。剛柔不偏，又革之用。故有悔亡之象。然必有孚則改命而吉矣。下三爻猶不輕革，至此則已革而改為新矣。三議革而後孚，四有孚而始改，革之序也。象曰。改命之吉，信志也。謂上下信九四之志也。

Nine in the Fourth Line Statement says: Regret disappears, there is sincerity, and changing the old fate brings good fortune. Nine in the Fourth is a Yang line in a Yin position, which originally indicates regret; however, the entire hexagram has passed the central position, and it is at the moment when water and fire meet, which is the time for change. Since the yin and yang are balanced, it is exactly the function needed for change, so there is the image of "regret disappearing." However, one must first have sincerity before changing the old fate can bring good fortune. The three lines below are still unwilling to change easily, but here, at Nine in the Fourth, there is truly a renewal by changing the old. Nine in the Third is about confirming a decision and gaining the trust of others, while Nine in the Fourth is about having sincerity first and then taking action to change. This shows the order of change. The Small Image Commentary says, "The good fortune of changing the fate is due to sincerity of will." This means that all above and below are convinced of the will of Nine in the Fourth.

九五。大人虎變。未占有孚。變，希革，毛毨。毛落更生，潤澤鮮好[文瀾本“好”作“明”]也。乾以純陽為龍，以剛健亦為虎。五互乾有虎象。九五陽剛中正，當革之時而居尊位。湯武之順天應人者也，故有大人虎變之象。有孚在未占之先，則致此者有素矣。象曰。大人虎變，其文炳也。炳者，如火日之光眀也，改正朔，易服色，制禮作樂皆是也。即彖所謂文眀以說也。

The line statement of the fifth line says: A great person is like a tiger that changes suddenly, possessing credibility without needing to consult omens. The term 'change' refers to the meaning of '希革' and '毛毨' in the Book of Documents, Yao's Classic, which means the shedding of old feathers or fur and the growth of new ones, resulting in a moist and bright appearance (in the Wenlan Pavilion edition, '好' is written as '明'). The trigram Qian, with its pure yang, is represented as a dragon, but it can also be represented as a tiger due to its strength and vigor. The fifth line is located within the trigram Qian, hence the image of a tiger. The fifth line is yang and upright, and it is at the proper time for change while occupying a position of honor, which is exactly the character of Shang Tang and King Wu of Zhou, who followed the will of heaven and responded to the people. Therefore, there is the image of 'a great person changing like a tiger.' Credibility is already present before any consultation, indicating that reaching this point is the result of accumulated effort over time. The Small Image Commentary says, 'A great person changes like a tiger, his virtue shines brightly.' 'Shine brightly' refers to brightness like fire or sunlight. Changing the calendar, altering clothing colors, and establishing rituals and music all fall under this category, which is what the Commentary on the Judgment calls 'civilization with joy.'

上六。君子豹變。小人革面。征凶。居貞吉。虎文疏而著，故曰炳。豹文密而理，故曰蔚。九五皆陽，大人虎變之象。上六皆陰，君子豹變之象。兌說見於上，有革面象。君子小人，以位則有上下，以德則有邪正。上六處革之極，革道已成。君子變革其外而有文，小人變革其外而順君，復何所求哉。若他有所往，則梗化之民凶矣。況上六之才亦不可有為，惟有居貞靜守則吉耳。蓋革非得已之事。初未可革，當中順以自守。上既已革，當靜正以自居。蓋九五湯武之事，上六則伊呂之事也。

The line statement of the sixth line above says: A gentleman is like a leopard, changing and transforming; a petty person also changes his appearance. If one goes forth at this time, it will be dangerous, but if one remains in place and adheres to the right path, it will be auspicious. The tiger's pattern is clear and distinct, hence called "Bing"; the leopard's pattern is intricate and orderly, hence called "Wei." The ninth line in the fifth position is a yang line in a yang position, purely yang and strong, symbolizing the image of "a great man changing like a tiger." The sixth line above is a yin line in a yin position, purely yin and soft, symbolizing the image of "a gentleman changing like a leopard." Joy is evident in the trigram of Dui (Joy), hence the image of "changing one's face." A gentleman and a petty person differ in status as superior and inferior, and in virtue as righteous and wicked. The sixth line above is at the extreme of transformation, and the way of transformation has already been completed: the gentleman transforms his outer appearance with elegance, while the petty person also changes his face to conform to the superior, so what more is there to seek? If one goes forth again, those stubborn people who resist the way of education will meet misfortune. Moreover, the quality of the sixth line is inherently insufficient for great deeds, so remaining in place and maintaining the correct path is auspicious. Transformation is not something to be done lightly: the first nine is not yet the time for transformation, and one should remain in the middle and follow the proper course; when the sixth line above has completed the transformation, one should remain quiet and upright. The fifth line is doing the deeds of Tang and Wu, while the sixth line is doing the deeds of Yi Yin and Li Shang.

象曰。君子豹變，其文蔚也。小人革面，順以從君也。蔚者，隱然有文之謂。上六柔故也。全卦言變革之事，皆不得已而為之。初用黃牛，不敢輕於未革之先也。上言居貞，不敢擾於已革之後也。二之征吉，必俟巳日。三已三就，猶戒征凶。當革之時，必孚以信乎人心，當以合乎天理。乃可言四之改命，為五之虎變也。革豈易言哉。

The Small Image Commentary says, "The superior person changes like a leopard, his patterns are splendid; the inferior person changes his face, following the ruler smoothly." "Splendid" refers to being subtly and subtly adorned with literary grace, because the upper sixth line is yin and flexible. Overall, the changes discussed in the entire hexagram are all done out of necessity. The initial ninth line says "using a yellow ox," meaning it does not dare to act rashly before the change. The upper sixth line says "maintaining firmness," meaning it does not dare to disturb after the change. The sixth line two says "a journey is auspicious," which must wait until "the fourth day." The ninth line three has already "three approaches," yet it is still warned "a journey is凶." When the change is appropriate, one must rely on sincerity to gain the people's trust, and align with heavenly principles, only then can the ninth line four's "changing destiny" and the ninth line five's "tiger transformation" be considered. How can change be spoken of lightly?

鼎鼎卦，下巽上離。取其象，亦取其義。取象有二。以全體言之。下植為足，中實為腹，對峙於上為耳，橫亙於上為鉉。以二體言之。中虛在上，下有足以承之。皆鼎象也。取義則以木從火，烹飪之義。故為鼎。鼎卦次革。按，《序卦》：革物者莫若鼎，故受之以鼎。水火不可同處，能使相合為用而不相害。易堅為柔，變生為熟，能革物也。鼎所以次革也。

The lower trigram of the Dǐng hexagram is Xùn (Wind), and the upper trigram is Lí (Fire). Naming is based both on its image and its meaning. The image has two interpretations: considering the six lines as a whole, the lowest line is vertical like the legs of a tripod, the middle three lines are full like the body of the tripod, the two lines on the top are opposite like the handles, and the top horizontal line is like the beam used to lift the tripod. Considering the upper and lower trigrams separately, the upper trigram is hollow in the middle and supported by the lower trigram, which represents the legs of the tripod—both are images of a tripod. In terms of meaning, wood is placed into fire, implying the process of cooking, hence the name "Dǐng" (tripod). The Dǐng hexagram comes after the Gé hexagram. According to the "Xù Guà Zhuàn," no change is more thorough than the tripod, so the Dǐng hexagram follows the Gé hexagram. Water and fire naturally cannot coexist, yet the tripod allows them to combine for use without conflict; it transforms hardness into softness and the raw into the cooked, which is the essence of changing things, hence the reason the Dǐng hexagram comes after Gé.

全彖以內巽順而外文明，柔進居尊，得中應剛，可以大亨。而六爻之義則以上出為功。初幸其出否。二幸其遠仇。三不知六五之君則為失義。四不知應於初六之小人則為失信。唯五之中實，與上剛柔之節，有吉占焉。蓋井與鼎，皆以上出為功故也。此全卦六爻之大畧也。

Looking at the hexagram statement: the inner trigram is Xun, representing flexibility and compliance, and the outer trigram is Li, representing civilization. The flexible lines ascend and occupy a position of honor, remaining centered and responding to the strong lines below, thus achieving great success. The meaning of the six lines is based on the function of removing the contents of a cauldron for use. Initially, the line at the beginning is fortunate in being able to remove old filth; the line at the second position is fortunate in being able to distance oneself from enemies; the line at the third position is unfortunate in not knowing where to turn to the sovereign at the fifth position, thus losing the principle of ruler and subject; the line at the fourth position should not respond to the line at the beginning, which is a petty person, thus losing the trust bestowed upon it; only the line at the fifth position, which is empty in the center and solid in the middle, and the line at the top, which is properly balanced between strong and weak, can have a favorable judgment. The reason is that both the Well hexagram and the Cauldron hexagram achieve their function through 'ascending upwards'. This is a general summary of the six lines of the hexagram.

鼎。元吉、亨。吉字衍文。彖曰。鼎、象也。以木巽火、亨飪也。聖人亨以享上帝、而大亨以養聖賢。象，卦畫取鼎之象也。亨飪，以二體言鼎之用也。亨飪不過祭祀賓客。祭之大者莫過於上帝，賓之大者莫過於聖賢。享帝貴誠，用犢而已，故言亨。聖賢備饔飱牢醴之盛，故言大亨。此以卦體釋卦名義也。

The Hexagram Statement says: "The Cauldron, originally auspicious, is prosperous." The character "吉" is an added word. The Commentary on the Judgment says: "The Cauldron is an image; using wood to assist fire, it is used for cooking. The sage uses it to offer sacrifices to the Heavenly Deity, and great prosperity is used to nourish the sages and virtuous ones." The term "image" refers to the hexagram's diagram taking the form of a cauldron. The term "cooking" refers to the function of the cauldron as represented by the upper and lower trigrams. Cooking is mainly used for worship and entertaining guests. The greatest form of worship is sacrificing to the Heavenly Deity, and the greatest form of entertaining guests is nourishing the sages and virtuous ones. Sacrificing to heaven values sincerity and respect, and using a single ox is sufficient, so it is only said to be "prosperous." Nourishing the sages and virtuous ones requires a full and abundant offering of food, wine, and sacrificial animals, hence it is said to be "greatly prosperous." This is using the structure of the hexagram to explain the meaning of the hexagram's name.

巽而耳目聰明，柔進而上行，得中而應乎剛，是以元亨。以卦象言，則內巽而五為鼎耳、離為目。此心順巽[文瀾本“順巽”作“巽順”則入乎義理、耳目聰明則審乎事幾，有其德矣。以卦綜言，則革下卦之離二，上行居五，有其位矣。以卦體言，則五有虛中之君，而二應以剛中之臣，有其輔矣。明良道合，治化大成，宜占為元亨也。柔進上行得中應剛與睽同。而占不同於睽之小事，反同於大有之元亨，其時與德之異也。

The Commentary on the Judgment says, "Gentle and yielding, the ears and eyes become sharp and discerning; the flexible and advancing line rises upward, attains the center, and responds to the strong, thus achieving the great and harmonious." From the hexagram's image, the inner trigram is Xun, and the sixth line in the fifth position is the ear of the cauldron, while Li represents the eyes: if the heart is gentle, yielding, and humble, it can penetrate the meaning of things, and with sharp perception, it can discern the right timing—this is possessing virtue. From the inverted hexagram, the lower trigram of Gai is Li, and the second line ascends to the fifth position—this is possessing the right position. From the structure of the hexagram, the sixth line in the fifth position is a king who is empty and open to the wise, and the nine in the second position, a strong and central minister, corresponds with him—this is possessing support. When the ruler is wise and the minister is virtuous, their way is in harmony, and great achievements are realized, so the divination naturally concludes with "great and harmonious." The statement "flexible and advancing, rising upward, attaining the center and responding to the strong" is the same as in the hexagram Kui, but the divination conclusion is not like Kui's, which is only suitable for small matters, but instead is the same as in the hexagram Da You's "great and harmonious," because the situation and virtue are different.

象曰。木上有火。鼎。君子以正位凝命。離為聽政之位。巽為命令。天之命，亦命也。恭已以正其位，而凝因[文瀾本“因”作“固”其所受於天之命。蓋鼎為重器，故有正位凝命之象。

The Great Image Commentary says, "Fire on wood, the Cauldron; the gentleman takes up his proper position and consolidates his mandate." The trigram Li represents the position of governance, while Xun signifies command. The bestowal from Heaven is also a mandate. The gentleman maintains reverence and self-discipline to properly occupy his position, thus consolidating the mandate he has received from Heaven. The Cauldron is a significant vessel of the state, hence the image of "proper position and consolidating the mandate."

初六。鼎顚趾、利出否、得妾以其子、無咎。初居鼎之下，趾象。上應九四，有顚趾之象。然當卦初，鼎未有實。舊有否惡之積，因顛而出去之，有利出否之象。六以陰居初不正，有妾之象。趾不宜顛而利以出否，妾得不足貴而以得子。蓋因敗以為功，因賤以致貴也。故占可無咎。

The Line Statement for the first line (Initial Six) says: The tripod's legs are overturned, and the filth is poured out; it is like taking a concubine who gives birth to a son, with no fault. The Initial Six is at the very bottom of the tripod, symbolizing the tripod's legs. It corresponds to the Nine in the Fourth position, being drawn upward, hence the image of 'upturned legs'. However, at the beginning of the hexagram, the tripod is still empty, and the old filth is conveniently removed by overturning, hence the image of 'favorable for expelling filth'. The Yin line in the initial position is not proper, symbolizing a concubine. The tripod's legs should not be overturned, yet overturning them is favorable for expelling filth; a concubine is not esteemed, yet she becomes esteemed through giving birth to a son. Both are cases of success through failure and honor through lowliness, so the divination has no fault.

象曰。鼎顚趾、未悖也。利出否，以從貴也。顚趾悖矣。可以出否，則未悖。從貴，去鼎中否之可賤，以從珍羞之可貴者也。九二。鼎有實。我仇有疾。不我能即。吉。以剛居中，有實之象。我仇，謂初。陰陽相求而不相得，所謂怨耦曰仇也。二以剛中自守，初雖近而顛趾，不能就之。有我仇有疾，不我能即之象，故吉。

The Small Image Commentary says, "The tripod is overturned, but this is not contrary; it is advantageous to expel what is blocked, in order to welcome the noble." The overturning of the tripod is naturally contrary, but since it allows the removal of filth, it is not contrary. "To follow the noble" means removing the contemptible filth in the tripod to welcome the precious delicacies. The line statement of the second line says: The tripod contains actual food; my enemy is ill and cannot approach me, which is auspicious. The second line, with a strong yang in the center, symbolizes the presence of actual food in the tripod. "My enemy" refers to the initial line six. Yin and yang naturally seek each other but fail to harmonize, as the Zuo Zhuan says, "mutual resentment is called 'enemy'." The second line maintains its strong and central position, so although the initial line is close, it cannot approach due to the overturned tripod feet, thus forming the image of "my enemy is ill and cannot approach me," resulting in auspiciousness.

象曰。鼎有實、慎所之也。我仇有疾，終無尤也。雖有實而不愼所之，則為仇所即而有尤矣。不暱於初，上從六五之正應，所以有吉無尤。九三。鼎耳革。其行塞。雉膏不食。方雨虧悔。終吉。革，變革也。九三以陽居鼎腹之中，本有美實者也。然與五不相應。五為鼎耳。鼎耳方革，不可舉移，故有鼎耳革，其行塞之象。上卦離為雉。

The Small Image Commentary says, "The tripod has something in it; be cautious about where you go; my enemy is ill, and there will be no blame." Although there is something in the tripod, if one does not be careful about where one goes, one will be approached by an enemy and suffer misfortune. Nine Two does not get close to Six at the Beginning, but instead follows upward to Six in the Fifth, which is the correct match, thus resulting in good fortune without blame. The statement of the third line says, "The ears of the tripod are deformed, movement is blocked, and the delicious wild chicken cannot be eaten; when yin and yang harmonize and rain falls, regret decreases, and ultimately good fortune is achieved." "Change" refers to transformation. Nine Three, with a yang line in the middle of the belly of the tripod, is originally holding delicious food; however, it does not correspond with Six in the Fifth. Six in the Fifth is the ear of the tripod, which is deformed and cannot lift or move, hence the image of "the ears of the tripod change, and movement is blocked." The upper trigram is Li, representing the wild chicken.

三變為坎為膏。互兌三變則兌口不成。承上卦文明之腴而不見應於五。有雉膏不為人所食之象。又變坎為雨。陰陽和剛雨。三以陽居陽為得其正。然以正自守而五將求之，如陰陽之和而雨，悔可虧而終得吉矣。象曰。鼎耳革，失其義也。仕以行義。三不應五而應上，失君臣之義。

Nine in the Third changes to Kan, which represents rain; Kan also signifies fat. Originally there was an intercalated Dui, but when the third line changes, Dui's mouth is no longer formed. It inherits the richness of the upper trigram, but does not receive a response from line six, hence the image of 'fat meat not eaten by people'. Also, changing to Kan signifies rain; when yin and yang are in harmony, rain comes (the original text's 'yang' is likely a mistake for 'then'). Nine in the Third occupies a yang line in a yang position, thus it is correct; being able to hold to correctness, line six will eventually seek it, just as yin and yang harmonize to produce rain, regret can be reduced and ultimately result in good fortune. The Small Image Commentary says 'the handle of the tripod changes, losing its meaning': serving in office is for upholding righteousness. Nine in the Third should not respond to line six but instead to upper nine, thus losing the meaning of ruler and minister.

九四。鼎折足、覆公餗，其形渥。凶。九四居上任重，有實之鼎也。而下應初六之陰，大臣信任匪人，敗壞國事，傾覆天祿，享上帝養聖賢之用皆廢矣。初在下，足象。互兌為毀折，折象。四變為震，震動顚覆，有折足而覆公餗之象。形渥作刑，謂重刑也。《周禮》所謂不於市而以適甸師氏者也。不勝任而被重刑也。初否未出，顛之，猶可舍舊而求新。四鼎有實，折之，則鼎毀而用廢。吉凶所以異也。

The statement of the fourth line says: The tripod's leg breaks, overturning the delicacies of the prince and the person himself becomes stained with filth, resulting in misfortune. The fourth line holds a high position and bears a heavy responsibility, like a tripod full of things; yet it responds to the sixth line at the beginning, which is a yin line, symbolizing a minister trusting the wrong person, thus ruining state affairs, overturning the heavenly grant of position, and abandoning the function of worshiping the heavenly gods and nurturing the sages. The sixth line at the beginning is at the bottom, symbolizing the foot; the interacting lines form the trigram Dui, which represents destruction and breaking, symbolizing the breaking. The fourth line changes to Zhen, which represents movement and overturning, hence the image of breaking the foot and overturning the delicacies. "Xing Wu" should be read as "Xing Zhen," meaning severe punishment, referring to the punishment mentioned in the "Rites of Zhou" that is not carried out in the market but handed over to the Di Shī氏 for handling, meaning suffering severe punishment due to being unable to bear the responsibility. When the sixth line at the beginning is present, the filth in the tripod has not yet been removed, and turning it over can still discard the old and seek new; but when the fourth line is present, there are already things in the tripod, and once the leg breaks, the tripod is destroyed and its function is completely lost—the distinction between good and bad fortune lies here.

象曰。覆公餗，信如何也。才不勝任，無以自信，亦失君上信任之意矣。六五。鼎黃耳。金鉉。利貞。五有耳象。黃中色。五居中，有黃耳象。金，剛物。鉉，貫耳以舉鼎者。五變乾，金鉉象。五以柔中下應九二之剛中，有黃耳金鉉之象。六五非正，故勉以利貞。蓋以柔中之君下用剛中之臣，即彖所謂得中而應乎剛者也。或以鉉為上九，則與玉鉉重複，且失象意。

The Small Image Commentary says, "Covering the food in the tripod, how can one be trusted?" This refers to a person whose ability is insufficient for the task, to the point where they cannot even trust themselves, thus failing the original intention of the ruler's trust. The line statement of the fifth line says: "A tripod is paired with a yellow ear and a metallic handle, which is favorable for upholding the correct path." The fifth line originally has the image of an ear; yellow is the color of the center, and since the fifth line is in the center, it has the image of a "yellow ear." Metal is a hard substance, and the "handle" is a horizontal bar that passes through the ear of the tripod to carry it; since the fifth line changes to the trigram Qian, which represents metal, it has the image of a "metallic handle." The fifth line, being a yin line in a yang position, is not appropriate for the correct position, so it is encouraged to "uphold the correct path." This means a ruler of gentle and moderate virtue, in a lower position, employing a minister of strong and moderate virtue, which is what the Commentary on the Judgment calls "being in the center and responding to the strong." Some people interpret "handle" as referring to the top line, but this would repeat the image of "jade handle" from the top line and miss the original meaning of the image.

象曰。鼎黃耳，中以為實也。五中虛，以得中為實德。上九。鼎玉鉉。大吉無不利。舉鼎在鉉，故上有鉉象。以剛居陰，剛而能溫。又上變為震為玉。有玉鉉之象。玉非可為鉉，取象不可拘也。鼎道貴和。至此，則陰陽和而鼎之功成。可舉鼎實以成養人之功矣，故其占大吉無不利。時解以言相道之得中者，亦可。

The Small Image Commentary says, "The tripod has a yellow ear, because the middle is filled with substance." The fifth line is in the middle and empty, but it is precisely by "being in the center" that it possesses the virtue of being full. The top line says: "The tripod is adorned with a jade handle, great good fortune, no disadvantage." Lifting the tripod depends on the handle, so the top line has the image of a handle. The top line is a yang strong line in a yin position, strong yet gentle. When the top line changes to a zhen trigram, zhen represents jade, so there is the image of a jade handle. Jade itself cannot really be used as a handle, showing that taking images does not need to be literal. The way of the tripod values harmony, and at this point yin and yang are harmonious and the function of the tripod is completed. The substance in the tripod can then be lifted to achieve the function of nourishing people, so the divination is great good fortune with no disadvantage. The old interpretation used it to explain the importance of being in the center for the prime minister's way, which also makes sense.

象曰。玉鉉在上，剛柔節也。爻剛位柔，剛柔中節，故成變理之功也。全卦有元亨之象，而六爻獨五上為最吉。蓋井與鼎皆以上出為功。五為主鼎之君，上輔鼎之臣。二應五，亦輔鼎者也。君臣相得以成至治而致元亨，故皆吉。初在下附勢，猶幸能因敗以為功。三有德不仕，亦終能守正以待遇。唯四以大臣比匪，遂致覆餗。雖因事為占，不必過拘。而就君臣治道言之，則大畧如是矣。

The Small Image Commentary says, "The jade pendants are above, indicating the proper balance between the strong and the gentle." The line is yang and the position is yin, the strong and the gentle are in proper balance, so they can achieve the function of harmonizing and transforming. Overall, the hexagram shows the image of great beginning and flourishing. Among the six lines, only line six in the fifth position and line nine at the top are most auspicious. This is because the well hexagram and the tripod hexagram both achieve their success through "emergence from above." Line six in the fifth position is the sovereign of the tripod, and line nine at the top is the minister assisting the tripod. Line nine in the second position corresponds to line six in the fifth position and is also a minister assisting the tripod. The sovereign and minister work well together, achieving the highest order and attracting great beginning and flourishing, so they are auspicious. Line six at the beginning is at the bottom and relies on power, yet it is fortunate to succeed through failure; line nine in the third position has virtue but is not appointed, yet it can ultimately remain upright and wait for an opportunity. Only line nine in the fourth position, as a great minister, is close to an evil person, leading to the misfortune of losing the tripod. Although these are divinations based on specific circumstances and should not be overly rigid, in terms of the principles of sovereign and minister governance, this is roughly the case.

震震卦，一陽動於二陰之下。動而震驚，故為震。震卦次鼎。按，《序卦》：主器者莫若長子，故受之以震。鼎者，器也。震為長男，承主重器，震所以次鼎也。全彖以震有可亨之道。蓋人能戒懼，則雖震動不失其常，不喪其所主[文瀾本“主”作“主者”]之重也。六爻以初為震主，與彖同占。四陷二陰之間，則失所以震矣。四陰皆受震者。二乘初剛而厲，三稍遠則無眚矣。五乘四剛以居中不至有喪，上遠四則不于其躬矣。此全卦六爻之大畧也。

The Zhen hexagram represents a yang line moving over two yin lines, causing a sudden shock, hence it is called "Zhen." Zhen comes after Ding. According to the "Xu Gua Zhuan," the eldest son is the most suitable to hold the sacred vessels of the ancestral temple, hence Zhen follows Ding. "Ding" refers to a vessel, and "Zhen" represents the eldest son, who takes charge of the important vessels, which explains why Zhen comes after Ding. From the hexagram statement, Zhen contains the way of success: if a person maintains constant vigilance, then even when encountering shocks, he will not lose his composure and will not lose the important vessels he is entrusted with. Considering the six lines, the initial nine is the main line of Zhen, and its interpretation is the same as the hexagram statement. The ninth line in the fourth position is trapped between two yin lines, thus losing its function as Zhen. The other four yin lines are all affected by Zhen: the sixth line in the second position, riding on the strength of the initial nine, is in danger; the sixth line in the third position, being a little further away, may not suffer disaster; the sixth line in the fifth position, riding on the strength of the ninth line in the fourth position, yet remaining in the center, will not suffer loss; the sixth line at the top, being far from the ninth line in the fourth position, is not affected by Zhen. This is a general explanation of the six lines of the hexagram.

震。亨。震來虩虩、笑言啞啞。震驚百里、不喪匕鬯。虩虩，恐懼驚顧之貌。啞啞，言笑自如也。匕，所以舉鼎實。鬯，所以和秬黍。皆主祭之君所親執者。震一陰方動而上為二陰所掩，有虩虩之象。陰破而上達，有啞啞之象。雷鳴及遠，有震驚百里之象。長子主器，有不喪匕鬯之象。震有可亨之道。虩虩，震也。笑言以下，震之亨也。以人心言之。苟能常自戒懼，如震之來虩虩不寧。然仰不愧，俯不怍，從容自得。雖憂患之至如雷，震驚百里之遠。在我亦不至失所守之重也。

The Hexagram Statement says: Zhen, meaning Thunder, is smooth and unimpeded. When the thunder strikes, people are startled and look around, but then they laugh and talk freely; the thunder's sound shakes a hundred miles away, yet the sacrificial knife and wine held by the chief priest remain untouched. "Xixi" refers to the appearance of fear and looking around, while "yayay" refers to speaking and laughing calmly. "Bi" is the utensil used to take meat from the cauldron, and "Chang" is a fragrant wine made from millet, both of which are held personally by the chief priest. The first line of the Zhen hexagram is just beginning to move, but it is covered by two yin lines above, thus showing the image of "xixi"; when yang energy breaks through the yin layer and rises, it shows the image of "yayay"; the thunder's sound is heard over a hundred miles, showing the image of "shaking a hundred miles"; the eldest son is in charge of the ancestral ritual objects, showing the image of "not losing the knife and wine." Zhen contains the way of being smooth and unimpeded: "xixi" is the nature of Zhen itself, while "laughing and speaking" is the smoothness and unimpededness of Zhen. In terms of human nature: if one can always maintain self-restraint and vigilance, like the fear and alarm caused by thunder, yet remain upright without guilt towards heaven and people, and be at ease and composed, then even if calamities come like thunder, shaking a hundred miles away, they will not cause one to lose the important responsibilities one holds.

彖曰。震、亨。震則自亨、唯震故亨，兼二義。震來虩虩、恐致福也。笑言啞啞、後有則也。恐致福，恐懼以致福。所謂生於憂患也。後，恐之後也。有則者，言笑有常，不以震驚而變也。震驚百里、驚遠而懼邇也。出可以守宗廟社稷，以為祭主也。

The Commentary on the Judgment says, "Zhen, Heng." This sentence contains two meanings: the natural smoothness of the movement of Zhen, and the fact that Heng is achieved precisely because of the movement. The Commentary on the Judgment then says, "Zhen comes with fear, which brings good fortune; laughter and speech are harmonious, indicating a proper conduct afterward." "Fear bringing good fortune" refers to the bringing of good fortune through fear and carefulness, which is what Mencius called "born of worry and hardship." "After" refers to after the fear; "proper conduct" means that speech and laughter are in proper measure, not distorted by the shock. The Commentary on the Judgment further says, "The shock is felt over a hundred li, startling the distant and frightening the near; it is capable of defending the ancestral temple and state, serving as the chief in sacrifice."

驚遠懼邇，言雷威之可畏也。此句之下，程子謂脫不喪匕鬯四字，從之。出字，或云即鬯字之誤。今應作帝出乎震之出，謂繼世而主祭也。當其執匕鬯以祭，心存誠敬，雖震驚百里而莫之聞，可以為宗廟社稷之主矣。如舜之烈風雷雨弗迷，堯乃使之嗣位是也。

"The phrase 'jīng yuǎn jù ěr' refers to the terrifying power of thunder. Below this sentence, Cheng Yi believed that the four characters 'bù sàng bǐ chàng' were missing, and we follow his view. The character 'chū' is said by some to be a mistake for 'chàng'. Now it should be read as 'chū' in 'Dì chū hū zhèn' from the 'Shuo Gua Zhuan', meaning to inherit the lineage and preside over the worship. When he held the 'bǐ chàng' in his hands and performed the sacrifice, his heart was sincere and focused. Even if thunder roared a hundred li away, he would not hear it. In this way, he could become the master of the ancestral temple and the state. Just as the 'Shang Shu' records that Shun did not lose his way in fierce winds, thunder, and rain, Yu therefore appointed him as the successor to the throne. This is exactly the meaning."

象曰。洊雷震。君子以恐懼修身。上下皆震，重襲而至，故曰洊。恐懼存於心，修省見於事。恐懼繼以修省，所以盡畏天之實，象雷之洊也。初九。震來虩虩。後笑言啞啞。吉。初九九四二爻，震之所以為震者。下餘四陰爻，皆受震者。而初又成卦之之主也，故占與彖同。爻之吉，即彖之亨也。

The Great Image says, "Recurring thunder, the superior man thus cultivates himself with reverence." Both upper and lower trigrams are Zhen, representing thunder, and the sound of thunder follows one after another, hence "recurring." Reverence resides in the heart, while self-cultivation is expressed in actions; after reverence comes self-cultivation, which fully fulfills the duty of respecting the mandate of heaven, just as thunder continues without end. The line statement of initial nine says: When thunder strikes, one is startled and looks around, but afterward can laugh and be at ease, which is auspicious. The lines of initial nine and nine in the fourth are the essence of Zhen; the other four yin lines below are all influenced by Zhen. Initial nine is the main line of the hexagram, so its judgment is the same as the hexagram statement; the "auspicious" in the line statement is the "smooth" in the hexagram statement.

象曰。震來虩虩、恐致福也。笑言啞啞、後有則也。六二。震來厲。億喪貝。躋于九陵。勿逐七日得。億，大也，十萬曰億。貝，介蟲，古者用為寶貨也。躋，升也。九陵，猶九皐，高處也。二變為離貝象。六二乘初九之剛，有震來甚厲必喪其重寶之象。上互三四為艮，有升於九陵以避之之象。占者為震動而有所失，能中正自守，則不求而終獲也。

The Small Image says, "Thunder comes with fear, which may bring good fortune; laughter and joy, which indicate a precedent." This is the same as the text explained by the Commentary on the Judgment. The line statement for the second line says: Thunder comes with great danger, estimating the loss of valuable treasures, climbing high hills to take refuge; there is no need to search for them, they will be regained after seven days. "亿" refers to a large number, ten thousand being one "亿"; "贝" refers to a shellfish, which was used as a treasure by ancient people; "跻" means to climb; "九陵" is similar to "九皋," meaning high places. The second line changes to Li, which has the image of "贝." The second line overpowers the strong nature of the first line, thus producing the image of thunder coming with great force and inevitably losing the valuable treasures. Moving upward, it forms with the third and fourth lines the image of Gen, which represents a mountain, indicating climbing the high hills to take refuge. If a person loses something due to a disturbance, as long as they remain centered and upright, and do not search for it, they will eventually regain it.

象曰。震來厲，乘剛也。近雷之威，故危。六三。震蘇蘇。震行無眚。蘇蘇，緩散自失之狀。以陰居陽。當震時而所居不正，有蘇蘇自失之象。然去震初稍遠，因震而能行。去其不正，猶可以避災眚。三互坎為眚，變陽則無眚之象。象曰。震蘇蘇，位不當也。不中不正，故宜急去。

The Small Image Commentary says, "Shaking comes with danger, because it is riding on strength": being close to the power of thunder, hence danger. The statement of the third line says: shaking causes confusion; due to shaking, there is no misfortune. "Su su" refers to a state of slow and scattered confusion. The third line, being a yin line in a yang position, is exactly at the time of shaking but is in an improper position, hence the image of "su su" confusion; however, it is somewhat distant from the initial nine, the source of shaking, so it can act through fear, remove its own improperness, and thus can avoid misfortune. The third line interacts with kan, which represents misfortune; when this line becomes yang, it becomes "wu sheng" (no misfortune). The Small Image Commentary says, "Shaking with confusion, because the position is improper": being neither in the center nor in the proper position, so it should hurry to leave its original place.

九四。震遂泥。遂者，不反之意。泥滯溺也。以剛居柔，不中不正，陷於二陰，互坎為泥，故有遂泥之象。蓋無奮發之才而溺於宴安之私者也。象曰。震遂泥，未光也。陽本光眀。陷陰，故未光。

The fourth line statement says: "A sudden shock leads to being trapped in mud." "Sui" means to go away and not return, and "ni" refers to being stuck, sinking and drowning. The nine in the fourth line is a yang line in a yin position, neither in the center nor in the proper place, sinking between the upper and lower yin lines. The mutual trigrams form Kan, which represents mud, hence the image of "sui ni" (going away and being trapped in mud). This describes a person who lacks the spirit to strive and is instead immersed in private ease. The Small Image Commentary says, "Zhen sui ni, wei guang ye": Yang is originally bright, but once it falls into yin, it is said to be unable to expand its brightness.

六五。震往來厲。億無喪有事。以柔居尊，當震之時，下乘四剛。初始震為往，四洊震為來。五為君位震主，故有往來厲之象。然柔而得中，不至於大有喪。而震動戒懼之後，事功因之以立。故有億無喪有事之象。五與二皆乘剛，而四遂泥，其勢稍緩。故往來厲較之來厲者稍殊，而無喪又不同於喪貝，有事則又不但勿逐而已。象曰。震往來厲，危行也。其事在中，大無喪也。往來皆厲，行則有危矣。得中德而能有事，故可無大喪。

The line statement of the fifth line says: There is danger in movement and coming and going, but it is estimated that nothing will be lost, and something can still be accomplished. The fifth line, being a yin line in a noble position, is at the time of shaking. Below it is the strong line nine at the fourth. The first line nine initiates the shaking, called 'coming'; the fourth line nine follows with a second shaking, called 'going'. The fifth line is the ruler position and the main subject of the shaking, so there is the image of 'coming and going with danger'. However, it is soft and in the center, so it does not result in great loss; and after being cautious through the shaking, achievements are actually established, hence the image of 'no loss, there is something to do'. The fifth line and the second line both ride on strong lines, but the fourth line has already 'succeeded in being stuck', so the coming is somewhat slower, thus 'coming and going with danger' is somewhat different from the 'shaking comes with danger' of the second line; 'no loss' is also different from the 'loss of a coin' of the second line; 'there is something to do' goes beyond the 'do not pursue' of the second line. The Small Image Commentary says: 'Shaking with coming and going is dangerous behavior; the matter is in the center, so there is no great loss.' Coming and going are both dangerous, so behavior naturally has peril; but since it has the virtue of the center and can establish achievements, it does not result in great loss.

上六。震索索。視矍矍。征凶。震不于其躬。于其鄰。無咎。婚媾有言。索索，神氣不存也。矍矍，視不定也。鄰謂五。婚媾指三。以陰柔處震之極，有震索索之象。上變離為目，有視矍矍之象。三居位不正，故宜行則無眚。六居上正矣，而過懼。行必有失，故有征凶之象。四剛近五而遠上。然能因此以自戒懼，知畏天者也。故有不于其躬于其鄰，而於義無咎之象。上變離為中女，坎為中男，婚媾之象。三與上皆陰柔而不相應，有婚媾有言之象。親者尚議之，則疎者可知。

The line statement of the topmost yao says: The thunder causes trembling throughout the body and the eyes are restless and uncertain; proceeding forward at this time is dangerous. The thunder does not fall upon oneself but upon the neighbor, and there is no fault; however, there will be gossip among the marital relations. "Suo suo" indicates a scattered spirit, and "jue jue" indicates wandering eyes. "Neighbor" refers to the sixth line in the fifth position, and "marital relations" refers to the sixth line in the third position. The topmost yao, being a yin line in the extreme position of the Zhen trigram, thus presents the image of "Zhen suo suo"; the topmost yao, when changed to Li, which represents the eye, thus presents the image of "shi jue jue." The sixth line in the third position is not in the correct position, so it is appropriate to take action without calamity; the topmost yao, being a yin line in a yin position, is already in the correct position, yet it is excessively fearful, and any movement will result in a mistake, thus presenting the image of "zheng xiong." The ninth line in the fourth position is yang and is close to the sixth line in the fifth position but distant from the topmost yao; yet the topmost yao can use this to self-restrain, which is the behavior of someone who understands reverence for heavenly authority, thus presenting the image of "not falling upon oneself but upon the neighbor" without fault in terms of righteousness. The topmost yao, when changed to Li, which represents the middle female, and Kan, which represents the middle male, presents the image of "marital relations"; the sixth line in the third position and the topmost yao, both being yin lines, are not in harmony, thus presenting the image of "marital relations have words" — even close relations may speak ill, let alone distant ones.

象曰。震索索，中未得中也。雖凶無咎，畏鄰戒也。中未得，謂處震極，中心有所未安也。因鄰戒而知畏，可以無咎矣。全卦皆言震懼，而六爻皆無凶咎之言。上雖征凶，而亦無咎。大抵人心泰侈則致禍，戒懼則致福也。

The Small Image Commentary says, "Zhen (Thunder) is trembling, for it has not yet reached the center; although it is dangerous, there is no blame, because of the warning from the neighboring line." What is meant by "has not yet reached the center" is that one is at the extreme point of movement and feels inner unease. By being aware of the warning from the neighboring line and thus being cautious and fearful, one avoids mistakes. Overall, the entire hexagram discusses trembling and fear, yet none of the six lines are judged as having misfortune. Although the top line says "a journey is dangerous," it still says "there is no blame." Generally, when the human heart becomes arrogant, complacent, and indulgent, it invites misfortune; but if one remains cautious and fearful, one gains blessings.

艮艮卦，一陽居二陰之上。陽動至上則止，陰性本靜。上止下靜，故為艮。不曰止而曰艮，止有畜止之義，艮有安止之義。又其象為山，有安重堅實之意。故曰艮也。艮卦次震。按，《序卦》：震者，動也。物不可以終動，止之，故受之艮。艮者，止也。動靜相因，艮所以次震也。全彖以上下不相應而相背，為各止其所之義。動靜皆止，無我無人。此全彖之大旨也。

The Gèn hexagram is composed of a yang line situated above two yin lines. Yang moves upward from below, reaching the top and then stopping; yin by nature is quiet. The upper line stops, the lower line remains still, hence it is called "Gèn." It is not called "Zhǐ" (stop) but "Gèn" because "Zhǐ" implies a forced cessation, whereas "Gèn" suggests a natural and tranquil stopping. Moreover, the image of the hexagram is a mountain, which conveys the meaning of stability, solidity, and firmness. Therefore, it is called "Gèn." The Gèn hexagram follows the Zhèn hexagram. According to the "Xù Guà Zhuàn," Zhèn represents movement, and things cannot continue moving indefinitely; they must eventually stop, hence Zhèn is followed by Gèn. "Gèn" means to stop. Movement and stillness depend on each other, which explains why Gèn comes after Zhèn. From the hexagram statement, all lines are not in correspondence with each other but are facing opposite directions, indicating that each line stops in its proper place. Movement stops, stillness also stops; there is neither self nor other. This is the main idea of the hexagram statement.

六爻從二陽爻起義，而全艮之時用者獨在乎上。蓋九三互震，失止之義，故有厲薰心之占。九五近上艮，故悔亡。四遠之，則亦艮其身而已。二近下艮，能艮腓而不能拯。初則遠之，但未失正而已。此六爻之大畧也。

In the context of the six lines of a hexagram, the principles of meaning originate from two yang lines. However, only the line at the top (上九) can preserve the goodness of the mountain (艮) trigram. The line at the third position (九三), when combined with others to form the trigram of thunder (震), loses the original meaning of 'stopping,' hence the judgment of 'dangerous and burning in the heart.' The line at the fifth position (九五), being close to the top line (上九) of the mountain trigram, results in 'regret disappearing.' The line at the fourth position (六四), being further away, only achieves 'stopping oneself.' The line at the second position (六二), being close to the lower mountain trigram, can stop its own lower leg but cannot save others. The line at the beginning (初六), being even further away, merely means 'not losing the correct position.' This is a general explanation of the six lines.

艮其背。不獲其身。行其庭。不見其人。無咎。艮，一陽止於二陰之上。陽自下升，至上而止，其象為山。取坤地而隆其上之狀，亦止而不進之意也。人以面前為身，後為背。一身皆動，而背則靜。耳目口鼻皆有欲，唯背無慾。止之至也。卦體似人背面而立，故有艮其背之象。蓋天下之理，止於其所當止也。然理有所當止而多所擾者，起於有我之私。唯艮其背則無我之見，是以有不獲其身之象。理有所當止而多所歧者，又起於有人之見。唯艮其背，雖應事接物，各因其宜，無人之見，是以有行其庭不見其人之象。內外兩忘，動靜皆定，所以無咎。

The Hexagram Statement says: "Stopping at the back, one does not perceive one's own body; entering his courtyard, one does not see the person; there is no fault." The hexagram of Gen represents a single yang stopping over two yin: yang rises from below, reaches the top and stops, its image being a mountain—taking the shape of the earth's rising form, also containing the meaning of stopping and not proceeding further. A person takes the front side as the body and the back side as the back; the whole body moves, but the back remains still; the ears, eyes, mouth, and nose each have desires, but the back has no desire—this is the ultimate meaning of "stopping." The hexagram's form is like a person standing with the back facing outward, hence the image of "stopping at the back." The principle of the world lies in stopping at the proper place. However, although the principle has proper places to stop, people often disturb and move about; the root of the problem lies in the private self-centeredness of "having a self." Only "stopping at the back" has no self-view, hence the image of "not perceiving one's own body." Although the principle has proper places to stop, people often create differences and disputes; the root of the problem again lies in the view of "having a person." Only "stopping at the back," although still responding to things and acting according to circumstances, does not have the opposing view of self and other, hence the image of "entering his courtyard without seeing the person." Forgetting both internal and external, being still in motion and motionless, therefore there is no fault.

彖曰。艮，止也。時止則止，時行則行。動靜不失其時，其道光明。此釋卦名也。時止而止固止，時行而行亦止。非膠於止，唯其時各當，所以為止也。人心無主則昏。中有定止，自然光眀。又艮一陽見於二陰之上，光眀著見，陰莫能掩，有光眀之象。

The Commentary on the Judgment says, "Gèn means stopping; when the time comes to stop, one stops; when the time comes to move, one moves; if one's actions and inactions do not miss their proper time, then one's path is bright." This explains the name of the hexagram. To stop when it is appropriate is indeed stopping; to act when it is appropriate is also stopping—this is not being rigidly stuck in place. It is only because every step conforms to the right time that it is called "stopping." The human mind, without a central focus, becomes confused and dark; but when the mind has a fixed point of rest, it naturally becomes bright. Furthermore, Gèn is a yang line appearing above two yin lines, its brightness is evident, and the yin cannot conceal it, hence the image of brightness.

艮其止，止其所也。上下敵應，不相與也。是以不獲其身，行其庭不見其人，無咎也。背即止之所，故易背為止，以見背即止也。以卦體言之，內外相敵而不相與。陽上而陰下，一陽而統二陰，理無可加。陰陽各正其性，無外求之意。所以內不見己，外不見人也。

The Commentary on the Judgment says, "Gentleman stops at the proper place; the upper and lower trigrams are in opposition, not interacting with each other; thus, he does not see himself, walks through the courtyard but does not see a person, and there is no blame." "Back" is precisely the place where one should stop, so the Commentary on the Judgment replaces the character "背" with "止" to clarify that back means stopping. From the structure of the hexagram, the inner trigram and the outer trigram are in opposition without interaction; yang is above and yin is below, with one yang governing two yins, and there is no need for further addition. Yin and yang each maintain their proper nature, without seeking outside, so they do not see themselves internally and do not see others externally.

象曰。兼山。艮。君子以思不出其位。內外皆山，故曰兼山。理之所止為位。思各得其所止，不出其位也。不出位，身之止。思不出位，心之止。亦兼山之義也。

The Great Image Commentary says, "Combined mountains, Gen; the gentleman thinks without going beyond his position." Both inner and outer are mountains, hence it is called "Combined mountains." The place where reason should stop is called "position"; thinking each within its proper place is to not go beyond one's position. Behavior not going beyond one's position is the stillness of the body; thinking not going beyond one's position is the stillness of the mind—both body and mind together correspond to the meaning of "Combined mountains."

初六。艮其趾。無咎。利永貞。趾，所以行。初陰在下，方行之初。當止而止，不失其正，故有艮其趾無咎之象。止貴有終。恐陰柔不能固守，故勉以利永貞。象曰。艮其趾，未失正也。當止而行則非正，事初而止則正未失。

The line statement for the first line says: "Stopping the toe, no fault, favorable for enduring steadfastness." The toe is used for walking. The first line, with a yin line at the very bottom, is at the point just before action begins. When it should stop, it stops, thus not losing its correctness, hence the image of "stopping the toe without blame." Stopping is valuable when it is sustained; the fear is that the yin and soft nature may not be maintained for long, so it encourages "favorable for enduring steadfastness." The Small Image Commentary says "stopping the toe, not losing correctness": when stopping is appropriate but action is taken instead, that is not correct. When the matter is just beginning and stopping occurs, the correct path is not lost.

六二。艮其腓。不拯其隨。其心不快。二居限之下，趾之上，有腓象。居中得正，有艮其腓之象。三為限，腓之所隨。三過剛不中，止於上而薰心。二柔弱不能往而拯之，然非其心之所欲也。故有不拯其隨，其心不快之象。象曰。不拯其隨，未退聽也。三止於上，亦不肯退而聽二也。

The line statement for line six two says: 'It stops the calf of the leg, but cannot save the part it follows, and the mind is not pleased.' Six two is located below the waist and above the toes, which corresponds to the calf of the leg (the腓). It is in the central position and upright, hence the image of 'stopping the calf of the leg.' Nine three is the waist, and the calf of the leg originally moves with the waist. Nine three is overly strong and not in the central position, forcefully stopping above and causing danger and inner turmoil. Six two is weak and cannot go up to save it, but this is not what it wishes for, hence the image of 'not saving what it follows, and the mind is not pleased.' The Small Image Commentary says 'not saving what it follows, not yet retreating and listening.' Nine three stubbornly stops above and does not retreat to listen to six two.

九三。艮其限。列其夤。厲薰心。限，身上下之際。夤，腰膂也。九三上下卦之間，有限之象。人身榮衛上下流通，則身舒而心泰。九三以剛限於上下二柔之間，止而不動。如腰脊中強，上下榮衛隔絕，百骸不屬，危懼驚心。故有艮其限，列其夤而危厲薰心之象。艮以九居三為得正，乃至於薰心者。蓋三互四五為震為動，艮之反也。當動之時而止，猶腰膂本轉動之處，乃中強不能屈伸。所以危厲薰心，亦有震驚之象也。

The third line statement says: "Stopping at the waist, tearing the flesh of the spine, dangerous and alarming as fire scorching the heart." "Limit" refers to the boundary between upper and lower parts of the body, and "yin" refers to the flesh along the waist and spine. The third line is located between the upper and lower trigrams, hence the image of "limit." The body's defensive and nutritive qi flows up and down, allowing the body to be comfortable and the mind to be at ease. The third line, being a strong yang, is positioned between two yin trigrams, stopping and remaining still, like a stiffness in the middle of the waist and spine, blocking the flow of defensive and nutritive qi up and down, causing the limbs to be disconnected, which leads to a sense of danger and alarm, hence the image of "stiffening the limit and tearing the yin flesh" resulting in a feeling of danger and alarm as if the heart is scorched by fire. In the mountain trigram, having a yang line in the third position is considered correct, yet it leads to a feeling of being scorched in the heart, because the third and fourth, fifth lines interact to form the thunder trigram, which represents movement, the opposite of the mountain trigram. When movement should occur, it instead stops forcefully, like the waist and spine, which should be flexible, yet becomes stiff and unable to bend or stretch, hence the feeling of danger and alarm, with an element of shock as well.

象曰。艮其限，危薰心也。震上動極不寧，故心不安。艮三則所止不適，故心危厲也。六四。艮其身。無咎。以陰居陰，時止而止，有艮其身之象。可以無咎矣。咸與艮皆以人身取象。艮四正當心位，不言心而言身，兼動靜而言也。心不可見，身止則心之得所止可知矣。

The Small Image Commentary says, "Gentle restraint of the waist, danger in the heart": In the Zhen hexagram, the top line is moving to the extreme and cannot rest, hence the heart is restless; in the Gen hexagram, the nine in the third line is stopping at an inappropriate place, hence danger arises in the heart. The line statement for the sixth line four says: "Restrain the upper body, no fault." The sixth line four, being a yin line in a yin position, stops when it should, thus showing the image of "restraining the body," which results in no fault. The Xin hexagram and the Gen hexagram both use the human body as a symbol; in the Gen hexagram, the fourth line corresponds to the heart area, yet it does not say "heart" but "body," to include both movement and stillness. The heart is invisible, but when the body is restrained, the heart has already found its proper place, which can be inferred.

象曰。艮其身，止諸躬也。成已未能成物也。六五。艮其輔。言有序。悔亡。輔，頰兩傍骨。不言頰舌止言輔，背後所見也。六五正當輔之地，言所由出也。以柔居尊，發則為絲綸之言。然柔而得中，言不輕發。發必有秩秩之德音，故為艮其輔，言有序之象。以陰居陽，疑於有悔。然能得中，悔可亡矣。人莫大於言行，艮趾艮腓慎其行，艮輔慎其言也。

The Small Image Commentary says, "Gentleman's body is stopped, stopping all parts of himself": this refers to being able to achieve oneself but not others. The line statement of the fifth line says: stopping the jaw, speech is orderly, regret disappears. "Auxiliary" refers to the bones on both sides of the face; the term "cheek" and "tongue" are not used because this is the part visible from behind. The fifth line is in the position of "auxiliary," which is the source of speech. It is a yin line in a yang position, so when it speaks, it issues commands as if from the heavens; yet it is gentle and moderate, not speaking lightly, and when it does speak, it is orderly and virtuous, thus forming the image of "stopping the auxiliary, speech is orderly." Being yin in a yang position, it is naturally doubtful and may bring regret; but because it maintains the middle, regret disappears. In life, the most important things are speech and action: "stopping the foot" and "stopping the ankle" refer to careful action, while "stopping the auxiliary" refers to careful speech.

象曰。艮其輔，以中正也。以其中故可兼正。上九。敦艮。吉。以陽剛居止之極，自始至終一止於理而不變，敦厚於止者也。自初至五皆囿於一體，未能盡止道之善。獨上為成艮之主，於當止之地而止焉，所謂止於至善者。又陽在上不為陰揜，即彖所謂其道光明者。故占曰吉，與悔亡無咎者異矣。

The Small Image Commentary says, "Gentle in the auxiliary, because it is upright and correct." It is because it is in the center that it can achieve correctness. The line statement for the top yang line says: "Stop with sincerity, it is auspicious." The top yang line, being a yang yang line at the extreme point of stopping, stops consistently according to righteousness without change, thus being sincere in "stopping." From the first six to the fifth six, each is limited to a particular part of the body and fails to fully achieve the goodness of "stopping." Only the top nine is the main line of the mountain hexagram, stopping at the proper place. This is exactly what the Great Learning refers to as "stopping at the highest good." Moreover, a yang line at the top is not obscured by yin, which is precisely what the Commentary on the Judgment calls "its path is bright." Therefore, the judgment says "auspicious," which is quite different from the other lines that only say "regret disappears" or "no blame."

象曰。敦艮之吉，以厚終也。天下事有終為難，而厚道有終尤難。今於卦終敦厚其止，宜其吉也。全卦為震體之反，其吉凶之反亦然。震之吉在初，動之主也。艮之吉在上，止之終也。震之四下互二陰為艮，失所以為震矣，故遂泥。艮之三上互二陰為震，失其所以為艮矣，故薰心。趾腓下體，取象於行。輔在上，取象於言。而全卦取象於背。言行得其所止可無咎悔之憂。若夫忘我忘人，事事安於所止，必以上之敦艮為極乎。[文淵本“所止”下為“則唯上之敦艮能厚於終所以獨得吉也”無“必……乎”九字]

The Small Image Commentary says, "The virtue of being firm and earnest brings good fortune because it maintains sincerity until the end." The affairs of the world have a beginning and an end, which is already difficult, and to maintain sincerity throughout is even more difficult. Now, at the end of a hexagram, if one still remains firm and earnest, it is appropriate to attain good fortune. Overall, the hexagram is the reverse of the Zhen hexagram, and thus its fortune and misfortune are exactly opposite: the good fortune of Zhen is in the first line, because the nine at the beginning is the main moving line; the good fortune of Gen is in the top line, because the nine at the top is the end of stillness. In the Zhen hexagram, the nine in the fourth line gives rise to two yin lines below the interacting lines, forming Gen, thus losing the nature of Zhen, so it becomes "sinking into confusion." In the Gen hexagram, the nine in the third line gives rise to two yin lines above the interacting lines, forming Zhen, thus losing the nature of Gen, so it becomes "burning the heart." The toes and ankles belong to the lower part, symbolizing "movement"; the auxiliary parts are in the upper part, symbolizing "speech"; and the entire hexagram symbolizes "back." If both speech and action are in their proper places of rest, one can avoid calamity and regret; but if one forgets self and others and is content to stop at whatever is appropriate, then one must reach the extreme of the nine at the top, "being firm and earnest." (The Wen Yuan Ge edition, below "where it stops," reads "only the top line's firmness and earnestness can maintain sincerity until the end, thus alone attaining good fortune," without the nine characters "must...")

漸漸卦，下艮上巽。上順下止而不遽進。以象言之，則山上有木，其高以漸。故曰漸。漸卦次艮。按，《序卦》：艮者，止也。物不可以終止，故受之以漸。漸者，進也。止必有進，消長自然之理，漸所以次艮也。全彖以艮男下於巽女，有女歸之象。然必正而有漸，乃吉。而為士進身之道，亦即此可推矣。六爻取象於鴻。皆自下而上，皆以論士進之義。故唯二五以正應而吉。初在下無應故厲。三過剛無應故凶。四之無咎，以順巽也。上羽儀之吉，超乎世外者也。此全卦六爻之大畧也。

The lower trigram of the Gradual hexagram is Gen (Mountain), and the upper trigram is Xun (Wind). The upper is soft and yielding, and the lower is still and motionless, so there is no sudden progress. In terms of the hexagram image, trees grow on a mountain, and their growth is gradual, hence the name "Gradual." The Gradual hexagram comes after the Gen hexagram. According to the "Sequence of Hexagrams" transmission, Gen represents stopping, and things cannot remain stopped forever, so after Gen comes the Gradual hexagram; "Gradual" means progress. After stopping, there must be movement, which is the natural principle of increase and decrease, rise and fall, hence the reason the Gradual hexagram follows Gen. In terms of the hexagram statement, Gen represents a young male, and it is in a subordinate position to Xun, which represents an elder female, symbolizing a woman going to her husband's home. However, one must be upright and proceed step by step to achieve good fortune. As for the way of a scholar's advancement, this can be inferred similarly. All six lines of the hexagram take the image of wild geese, all moving upward from below, and are used to discuss the meaning of a scholar's advancement: thus only the second line and the fifth line are fortunate because they are properly aligned; the first line is in a low position and has no proper correspondence, so it is dangerous and perilous; the third line is overly strong and has no correspondence, so it is ominous; the fourth line is without blame because it is gentle, respectful, and humble; the top line attains good fortune by being "feathered and adorned," representing someone who is beyond worldly concerns. This is a general summary of the six lines of the hexagram.

漸。女歸吉。利貞。漸，漸進也。木生於山雖高，然必以漸而長。卦德止於下而巽於上。皆有不遽進之義。以二體言，則艮男下於巽女。女之適人必俟媒妁之言、六禮之備亦有其漸，故有女歸之象。禮義廉恥之重，天下國家之本，無如女之歸，故以取象。時解作士之進必以漸，是又因類推言之也。女歸以漸為吉，而又利於得正。不漸則為淫奔，不貞亦未合禮。卦中唯二五以得正而吉，故曰利貞也。咸卦止而悅，其感以正，取女者之吉也。漸卦止而巽，其進以正，女歸者之吉也。彖曰。漸之進也，女歸吉也。

The Hexagram Statement says: "Gradual progress, a woman going to her husband is auspicious, and it is favorable to maintain uprightness." "Gradual" means advancing step by step. A tree growing on a mountain may be tall, but it certainly grows gradually. In terms of the nature of the hexagram, the lower trigram is艮 (Gèn, mountain, representing stillness) and the upper trigram is巽 (Xùn, wind, representing flexibility), both implying a gradual advance rather than sudden movement. In terms of the upper and lower trigrams, it is the image of a young man (Gèn) being subdued by a mature woman (Xùn). A woman marrying must wait for the mediation of a matchmaker, and the six rites of betrothal, asking for the name, presenting auspiciousness, presenting gifts, requesting the date, and the wedding ceremony must be carried out in proper order, hence the image of "a woman returning." The importance of propriety, righteousness, integrity, and shame, and the foundation of the world and the state, nothing surpasses the marriage of a woman, so it is taken as the symbol. The ancient interpretation regarded it as a metaphor for a scholar's advancement, which is an extension of this idea. A woman's marriage is auspicious when it proceeds gradually, and it is also favorable to maintain uprightness: failure to proceed gradually becomes elopement, and failure to maintain uprightness is against propriety. In the entire hexagram, only the lines Six in the Second and Nine in the Fifth are auspicious because they are upright. The Commentary on the Judgment says: "Gradual progress, a woman going to her husband is auspicious."

之字，疑亦漸字。進得位，往有功也。進以正，可以正邦也。以卦綜釋利貞之義。按，此卦綜歸妹。歸妹下卦之兌進為漸上卦之巽，九得五之位。九進居五，又為得位之正。其進以正，正己正人可以正邦，即所謂有功也。

In the phrase "gradual progress" from the Commentary on the Judgment, the character "之" is suspected by Chen Menglei to have originally been the character "渐" due to a transmission error. Since the name of the hexagram is derived from the idea of gradual progress, the repetition of the character "渐" in the sentence would correspond better with the meaning of the hexagram. Zhu Xi's "Basic Meaning" had already doubted that there was an error or omission here, and Chen Menglei followed this line of reasoning. The next two sentences, "progressing to a proper position, and proceeding with success; progressing with correctness, one can correct the state," use the concept of "hexagram reversal" to explain the phrase "favorable to uprightness" in the hexagram statement.所谓 hexagram reversal refers to viewing the hexagram upside down. When the hexagram "Gradual Progress" is reversed, it becomes "Return of the Maiden." The lower trigram of "Return of the Maiden," which is "Guan," when reversed becomes the upper trigram "Xun" of "Gradual Progress." The originally lower yao (line) that was yang thus moves up to the fifth line. A yang line advancing to the fifth position is consistent with "progress," and since it is a yang line in a yang position and occupies the central position of the upper trigram, it is called "correct position." Proceeding with correctness, first rectifying oneself and then others, is sufficient to correct the state, which is what the Commentary on the Judgment refers to as "having success."

其位，剛得中也。剛得中，釋上文進得位之言。止而巽，動不窮也。止，不輕動。巽，不躁動。然如是而動必有功，不至於困窮矣。凡進之心愈急，則進之機愈沮。今內止，則未進之先廉靜無求。外順，則方進之時相時而動。所以進不窮也。按，本義以卦德言漸進之義。今按，文義似亦承上進以正可以正邦而釋之。

The Commentary on the Judgment then says, "Its position, the yang is in the center," which explains the previous statement "advancing to a proper position." The nine in the fifth not only rises to a high position, but also the yang is located in the center of the upper trigram, hence called "in the center." "Stopping and being yielding, movement is not exhausted" then shifts to discuss the trigram characteristics: the lower trigram is艮 (stop), stopping prevents rash action; the upper trigram is巽 (yielding), yielding prevents impetuous movement. Thus, when movement occurs, it will surely be effective, without falling intopredicament (difficulty). Whenever the desire to advance is more urgent, the opportunity to advance is more obstructed. Now, internally being able to stop, before advancing, one remains modest and self-restrained, making no demands; externally being able to yield, when advancing properly, one considers the situation before acting. This is the reason for "movement is not exhausted." Zhu Xi's "Ben Yi" treats these two sentences as explaining the trigram characteristics and the meaning of gradual progress. Chen Menglei, however, believes that from the textual meaning, these two sentences seem to also follow the previous statement "advancing with correctness, one can correct the state."

象曰：山上有木，漸。君子以居賢德善俗。地中生木，以時而升。山上之木，似乎高矣，然其進必以漸。君子以之，成己成物皆有其漸。賢字，本義疑衍。程傳作居賢善之德。居德以漸，勤修積累，始乎為士終乎為聖也。善俗以漸，從容化導，始乎鄉邦及乎天下也。

The Great Image Commentary says: Mountains with trees, this is the hexagram of Progress. The gentleman takes this as a model, using it to cultivate virtue and improve customs. The hexagram of Ascending represents wood growing in the earth, rising with the seasons; the hexagram of Progress represents trees on a mountain, which appear already high, yet still grow gradually, one inch at a time. The gentleman follows this principle, whether achieving personal cultivation or accomplishing external matters, always adhering to the concept of gradual progress. The character 'xian' (virtue) in the text, Zhu Xi's 'Benyi' doubts it is a redundant character; Cheng Yi's 'Yichuan Commentary on the Changes' reads it as 'residing in virtuous and good virtue.' To cultivate virtue gradually means diligent practice and accumulation, starting from becoming a scholar and ultimately becoming a sage; to improve customs gradually means calmly educating and guiding, starting from a single town or state and eventually extending to the whole world.

初六：鴻漸于干，小子厲，有言，無咎。巽有飛鳥之象。互離坎。離為飛鳥，在坎水之上。又鴻之行有序而進有漸。昏禮用鴻，取不再偶。於女歸之義尤切，故六爻皆以取象。乾，水涯也。初六以陰居下，當進之始，有鴻漸于干之象。艮為少男，小子之象。

The line statement of the first line says: The wild geese gradually arrive at the bank of the water, the young boy is in danger, and if he brings about blame, there is no fault. The upper trigram is Xun, which originally contains the image of flying birds; the second to fourth lines and the third to fifth lines form the trigrams Li and Kan respectively. Li represents flying birds, which are exactly on top of Kan water. Moreover, the wild geese fly in an orderly formation and move in a regulated manner. In ancient times, geese were used as gifts in weddings, because they do not pair again after losing their mate, which is especially fitting with the meaning of this hexagram, "female returning," so all the lines use the image of wild geese. "Gan" refers to the bank of water. The first line, being a yin and flexible line at the very bottom of the hexagram, is at the beginning of gradual progress, so it has the image of wild geese just arriving at the water's edge. The lower trigram is Gen, representing the young man, which is the source of the image "young boy" in the line statement.

鴻飛，長者在前，幼者在後。幼者惟恐失群，危而號呼，長者必緩飛俟之。初無應於上，危厲不免於號呼，有小子厲有言之象。然以漸不敢躁進，於義亦無咎矣。象曰：小子之厲，義無咎也。操心危厲，言以抒誠，不敢躁妄，得在下始進之義。

Wild geese fly in formation, the older ones leading and the younger ones following. The young geese are most afraid of falling behind, and when they get anxious they cry out, and the older geese slow down to wait for them. The line 'Initial Six' is not in harmony with the superior position, and is alone at the very bottom, feeling anxious and inevitably calling for help, which is exactly the image of 'the young one is in danger, and there is a cry'. However, it follows the gradual approach, not rushing ahead, and in terms of principle, there is no fault. The 'Small Image Commentary' says: the young one's danger and anxiety, in terms of principle, is not wrong. Because he is cautious and respectful, his words are an expression of sincere feelings, and he does not act recklessly. This is exactly appropriate for someone in a low position, newly entering the situation.

六二：鴻漸于磐，飲食衎衎，吉。磐，大石也。遠於水進於乾而益安矣。衎衎，和樂也。艮為石，有磐石象。互坎有飲食象。六二柔順中正，進以其漸，而上有九五之應，有鴻漸于磐、飲食相呼、和樂自得之象。如是則吉矣。象曰：飲食衎衎，不素飽也。不素飽猶不素飡也。二五相應可以正邦而有功。二大臣位。衎衎疑於尸素，故傳推言之。

The line statement for the second line says: The wild geese gradually move to the large stone, enjoying food and happiness, which is auspicious. "Pán" refers to a large stone. Compared to the position of the first line at the water's edge, this line is further away from the water and higher in elevation, thus more stable. "Kàn kàn" describes a happy and harmonious state. The lower trigram is Gen (Mountain), so there is an image of a large stone; the lines two to four form the trigram Kan (Water), hence the image of food. The second line is a yin and flexible line that is upright and proper, advancing step by step. Above it is the fifth line, which is a yang line in a proper position, so there is an image of wild geese ascending the large stone, calling to each other to share food, and being happy and content, which naturally brings auspiciousness. The Small Image Commentary says: Enjoying food and happiness does not mean eating without purpose. "Bù sù bǎo" is similar to "bù sù cān" in the Book of Songs, Wei Wind, "Fá Tán." The second line corresponds with the fifth line, capable of rectifying the state and establishing achievements; the second line is in the position of a minister and belongs to a high-ranking official. On its own, "kàn kàn" might be misunderstood as occupying a position without working, so the Small Image Commentary specifically clarifies this point.

九三：鴻漸于陸，夫征不復，婦孕不育，凶，利禦寇。鴻，水鳥。陸非所安也。九三過剛不中而無應，而居艮體之上，有水鳥自乾而進於高平之陸之象。內卦少男，外卦長女。故彖以女歸為吉，爻之二五、三四皆取夫婦之象。二五當相應之位為正，三四不當相應之位為邪。卦取上進。三上比四，夫征之象。互坎中滿，婦孕之象。三變成坤，離絕夫位，坎體亦不成，夫征不復之象。三悅四之陰，不當往而往，故夫征不復。四悅三之陽而從，不當合而合，故婦孕不育。不育者，不敢育也。

The line statement for the third line says: Wild geese gradually fly to high and level land, the husband goes to war and does not return, the wife is pregnant but does not give birth, which is dangerous; but it is favorable for resisting bandits. Geese are water birds, and high land is not their proper place. The third line, which is a strong yang line, is excessive and not in the center, has no proper matching above, and is at the top of the lower trigram, which is mountain. Therefore, it symbolizes a water bird leaving the water's edge and moving to high and level land. The inner trigram is mountain, representing a young man, and the outer trigram is wind, representing an elder woman. Therefore, the commentary on the judgment refers to 'a woman returning' as auspicious. Among the six lines, the second and fifth lines, and the third and fourth lines, represent the image of husband and wife. The second and fifth lines are in corresponding positions and thus represent proper marriage; the third and fourth lines are not corresponding but are adjacent, thus representing improper intimacy. The whole hexagram signifies upward movement. The third line is adjacent to the fourth line, thus forming the image of 'a husband going to war'. The lines two to four form the trigram of water, with one yang line in the center, thus forming the image of 'a wife being pregnant'. If the third line becomes a yin line, the lower trigram becomes earth, and yang is cut off from the husband's position, and the trigram of water no longer exists, which is the image of 'a husband going to war and not returning'. The third line is attracted by the yin and softness of the fourth line and goes where it should not, thus the husband does not return. The fourth line is attracted by the yang and strength of the third line and follows where it should not, thus the wife is pregnant but does not give birth. The term 'not giving birth' means she does not dare to give birth.

如是其凶甚矣。然雁群不亂，止則相保。三四雖非夫婦之正，然以三之剛，四能順之，情好相比，可禦患難。三互二四為坎為盜賊，三四五互離又為戈兵，故有禦寇之象。象曰：夫征不復，離群醜也；婦孕不育，失其道也；利用禦寇，順相保也。丑，程傳以為離群可丑。竊按，丑，類。三與上為群類者也。今上無正應而求四，是離其群類以往，不復宜矣。四合於三，非女歸之正道也，雖孕不敢育矣。然變坎成坤，行險而順。欲禦寇賊以相保守，或可耳。

At this point, the danger has become very severe. However, geese in flight never scatter, and once they stop, they guard each other. Although the third and fourth lines are not properly matched as husband and wife, with the strong quality of nine in the third and the gentle quality of six in the fourth, their mutual harmony and proximity can still support each other in times of hardship. The lines two to four form the trigram Kan, which represents thieves; the lines three to five form the trigram Li, which represents weapons, so there is an image of "defending against thieves." The "Small Image Commentary" says: a husband going to war and not returning is leaving his kind; a wife being pregnant but not giving birth is losing the proper path; it is advantageous to defend against thieves because the gentle can protect each other. The character "chou" (丑), as interpreted by Cheng Yi in his "Yichuan Commentary on the Changes," means "to be separated from the group is a disgrace"; Chen Menglei privately thinks that "chou" should be interpreted as "kind," meaning that nine in the third and nine at the top are of the same kind. Now, nine at the top has no proper response, yet nine in the third turns to pursue six in the fourth, which is abandoning its kind to go elsewhere, so it is no wonder it does not return. The union of six in the fourth and nine in the third is not in accordance with the proper way for a woman to marry, so even though there is a pregnancy, it dares not give birth. However, when nine in the third changes, the dangerous trigram Kan transforms into the trigram Kun, which represents gentleness, indicating that one may be in danger yet still remain gentle. If one wishes to defend against thieves and protect oneself, it may still be possible.

六四：鴻漸于木，或得其桷，無咎。桷，平柯也。鴻不木棲，得平柯可以安。或者，偶然之辭。六四巽體而乘剛，在艮山之上，有漸於木之象。然柔順得正，三以一陽橫於下，有或得其桷之象。其占則無咎也。象曰：或得其桷，順以巽也。三得四順以相保，四從三順以得安。順則不拂，巽則不迫。故雖乘剛而又可以自安，與禦寇意相近。蓋三四非應。以夫婦之道言之，則為邪。若相比以圖安，猶庶幾也。

The line statement for the fourth line says: Wild geese gradually fly up to the trees, perhaps they can find a straight branch, there is no fault. "Ju" refers to a straight horizontal branch. Wild geese usually do not rest on trees, but if they step on a straight branch, they can be secure. The word "huo" implies an accidental or fortunate situation. The fourth line belongs to the upper trigram Xun, and it is positioned above the third line, which is a yang line. Its position is at the top of the mountain trigram Gen, so there is an image of gradually moving up to the tree. Fortunately, it is a yin line that is in the correct position, and the third line, being a yang line, is like the straight branch beneath it, which provides support. This is called "huo de qi ju," and the result of the divination is no fault. The Small Image Commentary says: Being able to find that straight branch is due to being gentle and humble. The third line can be protected by the fourth line, and the fourth line can be secure by following the third line. Being gentle and humble does not lead to opposition, and Xun does not force, so even though the fourth line is above a yang line, it can still remain secure. This meaning is similar to the third line's "li yu kou." It should be known that the third and fourth lines are not in the correct mutual relationship, and if measured by the standard of husband and wife, it is improper; but if viewed merely as neighbors relying on each other for security, it is acceptable.

九五：鴻漸于陵，婦三歲不孕，終莫之勝，吉。陵，高阜也。九五居尊，在艮山之上，有鴻漸于陵之象。二以陰應五，有婦象。互離大腹而中虛，不孕之象。自二至五歷三爻，三四間隔其中，又離居三，有三歲不孕之象。然二五皆居中得正而相應，女歸之貞而以漸者也。三四終莫能勝之之象，宜其吉矣。卦以上為女，下為男。爻則以五為男，二為女，蓋就陰陽相應言之。易之取象不可為典要者也。象曰：終莫之勝吉，得所願也。中正相應，二五之願也。時解以明良終合成治言之，亦可，但不必拘耳。

The line statement for the fifth line says: Wild geese gradually fly up to a high hill, the wife is unable to conceive for three years, in the end nothing can prevent them, and it is auspicious. "Ling" refers to a high hill. The fifth line is in the尊 position, and is also above the mountain trigram, so there is an image of wild geese ascending to a hill. The second line, being yin and soft, corresponds with the fifth line, which is taken as the "wife." The lines three to five form the fire trigram, which represents a large belly with an empty center, matching the image of infertility. Counting from the second line to the fifth line involves three lines, with the third and fourth lines in between, and the fire trigram being in the third position, hence the image of "three years of infertility." However, both the second and fifth lines are in the central and correct positions and correspond with each other, which is the way a woman should remain chaste and proceed in order. The third and fourth lines cannot ultimately prevent this, so it is auspicious. Considering the whole hexagram, the upper trigram is wind, representing the elder daughter, and the lower trigram is mountain, representing the young man. However, in terms of line positions, the fifth line is taken as the male and the second line as the female, based on the principle of yin and yang correspondence. This shows that the Zhou Changes use images flexibly and cannot be rigidly applied with fixed examples. The Small Image Commentary says: In the end, nothing can prevent them and they achieve auspiciousness, because their wishes are fulfilled. Being in the central and correct position and corresponding with each other is naturally the shared wish of both the second and fifth lines. Some people interpret this line as the virtuous ruler and loyal minister finally achieving harmony and jointly achieving a well-governed world, which is also acceptable, though one need not be rigidly attached to a single interpretation.

上九：鴻漸于陸，其羽可用為儀，吉。陸作逵，雲路也。儀，羽毛之飾也。上九至高，有鴻漸于逵之象。上九無位。然漸進至此已極其高，猶賢達君子高蹈遠去。而其進退去就，可為當世儀表，非無用者也。故有其羽可用為儀之象。占者如是則吉矣。象曰：其羽可用為儀吉，不可亂也。立志卓然，不可得其亂也。全彖以漸進取女歸之象，而要之正士君子之出處亦如之。二五明良遇合。初始進無援者也。三躁進而四取容。若上則達人之高致乎。

The line statement for the topmost line (上九) says: The wild geese gradually fly into the cloud path, their feathers can be used for ornamentation, which is auspicious. Here, the character "陆" should be read as "逵," meaning the path in the clouds. "仪" refers to decoration made of feathers. The topmost line is at the highest position of the hexagram, hence the image of wild geese flying into the cloud path. In terms of the line position, the topmost line is a place without position; however, advancing to this point represents the highest attainment, just as a virtuous gentleman withdraws to a remote place. His advancement and retreat can serve as a model for a generation, and he is not entirely useless, hence the image of "his feathers can be used for ornamentation," which is auspicious. The Small Image Commentary says: The feathers can be used for ornamentation and are auspicious because they cannot be disturbed. One who has lofty aspirations is not shaken by external things. Looking at the entire hexagram, it uses the concept of gradual progress to represent the image of a woman's return. In the end, it is about properly guiding the conduct and retreat of the gentleman. The second and fifth lines represent the meeting of a virtuous ruler and a good minister; the first line is the beginning of a person's career without support; the third line is impetuous advancement; the fourth line is seeking favor through flattery; and the topmost line represents the lofty aspirations of a wise person.

歸妹。歸妹，上兌上震。雷震而澤動，有相從之象。女之長者曰姊，少者曰妹。兌以少女從震之長男，亦為女歸之象，故曰歸妹。歸妹次漸。按《序卦》：漸者，進也。進必有所歸，故受之以歸妹。漸有女歸之義。歸妹女之歸也。歸妹所以次漸也。

The hexagram "Gui Mei" has the lower trigram Dui (Lake) and the upper trigram Zhen (Thunder). The original text says "upper Dui upper Zhen," but the first "upper" should be a mistake for "lower." Thunder moves suddenly, and the lake water follows, symbolizing mutual following. An older woman is called "zhi" (sister), and a younger woman is called "mei" (sister-in-law). This hexagram depicts a young girl from the trigram Dui following a young man from the trigram Zhen, representing a woman marrying. Hence, the hexagram is named "Gui Mei." "Gui Mei" comes after "Jian." According to the "Xu Gua Zhuan," "Jian" means progress, and progress must have a destination, hence "Gui Mei" follows. The hexagram "Jian" already contains the meaning of a woman marrying, and "Gui Mei" specifically discusses a woman's marriage, which is why it immediately follows "Jian."

全彖以少女從長男，以悅而動非正。六爻自二至五皆不當位。三五皆以柔乘剛。初上雖得正而陽下陰上，故所往皆凶而無利。六爻唯五取帝女下嫁，尚德而不尚飾為最吉。二雖有女德之貞，而不得良配，亦不能成內助之功。初以安分為美，四以愆期為憾。蓋陽爻雖無應，猶喜其有女德也。若三以不正反歸，上以無應不終。蓋陰爻無應，則女之失德者，亦以說而動，必致凶矣。此全卦六爻之大畧也。

Looking at the entire hexagram statement, a young maiden following an elder son acts on a momentary pleasure, which is inherently improper. All six lines from the second to the fifth are not in the correct position, and both the third and fifth lines have yin flexibility riding over yang strength. Although the first and top lines are in the correct positions, they still have yang below and yin above, reversing the proper hierarchy. Therefore, wherever they go, there is danger, and there is no place where they gain advantage. Among the six lines, only the fifth line is most auspicious, as it represents a royal daughter marrying a king, valuing virtue rather than appearance. The second line, although possessing the virtue of a woman who remains chaste, cannot find a good husband and thus cannot achieve the role of an inner helper. The first line values contentment with one's position as admirable, while the fourth line laments the delay in marriage—although yang lines may not have a corresponding line, they still possess the virtue appropriate for a woman. As for the third line, it is rejected due to its improper nature, and the top line ends without completion due to lack of correspondence—when a yin line has no corresponding line, it signifies a woman who has lost virtue, still acting on impulse and thus inevitably bringing about danger. This is the general meaning of the six lines of the hexagram.

歸妹：征凶，無攸利。妹，少女也。漸曰女歸，自彼歸我娶婦之家也。此曰歸妹，自我歸彼嫁女之家也。兌以少女從震之長男，故曰歸妹。男女相從以正則吉。今上動下悅，以說而動，恣情縱欲者也。自二至五皆不得正，三五又以柔乘剛，初上得位，亦柔上而剛下，皆非室家之宜，故征則必凶。凡占得此皆無所利。夫婦，人道之本。女說男動，位皆不正，何所不至。故諸卦之凶，未有如此之甚者。聖人垂戒之意深切矣。

The Hexagram Statement: "Returning to the Maiden." Going forward brings misfortune and no benefit. "Maiden" refers to a young woman. The Hexagram "Gradual Progress" says "the woman returns," meaning the woman comes from the other side to this side, speaking from the perspective of the family taking in a bride. This Hexagram says "returning to the maiden," meaning the daughter is sent from this side to the other side, speaking from the perspective of the family giving away a daughter. The young woman of the Trigram兑 follows the elder son of the Trigram震, hence it is called "returning to the maiden." When men and women follow each other, if they follow the right path, it is auspicious. However, in this Hexagram, the upper Trigram is Zhen (Thunder), which represents movement, and the lower Trigram is Dui (Lake), which represents joy. This creates an image of being led by joy and indulgence. From the second line to the fifth line, none are in the correct position. The third and fifth lines are also instances of yin overpowering yang. Although the first and top lines are in the correct position, the yin is still above and the yang below, which does not conform to the usual principles of forming a family. Therefore, going forward is certain to bring misfortune, and those who divinate this Hexagram will find no benefit. The relationship between husband and wife is the foundation of human relationships. Now, the woman is overly indulgent, and the man is recklessly active. Moreover, none of the lines are in the correct position. What kind of foolishness could be committed? Therefore, among the sixty-four Hexagrams, none are more dangerous than this one. The deep intention of the sage in warning us is truly profound.

彖曰：歸妹，天地之大義也。天地不交，而萬物不興。歸妹，人之終始也。歸，女之終。生育者，人之始。此釋卦之名義而贊其大也。說以動，所歸妹也。說以動，以卦德言之。所歸者妹，女子不由禮也。征凶，位不當也。無攸利，柔乘剛也。諸爻皆不當位，所處不正，故動必凶。以柔乘剛，失尊卑之序，故無所利。

The Commentary on the Judgment says: A woman marrying is a great principle in the universe; if the energies of heaven and earth do not meet, all things would not arise. A woman marrying marks the end and the beginning of human affairs. The 'end' refers to the conclusion of her life in her father's household; the 'beginning' refers to the start of giving birth to children and the continuation of the human race. This passage explains the meaning of the hexagram's name and praises its significance. 'It is said that movement leads to marriage,' meaning that movement is based on the hexagram's virtue: the lower trigram is Dui (Joy), and the upper trigram is Zhen (Thunder), indicating movement. However, the one being married is specifically 'the younger sister,' showing that this woman is not marrying according to proper rites. 'A journey brings danger, because the position is improper; there is no benefit, because the yin is overpowering the yang.' Each line is not in the proper position, so any movement brings misfortune; the yin is overpowering the yang, reversing the order of respect and hierarchy, hence there is no advantage.

象曰：澤上有雷，歸妹。君子以永終知敝。雷動澤隨，男動女從之義。男女之道欲其永遠有終，必有以豫知其不終之敝。女子從人以說而動，後必不永其終。當說動之時知其敝，則可以永其終，與君子偕老矣。初九：歸妹以娣，跛能履，征吉。初九居下而無正應，有娣之象。然以剛居剛，女子有賢正之德，能承助其君者。以震為足，兌為毀折，有跛能履之象。以全卦言，為說以動則征凶。以此爻言，得娣之正，故其征吉。

The Great Image says: Thunder resounds over a marsh, which is the hexagram of "Return of the Wife." The gentleman understands from this that in order for a marriage to be long and complete, one must first recognize the potential for its failure. When thunder moves, the marsh water follows, symbolizing the idea that the man initiates and the woman follows. For the way of husband and wife to be long and complete, it is necessary to foresee the faults that may lead to an unhappy ending. A woman who follows a man only out of momentary pleasure will inevitably fail to maintain a lasting relationship. However, if she recognizes the faults at the very moment of her heart's movement, she can preserve her lifelong bond and remain with a gentleman until old age. The line statement for the first nine: A daughter is married with a younger sister as a secondary bride, who is lame but still able to walk, and this is auspicious. The first nine is located at the very beginning and has no proper corresponding line, which symbolizes the role of the secondary bride. Yet it occupies a yang line in a yang position, indicating that although it is a woman, it possesses the virtue of being upright and proper, thus being able to assist her husband. The upper trigram is Zhen (Thunder), representing feet, and the lower trigram is Dui (Lake), representing destruction. Together, they form the image of "a lame person who can still walk." In the entire hexagram, acting out of mere pleasure leads to misfortune, but for this particular line, it maintains the proper role of the secondary bride, thus making the action auspicious.

象曰：歸妹以娣，以恆也。跛能履吉，相承也。恆，常久之德。有嫡有妾，人道之常。謂以九居初也。相承，能承助其君也。以恆，以分言。相承，以德言。九二：眇能視，利幽人之貞。九二陽剛得中，妹之賢者。上有正應而反陰柔不正，所配不良而內助之功不能大顯。二互三四為離為目，陽明而當兌之毀折，故有眇能視之象。

The Small Image Commentary says: Marrying a daughter and having her serve as a secondary wife is maintaining a constant status. A lame person still able to walk is auspicious, as it signifies the ability to assist the husband. "Constant" refers to a virtue that remains unchanged. Having a main wife and secondary wives is the normal order of human relations, here indicating a yang line in the first position, abiding in a humble place. "Mutual support" means the ability to support and assist the husband. "Being constant" refers to maintaining proper status, while "mutual support" refers to virtue. The line statement for nine in the second: One eye is blind yet still able to see, which is favorable, like a person living in seclusion who maintains rectitude. Nine in the second is yang and occupies the central position of the lower trigram, being the virtuous among the younger sisters. Although there is a proper correspondence above, six in the fifth is yin and weak, not in the proper position, and thus the person she is matched with is not suitable, so her inner assistance is not clearly manifested. The second line and the third and fourth lines together form the trigram of fire, which represents the eye. Although it is the image of bright yang, it is also in the form of the trigram of joy being broken, hence the image of "one eye is blind yet still able to see."

幽人，抱道守正而不偶者。以男女之象言，則五為二之配。以上下之位言，則五為二之君。二以陽居陰位，居下卦之中，有幽人之象。以九二之剛中上應六五之陰柔，女之賢不遇其夫。猶臣之賢不遇其君也（文瀾本「也」作「者」）。以其所居非正，故又戒之利貞，宜固守其正也。象曰：利幽人之貞，未變常也。幽靜自守，女子之常。

"The term 'yōu rén' refers to a person who holds moral principles and remains loyal to righteousness without having a spouse. If we consider the imagery of male and female, the sixth line (six in the fifth) is the spouse of the ninth line (nine in the second); if we consider the positions above and below, the sixth line (six in the fifth) is also the sovereign of the ninth line (nine in the second). The ninth line (nine in the second) occupies a yin position with a yang line, and is located in the center of the lower trigram, thus resembling the image of a 'yōu rén.' The yang strength of the ninth line (nine in the second) residing in the center and responding to the yin softness of the sixth line (six in the fifth) is like a virtuous woman who cannot find a good husband, or a capable minister who cannot find a good sovereign (the last word of this sentence in the Wenlan Pavilion edition is 'zhe'). Since its position is not proper by itself, the line statement also warns it 'to be beneficial in upholding correctness,' which means it should firmly adhere to the correct path. The 'Small Image Commentary' says: it is beneficial to be like the 'yōu rén' and uphold correctness, because there is no change in the constant way. To remain quiet and self-restrained is the inherent virtue of a woman."

六三：歸妹以須，反歸以娣。須，或作待，或作斯須，皆未當。按《天官》，織女貴而須女賤，今從之。初九在下為娣。六三居下之上，非娣也。然陰柔而不中正，為說之主，女之賤者也。以此于歸，人莫之取，有反歸為娣之象。象曰：歸妹以須，未當也。六居三，賤居貴，柔乘剛，皆未當也。

The line statement for the third line says: A woman marries but goes out in the status of 'xu', and ends up being sent back to serve as a secondary bride. The character 'xu' is interpreted by some as waiting and by others as a brief moment, but neither explanation is appropriate. According to the star names recorded in the 'Records of the Grand Historian: Celestial Officials', the Weaving Girl star is noble while the Xu Girl star is lowly. Chen Menglei adopts this interpretation. The initial line is at the very bottom and thus serves as a secondary bride, while the third line is in the upper position of the lower trigram. It should not be a secondary bride. However, it is a yin line that is not central and not proper, and it is the main line of the lower trigram 'Dui' (Joy), belonging to the category of lowly women. With such a status, no one would marry her, hence the image of being sent back to serve as a secondary bride. The 'Small Image Commentary' says: A woman marries but goes out in the status of 'xu', which is inappropriate. A yin line in the third position, a lowly one occupying a noble position, and a yin line riding over a yang line, all are inappropriate.

九四：歸妹愆期，遲歸有時。九四有陽剛之德而無正應，有賢女不輕從人、愆期以待時之象。愆期者數，有時者理。非終不歸者也。三四皆失位而三反四遲者，澤善淫而雷動有時也。象曰：愆期之志，有待而行也。志有所待，女德之剛也。

The line statement for the fourth line says: A girl is married but the wedding is delayed, and she will eventually marry at the right time. The fourth line has the virtue of yang but lacks a proper response, just like a virtuous woman who does not easily agree to marriage, preferring to wait for the right time rather than miss the wedding. Delaying the wedding is due to fate, and 'sometimes' is according to principle, not meaning she will never marry. Both the third and fourth lines are in improper positions, but the sixth line is rejected while the ninth line is delayed, because the lower trigram Dui (Lake) is fickle, and the upper trigram Zhen (Thunder) has its time for movement. The Small Image Commentary says: The intention of delaying the wedding is to wait for the right time to act. Having something to wait for is the upright virtue of a woman.

六五：帝乙歸妹，其君之袂不如其娣之袂良，月幾望，吉。卦以歸妹為名，故在九二言上配於五，在六五又言下嫁於二。帝乙，始制帝女下嫁之禮者。六五柔中居尊，下應九二，故有帝乙歸妹之象。五尊，女君之象。初在下，娣之象。袂，臂之飾。陽爻有外飾華美之觀。五六而初九，有其君之袂不如其娣之袂良之象。尚德而不貴飾，女德之盛也，有月幾望之象。小畜中孚之月幾望以位言，陰盛足以抗陽也。此以德言，陰盛足以配陽也。占者如是則吉矣。

The line statement for the fifth line says: The king's daughter is married, but the bride's sleeves are not as ornate as those of the accompanying concubine; the moon is almost full, which is auspicious. The entire hexagram is named 'Return of the Maiden,' so when discussing the second line, it says it is paired upward with the fifth line, and when discussing the fifth line, it says it is married downward to the second line. 'Di Yi' was the first to establish the ceremony for a royal daughter's marriage. The fifth line is a yin line, positioned in the center and in a noble position, and it responds to the second line, thus resembling the image of the king's daughter being married. The fifth position is noble and represents the image of the female ruler; the first line is at the bottom and represents the image of the concubine. 'Mue' refers to the decoration at the sleeve opening, and a yang line has an appearance of external ornamentation. The fifth line is a yin line, while the first line is a yang line, so there is the image of the bride's sleeves being less ornate than those of the concubine. Valuing virtue rather than appearance is the height of a woman's virtue, so there is the image of the moon nearly full. The hexagrams 'Xiao Xu' and 'Zhong Fu' mention 'yue ji wang' in terms of the line positions, referring to yin energy being strong enough to match yang; here, 'yue ji wang' refers to virtue, meaning yin virtue being strong enough to match yang. If this line is drawn, it is auspicious.

象曰：帝乙歸妹，不如其娣之袂良也。其位在中，以貴行也。有中德之可貴而行，故不尚飾。上六：女承筐無實，士刲羊無血，無攸利。夫婦共承宗廟祭祀者也。女當承筐篚而無實，士刲羊而無血，皆無以承宗廟之祭矣。震有虛筐之象。兌有羊象。坎為血卦。今上變為離，無血之象。上六以陰柔居歸妹之終，與三無應，約婚而不終者，故有承筐無實、刲羊無血之象。占無所利矣。

The Small Image Commentary says: Emperor Yi married off his daughter, but the daughter's sleeves were not as fine as those of the attendants. Her position was in the center, and she acted based on her noble virtue. Because she possessed this valuable quality of being in the center and acted accordingly, she did not value external adornment. The line statement for the sixth line at the top: A woman holds a bamboo basket but it is empty, a man slaughters a sheep but there is no blood, there is nothing to gain. A husband and wife are meant to jointly serve the ancestral temple worship. If the woman is supposed to carry the basket but it is empty, and the man is supposed to slaughter the sheep but there is no blood, then neither can fulfill the duty of the ancestral temple sacrifice. The upper trigram is Zhen, symbolizing an empty basket, and the lower trigram is Dui, symbolizing a sheep. Kan represents the blood卦. Now, the sixth line at the top changes, making the upper trigram become Li and the Kan trigram disappears, which is the image of no blood. The sixth line at the top, being a yin line in the final position of the Gui Mei hexagram, and having no proper response with the third line, represents a person who has engaged in marriage but cannot have a proper conclusion. Therefore, there is the image of holding an empty basket and slaughtering a sheep without blood, and the divination yields no benefit.

象曰：上六無實，承虛筐也。卦為歸妹言，故象傳不及刲羊無血也。合全卦而論之。以說而動，爻位不正，故皆凶。分六爻而占之。則得中而應剛德者皆吉。二五有應者也。五以得中為尚德，二以得中為守貞。然二應柔而五應剛，故二又不如五也。餘四爻無應，則以本爻有剛德者吉而陰柔者凶。故初以安分而征吉。四雖遲而有時。三以越分而反歸。上以無實而不終。蓋女德能剛則貞也。

The Small Image Commentary says: The sixth line at the top is empty and holds nothing but an empty basket. Since the entire hexagram is based on the theme of "marrying a daughter," the Small Image Commentary only mentions holding the basket and does not mention piercing a sheep without blood. Considering the whole hexagram: acting recklessly out of joy and having an improper position leads to overall misfortune. When considering each of the six lines separately: those who are in the central position and correspond to the virtuous male line are fortunate. The second and fifth lines are the two lines that have proper correspondence. The fifth line is fortunate because it is in the central position and can uphold virtue, while the second line is fortunate because it is in the central position and can maintain chastity. However, the second line corresponds to the fifth line, which is yin and weak, while the fifth line corresponds to the second line, which is yang and strong, so the second line is less fortunate than the fifth. The other four lines do not have proper correspondence, so we look at the line itself: those with yang strength are fortunate, while those with yin weakness are unfortunate. Therefore, the first line is fortunate because it remains loyal and moves forward, the fourth line is fortunate because although it delays marriage, it eventually finds the right time, the third line is unfortunate because it oversteps its proper position and is rejected, and the sixth line is unfortunate because it is empty and lacks substance, leading to an evil end. This shows that a woman's virtue, if it is strong and upright, can also maintain chastity.

豐。豐卦，下離上震。以明而動。動而能明，皆有豐大之意，故為豐。豐次歸妹。按《序卦》：得其所歸者必大，故受之以豐。物所歸聚勢必盛大，豐所以次歸妹也。全彖當豐盛之時，宜守中不使至於過盛。蓋豐則多故，故有戒辭也。

The hexagram 丰 has the trigram Li (Fire) as its lower trigram and Zhen (Thunder) as its upper trigram. Acting with brightness and maintaining clarity in action, both aspects imply abundance, hence the name 丰 (Prosperity). The hexagram 丰 follows 归妹. According to the sequence of hexagrams, those who have found their proper place will inevitably grow strong, hence the arrangement of the hexagram 丰. When all things gather and converge, their momentum becomes grand, which explains why 丰 immediately follows 归妹. The hexagram statement discusses: at the time of prosperity, one should hold to the middle path and avoid excess. Because prosperity brings many affairs, the hexagram statement carries a warning tone.

六爻以六五為豐之主。五柔暗，故欲得二四剛明之臣。二應五而四比五。初遠五，亦偕四同往以輔乎五。此四爻所以吉也。獨三不從五而遠應上，故至於折肱。至上則處豐之時，自蔽已甚，宜其凶也。此全卦六爻之大畧也。

The sixth line, six five, is the main line of the entire Fu hexagram. Six five is yin, soft, and dark, so it urgently needs the strong and bright nine two and nine four to assist it. Nine two corresponds directly with six five, and nine four is closely adjacent to six five; although initial nine is farther away from six five, it can still go together with nine four to assist six five. This is why these four lines are auspicious. Only nine three does not align with six five, but instead corresponds far away with upper six, resulting in the outcome of 'breaking the right arm.' As for upper six, being in a time of abundance yet concealing itself to the extreme, its danger is naturally inevitable. This is the general idea of the six lines of the hexagram.

豐。亨。王假之。勿憂。宜日中。豐，大也。以明而動，盛大之勢。大則有亨道，理勢然也。假，至也。豐盛非王者車書一統不能至此。未至此固無可憂，至此則似可憂。然聖人以為徒憂無益也，當守常不使於過盛，如日之方中可矣。

The Hexagram Statement: "Fullness," signifies smoothness and success; a sovereign can attain this state; there is no need for worry, one should act like the sun at noon. "Fullness" means great. By acting with brightness, one possesses a grand momentum; since it is grand, there is the reason for smoothness, which is natural. "Jia" means to reach, to arrive at. When fullness reaches its peak, it is not enough unless a sovereign unifies the world, standardizes the chariot tracks and writing. If one has not reached this state, there is no cause for worry; but when one truly reaches it, it seems as if there should be worry. However, the sage considers that worrying in vain is useless; one should merely hold fast to the constant way, preventing it from becoming excessive, like the sun at noon.

全卦上震下離，有日出東方光明盛大之勢，故有亨象。日之在東，其象非王者不能當，故有王假之之象。坎為加憂。離卦坎之反，有勿憂之象。日自東至中，其勢皆盛，過此則昃矣，故有宜日中之象。日之不能常中者，勢也。宜日中者，聖人持盈虛豐之道也。

The entire hexagram consists of Zhen above and Li below. Zhen is in the east, and Li represents the sun. This forms an image of the sun rising in the east with great radiance, hence the image of "smoothness" (亨). The sun rising in the east is a grand phenomenon that only a sovereign can match, hence the image of "the sovereign comes to it" (王假之). Kan represents "adding worry," while Li is the opposite of Kan, hence the image of "do not worry" (勿忧). The sun rises from the east to the center, continuously ascending; after reaching the center, it begins to move westward, hence the image of "suitable at noon" (宜日中). The sun cannot remain at the center forever, which is the natural course; saying "suitable at noon" refers to the sage's method of holding onto fullness during prosperity and preventing decline.

彖曰。豐，大也。明以動，故豐。明則風微，動則成務，故能致治盛大。以卦德釋卦名義也。王假之，尚大也。勿憂宜日中，宜照天下也。尚大，當豐之時，所尚自大。猶不期而自侈，所以可憂也。如日之常普天下，則可以保其豐。不然徒憂無益也。日中則昃，月盈則食，天地盈虛，與時消息。而況人於人乎，況於鬼神乎。日中有必昃之勢。故當豐之時者，不可有過中之心。

The Commentary on the Judgment says: "Fu" means great; it is bright and active, so it can be great. Brightness allows illumination even in the subtle and hidden places, and activity enables the accomplishment of affairs, thus creating a flourishing era. This explains the meaning of the hexagram name through its hexagram virtue. "The king comes to it, which is to value greatness; do not worry, and it is appropriate for the sun to be at its zenith, appropriate for illumination of the whole world" — "Valuing greatness" means that when things are flourishing, what is esteemed naturally tends toward grandeur, and often people become unaware of their own extravagance, which is truly cause for concern. If one can maintain brightness like the sun shining over the whole world for a long time, then the flourishing state can be sustained; if not, merely worrying is of no use. "When the sun reaches its zenith, it begins to wane; when the moon is full, it begins to wane; the heavens and earth are full and empty, increasing and decreasing with the seasons." Even the heavens and earth follow the sequence of time, having periods of fullness and emptiness, increase and decrease; how much more so humans and spirits? When the sun reaches its zenith, it must inevitably set, so those in a flourishing state should not harbor the thought of seeking further excess.

象曰。雷電皆至。豐。君子以折獄致刑。折獄，象電之照。致刑，象雷之威。噬嗑明罰勅法，詳審立法，使人不敢犯也。折獄致刑，明察下情，使人有所懲也。初九。遇其配主。雖旬無咎。往有尚。凡卦爻取剛柔相應，此則取明動相資。蓋全卦以五為豐之主，五方柔暗，欲得剛明之臣以自輔。初遠於五而與四應。四，初之配也。故有遇其配主之象。旬，均也。初四皆陽，均敵非應之正。然同有陽剛之德，明動相資，故雖旬而無咎。同德共事，往以輔五，必有功矣，故曰往有尚。象曰。雖旬無咎，過旬災也。旬則與配均，可以相濟。初在下僚，道宜如此。當豐之時，求勝其配則有災。此雖爻辭外之意，亦即不過中之義也。

The Great Image Commentary says: Thunder and lightning come together, which is the meaning of the hexagram of Abundance. The gentleman takes this as a model, using it to judge lawsuits and carry out punishments. Judging lawsuits is modeled on the illumination of lightning; carrying out punishments is modeled on the authority of thunder. The hexagram of噬嗑 speaks of "clarifying punishments and enforcing laws," emphasizing the careful and cautious establishment of laws so that people dare not violate them; the hexagram of Abundance speaks of "resolving cases and imposing punishments," emphasizing the clear understanding of the people's affairs and the accurate judgment of cases, so that people are punished accordingly. The line statement for the first nine: encountering the one who is matched with him, although both have equal strength, there is no fault, and going forward will be praised. Generally, the hexagram lines take the image of the mutual感应 between yang and yin; but this hexagram takes the image of "brightness" and "movement" relying on each other. This is because the entire hexagram takes the sixth five as the main line of abundance, and the sixth five is in the position of yin and darkness, needing a strong and bright minister to assist. The first nine is far from the sixth five, yet corresponds with the ninth four—the ninth four is the spouse of the first nine, hence the image of "meeting the matching master." "Xun" means equal. The first nine and the ninth four are both yang lines, thus equal in strength, not the proper correspondence of one yin and one yang. However, both lines possess yang strength, one belonging to the line of li (brightness), the other to the line of zhen (movement), relying on each other, so even though they are equal, there is no fault. With the same virtue and working together, going forward to assist the sixth five, they will certainly achieve success, hence saying "going forward is commendable." The Small Image Commentary says: although equal there is no fault, exceeding this limit brings disaster. Equal strength allows for mutual assistance; the first nine, being in a low position as a minor official, should naturally be in this position. In the time of abundance, if one desires to surpass one's peers, disaster will follow. This meaning, though outside the line statement, is still the principle of "not going beyond the middle."

六二。豐其蔀。日中見斗。往得疑疾。有孚發若。吉。蔀，障蔽也。來注作草名。今按，宜作亂草障蔽為是。震為蕃草，故以取象。南北斗形皆如量，故名斗。震亦有斗象。大其障蔽，日中而昏，則斗可見矣。六二當豐之時，離明之主而上應六五柔暗之君，故有豐其蔀、日中見斗之象。二以陰居而五又陰，故有往得猜疑疾惡之象。然二有文明之德，中虛之誠。人皆信之，終當有以發其蔀而行其志，故有有孚發若之象。占者如是則吉矣。

The line statement for the second line: The covering mat grows larger, and at noon the sky becomes dark, so the Big Dipper becomes visible; going forward may bring suspicion and dislike, but if one acts with sincerity and sincerity, it will be auspicious. "Bù" refers to something that blocks or covers. Lai Zhide explained that it refers to a type of grass, but Chen Menglei thought it was more appropriate to consider it as a covering made of wild grass. The upper trigram Zhen represents flourishing grass, so this image is used. Both the Southern and Northern Dippers resemble the measuring vessel called "dou," hence their name; the Zhen trigram also contains the image of the Dipper. As the covering becomes larger, the sky becomes darker at noon, so the Big Dipper becomes visible. The second line is the main line of the lower trigram Li, which represents brightness, but it corresponds to the fifth line, a yin line that is dark and unclear, so there is the image of "the covering grows larger, and the Big Dipper is seen at noon." The second line is a yin line, and the fifth line is also a yin line; they are of the same type but do not support each other, so there is the image of going forward leading to suspicion and dislike. However, the second line possesses the virtue of civilization and has a sincere and empty heart, so people will believe in it, eventually removing the covering and realizing its aspirations. Therefore, this line is auspicious.

象曰。有孚發若，信以發志也。取信於君，可以發其心志矣。九三。豐其沛。日中見沬。折其右肱。無咎。沛，作旆，幡幔也。蔽甚於蔀矣。沬，小星也。三與上應。上柔暗失中，蔽甚於五。則三之所見甚於斗。故有豐沛見沬之象。三欲應上，而上之陰柔無位不可有為。又此爻變為艮，艮為手。未變陽爻為右。三四五互為兌為毀折。有折其右肱之象。以有用之才，置無用之地。上之不可有為，非三之咎也。

The Small Image Commentary says: Using sincerity to inspire others is relying on trust to open the mind. Gaining the trust of the sovereign allows one's aspirations to be realized. The line statement for the third line says: The curtain is drawn more tightly, and at noon one sees a small star, breaking the right arm, without blame. "Pai" should be read as "pei," meaning a hanging banner, and the degree of obstruction is more severe than "bu." "Mo" refers to a small star. The third line corresponds with the sixth line above, but the sixth line is yin and lacks the central position, so the darkness is heavier than that of the fifth line. Therefore, what the third line sees is darker than what the second line sees of the Big Dipper—so dark that even a small star is visible, hence the image of "seeing the small star through the thick curtain." The third line originally intended to correspond with the sixth line above, but since the sixth line is yin and occupies an inappropriate position, it cannot accomplish anything. Moreover, if this line changes, the lower trigram becomes Gen, which represents the hand; when unchanged, it is a yang line, which represents the right. The interaction of lines three, four, and five forms Dui, which represents destruction, thus forming the image of "breaking the right arm." This is like placing a useful talent in an ineffective position. The sixth line above cannot act, but the responsibility does not lie with the third line, hence it says "without blame."

象曰。豐其沛，不可大事也。折其右肱，終不可用也。保豐大事，非柔暗者所能。人作事在右肱。上以三為右，則上為左。右折，則左亦不可用。九四。豐其蔀。日中見斗。遇其夷主。吉。九四上承六五之暗主，己又居陰，剛明不足，故象與六二同。夷，等夷也，指初九。初以下偶上，視四為配。四以上就下，視初為夷。九四剛而明不足。初剛在下，離體至明。資以輔五，則豐盛之治可保，宜其吉也。

The Small Image Commentary says: A tent stretched too wide cannot accomplish great things; breaking the right arm means it will ultimately be of no use. Preserving abundance is a major task, something that cannot be done by a weak and dark person. People rely on their right arm to do things; for the upper six, the nine three is its right arm, so the upper six itself becomes the left arm. If the right arm is broken, the left arm cannot exert its strength. The line statement of the fourth line says: The covering mat spreads wider and wider, seeing the Big Dipper at noon, encountering a superior of equal status, which is auspicious. The fourth line is above the six five, a dark ruler, and itself occupies a yin position with a yang line, so its strength and clarity are insufficient. Therefore, the image is the same as that of the second line. "Yi" means a peer or one of equal status, referring to the initial nine. The initial nine, from below, pairs with the fourth line, seeing the fourth line as its "pair"; the fourth line, from above, looks down and sees the initial nine as its "Yi." Although the fourth line is strong, it lacks clarity, while the initial nine is strong and bright, belonging to the fire element and being extremely bright. By relying on its strength, they jointly support the six five, thus preserving the abundance, which is why it is auspicious.

象曰。豐其蔀，位不當也。日中見斗，幽不明也。遇其夷主，吉行也。不中不正，不當也。比陰居陰，不明也。六二中正，不得言不當。以應五，故豐蔀耳。六二以陰居陰，幽不待言。九四以陽居陰，幽與二同。故象傳不釋於六二而於此釋之。下求於初為行。震性動，有行象。得人以事君，行則吉矣。

The Small Image Commentary says: When the covering becomes wider, it is due to improper position; seeing the Big Dipper at noon indicates darkness and lack of clarity; encountering a master of equal status brings good fortune for this action. Nine in the Fourth is not in the center and is not in the proper position, hence it is said 'improper'; being close to a yao of darkness and itself occupying a dark position, hence it is said 'dark and unclear'. Six in the Second is originally a yao in the middle and upright, so it cannot be said to be in improper position. It is also said 'enlarging the covering' only because it corresponds to Six in the Fifth, the昏君. Six in the Second, being a yao of darkness in a dark position, is naturally dark; Nine in the Fourth, being a yao of brightness in a dark position, is equally dark. Therefore, the Small Image Commentary does not explain 'dark and unclear' at Six in the Second, but reserves it for this yao. Nine in the Fourth seeking help from Nine at the Beginning is 'action'; Nine in the Fourth, belonging to the Zhen trigram, has the nature of movement, hence the image of 'action'. Gaining assistance to serve the master together, this action is naturally auspicious.

六五。來章。有慶譽。吉。六五質雖柔暗，若能來致天下之明，則有慶譽而吉矣。章指二。而初與四亦在所來。二雖質柔致疑，然離體文明，亦章也。自二之五曰往，自五之二曰來。初與四雖非應，然保豐盛之治，非有剛明之才不能。四比五而初應四。四以位柔不足，求初共輔之，皆可以保豐。然使五非柔中虛己以來之，則慶譽無由致矣。慶集於身，譽流天下，所以吉也。象曰。六五之吉，有慶也。言慶則譽可兼。

The line statement for the fifth line says: attracting talented and cultured people brings blessings, fame, and good fortune. Although the fifth line is soft and dark, if it can attract the wise people of the world, it will gain blessings, fame, and be auspicious. "Chapter" refers to the second line; however, the first line and the fourth line are also included in the attraction. Although the second line is soft and may be suspected, it belongs to the trigram of fire, which represents culture and civilization, so it is also called "chapter." Moving from the second line to the fifth is called "going," and moving from the fifth to the second is called "coming." The first line and the fourth line are not in proper correspondence with the fifth line, but to maintain a flourishing era, one must have strong and discerning talents. The fourth line is close to the fifth line, and the first line corresponds with the fourth line. Since the fourth line is in a yin position and lacks strength, it seeks the support of the first line. Both can help maintain the flourishing state. However, if the fifth line cannot use its moderate and virtuous virtue to humbly invite them, blessings and fame will never be achieved. Blessings are concentrated on oneself, while fame spreads throughout the world, so it is auspicious. The Small Image Commentary says: the fifth line is auspicious because it brings blessings. Since it mentions "blessings," "fame" is also included.

上六。豐其屋。蔀其家。闚其戶。闃其無人。三歲不覿。凶。以陰柔居豐之極，動之終。所處既高，有豐其屋之象。質本柔暗，有蔀其家之象。變離中虛，又陰質空虛，有闚其戶闃其無人之象。九三正應，以上九障蔽之深，莫與為用。相去三爻，又離居三，有三歲不覿之象。全卦宜日中。二五日中之位。初四未及乎中。三上皆過乎中者也。而上又以動體之終處豐之極，故凶最甚也。象曰。豐其屋，天際翔也。闚其戶闃其無人，自藏也。上六之豐其屋者，不過欲以自高，如飛翔於天際而己不知，適以自蔽其家而空其門。昏昧自高，人皆棄之。非人之遠己，乃己之遠人，是自藏也。

The line statement for the sixth line at the top says: Building a house high and lofty, yet making the inside of the house dark and dim; peering through the door crack, the place is silent and empty, not seeing anyone for three years, which is ominous. The sixth line is a yin line situated at the peak of abundance and at the end of the shaking element. Because it is at a high position, it has the image of "building a high house"; because its nature is yin and dark, it has the image of "darkening the home." When this line changes, the upper trigram becomes Li (Fire), and the middle is empty, and since the yin line is inherently empty, it has the image of "peeking through the door crack, the place is empty and no one is there." The ninth line is its corresponding line, but because the upper position is too obstructive, no one is willing to associate with it. The sixth line is three lines away from the ninth line, and the mutual trigram Li is exactly at the third position, so it has the image of "not seeing anyone for three years." The entire hexagram is most suitable when the sun is at its zenith: the second and fifth lines are at the position of the sun's zenith, while the first and fourth lines have not yet reached the middle, and the third and sixth lines have passed the middle. Moreover, the sixth line is at the end of the shaking element and at the peak of abundance, so it is the most dangerous. The Small Image Commentary says: Building a high house is like flying in the sky; peeking through the door crack and finding it empty is like hiding oneself. The sixth line builds a high house, but only to elevate itself, like flying in the sky, yet not realizing that this action darkens the home and leaves the courtyard empty. Being ignorant and self-important, everyone will abandon him. This is not because others are distant, but because he himself has distanced others, hence it is called "self-concealment."

全卦以明動相資而成豐。彖有王假之言，唯有天下者可當此象。故六爻以五為主。而他爻皆宜輔五以保其豐，故不拘爻位之相應也。保豐之道宜於日中。三與上皆過中，故三折肱而上無人。獨取於初二與四也。

Looking at the entire hexagram, it is through the mutual reliance of "brightness" and "movement" that prosperity is achieved. The hexagram statement includes the phrase "the king comes to it," indicating that only someone who possesses the world is worthy of this hexagram's grandeur. Therefore, all the lines are centered around the fifth line, and the other lines should support the fifth line to maintain prosperity. Hence, the hexagram does not strictly follow the usual convention of yin and yang correspondence. The way to maintain prosperity is by holding onto the "noon" position. Since both the third line and the top line have passed the central position, the third line breaks its right arm and the top line has no one at the gate. The only lines in the hexagram that can be taken are the first line, the second line, and the fourth line.

五既陰柔，輔五者貴有陽剛之德。二雖正應而質柔，必孚而後能發。四雖材剛而位柔，必遇初乃可共濟。初雖陽剛得正，猶必待配主之遇，又凜過旬之戒。國家當全盛之日，持盈保泰之道不出於廟堂，而賴於疎遠之小臣，而遭遇之不偶又如此。欲天下之常豐，豈易言哉。

Six in the Fifth, being yin and flexible, relies on those with yang strength to support it. Although Six in the Second corresponds with Six in the Fifth, its nature is weak, so it must first gain the trust of the ruler before it can inspire action. Nine in the Fourth, though strong in quality, is in a yin position, so it must meet Nine at the Beginning to work together. Nine at the Beginning, although strong and upright, still needs to meet its partner and constantly follow the warning of 'not exceeding the ten days.' When a country is at its peak, the way to maintain fullness and stability does not come from the court, but depends on distant minor officials. Yet these encounters are so difficult and infrequent. How can the world maintain prosperity forever? It is not an easy task.

旅。旅卦，下艮上離。山止於下，火炎於上。去其所止而不處，為旅之象。又入而麗乎內則為家人，出而麗乎外則為旅。旅卦次豐。按《序卦》：豐，大也。窮大者必失其居，故受之以旅。失居遂至覊旅，旅所以次豐也。全彖以處旅本無大通，雖亨亦小。然道無不在，不可以暫時而苟且，故必守正乃吉也。六爻則旅之道以得中為善。卑則取辱，高則召禍。初卑，故有瑣瑣之災。三居下之上，焚次喪僕。上居上之上，焚巢喪牛。皆高之過也。四雖無太高太卑之失而未得中，故心亦不快。唯二以得中而懷資得僕。五以得中而譽命。然五不當位，猶不免於矢亡。然則居旅之善，唯六二乎。

The hexagram of Travel has the lower trigram as艮 (Mountain) and the upper trigram as离 (Fire). The mountain remains still below, while the fire rises up above without ceasing. The fire departs from its resting place and does not stay, thus forming the image of 'Travel' (being away from home). Furthermore, what is attached internally is the hexagram of Family, while what is attached externally is the hexagram of Travel. The hexagram of Travel comes after the hexagram of Great Wealth. According to the 'Sequence of Hexagrams,' 'Great Wealth' signifies completeness, and those who push great wealth to its extreme will surely lose their dwelling, hence the hexagram of Travel follows. Losing one's dwelling leads to being a traveler, which explains why the hexagram of Travel comes immediately after the hexagram of Great Wealth. The overall meaning of the hexagram's statement is: being in a state of travel, one cannot expect great success. Even if there is success, it is only minor success. However, principles exist everywhere, and one should not be careless just because one is temporarily staying somewhere. Therefore, maintaining uprightness brings good fortune. The six lines emphasize 'being in the center' as the best way to deal with travel: being too low brings disgrace, while being too high invites disaster. The line Six at the Beginning is too low, thus suffering from trivial misfortunes. The line Nine in the Third is at the top of the lower trigram, resulting in the loss of the lodging and servants. The line Nine at the Top is at the top of the upper trigram, leading to the burning of the bird's nest and the loss of cattle. These two lines are both too high. The line Nine in the Fourth is neither too high nor too low, but it is not in the center, so it remains unsatisfactory. Only the line Six in the Second, being in the center, possesses wealth and servants, while the line Six in the Fifth, also being in the center, gains reputation and rank. However, the line Six in the Fifth is not in the correct position, so it still incurs a loss, like missing an arrow. Thus, among all the lines, the best in a state of travel is Six in the Second.

旅。小亨。旅貞吉。按，本義，山止於下，火炎於上。為去其所止而不去之象，故為旅。按，大全，山止而不動，旅館之象。火動而不止，旅人之象。二說皆通。六五得中而順上下之二陽，艮止而麗於明，佔有亨道。但在旅，則雖亨亦小耳。六爻唯六二居中得正為最善。蓋道無不在，不可以偶然覊旅而苟且，必守正則吉也。

The Hexagram Statement: "Travel," there is slight success; in a state of being away from home, maintaining uprightness brings good fortune. According to Zhu Xi's "Original Meaning," the mountain is below and the fire is above, symbolizing being separated from one's place of reliance yet not entirely departing, hence called "Travel." According to the "Complete Commentary on the Zhou Changes," the mountain is still and unmoving, like a lodging house; the fire is active and unceasing, like a traveler. Both interpretations are reasonable. The hexagram has the upper trigram Kan (Water) and the lower trigram Gen (Earth), with the fifth line being a yin line that is central and follows the yang lines above and below. This indicates the possibility of success; however, being in a state of travel, even if there is success, it is only slight. Among the six lines, only the second line is central and proper, thus being the most appropriate. Since principles exist everywhere, one should not be careless merely because they are temporarily away from home. One must maintain uprightness to achieve good fortune.

彖曰。旅，小亨，柔得中乎外而順乎剛。止而麗乎明，是以小亨旅貞吉也。以卦綜言之。豐下卦之離得中於外卦，順乎二剛。覊旅之人得托援，雖在覊旅可小亨矣。以卦德言之。下艮止而上離麗乎明。非賢不主，非善不與，所謂於止知其所止者，貞而得吉矣。旅之時義大矣哉。旅之亨小，而其時義則大。義莫大於貞。高則取禍，卑則取辱。唯貞則吉。時義之大如此，人未可忽之也。

The Commentary on the Judgment says: The hexagram of Travel has slight success because the yin line is in the outer trigram and in the middle, and it is yielding to the yang lines; the lower trigram stops and the upper trigram adheres to brightness, so there is slight success and a traveler who maintains correctness will be auspicious. These sentences first discuss the 'reverse hexagram': the hexagram of Travel reversed becomes the hexagram of Great Illumination. The lower trigram of Great Illumination, which is fire, when turned upward, occupies the middle of the outer trigram of Travel. The upper and lower trigrams then follow and support the two yang lines, nine in the fourth place and nine at the top. A traveler can find support and assistance, so even while in a foreign place, there is slight success. Then from the hexagram's virtue: the lower trigram is mountain, which means stopping, and the upper trigram is fire, which means adhering to brightness. This is not because the virtuous person does not go to seek support, nor because the good person does not make connections. It is exactly what the Great Learning says: 'Knowing where to stop, one knows where to stop.' Maintaining correctness thus brings auspiciousness. 'The meaning of the time of Travel is great indeed.' The slight success that a traveler can achieve is small, but the meaning of its timing and application is great. And there is no greater meaning than 'maintaining correctness.' Being in a high position brings disaster, being in a low position brings humiliation, only maintaining correctness brings auspiciousness. This meaning is so great that people must not take it lightly.

象曰。山上有火。旅。君子以明慎用刑，而不留獄。慎刑如山，不留如火。取其止以為慎，取其火以為明也。此於旅之義無與，但取火在山上之象耳。初六。旅瑣瑣。斯其所取災。當旅之時，陰柔居下。不務遠大，局於瑣屑。有瑣瑣取災之象。象曰。旅瑣瑣，志窮災也。其志猥陋窮迫，自取災也。

The Great Image says: Fire on a mountain, this is the hexagram of Travel. The gentleman takes it as a model, using punishment with clarity and caution, and not delaying cases. Using punishment with caution is like the mountain being steady, and not delaying cases is like fire being swift. Taking the "stillness" of Gen to show caution, and taking the "fire" of Li to show clarity. This aspect has nothing to do with the meaning of "wandering in exile," but only takes the image of fire on a mountain. The line statement for the first six: Wandering in exile and being petty and calculating, this is the way to invite disaster. At the time of wandering in exile, the first six is a yin and flexible line at the very bottom, unwilling to look at the big picture, only getting bogged down in trivial matters, thus there is an image of being petty and inviting disaster. The Small Image says: Wandering in exile and being petty, is due to a narrow and distressed mind that invites disaster. His mind is lowly and distressed, so disaster is naturally self-invoked.

六二。旅即次。懷其資。得童僕貞。六二以陰居陰得正。又艮為門，二居其中。有即次得安之象。陰主利而二居中，互巽為利市三倍，有懷其資之象。艮為少男而二居中得正，有得童僕貞之象。即次則安，懷資則裕。得童僕之貞，則無欺而有賴。旅之最吉者也。象曰。得童僕貞，終無尤也。童僕之貞最難，故象傳獨言之。

The line statement for line six-two says: In a place of lodging during a journey, one has money with him and receives a loyal servant. Line six-two is a yin line in a yin position and is correct, and since the lower trigram is K'un (Earth), which represents a gate or threshold, line six-two is in the middle of it, thus symbolizing staying in a lodging place and settling down. Yin represents wealth, and line six-two is in the center, so there is an image of carrying money. The lines two to four form the trigram Xun (Wind), and the Book of Changes says Xun represents 'gaining three times the profit', thus symbolizing carrying money. K'un represents a young man, and line six-two is in the center and correct, thus symbolizing receiving a loyal servant. Staying in a lodging place brings stability, having money brings abundance, and receiving a loyal servant ensures no deception and provides support, making this the most auspicious line during a journey. The Small Image Commentary says: Receiving a loyal servant, one will ultimately have no mistakes. A servant's loyalty is hard to rely on, so the Small Image Commentary specifically mentions this statement.

九三。旅焚其次。喪其童僕。貞厲。九三與六二相反。二柔而中正，故即次。三過剛不中，上近於離，故有棼次之象。二居中乘柔，故得僕。三過剛無徒，又下之柔已為二所得，有喪僕之象。九居三，於爻雖貞，於旅則厲也。象曰。旅焚其次，亦以傷矣。以旅與下，其義喪也。在旅與下過剛，義當喪僕。

The third line statement says: In a situation of being a traveler in a foreign place, the guest house is burned down, and the servant is lost. Although one is upright, it is still dangerous. The third line is opposite to the second line: the second line is yin and flexible, hence it can remain in the guest house; the third line is overly yang and not in the center, and it is close to the fire trigram above, hence there is an image of the guest house being burned. The second line is in the center and is supported by the yin, hence it can obtain the servant; the third line is overly strong and has no one to follow, and the yin below has already been taken by the second line, hence there is an image of losing the servant. A yang line in the third position is considered proper in terms of position and is upright, but in the situation of being a traveler, it becomes dangerous. The Small Image Commentary says: Being a traveler and having the guest house burned down is already a serious injury; using such an attitude toward subordinates, one should lose the servant. Being in a foreign place and being overly harsh toward subordinates, by reason, one should lose the servant.

九四。旅于處。得其資斧。我心不快。九四以陽居陰，在上之下，用柔而能上（文瀾本「能上」作「能下」）者，故有旅于處之象。非其正位，故不曰次而曰處。非其次舍，暫時棲息者也。得資足以自利，得斧足以自防。四互巽為資財，又離為戈兵，有得其資斧之象。然旅雖有處，勝於三之焚次，終不若二之即次也。得資斧，勝於三之喪僕，亦不若二之得童僕貞也。九以剛明之才，處近君之地，不能得位以有為，而在覊旅之中，所以心不快也。

The fourth line statement says: In the midst of a journey, one finds a place to stay, obtains money for travel and a weapon for self-defense, yet the heart is not joyful. The fourth line, with a yang line in a yin position, is located at the lowest part of the upper trigram, representing someone who can use flexibility to accommodate the lower position (this sentence in the Wenlan Pavilion edition reads 'can descend,' which has a longer meaning), thus symbolizing a temporary resting place. This is not its proper position, so it does not say 'secondary' (guest house) but 'place' (a place to stay) — not a proper guest house, but just a temporary stop. Having money for travel is sufficient for sustenance, and having a weapon is enough for self-defense. The lines three to five form the trigram Xun, which represents wealth; the upper trigram Li represents weapons, combining to form the image of 'obtaining money and weapons.' However, although having a place to stay is better than the situation of the third line where the guest house is burned, it is still not as good as the second line where one lives properly in a guest house. Having money and a weapon is better than losing the attendant of the third line, yet still not as good as the second line where one gains a loyal attendant. The fourth line, with its strong and discerning talent, is in a position close to the sovereign, yet fails to be in the correct position and thus cannot act effectively, being instead confined in a journey, hence the feeling of unhappiness.

象曰。旅于處，未得位也。得其資斧，心未快也。九居四，非所安之位。六五。射雉。一矢亡。終以譽命。六五處離之中。文明得中，有射雉之象。矢，剛物。六居五失剛。又坎有矢象。離，坎之反。有一矢亡之象。然柔順文明，又得中道。火體光明，其性炎上。互得兌巽。兌為口為譽，巽為命令，有譽聞外著、寵命自上之象。其始不無亡矢之費而所喪不多，終有譽命也。

The Small Image says: Temporarily staying in one place is not occupying the correct position; obtaining provisions and an axe, the mind is still not at ease. A yang line in the fourth position is not its proper place. The line statement for the sixth line: shooting a pheasant, losing one arrow, ultimately gaining reputation and a title. The sixth line is in the center of the upper trigram Li, which is civilized and centered, hence the image of shooting a pheasant—Li represents a pheasant. "Arrow" is a hard object; the sixth line is a yin line in the fifth position, losing its hardness. Moreover, the trigram Kan has the image of an arrow, and Li is the opposite of Kan, hence the image of "losing one arrow." However, the sixth line is gentle and civilized, and occupies the center; Li is fire, which is bright and ascendant. The lines three to five and two to four mutually form the trigrams Dui and Xun. Dui represents mouth and reputation, Xun represents command. Together they indicate reputation spreading outward and favor coming from above. Initially there is a loss of one arrow, but the loss is limited, and ultimately reputation and a title are obtained.

時解或作人君居文明之位，使賢者旅進。雖不無弓旌之費，而有得賢之譽，上承天命。或作士人覊旅以取功名，雖不無資斧之費而終得眾譽，膺君命令。按，二說皆不必拘。大抵人君無旅，旅則失位（文瀾本「位」作「國」）。故不取人君之義，唯以覊旅言之。占者則或君或臣，隨事為占。要之始雖小失，終有所獲也。

Some modern interpretations take this line to mean that a ruler occupies a position of civilization, attracting continuous appointments of virtuous ministers, although there are inevitable expenses such as hiring and employing talents, yet gaining a reputation of acquiring virtuous people, and upholding the mandate of heaven. Others interpret it as scholars traveling abroad to seek fame and success, although there are unavoidable expenses for travel, ultimately gaining public praise and receiving official appointments from the ruler. Chen Menglei believes that neither of these interpretations should be rigidly adhered to. Basically, a ruler is not involved in the concept of 'travel'. Once a ruler becomes a traveler, it signifies losing his position (this character in the Wenlan Pavilion edition reads 'country', meaning losing the country). Therefore, this hexagram does not take the meaning of a ruler, but rather interprets it based on the idea of being a traveler. As for those consulting the oracle, whether they are rulers or ministers, they should take the judgment according to their own circumstances. In general, although there may be minor losses at the beginning, there will certainly be gains in the end.

象曰。終以譽命，上逮也。火性炎上，有上逮之象。自人臣言，上逮為得君。人君言之，自人君言之，上逮為得天，皆不必拘。上九。鳥焚其巢。旅人先笑後號咷。喪牛于易。凶。離為飛鳥又為科上槁，而火性炎上，有鳥焚巢之象。火有聲，有笑號之象。又應三為兌說，先笑之象。上變為震動，號咷之象。離為牝牛，上九驕而不順，又震為大塗，有喪牛于易之象。上九過剛，處旅之上，離之極，故象如此。

The Small Image Commentary says: ultimately attaining honor and a title is due to upward movement. Fire has an upward nature, so there is an image of upward movement. From the perspective of a subject, "upward reaching" means receiving the sovereign's recognition; from the sovereign's perspective, "upward reaching" means receiving the mandate of heaven—neither need be taken literally. The line statement for the top nine: the bird's nest is burned by fire, a traveler first laughs then wails, a cow is lost in the border town, which is ominous. The trigram Li represents flying birds, and the Book of Changes also says Li "represents the withered top of a tree" (hollow and withered at the top, like a tree's nest), and since fire has an upward nature, there is an image of the bird's nest being burned. Fire produces sound when it burns, so there is an image of laughing and wailing; the top nine corresponds with the third nine, and the third nine belongs to the trigram Dui, which represents joy, so there is an image of "first laughing"; the top nine changes to Zhen, which represents movement, so there is an image of "wailing." Li represents a mother cow, and the top nine is arrogant and not gentle, while Zhen also represents the great way, so together they form an image of losing a cow in the border town. The top nine is overly yang and strong, located at the top of a journey and the extreme of fire, so the line image is as such.

三與上應，皆以剛居上。三承九四之離，他人焚之也。上居離極，自焚也。同人親也，故先號咷後笑。旅親寡，故先笑後號咷。三焚次，巢尚在，猶可歸也。喪僕，牛尚存，猶可行也。今巢焚則欲歸無所，牛喪則欲行無資，凶之甚矣。象曰。以旅在上，其義焚也。喪牛于易，終莫之聞也。

Nine Three and Upper Nine originally correspond with each other; both lines are yang strength occupying the upper position in their respective trigrams. Nine Three is above Nine Four in the Li trigram, meaning it is being burned by others; Upper Nine is at the extreme of the Li fire, meaning it is burning itself. The hexagram of Tongren deals with mutual affinity and closeness, so it says "first crying out and then laughing"; the hexagram of Lü deals with few relatives, so it reverses to "first laughing and then crying out." Nine Three is merely a guest house being burned, the nest still exists, so it can still return; it has only lost the servant, the ox still exists, so it can still move. Now Upper Nine has lost the nest as well, so there is no place to return; it has also lost the ox, so there is no strength to move, reaching the utmost danger. The Small Image Commentary says: a person in a state of exile residing at the highest position is bound to be burned; losing the ox in a distant town, in the end, no one will tell him.

旅而過高，豈能安居，義有焚巢之事矣。驕亢不順，禍生所忽而不自覺，故曰莫之聞也。全卦當旅之時，不宜用剛，故陽爻三皆不利。而柔又貴於得中。故初不及乎中，亦不免於災。柔順中正，唯二得貞吉之義。而五之居剛，亦不免於亡矢。則旅道之難言也。

A person staying away from home and occupying a position that is too high will find it difficult to find a place to settle, and according to reason, there will be calamity. Arrogance and refusal to be gentle and compliant lead to troubles arising from his negligence, of which he is entirely unaware. Therefore, it is said, "In the end, he will not hear of it." Looking at the entire hexagram: when one is in a situation of being away from home, it is not advisable to be strong. Hence, the three yang lines are all unfavorable. As for the yin lines, they are valued for being in the center. However, the line at the beginning is not in the central position and thus cannot avoid disaster. The only line that is truly gentle, compliant, and upright, deserving of "upright and auspicious," is the second line. Even the fifth line, which is in a yang position, cannot avoid losing an arrow. This shows that the way of being in a situation of being away from home is indeed very difficult to handle.

巽。巽卦，一陰在二陽之下。順於陽而善入，故名為巽。巽卦次旅。按《序卦》：旅而無所容，故受之於巽。巽者，入也。覊旅親寡，非巽順無以取容，巽所以次旅也。全彖以陰為主，故所亨者小。而以陰從陽，故利有所往而利見大人。六爻雖以二柔為主，而必以居中得位為善。初不如四。四得位，初不得位也。然初上位與中俱失。三四雖得位而失中。二得中而又失位。唯九五居中得位，所以為申命之大人。此全彖六爻之大畧也。

The Hexagram of Wind is composed of one yin line lying beneath two yang lines, which is obedient to the yang and adept at penetrating, hence its name Wind. The Hexagram of Wind follows the Hexagram of Travel. According to the "Sequence of Hexagrams," when one is in exile without a place to rest, the Hexagram of Wind is introduced next; "Wind" signifies entering. When staying in a foreign land with few relatives, one cannot be accepted by others without humility and gentleness, which is why the Hexagram of Wind follows the Hexagram of Travel. The entire hexagram is dominated by yin lines, so its success is limited, resulting in "small success." However, because it is yin and obedient to yang, it is "favorable to go somewhere" and "favorable to see a great person." Although the six lines are mainly formed by the two yin lines, the initial and fourth lines, when assessing their quality, the ones that are both in the central position and in the proper place are considered superior. The initial line is inferior to the fourth line, because the fourth line is a yin line in a yin position and in the proper place, while the initial line is a yin line in a yang position and not in the proper place. However, the initial line and the top line both fail in position and the central position. The third line and the fourth line are in the proper place but not in the central position; the second line is in the central position but not in the proper place. Only the fifth line is both in the central position and in the proper place, hence it is worthy of being the "great person" who issues repeated orders. This is the general explanation of the hexagram statement and the six lines.

巽。小亨。利攸往。利見大人。一陰伏於二陽之下，其性巽以入。於象為風，亦委曲善入者也。順則能亨，陰為主，故所亨者小。蓋卑巽，則才智不足以識遠任重矣。以陰從陽，有利有攸往之象。蓋巽以從人，人無不說也。然失其所從，未必利往。必利見大德之人。此則因其從陽，教之以所從之人也。九五陽剛中正，以居尊位，有利見大人之象。

The Hexagram Statement: "Wind" (Xun). There is slight success, favorable for going forward, favorable for meeting a great person. A single yao (line) of yin is hidden beneath two yao (lines) of yang, its nature being humble and adept at penetrating. The image is wind, which is winding and penetrating everywhere. To be compliant leads to success, but since it is primarily yin and soft, the success it achieves is limited. Because it is always humble and compliant, its wisdom is insufficient to see the long term or bear great responsibilities. By being yin and compliant with yang, it shows the image of "favorable for going forward"—using a humble attitude to follow others, which others do not dislike. However, if one follows the wrong person, it may not be favorable to go forward, so one must "favorably meet a great person." This sentence further explains, based on its compliance with yang, whom it should follow. The Nine in the Fifth is yang, upright, and in a position of honor, which is exactly what the image of "favorably meeting a great person" refers to.

彖曰。重巽以申命。風者，天之號令。柔順善入，有命令之象。申命，叮嚀反覆之意。此釋卦之義也。剛巽乎中正而志行，柔皆順乎剛，是以小亨利有攸往利見大人。論成卦則以初四之柔為主。論爻之吉凶則以二五之剛為重。二中而不正。巽乎中正，其志大行，指九五也。柔指初四也。

The Commentary on the Judgment says: The upper and lower parts are both Wind trigrams, which is used to indicate the repeated proclamation of orders. Wind represents the commands of Heaven, which is gentle and pervasive everywhere, just like the image of orders being issued. "Repeating orders" means to explain and instruct repeatedly. This sentence explains the meaning of the hexagram. "The strong Wind trigram is in the middle and correct position, and its will is carried out; the gentle trigrams all follow the strong ones, so it is small success, beneficial for going forward, and beneficial to see a great person." This discusses how the hexagram is formed, with the two yin lines, the first six and the fourth six, as the main elements. When discussing the fortune of each line, the two yang lines, the second nine and the fifth nine, are emphasized. Although the second nine is in the middle but not in the correct position, the phrase "the Wind trigram is in the middle and correct position and its will is carried out" refers to the fifth nine. The "gentle" in "the gentle trigrams all follow the strong ones" refers to the first six and the fourth six.

象曰。隨風。巽。君子以申命行事。隨，相繼之義。命，風象。申命，隨風象。行事，即行其所命。三復申戒，然後見之行事，則民曉然於吾意之所在而易從也。初六。進退。利武人之貞。巽為進退為不果。初六重巽之下柔之過，故有進退不決之象。然以柔居剛，為巽之主。若臨事以武人之貞處之，則有以濟其不及而得利矣。此與履六三皆以陰居陽，變純乾，有武人之象。然履宜謙而三居下之上，故危之。巽不果，初又居下之下，故以武人勉之。

The Great Image says: wind blows continuously, which is the trigram Xun. The gentleman takes this as a model, repeatedly issuing orders and then carrying out affairs. "Following" means continuous succession: orders are like wind, and repeatedly issuing orders is like wind blowing continuously. "Carrying out affairs" refers to putting the orders into practice. By repeatedly emphasizing and warning, then taking action, the people clearly understand the intentions of above and thus are more willing to comply. The line statement for the first six: neither advancing nor retreating, it is advantageous to be firm and resolute like a warrior. The "Commentary on the Trigrams" says that Xun represents "advancing and retreating" and "indecision." The first six is at the very bottom of the two Xun trigrams, and its softness is excessive, hence the image of hesitation in advancing and retreating. However, it is a yin line in a yang position, and it is the main line of the hexagram. If it can respond to matters with the decisiveness and firmness of a warrior, it can compensate for its deficiency and gain advantage. This line is similar to the line six three of the hexagram Li in that both are yin lines in yang positions. When the entire line changes, it becomes pure Qian, hence both have the image of a warrior. However, the hexagram Li is suitable for humility and retreat, and line six three is at the top of the lower trigram, so the line statement warns of danger. The hexagram Xun's problem is indecision, and line six is at the bottom of the lower trigram, so the line statement encourages it with the image of a warrior.

象曰。進退，志疑也。利武人之貞，志治也。過疑則志亂，不武之甚。武而得正則志治矣。治，謂修立也。履志剛故凶，此志治故利。九二。巽在床下。用史巫紛若。吉無咎。古之尊者坐於床上。卑者拜於床下。九二以剛居陰，不能自安，過於卑巽，有巽在床下之象。史，作策告神。巫，歌舞事神。

The Small Image Commentary says: Being indecisive, is due to confusion of mind; it is advantageous to be firm and upright like a warrior, thus the mind becomes orderly. Excessive doubt leads to confusion of mind, which is the most unbrave behavior; being brave and maintaining uprightness allows the mind to become orderly. "Zhi" means to correct and establish. In the卦 of "Zhu" (Gentle), the sixth line three is凶 because the mind insists on being strong; this line is advantageous because the mind becomes orderly. The line statement of nine in the second: being humble enough to lie beneath the bed, using the historian and the shaman to make offerings and prayers, resulting in good fortune without error. In ancient times, the superior person sat on the bed, while the inferior person knelt beneath the bed to pay respects. Nine in the second, with a yang line in a yin position, is unable to settle his mind, being overly humble, hence the image of "Xun beneath the bed." "Shi" is the person who writes the prayers and offers them to the gods, while "Wu" is the person who serves the gods through dance and song.

九五陽剛居尊而非應之正。當巽之時。二居臣位，非丁寧煩悉其辭不能自達。又二互三四為兌為巫為口舌，三四五互為離為文明，有用史巫紛若之象。然二居中，卑巽不至已甚。九五同德，三四雖間於上，藉之為史為巫以上達於五，故占得吉而無咎也。象曰。紛若之吉，得中也。中則不亢不諂。

Nine in the Fifth is yang and occupies a high position, yet it shares the same yang line as Nine in the Second, not the proper yin-yang correspondence. During a time when proper humility and compliance are called for, Nine in the Second, being in the position of a minister, cannot convey its intentions effectively without elaborate speech. Moreover, the interaction between lines two and three and four forms the trigram Dui, which is associated with the role of a shu (priest) and speech; the interaction between lines three, four, and five forms the trigram Li, which represents civilization. Together, this creates an image of 'using shu and witches in a confused manner.' However, Nine in the Second is in the central position, so its humility is not excessive. It shares the same virtue with Nine in the Fifth. Although lines three and four are between them, they can serve as intermediaries, acting as shu and witches to convey the intentions to Nine in the Fifth. Therefore, the divination result is favorable without fault. The Small Image Commentary says: 'Repeating words leads to a favorable outcome because it is in the central position. Being in the central position means neither arrogance nor flattery.'

九三。頻巽。吝。過剛不中，居下之上，非能巽者。然下既乘剛，上又臨之以巽，不得不勉而為之，而屢巽失，故有吝道也。復之六三頻復曰無咎，此則吝者。聖人不貴無過，而貴改過。屢失屢復，復在失後，故雖厲無咎。頻巽頻失，失則巽後，故吝。又巽與復不同。復則天心之來。心本難純，故以頻復為無咎。巽不過卑巽之一節而已。乃不出於中心，失而復改，改而復失，故為可吝。

The third line statement says: repeatedly forcing oneself to be humble and respectful, there is regret. The third line is yang and overly strong, yet not in the center. It is located at the top of the lower trigram, which is not the position of someone who should be humble and respectful. However, it is situated above a yang line and below the upper trigram Xun, so it is forced to appear humble and respectful. Thus, it repeatedly tries to be humble and respectful but repeatedly loses control, hence there is regret. The line statement of the hexagram Fu also mentions 'repeatedly returning,' but that line statement says there is no fault. Why is it said to be regrettable here? Because the sage values not being without fault, but the ability to correct mistakes: repeatedly falling and repeatedly returning, 'returning' comes after 'losing,' so although there is danger, there is no fault. However, 'repeatedly yielding' is repeatedly trying to be humble and respectful and repeatedly losing control, 'losing' comes after 'yielding,' so there is regret. Moreover, the nature of Fu and Xun is different: Fu is the re-emergence of heavenly principle and conscience, and since human nature is difficult to be pure and consistent, therefore repeatedly returning is considered without fault. Xun, however, is about the degree of being humble and respectful. Now, it is not done from the heart, so losing and then correcting, correcting and then losing again, so it can only be considered regrettable.

象曰。頻巽之吝，志窮也。前倨後恭，窮盛不安。六四。悔亡。田獲三品。陰柔無應，承乘皆剛，宜有悔也。然以陰居陰，居上之下，其悔可亡。三品者，一為乾豆，二為賓客，三為君庖。初六利武人之貞，田亦武事。初以陰居陽，故勉之以利貞。四得位不為無悔，且於武事有功。中互離為戈兵，故有田獲三品之象。三雖得陽之正而過剛，非能巽以入者，故吝。四得陰之正，能巽以入，故無失而有得也。

The Small Image Commentary says: To be repeatedly forced into humility and compliance, which is regrettable, indicates that the mind has become distressed. Previously arrogant and later respectful, is due to the exhaustion of spirit and not from genuine humility. The line statement of six four: regret disappears, and hunting yields three types of game. Six four, being a yin line in a yin position, is above nine five and below nine three, both of which are yang lines. By nature, it should have regret, but since it is in the lowest position of the upper trigram and not in a high position, regret can be dispelled. The term 'three kinds' refers to the classification of game obtained during hunting according to ancient rituals: the best is used for sacrificial offerings (dry meat for worship), the middle for entertaining guests, and the worst for the royal kitchen. The line statement of initial six says 'favorable for the righteous action of a warrior,' as hunting is also a military activity. Initial six, being a yin line in a yang position, is encouraged to maintain righteousness. Although six four is in a proper position, it is not entirely without regret, but it indeed has achievements in military matters. The trigrams three, four, and five together form li, which represents weapons and military, hence the image of hunting and obtaining three kinds of game. Nine three, although a yang line in a yang position, is overly strong and not one who can humbly integrate, hence 'regret.' Six four, being a yin line in a yin position, can humbly integrate and thus gains without loss.

象曰。田獲三品，有功也。武人之功成也。九五。貞吉。悔亡。無不利。無初有終。先庚三日。後庚三日。吉。九五陽剛中正，以居尊位，有貞而得吉之象。當巽時而剛，疑有悔矣。然中而得正，故悔可亡而無不利。有悔，是無初也。悔亡，則有終矣。庚，更也。取變更之義。十干以戊己為中。凡事過中則變，故庚有變更之義。

The Small Image Commentary says: hunting and obtaining three types of game signifies accomplishment. This is precisely the kind of merit encouraged by the Line Statement of the initial line, which is realized in the fourth line. The Line Statement of the fifth line says: maintaining correctness leads to good fortune, regret disappears, and there is no disadvantage; beginning with difficulty but ending successfully; before change, advance three days, and after change, advance three days, which is auspicious. The fifth line is yang and strong, upright and in a superior position, hence the image of maintaining correctness and gaining good fortune. At a time when humility and compliance are appropriate, it occupies a strong and vigorous position, seeming to invite regret; yet because it is central and properly positioned, regret can be dispelled and there is no disadvantage. Regret signifies 'no beginning'; regret dispelled signifies 'a successful conclusion'. 'Geng' means 'change', taking the meaning of transformation. The ten heavenly stems have Wu and Ji in the center; when things pass the center, they must change, hence 'Geng' contains the meaning of transformation.

巽不欲其過，故二陰爻皆以武事勉之。五君位，尤不宜過於巽。命出於君。必有所更改，乃為申命。但更新之事不可輕。必取先庚三日之丁，以丁寧於先。又取後庚三日之癸，以揆度於後。乃得吉也。巽五變蠱，亦亂極更治。此曰先庚，蠱曰先甲。此曰無初有終，蠱曰終則有始。蓋此乃事過中而更之於後，蠱則事已壞而圖之始。甲為十干之始，故曰有始。庚過十干之中，故曰有終。大抵有所變更，得此爻則吉也。

Humility and compliance should not be excessive, so two lines of yin are used with martial matters to encourage caution. The Nine in the Fifth position is the sovereign's position, especially not to be overly humble. Orders originate from the sovereign, and there must be some changes before it can be called "reiterating the command." However, changes should not be hasty, so it is necessary to take the day three days before Geng, which is Ding, taking the meaning of "caution" (ding ning), to repeatedly instruct beforehand; then take the day three days after Geng, which is Gui, taking the meaning of "measurement" (kui du), to carefully consider afterwards. This is considered auspicious. The line Nine of the Xun hexagram changes into the Gu hexagram, and Gu also represents disorder reaching its peak and then being reorganized. This line says "first Geng," while the Gu hexagram says "first Jia." This line says "no beginning but a conclusion," while the Gu hexagram says "after conclusion comes the beginning." The difference is that this line refers to making changes after the middle of a matter, while the Gu hexagram refers to starting anew after a matter has already deteriorated. Jia is the first of the ten heavenly stems, so it is said "there is a beginning." Geng is past the middle of the ten heavenly stems, so it is said "there is an end." In general, if a change is made and the hexagram is this line, it is auspicious.

象曰。九五之吉，位正中也。中則不過於巽。上九。巽在床下。喪其資斧。貞凶。上九至高，而曰床下者。居巽之極，又以陽居陰故也。故與二爻同象。旅九四以陽居陰，得其資斧。此上九亦以剛居柔，喪其資斧。何也。旅道宜柔，故剛居柔者得。巽戒過柔，巽之極而居柔，失所斷矣。又旅四離體為戈兵。巽上九在互離之外，故有喪資斧之象。雖貞亦凶，況不負乎。此資斧，本義專就斷言。資與齎同，不義（「不義」義字衍，從文瀾本）作資財。

The Small Image Commentary says: Nine in the Fifth is auspicious because it is properly positioned and in the center. Being in the center prevents it from being overly humble and submissive. The line statement for Upper Nine: being humble enough to hide beneath the bed, losing the means of subsistence and the axe, even though it maintains correctness, it is still ominous. Upper Nine is at the highest position, yet the line statement says "beneath the bed," because it has reached the extreme of humility and submission, and also because it is a yang line in a yin position, so its image is the same as Nine in the Second. Nine in the Fourth of the Travel卦 is also a yang line in a yin position, yet it "obtains its means and axe." Here, Upper Nine is also a strong line in a weak position, yet it "loses its means and axe," why is this so? Because the way of traveling is naturally suited for flexibility, so a strong line in a weak position is favorable; however, the warning in the Wind卦 is against excessive softness. When humility and submission reach their extreme and the line is also in a weak position, it loses decisiveness. Moreover, Nine in the Fourth of the Travel卦 is in the upper trigram, which is Li (Fire), and Li represents weapons; however, Upper Nine of the Wind卦 is outside the mutual trigram Li, hence the image of losing the means and axe. Therefore, even maintaining correctness leads to ominous results, and how much more so for someone who cannot even fulfill the responsibility of maintaining correctness. The term "资斧" here, Zhu Xi's "Ben Yi" specifically discusses it in terms of "decisiveness": "资" is the same as "齎" (meaning to carry or bring), and should not be interpreted as wealth.

象曰。巽在床下，上窮也。喪其資斧，正乎凶也。上窮，巽至於窮極也。正乎凶，程傳作問答之辭，本義以為必凶。今從本義。全卦以巽名而不欲過於巽，故彖言亨而僅得小亨。巽之道，可以有所往而見大人。若過於巽則不能。

The Small Image Commentary says: "Humility to the point of crouching beneath the bed is to be in a position of superiority yet exhausted; losing money and an axe, 'is it right or a calamity?' " The term 'upper exhaustion' refers to humility and yielding reaching their limit. The phrase 'is it right or a calamity?' is interpreted by Cheng Yi in his Yichuan Commentary on the Changes as a rhetorical question (meaning: is this right or a calamity?), while Zhu Xi in his Benyi reads it as a definitive judgment, stating that it must be a calamity. Chen Menglei here adopts Zhu Xi's interpretation. Considering the entire hexagram: although the hexagram is named Xun (Wind), it does not advocate excessive humility. Therefore, the hexagram statement mentions smoothness but only as 'minor smoothness.' The way of humility and yielding can lead to progress and the meeting of a great person; but once it becomes excessive, it becomes impossible to achieve.

六爻五在上以剛中為巽而言吉。二在下以柔中為巽而吉。此巽之得其宜者也。二陰爻，卦之所以為巽者。初居下之下而失位，故進退。四居上之下而得位，故有功。然皆未得中，故不言吉也。若三居下之上而以過剛失中。上居上而以窮極失正。宜其吝且凶矣。

Among the six lines, the fifth line is at the top, with a yang line in the center and acting with humility and propriety, so the line statement says it is auspicious. The second line is at the bottom, with a yin line in the center and also acting with humility and propriety, so it is also auspicious. These two lines use humility and propriety appropriately. As for the first line and the fourth line, which are both yin lines, they are the key to making this hexagram into Wind. The first line is below the lower trigram and not in the correct position, so it only ends up hesitating between advancing and retreating. The fourth line is below the upper trigram and in the correct position, so it achieves success in hunting. However, both lines do not occupy the center, so the line statements do not say 'auspicious.' Now looking at the third line, which is at the top of the lower trigram, it is overly strong and thus loses the center; the top line, which is at the very top, is exhausted and thus loses the proper position. One is described as 'restricted' and the other as 'misfortune,' which is natural.

兌。兌卦，坎體而塞其下流，其象為澤。一陰進乎二陰之上，喜見乎外，故其德為說。兌卦次巽。按《序卦》：巽者，入也。入而後說之，故受之以兌。兌者，說也。物相入則相說，兌所以次巽也。全彖以卦體柔外有亨之道，而剛中利於正。此全彖之大指也。

The Hexagram of Dui is formed by taking the structure of Kan and blocking its lower opening, symbolizing a marsh where water gathers. A single yao of yin ascends to the position above two yao, with its joyous quality revealed externally, so the virtue of this hexagram is "speech" (joy). The Hexagram of Dui follows the Hexagram of Xun. According to the "Sequence of Hexagrams" transmission: "Xun" represents entering, and after entering, people become joyful, hence the Hexagram of Dui comes next; "Dui" means joy. When two things penetrate into each other, they come to like each other, which is the reason why the Hexagram of Dui follows the Hexagram of Xun. The overall meaning of the hexagram statement is: from the structure of the hexagram, the yao of yin is outside, indicating smoothness; the yang of strength is in the center, which is favorable for upholding the correct path. This is the main idea of the hexagram statement.

六爻以二陰為說之主，四陽皆為陰所說者。三為下兌之主。以柔居剛，動而求陽之說者。其惡易見，故凶。上為上兌之主。以柔居柔，靜而誘陽之說者。其惡難知，故不言凶咎。四陽爻則在下多吉，在上多凶。初與陰無係，故吉。二已近三，入說猶淺，故悔亡。四入上兌，處三五之間而莫決畧，故未寧。五與上比，說之將極，則厲矣。此六爻之大畧也。

The six lines of the hexagram take the two yin lines, the sixth line and the third line, as the main lines representing joy. The four yang lines are all objects of the joy sought by the yin lines. The third line is the main line of the lower trigram, the trigram of Joy, and it is a yin line occupying a yang position. It actively seeks the affection of the yang lines, but its negative aspect is obvious, hence it is considered凶 (a凶 outcome). The sixth line is the main line of the upper trigram, the trigram of Joy, and it is a yin line occupying a yin position. It quietly attracts the yang lines, but its negative aspect is not easily noticeable, hence the line statement does not explicitly mention a凶 or a fault. As for the four yang lines, those in lower positions tend to be auspicious, while those in upper positions tend to be inauspicious: the first line has no connection with the yin lines, hence it is auspicious; the second line is close to the third line, but its involvement in joy is still shallow, hence it only results in regret being dispelled; the fourth line enters the upper trigram of Joy, and is caught between the third line and the fifth line, making it difficult to decide, hence it is restless; the fifth line is close to the sixth line, and as joy reaches its peak, it becomes dangerous. This is the general idea of the six lines.

兌。亨利貞。按，本義亨利貞有二義。卦體剛中而柔外。剛中故說而亨，柔外故利於貞。此一義也。又柔外故為說亨，剛中故利於貞。亦一義也。後說卦中自然之象，前說以利貞作戒辭。亦相通。大抵說有亨道，而妄說不可不戒。

The Hexagram Statement: "Dui" (Lake), it is smooth and favorable to maintain the correct path. According to Zhu Xi's "Benyi," "Xing Li Zhen" (smooth, favorable, and constant) has two interpretations. From the perspective of the hexagram structure, the yang strength is in the center while the yin softness is on the outside: because the yang strength is in the center, it brings joy and smoothness; because the yin softness is on the outside, it reminds one to be favorable in maintaining the correct path — this is one interpretation. Another interpretation: because the yin softness is on the outside, it brings about joy and smoothness; because the yang strength is in the center, it naturally leads to being favorable in maintaining the correct path — this is another interpretation. The latter interpretation directly explains the inherent imagery within the hexagram, while the former treats "Li Zhen" as a warning. In essence, joy inherently contains the principle of smoothness, but without reason and excessive joy, one cannot help but be warned.

卦辭與咸同。咸以艮陽下兌陰則相感，感則亨矣，而相感易至於不正。兌以二陽下一陰則相說，說則亨矣，而相說亦易流於不正。故皆言利貞也。又三男之卦皆不言利貞，蓋陽剛即貞也。三女之卦多以利貞戒之，陰柔之質，易至於不正也。

The hexagram statement of 《Dui》is the same as that of 《Xian》. 《Xian》is formed by the yang line of 《Gen》beneath the yin line of 《Dui》, and they interact with each other, resulting in smoothness. However, such interaction easily leads to improper behavior. 《Dui》is formed by two yang lines beneath one yin line, and they feel joy towards each other, resulting in smoothness. However, such joy also easily leads to improper behavior. Therefore, both hexagrams mention "favorable to uprightness." Furthermore, the three yang hexagrams 《Zhen》, 《Kan》, and 《Gen》do not mention "favorable to uprightness," because yang strength itself is upright. The three yin hexagrams 《Xun》, 《Li》, and 《Dui》often use "favorable to uprightness" as a warning, because the nature of yin is easily inclined towards improper behavior.

彖曰。兌，說也。釋卦名義。聖人謂說人以心不以言，故去言稱兌。剛中而柔外，說以利貞，是以順乎天而應乎人。說以先民，民忘其勞。說以犯難，民忘其死。說之大，民勸矣哉。三上柔外，二五剛中。柔外而不剛中，則違道干譽，非貞也。

The Commentary on the Judgment says: "Dui" means joy. This explains the meaning of the hexagram's name. The sage believed that joy comes from the heart rather than from words, so the character "shuo" (to speak) had its radical of "yan" (speech) removed to form "dui." "It is because the quality is strong in the center and soft on the outside that joy leads to benefiting the correct path. Thus, it conforms to heaven and responds to people. Joy leads the people, and they forget their toil; joy leads them through hardship, and they forget death. Great joy inspires the people to be motivated." Six in the Third and Six at the Top are soft on the outside, while Nine in the Second and Nine in the Fifth are strong in the center. If there is only softness on the outside without strength in the center, it would become straying from the correct path in pursuit of reputation, which cannot be considered correct.

象曰。麗澤兌。君子以朋友講習。兩澤相麗，互相滋益。朋友講習，其象如此。天下之說不可極。惟朋友講習，過說無害。然天下至可說者，亦莫如朋友講習。講者，資友講之，以究其理。習者，我自習之，以踐其事。習而不講，則精義不出，昏而無得。講而不習，則至理不入，殆而不安。朋友講習之餘，心與理洽。天下之說，莫過於此。

The Great Image Commentary says: Two marshes connected together, this is the trigram Dui. The gentleman takes it as a model, and together with friends discusses and practices. Two marshes connected and rely on each other, their vapors moisten and enhance each other; the discussion and practice among friends are like this. The joy of the world should not be taken to an extreme, but in the case of friends discussing and practicing, even if the joy is excessive, there is no harm. And among all the joys in the world, none is more valuable than the discussion and practice among friends. What is called 'discussion' is to rely on friends to discuss together, in order to explore the meaning thoroughly. What is called 'practice' is to repeatedly exercise oneself, so as to apply it to actual deeds. If one only practices without discussing, the subtle principles will not emerge, and one remains confused and gains nothing. If one only discusses without practicing, the profound principles will not be internalized, and one remains in danger and unstable. After friends have discussed and practiced, the heart and the principle are perfectly harmonized, and there is no joy in the world that surpasses this.

初九。和兌吉。爻位皆剛，處說之初。不比於柔，又無繫應。和而不流之象。故吉。象曰。和兌之吉，行未疑也。鄰於陰則疑，說之過。二四疑於三，五疑於上。初去陰遠，故曰未疑。九二。孚兌吉。悔亡。剛中為孚象。居陰比陰，與五未應為悔。以剛中與五同德，不繫於三之陰，則吉而悔亡之象。

The line statement for the first line (Initial Nine): To please others with a peaceful and harmonious attitude brings good fortune. The first line is a yang line in a yang position, both line and position are strong, and it is at the beginning of joy. It is not adjacent to a yin line and does not have a corresponding line, which represents harmony without being carried away by the crowd, hence good fortune. The Small Image Commentary says: To please others with peace and harmony brings good fortune, because it is free from suspicion. Being close to a yin line would cause suspicion, which is excessive joy. The second line and fourth line are suspected of being close to the third line, and the fifth line is suspected of being close to the sixth line. The first line is farthest from the yin line, hence it is said 'not suspected'. The line statement for the second line (Nine in the Second): To please others with sincerity brings good fortune, and regret disappears. The second line is a yang line in a yin position, which is the image of 'sincerity'. It is a yang line in a yin position, adjacent to the third line, a yin line, and does not correspond with the fifth line, which is also a yang line. It should bring regret, but because it is strong and centered, and shares the virtue of the fifth line, it does not involve the yin flexibility of the third line, hence it brings good fortune and regret disappears.

象曰。孚兌之吉，信志也。跡比三若可疑，志剛中則可信。六三。來兌凶。陰柔不中正，為兌之主。上無所應，有來就二陽以求說之象。然初剛而正，二剛而中，必不從也，其凶可知。象曰。來兌之凶，位不當也。不中正故也。

The Small Image Commentary says: When sincerity and trust bring joy, it is because its intentions are trustworthy. From its actions, the Nine in the Second is close to the Six in the Third, seeming suspicious; but from its intentions, since it is yang and in the center, it is trustworthy. The Line Statement of the Six in the Third: coming down to seek approval brings misfortune. The Six in the Third is yin and not in the center or in the correct position, yet it is the main line of the lower trigram, which is兑 (Lake). It has no corresponding line above it, so there is an image of turning back to accommodate the Nine at the Beginning and the Nine in the Second, two yang lines, in order to gain approval. However, the Nine at the Beginning is yang and in the correct position, and the Nine in the Second is yang and in the center, so they will certainly not yield to it. Its misfortune is therefore evident. The Small Image Commentary says: coming down to seek approval brings misfortune because of improper position. It is neither in the center nor in the correct position.

九四。商兌未寧。介疾有喜。九四上承九五，下比六三。以所居位柔，未能自決。又互巽為進退不果。故有商度所兌、未能安寧之象。上下兌之間，介象。質本陽剛，故有介然自守、疾惡柔邪而有喜之象。象曰。九四之喜，有慶也。大臣無私交，天下之福慶也。

Nine in the Fourth Line Statement: Repeatedly weighing who to favor, causing mental unrest; being upright and self-restrained, hating wickedness, there is joy. Nine in the Fourth is above Nine in the Fifth and below Six in the Third. Because it occupies a yin position, it is uncertain in its decision. The interaction of lines Three, Four, and Five forms Xun, whose nature is indecisive and hesitant, hence the image of repeatedly weighing who to favor and being unable to settle. It is precisely between the two Dui trigrams, so there is the image of 'Jie' (boundary, uprightness); its nature is yang, so there is also the image of being upright and self-restrained, hating softness and wickedness, and ultimately achieving joy. The Small Image Commentary says: The joy of Nine in the Fourth is the joy of the world. Ministers not forming private factions or secretly associating with petty men is the joy of the world.

九五。孚于剝。有厲。剝指上六，陰能剝陽者也。九五陽剛中正，以居尊位，而近於上六。上六為說之主。虛說之極，他無繫應。專附乎五，妄說以剝陽。九五信之。有孚于剝而致危厲之象。恃一己之剛明，值國家之宴安。以小人為不足畏而過信之，則蠱惑心志，紊亂是非，無所不至矣。

The line statement of the ninth line (nine in the fifth): Trusting someone who erodes oneself brings danger. "Peeling away" refers to the sixth line at the top, which is yin and soft, capable of eroding yang and strong. The ninth line is yang and strong, upright, and occupies the honorable position, yet it is adjacent to the sixth line at the top. The sixth line is the main line of the upper trigram Dui (Lake), representing false affection reaching its extreme. There is no corresponding line elsewhere, so it focuses entirely on clinging to the ninth line, using false affection to erode yang. Yet the ninth line trusts it, hence the image of trusting someone who erodes oneself and thus incurs danger. Relying on one's own strength and clarity, and encountering a time of national peace and ease, one may regard small people as insignificant and trust them excessively. Thus, one's mind is misled, right and wrong are confused, and anything may occur.

二比於三而能孚於五而悔。五比六乃不孚於二而致厲者。二臣位，猶能剛中以事君。五君位，易狃於所說而不戒。三在下而來兌，其側媚之態易見。上居高而引兌，其彌縫之術最工。又二居陰不過剛，而志上孚於五。五居剛自謂剛明，不下接乎二，則上得而引之矣。象曰。孚于剝，位正當也。居剛比上，適當其位也。此與履五意同。履五當君位而凡事決之已，雖正亦危。此則居君位而暱於小人，其危甚矣。

Similarly, both are adjacent to yin lines. Nine Two is close to Six Three but still can maintain sincerity and communicate with Nine Five above, thus eliminating regret; Nine Five is close to Upper Six yet does not trust Nine Two, thus inviting danger. The reason is that Nine Two is in the position of a minister and still understands the virtue of a yang line in the center to serve the sovereign; Nine Five is in the position of a sovereign and easily becomes infatuated with those it likes and fails to be cautious. Six Three is in a lower position and actively seeks to please, its servile attitude is obvious; Upper Six is in a high position and leads downward with temptation, its elaborate cover-up is most skillful. Moreover, Nine Two is a yang line in a yin position, strong yet not excessive, with a single-minded intention to gain trust from Nine Five; Nine Five is a yang line in a yang position, believing itself strong and discerning, unwilling to bend down to accept Nine Two, thus Upper Six takes advantage of this to lead it astray. The Small Image Commentary says: Trusting those who erode trust is due to proper position. Nine Five is in a yang position and adjacent to Upper Six, exactly in the proper position. This is similar to the meaning of the line Nine Five in the卦 of "Footsteps" (履): Nine Five is in the position of a sovereign and makes all decisions alone, even if its actions are upright, it is dangerous; this line is in the position of a sovereign and favors petty men, making the danger even greater.

上六。引兌。以陰居說之極，引下五陽而剝之者也。故九五當戒，而此爻不言吉凶者。九五陽剛，或能知戒，未必從之也。象曰。上六引兌，未光也。三居剛而來兌，媚說之私見矣。上居柔，方以柔道牽引，使人不覺，其跡未光顯也。

The line statement for the top sixth line says: It draws people together to be pleased. The top sixth line, being a yin and flexible line, is at the peak of pleasure, and it draws down the ninth fifth line, a yang line, to erode it. Therefore, the line statement is a warning to the ninth fifth line to be cautious. This line itself does not mention fortune or misfortune, because the ninth fifth line is yang and strong, perhaps able to be alert, and may not truly comply. The Small Image Commentary says: The top sixth line draws people together to be pleased, but its actions are not bright. The sixth third line, being a yin line in a yang position, actively comes down to seek pleasure, revealing a bit of flattery and seeking favor. The top sixth line, being a yin line in a yin position, uses gentle means to subtly draw people in, making them unaware, so its actions have not yet become apparent.

全卦以說雖有亨道而利於得正，故以遠於說為貴。二陰爻為說之主，皆所不取。說至上而極。五以近之而厲。四介於二說之間而未寧。二近三，以上孚於五而吉，然始猶未免於悔。唯初剛而得正，遠於陰柔，故得和兌之吉。乃知陰柔說人，君子所宜深遠。古人所以有美疢藥石之喻，而易事難說，所以為君子也。

Looking at the whole hexagram: Although joy may have the principle of success, it is essential to maintain correctness. Therefore, this hexagram values distance from joy. The two yin lines are the main lines of joy, but they are not desirable. Joy reaches its peak at the top line, six. The line nine in the fifth position is dangerous because it is close to the top. The line nine in the fourth position is between the upper and lower parts of the兑 trigram, causing restlessness. The line nine in the second position relies on the line six in the third to gain good fortune, but even so, it cannot avoid regret at the beginning. Only the line nine at the beginning is yang and correct, farthest from yin, thus achieving a harmonious joy. From this we can see that those who are yin and soft use joy to flatter, and the gentleman should keep away from them. The ancients said, "A beautiful illness is not as good as a bad stone," meaning that pleasant words are like a comfortable illness, while harsh words are like medicine. The Analects says that a gentleman is "easy to work with but hard to please," precisely because of this, he becomes a gentleman.

渙。渙卦，下坎上巽。取風行水上、離披解散之象，故名渙。渙卦次兌。按《序卦》：兌者，說也。說而後散之，故受之以渙。人心憂則結聚，說則舒散。渙所以次兌也。卦以渙為名。彖辭取聚渙濟渙為義。故六爻之中，以剛柔上下相比合者乃能濟渙。初柔二剛，相合以任濟渙之責，故初吉而二得願。四柔五剛，相合以成濟渙之功，故四元吉而五無咎。三上相應，反以遠而不能相及，故三但渙其躬之難，上不過渙血以遠害而已。此六爻吉凶之例，又與他卦不同者也。

The Hexagram of "Dispersal" has the lower trigram Kan (Water) and the upper trigram Xun (Wind). It symbolizes wind blowing across the surface of water, dispersing the water, hence the name "Dispersal." This hexagram follows the Hexagram of "Joy" (Dui). According to the "Sequence of Hexagrams," "Dui" represents joy; after joy comes dispersion, hence the arrangement of the Hexagram of "Dispersal." When the heart is distressed, it becomes blocked and concentrated, but when it is joyful, it becomes open and dispersed. This is why the Hexagram of "Dispersal" follows the Hexagram of "Joy." Since this hexagram is named "Dispersal," its statement encompasses both the gathering of dispersed people's hearts and the resolution of dangers. Therefore, among its six lines, those where yin and yang are adjacent and harmonious can accomplish the task of rescuing from dispersal. The first line, which is yin and soft, and the second line, which is yang and strong, are harmonious and share the responsibility of rescuing from dispersal, so the first line is auspicious and the second line is fulfilled. The fourth line, which is yin and soft, and the fifth line, which is yang and strong, are harmonious and achieve the task of rescuing from dispersal, so the fourth line is greatly auspicious and the fifth line has no fault. The third line and the top line are originally in a proper relationship, but because they are too far apart, they cannot reach each other. Therefore, the third line can only dispel its own personal difficulties, and the top line can only remove the danger of bloodshed to avoid misfortune. This method of determining auspiciousness and inauspiciousness is different from other hexagrams.

渙。亨。王假有廟。利涉大川。利貞。渙取風行水上，解散之象。亨就卦綜言，詳彖傳。爻辭多以渙為吉，取解散險難之義。彖兼聚渙濟渙二義。下卦坎為鬼神，中互艮為門闕，九五居尊位，有王假有廟之象。巽木在坎水之上，有利涉大川之象。

The Hexagram Statement: "Huan" (Dispersal), signifies smoothness and success; the king comes to the ancestral temple; it is advantageous to cross a great river; it is advantageous to maintain the correct course. "Huan" takes the image of wind moving over water, dispersing the water. It is said to be "smooth" because it becomes the "Judgment" (reverse) of the Hexagram "Jie" (Restriction), as explained in the Commentary on the Judgment. The statements of the lines mostly regard "Huan" as auspicious, taking the meaning of dispersing dangers and difficulties. The Hexagram Statement, however, includes both the meaning of gathering and dispersing and the meaning of removing dangers. The lower trigram is Kan (Water), representing ghosts and spirits; the second to fourth lines together form Gen (Mountain), representing gates and thresholds, and the line nine in the fifth position is in a noble position, thus forming the image of "the king comes to the ancestral temple." The upper trigram is Xun (Wood), and wood floating on the water of Kan signifies the advantage of crossing a great river.

人心渙散，聖人思所以聚之。假廟者，聚一己之精神以聚祖考之精神。使天下知報本返始，則渙者可聚矣。此因散而聚之義也。天下之難，非陽剛得位無以解散之。木在水上，大川可涉。此解散患難之義也。然祭祀或以媚神，涉川或以行險僥倖，則非正矣，故又戒以利貞。九五居尊得正，為濟渙之主，亦貞之義也。

When human hearts become scattered, sages take measures to gather them back. The term "false temple" refers to gathering one's own spirit to connect with the spirit of ancestors, so that people across the land understand to repay their origins and remember the beginning. In this way, scattered hearts can be reunited again, which is one meaning of "gathering what is scattered." As for the troubles of the world, they cannot be resolved merely by having a strong and upright person in the proper position; a floating log on water can still be crossed by a great river, which is another meaning of "dispersing troubles." However, if sacrifices are made merely to please deities, or if crossing the river is done through reckless chances, then it is wrong. Therefore, the hexagram statement warns with "favorable to uprightness." The ninth line in the fifth position holds the proper position and is the main line for resolving the scattered state, which is precisely the meaning of "uprightness."

彖曰。渙亨。剛來而不窮，柔得位乎外而上同。此卦程朱所論卦變各異，皆牽強。今以卦綜論之，甚合。此卦綜節。節外卦之坎來居內卦。二剛在下卦之中，不至困窮。節下卦之兌在此卦居外為巽。以陰居四得其正位，上同於五也。剛來不窮，英雄遷而得所，有其地矣。四上輔五，剛柔相濟，有其輔矣。此其所以亨也。

The Commentary on the Judgment says: The hexagram "Dispersing" is smooth and unimpeded because the yang lines have arrived in the inner trigram and are not in a state of destitution, while the yin lines in the outer trigram are in the correct position and move upward to support the nine in the fifth. Regarding the concept of "hexagram transformation" discussed by Cheng Yi and Zhu Xi, both seem forced; instead, using the concept of "hexagram reversal" fits very well. The hexagram "Dispersing" reversed is exactly "Regulation." The outer trigram of "Regulation," which is Kan (Water), when turned down becomes the inner trigram of "Dispersing." The yang lines are in the central position of the lower trigram, so they are not in a state of destitution. The lower trigram of "Regulation," which is Dui (Lake), when turned up becomes the outer trigram of "Dispersing," which is Xun (Wind). The yin lines are in the fourth position and are in the correct position, moving upward to support the nine in the fifth. "Yang coming without destitution" is like a hero migrating and finding a place to settle, thus having a secure position. "The fourth supports the fifth" means that the firm and the yielding support each other, thus having effective assistance. This is the reason why the hexagram "Dispersing" is smooth and unimpeded.

王假有廟，王乃在中也。九五互艮。上畫為廟。九居五，王在廟中。利涉大川，乘木有功也。取乘舟濟川之義。此二節承上。有此卦綜之德，所以王假有廟，所以繫天下之心。乘木有功，可以濟天下之難也。象曰。風行水上。渙。先王以享于帝立廟。風行水上，天神之象。享帝於郊，象巽之高。水在地下，人鬼之象。立廟於宮，象坎之隱。皆所以合其散。

The Commentary on the Judgment says: The king comes to the ancestral temple, indicating the king is in the temple. The nine in the fifth position is in the mutual structure of Gen, which represents mountain. The upper line of Gen symbolizes the temple; a yang line in the fifth position represents the king being in the temple. "It is advantageous to cross a great river, riding on a boat and achieving success" refers to traveling by boat across a river. These two passages follow from the previous text: with the virtue of the comprehensive structure mentioned above, one can "the king comes to the temple," thereby uniting the hearts of the people; one can "ride on a boat and achieve success," thereby rescuing the people from difficulties. The Great Image Commentary says: Wind moves over water, which is the Hexagram of涣. The ancient kings took this as a model, worshiping the heavenly gods and establishing ancestral temples. Wind moving over water represents the image of heavenly spirits; sacrificing in the suburbs to heaven takes the high and distant image of Xun. Water beneath the earth represents the image of human spirits; building temples in the palace takes the hidden and deep image of Kan. These two things are both used to reunite scattered hearts.

初六。用拯馬壯吉。居渙之初，拯之為易。初陰柔，非能拯渙者也。然坎為美脊亟心之馬，二有剛中之才。能順九二，事必有濟。故有用拯馬壯之象，故吉也。象曰。初六之吉，順也。能順二也。九二。渙奔其機。悔亡。以卦綜言，坎剛自外來。互震為足為動，有奔象。二居中，互震為本位，有奔其機而得所安之象。以陽居陰，有悔矣。然居中而得所安，悔可亡矣。當渙之時，播遷而得所安，則不至於困窮而渙可濟矣。

The line statement for the first line (initial six): A strong horse used for rescue brings good fortune. At the beginning of a state of dispersion, it is still relatively easy to restore order. The first line is a yin line, and by itself it lacks the ability to overcome dispersion. However, the lower trigram is Kan, which is referred to as "beautiful spine" and "urgent heart" in the Book of Changes, and the nine two line has the quality of a strong yang line in the center. If the first line follows the nine two line, the matter will surely succeed, hence the image of "a strong horse used for rescue" and thus good fortune. The small image commentary says: the first line is fortunate because it is flexible and follows the nine two line. The line statement for the nine two line: In the midst of dispersion, rushing toward a resting place, regret disappears. Considering the overall structure of the hexagram, the yang line of Kan comes from the outer trigram of the hexagram Ji (Limit) to the inner trigram. The lines two to four form the trigram Zhen, which represents feet and movement, hence the image of "rushing." The nine two line is in the center of the lower trigram and is also in the central position of the trigram Zhen, hence the image of rushing toward a resting place and finding security. Although the nine two line is a yang line in a yin position, it should normally bring regret; however, because it is in the center and has found a secure place, regret disappears. In a time of dispersion, although moving about, it can find security, thus avoiding hardship and saving the situation of dispersion.

象曰。渙奔其機，得願也。濟渙之願可成。六三。渙其躬。無悔。此後四爻皆以渙為吉，蓋因渙以濟渙也。陰柔而不中正，有私於己之象。然居陽位以應乎上，志在散其私以濟時，人臣之致身事主者也。無可悔矣，悔亡者，有悔而亡。無悔者，無可致悔也。象曰。渙其躬，志在外也。外與上應，志在天下而不為私。

The Small Image Commentary says: In the state of dispersion, rushing toward the table, it is as if one's wish is fulfilled—rescuing the dispersed can now be achieved. The line statement for the sixth line in the third place says: Dispelling one's own private thoughts, there is no regret. From this line onwards, the following four lines all regard "dispersion" as auspicious, because they are using "dispersing" to rescue the state of dispersion. The sixth line is yin and not central or upright, originally showing a tendency toward self-interest; yet it occupies a yang position and corresponds with the top line nine, with its mind set on dispelling its own private thoughts to save the situation, which is exactly the manner of a minister devoting himself to serve the sovereign, hence there is no regret. It is important to distinguish: "regret disappears" refers to having originally regret and then eliminating it, while "no regret" means there was no cause for regret in the first place. The Small Image Commentary says: Dispelling oneself, it is the mind being outward. The sixth line connects outwardly with the top line nine, with its mind set on the world rather than on itself.

六四。渙其群。元吉。渙有丘。匪夷所思。居陰得正，上承九五，當濟渙之任者。下無應與，有能散其朋黨之象。高則為丘，平等為夷。互艮為山丘。小群既散，大群自合。眾正盈朝若丘山。然初三二陰皆與四等夷者，思慮不能及此。故有渙有丘匪夷所思之象。六爻唯此最善而吉。蓋初二三上皆不得正。唯九五以剛陽得正，為濟渙之主。四則以陰柔得正，為輔君以濟渙之臣也。

The fourth line statement says: dispersing one's own faction brings great good fortune; dispersing and then gathering again to form a hill and mountain, this is something that those of the same rank cannot imagine. The fourth line, with a yin line in a yin position and thus in the correct position, is above the fifth line which is a yang line. This is the person who bears the responsibility of resolving the chaos. Below it, there is no corresponding line to rely on, so there is an image of being able to disperse one's own faction. Rising up is called 'qiu' (hill), and level with others is called 'yi' (plain). The second to fourth lines form the hexagram Gen, which represents a hill. Once the small faction has dispersed, the group of upright people naturally gathers together, and the whole court is filled with upright officials, piling up like a hill and mountain. However, the first line and the third line, which are both yin lines and of the same status as the fourth line, do not think about this level. Therefore, there is an image of 'huan you qiu, fei yi suo si' (chaos has a hill, something not imagined by the plain). Among the six lines, this line is the best and most auspicious. Because the first line, the second line, the third line, and the top line are not in the correct position, only the fifth line, with a yang line in the correct position, is the sovereign who resolves the chaos; the fourth line, with a yin line in the correct position, is the minister who assists the sovereign in resolving the chaos.

象曰。渙其群元吉，光大也。去朋黨以事君，光明正大。九五。渙汗其大號。渙王居。無咎。坎水，渙象。巽風，號令之象。令出必行，如汗之出而不反居畜積也。渙王居，猶散小儲以成大儲也。九五陽剛中正，以居尊位。能散號令，由中及外。如汗之浹於四體。又能散其居積，以聚天下之人心。此濟渙之主也，可以無咎矣。

The Small Image says: dispersing the factional followers brings great good fortune, because it is upright and open. Abandoning cliques and serving the sovereign wholeheartedly naturally leads to uprightness. The line statement for the fifth line says: like perspiration, issuing a great decree, dispersing the sovereign's storehouses, there is no fault. The lower trigram is Kan (Water), which represents the image of "Dispersing"; the upper trigram is Xun (Wind), which represents the image of issuing decrees. Once a decree is issued, it must be carried out, just as sweat once excreted does not flow back into the body. "Dispersing the sovereign's dwelling" is equivalent to dispersing minor reserves to achieve greater reserves. The fifth line is yang and upright, occupying the exalted position, capable of issuing decrees, spreading from within to outside, like sweat permeating the limbs; it can also release its own storehouses, thus gathering the hearts of the people throughout the land. This is the main line of the hexagram of dispersing, hence there is no fault.

象曰。王居無咎，正位也。舊說以有德居尊位，故能渙也。又按，來注以王居為帝都。五變為坤，有國都之象。謂當渙散之時，遷都正位。如光武之都洛陽、宋高宗之即位，應天以聚人心之渙也。今觀象傳王居無咎上去渙字，釋之曰正位，意甚合。姑存之。

The Small Image Commentary says: dispersing the accumulated resources of the ruler without causing fault is because the position is upright. The old interpretation says: a person of virtue occupying a high position can thus carry out the action of "Huan" (dispersion). According to Lai Zhide's commentary, "Wang Ju" (the ruler's residence) is interpreted as the capital of the emperor: when the line nine in the fifth changes, the upper trigram becomes Kun (Earth), symbolizing the capital; meaning that when the world is in a state of dispersion, the capital is moved to reestablish the proper position, just as Emperor Guangwu of Han established his capital in Luoyang and Emperor Gaozong of Song ascended the throne in Yingzhou, both using this to gather dispersed people's hearts again. Now, looking at the Small Image Commentary quoting "Wang Ju Wu Jiao" (the ruler's residence without fault), it omits the character "Huan" and only uses the two characters "Zheng Wei" (correct position) for explanation, which is consistent with Lai's interpretation. Chen Menglei says this interpretation is temporarily retained.

上九。渙其血去逖出。無咎。下卦坎為血為加憂。上與三應。有傷害畏懼之象。上九以陽居渙之極，能出乎渙者。有渙之使血去逖出之象。如是則無咎矣。然三以應上為美，上不以應三為美，何也。蓋易爻大都以陰應陽者，為柔得剛之援。以陽應陰者，為剛受柔之累。又三在險中，則欲得上援以出險。上在險外，則必欲離下以遠害也。

The line statement for the topmost yang line (Upper Nine): It removes the calamity of blood, causing harm to be distant, worries to be dispelled, and no fault to occur. The lower trigram is Kan, representing blood and also 'increased worry.' Upper Nine corresponds with the sixth line (Six in the Third), hence the image of being harmed and harboring fear. Upper Nine, being a yang line at the extreme of dispersion, is someone who can escape from dispersion, thus the image of dispersing the calamity of blood, causing harm to be distant and worries to be dispelled, resulting in no fault. However, Six in the Third desires to correspond with Upper Nine, yet Upper Nine does not desire to correspond with Six in the Third. Why is this so? Because the general principle of the Zhou Changes is that a yin line responding to a yang line indicates a weak being receiving aid from a strong one; whereas a yang line responding to a yin line indicates a strong one being hindered by a weak one. Moreover, Six in the Third is in the dangerous trigram Kan, naturally hoping to receive aid from Upper Nine to escape danger; Upper Nine, already outside the danger, naturally wishes to distance itself from below to avoid calamity.

象曰。渙其血，遠害也。血去則惕亦出，皆所以遠害也。全彖兼聚渙濟渙二義，而皆要之於正。初與二皆欲聚渙者也。然人心國勢不可渙，而私意朋黨不可不渙。號令居積不可不渙，患害尤所當急渙者也。故三四五上四爻，皆因渙以濟渙者也。五為濟渙之君，四為輔君濟渙之臣。六爻獨四五得正故也。亦即利貞之義乎。

The Small Image Commentary says: dispersing the calamity of bloodshed is to distance oneself from misfortune. When the bloodshed is dispersed, fear also escapes, and both are ways to avoid misfortune. Looking at the entire hexagram, the hexagram statement includes both the meanings of gathering the scattered and dispersing dangers, and the conclusion centers on the character "zheng" (correctness). The lines Initial Six and Nine in the Second both aim to reassemble the scattered hearts of people. One must know: the hearts of people and the state's strength cannot be scattered, but private interests and factions must be scattered; commands and treasuries must be dispersed, and dangers and harms are urgent matters that must be dispelled as soon as possible. Therefore, the four lines Six Three, Six Four, Nine Five, and Upper Nine all use "dispersing" to rescue "scattering." Nine Five is the sovereign who rescues the scattering, and Six Four is the minister who assists the sovereign in rescuing the scattering—only these two lines are correct, and this is the reason, which is also the meaning of the hexagram statement "favoring correctness."

節。下兌上坎。澤中有水，所受有限，為節之象。節卦次渙。按《序卦》：渙者，離也。物不可以終離，故受之以節。物既離散，必須節止，節所以次渙也。全彖以二五得中，剛柔各半。有亨通之道，但不可過中而至於苦。彖傳又推而極言之。六爻大抵當位者吉，不當者凶。初四五當位而吉者也。二三不當位而凶者也。上雖當位而亦凶，則以處於窮極故也。此全卦六爻之大畧也。

The hexagram "Jie" (Restraint) has the lower trigram Dui (Lake) and the upper trigram Kan (Water). Water stored in a lake can only hold a limited amount, which represents the image of "Jie" (limitation and restraint). The hexagram "Jie" follows "Huan" (Dispersal). According to the "Xu Gua Zhuan" (Sequence of Hexagrams), "Huan" signifies dispersion, and things cannot continue to disperse indefinitely, hence the next hexagram is "Jie". After dispersion, there must be restraint and regulation, which explains why "Jie" immediately follows "Huan". The hexagram statement indicates that both nine two and nine five are in the middle positions, and the six lines have equal numbers of yin and yang, thus there is a reason for success. However, one must not go beyond the middle and reach "ku jie" (severe restraint). The "Tuan Zhuan" (Commentary on the Judgment) further elaborates on the principle of restraint. Generally, the six lines are favorable when they are in proper positions and unfavorable when they are not: initial nine, sixth four, and fifth nine are in proper positions and thus favorable; second nine and third six are not in proper positions and thus unfavorable; sixth six is in a proper position but still unfavorable because it is at the extreme. This is the general situation of the six lines in the hexagram.

節。亨。苦節。不可貞。節，有限而止也。凡事有節，自有亨道。然至於太甚則苦，不可守以為貞也。卦中陰陽各半而二五皆陽，節貴於得中也。彖曰。節亨，剛柔分而剛得中。剛柔適均而剛得中。節所以亨，以能得中故也。以卦體釋節之亨也。苦節不可貞，其道窮也。甘節為吉，苦則窮矣。

The Hexagram Statement says: "The Hexagram of Moderation" is smooth and unimpeded; when moderation is taken to an extreme, it becomes unbearable and cannot be maintained. "Moderation" means knowing when to stop within limits. If all things are kept in moderation, there is naturally a smooth course; but once they are taken to an extreme, they become painful, and painful moderation cannot be sustained as a constant principle. This hexagram has six lines with equal numbers of yin and yang lines, and both the Nine in the Second and the Nine in the Fifth are yang lines in the central position, showing that moderation is valued in being in the center. The Commentary on the Judgment says: "The Hexagram of Moderation" is smooth because there is an equal distribution of yin and yang, and the yang lines are in the central position. With a balanced distribution of yin and yang and the yang lines in the center, moderation is smooth because it can maintain the middle path. This is an explanation of the "smooth" in the Hexagram of Moderation based on the structure of the hexagram. "A painful moderation is not enduring, for its path is exhausted" — only a pleasant moderation is auspicious, while a bitter moderation leads to a dead end.

說以行險，當位以節，中正以通。以卦德言之。內說欲進者矣。說則易流而行於坎險，則止說而不流，乃為有節。以卦體言之。九五當位，有能節之勢。居中得正，又坎為通。蓋節而中正，則可以通行，所以亨而不至於苦也。天地節而四時成。節以制度，不傷財，不害民。極言節道。天地四時，自然之節。聖人則因其自然者，立制度以節之。如九賦九式之類。財不至於匱乏，民不苦於誅求。

The Commentary on the Judgment continues: Joyful yet proceeding through peril, positioned properly thus able to restrain, residing in the center and upholding correctness thus able to pass through. These sentences first discuss the nature of the hexagram: the inner trigram is Dui (Joy), originally inclined to move forward; joy tends to be unrestrained and excessive, yet above it is Kan (Peril), thus restraining the joy so that it does not overflow, thereby forming the concept of 'restraint.' Then considering the structure of the hexagram: the line nine in the fifth is in the proper position, possessing the position to implement restraint; it resides in the center and upholds correctness, and Kan also has the nature of 'passage.' Therefore, being restrained and upright allows passage throughout the world, thus achieving smoothness without bitterness. 'Heaven and Earth practice restraint, and the four seasons are formed; restraint is through established systems, not harming resources, not oppressing the people.' This takes the principle of restraint to its extreme: the operation of Heaven and Earth and the succession of the four seasons are natural restraints; sages follow this natural restraint and establish systems to implement it, such as the 'Nine Assignments' (nine types of taxation) and 'Nine Categories' (nine types of expenditure) in the Zhou Li. In this way, the state's resources are not exhausted, and the people are not subjected to unjust levies.

象曰。澤上有水。節。君子以制數度，議德行。數度，所以為節。議德行，商度以求其中節也。制數度，節民於中。議德行，節身於中也。初九。不出戶庭。無咎。戶庭，戶外之庭也。初前九二。九陽奇，有戶象。初四有應，宜出者也。然九二以陽爻蔽於前。又四為坎體，出則入于坎窞。又以剛在下而無位。皆不可出。初九陽剛得正，當節之初。宜止而止，故有不出戶庭無咎之象。

The Great Image says: Water on a marsh, this is the hexagram of Moderation. The superior man takes it as a model, establishing numbers and rules, and evaluating virtue. Numbers and rules are used to establish moderation; evaluating virtue is to consider repeatedly in order to conform to moderation. Establishing numbers and rules is to restrain the people within the middle path; evaluating virtue is to restrain oneself within the middle path. The line statement of the first line: Not going beyond the courtyard, there is no blame. "The courtyard" refers to the area outside the gate. The first line is preceded by the second line, and the number nine represents a yang number, which is odd, symbolizing the single gate. The first line corresponds with the fourth line, which is supposed to go out; however, the second line is a yang line blocking the way, and the fourth line belongs to the trigram Kan, which represents a pit; going out would lead into the pit. In addition, the first line is a yang line in the lower position, without a position, and these factors all indicate that it should not go out. The first line is a yang line that is properly positioned, representing the beginning of moderation. When it should stop, it stops, hence the image of "not going beyond the courtyard, no blame."

象曰。不出戶庭，知通塞也。通則出，塞則止。九二。不出門庭。凶。門庭，門內之庭也。九二前遇六三。六耦，有門象。九二居中，有可行之時。六三非有所窒塞，時可行矣。乃失剛不正，又以上無應與，止而不行，知節而不知通者也。故有不出戶庭凶之象。又按，初九來兌始。兌於時為酉，闔戶之象。九二互體震。震於時為卯，闢戶之象。初九時當止，位雖有應，其行非時。九二於時當行，位雖無應，其止非其時。是故節而止者易，節而通者難。

The Small Image Commentary says: Not going out of the courtyard beyond the gate indicates understanding the boundary between ease and difficulty. When the path is open, go out; when it is blocked, stop. The line statement for nine in the second position says: Not going out of the courtyard within the gate is dangerous. "Gate courtyard" refers to the courtyard within the main gate. Nine in the second position meets six in the third above it. Six is an even number, symbolizing "gate" (a pair of doors). Nine in the second position is in the center of the lower trigram, which is the time for action. Six in the third does not block the way, and the situation should allow movement. However, it holds a yang line in a yin position, losing its correctness, and there is no corresponding line above it, so it stops. This is the behavior of someone who understands restraint but not change, hence the image of closing the door and not going out, which is dangerous. Additionally, initial nine is at the beginning of the trigram兑, which corresponds to the hour of you, symbolizing closing the gate. Nine in the second position is in the mutual trigram震, which corresponds to the hour of卯, symbolizing opening the gate. Initially nine should stop according to the time, though it has a corresponding line, its movement is not appropriate. Nine in the second position should move according to the time, though it lacks a corresponding line, its stopping is also inappropriate. Thus, it is easy to stop by restraint but difficult to move forward by restraint.

象曰。不出門庭凶，失時極也。九五剛中同德，可出以共成節亨之功。九二時可出而失之，故凶。六三。不節若。則嗟若。無咎。陰柔而不中正，當節而不節若之象。兌為口，有嗟若之象。無咎，與他處可同，言無所歸咎也。象曰。不節之嗟，又誰咎也。嗟乃自取，無所歸咎。

The Small Image Commentary says: Not going out of the courtyard and suffering misfortune is due to missing the opportunity too greatly. Nine Five, being yang and in the center, shares the same virtue with Nine Two. Nine Two could have gone out and joined Nine Five to achieve the success of "moderation and smoothness." Now, when the opportunity is present, it is missed, hence the misfortune. The line statement for Six Three says: Not practicing moderation, thus lamenting, with no one to blame. Six Three is yin and not in the center or proper position. When moderation is needed, it does not practice moderation, hence the image of "not practicing moderation." The lower trigram is Dui, which represents the mouth, hence the image of "lamenting." The "no blame" here is consistent with other uses, meaning there is no place to blame or no one to hold responsible. The Small Image Commentary says: Lamenting caused by not practicing moderation, who can blame? The lamenting is self-inflicted, with no one to blame.

六四。安節。亨。九五當位以節，能節以制度者。四承君之節，順而行之，有安節之象。柔順得正，上承九五，有亨道矣。象曰。安節之亨，承上道也。安於臣節，承上之道也。九五。甘節。吉。往有尚。甘者，味之中。節以中為貴，中則人說之而不至於苦。九五居中得正，所謂當位以節中正以通者，故有甘節之象。其占則吉。往則有可嘉尚，謂立法於今，可垂於後也。他爻之節，節其在我者。九五當位以節，節天下者也。節天下而使天下甘之，其功夫矣。甘在臨之三，以我求說於人，故無利。在此，則人自說於我，故有尚。

The line statement for the fourth line says: Keeping a proper restraint, it is smooth and prosperous. The fifth line, which is a yang line, is in the proper position and can practice restraint, representing a person who can use regulations to restrain the whole world. The fourth line, being a yin line, supports the fifth line, follows and promotes its principles, thus showing the image of maintaining restraint calmly. The fourth line, being a yin line that is in the proper position, naturally has the reason for smoothness and prosperity. The Small Image Commentary says: Maintaining restraint calmly and being prosperous is because it follows the way above. Keeping one's role as a subject is precisely following the correct way of the sovereign. The line statement for the fifth line says: A pleasant restraint, auspicious, going forward will be praised. 'Pleasant' refers to the most harmonious of the five flavors. Restraint is valued for being in the middle, and when it is in the middle, people will gladly accept it without feeling it is burdensome. The fifth line is in the middle and in the proper position, which is exactly the line mentioned in the Commentary on the Judgment, 'Being in the proper position to practice restraint, being in the middle and upright to achieve smoothness,' thus showing the image of 'pleasant restraint,' and the judgment is auspicious. Saying 'going forward will be praised' means that the regulations established today can serve as a model for future generations, thus deserving praise. The other lines talk about restraint in their own affairs, but the fifth line, being in the proper position and practicing restraint, restrains the whole world. Restraining the world so that the people accept it gladly is a great achievement. The same character 'pleasant' appears in the line six three of the hexagram 'Approach,' which is 'pleasant approach,' meaning that I go to please others, hence 'no benefit.' Here, however, it is others who naturally accept me with pleasure, hence 'going forward will be praised.'

象曰。甘節之吉，居位中也。中則不過而不至於苦。可兼正，故止言中。上六。苦節。貞凶。悔亡。居節之極，過乎中矣，故有苦節之象。雖正而不免於凶矣。凶則有悔。然禮奢寧儉，故雖有悔而終得亡之矣。蓋苦節之悔，猶勝於不節之嗟也。上六得正為貞，窮極故凶。凶故悔，貞故悔亡。

The Small Image Commentary says: The joy of moderate restraint is auspicious because the position is in the center. Being in the center means not excessive, and thus not bitter. Since being in the center often also implies uprightness, the Small Image Commentary only mentions "center." The line statement for the sixth line at the top says: Restraining to the point of bitterness, even when uprightness is maintained, is still ominous, but regret will disappear. The sixth line at the top is at the extreme of restraint, having passed the center, thus giving the image of "bitter restraint." Although its position is upright, it still brings misfortune, and misfortune brings regret. However, the Analects say about ritual: "Rather than being extravagant, it is better to be frugal." Therefore, although there is regret, it will eventually vanish. One must know that the regret caused by bitter restraint is still better than the lamentation that comes from unrestrained indulgence. The sixth line at the top, being a yin line in a yin position, is "upright"; being at the extreme, it is "ominous"; due to misfortune, there is regret, but because of uprightness, the regret is dispelled.

象曰。苦節貞凶，其道窮也。節，道也。至於苦則窮，不可通行於世也。今卦以節為名。在學為不陵節，在禮為節文，在財為樽節，在物為符節，在臣為名節，在君師為節制。隨其事皆可為占。全彖節有可亨之道而貴於中正。六爻在他卦中可兼正，在此卦則雖中而不正亦凶。蓋不正不可為節，但恐其過中而至於苦耳。

The Small Image Commentary says: Bitter restraint, keeping to the right path is also ominous, because this path has reached its end. The hexagram is named "Restraint," and when it reaches a bitter state, it becomes exhausted and cannot be practiced in the world. Since this hexagram is named "Restraint," it applies to various areas: in learning, it refers to the "not exceeding the proper stage in teaching" as mentioned in the "Book of Rites"; in rites, it refers to the ceremonial embellishment; in resources, it refers to frugality and economy; in objects, it refers to the symbols of trust and regulation; in officials, it refers to reputation and integrity; in sovereigns and elders, it refers to self-restraint. According to the nature of the question, one can refer to these to make a judgment. The hexagram statement says that there is a way to be harmonious in restraint, and the key is to be in the middle and upright. In other hexagrams, being in the middle often implies being upright; but in this hexagram, even if a line is in the middle, it may not be upright and still be ominous—because not being upright makes it not truly restraint. What needs to be guarded against is exceeding the middle and turning into bitterness.

九五居中得正，故得甘節之吉。六三不中不正，故凶咎不待言。餘四爻則必以得正為善。初九得陽剛之正而無咎。六四得柔順之正而吉。上六雖以卦極致凶，亦以得正而無咎。九二雖居中，反至於凶，則以陽居陰，失正之故也。天下未有不貞亦（文瀾本「亦」作「而」）可謂之節者。故彖不必言利貞，而爻則必正乃吉也。

The Nine in the Fifth is in the center and occupies the correct position, thus attaining the auspicious 'sweet restraint'; the Six in the Third is neither in the center nor in the correct position, so misfortune is inevitable. The other four lines are all considered good if they are in the correct position: the Nine at the Beginning has a yang yang line in a yang position, so there is no fault; the Six in the Fourth has a yin yin line in a yin position, so it is auspicious; the Six at the Top, although it incurs misfortune because it is at the extreme point of the hexagram, still ultimately has no fault because it is in the correct position. The Nine in the Second, although it is in the center, ends up being inauspicious, precisely because it has a yang line in a yin position and has lost the correct position. There has never been a case where something is not in the correct position and yet can be called 'restraint'. Therefore, the hexagram statement of the 'Restraint' hexagram does not need to specifically mention 'favoring uprightness', but each line requires uprightness to be auspicious.

中孚。中孚卦，下兌上巽。風行澤上，感於水中，中孚之象。以卦畫言之。內外皆實而中虛，中孚之義。二五皆陽為中實，亦中孚之義。蓋中虛者，信之本。中實者，信之質。卦所以稱中孚也。中孚次節。按《序卦》：節而信之，故受之以中孚。節制使人不越，上下信從。中孚所以次節也。

The hexagram Zhong Fu (Middle Sincerity) has the lower trigram Dui (Lake) and the upper trigram Xun (Wind). Wind blowing over the surface of a marsh moves the water beneath, symbolizing the image of Zhong Fu, which represents sincerity from the heart. In terms of the six lines, the fourth and upper fourth lines are yang lines, while the third and fourth lines are empty, which fits the meaning of Zhong Fu. Also, the lines Nine in the Second and Nine in the Fifth are yang lines, each occupying the center of their respective trigrams, thus representing the middle and substance, which also fits the meaning of Zhong Fu. The middle being empty is the foundation of sincerity—only by being无私 (without private interest) can one accommodate others; the middle being full is the substance of sincerity—only by having something can one not be deceitful. The hexagram is named Zhong Fu for this reason. Zhong Fu comes after Jie (Moderation). According to the sequence of hexagrams, after having moderation and thus gaining trust, Zhong Fu follows. Moderation prevents people from exceeding limits, and thus trust is established between superiors and inferiors, which is why Zhong Fu immediately follows Jie.

全彖以誠信之極，雖無知之物可感，雖患難可涉，而皆利於以正也。六爻以孚之道在剛中，故獨二五為孚之至。初之應四，初實而四虛。至三之應上，三虛而上實。故皆未能盡孚之道。蓋他卦皆以陰陽相應為吉，此則獨以剛中同德為孚。此全彖六爻之大畧也。

The meaning of the entire hexagram's statement is that when sincerity is at its extreme, even things without perception can be moved, and even great difficulties can be overcome, and all of this is beneficial through upholding the right path. The six lines of the hexagram determine that the way of sincerity lies in the presence of strong yang in the center, so only the lines nine in the second position and nine in the fifth position are considered to represent the ultimate sincerity. The line nine at the beginning and six in the fourth are in correspondence, but nine at the beginning is strong yang while six in the fourth is weak yin; the line six in the third and nine at the top are also in correspondence, but six in the third is weak yin while nine at the top is strong yang—each pair is not in harmony of strength and weakness, so neither fully embodies the way of sincerity. It should be known that in other hexagrams, being in harmony between one yin and one yang is considered auspicious, but in this hexagram, sincerity is uniquely defined by the presence of strong yang in the center and shared virtue, which is called 'fu' (sincerity). This is the general meaning of the hexagram's statement and the six lines.

中孚。豚魚吉。利涉大川。利貞。孚心可相信也。以一卦言為中虛，以二體言為中實，皆孚之象。又上巽以順下，下說以應上，亦相孚之義。豚魚，江豚。至則有風，信之可必者。澤上有風，有豚魚之象。木在澤上，外實內虛，舟楫之象。誠信之至如豚魚則吉，以涉險難亦利。然必利於正固乃可，不則硜硜匹夫之諒矣，以為信可感豚魚，於義亦優。然不如以象言為當。

The Hexagram Statement: "Zhongfu" (Faithfulness). If faithfulness extends to the river dolphin, it is auspicious. It is beneficial to cross a great river and beneficial to maintain uprightness. "Fu" refers to the inner sincerity that can be trusted by others. Looking at the entire hexagram, it is in the middle empty; looking at the upper and lower trigrams, they are both full in the middle. These are all images of faithfulness. Moreover, the upper trigram, Xun (Wind), is gentle and submissive to the lower trigram, Dui (Lake), and the lower trigram, Dui (Lake), is joyful and responsive to the upper trigram, Xun (Wind). This also signifies mutual trust. "Tunyu" refers to the river dolphin, which surfaces from the water and then wind arises, indicating something that will surely come to pass. Wind on the lake corresponds to the image of the river dolphin; wood floating on the lake, with the outside solid and the inside hollow, corresponds to the image of a boat. If faithfulness is sincere to the extent that it can move the river dolphin, it is auspicious. Using such faithfulness to cross dangerous waters is also beneficial. However, this must be based on uprightness and firmness. Otherwise, it would be like the criticism in the "Analects" of a "keng keng ran xiaoren zai" (a petty person who is stubbornly faithful). Some interpret this line as "faithfulness is sufficient to move the river dolphin," which is also reasonable in terms of meaning, but it is not as appropriate as interpreting it according to the hexagram's imagery.

彖曰。中孚，柔在內而剛得中。說而巽，孚乃化邦也。以卦體言之。六三六四在內，則中虛無私主矣。九二九五剛而得中，事皆不妄矣。以卦德言之。下說以孚乎上，上巽以孚乎下，可以感化乎萬邦矣。

The Commentary on the Judgment says: The hexagram Zhongfu signifies that the yin and the flexible are within, while the yang and the strong are in the middle; joyful and humble, sincerity can influence the states. These words first describe the structure of the hexagram: the two yin lines, six three and six four, are in the middle of the entire hexagram, leaving the center empty, thus without personal bias or prejudice; the two yang lines, nine two and nine five, are strong and each occupy the middle of the upper and lower trigrams, so their actions are not empty or false. Then from the virtue of the hexagram: the lower trigram is Dui, meaning joy, so sincerity is used to deal with above; the upper trigram is Xun, meaning compliance, so sincerity is used to deal with below. Thus, with such mutual trust above and below, sincerity can influence all the states under heaven.

豚魚吉，信及豚魚也。利涉大川，乘木舟虛也。以卦象言。中孚以利貞，乃應乎天也。天者，理之正而已。《象》曰：澤上有風，中孚。君子以議獄緩死。議獄，兌象。緩死，巽象。風無形而能震川澤，誠也。議獄緩死，求之以誠也。如舜之好生洽民，舜之中孚。不犯有司，天下之中孚也。

The Commentary on the Judgment says: "The pig and fish are auspicious," meaning that sincerity has reached even the most difficult-to-move aquatic creatures such as river fish and river豚. "It is advantageous to cross a great river," because in the hexagram Zhongfu, the two central lines are empty, like the hollow part of a wooden boat, which allows it to float without sinking when crossing water. These two statements are based on the imagery of the hexagram. "Zhongfu with advantage in uprightness, responds to heaven," meaning that sincerity must be maintained with uprightness in order to correspond with the way of heaven; the term "heaven" here simply refers to the ultimate principle of uprightness. The Great Image says: the lake in the lower trigram and the wind in the upper trigram, the wind moving over the lake, is Zhongfu. The gentleman takes this as a model, deliberating on legal cases with thoroughness and care, even for those sentenced to death, he delays the execution, leaving a chance for survival. "Deliberating on legal cases" takes the trigram Dui as representing speech and punishment, while "delaying execution" takes Xun as representing leniency. Wind itself has no form, yet it can move the entire lake's water, relying on the character of sincerity; similarly, the gentleman deliberating on legal cases and delaying execution does so with the utmost sincerity to seek the truth of the case. Just as the Book of Documents, the Great Yu Mandate, records the benevolent rule of Yu Shun, which was deeply loved by the people, that was the sincerity of Yu Shun himself; and when the people thus did not dare to violate the law officers, that was the sincerity of the people as a whole.

初九：虞吉，有他不燕。中孚之初上應六四，度其可信而信之則吉。若有他則失所安，戒之也。卦中二柔。四得正，三不正。初宜應四而間於三，故有此象。《象》曰：初九虞吉，志未變也。志定於始，恐變於終。

The line statement of the initial line (Initial Nine) says: "Yu Ji, you ta bu yan." "Yu" means to consider carefully. In the hexagram Zhongfou, the Initial Nine is at the beginning of the lower trigram, and it corresponds with the Sixth Line Four above. It first considers the other party carefully and finds them trustworthy before trusting them, thus resulting in good fortune. If one has other attachments or is fickle in mind, then one loses a place to rest securely. Therefore, this line statement serves as a warning. Within the hexagram, the Sixth Lines Three and Four are two yin lines. The Sixth Line Four is yin in a yin position and thus correct, while the Sixth Line Three is yin in a yang position and thus incorrect. The Initial Nine should correspond with the Sixth Line Four above, but is separated by the incorrect Sixth Line Three. Hence, there are two layers of meaning: "considering carefully before trusting" and "having other attachments leads to instability." The Image Commentary says, "The Initial Nine considers carefully and gains good fortune, because its intention has not changed." This means that the intention to trust should be carefully examined at the beginning. Although it has been examined at the beginning, there is still fear that it may change later, so the phrase "its intention has not changed" is specially emphasized.

九二：鳴鶴在陰，其子和之。我有好爵，吾與爾縻之。兌為正秋為口舌。鶴，感秋而鳴者。二為陰。有鳴鶴在陰之象。二五以上下位言之，則五為君二為臣。以先後之序言之，則二可為父而五可為子。二中孚之實，而五亦以中孚之實應之，有鶴鳴子和之象。好爵爾縻。

The line statement of the second line says: "A crane calls in the shade, its young respond in harmony. I have a fine cup of wine, I will share it with you." The lower trigram is Dui, which corresponds to the season of late autumn and to the mouth and tongue on the human body. Cranes are birds that call in response to the autumn atmosphere, and the second line is located in the hidden position of the lower trigram, hence the image of "a crane calling in the shade." The relationship between the second and fifth lines can be viewed from two perspectives: from the position of superior and inferior, the fifth is the ruler and the second is the subject; from the order of sequence, the second is below and comes first, like a father, while the fifth is above and comes later, like a son. The second line holds sincere faith in the middle, and the fifth line responds with sincere faith, just as an old crane calls and the young crane responds in harmony, hence the image of "its young respond in harmony." The phrase "I have a fine cup of wine, I will share it with you" indicates that both parties are bound together by a fine thing, not letting go.

按，《大全》張氏謂我爵指五。五為君位，故以爵言。吾亦五也。爾指二。縻，二係於五也。今按，好爵諸家皆以為爵祿，獨《本義》以為懿德。蓋謂二五剛而得中，皆能修其天爵者也。如此則我吾仍指二，爾指五為順。蓋懿德之實可以相感。二之所有，吾亦繫戀之也。《象》曰：其子和之，中心願也。九二以實感，九五以實應也。

According to Zhang's view as recorded in the Complete Commentary on the Zhou Changes, the term "jue" in "I have a good jue" refers to the Nine in the Fifth line, since the Fifth line occupies the position of the ruler, and thus the term "jue" is used in the context of rank and honor. "Wu" also refers to the Nine in the Fifth line, while "er" refers to the Nine in the Second line, and "mi" indicates that the Nine in the Second line is attached to the Nine in the Fifth line. However, according to the present commentary, all scholars interpret "good jue" as referring to rank and honor, but Zhu Xi in The Original Meaning of the Zhou Changes interprets it as referring to good virtue, believing that both the Second and the Fifth lines are yang lines occupying the central position, and thus are both people who cultivate the heavenly jue, that is, their own virtue. According to The Original Meaning, "I" and "wu" still refer to the Nine in the Second line, while "er" refers to the Nine in the Fifth line, making the meaning of the text coherent. The actual reality of virtue can be mutually communicated; the virtue possessed by the Nine in the Second line is itself cherished and attached, and it wishes to share it with the Nine in the Fifth line. The Image Commentary says "its son harmonizes with it, this is the sincere wish of the heart," which precisely means that the Nine in the Second line approaches with a sincere heart, and the Nine in the Fifth line responds with a sincere heart, both acting from their own sincere wishes.

六三：得敵，或鼓或罷，或泣或歌。敵謂上九，信之窮者也。三陰柔不中正，居說之極。與不中正之上九為應，而不能自主。互二四為震，或鼓之象。互四五為艮，或罷之象。兌澤之流，或泣之象。兌口之開，或歌之象。《象》曰：可鼓或罷，位不當也。不中不正故也。

The third line statement says: "Meeting an enemy, sometimes drumming, sometimes giving up, sometimes weeping, sometimes singing." "Enemy" refers to the top line, which is a person who has reached the end of sincerity and clings to belief without knowing when to change. The third line is a yin line in a yang position, neither central nor correct, and is at the extreme of the lower trigram Dui, which represents joy. It corresponds with the top line, which is also neither central nor correct, so it is subject to others, unable to take the initiative. The lines two to four form the trigram Zhen, which represents movement and drumming, hence the image of "sometimes drumming." The lines three to five form the trigram Gen, which represents stopping, hence the image of "sometimes giving up." Dui represents a marsh, with water flowing downward, hence the image of "sometimes weeping." Dui also represents the mouth, which opens to sing, hence the image of "sometimes singing." The Image Commentary says, "Sometimes drumming, sometimes giving up, because of inappropriate position" (the original text mistakenly writes "can" instead of "sometimes"). This is precisely because the third line is neither central nor correct, leading to uncertainty in its actions.

六四：月幾望，馬匹亡，無咎。六四居陰得正，位近於君。有月無光，借日之光以為光，而幾於望之象。又下卦兌互震，震東兌西，日月相望之象。又震為馬。倆馬一色為匹，猶對也。初與四為匹，四乃絕之以上信於五，有馬匹亡之象。此大臣能杜私交以事主者也，故無咎。《象》曰：馬匹亡，絕類上也。下絕初九之類而上從於五也。

The Line Statement for the fourth line says: "The moon is almost full, horses are lost, no blame." The fourth line, with a yin line in a yin position and in the correct place, is closely adjacent to the five line, the sovereign. The moon itself has no light; it is by borrowing the light of the sun that it becomes bright. Similarly, the fourth line borrows the brightness of the five line to manifest its virtue. The brightness is nearly complete but not yet full, hence the image of "the moon is almost full." Furthermore, the lower trigram is Dui (Lake), and the lines two to four form the trigram Zhen (Thunder). Zhen is in the east, Dui is in the west; the sun and moon are opposite each other in east and west, which also represents "the moon is almost full." Zhen also represents horses. Two horses of the same color are called "pi," which means corresponding or matching. Originally, the first line was in correspondence with the fourth line, but the fourth line breaks this private connection and instead fully aligns with the five line. Hence, the image of "horses are lost." This is exactly the conduct of a minister who cuts off private connections and devotes himself entirely to the sovereign, thus incurring no blame. The Image Commentary says, "Horses are lost, cutting off the class below and aligning with the superior above," meaning it cuts off the connection with the first line's class and fully obeys the five line above.

九五：有孚攣如，無咎。九五剛健中正，而居尊位，孚之主也。下應九二，與之同德，故為有孚攣如之象。此彖所謂孕乃化邦者也。故無咎。《象》曰：有孚攣如，位正當也。有德有位，乃為正當。

The line statement of the fifth line says: "There is sincerity and mutual attachment, no blame." The fifth line is yang and strong, resides in the center and is in the proper position, and holds the exalted position, thus being the master of sincerity in the whole hexagram. It corresponds below to the second line, sharing the same virtue of being strong and proper, so the two hearts are closely connected. Hence, there is the image of "sincerity and mutual attachment." This is what the hexagram statement refers to when it says "sincerity can transform the state" — using sincerity to bring about harmony throughout the country (the original text mistakenly uses "pregnancy" instead of "sincerity"), so there is no blame. The image commentary says "sincerity and mutual attachment, the position is proper," meaning that having the virtue of sincerity and occupying the position of the fifth line, where virtue and position are in harmony, is considered "proper."

上九：翰音登于天，貞凶。雞鳴必先振羽，故曰翰音。巽為雞，又雞之鳴有信，故於中孚言之。上九居卦之最上。雞非登天之物，以居卦之極。信非所信而不知變，又有翰音登天之象。雖貞亦凶也，況不貞乎。《象》曰：翰音登于天，何可長也。九而不變則凶也。全卦以誠信在中，則可以涉險難，然皆利於得正。六爻在他卦皆取陰陽相應，此獨取二五中實之同德為孚。蓋中可兼正。即卦之貞也。四亦以正而無咎。初以正而吉而戒其有他。至三上則不中不正，失所謂貞。即失所謂孚矣。

The line statement of the top nine says: "The sound of the chicken's call reaches the heavens, and the sincerity is ominous." A chicken must first shake its wings before it crows, so this is called "Han yin" — the sound of its wings. The upper trigram is Xun, representing the chicken. The chicken crows at the proper time and is most trustworthy, so it is used to establish the image in the Zhongfu hexagram. The top nine is at the highest position of the hexagram. A chicken is not something that can fly up to heaven, yet because it is at the extreme position of the hexagram, it falsely elevates itself. What it believes is not trustworthy, yet it is stubborn and does not know how to change, thus forming the image of "the sound of the chicken's call reaching the heavens." Such people, even if they remain firm, will still be ominous, let alone if what they hold onto is not proper. The Image Commentary says, "The sound of the chicken's call reaches the heavens, how can it last long?" Empty sounds rising to the heavens cannot endure. When one reaches the ninth position without knowing how to change, there is only ominousness. Looking at the entire hexagram: sincerity residing in the center allows one to cross over dangers, but it is beneficial to maintain properness. Other hexagrams often take the correspondence of yin and yang as their meaning, but this hexagram alone takes the middle and virtue of the second nine and the fifth nine as "fu" (sincerity), because attaining the middle naturally includes properness, which is what the hexagram statement refers to as "zhen" (sincerity). The fourth six also has no fault because it is proper, and the first nine is also auspicious because it is proper, but it is warned not to be attached to anything else. As for the third six and the top nine, they are neither middle nor proper, thus losing the concept of "zhen" and also losing the concept of "fu."

小過，下艮上震。山上有雷，其聲小過。為卦四陰二陽，陰多於陽。又陰居尊位，陽失位而不中。小者過其常也，故為小過。小過次中孚。按《序卦》：有其信者必行之，故受之以小過。人之所信必行，行則有過，小過所以次中孚也。

The hexagram Xiao Guo has the lower trigram Zhen (Thunder) and the upper trigram Gen (Mountain). Gen represents mountain, Zhen represents thunder. Thunder should be in the sky and resound, but now it only resounds on the mountain top, thus its power is only slightly excessive, hence the name "Xiao Guo" (Minor Excess). In terms of the structure of the hexagram, there are four yin lines and two yang lines, with yin being more numerous. Moreover, the line six in the fifth position, which is yin, occupies the noble position, while the two yang lines, nine in the third and nine in the fourth, are both out of their proper positions and not in the center. "Xiao" refers to yin, which exceeds its usual limit, hence the hexagram is called Xiao Guo. Why is Xiao Guo placed after Zhong Fu? The "Xu Gua Zhuan" says: a person with sincere faith must act upon it, hence after Zhong Fu comes Xiao Guo. A person must act upon what he believes in, and once he acts, he inevitably goes beyond the proper limits, which is the reason why Xiao Guo follows Zhong Fu.

全彖以陰小過於陽亦可以亨，但利於守正，宜於小事而不宜於大事。此全彖之大旨也。六爻四陰二陽，陰過於陽。初爻上爻，陰之不中而過者也，故皆凶。二五兩爻，中而不過者也，故無凶咎。若三四兩陽爻，當四陰方過之時。四居柔在下，不過危厲。若三居剛在上，必致凶戕矣。大抵陰過則陽多傷，而陰又不宜至於太過，又聖人扶陽抑陰之微旨乎。

The overall meaning of the hexagram statement is that Yin slightly exceeds Yang, yet there is still a way to achieve smoothness and success, but it is necessary to maintain uprightness to gain benefit. It is suitable only for small matters and not for great ones—this is the main idea of the entire hexagram statement. Among the six lines, four are Yin and two are Yang, indicating that Yin exceeds Yang. The two Yin lines, the first and the top, are Yin lines that are not in the center and are excessive, so they are both dangerous. The two Yin lines, the second and the fifth, are in the center and not excessive, so they have no misfortune. As for the two Yang lines, the third and the fourth, they are at a time when the four Yin lines are flourishing: the fourth Yang line is in a soft position and is located below the upper trigram, so it can at most be dangerous; the third Yang line is in a strong position and is located above the lower trigram, so it will certainly suffer harm. Generally, when Yin becomes excessive, Yang suffers more, and Yin should not be excessive to the extreme—here we can also see the subtle intention of the sage to support Yang and restrain Yin.

小過：亨，利貞，可小事，不可大事。飛鳥遺之音，不宜上，宜下，大吉。小謂陰也。四陰在外，二陽在內。陰多於陽，小者過也。以事言之有三義。小有所過，一也。大者不可過而小者可過，二也。所過者小，三也。

The Hexagram Statement says: "Small excess: prosperous, favorable to maintain correctness. Suitable for minor matters, not for major ones. A flying bird leaves its sound behind; it is not suitable to go upward, but suitable to go downward, resulting in great good fortune." The term "small" refers to yin. Four yin lines are positioned at the inner and outer ends, while two yang lines are in the middle. Since yin is more numerous than yang, it is said "small excess." In terms of human affairs, "small excess" contains three meanings: first, the degree of excess is slight, only slightly exceeding; second, it is not appropriate to exceed in major matters, but it is acceptable to exceed in minor ones; third, the matter that is exceeded is itself a minor one. Only when these three meanings are considered together is the full meaning of the hexagram name understood.

既過於陽則可以亨矣，然必利於守正。蓋不正，則所過不小矣。二五以柔得中，有可小事之象。三四以陽剛失位不中，有不可大事之象。此卦錯中孚。中孚大象離，有飛鳥之象。今錯變為小過大象坎不見離，有鳥飛已過但遺音之象。本卦中二陽爻，有鳥身之象。上下四陰爻有鳥翼之象。三四五互為兌口，有遺音之象。陽上陰下宜順其性，有不宜上宜下而大吉之象。

Heavenly Stems: Jia, Yi, Bing, Ding, Wu, Ji, Geng, Xin, Ren, Gui Earthly Branches: Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, Hai Trigrams: Qian (Heaven), Dui (Lake), Li (Fire), Zhen (Thunder), Xun (Wind), Kan (Water), Gen (Mountain), Kun (Earth) The Yin has already surpassed the Yang, and thus the matter becomes smooth and successful, hence the term 'Hen'; however, one must maintain the correct position to gain advantage, because if one does not remain correct, the passage will not merely be 'small'. The lines Six Two and Six Five, being flexible and gentle, each occupy the central position, thus showing the image of 'being suitable for small matters'; the lines Nine Three and Nine Four, being strong and yang, are out of position and not in the center, thus showing the image of 'not being suitable for great matters'. This hexagram is the 'Opposite Hexagram' of Zhong Fu, with all six lines reversed in yin and yang. Zhong Fu's overall image resembles Li (Fire), which represents flying birds, hence the image of flying birds; when transformed into Xiao Guo, the overall image resembles Kan (Water) without Li, indicating that the bird has already flown by, leaving only a sound, hence the image of 'a flying bird leaving a sound'. Considering the primary hexagram, the two central yang lines resemble the bird's body, while the four upper and lower yin lines resemble the bird's wings; the lines Three, Four, and Five together form the trigram Dui (Lake), which represents the mouth, hence the image of 'leaving a sound'. Yang is upward, Yin is downward, and each following its nature is good; in this hexagram, Yang is within and Yin is outside, hence the image of 'not suitable for going up, but suitable for going down', leading to great good fortune.

過非美名。大過陽多於陰，易猶許其往。小過陰多於陽，則聖人多戒辭。此時非可以吉。然能善於自處小事而不為大事，處下而不處上，則可以大吉矣。《彖》曰：小過，小者過而亨也。陰多陽寡，小者過也。過而亨。時當小過，不順時豈能亨。惟小者過，所以亨也。此以卦體釋卦名義與卦辭也。

"The term 'overstepping' is not a good one. The hexagram 'Great Overstepping' has more yang than yin, and the Book of Changes allows it to move forward. However, in the case of 'Small Overstepping,' there is more yin than yang, and the sage's words mostly contain warnings. At such times, it is not easy to speak of good fortune. Yet if one can manage oneself well, doing small things rather than great ones, and contenting oneself with a lower position rather than seeking a higher one, one may actually achieve great good fortune. The Commentary on the Judgment says: 'Small Overstepping means that the small one oversteps and thus achieves success.' Having more yin than yang is precisely 'the small one overstepping.' Why can overstepping still lead to success? Because the situation is appropriate for small overstepping; without following the situation, how could one achieve success? It is only because what is overstepped is small that success is still possible. This sentence uses the structure of the hexagram to explain the meaning of the hexagram name and the hexagram statement."

過以利貞，與時行也。柔得中，是以小事吉也。時當小過而不失其正，乃可謂與時行。失正，則非與時偕行之義矣。柔得中，以二五言。柔順得中，則處一身之小事能與時行矣，所以小事吉。剛失位而不中，是以不可大事也。以三四言。凡大事，必以剛健中正君子為之。今失位不中，陽剛不得志矣，所以不可大事。

The Commentary on the Judgment continues to say: "Excess is beneficial if it remains constant, for it follows the proper time. The flexible is in the middle, hence small matters are auspicious." To be called "moving in harmony with the time" is to be proper in excess without losing correctness. Once correctness is lost, it is no longer in accordance with the meaning of moving in harmony with the time. "The flexible is in the middle" refers to the lines Six in the Second and Six in the Fifth: being flexible and in the middle, one can handle small matters in a timely manner, hence small matters are auspicious. It also says: "The strong is out of position and not in the middle, hence great matters are not possible." This refers to the lines Nine in the Third and Nine in the Fourth: great matters must be undertaken by noble and upright men. Now, the two yang lines have lost their positions and are not in the middle, so the yang strength cannot be expressed, hence great matters are not possible.

有飛鳥之象焉。飛鳥遺之音，不宜上宜下。大吉，上逆而下順也。以卦體言，飛鳥遺音，不宜上宜下。上逆下順者。上卦乘陽，四五失位，逆也。下卦乘陽（文瀾本「下卦乘陽」作「下卦承陽」），二三得位，順也。故占此者，凡事不宜上而宜下也。

The Commentary on the Judgment also says: "There is an image of a flying bird. The bird leaves behind its sound; it is not suitable to go upward but to go downward, which is a great auspicious omen. Going upward is contrary, while going downward is in harmony." This still refers to the structure of the hexagram: the entire hexagram is like a flying bird, which has already passed by and left behind its sound. It is not suitable to go upward but to go downward. The phrase "going upward is contrary and going downward is in harmony" means that the upper trigram Zhen (Thunder) has its sixth line, line five, riding on top of the ninth line, line four. Lines four and five both lose their proper positions, which is contrary. The lower trigram Gen (Mountain) has its sixth line, line two, and ninth line, line three, which are in proper positions, hence in harmony. (The phrase "the lower trigram rides on yang" in the Wenlan edition is written as "the lower trigram supports yang," which is more appropriate.) Therefore, those who draw this hexagram should not strive upward forcefully in their affairs, but should retreat and remain in a lower position.

《象》曰：山上有雷，小過。君子以行過乎恭，喪過乎哀，用過乎儉。雷在天上為大壯。出於地而上于山，其聲小過而已。三者之過，皆小者之過。《本義》謂可過於小而不可過於大。蓋可過乎恭，不可過乎傲。可過乎哀，不可過乎易。可過乎儉，不可過乎奢也。又謂可以小過，而不可甚過。蓋恐其恭之甚為足恭。哀之甚而為喪明。儉之甚而為豚肩不掩豆也。

The Great Image Commentary says: "Mountains with thunder, a small excess. The gentleman thus acts with excessive respect, excessive mourning, and excessive frugality." Thunder in the sky represents The Great Strength; thunder emerging from the ground but only echoing from the mountain top signifies a slight excess in sound. Excess in respect, mourning, and frugality all belong to a minor excess. Zhu Xi's The Original Meaning of the Zhou Changes explains that one may be slightly excessive in small matters, but not in great ones—excessive respect is permissible, but excessive arrogance is not; excessive mourning is permissible, but excessive indifference is not; excessive frugality is permissible, but excessive luxury is not. The Original Meaning also says: one may be slightly excessive, but not excessively so. Because excessive respect becomes the "excessive respect" criticized by Confucius, excessive mourning may lead to the blindness of Zi Xia when he wept for his son, and excessive frugality may result in the small portion of a pig's shoulder that could not cover the sacrificial vessel as in Yan Ying's case.

初六：飛鳥以凶。《大全》以初上為鳥翼，故於初上言飛鳥。然初二五上皆翼，取象未確。竊按，全卦有飛鳥之象。而上卦震二三四互巽，亦有鳥象。小過之時，不宜上宜下。初在下者也，乃陰柔不正，上應於四。則上而不下，猶小人附權貴以取禍者。故有飛鳥以凶之象。曰以者，初躁動援四而四以之也。《洞林占》謂致羽蟲之孽，亦此意。《象》曰：飛鳥以凶，不可如何也。初不安於下，凶乃自取，無可如何。

The first line statement says: "A flying bird meets misfortune." The "Zhou Yi Duan" interprets the first line and the top line as the two wings of a bird, so it only mentions the flying bird in the first and top lines. However, the first, second, fifth, and top lines are all yin lines, which could also be considered as wings, so this interpretation is not accurate. I believe that the entire hexagram originally has the image of a flying bird, and the upper trigram is Zhen (Thunder), while the second, third, and fourth lines form the mutual trigram Xun (Wind), which represents a chicken and wind, also having the image of a bird. During the time of Xiao Guo (a minor excess), it is not appropriate to go upward but to go downward; the first line is at the very bottom, which should be content with its position, but it is yin and flexible, and improperly corresponds upward to the ninth line in the fourth position. Thus, it only knows to go upward and not downward, just like a petty person clinging to power and bringing misfortune upon itself, hence the image of "a flying bird meets misfortune." The line statement uses the word "with" to indicate that the first line is restless and seeks to connect with the ninth line in the fourth position, and the ninth line in the fourth position brings it upward. The "Dong Lin Zhan" says this line indicates a disaster involving feathered creatures, which means the same thing. The "Xiang Zhuan" says "a flying bird meets misfortune, there is nothing that can be done about it," meaning that the first line is not content with its lower position, and the misfortune is self-inflicted, for which no one can be held responsible.

六二：過其祖，遇其妣，不及其君，遇其臣，無咎。三陽在二之上，有父象。四在三上，有祖象。五以陰居尊，有妣象。然五尊而初二卑，又有君臣之象。二越三四而上應於五，是過其祖矣。然五陰非正應，是所遇乃妣也。然以爻位言之，五又君也。過祖，有繼世之譽。過君，則有犯分之嫌。當小過時，上逆而下順。二柔順中正，過而不過。下與初比。故有不及其君而遇其臣之象。如是則無咎矣。過祖非敢抗祖，乃遇其妣。君不敢過而與臣遇。正所謂可小事而不可大事，不宜上宜下者。故無咎也。《象》曰：不及其君，臣不可過也。臣過其君，非小過之義矣。

The line statement of the second line says: "Passing by the father, meeting the mother, not reaching the ruler, meeting the minister, there is no blame." The yang line at the third position has the image of a father; the yang line at the fourth position is above the third, having the image of an ancestor; the line at the fifth position, being yin and occupying a high position, has the image of the maternal grandmother, "bi." However, the fifth line is high while the first and second lines are low, and between the fifth and second lines there is the image of ruler and subject. The second line passes over the third and fourth lines to correspond with the fifth line, which is "passing by the ancestor." However, the fifth line is yin, and since it shares the same nature as the second line, it is not a proper correspondence, so it only meets the "mother." In terms of line positions, the fifth line is also the ruler: passing by the grandfather can be seen as continuing the family legacy; but passing by the ruler would imply overstepping one's bounds. When in a state of small excess, going upward is considered wrong and going downward is considered right. The second line is yin, gentle, and upright. Although it exceeds, it does not lose its correctness, and it also relates closely with the first line below, so there is the image of "not reaching the ruler but meeting the minister" — not overstepping the ruler's position, but meeting those of equal rank below. Thus, there is naturally no blame. Passing by the ancestor is not daring to challenge the ancestor, but merely meeting the mother; regarding the ruler, it does not dare to overstep, but meets the minister. This is precisely the meaning of the hexagram statement, "Suitable for small matters, not for great matters; suitable for being lower, not for being higher," hence there is no blame. The image commentary says, "Not reaching the ruler, the minister cannot overstep," for if a minister oversteps the ruler, it would no longer be the meaning of "small excess."

九三：弗過，防之，從或戕之，凶。《本義》以弗過防之謂不能過於防陰，然於四爻異同。今依胡氏以弗過為句。小過陰過之時。二陽皆稱弗過，謂陽不能過陰也。從，隨也。柔過之時，眾陰害陽。三雖得位而弗能過乎陰，則當離之。若不防則隨有戕之者至矣，故凶。蓋此卦不宜上。三居下卦之上，眾陰勢方上進故也。《象》曰：從或戕之，凶如何也。如何，言其甚也。

The line statement of the third line says: "Not going beyond, guarding against it, following it, one may be harmed, resulting in misfortune." The Original Meaning of the Zhou Changes reads "Not going beyond and guarding against it" as a single phrase, interpreting it as not being overly cautious against yin. However, this interpretation is inconsistent when applied to the fourth line. Following Hu's interpretation, "Not going beyond" is taken as a separate phrase. When yin is dominant in the Minor Overcoming hexagram, both yang lines say "Not going beyond," meaning that yang cannot overcome yin. "From" means following immediately. In a time when yin is excessive, the many yin lines harm yang. Although the third line is in the correct position, it cannot overcome the many yin lines, so it should separate and distance itself. If it does not guard itself, it will be harmed immediately, hence misfortune. Because this hexagram is not suitable for upward movement, and the third line is at the top of the lower trigram, the momentum of the many yin lines is advancing upward continuously. The Image Commentary says, "Following, one may be harmed, resulting in misfortune," where "how" is an exclamation expressing the severity of the misfortune.

九四：無咎，弗過，遇之，往厲必戒，勿用永貞。九四以剛居柔，似有咎矣。然當過之時，以剛居柔。小過乎恭者，無咎之道也。弗過遇之，亦宜從胡氏之說，弗過絕句與九三同。遇之，前遇乎陰也。三之陰在下。艮性止，故惟防之而已。四之陰在上。震性動，陽性上行，故往遇之。然小過之時，不宜上宜下。三居二陰之上而自恃其剛，故陰或戕之。四居二陰之下而以剛遇柔，未必致戕，而往則亦厲，故必在所當戒也。然往固非，固守而不能隨乎時宜亦非也，故又曰勿用永貞。蓋小過九四變而為謙，又有終吉之象矣。

The line statement for the fourth line says: "No blame, not going beyond, encountering it, going forward brings danger, be cautious, do not use permanent uprightness." The fourth line, being a yang line in a yin position, seems to have a fault; however, at the time when yin is excessive, having yang in a yin position is exactly what the Great Image describes as "acting beyond propriety with humility," which is the way to avoid blame. The phrase "not going beyond, encountering it" should be understood as two separate clauses, following Hu's interpretation, just like the third line. "Encountering it" refers to meeting a yin line above. The yin line that the third line faces is below it, and since the lower trigram is艮 (Gèn), which represents stillness, it only needs to be cautious. The yin line that the fourth line faces is above it, and since the upper trigram is震 (Zhèn), which represents movement, and yang is naturally upward, it is going forward and encountering it. However, at a time of minor excess, it is better to go downward rather than upward: the third line, being above two yin lines, is self-confident in its yang, so yin may attack it; the fourth line, being below two yin lines, meets yin with yang, and may not be attacked, but going forward brings danger, so it must be cautious. However, going forward all the time is wrong, and being overly rigid without flexibility is also wrong, so the line statement also says "do not use permanent uprightness" — do not stick to a temporary correctness. Moreover, the fourth line of the hexagram of Minor Excess changes into the hexagram of Humility, which has the image of "a favorable ending," clearly showing the advantage of flexibility.

《象》曰：弗過遇之，位不當也。往厲必戒，終不可長也。以剛居柔，前與柔遇。故曰不當，不可長。他卦多於上爻言之，此言於四。故《程傳》以長為上聲。謂當陰過之時，陽不能長而盛也。然於終字義有未安。蓋陰陽消長，理勢自然。竊意此句即勿用永貞之意。言往厲雖在所戒，而陰之過終不可長。是以當隨時變通，不可固執也。長字如字，未知是否。

The Image Commentary says: "Not going beyond, because the position is improper. Going forward with danger, one must be cautious, for it cannot last long." Nine in the Fourth is a yang line in a yin position, and ahead it meets a yin line, so it is said "position is improper" and "cannot last long." The phrase "cannot last long" is usually found in the top line of other hexagrams, but here it is said in the fourth line. Therefore, Cheng Yi in his Yichuan Commentary on the Changes reads "long" as a rising tone, meaning growth, indicating that when yin is excessive, yang cannot grow strong. However, this interpretation makes the word "finally" less appropriate. The ebb and flow of yin and yang is a natural trend. In my opinion, this sentence is meant to convey the idea of "do not use it permanently and with sincerity": although going forward may involve danger and one must be cautious, the excessive yin will ultimately not last long, so one should be flexible and not be rigid. The word "long" should still be read as meaning "long-lasting," but I wonder if this is appropriate.

六五：密雲不雨，自我西郊，公弋取彼在穴。全卦有坎體。而三四五互為兌為西。六五以陰居尊，以陰過乎陽，不能和而為雨。有密雲不雨，自我西郊之象。坎為弓，有弋象。二陰在陽之下，有在穴象。六五當陰過之時，雖居尊不能有為。下取六二以為助，兩陰相得。不能大事，所取者下，有公弋取彼自穴之象。《象》曰：密雲不雨，已上也。己上，太高也。陰陽和則雨。小畜一陰不能固陽，陽尚往故不雨。此則四陰過陽，陰太高亦不能與陽和而為雨矣。

The line statement of the fifth line says: "Dark clouds gather but do not rain, coming from the western suburbs; the gentleman shoots the bird that is in the hole." The entire hexagram contains the trigram Kan (Water), and the third, fourth, and fifth lines form the trigram Dui (Lake), which is located in the west. The fifth line, being a yin line in a position of honor, has excessive yin over yang, and yin and yang are not in harmony, so there is the image of "dark clouds gather but do not rain, coming from the western suburbs." Kan represents the bow, so there is an image of shooting with a bow; two yin lines are below the yang lines, so there is the image of "in the hole." The fifth line is in a time of excessive yin, though it holds a position of honor, it cannot act effectively, and can only seek assistance from the second line, which is below; thus, two yins are in harmony. Since it cannot accomplish great things, and what it takes is something below, there is the image of "the gentleman shoots the bird that is in the hole." The Image Commentary says, "Dark clouds gather but do not rain, already above," meaning "already above" refers to being too high. Yin and yang must be in harmony to produce rain: In the hexagram Xiao Xu (Small Overcoming), one yin cannot hold back many yang lines, and the yang lines still go upward, so there is no rain; in this hexagram, four yin lines are excessive over the yang lines, and the yin lines rise too high, so they cannot harmonize with the yang lines to produce rain.

上六：弗遇過之，飛鳥離之，是謂災眚。此爻與九四正相反。四前遇陰。上六已高，不復遇陽矣。動體之極，又陰過之極。震有飛鳥象。變離為網罟，有飛鳥離之象。陰柔過高，天災人眚皆所自取，凶之甚也。《象》曰：弗遇過之，已亢也。卦不宜上。上則過亢，必取凶也。

The line statement of the sixth line at the top says: "Not encountering it, the flying bird is caught, this is called calamity and misfortune." This line is exactly the opposite of the fourth line: the fourth line encountered yin while moving forward, while the sixth line has already reached the highest position and can no longer meet yang. It is at the extreme point of the movement of the trigram Zhen (Thunder), and also at the extreme point of yin's excess. Zhen has the image of a flying bird, and when the sixth line changes, it becomes Li (Fire), which represents a net. Therefore, there is the image of "the flying bird being caught" — the bird colliding into the net. Yin's softness rising too high brings both heavenly calamity and human misfortune, which are self-inflicted, reaching the extreme of misfortune. The Image Commentary says, "Not encountering it, it has become excessive." This hexagram is not suitable for upward movement; persisting in upward movement leads to excessive excess, inevitably bringing misfortune.

全卦陰過乎陽，占者宜小事不宜大事，凡事宜下而不宜上。六爻唯二最吉。以在下卦之中，不至太過。而所居得正，又合利貞之義也。五不正不能有為。若初之不正而援上，上之動極而過高，皆凶之甚者。二陽爻則四以居柔而無咎，三以恃剛而致凶，與時行之難也。

Looking at the whole hexagram: Yin is excessive compared to Yang, so those who draw this hexagram should do small things rather than great ones, and all affairs should retreat and stay in a lower position rather than move upward. Among the six lines, only six two is most auspicious, because it is in the middle of the lower trigram and does not go too far, and it is in a Yin position and is correct, which perfectly fits the meaning of "favorable to hold on firmly." Six five, although in a position of honor, is not correct, so it cannot take action; as for initial six, which is incorrect and clings to a higher position, and upper six, which moves to an extreme and rises too high, both are extremely dangerous. Among the two Yang lines, nine four, which is Yang in a flexible position, has no fault, while nine three, which relies on its own strength and is overly strong, invites misfortune. This shows how difficult it is to follow "moving with the times."

既濟，下離上坎。水在火上，相交為用，天下事已濟之時也。又涉川曰濟。既濟未濟二卦皆有坎體。坎在內有險為未濟，坎在外則無險為既濟也。又以卦畫言之。六爻皆應，剛柔皆當其位。至此無不濟矣，故為既濟。

The hexagram Ji Ji consists of the trigram Li (Fire) above and Kan (Water) below. The water of Kan is above the fire of Li, with water and fire interacting and working together, which signifies that worldly affairs have already been completed. The character "ji" also means to cross a river. Both Ji Ji and Wei Ji hexagrams contain the trigram Kan: when Kan is the inner trigram, danger still exists beneath one's feet, hence it is Wei Ji; when Kan is the outer trigram, danger has already passed, hence it is Ji Ji. Looking at the hexagram's lines, all six lines correspond in pairs, with strong lines in strong positions and weak lines in weak positions, none of which are misplaced. At this stage, nothing is left to be accomplished, hence the name Ji Ji.

既濟次小過。按《序卦》：有過物者必濟，故受之以既濟也。全彖當既濟之時，自有可亨。然六爻陽在陰下，故亨者小。剛柔皆當，故利於貞。然事之既濟，則聖人憂盛危明之心正於此始。蓋治亂相因，理勢自然也。六爻皆有戒辭。內三爻皆既濟之象，即彖之初吉也。外三爻漸入於未濟，即彖之終亂也。此全彖六爻之大旨也。

Why is the hexagram "Ji Ji" (The Completion) placed after "Xiao Guo" (The Small Crossing)? The "Xu Gua Zhuan" says: Those who can surpass others will surely accomplish things, so "Xiao Guo" is followed by "Ji Ji." The overall meaning of the hexagram statement is: When things are already completed, there is naturally a path of success; but all the yang lines are below the yin lines, so the success is only slight. The firm and the yielding are each in their proper positions, so it is favorable to maintain correctness. However, once things are accomplished, the mind of the sage, which is "to be cautious in prosperity and to be in danger when in light," begins here. Governance and disorder are mutually causal, and this is the natural trend. Therefore, all the line statements carry warnings: the three lines of the inner trigram are still the image of "Ji Ji," which is what the hexagram statement refers to as "initial success"; the three lines of the outer trigram gradually turn toward "Wei Ji" (Not Yet Completed), which is what the hexagram statement refers to as "final disorder." This is the main idea of the hexagram statement and the six lines.

既濟：亨小，利貞，初吉終亂。既濟，事之既成也。水火相交各得其用，六爻相應各得其正，故為既濟。亨小。按，《本義》作小亨。既濟之終未濟之始，猶日中則昃之意，故亨亦小也。六爻皆正，所以利於貞也。既濟故初吉。終為未濟故亂。此雖聖人警戒之辭，亦理數之自然。又內卦離明，外卦坎險，亦初吉終亂之象也。彖傳柔得中終止，又推文王言外之意。

The Hexagram Statement says: "After Completion: Smoothness for small matters, advantageous to maintain the correct course, initially auspicious but eventually disorder." "After Completion" means that the matter has already been accomplished. Water and fire interact with each other and each reaches its proper function, and the six lines correspond with each other and each occupies its correct position, hence it is called After Completion. The phrase "Smoothness for small matters" is interpreted by Zhu Xi in The Original Meaning of the Zhou Changes as "Small Smoothness." The end of After Completion is the beginning of Not Yet Completed, just as the sun reaches its zenith and then begins to move westward, so the smoothness is only for small matters. Since the six lines each occupy their proper positions, it is advantageous to maintain the correct course; since the matter has already been completed, it is initially auspicious, but eventually it turns into Not Yet Completed, hence the conclusion is disorder. This is not only a warning from the sage but also a natural course of reason. Moreover, the Inner Trigram is Li (Fire), representing brightness, and the Outer Trigram is Kan (Water), representing danger, which also reflects the image of initial auspiciousness and eventual disorder. As for the Commentary on the Judgment discussing "the flexible line occupying the center" and "termination leading to disorder," this is further exploring the meaning beyond the words of King Wen.

《彖》曰：既濟亨，小者亨也。按，《本義》謂者下脫小字。小者亨，蓋爻有三陰得位而三陽下之，故曰小者亨也。然按彖辭，似以事之既濟則泰否相仍，所亨亦小。夫子彖傳又推言外之意，大旨亦並行不悖也。利貞，剛柔正而位當也。以卦體言。六十四卦六爻皆應而得位者，獨此而已。初吉，柔得中也。指六二也。

The Commentary on the Judgment says: "After the completion of the hexagram, there is success, which is the success of the small." According to The Original Meaning of the Zhou Changes, the character "small" is missing in this sentence. The phrase "the small is successful" is because in the hexagram, the three yin lines each occupy their proper positions, while the three yang lines are below them. Yin is considered small, hence the small is successful. However, looking at King Wen's hexagram statement, it seems to mean that since the matter has already been accomplished, the extreme of prosperity is followed by the extreme of adversity, and thus the success is only of a small nature. Confucius, in composing the Commentary on the Judgment, further explores the implied meaning, and the two interpretations run parallel without conflicting. It also says: "Beneficial to maintain the correct course, because the firm and the yielding are in proper position." This refers to the structure of the hexagram: among the sixty-four hexagrams, only this one has all six lines corresponding and each in its proper position. It also says: "Initially auspicious, because the yielding line is in the middle." This refers to the second line.

終止則亂，其道窮也。文王初吉終亂之占。就理數自然言之，如泰極為否之類。夫子彖傳則又於言外而推之於人事也。蓋未濟則圖其濟，既濟宜保其濟。柔在二則吉，在上則亂。蓋柔順得中則善，處濟之初所以吉也。然天下治亂相乘，終極必變。終以優柔自處則有止心，止而不挽救，亂之所由生也。然則當既濟之時者，始則柔順文明，終必貴於剛健振作。庶幾知窮變通久之道，而具撥亂反正之才者乎。

The Commentary on the Judgment also says: "When things come to an end, disorder arises, for the way has reached its limit." King Wen's statement that "it begins auspiciously but ends in disorder" refers to the natural course of events, just as Tai reaches its peak and then turns into whether. Confucius' Commentary on the Judgment, however, extends beyond this to human affairs: when things are not yet completed, one should take measures to complete them; once they are completed, one should take measures to maintain them. The same soft line, in the second position, is auspicious, but in the sixth position at the top, it leads to disorder. Softness and compliance combined with the center are good, and since it is at the beginning of achieving success, it is auspicious. However, the rise and fall of the world are interdependent, and when things reach their limit, they must change. If one remains always soft and complacent, a sense of security and stagnation arises, and once stagnation occurs, one does not know how to prevent disorder, which then arises from there. Thus, those in a state of completion should be gentle and civilized at the beginning, but later must value strength and vigor. Only then can one understand the meaning of the Great Treatise that says, "When the limit is reached, change occurs; when change occurs, things become unblocked; when things become unblocked, they can endure for a long time." Only then can one be said to possess the ability to restore order and correct disorder.

《象》曰：水在火上，既濟。君子以思患而豫之。思患，坎離象。豫防，離明象。按，《大全》項氏謂人之用莫大於火，而火常生患。善濟火者莫如水。常儲水以防火，則其患亡矣。此說似近而意未備。竊按，水在火上則水火有相濟之功，而其終也有相剋之患。蓋水能滅火，火亦能幹水。思其患而豫防，則相為用而不相為害。以此推之天下事，莫不皆然也。

The Great Image Commentary says: "Water over fire, the completion. The superior man thus thinks of possible troubles and prepares in advance." "Thinking of possible troubles" takes the image of Kan (water) as worry and Li (fire) as thought, while "preparation" takes the image of Li's brightness that can illuminate. According to the Zhou Yi Duan (Commentary on the Zhou Changes), Xiang's view holds that nothing in daily life is more important than fire, yet fire often brings about calamities. The thing that can control fire is water, so one should store water in daily life to prevent fire, thus eliminating the danger of fire. This view seems practical, but its meaning is incomplete. In my opinion, water over fire originally has the function of mutual assistance, but in the end there is a mutual control - water can extinguish fire, while fire can dry up water. By foreseeing this kind of danger and taking precautions, the two can be used in harmony without causing harm. Applying this principle to all matters in the world, nothing is not like this.

初九：曳其輪，濡其尾，無咎。初應六四，坎有輪象。輪所以行，曳之則不行矣。初九當濟之初，守正而不輕進，有曳其輪之象。坎為狐。初在一卦之後，又有尾象。狐必揭其尾而後濟。濡尾則不掉，不速濟也。以剛在下，有濡其尾之象。徐進而不躐等，無咎之道也。《象》曰：曳其輪，義無咎也。得慎始之義。

The line statement of initial nine says: "Drag its wheel, soak its tail, no blame." Initial nine corresponds to six four, and six four is in the kan trigram, which has the image of a cart wheel. A wheel is used for walking, but dragging it prevents movement. Initial nine is at the beginning of the hexagram, holding to the correct path without rash advancement, hence the image of "dragging its wheel." Kan also represents a fox, and initial nine is at the end of the hexagram, which has the image of a tail. A fox crossing water must first lift its tail, but if the tail gets wet, it cannot move properly, thus slowing down. Initial nine, being a yang line in a yin position, has the image of "soaking its tail." Proceeding slowly without rushing ahead is the way to avoid blame. The image commentary says, "Drag its wheel, meaning there is no blame," referring to the principle of careful beginning.

六二：婦喪其茀，勿逐，七日得。茀，車之蔽也。離為中女。二柔婦象。上應九五，坎為輿。離又中虛。茀象。二五本正應，以當既濟之時。九五剛中之君反有中滿之勢，不能下賢以行其道。又坎為盜。故有婦喪其茀之象。言失其所以行也。卦歷六爻復於二，為七位。中正之道不可終廢。二歷七數，中正自在，與五必有合也。故有勿逐七日得之象。《象》曰：七日得，以中道也。不失其中，則濟世之具在我。

The line statement of the second line says: "The woman loses her veil, do not chase, she will regain it in seven days." "Fú" refers to the curtain used to cover the carriage. The lower trigram is Li, representing the middle woman, and the second line is yin and flexible, resembling a woman. It corresponds with the fifth line, which is in the trigram Kan, representing a carriage. The middle line of Li is empty, resembling the curtain on a carriage, hence the image of "fú." The second and fifth lines were originally in proper correspondence, but at the time of the completion of the process, the fifth line, being a strong and central ruler, showed signs of self-satisfaction and was unwilling to lower itself to promote the way. Kan also represents thieves, hence the image of "the woman losing her veil" — losing the means for travel. After completing all six lines and returning to the second line, it is exactly the seventh position. The principle of being in the center and correct will not be abandoned forever. The second line, after completing the seven numbers, still retains its central and correct virtue, and will surely reunite with the fifth line, hence the image of "do not chase, she will regain it in seven days." The Image Commentary says, "Regaining it in seven days, because it follows the middle path." As long as one does not lose the middle path, the means for governing the world remain in one's hands.

九三：高宗伐鬼方，三年克之，小人勿用。九三應上坎體，坎居北，有鬼方之象。離為甲冑為戈兵，九三以剛居剛，有高宗伐鬼方之象。自四至上歷三爻，又離居三，有三年克之之象。必三年而後克，言其不輕濟也。然既克之後而用小人，則除一亂又生一亂矣，故戒以勿用。既濟之後，常存未濟之虞也。《象》曰：三年克之，憊也。師至三年，師老財匱矣。兵不可輕用也。

The line statement of nine in the third says: "King Gaozong attacked the Gufang, and after three years he conquered them; do not employ petty men." Nine in the third corresponds to six at the top, and six at the top belongs to the trigram Kan, which is associated with the north, symbolizing the northern "Gufang." The lower trigram is Li, representing armor and weapons, and nine in the third is a yang line in a yang position, strong and resolute, thus symbolizing King Wu Ding of the Shang dynasty's campaign against the Gufang. Counting from nine in the fourth to six at the top involves three lines, and Li is in the third position, hence the image of "conquering after three years." The need for a three-year campaign indicates that he did not act rashly in military matters. However, once the conquest was achieved, if petty men were then employed, one disorder would be replaced by another, hence the warning "do not employ petty men" — after a matter is completed, one should always remain cautious of potential future problems. The Image Commentary says "conquering after three years, exhaustion," because the military campaign lasted three years, leading to the exhaustion of the troops and the depletion of resources, showing that military action should not be taken lightly.

六四：繻有衣袽，終日戒。繻作濡。衣袽，以塞舟之罅漏者。四坎體之下，有漏舟之象。當既濟之時，以柔居柔，以豫而知戒者。故有衣袽已備，終日不忘戒懼之象。《象》曰：終日戒，有所疑也。亂生於治，疑禍患之將至也。

The Line Statement of the Fourth Line says: "There is a wet cloth used to plug leaks, being constantly on guard all day." "Rú" should be read as "Rú," meaning to soak or seep water; "yī rú" refers to broken and worn-out cloth used to plug ship leaks and stop holes. The Fourth Line is located below the Kan trigram, symbolizing a leaking boat. At the time of completion and stability, it holds a yin and soft position in a yin place, representing someone who is alert and prepared in advance. Therefore, the old cloth for plugging leaks is already ready, and the image is of being constantly on guard. The Image Commentary says, "Being constantly on guard, there is something to be doubtful about." Chaos arises from order, so one remains constantly cautious about potential calamities.

九五：東鄰殺牛，不如西鄰之禴祭，實受其福。五陽，東鄰之象。二陰，西鄰之象。離有牛象。五坎水能滅火，有殺牛象。禴，夏祭。離為夏，禴祭之象。九五居尊而時已過，不如六二之在下適當其時，故有東鄰殺牛之大祭，反不如西鄰之禴祭受福之象。《象》曰：東鄰殺牛，不如西鄰之時也。實受其福，吉大來也。方來之吉猶未艾，二之所以勝五也。

The Line Statement of the fifth line says: "The eastern neighbor sacrifices an ox, but the western neighbor's thin summer sacrifice brings real blessings." The fifth line is yang, yang represents east, thus symbolizing the eastern neighbor; the second line is yin, yin represents west, thus symbolizing the western neighbor. The lower trigram is Li (Fire), which has the image of an ox; the fifth line is in the trigram Kan (Water), and water can extinguish fire, thus symbolizing the sacrifice of an ox. "Yue" refers to a thin summer sacrifice, and Li represents summer, thus symbolizing the thin summer sacrifice. Although the fifth line holds a high position, the favorable time of the hexagram Ji (Completion) has already passed; although the second line is in a low position, it is at the right time. Therefore, the grand sacrifice of the eastern neighbor is not as beneficial as the thin sacrifice of the western neighbor. The Image Commentary says, "The eastern neighbor sacrifices an ox, but the western neighbor's time is better; real blessings come, and great good fortune arrives." The good fortune coming to the second line has not yet ended, which is why it surpasses the fifth line.

上六：濡其首，厲。既濟之極，坎險之上。而以陰柔處之，故有狐涉水而濡其首之象，危厲可知。《象》曰：濡其首厲，何可久也。危亡不久。既濟全彖六爻，皆有警戒之詞。蓋天道否泰循環，固理勢之自然。亦聖人治不忘亂，安不忘危之深心也。

The line statement of the sixth line at the top says: "Its head is wet, dangerous." The sixth line at the top is at the extreme point of the hexagram Ji Ji and at the very top of the trigram Kan (water), and it holds a yin and soft quality. Therefore, there is an image of a fox crossing water, with its head getting wet, and danger is evident. The Image Commentary says, "Its head is wet and dangerous, how long can it last?" Danger and ruin are right before one's eyes, and it cannot last long. The entire hexagram Ji Ji, from its hexagram statement to all six lines, carries warnings. The alternation of heaven's fortune and misfortune is a natural course of events, but it also shows the deep concern of the sage in governing the world, never forgetting the time of chaos, and remaining vigilant even in times of peace.

未濟，下坎上離。火在水上，不相為用。又六爻皆不得位。故為未濟。未濟次既濟。按《序卦》：物不可窮也，故受之以未濟終焉。既濟物之窮。窮無不變易者，變易不窮。未濟則未窮也。未窮則生生不絕矣。

The hexagram "Wèijì" has a lower trigram Kan (Water) and an upper trigram Li (Fire). Fire is on water, and since fire has an upward nature and water has a downward nature, they do not complement each other. Moreover, all six lines are not in their proper positions, hence the name "Wèijì." Why is "Wèijì" placed after "Jìjì" and at the end of the entire book? The "Xùguà zhuàn" says that things cannot be exhausted, so "Wèijì" is used to conclude the entire text. "Jìjì" represents when things have reached their culmination, and anything that has reached its culmination is subject to change, and change is endless. "Wèijì," however, signifies that things have not yet reached their culmination, and since they have not reached their culmination, they continue endlessly and without end.

又後天八卦以坎離，居先天乾坤之位。蓋天以一生水，地以二生火。故坎得乾之中畫，離得坤之中畫。上經首乾坤而終坎離，後天首咸恆而終既濟未濟。既濟水火之交，六爻皆當，萬物之終也。未濟水火不交，六爻皆反，終則有始也。此未濟所以次既濟，而為全易之終也。

Furthermore, in the Later Heaven Trigrams, the Trigrams of Water (Kan) and Fire (Li) are placed where the Trigrams of Heaven (Qian) and Earth (Kun) were in the Earlier Heaven. Heaven generates water with the number one, and Earth generates fire with the number two. Therefore, the Trigram of Water (Kan) receives the yang line from the central line of the Trigram of Heaven (Qian), and the Trigram of Fire (Li) receives the yin line from the central line of the Trigram of Earth (Kun). The Upper Classic begins with Heaven and Earth and ends with Water and Fire, but the sequence of the Later Heaven begins with the Trigrams of Union and Constancy and ends with the Trigrams of Completion and Non-Completion. The Trigram of Completion represents the union of water and fire, with each of the six lines in its proper position, symbolizing the end of all things. The Trigram of Non-Completion represents the non-union of water and fire, with all six lines reversed, symbolizing the cycle of completion and renewal. This is why the Trigram of Non-Completion comes after the Trigram of Completion and serves as the conclusion of the entire Zhou Changes.

全彖卦雖未濟，終有可亨之道。幾濟而猶未濟，故無所利。而彖傳又以剛柔之應以見其亨，蓋未濟固終濟也。六爻下三爻在坎險之中，皆未濟之象。上三爻離明，則未濟者終濟矣。此全卦六爻之大畧也。

The meaning of the entire Hexagram Statement is: Although the hexagram is named "Not Yet Completed," there is ultimately a reason for its capacity to be prosperous. However, it seems about to be completed but finally remains incomplete, hence it says "there is no benefit." The Commentary on the Judgment further points out its prosperity through the mutual correspondence of the strong and the weak, because "Not Yet Completed" will ultimately lead to completion. Among the six lines, the lower three lines are trapped in the danger of Kan, which represent the image of not yet completed; the upper three lines belong to Li, which represents brightness, so the not yet completed will eventually become completed. This is a general overview of the six lines of the hexagram.

未濟：亨，小狐汔濟，濡其尾，無攸利。未濟，事未成也。水火不相交，不相為用。卦之六爻皆失其位。故曰未濟。未濟有終濟之理，故亨。既濟已然之亨，又陽居陰下，故曰小。未濟方來之亨，又陽在陰上，故但曰亨。彖傳柔得中，則又就卦體而推之人事也。坎有狐象。坎在下，小狐象。狐老者多疑，小者輕於濟。狐尾大，涉必揭其尾。汔，幾也。幾濟而濡其尾，則未能濟矣，何所利乎。蓋未濟雖終有可亨之道，使如小狐之濡尾，則亦無所利。戒占者之辭也。

The Hexagram Statement says: "Uncompleted: favorable. A small fox approaches the riverbank, wets its tail, and there is no benefit." "Uncompleted" refers to a matter that has not yet been accomplished. The fire and water do not interact or work together, and all six lines are out of their proper positions, hence it is called "Uncompleted." The concept of "Uncompleted" contains the meaning that it will eventually be completed, hence it is said to be "favorable." "Already Completed" refers to a favorable situation that has already occurred, and since the yang is in a yin position, it is said to be "favorable for the small." "Uncompleted" refers to a favorable situation that is about to occur, and since the yang is above the yin, it is only said to be "favorable." The Commentary on the Judgment mentions "the flexible line occupies the center," which is taking the structure of the hexagram and applying it to human affairs. The trigram Kan represents a fox, and since Kan is the lower trigram, it symbolizes a small fox. An old fox is cautious and suspicious, while a small fox is hasty in crossing the river; the tail of a fox is large, so when crossing water, it must lift its tail high. "Qì" means almost or nearly. It seems close to crossing, but the tail gets wet, and thus the crossing fails, so there is no benefit. This shows that although "Uncompleted" ultimately has the potential for success, if one acts like the small fox and gets the tail wet, there will be no benefit. This is a warning to the person consulting the oracle.

《彖》曰：未濟，亨，柔得中也。彖未濟之亨，就天運之自然言之。夫子又專指六五一爻，言人事有致亨之道也。柔而得中，則既非柔弱無能，又不剛猛僨事。小心慎密，處置得宜。未濟者終濟，此其所以亨也。

The Commentary on the Judgment says: "The hexagram of Not Yet Completed (未济) is auspicious, because the flexible line is in the center." The Hexagram Statement refers to the auspiciousness of Not Yet Completed in terms of the natural course of heaven; however, Confucius specifically points to the line six in the fifth, indicating another path to auspiciousness in human affairs. Being flexible and in the center means neither weakness nor excessive strength, but rather careful and appropriate handling. The final attainment of success in Not Yet Completed relies precisely on this, hence it is said to be auspicious.

小狐汔濟，未出中也。濡其尾，無攸利，不續終也。雖不當位，剛柔應也。未出中，指二也。九二在坎險之中，未能出也。不續終，指初也。初在下為尾。二所以不能出險，以初陰柔力微，故首濟而尾不濟，不能續其後也。雖不當位而剛柔皆應，則彼此相輔，終成濟險之功。此二語又覆解亨之義。蓋柔既得中，又與剛應，故能亨也。二五固剛柔應，然全卦剛柔皆應，故於此覆言之。

The Commentary on the Judgment continues: "A small fox approaches the riverbank but has not yet crossed the middle. Its tail gets wet, and there is no benefit, because it cannot continue to the end. Although it is not in the proper position, there is mutual response between the yang and the yin." "Not having crossed the middle" refers to nine two, which is trapped in the middle of the kan danger and has not yet emerged. "Unable to continue to the end" refers to six at the beginning, which is at the very bottom and represents the tail. Nine two is unable to cross the danger because six at the beginning is yin and weak. The head has already crossed but the tail has not, and there is no continuation of strength. Although none of the six lines are in the proper position, there is mutual response between the yang and the yin, supporting each other, so they can finally achieve the success of crossing the danger. These two sentences again explain the reason for "being smooth." The yin is in the middle and also responds to the yang, so it can be smooth. Nine two and nine five are certainly yang and yin responding to each other, but actually all six lines of the hexagram respond to each other, so here it is explained again.

《象》曰：火在水上，未濟。君子以慎辨物居方。辨物如火之明，居方如水之聚。又水火異物，故以之辨物，使物以群分。水火各居其所，故以之居方，使方以類聚也。

The Great Image Commentary says: "Fire on water, the situation not yet completed. The superior person uses this to be cautious in distinguishing things and placing them in their proper places." Distinguishing things should be like fire, bright and penetrating, while placing things in their proper positions should be like water, allowing each to gather in its own place. Furthermore, water and fire are fundamentally different elements, so they are taken as a symbol for distinguishing things, enabling all things to be separated into their respective categories. Water and fire each occupy their own position, so they are taken as a symbol for placing things in their proper places, enabling each region to gather according to its category.

初六：濡其尾，吝。以陰居下，當未濟之初，未能自進，故有濡尾之象而至吝也。既濟濡尾無咎，此則吝者，既濟陽剛得正，離明之體。當既濟之時，知緩急而不輕進。故無咎。此則才柔不正，坎險之下。又當未濟之時，冒險躁進。則至於濡尾而不能濟矣。故吝。然彖言無攸利而此但言吝，則以卦之初，失尚未遠也。《象》曰：濡其尾，亦不知極也。《程傳》作不知之極，從之。坎之初不如離之初明知也。

The first line statement of the hexagram says, "Its tail is wet, leading to difficulty." It is a yin and flexible line in the lowest position, exactly at the beginning of the hexagram of Not Yet Completed. Since it cannot advance, it appears as the image of a wet tail, leading to difficulty. The same image of "wet tail" appears in the first line of the hexagram of Already Completed, which says "no blame." Why does this line say "difficulty" instead? In the hexagram of Already Completed, the first line is a yang and strong line, properly positioned, and located in the body of Li (Fire), which is bright. At the time of Already Completed, it knows when to act and when to refrain, so there is no blame. Here, however, the line is weak and flexible, not properly positioned, and located in the lower part of Kan (Water), which is dangerous. At the beginning of Not Yet Completed, it still ventures forward hastily, leading to a wet tail and failure to cross, hence difficulty. However, the hexagram statement says "no benefit," while this line only says "difficulty." This is because it is still at the beginning of the hexagram, and the loss and gain are not yet extreme. The Image Commentary says, "Its tail is wet, because it does not know the limit." Cheng Yi's Commentary on the Changes reads it as "not knowing to the extreme," meaning that it is completely ignorant of reason. I follow this interpretation. The first line of Kan is not as enlightened and discerning as the first line of Li.

九二：曳其輪，貞吉。坎有輪象。九二上應六五，有陽剛之才，可以濟矣。而居柔得中，自止而不進，有曳其輪之象。九居二非正。而得為下之宜，正也，故曰貞吉。既濟初兩象，此分初二兩爻。初欲進不能而吝，才柔故也。二可進而不輕進而吉，才剛與既濟初九同故也。《象》曰：九二貞吉，中以行正也。九居二非正，以中故得正也。

The line statement for line two says: "Draw the wheel, perseverance brings good fortune." The trigram Kan represents a cart wheel. Line two is yang and occupies a yin position, yet it is in the center. It has the quality of a strong and capable person who can overcome difficulties, but it does not act rashly, hence the image of "drawing the wheel." Although a yang line in position two is not considered proper, it is proper because it is in the center, thus "perseverance brings good fortune." The hexagram Ji Ji places both "drawing the wheel" and "wet tail" in line one, but here they are assigned to lines six and two. Line six wants to advance but cannot, hence it is difficult, due to its weak quality. Line two can advance but does not act hastily, hence it is good fortune, due to its strong quality, which is the same as Ji Ji line one. The Image Commentary says, "Line two's perseverance brings good fortune, because it is in the center and acts properly." A yang line in position two is not proper, but because it is in the center, it becomes proper.

六三：未濟征凶，利涉大川。陰柔不中正，居未濟之時，以征則凶。利涉大川。《本義》謂將出乎坎，有利涉之象。蓋行者可以水浮，而不可以陸走也。又曰，或疑利字上當有不字。今從後說為優。蓋二陽剛猶以守貞為吉，三陰柔非利涉可知矣。《象》曰：未濟征凶，位不當也。未濟六爻皆不當，獨於三言之者，陰柔居險極也。

The line statement of the third line says: "Before completion, going forward brings danger; it is advantageous to cross a great river." The third line is yin and flexible, not in the center and not in the proper position, and is in the state of "before completion." To proceed hastily will bring misfortune. Regarding the phrase "it is advantageous to cross a great river," The Original Meaning of the Zhou Changes says that it is about emerging from the坎 (water) trigram, so there is an image of advantage in crossing a river—travelers can cross by floating on water, but cannot run on land. The Original Meaning also says that some doubt that there should be a "not" before the word "advantageous." We take the latter view as more appropriate. Because even the second line, which is yang and strong, needs to remain in the proper position for good fortune, the yin and flexible nature of the third line cannot truly be "advantageous" in crossing a river, which is obvious. The Image Commentary says, "Before completion, going forward brings danger, because the position is inappropriate." The six lines of the trigram "before completion" are all in inappropriate positions, but the third line is especially pointed out because it is yin and flexible, residing at the extreme of the dangerous坎 (water) trigram.

九四：貞吉，悔亡，震用伐鬼方，三年有賞于大國。九居四不正而有悔，勉而貞則吉而悔亡，戒之也。未濟之四即既濟之三。三以上為鬼方，四以初為鬼方。坎北方，有鬼方象。離為甲冑戈兵，有伐之之象。既濟九三以剛居剛，故言高宗。此以剛居柔，則大國諸侯出征者也。

The line statement of the fourth line says: "Zhen Ji, Hui Wang, Zhen Yu Fa Gui Fang, San Nian You Shang Yu Da Guo." Although the yang line is in the fourth position, which is not proper, it should originally have regret. However, by striving to maintain correctness, it becomes auspicious and the regret disappears. This is a warning. The fourth line of 《Wei Ji》 corresponds to the third line of 《Ji Ji》: In 《Ji Ji》, the third line uses the upper six as Gui Fang, while in 《Wei Ji》, the fourth line uses the initial six as Gui Fang. Kan represents the north and has the image of Gui Fang; Li represents armor and weapons, and has the image of military campaigns. In 《Ji Ji》, the third line has a yang line in a yang position, being strong and vigorous, so it is referred to as Yin Gaozong. This line has a yang line in a yin position, with strength mixed with flexibility, so it refers to a great state's feudal lord who is sent on a military campaign.

四變互震，震懼也。臨事而懼，可以勝矣。在既濟言憊，此則受賞。蓋既濟之世利用靜，未濟之世利用動。當未濟之時，以剛居柔，上承六五，以克初陰。雖隔初三爻，有三年之久。而有剛健之才，有承有應，故有代（「代」當作「伐」，從文瀾本）伐鬼方而終受賞之象。

Nine in the Fourth changes, and the interacting lines form Zhen, which signifies fear; when facing affairs with awareness of caution, one can achieve success. Similarly, in the case of a three-year campaign, Ji Ji says "exhausted," but here it says "receiving a reward," because in the state of Ji Ji, stillness is favorable, while in the state of Wei Ji, vigorous action is favorable. In the state of Wei Ji, Nine in the Fourth, being a Yang line in a Yin position, above supports the Five at the Top, and is responsible for conquering the Yin at the beginning; although it takes three years to overcome the initial to third lines, it possesses strong and vigorous talent, with support above and response below, thus showing the image of waging war against the ghostly people and eventually receiving a reward (the character "dai" should be "fa," according to the Wenlan edition).

《象》曰：貞吉悔亡志行也。已出其險，則伐亂之志可行也。六五：貞吉，無悔，君子之光，有孚，吉。以六居五，非貞也。然文明之主，居中應剛，虛心以求下之助，故得貞而吉。離體光明，虛以應九二之實，故又有君子之光而有孚之象，其吉可知。《象》曰：君子之光，其暉吉也。日光曰暉。言如日光之盛也。六五乘承應皆陽剛，君子相助為理，故曰其暉吉。

The Image Commentary says, "Zhen Ji, Hui Wang, Zhi Xing Ye," meaning that when the matter is upright and auspicious, regret disappears, for the will can be carried out. The Nine in the Fourth has already emerged from the peril of Kan, so the aspiration to subdue disorder can now be implemented. The Line Statement of the Sixth in the Fifth says, "Zhen Ji, Wu Hui, Jun Zi Zhi Guang, You Fu, Ji." Although a yin line occupies the central position, which is not considered upright, it is the ruler of civilization, occupying the center and responding to the strength of the Nine in the Second below. By humbly seeking assistance from below, it attains uprightness and auspiciousness. The Sixth in the Fifth is in the body of Li, which is characterized by brightness. It also responds to the actual strength of the Nine in the Second with its own emptiness, thus producing the image of "the light of the gentleman" and "having sincerity," which naturally brings auspiciousness. The Image Commentary says, "Jun Zi Zhi Guang, Qi Hui Ji Ye." The light of the sun is called "hui," meaning it is grand and radiant like the sun. The Sixth in the Fifth is supported by the Nine in the Fourth above, supported by the Upper Nine below, and responds to the Nine in the Second. All these are yang lines, and the many gentlemen assist each other to achieve governance, hence "its hui is auspicious."

上九：有孚于飲酒，無咎，濡其首，有孚失是。上與三應。三坎為酒食，又以征凶而安於未濟，有飲酒之象。上應之，有孚于飲酒之象。然上在五之上，有首之象。時雖未濟，至五則濟矣。上九陽剛，可以有為。乃過於逸樂自縱，以信於三。有飲酒而濡其首，雖有孚而亦失之象。蓋時在需，則酒食而吉。若未濟之極即濟之初，安可暱其私人，飲酒濡首以厲階兆亂乎。《本義》大意亦同，但未及六三之應耳。

The line statement of the topmost yang line says: "With sincerity, one drinks wine, without blame; but the head is wet, sincerity leads to losing the right path." The topmost yang line corresponds with the third yin line. The third line is in the Kan trigram, which represents wine and food, and because of "dangerous journey," the third line remains in the state of not yet completed. Thus, there is an image of drinking wine. Since the topmost yang line corresponds with it, there is the image of "with sincerity, one drinks wine." However, the topmost yang line is above the fifth line, which has the image of the head. Although the situation is still called not yet completed, by the time of the fifth line, it has already reached completion. The topmost yang line, with its yang strength, could have taken action, but instead it became too indulgent, relying solely on sincerity toward the third line, leading to the image of drinking wine that drenches the head, and although it maintains sincerity, it loses the correct path. One must know that in the hexagram of "Need," feasting and entertainment are auspicious; but when reaching the extreme of not yet completed, on the verge of entering the state of completion, how can one indulge in private affection, drink wine and wet the head, thereby opening the way for calamity and planting the seed of disorder? Zhu Xi's "Original Meaning" expresses a similar idea, though it does not mention the correspondence with the third line.

《象》曰：飲酒濡首，亦不知節也。知節，則能隨時以取中矣。全彖當未濟之時，終有可濟之理，故有亨道。但輕於濟，則無所利耳。六爻吉多凶少，較勝於既濟，然亦皆有戒辭。蓋既濟者固宜保於既濟之後，未濟者亦宜慎於方濟之初也。

The Image Commentary says, "Drinking until the head is wet, also does not know moderation." If one knows moderation, one can naturally take the middle path at the right time. Looking at the whole hexagram: at the time of Not Yet Completed, there is still the possibility of completion, so there is a way to be prosperous; however, if one is too eager to complete things and acts recklessly, there will be no benefit. The six lines are mostly auspicious, better than the hexagram of Already Completed, yet each line also carries a warning. Those who have already achieved success should strive to maintain it, while those who are still in the process of completion should be especially cautious at the beginning.

合全易而論之。天地之道，不外於陰陽。五行之用，莫先於水火。上篇首天地，陰陽之正也，故以水火之正終焉。下篇首夫婦，陰陽之交也，故以水火之交終焉。乾上坤下，離東坎西。此先天之易，天地日月之四象也。故居上經之始終，以立造化之體。水火相逮，雷風不相悖，山澤通氣。此後天之易，六子之用也。故居下經之始終，以致造化之用。既濟之後猶有未濟者，示造化之用，終必有始也。

Looking at the entire Zhou Yi, the way of heaven and earth is nothing other than yin and yang. Among the Five Phases, no element is more fundamental than water and fire. The Upper Classic begins with Qian and Kun, representing heaven and earth, which are the fundamental positions of yin and yang, and ends with Kan and Li, with water and fire each in their proper place. The Lower Classic begins with Xian and Heng, representing the union of yin and yang in husband and wife, and ends with Ji Ji and Wei Ji, representing the meeting and non-meeting of water and fire. Qian is above and Kun is below, Li is to the east and Kan is to the west. This is the Earlier Heaven Zhou Yi, establishing the positions of the four elements of heaven, earth, sun, and moon. These are placed at the beginning and end of the Upper Classic to establish the essence of creation. Water and fire approach each other without destroying one another, thunder and wind clash without contradicting each other, mountains and marshes are apart yet their energies communicate. This is the Later Heaven Zhou Yi, illustrating the functions of the six sons: Zhen, Xun, Kan, Li, Gen, and Dui. These are placed at the beginning and end of the Lower Classic to demonstrate the functions of creation. After Ji Ji comes Wei Ji, clearly showing that the functions of creation have a beginning and an end, and continue in a cycle without end.

上下經卦爻之下，文王周公所作，謂之繫辭。此傳則孔子之言，以發明繫辭中之大意也。以其統論全經之大體凡例，故不與彖傳象傳同附於經，而自分上下雲。

The statements attached to the hexagrams and lines in the Classic are attributed to King Wen and the Duke of Zhou. The statements of the hexagrams were composed by King Wen, and those of the lines by the Duke of Zhou. The "Xici Zhuan" (Commentary on the Text) here refers to the words of Confucius, explaining the general meaning of the hexagram and line statements. Since it discusses the overall principles and common themes of the entire Classic, unlike the "Tuan Zhuan" and "Xiang Zhuan" which explain each hexagram and line individually, it is not attached below the text of the Classic but is instead formed into a separate section, divided into upper and lower volumes.

第一章首節，以造化之實，明作易之原。是故以下至坤以簡能，言易理之見於造化者。易則易知以下，則言人之當體易也。天尊地卑，乾坤定矣。卑高以陳，貴賤位矣。動靜有常，剛柔斷矣。方以類聚，物以群分，吉凶生矣。在天成象，在地成形，變化見矣。

Chapter One, the first section, uses the actual principles of nature to explain the origin of the Book of Changes. From "Therefore, the firm and the yielding interact" down to "Kun is capable through simplicity," it discusses how the principles of the Book of Changes are manifested in nature. From "When the Book of Changes is easy to know" onwards, it talks about how people should personally embody these principles. The text says: "Heaven is exalted, Earth is humble; thus, the principles of Heaven and Earth are established. The high and the low are arranged, thus, the positions of honor and humility are determined. Motion and stillness follow their regular course, thus, the firm and the yielding are distinguished. Things of the same kind gather together, and objects of the same class are grouped, thus, good fortune and misfortune arise. In Heaven, images are formed; in Earth, forms are created; thus, change is revealed."

天地者，陰陽形氣之實體。乾坤者，易中純陰純陽之卦名也。天尊地卑，陰陽固有自然尊卑之象。在易，則即太極之生兩儀四象見之。太極動而生陽，靜而生陰，陽已居先矣。至陽儀之上生一陽一陰，以陽為先。而陰儀之上生一陽一陰，亦以陽儀居先。以至六畫，莫不先陽後陰。故首乾終坤，尊陽卑陰。

"The heavens and earth" are the tangible forms of yin and yang energies, while "Qian" and "Kun" are the names of the two hexagrams in the Yi Jing representing pure yang and pure yin respectively. Heaven is exalted and earth is humble, and yin and yang inherently exhibit a natural hierarchy of exaltation and humility. In the Yi Jing, this is evident from the statement "the Taiji gives rise to the two principles (yin and yang), and the two principles give rise to the four images": the Taiji's movement gives rise to yang, and its stillness gives rise to yin, with yang coming first. When yang principle gives rise to another yang and yin, it still takes yang first; similarly, when yin principle gives rise to another yang and yin, it still takes yang first. This pattern continues until the hexagrams, where all sixty-four hexagrams begin with yang and end with yin. Therefore, the sixty-four hexagrams start with Qian (Heaven) and end with Kun (Earth), showing respect for yang and humility toward yin.

非聖人之私意，乃畫卦（文瀾本「畫卦」作「卦畫」）自然之象，實造化自然之位也。卑高者，天地萬物上下之位。貴賤者，易中卦爻上下之位也。不言高卑而言卑高者。高以下為基，人先見卑而後見高。

This is not the private opinion of sages, but rather the natural images that emerged when the trigrams were drawn. In reality, it is the natural order of the universe. The term "bi gao" refers to the vertical positions of heaven and earth and all things, while "gui jian" refers to the vertical positions of the trigrams and lines in the Book of Changes. The text does not say "gao bi" but "bi gao," because high is based on low; people usually first see the low and then the high.

畫卦亦自下而始。卦之六位，上貴下賤。如五為君，二為臣之類是也。動者陽之常，靜者陰之常。剛柔者，易中卦爻陰陽之稱。斷者，自然分判，不俟人力也。天圓而動，地方而靜。男外而動，女內而靜。雄嗚而動，雌伏而靜。皆有常者。以卦爻言之。初三五為剛，二四六為柔。以卦畫言之。

Drawing the trigrams begins from the bottom up. A single trigram consists of six positions, with the upper position being esteemed and the lower position being humble, for example, five represents the ruler and two represents the subject. Motion is the natural state of yang, stillness is the natural state of yin; "rigid and yielding" are the terms used in the Book of Changes to refer to the yin and yang of the trigram lines. The term "to distinguish" refers to the natural separation of rigid and yielding, without the need for human intervention. The heavens are round and continuously in motion, while the earth is square and remains still; men take the active role outside the home, while women take the passive role inside; male birds fly and call out in motion, while female birds sit and hatch eggs in stillness: all these have their natural states. In terms of the positions of the trigram lines, the first, third, and fifth positions are rigid positions, while the second, fourth, and sixth positions are yielding positions; below this, we now consider the trigram itself.

奇為剛，偶為柔。天地之動靜有常，卦畫爻位陽動陰靜，陽剛陰柔，剛柔本自判然也。方，事情所向。以類聚，善與善聚，惡與惡聚也。善有善之群，惡有惡之群。各有群，則善惡不得不分。此天下事物之情，而易之吉凶即從此生。善以致吉，惡以召凶也。

In terms of the trigram diagrams, odd lines represent yang (masculine) and even lines represent yin (feminine). The movement and stillness of heaven and earth each have their regular patterns, and the trigrams and their lines also reflect yang being active and yin being still, yang being strong and yin being gentle. Strength and weakness are inherently distinct. "Direction" refers to the path things tend toward. "Like attracts like" means that good things gather together and evil things gather together; good has its own group, and evil has its own group; each forms its own group, so good and evil inevitably become separated. This is the actual situation of all things in the world, and the auspicious and inauspicious outcomes in the Book of Changes arise from this—doing good brings auspiciousness, and doing evil brings inauspiciousness.

象者，形之精華發於上者，日月星辰之屬。形者，象之體質留於下者，山川動植之屬。變化者，卦爻陰變為陽，陽變為陰也。有形象者，皆陽中有陰，陰中有陽。易之變化非因形象而後有，即形象而易中之變化可見也。此節即造化之所有，以明易之原。然非因有天地而始定乾坤，非因卑高始定爻之貴賤。蓋卦爻未起之先，觀天尊地卑而易之乾坤已定，觀卑高之陳而易中卦爻之貴賤已位。餘皆仿此，所謂畫前之易也。

"The 'image' refers to the essence of form rising to the heavens, such as the sun, moon, and stars; 'form' refers to the physical substance remaining on the earth, such as mountains, rivers, grass, trees, birds, and animals. 'Change' refers to the transformation of yin into yang and yang into yin in the trigrams and lines. All things that have form and image contain yin within yang and yang within yin. The change in the Book of Changes is not because there were already forms and images; rather, the change inherent in the Book of Changes can be seen through the forms. This passage explains the origin of the Book of Changes by referring to existing facts in the process of creation. However, it is not that after the creation of heaven and earth that the positions of the trigrams were determined, nor that after the distinction of high and low that the positions of the lines were established. Before the trigrams and lines were drawn, by observing the respect of heaven and the humility of earth, the trigrams of the Book of Changes were already determined. By observing the arrangement of high and low, the positions of the lines in the Book of Changes were already established. The rest of the sentences follow the same reasoning. This is what Shao Yong called 'the Book of Changes before drawing.'"

是故剛柔相摩，八卦相盪。自此至坤以簡能，皆言易理之見於造化者。此節言易卦之變化也。畫卦之初，以一剛一柔與第二畫之剛柔相摩而為四象，又以二剛二柔與第三畫之剛柔相摩而成八卦。八卦已成，又各以八悔卦盪於八貞卦之上。而一卦為八卦，八卦為六十四卦也。摩盪，即上文所謂變化。

The text says: "Therefore, the firm and the yielding interact, and the eight trigrams change." From this sentence to "Kun is capable through simplicity," all discuss the principles of the Book of Changes manifesting in the workings of nature. This section speaks about the changes inherent in the hexagrams themselves. When drawing the hexagrams, first one firm and one yielding are combined with the second line's firm and yielding to produce the four images; then two firms and two yields are combined with the third line's firm and yielding to produce the eight trigrams. Once the eight trigrams are formed, each of the eight upper trigrams is superimposed upon each of the eight lower trigrams—the upper trigram is called "hui" and the lower trigram is called "zhen"—thus one hexagram gives rise to the eight trigrams, and the eight trigrams give rise to the sixty-four hexagrams. The terms "mo" and "dang" refer to the "changes" mentioned earlier.

鼓之以雷霆，潤之以風雨，日月運行，一寒一暑。六十四卦之中有雷霆風雨日月寒暑。此變化之成象者，易中有之也。乾道成男，坤道成女。男女，兼人物而言。動物有牝牡雌雄。即植物如竹亦有雌雄，麻亦有牝牡。六十四卦之中，自有男女。此變化之成形者，易中文（「文」當作「又」，從文瀾本）有之也。

The text says: "It is by thunder and lightning that it is stirred, and by rain and wind that it is moistened; the sun and moon move in their courses, and there are alternations of cold and heat." Among the sixty-four hexagrams, there are already thunder, lightning, rain, wind, sun, moon, cold, and heat; this is the aspect of change forming material phenomena, and all of these are found in the Book of Changes. It also says: "The way of Heaven produces the male, and the way of Earth produces the female." Here, the terms male and female refer to both people and things: animals have female and male, and so do plants, such as bamboo, which has male and female, and hemp, which has female and male. Among the sixty-four hexagrams, there is also the concept of male and female—Heaven's trigram is sought three times and obtains three males, and Earth's trigram is sought three times and obtains three females. This is the aspect of change forming forms, and all of these are found in the Book of Changes (the character "文" should be "又," according to the Wenlan edition).

此兩節又明易之見於造化者。大抵易之未畫，卦爻之變化在天地中。易之既畫，天地萬物之變化又在卦爻中。在天地者，未畫之易。在易者，已畫之天地也。

These two passages further explain how the Book of Changes manifests in the workings of nature. In general, before the Book of Changes was drawn, the changes of its hexagrams and lines were hidden within heaven and earth; once the Book of Changes was drawn, the changes of all things in heaven and earth were contained within the hexagrams and lines. What is hidden within heaven and earth is the Book of Changes that has not yet been drawn; what is contained within the Book of Changes is the heaven and earth that have already been drawn.

乾知大始，坤作成物。此承上文男女而言。成男雖屬乾道，而男女所受之氯皆乾以始之。成女雖屬坤道，而男女所生之形皆坤以成之。知，知此也。作，能此也。大始，無所不始也。大始未有形，故曰知。成物，則流形而有為，故曰作。大抵物不離乎陰陽。陽先陰後，陽施陰受。陽之輕清未形，而陰之重濁有質也。

The text says: "Qian knows the great beginning, Kun completes things." This refers to the previous discussion about male and female. Although the formation of the male is attributed to the Qian path, both male and female receive their qi from Qian as the beginning; although the formation of the female is attributed to the Kun path, the physical forms of both male and female are completed by Kun. "Know" means to be the master and to know this, while "complete" means to be able to and to take responsibility for this. "Great beginning" means the beginning of all things. At the time of the great beginning, there was no form, so only "know" is mentioned; when completing things, they have already taken shape and there is action, so "complete" is said. In general, all things do not depart from yin and yang: yang comes first and yin follows, yang gives and yin receives; yang is light and clear but has not yet formed a shape, while yin is heavy and turbid and already has a physical form.

乾以易知，坤以簡能。乾健而動，即其所知，便能始物而無所離，故以為易而知大始。坤順而靜，凡其所能，皆從乎陽而不自作，故以為簡而能成物。以草木之生觀之。天之陽氣一到，萌芽盡發，何其易也。坤不必別有作為，承受而長養之，即其能也，何其簡也。此承上文而言易中乾坤之德如此，下文乃言人當體乾坤之德也。

The text says: "Qian is easy to know, Kun is simple in ability." Qian is strong and vigorous, constantly moving, and whatever it governs, it directly creates all things without any obstruction, so it is said to be easy to understand and capable of governing the beginning of all things. Kun is gentle and yielding, constantly still, and whatever it can do, it follows the yang without taking initiative, so it is said to be simple and capable of completing all things. Taking the growth of grass and trees as an example: when the yang energy from heaven arrives, sprouts emerge simultaneously, how easy it is; Kun does not have any other actions, but merely accepts and nurtures them, which is its ability, how simple it is. This passage continues from the previous text, explaining that the virtues of Qian and Kun in the Book of Changes are like this. Only then does the text go on to say that people should personally embody the virtues of Qian and Kun.

易則易知，簡則易從。易知則有親，易從則有功。有親則可久，有功則可大。可久則賢人之德，可大則賢人之業。此節言人當法乾坤之道，乃可以為賢也。易簡之易，以簡易言。易知之易，以難易言。天地間凡物皆有乾坤，而人心尤自具一乾坤。人之所為，如乾之易，則其心明白而人易知。如坤之簡，則其事要約而人易從。易知，則非深險而不可測，與之同心者多，故有親。易從，則事無艱阻，與之協力者眾，故有功。

The text says: "When things are easy to understand, they are easy to follow. When they are easy to understand, people are close to them; when they are easy to follow, they bring about achievements. When people are close, things can endure; when they bring about achievements, things can grow great. Endurance is the virtue of the virtuous person; growth is the career of the virtuous person." This passage is saying that people should follow the ways of Heaven and Earth in order to become virtuous. The term "easy" in "easy to understand" is read as "easy" in the sense of being level and accessible, while the "easy" in "easy to follow" is read as "easy" in the sense of being simple and not difficult. Between heaven and earth, all things have their own Heaven and Earth, and especially within the human heart, there is a Heaven and Earth of its own. If a person's actions are like Heaven, which is level and clear, then others can easily understand them; if they are like Earth, which is simple and concise, then others can easily follow them. When things are easy to understand, they are not deep and mysterious, so people who share the same mind are numerous, hence "having close relationships." When things are easy to follow, there are no difficulties in doing things, so people who help together are many, hence "achieving results."

有親自然可以長久。有功自然可以廣大。德以所存主，言得於已者。業以所發見，言成於事者。可久者，日新而不已，賢人之德也。可大者，富有而無疆，賢人之業也。不言聖而言賢，蓋聖人者，自然之事。言賢人以見乾坤之德業，人皆可勉而至也。且可久可大，僅曰可而已，非其至也。至成位乎中，則聖矣。

There is affection, which can be enduring, and there is merit, which can be extensive. "De" refers to what is cultivated internally, and is something one gains within oneself; "Ye" refers to what is manifested externally, and is something one achieves through actions. Being enduring means being renewed daily without ceasing, which is the virtue of the virtuous person. Being extensive means being rich without limits, which is the achievement of the virtuous person. The text does not mention the sage but the virtuous person, because the sage is something natural and does not require effort. By mentioning the virtuous person, it shows the virtue and achievement of the Great Ultimate, which everyone can strive to attain. Moreover, "can be enduring" and "can be extensive" only mention the possibility of "can," not the ultimate state; until the later part "achieving the position within it," that is the sage.

易簡而天下之理得矣。天下之理得，而成位乎其中矣。成位，成人之位。其中，謂天地之中。至此，則體道之極功，聖人之能事，可以與天地參矣。此章首言天地有自然之易，中言易中有自然之天地，末言天地與易不外乎自然之理。理至易則至簡。人能易簡，則人心有易，人心有天地矣。右第一章。

The text says: "The Book of Changes is simple and easy, and thus the principles of the world are attained. When the principles of the world are attained, the proper positions of all things are established in the center. 'Establishing proper positions' refers to fulfilling one's proper role, and 'the center' refers to the center of heaven and earth. At this point, it is the ultimate achievement of embodying the Way and the full capacity of a sage, allowing one to stand alongside heaven and earth as the third. This chapter begins by stating that heaven and earth originally possess a natural Book of Changes, continues by saying that the Book of Changes originally contains natural heaven and earth, and concludes by stating that heaven and earth and the Book of Changes are all within the natural principles. When principles reach their extreme, they become easy; when easy, they become simple. When a person can achieve simplicity and ease, then the Book of Changes resides within his mind, and heaven and earth also reside within his mind. The above is the first chapter."

第二章自章首至三極之道也，言聖人作易之事。以下言君子學易之功。聖人設卦觀象，繫辭焉而明吉凶。聖人既作，觀卦爻之象而繫之以辭，非得已也。恐後人知不足以及此，而明示吉凶也。

Chapter two, from the beginning of the chapter to "the way of the three principles," discusses the matter of the sage composing the Book of Changes. From this point onward, it talks about the efforts of the gentleman in studying the Book of Changes. The text says: "The sage set up the hexagrams and observed their images, then attached words to them to clarify what is auspicious and what is inauspicious." After the sage had set up the hexagrams, he observed the images of the lines of the hexagrams and attached explanatory words to them. This was not because he wished to be involved in unnecessary matters, but because he feared that people later would not be able to see this on their own, so he clearly indicated what is auspicious and what is inauspicious.

剛柔相推而生變化。吉凶以辭而明，辭因象而出。卦爻陰陽迭相推盪，而陰或變陽，陽或變陰。此聖人所以觀象而繫辭，眾人所以因蓍而求卦者也。是故吉凶者，失得之象也。悔吝者，憂虞之象也。聖人觀卦爻之中有得失，因繫之以吉凶。有憂虞，則繫之以悔吝。得則吉，失則凶。憂則悔，虞則吝。吉凶相對，而悔者自凶而趨吉，吝自吉而趨凶。蓋憂在心，虞在物。在心方有端而無患，為悔而已。心每有之而不忘，積之所以成吉。在物則有形可虞，非悔可及可成（文瀾本「可成」作「故成」）吝。吝者，口以為是，文過不改，積之以成凶矣。此節明上文繫辭焉而明吉凶之義。

The text says: "Yin and yang interact and give rise to change." Good fortune and misfortune become clear only through the words (辞), and the words arise from the images (象). The yao (lines) of the hexagram interact with each other in terms of yin and yang, with yin possibly transforming into yang and yang possibly transforming into yin. The sages observed these images and attached words (系辞), and ordinary people also used the yarrow stalks to seek the hexagram. The text also says: "Therefore, good fortune and misfortune are the images of gain and loss; regret and hardship are the images of worry and anxiety." The sages saw that there was both gain and loss in the hexagram and attached the words "good fortune" and "misfortune" accordingly. There was both worry and anxiety, so they attached the words "regret" and "hardship." Gain leads to good fortune, loss leads to misfortune; worry leads to regret, anxiety leads to hardship. Good fortune and misfortune are opposite to each other, while "regret" is the movement from misfortune to good fortune, and "hardship" is the movement from good fortune to misfortune. "Worry" is in the mind, while "anxiety" is in the affairs: worry is in the mind, and only begins to show signs but has not yet become a disaster, so it is only a slight regret. If this slight regret is always present and not forgotten, it will accumulate over time to become good fortune. However, anxiety is already evident in the affairs, and there are visible signs to be concerned about, which cannot be corrected by a slight regret alone, so it becomes hardship. "Hardship" refers to still verbally agreeing with something, embellishing one's mistakes without wanting to change, and over time, it becomes misfortune. This passage explains the meaning of the previous statement "by attaching words (系辞) we clarify good fortune and misfortune."

變化者，進退之象也。剛柔者，晝夜之象也。六爻之動，三極之道也。變化剛柔，以卦畫言。進退晝夜，以造化言。進者息而盈，退者消而虛。陰進則陽退，陽進則陰退。剛方變柔，柔方變剛。剛柔未成為變化者，即造化或進或退之象也。剛屬陽，明晝之象。柔屬陰，暗夜之象。變化已成而為剛柔，即造化晝為陽，夜為陰之象也。

The text says: "Change represents the image of advance and retreat; hardness and softness represent the image of day and night; the movement of the six lines signifies the principle of the three extremes." "Change" and "hardness and softness" refer to the images of the hexagrams, while "advance and retreat" and "day and night" refer to the images of the natural processes. Advance signifies growth and fullness, while retreat signifies reduction and depletion; when yin advances, yang retreats, and when yang advances, yin retreats. Hardness is transforming into softness, and softness is transforming into hardness; hardness and softness have not yet taken definite form and are in a state of change, which is the image of the natural processes of advance and retreat. Hardness belongs to yang, representing the image of day and brightness; softness belongs to yin, representing the image of night and darkness; once change has been completed and fixed as hardness and softness, this is the image of day being yang and night being yin in the natural processes.

極，至也。不極則不動。三極即三才六爻之位。初二為地，三四為人，五上為天，三才之位。陽極則動為陰，陰極則動為陽。六爻所以變動，三才極至之道也。此節明上文剛柔相推而生變化之義。然則剛柔相推而生變化，而變化之極復為剛柔，以流行於一卦六爻之間。占者遂各因所值以斷吉凶也。自此以上皆言聖人之作易也。

"Extreme" means the utmost. Motion occurs only when reaching the extreme. "Three Extremes" refer to the positions of the Three Powers within the six lines of a hexagram: the first and second lines represent Earth, the third and fourth lines represent Humanity, and the fifth and top lines represent Heaven, which are the positions of the Three Powers. When Yang reaches its extreme, it moves to become Yin, and when Yin reaches its extreme, it moves to become Yang; the movement of the six lines is precisely due to the Three Powers each reaching their extremes. This section explains the meaning of the previous statement "Yang and Yin interact to produce change." Thus, Yang and Yin interacting produce change, and when change reaches its extreme, it returns to Yang and Yin, circulating continuously among the six lines of a hexagram. Those who interpret divination should judge fortune and misfortune based on the lines they encounter. From here onwards, the discussion concerns the matters concerning the sage's creation of the Book of Changes.

是故君子所居而安者，易之序也。所樂而玩者，爻之辭也。居，就身之所處而言。安者，隨分而安也。序，以卦言，如剝復否泰是也。以爻言，如潛見飛躍是也。能循其序，則居之安矣。玩者觀之祥，樂有契於心也。玩味知其理之無窮，則可樂，愈可玩矣。居而安，君子之安分也。樂而玩，君子之窮理也。安分則窮理愈精，窮理則安分愈固。此及下節皆言君子學易之功也。

The text says: "Therefore, the gentleman finds peace in the order of the Book of Changes, and delights in the words of the lines." "Residing" refers to one's position, and "peace" means contentment with one's place. "Order" refers to the sequence of the hexagrams, such as the transition from hexagram 42 (Bian) to 43 (Fu), or from 48 (Bi) to 49 (Tai). It also refers to the sequence of lines, such as the progression of the lines in hexagram 1 (Qian) from hidden to emerging to flying to leaping. By following this order, one's position naturally becomes secure. "Playing with" means examining carefully, and "delight" means a heart that resonates with it. When one thoroughly examines the meaning, it becomes delightful, and the more delightful, the more one examines. Finding peace through one's position is the gentleman's contentment with his role; delighting in examining the lines is the gentleman's pursuit of knowledge. Contentment with one's role leads to deeper knowledge, and deeper knowledge strengthens contentment with one's role. This section and the next both discuss the gentleman's practice in studying the Book of Changes.

是故君子居則觀其象而玩其辭，動則觀其變而玩其占，是以自天祐之，吉無不利。居字與上文微分。以靜對動，就平居學易言之也。動則揲蓍求卦，就臨事用易言之也。未卜筮時，易但有象與辭。方卜筮時，易乃有變與占。

The text says: "Therefore, the gentleman, when at rest, observes its images and plays with its words; when in action, observes its changes and plays with its divination. Thus, he receives heavenly favor, and all things are auspicious and beneficial." The character "reside" here differs slightly from the previous occurrence of "reside": here it refers to being still in contrast to movement, relating to studying the Book of Changes in daily life; "action" refers to divining by using yarrow stalks to obtain a hexagram, relating to applying the Book of Changes in practical situations. Before divination, the Book of Changes contains only images and words; during divination, the Book of Changes comes to have changes and divination.

八卦六爻皆有象辭，則各因象而指其吉凶。此就全經言之，在理而未形於事者也。變則揲筮得老陰老陽之變，占則所值卦爻之吉凶。此就揲筮所得卦爻言之，以吾所問之事合所得之辭而斷之者也。

The eight trigrams and the six lines of divination each have their own images and their own statements. They all use the images to indicate good or bad fortune, which is a general statement of the entire text, belonging to the level of reasoning that is logically sound but not yet applied to specific matters. "Change" refers to the changing line obtained by divining with yarrow stalks, which arises from the old yin or old yang. "Divination" refers to the fortune or misfortune of the particular trigram and line encountered, which is based on the trigram and line obtained through divining with yarrow stalks. One must use the statement corresponding to the obtained line to determine the outcome of the question asked.

言君子平居學易，既觀象矣，又玩辭以考其所處之當否。動而諏筮，既觀變矣，又玩占以考其所值之吉凶。吉則行，凶則止。動靜之間無非易，即無非天。靜與天俱，動與天遊。冥冥之中若或助之，故自天祐之，吉無不利也。人在天地之中，吉凶悔吝無一息之停。然吉一而已，凶悔吝有三焉。故上文示人以吉凶悔吝，以見聖人作易之事。此獨言吉而無凶悔吝，則君子學易之功也。右第二章。

A gentleman who studies the Book of Changes thoroughly examines its images and savors its words, using them to assess whether his current position is appropriate or not. When he consults divination for matters, he observes its transformations and savors its oracular statements, using them to determine whether the outcome is auspicious or ominous. If it is auspicious, he proceeds; if ominous, he stops. Thus, between movement and stillness, there is no place where the Book of Changes is not present, and therefore no place where heaven is not present. In stillness, he is with heaven; in movement, he travels with heaven. In the subtle and mysterious way, it seems as though something is helping him, hence the saying, "If heaven aids him, all things will be auspicious." Human beings exist between heaven and earth, and auspiciousness, misfortune, regret, and hardship never cease. However, auspiciousness is only one kind, while misfortune, regret, and hardship are three kinds. Therefore, the previous passage presents all these—auspiciousness, misfortune, regret, and hardship—to show the purpose of the sage in composing the Book of Changes. Here, however, only auspiciousness is mentioned, and the others are not discussed, which precisely demonstrates the benefit of a gentleman's study of the Book of Changes. This is the second chapter.

第三章釋卦爻辭之通例，而後教人體卦爻辭之功。彖者言乎象者也，爻者言乎變者也。彖，文王所作卦辭。象，指全體而言。爻，周公所作爻辭。變，指一節而言。吉凶者，言乎其失得也。悔吝者，言乎其小疵也。無咎者，善補過也。

Chapter three first explains the general principles of the Hexagram Statement and the Line Statement, then teaches how to study them. The text says: "The彖 discusses the images, and the爻 discusses the changes." The彖 refers to the Hexagram Statements composed by King Wen, and the image refers to the whole hexagram; the爻 refers to the Line Statements composed by the Duke of Zhou, and the change refers to each line and section. The text also says: "Good fortune and misfortune refer to whether one gains or loses; regret and hardship refer to minor faults; and no blame refers to the ability to correct mistakes."

盡善為得，不盡善為失。小不善為疵，不明於善而悞為不善為過。覺其不善而欲改為悔，覺其不善而未能改或不肯改為吝。悔未吉而猶有小疵，吝未凶而已有小疵。善補過，嘉其能改也。有過當有咎，能補則無。聖人不貴無過而貴改過，望人自新之意切矣。

When one has fully done good, it is called "getting it right." If one cannot fully do good, it is called "loss." A small amount of bad is called "blemish." Not knowing what is good and doing something bad is called "excess." Realizing one has done something bad and wanting to change is called "regret." Realizing one has done something bad but unable to change or unwilling to change is called "stinginess." Regret is not yet good, because there is still a small blemish. Stinginess is not yet bad, but there is already a small blemish. The phrase "good at making up for mistakes" praises one's ability to change. One should have blame for having made a mistake, but if one can correct it, the blame is gone. The sages do not value a person who never makes mistakes, but value one who can change. How earnestly they hope for people to reform themselves!

此皆卦爻辭之通例也。彖爻中吉凶悔吝無咎之辭皆備。吉凶者，卦爻中之得失。悔吝者，言卦爻中之小疵。無咎者，善卦爻中之能補過。此釋彖爻之名義。又釋吉凶悔吝無咎之名義也。

These are general principles of the Hexagram Statements and Line Statements. In both the Hexagram Statements and Line Statements, the terms of fortune and judgment—ji (good), xiong (bad), hui (regret), lin (difficulty), and wu jiu (no blame)—are all present. Speaking of ji and xiong refers to gains and losses within the hexagram and line; speaking of hui and lin refers to minor flaws within the hexagram and line; speaking of wu jiu is a commendation for the ability to correct flaws within the hexagram and line. This passage first explains the meanings of the terms "tuan" and "yao," and then explains the meanings of the terms ji, xiong, hui, lin, and wu jiu.

是故列貴賤者存乎位，齊小大者存乎卦，辯吉凶者存乎辭。上文已釋卦爻吉凶悔吝之名義，此則教人體卦爻吉凶悔吝無咎之功也。六爻之位，二四則四貴而二賤，五三則五貴而三賤，初上則上貴而初賤。上雖無位，然在所貴。以君言，為天子父，天子師。以世人言，物外清高不與事者。所以貴也。

The text says: "Therefore, the distinction of honor and humility lies in position, the equality of small and great lies in the hexagram, and the discernment of good fortune and misfortune lies in the words." The previous passage explained the names of good fortune, misfortune, regret, and blame in the lines of the hexagram. Here, it teaches how to cultivate virtue in the good fortune, misfortune, regret, and blame of the lines. Regarding the positions of the six lines: compared with line two, line four is honorable and line two is humble; compared with line three, line five is honorable and line three is humble; compared with the initial line, the top line is honorable and the initial line is humble. Although the top line has no official position, it is still considered honorable: in the context of the court, it can be compared to the emperor's father or the emperor's teacher; in the context of the world, it can be compared to someone who remains detached, lofty, and does not interfere in worldly affairs—hence it is considered honorable.

小陰大陽。小大不可齊，猶辨別而定之也。如泰大否小之類。陰陽雖有小大，必假卦象而後顯也。此承上節而言。爻固言其變矣。若列貴賤，則存乎所變之位，貴賤不可淆也。彖固言其象矣。若齊小大，則存乎所象之卦，小大不可亂也。吉凶言乎失得矣。若辨吉凶，則存平其辭，吉則趨，凶則宜避之也。

"Small" refers to yin, and "great" refers to yang. Small and great cannot be equated, so "alignment" means distinguishing and determining their respective positions. For example, the hexagram Tai represents great, and the hexagram Po represents small. Although yin and yang have distinctions of small and great, these distinctions can only be made evident through the imagery of the hexagrams. This passage continues from the previous discussion: although lines (yao) are about change, to determine rank and status, one must look at the position they change into, for rank and status cannot be confused. Although the zhuang (彖辞) is about imagery, to determine small and great, one must look at the hexagram it represents, for small and great cannot be mixed up. Although good fortune and misfortune are about gain and loss, to distinguish good fortune and misfortune, one must look at the wording—good fortune should be pursued, and misfortune should be avoided.

憂悔吝者存乎介，震無咎者存乎悔。介謂辨別之端，美惡已動而未形之時也。悔吝未至於吉凶。乃初萌動，可以向吉凶之微處。介又悔吝之微處。於此憂之，不至於悔吝矣。震，動也。不曰動而曰震，有所震動以求其無咎者。在乎深有所愧悔，以堅其補過之心，則不至於有咎矣。此亦承上而言。悔吝固言於其小疵矣。然當謹於其微，不可以小疵而自恕也。無咎固善其能補過矣。然欲動其補過之心，必自悔中來也。

The text says: "Those who are anxious and regretful are found in the initial signs, and those who are shaken without blame are found in regret." "Intermediate" refers to the first hint of distinction, that is, the moment when good and evil have just begun to arise but have not yet taken shape. Regret and hesitation have not yet reached the point of good or bad fortune; they are only just beginning, and thus can turn toward good or toward bad. "Intermediate" is even more subtle than regret and hesitation. If one is anxious and cautious at this point, one will not fall into regret and hesitation. "Shaking" refers to movement. Instead of saying "movement," it refers to a deep inner shock and stirring that seeks to avoid blame. This is achieved through deep shame and regret, which strengthen one's determination to correct one's mistakes, thus avoiding blame. This continues the previous discussion: regret and hesitation are indeed referring to minor faults, but one should be cautious even in the most subtle aspects, not excusing oneself because the fault is small. Avoiding blame is indeed a commendation for one's ability to correct mistakes, but to initiate this determination to correct, one must start from "regret."

是故卦有小大，辭有險易。辭也者，各指其所之。大卦辭易，謙復之類。小卦辭險，睽剝之類。所之，所向也。各字，兼吉凶悔吝無咎五者。讀謙復之辭如行坦途，如逢春陽。氣象和樂，其辭平易，示人以所之之得且吉也。讀睽剝之辭如涉風濤，如履雪霜。氣象凜慄，其辭艱險，示人以所之之失且凶也。

The classic text says: "Therefore, hexagrams have great and small ones, and their line statements have easy and dangerous ones. The line statements each point to their direction." For hexagrams with a strong yang element, their line statements are mostly smooth and easy, such as those of the hexagrams "Modesty" and "Return"; for hexagrams with a weak yin element, their line statements are mostly dangerous and difficult, such as those of the hexagrams "Strife" and "Decrease." "Direction" refers to the trend or tendency. The word "each" includes the five aspects of good fortune, misfortune, regret, hardship, and no blame. Reading the line statements of the hexagrams "Modesty" and "Return" is like walking on a broad and smooth road or encountering the warm sunlight of spring, with a harmonious atmosphere and easy language, indicating that following this path will surely lead to gain and good fortune. Reading the line statements of the hexagrams "Strife" and "Decrease" is like sailing through wind and waves or walking on frost and snow, with a solemn and terrifying atmosphere and difficult language, indicating that following this path will surely lead to loss and misfortune.

本凶而悔所之則吉，本吉而吝所之則凶。無咎本有過而能補過，則所之之於得不之於失，之於吉不之於凶矣。合前二章論之。第一章論伏羲畫卦，望賢人之體易。第二章論文王周公所係辭，望君子之用易。此則專論彖爻辭之例，示眾人之用易也。右第三章。

Originally an ominous sign, if one is able to regret and change, the direction it leads to will turn into a favorable outcome; originally a favorable sign, if one is greedy and reluctant, the direction it leads to will turn into an ominous outcome. "No blame" originally refers to having made a mistake but being able to correct it, so the direction it leads to will result in gain rather than loss, and in favorable rather than ominous outcomes. When combined with the previous two chapters: the first chapter discusses Fuxi drawing the trigrams, hoping that virtuous people will embody the Book of Changes; the second chapter discusses the statements of King Wen and the Duke of Zhou, hoping that gentlemen will apply the Book of Changes; this chapter specifically discusses the general principles of the hexagram statements and line statements, indicating how ordinary people should use the Book of Changes. This is the third chapter.

第四章言易道之大，聖人用之而窮理盡性以至於命。易與天地準，作易聖人亦與天地準也。易與天地準，故能彌綸天地之道。此節言易道之大也。易，指易之書而言。易書卦爻具有天地之道，與之齊準，故於天地之道能彌也。彌者，彌縫。合萬為一，使渾然而無欠。又能綸之。綸者，絲綸。一中有萬，使燦然而有條。彌而不綸則空疎無物，綸而不彌則判然不屬。彌如大德之敦化，綸如小德之川流也。

Chapter Four discusses the vastness of the Way of the Book of Changes. The sages used it to thoroughly investigate things and principles, to exhaust their innate nature, and ultimately to understand the Mandate of Heaven. The Book of Changes is equal to heaven and earth, and the sages who composed it were also equal to heaven and earth. The classic text says: "The Book of Changes is in accordance with heaven and earth, thus it can encompass the Way of heaven and earth." This section discusses the vastness of the Way of the Book of Changes. "The Book of Changes" refers to the Book of Changes itself. The hexagrams and lines within the Book of Changes contain the Way of heaven and earth, being equal to heaven and earth, thus it can "encompass" the Way of heaven and earth. "Encompass" means to mend and unify myriad differences into one, making it whole without gaps; it can also "weave," "weave" refers to silk threads, with one body containing myriad differences, making it bright and orderly. If only "encompass" is done without "weave," it would be empty and hollow; if only "weave" is done without "encompass," it would be fragmented and disconnected. "Encompass" is like what the Doctrine of the Mean says, "Great virtue promotes transformation," while "weave" is like "small virtue flows like a river."

仰以觀於天文，俯以察於地理，是故知幽明之故。原始反終，故知死生之說。精氣為物，逰魂為變，是故知鬼神之情狀。此窮理之事也。以者，聖人以易之書也。易者，陰陽而已。幽明死生鬼神，皆陰陽之變，天地之道也。天文地理，《本義》謂天文有晝夜上下，地理有南北高深。《大全》謂晝明夜幽，上明下幽，觀此見天文幽明之所以然。

The text says: "Looking upward to observe the heavenly phenomena, looking downward to examine the geographical features, thus knowing the reasons for the hidden and the manifest. Returning to the origin and understanding the end, thus knowing the explanation of life and death. The refined qi becomes things, the wandering souls cause change, thus knowing the nature of ghosts and spirits." This is about exhausting the principles. The word "with" refers to the sage using the Book of Changes to observe. The Book of Changes is merely about yin and yang; the hidden and the manifest, life and death, ghosts and spirits are all changes of yin and yang, which is the way of heaven and earth. Regarding heavenly phenomena and geographical features, The Original Meaning of the Zhou Changes says that heavenly phenomena have distinctions of day and night, upper and lower; The Complete Collection of the Zhou Changes says day is bright, night is hidden, upper is bright, lower is hidden, from which we can see the reason for the hidden and the manifest in heavenly phenomena.

南明北幽，高明深幽，察此見地理幽明之所以然。此亦不過粗舉大凡，亦不盡此也。天文顯而在上，觀之可見。地理隱而下，必察其詳。又天文遠而成象，難於細察。地理近而有形，又非觀之所可盡也。

South represents brightness, north represents darkness; high places represent brightness, deep places represent darkness. From this we can see the reason for the distinction between brightness and darkness in geography. However, this is only a rough summary and does not cover all aspects. Celestial phenomena are visible above, and by simply looking up, one can see them, so it is called 'observation'. Terrestrial features are hidden below, and one must carefully examine them, so it is called 'investigation'. Moreover, celestial phenomena are distant and only form images, making them difficult to examine in detail; terrestrial features are close and have actual forms, which cannot be fully understood by a single glance.

就天文地理分言之，似天文明而地理幽。而天文地理中又各有幽明，如日月雷風見於象者為明，其藏而不見處即為幽。山澤水火之隱藏未見者為幽，其有形可見即為明。以易之陰陽，知天文地理之有幽明。以易之陰中有陽陽中有陰，知天文地理中之幽中有明明中有幽。陽極陰生則漸幽，陰極陽生則漸明。終古天地皆如此。知其所以然之理，所謂知幽明之故也。

Dividing astronomy and geography, it seems that astronomy belongs to the bright and geography to the hidden; yet within astronomy and within geography, there are also both bright and hidden aspects. For instance, the sun, moon, thunder, and wind manifest as visible phenomena, which are bright; their concealed and hidden aspects are hidden. Mountains, marshes, water, and fire are hidden and not yet revealed, which are hidden; their visible forms are bright. Using the yin and yang of the Book of Changes, we can understand that both astronomy and geography have both bright and hidden aspects. Using the principle of yin containing yang and yang containing yin from the Book of Changes, we can understand that within the hidden aspects of astronomy and geography there are also bright aspects, and within the bright aspects there are also hidden aspects. When yang reaches its peak, yin arises, and thus gradually turns to the hidden; when yin reaches its peak, yang arises, and thus gradually turns to the bright. Since ancient times, heaven and earth have always been like this. Understanding the reason behind this is called 'knowing the origin of the hidden and the bright.'

原者，推之於前。反者，要之於後。天地之化，雖生生不窮。然有聚必有散，有生必有死。以易中陰陽二氯之聚，推其所以始，則可以知生之說。說謂言其理也。耳目之聰明為精，口鼻之噓吸為氣。人之生也。精與氣合而有物，故為神。精滅則魄墮於地，氣絕則魂逰於天。人之死也。魂與魄離而為變，故為鬼。

"Original" means to trace back to its beginning, and "reverse" means to conclude its end. Although the creative processes of heaven and earth are endless, there must be gathering and dispersing, birth and death. By examining the interaction of yin and yang in the Book of Changes, we can investigate the reason for the beginning, thus understanding the concept of "birth." "Say" refers to explaining the principle. The clarity of the ears and eyes belongs to "essence," while the breathing through the mouth and nose belongs to "vital energy." When a person is alive, essence and vital energy combine to form the body, thus belonging to "spirit." When essence is extinguished, the soul descends to the earth; when vital energy ceases, the spirit drifts to the heavens. When a person dies, the soul and the魄 separate and transform, thus becoming "ghost."

蓋在生謂之精氣，在死謂之魂魄。離合聚散，屈伸往來於天地之間謂之鬼神。然要不出於易之陰陽可知也。蓋精也魄也，皆陰之屬也。氣也魂也，皆陽之屬也。精氣為物，陰陽二氣聚而為神也。而神又陽之屬，則精氣者陽中之陰陽也，游魂為變，陰陽二氣散而為鬼。而鬼又陰之屬，則魂魄者陰中之陰陽也。

In general, when alive, they are called essence and qi; when dead, they are called soul and spirit. This separation and union, gathering and dispersing, moving back and forth between heaven and earth, is called ghost and spirit. In summary, they all cannot escape the yin and yang of the Book of Changes, which can be known. Essence and spirit belong to yin, while qi and soul belong to yang. "Essence and qi form things" refers to the gathering of yin and yang qi to form a spirit; however, the spirit itself belongs to yang, so essence and qi are yin within yang. "Wandering soul changes into a ghost" refers to the dispersing of yin and yang qi to form a ghost; however, the ghost itself belongs to yin, so soul and spirit are yin within yin.

人生謂之氣，死謂之魂。乃夢中不謂之氣而謂之魂者，蓋當其睡夢，生而有死之形。氣雖未絕而精不用事，故魂與魄離而有夢，此又陽中之陰也。人生謂之神，死謂之鬼。乃正人君子死不謂之鬼又謂之神者，蓋浩然之氣死而全生之理。精雖已滅而氣猶不散，故魂能舉魄而為神。

A living person is called "qi," and a dead person is called "hun." However, when one dreams, we do not say "qi" but "hun," because while a person is asleep, although still alive, they have the form of a dead person: the qi has not yet ceased, but the essence is no longer in harmony. Thus, the hun and po temporarily separate, giving rise to dreams, which is yin within yang. A living person is called "shen," and a dead person is called "gui." However, a virtuous person after death is not called "gui" but still called "shen," because a great flow of righteous qi remains, even after death, preserving the principles of life: although the essence has ceased, the qi has not yet dispersed, so the hun can lift up the po and become a shen.

此又陰中之陽也。正人君子之死，游魂之變而為神。伯有為厲之屬，游魂之變而為鬼。鬼者，歸也。亦漸歸於澌滅而已。神者，伸也。在天為星辰，在地為河嶽，正氣常伸。此又聖人之所以貴陽賤陰，扶陽抑陰之意乎。

This is again a case of yang within yin. The death of a righteous person is a transformation of a wandering soul into a spirit; examples such as the vengeful ghost of Zheng's Bo You after his death, recorded in the "Zuo Zhuan," are cases of a wandering soul transforming into a ghost. "Ghost" means "return," and it is merely a gradual return to extinction; "spirit" means "extension," in heaven it becomes stars, on earth it becomes rivers and mountains, a steady and unyielding flow of righteous energy. Here we can see the intention of the sages to value yang and despise yin, to support yang and restrain yin.

而要其聚散以近，則陰陽之變化而不可窮詰。而其自無之有，自有之無則無極。太極而生陰陽，陰陽仍歸於無極，此鬼神之情狀可以易知之者也。《大全》楊氏曰，禍盈福謙，鬼神之情。如在其上，如在左右，鬼神之狀。於義亦通，但未盡其所以然之故耳。

In summary, by observing its gathering and dispersing, we see the changes of yin and yang, which are endless; as for its coming into being from nothing and returning to nothing, that is the state of wuji. From wuji comes the Taiji, from Taiji arise yin and yang, and yin and yang again return to wuji — this is the nature of ghosts and spirits, which can be understood through the principles of the I Ching. The Zhou Yi Dian mentions Yang's view: making the full receive misfortune and the humble gain blessings, this is the 'emotion' of ghosts and spirits; the Zhongyong says 'as if it were above, as if it were beside us,' this is the 'appearance' of ghosts and spirits. This explanation is reasonable, but it does not fully explain the underlying reasons.

與天地相似，故不違。知周乎萬物而道濟天下，故不過。旁行而不流。樂天知命，故不憂。安土敦乎仁，故能愛。上文言易與天地準，故可即易以窮天下之理。此言聖人之道似天地。

The text says: "It is similar to heaven and earth, thus it does not go against them. It knows thoroughly all things and the way benefits the world, thus it does not exceed. It proceeds in parallel without flowing, rejoices in heaven and knows destiny, thus it does not worry. It is settled in its place and cherishes benevolence, thus it can love." The previous passage said that the Book of Changes is equal to heaven and earth, so one can study the Book of Changes to exhaust the principles of the world; here it says that the way of the sage is similar to heaven and earth.

而所以似天地者，用易道以盡其性而已。天地之功大矣。準之者易，似之者聖人。易本無體故言準。如平準之準，均一無間。聖涉有為故言似。如形似之似，順適乎自然。天地聖人本無二道，列之為三，則相似而已。唯相似，故先天後天而不違也。此句統言之。以下不過不憂能愛皆不違之事。

The sage is able to resemble heaven and earth because he uses the Way of the Book of Changes to fully express his nature. The achievements of heaven and earth are immense: what is equal to them is the Book of Changes, and what is similar to them is the sage. The Book of Changes itself has no form, so it is called "standard," like the standard measure used to ensure evenness and consistency without any gaps; the sage acts in accordance with the Way, so it is called "resembling," like a shape that is similar, conforming to nature. Heaven and the sage are originally not two different paths, but because they are placed alongside the Book of Changes as three, the term "resembling" is used. Because they are similar, the passage in the "Wenyan" section of the Qian hexagram, "Before heaven, heaven does not violate; after heaven, it follows the timing of heaven," has no contradictions. The sentence "Being similar to heaven and earth, therefore there is no violation" is a general statement, while the following "not exceeding," "not worrying," and "being able to love" are specific aspects of "not violating."

天地之道，知仁而已。知周萬物者，知同乎天也。道濟天下者，仁同乎地也。後以知仁分天地，以動靜言之，此以清濁言之。知之所及猶虛，故以屬天。道之所濟則實，故以屬地。不過與下文不同。不過言天下莫能過，即不違也。旁行而不流。《本義》謂旁行者行權之知也，不流者守正之仁也。

The principle of Heaven and Earth consists of only one "knowledge" and one "benevolence." "Knowing all things" indicates his wisdom being the same as Heaven; "benefiting the world" indicates his benevolence being the same as Earth. Later, when knowledge and benevolence are assigned to Heaven and Earth, it is in terms of movement and stillness; here, however, the assignment is in terms of clarity and turbidity: what wisdom illuminates is still empty, so it belongs to Heaven; what benevolence assists is already substantial, so it belongs to Earth. The "only" here differs from the "only" in the following text: here it means that no one in the world can surpass him, that is, "not deviating." As for "moving sideways without flowing," The Original Meaning of the Zhou Changes says that "moving sideways" refers to the wisdom of flexible adaptation, while "not flowing" refers to the benevolence of adhering to the right path.

《大全》朱子又云，細分之有知仁，其實皆知之事。對下安土敦乎仁一句。蓋朱子因兩故字而改之也，今從之。知之旁行而流，則不能樂天知命而不憂。故此句詳言之。天以理言，仁義忠信是也。命以氣言，吉凶禍福是也。雖有旁行行權之知，而不流於邪曲之為。蓋所樂者天理之正，無一念之雜。

The Zhou Yi Dquan also records Master Zhu's words: when examined in detail, both "parallel movement" and "non-flow" contain knowledge and benevolence. In reality, they both pertain to the aspect of knowledge, used to explain the following sentence "establishing oneself in the land and cultivating benevolence." Master Zhu made this interpretation based on the two instances of the word "therefore" in the text, and we follow his explanation. If wisdom is merely moving sideways and flowing aimlessly, losing its proper restraint, one cannot be content with heaven and understand one's destiny without worry. Therefore, this sentence needs to be explained in detail. "Heaven" refers to principles when discussed in terms of reason, meaning benevolence, righteousness, loyalty, and trustworthiness; "destiny" refers to qi when discussed in terms of energy, meaning good fortune, misfortune, calamity, and blessing. Although one may possess wisdom capable of flexible and adaptable strategies, one does not flow into wrongful actions, because what one finds joy in is the correctness of heavenly principles, without any impure thoughts.

又知天命之有定，不以利害禍福殀壽貳其心，所以能不憂也。如是而其知益深，似乎天矣。安土，隨處而安也。所處不安，則何暇及於人。隨處皆安，無不息之不仁。私慾盡淨，天理充滿。愈加敦厚，不忘其濟物之心。所以能愛也。如是則其仁益篤，似乎地矣。此聖人體易以盡性之事，而上下與天地同流者也。

He also deeply understands that heavenly mandate has a fixed destiny, not changing due to gains and losses, misfortunes and blessings, or short or long life. Therefore, his mind remains unwavering, allowing him to remain free from worry. In this way, his wisdom becomes ever more profound, drawing closer to the heavens. "Being at ease in one's place" means being at ease wherever one is. If one's own place is not secure, how can one have the strength to care for others? Being at ease everywhere means there is no moment of inhumanity; private desires are completely eliminated, and heavenly principles fill the heart. Combined with a consistent sincerity and a constant concern for helping others, he is able to love. In this way, his benevolence becomes ever more solid, drawing closer to the earth. This is the way the sage manifests the Dao of the Book of Changes to fulfill his nature, which is the state of being "in harmony with heaven and earth" as mentioned in the Mencius.

又按，來注知仁不分。不過不憂能愛皆指天地言。天地至大無外，不過者也。聖人知周萬物道濟天下，故同其不過。天地鼓萬物，不與聖人同憂者也。聖人樂天知命，故同其不憂。天地以生物為心，能愛者也。聖人安土敦仁，同其能愛。此說更渾。

Again, it is noted that Lai Zhide's commentary does not assign knowledge and benevolence to heaven and earth respectively. He considers 'not exceeding,' 'not worrying,' and 'being able to love' all to refer to heaven and earth. Heaven and earth are vast and encompass everything, hence 'not exceeding'; sages know all things and save the world, so they share the same 'not exceeding' as heaven and earth. Heaven and earth move and generate all things without sharing the same worry as sages, hence 'not worrying'; sages are content with heaven and know their destiny, so they share the same 'not worrying' as heaven and earth. Heaven and earth have the heart to generate life, hence 'being able to love'; sages are devoted to their land and benevolent, so they share the same 'being able to love' as heaven and earth. This explanation is more comprehensive.

範圍天地之化而不過，曲成萬物而不遺，通乎晝夜之道而知，故神無方而易無體。此聖人體易而至於命之事。如鑄金之有模範。圍匡郭也。天地之化無窮，聖人範圍之，不使過於中道。以天道言。如一歲分四時，生長收藏。

The text says: "It encompasses the transformations of heaven and earth without exceeding, and skillfully completes all things without omission. It understands the principle of day and night, thus the Supreme Ultimate has no fixed form and the Book of Changes has no definite body." This is how the sage embodies the Way of the Book of Changes and attains knowledge of destiny. "Fan" is like the mold used in casting metalware, and "wei" refers to the outer frame. The transformations of heaven and earth are boundless, yet the sage establishes a framework to prevent them from exceeding the middle path. In terms of the heavenly way, for example, a year is divided into four seasons, allowing all things to be born, grow, harvested, and stored in order.

以人身言，如欲動情勝，為之禮義檢制皆是也。曲成不遺，又隨萬物之分量形質，使大小方圓各有成就也。範圍，即大德之敦化，上文之所謂彌。曲成，即小德之川流，上文之所謂綸也。幽明死生鬼神，即一晝一夜之理通達之也。知有晝即有夜之理，則古今一晝夜也。幽明死生鬼神，無不可知矣。

In terms of human beings, for example, when desires arise or emotions become excessive, we establish rites and morality to restrain and regulate them, which falls under the concept of 'range'. 'Curved accomplishment without omission' refers to allowing each thing according to its own weight and form to achieve its proper state, so that large and small, square and round, each have their own completion. 'Range' corresponds to what the Doctrine of the Mean calls 'great virtue promoting transformation', which is also the 'mi' mentioned earlier; 'curved accomplishment' corresponds to 'small virtue flowing continuously', which is also the 'lun' mentioned earlier. The concepts of the unseen and the seen, life and death, ghosts and spirits, in the end, are no more than the principle of day and night. When one understands this principle, one knows everything. Knowing that there is day there must be night, then ancient and modern times are also just a day and a night, and thus the unseen and the seen, life and death, ghosts and spirits have nothing that is unknowable.

以此見至神之妙無有方所，易之變化無有形體也。使範圍有過，曲成有遺，通晝不通夜，通夜不通晝，則神有方易有體矣。蓋天地之化，陰陽之氣。萬物，陰陽之形。晝夜，陰陽之理。此三者不外乎陰陽者也。

From this we can see: the subtle workings of the Supreme Ultimate have no fixed place, and the transformations of the Book of Changes have no fixed form. If there is a defined scope yet still some excess or deficiency, if it is curved and formed yet still has omissions, if it works for day but not for night, or works for night but not for day, then the Supreme Ultimate would have a fixed place and the Book of Changes would have a fixed form. Understand that the creative processes of heaven and earth are based on the energies of yin and yang, that all things take shape from the forms of yin and yang, and that day and night are based on the principles of yin and yang. These three aspects are all within the scope of yin and yang.

神，則陰陽不測。在陰忽而在陽，在陽忽而在陰，本無方所可定。易，則陰中有陽，陽中有陰。亦無體質可定。聖人盡乎易，即合乎神，所以能範圍曲成而通知之也。

As for "the divine," it is the unpredictable transformation of yin and yang: it is in yin but suddenly in yang, and in yang but suddenly in yin; it has no fixed place. As for "the Change," it contains yang within yin and yin within yang, and has no fixed form. The sage who thoroughly understands the Book of Changes also aligns with the divine, thus being able to encompass heaven and earth, intricately form all things, and comprehend the principle of day and night.

上文言聖人之知不過，此則能使天地之化不過。上言知周乎萬物，此則曲成之而不遺。上言仰觀俯察原始要終而知幽明死生鬼神，此則通乎晝夜之道而知。蓋窮理盡性之極，至於命之事。聖人即易也，即神也，即天地也（文瀾本「即天地也」作「則亦天地」）而已矣。

The previous text says that the sage's wisdom is "not exceeding," but here it says that he can make the creation of heaven and earth not exceed; previously it says he "knows all things in the world," but here it says he forms all things skillfully without any omission; previously it says he looks up to observe the heavens and down to examine the earth, grasps the origin and the end, and knows the hidden, the bright, death, life, ghosts, and gods, but here it says he understands the way of day and night without any ignorance. This is the extreme of comprehending principles and exhausting the nature of things, which is the matter of "reaching destiny" (ming). When he reaches this point, the sage becomes the Book of Changes, becomes the divine, becomes heaven and earth itself (the four characters "ji tian di" in the Wenlan edition are written as "ze yi tian di").

按，來注不言窮理盡性至命。但謂易與天地準，聖人亦與天地準。此節承上文。易能彌天地之道，聖人範圍不過亦能彌之。易能綸天地之道。聖人曲成不遺亦能綸之。易所具不過幽明死生鬼神之理，聖人通乎晝夜亦有以知之。其說雖與注小異而意更渾，可參。右第四章。

Note: Lai Zhide's commentary does not discuss the levels of attaining principles, perfecting nature, and reaching destiny. Instead, he says that the Book of Changes is equal to heaven and earth, and the sage is also equal to heaven and earth. He thinks this passage follows from the previous text: The Book of Changes can harmonize the way of heaven and earth, and the sage encompasses without exceeding, which is also to harmonize; The Book of Changes can order the way of heaven and earth, and the sage completes all things without omission, which is also to order; The Book of Changes contains only the principles of the hidden and manifest, life and death, ghosts and spirits, and the sage understands the way of day and night, thus being able to know them. Although this view differs slightly from old commentaries, its meaning is more comprehensive and can be referred to. The above is the fourth chapter.

第五章言道不外乎陰陽。繼之者善以下二節，言其在人者。顯仁藏用二節，言其在造化者。自生生之謂易以下，言其在易書者。而總以陰陽不測結之。一陰一陽之謂道。陰陽迭運者，氣也。所以陰陽之理，則道也。按，來注，理乘氣機以出入。一陰一陽，氣之散殊，即太極之理各足而富有者也。氣之迭運，即太極之理流行而日新者也。故謂之道。此解亦精。《中庸》率性之謂道，就道之在人者言。此則就道之在天者言。

Chapter Five explains that the Way is nothing other than yin and yang. "Those who follow it are good" and the next two sections discuss the aspect of the Way in human beings; "manifesting in benevolence, hidden in function" and the next two sections discuss the aspect of the Way in the workings of nature; from "the ever-renewing generation is called the Book of Changes" onwards, it discusses the aspect of the Way in the Book of Changes; finally, it concludes with "the Way is called the mysterious and indescribable, which is the interplay of yin and yang." The text says, "One yin and one yang is called the Way." The alternating movement of yin and yang is the qi, and the principle that makes yin and yang function in this way is the Way. According to Lai Zhide's commentary, the principle rides upon the qi's movement and transformation — the alternating yin and yang are the distribution and differentiation of qi, which is the complete and rich presence of the Supreme Ultimate Principle in each place; the alternating movement of qi is the continuous flow and daily renewal of the Supreme Ultimate Principle, hence it is called the Way. This explanation is also very precise. The Zhongyong says "to follow nature is called the Way," which refers to the Way in human beings; here, however, it refers to the Way in heaven.

繼之者善也，成之者性也。繼善，就斯道之發育賦予者言之。以其天命之本體，不雜於形氣之私。所謂元者善之長，故曰善也。成性，就人物所稟受而言之。氣以成形而理亦賦物，物各得一太極。無妄之理不相假借，故曰性也。繼善，陽之事。

The text says: "Those who continue it are called 'good,' and those who complete it are called 'nature.'" "Continuing goodness" refers to the aspect of the Way that generates and bestows upon all things; this is the essence of the Mandate of Heaven, free from private desires of form and qi. This is what the "Commentary on the Wings of the Qian Hexagram" calls "the beginning is the origin of goodness," hence it is called "goodness." "Completing nature" refers to the aspect of what humans and things receive; when qi condenses into form, principle is also present within it, and each thing receives a single Taiji. This true and unerring principle is complete in each thing, not borrowed from others, hence it is called "nature." Continuing goodness is the matter of the yang aspect.

成性，陰之事也。蓋道即所謂太極。繼善則動而生陽，成性則靜而生陰也。此節就天人賦受之界言之也。孟子之言性善，蓋出於此。夫子之言性相近也，蓋自成性之後兼於氣質者言之。孟子之言性善，則自成之先，純乎繼善者而言之也。

Inherent nature, or "xing," belongs to the side of yin. The Dao is what is called the Taiji: "Ji Shan" corresponds to the movement of Taiji producing yang, while "Cheng Xing" corresponds to the stillness of Taiji producing yin. This passage discusses the boundary between heaven and humanity in the transmission of the Dao. Mencius' concept of "innate goodness" probably originates from this. Confucius says "xing are similar," which refers to the state after Cheng Xing, considering both nature and temperament; Mencius, however, speaks of innate goodness, which refers to the aspect before Cheng Xing, focusing purely on Ji Shan.

仁者見之謂之仁，知者見之謂之知，百姓日用而不知。故君子之道鮮矣。曰善曰性具於人身，渾然一理不可名狀。唯仁者發見於惻隱，則謂之仁。知者發見於是非，則謂之知。而後所謂善與性方有名狀。百姓同此善性。而氣稟所拘，物慾所蔽，故知之者鮮。

The text says: "The benevolent person sees it and calls it benevolence; the wise person sees it and calls it wisdom. Common people use it every day but do not know it, so the way of the gentleman is rare." The so-called goodness and the so-called nature are both present in human beings, forming a single principle, originally indescribable. Only the benevolent person reveals it through compassion, and this is called benevolence; the wise person reveals it through discernment of right and wrong, and this is called wisdom. Only then do the terms 'goodness' and 'nature' gain a name and form. Common people also possess this goodness, but they are confined by their temperament and obscured by worldly desires, hence few truly understand it.

上章言聖人之知仁，合而為一者也。此言仁者知者，分而為二者也。自天命之流行於人物者言之。則繼善為陽，成性為陰。此就所成之德言之。則仁屬陽，知屬陰。上章以知屬天，仁屬地。此則仁屬陽，知屬陰者，彼以清濁言，此以動靜言也。

The previous chapter said that the wisdom and benevolence of the sage are combined as one; here it says that the benevolent and the wise are divided into two. From the perspective of the heavenly mandate flowing through human beings, continuing goodness belongs to yang, and forming nature belongs to yin. From the perspective of the virtues achieved by humans, benevolence belongs to yang, and wisdom belongs to yin. The previous chapter paired wisdom with heaven and benevolence with earth, but here benevolence is paired with yang and wisdom with yin, because the previous chapter spoke in terms of clarity and turbidity, while this one speaks in terms of movement and stillness.

夫子言仁靜知動，而此又以動屬仁，靜屬知者。《論語》就成德之後言，此從其稟性所近言。仁者得陽之發生流動，以為仁而德成。能安於理，則見其靜。知者得陰之凝定不易，以為知而德成。周通於理，則見其動。此又陰中之陽，陽中之陰，不可拘也。仁知各得道之一隅，隨其所見而目為全體。百姓則日用之間習而不察。此君子之道所以鮮也。君子之道，即一陰一陽之道。係之君子者，君子有體道之功也。

Confucius said in the Analects, "The benevolent person is tranquil, and the wise person is active." Here, however, activity is paired with benevolence and tranquility with wisdom, because the Analects speaks of this after virtue has already been attained. Here, on the other hand, it refers to the natural inclination of each person. The benevolent person receives the yang energy, which is characterized by movement and generation, thus achieving the virtue of benevolence; once virtue is attained, it can rest in reason, thus showing tranquility. The wise person receives the yin energy, which is characterized by solidity and immovability, thus achieving the virtue of wisdom; once virtue is attained, it can circulate and reach all things in reason, thus showing activity. This again shows that yin contains yang and yang contains yin; one must not be rigid in interpretation. The benevolent and the wise each grasp only one aspect of the Way, yet they take what they have seen as the whole. The common people use it daily without realizing it. This is why the Way of the gentleman is rare. The Way of the gentleman refers to the Way of mutual interaction between yin and yang. It is associated with the gentleman because the gentleman has the practice to embody this Way.

顯諸仁，藏諸用。鼓萬物而不與聖人同憂，盛德大業至矣哉。顯，自內而外也。運動之跡，生育之功，顯諸仁也，德之發也。藏，自外而內也。神妙無方，變化無跡，藏諸用也，業之本也。聖人之與天地可同者，顯仁藏用之德業也。不可同者，天地無心，聖人有心也。聖人仁萬物而獨任其憂，天地鼓萬物而不與聖人同其憂。蓋天地無心而成化，聖人有心而無為也。

"Xian zhu ren" refers to revealing the virtue of continuous generation outwardly, while "cang zhu yong" refers to concealing the subtle workings inwardly; the heavens and earth move and stimulate all things to grow, yet they do not concern themselves with the affairs of all things as a sage would. This great virtue and vast endeavor can be said to have reached the ultimate point. Chen Menglei explains the character "xian" as proceeding from within outwardly: the traces of the heavens and earth's operation and the effects of their nurturing and generating are presented before people's eyes, which is "xian zhu ren," the manifestation of virtue. He explains "cang" as proceeding from outside inwardly: the mysterious and unfixed aspect, which changes without trace, is concealed within, which is "cang zhu yong," the fundamental of endeavors. The aspect that sages can be the same as the heavens and earth is precisely this "manifesting benevolence and concealing function" of virtue and endeavor; the aspect they cannot be the same is that the heavens and earth act without intention, while sages do so with intention. Sages treat all things with benevolence and thus must bear this concern alone; the heavens and earth stimulate all things without sharing the concern of the sage. The reason for this is that the heavens and earth act without intention and naturally complete creation and transformation, while sages act with intention yet can achieve non-action.

富有之謂大業，日新之謂盛德。富有者，大而無外，天高地下，萬物散殊是也。日新者，久而無窮，陰陽升降，變化不窮是也。此雖言天地，然聖人亦然。生物無窮，天地之大業；功及萬世，聖人之大業也。運行不息，天地之盛德；終始日新，聖人之盛德也。繼善成性二節，言陰陽之道在天人賦受之界者。顯仁藏用二節，言陰陽之道在天地造化者。

Nothing is lacking is called "Great Deed," and continuous renewal is called "Abundant Virtue." Chen Menglei said that "wealth" refers to something vast without external limits, with heaven above and earth below, and all things distributed and categorized differently, which is called wealth. "Daily renewal" refers to something enduring without end, with yin and yang rising and falling continuously, changing without ceasing, which is called daily renewal. These two sentences at first seem to describe heaven and earth, but in reality they also apply to sages: nurturing all things without end is the great deed of heaven and earth, and the achievements benefiting generations are the great deed of sages. Continuous operation without rest is the abundant virtue of heaven and earth, and constant renewal from beginning to end is the abundant virtue of sages. He also divided the sections of the "Great Treatise" into layers: the previous section "What is passed down is goodness, what is completed is nature" discusses how the principle of "one yin and one yang is called the Way" applies at the intersection of what heaven bestows and what humans receive. The section "Manifested in benevolence, hidden in function" discusses how this Way manifests in the creative transformations of heaven and earth.

生生之謂易。陰生陽，陽生陰，其變無窮。易之理如是，故其書亦如是。此以下就陰陽之在易書者言之。成象之謂乾，效法之謂坤。象者，法之未定；法者，象之已形。乾主氣，故曰成象。坤主形，故曰效法。乾本陽而名為乾，以其健而成象也。坤本陰而名為坤，以其順而效法也。此一陽一陰之道在卦者也。

The continuous generation and renewal is called "Yi." Chen Menglei explains: Yin can give rise to Yang, and Yang can give rise to Yin; this process has no end. The principle of Yi is like this, so the book of Yi is also like this. From this point on, the text shifts to discuss the principles of Yin and Yang in relation to the Book of Changes. The aspect of "forming images" is called Qian, and the aspect of "emulating" is called Kun.the so-called "image" refers to the stage when the principle has not yet taken a fixed form;the so-called "method" refers to the stage when the image has already taken shape. Qian governs the vital energy, so it is called "forming images"; Kun governs form, so it is called "emulating." Qian is originally Yang but is named Qian because it is strong and vigorous, capable of forming images; Kun is originally Yin but is named Kun because it is gentle and compliant, capable of emulating established forms. This is how the principle of "Yin and Yang together constitute the Way" is expressed in the hexagrams.

極數知來之謂占，通變之謂事。數，蓍數也。天數二十有五，地數三十。極天地之數而吉凶可以前知，此之謂占。通變，即所占之卦變而通之。事，行事，通其變而行之也。極數知來，所以通事之變。曰占，則事之未定者，屬乎陽。曰事，則占之已決者，又屬乎陰也。按，來注云極數者，方卜筮之時，究極其陰陽七八九六之數，觀其所值何卦、所值何爻，以斷天下之疑，故曰占。通變，既卜筮之後，詳通其陰陽老少之變，吉則趨之，凶則避之，以定天下之業，故曰事。此一陰一陽之道在卜筮者也。

To exhaust the number of the divination stalks and foresee the future is called "zhan" (divination). To understand the changes and put them into action is called "shi" (affairs). Chen Menglei said that the "shu" (number) here refers to the number of the divination stalks: the heavenly number totals twenty-five, and the earthly number totals thirty. By thoroughly investigating the numbers of heaven and earth, one can foresee good or bad fortune in advance, which is called "zhan." "Tong bian" (understanding change) refers to interpreting the hexagram obtained through divination; "shi" means to act, putting the results of the interpretation into practice. Exhausting the number of the divination stalks to know the future is precisely for understanding the changes in affairs. "Zhan" refers to when the matter has not yet been decided, and it belongs to yang; "shi" refers to when the divination has already been decided, and it belongs to yin. He then quoted Lai Zhide's "Collected Commentaries on the Zhou Changes": "Ji shu" (extreme number) refers to, at the time of divination, thoroughly investigating the numbers seven, eight, nine, and six, the numbers of yin and yang, to see which hexagram and line they correspond to, and thus decide the difficulties of the world, so it is called "zhan." "Tong bian" (understanding change) refers to, after the divination is completed, carefully understanding the changes of old yin, old yang, young yin, and young yang, and following the auspicious and avoiding the inauspicious to establish the affairs of the world, so it is called "shi." This is how the saying "one yin and one yang is called the Dao" is manifested in divination.

陰陽不測之謂神。此句總結上文。三百八十四爻陰中陽在，陽中陰在，故不測也。上章言易無體，此言生生生之謂易，唯其生生，所以無體也。上章言神無方，此言不測之謂神，唯其不測，所以無方也。言易，繼以乾坤，乾坤毀則無以見易也。言神，先以占事，占事則神所託而顯者也。

Yin and yang change in ways that cannot be measured, and this is called "shen." Chen Menglei says this sentence summarizes the previous discussion: all 384 lines of the Book of Changes contain yin within yang and yang within yin, so they cannot be measured. The previous chapter discussed "the Book of Changes has no fixed form," and this chapter discusses "the continuous generation of things is called the Book of Changes," precisely because it is ever-renewing, it has no fixed form. The previous chapter discussed "shen has no fixed place," and this chapter discusses "what cannot be measured is called shen," precisely because it cannot be measured, it has no fixed place. When discussing the Book of Changes, it follows with the trigrams Qian and Kun, because if Qian and Kun were destroyed, there would be no way to see the Book of Changes. When discussing shen, it first mentions divination and affairs, because divination and affairs are the means through which shen is expressed and manifested. (The original text here mistakenly has an extra "sheng" character, "生生生之谓易," which should be corrected to "生生之谓易" as in the Great Treatise.)

此章大抵以道不外乎陰陽，而陰陽終不可測。以其在人者言之，則繼善、成性、仁者、知者皆陰陽之所為也。就其中而分之，則繼善陽、成性陰、仁陽、知陰。而究之繼成之妙，陰陽之在人者不可測也。以其在天地者言之，則盛德大業皆陰陽之所為也。就其中而分之，則顯仁陽、藏用陰。而要之盛德大業之妙，陰陽之在天地者不可測也。

Chen Menglei summarized the main idea of this chapter: the Way does not go beyond yin and yang, but ultimately yin and yang are beyond measurement. In terms of their manifestation in human beings, "those who continue it are good" and "those who complete it are nature," as well as "the benevolent see it as benevolence" and "the wise see it as wisdom," are all results of yin and yang. Further细分, "continuing goodness" belongs to yang, and "completing nature" belongs to yin; "benevolence" belongs to yang, and "wisdom" belongs to yin. However, when examining the subtlety of "continuing" and "completing," the aspect of yin and yang in human beings remains beyond measurement. In terms of their manifestation in heaven and earth, "great virtue" and "great achievements" are all results of yin and yang. Further细分, "manifesting benevolence" belongs to yang, and "concealing and using" belongs to yin. However, ultimately, the subtlety of great virtue and great achievements, the aspect of yin and yang in heaven and earth is also beyond measurement.

以其在易者之，為乾、為坤、為占、為事，皆陰陽之所為也。就其中而分之，則乾陽、坤陰、占陽、事陰。而究之生生之妙，陰陽之在易者不可測也。不可測者，神也。以其理之當然而言，謂之道；以其道之不測而言，謂之神，非道外有神也。聖人假易書以明道，假卜筮以顯其神，使人體易，即以法乎天地。易也，天地也，聖人也一而已矣。右第五章。

When it falls upon the Book of Changes, it means that the principles of the Book of Changes are expressed as the image of Heaven (Qian), the pattern of Earth (Kun), the extreme numbers as divination, and the transformation as affairs; all of these are formed by yin and yang. Further dividing these, Heaven belongs to yang, Earth to yin, divination to yang, and affairs to yin. However, when we investigate the profound and continuous nature of generation, the aspect of yin and yang as expressed in the Book of Changes is also indescribable. What is indescribable is called "Shen" (the divine). From the aspect of the principle that things should be thus, it is called "Dao"; from the aspect of Dao being indescribable, it is called "Shen," not a separate Shen outside of Dao. The sage uses the Book of Changes to explain Dao, and uses divination to reveal this Shen, enabling people to understand the principles of the Book of Changes, thus imitating Heaven and Earth. In this way, the Book of Changes, Heaven and Earth, and the sage are ultimately one and the same thing. This is the fifth chapter.

第六章贊易之廣大，而原於乾坤之二卦也。夫易，廣矣大矣。以言乎遠則不禦，以言乎邇則靜而正，以言乎天地之間則備矣。上章言易與天地準，贊易之書；此言廣大，贊易之理也。廣，言其中之所含；大，言其外之所包。下三句皆言廣大不禦，言其無遠不到，莫之能止，即所謂天下莫能載也。靜而正，言未動之先，即物而理存，無安排佈置之擾，即所謂天下莫能破也。盈天地之間惟萬物，而易之理無不備，其廣大如此。

Chapter six praises the vastness of the Book of Changes, tracing this vastness back to the two trigrams Qian (Heaven) and Kun (Earth). The text says: The Book of Changes is indeed vast and extensive! From a distant perspective, it reaches everywhere without obstruction; from a near perspective, it is quiet and upright; from the perspective of the space between heaven and earth, it is complete in all things. Chen Menglei says that the previous chapter discussed "the Book of Changes is in accordance with heaven and earth," praising the Book of Changes itself; here, the discussion of vastness praises the principles of the Book of Changes. "Vast" refers to what it contains internally, while "extensive" refers to what it encompasses externally. The following three sentences all describe this vastness that cannot be obstructed: it can reach as far as possible, nothing can block it, which is what the Zhongyong says, "When speaking of its vastness, the world cannot contain it." "Quiet and upright" means that before it is activated, the principle is already inherent in things themselves, without the need for human arrangement, which is what is meant by "When speaking of its smallness, the world cannot break it." What fills the space between heaven and earth is myriad things, yet the principles of the Book of Changes are present in all things, and its vastness is precisely this.

夫乾，其靜也專，其動也直，是以大生焉。夫坤，其靜也翕，其動也闢，是以廣生焉。乾坤各有動靜，靜體而動用，靜別而動交也。直專翕闢，其德性功用如是，以卦畫觀之亦然。乾性健，其畫奇，不變則其靜專一不他，變則其動直遂不撓。以其一而實，故以質言曰大，言無所不包也。坤性順，其畫偶，不變故其靜翕受無遺，變則其動開闢無壅。以其二而虛，故以量言曰廣，言無所不容也。蓋天雖包於地之外，而其氣常行於地之中。易不過寫乾坤之理，乾坤之德性如是，易之所以廣大者以此。

When Qian is still, it is focused and single-minded; when it moves, it proceeds directly and resolutely, hence "greatness" arises from it. When Kun is still, it is reclusive; when it moves, it expands widely, hence "vastness" arises from it. Chen Menglei said that Qian and Kun each have both movement and stillness: stillness is the essence, movement is the function. When still, they are separate; when moving, they combine. The terms "specialization," "directness," "convergence," and "expansion" describe their virtues and functions in this way, and this is also evident from the hexagram forms. The nature of Qian is strong and vigorous, and its hexagram is composed of one yin line. When it remains unchanged, it is still and focused, not straying; when it changes, it moves directly and resolutely, not yielding. Because the hexagram is one line and substantial, from the aspect of "substance" it is "great," meaning it encompasses everything. The nature of Kun is gentle and yielding, and its hexagram is composed of one yang line. When it remains unchanged, it is still and contains all; when it changes, it moves and opens up without obstruction. Because the hexagram is two lines and empty, from the aspect of "capacity" it is "vast," meaning it accommodates everything. Although Heaven is outside Earth, its qi often circulates within Earth. The Book of Changes merely records the principles of Qian and Kun. Since the virtues of Qian and Kun are like this, the reason the Book of Changes is vast is due to this.

廣大配天地，變通配四時。陰陽之義配日月，易簡之善配至德。配，相似之意。廣大配天地，承上文言之，非配合也。易之廣大得於乾坤，則其廣大亦如天地矣。變通者，陽變而通乎陰，陰變而通乎陽，老陽老陰變化往來，配四時之流行不息也。義者，名義也。卦爻中剛者稱陽，柔者爾陰，故曰義。陰陽對待，配乎日月也。易簡即順健，至德即仁義禮智，天所賦於人之理，而人得之者也。仁禮屬健，義智屬順，是易所言易簡之善，與聖人之至德相似也。天地之間，至大者天地，至變者四時，至精者日月，至善者至德。易之書具此四者，豈不謂之備乎。右第六章。

The vastness of the Book of Changes matches the heavens and earth, its adaptability matches the four seasons, the concept of yin and yang matches the sun and moon, and its simplicity and elegance matches the highest virtue. Chen Menglei first explains the word "match" as meaning "similar": "The vastness matches the heavens and earth" refers to the previous text, not a forced pairing. The vastness of the Book of Changes comes from the trigrams Qian (Heaven) and Kun (Earth), so its vastness is the same as the heavens and earth.the so-called "change and adaptability" refers to yang changing to connect with yin and yin changing to connect with yang; the transformation of old yang and old yin is similar to the continuous flow of the four seasons.the so-called "meaning" refers to the concept: in the hexagrams and lines, a hard line is called yang and a soft line is called yin, which is speaking about the concept; the mutual opposition of yin and yang is similar to the sun and moon. "Ease and simplicity" refers to the qualities of Kun (Earth) being compliant and Qian (Heaven) being strong, while "highest virtue" refers to benevolence, righteousness, propriety, and wisdom, which are given by heaven to humans and then acquired by humans themselves. Benevolence and propriety belong to Qian (Heaven) being strong, while righteousness and wisdom belong to Kun (Earth) being compliant. Thus, the simplicity and elegance of the Book of Changes matches the highest virtue of sages. In the world, nothing is greater than the heavens and earth, nothing is more changeable than the four seasons, nothing is more discerning than the sun and moon, and nothing is more perfect than the highest virtue. The Book of Changes possesses all four, so how can it not be called "complete"? The above is the sixth chapter. (The original text says "the soft is called yin," where "er" should be "cheng.")

第七章贊易道之至，聖人所以崇德廣業而參天地也。子曰：易其至矣乎！夫易，聖人所以崇德而廣業也。知崇禮卑，崇效天，卑法地。德業以聖人為至，而聖人之德所以崇，業所以廣者，易也。德由於知，知識貴其高明，聖人以易窮理，則知之崇如天而德崇矣。業由於禮，踐履貴其著實，聖人以易踐履，則禮之卑如地而業廣矣。所見高於上，所行實於下，則道義從此生生不窮，猶天地設位而易行乎其中矣。

Chapter Seven praises the ultimate nature of the Way of the Book of Changes, explaining how sages use it to cultivate virtue and expand their undertakings, thus standing equal with Heaven and Earth as the three great entities. Confucius said: "The Book of Changes truly reaches its peak!" The Book of Changes is the means by which sages cultivate virtue and expand their undertakings. Knowledge should be lofty, while rites should be humble; the lofty is modeled after Heaven, and the humble is modeled after Earth. Chen Menglei explained: Virtue and undertakings reach their highest point with the sage, and the reason the sage's virtue is lofty and his undertakings are vast is because of the Book of Changes. Virtue comes from knowledge, and knowledge is valued for its loftiness. The sage, by using the Book of Changes to investigate principles and matters, makes his knowledge lofty like Heaven, and his virtue becomes lofty accordingly. Undertakings come from the practice of rites, and the practice of rites is valued for its practicality. The sage, by using the Book of Changes to personally practice and carry out rites, makes rites humble and practical like Earth, and his undertakings become vast accordingly. Insight is lofty above, and actions are practical below; thus, the Way of righteousness is ever-renewing, just as Heaven and Earth set up the positions of above and below, and the Way of the Book of Changes operates within them.

天地設位，而易行乎其中矣。成性存存，道義之門。承上天地言之，言聖人非勉強效法乎天地也。蓋天地設位而易行，所以成性之存而道義出也。易不外陰陽，陰陽升降，所謂易行乎其中也。成性與成之者性稍異，彼乃成就之意，此則已成之性，渾然天成，非有所造作也。性同，唯聖人能存之。存存者，存而又存。知崇禮卑，則成性存存矣。

Heaven and Earth have established positions of above and below, and the Way of the Book of Changes operates within them. The already formed nature is preserved continuously, which is the gateway to righteousness. Chen Menglei says that this is explaining the "Heaven and Earth" mentioned earlier, meaning that sages do not forcefully imitate Heaven and Earth. Since Heaven and Earth have established their positions and the Way of the Book of Changes operates within them, human "formed nature" can be preserved, and righteousness arises from this. The Book of Changes does not go beyond yin and yang. The rising and falling of yin and yang is what is called "the Way operates within it." The term "formed nature" here differs slightly from the previous "成之者性也" which meant "to accomplish," whereas here it refers to the already formed innate nature, naturally complete without artificial effort. Human nature is the same for everyone, but only sages can preserve it. "To preserve continuously" means to preserve it again and again. Achieving lofty wisdom and practicing rites with humility and sincerity is to achieve "preserving the formed nature."

在造化謂之易，易在人謂之道義。性者所得於天，道義世所共由。能知崇禮卑，則成性存而不失，道義從此而出。道義之得於心為德，見於事為業。自然日新月盛，不期崇而自崇，不期廣而自廣矣。聖人作易，固教人存性，以由道義之門。而德之崇，業之廣皆以此。此易之所以至也。右第七章。

Chen Menglei continued to explain: This principle is called "Yi" in the realm of heaven and earth, and called "Daoyi" when applied to human beings. The innate nature comes from heaven, while Daoyi is what people commonly follow. When one is wise and virtuous, and practices propriety with humility, the innate nature is preserved and not lost, from which Daoyi arises. Daoyi obtained from the heart is called "De," and manifested in actions is called "Ye." It naturally renews daily and grows grandly monthly. It does not strive for loftiness yet becomes lofty, nor strive for vastness yet becomes vast. The sages composed the Book of Changes, originally to teach people to preserve their innate nature, so that they may go forth through the gate of Daoyi. The reason why De is lofty and Ye is vast lies entirely in this. This is why the Book of Changes is called "Zhi" (supreme). The above is the seventh chapter.

第八章言卦爻之用。自中孚初爻以下，夫子擬議其辭，示人以學易之變化，以為三百八十四爻之例也。聖人有以見天下之賾，而擬諸其形容。象其物宜，是故謂之象。賾，繁多也。擬諸形容，如乾為圜、坤為大輿之類。象其物宜，如乾稱龍、坤稱牝馬之類。象，卦爻中之象也。

Chapter Eight discusses the use of hexagram lines: From the first line of the hexagram Zhongfū onwards, Confucius examined each line statement one by one, demonstrating the method of studying the Book of Changes by showing how change occurs, serving as a general example for the 384 lines. The text says: The sage observed the complexity of things in the world, and compared them to their forms and appearances, taking the appropriate image for each thing, thus called "image." Chen Menglei's commentary says: "Zé" means complexity. "Ni zhu xingyong" refers to things like taking the circle as the image of Qian in the Book of Changes, or the large chariot as the image of Kun. "Xiang qi wu yi" refers to things like taking the dragon as the image of Qian, or the mother horse as the image of Kun. Here, the term "image" refers to the images within the hexagram lines. (According to the text below, the original text refers to "first line," but here it is "nine in the second.")

聖人有以見天下之動，而觀其會通，以行其典禮。繫辭焉以斷其吉凶，是故謂之爻。會，以物之所聚言；通，以事之所宜言。觀其會不觀其通，或窒塞而不可行；觀其通而不觀其會，則不知其中之條件曲折。典禮，猶常禮常法，堯舜揖讓、湯武徵誅是也。全卦中自有會通，一爻中又各有一爻之會通。繫辭以明其吉凶，使人皆由於典禮也。

The sage observed the changes in all things under heaven, and examined their gathering and passage, using them to establish constant laws and rituals. Then he attached words to determine fortune and misfortune, hence called "yao." Chen Menglei explained these two characters: "Hui" refers to the aspect of gathering of things, while "Tong" refers to the aspect of suitability of affairs. If one only sees the gathering but not the passage, it may lead to blockage and failure; if one only sees the passage but not the gathering, it would be unclear about the intricacies involved. "Dianli" refers to constant laws and rituals, such as Yao and Shun's abdication and Tang and Wu's military campaigns, which all fall under this category. Within a complete hexagram, there is its own hui-tong, and within each line, there is its own hui-tong. Attaching words to explain fortune and misfortune is to make people follow constant laws and rituals.

言天下之至賾而不可惡也，言天下之至動而不可亂也。繁多者使人易厭，然皆理中所有，則不可惡也。動則紛紛致亂，然其中各自有理，則不可亂矣。擬之而後言，議之而後動，擬議以成其變化。

He explains that even though the text covers the most complicated matters without causing disgust, and the most chaotic changes without leading to confusion. Chen Menglei explains: complicated things often cause people to feel bored, but these are inherent in the principles, so they should not be disliked; once there is change, things become chaotic and easily lead to disorder, but each has its own order, so there is no confusion. The text then says: first make comparisons and then speak, first discuss and then act, relying on such deliberation to achieve the changes of the Book of Changes.

聖人之於象，擬之而後成。學易者亦擬其所立之象以出言，則言之淺深詳略，必各當其理。聖人之於爻，必觀其會通，以行典禮。學易者亦必議其所合之爻以制動，則動之行止久速，必各當於時。易之變化無窮，學易者能擬議之如此，而易之變化成於吾身矣。故下文皆言擬議以成變化之事。

Chen Menglei said: The sages created the hexagrams by analogy; those who study the Book of Changes should also speak by analogy with the images established by the sages. Thus, the depth and breadth of their speech will certainly conform to the principles of things. The sages certainly first observed the mutual connection of the lines before applying the regular methods and rites; those who study the Book of Changes must also deliberate on the particular line they encounter to decide their actions. Thus, the advancement and retreat, slowness and speed of their actions will certainly conform to the appropriateness of the time. The changes of the Book of Changes are endless; those who study it can achieve these changes by analogy. Therefore, the following examples are all instances of "imagining and deliberating to create change."

鳴鶴在陰，其子和之。我有好爵，吾與爾靡之。子曰：君子居其室出其言善，則千里之外應之，況其邇者乎？居其室出其言不善，則千里之外違之，況其邇者乎？言出乎身加乎民，行發乎邇見乎遠。言行，君子之樞機。樞機之發，榮辱之主也。言行，君子之所以動天地也，可不慎乎？

The Line Statement of the Second Line of the Hexagram Zhongfu says: A white crane calls on the north side of the mountain, and its young ones respond in harmony; I have a good cup of wine, and I wish to share it with you. Confucius explained: A gentleman stays in his own house, and when he speaks, his words are good; even those a thousand miles away will respond, let alone those nearby. If a gentleman stays in his own house and speaks words that are not good, even those a thousand miles away will turn away, let alone those nearby. Words originate from oneself but are imposed upon the people; actions begin in proximity but are seen in the distant. Words and deeds are the door hinges and the crossbow mechanism for a gentleman; when the door hinge or the crossbow mechanism moves, honor and disgrace are determined thereby. Words and deeds are the things by which a gentleman moves heaven and earth; can he not be cautious?

釋中孚九二爻義。爻言感通之理，夫子專以言行論之，蓋誠信感通莫大於言行也。居室，在陰之象。出言，鶴鳴之象。千里應之，子和之象。出身加民、發邇見遠，好爵爾靡之象。樞動而戶之開有大小，機動而弩之發有中否，猶言行之出有榮辱。應在人而感之在我，故曰榮辱之主也。言行和則致祥，乘則致異，所謂動天地也。學易必擬議至此，乃不為爻象所拘也。

Chen Menglei pointed out that this passage explains the meaning of the line statement for the second line of Zhongfu. The line statement discusses the principle of mutualsympathetic response, but Confucius focused on speech and conduct, because sincerity and trust can communicate and connect, and nothing is more important than speech and conduct. "Residing in his room" corresponds to the image of "being in the yin" in the line statement, "speaking his words" corresponds to the image of "the crane's cry," "responding from a thousand miles away" corresponds to the image of "his son harmonizes with it," and "speech comes from the body and affects the people, conduct originates nearby but is seen far away" corresponds to the image of "I have a good cup of wine, I will share it with you." Just as the door hinge turns and the door opens large or small, and the crossbow mechanism fires and the arrow hits or misses, so too does speech and conduct bring honor or disgrace. Although the response is in others, the call is from oneself, so speech and conduct are the masters of honor and disgrace. When speech and conduct are harmonious, they bring good fortune; when they are discordant, they bring calamity. This is what is meant by "moving heaven and earth." Those who study the Yi Jing must reach this level of understanding, so they will not be trapped by the line images. (The original text says "cheng ze zhi yi," but "cheng" should be read as "gui.")

同人先號咷而後笑。子曰：君子之道，或出或處，或默或語。二人同心，其利斷金。同心之言，其臭如蘭。釋同人九五爻義。爻言君子之道始雖岐而終實無間。孔子釋之，言始異而終同者，由於跡異而心同也。斷金，物莫能間。如蘭，其言有味也。

The *Yao Ci* of *Qiong Ren* Nine Five says: At first they wailed loudly in grief, but later they laughed joyfully. Confucius explained: The way of a gentleman in the world is sometimes to take office, sometimes to retire; sometimes to be silent, sometimes to speak. When two people share the same mind, that sharpness is sufficient to cut through metal; when they speak the same words, their fragrance is like orchids. Chen Menglei said this is explaining the meaning of *Qiong Ren* Nine Five. The *Yao Ci* speaks of the way of a gentleman, who although initially seems to differ, in the end has no separation. Confucius explained that although their actions may differ, their hearts are the same. "Its sharpness can cut through metal" means nothing can be inserted between them. "Its fragrance is like orchids" means their words have lingering fragrance.

初六，藉用白茅，無咎。子曰：苟錯諸地而可矣，藉之用茅，何咎之有？慎之至也。夫茅之為物薄，而用可重也。慎斯術也以往，其無所失矣。釋大過初六爻義。置物者不過求其安，錯諸地可以安矣。又承之以茅，則益有所藉，又安有傾覆之咎。茅為物至薄，用之以得無咎，則其用重矣，此慎之至也。天下事過則有失，唯過慎則無咎。

The line statement of the first line of the Great Excess hexagram says: Using white reed grass to pad underneath, there will be no fault. Confucius explained: Originally, placing something directly on the ground would be sufficient, yet using reed grass to pad underneath, where could there be any fault? This is the extreme of caution. Reed grass itself is very light and thin, yet its use can be of great importance; if this method of caution is carried through consistently, there will be no mishap. Chen Menglei said, this is explaining the meaning of the first line of the Great Excess hexagram: placing something is only for stability, placing it directly on the ground is already stable, but placing reed grass underneath provides even more support, so how could there be a disaster of overturning? Reed grass is a very light and thin thing, yet its use can prevent faults, showing its importance, which is the extreme of caution. In the world, overdoing anything leads to mishaps, but overdoing caution does not lead to faults.

勞謙君子有終吉。子曰：勞而不伐，有功而不德，厚之至也，語以其功下人者也。德言盛，禮言恭。謙也者，致恭以存其位者也。釋謙九三爻義。德言盛，禮言恭，言德欲其盛，禮欲其恭也。人之謙與傲，視其德之厚與薄。德厚者無盈色，德薄者無卑詞。如鐘磬焉，愈厚者聲愈緣，薄則反是。故有勞有功而不伐不德，唯至厚者能之。德盛禮恭，本君子修身之事，非有心以保錄位。然天下莫與爭勞爭功，自永保斯位矣。

The *Yao Ci* of the third line of *Qian* says: A gentleman who has meritorious deeds but humbly retreats will have a favorable outcome and be auspicious. Confucius explained: Having achievements without boasting, having meritorious deeds without considering oneself virtuous, this is the extreme of sincerity and humility. It refers to placing one's own merits beneath others. Virtue should be grand, and propriety should be respectful. What is called "humility" is to practice respect to the utmost, thus preserving one's position. Chen Menglei said this explains the meaning of the third line of *Qian*. "Virtue speaks of grandeur, propriety speaks of respect" means that virtue should be grand and propriety should be respectful. Whether a person is humble or arrogant depends on the thickness of his virtue: a person with thick virtue does not show signs of self-satisfaction, while a person with thin virtue cannot utter humble words. Just like bells and磬, the thicker the material, the slower and longer the sound; the thinner it is, the opposite. Therefore, having labor and merit without boasting or claiming, only the most sincere and thick-voiced person can do so. Grand virtue and respectful propriety are matters of cultivating oneself as a gentleman, not an intention to preserve official rank. However, since no one comes to compete for merit or labor, his position naturally remains secure and unlost. (The original text "sheng yu yuan" should be "sheng yu huan," and "bao lu wei" should be "bao lu wei.")

亢龍有悔。子曰：貴而無位，高而無民，賢人在下位而無輔，是以動而有悔也。釋乾上九，已入文言。不出戶庭，無咎。子曰：亂之所生也，則言語以為階。君不密則失臣，臣不密則失身，幾事不密則害成。是以君子慎密而不出也。釋節初九爻義。爻義就出處言，夫子推及言語之節。蓋兌有口舌象也。

The Line Statement of the Upper Nine of the Qian hexagram says: The dragon flies too high and will regret it. Confucius explains: Being in a lofty position without an actual post, holding a high status without the people, the virtuous are in lower positions and cannot be assisted, so any action will bring regret. Chen Menglei notes: This explains the Upper Nine of Qian, and the text has already been included in the Wenyan Transmission. The Line Statement of the Initial Nine of the Jie hexagram says: Not leaving the courtyard will not lead to fault. Confucius explains: The origin of calamity lies in words serving as a step: if the sovereign speaks carelessly, he will lose his ministers; if the ministers speak carelessly, they will lose their lives; if confidential matters are not kept secret, they will cause disaster. Therefore, the gentleman guards secrecy and does not speak carelessly. Chen Menglei notes: This explains the Initial Nine of Jie. The meaning of the line is originally about movement and stillness, but Confucius extends it to the restraint of speech; because the upper trigram of Jie is Dui, which symbolizes mouth and speech.

子曰：作易者，其知盜乎？易曰：負且乘，致寇至。負也者，小人之事也。乘也者，君子之器也。小人而乘君子之器，盜思奪之矣。上慢下暴，盜思伐之矣。慢藏誨盜，冶容誨淫。易曰：負且乘，致寇至，盜之招也。

Confucius said: The person who composed the Book of Changes must have understood the psychology of thieves. The line statement of the third line in the hexagram "Jie" says: "Carrying goods and sitting in a carriage, leading to the arrival of thieves." Carrying goods is the work of a petty person, while a carriage is an instrument used by a gentleman. When a petty person uses a gentleman's instrument, thieves will want to seize him. If those in high positions are arrogant and those in low positions are violent, thieves will want to attack them. If one is careless in storing property, it is as if one is teaching others to steal; if one dresses in a seductive manner, it is as if one is inviting others to commit lustful acts. The Book of Changes says, "Carrying goods and sitting in a carriage, leading to the arrival of thieves," which is precisely how one invites thieves to come.

釋解六三爻義。按，上慢下暴，大全作慢其上而暴其下，恐未的。竊意小人而乘君子句以德言，上下以位言。小人在上，驕慢不戒。小人在下，暴竊非據。皆盜所伐也。作易者不歸罪於盜而咎招盜之人，所以為知盜也。自中孚二爻至此，皆夫子擬議，示人以變化者。蓋爻義非辭不明，而天下事之變化，非辭可盡。故即諸爻以示三百八十四爻之例，蓋學者當觸類以及其餘也。右第八章。

Chen Menglei said that this is an explanation of the line six in the third of the hexagram "Xie" and a challenge to the old interpretations. He argued that the phrase "upper arrogance and lower brutality" was interpreted by "Zhou Yi Daquan" as "being arrogant to the upper and brutal to the lower," which he thought was not accurate. His own view was that "a petty person riding on the vehicle of a superior person" refers to moral character, while "upper" and "lower" refer to position: a petty person in a high position becomes arrogant and lacks restraint; a petty person in a low position becomes brutal and takes what is not his by right. Both situations are targets for punishment. The author of the Yi did not blame the thieves but instead blamed the one who invited the thieves, which shows his understanding of the psychology of thieves. Chen Menglei then summarized: from the line nine in the second of Zhongfou to here, all are the proposals of Confucius, used to demonstrate the changes of the Yi. The meaning of the lines cannot be explained clearly without words, and the changes of the world's affairs are not fully expressible by words. Therefore, by examining these few lines, the general principles of the 384 lines can be understood, and students of the Yi should infer the rest accordingly. This is the eighth chapter.

第九章論天地大衍之數，揲筮求卦之法。天一地二，天三地四，天五地六，天七地八，天九地十。此言天地之數陽奇陰偶，即所謂河圖也。人知河圖之數，不知天地之數，故孔子分屬之。其位一六居下為水，二七居上為火，三八居左為木，四九居右為金，五十居中為土。

Chapter Nine discusses the numbers of Heaven and Earth, the Great Derivation number, and the method of divining by counting the yarrow stalks. The text says: the number of Heaven is one, the number of Earth is two; the number of Heaven is three, the number of Earth is four; the number of Heaven is five, the number of Earth is six; the number of Heaven is seven, the number of Earth is eight; the number of Heaven is nine, the number of Earth is ten. Chen Menglei explains: this refers to the odd numbers representing Yang and the even numbers representing Yin, which is what is called the Yellow River Chart. People only know the numbers on the Yellow River Chart but do not realize that it is the numbers of Heaven and Earth. Therefore, Confucius assigned these numbers separately to Heaven and Earth. These numbers are arranged in the Yellow River Chart as follows: one and six are located at the lower position, belonging to Water; two and seven are located at the upper position, belonging to Fire; three and eight are located at the left position, belonging to Wood; four and nine are located at the right position, belonging to Metal; five and ten are located at the central position, belonging to Earth.

五行本五而有十，五行中又各有陰陽。如木有甲乙，火有丙丁，土有戊已，金有庚辛，水有壬癸故十也。數十而卦八者。十，五行之數。卦但取陰陽之象也。即一二三四得卦畫老少陰陽之象，即六七八九得揲筮老少陰陽之象。即中五為衍母，次十為衍子，而得揲筮求卦之原。至於因圖而畫卦，與先後天配合河圖之位，於河洛圖說詳之。此節所舉天地自然之數，以見大衍用五十之由耳。

The Five Phases originally consist of five elements, yet they are paired to form ten numbers, because each of the Five Phases is further divided into yin and yang. Wood is divided into Jia and Yi, fire into Bing and Ding, earth into Wu and Ji, metal into Geng and Xin, and water into Ren and Gui, thus forming ten. Numbers have ten, but trigrams only have eight, because ten represents the numbers of the Five Phases, while trigrams only take the images of yin and yang. From one, two, three, and four, the images of old yin, old yang, young yin, and young yang in the trigram lines can be derived. From six, seven, eight, and nine, the images of old and young yin and yang obtained by divination with yarrow stalks can be derived. Further, taking the central five as the 'origin' and the next ten as the 'offspring', the origin of divination with yarrow stalks is established. As for drawing trigrams based on the Yellow River Chart and how the earlier Heaven and later Heaven directions correspond with the positions of the Yellow River Chart, Chen Menglei says that these are discussed in detail in the section 'River and Luo Diagrams' of this book. This section presents only the natural numbers of heaven and earth, aiming to explain why the number fifty is used in the 'Great Derivation' (dàyǎn). (The original text says 'earth has Wu and Yi', but 'Yi' should be 'Ji'.)

天數五，地數五。五位相得而各有合。天數二十有五，地數三十。凡天地之數五十有五，此所以成變化而行鬼神也。天數五者，一三五七九皆奇也。地數五者，二四六八十皆偶也。相得，本義謂一與二、三與四、五與六、七與八、九與十，各以奇偶為類而自相得。有合，謂一與六、二與七、三與八、四與九、五與十皆兩相合。

The text says: Heaven has five numbers, Earth has five numbers, the five directions mutually correspond and each has its pairing; the total of Heaven's numbers is twenty-five, the total of Earth's numbers is thirty, and the combined total of Heaven and Earth is fifty-five, which is the basis for generating change and the movement of ghosts and spirits. Chen Menglei first explained according to the traditional view: Heaven's five numbers refer to one, three, five, seven, and nine, all odd numbers; Earth's five numbers refer to two, four, six, eight, and ten, all even numbers. What is meant by 'mutual correspondence' is that according to Zhu Xi's "The Original Meaning of the Zhou Changes," one pairs with two, three with four, five with six, seven with eight, nine with ten, each classified by odd and even numbers and paired with each other; what is meant by 'mutual combination' is that one pairs with six, two with seven, three with eight, four with nine, and five with ten, each pair combining with each other.

今就五位二字思之，此句頗有疑。竊意五位者，五行之位也。五行之位，北水、南火、東木、西金而中土。一與六皆水而居北。二與七皆火而居南。木金土亦然。水得水之位，火得火之位。所謂五位相得也。若一與二、三與四彼此相對，非五位之相得者矣。

Chen Menglei then raised his own doubts, suggesting that upon careful consideration of the term "wuwèi" (five positions), the explanation in "Benyi" seemed questionable. He believed that "wuwèi" referred to the directions associated with the Five Phases—water in the north, fire in the south, wood in the east, metal in the west, and earth in the center. One and six both belong to water and are located in the north, two and seven both belong to fire and are located in the south, and the other three phases—wood, metal, and earth—follow the same pattern. Water occupies the position of water, fire occupies the position of fire, and this is called "wuwèi xiangde" (five positions harmonizing). If, as "Benyi" suggests, one and two, three and four are contrasted with each other, then it would not be "wuwèi xiangde."

所謂有合者，固以一六、二七為合。而各字所包者廣。竊意皆與五數又有合也。蓋一二三四五者，生數也。六七八九十者，成數也。然行止五，大衍之數亦取五。一與五合而得六。二與五合而七。以至八、九、十皆然。又十干之中，甲與己合、乙與庚合、丙與辛合、丁與壬合、戊與癸合皆隔五位，所謂各有合也。二十有五，五奇之積，然亦五其五也。三十，五偶之積，然亦六其五也。河圖畫卦意義所取非一，此節敘大衍之數。所以獨取五十之原，故獨於此詳之耳。

As for "having a combination," although it can be explained by pairings such as one with six and two with seven, the text uses the word "each" which indicates a broader scope. Chen Menglei believes that these numbers also combine with "five": one, two, three, four, and five are called "generative numbers," while six, seven, eight, nine, and ten are called "completed numbers." The Five Phases consist of only five elements, and the number of the Great Derivation also takes five. One plus five makes six, two plus five makes seven, and so on up to eight, nine, and ten. Looking at the ten Heavenly Stems, Jia combines with Ji, Yi with Geng, Bing with Xin, Ding with Ren, and Wu with Gui, all of which are separated by five positions, which is why it is called "each has a combination." The number of Heavenly Stems is twenty-five, which is the sum of five odd numbers, and also five fives. The number of Earthly Branches is thirty, which is the sum of five even numbers, and also six fives. The meaning of the Yellow River Chart and the process of drawing the trigrams can be interpreted in various ways. Since this section is about the Great Derivation, it is necessary to explain why it specifically takes fifty, so it is explained in detail here. (The original text "然行止五" means "the Five Phases consist of only five," where "止" is a variant of "只," meaning "only.")

變化本義謂。一變生水而六化成之，二化生火而七成之，三變生木而八化成之，四化生金而九變成之，五變生土而十化成之。此處亦覺未合。蓋五行之生成在變化之前。此所謂變化，疑在五行生成之後。又以變字化字分屬，亦未得其解。

As for the phrase "cheng huà" in the classic text "cheng huà," the "Original Meaning of the Zhou Changes" explains it as: one "bian" (change) produces water and six "hua" (transformation) complete it; two "hua" produce fire and seven complete it; three "bian" produce wood and eight "hua" complete it; four "hua" produce metal and nine "bian" complete it; five "bian" produce earth and ten "hua" complete it. Chen Menglei also finds this explanation unsatisfactory. The generation of the Five Phases originally comes before change and transformation, so the "changes" mentioned here should probably come after the generation of the Five Phases. Moreover, he does not understand the basis for assigning the characters "bian" and "hua" to different numbers.

竊意水體陽而用陰而質最清，故天以一生水，地以六成之。火體陰而用陽而質次清，故地以二生火，天以七成之。木為少陽而質漸濁，故天以三生木，地以八成之。金為太陰而質更濁，故地以四生金而天以九成之。土中宮而質最濁，故天以五生土而地以十成之。五行各位其方，而四方即為四象。蓋自有天地而即有之，此五行之生成在未有變化之先也。

Chen Menglei then proposed his own explanation: water's essence is yang but its function is yin, and it is the clearest in quality, so heaven generates water with one, and earth completes water with six; fire's essence is yin but its function is yang, and it is the next clearest in quality, so earth generates fire with two, and heaven completes fire with seven; wood belongs to the lesser yang and is gradually more turbid in quality, so heaven generates wood with three, and earth completes wood with eight; metal belongs to the great yin and is even more turbid in quality, so earth generates metal with four, and heaven completes metal with nine; earth resides in the Central Palace and is the most turbid in quality, so heaven generates earth with five, and earth completes earth with ten. The five phases each occupy one direction, and the four directions are also the four images. This system has been present since the beginning of heaven and earth, indicating that the generation of the five phases occurred before there was any 'change'.

及五行既具。二氣運行，錯綜不一。所謂四象變化而庶類繁。聖人畫卦則由此而定先後天之位、而揲筮以求陰陽之數不外此。自一至十之數千變萬化皆從此出，故此所謂變化宜在五行生成之後。不必復以五行之生成分配變化也。鬼神，本義謂凡奇偶生成之屈伸往來者。蓋鬼神流行之妙，要不外於陰陽而已。此節未詳言本河圖以畫卦之原，不過言天地之數之原，以起下文大衍用五十之意也。

When the Five Phases are complete and the two energies of yin and yang begin to circulate, they intersect and combine, producing countless transformations, which is what Zhou Dunyi described in his "Tie Tu Tu Shuo" as "the four images change and myriad things flourish." The sages established the positions of the Earlier Heaven and Later Heaven based on this. Also, when using the divination method of casting the yarrow stalks to seek the numbers of yin and yang, it does not go beyond this scope. The myriad changes from one to ten all originate from this. Therefore, Chen Menglei concluded that the term "change" here should be understood after the generation of the Five Phases, and there is no need to use the generation of the Five Phases to assign the terms "change" and "transformation." As for the "ghosts and spirits" mentioned, the "Ben Yi" explains that they refer to the movement and interaction of all odd and even numbers generated from the yin and yang. Since the subtle workings of ghosts and spirits ultimately depend on yin and yang, he finally pointed out that this passage does not elaborate on the original basis of drawing the hexagrams according to the Yellow River Chart, but rather discusses the origin of the numbers of heaven and earth, leading to the meaning of the following text "the great derivation number is fifty."

大衍之數五十，其用四十有九。分而為二以象兩。掛一以象三。揲之以四以象四時，歸奇於扐以象閏。五歲再閏，故再扐而後掛。河圖五十有五者，天地自然之數也。大衍之數五十，聖人又即河圖中宮天乘地十而得之者也。河圖洛書，皆五居中而為數。故在天為五星，在地為五行，在人為五常。五者，數之祖也。數始於一，備於五。小衍之成十，大衍之而成五十。五十，數之成也。成則不動，故虛天一不用而取四十有九。此皆理數之自然，非人力所能損益也。

The text says: The number of great derivation is fifty, but only forty-nine is actually used. The divination stalks are divided into two parts to symbolize the two principles of heaven and earth. One stalk is taken out to symbolize the three elements. The remaining stalks are counted in groups of four to symbolize the four seasons. The leftover stalks are held between the fingers to symbolize the leap month. There are two leap months in five years, so the leftover stalks are held twice and then one is taken out again. Chen Menglei explains: The number in the Yellow River Chart is fifty-five, which is the natural number of heaven and earth. The number of great derivation being fifty comes from the central palace of the Yellow River Chart, where heaven five multiplies with earth ten. The original text omits the character 'five' in 'heaven multiplied by earth ten'. Both the Yellow River Chart and the Luo Writing use five as the center to form numbers. In heaven it becomes the five stars, in earth it becomes the five phases, and in humans it becomes the five constants. Five is the ancestor of all numbers. Numbers start from one and become complete at five. Small derivation leads to ten, and large derivation leads to fifty. Fifty is the completion of numbers. Once completed, it does not move again, so the stalk representing heaven one is left out, and only forty-nine are used. All of this is natural in principle and number, not something that human effort can add or subtract.

兩，兩儀。天地也。掛，縣其一於左手小指之間也。三，三才也。揲，數之也。奇，所扐四數之餘也。扐，勒於左手中三指之兩間也。閏，積月之餘日而成月者也。象閏者，以其所歸之餘策而象日之餘也。

Chen Menglei explains the terms of the method of divination with yarrow stalks: "Liang" refers to the two principles, meaning heaven and earth; "gua" is to suspend one yarrow stalk between the gap of the index finger and the ring finger of the left hand; "san" refers to the three elements; "xie" is to count the stalks in groups of four; "qi" is the remainder left after counting in groups of four; "re" is to place this remainder between the gaps of the middle three fingers of the left hand; "run" is the accumulation of the extra days in each month to form an additional month. The term "xiang run" refers to using the accumulated remainders to symbolize the extra days in the calendar.

五歲再閏者，一年十二月氣盈六日，朔虛六日，共餘十二日。三年則餘三十六日。分三十日為一月，又以六日為後閏之積。其第四、第五年又各餘十二日。以此二十四日湊前六日。又成一閏。此是五歲再閏也。掛一當一歲。揲左當二歲。扐左則三歲一閏矣。又揲右當四歲。扐右則五歲再閏矣。再扐而後掛者。再扐之後復以所餘之蓍合而為一。為第二變再分再掛再揲也。獨言掛者。分二揲四皆在其中矣。此則象再閏也。

The phrase "five years with two leap months" refers to the fact that in a year of twelve months, the excess of the solar terms is six days, while the deficiency of the new moon is also six days, totaling an excess of twelve days. In three years, this adds up to thirty-six days, from which thirty days are taken to form a leap month, leaving six days as a reserve for the next leap month. In the fourth and fifth years, another twelve days are added each year, making twenty-four days in total, which combined with the previous six days, form another leap month. Thus, two leap months are arranged within five years. Corresponding to the divination with yarrow stalks: hanging one stalk represents the first year, counting the stalks in the left hand represents the second year, and gathering the leftover stalks from the left hand signifies the leap month after three years. Then counting the stalks in the right hand represents the fourth year, and gathering the leftover stalks from the right hand signifies the leap month again after five years. The phrase "after two gatherings, then hang" means that after two times of gathering the leftovers, the remaining stalks are combined into one bundle, and the second transformation begins, repeating the process of dividing into two, hanging one, and counting four. The text only mentions "hanging" because dividing into two and counting four are already included in the process. This sentence symbolizes the second leap month within the five-year period.

乾之策二百一十有六，坤之策百四十有四。凡三百有六十，當期之日。凡此策數在生於四象。蓋河圖四面。太陽居一而連九。少陰居二而連八。少陽居三而連七。太陰居四而連六。揲筮之法則通計三變之餘，去其初掛之一。凡四為奇，凡八為偶。奇圓圍三，偶方為四。三用其全則三奇為九。四用其半則三偶為六。

The text says: The number of measures for the Qian trigram is 216, and for the Kun trigram is 144. Together they total 360, which exactly corresponds to the number of days in a year. Chen Menglei explains: These numbers of measures all originate from the four images. The Yellow River Chart is divided into four directions. The sun is in the first position and connected with nine, the lesser yin is in the second position and connected with eight, the lesser yang is in the third position and connected with seven, and the greater yin is in the fourth position and connected with six. The method of divination with yarrow stalks involves adding up the leftover stalks from three changes and subtracting the one initially set aside. If there are four leftover stalks, it is considered 'odd'; if there are eight, it is considered 'even'. Odd belongs to roundness, and the circumference of a circle is counted as three; even belongs to squareness, and the side of a square is counted as four. Three takes its full number, so three odds combine to make nine; four takes half of it, so three evens combine to make six.

如三揲掛扐通十三策去初掛之一為十二，是三奇為九矣。而其揲亦九策，亦四九三十六，是為居一之黴老陽。三揲掛扐通十七策去初掛之一為十六，是二奇一偶則為八矣。而其揲亦八策，亦四八三十二，是為居二之少陰。三揲掛扐二十一策去初掛之一為二十，是二偶一奇則為七矣。而其揲亦七策，亦四七二十八，是為居三之少陽。三揲掛扐二十五策去初掛之一為二十四，是三偶為六矣。而其揲亦六策，亦四六二十四，是為居四之老陰。

For example: When three times divining with yarrow stalks, the total number of stalks hanging and between them is thirteen. Subtracting the initial one hanging, we get twelve, which is three odd numbers, resulting in a count of nine. This line actually corresponds to nine groups of four, which is thirty-six stalks, representing the old yang at the first position according to the Yellow River Chart. When the total number of stalks hanging and between them is seventeen, subtracting the initial one hanging gives sixteen, which is two odd and one even, resulting in a count of eight. The divination here corresponds to eight groups of four, which is thirty-two stalks, representing the young yin at the second position. When the total number of stalks hanging and between them is twenty-one, subtracting the initial one hanging gives twenty, which is two even and one odd, resulting in a count of seven. The divination here corresponds to seven groups of four, which is twenty-eight stalks, representing the young yang at the third position. When the total number of stalks hanging and between them is twenty-five, subtracting the initial one hanging gives twenty-four, which is three even numbers, resulting in a count of six. The divination here corresponds to six groups of four, which is twenty-four stalks, representing the old yin at the fourth position. ('Residing at the first position, old yang,' the character '霉' is a corrupted character in the original text.)

此言乾之策二百一十有六，坤之策百四十有四者。專以乾坤之六爻老陰老陽言之。蓋少陰退而未極乎虛，少陽進而未極乎盈，故獨以老陰老陽為言也。然得乾者未必皆老陽，得坤者亦未必皆老陰。但以乾坤有老陰老陽之象，六子有少陰少陽之象，故以老陰老陽計乾坤六爻之策數而其餘可推也。至於三百六十則陰陽之合，其數必齊。

Chen Menglei pointed out that the number of策 for the Qian hexagram is 216 and for the Kun hexagram is 144, which are calculated specifically based on the six lines of Qian and Kun all being old yang or old yin. This is because the young yin has not yet retreated to the extreme and the young yang has not yet advanced to the extreme, so only the old yin and old yang are mentioned. However, in actual divination, the six lines of the Qian hexagram obtained may not all be old yang, and the six lines of the Kun hexagram obtained may not all be old yin. This is because the Qian and Kun hexagrams have the image of old yin and old yang, while the other six subsidiary hexagrams, Zhen, Kan, Gen, Xun, Li, and Dui, have the image of young yin and young yang. Therefore, the number of策 for the six lines of Qian and Kun hexagrams is calculated based on old yin and old yang, and the other hexagrams can be inferred by analogy. As for the total number of 360, it is the result of the combination of yin and yang, and the numbers must necessarily be consistent.

若乾坤之爻皆得於少陰少陽。則乾之策六其二十八而為百六十八，坤之策六其三十二而為百九十二，其合亦為三百六十也。期，周一歲也。一歲凡三百六十五日四分日之一，此特舉成數言之耳。當者，適相當。非以彼準此也。

If the lines of the hexagrams Qian and Kun are all considered as minor yang and minor yin, then the number of measures for Qian is six times twenty-eight, totaling one hundred sixty-eight; for Kun, it is six times thirty-two, totaling one hundred ninety-two. Together, they sum up to three hundred sixty. "Period" refers to a whole year; in reality, a year is three hundred sixty-five and one fourth days, but here it is merely used as a whole number. The term "when" means exactly corresponding, not implying that the number of days in a year is used to measure the number of measures.

二篇之策，萬有一千五百二十。當萬物之數也。二篇，上下經也。老陽爻百九十二得六千九百一十二策。老陰爻百九十二得四千六百八策。合之得萬有一千五百二十，以當萬物之數。非謂物止此數，亦極言其多耳。若兩篇皆少陰少陽之數，合之亦為萬一千五百二十也。

The text says: The total number of strategies in the upper and lower parts is eleven thousand five hundred and twenty, exactly equivalent to the number of all things. Chen Menglei explains: "The two parts" refer to the Upper and Lower Classics of The Zhou Changes. There are sixty-four hexagrams with a total of three hundred and eighty-four lines. If all the yang lines are counted as old yang, each line has thirty-six strategies, totaling six thousand nine hundred and twelve strategies; if all the yin lines are counted as old yin, each line has twenty-four strategies, totaling four thousand six hundred and eight strategies; when these two numbers are added together, they exactly make eleven thousand five hundred and twenty, which is used to represent the number of all things. This does not mean that all things are only this number, but rather it is a way of emphasizing their multitude. If both parts are calculated according to the strategies of young yin and young yang, the total is still eleven thousand five hundred and twenty.

是故四營而成易，十有八變而成卦。四營，分二掛一揲四歸奇也。易謂一變也。三變成爻，十有八變成六爻也。八卦而小成。謂九變成三畫，得內卦也。引而伸之，觸類而長之，天下之能事畢矣。此又就六爻大成之後視其變與否。則一卦可變為六十四卦以定吉凶，凡四千九十六卦也。能事，即下文顯道神德行、酬酢、佑神也。

The text says: Four procedures complete one "change" of the "Yi," and eighteen changes complete one hexagram. Chen Menglei explains: "Four camps" refer to dividing into two, hanging one, drawing four, and returning the odd. Here, "Yi" refers to one change. Three changes form one line, and eighteen changes form six lines. The text also says: "The eight trigrams are a small completion," which refers to nine changes forming three lines to obtain the inner trigram. The text further says: "Extending it further, classifying and applying it broadly, all things under heaven are complete." Chen Menglei explains that this sentence refers to after the six lines are fully formed, considering whether the hexagram changes or not: one hexagram can change into sixty-four hexagrams to determine fortune and misfortune. The sixty-four hexagrams each change into sixty-four, totaling four thousand and nine十六 hexagrams. The term "able things" refers to the following: manifesting the Dao, divine virtue, responding appropriately, and receiving divine assistance.

顯道神德行，是故可與酬酢，可與祐神矣。道隱，而無形者也。因辭而顯其吉凶，以示乎人。德行，人之所為者也。因數而決其行止，則皆神之所為矣。隱者顯之以示人，顯者神之以合天。則明可以酬酢事物之宜，而幽可以輔助鬼神之功矣。受命如嚮。如賔主之應對，故曰酬酢。神不能言吉凶以示人。蓍卦有辭代鬼神言之，是佑助鬼神所不及也。此又極言因筮求卦之妙也。

The classic text says: The Book of Changes can reveal the Way, making human virtue profound and mysterious, thus enabling people to respond and interact with each other, and to assist the divine. Chen Menglei explains: The Way is hidden and without form, but the statements of the hexagrams and lines make auspiciousness and misfortune visible to people. Virtue is something humans cultivate themselves, but by using the divination numbers, one determines whether to act or to stop, thus transforming it into the actions of the divine. By revealing the hidden, it becomes visible to people; by transforming the manifest, it becomes divine and harmonizes with Heaven. Thus, in the bright realm, one can respond appropriately to things, and in the hidden realm, one can assist the functions of spirits and deities. When one asks for a divination, there is an immediate response, as if between the questioner and the oracle there is a dialogue, hence it is called "chouce." The divine itself cannot speak to people about auspiciousness and misfortune, but the divination with yarrow stalks has statements that can speak on behalf of spirits and deities, thus accomplishing what the divine cannot do. This sentence further emphasizes the marvelous nature of seeking divination through the Book of Changes.

子曰。知變化之道者，其知神之所為乎。此復加子曰，以別上文也。變化，即上文大衍之數與揲筮求卦之法也。陽變為陰陰變為陽，皆非人之所能為。故曰神。道者，本然之妙。神者，所以然之故也。全章論天地之數，次論蓍之策之數，末論卦畫之數，而終贊因筮求卦之妙也。右第九章。

Confucius said: Those who understand the principle of change probably also understand the workings of the divine! Chen Menglei's commentary: The addition of "Zi Yu" here is to distinguish it from the previous text. What is meant by "change" refers to the great derivation number and the method of divination using the yarrow stalks mentioned earlier. The transformation of yang into yin and yin into yang cannot be achieved by human effort, hence it is called "divine." "Dao" refers to the inherent subtlety, while "shen" refers to the reason for such subtlety. He concludes the entire chapter by first discussing the numbers of heaven and earth, then the numbers of the yarrow stalks, and finally the numbers of the hexagrams, ending with admiration for the marvelous nature of divination through the yarrow stalks. This is the ninth chapter.

第十章承上章而言易中之用有四者，皆神之所為也。易有聖人之道四焉：以言者尚其辭，以動者尚其變，以制器者尚其象，以卜筮者尚其占。以，用之也。尚，取也。指其所之者，易之辭也。以言者為尚之，則言無不不當矣。化而裁之者，易之變也。以動者尚之，則動無不時矣。象其物宜者，易之象也。制器者尚之，則可以盡創物之智矣。極數知來者，易之占也。卜筮者尚之，則可以窮先知之神矣。

Chapter Ten continues from the previous chapter, discussing four uses of the Book of Changes, all of which are the workings of the "divine." The text says: The Book of Changes contains four kinds of the sage's way — using it to speak, it relies on its words; using it to act, it relies on its changes; using it to make objects, it relies on its images; using it for divination, it relies on its divination. Chen Menglei interprets "以" as "to use" and "尚" as "to take," and explains each point: indicating the direction of affairs is the Book of Changes' words, and those who speak take it as a model, so their speech will never be inappropriate; changing and regulating is the Book of Changes' changes, and those who act take it as a model, so their actions will never be out of season; taking the image of things' suitability is the Book of Changes' images, and those who make objects take it as a model, so they can exhaust the wisdom of creating objects; exhausting the yarrow stalks and foreseeing the future is the Book of Changes' divination, and those who divinate take it as a model, so they can exhaust the marvelous insight into foretelling the future. (The original text "则言无不不当矣" has an extra "不.")

辭與占為類，觀其辭乃可知其占。故下文至精，合辭與占言之。變與象為類。變者，事之方始。象者，事之已成。故下文至變，合變與象言之。四者唯變難知。變雖在辭象占之外，實不出乎辭象占之間也。

Chen Menglei further categorized these four elements into pairs: "Ci" and "Zhan" belong to one category. One must look at "Ci" to know the outcome of the divination, so when the text later speaks of "Zhi Jing," it discusses "Ci" and "Zhan" together. "Bian" and "Xiang" belong to another category. "Bian" refers to the beginning of an event, while "Xiang" refers to the formed state of an event. Therefore, when the text later speaks of "Zhi Bian," it discusses "Bian" and "Xiang" together. Among the four, "Bian" is the most difficult to grasp. Although "Bian" seems to be outside of "Ci," "Xiang," and "Zhan," in reality, it does not go beyond the scope of these three.

是以君子將有為也，將有行也，問焉而以言，其受命也如嚮，無有遠近幽深，遂知來物。非天下之至精，其孰能與於此。此節言尚辭尚占之事。問焉而以言。按，本義謂以言與以言者尚其辭之以言同。謂以之發言處事也。今按，經文上已有有為有行，此又補以言，語氣未順。又按，大全朱子又云言是命龜。受命是龜受命。此說較順，今從之。至精，窮理於精微也。

The text says: Therefore, when a gentleman intends to act or take action, he consults the Book of Changes and seeks guidance through words. The Book of Changes accepts the inquiry and responds as swiftly as an echo, revealing future events regardless of distance or depth. If it is not the most subtle thing in the world, who could achieve this? Chen Menglei says that this passage discusses the method of using words and divination. Regarding the phrase "asked with words," The Original Meaning of the Zhou Changes interprets the "with words" here as the same as the "with words" in the previous phrase "those who use words should value their words," meaning to use the Book of Changes to express and act. However, he found this interpretation unsatisfactory, because the text above already mentions "having action" and "having movement," and adding "with words" again would make the tone awkward. He then checked The Complete Commentary on the Zhou Changes and found that Master Zhu had another interpretation: "words" refers to the command given to the yarrow stalks or the tortoise shell, and "receiving the command" means the yarrow stalks or tortoise shell accepting this command. This interpretation is more coherent, so he adopted this view. "To the most refined level" means to investigate the principles until they are thoroughly understood at the subtlest level.

參伍以變，錯綜其數。通其變，遂成天地之文。極其數，遂定天下之象。非天下之至變，其孰能與於此。按，本義謂尚象之事。變，謂事之未定者也。要之此節總承上尚變尚象言之。參伍以變，交互參考之意。然按筮法。每爻三揲為三變。而每揲之中象兩、象三、象四時、象閏、象再閏。雖曰四營，實五小變。所謂參伍以變也。

The text says: By repeatedly exploring changes, and interweaving and combining their numbers, one can fully understand the transformations and thus achieve the cultural patterns of heaven and earth; by exhausting the numbers, one can determine the forms of all things beneath heaven. If it is not the most changeable thing in the world, who could reach this level? Chen Menglei says that The Original Meaning of the Zhou Changes treats this section as specifically discussing "valuing images," but he believes this section is a summary of both "valuing transformation" and "valuing images" mentioned earlier. "Three and five to change" refers to the idea of cross-referencing. According to the method of divination, each line is determined by three counts, forming three transformations, and within each count there are images of two principles, three elements, four seasons, leap years, and double leap years, making it though referred to as "four enclosures," actually five small transformations, which is what is called "three and five to change."

錯，謂分而配之。三奇為老陽，三偶為老陰，兩奇一偶為少陰，兩偶一奇為少陽是也。綜，謂合而總之。總記左右手之正策得四六、四七、四八、四九之數是也。此二語止論一爻之法也。通其變，謂通六爻十有八變而成初二三四五上剛柔相雜之文也。極其數，謂極六爻七八九六而得內外兩卦天地雷風水火山澤之象也。此二句論成卦之法也。三變而成爻，十有八變而成卦。易之有象，天下之至變者無以加之矣。

"Chuo" refers to separating and pairing: three odd lines form an old yang, three even lines form an old yin, two odd and one even form a young yin, and two even and one odd form a young yang. "Zong" refers to combining and totaling: after three changes, the remaining correct lines in both hands are summed up, resulting in numbers such as twenty-four, twenty-eight, thirty-two, and thirty-six, which correspond to the numbers six, seven, eight, and nine for the yao. These two sentences only explain the method for one yao. "Tong qi bian" means to connect the changes of the six yao, achieving the intermingling of yang and yin in the positions of the first, second, third, fourth, fifth, and upper lines, forming the patterns. "Ji qi shu" means to exhaust the numbers of the six yao, seven, eight, nine, and six, obtaining the external and internal trigrams of heaven, earth, thunder, wind, water, fire, mountain, and marsh, which are the images. These two sentences explain the method of forming a hexagram. Three changes form one yao, and eighteen changes form one hexagram. The "Book of Changes" has images, and nothing in the world is more changeable than it.

易無思也，無為也。寂然不動，感而遂通天下之故。非天下之至神，其孰能與於此。此四者，易之體所以立而用之，所以行者也。易，指蓍卦。無思無為，蓍策本無心者也。寂然者其體，感通者其用。此專就蓍卦而言。然而人心動靜之妙亦如此，唯聖人能之耳。

The text says: The Book of Changes has no thoughts, no actions, is still and motionless, but once it responds to a stimulus, it understands all events throughout the world. If it is not the most mysterious thing in the world, who could achieve this? Chen Menglei says that the four aspects of no thought, no action, stillness, and responsive communication are precisely the reason why the essence of the Book of Changes is established and its function operates. Here, the term "Easy" refers to the yarrow stalks and the hexagrams: no thought and no action mean that the yarrow stalks have no intention; stillness is its essence, and responsive communication is its function. This passage specifically discusses the yarrow stalks and hexagrams, yet the subtle workings of the human mind's activity and stillness are also like this, but only the sage can achieve it.

夫易，聖人之所以極深而研幾也。極深承至精，研幾承至變。如幽明之故、死生之說，易中之至精者本深也，聖人即此以極其深。如吉凶悔吝之萌，人不自覺，易中之至變者其幾也，聖人即此以研其幾。極深，大學之所謂知止。研幾，大學之所謂能慮。上文至精至變至神，易之體也。下文惟深惟幾惟神，易之用也。此句承上起下。

The text says: The Book of Changes is used by the sage to explore the profound and investigate the subtle. Chen Menglei points out: "Extremely profound" follows the previous "most refined," and "investigating the subtle" follows the previous "most changeable." Things like the reasons of yin and yang and the principles of life and death are the most refined aspects of the Book of Changes, which are inherently profound, and the sage thoroughly investigates them. Similarly, the initial emergence of good fortune, regret, and hardship that people have not yet perceived is the most changeable aspect of the Book of Changes, which is called "ji." The sage carefully investigates it. "Extremely profound" corresponds to "knowing the goal" in the Great Learning, and "investigating the subtle" corresponds to "being able to think deeply" in the Great Learning. The previous "most refined," "most changeable," and "most divine" refer to the essence of the Book of Changes, while the following "only profound," "only subtle," and "only divine" refer to its application. This sentence effectively connects the previous and following parts.

唯深也，故能通天下之志。唯幾也，故能成天下之務。唯神也，故不疾而速，不行而至。唯易之能極深也，故以辭為占。則可以前知，而開通天下人之心志。唯易之能研幾也，故以變得象。則可以制作，而完成天下人之事務。然辭占變象所以能如此者，皆妙不可測之神為之。唯其妙不可測，故不待疾之而自速，不待行之而自至。謂自然而然，非人所能為也。天下之理，唯疾故速，唯行故至。未有不疾而速，不行而至者。蓋不如是，不足以為神也。神莫神於心。此所謂神，亦就易書言之。

The text says: Because it is profound, it can understand the aspirations of people throughout the world; because it is subtle, it can accomplish the affairs of people throughout the world; because it is mysterious, it does not need to hurry and yet is swift, does not need to move and yet reaches its destination. Chen Menglei explains: Precisely because the Book of Changes thoroughly investigates the profound, by using the line statements of the hexagrams for divination, one can foresee things in advance, thus understanding the aspirations of people throughout the world; precisely because the Book of Changes thoroughly examines the subtle, by using change to obtain symbolic images, one can create tools and thus accomplish the affairs of people throughout the world. However, the reason why the words, divination, change, and images can be like this is entirely due to the mysterious "spirit" at work. Because it is mysterious, it does not need to hurry and yet is swift, does not need to move and yet reaches its destination. This is natural and spontaneous, something that human effort cannot achieve. Normally, worldly affairs are swift only when hurried, and reach their destination only when they move; there has never been a case where something is swift without hurrying or reaches its destination without moving. If it were not so, it would not be called "spirit." He finally adds: There is no spirit more mysterious than the human mind. The spirit referred to here is still in reference to the Book of Changes.

子曰。易有聖人之道四焉者，此之謂也。觀變玩占，可見其精。觀象玩辭，可知其變。然非有寂然感通之神，何以為精何以為變哉。變化之道皆神所為。易有聖人之道四焉，無非變化之道而已矣。右第十章。

Confucius said: The "Yi" contains four kinds of the Way of the sage, which are these. Chen Menglei concluded by saying: Observing change and contemplating divination can reveal the subtle essence of the "Yi"; observing things and contemplating words can understand the transformation of the "Yi." However, without that still and unmoving spirit which responds to all things, by what means can there be such subtlety or such transformation? The way of transformation is entirely caused by the spirit. The four kinds of the Way of the sage in the "Yi" are in the end nothing but the way of transformation. This is Chapter Ten.

第十一章專言卜筮之事。子曰。夫易，何為者也。夫易開物成務，冒天下之道，如斯而已者也。是故聖人以通天下之志，以定天下之業，以斷天下之疑。

Chapter eleven mainly discusses divination and augury. Confucius said: What is the purpose of the Book of Changes? The Book of Changes can reveal the nature of all things and accomplish all affairs, encompassing all the principles under heaven, nothing more than that. Therefore, the sage uses it to understand the aspirations of people throughout the world, to establish the undertakings of the world, and to resolve the doubts of the world.

開物，謂人所未知者開發之。成務，謂人所欲為者成全之。冒天下之道，謂卦爻既設而天下之道皆包括於其中也。易之道本如此。而聖人以之教人卜筮，以知吉凶。易能開物，則於人所未知者開發之，而通天下之志矣。能成務，則於人所欲為者成全之，而定天下之業矣。能冒天下之道，則於萬事萬物之得失莫遁其情，有以斷天下之疑矣。卜筮之妙如此。

Chen Menglei explains sentence by sentence: "Kaiwu" means to reveal things that people do not yet know, "Chengwu" means to accomplish things people wish to do, and "Mang tianxia de dao" means that once the hexagrams and lines are established, all the principles of the world are included within them. The way of the Book of Changes is inherently like this, and the sages used it for divination so that people could know fortune and misfortune. The Book of Changes can reveal things people do not yet know, thus understanding the aspirations of people throughout the world; it can accomplish things people wish to do, thus establishing the affairs of the world; it can encompass all the principles of the world, making the gains and losses of all things evident, thus resolving the doubts of the world. The wonder of divination lies precisely here.

是故蓍之德圓而神，卦之德方以知，六爻之義易以貢。聖人以此洗心，退藏於密，吉凶與民同患。神以知來，知以藏往，其孰能與於此哉。古之聰明睿知，神武而不殺者夫。

The classic text says: Therefore, the virtue of the yarrow stalks is round and profound, the virtue of the hexagrams is square and wise, and the meaning of the six lines is conveyed through change. The sages use these to purify their hearts, retreat and conceal themselves in secrecy, sharing the joys and sorrows of the people; using their profound insight to foresee the future, and their wisdom to remember the past—how could anyone achieve this? Perhaps it is the ancient sage who was wise and intelligent, mighty and miraculous, yet never resorted to violence.

圓神，謂變化無方。方知，謂事有定理。易以貢，謂變易以告人。蓋蓍以七為數，七七四十九而屬陽。分掛揲扐，陰陽老少變化無方，圓而神也。卦以八為數，八八六十四而屬陰。吉凶得失一定不易，方以知也。貢，猶告也。三百八十四爻剛柔迭用，九六相推。其理變易以告人，易以貢也。

Chen Menglei explains: "Round and divine" refers to the fact that change has no fixed place, "square to know" refers to the fact that things have definite principles, and "easy to contribute" refers to using change to inform people. The yarrow stalks use seven as a number, with seven sevens making forty-nine, which belongs to yang; when dividing into two, hanging one, taking four, and returning the remainder, the transformation of yin and yang, old and young, is unpredictable, so it is said to be round and divine. The hexagram uses eight as a number, with eight eights making sixty-four, which belongs to yin; once good fortune, misfortune, gain, and loss are determined, they do not change, so it is said to be square and wise. "Contribute" means to inform: the 384 lines of the hexagram alternate between yang and yin, with nine and six shifting in turn, and its principles are conveyed through change, which is called "easy to contribute."

此以上皆承上節言易之妙也。聖人以下就畫前之易，易理在聖人之心者言之。洗心者，心純乎理，別無所累。非有私而洗之也。退藏於密者，寂然未動，人莫能窺。非有意藏之也。吉凶民同患者，既得吉矣又患其凶。凶固民之所患，吉亦民之所患。聖人之心與民同之也。

Chen Menglei said that all the above is continuing the discussion from the previous section about the marvelous nature of the Book of Changes. From "The sage thus purifies his mind" onwards, the discussion shifts to the "Book of Changes before the trigrams were drawn," focusing on the aspect of the principles of the Book of Changes existing in the sage's mind.所谓 "purifying the mind" means that the mind is entirely filled with heavenly principles, without any worldly attachments; it is not that one originally had private thoughts and then washed them away.所谓 "retreating into secrecy" means being still and unmoving, so that others cannot see into it; it is not that one deliberately hides it.所谓 "good fortune and misfortune are shared by the people" means that once good fortune is obtained, one also worries about the following misfortune. Misfortune is indeed what the people fear, but good fortune is also something the people fear, for the sage's mind shares the same concerns as the people.

神以知來，承上圓而神。知以藏往，承上方以知。蓍未有定數，故曰知來。卦已有定體，故能藏往。聖心之神知亦然也。言聖人之心體具三者之德。故當無事之時，心之體虛靈寂靜，人莫能窺，所謂洗心退藏於密也。及其有事之時，心之用隨感輒應，終始畢照，所謂吉凶同患、知來藏往也。此節即上章所謂寂然不動感而遂通者，而此特就易之在聖心者言之也。

"The divine knows the future" follows from the previous "round and divine," and "knowledge preserves the past" follows from the previous "square and knowing." The yarrow stalks have not yet determined their numbers, so they are said to be able to know the future; the hexagrams have already fixed their forms, so they can preserve the past. The "divine" and "knowledge" in the sage's mind are also like this. This means that the sage's mind possesses the virtues of the yarrow stalks, hexagrams, and lines: when there is nothing happening, the mind's essence is empty and still, invisible to others, which is called "purifying the mind" and "retreating into secrecy"; when there is something happening, the mind's function responds to things as they arise, and from beginning to end, everything is clearly perceived, which is called "sharing in both good fortune and misfortune" and "knowing the future and preserving the past." This passage is essentially the same as the previous chapter's statement "quiet and unmoving, yet responsive when touched," but here it specifically discusses the aspect of the principles of the Book of Changes existing within the sage's mind.

神武不殺。按，本義謂得其理而不假其物之謂，謂無卜筮而知吉凶也。據此則神武不殺作取譬之詞，以文義求之有疑。按，王注言服萬物不以威則刑也。竊按，王注近是。蓋此二句設為問答讚歎之辭，以起下文與神物前民用之意。蓋指伏羲氏也。神足以開物，知足以成務，聰明睿知也。吉凶之斷，神武之決也。與民同患，不殺之仁也。故下文遂言聖人建立卜筮之事。蓋惟聖人體備全易之理，乃有易之書也。

Regarding the phrase 「神武而不杀」, Zhu Xi in his commentary The Original Meaning of the Zhou Changes explains it as understanding the principle without necessarily relying on the divination tools of yarrow stalks and tortoise shells, meaning one can know good and bad fortune without the need for divination. Chen Menglei pointed out that according to this interpretation, 「神武而不杀」 becomes a metaphorical expression, and from a textual perspective, it is questionable. He checked Wang Bi's commentary, which states that it refers to making all things obey without using force or punishment, and he considered Wang Bi's interpretation closer to the original meaning. His own view is that these two sentences are phrased in the form of a question and answer, serving as a commendatory tone to introduce the following sentence 「兴神物以前民用」, which refers to Fuxi. The miraculous ability to develop all things and the wisdom to accomplish affairs is called 「聪明睿知」; determining good and bad fortune is the decisive judgment of 「神武」; sharing the people's worries is the benevolent heart of 「不杀」. Therefore, the following text continues to talk about the sage's establishment of divination. Only when a sage fully possesses all the principles of the Book of Changes can there be the Book of Changes.

是以明於天之道，而察於民之故，是興神物，以前民用。聖人以此齋戒，以神明其德夫。天之道，陰陽寒暑之運行皆是也。民之故，倫常日用之云為皆是也。明天之道，則知神物之可興。察民之故，則知民用之不可無以開其先。神物，即蓍龜也。湛然純一之謂齋，肅然警惕之謂戒。

The classic text says: Therefore, the sage understands the way of Heaven, and investigates the affairs of the people, thus creating divination tools such as the yarrow stalks and the tortoise shell, to precede the people's use and guide them. The sage uses these tools with self-restraint, making his virtue profound and clear. Chen Menglei explains: "The way of Heaven" refers to the operation of yin and yang, cold and heat; "the affairs of the people" refer to all actions concerning propriety and daily life. Understanding the way of Heaven shows that divine objects can be used; investigating the people's affairs shows that daily life cannot proceed without something to guide it first. "Divine objects" refer to the yarrow stalks and the tortoise shell. A pure and single-minded mind is called "zhai," and a solemn and alert spirit is called "jie."

聖人明於天人之故，而作為卜筮以教人。而於此齋戒，以考其占。使其心神明不測，如鬼神之知來，故曰神明其德。上言聖人以此洗心者，此心至靜而易體具也。此言以此齋戒者，此心至敬而易之用行也。

The sages understood the principles of heaven and humanity, and thus created divination methods to teach people. They also observed fasting and self-discipline when performing divination, using this to test the results obtained, making their minds profound and unpredictable, like ghosts and spirits who can foresee the future. Therefore, it is said, "The virtue is divine." Chen Menglei particularly pointed out the difference between the two passages: the previous text says "the sages used this to purify their hearts," meaning that the mind was extremely quiet and the essence of the Book of Changes was already present; here it says "the sages used this to fast and be solemn," meaning that the mind was extremely sincere and respectful, allowing the application of the Book of Changes to function.

是故闔戶謂之坤，闢戶謂之乾，一闔一闢謂之變，往來不窮謂之通。見乃謂之象，形乃謂之器，制而用之謂之法，利用出入，民咸用之謂之神。此節言揲卦布爻之事。闔戶謂之坤，言畫偶爻也。凡偶皆屬陰為坤。闢戶謂之乾，言畫奇爻也。凡奇皆屬陽為乾。先言坤者，由靜而動。猶言陰陽也。

The text says: Therefore, closing the door is called Kun, opening the door is called Qian, one closing and one opening is called change, and continuous movement is called communication; appearing is called image, taking form is called vessel, making and using is called method, and being applicable in coming and going, used daily by the people, is called spirit. Chen Menglei says that this passage discusses the process of divining a hexagram by counting the yarrow stalks and arranging the lines. "Closing the door is called Kun" refers to drawing an even line, and all even lines belong to yin and are associated with Kun; "Opening the door is called Qian" refers to drawing an odd line, and all odd lines belong to yang and are associated with Qian. First mentioning Kun and then Qian indicates movement from stillness to action, just like the common pairing of "yin and yang."

一闔一闢謂之變者，六畫既成，剛柔相雜，言成卦也。往來不窮謂之通者，九六之動，爻相往來，謂之通也。見於蓍策，有陰陽老少，謂之象也。形於卦爻，有剛柔動靜，謂之器也。制揲蓍以教人，使知分掛揲扐，謂之法也。一出一入，審其吉凶以為趨避，謂之神也。

"When one closes and one opens, this is called change," meaning that after the six lines are drawn, the yin and yang lines intermingle, which refers to forming a hexagram; "movement without end is called communication," meaning that the movement of the yin and yang lines (nine and six) causes the lines to interact with each other, which is called communication. Manifested in the divination stalks, there is a distinction of yin and yang, old and young, which is called "image"; formed in the hexagram lines, there is a distinction of strength and weakness, movement and stillness, which is called "object"; establishing the method of divination with stalks to teach people, so that they know how to divide into two, hang one, count four, and return the remaining, which is called "method"; between the act of taking and returning, examining good and bad fortune to decide whether to proceed or retreat, this is called "spirit."

按，此節本義謂乾坤變通者，化育之功也。見象形器者，生物之序也。法者，聖人修道之所為。而神者，百姓自然之日用也。此似泛論天下之事理，大全平庵項氏專就卜筮解之。今從項氏為切。

Chen Menglei then compared the old interpretations of the two schools. In this section, The Original Meaning of the Zhou Changes explains that Qian and Kun, change and communication, are the effects of heaven and earth nurturing all things; seeing, image, form and object are the order in which all things are generated; "method" is the actions of the sage in cultivating and refining the Way; and "spirit" is the natural state of the people in their daily lives without being aware of it. This interpretation seems to become a general discussion of the principles of the world. However, the Zhou Changes Comprehensive Collection records Xiang Anshi's interpretation, which focuses specifically on divination. He himself adopted Xiang Anshi's explanation, believing it to be more appropriate.

是故易有太極，是生兩儀。兩儀生四象，四象生八卦。此聖人作易自然之次第。畫卦揲蓍，其序皆然。自此以下皆言聖人制作之本。八卦定吉凶，吉凶生大業。吉凶既定，以之建功立事，則大業自此生矣。此二節言爻象之所由生。

The text says: Therefore, the Book of Changes contains the Taiji, from which the two principles arise, from which the four images arise, and from which the eight trigrams arise. Chen Menglei's commentary: This is the natural order followed by the sage in composing the Book of Changes, whether drawing the trigrams or using the divining stalks, the sequence is always the same; from here onwards, the discussion concerns the fundamental principles of the sage's creation of the Book of Changes. The text continues: The eight trigrams determine fortune and misfortune, and fortune and misfortune give rise to great undertakings. Once fortune and misfortune are determined, they serve as a basis for establishing achievements, and thus great undertakings arise from here. These two passages explain the origin of the lines and the images.

是故法象莫大乎天地，變通莫大乎四時。縣象著明莫大乎日月，崇高莫大乎富貴。備物致用，立成器以為天下利，莫大乎聖人。探賾索隱，鉤深致遠，以定天下之吉凶，成天下之亹亹者，莫大乎蓍龜。寶貴，謂有天下。亹亹，猶勉勉也。疑則怠，決則勉。此六者之功用皆大。聖人即五者之大，以形蓍龜功用之大。易占用蓍不用龜。然龜亦具此理，故每並言之。此節言成器之所由立。

The text says: There is no greater object to emulate than heaven and earth; there is no greater transformation and penetration than the four seasons; there is no greater luminous object suspended in the heavens than the sun and moon; there is no greater honor and dignity than wealth and nobility; there is no greater preparation of instruments, fully utilizing their functions, to create tools for the benefit of the world than the sage; and there is no greater effort in exploring complexity, seeking the subtle, drawing out the profound, and summoning the distant, to determine the fortune of the world and inspire the people to diligence than the divining tortoise and yarrow stalks. Chen Menglei explains: "Wealth and nobility" refers to possessing the world; "亹亹" is equivalent to "勉勉," meaning diligence, because when one has doubts, one becomes lazy, but once a decision is made, one becomes diligent. The functions of these six items are all great, but the sage uses the greatness of the first five to highlight the greatness of the divining tortoise and yarrow stalks. The Zhou Changes only use the yarrow stalks for divination, but the tortoise also possesses the same principle, so it is often mentioned together. This section discusses how objects are made. (Note: "宝贵" should be "富贵.")

是故天生神物，聖人則之。天地變化，聖人效之。天垂象，見吉凶，聖人象之。河出圖，洛出書，聖人則之。此節言易書之所由作。神物謂蓍。則之而四十九之數以行。變化謂陰陽。天變化，寒暑晝夜之類。地變化，山川動植之類。效之而卦爻之動靜以出。象謂日月星辰。循度失度而吉凶見，象之而卦爻有以斷吉凶。圖書則金木水火土生成剋制之數。則之而卦畫方位以定。皆作易之本也。河圖洛書，別詳於圖說。

The text says: Therefore, Heaven produces divine objects, and sages take them as a model; when heaven and earth change, sages imitate them; when Heaven shows signs and reveals good or bad fortune, sages take them as a model; when the Yellow River produces a diagram and the Luo River produces a book, sages take them as a model. Chen Menglei says that this passage discusses the origin of the Book of Changes. "Divine objects" refer to the yarrow stalks; taking them as a model allows the use of the number forty-nine. "Change" refers to yin and yang; the changes of heaven include cold and heat, day and night, while the changes of earth include mountains, rivers, and the movement of plants and animals; imitating these leads to the movement and stillness of the trigrams and lines. "Signs" refer to the sun, moon, and stars; their following or deviating from their courses reveals good or bad fortune; taking them as a model allows the trigrams and lines to determine good or bad fortune. The Yellow River Chart and the Luo River Book represent the numbers of metal, wood, water, fire, and earth, which are mutually generating and forming, and mutually controlling and restraining each other; taking them as a model allows the positioning of the trigrams to be determined. All of these are the fundamental principles for composing the Book of Changes. As for the Yellow River Chart and the Luo River Book themselves, he says they will be discussed in detail in the diagram explanations section of this book.

易有四象，所以示也。繫辭焉，所以告也。定之以吉凶，所以斷也。四象，謂陰陽老少。示，示以所值之卦爻。示，使人有所見。告，使人有所知。斷，使人無所疑。此又總卜筮之大意而言之也。右第十一章。

The text says: The Book of Changes has four images, which are used to show; attaching words, which are used to inform; using auspicious and ominous signs to judge, which are used to make decisions. Chen Menglei's commentary: The four images refer to old yang, young yin, young yang, and old yin; the term 'show' means to display the hexagram and line encountered by the diviner to him. 'Show' enables one to see; 'inform' enables one to know; 'decide' enables one to have no doubts. This is again a general summary of the meaning of divination and fortune-telling. The above is Chapter Eleven.

第十二章言聖人作易之意。其散在六十四卦之爻象，其聚在乾坤之二卦。聖人用易之道。其散在天下之事業，其聚在一身之德行也。易曰。自天祐之，吉無不利。子曰。祐者，助也。天之所助者，順也。人之所助者，信也。履信思乎順，又以尚賢也。是以自天祐之，吉無不利也。

Chapter twelve explains the intention of the sage in composing the Book of Changes: this intention is spread out in the lines and images of the sixty-four hexagrams, but gathered together it is concentrated in the hexagrams Qian and Kun. The sage's use of the Book of Changes is spread out in the affairs of the world, but gathered together it is concentrated in personal virtue. The text cites the Book of Changes saying: "Protected by heaven, it is auspicious and beneficial in all things." Confucius explains: "You" means assistance; what heaven assists is the gentle and compliant person, and what the people assist is the sincere person. Practicing sincerity and constantly being gentle and compliant, and also promoting the virtuous, thus it is said, "Protected by heaven, it is auspicious and beneficial in all things."

釋大有上九爻義。大有惟六五一陰，而上下五陽應之。上九以剛居上而能下從六五，是能履信思順而尚賢也。五之交孚信也，而上能履之。五得位而上從之，謙退不居，思順也。志從於五，尚賢也。此節疑在第八章之末，錯簡在此耳。

Chen Menglei said that this is an explanation of the line statement for the upper nine of the Great Possession hexagram. The entire hexagram of Great Possession contains only one yin line, the sixth line, which is responded to by the five yang lines above and below. The upper nine, being yang and located at the top, is able to humble itself and follow the sixth line, which is "to walk in faith and think of following" and "to value the virtuous." The line statement of the sixth line says "their sincerity is mutual," which refers to faith, and the upper nine can personally practice this faith. The sixth line holds a respectful position, and the upper nine follows it humbly without claiming its own merit, which is "thinking of following." The mind follows the sixth line, which is "to value the virtuous." He also raised a doubt regarding textual transmission: this passage is suspected to have originally been at the end of chapter eight, and it has been misplaced due to the disorder of the manuscript.

子曰。書不盡言，言不盡意。然則聖人之意，其不可見乎。子曰。聖人立象以盡意，設卦以盡情偽，繫辭焉以盡其言，變而通之以盡利，鼓之舞之以盡神。

Confucius said: Written characters cannot fully express speech, and speech cannot fully express the mind; then how could the mind of the sage be seen at all? Confucius also said: The sage established the hexagrams to exhaust the mind, set up the structure of the hexagrams to exhaust truth and falsehood, attached words to exhaust what needs to be said, and transformed them to exhaust benefit, and stirred them up to exhaust the marvelous.

言之所傳有盡，象之所示無窮。立象盡意，指伏羲所畫之卦爻，包含變化無有窮盡。雖無言而吉凶同患之意悉具於中，所謂盡意也。設卦，謂文王所設六十四卦之名義也。本乎性而善者為情，拂乎性而不善者為偽。六十四卦之中，美惡真妄無所不具，所謂以盡情偽也。繫辭則文王周公彖爻之辭，吉凶悔吝之言盡矣。此三句皆言作易之事。答書不盡言、言不盡意之語。

Chen Menglei explains: Words can only convey limited meaning, while the images in the hexagrams can express infinite meaning. "Establishing images to exhaust meaning" refers to the hexagrams and lines drawn by Fuxi, which contain endless changes. Although no characters are used, the intention of "good fortune and misfortune shared by the people" is fully expressed, which is called "exhausting meaning." "Setting up hexagrams" refers to the sixty-four hexagrams named and defined by King Wen, where actions in accordance with nature are called "qing" (true feeling), and those against nature are called "wei" (artifice). Among the sixty-four hexagrams, both beauty and evil, truth and falsehood are all present, which is called "exhausting qing and wei." "Xici" refers to King Wen's hexagram statements and the Duke of Zhou's line statements, which fully express words of good fortune, bad fortune, regret, and hardship. These three sentences all discuss the composition of the Book of Changes, precisely answering the statement "words cannot fully express meaning."

而設卦在立象之後繫辭之前，蓋竟盡意之緒，啟盡言之端也。盡意盡情偽盡言，皆所以為天下利也。又恐其利有所未盡，於是作揲蓍十有八變之法。使往來相通，一卦可為六十四。則其用愈廣，足以盡利矣。因變得占吉凶。知所趨避，心無所疑。如以鼓聲作舞容。鼓聲愈疾，舞容亦愈疾。鼓聲不息，舞容亦不息。成天下之亹亹而不自知其所以然，所謂盡神也。此二者言用易之事。立象設卦，即上章所謂象也。繫辭，辭也。變通，變也。鼓舞，占也。

"Set the trigrams" comes after "Establish the images" and before "Attach the verses," because it continues the thread of "exhausting meaning" and opens the beginning of "exhausting expression." Exhausting meaning, exhausting human nature and falsehood, and exhausting expression are all aimed at benefiting the world. Yet fearing that these benefits are still incomplete, the method of divining with the yarrow stalks through eighteen transformations is created, allowing the lines of the trigrams to connect and communicate with each other. A single trigram can transform into the sixty-four trigrams, making its application even more extensive, sufficient to "exhaust benefit." People rely on these transformations to obtain divination, knowing what to pursue and what to avoid, with no doubts in their hearts. It is like using drumbeats to guide dance movements; the faster the drumbeats, the more urgent the dance, and as long as the drumbeats continue, the dance does not stop. Thus, people are made diligent and tireless without realizing how they have been transformed. This is called "exhausting the divine." The following two sentences discuss the use of the Book of Changes. Chen Menglei later paired them with the four aspects mentioned in the previous chapter: establishing images and setting trigrams correspond to the "images" mentioned in the previous chapter, attaching verses corresponds to "verses," transformation corresponds to "change," and encouragement corresponds to "divination."

乾坤其易之縕耶。乾坤成列，而易立乎其中矣。乾坤毀，則無以見易。易不可見，則乾坤或幾乎息矣。縕，即包畜也。易之所有，不外陰陽。凡陽奇皆乾，陰偶皆坤。畫卦定位，則二者成列而易之體立矣。成列舉乾坤，而諸卦皆在其中。乾坤毀無以見易，謂卦爻不列則易道無由而著也。易不可見則乾坤息，謂易道不顯則卦畫之變化不能自行也。易未嘗無乾坤，亦未嘗息。特以畫卦不立，無以見其變易之理。而乾坤之功用，併不可得而見也。

The text says: The trigrams Qian and Kun are roughly the essence of the Book of Changes. When Qian and Kun are arranged in order, the Book of Changes is established within them; if Qian and Kun are destroyed, the Book of Changes cannot be seen; if the Book of Changes cannot be seen, then Qian and Kun would almost cease to function. Chen Menglei explains: "Yun" means to conceal and accumulate. All elements in the Book of Changes are ultimately yin and yang: all odd numbers belong to Qian, and all even numbers belong to Kun; when the hexagrams are drawn and positioned, the two principles form an order, and thus the essence of the Book of Changes is established. Saying "forming an order" only mentions Qian and Kun, but all other hexagrams are included within them. "If Qian and Kun are destroyed, the Book of Changes cannot be seen" means that without the arrangement of hexagrams and lines, the principles of change cannot be revealed. "If the Book of Changes cannot be seen, then Qian and Kun cease to function" means that if the principles of change are not revealed, the transformations of the hexagrams cannot proceed on their own. In reality, the Book of Changes does not lack Qian and Kun, and Qian and Kun do not cease to function; it is only when the hexagrams are not drawn that the principle of change cannot be perceived, and the functions of Qian and Kun also become invisible.

是故形而上者謂之道，形而下者謂之器。化而裁之謂之變，推而行之謂之通，舉而錯之天下之民，謂之事業。卦爻陰陽皆形於下者，其理則道也。道超乎形而非離乎形，故不曰有形無形，而曰形上形下也。所變所通所措者皆道，然皆宜就揲蓍言之。本義謂變通二字上章以天言，此章以人言。蓋上章言闔闢往來，蓍策中所本有之理。此言化裁推行，則聖人筮卦用易之事也。

The text says: Therefore, what is above the form is called "Dao," and what is below the form is called "Qi." Change and shaping are called "bian," spreading out is called "tong," and applying it to the people under heaven is called "shiye." Chen Menglei's commentary says: The yin and yang of the hexagrams and lines are formed below the form; their principles are Dao. Dao transcends form yet does not separate from form, so the text does not say "with form" or "without form," but rather "above form" and "below form." What is changed, what is spread out, and what is applied are all Dao, but they should all be discussed in terms of divination with yarrow stalks. The Original Meaning of the Zhou Changes points out the words "bian" and "tong." The previous chapter discusses this from the perspective of Heaven, while this chapter discusses it from the perspective of human beings: the previous chapter's "one closing and one opening, continuous movement" is the inherent principle within the yarrow stalks; here, "transformation and spreading out" refers to the sage's use of the Book of Changes in divination.

易道無窮。聖人化而裁之為六畫為上下為內外，故謂之變。推而行，推其變而行之也。如乾初變宜潛則潛為通，乾二變宜見則見為通，故謂之通也。事者，業之未成。業者，事之已就。定天下之吉凶以成天下之亹亹，則天下從此立矣。

The Way of the Book of Changes has no end, and the sages transformed and structured it into six lines, dividing them into upper and lower parts, and into inner and outer parts, so it is called "change." "Carrying it forward" means taking the change and unfolding it to put it into practice. For example, if the first line of the Qian hexagram changes, then it should remain hidden, and remaining hidden is considered a passage. If the second line of the Qian hexagram changes, then it should emerge, and emerging is considered a passage, so it is called "passage." "Shi" refers to when a career has not yet been completed, while "Ye" refers to when a matter has already been completed. By determining the fortune and misfortune of the world, the sages thus inspired the people to be diligent and tireless, and the world's careers were established from here.

是故夫象，聖人有以見天下之賾，而擬諸其形容。象其物宜，是故謂之象。聖人有以見天下之動，而觀其會通。以行其典禮。繫辭焉以斷其吉凶，是故謂之爻。重出以起下文。極天下之賾者存乎卦，鼓天下之動者，存乎辭。按，本義。卦即象也，辭即爻也。此解頗有可疑。竊意天地萬物之形象至多。六十四卦之中陰陽奇偶無所不備，是能極天下之賾也。辭則有彖辭有爻辭，皆示人以吉凶悔吝。使人曉然知所趨避，是能鼓天下之動也。

The text says: Therefore, when speaking of "xiang" (image), it is because the sage saw the complexity of things under heaven and compared their forms and appearances, taking the appropriate image for each thing, hence called "xiang." The sage also saw the changes of things under heaven and observed their mutual connections, using them to apply constant principles and rituals, and then attached words to determine fortune and misfortune, hence called "yao." Chen Menglei's commentary says: These two sentences repeat the words of the eighth chapter, used to lead into the following text. The text then continues: To exhaust the complexity of things under heaven is the function of the hexagrams; to move the changes of things under heaven is the function of the statements. Regarding this, The Original Meaning of the Zhou Changes says that the hexagram is the image and the statement is the yao. Chen Menglei finds this interpretation doubtful. His own view is: The images of heaven and earth and all things are extremely numerous, and the sixty-four hexagrams contain all the yin and yang odd and even, so they can exhaust the complexity of things under heaven; "statements" include the "tuan" statements and the "yao" statements, both of which indicate fortune, misfortune, regret, and hardship to people, making it clear to people what to pursue and what to avoid, hence they can move the changes of things under heaven.

化而裁之存乎變，推而行之存乎通。神而明之存乎其人，默而成之，不言而信，存乎德行。上文變通就揲筮而言，此就用易以行事而言。化卦爻所示之理而得其裁制，存乎人之能變，不可拘也。推卦爻所決之事而善於施行，存乎人之旁通，不可執也。變與通，所謂神明之也。存乎其人，而辭變象占皆不可泥也。此皆因筮得卦之後，用易而見於事者也。

The text says: Change and regulation depend on "change" (bian), extension and implementation depend on "communication" (tong); the marvelous and clear understanding lies in the person; silently achieving it and convincing people without words lies in virtue. Chen Menglei's commentary: The previous passage discussed change and adaptability in the context of divination with yarrow stalks, while here it refers to change and adaptability in using the Book of Changes to deal with affairs. Applying the principles shown by the hexagrams and lines requires the person's ability to change and adapt, not rigid adherence; properly implementing the decisions made by the hexagrams depends on the person's ability to extend and connect, not stubbornness. Being able to change and adapt is what is meant by "marvelous and clear understanding." Saying "it depends on the person" indicates that terms, changes, images, and omens should not be rigidly adhered to. All these are based on obtaining a hexagram through divination and then applying the Book of Changes in practical actions.

至於平居，尤貴體易道於心身，不在書與言之跡。所謂默而成之，不言而信，存乎德行也。成者，我自成。信者，他人信之。得於心為德，履於自為行。前言變通而措之事業，推易道於民。此言變通而歸之德行，存易道於己也。上文五謂者，聖人作易之用。此六存者，聖人之用夫易也。自章首至此乾坤或幾乎息，言聖人作易。散為六十四卦之爻象，而縕於乾坤之二卦。自形而上者謂之道以下，言聖人用易。散為天下之事業，而要歸於人之德行也。

As for daily living and conduct, it is especially important to embody the principles of the Book of Changes within one's body and mind, rather than merely in books and words. This is what is meant by "silent achievement, trust without words, existing in virtue." "Achievement" refers to self-realization, while "trust" refers to others' belief in him. What is attained in the heart is called "virtue," and what is practiced in the body is called "conduct." Previously, we discussed adaptability applied to career and affairs, which is about spreading the principles of the Book of Changes to the people. Here, adaptability is summarized in virtue, which is about preserving the principles of the Book of Changes within oneself. The previous five instances of "is called" explain the purpose of the sages in composing the Book of Changes; the six instances of "existing in" explain how the sages use the Book of Changes. Chen Menglei concludes the entire passage: from the beginning to "the heavens and earth might almost cease," it discusses the sages' composition of the Book of Changes, whose purpose is scattered in the sixty-four hexagrams' lines and hidden in the hexagrams of Heaven and Earth. From "what is above form is called the Way" onwards, it discusses the sages' use of the Book of Changes, whose function is spread throughout the world's affairs and ultimately summarized in human virtue. (The original text "履于自为行" should be "履于身为行.")

第一章言卦爻吉凶造化功業。八卦成列，象在其中矣。因而重之，爻在其中矣。成列，謂乾一兌二離三震四巽五坎六艮七坤八及先後天之方位皆是也。象，即卦之形體。大全謂乾兌離震之象未及天地雷風也。重之，謂八卦之上各加八卦，以成六十四卦也。爻，六爻。既重卦，則六爻皆在其中矣。

The Xici Xia Zhuan, Chapter One, discusses the fortune and misfortune of the lines in the hexagrams, and extends to the creation of heaven and earth and human achievements. The text says: When the eight trigrams are arranged in order, the images of things are contained within them; then when they are combined two by two, the lines are formed within them. Chen Menglei's commentary says: 'Cheng lie' refers to the order of the trigrams, namely Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, Kun eight, as well as the directions of Earlier Heaven and Later Heaven. 'Xiang' refers to the form of the trigrams; the Zhou Yi Duan says here it refers to the images of the trigrams themselves, such as Qian, Dui, Li, Zhen, etc., without yet referring to heaven, earth, thunder, and wind. 'Chong zhi' means placing another trigram on top of each of the eight trigrams, forming the sixty-four hexagrams. 'Yao' refers to the six lines; since they have formed hexagrams with six lines, the six lines are naturally included within them.

然八卦所以成列，乃從太極兩儀四象漸次而生。畫成之後，方見有三才之象。非聖人因見三才，遂以己意連畫三爻以象之也。六十四卦每卦六爻，亦以下卦為太極。生兩儀則十有六，生四象則三十有二，生八卦則六十四。畫成之後，然後見其可盡天下之變。非聖人見下三畫不足以盡天下之變，又增三爻以益之也。

Chen Menglei particularly emphasized the natural order in which the trigrams are formed: the eight trigrams are arranged in sequence from the generation of the Taiji, which produces the two principles, the two principles produce the four images, and the four images produce the eight trigrams, step by step. Only after the trigrams are drawn can one see the image of the three elements of heaven, earth, and humanity. It is not that the sage first saw the three elements and then deliberately connected three lines to symbolize them. Each of the sixty-four hexagrams consists of six lines, and similarly, the lower trigram is considered as the Taiji: when the Taiji produces the two principles, it becomes sixteen; when it produces the four images, it becomes thirty-two; when it produces the eight trigrams, it becomes sixty-four. Only after the hexagram is drawn can one see that it is sufficient to encompass all changes in the world. It is not that the sage thought the lower trigram of three lines was insufficient to encompass all changes, so he added three more lines.

剛柔相推，變在其中矣。繫辭焉而命之，動在其中矣。剛柔相推而往來交錯，卦爻見矣。聖人因其有變，隨爻皆繫之辭。占者一二爻變，則一二爻動。四五爻變，則不變者為動。三爻變，則二彖皆動。純變，則之卦為動。皆觀其所繫之辭也。吉凶悔吝者，生乎動者也。吉凶悔吝在辭，因變動而占乃見。

The text says: The yin and yang lines move and change with each other, and transformation arises from this; by attaching words to the hexagram and giving a command, the direction of change is revealed. Chen Menglei explains: The yin and yang lines move and cross each other, and thus the hexagram lines appear; the sage, because of the change, attached words to each line. When a diviner has one or two lines changing, he takes those lines as the moving lines; if four or five lines change, he takes the unchanging line as the moving one; if three lines change, he takes both the original hexagram and the transformed hexagram's interpretations as the moving ones; if all six lines change, he takes the hexagram that results from the change as the moving one—everything depends on the words attached. The text continues: The auspicious, inauspicious, regret, and hardship arise from the movement. Chen Menglei explains: Auspicious, inauspicious, regret, and hardship are written in the words, and they become evident only after the movement and inquiry.

剛柔者，立本者也。變通者，趣時者也。一剛一柔，各有定位。自此而彼，變以從時。立本者，天地之常經。趣時者，古今之通義。上繫曰剛柔者晝夜之象，即此所謂立本。變化者進退之象，即此所謂趣時。吉凶者，貞勝者也。貞，正也，常也。天下事非吉則凶非凶則吉，常相勝而不已也。

The text says: "Strength and flexibility are the basis for establishing fundamentals; change and adaptability are the ways to respond to the right time." Chen Menglei explains: "One strength and one flexibility each have fixed positions, which is the fundamental; moving from one line to another line, changing with the times, is responding to the right time." "Establishing fundamentals" refers to the unchanging regularity in the heavens and earth, while "responding to the right time" refers to the common principle throughout history. The "Great Treatise" of the Upper Transmission says, "Strength and flexibility are the images of day and night," which corresponds to "establishing fundamentals"; it also says, "Change is the image of advancement and retreat," which corresponds to "responding to the right time." The text also says: "Good fortune and misfortune are determined by their correctness, mutually overcoming each other." Chen Menglei explains: "Zhen means correctness and constancy; worldly affairs are either good fortune or misfortune, either misfortune or good fortune, with the two constantly overcoming each other without ceasing."

天地之道，貞觀者也。日月之道，貞明者也。天下之動，貞夫一者也。觀，示也。天地常垂象以示人，故曰貞觀。日月常明而不息，故曰貞明。天下之動無窮，然順理則吉，逆理則凶。其正而常者，亦一而已矣。夫乾，確然示人易矣。夫坤，隤然示人簡矣。確然，健貌。隤然，順貌。所謂貞觀者也。爻也者，效此者也。象也者，像此者也。效此者，效健順之理。像此者，像奇耦之畫。

The text says: The way of Heaven and Earth is constantly revealed, the way of the sun and moon is constantly bright. All changes in the world return to the constant "one." Chen Menglei's commentary: "Observation" means revelation; Heaven and Earth constantly display phenomena to people, so it is said "Zhen Guan"; the sun and moon are always bright without ceasing, so it is said "Zhen Ming." All changes in the world are endless, yet following the principles brings good fortune, and opposing them brings misfortune. The correct and constant principle is one only. The text then says: Qian is strong and firm in revealing the "Yi," and Kun is gentle and slow in revealing the "Jian." Chen Menglei's commentary: "Que ran" means firm and vigorous, "Tui ran" means gentle and yielding, which is called "Zhen Guan." The text further says: The yao imitates this; the xiang takes the form of this. Chen Menglei's commentary: Imitation refers to imitating the principles of Qian's strength and Kun's gentleness; taking the form refers to taking the shape of odd and even lines.

爻象動乎內，吉凶見乎外。功業見乎變，聖人之情見乎辭。內，謂分蓍揲卦之時。外，成卦之後。吉凶悔吝生乎動。不變則功業無自而成，故曰功業見乎變。辭，則彖辭象辭。聖人示人以吉凶者也。

The text says: The lines and images change internally, while fortune and misfortune manifest externally; achievements are revealed through change, and the mind of the sage is expressed through words. Chen Menglei explains: "Internal" refers to the process of dividing the yarrow stalks and interpreting the hexagram, while "external" refers to after the hexagram has been formed. Fortune, misfortune, regret, and hardship all arise from change; without change, achievements cannot be realized, hence it is said "achievements are revealed through change." "Words" refer to the zhuang and xiang words, which are the means by which the sage indicates fortune and misfortune to people.

天地之大德曰生。聖人之大寶曰位。何以守位曰仁。何以聚人曰財。理財正辭，禁民為非曰義。此以上言作易之聖人，以憂世之心發明卦爻之辭。此節則言用易之聖人，有御世之位而行仁義之道也。天地以生物為心，德之大莫過乎此。聖人有德無位，亦不能相天地而遂人物之生，故以位為大寶。非聖人自寶之。蓋天下賴聖人之有位，得蒙其澤，故天下以為寶也。

The classic text says: The greatest virtue of heaven and earth is called "life," and the greatest treasure of a sage is called "position"; what is used to maintain this position is called "benevolence"; what is used to gather the people's hearts is called "wealth"; managing wealth, regulating speech, and preventing the people from wrongdoing is called "righteousness." Chen Menglei's commentary: The above discusses the sage who composed the Book of Changes, with a concern for the world, explaining the meanings of the hexagrams and lines. This section, however, discusses the sage who uses the Book of Changes, occupying a position of governance to promote the way of benevolence and righteousness. Heaven and earth have the heart of nurturing all things; there is no greater virtue than this. A sage with virtue but without position cannot assist heaven and earth in achieving the growth of people and things, so he regards "position" as the greatest treasure. This is not that the sage himself regards it as a treasure, but rather that the people rely on the sage being in position to receive his grace, so the people regard it as a treasure.

曰仁之仁，仍作人。人君能得天下之心，位乃可守。財，可養萬人之生，故人可聚。理財，使各得其分，養之也。正辭，則分別是非，教之也。禁民為非，明憲勅法以齊其不率，刑之也。養之教之，而後齊之以刑，聖人不忍人之政盡此三者。皆出於理之當然而不可易，所謂義也。戎在易。則理財即易之備物致用也。正辭即易之辨物正言也。禁民為非，易之斷吉凶、明失得、內外使知懼也。

Chen Menglei pointed out a variant reading: the character "ren" in the phrase "He yi shou wei yue ren" should still be read as "ren" (person). A ruler can hold his position only if he gains the hearts of the people; wealth can sustain the lives of the people, so the people can be gathered. "Lǐ cái" (managing wealth) is providing each person with what they deserve, which is nurturing the people; "zhèng cí" (correcting speech) is distinguishing right from wrong, which is educating the people; "jìn mín wéi fēi" (prohibiting people from wrongdoing) is enforcing laws and regulations, used to correct those who disobey, which is punishing the people. First, nurture them, then educate them, and finally use punishment to bring order. The benevolent ruler's governance does not go beyond these three aspects, and all three arise from the natural order of reason, which cannot be changed, and this is called "yi" (righteousness). If we refer to the Book of Changes, "lǐ cái" corresponds to the idea of preparing objects and achieving utility mentioned in the Book of Changes, "zhèng cí" corresponds to distinguishing things and correcting speech mentioned in the Book of Changes, and "jìn mín wéi fēi" corresponds to determining good and evil, clarifying gains and losses, and making people aware of caution both inside and outside. (The original text says "róng zài yì," where "róng" is an error in the original text, meaning "in terms of the Book of Changes.")

此章論卦爻吉凶，推之造化功業。而以有德有位之聖人，能體易而參贊天地者終之。蓋天地之德在乎生，作易之聖人情見乎辭，用易之聖人仁守其位，無非以為其人而已矣。右第一章。

Chen Menglei summarizes this chapter: first discussing the fortune and misfortune of the hexagram lines, then expanding to the creation and transformation of heaven and earth and human achievements, and finally concluding with the sage who possesses both virtue and position being able to comprehend the Way of the Changes and assist heaven and earth. The virtue of heaven and earth lies in nurturing life; the sage who composes the Book of Changes entrusts his mind in words; the sage who practices the Way of the Changes holds fast to his position through benevolence. In the end, it is all for the sake of humanity. This is the first chapter.

第二章言聖人制器尚象之事。古者包犧氏之王天下也。仰則觀象於天，俯則觀法於地。觀鳥獸之文，與地之宜。近取諸身，遠取諸物。於是始作八卦。以通神明之德，以類萬物之情。

Chapter two discusses the matter of sages creating objects by following the images of the trigrams. The text says: In ancient times, Fuxi ruled the world. He looked up to observe the phenomena of heaven, looked down to observe the principles of earth, observed the patterns of birds and beasts and the suitability of the soil in different regions; he took nearby things from his own body and distant things from all things in the universe. Thus he began to draw the eight trigrams, using them to connect with the virtue of the divine and to classify the forms of all things.

象以氣言，屬陽。以形言，屬陰。鳥獸之文，謂天產之物，飛陽而走陰也。土地所宜，謂地產之物，草陽而木陰也。神明之德，不外乎健順動止陷入麗說之德。萬物之情，則不止天地雷風山澤水火之情。本義云俯仰遠近所取不一，然不過以驗陰陽消息兩端而已。蓋萬物不外於八卦，八卦不外乎陰陽。陰陽雖二，而實一氣之消息也。

Chen Menglei explained: "Xiang" refers to qi, which belongs to yang; "Fa" refers to form, which belongs to yin. "Bird and beast patterns" refer to naturally occurring animals, flying ones belong to yang, walking ones belong to yin; "the suitability of the earth" refers to plants produced by the earth, grass belongs to yang, wood belongs to yin. "The virtue of the divine and wise" is no more than the eight virtues of Qian (Heavenly), Kun (Earthly), Zhen (Thunder), Gen (Mountain), Kan (Water), Xun (Wind), Li (Fire), and Dui (Lake); "the nature of all things" includes more than the eight conditions of Heaven, Earth, Thunder, Wind, Mountain, Lake, Water, and Fire. The Original Meaning of the Zhou Changes says that the objects taken from above and below, near and far, are not limited to one, but are merely used to verify the increase and decrease of yin and yang. Because all things are within the eight trigrams, and the eight trigrams are within yin and yang; although yin and yang are two, they are actually the increase and decrease of one qi.

作結繩而為網罟，以佃以漁。蓋取諸離。離有二義。曰象曰理。理謂麗也，禽獸魚鱉麗乎綱罟也。象謂虛中，綱罟之目虛也。取之離者，言為綱罟有離之象，非睹離乃有此也，他卦倣此。

The text says: Making ropes into nets for hunting and fishing is modeled after the image of the Li hexagram. Chen Menglei explains: The Li hexagram has two meanings, one being the image and the other the principle. In terms of principle, "Li" means attachment; birds and beasts and fish and turtles are attached to the nets. In terms of image, the middle line of the Li hexagram is empty, just like the empty holes in the net. The phrase "taking from Li" means that making nets corresponds to the image of Li, not that one first saw the Li hexagram and then made the nets — all other hexagrams should be understood in the same way.

包犧氏沒，神農氏作。斲木為耜，揉木為耒。耒耨之利，以教天下。蓋取諸益。二體皆木，中互坤土。木入土中，上入下動，風雷之象也。粒食之利自此而始，益之義也。日中為市。致天下之民，聚天下之貨。交易而退，各得其所。蓋取諸噬嗑。日中為市。上明下動，火雷之象。中爻坎水艮山，群珍所出，聚貨之象。艮止，退而得所之象。貨不同皆合於市。借噬為市，嗑為合，噬嗑之義。

The text says: After the death of Fuxi, Shen Nong rose to prominence. He carved wooden plows and bent wood to make耒, teaching the world the benefits of using耒 and耜 for farming, which is symbolized by the Yi hexagram. Chen Menglei's commentary: The Yi hexagram consists of Xun above and Zhen below, both belonging to wood. The intermediate hexagram is Kun, representing earth, symbolizing wood being planted into the earth. Xun represents entering, and Zhen represents movement, which is the image of wind and thunder. The benefit of food began with this, which fits the meaning of "Yi" (increase). The text says: At noon, markets were established, gathering people from all over, collecting goods from everywhere, and after trading, they dispersed, each obtaining what they needed, which is symbolized by the Shihe hexagram. Chen Menglei's commentary: Setting up markets at noon, with Li above representing brightness and Zhen below representing movement, forming the image of fire and thunder. The intermediate hexagram is Kan water and Gen mountain, representing the source of various treasures, fitting the image of gathering goods. Gen represents stopping, indicating the end of trade and each person obtaining what they need. Goods differ but all gather in the market, so "Shi" is used for "market" and "He" for "gathering," which is the meaning of the Shihe hexagram.

神農氏沒，黃帝堯舜氏作。通其變，使民不倦。神而化之，使民宜之。易窮則變，變則通，通則久。是以自天祐之，吉無不利。黃帝堯舜垂衣裳而天下治，蓋取諸乾坤。陽極變陰，陰極變陽，變也。陽變陰不至於亢，陰變陽不至於伏，通也。陰陽循環無端，久也。上衣色玄象天，下裳色黃象地。食貨既足，禮義當興。變草昧而文明，又取乾坤變化而無為之義也。

The text says: After Shen Nong died, the Yellow Emperor, Yao, and Shun arose in succession. They understood the changes of things, so the people did not become weary; they skillfully guided the people, so each person could find their proper place. The principle of the Book of Changes is that when something is exhausted, it changes; when it changes, it becomes unblocked; when it becomes unblocked, it lasts long. Therefore, it says, "If heaven supports you, there will be no misfortune and everything will be beneficial." The Yellow Emperor, Yao, and Shun governed the world with ease, without exerting themselves, and the world was well ordered. This is probably based on the images of the Qian and Kun hexagrams. Chen Menglei comments: When yang reaches its extreme, it turns into yin; when yin reaches its extreme, it turns into yang. This is "change." Yang transforms into yin without reaching an extreme, and yin transforms into yang without becoming hidden. This is "unblocking." The cycle of yin and yang has no beginning or end. This is "longevity." The upper garment is black, symbolizing heaven; the lower garment is yellow, symbolizing earth. When food and goods are abundant, propriety and righteousness should arise. Transforming the chaotic age into a civilized one, this also reflects the meaning of the transformation of Qian and Kun without effort.

刳木為舟，剡木為楫，舟楫之利，以濟不通。致遠以利天下，蓋取諸渙。刳木使中虛，剡木使末銳。木在水上故渙，有利涉大川之占。服牛乘馬，引重致遠，以利天下。蓋取諸隨。下動上說，澤雷之象。各因其性，動止隨人，有隨之義。重門擊柝，以待暴客，蓋取諸豫。雷震乎外，有聲之木。以互艮為門闕，以取其象。先事警戒，又豫備之意。

The text says: Hollowing out a tree to make a boat, sharpening a tree to make an oar, relying on the convenience of the boat and oar to cross impassable waters, able to reach distant places and benefit the world, this is probably taking the image of the Hexagram of Dispersing. Chen Menglei's commentary: Hollowing out the wood makes it hollow in the middle, sharpening the wood makes it pointed at the end; the Hexagram of Dispersing has the lower trigram of Xun (Wind) representing wood and the upper trigram of Kan (Water), so wood floats on water, hence the image of dispersing. The Hexagram Statement indeed says, "Beneficial to cross great rivers." The text says: Taming an ox, driving a horse, carrying heavy loads, traveling long distances, to benefit the world, this is probably taking the image of the Hexagram of Following. Chen Menglei's commentary: The Hexagram of Following has the lower trigram of Zhen (Thunder) representing movement and the upper trigram of Dui (Lake) representing joy, hence the image of a lake with thunder; oxen and horses follow their natural tendencies, either moving or stopping at the command of humans, which fits the meaning of "following." The text says: Setting up multiple doors, striking a wooden drum, to guard against violent guests, this is probably taking the image of the Hexagram of Joy. Chen Menglei's commentary: The Hexagram of Joy has the upper trigram of Zhen (Thunder) with thunder shaking outside, which is the sound-producing wood; the interacting trigrams form Gen (Mountain), which represents gates and thresholds, thus taking this image; taking precautions before an event occurs, it also contains the meaning of prior prevention.

斷木為杵，掘地為臼。杵臼之利，萬民以濟。蓋取諸小過。下止上動，雷山象。民既粒食，又治使精，小過之義。弦木為弧，剡木為矢。弧矢之利，以威天下。蓋取諸睽。睽乖然後服之以威，取睽之義。又離為戈兵，兌金為矢為毀折，互坎為弓輪，亦有其象。

The text says: Cutting wood to make a pestle, digging the ground to make a mortar, the convenience of pestle and mortar allows the people to be sustained, which is probably taken as an image of the Hexagram 64, "Guan" (Small Overstep). Chen Menglei's commentary: The lower trigram of "Guan" is Gen (Mountain), representing stillness, and the upper trigram is Zhen (Thunder), representing movement, forming the image of thunder on a mountain; after the people have eaten grain, they further pound it into fine flour, which fits the meaning of "small overstep" as a slight excess. The text says: Bending wood to make a bow, carving wood to make arrows, the power of bow and arrow is used to intimidate the world, which is probably taken as an image of the Hexagram 41, "Gui" (Strife). Chen Menglei's commentary: When people's hearts are divided, then one uses power to make them obey, which is the meaning of "Gui"; furthermore, the upper trigram of "Gui" is Li (Fire), representing weapons, the lower trigram is Dui (Lake), belonging to metal, representing arrowheads and broken things, the interacting trigrams are Kan (Water), representing the bow and its wheel, all of which have this image.

上古穴居而野處，後世聖人易之以宮室。上棟下宇，以待風雨，蓋取諸大壯。棟，屋脊承而上者。宇，椽也，垂而下者。故曰上棟下宇。風雨動於上，棟宇覆於下。雷天之象，又取壯固之意。

The classic text says: In ancient times, people lived in caves and slept in the open fields. Later sages changed this by using houses, with beams above and eaves below, to protect against wind and rain. This is modeled after the Hexagram of Great Strength. Chen Menglei comments: "Dong" refers to the ridgepole, which supports above; "Yu" refers to the rafters, which cover below. Therefore, it is said "upper beams and lower eaves." Wind and rain move above, while the beams and eaves cover below. The Hexagram of Great Strength has Zhen (Thunder) above and Qian (Heaven) below, forming the image of Thunder over Heaven, and also symbolizing its strong and solid nature.

古之葬者，厚衣之以薪，葬之中野。不封不樹，喪期無數。後世聖人易之以棺槨，蓋取諸大過。送死大事而過於厚，大過之義。又大過全卦象坎為隱伏，殯葬之象。中爻乾為衣，內巽為木，入土之象。養生不足以當大事，故杵臼小過。送死可以當大事，故取諸大過也。

The classic text says: In ancient times, when burying the dead, they wrapped the body thickly with straw and buried it in the wilderness, without building a mound or planting trees, and the mourning period had no fixed duration; later sages changed this practice, using coffin and outer case instead, probably taking the symbolism from the Great Excess (Da Guo) hexagram. Chen Menglei comments: burying the dead is a major affair, and the practice of handling it with great care and expense is in line with the meaning of "Great Excess." Moreover, the entire Great Excess hexagram resembles a Kan hexagram, which represents concealment, precisely matching the image of burial. The intermediate trigrams form a Qian hexagram, which represents clothing; the inner trigram is Xun, which represents wood, all symbolizing the act of burying the dead. He also made a comparison: providing for the living is not yet a major affair, so the making of杵臼 (chuí jiù, pestle and mortar) is associated with the Small Excess (Xiao Guo); but burying the dead is indeed a major affair, so it is associated with the Great Excess.

上古結繩而治，後世聖人易之以書契。百官以治，萬民以察，蓋取諸夬。言有不能記者，書識之。事有不能信者，契驗之。取明決之義。夬之義。蓋夬乃君子決小人之卦，造書契亦所以決小人之偽而防其欺也。此章十三卦取象，見上古未有易之書而先有易之理。人見聖人備物致用，立成器以利天下。以為此出聖人之心思，不知皆因乎理所固有也。右第二章。

The text says: In ancient times, people used the method of tying knots to govern, but later sages replaced it with written documents and contracts. Officials relied on them to handle affairs, and common people used them to verify matters. This is roughly based on the image of the Gua of决 (Judgment). Chen Menglei's commentary: When words are forgotten, they are recorded in writing; when matters cannot be trusted, contracts are used to verify them. This is taking the meaning of clarity and decisiveness, which is precisely the meaning of the Gua of决. The Gua of决 originally represents the gentleman's decision to remove small people. The creation of written documents and contracts was also to eliminate the deceit of small people and to guard against their fraud. He finally summarized: The thirteen gua mentioned in this chapter show that in ancient times there was no Book of Changes, yet there was already the principles of the Book of Changes. People see sages preparing tools and fully utilizing their functions, making utensils to benefit the world, and think that this is entirely from the sages' thoughts, but they do not realize that all of this is based on the inherent principles of things. This is the second chapter.

第三章言卦象，彖爻之用。是故易者，象也。象也者，像也。聖人立象以盡意。由八卦以及六十四卦，內外互變，皆象也。知此，則易書所有，不獨天地雷風為象，即其言君臣政教無非象也。占者因象而變通以相觀，則於其辭有所不必泥矣。

This chapter discusses the function of the hexagram images, the Tai Cai (彖辞), and the line statements (爻辞). The "Xici Xia Zhuan" (Commentary of the Great Treatise, Part II) says: what is called the "Yi" (Book of Changes) is "xiang" (image); and what is called "xiang" is to imitate and model. The sage established the hexagram images in order to fully express meanings that words alone cannot convey. From the eight trigrams to the sixty-four hexagrams, the inner trigram and the outer trigram interact and change, and there is no place where "xiang" is not present. Once this is understood, it is clear that all the content in the Yi Classic is not only about natural phenomena such as heaven, earth, thunder, and wind as images, but also includes texts discussing the relationship between ruler and minister, and the principles of government and education, all of which are images. Those who practice divination should rely on the hexagram images, flexibly adapting and cross-referencing them, and thus need not be overly literal about the words of the hexagram and line statements.

彖者，材也。言一卦剛柔之材，即卦德也。爻也者，效天下之動者也。天下之動甚微，有同德、同事而所當之位各有不同而吉凶生。爻則倣所動之吉凶以示人也。

"The彖" refers to the essential nature of a hexagram in terms of its material composition. This means the combination of the two types of material, yin and yang, which constitutes the moral quality of the hexagram. "The yao" imitates the changes of all things in the world. The changes in the world are extremely subtle; some things may have the same virtue and belong to the same category, but because they are in different positions, the distinction of good fortune and misfortune arises. The yao records these changes and their resulting good or bad outcomes, thereby informing those who seek divination.

是故吉凶生而悔吝著也。吉凶在事本顯，故曰生。悔吝在心尚微，故曰著。悔有改過之意。至於吉，則悔之著也。吝有文過之意。至於凶，則吝之著也。原其始而言，吉凶生於悔吝。要其終而言，則悔吝著而為吉凶也。此章言卦象彖爻之設，無非明得失以示人。使觀象玩辭觀變玩占者，知有悔心而不吝於改過，庶幾有吉而無凶耳。右第三章。

Therefore, when good fortune and misfortune arise, regret and meanness also become apparent. Good fortune and misfortune are inherently clear in matters, so the word "生" (arise) is used. Regret and meanness, however, are only initial signs in the mind, still subtle, hence the word "著" (appear), indicating their transition from hidden to manifest. "Regret" implies the idea of correcting mistakes, and when it leads to good fortune, that is the complete manifestation of regret. "Meanness" implies the idea of embellishing or concealing faults, and when it leads to misfortune, that is the complete manifestation of meanness. From the starting point, good fortune and misfortune arise from regret and meanness; from the ending point, regret and meanness become manifest and ultimately result in good fortune or misfortune. This chapter explains the establishment of hexagrams, the commentary on hexagrams (彖辞), and the line statements (爻辞), all aiming to distinguish gains and losses to enlighten people. It encourages those who observe omens and interpret divination to hold the thought of repentance without reluctance to change, thus achieving good fortune without misfortune. This is the third chapter of the Great Treatise (系辞下传).

第四章專以陰陽卦畫，分君子小人之道。陽卦多陰，陰卦多陽。震坎艮為陽卦，皆一陽二陰。巽離兌為陰卦，皆一陰二陽。其故何也。陽卦奇，陰卦偶。陽卦雖一奇二偶而以奇為主，陰卦雖一偶二奇而以偶為主也。陰二畫止當陽一畫，不必雲陽卦五畫陰卦四畫。

This chapter specifically uses the imagery of two types of hexagrams, yin and yang, to distinguish the way of the superior person from that of the petty person. The "Great Treatise" says: "Yang hexagrams contain more yin lines, while yin hexagrams contain more yang lines." The three yang hexagrams, Zhen, Kan, and Gen, each have one yang line paired with two yin lines; the three yin hexagrams, Xun, Li, and Dui, each have one yin line paired with two yang lines. Why is this so? Because yang hexagrams take odd numbers as their basis, while yin hexagrams take even numbers as their basis. Although yang hexagrams consist of one odd line and two even lines, they take the single odd line as their main element; similarly, although yin hexagrams consist of one even line and two odd lines, they take the single even line as their main element. The two short lines of a yin line are only equivalent to one line of a yang line, so there is no need to say that yang hexagrams have five lines in total and yin hexagrams have four lines in total.

其德行何也。陽一君而二民，君子之道也。陰二君而一民，小人之道也。德行以美惡言。君為陽，民為陰。一陽二陰則一君二民。尊無二上，道大而公，君子之道。二陽一陰則二君一民。政出多門，道小而私，小人之道。然凡陽卦未必皆言君子，陰卦未必皆言小人。特借陰陽卦體以明有君子小人之不同耳。陽奇陰偶，卦畫固有一定。而即此推之。則陽為君，陰為民。陽為君子，陰為小人，易之扶陽抑陰又如此。右第四章。

How do their virtues differ? A yang trigram represents a ruler paired with two subjects, which is the way of the gentleman; a yin trigram represents two rulers paired with one subject, which is the way of the petty person. The term "virtue" refers to beauty and evil. The ruler belongs to yang, and the subject belongs to yin. One yang and two yins correspond to one ruler and two subjects. The position of honor cannot have two rulers above, so its way is broad and just, which is the way of the gentleman; two yangs and one yin correspond to two rulers and one subject, with commands issuing from many sources, so its way is narrow and biased, which is the way of the petty person. However, not all yang trigrams are about gentlemen, and not all yin trigrams are about petty persons. Confucius merely used the two categories of trigrams to explain the distinction between gentlemen and petty persons in the world. Yang uses odd numbers, and yin uses even numbers. The trigram lines follow a fixed pattern. Following this principle leads to the idea that yang represents the ruler and yin represents the subject, yang represents the gentleman and yin represents the petty person. The Book of Changes supports yang and restrains yin, and this intention is reflected here. This is from the fourth chapter of the Great Treatise section of the lower transmission.

第五章錯舉九卦十一爻發明其義，與上繫之七卦皆象傳之文言。欲學易者，觸類以及其餘也。《易》曰：「憧憧往來，朋從爾思。」子曰：「天下何思何慮。天下同歸而殊途，一致而百慮。天下何思何慮。」

This chapter presents nine hexagrams and eleven line statements to explain the principles of the Book of Changes, similar to the seven hexagrams mentioned in the Upper Great Treatise of the Xici. These are all texts that explain the meanings of hexagram and line images. The purpose is to enable those studying the Book of Changes to understand the principles and apply them to other hexagrams and lines. The line statement for the ninth line of the Xian hexagram says: "The mind is restless and constantly moving, only a small group of like-minded people will follow your thoughts." Confucius said: "What is there to think about or consider in the affairs of the world? All things in the world return to one principle but follow different paths, all return to one mind but have myriad thoughts. What is there to think about or consider in the affairs of the world?"

此引咸九四爻辭而釋之。思者心之用，慮者謀度其事也。事之未來，寂然不動，何思之有。既與物接，各有定理，何慮之有。同歸殊途，天下無二理也。一致百慮，天下無二心也。若憧憧往來而僅其朋類從之，所從者亦狹矣。

This passage cites the line statement of the Xian hexagram's Nine in the Fourth. Confucius uses it to elaborate on the principles. "Thinking" is the function of the mind, and "considering" refers to deliberating on specific matters. When a matter has not yet arrived, the mind is still and unmoving; what is there to think about? Once in contact with external things, each matter has its inherent principle; what is there to consider? "Returning to the same destination through different paths" means that there is no second principle in the world; "unified yet considering many things" means there is no second original mind in the world. If one's mind is restless and constantly moving about like the Nine in the Fourth, the result is that only a small group of similar people will follow, and the scope of one's ability to connect with others will be very limited.

日往則月來，月往則日來。日月相推而明生焉。寒往則暑來，暑往則寒來。寒暑相推而歲成焉。往者屈也，來者信也。屈信相感而利生焉。此承上文憧憧往來而言。往來屈信，皆天道自然感應之常理。憧憧然則入於私矣。日月往來而明生，寒暑相代而歲成。往者之屈感來者之信，來者之信又感往者之屈，而有明生歲成之利。此天道往來自然之感也。若九四之憧憧，豈如是乎。

When the sun sets in the west, the moon rises; when the moon sets in the west, the sun rises. The sun and moon thus alternate and shift, giving rise to light. When cold weather passes, hot weather comes; when hot weather passes, cold weather comes. The cold and hot thus alternate and shift, completing a year. The departing aspect is called "bending" (qu), and the coming aspect is called "extension" (xin, or "extension"). Bending and extension respond to each other, thus generating benefits. This passage continues from the previous "chong chong wai lai" (constantly coming and going). The coming and going, bending and extension, are the constant natural responses of the heavenly way. Once "chong chong" (constantly) becomes unstable, it falls into personal intentions. The sun and moon coming and going produce light; the alternation of cold and hot completes the yearly achievements. The contraction of the departing aspect calls forth the extension of the coming aspect, and the extension of the coming aspect calls forth the contraction of the departing aspect, thus generating benefits. This is the natural response of the heavenly way. How could it be like the nine fourth (jiu si) which is restless and running about?

尺蠖之屈，以求信也。龍蛇之蟄，以存身也。精義入神，以致用也。利用安身，以崇德也。按，此節本義云因言屈信往來之理，而以推以言學亦有自然之機也。精研其義至於入神，屈之至也。然乃所以為出而致用之本。利其施用，無適不安，信之極也。然勝出所以為入而崇德之資。內外交相養互相發也。

The inchworm arches its body in order to achieve extension; the dragon and snake hibernate in winter in order to preserve their lives. Delving deeply into principles and reasoning until reaching a divine level, is to promote practical application; making the application convenient and secure for oneself, is to honor virtue. Note: In this passage, Zhu Xi in The Original Meaning of the Zhou Changes explains that since the previous text discussed the principles of flexing and extending, he then extends the discussion to the natural principles involved in scholarly study. Delving into principles to a divine level is 'flexing' to its extreme, yet this is the foundation for future practical application; making one's application convenient and secure in all directions is 'extending' to its extreme, yet this is also the means of withdrawing inward and honoring virtue. The internal and external aspects complement and stimulate each other, forming two aspects of the same thing.

今時解皆從之。蓋本義以屈信交互言之，以明學問內外相資之功。未為不可。然細按上文之意，似以屈信相感發明何思何慮之一言。大抵人情但知信之為利，不知屈之為利。所以思慮愈多，卒求信而不得。故此節發明屈即為信之理。而教人以素位而行之學，不出其位之思也。尺蠖之行，不屈則不能伸，伸而再行則又屈，是屈乃以求伸也。龍蛇至冬不蟄，則來歲不能奮，故蛇冬見者多死，是龍蛇之蟄正所以藏身也。

The current interpretations all follow Zhu Xi's explanation. In The Original Meaning of the Zhou Changes, the concept of bending and stretching is presented as an interaction, used to explain the mutual reliance between internal and external efforts in studying. This is not without merit. However, upon closer examination of the preceding context, Confucius seems to be using the idea of mutual influence between bending and stretching to elaborate on the phrase "what to think and what to consider." Generally, people only recognize the benefit of extension, but do not understand that contraction is also beneficial. As a result, thoughts and considerations become more and more, and ultimately, the pursuit of extension becomes unattainable. Therefore, this passage aims to clarify the principle that "bending is actually stretching," teaching people to engage in study that is content with their proper position and to act according to their proper role, avoiding reckless and overreaching thoughts. The inchworm moves forward only by first bending its body; once it extends, it must bend again to continue moving. This shows that bending is actually for the purpose of extension. Similarly, dragons and snakes, if they do not hibernate in winter, will lack strength in the following year, and those that emerge from their holes in winter often freeze to death. This shows that hibernation is actually for preserving life and ensuring survival.

此四句猶詩之興體，精義四句即應上言。物理如此，人之學問亦宜然。精義二句以知言，利用二句以行言。人惟不安於屈，妄意求伸。是以思慮百出，究皆無當。不知天下之理屈即為伸，隨時隨地有我之所宜知宜行者。如精義至於入神，吾方屈以求其所宜知也。而可以致用則伸矣。利用只求安身，吾方屈以求其所宜行也。而德之崇則伸矣。況乎知盡行至，過此以往，窮神知化不可得。而知屈而伸至於如此，人又何以思慮為乎。

The four lines about the inchworm and the dragon snake are like the "xing" style in the Book of Songs, using objects to express meaning. The following four lines beginning with "Jingyi rushen" are the actual response to the previous discussion. The principles of things are like this, and human learning should also be like this. The two lines "Jingyi rushen" refer to knowledge, while the two lines "Liyong anshen" refer to action. People are only because they cannot settle their minds in a contracted position, always wanting to stretch out, that they have endless thoughts, but in the end, they all miss the mark. They do not understand that the way of the world is that bending leads to extension: at every moment, there is something I should know and something I should do. For example, when one thoroughly studies the meaning to the point of spiritual insight, one is bending one's body to seek what one should know at this moment; and when one can apply it in practice, that is extension. Seeking convenience in application is only to secure one's self, and one is bending one's body to seek what one should do at this moment; and when one's virtue is elevated, that is extension. Moreover, when knowledge reaches its limit and action reaches its extreme, further progress leads to a realm of profound mystery and complete understanding of creation, which is not something human effort can force. To bend and then extend to this level, why would one need so many thoughts?

竊思如此解，此方與上文何思句相應。義者宜而已。精義者，精密其宜與不宜，皆得其分定而不可易。至於入神，則經權常變，惟我所為。以此致用，用無不利矣。致用由知而行，利用則專言行事矣。人身不安，德何由崇。故無論處常處變，處順處逆，凡所施用，且自安其身。似未嘗大有所作為，然此身既安，則一切事業皆由此起。是雖不過自安其身，實德所由崇也。精義入神，利用安身，豈必盡無思慮。然思其所宜思。所謂同歸殊途，一致百慮者。非憧憧之思也。

I privately think that this interpretation alone corresponds with the previous sentence 「the world has no thoughts or worries」. What is meant by 「propriety」 is simply 「suitability」, that is, appropriateness. What is meant by 「excellent propriety」 is to distinguish between what is appropriate and what is not with extreme precision, so that every detail is fixed and cannot be changed. When one reaches the level of 「entering into the divine」, then the established rules and the flexible adaptations, the constant and the changes, are all at one's disposal. With such effort, practical application follows naturally, and nothing is unprofitable. 「Achieving practical use」 is the transition from knowledge to action, while 「practical utility」 refers specifically to the conduct of affairs. If a person cannot settle themselves, from where can virtue be esteemed? Therefore, whether in ordinary circumstances or in changing situations, whether in favorable or adverse conditions, whenever one acts, one must first ensure one's own stability. This may seem like nothing great, but once the self is secure, all undertakings arise from this point. Though it seems merely to be settling oneself, it is actually the root from which virtue is esteemed. To deeply study principles and reach a divine level, and to apply them conveniently in order to settle oneself, is there no thought involved at all? No, it is thinking about what should be thought about, that is, the kind of thinking that 「converges to the same goal through different paths, and unifies all considerations in one thought」, rather than the kind of thinking that is unsettled and restless like the mind in the ninth line of the fourth hexagram.

過此以往，未之或知也。窮神知化，德之盛也。此，指上精義利用，下學之事。至此過此以往，則無所用其力。未之或知，則不止於致用崇德而已。窮神之神，即入神之神。唯有入神之功，乃有窮神之效。德盛之德，即崇德之德。唯積而日崇，則德自愈盛也。由致用崇德而至於窮神知化，乃德盛仁熟自致，非人力所能為。至此則信之極矣。

The Great Treatise continues saying: going further upward, it is beyond human knowledge; to exhaust the divine and understand the workings of creation is the realm of supreme virtue. Here, "this" refers to the previous discussion of attaining the subtle and entering the divine, which belongs to the lower studies. When one reaches this stage and proceeds further, there is no more strength left. "Not knowing it" means that this realm goes beyond mere application and cultivation of virtue. The "divine" in "exhausting the divine" is the same "divine" in "entering the divine"; only through the practice of entering the divine can one achieve the result of exhausting the divine. The "virtue" in "supreme virtue" is the same "virtue" in "cultivating virtue"; only through continuous reverence and cultivation can virtue naturally become more abundant. From application and cultivation of virtue up to exhausting the divine and understanding transformation is naturally reached after virtue is fully matured and benevolence is ripe, not something that human effort can force. When one reaches this stage, "extension" has also reached its peak.

按，本義，不知者往而屈也，自致者來而伸也。竊意此節不必又分屈伸，宜承上節而言。屈之必伸，非特致用崇德而已。過此以往，乃有不可知之妙。即至於窮神知化，盛德之極。而其始不過精義入神，利用安身而已。又何必以憧憧之思慮為哉。竊意此節之解與本義不合，然於經文較為明順，以待高明參酌。

According to Zhu Xi's "The Original Meaning of the Zhou Changes," "wu zhi hu zhi" refers to bending in the process of going forward, while "de zhi sheng" is the natural unfolding of extension. I personally think that this section does not need to be divided into bending and extension; instead, it should be understood as a continuation of the previous section: when there is bending, there must be extension, and this extension is not limited to practical application and the cultivation of virtue. Going further, there is a mysterious and unfathomable aspect. Even when reaching the ultimate state of comprehending the workings of heaven and earth and attaining the highest virtue, its origin is merely the refinement of essential principles into a divine state and the proper use of resources for stability. If this is the case, why should we engage in such restless and agitated contemplation? My interpretation differs from that of "The Original Meaning," but in terms of the flow of the text, it is clearer and more coherent. I record it here with caution, awaiting the judgment of more enlightened scholars.

《易》曰：「困于石，據于蒺藜，入于其宮，不見其妻，凶。」子曰：「非所困而困焉，名必辱。非所據而據焉，身必危。既辱且危，死期將至，妻其可得見耶。」非所因而因，不可為而強為之也。非所據而據，宜去而不去之也。君子有不幸之因，而我無致困之道。則不辱陳蔡匡人是已。君子無非年據之據，而所據必正則不危。不立巖牆之下是已。此釋困六三爻義。

The *I Ching* says in the *Guan* hexagram's sixth line three: "Being trapped by a stone, and leaning on thornbushes, returning home but not seeing one's wife, which is ominous." Confucius said: "To be trapped where one should not be, one's reputation will surely suffer; to lean on something one should not, one's safety will surely be in danger. Suffering both disgrace and peril, death is near, how can one see one's wife again?" What is meant by "not being trapped but being trapped" is doing something one knows is wrong yet insisting on doing it; what is meant by "not leaning but leaning" is when one should withdraw but refuses to do so. A gentleman may also encounter misfortune, but he does not bring it upon himself. Confucius, when starved in Chen and Cai, and surrounded in Kuang, did not lose his dignity, which is an example of this. A gentleman does not lean on improper things; whatever he leans on is proper, hence not dangerous; Mencius's statement about not standing under a collapsing wall is an example of this. (Note: The original text mistakenly writes "because" instead of "trapped" and "year" instead of "reason," but these errors are retained as they were.) This passage explains the meaning of the sixth line three of the *Guan* hexagram.

《易》曰：「公用射隼于高墉之上，獲之無不利。」子曰：「隼者，禽也。弓矢者，器也。射之者，人也。君子藏器於身，待時而動，何不利之有。動而不括，是以出而有獲。語成器而動者也。」此釋解上六爻義。夫子又推言外之意也。括，結礙也。

The Commentary on the Hexagram 17, line six says: "The king and duke are on a high wall shooting falcons, and with one shot he captures them, achieving success in all things." Confucius says: "A falcon is a bird, an arrow is a weapon, and the person drawing the bow is a human. The gentleman keeps weapons on his person, waiting for the right moment to act, so where could there be any disadvantage? When he acts, there is no obstruction, so he immediately gains results. This explains the principle of preparing weapons and then taking action." This passage explains the meaning of line six in Hexagram 17. Confucius further extends the implied meaning of the line statement. "Kua" means to bind or obstruct.

子曰：「小人不恥不仁，不畏不義，不見利不勸，不威不懲。小懲而大誡，此小人之福也。《易》曰：『屨校滅趾，無咎。』此之謂也。」此釋噬嗑初九爻義。小懲大誡猶為小人之福，況其知義者乎。

Confucius said: "The petty person does not regard unkindness as a disgrace, nor does he fear injustice. He will not make an effort unless he sees tangible benefits, and he will not restrain himself unless he is under pressure. Suffering a small punishment leads to a great warning, which is actually the good fortune of the petty person. The Line Statement of the first line of the Shexi hexagram says: 'Wearing a wooden leg irons, covering the toes, without fault.' This explains precisely this meaning." This passage explains the meaning of the first line of the Shexi hexagram. A small punishment brings a great warning; it is good fortune for the petty person, let alone those who already understand principles."

善不積，不足以成名。惡不積，不足以滅身。小人以小善為無益而弗為也，以小惡為無傷而弗去也，故惡積而不可揜，罪大而不可解。《易》曰：「何校滅耳，凶。」此釋噬嗑上九爻義。言懲惡在初，改過在小也。

Good deeds, if not accumulated, are insufficient to establish a good reputation; evil deeds, if not accumulated, are also insufficient to destroy oneself. Small people regard small good deeds as having no benefit and are unwilling to do them, and regard small evil deeds as having no harm and are unwilling to change. Therefore, evil deeds accumulate to the point where they cannot be concealed, and guilt becomes too great to escape. The Line Statement of the Upper Ninth line of the Book of Changes'噬嗑 (Shèkè) hexagram says: "Carrying a wooden yoke on the shoulder, covering the ears, calamity." This passage explains the meaning of the Upper Ninth line of the噬嗑 hexagram, indicating that punishing evil should be done at the beginning, and correcting mistakes should be done while they are still small.

子曰：「危者，安其位者也。亡者，保其存者也。亂者，有其治者也。是故君子安而不忘危，存而不忘亡，治而不忘亂。是以身安而國家可保也。《易》曰：『其亡其亡，繫于苞桑。』」此釋否九五爻義。能常存危亂與亡之意，則可以安其位，保其存，有其治也。

Confucius said: "Those who think they have secured their position bring about danger; those who believe they can preserve their existence bring about destruction; those who assume they can maintain a well-ordered society bring about chaos. Therefore, a gentleman remains vigilant against danger even when secure, remembers the possibility of downfall even when existing, and keeps in mind the threat of disorder even when things are peaceful. In this way, he ensures his own stability and the preservation of the state. The Line Statement of the ninth line of the fifth position in the Book of Changes' Gua of Non-communication says: 'Almost lost, almost lost, only then is it like a rope tied around a thick mulberry root, secure.' This passage explains the meaning of the ninth line at the fifth position in the Gua of Non-communication. By constantly keeping in mind the three dangers of danger, chaos, and destruction, one can actually secure one's position, preserve existence, and maintain a well-ordered society."

子曰：「德薄而位尊，知小而謀大，力少而任重，鮮不及矣。《易》曰：『鼎折足，覆公餗，其形渥，凶。』言不勝其任也。」此釋鼎九四爻義。

Confucius said: "One who lacks virtue yet holds a high position, who has limited intelligence yet plots great affairs, and who is weak yet bears heavy responsibilities, rarely escapes calamity. The line statement of the fourth line of the Dǐng (Tripod) hexagram says: 'The tripod leg breaks, the royal delicacies spill out, the body of the tripod is soiled and disordered, calamity.' This indicates that he is unable to bear the heavy responsibilities he has been given." This passage explains the meaning of the ninth line in the fourth position of the Dǐng hexagram.

子曰：「知幾其神乎。君子上交不諂，下交不凟。其知幾乎。幾者，動之微，吉之先見者也。君子見幾而作，不俟終日。《易》曰：『介于石，不終日，貞吉。』介如石焉，寧用終日，斷可識矣。君子知微知彰，知柔知剛，萬夫之望。」此釋豫六二爻義。上交宜恭而近諂，下交宜和而近凟。所分甚微，所謂幾也。介于石，則至靜而無慾，至重而難動。所以能見幾而不溺於豫。故知微又知彰，知柔又知剛也。知幾則有吉而無凶，故曰吉之先見。

Confucius said, "To be able to perceive the subtle signs of things, perhaps this is close to the wisdom of the divine. A gentleman associates with those above without flattery, and with those below without arrogance. This is to understand the concept of 'ji.' What is 'ji'? It is the initial subtle indication of change, the first appearance of auspiciousness. When a gentleman sees this indication, he acts immediately, without waiting for a whole day. The Line Statement of the Second Line of the Yu hexagram says, 'Upright as a stone, without waiting for a full day, holding to the correct path to gain auspiciousness.' Since he is upright like a stone, why would he need to wait for a whole day? Right and wrong are clearly discernible at once. A gentleman understands both the subtle and the obvious, both the gentle and the strong, thus being looked up to by all people." This passage explains the meaning of the Second Line of the Yu hexagram. When associating with those above, one should be respectful, but excessive respect approaches flattery; when associating with those below, one should be easygoing, but excessive ease approaches arrogance. The boundary between these two is extremely fine, which is what is called 'ji.' 'Upright as a stone' means that the mind is extremely calm with no private desires, and heavy in weight without being easily swayed. Therefore, he can perceive the subtle signs without becoming immersed in the pleasures of the Yu hexagram, thus understanding both the subtle and the obvious, both the gentle and the strong. To perceive 'ji' brings only auspiciousness, hence 'ji' is the first sign of auspiciousness.

子曰：「顏氏之子，其殆庶幾乎。有不善未嘗不知，知之未嘗復行也。《易》曰：『不遠復，無祗悔，無吉。』」此釋復初九爻義。庶幾，言近於也。天地絪縕，萬物化醇。男女構精，萬物化生。《易》曰：「三人行則損一人，一人行則得其友。」言致一也。此釋損六三爻義。天地氣化，男女形化皆以兩，故專一也。

Confucius said, "Yan Hui, this person, perhaps approaches the understanding of knowing the right moment. When he has a wrong thought, he is immediately aware of it, and after realizing it, he does not repeat it. The line statement of the first line of the Fu hexagram says, 'Not going far and returning, without regret, auspicious.' " This passage explains the meaning of the first line of the Fu hexagram. 'Shuyi' means approaching. (Note: The original text mistakenly writes 'yuanji' instead of 'wujie,' and this version retains the original.) The vital energies of heaven and earth intertwine closely, giving rise to the transformation and thickening of all things; the union of male and female produces the essence, giving birth to all things. The line statement of the sixth line of the Shen hexagram says, 'When three people walk together, one should be reduced; when one walks alone, one finds a companion.' This refers to returning to unity. This passage explains the meaning of the sixth line of the Shen hexagram. Heaven and earth generate through energy, and male and female generate through form, both requiring mutual pairing, hence the importance of unity.

子曰：「君子安其身而後動，易其心而後語，定其交而後求。君子修此三者故全也。危以動，則民不與也。懼以語，則民不應也。無交而求，則民不與也。莫之與則傷之者至矣。《易》曰：『莫益之，或擊之，立心勿恆，凶。』」此釋益上九爻義。易，平易也。易其心而後語，心平氣和故能言也。

Confucius said: "A gentleman first ensures his own stability before taking action, first attains inner tranquility before speaking, and first establishes solid relationships before making requests. A gentleman cultivates these three aspects, thus ensuring his actions are comprehensive. If one acts when in a perilous situation, the people will not follow; if one speaks with fear, the people will not respond; if one makes requests without existing relationships, the people will not give. If no one is willing to give, then those who harm him will come. The Line Statement of the Upper Ninth line of the Book of Changes' Ji (Benefit) hexagram says: 'No one comes to benefit him, but someone comes to attack him, his mind cannot remain constant, thus resulting in misfortune.' This passage explains the meaning of the Upper Ninth line of the Ji hexagram. 'Yi' means easy; 'Yi qi xin er hou yu' means that one must first have a peaceful and tranquil mind before being able to speak."

危以動則民不與，黨與之與也。無交而求則民不與，取與之與也。安其身，易其心，定其交，皆非立心有恆者不能。動而與，語而應，求而與者，物我一心而無間之者也。益之上九專利自益，故不徒無益而反有傷之者也。上傳七卦，下傳九卦十一爻皆夫子隨其意之所欲言，發明其義，以為學易者之法。學者觸類以及其餘，則易之道思過半矣。右第五章。

"The 'with' in 'If one acts in danger, the people will not follow' refers to 'with' meaning party or adherence; the 'with' in 'If one makes a request without mutual exchange, the people will not give' refers to 'give'. Making oneself secure, keeping one's mind peaceful, and maintaining solid relationships are things that those who cannot uphold constancy in their minds cannot achieve. When one acts and the people follow, when one speaks and the people respond, when one makes a request and the people are willing to give, it is because the self and others share the same mind, with no separation between them. The upper ninth line of the Beneficial Hexagram (益卦) gains benefit alone for itself, thus not only failing to gain more, but instead suffering harm. The seven hexagrams cited in the 'Great Treatise' of the upper transmission, and the nine hexagrams and eleven line statements cited in the 'Great Treatise' of the lower transmission, are all statements by Confucius according to his own thoughts, elaborating the meanings wherever he wished, establishing a model for those learning the Book of Changes. Scholars who can use these to understand similar cases and apply them to other situations will have grasped half of the principles of the Book of Changes. The above is Chapter Five of the 'Great Treatise' of the lower transmission."

第六章言乾坤為六十四卦之所從出，其究無非斷吉凶以決民疑也。子曰：「乾坤其易之門耶。乾，陽物也。坤，陰物也。陰陽合德而剛柔有體。以體天地之撰，以通神明之德。」

This chapter explains that the Qian and Kun trigrams are the origins of the sixty-four trigrams, and the ultimate purpose of the Book of Changes is to judge auspiciousness and misfortune, and to resolve difficulties for the people. Confucius said: "Qian and Kun are probably the gateways of the Book of Changes. Qian represents the Yang element, and Kun represents the Yin element. Yin and Yang combine in virtue, thus producing the lines of strength and flexibility, which are used to observe the achievements of heaven and earth, and to connect with the virtue of the divine."

六十四卦不外陰陽闔闢而成，故乾坤為易之門。有形質曰物。有奇有偶，則有形有質矣。以二物之德言。則陽與陰合，陰與陽合，而其情相得。以二體言。則剛自剛，柔自柔，而其質不同。撰，猶事也。雷風山澤之類也，可得見者也。可見者以此二物體之。德，順健動止之類也，不可測者也。不可測者以此二物通之。

The sixty-four hexagrams are all composed by the combination of the closure and opening of yin and yang. Therefore, Qian and Kun are the gateways of the Book of Changes. Anything with form and substance is called "wu" (things). When there are odd lines and even lines, there is form and substance. In terms of the virtues of yin and yang, yang and yin combine with each other, and yin and yang also combine with each other; their intentions are in harmony. In terms of the hexagrams of yin and yang, the strong belongs to the strong, and the flexible belongs to the flexible; their substances are different. "Zhuàn" is like doing things and achieving results, such as thunder, wind, mountain, and marsh, which are all visible. Visible things are examined by yin and yang. "De" refers to strength, compliance, movement, and stillness, which are incomprehensible. Incomprehensible things are understood by yin and yang.

其稱名也，雜而不越。於稽其類，其衰世之意邪。萬物雖多，無不出於陰陽之變。故卦爻之義，雖雜出而無差謬。衰世，本義謂指文王與紂之時。蓋伏羲畫卦之時，理雖無所不具。然人心淳質，未有歷其事者。世衰道微，情偽滋多。至文王與紂之時，則經歷崎嶇險阻，故其言曲盡偽艱險。蓋聖人憂世之心，有不得已焉者也。

The Great Treatise says: The terms mentioned in The Zhou Changes, though numerous and varied, do not exceed the scope of yin and yang. When examining the categories to which they belong, they seem to express the anxieties of a time of decline and disorder. Although myriad things exist, none comes from outside the changes of yin and yang. Therefore, the meanings of the hexagram statements and line statements, though appearing varied and complex, are without error. The term 'decaying age' refers, according to Zhu Xi's The Original Meaning of the Zhou Changes, to the time of King Wen and King Zhou of Shang. At first, when Fuxi drew the trigrams, the principles were complete in all aspects, but people's hearts were sincere and simple, and no one had yet experienced those worldly affairs. By the time the world had become decadent and insincerity had grown, during the time of King Wen and King Zhou, people had already endured many hardships and difficulties. Therefore, the statements attached by King Wen describe the subtleties of human deceit and the dangers of their situations in a delicate and intricate manner. This is precisely the expression of the sage's concern for the state of the world, and there was a necessity for such expressions.

夫易，彰往而察來，而微顯闡幽。開而當名辨物。正言斷辭則備矣。而微顯當作微顯而。開而之而亦有悞。彰往，謂陰陽消長卦畫已具也。察來，謂事之未來吉凶因卦爻以斷也。微顯，謂即人事推之天道。顯者微之，使求其原也。闡幽，謂本天道驗之人事。幽者闡之，使求其端也。當名，謂父子君臣之分，上下貴賤之等，各當其位也。辨物，如乾馬坤牛離火坎水，悉辨其類也。正言，如元亨利貞、直方大之言。正其言以曉人也。斷辭，如利涉大川、不利涉大川、可小事、不可大事。以決人之疑也。

The Great Treatise says: The Book of Changes can illuminate the past, foresee the future, bring the obvious into the subtle, and reveal the hidden, so that when one opens the book, the proper distinctions are clear, and things are well categorized. Its expressions are correct and its judgments are definite, thus the function of the Book of Changes is complete. (Note: "er weixian" should be "weixian er", and the "er" in "kai er" is likely a mistake.) "Zhangwang" refers to the fact that the increase and decrease of yin and yang are already shown in the hexagrams. "Chalai" means that for things not yet arrived, their fortune or misfortune can be determined by the hexagram lines. "Weixian" means to infer the heavenly way from human affairs, bringing the obvious to the subtle, so that people can seek its origin. "Chanyou" means to use the heavenly way to verify human affairs, revealing the hidden principles, so that people can seek their beginning. "Dangming" refers to the proper distinctions of father and son, ruler and subject, and the hierarchy of high and low, noble and humble, each in their proper place. "Bianwu" refers to distinguishing things clearly, such as the hexagram Qian taking the image of a horse, Kun taking the image of an ox, Li representing fire, and Kan representing water. "Zhengyan" refers to expressions like "Yuan, Heng, Li, Zhen" and "Zhi, Fang, Da," which are properly worded to enlighten people. "Duanci" refers to judgments like "It is advantageous to cross a great river," "It is not advantageous to cross a great river," "It is suitable for minor matters," and "It is not suitable for major matters," which are used to resolve doubts.

其稱名也小，其取類也大。其旨遠，其辭文。其言曲而中，其事肆而隱。因貳以濟民行，以明失得之報。此節上六句抑揚其辭，而總以因貳以濟民行二語結之。負乘往來，事之小。茅棘雞豕，物之小。然取類皆本於陰陽，則大矣。其旨皆陰陽道德性命之秘，遠而難窺。其辭則經緯錯綜有文，燦然可見矣。委曲其辭者，未必皆中乎理。易則委曲而無不合理。敷陳其事者，無有隱而不彰。易則事雖畢陳，而理之所以然未嘗不隱也。貳，疑也。報，應也。承上言凡若此者。無非因民之疑貳而決之。以濟其所行，而明得失吉凶之應也。大全吳氏謂專指彖辭。其實彖爻皆然，宜兼言之。右第六章。

The Great Treatise says: The Book of Changes refers to many small names, but draws upon great categories; its meaning is profound, its words well-ordered; its statements are indirect yet always accurate, its accounts detailed yet still contain hidden meaning. It follows people's doubts and helps the people in their actions, thus revealing the consequences of success and failure. These six preceding sentences alternately praise and criticize the words of the Book of Changes, and the last two sentences summarize the whole. Carrying things while sitting in a cart, going back and forth, are small matters; straw, brambles, chickens, pigs, are small things; yet they are all based on yin and yang, thus becoming great. Its meaning lies in the subtle aspects of yin and yang, morality, and the nature of life and death, profound and hard to grasp; its words are interwoven and orderly, bright and clear. Common people may speak indirectly, but not necessarily with reason; the Book of Changes speaks indirectly yet always with reason. Common people may elaborate on matters, but they may leave something unspoken; the Book of Changes elaborates on matters yet still keeps the underlying principles hidden. "Doubt" refers to uncertainty, "response" refers to感应. Following the previous text, all these things are nothing but following people's doubts to help them make decisions, thus assisting them in their actions and revealing the consequences of success and failure. The Zhou Yi Dian says that Wu's view in this passage refers specifically to the彖辞, but in fact both the彖辞 and the Line Statement are like this, and they should be discussed together. The above is the sixth chapter of the lower part of the Great Treatise.

第七章三陳九卦以明處憂患之道。易之興也，其於中古乎。作易者，其有憂患乎。易指文王所繫之辭。伏羲畫卦，夏商雖以占卜，未有其辭。自文王拘於羑里，身經患難而係彖辭，教人以反身修德。故曰其有憂患乎。下文舉九卦之名，以見其憂患之意，因即此示人以處憂患之道也。

This chapter lists the same nine hexagrams three times to illustrate the way of self-cultivation when facing difficulties. The "Great Treatise" says: The emergence of the "Book of Changes" probably dates back to the middle ancient times; the person who composed the "Book of Changes" probably had a mind filled with anxiety and concern. Here, the term "易" refers to the hexagram line statements associated with King Wen. Fuxi only drew the hexagrams, and during the Xia and Shang dynasties, although they used them for divination, there were no accompanying texts. Since King Wen was imprisoned in Youli, he personally experienced hardship and added the "tong" statements, teaching people to examine themselves and cultivate virtue, hence saying he "had anxiety and concern." The following text lists the names of nine hexagrams to demonstrate King Wen's concern and anxiety, and to guide people on how to deal with difficulties.

是故履，德之基也。謙，德之柄也。復，德之本也。恆，德之固也。損，德之修也。益，德之裕也。困，德之辨也。井，德之地也。巽，德之制也。九卦皆反身修德以處憂患之事也。基所以立。履，禮也。上天下澤定分不易。必謹乎此，然後其德以有基而立也。柄所以持。謙者自卑以尊人，為禮者之所當執持而不可失者也。復為反善之義。人性本善，蔽於物欲則流於惡。能於念慮之萌人所不知己所獨知之處，審其幾而復於善。則火然泉達，萬善從此推廣。是德有其本也。

Therefore, the Book of Changes says: The卦 of "Footsteps" (履) is the foundation of virtue, the卦 of "Humility" (谦) is the handle of virtue, the卦 of "Returning" (复) is the root of virtue, the卦 of "Perseverance" (恒) is the stability of virtue, the卦 of "Loss" (损) is the refinement of virtue, the卦 of "Benefit" (益) is the abundance of virtue, the卦 of "Trouble" (困) is the test of virtue, the卦 of "Well" (井) is the foundation of virtue, and the卦 of "Wind" (巽) is the decision of virtue. These nine trigrams all speak of self-cultivation in virtue to deal with worries and troubles. "Foundation" is for establishing oneself. "Footsteps" refers to ritual (礼), with the upper trigram being Heaven and the lower trigram being Marsh, indicating fixed distinctions of rank and hierarchy that must be strictly observed, so that virtue can have a foundation to stand on. "Handle" is for holding on to. "Humility" means to place oneself in a low position while respecting others, which is something that those who practice ritual should hold fast to and never lose. The卦 of "Returning" takes the meaning of returning to one's innate goodness: human nature is originally good, but it becomes evil when obscured by worldly desires; if one can examine the initial stirrings of thought, where others do not know but oneself does, and return to goodness at that point, like a flame just beginning to burn or a spring first emerging, all virtues can spread from there. This is the root of virtue.

所守游移則德不固，恆則守不變而常且久矣。損者懲念窒慾，所以修其身也。益者遷善改過，使善日長而充裕也。人處困窮，出處語默取予辭受可以觀德。明辨於此，以自驗其學問之力。又困而能通則可辨其是，困而不通則可辨其非矣。井有本，故澤及於物而井未嘗動。如人之有德而所施及人，德性初未嘗動。故曰德之地也。巽為資斧，有斷制之象。蓋巽不止於順。以一陰入二陽之下，順而能入。故曰德之制也。比皆修德之具，不必言功夫次第。

The position one holds is unstable, and thus one's virtue is not firm; the hexagram of Constancy maintains an unchanging stance and thus can endure. The hexagram of Loss is about restraining anger and suppressing selfish desires, used for self-cultivation (the original text mistakenly writes 'punish thought' instead of 'punish anger'). The hexagram of Gain is about moving towards goodness and changing wrongdoing, allowing good thoughts to grow day by day and become abundant. When a person is in a state of hardship, whether to take office or retreat, to speak or remain silent, to take or give, to accept or decline, these situations most clearly reveal one's virtue; in these areas, distinguishing clearly is exactly what is used to test the weight of one's learning. Moreover, if one can become unblocked in hardship, it shows he is right; if one cannot become unblocked in hardship, it shows he is wrong. A well has a spring, so its benefits reach all things while the well itself remains still, just as a person with virtue benefits others while the virtue itself remains unshaken. Therefore, the well is the foundation of virtue. The hexagram of Wind has the image of 'tools and axes,' implying the meaning of cutting and deciding. Originally, Wind is not only about yielding; with one yin line entering beneath two yang lines, it is yielding yet capable of penetrating deeply, so Wind is the cutting and deciding of virtue. These nine hexagrams are all tools for cultivating virtue, and there is no need to force a particular order among them.

履和而至。謙尊而光。復小而辨於物。恆雜而不厭。損先難而後易。益長裕而不設。困窮而通。井居其所而遷。巽稱而隱。此如書之言九德也。禮本人情，和也。和則或疑非其至。然各得其所而不亂，則至極無以加矣。自尊者，雖尊而不光。唯謙則己雖卑，而人尊之且益光也。復一陽之微，而不亂於群陰。猶善端之萌，非眾惡所能遏也。

The Great Treatise mentions again that "Fu" signifies harmony reaching its extreme, "Qian" signifies humility leading to great esteem, "Fu" signifies subtle discernment, "Heng" signifies enduring complexity without weariness, "Sun" signifies difficulty preceding ease, "Yi" signifies cultivating goodness abundantly without artificiality, "Kun" signifies hardship leading to success, "Jing" signifies remaining in place yet benefiting others, and "Xun" signifies careful consideration with subtle actions. This is similar to the nine virtues described in the Book of Documents, the Talk of Gao Yao. Ritual is based on human feelings, thus it is "harmony." Since harmony is easy, people might doubt it has reached its extreme, but ritual ensures that all things are properly placed without disorder, which is the ultimate state, beyond which there is nothing more. One who exalts himself, though in a high position, lacks luster; only humility brings esteem from others, thus increasing one's honor. The Fu hexagram has only one yang line, yet it is not disturbed by the many yin lines, like a good beginning that is not suppressed by many evils.

恆既歷久，豈能無雜。然其德有常，雖歷煩雜而不厭也。損如懲忿窒欲。其始雖難，純熟之後乃易矣。益但充長其本然，而初無所造作。困者身困道亨，故通。井不動而及物。所施不窮，所謂遷也。巽能順理因時，稱物之宜。而性入而伏，形跡不露。猶風之動，物不見其形，所謂隱也。此正言九卦才德之善，以見能為修德之具。如履和而至，所以為修德之基。若和而不至，則不可為基矣。餘倣此。

The Hexagram of Constancy, being enduring over a long period, must inevitably encounter complexity. Yet its virtue remains constant, so even though it meets with difficulties, it does not become weary. The Hexagram of Reduction is like restraining anger and suppressing desires; although it is difficult at first, once mastered, it becomes easy. The Hexagram of Benefit is simply the expansion of one's inherent goodness, and at first there is no artificial effort. The Hexagram of Obstruction is being in a difficult situation yet the path becomes clear, hence it is called "communication." The Hexagram of the Well is motionless yet its benefits reach others, and its giving is endless, which is called "transmission." The Hexagram of Wind is able to follow the way of things and adapt to the proper time, weighing the measure of things, and its nature is to be deep and concealed, not revealing itself, like the movement of wind, which exerts influence on all things without being seen, which is called "concealment." This section directly discusses the virtues and natures of the nine hexagrams, showing how they can serve as tools for cultivating virtue. For example, the Hexagram of Walking is harmonious and reaches the extreme, thus it can serve as the foundation for cultivating virtue; if it is only harmonious but does not reach the extreme, it cannot serve as a foundation. The other eight hexagrams can be understood in a similar way.

履以和行。謙以制禮。復以自知。恆以一德。損以遠害。益以興利。困以寡怨。井以辨義。巽以行權。人之所行不由禮則乖，故履所以和其行也。謙主卑下。禮以謙為主，所以制乎禮也。復則良知不為欲蔽，以自知也。恆則有始有終，所以一德也。損以遠忿欲之害。益以興遷改之利，知守其困，處之有道，則少有所怨尤。遷徙於義，非辨安能遷。而井靜而生明，故於義能辨之。巽則義精仁熟，精微委曲，無所不入。所謂可與權也。

The Great Treatise lists the third time that the hexagrams are used to regulate human conduct: The hexagram of Footsteps regulates action, the hexagram of Humility regulates ritual propriety, the hexagram of Returning to the Beginning regulates self-awareness, the hexagram of Constancy regulates the cultivation of virtue, the hexagram of Loss regulates the avoidance of misfortune, the hexagram of Gain regulates the promotion of benefit, the hexagram of Difficulty regulates the reduction of resentment, the hexagram of Well regulates the discernment of righteousness, and the hexagram of Following regulates adaptability. Human actions without adherence to ritual will be disorderly, so the hexagram of Footsteps can regulate action. Humility is based on humility, and ritual propriety is based on humility, so the hexagram of Humility can regulate ritual. The hexagram of Returning to the Beginning allows the original knowledge to be unobstructed by selfish desires, thus enabling self-awareness. The hexagram of Constancy has a beginning and an end, thus enabling the cultivation of a single virtue. The hexagram of Loss is used to avoid the harm of anger and selfish desires; the hexagram of Gain is used to promote the benefit of improving goodness and correcting mistakes. Knowing how to remain content in difficult situations and dealing with them properly, resentment naturally decreases. To move towards righteousness, how can one move without discernment? Well water is still but can produce a clear mirror, so it can discern righteousness. The hexagram of Following has a thorough understanding of righteousness and a pure cultivation of benevolence, being subtle and flexible and able to penetrate all things, which is the state that Confucius refers to as 'capable of flexibility'.

始於守禮，終於達權，先後亦有其序也。此章凡三陳九卦。首言九卦為修德之具。次言九卦之善，所以可為修德之具。終乃言用九卦以處憂患之道。然九卦非專以處憂患。易言處憂患者，亦不止於九卦。夫子偶舉其近似者言之，以為學者之法而已。右第七章。

Starting with careful adherence to ritual and law and ending with the ability to adapt flexibly, there is an inherent order between these stages. This chapter lists these nine trigrams three times. The first time it says that the nine trigrams are tools for cultivating virtue, the second time it says that the inherent goodness of the nine trigrams makes them suitable as tools for cultivating virtue, and finally it discusses the method of using the nine trigrams to deal with calamities. However, the nine trigrams are not specifically designed for dealing with calamities. The Book of Changes also discusses dealing with calamities in other trigrams. Confucius merely cited a few similar ones for the sake of example, establishing a model for scholars. The above is from the seventh chapter of the Great Treatise section of the Commentary on the Appendices.

第八章言易之不可離，而深有望於率辭揆方之人也。易之為書也不可遠，為道也屢遷。變動不居，周流六虛。上下無常，剛柔相易。不可為典要，唯變所適。按，本義，遠猶忘。大全林氏謂人生日用不可須臾離者道，即一陰一陽之道。變動，卦爻之變動也。屢遷不居，非一定也。六虛，即六爻。六爻剛柔往來如寄，非實有也，故曰虛。典，常也。要，約也。不可為典要，唯變所適，所貴變易以從時而已。

This chapter explains that the book of Change is something people cannot for a moment be separated from, and it deeply hopes that those who can follow the statements of the hexagrams and lines will be able to understand its intent. The Great Treatise says: The book of Change is not something to be distant from; the way it discusses is constantly changing. The movement of the lines does not stay in one place, but flows through the six empty positions; up and down there is no fixed state, the strong and the weak lines alternate, and cannot be regarded as fixed rules or simple examples. It only follows the movement as it goes. Note: Zhu Xi's The Original Meaning of the Zhou Changes says "far" is like "forget." The Zhou Changes Comprehensive Collection records that Lin氏 believes that the "way" which people cannot for a moment be separated from in daily life is "the way is called yin and yang," that is, "the way is called yin and yang." "Change" refers to the movement of the hexagrams and lines; "frequently changing and not staying in one place" means there is no fixed state. "Six empty positions" refer to the six lines, and the strong and weak lines moving back and forth are like temporary stays, not real, so they are called "empty." "Classic" refers to a constant rule, "key" refers to a fixed example; "it cannot be taken as a classic or key, but only follows the change" shows the value lies in adapting to the times through constant change.

其出入以度，外內使知懼。此句疑有脫誤。大要謂易雖不可為典要，然或出或入，在內在外，皆有一定之法度，無非使人知戒懼而已。又明於憂患與故。無有師保，如臨父母。所以然曰故。明於憂患，且知其所以然之故。憂患之來，苟不明其故，則人有苟免之心。易明憂患而明其所以致之故，故人知自反也。蓋易本聖人吉凶與民同患之書。雖無師保，而常若父母臨之。則不徒教之誨之，且使人有所怙恃，有所瞻依。此極言易之切於人，而戒懼之不可以已。此易所以不可遠也。

The Great Treatise says: "Its coming and going are regulated by principles, whether in external or internal matters, it makes people aware of caution." This sentence may have some missing or incorrect characters. The general meaning is that although the Book of Changes should not be regarded as fixed rules, yet whether it comes or goes, whether in external or internal matters, there are certain principles, and the main purpose is to make people maintain a sense of caution. The Great Treatise also says: "The Book of Changes makes people understand worries and the reasons for them." Even without a teacher or tutor present, it is as if parents are by one's side. The reason for things is called "gu." Understanding worries and knowing the reasons for their occurrence: when worries come, if one does not understand the reasons, one would only have a侥幸 (侥幸 means侥幸, which is a term for taking chances or hoping for luck) mind to avoid them; the Book of Changes points out the worries and also explains the reasons for them, thus enabling people to examine themselves. The Book of Changes was originally composed by the sage with the heart of sharing the joys and sorrows of the people. Although there is no teacher or tutor present, it is always as if parents are by one's side. In this way, it is not only teaching people but also giving them something to rely on and look up to. This is a strong description of how close the Book of Changes is to people, how constant the sense of caution must be, and this is also the reason why the Book of Changes cannot be distant.

初率其辭而揆其方，既有典常。苟非其人，道不虛行。方，向也。初對既言。初，始也。既，終也。始由其辭以度其意之所向。則其書雖不可為典要，而其辭終則有典可循，有常可則也。然神而明之存乎其人，視其率辭揆方何如耳。苟非其人，道又何以行哉。此章總論易書之不可遠，變動不拘而終有典常。而後以非其人不行結之，深有望於學易者也。右第八章。

The Great Treatise says: At first, one follows the statements of the hexagram lines to discern its meaning, but eventually there is a regular method to rely on. If one is not such a person, this way would not be able to exist on its own. "Fang" refers to the meaning. "Chu" and "Ji" are relative; "Chu" means beginning, and "Ji" means completion. At the beginning, one uses the statements of the hexagram lines to discern the direction of its meaning, so although this book cannot be regarded as a fixed rule, its statements eventually have a standard to follow and a constant way to emulate. However, the ability to intuitively understand and clearly perceive depends on the person, depending on how well he cultivates his ability to follow the statements and discern the meaning. If one is not such a person, by what means would the way be practiced? This chapter generally discusses the importance of not neglecting the Book of Changes, although it is changeable and not restricted, it ultimately has a regular method to rely on; at the end, it concludes with "non-qualified persons cannot practice it," expressing deep hopes for those studying the Book of Changes. The above is the eighth chapter of the lower part of the Great Treatise.

第九章專論爻畫以示人也。易之為書也。原始要終，以為質也。六爻相雜，唯其時物也。質謂卦體。時謂六位之時。物謂陰陽二物。凡八卦及六十四卦所取龍馬豕雞之類，皆物也。卦有定體，故曰質。爻無定用，故曰時。言聖人之畫卦，必原其事之始，要其事之終，以為一卦之體質。六爻則剛柔相錯雜，隨其時而辨其物。占者吉凶各因其所值，無一定也。此節總言聖人作易立卦生爻之義，下文乃因分諸爻之為用而詳言之。

This chapter specifically discusses the symbolic representations of the lines (yao) to guide scholars. The Great Treatise says: The Book of Changes examines the beginning of things and the conclusion of things, using these as the basis for the structure of a hexagram; the six lines are intermingled, referring to the time each line occupies and the things they represent. "Quality" refers to the structure of the hexagram, "time" refers to the specific timing of each of the six lines, and "things" refer to the two categories of yin and yang. All the creatures such as dragons, horses, pigs, and chickens used in the eight trigrams and the sixty-four hexagrams belong to the category of "things." A hexagram has a fixed structure, so it is called "quality"; a line does not have a fixed function, so it is called "time." This means that the sage created the hexagrams by examining the beginning and end of a matter, using these to form the structure of a hexagram; the six lines are intermingled of yin and yang, and they are distinguished by the time they occupy to identify the things they represent. The fortune or misfortune obtained by those who practice divination depends on the lines they encounter, and there is no fixed outcome. This section summarizes the intention of the sage in creating the Book of Changes, establishing hexagrams and generating lines. The following sections will elaborate on the specific uses of each line.

其初難知，其上易知，本末也。初辭擬之，卒成之終。此承上文原始要終，而言初上二爻也。原其始，則初爻為本。本質未明，故難知。要其終，則上爻為末。末質已著，故易知。難知者，所繫之辭，必擬議之而後得。易知者，但卒其卦之辭，以成其卦之終而已。

The Great Treatise says: The first line is difficult to understand, while the top line is easy to understand, because one is the beginning and the other is the end. The words of the first line must be inferred by analogy, while the words of the top line are used to conclude the entire hexagram and form its final outcome. This is a continuation of the previous statement "to investigate the origin and understand the end," focusing specifically on the first and top lines. To trace back to its beginning, the first line is the root, and the nature of the root has not yet become evident, hence it is difficult to know; to conclude its end, the top line is the tip, and the nature of the tip has already become clear, hence it is easy to know. What is difficult to know requires the words to be carefully compared and discussed before they can be determined; what is easy to know only needs to conclude the meaning of the entire hexagram to complete the final outcome of this hexagram.

若夫雜物撰德，辯是與非，則非其中爻不備。按，本義此謂卦中四爻。按，大全吳氏謂論正體。則二為內卦之中，五為外卦之中。論互體。則三為內卦之中，四為外卦之中。故皆謂之中爻。今按，中爻之義宜從本義，以全卦之中言之。而經文備字宜兼正互體為言。物者，爻之陰陽。德，即健順動止之德。爻有中不中正不正有應無應，則皆有是與非矣。有內外卦之物與德，有互卦之物與德。故備。

The Great Treatise says: "When dealing with the mixture and classification of things, the narration of virtue, and the distinction of right and wrong, it is only by the middle lines that all these can be fully covered." Note: Zhu Xi's The Original Meaning of the Zhou Changes holds that the "middle lines" here refer to the second, third, fourth, and fifth lines of a hexagram. Also note: According to Wu's commentary in The Complete Canon of the Zhou Changes, if we consider the main structure of the hexagram, the second line is the middle of the inner trigram, and the fifth line is the middle of the outer trigram; if we consider the interacting trigrams, the third line is the middle of the inner trigram, and the fourth line is the middle of the outer trigram. Therefore, these four lines are all called middle lines. Now, it is considered that the meaning of "middle lines" should follow The Original Meaning, referring to the middle part of the entire hexagram. As for the character "complete" in the text, it should be understood in relation to both the main structure and the interacting trigrams. "Things" refer to the yin and yang attributes of the lines, and "virtue" refers to the virtues such as strength, compliance, movement, and stillness associated with the hexagrams. The lines have distinctions of being in the middle or not, being in the right position or not, and having a corresponding line or not, thus giving rise to distinctions of right and wrong. With both the yin and yang attributes and virtues of the inner and outer trigrams, as well as those of the interacting trigrams, it is said that "complete" is achieved.

噫。亦要存亡吉凶，則居可知矣。知者觀其彖辭，則思過半矣。上文既分言初上二爻及中四爻，此又總六爻言之。而歸重於彖，以結章首原始要終之意也。存亡者，陰陽之消息。吉凶者，事情之得失。一卦所言不一，要其存亡吉凶之所歸，則六爻之義居然見矣。然知者見事於未形。雖不觀六爻之義，但觀其彖辭已得十之五六矣。蓋彖者原始要終以為質。或論二體，或論主爻，或論綜卦，相易之爻大意已該。知者觀之，無待於爻也。觀此，則爻辭有疑義，宜求之彖可知矣。

The Great Treatise laments: Alas, if we can summarize matters to their survival or destruction, good or ill, then sitting quietly we can understand them. A wise person merely looks at the彖辞 and grasps most of the meaning. The previous passage has already discussed the first and sixth lines and the middle four lines separately. Here, it combines all six lines and focuses on the彖辞, thus concluding the beginning of this chapter, which speaks of tracing back to the beginning and looking to the end. "Survival and destruction" refer to the waxing and waning of yin and yang, while "good and ill" refer to the gain and loss of affairs. A single hexagram may cover many aspects, but if we can summarize its outcome in terms of survival or destruction, the meaning of the six lines will naturally become clear. Moreover, a wise person can discern the trend even before an affair takes shape. Even without examining the meaning of the six lines, by looking at the彖辞, he can grasp about half of it. Because the彖辞 is precisely the essence of the hexagram, tracing back to the beginning and looking to the end. It may discuss the two parts of the hexagram, or the main line, or the inverted hexagram, or the general idea of lines that are yin and yang. A wise person can understand it at a glance, without needing to look at the line statements. Therefore, if there are difficulties in the line statements, one should seek the explanation in the彖辞.

二與四同功而異位，其善不同。二多譽，四多懼，近也。柔之為道，不利遠者。其要無咎，其用柔中也。此以下論中爻。同功，謂皆陰位。異位，謂遠近不同。四近君，有僭逼之嫌，雖在上而多懼。二遠君，陰柔遠則難援。雖若不利而歸於無咎者，以二居下體之中也。爻尚中正而中可兼正。四雖得正，猶有不中之累，況不得正者乎。二雖不正，猶有得中之美，況兼得正者乎。

The Great Treatise says: The second and fourth lines have the same function but different positions, and their virtues are not the same. The second line is often praised, while the fourth line is often anxious, because the fourth line is too close to the sovereign's position. The principle of yielding and compliance is not beneficial to those who are far away, yet the second line's virtue lies in having no fault, precisely because it uses softness and is in the center. From here on, the discussion focuses on the middle lines. "Same function" refers to the fact that both the second and fourth lines are yin lines; "different positions" refers to their different proximity to the sovereign's position. The fourth line is right next to the sovereign's position, which may give the appearance of overstepping, so although it is in the upper trigram and is proper, it is often anxious. The second line is far from the sovereign's position, being soft and distant, and naturally lacks support, yet it is considered without fault because it is in the center of the lower trigram. The lines value being in the center and proper. Being in the center often also means being proper. The fourth line, although proper and in the right position, is still affected by not being in the center, let alone those who are not even in the proper position. The second line, although not in the proper position, benefits from being in the center, let alone those that are both centered and proper.

三與五同功而異位。三多凶，五多功，貴賤之等也。其柔危，其剛勝耶。三五同陽位而貴賤不同。三以臣之賤而居下卦之上，故多凶。五以君之貴而居上卦之中，故多功。柔危剛勝，宜兼五三兩爻言之。五，君位也。柔居之則危，剛能勝之。故六居五多危，九居五多吉也。九居四不言其剛危，六居三則曰柔危者。蓋九居四，猶為剛而能柔。六居三則才柔志剛，所以危也。耶字，疑詞。蓋卦爻之大凡如此。若乾之九三履之九五，則剛亦間有危者矣。右第九章。

The Great Treatise says: the positions of three and five have the same function but differ in their locations. Three is often associated with danger, while five is often associated with achievements, reflecting the difference between lowly and noble status. If a yao is flexible and occupies these positions, it is dangerous; if it is strong and occupies these positions, it is likely to be capable. Three and five both belong to the yang position, yet they differ in status: three, being in the lower trigram's top position, is like a minister in a low position, thus often encountering danger; five, being in the upper trigram's central position, is like a ruler in a high position, thus often achieving success. The phrase "flexible yao is dangerous, strong yao prevails" should be considered in relation to both the third and fifth lines. Five is the position of the ruler; if a flexible yao occupies it, it is dangerous, but if a strong yao occupies it, it is likely to be fortunate. As for the case where a strong line is in the fourth position, it is not said to be dangerous because it is strong and can be flexible; whereas a flexible line in the third position is said to be dangerous because it is weak in quality and strong in will, thus dangerous. The word "ye" expresses a tentative tone, indicating the general situation of the hexagram lines. Sometimes, a strong line may also encounter danger, as in the case of the strong line in the third position of the Qian hexagram or the strong line in the fifth position of the Lu hexagram. This is the ninth chapter of the Lower Transmission of the Great Treatise.

第十章論六爻備天地人之道。而不外陰陽二物錯雜成文，以為得失吉凶之象。摠以見易書之廣大悉備也。易之為書也，廣大悉備。有天道焉，有人道焉，有地道焉。兼三才而兩之，故六。六者非他也，三才之道也。才者，能也。天能覆，地能載，人能參天地。故曰才。三畫已具，三才重之。以上二爻為天，中二爻為人，下二爻為地。蓋一而不兩，則專而無對。天獨陽無陰，地獨陰無陽。人之陰陽，亦孤而無偶，不生不成。必皆兼而兩之，天地人各有陰陽，然後其道全而不偏。

This chapter discusses how the six lines of the hexagram embody the principles of heaven, earth, and humanity, and how these three principles are formed by the intermingling of yin and yang, thus creating images of gain and loss, fortune and misfortune. In summary, this is to show the vastness and completeness of the Book of Changes. The Great Treatise says: The Book of Changes is vast and comprehensive, containing the principles of heaven, humanity, and earth. It combines the three principles, each represented by two lines, hence forming six lines. These six lines are nothing else but the principles of the three elements. "Cai" refers to ability: heaven has the ability to cover, earth has the ability to carry, and humanity has the ability to participate and assist heaven and earth, hence it is called "cai." The eight trigrams already contain the three principles, and the hexagrams, which consist of six lines, are simply a doubling of the three principles: the top two lines represent heaven, the middle two lines represent humanity, and the bottom two lines represent earth. If there is only one line and not two, it would be isolated and lack a counterpart: heaven would have only yang and no yin, earth would have only yin and no yang, and the yin and yang of humanity would be alone without a match, thus unable to produce or complete anything. It is necessary for both to be combined into two, so that heaven, earth, and humanity each have both yin and yang, thus their principles are complete and not biased.

若各以所近而析其名，則在天為陰陽，五陽而上陰。在地為剛柔，初剛而二柔。在人為仁義，三仁而四義。皆兩之。道本如是，非聖人強安排之也。易之為書，所以廣大悉備也。至其位之上下取義，又有不可拘者。一卦中陰或居上，則地或為天。陽或居下，則天或為地。五為君位，則天道為人道。二為臣道，則地道為人道。是又變通取義，不可為典要者也。

If each is given a name according to its proximity, then in the heavens it is called yin and yang, with the fifth line being yang and the top line being yin; in the earth it is called rigidity and flexibility, with the first line being rigid and the second line being flexible; in humans it is called benevolence and righteousness, with the third line being benevolence and the fourth line being righteousness. All are paired. The Way is originally like this, not something imposed by the sages. The reason the Book of Changes is comprehensive and complete is precisely because of this. As for the meaning of the positions of the lines above and below, there are aspects that cannot be rigidly fixed: within one hexagram, if a yin line is at the top, then the position originally belonging to the earth may sometimes become that of the heavens; if a yang line is at the bottom, then the position originally belonging to the heavens may sometimes become that of the earth. The number five is the position of the sovereign, so the heavenly way becomes the human way; the number two is the position of the minister, so the earthly way becomes the human way. This is another instance of taking meaning flexibly and adaptively, and cannot be regarded as a fixed rule.

道有變動，故曰爻。爻有等，故曰物。物相雜，故曰文。文不當，故吉凶生焉。道有變動，指卦之全體自初至上各有不同。如乾之初潛二見三惕四躍，始終先後不同，非陰陽老少之變也。爻有等，謂高下遠近貴賤之差。物，即陰陽二物。有剛柔小大之分，即物也。物相雜，指陰爻陽爻之相間。有陰無陽，有陽無陰，則無所雜而文不見。自乾坤二卦之外，皆陰陽錯雜以成文者也。

The Great Treatise says: "The Dao has movement and change, so it is called 'yao'; yao has order and rank, so it is called 'wu'; wu are intermingled and complex, so it is called 'wen'; wen has disorder, thus giving rise to good and bad fortune." "The Dao has movement and change" refers to the entire hexagram, with each line from the first to the top line being different. For example, in the hexagram Qian, the first line is the hidden dragon, the second line is the appearing dragon, the third line is cautious and careful, and the fourth line is either leaping or not, always differing in sequence. This does not refer to the changing lines of yin and yang old and young. "Yao has order" refers to the differences in high and low, near and far, noble and humble. "Wu" refers to the two things of yin and yang, which have distinctions of hardness and softness, small and large. "Wu are intermingled" refers to the alternation of yin and yang lines; if there is only yin without yang or only yang without yin, there can be no intermingling, and the patterns and principles will not be visible. Except for the two pure hexagrams Qian and Kun, all other hexagrams are formed by the intermingling of yin and yang to create patterns.

文有當否。陽居陽位當，居陰則不當。陰居陰位當也，居陽則不當。當者多吉，不當者多凶。然陽居二，或以剛中而吉。居四居上，或以剛而能柔為吉。陰居初，或以在下而吉。在五，或以柔中而吉。陽居初三五，或以過剛而凶。陰居二四上，又或以過柔而凶。則又因卦義所取，間有不同，未可執一為論也。此章上節言全卦兼三才之道，以見易道之大。此節則即六爻而言吉凶之所由著，亦以見廣大之悉備也。右第十章。

The principles of the text are appropriate or not: a yang line in a yang position is appropriate, while in a yin position it is not; a yin line in a yin position is appropriate, while in a yang position it is not. Appropriate positions tend to bring good fortune, while inappropriate ones tend to bring misfortune. However, a yang line in the second position may sometimes result in good fortune because of its strong and vigorous nature in the center; in the fourth and top positions, it may also result in good fortune because of its ability to be flexible despite being strong. A yin line in the first position may sometimes result in good fortune because of its position at the bottom; in the fifth position, it may also result in good fortune because of its gentle and compliant nature in the center. A yang line in the first, third, and fifth yang positions may sometimes lead to misfortune due to excessive strength; a yin line in the second, fourth, and top yin positions may sometimes lead to misfortune due to excessive weakness. This shows that one must also consider the meaning of each hexagram. There are variations, and one cannot rigidly apply a single rule. The previous section of this chapter discussed the comprehensive inclusion of the three elements (heaven, earth, and humanity) in a complete hexagram, illustrating the vastness of the Way of the Book of Changes. This section, however, focuses on the reasons for the manifestation of good or bad fortune in the six lines, aiming to demonstrate the extensive and all-encompassing nature of the Way of the Book of Changes. This is the tenth chapter of the lower part of the Great Treatise.

第十一章明文王所以作易之意。欲人懼以終始，歸於無咎而已。易之興也。其當殷之末世，周之盛德耶。當文王與紂之事耶。是故其辭危。危者使平，易者使傾。其道甚大，百物不廢。懼以終始，其要無咎。此之謂易之道也。

This chapter explains King Wen's intention in composing the Book of Changes: it is merely to make people remain cautious throughout the entire process, ultimately achieving no mistakes. The Great Treatise says: The emergence of the Book of Changes was probably during the end of the Shang dynasty and the flourishing era of the Zhou dynasty? Probably during the time between King Wen and King Zhou of Shang? Therefore, the words of the Book of Changes often convey a sense of danger and caution. Those who remain cautious will be safe; those who are arrogant and self-reliant will be overthrown. Its principles are extremely vast, and nothing in the world will be ruined. Throughout the entire process, maintaining constant caution, its essence is simply to achieve no mistakes. This is called the principle of the Book of Changes.

前章已言易興於中古，作於憂患。此則明以屬之文王。蓋非末世，則情偽不如是之熾。非盛德，則易道無自而傳。以紂之末世遇文王之盛德，易之所由演也。危者有憂患之心，故辭多危懼也。其辭危懼，故凡人之知危懼者，使之安平。慢易者，使之傾覆。非易有意使之。蓋殖有禮，覆昏暴，天道之自然也。百物不廢，本義作萬物之理無不具。與上文不相接。

The previous chapter had already mentioned that the Book of Changes arose in the middle ages and was composed in times of distress. This chapter clearly attributes its authorship to King Wen. Originally, in times not marked by decline and chaos, human deceit would not have reached such a degree of intensity; without encountering a virtuous and accomplished gentleman, the principles of the Book of Changes could not have been transmitted. The combination of the decadent late Shang dynasty and the moral excellence of King Wen was precisely the reason why the Book of Changes came to be developed. "Danger" refers to a state of mind filled with anxiety and concern, so the language of the Book of Changes often carries a tone of apprehension. Since the language is apprehensive, those who understand apprehension will find stability and smoothness through the Book of Changes; those who are arrogant and self-reliant will be brought down by it. This is not because the Book of Changes intentionally treats people in this way, but because supporting those who uphold propriety and overturning those who are tyrannical is in accordance with the natural order of heaven. As for the phrase "all things are not neglected," Zhu Xi's "The Original Meaning of the Zhou Changes" interprets it as meaning that the principles of all things are fully included. However, this interpretation does not connect well with the preceding context.

來注，廢字即傾字也。謂此道甚大。近而一身，遠而天下國家。若常以危懼為心，皆不至於傾廢也。此說較勝。懼即憂危之意。憂懼於始者易，終而猶始者難。憂懼以終始，其要不過欲無咎而已。易之為道如此，學易者可以悟矣。右第十一章。

Lai Zhide's "Collected Commentaries on the Zhou Changes" says that the character "fei" (waste) is the same as the previous character "qing" (tilt), meaning this principle is extremely vast. It relates closely to one's own body and remotely to the state and country. As long as one maintains a constant sense of danger and caution, one will not fall into ruin or failure. This interpretation surpasses that of the "Original Meaning." "Ju" (fear) refers to the meaning of being concerned about danger. It is not difficult to be cautious at the beginning, but the difficulty lies in maintaining the same level of caution until the end; to remain constantly cautious from beginning to end, its essence is simply to seek the absence of mistakes. The principle of the "Zhou Changes" is like this, and those who study the "Zhou Changes" can gain some insight from this. The above is from the eleventh chapter of the "Great Treatise" in the lower part of the "Transmission."

第十二章首論乾坤二卦之德，因及全卦之功用。自八卦以象告以下，又總作易繫辭之大略。而末以人情立言不同，以明繫辭之不同也。夫乾，天下之至健也。德行恆易以知險。夫坤，天下之至順也，德行恆簡以知阻。

This chapter begins by discussing the virtues of the Qian and Kun trigrams, then extends this to the functions of all hexagram lines. From "The eight trigrams convey images" onwards, it summarizes the general approach of the sage in composing the Book of Changes and its Great Treatise. At the end, it explains why the words attached to the hexagrams differ, by referring to the diversity of human feelings and the varying ways of expression. The Great Treatise says: Qian is the most vigorous in the world, its virtue is constant and easy, yet it can foresee dangers. Kun is the most yielding in the world, its virtue is simple and constant, yet it can foresee difficulties.

至健則所行無難，故易。至順則所行不煩，故簡。然皆本於憂患之心，皆知其難而不敢易以處之之意。下危曰險，乾體在上。自高臨下，知下之險而不敢進。健而知險，則不陷於險矣。上難曰阻，坤體在下。自下趨上，知上之阻而不敢越。順而知阻，則不困於阻矣。全易皆由乾坤二卦而生。乾坤二卦之德如此，則全易之貴於危懼可知。

The heavens are most vigorous and strong, so their actions encounter no difficulties, hence it is called "easy," meaning straightforward. The earth is most gentle and compliant, so its actions cause no trouble, hence it is called "simple." However, both these qualities arise from a mind of concern and anxiety, both containing the meaning of knowing the difficulty and not daring to act carelessly. When below and dangerous, it is called "peril." The trigram Qian (Heaven) is at the top, looking down upon the lower part, knowing there is peril below but not advancing carelessly; being strong and vigorous yet knowing the peril, it will not fall into peril. When above and difficult to proceed, it is called "obstacle." The trigram Kun (Earth) is at the bottom, moving upward, knowing there is an obstacle above but not advancing beyond one's place; being gentle and compliant yet knowing the obstacle, it will not be trapped by it. The entire Book of Changes originates from the trigrams Qian and Kun. If the virtues of Qian and Kun are like this, then the entire Book of Changes valuing caution and vigilance is evident.

能說諸心，能研諸侯之慮。定天下之吉凶，成天下之亹亹者。侯之二字衍文。說諸心，本義屬乾之事。蓋心與理會，有自然之妙，故以屬陽也。研諸慮，本義屬坤之事。蓋理因慮審，涉於作為，故以屬陰也。又事之未定者屬乎陽，故本義謂說諸心有以定吉凶。事之已定者屬乎陰，故本義謂研諸慮有以成亹亹。分屬亦是，亦不必過拘。

The Great Treatise says: "It can bring joy to the heart, and enable careful consideration, thus determining the fortune and misfortune of the world, and achieving diligent and tireless endeavors in the world." ("Hou" in "Zhouhou" is a redundant character.) "Say to the heart," Zhu Xi's The Original Meaning of the Zhou Changes attributes this to the Qian trigram, because the heart aligns naturally with principle, possessing an inherent subtlety, thus belonging to yang; "investigate through thought," The Original Meaning attributes this to the Kun trigram, because principles and meanings require examination through thought, involving action, thus belonging to yin. Furthermore, matters that are not yet decided belong to yang, so The Original Meaning says "say to the heart" can determine fortune and misfortune; matters that have already been decided belong to yin, so The Original Meaning says "investigate through thought" can achieve diligent and tireless endeavors. This classification is indeed reasonable, but one need not be overly rigid about it.

是故變化云為，吉事有祥。象事知器，占事知來。變化者，陰陽之所為。云為者，人事之所作。人事與天道相符，則吉事有祥。如見乎蓍龜之類。言吉事則凶事在其中矣。變化云為，明也。吉事有祥，幽也。於變化云為，則象之而有以知器。凡有形之實事，皆器也。

The Great Treatise says: Therefore, in the changes of heaven and earth and in the words and actions of people, auspicious events all have signs to be found; by observing the phenomena in relation to events, one can know about objects, and by inquiring into events, one can foresee the future. "Change" is what is produced by yin and yang, and "clouds and weather" are what are produced by human affairs. Human affairs correspond with the way of heaven, so auspicious events manifest as omens, such as those appearing on the yarrow stalks and tortoise shells. Saying "auspicious events" includes also the inauspicious ones. Change and clouds and weather belong to the manifest, while auspicious events with their omens belong to the hidden. In regard to change and clouds and weather, one can take their images to know about objects; all visible actual events belong to "objects."

于吉事有祥，則占之而有以知來。凡未形之吉凶悔吝，皆來也。此節言易之為書，具天道之變化，人事之云為。又吉凶皆有休祥之應。所以象事於此而知器，占事於此而知來也。天地設位，聖人成能。人謀鬼謀，百姓與能。

In terms of auspicious signs indicating good events, one can consult them to foresee the future; all things that have not yet taken form, whether good or bad, are considered as "coming." This passage explains that the Book of Changes possesses both the changes of heaven's way and the words and actions of human affairs, and that both good and bad omens can be verified. Therefore, by observing phenomena in relation to things, one can understand objects; by consulting on matters, one can foresee the future. The Great Treatise also says: Heaven and Earth set up the positions of above and below, and the sage accomplishes what they cannot achieve. Matters of clarity are planned by humans, while those of obscurity are planned by spirits and deities. Even common people participate in this function.

天地設位而變化云為，吉事之祥已具。然此理不能以告人，聖人作易以成其功。使明則謀諸人，幽則謀諸鬼。而至愚之百姓亦因卜筮知所趨避，是百姓亦與其能也。蓋健順易簡知險知阻，天地之能也。說心研慮定吉凶成亹亹，聖人成天地所不及成之能也。云為之祥，象占之知。則百姓之能，得與於聖人已成之能也。

When heaven and earth were established in their positions, changes, human words and deeds, and auspicious signs of good events were all included. But these principles cannot be directly told by heaven and earth themselves. Therefore, the sage composed the Book of Changes to fulfill this function. Thus, people can consult with others in the open and consult with spirits in the hidden places. Even the most ignorant common people can know how to seek good fortune and avoid misfortune through divination. This means that the common people also share in this function. Originally, being strong and vigorous, gentle and harmonious, simple and easy, knowing dangers and obstacles, are the functions of heaven and earth. Making people happy, making people thoughtful, determining good and bad fortune, and promoting diligence are functions achieved by the sage, which are beyond what heaven and earth could accomplish. As for auspicious signs in words and deeds, observations of phenomena, and knowledge gained through divination and inquiry, these are the functions of the common people, who share in the functions already achieved by the sage.

八卦以象告，爻彖以情言。剛柔雜居，而吉凶可見矣。象謂卦畫。八卦成列，象在其中，以象告也。至錯綜為六十四卦，爻彖所趨各異，則曲盡其情實而言之。上古觀象已告。後世情偽既多，非以情言不可也。爻彖之辭，因剛柔雜居有得有失。故吉凶於此見焉。此後乃詳言聖人爻彖所繫之辭，吉凶悔吝之所由著，以示學易者也。

The Great Treatise says: The Eight Trigrams use their symbolic images to inform people, while the Line Statements and the彖 Statements explain matters in terms of actual situations; when the strong and weak lines are intermingled, the auspicious and inauspicious can be discerned. "Image" refers to the hexagram figures. The Eight Trigrams are arranged in sequence, and the images are already contained within them, which is how they inform people. When they are combined in a错综 manner to form the sixty-four hexagrams, the lines and the彖 each have different tendencies, so the actual situations must be fully explained in a winding manner. In ancient times, merely observing the images was sufficient, but later, as human emotions became more insincere, it was necessary to express the actual situations explicitly. The Line Statements and the彖 Statements, because they contain both strong and weak lines, have both gains and losses, so the auspicious and inauspicious are revealed here. From this point on, it goes on to elaborate on the statements attached by the sage to the lines and the彖, as well as the reasons for the emergence of auspiciousness, inauspiciousness, regret, and hardship, in order to guide those studying the Book of Changes.

變動以利言，吉凶以情遷。是故愛惡相攻而吉凶生，遠近相取而悔吝生，情偽相感而利害生。凡易之情，近而不相得則凶，或害之，悔且吝。此承上文剛柔雜居吉凶可見，而詳言繫辭吉凶悔吝之凡例也。易道變動，開物成務，以利言也。而卦爻之辭有吉有凶，則其情之有所遷耳。以下皆詳言吉凶以情遷之說。而以吉凶悔吝利害之三辭，由於相攻相取相感之三情。末復總以相近不相得之一情，使人推觀之也。命辭之法，必各象其爻之情。易之繫辭，不止言吉凶。蓋吉凶者，事之已成者也。吉凶之尚微而未成者，則曰悔吝。而其事之始商度其可否，則曰利不利，不利則害。

The Great Treatise says: The movement of lines is considered in terms of advantage and disadvantage, and fortune and misfortune arise according to the alignment or opposition of the lines. Therefore, love and hatred attack each other, giving rise to fortune and misfortune; distance and nearness seek each other, giving rise to regret and hardship; sincerity and falsehood respond to each other, giving rise to advantage and disadvantage. Generally, in the Book of Changes, when two lines are close but do not harmonize, it is considered凶, or it may involve harm, regret, or hardship. This passage follows the previous statement "the intermingling of firm and yielding produces visible fortune and misfortune," and elaborates on the general principles of fortune, misfortune, regret, and hardship in the Great Treatise. The movement of the Way of the Book of Changes aims to open up all things and accomplish undertakings, so it is discussed in terms of advantage and disadvantage. However, the statements of the hexagram lines include both fortune and misfortune because the situation of the lines changes. The following passages elaborate further on the idea that fortune and misfortune depend on the situation. The three categories of conclusions—fortune, misfortune, regret, and hardship—are attributed to the three types of line situations: mutual attack, mutual seeking, and mutual response. Finally, the situation of "being close but not harmonizing" is used as a summary, allowing one to infer the rest. The method of the Great Treatise necessarily describes the situation of each line. The statements attached to the Book of Changes are not only about fortune and misfortune; fortune and misfortune refer to situations that have already been decided. When fortune and misfortune are subtle and the situation has not yet been decided, it is called regret and hardship. When the situation is just beginning and still under consideration, it is called advantage and disadvantage, with disadvantage being harm.

是易之辭有吉凶悔吝利害三者也。而其故，由於爻之情有相取相攻相感三者。相感者情之始交，故以利害言之。相取則有事矣，故以悔吝言之。相攻則其事極矣，故以吉凶言之。愛惡遠近情偽，姑就淺深言之。若錯綜言之。則相攻相取相感之情，其居皆有遠近，其行皆有情偽，其情皆有愛惡也。故總以相近一條明之。近而不相得，則以惡相攻而凶生矣，以偽相感而害生矣，不以近相取而悔吝生矣。是一近之中備此三條。

From this we can see that the divination statements in the Book of Changes fall into three categories: auspicious and inauspicious, regret and hardship, and advantage and disadvantage. The reasons for these outcomes lie in the three kinds of relationships between the lines: mutual attraction, mutual conflict, and mutual influence. Mutual influence is when the lines are just beginning to interact, so it is expressed in terms of advantage and disadvantage. Mutual attraction is when there is already some action involved, so it is expressed in terms of regret and hardship. Mutual conflict is when the matter has reached its extreme, so it is expressed in terms of auspicious and inauspicious. Love and hatred, nearness and distance, sincerity and falsehood are all distinctions made according to the depth of interaction. However, if we consider them together, the three kinds of relationships—mutual conflict, mutual attraction, and mutual influence—each have their own distinctions of nearness and distance, truth and falsehood, and love and hatred. Therefore, the overall principle of "nearness" is used to explain this: when two lines are close but do not harmonize, they will attack each other with hatred, causing misfortune; they will influence each other with falsehood, causing harm; they will not be able to attract each other through closeness, resulting in regret and hardship. Thus, all three categories are contained within the single term "nearness."

然不相得則惡相攻，偽相感，近不相取。則相得為愛相攻，情相感，近相取。可知不相得為凶害悔吝，則相得為吉利，悔亡，無悔無咎。可知夫子已言者三，其未言者三，其條例有六也。然凡爻有此爻，有應爻，有一卦之主爻，皆情之慾相得者。今稱近者，但即比爻言之。反以三隅，則主爻及應爻亦備此六條。以此十八條合之爻辭，則吉凶悔吝之大凡可知。

Since not being in harmony leads to mutual attack with evil, mutual influence with falsehood, being close yet not taking each other, then conversely, being in harmony means mutual attack with love, mutual influence with true feelings, and taking each other because of proximity, this can be inferred. Since not being in harmony results in misfortune, harm, regret, and meanness, then being in harmony results in good fortune, benefit, loss of regret, and no regret or misfortune, which can also be inferred. Confucius explicitly mentions three points and implicitly implies three others, making a total of six principles. Furthermore, every line has its own line, a corresponding line, and a main line within the hexagram, all of which are the objects that the line's situation requires to be in harmony. Here, the term "near" refers only to adjacent lines. By understanding one corner, one can infer the other three, so the main line and corresponding line also possess these six principles. By comparing these eighteen points with the line statements, one can generally grasp the nature of good fortune, misfortune, regret, and meanness.

如頤上九之於六五，蹇上六之於九五，比爻之以愛相攻而吉者也。離之九三、九四，比爻之以惡相攻而凶者也。漸六四之於九三，賁上九之於六五，皆比爻之近相取而無咎悔者也。咸九三之於六二，小畜九三之於六四，皆比爻之近不相取而悔吝者也。賁六二之於九三，震六三之於六二，皆比爻之以情相感而有利者也。蒙六三之於九二，艮六二之於九三，皆比爻之以偽相感而有害者也。

First, take "comparative lines" or adjacent lines, and correspond them one by one with the six rules mentioned above. In the Yi hexagram, the top line corresponds to the fifth line, and in the Jian hexagram, the top line corresponds to the fifth line; these are adjacent lines that attack each other with love, resulting in good fortune. In the Li hexagram, the third and fourth lines are adjacent lines that attack each other with hatred, leading to misfortune. In the Jian hexagram, the fourth line corresponds to the third line, and in the Bi hexagram, the top line corresponds to the fifth line; these are adjacent lines that are close to each other and are willing to seek from each other, thus having no faults or regrets. In the Xian hexagram, the third line corresponds to the second line, and in the Xiao Xu hexagram, the third line corresponds to the fourth line; these are adjacent lines that are close but unwilling to seek from each other, thus resulting in regret and hardship. In the Bi hexagram, the second line corresponds to the third line, and in the Zhen hexagram, the third line corresponds to the second line; these are adjacent lines that feel each other with genuine emotion, thus gaining benefit. In the Meng hexagram, the third line corresponds to the second line, and in the Gen hexagram, the second line corresponds to the third line; these are adjacent lines that feel each other with false emotion, thus suffering harm. The same "mutual attack" can result in either good or bad fortune, depending on whether the intention is love or hatred. The same "mutual feeling" can lead to either benefit or harm, depending on whether the connection is genuine or false.

蒙九二之於六五，臨六五之於九二，皆應爻之以愛相攻而吉者也。大過九三之於上六，恆九三之於上六，皆應爻之以惡相攻而凶者也。損初九之於六四，睽九二之於六五，皆應爻之相取而無咎悔者也。屯六三之於上六，蒙六四之於初六，皆應爻之不相取而悔吝者也。蠱九二之於六五，賁六四之於初九，皆應爻之以情相感而有利者也。萃六三之於上六，歸妹六三之於上六，皆應爻之以偽相感而無利者也。

Now looking at the "Response Line," which refers to the three pairs of yao that are correspondingly related: the first and fourth, the second and fifth, and the third and sixth. In the Meng hexagram, the nine at the second corresponds to the six at the fifth, and in the Lin hexagram, the six at the fifth corresponds to the nine at the second; both are cases where the response lines interact with affection and result in good fortune. In the Da Guo hexagram, the nine at the third corresponds to the six at the top, and in the Heng hexagram, the nine at the third corresponds to the six at the top; both are cases where the response lines interact with hostility and lead to misfortune. In the Shen hexagram, the nine at the beginning corresponds to the six at the fourth, and in the Kui hexagram, the nine at the second corresponds to the six at the fifth; both are cases where the response lines seek from each other and result in no fault or regret. In the Tun hexagram, the six at the third corresponds to the six at the top, and in the Meng hexagram, the six at the fourth corresponds to the nine at the beginning; both are cases where the response lines do not seek from each other and result in regret and hardship. In the Gu hexagram, the nine at the second corresponds to the six at the fifth, and in the Ben hexagram, the six at the fourth corresponds to the nine at the beginning; both are cases where the response lines interact with genuine feelings and result in benefit. In the Cui hexagram, the six at the third corresponds to the six at the top, and in the Gui Mei hexagram, the six at the third corresponds to the six at the top; both are cases where the response lines interact with false feelings and result in no benefit. This shows that the six principles apply equally to the corresponding pairs of yao that are separated by positions, not just to adjacent ones.

比九五之於六二、六四，主爻之以愛相攻而吉者也。其於六三、上六，則以惡相攻而凶者也。大有六五之於九二、九四，主爻之以相取而無咎悔者也。蒙六四之於九二，豫六三之於九四，主爻之不相取而悔吝者也。復六四之於初九，剝六三之於上九，主爻之以情相感而有利者也。隨六三之於九五，觀六二之於九五，主爻之以偽相感而無利者也。易卦就主爻應爻論吉凶者多，就比爻論吉凶者不數。故夫子獨舉比爻以例其餘。又按，六爻有比有承有乘。先儒謂初與二比，三與四比，五與上比。而二三與四五則以承與乘言之。今曰近而不相得，則承與乘皆在其中。分之則比中又有承與乘，合之統謂比亦可。

Now consider the "main line" of a hexagram, which is the line central to the meaning of the entire hexagram: In the hexagram of Qian (Heaven), the line nine at the fifth position relates to the lines six at the second and six at the fourth, and the main line shows love in conflict leading to good fortune; it relates to the lines six at the third and six at the top, and the main line shows evil in conflict leading to misfortune. In the hexagram of Da You (Great Possession), the line six at the fifth position relates to the lines nine at the second and nine at the fourth, and the main line shows mutual taking without fault or regret. In the hexagram of Meng (Obstruction), the line six at the fourth relates to the line nine at the second, and in the hexagram of Yu (Joy), the line six at the third relates to the line nine at the fourth, and the main line shows no mutual taking, resulting in regret and difficulty. In the hexagram of Fu (Return), the line six at the fourth relates to the line nine at the beginning, and in the hexagram of Bo (Decrease), the line six at the third relates to the line nine at the top, and the main line shows genuine feeling leading to benefit. In the hexagram of Sui (Following), the line six at the third relates to the line nine at the fifth, and in the hexagram of Guan (Observing), the line six at the second relates to the line nine at the fifth, and the main line shows false feeling leading to no benefit. The Book of Changes mostly discusses good fortune and misfortune based on the main line and the responding line, and less so based on adjacent lines. Therefore, Confucius specifically cites adjacent lines as examples, allowing people to infer the rest by analogy. Also, among the six lines, there are "comparison," "support," and "riding over." Earlier scholars said that the first and second lines compare, the third and fourth lines compare, and the fifth and top lines compare, while between the second and third, and the fourth and fifth lines, they use "support" and "riding over" to explain: a yin line supporting a yang line below is called "support," and a yin line riding over a yang line above is called "riding over." Now, if we say "close but not in harmony," then both support and riding over are included in this. If we separate them, comparison includes both support and riding over. If we combine them, they may all be called "comparison" as well.

將叛者其辭慙，中心疑者其辭枝。吉人之辭寡，躁人之辭多，誣善之人其辭游，失其守者其辭屈。此又即人情之情偽其見於辭者不同如此，以見易之繫辭不同，亦猶是也。叛非叛逆，背實失信皆是。言與實背故慙。心疑則可否難決。如木之有枝，分為兩岐。誣善為惡，則言語不實。如物在水上，浮游不定。失守者見理不真，操持不固，故辭多屈而不伸。六者皆反對。叛者無信，疑者不自信。吉者靜，躁者動。誣者敗人，失守者自敗。然吉一而已。叛疑躁誣失居其五。人情之變盡於此矣。猶卦爻之情有相攻相取相感，而吉凶悔吝利害由此而生也。自八卦以象告至此，又發卦爻繫辭之凡例，以示學易者也。右第十二章。周易淺述卷七。

The Great Treatise says: Those who are about to betray others speak with shame; those who are doubtful in their hearts speak in a rambling and branching manner; the virtuous and good speak little; the impetuous speak much; those who slander the good speak in a floating and uncertain way; those who lose their integrity speak in a twisted and constrained manner. This passage explains how the true and false aspects of human nature are shown in speech, and thus explains why the words attached to the hexagrams differ from each other. The principle is the same. Here, "betrayal" does not mean rebellion; anything that goes against the facts and loses sincerity is considered betrayal. When words do not match the truth, they bring shame. Doubt in the heart makes it hard to decide, like a tree that branches out into two. To falsely accuse the good is to speak without truth, like things floating on water, uncertain and drifting. Those who lose their integrity do not grasp truth firmly, so their words are twisted and cannot be expressed clearly. These six cases are paired in pairs: betrayers lack sincerity, and doubtful people do not even trust themselves; the virtuous are quiet, while the impetuous are active; those who slander the good harm others, while those who lose their integrity harm themselves. However, the good only includes the "virtuous" one, while betrayal, doubt, impetuosity, slander, and loss of integrity account for five. All the abnormal states of human nature are here. This is like the relationships between the lines of the hexagrams, which may attack, take from, or influence each other, and thus produce good fortune, regret, hardship, and other outcomes. From "The eight trigrams use images to convey meaning" to here, it is explaining the general principles of the attached words of the hexagrams and guiding those who study the I Ching. The above is the twelfth chapter of the lower part of the Great Treatise. The seventh volume of A Plain Account of the Zhou Changes ends here.

欽定四庫全書。周易淺述卷八。翰林院編修陳夢雷撰。說卦傳第一章言聖人因理數之自然而立揲蓍求卦之法，使學者安於義命也。昔者聖人之作易也，幽贊於神明而蓍。幽贊神明，猶言贊化育也。天下和平，王道得而蓍生長丈，其叢滿百莖。伏羲非因有蓍而後畫卦，蓋因生蓍而用之以求卦也。

The eighth volume of the "Complete Library of the Four Treasuries" edition of "A Plain Account of the Zhou Changes," compiled by Chen Menglei, a court scholar, discusses in the first chapter of the "Commentary on the Hexagrams" that sages followed the natural tendencies of "reason" and "numbers" to create the method of divining by casting yarrow stalks, enabling those studying the I Ching to rest in the meaning and heavenly mandate. The "Commentary on the Hexagrams" states that in ancient times, sages composed the I Ching to subtly assist the divine and produce the yarrow stalks. The phrase "subtly assisting the divine" is akin to assisting the transformation and nurturing of heaven and earth. When the world was at peace and the way of the king was practiced, the yarrow stalks could grow up to ten feet tall, with a cluster containing one hundred stalks. It was not that Fuxi first had the yarrow stalks and then drew the hexagrams, but rather that when heaven and earth produced the yarrow stalks, the sages took them as a tool for divination.

參天兩地而倚數。天圓地方。圓者徑一圍三，三各一奇。陽道常饒，故天用其全，參天而為三。方者徑一而圍四，四合二偶。陰道常乏，故地用其半，兩地而為二。數皆倚此而起。故揲蓍三變之末其餘三奇，則三三而九。三偶，則三二而六。兩二一三則為七。兩三一二則為八。三奇為乾，為老陽。三偶為坤，為老陰。二奇一偶為巽離兌，為少陰。二偶一奇為震坎艮，為少陽。此立卦之生爻之本。是數倚此而起也。

The Sayings on the Trigrams states: Take the number of Heaven as three and the number of Earth as two, and base all calculations upon these numbers. Heaven is round, and Earth is square. The circumference of a circle with a diameter of one is three, and within this three there are three odd numbers; the path of Yang is always in excess, so Heaven takes its full number, combining it with the number of Heaven to make three. The circumference of a square with a diameter of one is four, which is exactly two even numbers; the path of Yin is always in deficit, so Earth takes half of it, taking two from Earth to make two. All numbers are based upon these two numbers. Therefore, at the end of the three divisions of the yarrow stalks, if the remaining number is three odd numbers, add three threes to get nine; if it is three even numbers, add three twos to get six; if it is two twos and one three, the total is seven; if it is two threes and one two, the total is eight. Three odd numbers form the trigram Qian, representing old Yang; three even numbers form the trigram Kun, representing old Yin; two odd numbers and one even number form the trigrams Xun and Li and Dui, representing young Yin; two even numbers and one odd number form the trigrams Zhen and Kan and Gen, representing young Yang. This is the fundamental method of establishing trigrams and generating lines. All numbers are calculated based on this.

觀變於陽而立卦，發揮於剛柔而生爻。揲蓍先有爻而後有卦。此先言卦而後言爻，就聖人作易言之也。在造化曰陰陽，就人事曰剛柔。數既形矣，卦斯立焉。聖人因其變之或九或七而為陽，因其變之或六或八而為陰。變至十有八而成卦。聖人無與也，特觀其變而立之爾。卦既立矣，爻斯生焉。聖人因其數之陽，而發明其為爻之剛。因其數之陰，而發明其為爻之柔。聖人無與也，特發揮其義爾。

The Sayings on the Trigrams states: Observing the changes of yin and yang to establish the trigrams, and expressing the nature of firmness and flexibility to generate the lines. (Note: The original text is missing the character 'yin', while the commonly circulated version reads 'Observing changes in yin and yang to establish the trigrams.') In reality, the process of divining with yarrow stalks begins with the lines and then forms the trigrams; however, here it first mentions the trigrams and then the lines, from the perspective of the sage composing the Book of Changes. In the realm of nature, it is called yin and yang; in human affairs, it is called firmness and flexibility. Once the numbers take form, the trigrams are established: the sage determines the lines as yang based on the changing numbers being nine or seven, and determines the lines as yin based on the changing numbers being six or eight. The trigrams are formed through eighteen changes. The sage did not add anything; he merely observed the changes and established the trigrams. Once the trigrams are established, the lines emerge: the sage clarifies the lines as firm based on the numbers belonging to yang, and clarifies the lines as flexible based on the numbers belonging to yin. The sage did not add anything; he merely developed the meaning within them.

和順於道而理於義，窮理盡性以至於命。此言聖人作易之極功也。吉凶消長之道。易皆和順從容，無所乖逆，默契其本原之謂也。理於義，又就其細者析言之。隨事皆得其條理，應變合宜之謂也。和順於道德，體也。理於義，用也。窮理，以知言。盡性，以行言。易書於天下之理無所不備，而能盡人物之性而自合於天道也。理必窮之，性必盡之。天命但可言至，則自然之謂也。易之妙皆因天地之自然如此。右第一章。

The Sayings on the Hexagrams states: To be harmonious with morality and to have order according to righteousness, to thoroughly investigate principles and exhaust the nature of things, until reaching the understanding of heavenly mandate. This describes the highest achievement of the sages in composing the Book of Changes. The principles of good fortune and misfortune, their increase and decrease, the Book of Changes can handle them in a harmonious and easy manner, without contradiction, secretly conforming to their origin. This is called "harmonious with the Way." "Order according to righteousness" is further explained in detail: following each matter to achieve order, responding to changes in accordance with proper measure. Being harmonious with morality is the essence; having order according to righteousness is the application. "Exhausting principles" refers to knowledge, while "exhausting nature" refers to action. The Book of Changes contains all the principles of the world, thus it can exhaust the nature of people and things, naturally conforming to the heavenly way. Principles must be thoroughly investigated, nature must be fully exhausted, but heavenly mandate can only be described as "reaching its utmost," because it is natural and spontaneous. The subtlety of the Book of Changes lies entirely in following the natural order of heaven and earth. The above is the first chapter of the Sayings on the Hexagrams.

第二章言易具三才之道，故有取於六爻。而因筮求卦者，當盡人道以合乎天地也。昔者聖人之作易也，將以順性命之理。是以立天之道曰陰與陽，立地之道曰柔與剛，立人之道曰仁與義。兼三才而兩之，故易六畫而成卦。分陰分陽，迭用柔剛，故易六位而成章。

This chapter explains that the Book of Changes possesses the principles of Heaven, Earth, and Humanity, hence employing the six lines; those who use the method of divination to obtain a hexagram should fully embody the way of humanity in order to harmonize with Heaven and Earth. The Sayings on the Hexagrams state: In ancient times, the sage composed the Book of Changes to follow the principles of nature and destiny, thus establishing the principle of Heaven as Yin and Yang, the principle of Earth as softness and strength, and the principle of Humanity as benevolence and righteousness. By combining the three principles and representing each with two lines, the Book of Changes forms a hexagram with six lines; dividing the positions of the lines into Yin and Yang positions, and alternately using soft and strong lines, the Book of Changes thus forms its textual and logical structure through six positions.

理在人為性，在天地為命。天無陰陽則氣機息，地無剛柔則地維墜，人無仁義則人道滅而禽獸矣。故曰立天立地立人。陰陽以氣言，剛柔以質言，仁義以理言。仁，體剛而用柔，屬乎陽。義，體柔而用剛，屬乎陰。

The same principle, when applied to human beings, is called "nature" (性), and when applied to heaven and earth, is called "destiny" (命). If heaven had no yin and yang, the movement of qi would cease; if earth had no hardness and softness, the framework that sustains the earth would collapse; if humans had no benevolence and righteousness, the human way would vanish and humans would become no better than beasts. Therefore, it is said that "establishing heaven," "establishing earth," and "establishing human beings." Yin and yang refer to the movement of qi, hardness and softness refer to the quality of substance, and benevolence and righteousness refer to the principle. Benevolence, with its fundamental nature strong and vigorous and its expression gentle and yielding, belongs to yang; righteousness, with its fundamental nature gentle and yielding and its expression firm and decisive, belongs to yin.

兼三才而兩之。以全體言。則上兩畫為天，五陽而上陰。中兩畫為人，三仁而四義。下兩畫為地，初剛而二柔。以兩卦分言。則上與三為天，三陽而上陰。五與二為仁，五仁而二義。四與初為地，四柔而初剛。

The phrase "兼三才而两之" refers to combining the three elements—Heaven, Humanity, and Earth—and dividing them into two parts. Considering the entire hexagram, the top two lines represent Heaven, with the fifth line being yang and the top line being yin; the middle two lines represent Humanity, with the third line being ren and the fourth line being yi; and the bottom two lines represent Earth, with the first line being yang and the second line being yin. If we consider the upper and lower trigrams separately, then the top line and the third line both belong to the Heaven position, with the third line being yang and the top line being yin; the fifth line and the second line both belong to the Humanity position, with the fifth line being ren and the second line being yi (the original text mistakenly uses "ren" instead of "humanity"); and the fourth line and the first line both belong to the Earth position, with the fourth line being yin and the first line being yang.

分陰分陽以位言。初三五為陽，二四上為陰。陰陽各半故曰分。迭用柔剛以爻言，柔六剛九也。陽位剛爻居，柔爻亦居。陰位柔爻居，剛爻亦居。經緯錯綜，粲然有文。所謂成章也。人負陰陽之氣以有生，肖剛柔之質以有形，具仁義之理以成性，亦具三才之道。分陰陽用柔剛以斷吉凶，成亹亹而盡仁義之道。則性命之理在天地者，皆在吾心矣。右第二章。

"Dividing yin and yang" refers to the positions of the lines in a hexagram: the first, third, and fifth lines are yang positions, while the second, fourth, and top lines are yin positions. Since yin and yang each occupy half, it is called "dividing." "Alternating the use of flexibility and strength" refers to the lines themselves: a flexible line is marked with a six, and a strong line is marked with a nine. A strong line can occupy a yang position, and a flexible line can also occupy a yang position; similarly, a flexible line can occupy a yin position, and a strong line can also occupy a yin position. Interwoven in this way, they form a clear pattern, which is called "forming a chapter." Humans receive the qi of yin and yang and thus have life; they imitate the qualities of flexibility and strength and thus have form; they possess the principles of benevolence and righteousness and thus develop their nature. In this way, they inherently possess the three elements of heaven, earth, and humanity. If a person can distinguish yin and yang and use flexibility and strength to judge good and bad fortune, and thus accomplish diligent endeavors while fulfilling the way of benevolence and righteousness, then the principles of life and death inherent in heaven and earth will all be present within his heart. This is the second chapter of the "Commentary on the Hexagrams."

第三章就伏羲先天圓圖而言其對待之體，復即卦氣之流行而分其左右之順逆也。天地定位，山澤通氣，雷風相薄，水火不相射，八卦相錯。此伏羲先天圓圖八卦之位也。乾南坤北，天居上地居下，兩儀之位也。

This chapter discusses the mutual opposition of the eight trigrams in the Earlier Heaven circle diagram of Fuxi. It then explains the flow of the trigram energies, distinguishing the clockwise and counterclockwise directions on the left and right sides. The "Say on the Trigrams" states: the heavens and earth are positioned above and below, the mountain and marsh energies communicate with each other, thunder and wind approach each other, and water and fire do not reject each other. The eight trigrams are thus interwoven in pairs. This describes the directional arrangement of the eight trigrams in the Earlier Heaven circle diagram.乾 is located to the south, 坤 to the north, heaven is above, and earth is below, which is the original position of the two principles.

艮為山居西北，兌為澤居東南。通氣者，澤氣升於山，為雲為雨。山氣通於澤，為水為泉也。震為雷居東北，巽為風居西南。相薄者，勢相迫也。雷迅而風益烈，風激而雷益迅也。離為日居東，坎為月居西。不相射者，水得火以濟其寒，火得水以濟其熱，不相滅息也。先天八卦之位如此。皆陰陽相對而居，故曰八卦相錯也。重為六十四卦。為圓圖，其位亦然。其左以震離兌乾為主。與八卦相錯，為自復至乾三十二陽卦。其右以巽坎艮坤為主。與八卦相錯，為自姤至坤三十二陰卦也。

The trigram Gen (Mountain) is located in the northwest; the trigram Dui (Lake) is located in the southeast. The term "communicating energy" refers to the water vapor from the lake rising to the mountain, transforming into clouds and rain, while the earth energy from the mountain flows down to the lake, transforming into water and springs. The trigram Zhen (Thunder) is located in the northeast; the trigram Xun (Wind) is located in the southwest. The term "mutual approach" refers to their energies approaching each other: thunder becomes more intense, causing the wind to be stronger, and wind becomes more vigorous, causing the thunder to be faster. The trigram Li (Fire) is located in the east; the trigram Kan (Water) is located in the west. The term "not opposing each other" refers to water being tempered by fire to reduce its coldness, and fire being tempered by water to reduce its heat, so they do not extinguish each other. The arrangement of the Earlier Heaven Trigrams is like this, with yin and yang trigrams opposite each other. Therefore, it is said "the eight trigrams are interwoven." When the eight trigrams are combined, they form the sixty-four hexagrams, arranged in a circular diagram, with the same directional arrangement: on the left, Zhen, Li, Dui, and Qian are the main trigrams, interwoven with the eight trigrams, forming thirty-two yang hexagrams from Fu to Qian; on the right, Xun, Kan, Gen, and Kun are the main trigrams, interwoven with the eight trigrams, forming thirty-two yin hexagrams from Guo to Kun.

數往者順，知來者逆。是故易逆數也。此就圓圖卦氣之行。準之橫圖，卦畫之序，從中而分其左右之順逆也。覆數已生之卦為順，豫推未生之卦為逆。天道運行為四時八節，以冬至夏至為樞紐。圓圖配八節之運行，以姤復二卦為樞紐。天道左旋，故圓圖配八節皆左旋。萬事出於心，故圖自中起。天開於子，故卦始終復。天道運行始於陽，陽生於極陰。故坤生復為陽始，冬至配之。盡震宮八卦至明夷，立春配之。盡離宮八卦至於臨，春分配之。盡兌宮八卦至於泰，立夏配之。

The Shuo Guà Zhuan says: Counting the past is in the order of succession, while knowing the future is in the reverse order, so the Book of Changes is a method of reverse calculation. This refers to the circular diagram's movement of the trigrams' energies, and the horizontal diagram's sequence of trigrams, dividing from the center into left and right directions of succession and reversal. Counting backwards from the already formed trigrams is called "succession," while predicting the trigrams that have not yet formed is called "reversal." The operation of heaven is divided into four seasons and eight solar terms, with the winter solstice and summer solstice as the key points; when the circular diagram is combined with the movement of the eight solar terms, the trigrams Gu and Fu serve as the key points. Heaven moves to the left, so the circular diagram with the eight solar terms also moves to the left. All things originate from the heart, so the diagram starts from the center. Heaven opens at Zi, so the trigrams start from Fu (the trigram of the winter solstice). The operation of heaven begins with yang, and yang arises from the extreme of yin, so the trigram Kun produces the trigram Fu as the beginning of yang, corresponding to the winter solstice. Counting through the eight trigrams of the Zhen palace up to Mingyi corresponds to the beginning of spring. Counting through the eight trigrams of the Li palace up to Lin corresponds to the vernal equinox. Counting through the eight trigrams of the Dui palace up to Tai corresponds to the beginning of summer.

盡乾宮八卦至於乾，陽極陰生得姤卦，夏至配之。盡巽宮八卦至於訟，立秋配之。盡坎宮八卦至於遯，秋分配之。盡艮宮八卦至於否，立冬配之。盡坤宮八卦至於坤，陰極陽生又為復卦。復至乾，由震四而離三而兌二而乾一，皆得已生之卦。如從今日計往日，順而易知也。自姤至坤，由巽五而坎六而坤八。如今日預推明日，逆而難知也。然以橫圖觀之。則自乾一而兌二而離三而震四而巽五而坎六而艮七而坤八，皆預推之，是皆逆也。逆所以知來，故易皆逆數也。以其位言之，則對待有順有逆。以其數論之，則皆逆而可以知來。先天圓圖之妙如此。右第三章。

In the circular diagram, each of the eight trigrams in each palace corresponds to one of the twenty-four solar terms. When the count of the trigrams in the Qian palace reaches Qian, yang reaches its peak and yin begins to arise, resulting in the Guo trigram, which corresponds to the summer solstice. When the count of the trigrams in the Xun palace reaches the Song trigram, it corresponds to the beginning of autumn. When the count of the trigrams in the Kan palace reaches the Duan trigram, it corresponds to the autumn equinox. When the count of the trigrams in the Gen palace reaches the Pǐ trigram, it corresponds to the beginning of winter. When the count of the trigrams in the Kun palace reaches the Kun trigram, yin reaches its peak and yang begins to arise, resulting in the Fu trigram. From Fu to Qian, the trigrams are counted in the order of Zhen in position four, Li in position three, Dui in position two, and Qian in position one. These are all trigrams that have already been generated, like counting backwards from today to yesterday, which is a forward and easily understood process. From Guo to Kun, the trigrams are counted in the order of Xun in position five, Kan in position six, until Kun in position eight (the original text here omits 'Gen in position seven'), which is like predicting tomorrow from today, a backward and difficult to understand process. However, if we look at the horizontal diagram, from Qian in position one to Dui in position two, Li in position three, Zhen in position four, Xun in position five, Kan in position six, Gen in position seven, and Kun in position eight, all these trigrams are predicted in advance, which is all backward. Only by moving backward can we know the future, so the Book of Changes is all about reverse calculation. In terms of direction, there is both forward and backward in the mutual opposition of pairs; in terms of numbers, it is entirely reverse, thus allowing us to foresee the future—this is the value of divination. The wonderful aspect of the Earlier Heaven circular diagram lies here. The above is the third chapter of the "Shuo Gua Zhuan."

第四章言先天方圖之位，六子之用統於乾坤，而造化流行有生長收藏之功也。雷以動之，風以散之。雨以潤之，日以晅之。艮以止之，兌以說之。乾以君之，坤以藏之。動則物萌，散則物解。二者生物之功。潤則物滋，晅則物舒。二者長物之功。止則物成，說則物遂。二者收物之功。君則物有所歸，藏則物有所息。二者藏物之功。雷動風散，乾坤初爻相易為震巽也。雨潤日晅，中爻相易為坎離也。止之說之，終爻相易為艮兌也。此六子，生物之序也。

This chapter explains the directional arrangement of the Earlier Heaven diagram: the six sub-trigrams, Zhen (Thunder), Kan (Water), Gen (Mountain), Xun (Wind), Li (Fire), and Dui (Lake), are all governed by Qian (Heaven) and Kun (Earth). The natural process has four phases: birth, growth, gathering, and storage. The "Sayings on the Trigrams" states: Thunder is used to stir up all things, Wind to scatter them, Rain to nourish them, Sun to warm them, Gen to stop them, and Dui to make them joyful. Stirring causes all things to sprout, scattering causes them to disperse, these two are the functions of birth; nourishing causes them to grow, warming causes them to expand, these two are the functions of growth; stopping causes them to take form, joy causes them to fulfill their nature, these two are the functions of gathering; governing causes them to have a place, storing causes them to rest, these two are the functions of storage. Thunder and Wind dispersing are formed by the mutual exchange of the first lines of Qian and Kun to produce Zhen and Xun; Rain and Sun warming are formed by the mutual exchange of the middle lines to produce Kan and Li; stopping and joy are formed by the mutual exchange of the top lines to produce Gen and Dui. The arrangement of these six sub-trigrams represents the order of birth.

然六子致用，主於乾而動，歸於坤而藏。此又父母之功也，故以乾坤終之。自動至晅，物之出機。自止至藏，物之終極。出無於有，氣之行也。故以象言。入有於無，質之具也。故以卦言。先天方圖中始震巽而始終於乾坤。

However, the six sons function all by the movement of Qian and returning to Kun for concealment, which is again the contribution of the parents' hexagram, so Qian and Kun are used to conclude. From "movement" to "manifestation," it is the emergence of all things from the mechanism; from "stillness" to "concealment," it is the arrival of all things at their ultimate state. Going from nothing to existence is the movement of qi, so thunder, wind, rain, and sun are used as symbolic images; going from existence back to nothing is the solidification of substance, so the hexagrams of Gen, Dui, Qian, and Kun are used to express this. The Earlier Heaven diagram begins in the center with Zhen and Xun, yet throughout it is always governed by Qian and Kun.

蓋陽生於北而極於南，陰生於南而極於北，天之道也。圓圖法天，故乾南坤北也。陽始於東北而盛於西北，陰始於西南而盛於東南，地之道也。方圖法地，故乾西北而坤東南也。乾坤初爻相易而為震巽。故震巽居中，為物之始生。中爻相易為坎離。故次外坎離，為物之方長。終爻相易為艮兌。故次外艮兌，為物之所收。終則乾居西北，坤居東南以藏之。以其位之尊卑而言，則宜先乾坤而後六子。以造化之流行而言，故先言六子而統於乾坤，此方圖之位具造化流行之妙也。右第四章。

Heavenly yang originates in the north and reaches its peak in the south, while earthly yin originates in the south and reaches its peak in the north; this is the way of heaven. The circular diagram follows the pattern of heaven, so Qian (Heaven) is placed in the south and Kun (Earth) in the north. Heavenly yang begins in the northeast and reaches its peak in the northwest, while earthly yin begins in the southwest and reaches its peak in the southeast; this is the way of earth. The square diagram follows the pattern of earth, so Qian is placed in the northwest and Kun in the southeast. The first lines of Qian and Kun exchange to form Zhen (Thunder) and Xun (Wind), so Zhen and Xun are placed in the center of the square diagram, representing the beginning of all things. The middle lines exchange to form Kan (Water) and Li (Fire), so Kan and Li are placed in the second layer, representing the growth of all things. The top lines exchange to form Gen (Mountain) and Dui (Lake), so Gen and Dui are placed in the outermost layer, representing the time of harvest. Finally, Qian is placed in the northwest and Kun in the southeast, to store away all things. If we consider the hierarchy of lines, we should first discuss Qian and Kun and then the six sons; however, here we focus on the flow of creation and transformation, so we first discuss the six sons and ultimately unify them under Qian and Kun. This is the subtle meaning of the flow of creation and transformation contained within the square diagram's arrangement. The above is the fourth chapter of the "Sayings on the Hexagrams."

第五章言文王後天八卦之位。帝出乎震，齊乎巽，相見乎離，致役乎坤，說言乎兌，戰乎乾，勞乎坎，成言乎艮。此文王後天八卦之位。此節言八卦之流行也。帝者，天之主宰。出者，發露之謂。震居東方，於時為春。三陽開泰，萬物從此發生，則帝即從此出矣。齊、相見、致役以下皆帝也。齊者，畢達之謂。巽居東南，春夏之交，萬物畢達矣。尚有未盡生者，彼此未得相見也。

This chapter explains the directional arrangement of the Later Heaven Trigrams as established by King Wen. The "Say on the Trigrams" states: the sovereign emerges from the Zhen position, becomes fully harmonious in the Xun position, meets others in the Li position, is employed and nurtured in the Kun position, experiences joy and speaks in the Dui position, engages in conflict in the Qian position, is comforted in the Kan position, and concludes with a final statement in the Gen position. This describes the directional arrangement of the Later Heaven Trigrams. This section discusses the movement of the Trigrams. "Tian" refers to the sovereign of heaven; "chu" means to emerge or appear. Zhen is located in the east, corresponding to spring, when the three yang forces are active and all things begin to emerge, so the sovereign emerges from here. The subsequent terms "qí," "xiāngjiàn," "zhìyì," etc., all refer to the same sovereign. "Qí" means to be fully harmonious. Xun is located in the southeast, at the transition between spring and summer, when all things have already become fully harmonious; however, some things have not yet fully emerged, so they cannot yet meet each other.

離居南方，於時為夏，則明盛可見矣。致，猶委也。委役於萬物，無不養也。坤居西南，夏秋之交。萬物皆養於土，得向實也。說者，物形至此充足而說。兌居西方，於時為秋，物至此充足可說也。戰者，陰極陽剝，疑而戰也。乾居西北，秋冬之交。戰乎乾，非與乾戰，言陰陽戰於乾之方也。勞，去聲，慰勞之意。坎居北方，於時為冬，萬物歸藏於內而未息也。成言者，陽氣至此成終而成始。艮居東北，冬春之交，止乎此矣。復出乎震，不終止也。此皆萬物生成之序。然生之成之，必有主宰之者，故謂之帝。此就八卦之流行言之也。

The Trigram Li resides in the south, corresponding to the summer season, when light is abundant and flourishing, allowing all things to become visible to each other. "Zhi" means to entrust or assign tasks to all things, ensuring their growth and nourishment. The Trigram Kun resides in the southwest, at the transition between summer and autumn, when all things rely on the earth for nourishment to develop into maturity. "Shuo" refers to the fullness and satisfaction of all things, bringing them joy. The Trigram Dui resides in the west, corresponding to autumn, when all things are full and flourishing, bringing joy. "Zhan" indicates the extreme of yin, which overpowers yang, leading to a struggle between yin and yang. The Trigram Qian resides in the northwest, at the transition between autumn and winter, and "zhan hu Qian" does not mean a struggle with Qian, but rather a struggle between yin and yang in the direction where Qian resides. "Lao" is pronounced in a falling tone, meaning to comfort or reward; the Trigram Kan resides in the north, corresponding to winter, when all things retreat inward, yet their vitality continues. "Cheng yan" signifies that yang energy has completed its cycle and begun anew. The Trigram Gen resides in the northeast, at the transition between winter and spring, when all things pause, then resume from the position of Zhen. This is not an end. These are the sequential stages of the generation of all things. However, there must be a governing force that gives rise to and completes them, hence it is called "Di" (the Emperor). This passage discusses the movement and influence of the Eight Trigrams.

萬物出乎震。震，東方也。齊乎巽。巽，東南也。齊也者，言萬物之潔齊也。離也者，明也。萬物皆相見，南方之卦也。聖人南面而聽天下，嚮明而治，蓋取諸此也。坤也者，地也。萬物皆致養焉，故曰致役乎坤。兌，正秋也，萬物之所說也，故曰說言乎兌。戰乎乾。乾，西北之卦也。言陰陽相薄也。坎者，水也，正北方之卦也。勞卦也。萬物之所歸也。故曰勞乎坎。艮，東北之卦也，萬物之所成終而所成始也，故曰成言乎艮。

The Sayings on the Hexagrams continues: All things emerge from the Zhen position, and Zhen is the hexagram of the East. At the Xun position, all things are orderly and neat, and Xun is the hexagram of the Southeast; the term 'neat' refers to all things being clean and orderly. Li is brightness; when all things reach this point, they meet and recognize each other, and Li is the hexagram of the South. The sage faces south to govern the world, directing his policies towards the bright direction, which is probably derived from this symbolism. Kun is the earth; all things here receive nourishment and growth, so it is said 'all things are directed to Kun'. Dui corresponds to autumn, a time when all things are joyful, so it is said 'joy is expressed in Dui'. 'Struggle in Qian' refers to Qian, the hexagram of the Northwest, where yin and yang are in conflict. Kan is water, the hexagram of the North, also the hexagram of toil; all things here retreat and conceal, so it is said 'toil is expressed in Kan'. Gen is the hexagram of the Northeast, where all things have completed their cycle and begin anew, so it is said 'completion is expressed in Gen'.

上言帝，此節言萬物之隨帝以出入。蓋帝之出入不可見，而為物者可見，故又以物言之。以見八卦流行生物之功也。離明以德言，八卦之德可推。坤地坎水以象言，八卦之象可推。兌秋以時言，八卦之時可推。聖人象八卦之義以治天下，不獨取諸離。亦舉一可通其餘也。坤於方不言西南，坤土之用不止於西南也。上言致役乎坤，此言致養者。蓋上言帝。坤，臣也。帝，君也。君之於臣，役之而已。此言萬物。則坤，母也。萬物，子也。母之於於，則無所不養也。乾曰陰陽相薄者。九十月之交，陰盛陽微。

The previous section discussed "the Emperor," and this section talks about all things moving together with the Emperor. Since the Emperor's coming and going is invisible, while the generation of things is visible, it is now explained from the perspective of things to show the effectiveness of the eight trigrams in generating life. "Li (Fire) is brightness" refers to the virtue of the trigrams; the virtues of the other trigrams can be inferred from this. "Kun (Earth) is earth," "Kan (Water) is water" refer to the symbolic representations of the trigrams; the symbolic representations of the other trigrams can be inferred from this. "Dui (Lake) is the beginning of autumn" refers to the seasonal associations of the trigrams; the seasonal associations of the other trigrams can be inferred from this. The sage takes the meaning of the eight trigrams to govern the world, not only relying on the trigram Li. This is like grasping one corner and understanding the rest. The position of Kun does not mention southwest, because the function of the earth trigram is not limited to the southwest. The previous section said "to employ Kun," while this section says "to nourish," because the previous section discussed the Emperor: Kun is the minister, and the Emperor is the sovereign, and the sovereign employs the minister. This section discusses all things: Kun is the mother, and all things are the children, and the mother nourishes her children without limit. The trigram Qian (Heaven) says "yin and yang interact," because during the transition between September and October, the yin energy is strong and the yang energy is weak.

陰疑於陽必戰。坤之上六亦言龍戰于野者，此也。上言帝之所乘，此言萬物之所主。觀此而後天八卦之義可見矣。蓋以其方位言之。則坎離者，天地之大用，得乾坤之中氣。故離火居南，坎水居北也。震，動也。物生之初，故居東。兌，說也。物成之後，故居西。此四者居於四正也。震木，巽亦木，震陽木而巽陰木。故巽居東南，巳之位也。兌金，乾亦金，兌陰金而乾陽金。故乾居西北，亥之方也。坤艮皆土，坤陰土，艮陽土。坤居西南，艮居東北者。所以均旺於四時也。此四者居於四隅也。

When yin energy becomes excessive and causes suspicion toward yang, a struggle is inevitable. The line statement of the sixth line in the upper trigram of the Earth (Kun) says, "A dragon fights in the fields," referring to this situation. The previous section discussed the order of the trigrams used by the Emperor, while this section explains the order by which all things depend. By understanding these two sections, the meaning of the Later Heaven Trigrams becomes clear. In terms of directions, Kan and Li are the great functions of heaven and earth, receiving the central energy from Qian and Kun. Therefore, the fire of Li resides in the south and the water of Kan resides in the north. Zhen represents movement, which occurs when all things first begin, so it is located in the east. Dui represents joy, which occurs when all things have matured, so it is located in the west. These four trigrams occupy the four cardinal directions: east, south, west, and north. Zhen belongs to wood, and Xun also belongs to wood. Zhen is yang wood, while Xun is yin wood, so Xun resides in the southeast, which corresponds to the earthly branch Si. Dui belongs to metal, and Qian also belongs to metal. Dui is yin metal, while Qian is yang metal, so Qian resides in the northwest, corresponding to the earthly branch Hai. Kun and Gen both belong to earth. Kun is yin earth, while Gen is yang earth. Kun resides in the southwest and Gen in the northeast to ensure that the earth energy is evenly strong throughout the four seasons. These four trigrams occupy the four corners: southwest, northwest, northeast, and southeast. The four cardinal trigrams correspond to water, fire, wood, and metal, while the four corner trigrams are divided between wood and metal, with the two earth trigrams balancing them. This forms the framework of the Later Heaven directions.

以其流行之序言之，則以震巽離坤兌乾坎艮為次。蓋春為木，震巽屬木。木生火。夏為火，故離次之。夏而秋，火克金者也。火金之交，有坤土焉。則火生土，土生金。克者又順以相生。秋為金，兌乾屬金。金生水。冬為水，故坎次之。冬而春水生木者也。水木之交，有艮土焉。木克土，土克水。生者又逆以相剋。土金順以相生，所以為秋之克。水土逆以相剋，所以為春之生。生生剋剋，變化無窮，而皆有帝以宰之，此後天之妙也。右第五章。

If we consider the order of prevalence, it follows the sequence of Zhen, Xun, Li, Kun, Dui, Qian, Kan, and Gen. Spring belongs to wood, and both Zhen and Xun belong to wood; wood generates fire, and summer belongs to fire, so the Li trigram comes after it. From summer to autumn, fire normally controls metal, but between fire and metal there is also Kun earth, so fire generates earth, and earth generates metal, turning a place of mutual control into one of mutual generation. Autumn belongs to metal, and both Dui and Qian belong to metal; metal generates water, and winter belongs to water, so the Kan trigram comes after it. From winter to spring, water normally generates wood, but between water and wood there is also Gen earth, so wood controls earth, and earth controls water, turning a place of mutual generation into one of mutual control. The mutual generation of earth and metal is precisely to resolve the mutual control of autumn; the mutual control of water and earth is precisely to support the mutual generation of spring. Generation and control alternate endlessly, and within this there is a single principle that governs everything. This is the subtlety of the Later Heaven Trigrams. The above is from Chapter Five of the "Sayings on the Trigrams."

第六章去乾坤而專言六子，以見神之所為。前即文王卦次，以明四時之序。後即伏羲卦次，以明對待之偶。蓋總先後天二圖言之，以見不可偏廢也。神也者，妙萬物而為言者也。動萬物者，莫疾乎雷。橈萬物者，莫疾乎風。燥萬物者，莫熯乎火。說萬物者，莫說乎澤。潤萬物者，莫潤乎水。終萬物始萬物者，莫盛乎艮。故水火相逮，雷風不相悖，山澤通氣，然後能變化，既成萬物也。

This chapter sets aside the trigrams Qian (Heaven) and Kun (Earth) and focuses exclusively on the six subsidiary trigrams, using them to illustrate the workings of "Shen" (the divine). The first part follows the order of the Later Heaven trigrams attributed to King Wen, explaining the sequence of the four seasons. The second part follows the order of the Earlier Heaven trigrams attributed to Fuxi, explaining the mutual relationships between pairs of trigrams. In general, it combines the Earlier Heaven and Later Heaven diagrams to show that neither should be neglected. The "Sayings on the Trigrams" states: "Shen" refers to the principle that makes all things mysterious and unfathomable. Nothing moves things more swiftly than thunder, nothing influences things more swiftly than wind, nothing dries things more intensely than fire, nothing delights things more joyfully than marshes, nothing moistens things more abundantly than water, and nothing concludes and begins things more profoundly than mountains. Therefore, water and fire pursue each other, thunder and wind do not contradict each other, and the energies of mountains and marshes connect with each other, thus enabling transformation and the creation of all things.

此去乾坤專言六子。由後天流行之用，而推本於先天對待之體也。以主宰言曰帝，以功用言曰神。八卦各有所在，神無在無不在，故曰妙萬物。乾坤合而為神，言神則乾坤皆在其中。去乾坤而專言六子，見六子之為皆乾坤之為也。五卦皆言象，艮獨不言者。終始萬物，不繫於山也。文王後天卦次順四時之序而兌震以長男合少女，艮巽以長女合少男，則非其偶。

This chapter sets aside the trigrams Qian and Kun and focuses exclusively on the six subsidiary trigrams, moving from the Later Heaven usage to the Earlier Heaven fundamental nature. In terms of sovereignty, it is called "Di" (Emperor), and in terms of function, it is called "Shen" (Spirit). Each of the eight trigrams has a specific directional position, but the Spirit has no fixed location and is everywhere, hence it is said to "mystically pervade all things." The combination of Qian and Kun constitutes the Spirit; when speaking of the Spirit, Qian and Kun are already included within it. By setting aside Qian and Kun and focusing on the six subsidiary trigrams, it is to show that all the actions of the six trigrams are the actions of Qian and Kun. Among the six trigrams, five mention specific natural phenomena, namely thunder, wind, fire, marsh, and water; only the trigram Gen does not mention a natural phenomenon, because the task of concluding and beginning all things does not belong to the "mountain" as a physical object. The sequence of the Later Heaven trigrams follows the four seasons, so Dui and Zhen become the pairing of the eldest son with the youngest daughter, and Gen and Xun become the pairing of the eldest daughter with the youngest son, which are not their original pairings.

陰陽不相對待，則無由生成萬物矣。故此章先欲言神運萬物之妙，即文王卦次，以明四時之流行。後則推原其體，必由陰陽對待，各得其偶。故又本於先天之卦，以見陰陽交合之妙，而後有此變化之神。蓋合先天後天之妙總言之也。右第六章。

Yin and yang cannot generate all things if they are not paired with each other. Therefore, this chapter first explains the subtle workings of the divine principle transforming all things, following the order of the Later Heaven hexagrams as arranged by King Wen. Then it goes on to trace back to the fundamental nature, which requires that yin and yang be paired with each other, each obtaining its counterpart. Thus, following the Earlier Heaven hexagrams, it reveals the subtle intermingling of yin and yang. Only with this can there be the miraculous transformations. In summary, this chapter combines the subtleties of both the Earlier Heaven and Later Heaven diagrams. This is the sixth chapter of the "Sayings on the Hexagrams."

乾，健也。坤，順也。震，動也。巽，入也。坎，陷也。離，麗也。艮，止也。兌，說也。

The virtue of Qian is strength and vigorous, the virtue of Kun is softness and compliance, the virtue of Zhen is movement, the virtue of Xun is penetration, the virtue of Kan is sinking, the virtue of Li is attachment, the virtue of Gen is stillness, and the virtue of Dui is joy. Before describing the symbolic representations of the Eight Trigrams in the "Sayings on the Trigrams," the text first defines the nature of each trigram with these eight characters. These eight characters do not refer to what the trigrams resemble, but rather what they inherently are—their intrinsic qualities and modes of operation.

此節言八卦之性情。因下文欲言其象，先別其性情如此。蓋象者其似，性情者其眞也。性者其本體，情者其作用也。乾純陽剛故健，坤純陰柔故順。震一陽生二陰之下，剛而進故動。坎一陽在二陰之中，剛為陰所掩故陷。艮一陽出於二陰之上，無所往矣故止。巽一陰藏於二陽之下，順而伏故入。離一陰在二陽之中，順而附故麗。兌一陰在二陽之上，順而見故說。

This section discusses the "nature" and "emotion" of the Eight Trigrams. Since the following chapters will elaborate on the physical objects associated with each trigram, it is first necessary to clearly distinguish their nature and emotion. The physical objects are merely things similar to the trigrams; the true essence of the trigrams lies in their nature and emotion. "Nature" refers to the inherent quality of the trigram, while "emotion" refers to its function or action. The Qian trigram, composed of three unbroken lines, is entirely yang and thus pure and strong, so its nature and emotion are "active." The Kun trigram, composed of three broken lines, is entirely yin and thus pure and weak, so its nature and emotion are "docile." The Zhen trigram, with one yang line above two yin lines, is strong and moves upward, so its emotion is "movement." The Kan trigram, with one yang line between two yin lines, is strong but concealed by yin, so its emotion is "entrapment." The Gen trigram, with one yang line above two yin lines, has no further path ahead, so its emotion is "stillness." The Xun trigram, with one yin line below two yang lines, is gentle and hidden, so its emotion is "entry." The Li trigram, with one yin line between two yang lines, is gentle and attached, so its emotion is "adherence." The Dui trigram, with one yin line above two yang lines, is gentle and revealed externally, so its emotion is "joy."

然乾健坤順。震坎艮三陽卦皆從健，巽離兌三陰卦皆從順。健則能動，順則能入。此震巽所以為動為入也。健遇上下皆順則必溺而陷，順遇上下皆健則必附而麗。此坎離所以為陷為麗也。健極於上，前無所往必止。順見於外，情有所發必說。此章以八字斷八卦之德，下章乃依類而分言之。自此以下乃以陰陽純卦及初中終為序，不用先天後天之序也。右第七章。

Heaven is pure strength, Earth is pure gentleness, which are the main points. Zhen, Kan, and Gen have one Yang line as their main feature, belonging to Yang trigrams, and their virtues all derive from "strength." Xun, Li, and Dui have one Yin line as their main feature, belonging to Yin trigrams, and their virtues all derive from "gentleness." Only with strength can there be movement, and only with gentleness can there be entry, which explains why Zhen is "movement" and Xun is "entry." If strength is surrounded by gentleness above and below, it will inevitably sink down; if gentleness is surrounded by strength above and below, it will inevitably cling and depend, which explains why Kan is "sinking" and Li is "adornment." When strength reaches the top line, there is no way forward, so it must stop, which explains why Gen is "rest." When gentleness is revealed externally, emotion arises naturally, leading to joy, which explains why Dui is "joy." This chapter uses only eight characters to determine the virtues of the eight trigrams, and the next chapter will elaborate on the various phenomena associated with each trigram. From this chapter onward, the order is first to present the two pure trigrams, Qian and Kun, then to divide them according to the first line, middle line, and top line into long, medium, and short lines, without following Fuxi's Earlier Heaven sequence or King Wen's Later Heaven sequence. This is Chapter Seven.

乾為馬。坤為牛。震為龍。巽為雞。坎為豕。離為雉。艮為狗。兌為羊。

The trigram Qian is associated with the image of a horse, Kun with a cow, Zhen with a dragon, Xun with a chicken, Kan with a pig, Li with a wild chicken, Gen with a dog, and Dui with a sheep. This section refers to "far-reaching reference to external objects," meaning that the trigrams are associated with animals outside the human body. The following text will explain the reasoning behind each association in turn, rather than listing them randomly.

此章言遠取諸物者如此。馬健行而不息，其蹄圓，故乾為馬。牛順而載重，其蹄析，故坤為牛。龍潛於淵在重陰之下，與地雷同其動奮，故震為龍。雞，羽屬，能飛。其性則入而伏。知時而善應，鳴於丑半重陽之時。

This chapter's statement "taking the distant things as symbols" is exemplified in this way. Horses are vigorous and tireless, running day and night, and their hooves are round and complete, resembling the heavens, so the trigram Qian is symbolized by a horse. Cows are gentle yet capable of bearing heavy loads, and their hooves are divided into two parts, symbolizing even numbers and representing yin, so the trigram Kun is symbolized by a cow. Dragons dwell in deep waters, corresponding to the first line of the trigram Zhen, where a single yang line is hidden beneath two yin lines; when they rise and move, their energy matches the thunderous power of the earth's tremors, so the trigram Zhen is symbolized by a dragon. As for chickens: they belong to the feathered class and can fly, but their nature is to hide in their nests, which corresponds to the virtue of "entering" in the trigram Xun. Moreover, they are sensitive to time and respond to changes, crowing at the midpoint of the hour of Chou when the yang energy is gradually increasing.

又其行則首動於前，足動於中，身不動而隨其後。能動象二陽在前，不動象一陰在後。故巽為雞。豕主汙溼，其性趨下。前後汙濁，中心剛躁。故坎為豕。雉性耿介。中心柔懦而外文明。故離為雉。狗外剛內媚。止於人而能止人。故艮為狗。羊外柔說群而中剛狠，故兌為羊。

Now looking at the way a chicken walks: its head moves forward and backward in front, while its legs step in the middle, and its body remains still, following behind. The moving head and legs resemble the two yang lines at the top of the Xun trigram, while the still body resembles the single yin line below. Therefore, the Xun trigram is symbolized by the chicken. Pigs like muddy and wet places, and they tend to dig downwards, appearing dirty both inside and out, yet their hearts are fierce and impetuous. This is exactly like the Kan trigram, with one yang line trapped between two yin lines. Therefore, the Kan trigram is symbolized by the pig. The wild chicken is upright and noble in nature, with a weak and timid heart but bright and colorful feathers. This matches the Li trigram, which is strong on the outside and gentle within, with civilization displayed externally. Therefore, the Li trigram is symbolized by the wild chicken. Dogs appear strong and fierce on the outside but are obedient and affectionate to their masters inside. They stay close to people and can guard and block others. This perfectly matches the Gen trigram's virtue of 'stopping' or 'resting'. Therefore, the Gen trigram is symbolized by the dog. Sheep appear gentle and sociable on the outside but are stubborn and fierce within. This exactly matches the Dui trigram's pattern of being soft on the outside and strong within. Therefore, the Dui trigram is symbolized by the sheep.

此章取象於經有不盡合者。周公以乾為龍，夫子以為馬。文王以坤為牝馬，夫子以為牛。變通以觀，可悟而不可執。八者之中，乾馬、兌羊、巽雞、離雉、坎豕，與卦爻間有合者。如大畜乾爻稱馬，大壯似兌稱羊，中孚巽爻稱雞，鼎三應離稱雉，睽互坎稱豕是也。至坤牛、震龍、艮狗，畢夫子所自取。善觀之，則萬物無非卦也。右第八章。

The imagery used in this chapter does not fully match the text of the Classic of Changes. When King Wen composed the line statements, he took the trigram Qian as a dragon, but Confucius here says Qian represents a horse; when King Wen composed the hexagram statements, he took the trigram Kun as a mare, but Confucius here says Kun represents a cow. This shows that imagery should be viewed flexibly, and one should grasp the underlying meaning rather than cling to a single object. Among these eight types of imagery, five correspond with the hexagram and line statements: for example, the trigram Qian as a horse corresponds with the line statements in the hexagram Da Xu; the trigram Dui as a sheep corresponds with the line statements in the hexagram Da Zhuang; the trigram Xun as a chicken corresponds with the line statements in the hexagram Zhong Fu; the trigram Li corresponding to the ninth line three in the hexagram Kui corresponds with the line statement referring to a pheasant; and the trigram Kan corresponding to the interacting trigrams in the hexagram Kui corresponds with the line statement referring to a pig. As for Kun as a cow, Zhen as a dragon, and Gen as a dog, these three are entirely new imagery established by Confucius. As long as one knows how to interpret, there is nothing in the world that cannot be included in the hexagrams. This is the eighth chapter.

乾為首。坤為腹。震為足。巽為股。坎為耳。離為目。艮為手。兌為口。

The trigram Qian is taken as the head, Kun as the abdomen, Zhen as the feet, Xun as the thighs, Kan as the ears, Li as the eyes, Gen as the hands, and Dui as the mouth. This section is "near taking from one's own body," meaning that the eight trigrams are matched with parts of the human body. This approach, together with the previous chapter which took imagery from external objects, forms two complementary paths: internal and external.

此言近取諸身者。首會諸陽，尊而在上。腹藏諸陰，大而容物。足在下而動。股兩垂而下。耳輪內陷，陽在內而聰。目睛附外，陽在外而明。手動在前。口開於上。此一身之合於八卦者也。

This section discusses "nearby taking from one's own body." The head is where all the yang meridians converge, located highest and most exalted, so it corresponds to the pure yang trigram Qian. The abdomen contains all the yin aspects, has great capacity, and can hold all things, so it corresponds to the pure yin trigram Kun. The feet are at the lowest part of the body and govern movement, so they correspond to the trigram Zhen, which represents a single yang moving downward. The thighs are two parts hanging down, resembling the lower broken yin line of the trigram Xun, so they correspond to Xun. The earlobe is inwardly concave, with yang hidden inside and capable of hearing clearly, resembling the central yang line of the trigram Kan, so it corresponds to Kan. The eyeball is attached externally, with yang manifesting outside and capable of seeing clearly, resembling the outer yang line of the trigram Li, so it corresponds to Li. The hands are always extended forward for activity, resembling the upper yang line of the trigram Gen, so they correspond to Gen. The mouth is located at the upper part of the face, resembling the upper broken line of the trigram Dui, so it corresponds to Dui. This is how the human body corresponds to the eight trigrams.

近取諸身者，六子皆反對。遠取諸物者，六子皆以序對。四者易而坎離不易也。首以君之，腹以藏之。足履於下為動，手持於上為止。股下岐而伏，口上竅而見。耳外虛，目內虛。各以反對也。在物，乾坤與二少皆取走。二長二中一走一飛。龍者走之飛，雞者飛之走。各以序對也。

When taking the images of the human body, the six subsidiary trigrams (震, 巽, 坎, 离, 艮, 兑) are paired according to the principle of "opposition" (the trigrams are reversed top to bottom). However, when taking the images of external objects, these six subsidiary trigrams are paired in the order of long, medium, and short. In these two systems, four pairs can be exchanged, but the trigrams 坎 and 离 remain fixed in both systems. First, regarding the human body: the head governs the whole body, the abdomen contains the organs; the feet are at the bottom and move actively, the hands are at the top and are used for stopping; the thighs are at the bottom and branch out while being hidden, the mouth is at the top and is open and visible; the ears are external and hollow, the eyes are in the eye sockets and hollow — each pair represents the concept of opposites above and below. Now regarding external objects: the trigrams 乾 and 坤, along with 艮 and 兑 (the two short trigrams), represent horses, cattle, dogs, and sheep, which are all quadrupeds. The trigrams 震 and 巽 (the two long trigrams), along with 坎 and 离 (the two medium trigrams), represent one that moves and one that flies (震 represents dragon and 坎 represents pig, which move; 巽 represents chicken and 离 represents pheasant, which fly). The dragon is a quadruped that can fly, and the chicken is a bird that tends to walk — this is how they are paired in the order of long, medium, and short.

夫子此章取象，坤為腹與明夷六四同，巽為股與咸九三互體同，兌為口與咸上六同。餘亦多自取，鮮所合者。其取義本先儒所解如此。而有可疑者：既言足，又言股。於面獨不言鼻。按《麻衣易》謂艮為鼻，巽為手。鼻者面之山。風能鼓舞萬物，手之所以舞也。其說似亦可叅。右第九章。

Confucius' imagery in this chapter coincides with the text in only three instances: Kun represents the abdomen, matching the fourth line of the Mingyi hexagram, which says "entering the left abdomen"; Xun represents the thigh, matching the ninth line of the Xian hexagram, where the line statement mentions "the thigh is touched"; and Dui represents the mouth, matching the sixth line of the Xian hexagram, which refers to the mouth with "the cheek, jaw, and tongue are touched." The rest are mostly Confucius' own interpretations, and few of them correspond with the hexagram and line statements. The above interpretations are explanations from previous scholars. However, there are questionable aspects: since the text mentions the foot, it also mentions the thigh, which seems redundant; and the facial orifices do not include the nose. According to the Ma Yi Yi, Gen represents the nose and Xun represents the hand. The nose is a raised mountain on the face, which fits the image of Gen as mountain; wind can move all things, and the hand is the part of the body used for movement, which fits the image of Xun as wind. This interpretation may also be considered. This is the ninth chapter.

第十章又即八卦而見其有父母男女之義也。蓋文王有父母六子之說，故孔子發明之也。乾，天也，故稱乎父。坤，地也，故稱乎母。震一索而得男，故謂之長男。巽一索而得女，故謂之長女。坎再索而男，故謂之中男。離再索而得女，故謂之中女。艮三索而得男，故謂之少男。兌三索而得女，故謂之少女。

Chapter Ten discusses the inherent relationships of parent and child within the Eight Trigrams. This is because King Wen had the idea that Qian and Kun were the parents, and the other six trigrams were the six sons. Confucius elaborated on this idea. Qian represents Heaven, so it is called the father. Kun represents Earth, so it is called the mother. Zhen is the first son obtained by Qian seeking Kun, so it is called the Elder Son. Xun is the first daughter obtained by Kun seeking Qian, so it is called the Elder Daughter. Kan is the second son obtained by seeking again, so it is called the Middle Son. Li is the second daughter obtained by seeking again, so it is called the Middle Daughter. Gen is the third son obtained by seeking again, so it is called the Younger Son. Dui is the third daughter obtained by seeking again, so it is called the Younger Daughter. (The original text omits the character '得' in the phrase '坎再索而男,' and this version retains the original.)

索，求也。《本義》，揲蓍以求爻。後朱子語錄謂不當作揲蓍。大概陽先求陰，則陽入陰中而為男。陰先求陽，則陰入陽中而為女。乾求於坤而得震坎艮，坤求於乾而得巽離兌。一二三者，以其畫之次序言。以初中終三畫取長中少之序也。三男本坤體，各得乾之一陽而成男，陽根於陰也。三女本乾體，各得坤之一陰而成女，陰根於陽也。天地生萬物而人為貴，故以父母男女言之。然萬物亦皆有牝牡雌雄長少之分，則言人而物亦在其中矣。此卦畫已成之後，見有此象。猶之前後取象。不可以謂之二字，謂畫此卦以象人也。右第十章。

"Indexing" means seeking. Master Zhu in The Original Meaning of the Zhou Changes explains "indexing" as using yarrow stalks to determine the lines, but later in his Sayings, he says it should not be interpreted as using yarrow stalks. The general idea is that yang seeks yin, and yang enters into the body of yin to form a male hexagram; yin seeks yang, and yin enters into the body of yang to form a female hexagram. When Qian seeks Kun, it results in three male hexagrams: Zhen, Kan, and Gen. When Kun seeks Qian, it results in three female hexagrams: Xun, Li, and Dui. The terms "first indexing," "second indexing," and "third indexing" refer to the order of the positions where the lines are drawn: the line in the first position is the eldest, the line in the middle position is the middle, and the line in the upper position is the youngest. The three male hexagrams originally had the structure of Kun, and each obtained one yang line from Qian to become male, showing that yang is rooted in yin. The three female hexagrams originally had the structure of Qian, and each obtained one yin line from Kun to become female, showing that yin is rooted in yang. Heaven and earth generate all things, and humans are the most precious, so they are referred to as parents and male and female. In reality, all things also have distinctions of male and female, female and male, elder and younger, larger and smaller. By discussing humans, things are also included. These distinctions are seen after the hexagrams are drawn, just like the previous two chapters' imagery. One should not think that the sage first thought about human relationships and then drew the hexagrams to represent humans. This is the tenth chapter.

第十一章廣八卦之象。不必盡合於經，多夫子所自取也。乾為天，為圜，為君，為父，為玉，為金，為寒，為冰，為大赤，為良馬，為老馬，為瘠馬，為駁馬，為木果。

Chapter eleven greatly expands the symbolic representations of the eight trigrams. These symbols do not necessarily correspond with the statements of the hexagram lines, but are mostly established by Confucius himself. The symbolic representations of Qian (Heaven) include: Heaven, roundness, ruler, father, jade, metal, coldness, ice, bright red, good horse, old horse, thin horse, spotted horse, and the fruit on a tree. The following sections will explain the reasons for each of these symbols being associated with Qian.

純陽至健天。陽體動為圜。又天之體也居上覆下，尊無不統君也。乾知大始，又生六子，父也。其德至粹，爻剛而位以柔相濟，玉也。純剛，金也。金故寒，而位西北，卦氣又立冬也，冬水始氷。寒之凝，陰之變而剛者也。盛陽之色，又四月在夏，故為大赤。坎一陽在中為赤。乾純陽，故赤曰大。別於坎也。

The trigram Qian consists of three lines of pure yang, representing extreme strength and vigor, which is the nature of heaven. The form of yang is ever-moving, and its movement traces a circular path, hence it is called round. Heaven is high above and covers everything below, exalted beyond all others, which is the position of a ruler, hence it is called ruler. The Great Treatise says, "Qian knows the beginning of great things." Qian also gives rise to the six sons' trigrams, hence it is called father. The virtue of Qian is extremely pure; its lines are yang but the positions they occupy are tempered by yin, making it strong yet moist, which is the quality of jade, hence it is called jade. Pure yang is metal. Metal is cold in nature, and since Qian is located in the northwest in the Later Heaven arrangement, its energy corresponds to the beginning of winter, when water starts to freeze, hence it is called cold and ice—coldness solidifies into ice, which is a hard substance formed by yin. Bright red is the color of extreme yang energy, and since Qian corresponds to the fourth month, Ji, which marks the beginning of summer, it is called bright red. The trigram Kan has one yang line in the center and also takes the color red; Qian is pure yang, so the red is prefixed with a 'big' character to distinguish it from Kan's red.

馬曰良老瘠駁，純陽無陰，異於震坎陰陽相雜之馬也。良，健之善者。老，健之久者。瘠，多骨少肉，健之堅強者。駁，鋸牙食虎豹，健威猛者。又駁馬之色不純，純極而駁生也。圓而在上，以實承實，故為木果。異於艮之果蓏剛下有柔也。又荀爽《九家易》解此下有為龍，為直，為衣，為言。言字宜作玄。

The horses associated with Qian are called good horses, old horses, thin horses, and spotted horses, all of which are pure yang without any yin, differing from the horses associated with Zhen and Kan, which are mixed with both yin and yang. "Good" refers to strong and healthy horses, "old" refers to strong and enduring horses, "thin" refers to horses with more bones than flesh, strong and solid, and "spotted" is said to be a fierce beast with sharp teeth and claws, capable of eating tigers and leopards; taking it refers to its strength and ferocity. Moreover, spotted horses have mixed colors, and when pure yang reaches its extreme, it produces a mixture, which is another meaning. Fruits that are round and grow at the top of the tree, with solid cores, are able to hold solid cores, which corresponds exactly to the pure yang of Qian, so they are called wood fruits. This differs from the "fruit and fruiting body" associated with Gen, which is a strong yang on top and two yin below, with yin still beneath the yang. In addition, Xu Shuang's "Nine Schools Commentary on the Book of Changes" adds four more interpretations below this passage: dragon, straightness, clothing, and speech. Among these, the character "speech" should actually be "dark" or "deep."

坤為地，為母，為布，為釜，為吝嗇，為均，為子母牛，為大輿，為文，為眾，為柄，其於地也為黑。積陰於下故為地。物資以生故為母。動闢而廣，旁有邊幅而中寬平，故為布。又地南北經而東西緯，亦布象也。釜虛而容物，金質生於土，受模冶而成，有效法之義，故為釜。

The symbolic representations of the Trigram坤 (Kun) include: earth, mother, cloth, pot, stinginess, equality, mother and calf, large cart, ornamentation, multitude, handle, and black color. The Yin energy gathers at the lower position, hence it is associated with earth. All things depend on it for growth, hence it is associated with mother. When坤 moves, it expands and spreads widely, with the sides having boundaries and the center level and broad, resembling a piece of cloth, hence it is associated with cloth. Moreover, the earth has north-south as its meridians and east-west as its parallels, which interweave just like the warp and weft of a cloth. A pot is hollow in the middle and can contain things; metal originates from the earth and requires a mold to be shaped, implying the idea of following a pattern (casting according to a model). Since the virtue of坤 is to follow the virtue of Qian, it is also associated with a pot.

靜翕而不拖。陰性吝嗇，女子小人未有不吝嗇者也。吝嗇者翕之守。均者闢之敷。其勢均平而無偏陂，其德則生萬物而無私均也。順之極而生物相繼，故為子母牛。厚而載物為大輿。坎二畫虛，為輿而不大。坤三畫虛，言大以別於坎也。

When the Earthly Trigram (Kun) is quiet, it is characterized by gathering inward and not leaking out. The nature of Yin is inherently stingy, and both women and petty people are not stingy. Stinginess is the way of holding back when closing in; fairness and equality are the way of giving out when opening up. In terms of form, the earth is flat without any incline or decline; in terms of virtue, it nurtures all things without partiality—these two aspects are called "evenness" or "equality." When softness and compliance reach their extreme, they continuously generate and pass on from mother to child, hence it is called the "mother and child ox." The earth is thick and can carry things, hence it is called the "great cart." The Kan trigram has only one line of Yang in the middle, with the upper and lower lines empty, which can also be associated with the image of a cart, but it cannot be called "great." The Kun trigram has all three lines empty, thus having the greatest capacity, so it is specifically called "great cart" to distinguish it from the cart image in Kan.

坤畫偶，又物生於地至雜，故為文。偶畫多故為眾。有形可執，持成物之權，故為柄。又在下而承物於上。凡執持之物，其本著地者，柄也。地之土色有五。黑者，極陰之色也。又荀九家有為牝，為迷，為方，為囊，為裳，為黃，為帛，為漿。

The lines of the Trigram坤 are all broken even lines, interwoven into patterns; since all things are born on the earth and their colors are very varied, it is called 'textured' or 'ornamental'. The number of even lines is large (three even lines, totaling six segments), so it is called 'numerous'. The earth has a tangible form that can be held, and it holds the power to bring forth all things, so it is called 'handle'. Moreover, the handle is always at the bottom supporting the upper part; any object that can be held has its fundamental part touching the ground, which is the handle. The color of the earth originally includes five colors: blue, yellow, red, white, and black. Among these, black is the color of extreme yin, so it is said 'its color on the earth is black'. In addition, the version of the Nine Schools of the Book of Changes compiled by Xun Shuang includes below this line the terms: 'female', 'confusion', 'square', 'bag', 'skirt', 'yellow', 'silken cloth', and 'milk'.

震為雷，為龍，為玄黃，為，為大塗，為長子，為決躁，為蒼竹，為萑葦。其於馬也，為善鳴，為足，為的顙。其於稼也為反生。其究為健，為蕃鮮。陰閉而陽奮於下為雷。陽在下動為龍。乾坤始交生震，故兼天地之色。

The symbolic representations of Zhen include thunder, dragon, the color of mingled yin and yang, the initial opening of petals, the great way, the eldest son, decisiveness and impatience, green bamboo, and reed grass. Regarding horses, it represents a horse that makes a good sound, a white-footed horse, and a horse with a spiral hair on its forehead. Regarding crops, it represents seeds growing upside down. When Zhen reaches its extreme, it becomes strong and vigorous, and flourishing and beautiful. (The original text has a missing character after "玄黄," and the commonly circulated version uses "旉," meaning the initial opening of petals, which is retained without correction.) Yin energy is blocked above, while yang energy rises below, colliding to form thunder. Yang lines at the bottom are active, symbolizing the dragon hidden and about to rise. Zhen is born from the first union of Qian and Kun, so it combines the colors of both heaven and earth.

得乾初盡為玄，得坤中畫上畫為黃，雜而成蒼色也。陽氣始施為。又花蔕下連而上分為花也。一奇動於內，二偶開通。前無壅塞，萬物畢出。故為大塗也。一索得男，長子也。陽生於下，上進決陰而躁動也。蒼，深青色。竹之美者。竹之筠也。萑，荻。葦，蘆。竹與蘆葦，皆下本實而上虛也。

The first line of Zhen comes from Qian, and Qian's color is dark blue (the dark blue of heaven); the middle line and the top line come from Kun, and Kun's color is yellow (the yellow of earth): the two colors mixed together become a dark blue with a yellow tinge, called苍. Yang energy begins to emerge, and grass and trees then produce their flower buds; the lower part of the flower bud is connected to the stem, and the upper part splits open to form the flower (the original text also lacks the character 旉 here). A single yang line within moves vigorously, while the two yin lines above split open and become open, with no obstruction ahead, so all things rush out together, hence it is called the great way. Zhen is the male hexagram obtained from the first union of Qian and Kun, so it is called the eldest son. Yang energy arises from below and moves upward, pushing through the yin lines, hence it is called decisive and impetuous. "Cang" refers to a deep blue color; the best bamboo is taken for its greenish color of the bamboo skin. "Huan" is a type of reed, and "wei" is芦苇. Bamboo and reeds are solid at the bottom and hollow at the top—this exactly matches the yao image of Zhen, which is solid at the bottom and hollow at the top.

上畫偶開出聲，又陽氣始亨，故馬善鳴也。左足白曰。震居左也。足超健曰作。下畫一陽動也。的顙，額有旋毛中虛，射者之的。言上畫之虛也。稼，諸榖之類。萌芽自下而生，反勾而上，陽剛動於下也。陽長必終於乾，故究為健。蕃，生。鮮，美。春生之草，下一根而開葉於上也。按《荀易》下有為玉，為鵠，為鼓。

The upper line of Zhen is a broken even line, hollow in the middle and able to produce sound, combined with the initial flow of yang energy, so it is taken as the image of a horse that makes a good sound. The left foot of a white horse is called "Zhu," and since Zhen is located in the east in the Later Heaven compass, and east is left, this image is chosen (the original text is missing the character "Zhu"). Stepping with vigor and strength is called "Zuo Zu," which takes the meaning of the lower yang line being active (the original text is missing the character "Zu" after "Zuo"). "De Sang" refers to a white spot on the forehead, in the center with a spiral hair, and the middle hollow, like the center of an archery target, taking the image of the two upper lines being hollow. "Jia" generally refers to various grains: seeds sprout by emerging from below, first bending downward then growing upward, which is exactly the image of yang energy initiating from below, thus called "Fan Sheng." Yang energy grows continuously, ultimately returning to pure yang, so Zhen reaches its extreme as strong and vigorous. "Fan" means proliferation, "Xian" means fresh, and spring grass, with a root below and branches and leaves spreading above, is also an image of Zhen. According to the "Xun Shi Yi," there are also three other images associated with Zhen: jade, a swan, and a drum.

巽為木，為風，為長女，為繩直，為工，為白，為長，為高，為進退，為不果，為臭。其於人也為寡髮，為廣顙，為多白眼，為近利市三倍。其究為躁卦。木，乾陽而根陰。又物之善入者莫如木也。陰凝於下，陽發於外。周旋不舍則為風。又氣之善入者莫如風也。坤始交於乾而得巽，長女也。

The symbolic representations of Xun include: wood, wind, the eldest daughter, straightness as measured by a plumb line, craftsmen, white color, length, height, indecisiveness, hesitation, and uncertainty. In terms of human characteristics, it represents sparse hair, a broad forehead, large white of the eyes, and the ability to gain three times the profit through pursuit. When Xun reaches its extreme, it becomes the卦 of restlessness. First, regarding wood: the trunk of a tree is above and belongs to yang, while the roots are below and belong to yin, which corresponds to the structure of Xun with two yang lines above and one yin line below. Among all things, nothing is more adept at penetrating than tree roots, which aligns with Xun's virtue of "entering." Next, regarding wind: when yin energy condenses below and yang energy spreads out above, the continuous swirling movement forms wind. Among all natural forces, wind is most skilled at penetrating. When the Earthly Trigram Kun seeks the Heaven Trigram Qian for the first time, it obtains Xun, hence Xun is associated with the eldest daughter.

繩，糾木之曲而取直者。工，引繩之直而制木者。巽德之制，故為繩直，為工也。巽少陰，故於色為白。木下入而上升，故為長，為高。又長者風之行，高者木之性也。陰性多疑，盤旋於二陽之下。又風行無常，或東或西。故為進退不果也。陰伏二陽之下，氣鬱不散，故為臭。

The plumb line and measuring rope are used to correct the curvature of wood and to make it straight; craftsmen work according to the straight line of the plumb line and measuring rope. The "Great Treatise" says, "Xun represents the regulation of virtue." Xun has the meaning of cutting, shaping, and restraining, so it is associated with straightness and the craftsman. Xun is the trigram representing the initial emergence of Yin, a minor Yin, where the Yin energy is still clear, hence its color is white. Trees grow downward into the ground and upward toward the sky, so they are associated with growth and height. Moreover, what can extend continuously is the movement of wind, and what can rise high is the nature of wood. Yin is naturally suspicious, and the single Yin line is suspended between two Yang lines, hesitating to advance or retreat; additionally, the movement of wind has no fixed direction, shifting east and west, hence it is associated with advancing and retreating, and indecisiveness. The Yin line is hidden beneath two Yang lines, with the energy gathering and not dispersing, and when it is stagnant for a long time, it produces a scent, hence it is associated with smell and fragrance.

陽盛於上，陰血不升，故為寡髮。二陽在上，陽氣上盛。故為廣顙。眼白為陽黑為陰，反離之黑在下而白居中，故多白眼也。陽義陰利。陰主於內，近利之至，如賈之得利三倍也。三爻皆變，則為震之決躁，故究為躁卦也。然震變乾，變上二畫而已。巽不言中上之變為坤，而以三畫盡變為為震者。蓋陰欲變為陽，陽又欲變為純陽。此又聖人扶陽抑陰之意也。《荀易》有為楊，為鸛。

The abundance of yang energy is at the top, while yin blood cannot ascend to nourish the head, hence the hair becomes sparse. Two yang lines are in the upper position, so yang energy is full at the top, resulting in a broad forehead. The white part of the eye belongs to yang, and the black part belongs to yin. The trigram Xun is the opposite of Li. Li has black in the center and white above and below, while Xun is reversed, having black at the bottom and white in the center, hence the white part of the eye is more prominent. Yang represents the Way and righteousness, while yin represents profit and gain. The yin lines of Xun govern the inner part, pursuing profit to the extreme, like merchants who can gain three times the profit. When all three lines of Xun change, it becomes Zhen, which is the trigram representing decisiveness and restlessness. Therefore, Xun changing to its extreme becomes the restless trigram. However, Zhen changing to Qian only requires changing the top two lines. Here, it is said that Xun does not take the middle line and the top line to change into Kun, but instead changes all three lines to become Zhen, because yin always wants to become yang, and yang always wants to become pure yang. This still reflects the intention of the sage to support yang and restrain yin. The "Xunshi Yi" also mentions Xun as representing the poplar tree and the stork. (The original text has an extra character "为" in "尽变为为震者," but it is retained as is.)

坎為水，為溝瀆，為隱伏，為矯輮，為弓輪。其於人也為加憂，為心病，為耳痛，為血卦，為赤。其於馬也為美脊，為亟心，為下首，為薄蹄，為曳。其於輿也為多眚，為通，為月，為盜。其於木也為堅多心。一陽在內而明，二陰在外而陷，故為水。溝瀆所以行水，水流而不盈。

The imagery associated with the trigram Kan includes water, ditches, concealment, bending and straightening, bows and chariot wheels. In terms of people, it represents deep worry, heart disease, ear pain, and the trigram of blood, associated with the color red. For horses, it signifies a beautiful back, a quick temper, a low head without pride, thin hooves, and difficulty in moving forward. For vehicles, it indicates many calamities. It also represents communication, the moon, and thieves. For wood, it signifies hardness with a lot of sinew in the center. A single yang line is bright within, while two yin lines are dark outside, resulting in an outer darkness and inner brightness, with outer softness and inner strength, which corresponds to the form of water. Ditches are used to channel water, and water flows through them without overflowing, which also matches the image of Kan.

陽畫為水，二陰夾之，故曰溝瀆。陽居中而無陰以蔽之，則見而不隱。陽在陰下得時，則起而不伏。坎，陽陷陰中而包之，故為隱伏。水勢曲直方圓唯勢之利，因人所導，故為矯輮。弓蓋二十八，蔽車之上。輪輻三十六，運車以行。皆矯輮所成也。

In the middle, a single yang line represents flowing water, while the two yin lines above and below represent the banks enclosing it, hence called a channel. If a yang line is in the center without yin lines to cover it, it will be exposed and not hidden; if a yang line is below a yin line and occurs at the right time, it will rise up and not remain concealed. The Kan hexagram, however, has a yang line buried within yin lines and enclosed by them, hence it represents concealment. The flow of water can be winding or straight, square or round, depending on the terrain, and can be directed by humans, being flexible and adaptable, hence it is called "jiao roun" (jiao means to straighten a bend, roun means to bend a straight line). A chariot canopy has twenty-eight ribs supporting its top, and a chariot wheel has thirty-six spokes enabling its rotation. These curved components are all made through the technique of jiao roun, hence Kan also represents a bow and a wheel.

陽陷陰中，心危慮深，故加憂。心耳皆以虛為體。坎中實，故為病為痛。離火在身為氣，坎水在身為血。血運於身，猶水之行於天地間也。得乾中畫之陽，故為赤而不大也。

The yang is trapped within the yin and cannot escape, leading to a dangerous situation with deep contemplation, hence the deepening of worry. The heart and the ear are normally hollow: the heart must be hollow to hold thoughts, and the ear must be hollow to receive sounds. However, the Kan hexagram has a solid line in the center, filling the hollow place, hence it represents heart disease and ear pain. Fire in the human body manifests as qi, and water manifests as blood; blood circulates throughout the body just as water flows throughout the heavens and earth, so Kan is the hexagram of blood. The middle line of Kan comes from the middle line of Qian, so it also takes the color red, but it can only be called red, not the great red as in Qian.

坎中畫陽故為馬為美脊。剛在內而躁，故馬亟心。上柔，故首下而不昂。下柔，故蹄薄而不厚也。曳亦下之弱者。柔不任重，故在輿馬多眚。坤輿行於平地則安。坎多險陷阻礙也。通者水之性，坎維心亨也。月者水之精。盜者隱伏而險。剛在中，故在木為堅多心也。按《荀易》又有為宮，為律，為可，為棟，為叢棘，為狐，為蒺藜，為桎梏。

The central line of the Kan hexagram is yang, resembling the raised backbone of a horse, hence representing a beautiful back. The yang energy inside is restless, so the horse is impetuous. The top line is yin, so the head is low and not raised. The bottom line is yin, so the hooves are thin and not thick. Walking with the legs dragging shows weakness in the lower part. The weak cannot bear heavy loads, so a Kan horse is prone to accidents when driving a cart. Although it is the same cart, the Kun cart moves steadily on flat ground, while the Kan cart constantly encounters dangers and obstacles. "Tong" is the nature of water. The Commentary on the Judgment of the Kan hexagram says "the heart is open and smooth," meaning that even when facing dangers, the mind remains unimpeded, hence "tong." The moon is the essence of water, so it is associated with the moon. Thieves hide in darkness and cause people to face danger, which matches the hidden nature and danger of Kan, hence it is associated with theft. Yang is in the center, so for trees, it represents hardness and a dense center full of sinews. According to the Xunshi Yi, the Kan hexagram also represents buildings, musical tones, the character "ke," beams, thickets, foxes, thorn bushes, and shackles.

離為火，為日，為電，為中女，為甲冑，為戈兵。其於人也為大腹，為乾卦，為鱉，為蠏，為蠃，為蚌，為龜。其於木也為科上槁。離者，麗也。火麗木而生，又內暗外明，故為火。日，火之精也。陰麗陽而明，又有火光，故為電。坤再交於乾，故為中女。剛畫在外為甲冑。

The symbolic representations of the trigram 离 include fire, the sun, lightning, the middle daughter, armor and helmets, and spears and weapons. In terms of humans, it represents a large belly. It also represents the dry trigram, and is associated with turtles, crabs, snails, clams, and tortoises. In terms of trees, it represents the upper part of a tree that is withered and hollow. The original meaning of 离 is to attach or adhere. Fire must rely on firewood to burn, and the inside of the flame is dark while the outside is bright, which corresponds to the trigram 离 having a yang outer line and a yin inner line. Therefore, it is associated with fire. The sun is the essence of fire, so it is associated with the sun. Lightning is light produced when yin attaches to yang, and it also carries a fiery glow, so it is associated with lightning. The second time the earth trigram 坤 seeks the heaven trigram 乾, it obtains the trigram 离, so it is associated with the middle daughter. Two strong lines are wrapped around the outside, resembling armor and helmets protecting the body, so it is associated with armor and helmets.

火銳於上為戈兵。中虛有容為大腹，又得坤之中爻也。火熯燥故為乾卦。外剛內柔，故為鱉蠏蠃蚌龜。又鱉性靜，取中畫之柔。蠏性躁，取上下二畫之剛。蠃取善麗之象。蚌取中虛之象。龜取文明之象。

The flame is sharp and rises upward, resembling the sharp tip of a spear or halberd, so it is associated with weapons like spears and halberds. The central line is empty and can contain things, resembling a person's large belly; furthermore, this central line comes from the middle line of the Earth (Kun), which naturally has the meaning of containing things, so it is called a large belly. Fire can dry things, so it is associated with the meaning of dryness. The outer part is hard and the inner part is soft, which matches the structure of crustaceans, so it is associated with turtles, crabs, snails, clams, and tortoises. Among these, turtles are calm, taking the soft central line; crabs are restless, taking the upper and lower hard lines; snails attach themselves to rocks, taking the image of "adhering"; clams have an empty space in the middle when their shells are open, taking the image of emptiness in the center; tortoises have patterns on their shells, taking the image of civilization.

科上槁，一作科空也。本中空，上必枯槁。一曰科非木。科，巢之附於木上者。科中虛有離象。上槁者，科上之木乾燥，如花鵲巢以木枝結構而成者。二說雖不同，皆於離象可通。按《荀易》有為牝牛。

The three characters 「科上槁」have two interpretations. One says that 「科」means hollow, as when the trunk of a tree becomes hollow, the top part will inevitably wither and dry up, which corresponds to the image of the Fire卦 (Li) being hollow in the middle. Another interpretation says that 「科」does not refer to a tree, but rather to a bird's nest attached to a tree: the nest is hollow in the middle, resembling the image of the Fire卦 (Li) being hollow in the middle; the term 「上槁」refers to the branches beneath the nest that are dry and brittle, like the dry branches used by magpies to build their nests. Although these two interpretations differ, both can be connected to the image of the Fire卦 (Li) being hollow in the middle. Additionally, according to the 「Xunshi Yi」, the image of the Fire卦 (Li) also includes that of a mother cow.

艮為山，為徑路，為小石，為門闕，為果蓏，為閽寺，為指，為狗，為鼠，為黔喙之屬。其於木也為堅多節。靜以止者，山也。徑者，路之小。艮為震之反體。高山之上成蹊，非如平地之大塗也。剛在坤土之上，象山頂高處之小石。若坎剛在坤土之中，則平地土中之大石矣。

Geng represents the image of a mountain, a narrow path, small stones, gateways, fruits of trees and shrubs, the gatekeeper and attendants, fingers, dogs, mice, and fierce birds and beasts with black beaks; in terms of trees, it signifies hard and knotted wood. Nothing is more still than a mountain, hence it is associated with mountains. "Path" refers to a narrow road: Geng is the reversed form of Zhen. Zhen represents a broad road, but when reversed, it becomes a narrow path—paths carved into high mountains naturally differ from the wide roads on flat land. A single strong line overlying the earth (Kun) resembles a small stone protruding from the mountain top; if the strong line were buried within the earth as in Kan, it would represent a large stone beneath the ground.

闕者，門之出入處。上畫連亙，中二畫雙峙而虛，似門闕也。果，木實；蓏，草實。乾純剛為木果，艮一剛二柔故為果蓏。震為，草木之始。艮為果蓏，草木之終。果蓏能終又能始，故於果蓏為切。

"The 'què' refers to the high platforms on both sides of a palace gate, through which people pass in the middle. The Gen hexagram has one horizontal line at the top that connects continuously, and two lines below that are separate and opposite, leaving a void in the center, resembling the two platforms flanking a gate with a passage in the middle. 'Guǒ' refers to the fruits on trees, while 'luǒ' refers to the fruits on vines and herbs. Qian is purely yang, so it is only associated with tree fruits; Gen consists of one yang and two yin lines, with yang in the middle and yin surrounding it, hence it is associated with both tree fruits and vine fruits. Zhen represents the initial opening of flower buds, which marks the beginning of growth in plants (the character 'fū' is missing after 'Zhen wei' in the original text); Gen represents the fruit, which marks the end of growth. However, when fruits fall to the ground, they can regrow, thus marking both the end and the beginning. This perfectly matches the virtue of Gen hexagram, which 'completes all things and begins all things,' making the image of fruits and vines the most appropriate."

閽，掌王宮之中門之禁，止物之不應入者。寺，掌王之內人及宮女之戒令，止物之不得出者。手以止物，而用以止者在指。又諸物之末，骨之外見者也。鼠黔喙，皆前剛也。黔鉗通。山居之獸，齒牙如鐵能食生物。又鳥亦善以喙止物者也。緊多節，亦剛在外也。按《荀易》有為鼻，為虎，為狐。《麻衣易》亦以艮為鼻。朱子曰鼻者，面之山。管輅嘗言之。

The term "hun" refers to those who guard the gates of the royal palace, responsible for preventing unauthorized entry; "si" refers to those who oversee the regulations of palace women, responsible for preventing unauthorized exit: both entry and exit are forms of stopping, hence they correspond to the image of Gen (Mountain). The hand can hold things, but the actual part used to hold is the finger; fingers are the ends of the body, with exposed joints, which matches the image of Gen, where one yang is on top and exposed, hence it is referred to as finger. Mice and black-mouthed fierce animals both have hard parts at the front (sharp teeth or strong beaks). "Qian" and "qian" are interchangeable, referring to animals living in mountains, with teeth like iron, capable of biting live creatures; birds are also skilled at holding things with their beaks, all indicating the meaning of stopping. In terms of trees, being hard and having many knots also represents the manifestation of hardness on the outside. (The original text mistakenly writes "jin duo jie" instead of "jian duo jie," but we retain the original.) According to the "Xunshi Yi," the image of Gen also includes the nose, tiger, and fox; the "Ma Yi Yi" also associates Gen with the nose. Zhu Xi said: the nose is the mountain of the face. Guan Lu of the Three Kingdoms period had already expressed this idea.

兌為澤，為少女，為巫，為口舌，為毀折，為附決。其於地也為剛滷，為妾，為羊。澤者水之聚。二陽沉於下，一陰見於上，坎壅成澤也。巫，以言語說神者。兌上折，口象，故為巫，為口舌。金氣始殺，條枯實落，故為毀折。

The imagery associated with the Dui hexagram includes marshes, young women, shamans, speech, destruction and breaking, attachment followed by separation; in terms of land, it represents hard salt-alkali land; it also signifies a concubine and sheep. A marsh is a place where water gathers: two yang lines are below and one yin line is above, resembling the water of the Kan trigram being blocked and unable to flow, thus forming a marsh. A shaman is someone who communicates with spirits through speech. The top line of the Dui hexagram is a broken line, resembling an open mouth, hence it represents speech and shamans. In the Later Heaven compass direction, Dui belongs to the west, where the autumn metal energy begins to become sharp and severe, causing the branches of grass and trees to wither and fruits to fall, hence it represents destruction and breaking.

柔附於剛，剛乃決柔，故為附決。陰在上皆有決義。震陽動故躁，兌陰說故附決。躁者有所去，以達其怒。附決者始雖親，而動不免於去也。陽在下為剛，陰在上為滷。剛滷之地不生物。滷者，水之死氣也。坎水絕於下而澤見於上則為滷。滷暫熯而乾，乾而復潤，天下之潤者莫久焉。然不生物，以氣之在外也。少女從娣故為妾。內狠外說故為羊。

The soft line above is attached to two strong lines, but the strong lines ultimately reject it, hence it is called "attached and then rejected." Any hexagram with a yin line above contains the meaning of being rejected. Similarly, when yin is above, Zhen, which is primarily yang and active, appears restless and forward-moving, while Dui, which is primarily yin and joyful, appears attached and then rejected: the restless and forward-moving one seeks to burst out and release its anger, while the attached and then rejected one, although initially close, inevitably separates when it moves. The two lower yang lines represent hard earth, and the upper yin line represents floating salt crystals, hence it is like hard salt-alkali land. Salt-alkali land does not grow crops. Hal is the dead qi of water: when the water of Kan is below and cut off, only the surface remains as a pool, forming hal. Hal dries up when exposed to the sun, dries up again when it becomes moist, and among all things, nothing is more enduring and moist than hal, yet it ultimately does not nurture all things, because its qi floats on the surface and does not enter the soil. A young woman follows her elder sister to marry as a secondary bride, hence it is called a concubine. A sheep is fierce inside but pleasant on the outside, hence it is called a sheep.

按《荀易》有為常，為輔頰。前章以八卦象八物，此章又推廣以盡萬物之情。其中有相對取象者，如乾天、坤地之類是也。上文乾為馬，此則為良馬老馬瘠馬駁馬。良取其德，老取其知，瘠取其骨，駁取其力，皆取其健也。上文坤為牛，此則為子母牛，取其生生有繼，兼取其順也。

According to the "Xunshi Yi," the image of Dui also includes the meanings of constant and cheek. The previous chapters eight and nine only paired the eight trigrams with eight kinds of objects; this chapter greatly expands the scope, striving to include the nature of all things. Some of these are taken as pairs, such as Qian representing Heaven and Kun representing Earth. Previously, Qian was only said to represent a horse, but in this chapter, it is divided into a good horse, an old horse, a thin horse, and a spotted horse. "Good" refers to its good nature, "old" refers to its experienced nature, "thin" refers to its strong bones, and "spotted" refers to its powerful strength. All four aspects do not go beyond the meaning of "strength." Previously, Kun was only said to represent a cow, but in this chapter, it refers to a mother cow and a calf cow, taking from the continuous generation and succession of life, as well as the cow's gentle and obedient nature.

乾為木果，結於上而圓。坤為大輿，載於下而方。震為決躁，巽為進退，為不果，剛柔之性也。震巽獨以其究言剛柔之始也。坎內陽外陰，水與月則內明外暗。離內陰外陽，火與日則內暗外明。坎中實，故於人為加憂為心病為耳痛。離中虛，故於人為大腹。艮為閽寺為指，陽之止也。兌為巫為口舌，陰之說也。

The trigram Qian represents wood and fruit, with the fruit growing at the top of the tree and having a round shape, matching the roundness of heaven above; the trigram Kun represents a large cart, with the cart carrying goods below and the carriage being square, matching the squareness of earth below: this is a pair of opposites. The trigram Zhen represents decisiveness and impatience, while the trigram Xun represents hesitation in advance and retreat, one being strong and decisive, the other being gentle and hesitant, describing the two kinds of temperament, yang and yin. Among the eight trigrams, only Zhen and Xun specifically mention "its ultimate" (its extreme transformation), aiming to indicate the starting point of the mutual transformation between yang and yin. Kan is yang inside and yin outside, so it takes water and moon, both of which are bright inside and dark outside; Li is yin inside and yang outside, so it takes fire and sun, both of which are dark inside and bright outside. The middle line of Kan is solid, so in human terms it represents deep worry, heart disease, and ear pain; the middle line of Li is hollow, so in human terms it represents a big belly. Gen represents gatekeepers and attendants, as well as fingers, both being yang above and governing stopping; Dui represents witches and priests, as well as mouth and tongue, both being yin above and governing joy.

有相反取象者。震為大塗，反而艮則為徑路。大塗，陽闢乎陰，無險阻也。徑路，陽阻而下陰，不能闢也。巽為長為高，反而兌則為毀折。長且高者，陽之上達。毀而折者，陰之上窮也。有相因取象者。

There is another category which involves turning the hexagram upside down to take the opposite image. Zhen represents a broad path, but when turned upside down to become Gen, it represents a narrow path: a broad path is characterized by a yang line at the bottom opening up the yin line, allowing smooth passage; a narrow path is marked by a yang line being pushed up at the top and a yin line pressing down below, preventing clear passage. Xun represents length and height, but when turned upside down to become Dui, it represents destruction and breaking: length and height signify yang energy continuously ascending; destruction and breaking indicate yin energy reaching the top and having reached its limit. In addition, there is another category which involves mutual dependence and taking images from one to another, which will be discussed below.

乾為馬。震得乾之初之馬，故於馬為善鳴足作足的顙。震陽下而陰上也。坎得乾中爻之馬，故馬美瘠亟心下首薄蹄曳。坎陽中而陰外也。善鳴似乾馬之良，美瘠似乾馬之瘠。作足，陽下而健。薄蹄者，陰下而弱也。

The concept of mutual influence and taking images is illustrated by the example of the horse associated with the trigram Qian. The trigram Zhen (Thunder) receives the first line of Qian, so the horse of Zhen is characterized by being able to neigh well, having white legs, leaping high, and having a spiral mark on its forehead. This is because Zhen has yang at the bottom and yin at the top (the original text mentions "善鸣足作足的颡" but the character "馵" is missing). The trigram Kan (Water) receives the middle line of Qian, so the horse of Kan is described as having a beautiful back, being lean and strong, being quick-tempered, lowering its head, having thin hooves, and dragging its feet. This is because Kan has yang in the middle and yin outside. Careful observation shows that being able to neigh well is close to the "good" quality of the horse of Qian, while a beautiful back and being lean and strong are close to the "thin" quality of the horse of Qian. "White legs" result from yang at the bottom being strong, while "thin hooves" result from yin at the bottom being weak. Both come from the horse of Qian, yet differ in strength and weakness due to the different positions of the lines.

坤為大輿，坎為輿為多眚。坤中虛而力能載，坎中滿而下無力也。巽為木，乾陽而根陰也。坎中陽，故於木為堅多心。艮上陽，故於木為堅多節。離中虛，故於木為科上槁。震為。乾為木果，艮為果蓏。震之一陽花之敷。乾之三陽果之結。果蓏則陽上而陰下也。

For example, the trigram Kun represents a large cart, while the trigram Kan also represents a cart, but it is a cart that brings many troubles. The trigram Kun has three broken lines, which are hollow in the middle and thus capable of carrying great weight. The trigram Kan, on the other hand, has a solid line in the middle but is weak at the bottom, making it unable to support weight effectively. Similarly, the trigram Xun represents wood, taking the trunk as yang and the roots as yin. When referring to wood, the trigram Kan has yang in the center, so the image of wood is hard with many sinews in the middle; the trigram Gen has yang at the top, so the image of wood is hard with many knots; the trigram Li has a hollow center, so the image of wood is hollow and withered at the top. Another example: the trigram Zhen represents the initial opening of a flower bud, and the trigram Qian represents a fruit on a tree, while the trigram Gen represents a fruit with a hard shell. The trigram Zhen has one yang line representing the blooming of a flower, the trigram Qian has three yang lines representing the formation of a fruit, and the trigram Gen's image of a fruit is yang on top and yin below, with a hard shell enclosing a soft pulp.

有一卦之中自相因取象者。坎為隱伏，因而為盜。巽為繩直，因而為工。艮為門闕，因而為閽寺。兌為口舌，因而為巫。有不言而互見者。乾為君以見坤之為臣。乾為圜以見坤之為方。吝嗇者，陰之翕也，以見陰之闢。均者，地之平也，以見天之高。

There are also instances within the same hexagram where the images are derived sequentially. Since Kan represents concealment, it follows that it can also represent thieves. Since Xun represents the plumb line and straightness, it follows that it can also represent artisans. Since Gen represents gates, it follows that it can also represent gatekeepers. Since Dui represents mouth and speech, it follows that it can also represent shamans. Another category is where only one side is mentioned, and the other side is understood by contrast. Saying Qian represents the sovereign and Kun represents the subject is unnecessary; saying Qian represents roundness and Kun represents squareness is also unnecessary. Saying Kun represents stinginess refers to the state when yin energy is closed off, and by contrast, we see that yin energy also has times when it opens. Saying Kun represents evenness refers to the flatness of the earth, and by contrast, we see the vastness of the heavens.

為文者，物生於地離而可見也，知其始於天者不可見矣。為柄者，有形之可執也，乾之氣不可執矣。離為乾卦，以見坎之為溼。坎為血卦，以見離之為氣。巽為臭，以見震之為聲。巽離兌三女，震為長子而坎艮不言者，尊嫡也，於陽之長者尊之也。兌少女為妾而巽離不言者，少女從墒為娣，於陰之少者卑之也。乾為馬，震坎得乾之陽皆言馬而艮獨不言者，艮，止也，止之性非馬也。其大畧如此，他可觸類而通。

The reason the earth (Kun) is called "literary splendor" is that all things are born on the earth, and their forms and colors are clearly visible. By contrast, the beginning of all things in heaven is invisible. The reason the earth is called "handle" is that things on the earth have form and can be held. By contrast, the qi of heaven is intangible. The reason the fire (Li) is called the "dry" trigram is that the water (Kan) is moist. The reason the water (Kan) is called the "blood" trigram is that the fire (Li) is the "qi" trigram. The reason the wind (Xun) is called the "smell" trigram is that the thunder (Zhen) is the "sound" trigram. The trigrams Xun, Li, and Dui are all explicitly called "three females," while Zhen is explicitly called the "eldest son," but Kan and Gen are not mentioned. This is to show respect for the legitimate eldest son and to elevate the yang elder. Dui is explicitly called the "youngest daughter" as a concubine, but Xun and Li are not mentioned as concubines, because the youngest daughter must follow her elder sister in marriage as a bride's attendant. This is to show respect for the younger female and to lower her status. The reason the heaven (Qian) is called the horse, and Zhen and Kan, which have the yang lines of Qian, are also called the horse, but Gen is not called the horse, is because the nature of Gen is to stop, and the nature of stopping is not suitable for the horse. In general, the rest can be understood by analogy.

至於卦象之中有與卦爻相符者，如乾天坤地之類是也。有不與卦爻相符者，如乾坤稱龍而不必在震，坤屯稱馬而不必在乾之類是也。有見於卦爻而此不載者，如漸之鴻中孚之豚魚之類是也。有見於此而卦爻無之者，如為釜為布為蠃為蚌之類是也。若夫大琴謂之離，小罍謂之坎。此見於他書，而易與說卦又可以類推也。

The images listed in the "Shuo Gua" (Explanations of the Hexagrams) have relationships with the text of the Zhou Yi. Some are consistent with the hexagram line statements, such as "Qian represents Heaven" and "Kun represents Earth." Others are inconsistent, such as the line statements of the hexagrams Qian and Kun both referring to dragons, while dragons are actually associated with Zhen, not limited to Zhen; and the line statements of the hexagrams Kun and Tun both referring to horses, while horses are actually associated with Qian, not limited to Qian. Some images appear in the hexagram line statements but are not mentioned in the "Shuo Gua," such as the wild geese in the hexagram Zhen and the piglets in the hexagram Zhongfu. Others are mentioned in the "Shuo Gua" but do not appear in the hexagram line statements, such as the cauldron, the cloth, the snail, and the clam. As for referring to the large zither as Li and the small wine vessel as Kan, such expressions are found in other texts, and the imagery in the Zhou Yi and the "Shuo Gua" can be similarly inferred.

至若自坤而降，或曰其於地，其於人，其於馬，於輿，於稼，於木，唯乾不言者，蓋物不足以盡卦，則正言為天為地之類。卦不足以盡物，則言其於人，其於馬之類。至乾之為物無不周遍，萬物不足以盡之，故無所言焉。要之天地之物，大而天地山川，微而草木禽蟲，君臣父子之倫，毛髮爪甲之細，無一不備於卦。即無一不本於太極，無一不在於吾心。知此可與言八卦之象矣。右第十一章。以上說卦傳十一章，備言卦象卦位。疑古者若《八索》之書，所載有此。夫子因筆削之，以為傳也。

There is another point: from the Qian hexagram downwards, each hexagram has classifications such as 'its meaning for the earth,' 'its meaning for people,' 'its meaning for horses,' 'its meaning for vehicles,' 'its meaning for crops,' and 'its meaning for wood.' The Qian hexagram alone does not have such classifications. This is because: when one thing is insufficient to fully express the meaning of a hexagram, it is directly stated as 'for heaven' or 'for earth.' When the meaning of a hexagram cannot be contained by any single thing, it retreats to say 'in terms of people' or 'in terms of horses,' limiting the discussion to a particular category. As for Qian, since it encompasses all things as a symbolic image, nothing in the world can contain it. Therefore, it does not make such limitations. In summary, everything in the universe, from the great heaven and earth and mountains and rivers, to the small grasses, woods, birds, and insects, from the high human relationships of sovereign and subject, father and son, to the minute details of hair and nails, is all included in the hexagrams. There is nothing that is not based on the Taiji, and nothing that is not within my mind. Only when one understands this can one discuss the images of the eight trigrams. This is the eleventh chapter. The eleventh chapter of the Shuo Gua Zhuan thoroughly explains the images of the hexagrams and their positions. It is likely that in ancient times there was a book like the Ba Suo, which contained such content, and Confucius edited and compiled it into this passage.

按，序卦，韓康伯謂非聖人之蘊，沙隨程氏謂非聖人之書，朱子辨其不然。謂此中事事夾雜，無所不有。雖非聖人之精，不可謂非聖人之蘊也。今從《程傳》，分析其辭，見於六十四卦之首。則在此註釋可畧，附諸儒別論於後。

Note: Regarding the "Sequence of Changes" commentary, the Jin dynasty scholar Han Kangbo considered it not to contain the profound insights of the sage. The Song dynasty scholar Cheng Jing of Shashui went further, saying it was not even the work of the sage. Zhu Xi refuted this view. Zhu Xi's meaning was that this text is a mixture of various elements, though not the most refined teachings of the sage, it cannot be said that it is not the accumulated meaning of the sage. This book now adopts the method of Cheng Yi's "Yichuan Commentary on the Changes," breaking down the sentences of the "Sequence of Changes" and attaching them separately at the beginning of each of the sixty-four hexagrams (the previous hexagrams have already been explained in context). Therefore, the commentary here can be concise, with the additional discussions from various scholars appended at the end.

有天地，然後萬物生焉。盈天地之間者唯萬物，故受之以屯。屯者，盈也。屯者，物之始生也。物生必蒙，故受之以蒙。蒙者，蒙也，物之穉也。物穉不可不養也，故受之以需。需者，飲食之道也。飲食必有訟，故受之以訟。訟必有眾起，故受之以師。師者，眾也。眾必有所比，故受之以比。比者，比也。

First there was heaven and earth, and only then did all things come into being. All things filled the space between heaven and earth, so after the Qian and Kun trigrams comes the Zun hexagram, which means "fullness" and also depicts the struggle of all things as they first emerge. Since newly born things are necessarily ignorant and immature, the next hexagram is Meng, meaning "ignorance," referring to the immature stage of all things. Since they are immature, they must be nurtured, so comes the Xu hexagram, which discusses the way of nourishment through food and drink. With the advantage of food and drink, there will inevitably be competition, so comes the Song hexagram. When disputes arise, people will inevitably gather to fight, so comes the Shi hexagram, meaning "army," as it refers to a gathering of people. Then comes the Bi hexagram, meaning "attachment," because when people gather, they must have something to attach to. The key point throughout this sequence is that the order of the hexagrams is not arbitrary; each hexagram follows necessarily from the previous one.

比必有所畜，故受之以小畜。物畜然後有禮，故受之以履。履而泰，然後安，故受之以泰。泰者，通也。物不可以終通，故受之以否。物不可以終否，故受之以同人。與人同者，物必歸焉，故受之以大有。有大者，不可以盈，故受之以謙。有大而能謙必豫，故受之以豫。

After people gather together, there must be accumulation, so the hexagram comes after "Xiao Xu" (Small Accumulation). Only after accumulation can propriety be established, so the hexagram comes after "Lv" (Footwear), which refers to ritual. When ritual is observed and harmony exists between superiors and inferiors, stability is achieved, so the hexagram comes after "Tai" (Great Communication), meaning communication. Things cannot remain in harmony forever, so the hexagram comes after "Po" (Obstruction). Similarly, obstruction cannot last forever; when people are cut off from each other for too long, they yearn for unity, so the hexagram comes after "Tong Ren" (Union with Others). Those who can unite with others will surely have the world under their control, so the hexagram comes after "Da You" (Great Possession). Having great possessions without being arrogant leads to the hexagram "Qian" (Humility). Possessing great things while remaining humble brings joy, so the hexagram comes after "Yu" (Joy). Thus, the transition from communication to obstruction and from obstruction back to communication is a complementary cycle; moving from humility to joy is a natural consequence.

豫必有隨，故受之以隨。以喜隨人者必有事，故受之以蠱。蠱者，事也。有事而後可大，故受之以臨。臨者，大也。物大然後可觀，故受之以觀。可觀而後有所合，故受之以噬嗑。嗑者，合也。物不可以苟合而已，故受之以賁。賁者，飾也。

In a harmonious and joyful era, people will naturally follow each other, hence the卦 of Following is followed. When everyone joyfully follows others over time, evils and disorders will arise, requiring rectification, hence the卦 of Gǔ is followed—Gǔ refers to the matter of rectifying accumulated disorders. Only when one can take on responsibilities can the foundation of a cause grow strong, hence the卦 of Lín is followed—Lín means great. When things become strong, they will display a visible appearance, hence the卦 of Guān is followed. When there is a visible appearance, people will gather together, hence the卦 of Shìkè is followed—Shìkè means to come together. However, among people, it is not enough to merely come together carelessly; there must also be refinement and propriety, hence the卦 of Bēn is followed—Bēn means refinement and ornamentation.

致飾然後亨則盡矣，故受之以剝。剝者，剝也。物不可以終盡，剝窮上反下，故受之以復。復則不妄矣，故受之以無妄。有無妄然後可畜，故受之以大畜。物畜然後可養，故受之以頤。頤者，養也。不養則不可動，故受之以大過。物不可以終過，故受之以坎。坎者，陷也。陷必有所麗，故受之以離。離者，麗也。

When adornment is taken to the extreme, the path of success reaches its limit, so the next hexagram is "Bao" (Peeling). Peeling refers to the gradual loss. Things do not completely disappear; the single yang line in "Bao" is peeled to the topmost line, reaches its extreme, and then returns to the bottom line, forming the hexagram "Fu" (Returning). When yang energy returns, people return to their true nature and are no longer deceptive, so the next hexagram is "Wu Wang" (No Falsehood). Only when things are genuine and not deceptive can virtue be accumulated, so the next hexagram is "Da Xu" (Great Accumulation). When accumulation is abundant, one can then provide sustenance, so the next hexagram is "Yi" (Nourishment). Without prior nourishment, one cannot act, so the next hexagram is "Da Guo" (Great Excess). Things cannot remain excessively extreme forever; excessive excess leads to danger, so the next hexagram is "Kan" (Danger). In danger, one must rely on something to escape, so the next hexagram is "Li" (Attachment). The upper trigrams end here with thirty hexagrams.

序卦之意。有以相因為序，乾坤屯蒙是也。有以相反為序，泰否剝復是也。天地間不出相因相反二者。始則相因，極必相反也。右上篇

The principles of the sequence in the "Xugua" can be summarized into two categories. One is sequential generation, where the subsequent hexagram arises naturally from the previous one, such as Qian and Kun generating Zun, and Zun generating Meng. The other is reversal in sequence, where the subsequent hexagram is opposite to the previous one, such as Tai inevitably followed by Po, and Bo inevitably followed by Fu. The changes in the universe do not go beyond these two principles: initially, things develop in a natural and generative way, but when they reach their extreme, they must reverse. This is the content of the first part.

有天地，然後有萬物。有萬物，然後有男女。有男女，然後有夫婦。有夫婦，然後有父子。有父子，然後有君臣。有君臣，然後有上下。有上下，然後禮儀有所錯。夫婦之道不可以不久也，故受之以恆。恆者，久也。物不可以久居其所，故受之以遯。遯者，退也。

The lower part of the Classic begins with human relationships. With heaven and earth, there are myriad things; with myriad things, there are male and female; with male and female, there are husband and wife; with husband and wife, there are father and son; with father and son, there are ruler and subject; with ruler and subject, there is distinction between high and low, respect and hierarchy; with high and low, there is a place for propriety, righteousness, and institutions (the term "错" means arrangement). The way of husband and wife cannot be short-lived, so after the hexagram "Xian" (representing the union of male and female), comes "Heng" — "Heng" means enduring. But nothing can remain unchanged in one place forever, so comes "Dun" — "Dun" means retreat.

物不可終遯，故受之以大壯。物不可以終壯，故受之以晉。晉者，進也。進必有所傷，故受之以明夷。夷者，傷也。傷於外者必反其家，故受之以家人。家道窮必乖，故受之以睽。睽者，乖也。乖必有難，故受之以蹇。蹇者，難也。物不可終難，故受之以解。解者，緩也。

Retreating cannot be done completely; when retreat is exhausted, it turns around and becomes strong, so the hexagram "Great Strength" follows. Strength cannot continue indefinitely; when strong, it must seek advancement, so the hexagram "Progress" follows—"Progress" means advancing. Advancing without restraint will inevitably lead to injury, so the hexagram "Bright Disaster" follows—"Disaster" means injury. Someone who has been injured externally must return to his home, so the hexagram "Family" follows. When family affairs reach an end, discord arises, so the hexagram "Strife" follows—"Strife" means discord. Discord inevitably leads to difficulties, so the hexagram "Obstruction" follows—"Obstruction" means difficulty. Difficulties will not last forever, so the hexagram "Release" follows—"Release" means relief.

緩必有所失，故受之以損。損而不已必益，故受之以益。益而不已必決，故受之以夬。夬者，決也。決必有所遇，故受之以姤。姤者，遇也。物相遇而後聚，故受之以萃。萃者，聚也。聚而上者謂之升，故受之以升。升而不已，必困，故受之以困。困乎上者必反下，故受之以井。井道不可不革，故受之以革。革物者莫若鼎，故受之以鼎。

When the situation becomes relaxed, something must be lost, so the hexagram follows "Loss" (《损》). If the loss continues unchecked, it will reach an extreme and then turn into gain, so the hexagram follows "Benefit" (《益》). If the gain continues unchecked, when it is full, it will inevitably break, so the hexagram follows "Judgment" (《夬》) — "夬" means to decide. After the decision is made, there will be unexpected encounters, so the hexagram follows "Meeting" (《姤》) — "姤" means meeting. Only after meeting can there be gathering, so the hexagram follows "Gathering" (《萃》) — "萃" means gathering. When gathering rises up, it is called ascending, so the hexagram follows "Ascending" (《升》). If ascending continues unchecked, the strength will be exhausted and it will reach a state of hardship, so the hexagram follows "Obstruction" (《困》). When one is obstructed above, it will inevitably seek help from below, so the hexagram follows "Well" (《井》) (the well is underground and nourishes people). Over time, the well becomes dirty, and it must be cleaned and changed, so the hexagram follows "Change" (《革》). And among all things that change the nature of objects and transform raw materials into cooked food, none surpass the tripod (鼎), so the hexagram follows "Tripod" (《鼎》).

主器者莫若長子，故受之以震。震者，動也。物不可以終動，止之，故受之以艮。艮者，止也。物不可以終止，故受之以漸。漸者，進也。進必有所歸，故受之以歸妹。得其所歸者必大，故受之以豐。豐者，大也。窮大者必失其居，故受之以旅。旅而無所容，故受之以巽。巽者，入也。

The person in charge of the ancestral temple and ritual vessels is none other than the eldest son, and the hexagram Zhen represents the eldest son. Therefore, the hexagram Zhen is followed by the hexagram Gen, because "Zhen" signifies movement, and things cannot keep moving without end; when movement reaches its time, it must be stopped, so the hexagram Gen, which signifies stopping, follows. However, things also cannot remain entirely still, so the hexagram Jie, which signifies gradual progress, follows. Progress must have a destination, so the hexagram Gui Mei, which signifies a woman's marriage and return, follows. Once a destination is reached, it will surely grow more prosperous, so the hexagram Feng, which signifies abundance, follows. But those who push prosperity to its extreme will eventually lose their place of rest, so the hexagram Lu, which signifies wandering, follows. Wandering without a place to stay, one can only be humble and submissive in order to gain entry, so the hexagram Xun, which signifies entering, follows.

入而後說之，故受之以兌。兌者，說也。說而後散之，故受之以渙。渙者，離也。物不可以終離，故受之以節。節而信之，故受之以中孚。有其信者，必行之，故受之以小過。有過物者必濟，故受之既濟。物不可窮也，故受之以未濟終焉。

When there is mutual affection and harmony, the "Dui" hexagram is followed, as "Dui" means joy. However, excessive joy can lead to people becoming scattered and disunited, so the "Huan" hexagram follows, as "Huan" means dispersion. Dispersion cannot go on indefinitely; it must be regulated by systems and rules, hence the "Jie" hexagram. With regulation and the ability to gain trust, the "Zhongfu" hexagram follows (meaning sincerity in the heart). When one has genuine belief, action is inevitable, and action may sometimes exceed the proper limit, hence the "Xiao Guo" hexagram. Those who can do a little more than ordinary people will surely accomplish their tasks, so the "Ji Ji" hexagram follows. However, there is no end to worldly affairs, so the book concludes with the "Wei Ji" hexagram.

右下篇。或問，易上經三十卦，下經三十四卦，多寡不均何也。曰。卦有正對，有反對。乾坤坎離頤大過中孚小過八卦，正對也。正對不變，故反覆觀之止成八卦。其餘五十六卦，反對也。反對者皆變，故反覆觀之共二十八卦。

The above is the lower section. Someone asked: The Upper Classic of The Zhou Changes contains only thirty hexagrams, while the Lower Classic has thirty-four, which seems uneven. Why is this so? The answer is that hexagrams can be divided into two types: "correct opposition" (opposite hexagrams, where all six lines are reversed in yin and yang) and "inverted opposition" (inverted hexagrams, where the hexagram is reversed top to bottom). The eight trigrams—Qian, Kun, Kan, Li, Yi, Da Guo, Zhong Fu, and Xiao Guo—belong to the correct opposition type. When viewed upside down, they remain the same and do not produce new hexagrams, so they remain as eight hexagrams. The remaining fifty-six hexagrams belong to the inverted opposition type. When reversed, they become another hexagram, and each pair of hexagrams shares the same structure, so they form only twenty-eight hexagram structures in total.

以正對卦合反對卦觀之，總而為三十六卦。其在上經，不變卦凡六，乾坤坎離頤大過是也。自屯蒙而下二十四卦，反之則為十二卦。以十二而加六，則十八也。其在下經，不變卦凡二，中孚小過是也。自咸恆而下三十二，反之則為十六。以十六而加二，亦十八也。其多寡之數未嘗不均也。

When the eight original trigrams are combined with the twenty-eight opposite trigrams, all of the Book of Changes consists of thirty-six trigrams in total. If we look separately: in the Upper Canon, there are six trigrams that remain unchanged when reversed, namely Qian, Kun, Kan, Li, Yi, and Da Guo; from Tun and Meng downwards, the remaining twenty-four trigrams are all opposite, sharing one trigram body each in pairs, resulting in twelve trigram bodies; twelve plus six equals eighteen. In the Lower Canon, there are only two trigrams that remain unchanged when reversed, namely Zhong Fu and Xiao Guo; from Xian and Heng downwards, the remaining thirty-two trigrams are all opposite, resulting in sixteen trigram bodies; sixteen plus two also equals eighteen. Thus, both the Upper and Lower Canons account for eighteen trigram bodies each, and the original numbers are equal. The apparent difference of thirty and thirty-four is not a real issue.

雙湖胡氏曰，文王序卦大抵本先天圖。以東西南北四方正卦乾坤坎離，為上經之始終。以西北隅艮、東南隅兌合而為咸。西南隅巽、東北隅震合而為恆。四隅反卦為下經之始。而終之以既未濟，則亦坎離之交不交也。

In the Yuan dynasty, the scholar Hu Yigu of Shuanghu said that King Wen arranged the order of the hexagrams largely according to the Earlier Heaven diagram of Fuxi. In the Earlier Heaven diagram, the four cardinal directions are occupied by the four fundamental trigrams: Qian (Heaven) in the south, Kun (Earth) in the north, Li (Fire) in the east, and Kan (Water) in the west. King Wen began with Qian and Kun and ended with Kan and Li as the beginning and end of the Upper Canon. In the corners of the Earlier Heaven diagram, the northwest corner is Gen (Mountain) and the southeast corner is Dui (Lake), combining these two trigrams (Gen below Dui above) forms the hexagram Xian (Attraction); the southwest corner is Xun (Wind) and the northeast corner is Zhen (Thunder), combining these two trigrams (Xun below Zhen above) forms the hexagram Heng (Permanence). Thus, using the paired trigrams from the four corners to form Xian and Heng, King Wen used them as the beginning of the Lower Canon. The Lower Canon ends with the hexagrams Ji Ji (Completion) and Wei Ji (Non-Completion), which still refer to the interaction or non-interaction between Kan and Li trigrams of water and fire.

故乾坤坎離四純卦皆居上經。震巽艮兌四純卦皆居下經，又以反對為次。離非伏羲之舊，而先天之圖大旨則備見焉。夫子序卦，直以卦名發其次第之義，而他則未暇及耳。

Therefore, the four pure trigrams, Qian, Kun, Kan, and Li (the four cardinal trigrams among the eight pure trigrams), are arranged in the Upper Canon, while the four corner trigrams, Zhen, Xun, Gen, and Dui, are placed in the Lower Canon. They are then arranged in sequence according to the principle of opposition and mutual summation. Although this sequence of trigrams is no longer the original arrangement of the Earlier Heaven diagram by Fuxi, the main idea of the Earlier Heaven diagram is still fully reflected in it. Confucius, in composing the "Xugua Zhuan" (Commentary on the Order of the Trigrams), merely points out the meaning of the succession between each trigram by its name, without addressing the layer of the trigram positions and their diagrams.

又按，呂氏《要指》曰，易，變易也。天下有可變之理，聖人有能變之道。反需為訟，泰為否，隨為蠱，晉為明夷，家人為睽。此不善變者也。反剝為復，遯為壯，蹇為解，損為益，困為井。此善變者也。文王示人以可變之幾，則危可安，亂可治。特一轉移間耳。後天之學其以人事贊天地之妙歟。

According to Lü's "Essential Points," the "I Ching" is about change. There is no matter in the world that cannot be transformed, and the sages have mastered the methods to bring about transformation. Turning the hexagram "Xu" upside down produces "Song," "Tai" becomes "Pǐ," "Sui" becomes "Gǔ," "Jin" becomes "Mingyi," and "Jiaoren" becomes "Kui"—these groups represent a transition from good to bad, indicating an inability to transform effectively. Conversely, turning "Bo" upside down produces "Fu," "Dun" becomes "Da Zhuang," "Jian" becomes "Jie," "Sun" becomes "Yi," and "Kun" becomes "Jing"—these groups represent a transition from bad to good, indicating an ability to transform effectively. King Wen arranged the hexagram sequence in this way to indicate that the opportunity for transformation is right before our eyes, that crises can be turned into security, and that chaotic times can be transformed into order, all within a single thought or action. King Wen's Later Heaven learning is precisely about using human effort to assist the workings of heaven and earth.

又嘗合上下經始終而論之。乾坤，天地也。坎離，水火也。以體言也。咸恆，夫婦也。既未濟，水火之交不交也。以用言也。上經以天道為主，具人道於其中。下經以人道為主，具天道於其內。三才之間，坎離最為切用。日月不運，寒暑不成矣。民非水火不生活矣。心火炎燥而不降，腎水涸竭而不升，百病侵陵矣。故上下經皆以坎離為終焉。

I have also considered the beginning and end of the Upper and Lower Classics together: the Upper Classic begins with Qian and Kun and ends with Kan and Li, Qian and Kun represent Heaven and Earth, while Kan and Li represent Water and Fire, all referring to fundamental principles. The Lower Classic begins with Xian and Heng and ends with Ji Wei Ji, Xian and Heng represent husband and wife, while Ji Wei Ji refers to the meeting and not meeting of Water and Fire, all referring to practical applications. The Upper Classic mainly discusses the Way of Heaven, with the Way of Humanity included within it; the Lower Classic mainly discusses the Way of Humanity, with the Way of Heaven contained within it. Among the three elements of Heaven, Earth, and Humanity, the function of Kan and Li (Water and Fire) is most immediate: without the movement of the sun and moon (Li represents the sun, Kan represents the moon), the seasons of cold and heat cannot form a year; people cannot live without water and fire; in the human body, if the heart fire rises and becomes hot and dry without descending, and the kidney water dries up without rising, various diseases will take advantage of the weakness. Therefore, both the Upper and Lower Classics conclude with Kan and Li.

按，沙隨程氏謂序卦非聖人之書，韓康伯謂序卦非聖人之精蘊，朱子辨之曰，謂序卦非聖人之精則可，非聖人之蘊則不可。太極生兩儀，兩儀生四象，此易之精也。序卦無所不有，此易之蘊也。

Note: Cheng Jing, a scholar from Shashui, said that the "Xugua" (Sequence of Changes) is not a work of the sage. Han Kangbo said that the "Xugua" does not reach the profound essence of the sage. Master Zhu, however, argued that it is acceptable to say that the "Xugua" is not the most refined aspect of the sage, but it is not acceptable to say that it does not contain the accumulated principles of the sage. The statement "the Taiji gives rise to the two principles, and the two principles give rise to the four images" is what is called the "jing" (essence) of the "Yi" (Book of Changes), representing the purest origin. The "Xugua" encompasses all things and contains various contents, which is called the "yun" (accumulation) of the "Yi," representing the rich accumulated principles of the sage. These two aspects are of different levels, and one cannot deny its "yun" simply because it is not "jing."

今按，橫圖圓圖方圖之序，伏羲所由以畫卦也。先天之學，不待語言文字者也。序卦所云，文王所由以作易也。後天之學，得語言文字而明者也。伏羲之後，連山首艮，歸藏首坤。則六十四卦之序，在夏商已不一。

My current view is that the sequence of the horizontal diagram, circular diagram, and square diagram was used by Fuxi to draw the hexagrams, belonging to the Earlier Heaven system, which naturally takes shape without the need for language or writing. The system explained in the "Xugua" (Sequence of Hexagrams), however, was used by King Wen to compose the Book of Changes, belonging to the Later Heaven system, which can only be clearly explained through language and writing. Moreover, after Fuxi, the Shang dynasty's "Lianshan" (Continuous Mountains) began with the Gen hexagram, while the Zhou dynasty's "Guicang" (Return to the Earth) began with the Kun hexagram, showing that the order of the sixty-four hexagrams differed between the Shang and Zhou dynasties. Thus, the arrangement of the hexagrams has never been uniform.

文王憂患作易，曲盡天道人事之變。皆從卦之名義，或取相因，或取相反而為之序。故序卦所云，謂非先天之精蘊則可，謂非後天之精蘊則不可。後人或即麻衣反對之言以明序卦之偽，則尤一偏之論。夫屯之與蒙，需之與訟，其為綜卦何疑。坤後繼屯，蒙後次師，於卦畫非有所據。自當如序卦所云，由卦名以思其義。程氏疑其非聖人之書，得無過乎。

King Wen composed the Book of Changes while in distress, fully expressing the myriad changes of heavenly ways and human affairs. All the arrangements are based on the meanings of the hexagram names, either through mutual generation or mutual opposition and complementarity. Therefore, what is discussed in the "Sequence of Hexagrams" cannot be considered as the essence of the Earlier Heaven school, but it is essential to the Later Heaven school. Later scholars have attempted to use the opposition concept from the "Ma Yi Yi" to argue that the "Sequence of Hexagrams" is a forgery, which is a narrow-minded view. The hexagrams "Zun" and "Meng," as well as "Xu" and "Song," are naturally inverted hexagrams, so there is nothing suspicious about them. As for the sequence following the hexagram "Kun" with "Zun" and "Meng" followed by "Shi," there is no support in the hexagram figures themselves, so it is appropriate to follow the reasoning in the "Sequence of Hexagrams" and understand the meaning through the names of the hexagrams. Cheng Xiong's doubt that it is not a work of a sage is an overstatement.

序卦，所以言易道之常。雜卦，所以言易道變。雜卦但要取反對之義。反覆其卦，則吉凶禍福、動靜剛柔皆相反也。序卦自乾坤而下三十卦，咸恆而下三十四，雜卦亦然。序卦反對，雜卦亦然。序卦反對，雜卦亦多反對，此其所同也。

The "Xugua" explains the general principles of the Yi Jing, while the "Zagua" discusses the changes in the Yi Jing. The key idea of the "Zagua" is to take the meaning of "opposition": by flipping a hexagram upside down, its fortune and misfortune, movement and stillness, strength and softness all become opposite. The "Xugua" divides the thirty hexagrams starting from Qian and Kun as the upper part, and the thirty-four hexagrams starting from Xian and Heng as the lower part; the distribution of hexagrams in the "Zagua" is the same. The "Xugua" arranges hexagrams in the order of opposition, and the "Zagua" mostly also arranges them in the order of opposition—these are the similarities between the two sections.

序卦以乾坤頤大過坎離在上篇，中孚小過在下篇，故二篇反對皆成十八卦。雜卦但以乾坤在上篇，餘盡在下篇，又自大過以下不復反對，此其所異也。以其序次錯綜，故謂之雜。然自乾至困當上經三十卦，實雜下經十二卦於其中。咸至夬當下經三十四卦，又雜上經十二卦於其中。則雜之中，又有不雜者存焉。

The difference lies in the fact that the "Xugua" (Sequence of Hexagrams) places the six unchanging hexagrams of Qian, Kun, Yi, Da Guo, Kan, and Li in the upper section, and the two unchanging hexagrams of Zhong Fu and Xiao Guo in the lower section, so that each section, when calculated by opposition, forms eighteen hexagram structures. However, the "Zagua" (Miscellaneous Hexagrams) keeps only Qian and Kun in the upper section, and all the other unchanging hexagrams in the lower section, and from Da Guo onwards, it no longer arranges them according to opposition. Because its order is mixed and complex, it is called "Za" (miscellaneous). But upon closer examination, it is not entirely chaotic: from Qian to Kun, it corresponds to the thirty hexagrams of the upper section, yet actually includes twelve hexagrams from the lower section; from Xian to Guai, it corresponds to the thirty-four hexagrams of the lower section, yet again includes twelve hexagrams from the upper section. This shows that even amidst the apparent disorder, there is a certain order.

又卦以乾為首而終之以夬。蓋夬以五陽決一陰，次去則又為純乾矣。故曰君子道長，小人道消，是又聖人扶陽抑陰之意也。又按，春秋傳有屯固比入坤安震殺之語，疑古筮書以一字斷卦義者多有之。夫子雜採其辭為經羽翼，本非創作。故謂之雜，未可知也。

Furthermore, the "Zagua" starts with the Qian hexagram and ends with the Guai hexagram. The Guai hexagram consists of five yang lines deciding against one yin line; if that last yin line is also removed, it becomes pure yang Qian again. Therefore, the concluding passage says, "The way of the superior man grows longer, and the way of the inferior man becomes anxious," which still reflects the sage's intention to support yang and restrain yin. Also, according to the "Zuo Zhuan," there are expressions such as "Zun Gu, Bi Ru" and "Kun An, Zhen Sha," indicating that ancient divination texts often used a single character to determine the meaning of a hexagram. Confucius collected these old expressions from various sources and compiled them into a passage to support the classics, which was not his original creation. The term "Zagua" may refer to this compilation from different sources, and this interpretation is also possible.

乾剛坤柔，比樂師憂。剛柔，以德言。憂樂，以事言。剛皆屬乾，而純乾為至剛。柔皆屬坤，而純坤為至柔。然二卦之二五皆得中，爻位剛柔又各有相濟，非倚於一偏者。就其德之各見者，則分為剛柔耳。比九五居上而得眾，故樂。師九二居下而任重，故憂。又順在內故樂，險在內故憂。

The beginning of the "Zagua" says: Qian is strong, Kun is gentle; "Bi" is joy, "Shi" is sorrow. Strength and gentleness refer to the moral qualities of the hexagrams, while joy and sorrow refer to human affairs. All yang lines belong to Qian, and pure yang Qian is strong to the extreme; all yin lines belong to Kun, and pure yin Kun is gentle to the extreme. However, both Qian and Kun have the second and fifth lines in the central position. The yin and yang of the lines and the strength and gentleness of the positions balance each other, not leaning entirely in one direction. They are said to be one strong and one gentle based on their most prominent moral qualities. In the "Bi" hexagram, the nine in the fifth line, a yang line, is in the honored position, with all the yin lines following, and the upper and lower parts being close and harmonious, hence joy. In the "Shi" hexagram, the nine in the second line, a yang line, is in the lower position, bearing the heavy responsibility of leading an army, hence sorrow. Looking at the structure of the hexagrams: "Bi" has Kun, which represents following, inside, hence joy; "Shi" has Kan, which represents danger, inside, hence sorrow.

臨觀之義，或與或求。以我臨物曰與，物來觀我曰求。臨卦以二陽在下徧臨四陰，而六五上六又若以上臨下。觀卦九五觀示乎下，而四陰又相率以觀乎上，互有求與之意。或者，疑詞。無求與而若有求與。見為與又疑於求，見為求又疑於與也。

The *Zagua* says: The meanings of the hexagrams *Lin* and *Guan* are either "to give" or "to seek." When I stand high and look down to illuminate others, it is giving, called "to give"; when others come up to look up to me, it is taking, called "to seek." The hexagram *Lin* has two yang lines below, spreading over the four yin lines above, representing giving from below to above; however, the lines *Wu* and *Shangwu* are at the top, which seems like giving from above to below. The hexagram *Guan* has the line *Jiuwu* at the top, setting an example for the lines below, which is giving; however, the four yin lines below are all looking up to the top, which is seeking. Both hexagrams contain both meanings of giving and seeking. The text uses the word "or," which is a word of doubt and uncertainty: originally there is no giving or seeking, yet it seems as if there is both giving and seeking; it looks like giving, yet one doubts it is seeking; it looks like seeking, yet one doubts it is giving.

屯見而不失其居。蒙雜而著。屯，震遇坎。震動故見。坎險不行，居也。又以初爻言之，物始生為見。未得位居貞，居也。又合初五二爻言。九五陽在上卦之天位而顯，見也。一陽動坎險之下而固守，居也。

The *Zagua* says: *Zun* (Obstruction) is emergence while maintaining stability, and *Meng* (Confusion) is disorder that eventually becomes clear. First discussing *Zun*: the lower trigram is Zhen (Thunder), and the upper trigram is Kan (Water). Zhen signifies movement, and movement leads to emergence; Kan represents danger, which cannot be approached lightly, so one can only remain in a stable position, which is "residence." This can also be explained by the first line, "Nine at the Beginning": at the beginning of all things, things emerge from the earth, which is "emergence"; since they have not yet reached their proper position, they can only remain steadfast in their place, which is "residence." It can also be explained by combining the first line and the fifth line, "Nine in the Fifth": the fifth line is a yang line in the upper trigram's fifth position, which is the heavenly position, thus it becomes prominent, which is "emergence"; the first line is a yang line in the lower trigram's first position, moving within the dangerous Kan trigram but remaining steadfast and hesitating, which is "residence."

蒙，坎遇艮。坎幽昧為雜。艮光明著也。又以二爻言。全卦蒙然而生，故雜。二能治之使明，著也。又合九二上九二爻言之。九二陽在下卦之中而位幽，雜也。上九一陽止坎險之外而光明，著也。《本義》就卦義論，《大全》兼取爻義。宜兼之始備。時解謂屯以事功言，才有餘而遇不足，當養晦以俟時。蒙以學問言，質不足而學有餘，宜親師以取益。意亦是，但不必拘。

Now discussing the Hexagram 4, "Meng" (Obstinacy): The lower trigram is Kan (Water), and the upper trigram is Gen (Mountain). Kan represents darkness and obscurity, hence the term "za" (miscellaneous or confused); Gen represents a mountain, whose virtue is bright and solid, hence the term "zhuo" (distinct or clear). One can also discuss the second line, "Nine in the Second": the entire hexagram is filled with confusion and ignorance, which is "za"; the second line is able to regulate and bring clarity, which is "zhuo". Alternatively, one can consider both the second and the top lines: the second line, being a yang line in the middle of the lower trigram but located in darkness, is "za"; the top line, a yang line resting outside the dangerous Kan trigram but shining above, is "zhuo". Master Zhu's "The Original Meaning of the Zhou Changes" discusses the meaning of the entire hexagram, while "The Complete Collection of the Zhou Changes" also incorporates the meaning of the lines; both should be read together for a complete understanding. The commonly accepted interpretation of the time said that the Hexagram 3, "Zun" (Obstruction), refers to affairs and achievements, which have surplus but lack timing, thus one should conceal one's abilities and wait for the right opportunity; the Hexagram 4, "Meng" refers to learning, which has insufficient innate ability but sufficient study, thus one should seek guidance from teachers to make progress. This interpretation is also reasonable, but one should not be overly rigid.

震，起也。艮，止也。損益，盛衰之始也。震艮以天道言，損益以人事言。損者人所憂，乃為盛之始。益者人所喜，乃為衰之始。倚伏之機可畏也。大畜，時也。無妄，災也。剛難畜而畜之，時有適然，意外之得也。無有妄而得災，災自外至者也，意外之禍也。

The *Zagua* says: *Zhen* (Thunder) signifies movement and vigor, while *Gen* (Mountain) signifies stillness and cessation; *Sun* (Loss) and *Yi* (Gain) mark the beginning of decline and prosperity. The movement and stillness of *Zhen* and *Gen* refer to the natural order, while loss and gain pertain to human affairs. Loss is something people worry about, yet it is the starting point of turning from decline to prosperity; gain is something people rejoice in, yet it is the starting point of turning from prosperity to decline. Thus, the mechanism by which misfortune and fortune depend on each other is truly something to be feared. It also says: *Da Xu* (Great Accumulation) refers to fortune and opportunity, while *Wu Wang* (No Falsehood) refers to calamity. Strong and vigorous things are naturally hard to restrain, but now they are restrained, which is due to the right timing, an unexpected gain; there was no false or reckless action, yet calamity comes from outside, an unexpected misfortune. Both these hexagrams deal with the aspect of fate beyond human effort.

萃聚，而升不來也。謙輕，而豫怠也。萃，三陰聚於下。升，三陰升於上。不來，謂升而不降也。時解以萃言君之用賢，升言臣之遇主。亦近之，不必拘舊說。輕者，一陽居下之上。不自尊大，自卑而輕。豫者，一陽居上之下。其志滿足，自肆而怠也。然豫四爻無怠意。按來注，謙之上六即豫之初六，故二爻皆言嗚。謙心虛，故自輕。豫志滿，故自肆。此說為勝。

The "Zagua" says: "Cui" means gathering together, "Sheng" means ascending without returning; "Qian" means humility, "Yu" means laziness. In the "Cui" hexagram, the earth trigram is at the bottom, with three yin lines gathered below; in the "Sheng" hexagram, the earth trigram is at the top, with three yin lines rising to the top. The term "not coming" refers to rising upward without descending. The old interpretations used "Cui" to explain a ruler gathering talented people and "Sheng" to explain a minister encountering a wise sovereign, which is close to reason, and there is no need to strictly adhere to old interpretations. Saying "Qian" means "lightness" is because the nine in the third line, a yang line, is located above the lower trigram, not being arrogant, but instead placing itself in a humble position, thus appearing light. Saying "Yu" means "laziness" is because the nine in the fourth line, a yang line, is located below the upper trigram, with ambitions fulfilled, indulging and becoming lazy. However, the line statement of the fourth line in the "Yu" hexagram does not express laziness. According to Lai Zhide's commentary: the sixth line of "Qian" when reversed becomes the first line of "Yu," so both these lines mention "calling out." "Qian" is characterized by humility, thus appearing light; "Yu" is characterized by fullness of ambition, thus becoming indulgent. This interpretation is more superior.

噬嗑，食也。賁，無色也。順中有物，故曰食。賁以白賁無咎，無色而天下之賁莫尚焉。食色，人之大欲。色至賁則過，故欲返本也。兌見，而巽伏也。兌，陰外見。巽，陰內伏也。隨，無故也。蠱，則飭也。隨時行止，前無故也。蠱壞已極，後當飭也。

The "Zagua" says: "Shike" means eating, and "Ben" means without color. In the "Shike" hexagram, the two yang lines at the top and bottom are like lips and teeth, with the nine in the fourth position in the middle resembling something in the mouth, hence it is called eating. In the "Ben" hexagram, the line statement of the upper nine says, "White Ben, no blame," meaning that when decoration is taken to the extreme, it returns to white, colorless, and there is nothing better than this simplicity as decoration. Eating and sex are the great desires of human beings; when decoration reaches the level of "Ben," it is already excessive, so one should return to the natural state. It also says: "Dui" means revealing, and "Xun" means concealing. In "Dui," the yin line is exposed, while in "Xun," the yin line is hidden. It also says: "Sui" means without old matters, and "Gu" means to rectify. "Sui" follows the current situation, acting or stopping as appropriate, with no prior accumulated problems, hence it is called without cause. "Gu" refers to accumulated evils having reached their extreme, so rectification is necessary afterwards.

剝，爛也。復，反也。五陰潰於內，爛也。一陽生於下，反也。晉，晝也。明夷，誅也。二卦，朝暮生殺之義。日出地上為晝，則入地下為夜也。明在下為誅傷，則明升上為生長矣。井通，而困相遇也。往來井井，則其道通。剛為柔揜，所遇之困。自乾至此三十卦，適與上經之數相當。

The *Zagua* says: *Bao* means decay, and *Fu* means return. The *Bao* hexagram has five yin lines below eroding the yang, like a fruit rotting from within; the *Fu* hexagram has a single yang line reappearing at the very bottom, symbolizing the return of yang energy. It also says: *Jin* means daylight, and *Mingyi* means punishment. These two hexagrams illustrate the principle of life and death in the morning and evening: the sun rising above the earth is day, and when it sinks below the earth it is night; when light is trapped underground, it is punishment and harm, but when light rises above the earth, it is growth and nurturing. It also says: *Jing* means communication, and *Kun* means encountering. Well water flows continuously and is used without end, its path is unobstructed; *Kun* refers to a strong force being concealed by a gentle one, and the situation encountered is one of hardship. Counting from *Qian* to here, there are exactly thirty hexagrams, matching the number of hexagrams in the Upper Classic.

咸，速也。恆，久也。有感必通，故速。速則夫婦及時。其道有常，故久。久則夫婦偕老。渙，離也。節，止也。解，緩也。蹇，難也。睽，外也。家人，內也。否泰，反其類也。渙節與井困相反。井，以木出水，居塞而能通。渙，以水浮木，則通極而致散矣。節，澤上之水為有制。困，澤下之水則枯竭矣。解難既散，多失於怠緩。蹇險在前，則知阻難。睽疎而外，家人親而內。否泰則君子小人，其類每相反也。

The *Zagua* says: *Xian* means quickness, and *Heng* means duration. The union of male and female is immediate and responsive, hence quick; because it is quick, husband and wife can form a union in time. The way of husband and wife is constant and unchanging, hence enduring; because it is enduring, husband and wife can grow old together. It also says: *Huan* means dispersion, and *Jie* means restraint; *Jie* means ease, and *Jian* means difficulty; *Kui* means estrangement, and *Jiaoren* means intimacy within; *Pu* and *Tai* are opposites. *Huan* and *Jie* are opposite to *Jing* and *Kun*: *Jing* is the巽 wood entering the坎 water and drawing water up, originally in a blocked place yet able to flow through; *Huan* is the坎 water below and the巽 wood floating above, reaching the extreme of flow and thus dispersing. *Jie* is water above the泽, stored and controlled; *Kun* is water leaking below the泽, causing the泽 to dry up. When difficulties are dispersed, people often become slack and careless, hence *Jie* is ease; when dangers are ahead, people naturally recognize the obstruction, hence *Jian* is difficulty. *Kui* is mutual estrangement and separation; *Jiaoren* is mutual intimacy and closeness. As for *Pu* and *Tai*, they represent the advancement and retreat of the gentleman and the petty person, often being opposites.

大壯則止，遯則退也。慮後陽之恃壯，故不欲九四之進而欲其止。恐前陽之不及，故不欲六二之進欲其退也。陽進而消，陰者慎之。陰進而消，陽者抑之也。大有，眾也。同人，親也。革，去故也。鼎，取新也。小過，過也。中孚，信也。豐，多故。親寡，旅也。明且動，故多故。旅寓則所親自寡矣。此句卦名在下，變文以葉韻也。

The "Zage" says: "The Great Strength" requires stopping, and "Dun" requires retreat. "The Great Strength" has four yang lines that are flourishing, and the sage worries that the later yang lines will become arrogant and advance recklessly, so he does not wish the nine in the fourth position to advance further but hopes it will stop. "Dun" has two yin lines gradually increasing, and the sage fears that the earlier yang lines will not be able to resist, so he does not wish the six in the second position to advance further but hopes the yang lines will retreat early. If yang advances continuously and eliminates yin, then yin must be cautious on its own; if yin advances continuously and eliminates yang, then measures must be taken to restrain it. It also says: "Da You" means abundance, and "Tong Ren" means harmony. "Ge" means removing the old, and "Ding" means taking in the new. "Xiao Guo" means slightly excessive, and "Zhong Fu" means inner sincerity. "Feng" means many troubles, and "Qin Guo" is "Traveler." "Feng" has the lower trigram of Li (Fire) and the upper trigram of Zhen (Thunder), meaning brightness and movement, so events naturally arise frequently, hence many troubles. A traveler is away from home, so the people he is close to are naturally few. The last sentence places the name of the hexagram at the end (not saying "Traveler, close few" but "Close few, Traveler") in order to change the wording for the sake of rhyme.

離上，而坎下也。炎上，潤下。小畜，寡也。履，不處也。一陰畜陽，寡不敵眾。說隨陽進，柔能制剛也。需，不進也。訟，不親也。大過，顛也。姤，遇也，柔遇剛也。漸，女歸待男行也。頤，養正也。既濟，定也。歸妹，女之終也。未濟，男之窮也。夬，決也，剛決柔也。君子道長，小人道憂也。

The *Zagua* says: *Li* (Fire) moves upward, *Kan* (Water) moves downward. This is taken from the *Shangshu·Hongfan* on the Five Phases: fire has an upward nature, water has a downward nature. It also says: *Xiao Xu* (Small Accumulation) is small, *Lv* (Ceremony) is not settled. *Xiao Xu* has only one yao (line) of yin at the fourth position needing to restrain five yang yao, so the yin is few and cannot overcome the many, thus only a small accumulation is possible; *Lv* is the soft *Dui* (Lake) following *Qian* (Heaven) yang forward, using softness to restrain strength, so it does not stop. The following is the last part of the *Zagua*: *Xu* (Waiting) is not advancing rashly, *Song* (Contention) is not harmonious; *Da Guo* (Great Excess) is reversed order, *Gu* (Meeting) is meeting—soft meets strong; *Jian* (Gradual Progress) is that a woman waits for the man to come and greet her before she moves, *Yi* (Nourishment) is nourishing in the right way; *Ji Ji* (Completion) is each in their proper place and thus peaceful, *Gui Mei* (Return of the Maiden) is the final destiny of a woman, *Wei Ji* (Not Yet Completed) is the extreme situation of a man; *Guai* (Decisive) is decisive—strong decisively removes the soft, thus the way of the gentleman increases, and the way of the petty person becomes fearful.

需訟，皆主乾言。止坎之下為不進，背坎而去為不親。大過本末弱，故顛。女待男而行，所以為漸。頤以上養下，養得其正。既濟六位皆當，故定。女者，未嫁之稱。歸則女之事終也。未濟陰陽皆失位而陰不足言也，故曰男之窮。始乾終夬，則喜陽之長也。

The hexagrams "Need" and "Strife" both refer to the lower trigram Qian (Heaven). "Need" is Qian resting above the trigram Kan (Water), indicating stagnation and no progress. "Strife" is Qian facing away from Kan, with the upper Qian moving upward and the lower Kan flowing downward, indicating lack of harmony. "Great Excess" has both upper and lower trigrams as yin, making the beginning and end weak while the middle four yangs are excessive, leading to instability and imbalance. A woman must wait for the man to come and greet her before she can move forward, step by step, hence the gradual progress. "Nourishment" has the upper trigram Gen (Mountain) above and Zhen (Thunder) below, indicating the superior nourishing the inferior properly, hence nourishing correctly. "Already Achieved" has all six lines in proper yin and yang positions, hence stability. "Nun" refers to an unmarried woman; once she marries and leaves her family, her role as a daughter is completed, hence "Marriage of the Girl" signifies the end of a woman's role. "Not Yet Achieved" has all six lines in improper yin and yang positions, and since yin is inherently weak, it is only said that the man is in hardship. The entire text begins with Qian and ends with Guai, indicating the increasing strength of the yang path.

《本義》謂自大過以下卦不反對，或疑其錯簡。然以韻協之又似非誤，未詳其義。按，蘇氏蔡氏皆有改正之文。而蔡氏所改，類從而韻亦協。附錄於後兼載胡氏之論，以備參考。大過，顛也。頤，養正也。既濟，定也。未濟，男之窮也。歸妹，女之終也。漸，女歸待男行也。姤，遇也，柔遇剛也。夬，決也，剛決柔也。君子道長，小人道憂也。

Master Zhu in The Original Meaning of the Zhou Changes said: From the hexagram of Great Excess onwards, the sequence of hexagrams is no longer arranged in oppositional order. Some people suspect that this may be due to disorder in the bamboo slips. However, when checking the rhyme, it seems that there is no mistake, and the reason for this remains unclear. Note: Su Shi and Cai Yuan both have revised versions. Cai's revised sequence not only groups similar hexagrams together but also matches the rhyme. Now I will append Cai's revised sequence at the end, along with the comments of Yu Feng Hu, for reference. Cai's revised order is: Great Excess is reversed,颐 is nurturing correctness; 既济 is stability, 未济 is the plight of a man; 归妹 is the end of a woman's fate, 渐 is a woman waiting for a man before proceeding; 姤 is meeting, with the soft encountering the strong; 夬 is decision, with the strong deciding to remove the soft, the way of the gentleman grows, and the way of the petty person becomes anxious.

雲峰胡氏曰，易終於雜卦，而交易變易之義愈可見矣。每一卦反覆為兩卦，而剛柔吉凶每每相反。此變易之義也。自乾至困三十卦，與上經之數相當。而雜下經十二卦於其中。自咸至夬三十四卦，與下經之數相當。而雜上經十二卦於其中。此交易之義也。或曰，此偶然爾。愚曰，非偶然也，皆理之自然也。

In the Yuan Dynasty, Hu Bingwen of Yunfeng said: The Zhou Changes ends with the "Zage" section, where the meanings of "trade" and "change" become clearer. Each trigram, when flipped upside down, becomes another trigram, and the yin and yang, as well as good fortune and misfortune, often reverse — this is the meaning of "change." From Qian to Kun, there are thirty trigrams, matching the number of trigrams in the Upper Classic, yet among them are twelve trigrams from the Lower Classic; from Xian to Guai, there are thirty-four trigrams, matching the number of trigrams in the Lower Classic, yet among them are twelve trigrams from the Upper Classic — this is the meaning of "trade." Some people say: this is just a coincidence. I say: it is not a coincidence, but a natural order.

坎離交之中者，本居上經三十卦內，今附於下三十四卦。震艮巽兌交之偏者，本居下經三十四卦內，今附於上三十卦。至若無反對者。上經六卦，下經二卦。今附於上者二卦，附於下者六卦。皆交易之義也。十二月卦氣。除乾坤外，上經泰否臨觀剝復，陰之多於陽者十二。下經遯壯姤夬，陽之多於陰者十二。今雜卦移否泰於三十四卦之中，而陰陽之多少復如之。

The trigrams Kan and Li are produced by the interaction of Qian and Kun at the middle line, originally placed among the thirty hexagrams of the Upper Canon, but in the "Zagua" they are moved to the lower thirty-four hexagrams. The trigrams Zhen, Gen, Xun, and Dui are produced by the interaction of Qian and Kun at the first and top lines, representing partial interaction, originally placed among the lower thirty-four hexagrams, but in the "Zagua" they are moved to the upper thirty hexagrams. Now looking at those hexagrams that do not have their opposites reversed: originally there were six in the Upper Canon and two in the Lower Canon; in the "Zagua," only two remain in the Upper section while six are moved to the Lower section. These are all examples of "trade." Furthermore, considering the twelve lunar month hexagrams: apart from Qian and Kun, the Upper Canon contains six hexagrams with messages, namely Tai, Po, Lin, Guan, Bo, and Fu, whose total number of yin lines exceeds the number of yang lines by twelve; the Lower Canon contains four hexagrams, namely Duan, Da Zhuang, Gu, and Guai, whose total number of yang lines exceeds the number of yin lines by twelve. The "Zagua" moves Tai and Po to the section of the thirty-four hexagrams, yet the balance of yin and yang remains the same.

特在上經者三十六畫，在下經者二十四畫。今附於上者二十四畫，附於下者三十六畫。愈見其交易之妙爾。若合六十四卦論之。上經三十卦，陰爻之多於陽者八。下經三十四卦，陽爻之多於陰者亦八。今則附於三十卦者。陽爻七十二，陰爻一百八。而陰多於陽者三十六。附於三十四卦者。陽爻一百二十，陰爻八十四。而陽爻多於陰者亦三十六。

The original number of lines in the upper section of the Classic of Changes consisted of thirty hexagrams totaling thirty-six lines, while the lower section had thirty-four hexagrams totaling twenty-four lines. After the arrangement in the Miscellaneous Hexagrams, those moved to the upper section totaled twenty-four lines, and those moved to the lower section totaled thirty-six lines—thus the numbers are exactly reversed, highlighting the cleverness of "transaction" or "exchange." If all sixty-four hexagrams are considered together: the upper section has thirty hexagrams with eight more yin lines than yang lines; the lower section has thirty-four hexagrams with eight more yang lines than yin lines. In the Miscellaneous Hexagrams, those hexagrams placed in the first thirty-hexagram section have seventy-two yang lines and one hundred eight yin lines, meaning yin lines exceed yang lines by thirty-six; those placed in the latter thirty-four-hexagram section have one hundred twenty yang lines and eighty-four yin lines, meaning yang lines exceed yin lines by thirty-six. The excess numbers on both sides are exactly equal.

以反對論。上經陰之多於陽者四，下經陽之多於陰者亦四。今則附於上者。陽爻二十九，陰爻五十七。而陰爻多於陽者十八。附於下者。陽爻六十九，陰爻五十七。而陽爻之多於陰者亦十八。或三十六或十八，互為多少。非特見陰陽交易之妙，而三十六宮之妙愈可見矣。是豈聖人之心思智慮之所為哉。愚故曰，伏羲之畫，文王周公孔子之言，皆天也。

If we calculate by opposing lines to form the hexagrams: in the Upper Canon, the number of yin lines exceeds that of yang lines by four; in the Lower Canon, the number of yang lines exceeds that of yin lines by four. In the "Zagua" (Miscellaneous Hexagrams), those placed in the Upper Section have twenty-nine yang lines and fifty-seven yin lines, with yin lines exceeding yang lines by eighteen; those placed in the Lower Section have sixty-nine yang lines and fifty-seven yin lines, with yang lines exceeding yin lines by eighteen. Either thirty-six or eighteen, they are mutual in terms of excess and deficiency, forming neat correspondences. This not only reveals the skillful interplay of yin and yang, but also makes the subtlety of the "Thirty-six Palaces" (the sixty-four hexagrams condensed into thirty-six hexagram forms) more evident. How could this be the result of the sages' clever arrangements? Therefore, I say: the hexagrams drawn by Fuxi, the words spoken by King Wen and the Duke of Zhou, are all natural principles, not human inventions.

《本義》謂自大過以下卦不反對，或疑其錯簡。今以韻協之又似非誤，未詳何義。愚竊為雜物撰德，非其中爻不備。此蓋指中四爻互體而言也。先天圖之左互復頤既濟家人歸妹睽夬乾八卦，右互姤大過未濟解漸蹇剝坤八卦。此則於右取姤大過未濟漸四卦，於左取頤既濟歸妹夬四卦。各舉其半，可兼其餘矣。是雖所取不能無雜。蓋此謂雜卦，而互體又其最雜者也。

The "Benyi" says that from the "Da Guo" hexagram onwards, the sequence of hexagrams no longer opposes each other, and some people suspect it may be a misplaced section; however, when compared with the rhyme, it seems correct, but the reason is unclear. I personally think that the "Xici Zhuan" says, "Collecting various things to form virtue, without the middle line, the virtue is not complete," where the term "middle line" refers to the mutual structure formed by the four central lines of a hexagram. According to the Earlier Heaven diagram, the mutual structures of the hexagrams on the left half are Fu, Yi, Ji Ji, Jia Shen, Gui Mei, Kui, Guai, and Qian, while those on the right half are Gou, Da Guo, Wei Ji, Jie, Zhen, Jian, Po, and Kun. The final section of the "Zagua" lists exactly four hexagrams from the right half: Gou, Da Guo, Wei Ji, and Zhen, and four from the left half: Yi, Ji Ji, Gui Mei, and Guai. Each half is represented, and the rest are included by implication. This method of selection naturally appears disorderly, but the chapter is called "Zagua" and the mutual structure is the most disorderly part within it.

上三十卦終之以困，柔掩剛也。下三十四卦終之以夬，剛柔也。柔掩剛，君子不失其所亨。剛決柔，君子道長，小人道憂矣。然則天地間剛柔每相雜。至若君子之為剛，小人之為柔，決不可使相雜也。雜卦之末，特分別君子小人之道言之。聖人贊化育，扶世變之意微矣。

The first thirty hexagrams in the "Zagua" end with "Kun" (Obstruction), which signifies that the soft is covering the hard. The remaining thirty-four hexagrams end with "Gua" (Decision), which signifies that the hard decisively overcomes the soft (the original text says "the soft and hard" but should be "the hard decisively overcomes the soft," and this remains as it is). When the soft covers the hard, the gentleman still maintains the way of success; when the hard decisively overcomes the soft, the way of the gentleman increases, while the way of the petty person becomes anxious. This shows that in the world, the hard and the soft are originally often mixed together. But when it comes to the gentleman belonging to the hard and the petty person belonging to the soft, they must never be mixed. The "Zagua" deliberately distinguishes the way of the gentleman from that of the petty person at the end of the chapter. The profound intention of the sage assisting heaven and earth in their nurturing and supporting the transformation of the world is expressed here.

按易繫辭傳曰，天一地二，天三地四，天五地六，天七地八，天九地十。此即所謂河圖，理數之大原也。天以一生水，地以六成之。地以二生火，天以七成之。天以三生木，地以八成之。地以四生金，天以九成之。天以五生土，地以十成之。此河圖五行生成之數也。

According to the Great Treatise section of the Zhou Changes, it says: "Heaven is one, Earth is two; Heaven is three, Earth is four; Heaven is five, Earth is six; Heaven is seven, Earth is eight; Heaven is nine, Earth is ten." Odd numbers belong to Heaven, and even numbers belong to Earth. These ten numbers are called the Yellow River Chart, which is the source of both meaning and numerical symbolism. Heaven uses one to generate water, and Earth uses six to complete it; Earth uses two to generate fire, and Heaven uses seven to complete it; Earth uses four to generate metal, and Heaven uses nine to complete it; Earth uses three to generate wood, and Heaven uses eight to complete it; Heaven uses five to generate earth, and Earth uses ten to complete it. The numbers one, two, three, four, and five are called "generative numbers," while the numbers six, seven, eight, nine, and ten are called "completed numbers." Each set consists of one odd and one even number, which is how the Yellow River Chart's five elements are generated through numbers.

一為太陽，居北。二為少陰，居南。三為少陽，居東。四為老陰，居西。東北陽分，故一三皆位陽。西南陰方，故二四皆位陰。東南物之始生，故二少位於東南。西北物之收成，故二老位於西北。此河圖四象之位也。

The four trigrams are arranged as follows: the first is the Sun, located in the north; the second is the Lesser Yin, located in the south; the third is the Lesser Yang, located in the east; and the fourth is the Old Yin (Great Yin), located in the west. The east and north belong to the yang aspect, so the first and third, which are odd numbers, are placed on this side; the west and south belong to the yin aspect, so the second and fourth, which are even numbers, are placed on that side. The east and south are the places where all things begin to grow, so the Lesser Yang and Lesser Yin, both marked with '少', are placed in the southeast; the west and north are the places where all things converge and mature, so the Sun and Great Yin, both marked with '老', are placed in the northwest. This is the arrangement of the four trigrams in the Yellow River Chart.

一六為水居北。左旋而東，則水生木。又旋而南，則木生火。又旋而中，則火生土。又旋而西，則土生金。又旋而北，則金生水。此以其運行之序言之，左旋而相生也。北方一六之水尅南方二十之火，西方四九之金，又尅東方三八之木。此以其對待之位言之，又未嘗不相尅也。

One and the Six Harmony belong to water, located in the north. Following the direction from north clockwise to the east, water generates wood; then turning to the south, wood generates fire; then moving to the center, fire generates earth; then turning to the west, earth generates metal; and finally returning to the north, metal generates water. This describes the sequence of the Yellow River Chart's operation: rotating left once, the Five Phases generate each other in order. However, looking at the opposing positions: northern water (one and six) directly faces southern fire (two and seven), and water controls fire; western metal (four and nine) directly faces eastern wood (three and eight), and metal controls wood. This refers to the opposing positions: there is also mutual control among them. (The original text mistakenly says 'twenty fire' instead of 'two and seven fire'.)

要而論之，理數之原一而已矣。一者，太極也。二之則為兩儀。四之則為四象。四象變化而庶類繁生，數至四而備矣。一合四即為五，為五行。故五者，數之中也。自五以後，生數皆合五以為成數。一合五為六，二合五為七，三合五為八，四合五為九，成數至九而備矣。而五備五則為十。小衍之為十，大衍之為五十，即為蓍策之數所起。故十者，數之終也。

In summary, the origin of both principles (yi li) and numerical calculations (xiang shu) is a single 'one'. One is the Taiji. When one doubles, it becomes two yi, and when doubled again, it becomes four xiang. When the four xiang change, myriad things arise, so the number four is complete. One plus four is five, which is the Five Phases. Therefore, five is the central number of the sequence. From five onwards, each generating number is added to five to form the completing numbers: one plus five is six, two plus five is seven, three plus five is eight, four plus five is nine, and the completing numbers reach nine. Five itself plus another five makes ten. The small derivation reaches ten, and the great derivation reaches fifty, which is the starting point of the numbers used in the divination with yarrow stalks. Therefore, ten is the end of the number sequence.

五為數之中，故於成數之中減其生數皆得五。十為數之終，故以生數合成數又皆得十。蓋太陽居一而連九，太陰居四而連六，少陰居二而連八，少陰居三而連七。就其三居之位言之。則生數太陽，成數配以太極。生數太極，成數配以太陽。生數少陽，成數配以少陰。生數少陰，成數配以少陽。而就陰陽老少各分計之，皆得十焉。此皆天地之自然，非人力所能損益也。

Five is the central number, so when any number is subtracted from its corresponding generating number, the result is always five (six minus one, seven minus two, eight minus three, nine minus four all result in five). Ten is the terminal number, so when the generating numbers and mature numbers of old and young yin and yang are paired and added together, the result is always ten. The generating number one of the sun yang is connected with nine, the generating number four of the great yin is connected with six, the generating number two of the lesser yin is connected with eight, and the generating number three of the lesser yang is connected with seven. In terms of their positions: the generating numbers belonging to the sun yang are paired with the mature numbers of the great yin; the generating numbers belonging to the great yin are paired with the mature numbers of the sun yang; the generating numbers belonging to the lesser yang are paired with the mature numbers of the lesser yin; and the generating numbers belonging to the lesser yin are paired with the mature numbers of the lesser yang. When calculated separately according to yin and yang, old and young, their sums are always ten. All these are natural phenomena of heaven and earth, not something that human beings can add to or subtract from. (The original text says 「少阴居三而连七」 should be 「少阳」; 「成数配以太极」 and 「生数太极」 both have 「太极」 which should be 「太阴」, but we retain the original text.)

萬物統乎天，數始乎一。乃以一二三四分屬於天地何也。天地之大，不外乎陰陽。陽奇陰偶分之，自各有所屬也。五行皆生於天地。乃或天生而地成之，或地生而天成之何也。萬物皆陰陽合而有生，而所以又各自有陰陽，皆由得氣之初，陰陽或先或後。

Someone asked: All things are included within heaven, and numbers all begin with one. So why are the numbers one, two, three, and four assigned to heaven and earth respectively? Answer: The vastness of heaven and earth does not go beyond the two aspects of yin and yang. Odd numbers belong to yang, and even numbers belong to yin. Thus, one and three belong to heaven, and two and four belong to earth, each having its proper place, which is natural. Another question: The five phases are all produced by heaven and earth. Why is it that some are produced by heaven and formed by earth, while others are produced by earth and formed by heaven? Answer: All things are generated through the union of yin and yang. Each thing itself also divides into yin and yang. This depends on the initial moment when it receives the qi. The arrival of yin and yang has a先后 order.

水先天陽而後天陰，故體陽而用陰。火先天陰而後天陽，故體陰而用陽。木由滋潤而後焦枯，先天同水而後天同火也。金由煅煉而後融液，先天同火而後天同水也。以至人道有男女，飛走之有雌雄、牝牡，其先後天皆可類推也。

Taking the Five Phases as an example: Water first receives the yang from Heaven (Heaven generates water with one), then receives the yin from Earth (Earth completes water with six), so its essence belongs to yang but its function belongs to yin. Fire first receives the yin from Earth (Earth generates fire with two), then receives the yang from Heaven (Heaven completes fire with seven), so its essence belongs to yin but its function belongs to yang. Wood first needs moisture to grow, then later becomes dry and withered; its earlier heaven nature is similar to water, while its later heaven nature is similar to fire. Metal first needs to be smelted by fire, then later becomes liquid; its earlier heaven nature is similar to fire, while its later heaven nature is similar to water. Extending this principle, human beings are divided into male and female, birds have male and female, and beasts have male and female; their earlier heaven and later heaven yin and yang attributes can all be inferred in the same way.

五行之生有先後，數有多寡何也。凡物之生皆自微而著，由清而濁，數之生皆自少而多。五行，水最輕清火次之，故一六水而二七火也。木則形堅，金則質重，土則最大而最濁矣。故三八木，四九金，而五十土也。

The generation of the Five Phases has a definite order, and the numbers assigned to them vary in quantity. What is the reason for this? All things originate from subtle and hidden to manifest and prominent, from light and clear to heavy and turbid. The emergence of numbers also follows a similar pattern, starting from few and accumulating to many. In the case of the Five Phases, water is the lightest and clearest, followed by fire. Therefore, "Heaven produces one, Earth completes it with six," so water is paired with one and six. "Earth produces two, Heaven completes it with seven," so fire is paired with two and seven. Wood has already formed a solid body, and metal is even heavier. Earth has the largest form and is the heaviest and most turbid. Therefore, "Heaven produces three, Earth completes it with eight," so wood is paired with three and eight; "Earth produces four, Heaven completes it with nine," so metal is paired with four and nine; "Heaven produces five, Earth completes it with ten," so earth is paired with five and ten. The light and clear comes first, thus receiving a smaller number; the heavy and turbid comes later, thus receiving a larger number. The order of precedence and quantity is never confused.

太陽以一為生數最少，以九為成數則最多。太陰以四為生數最多，而以六為成數又最少。少陽以三為生數多（「數多」當作「數次多」，從文瀾本），以七為成數又次少。少陰以二為生數次少，以八為成數又次多。何也。蓋生數主氣，成數主形。生數先天，而成數後天。論氣，則太陽清輕而太陰重濁，故太陽一而太陰四。論形，則太陽有餘而太陰不足，故太陰六而太陽九也。論先天，則少陽強而少陰弱，故少陽三而少陰二。論後天，則少陽主洩而少陰主收，故少陽七而少陰八也。

The sun is associated with the number one as its generating number, the smallest among the four generating numbers, yet it is associated with nine as its completed number, the largest among the completed numbers. The moon is associated with four as its generating number, the largest among the generating numbers, yet it is associated with six as its completed number, the smallest among the completed numbers. The lesser yang is associated with three as its generating number, the second largest among the generating numbers (the original text says "the largest," while the Wenlan text says "the second largest"), yet it is associated with seven as its completed number, the second smallest among the completed numbers. The lesser yin is associated with two as its generating number, the second smallest among the generating numbers, yet it is associated with eight as its completed number, the second largest among the completed numbers. Why is this so? Because generating numbers govern "qi," while completed numbers govern "form." Generating numbers belong to the Earlier Heaven, and completed numbers belong to the Later Heaven. In terms of qi, the sun is light and clear, while the moon is heavy and turbid, so the sun is associated with one and the moon with four. In terms of form, the sun is abundant while the moon is deficient, so the moon is completed at six while the sun is completed at nine. In terms of the Earlier Heaven, the lesser yang is strong while the lesser yin is weak, so the lesser yang is associated with three and the lesser yin with two. In terms of the Later Heaven, the lesser yang governs dispersion and release, while the lesser yin governs gathering and storage, so the lesser yang is completed at seven and the lesser yin at eight.

老少陰陽之位，從一二三四而不論六七八九何也。由太極生兩儀，由兩儀生四象，皆先天之事也，故當從生數也。揲筮老少陰陽之數，取六七八九而不取一二三四又何也。由分二而掛一而揲四，皆後天之事也。故當從成數也。揲筮老陽取九而不取七，而老陰則取六不取八又何也。即太陽有餘太陰不足之說也。而不止此也。

Why are the positions of old yang, old yin, young yang, and young yin determined by the numbers one, two, three, and four rather than six, seven, eight, and nine? This is because the generation of the Taiji into the two principles, and the two principles into the four images, are natural processes of the Earlier Heaven, so they should be based on the generating numbers. However, when performing the divination method called "xie shi," the numbers used to represent old and young yin and yang are six, seven, eight, and nine, not one, two, three, and four. Why is this so? Because the procedures in the divination method, such as "fen er" (dividing the yarrow stalks into two bundles), "gua yi" (setting aside one stalk), and "xie si" (counting four stalks), are human-made actions of the Later Heaven, so they should be based on the completed numbers. As for why old yang is taken as nine rather than seven and old yin is taken as six rather than eight, this is precisely the reason mentioned earlier, that the sun has an excess and the moon has a deficiency. However, there are more reasons for this.

凡陽屬天，天形圓。圓者，徑一而圍三。凡陰屬地，地形方。方者，徑一而圍四。揲筮以四為數。所扐之數，以四為奇以象天，以八為偶以象地。如三扐皆奇，取徑一圍三之義。則三三為九，為天矣。天用其全，故不用七而用九也。如三扐皆偶，取徑一圍四之義。則三四為十二，為地矣。地用其半故不用八而用六也。且所扐者九，而過揲之數亦為四九三十六。所扐者六，而過揲之數亦為四六二十四。

All yang elements belong to heaven, which is round in shape. The proportion of a circle is a diameter of one and a circumference of three. All yin elements belong to earth, which is square in shape. The proportion of a square is a side of one and a circumference of four. When divining with yarrow stalks, they are counted in groups of four. Each change is counted between the fingers as "tou" (a bundle). If four stalks are obtained, it is called "qi", symbolizing heaven; if eight stalks are obtained, it is called "ou", symbolizing earth. If all three changes are "qi", the meaning of "a diameter of one and a circumference of three" is taken, and three threes combined make nine, which is the number of heaven. Heaven uses its full number, so old yang does not use seven but nine. If all three changes are "ou", the meaning of "a diameter of one and a circumference of four" is taken, and three fours combined make twelve, which is the number of earth. Earth uses only half of it, so old yin does not use eight but six. Moreover, if the "tou" results in nine, the remaining stalks after counting are exactly thirty-six, which is four times nine. If the "tou" results in six, the remaining stalks after counting are exactly twenty-four, which is four times six. The two ends correspond exactly.

是揲筮老陽老陰，不必皆因河圖，而自與河圖暗合，此所以為理數之自然也。至若河圖言五行，而伏羲因之以畫八卦。河圖五方，而先後天之八卦分為八方。皆與河圖各有所合。又當即橫圖圓圖方圖，詳析兮疏，其義始見，故姑總其大略如此。而諸圖仍即楊子道聲《圖卦闡義》所分，備列於後雲。

It is evident that the counting methods for old yin and old yang in the process of divination with yarrow stalks are not necessarily directly derived from the Yellow River Chart, yet they naturally correspond with it. This precisely demonstrates that they arise from the natural order of principles and numbers. As for the Yellow River Chart, which deals with the Five Phases, Fuxi used it to draw the Eight Trigrams; the Yellow River Chart divides the five directions, while the Earlier Heaven and Later Heaven Trigrams divide the eight directions, and each has its own correspondences with the Yellow River Chart. These principles require further analysis through the "horizontal diagram," "circular diagram," and "square diagram" to be fully explained, so that their meanings can become clear. Therefore, here we will first provide a general overview. The following diagrams will still follow the order as presented in Yang Daosheng's "Explanations of Diagrams and Trigrams."

楊子道聲《洛書別論》曰。洛書之數起於一，中於五，窮於九。五建極於中，為眾數所取法。自五為以下皆為生數，為一為二為三為四。自五以上皆為成數，為九為八為七為六。生數與成數相間而立，以成右轉之形。夫數始於一，一合中五而生六，六合一而生七，七合中五去十而生二，二合七而生九，九合中五去十而生四，四合九去十而生三，三合中五為八，八合三去十而復生一，運行無窮焉。

Yang Dao Sheng's "A Different Discussion on the Luo Writing" says: The numbers of the Luo Writing begin with one, reach the center at five, and end at nine. Five establishes the central pole and is located in the center, serving as the standard for the other numbers. The numbers below five are called the generating numbers, which are one, two, three, and four; the numbers above five are called the forming numbers, which are nine, eight, seven, and six. The generating and forming numbers alternate in arrangement, forming a pattern of rotation to the right. The numbers start from one: one plus the central five gives six, six plus one gives seven, seven plus the central five gives twelve, subtract ten to get two, two plus seven gives nine, nine plus the central five gives fourteen, subtract ten to get four, four plus nine gives thirteen, subtract ten to get three, three plus the central five gives eight, eight plus three gives eleven, subtract ten and return to one, thus cycling endlessly without end.

而其相合相生之法，凡奇數則合中五以生下數，耦則合前位之奇以生下數。耦從奇，奇不從耦也。奇必生耦，耦必生奇，陰陽互根也。中五建極，奇耦相生而自右至左，法自然之運。此不同於河圖之不奇耦（文瀾本「不奇耦」作「不生奇耦」），耦之合中五而為數也。至其對待之法，更有大異於河圖者。河圖奇耦重列以相對，洛書則單列以相對。奇對必奇，耦對必耦。以中五為之綱，而餘數相伍以列。

Their principle of mutual generation and addition is: whenever an odd number is encountered, add the central five to produce the next number; whenever an even number is encountered, add the previous odd number to produce the next number. This is the way even numbers follow odd numbers, while odd numbers do not follow even numbers. Odd numbers must generate even numbers, and even numbers must generate odd numbers, which is exactly the principle of yin and yang as fundamental forces. The central five establishes the ultimate standard, and odd and even numbers alternate in generation, moving from right to left, following the natural movement of heaven. This differs from the Yellow River Chart, which does not add the central five to both odd and even numbers to form numbers (this sentence has an error or omission in the original text; the Wenlan edition reads 'not generating odd and even' as 'not producing odd and even'). As for the arrangement of 'opposites,' the difference is even greater: the Yellow River Chart arranges odd and even numbers in overlapping pairs facing each other, while the Luo Writing arranges single odd numbers facing each other and single even numbers facing each other; odd numbers always face odd numbers, and even numbers always face even numbers, all taking the central five as the main axis, with the other numbers arranged in sequence accordingly.

及計其對待之共數，莫不各倍中五以成十，而十已默寓於眾數之中矣。楊子道聲之論如此。今按，《易·繫辭傳》曰，河出圖，洛出書，聖人則之，是圖書相為表裡，夫子之言可據。後人以洛書至禹始出，其訛固不俟辨。至若天一地二章，所言皆河圖而不及洛書，蓋緣蓍數取於五十，故獨引河圖為言。至由兩儀四象而生八卦，則圖書皆其根本。而先後天八卦之位配之洛書，尤其易見者也。

When the corresponding numbers are added together, they always amount to twice the central number five, making ten. This shows that the number ten is implicitly contained within the numbers of the Luo Book. This is the view of Yang Daosheng. Now, according to the commentary in the "Xici" chapter of the "Yijing," it says, "The river produced the diagram, and the Luo produced the book; the sage followed them as a model." This shows that the He Tu and the Luo Shu are complementary to each other. Confucius' words can be trusted. Later people claimed that the Luo Shu appeared only during the time of Yu the Great controlling the floods; such a mistaken tradition is unnecessary to refute. As for the passage in the "Xici" chapter that says "Heaven is one, Earth is two," it discusses the He Tu and does not mention the Luo Shu. This is because the number used in the big yarrow stalk divination is fifty, so it only refers to the He Tu. As for the generation of the eight trigrams from the two principles and the four images, both the He Tu and the Luo Shu are its foundation. Especially when matching the positions of the Earlier Heaven and Later Heaven trigrams with the Luo Shu, it becomes particularly clear.

洛書自北之西，一六之水尅二七之火。火南行，尅四九之金。金東行，尅三八之木。木轉中，尅中英（「英」當作「央」，從文瀾本）之土。土北行，又尅一六之水。此洛書之右轉相尅，異於河圖之左旋相生者也。至以其相對待言之，則東南四九之金，生西北一六之水。而東北三八之木，生西南二七之火。是洛書之對（「對」當作「之」，從文瀾本）對待相生，又異於河圖之對待相尅者也。

The numbers of the Luo Book turn from the north to the west. The water of the north and northwest (one and six) control the fire of the west and southwest (two and seven). The fire then moves south to control the metal of the south and southeast (four and nine). The metal then moves east to control the wood of the east and northeast (three and eight). The wood then moves to the center to control the central earth. The earth then moves north again to control the water of one and six. This is how the Luo Book rotates to the right and successively controls, differing from the He Tu which rotates to the left and successively generates. If we consider the opposite directions, the metal of the southeast (four and nine) generates the water of the northwest (one and six); the wood of the northeast (three and eight) generates the fire of the southwest (two and seven). This is how the Luo Book's opposite positions generate each other, differing from the He Tu's opposite positions which control each other.

要之，生之中有尅，尅之中有生。十之數，不外九之用。九之用，已備十之體。四正已備乎四隅，四隅不外乎四正。四正四隅皆本於中宮，兩儀四象皆根於太極。此則河圖洛書之所同，而實未嘗異者。要之，言乎理則一，言乎氣則二，言乎象則四，言乎行則五。由是即一奇一耦，以生八卦六十四卦，而先天後天，為方為圓，皆從此起焉。是又當即諸圖分析求之，以詳其義者也。

In summary, mutual generation contains mutual control, and mutual control contains mutual generation. The 'body' established by the ten numbers of the Yellow River Chart cannot be separated from the 'function' expressed by the nine numbers of the Luo Writing; the 'function' of the nine numbers of the Luo Writing itself already includes the 'body' of the ten numbers. The four cardinal directions already encompass the four corners, and the four corners do not go beyond the four cardinal directions. Both the four cardinal directions and the four corners originate from the Central Palace, and the two principles, four elements, all originate from the Supreme Ultimate. These are the common aspects of the Yellow River Chart and the Luo Writing, and there is indeed no difference. In summary: from the perspective of 'principle' it is one; from the perspective of 'energy' it is two, that is yin and yang; from the perspective of 'image' it is four, that is the four elements; from the perspective of 'movement' it is five, that is the Five Phases. By using one odd and one even number, layer by layer, we generate the Eight Trigrams and then the sixty-four Trigrams. The Earlier Heaven and Later Heaven, the square diagram and the circular diagram, all originate from here. These should be analyzed and explored in detail through the following diagrams in order to fully explain their meanings.

河圖以十為數，洛書以九為數。河圖列四正五十居中，洛書列四正四隅而五居中。於八卦似各異，要之本太極而為陰陽奇偶，則一而已矣。陽大陰小，則陽先陰後。故伏羲先畫一奇以陽，畫一偶以象陰而兩儀具。兩儀各生一陽一陰而四象形。四象又各生一陽一陰而八卦列。卦既成，見其具天地人三才之象，非有取於三才強畫之也。卦既列，而乾一兌二至坤八有自然之序，非有意於先後強分之也。卦備於八，是謂小成。

The Yellow River Chart uses ten as its ultimate number, while the Luo Writing uses nine as its ultimate number. The Yellow River Chart arranges only the four cardinal directions with five and ten in the center, whereas the Luo Writing includes all four cardinal directions and four corners with five in the center. Although the way they combine with the Eight Trigrams seems different, they both ultimately originate from the Taiji and divide into yin and yang, odd and even. Since yang is greater and yin is smaller, yang comes first and yin follows. Therefore, Fuxi first drew a single line to represent yang, then a double line to symbolize yin, and the two principles were formed. Each of the two principles then generated one yang and one yin, forming the Four Symbols. The Four Symbols each generated one yang and one yin, and the Eight Trigrams were arranged. After the trigrams were formed, it became clear that each trigram consists of three lines, which naturally contain the images of heaven, earth, and humanity. It was not that the concept of the three principles was first established and then forced into three lines. Once the positions of the trigrams were arranged,乾 is one, 兑 is two, and so on up to 坤 being eight, with a natural order, not deliberately arranged in sequence. When the trigrams reach eight, they are complete, which is called "small completion."

八卦未畫之先，則太極生八卦。八卦既畫之後，則八卦皆可以為太極。所謂物物各具一太極者，此也。由是而兩儀得十有六。由是而四象得三十有二。由是而八卦得六十有四。六畫之上無可加，六十四卦之外亦無可益，此理數之自然也。六十四卦之中，八卦各居其本位。乾一兌二離三震四巽五坎六艮七坤八，分陰分陽，萬變畢具。陽生於復而極於乾，陰生於姤而極於坤。論卦體之相生，則自乾而復為順，自姤而坤為逆。論陰陽之升降，則自姤而坤為順，自乾而復為逆。奇偶順逆循環，而圓圖方圖皆自此出矣。

Before the eight trigrams were drawn, the Taiji gave rise to the eight trigrams; once the eight trigrams were drawn, each trigram could be considered as a Taiji on its own. The phrase "each thing possesses its own Taiji" refers exactly to this. From this, each trigram gives rise to two yin and yang, resulting in sixteen; then each of these gives rise to four images, resulting in thirty-two; then each of these gives rise to eight trigrams, resulting in sixty-four. The trigram lines cannot be added beyond six, and the number of trigrams cannot exceed sixty-four, which is the natural limit of the principles and numbers. Among the sixty-four trigrams, the eight original trigrams each occupy their own position: Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, Kun eight. Yin and yang are clearly divided, and all kinds of changes are included within. Yang energy arises from Fu and reaches its peak in Qian; yin energy arises from Gu and reaches its peak in Kun. If we consider the mutual generation of trigram structures, counting from Qian to Fu is in the order, and counting from Gu to Kun is in reverse; if we consider the rising and falling of yin and yang, counting from Gu to Kun is in the order, and counting from Qian to Fu is in reverse. The odd and even, the order and reverse, the going and returning, the circular and square diagrams are all derived from this.

理，一而已矣。一而二，則為乾坤。二而四，則乾得離而坤得坎。四而八，則乾得兌離震，坤得艮坎巽。乾坤動乎一者也。離坎繼乾坤而代之者也。兌震艮巽妙坎離之用者也。乾坤之位正而離坎正矣。離坎之位正而八卦正矣。坤之居北而配一六者何，一為數始而生物之始，六所以成之也。

Reason is simply one. From one, it divides into two, which are Heaven and Earth. From two, it divides into four; Heaven receives Fire, and Earth receives Water. From four, it divides into eight; Heaven encompasses the trigrams of Lake, Fire, and Thunder, while Earth encompasses the trigrams of Mountain, Water, and Wind. Heaven and Earth originate from the single "one" of the Supreme Ultimate. Fire and Water follow Heaven and Earth, carrying out their functions. Lake, Thunder, Mountain, and Wind are what make the functions of Fire and Water subtle and varied. When the positions of Heaven and Earth are properly arranged, the positions of Fire and Water are also properly arranged; when the positions of Fire and Water are properly arranged, the positions of the eight trigrams are all properly arranged. Why is Earth positioned in the north and paired with the numbers one and six? Because one is the beginning of numbers and the beginning of life, while six is used to complete it.

則所重在一。一，陽也。乾象而非坤象。然坤不能自生而生於乾，是以居北。乾之居南而配二七者何。二為一之匹，而亦生物之數。則所重在二。二，陰也。坤象而非乾象。然乾亦不能自生而生於坤，是以居南。乾南坤北，亦所以法天，天陽南而陰北也。離居東而配三八何，天三生木，地八成之，火生於木也。坎居西而配四九者何。地四生金，天九成之，水生於金也。四卦正位，一經一緯。不居其位而位乎其所自生，故曰先天也。

The group of one and six focuses on one. One is an odd number, belonging to yang, and originally represents the image of Qian rather than Kun. However, Kun cannot generate itself, and it comes from Qian, so Kun is located in the north. Why is Qian located in the south and paired with the numbers two and seven? Two is the spouse of one, and it is the number of generation, so this group focuses on two. Two is an even number, belonging to yin, and originally represents the image of Kun rather than Qian. However, Qian cannot generate itself, and it comes from Kun, so Qian is located in the south. Qian in the south and Kun in the north follow the pattern of the heavenly way, with the yang energy of heaven in the south and the yin energy in the north. Why is Li located in the east and paired with three and eight? Because "heavenly three generates wood, and earthly eight completes it," and fire is generated from wood. Why is Kan located in the west and paired with four and nine? Because "earthly four generates metal, and heavenly nine completes it," and water is generated from metal. The four trigrams, Qian, Kun, Li, and Kan, are fixed in their positions. They intersect with each other, one as a vertical line and one as a horizontal line, forming a pattern. They do not occupy the directions corresponding to their own five elements, but instead the directions from which they are generated. This is called "Earlier Heaven."

震兌艮巽之居四維者何。以乾坤離坎之定位位之也。陽之運自南而北，陰之運自北而南。南為老陽乾居之。乾之上爻變而為兌，居東南。中爻變而為離，居東。兩爻俱變而震，居東北。以極於北。則乾爻盡變矣。北為老陰坤居之。坤之上爻變而為艮，居西北。中爻變而為坎，居西。兩爻俱變而為巽，居西南。以極於南。則坤爻盡變矣。陰陽相摩，迭為終始。八卦正位，萬象森列。故曰乾坤離坎正而八卦正矣。

Why are the trigrams Zhen, Dui, Gen, and Xun located in the four corners? They are arranged according to the positions of the trigrams Qian, Kun, Li, and Kan. The movement of yang energy proceeds from south to north, while the movement of yin energy proceeds from north to south. The south is old yang, occupied by Qian: the top line of Qian changes to become Dui, located in the southeast; the middle line changes to become Li, located in the east; when both the top and middle lines change, it becomes Zhen, located in the northeast; continuing this process until the north, all the lines of Qian have changed. The north is old yin, occupied by Kun: the top line of Kun changes to become Gen, located in the northwest; the middle line changes to become Kan, located in the west; when both the top and middle lines change, it becomes Xun, located in the southwest; continuing this process until the south, all the lines of Kun have changed. Yin and yang interact and alternate between beginning and end. Each of the eight trigrams occupies its proper position, and thus all phenomena are orderly arranged. Therefore, when Qian and Kun, Li and Kan are properly positioned, the eight trigrams are all properly placed.

易逆數也而順以行之，聖人所以善法天也。《說卦》，帝出乎震，成言乎艮，後天之卦位也。先天乾坤為經，離坎為緯。今則離坎進而為經，震兌繼而為緯。一六為水故坎在北，二七為火故離在南。三八為木。四九為金。故震東而兌西。水火金木，各正其位。經正則緯正，緯正則八卦亦靡不正。夫震為木為春。離為火為夏。帝出乎震，歲之始也。春夏之交，百物暢茂。

The original method of the Book of Changes (Yi) was to predict backwards towards the future, but the sages applied it in accordance with the sequence of time, which is exactly how they emulated the way of Heaven. The "Commentary on the Hexagrams" says, "The Emperor arises from Zhen" and "The completed statement is in Gen," which refers to the Later Heaven arrangement of the hexagrams. In the Earlier Heaven arrangement, Qian and Kun form the main axis, while Li and Kan form the cross-axis. In the Later Heaven arrangement, Li and Kan rise to become the main axis, while Zhen and Dui take over the cross-axis. One and six belong to water, so Kan is located in the north; two and seven belong to fire, so Li is located in the south; three and eight belong to wood, four and nine belong to metal, so Zhen is located in the east and Dui in the west. Water, fire, metal, and wood each return to their proper positions. When the main axis is correct, the cross-axis is correct; when the cross-axis is correct, all eight trigrams are properly placed. Zhen belongs to wood and corresponds to spring, while Li belongs to fire and corresponds to summer. "The Emperor arises from Zhen" marks the beginning of the year; by the time summer comes, all things flourish and grow vigorously.

巽為木為風。振動而長養之，以相見乎離。繼之兌為金為秋，方受夏制伏而不起。交中央土，土以生金，坤卦當之，厥象為母。逮入北坎。西北之野，龍以戰焉，此天地之尊嚴氣也，乾卦當之，為君為父。冬之卦坎，百物告成。貞以起元，冬之季也，故艮以成之。艮，止也。歲聿云暮，功用止矣。正離坎以正發斂。正離坎震兌以正四時。正震巽離坤兌乾坎艮以正八節。天時以行，人事以遂，王者治平之道以弘。彌綸天地，各正性命，所謂後天而奉天時者乎。

The trigram Xun belongs to wood and represents wind. Wind causes movement and stimulation, nurturing all things, thus meeting with Li, as mentioned in the "Shuo Gua Zhuan" saying "they meet at Li." Next comes Dui, which belongs to metal and corresponds to autumn, when it is subdued by the summer fire and cannot act. Then comes the central earth, which generates metal. The trigram Kun is at this position, symbolizing the mother. Then comes the trigram Kan in the north. The northwest wilderness is the place of "Long Zhan Yu Ye" in the upper sixth line of the trigram Kun, representing the solemn and fierce energy of heaven and earth. The trigram Qian is at this position, representing the sovereign and father. The winter trigram is Kan, where all things reach completion. From "Zhen" it turns to "Yuan," which occurs at the end of winter, so the trigram Gen completes it. Gen means "to stop," as the year is about to end and its function ceases. By placing Li and Kan correctly, one places the aspects of growth and gathering; by placing Li, Kan, Zhen, and Dui correctly, one places the four seasons; by placing Zhen, Xun, Li, Kun, Dui, Qian, Kan, and Gen correctly, one places the eight seasonal divisions of the year. Thus the heavenly time moves, human affairs are accomplished, and the great way of the sovereign governing the state and pacifying the world becomes grand. It encompasses heaven and earth, enabling all things to correct their destiny and nature, which is probably the meaning of the "Wen Yan" of the "Qian" hexagram saying "after the later heaven, it follows the heavenly time."

洛書之數，奇者居正，耦者居隅，尊陽也。卦以配之，各從其類。乾為純陽而配九。九，陽之極也。於河圖之位為二七。二合七非九乎，故乾稱用九。坤匹乾為純陰。厥配為一，陽饒而陰乏也。亦河圖天一之本位也。以九一截數之終始，以乾坤定卦之陰陽，則六子均可計焉。

The numbers of the Luo Shu are arranged so that odd numbers occupy the four cardinal positions and even numbers the four corners, which is due to the reverence for Yang. When the Eight Trigrams are paired with the Luo Shu, each is matched according to its kind. Qian is entirely Yang and is paired with nine; nine is the extreme of the Yang numbers. In the He Tu, Qian originally occupies the position paired with two and seven, and two plus seven is exactly nine. Therefore, the use of the line in the Qian hexagram is called "use nine." Kun, which matches with Qian as the entirely Yin trigram, is paired with one; this signifies that Yang numbers are abundant while Yin numbers are deficient. One is also the original position of "Heavenly One" in the He Tu. "Use nine" and one take the end and beginning of numbers respectively, and with Qian and Kun establishing the Yin and Yang of the hexagram, the order of the six subsidiary trigrams—Zhen, Kan, Gen, Xun, Li, and Dui—can then be deduced.

乾一交於坤得震，故次乾曰震，次九曰八。再交於坤得坎，故次震曰坎，次八曰七。三交於坤得艮，故次坎曰艮，次七曰六。而三男之位定矣。坤一交於乾得巽，故次坤曰巽，次一曰二。再交於乾得離，故次巽曰離，次二曰三。三交於乾得兌，故次離曰兌，次三曰四。而三女之位亦定矣。是以論其位，則乾一兌二離三震四巽五坎六艮七坤八。論其數，則乾九震八坎七艮六坤一巽二離三兌四。以卦之生得其數，以數之位序其卦云爾。

Heavenly Stem Jia first combines with Earthly Branch Zi to produce Zhen, so after Qian comes Zhen, nine follows eight; secondly, Jia combines with Zi to produce Kan, so after Zhen comes Kan, eight follows seven; thirdly, Jia combines with Zi to produce Gen, so after Kan comes Gen, seven follows six—thus the positions of Zhen, Kan, and Gen, the three male trigrams, are established. Earthly Branch Zi first combines with Jia to produce Xun, so after Zi comes Xun, one follows two; secondly, Zi combines with Jia to produce Li, so after Xun comes Li, two follows three; thirdly, Zi combines with Jia to produce Dui, so after Li comes Dui, three follows four—thus the positions of Xun, Li, and Dui, the three female trigrams, are also established. Therefore, if we consider the earlier Heaven trigram positions, they are Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, and Kun eight; if we consider the numbers of the Luo Square, they are Qian nine, Zhen eight, Kan seven, Gen six, Kun one, Xun two, Li three, and Dui four. This is merely determining the numbers based on the generation of the trigrams and then arranging the trigrams according to the numerical positions.

先天乾坤為父母，以生六子之用。後天坎離為繼體，共生四子以還歸乎大父母之用。此卦位之所以異也。乾坤之體，體純陰純陽。相交而生，生之用已弘。離坎之體，襍陽襍陰。必互異而生，生之用乃顯。此尤卦位之所以異也。夫離陽儀所生，繼乾故居南而當九。坎陰儀所生，繼坤故居北而當一。離坎即父母也。坎之初爻易乎離，則中女生男。故離之次艮，九之次八。即以離之初爻易乎坎，則中男生女。故艮之次兌，八之次七。

In the Earlier Heaven arrangement, the trigrams Qian (Heaven) and Kun (Earth) are considered the parents, from which six children are generated. In the Later Heaven arrangement, the trigrams Kan (Water) and Li (Fire) inherit the main structure, and together they produce four children, eventually returning to the function of the original parents Qian and Kun. This is one reason for the difference between the Earlier Heaven and Later Heaven arrangements. The essence of Qian is pure yang, and the essence of Kun is pure yin. When they interact, they can generate and transform, and their function of generation and transformation is already great. However, the essence of Li contains yin within yang, and the essence of Kan contains yang within yin. They must exchange and differ in their lines to generate and transform, and only then does their function of generation and transformation become evident. This is another reason for the difference between the Earlier Heaven and Later Heaven arrangements. Li is generated from the yang symbol and inherits Qian, so it is located in the south and corresponds to the number nine. Kan is generated from the yin symbol and inherits Kun, so it is located in the north and corresponds to the number one. In the Later Heaven arrangement, Kan and Li are regarded as the parents. Exchanging the first line of Kan with the first line of Li produces Gen (Mountain), which represents a woman giving birth to a man, so Li is followed by Gen, and nine is followed by eight. Conversely, exchanging the first line of Li with the first line of Kan produces Dui (Lake), which represents a man giving birth to a woman, so Gen is followed by Dui, and eight is followed by seven.

及坎之中爻易乎離，則中女之用還歸乎大父。故兌之次乾，七之次六。而乾兌艮之位定矣。即以離之中爻易位坎，則中男之用還歸乎大母。故坎之次坤，一之次二。坎之上爻易乎離，則中女又生男。故坤之次震，二之次三。即以離之上爻易乎坎，則中男更生女。故震之次巽，三之次四，而坤震巽之位定矣。先天正乾坤而八卦正。後天正離坎而八卦亦正。至八卦正乎離坎，而乾坤垂拱無為以董厥成，則又乾坤之妙其用，而離坎之神其能也。

When the middle line of the Kan trigram exchanges with the middle line of the Li trigram, the function of the middle daughter "Li" returns to the great father "Qian," so after Dui trigram comes Qian trigram. Following the numerical sequence, after seven comes six, and the positions of Qian, Dui, and Gen trigrams are thus determined. Conversely, when the middle line of the Li trigram exchanges with the middle line of the Kan trigram, the function of the middle son "Kan" returns to the great mother "Kun," so after Kan trigram comes Kun trigram. Following the numerical sequence, after one comes two. When the upper line of the Kan trigram exchanges with the upper line of the Li trigram, the middle daughter gives rise to a son trigram, so after Kun trigram comes Zhen trigram. Following the numerical sequence, after two comes three. Conversely, when the upper line of the Li trigram exchanges with the upper line of the Kan trigram, the middle son gives rise to a daughter trigram, so after Zhen trigram comes Xun trigram. Following the numerical sequence, after three comes four, and the positions of Kun, Zhen, and Xun trigrams are thus determined. In the Earlier Heaven diagram, placing Qian and Kun trigrams in their proper positions corrects the positions of all eight trigrams. In the Later Heaven diagram, placing Li and Kan trigrams in their proper positions also corrects the positions of all eight trigrams. When all eight trigrams are properly aligned with Li and Kan, Qian and Kun can govern by simply observing the results, without personally acting. This is precisely how Qian and Kun skillfully apply their functions, and how Li and Kan remarkably display their abilities.

學後天者，亦正其離坎而已。

Therefore, those who study the Later Heaven system begin their practice by properly placing the two trigrams Li (Fire) and Kan (Water). The Earlier Heaven diagram uses Qian (Heaven) and Kun (Earth) as the meridians of north and south, with the focus on aligning Qian and Kun. In the Later Heaven diagram, Li and Kan take the place of Qian and Kun, occupying the positions of north and south, so the focus shifts to aligning Li and Kan. Once the pair of trigrams Li (south) and Kan (north) are correctly positioned, the other four trigrams Zhen (Thunder), Dui (Lake), Xun (Wind), and Gen (Mountain) along with Qian and Kun will naturally return to their proper places. The key to the entire Later Heaven system lies in this alignment.

南北為經，東西為緯，夫人而知之矣。而八卦之經緯更有異焉。先天以震巽為經，後天以坤艮為經，而諸卦皆為緯。先天者，天地之生氣也。後天者，天地之成氣也。震巽為木為春為發生，一氣互乾東北西南，而凡緯於其間皆主生。於是乾生坎，艮生兌，離生坤，以成先天之位。

The north-south direction is called the meridian, and the east-west direction is called the latitude, which is common knowledge. However, the Eight Trigrams have their own system of meridians and latitudes, different from this. In the Earlier Heaven diagram, the trigrams Zhen and Xun are considered the meridians, while in the Later Heaven diagram, the trigrams Kun and Gen are the meridians. The other trigrams are regarded as latitudes. The Earlier Heaven diagram represents the vital energy of the generation of heaven and earth, while the Later Heaven diagram represents the vital energy of the formation of things. Zhen and Xun belong to wood and are associated with spring, governing the process of growth. This energy runs along a line from the Northeast to the Southwest. All trigrams lying across this line are considered to be related to 'generation'. Thus, Qian generates Kan, Gen generates兑, and Li generates Kun, and the positions of the trigrams in the Earlier Heaven diagram are determined in this way.

坤艮為土為季氣為收藏，一氣互於東北西南，而凡緯乎其間者皆主尅。於是坎尅離，兌尅震，乾克巽，以成後天之位。先天主生，故人之飲食、衣服、醫藥之屬咸取法焉。後天主尅，故人之祭祀、棺槨之屬咸取法焉。有後天而無先天則無本，有先天而無後天則不成。至生之中未嘗無尅，尅之中未嘗無生。觸類而長之可耳。

The trigrams K'un and Gen belong to earth and correspond to the final months of the four seasons, known as the 'seasonal qi', which governs storage and gathering. This particular qi flows along the line from the northeast to the southwest. All trigrams lying across this line are characterized by 'overcoming' (ke). Thus, Kan overcomes Li, Dui overcomes Zhen, and Qian overcomes Xun. The arrangement of the later heaven trigrams is thus established. The earlier heaven trigrams focus on generation, so matters related to human sustenance, clothing, and medicine, which pertain to nourishing life, are modeled after the earlier heaven diagram. The later heaven trigrams focus on overcoming, so matters related to worship and funerary practices, which pertain to the end of life, are modeled after the later heaven diagram. Without the earlier heaven, things would lose their root; without the later heaven, things would be unable to be completed. Moreover, within generation there is also overcoming, and within overcoming there is also generation. Following this principle, one can proceed to deduce further.

圜，天象也。卦之有圜圖，法天也。天之可見者，莫如陰陽。陰陽之可見者，莫如四時。天之陰極於冬，陰極陽生為冬至。天之陽極於夏，陽極生為夏至。故二至為陰陽之樞紐。卦之陽極於乾，陽極陰生而為姤。卦之陰極於坤，陰極陽生而為復。故乾坤姤復亦為陰陽之樞紐。知此可與言圜圖矣。歲一而已，二之為冬夏，四之為春夏秋冬，八之為八節者，陰陽迭運以成其寒暑也。卦各一而已，倍之十六，再倍之三十二，又倍之六十四者，陰陽迭運以成其貞悔也。

The circle represents the image of Heaven; the reason why the hexagram diagram is made in a circular form is because it follows the pattern of Heaven. In the way of Heaven, the most visible is yin and yang. Within yin and yang, the most visible is the four seasons. The yin energy of Heaven reaches its end in winter, and when yin reaches its extreme, yang begins to return, which is the winter solstice. The yang energy of Heaven reaches its end in summer, and when yang reaches its extreme, yin begins to emerge, which is the summer solstice. Therefore, the winter and summer solstices are the main turning points of yin and yang. The yang energy in the hexagrams reaches its extreme in the hexagram Qian, and when yang reaches its extreme, yin begins to emerge, forming the hexagram Gou. The yin energy in the hexagrams reaches its extreme in the hexagram Kun, and when yin reaches its extreme, yang begins to emerge, forming the hexagram Fu. Therefore, the four hexagrams Qian, Kun, Gou, and Fu are also the main turning points of yin and yang. Only when one understands this can one discuss the circular diagram. A year is originally a single whole; when divided into two parts, it becomes winter and summer; when divided into four parts, it becomes the four seasons; when divided into eight parts, it becomes the eight solar terms. This is how the alternation of yin and yang creates cold and heat. Each hexagram is originally a single whole; when doubled, it becomes sixteen; when doubled again, it becomes thirty-two; when doubled again, it becomes sixty-four. This is how the alternation of yin and yang divides the inner trigram 'Zhen' and the outer trigram 'Hui'.

夫天道流行始乎陽，而陽之初生又始之始也。陽則生於極陰，坤爰生復為陽始，冬至配焉。盡震宮八卦至明夷，離為貞卦。一陰又生於三爻，立春配焉。盡離宮八卦至於臨，兌為貞卦。一陽又生於二爻，春分配焉。盡兌宮八卦至於泰，貞卦三陽，立夏配焉。盡乾宮八卦至於乾，貞悔皆陽。陽極陰生得姤卦，夏至配焉。盡巽宮八卦至於訟，坎為貞卦。一陰又生於三爻，立秋配焉。盡坎宮八卦至於遯，艮為貞卦。一陰又生於二爻，秋分配焉。盡艮宮八卦至於否，貞卦三陰，立冬配焉。盡坤宮八卦至於坤，貞悔皆陰。陰極陽生，又得復卦配冬至。卦氣相配，循環無端。

Heavenly movement begins with yang energy, and the initial emergence of yang energy is the beginning of the beginning. Yang energy arises in the extreme yin place, after the Kun trigram comes the Fu hexagram, which marks the beginning of yang energy, corresponding to the winter solstice. After completing the eight trigrams of the Zhen palace to Mingyi, the lower trigram (Zhen hexagram) becomes Li, which is when the third line changes from yin to yang (the original text says 'one yin', but according to hexagram transformation it should be 'one yang'), corresponding to the beginning of spring. After completing the eight trigrams of the Li palace to Lin, the lower trigram becomes Dui, which is when the second line generates another yang, corresponding to the spring equinox. After completing the eight trigrams of the Dui palace to Tai, the lower trigram has all three lines as yang, corresponding to the beginning of summer. After completing the eight trigrams of the Qian palace to Qian, both the inner and outer trigrams are all yang lines, and when yang reaches its extreme, yin arises, resulting in the Guo hexagram, corresponding to the summer solstice. After completing the eight trigrams of the Xun palace to Song, the lower trigram becomes Kan, which is when the third line generates another yin, corresponding to the beginning of autumn. After completing the eight trigrams of the Kan palace to Dun, the lower trigram becomes Gen, which is when the second line generates another yin, corresponding to the autumn equinox. After completing the eight trigrams of the Gen palace to Pǐ, the lower trigram has all three lines as yin, corresponding to the beginning of winter. After completing the eight trigrams of the Kun palace to Kun, both the inner and outer trigrams are all yin lines, and when yin reaches its extreme, yang arises, regaining the Fu hexagram and corresponding to the winter solstice. The hexagram energies correspond with the solar terms in this way, cycling endlessly without beginning or end.

蓋天道左旋而卦則之。以陰陽之升降言，則復至乾姤至坤皆順。以卦體之初生言，則復至乾姤至坤皆逆。以衡圖相配言，則姤至坤為順，復至乾為逆。運行無窮而乾南坤北離東坎西之位不失。先天之八卦，得此益彰矣。按，此篇以衡圖相配之順逆與《說卦傳》所稱順逆不同。《說卦傳》以豫推未生之卦為逆，數已生之卦為順。以合衡圖之序為順，逆衡圖之序為逆也。

The general principle is that the heavenly way moves to the left, and the trigram diagram follows this pattern. In terms of the rising and falling of yin and yang, moving from the trigram of "Return" to "Heaven" and from "Meeting" to "Earth" is considered correct; in terms of the order of the initial emergence of the trigrams, moving from "Return" to "Heaven" and from "Meeting" to "Earth" is considered reverse; in terms of matching the order of the horizontal diagram, moving from "Meeting" to "Earth" is correct, while moving from "Return" to "Heaven" is reverse. This continuous movement ensures that the positions of Heaven in the south, Earth in the north, Fire in the east, and Water in the west remain unchanged. Thus, the meaning of the Earlier Heaven Trigrams is more clearly understood through this diagram. Chen's note: The concept of correct and reverse order mentioned in this passage regarding the matching with the horizontal diagram is not the same as the correct and reverse order discussed in the "Explanation of the Trigrams." The "Explanation of the Trigrams" refers to calling a trigram that has not yet been generated as reverse, and a trigram that has already been generated as correct. In contrast, this passage considers matching the order of the horizontal diagram as correct and going against it as reverse.

天左旋，日月星辰右轉。一順一逆，變化見矣。圜圖陰陽之升降則左旋以法天，六十四卦之相生則右轉以法七政。乾卦生兌離震，坤卦生巽坎艮。六子之所生，皆乾坤之所生也。故生卦之本，惟乾坤雲。乾坤而六十四卦之位以正，三百八十四爻之變以章章焉。夬至坤皆生於乾，剝至乾皆生於坤。貞卦以宰之，悔卦以動之。悔卦之變一周而貞卦一變，貞悔之變一周而乾坤一變，六十四卦所以全乾坤之用也。

The celestial bodies rotate to the left, while the sun, moon, and stars move to the right. In this interplay of clockwise and counterclockwise motion, change becomes evident. In the circular diagram, the rising and falling of yin and yang follow the leftward rotation, modeled after the heavens; the mutual generation of the sixty-four hexagrams follows the rightward movement, modeled after the sun, moon, and the five planets (the seven celestial bodies, or "seven ministers"). The Qian hexagram gives rise to Dui, Li, and Zhen; the Kun hexagram gives rise to Xun, Kan, and Gen. All the hexagrams generated by the six subsidiary hexagrams ultimately originate from Qian and Kun. Therefore, the fundamental source of all hexagrams is only Qian and Kun. With Qian and Kun, the positions of the sixty-four hexagrams are properly arranged, and the changes of the 384 lines become clear. From the hexagram Guai to Kun, all are generated from Qian; from the hexagram Po to Qian, all are generated from Kun. The inner trigram "Zhen" governs it, while the outer trigram "Hui" initiates it: the outer trigram completes a full cycle before the inner trigram moves once; when both inner and outer trigrams complete a full cycle, Qian and Kun move once—thus the sixty-four hexagrams fully express the functions of Qian and Kun.

貞悔六陽為乾，其變也自悔始。上九變則得夬，九五變得大有，五與上變得大壯，九四變則得小畜，四與上變則得需，四與五變得大畜，以及乎泰，則悔卦之變一周矣。悔卦之變一周，則貞卦九三變而得履，乃乾艮而兌進矣。兌之變一周而離退，離之變一周而震進，震之變一周而坤進，然後貞悔之變一周而消息視之。

The entire six lines of the inner and outer trigrams being all yang is the hexagram Qian. Its transformation begins with the outer trigram (the hexagram of regret): the line at the top (nine at the top) changes to the hexagram Guai, the line at the fifth position (nine in the fifth) changes to Da You, the lines at the fifth and top positions change to Da Zhuang, the line at the fourth position (nine in the fourth) changes to Xiao Xu, the lines at the fourth and top positions change to Xu, the lines at the fourth and fifth positions change to Da Xu, and so on until reaching Tai. When the outer trigram has completed one full cycle of transformation, the inner trigram (the hexagram of sincerity) then changes at the third line (nine in the third) to the hexagram Liu. Thus, Qian retreats and Dui advances (the original text says 'Qian Gen' but should be 'Qian retreats', as shown by the following text 'Kun retreats and Gen advances'). When Dui completes one full cycle, Li retreats; when Li completes one full cycle, Zhen advances; when Zhen completes one full cycle, Kun advances; then both the inner and outer trigrams complete one full cycle each, and the waxing and waning of yin and yang can be seen clearly in the diagram.

貞悔六陰為坤，其變也亦自悔始。上六變則得剝，六五變得比，五與上變得觀，六四變則得豫，四與上變得晉，四與五變得萃，以及否，則悔卦之變一周矣。悔卦之變一周，則貞卦六三變而得謙，乃坤退而艮進矣。艮之變一周而坎退，坎之變一周而巽進，巽之變一周而乾進，然後貞悔之變又一周而消息亦視之。陰陽相易，貞悔相濟。六爻感應，若日月之往來而靡間也。若五緯之各得其道而不紊也。此其包括宇宙而無遺也。

The inner and outer trigrams with all six lines yin are the hexagram of Kūn. Its transformation begins with the outer trigram: the line at the top changes to Bō, the line at the fifth changes to Bǐ, the lines at the fifth and top together change to Guān, the line at the fourth changes to Yù, the lines at the fourth and top together change to Jìn, the lines at the fourth and fifth together change to Cuì, continuing until Pǐ. When the outer trigram has completed a full cycle of transformation, the line at the third of the inner trigram changes to Qiān, and thus Kūn retreats while Gèn advances. When Gèn completes a full cycle, Kǎn retreats, and when Kǎn completes a full cycle, Xùn advances, and when Xùn completes a full cycle, Qián advances. Then both the inner and outer trigrams complete a full cycle of transformation. The waxing and waning of yin and yang are clearly visible in the diagram. Yin and yang alternate with each other, the inner and outer trigrams support each other, and the six lines respond to each other, just as the sun and moon move without interruption, and the five elements of metal, wood, water, fire, and earth follow their respective orbits without disorder. This is why the circular diagram can encompass the universe without omission.

一陰一陽之謂道。陰無陽不成其為陰，陽無陰不成其為陽。陰陽相須，故圜圖有對待之象焉。乾生兌離震為陽卦。凡乾兌離震之所生，皆陽卦也。乾至復三十二卦，是以居左。坤生艮坎巽為陰卦。凡坤艮坎巽之所生，皆陰卦也。坤至姤三十二卦，是以居右。陽左陰右，兩儀對待也。

The *Great Treatise* says, "One yin and one yang is called the Way." Yin cannot become yin without yang, and yang cannot become yang without yin. Yin and yang depend on each other and seek each other, which is why the circular diagram has pairs of opposing images. The trigrams generated by Qian (Heaven) — Dui (Lake), Li (Fire), and Zhen (Thunder) — are all yang trigrams. Any trigrams generated by Qian, Dui, Li, or Zhen are also yang trigrams. From *Qian* to *Fu* there are thirty-two trigrams, so they are arranged on the left side of the diagram. The trigrams generated by Kun (Earth) — Gen (Mountain), Kan (Water), and Xun (Wind) — are all yin trigrams. Any trigrams generated by Kun, Gen, Kan, or Xun are also yin trigrams. From *Kun* to *Gou* there are thirty-two trigrams, so they are arranged on the right side of the diagram. Yang is on the left, yin on the right, forming the pattern of two principles facing each other.

然陽卦之中亦有陰，陰卦之中亦有陽，又莫不自相對待。如一陽五陰之復、剝、比、豫、謙、師，則對一陰五陽之姤、夬、大有、小畜、履、同人也。二陰四陽之無妄、家人、離、革、中孚、睽、兌、大畜、需、大壯、大過、鼎、巽、訟、遯。則對二陽四陰之升、解、坎、蒙、小過、蹇、艮、萃、晉、觀、頤、屯、震、明夷、臨也。若泰、歸妹、節、損、豐、既濟、賁、隨、噬嗑、益之對否、漸、旅、咸、渙、未濟、困、蠱、井、恆，則陰陽半焉者也。乾之與坤，則以純陽而對純陽也。多寡相配，上下相求。東西成列一陰一陽，而開物成務之事畢矣。

However, the yin elements are contained within the yang trigrams, and the yang elements are contained within the yin trigrams. They are interdependent and complementary. For example, the trigrams with one yang and five yin, such as Fu, Bo, Bi, Yu, Qian, and Shi, correspond to those with one yin and five yang, such as Guo, Guai, Da You, Xiao Xu, Lu, and Tong Ren. The trigrams with two yin and four yang, such as Wu Wang, Jia Ren, Li, Ge, Zhong Fu, Kui, Dui, Da Xu, Xu, Da Zhuang, Da Guo, Ding, Xun, Song, and Duan, correspond to those with two yang and four yin, such as Sheng, Jie, Kan, Meng, Xiao Guo, Jian, Gen, Cui, Jin, Guan, Yi, Tun, Zhen, Ming Yi, and Lin. As for Tai, Gui Mei, Jie, Shen, Feng, Ji Ji, Ben, Sui, Shi He, and Yi, which correspond to Po, Zhen, Lu, Shan, Huan, Wei Ji, Kun, Gu, Jing, Heng, these are of the type where yin and yang are equally divided. Qian and Kun are opposite to each other, representing pure yang and pure yin respectively (the character 'yang' in the original text should be 'yin'). The quantity of yin and yang is balanced, and the two lines above and below are interdependent. The lines on the east and west sides are arranged in pairs, with one yin and one yang corresponding exactly. The principles of opening up all things and achieving success are fully contained within this.

孔子之說卦也，則曰八卦成列，因而重之。邵子之說卦也，則曰一分為二，二分為四，四分為八，八分為十六，十六分為三十二，三十二分為六十四。二說蓋不類云，及詳夫圜圖，而知邵子固已摻孔子左券也。卦次運行以中為界。乾姤為首，坤復為尾，六十四卦若翼之垂。左右分行，起首而止乎尾。故貞卦兌二次乾一，繼而離三，繼而震四，左行及尾止焉。

Confucius discussed the arrangement of hexagrams, stating in the Great Treatise that "the eight trigrams are arranged in order, and then each is repeated." Shao Yong, on the other hand, described the process as dividing one into two, two into four, four into eight, eight into sixteen, sixteen into thirty-two, and thirty-two into sixty-four. At first glance, these two approaches seem different, but upon closely examining the circular diagram, it becomes clear that Shao Yong actually held evidence consistent with Confucius's view (ancient people split a symbol into two halves, each holding one half, and the "left voucher" refers to the matching half). The order of the hexagrams is arranged on the diagram with the center as the boundary. The hexagrams "Qian" and "Gou" are at the beginning, while "Kun" and "Fu" are at the end. The sixty-four hexagrams spread out like the wings of a bird, extending to the left and right from the beginning to the end. Therefore, considering the inner trigram (the confirming hexagram), "Dui" follows "Qian," then "Li," then "Zhen," proceeding to the left until reaching the end.

巽五亦次乾一，繼而坎六，繼而艮七，繼而坤八，右行極尾止焉。悔則八卦一周，當貞之一卦，亦起首而止乎尾。左起乾一次二三，向左疊行，終而復始，乾至復是也。右亦起乾一次二三，向右疊行，終而復始。姤至坤是也。孔子所謂因而重之者此卦，邵子所謂遽而者即此卦也。邵子則言其相生之漸，孔子則言其已成之象。非邵子則孔子之言不明，非孔子則邵子之言不全，後之人執一而失之，亦重可慨夫。

The fifth trigram Xun follows the first trigram Qian, then comes the sixth trigram Kan, followed by the seventh trigram Gen and the eighth trigram Kun, proceeding to the right until reaching the end. As for the outer trigram (the trigram of regret), it must go through all eight trigrams in one full cycle before arriving at one trigram of the inner trigram, starting again from the beginning and proceeding to the end. On the left side, starting from Qian, it proceeds in order to the second, third, and so on, layer by layer to the left, and after completing one cycle, it starts again, which corresponds to the section from Qian to Fu. On the right side, it also starts from Qian, proceeding in order to the second, third, and so on, layer by layer to the right, and after completing one cycle, it starts again, which corresponds to the section from Guo to Kun. Confucius' statement "thereby stacking them again" refers precisely to these trigrams. Shao Yong's description of layer by layer generation (the words "ju er" are suspected to be a mistake or omission) also refers to these trigrams. Shao Yong discusses the gradual process of mutual generation, while Confucius discusses the already formed trigrams. Without Shao Yong, Confucius' words would be unclear; without Confucius, Shao Yong's words would be incomplete. Later scholars each hold only one side and lose the other, which is truly regrettable.

兩儀既判，極天下之至變，若非兩儀之妙也。則極天下之至變，莫不有兩儀之之象也。圜圖初爻三十二陽居左，三十二陰居右，合而則一陰一陽也。乾至復坤至姤之卦備而兩儀立矣。

When the two principles (yin and yang) are divided by the single principle (the One), the world undergoes extreme transformation, and nothing is not the subtle application of the two principles; the world undergoes extreme transformation, and nothing does not carry the image of the two principles. At the bottom of the circular diagram, the first line has thirty-two yang lines on the left and thirty-two yin lines on the right. When viewed together, they form one yin and one yang. From the hexagram Qian to Fu, and from Kun to Guo, all the hexagrams are complete, and the two principles are thus established in the diagram.

兩儀生四象，則極天下之至變，莫非四象之妙也。極天下之至變，莫不有四象之象也。圜圖二爻乾至臨十六陽，而間同人至復十六陰。坤至遯十六陰，而間師至姤十六陽。合之則二陽二陰，四象之象也。又合南三十二皆陽，北三十二皆陰，非即兩儀哉。

The two principles (yin and yang) give rise to the four images (the four trigrams), thus the changes in the world reach their extreme, and nothing is not the result of the subtle workings of the four images; the changes in the world reach their extreme, and nothing does not carry the form of the four images. Looking at the circular diagram, counting upward from the bottom, the second line: from the Trigram Qian to the Trigram Lin consists of sixteen yang lines, with sixteen yin lines in between, from Tongren to Fu; from the Trigram Kun to Dun consists of sixteen yin lines, with sixteen yang lines in between, from Shi to Gou. When viewed together, this is two yang and two yin alternating, which is exactly the form of the four images. If we then consider the southern half, which consists of thirty-two yang lines, and the northern half, which consists of thirty-two yin lines, combined together, this is again the two principles.

四象生八卦，則天下之至變，莫非八卦之妙也。極天下之至變，莫非有八卦之象也。圜圖三爻乾至泰八陽，而間履至臨八陰。坤至否八陰，而間謙至遯八陽。姤至升復至無妄，而間訟至師明夷至同人，八卦之象也。合之則四陽四陰，八卦而即四象也。

The four images gave rise to the eight trigrams, and thus the changes in the world reached their extreme, with nothing not being the subtle application of the eight trigrams; the changes in the world reached their extreme, and nothing failed to carry the image of the eight trigrams. Looking at the circular diagram's third line: from the trigram Qian to Tai, there are eight yang lines, with the eight yin lines from Li to Lin in between; from Kun to Po, there are eight yin lines, with the eight yang lines from Qian to Dun in between; from Gou to Sheng, and from Fu to Wuwang, these two sections are also separated by the eight lines from Song to Shi, and from Mingyi to Tongren. This is the image of the eight trigrams. When viewed together, it is four yang lines and four yin lines alternating, and the eight trigrams are essentially the doubling of the four images.

八而倍之，十六所自起也。極天下之至變，莫不有八卦之象，則亦莫不有十六之象也。圜圖四爻乾至大壯四陽也，而間小畜至泰四陰。履至歸妹、同人至豐、無妄至震之間中孚至臨、家人至明夷、益至復，法皆仝矣。坤至觀四陰也，而間豫至否四陽。謙至漸、師至渙、升至巽之間小過至遯、解至訟、恆至姤，法皆同矣。合之則八陰八陽，十六之象即八卦之象也。而以四相間，又非四象乎。

Eight trigrams doubled become sixteen, which is the origin of the number sixteen. When the changes in the world reach their extreme, nothing lacks the image of the eight trigrams, so nothing also lacks the image of sixteen. Looking at the circular diagram's fourth line: from Qian to Da Zhuang there are four yang lines, with four yin lines in between, from Xiao Xu to Tai; in addition, from Li to Gui Mei, from Tong Ren to Feng, and from Wu Wang to Zhen, each of these sections has four yin lines in between, from Zhong Fu to Lin, from Jia Ren to Ming Yi, and from Yi to Fu, and the arrangement is exactly the same. From Kun to Guan there are four yin lines, with four yang lines in between, from Yu to Pǒ; in addition, from Qian to Jie, from Shi to Huan, and from Sheng to Xun, each of these sections has four yang lines in between, from Xiao Guo to Dun, from Jie to Song, and from Heng to Gou, and the arrangement is exactly the same. When viewed together, it is eight yin and eight yang, making sixteen, which is the doubling of the image of the eight trigrams; and since it is arranged with four lines as a section, it is not also the four yin and four yang, the four images?

十六又倍之，三十二所自起也。則有十六之象也，莫不有三十二之象也。圜圖五爻履兌二陽而間二陰之睽歸妹，謙艮二陰而間二陽之蹇漸。餘五十六卦之相間，莫不皆然。合之則十六陽十六陰，十六之象即三十二之象也。而相間以二，亦即兩儀之象也。

Sixteen doubled is thirty-two, which is the origin of the number thirty-two. Since there is the image of sixteen, there is no reason it should not also carry the image of thirty-two. Looking at the circular diagram's fifth line: The hexagrams "Zhu" and "Dui" are two yang lines, with the hexagrams "Kui" and "Gui Mei" in between, which are two yin lines; the hexagrams "Qian" and "Gen" are two yin lines, with the hexagrams "Jian" and "Jian" in between, which are two yang lines. The remaining fifty-six hexagrams are also arranged in this alternating pattern. When viewed as a whole, there are sixteen yang lines and sixteen yin lines. The image of sixteen is half of the image of thirty-two; and the arrangement of two lines as a section alternately is the image of the two principles.

卦之有六十四，生於三十二也。推而上之，生於一。一與二，三十二與六十四，卦之終始也。圜圖上爻一陰一陽相間而列。合之則三十二陽、三十二陰，六十四之象即三十二之象也。而陰陽相間以一為率，兩儀之象即太極之象也。

There are sixty-four lines in the hexagrams, which come from doubling thirty-two; tracing back layer by layer, they ultimately originate from 'one'. One and two correspond to thirty-two and sixty-four, representing the end and beginning of the hexagrams. Looking at the top line of the circular diagram, it shows yin and yang alternating; when viewed together, it consists of thirty-two yang lines and thirty-two yin lines. The image of sixty-four is simply the image of thirty-two doubled. Yin and yang alternate in one line as a section, and the image of the two principles ultimately comes down to the image of the Taiji.

《周易》始於乾坤，終於既濟未濟，一經之終始也。上經始於乾坤，終於坎離。下經始於咸恆，終既濟未濟。一分為二而各有終始也。始於乾坤，中於泰否，終於坎離，為上經。始於咸恆，中於損益，終於既濟未濟，為下經。上下經之各有始各有中各有終，所以成一經之始於乾坤終於既濟未濟也。

The Zhou Changes begins with the trigrams Qian (Heaven) and Kun (Earth), and ends with Ji Ji (Completion) and Wei Ji (Not Yet Completed), forming the beginning and end of the entire book. The Upper Classic starts with Qian and Kun, and ends with Kan (Water) and Li (Fire); the Lower Classic starts with Xian (Mutual Attraction) and Heng (Permanence), and ends with Ji Ji and Wei Ji. The entire book is divided into two parts, each with its own beginning, middle, and end. The Upper Classic begins with Qian and Kun, has in the middle Tai (Harmony) and Po (Opposition), and ends with Kan and Li. The Lower Classic begins with Xian and Heng, has in the middle Shen (Loss) and Yi (Gain), and ends with Ji Ji and Wei Ji. Each part has its own beginning, middle, and end, and together they form the overall structure of the entire book, which begins with Qian and Kun and ends with Ji Ji and Wei Ji.

而始於乾坤終於既濟未濟者何也。上經言乾坤坎離，實則乾為主坎用事，宗陽也。下經言震巽艮兌，實則坤為主離用事，宗陰也。乾坤坎離，萬象之樞也。故始於乾坤而終於既濟未濟，即始於乾坤而終於坎離也。然不終於坎離而終於既濟未濟何也。

Then why do we begin with Qian and Kun and end with Ji Ji and Wei Ji? The Upper Canon appears to discuss Qian, Kun, Kan, and Li, but in reality it centers on the Qian hexagram with Kan hexagram in charge, emphasizing Yang; the Lower Canon appears to discuss Zhen, Xun, Gen, and Dui, but in reality it centers on the Kun hexagram with Li hexagram in charge, emphasizing Yin. Qian, Kun, Kan, and Li are the fundamental pillars of all phenomena. Therefore, "beginning with Qian and Kun and ending with Ji Ji and Wei Ji" is equivalent to "beginning with Qian and Kun and ending with Kan and Li." But if that is the case, why end with Kan and Li directly, rather than with Ji Ji and Wei Ji?

乾坤立坎離之體，坎離妙乾坤之用。因乾坤之交不交以生坎離之用，因坎離之交不交以章乾坤之體。坎離一乾坤也。乾坤得坎離，則每於不交者正其位。坎離繼乾坤，則必於交其[文瀾本“其”作“者”]呈其能。未言離坎坎[文瀾本“離坎坎”作“坎離首言”]乾坤，曰乾曰坤曰坎曰離，乾坤坎離之不交者也。乾坤之不交，即坎離之不交也。既言泰否，終言既濟未濟。曰泰曰否曰既濟曰未濟，乾坤坎離之交者也。坎離之交，即乾坤之交也。《周易》雖分上下經，雖各有終始。實則始於乾坤，中於坎離，終於既濟未濟。坎離不交即乾坤，而交即既濟未濟。

Heavenly Stems and Earthly Branches form the basis of Kan and Li, and Kan and Li elaborate the functions of Heaven and Earth in a refined manner. The interaction or non-interaction of Heaven and Earth gives rise to the functions of Kan and Li; the interaction or non-interaction of Kan and Li reveals the nature of Heaven and Earth. In the end, Kan and Li are essentially Heaven and Earth. When Heaven and Earth have Kan and Li, they remain in a state of non-interaction, each maintaining its proper position. When Kan and Li take up the role of Heaven and Earth, they must demonstrate their abilities in the place where they interact (here, "交其" is in the Wenlan edition written as "交者"). The opening of the Upper Classic first mentions Heaven, Earth, Kan, and Li (the original text reads "未言离坎坎乾坤," which has an error; in the Wenlan edition, the three characters "离坎坎" are written as "坎离首言"). It discusses Heaven, Earth, Kan, and Li, and these four trigrams all represent the state where Heaven and Earth and Kan and Li do not interact with each other. The non-interaction of Heaven and Earth is also the non-interaction of Kan and Li. Later, it discusses Tai and Po, and finally Ji Ji and Wei Ji, discussing Tai, Po, Ji Ji, and Wei Ji, which all represent the state where Heaven and Earth and Kan and Li interact with each other. The interaction of Kan and Li is also the interaction of Heaven and Earth. Although the Zhou Changes are divided into Upper and Lower Classics, each with their own beginning and end, in reality, they start with Heaven and Earth, proceed through Kan and Li, and conclude with Ji Ji and Wei Ji. When Kan and Li do not interact, they are Heaven and Earth; when they do interact, they become Ji Ji and Wei Ji.

凡震巽艮兌錯行於其間，以成乾坤既濟未濟之終始。乾坤既濟未濟，誠萬象之樞也。盍觀乎圜圖之互卦乎。以六十四卦互得三十二卦。左右八分列，實得一十六卦。曰乾曰夬曰睽曰歸妹曰家人曰既濟曰頤曰復曰姤曰大過曰未濟曰解曰漸曰蹇曰剝曰坤。兩卦而互一卦，亦四卦而互一卦也。又以其三十二卦互之得十六卦。左右重列，實得四卦。曰乾曰既濟曰未濟曰坤。

The trigrams Zhen, Xun, Gen, and Dui are interwoven among them, forming the beginning and end structure of Qian and Kun, as well as Ji Ji and Wei Ji. This shows that Qian, Kun, Ji Ji, and Wei Ji are indeed the overall hub of all phenomena. Why not look again at the "Nuclear Hexagram" on the circular diagram (a hexagram formed by the second to fifth lines of another hexagram)? Taking the Nuclear Hexagram from each of the sixty-four hexagrams results in thirty-two hexagrams. When arranged on both sides, they actually consist of only sixteen hexagram names: Qian, Gua, Kui, Gui Mei, Jia Ren, Ji Ji, Yi, Fu, Guo, Da Guo, Wei Ji, Jie, Zhen, Jian, Po, and Kun. Two hexagrams generating one hexagram is equivalent to four hexagrams generating one hexagram. Taking the Nuclear Hexagram from these thirty-two hexagrams results in sixteen hexagrams. When arranged on both sides, they actually consist of only four hexagram names: Qian, Ji Ji, Wei Ji, and Kun.

兩卦而互一卦，亦四卦而互一卦，且八卦而互一卦也。推之六十四卦。則四卦而互一卦，亦八卦而互一卦，且一十六卦而互一卦也。互至於乾坤既濟未濟而窮，蓋互之而仍得乾坤既濟未濟也。以四卦而畫六十四卦，故乾坤既濟未濟為萬象之樞也。故《周易》始於乾坤終於既濟未濟也。既濟未濟一坎離也，坎離一乾坤也。《周易》之始於乾坤，終於既濟未濟。即始於乾坤，終於乾坤也。至[“至”當作“互”、從文瀾本]卦云者，即孔子之所謂雜物撰德也。

This refers to whether two trigrams produce one trigram, or four trigrams produce one trigram, or eight trigrams produce one trigram. When considering the sixty-four trigrams, it is four trigrams that produce one trigram, or eight trigrams that produce one trigram, or sixteen trigrams that produce one trigram. When reaching the four trigrams of Qian, Kun, Ji Ji, and Wei Ji, the process comes to an end, because further mutual interaction results in the same four trigrams. These four trigrams can be used to generate the sixty-four trigrams, so Qian, Kun, Ji Ji, and Wei Ji are the fundamental trigrams of all phenomena. Therefore, the Zhou Yi begins with Qian and Kun and ends with Ji Ji and Wei Ji. In the end, Ji Ji and Wei Ji are essentially Kan and Li, and Kan and Li are essentially Qian and Kun. Thus, the Zhou Yi begins with Qian and Kun and ends with Qian and Kun. The concept of 'mutual trigrams' (originally written as 'to zhi gua', according to the Wenlan edition it should be 'mutual trigrams') is what Confucius refers to as 'combining various things to compose virtue' in the Xici Zhuan.

乾坤，大父母也。乾坤正而八卦正矣，六十四卦俱正矣。陽生於北而極於南，陰生於南而極於北，天之道也。圜圖法天，故乾南而坤北。陽始於東北而盛於西北，陰始於西南而盛於東南，地之道也，方圖法地，故乾西北而坤東南。乾坤運卦體於無窮，圜圖之義也。乾坤交卦體以變化，方圖之義也。此其所異也。由是次乾坤而兌艮，次兌艮而離坎，次離坎而震巽，八卦之位不既正乎。由是一一統八，八其八而六十四卦之位，不俱正乎。

Heaven and Earth are the great parents of the sixty-four hexagrams. When Heaven and Earth are properly positioned, the eight trigrams are properly positioned, and the sixty-four hexagrams are all properly positioned. Yang energy originates from the north and reaches its peak in the south; Yin energy originates from the south and reaches its peak in the north. This is the way of Heaven; the circular diagram follows the pattern of Heaven, so Heaven is placed in the south and Earth in the north. Yang energy originates from the northeast and reaches its peak in the northwest; Yin energy originates from the southwest and reaches its peak in the southeast. This is the way of Earth; the square diagram follows the pattern of Earth, so Heaven is placed in the northwest and Earth in the southeast. Heaven and Earth move the hexagram structure endlessly, which is the purpose of the circular diagram; Heaven and Earth combine to generate change, which is the purpose of the square diagram—the difference between the two diagrams lies here. Following Heaven and Earth come Dui and Gen; following Dui and Gen come Li and Kan; following Li and Kan come Zhen and Xun. Has the position of the eight trigrams not already been properly arranged? From here, one trigram governs the eight trigrams; eight eights multiplied together form sixty-four, so the positions of the sixty-four hexagrams are also properly arranged.

六十四卦成列，相交變化而八卦各居其本位，以為卦主。從計之則乾一兌二離三震四巽五坎六艮七坤八不少紊也。衡計之，則亦乾一兌二離三震四巽五坎六艮七坤八不少紊也。以從衡之間斜計之，仍為乾一兌二離三震四巽五坎六艮七坤八，不少紊也。此其為卦之正，以統夫眾卦也。

The sixty-four hexagrams are arranged in an eight-by-eight square, intersecting with each other to produce changes. The eight trigrams each remain in their original positions, acting as the sovereign of their respective areas. Counting vertically, they are Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, and Kun eight, in perfect order. Counting horizontally, they are also Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, and Kun eight, in perfect order. Counting diagonally across the square, they remain Qian one, Dui two, Li three, Zhen four, Xun five, Kan six, Gen seven, and Kun eight, in perfect order. This is the 'correct position' of the eight pure trigrams, which serves to govern the other hexagrams.

卦有經，必有緯。經正則緯正，緯正則經緯之間無弗正。圜圖以南北為經，則東西為緯。方圖以西北東南為經，則東北西南為緯。乾坤交得否泰，繼而兌艮交得咸損，故次否泰。繼而離坎交得未既濟，故又次咸損。繼而震巽交得恆益，故又次未既濟。皆為緯。緯合經而一十六，邵子所謂四象相交成十六事也。而各卦之交咸取諸此矣。

The hexagrams have a main line (jing) and a secondary line (wei); when the main line is properly arranged, the secondary line is also properly arranged, and where the main and secondary lines intersect, everything is correctly aligned. In the circular diagram, the north-south line serves as the main line, and the east-west line is the secondary line. In the square diagram, the line from northwest to southeast is the main line, and the line from northeast to southwest is the secondary line. The trigrams Qian (Heaven) and Kun (Earth) intersect to form the hexagrams "Pu" (Obstruction) and "Tai" (Peace), followed by Dui (Lake) and Gen (Mountain) intersecting to form "Xian" (Attraction) and "Sun" (Loss), so they come after "Pu" and "Tai". Then Li (Fire) and Kan (Water) intersect to form "Wei Ji" (Not Yet Completed) and "Ji Ji" (Completed), so they follow "Xian" and "Sun". Then Zhen (Thunder) and Xun (Wind) intersect to form "Heng" (Permanence) and "Yi" (Benefit), so they follow "Wei Ji" and "Ji Ji"—these are the secondary lines. The secondary lines combined with the main lines total sixteen hexagrams, which is what Shao Yong referred to as "the four trigrams intersecting to form sixteen events." The rules for the intersection of hexagrams are all based on this principle.

六十四卦生於八卦之相交，而八卦之相交其法有七。有隔六交者，有比肩交者，乃至隔一、隔二、隔三、四、五交者。其隔六，則乾坤相交是也。隔五，則乾艮、坤兌相交是也。隔四，則乾坎、艮離、兌艮相交是也。

The sixty-four hexagrams are produced by the mutual interaction of the eight trigrams. There are seven ways in which the trigrams interact: some intersect with trigrams six positions apart, some intersect with trigrams adjacent to them, and there are also intersections with trigrams separated by one, two, three, four, or five positions. The term "separated by six" refers to the trigrams at the beginning and end of the sequence,乾 and 坤, which are six positions apart. The term "separated by five" refers to the intersections between 乾 and 艮, and 坤 and 兑. The term "separated by four" refers to the intersections between 乾 and 坎, 艮 and 离, and 兑 and 艮 (the last pair in the original text is written as "兑艮," which does not match the number for separation by four, suggesting a possible error in the text).

乾巽、兌坎相交，坤震、艮離相交，則隔三也。乾震、兌巽相交，則隔二也。交以離乾、兌震，交以離巽、震坎，交以巽艮、坎坤，非隔一乎。交以乾兌、兌離，交以離震、震巽，交以巽坎、坎艮及艮坤，非比肩乎。剛柔往來，貞悔變易盡之矣。

Heavenly Stems and Earthly Branches intersect in the following ways: Qian and Xun, Dui and Kan intersect with a gap of three. Qian and Zhen, Dui and Xun intersect with a gap of two. Using Li with Qian, Dui with Zhen, Li with Xun, Zhen with Kan, Xun with Gen, and Kan with Kun intersect with a gap of one. Using Qian with Dui, Dui with Li, Li with Zhen, Zhen with Xun, Xun with Kan, Kan with Gen, and Gen with Kun intersect directly. The movement and transformation of yao, both yin and yang, and the change between inner and outer trigrams are all included in these seven methods of intersection.

方圖之形衡八而從八。計其衡，則自下而上，乾一兌二離三震四巽五坎六艮七坤八皆居貞卦之位。計其從，則自右而左，一乾二兌三離四震五巽六坎七艮八坤皆居悔卦之位。各以一卦為主而從有八悔，衡有八貞。縱衡貞悔，犬牙相錯。分之而其體成八。八縱八衡，卦各據其一行也。合之而其用有九。縱二衡二，虛中而得九也。先王九州別壤，九井均田蓋取諸此。

The figure is arranged in eight rows horizontally and eight columns vertically. Counting by the horizontal rows, from bottom to top, they are Qian (Heaven) one, Dui (Lake) two, Li (Fire) three, Zhen (Thunder) four, Xun (Wind) five, Kan (Water) six, Gen (Mountain) seven, and Kun (Earth) eight; this sequence occupies the positions of the inner trigram (Zhen trigram). Counting by the vertical columns, from right to left, they are one Qian, two Dui, three Li, four Zhen, five Xun, six Kan, seven Gen, and eight Kun; this sequence occupies the positions of the outer trigram (Hui trigram). Each trigram has its own position: vertically there are eight outer trigrams, horizontally there are eight inner trigrams. The intersection of the vertical and horizontal lines results in the interweaving of Zhen and Hui trigrams, like the teeth of a dog interlocking. When viewed separately, the figure forms eight: eight vertical lines and eight horizontal lines, each trigram occupying one line. When viewed together, it results in nine: cutting vertically twice and horizontally twice, leaving one square empty in the middle, thus forming the nine numbers of the Nine Squares. The ancient kings of old divided the land into nine regions and measured land with nine units of land, probably based on this principle.

兩儀既判，陰固不可無陽，陽亦不可無陰。實則陰施而陰受，陽信而陰屈，陽尊而陰卑。此相輔以為用，而聖人所以垂教萬世也。乾兌離震陽卦也，合所生之二十八卦而得陽卦三十二。坤艮坎巽陰卦也，合所生二十八卦而得陰卦三十二。於衡圖，則陽卦皆居前而陰卦皆居後。於圜圖，則陽卦居左而陰卦皆居右。於方圖，則陽卦皆居內而陰卦居外。尊陽也。

The two principles, yin and yang, are divided into one fundamental principle. Yin cannot exist without yang, and yang cannot exist without yin. In practical terms, yang acts while yin receives, yang expands while yin contracts, and yang is exalted while yin is humble. The two complement each other and each has its own function. The sages used this principle to teach the world. The trigrams Qian, Dui, Li, and Zhen are yang trigrams, and together with the twenty-eight trigrams they generate, there are thirty-two yang trigrams in total. The trigrams Kun, Gen, Kan, and Xun are yin trigrams, and together with the twenty-eight trigrams they generate, there are thirty-two yin trigrams in total. In the horizontal diagram, all yang trigrams are placed before all yin trigrams; in the circular diagram, yang trigrams are placed on the left and yin trigrams on the right; in the square diagram, yang trigrams are all inside and yin trigrams outside— all to honor yang.

故觀方圖者，分之則六十四卦，合之則一卦也。三十二卦為貞，三十二卦為悔。一貞一悔，非一卦之象乎。以六十四卦觀之，則其文燦然而有章也，以一卦觀之，則其體寂然而不動也。陰陽變化不可以智知，不可以識識，其斯之謂歟。若乃各爻之相對相間，不少異於圜圖，知圜圖而方圖有可知者。

Therefore, those who study the square diagram should understand: when viewed separately, it consists of the sixty-four hexagrams, but when viewed together, it forms a single hexagram. The thirty-two hexagrams serve as the inner trigram (Zhen), and the other thirty-two hexagrams serve as the outer trigram (Hui). One Zhen and one Hui combined do not they form exactly the image of a single hexagram? When viewing the sixty-four hexagrams, their patterns are brilliant and clearly connected; when viewing a single hexagram, its essence is quiet and motionless. What is said about yin and yang changes being unable to be measured by cleverness or grasped by knowledge, is probably referring to this. As for the relative and alternating arrangement of each line, it is entirely the same as the circular diagram. Once the circular diagram is understood, the square diagram can also be inferred.

按，祝氏曰。初爻內三十二陽，外三十二陰。二爻內外皆可六陽間十六陰。三爻內外各八陰八陽相間。四爻內外各四陰四陽相間。五爻內外各二陰二陽相間。上爻內外各一陰一陽相間。今按，初二三爻相配如祝氏說。其各悔卦左右中分之。則四爻右三十二陽，左三十二陰。五爻左右各十六陰間十六陽。上爻左右各八陰八陽相間。蓋貞卦分內外，悔卦分左右以配陰陽。此異於圜圖，祝氏諸家所未悉也。

Chen noted: Zhu said that in the square diagram, the first line consists of thirty-two yang lines inside and thirty-two yin lines outside; the second line has sixteen yang lines and sixteen yin lines alternating both inside and outside (the original text says "all can be six yang," where "can" should be "ten"); the third line has eight yin and eight yang alternating inside and outside; the fourth line has four yin and four yang alternating inside and outside; the fifth line has two yin and two yang alternating inside and outside; and the top line has one yin and one yang alternating inside and outside. Now it seems that the arrangement of the first, second, and third lines indeed matches Zhu's description. However, the outer trigram (the悔卦) should be viewed as left and right halves: the fourth line has thirty-two yang lines on the right and thirty-two yin lines on the left; the fifth line has sixteen yin lines alternating with sixteen yang lines on both sides; and the top line has eight yin and eight yang alternating on both sides. Generally, the inner trigram (the贞卦) divides inside and outside to match yin and yang, while the outer trigram divides left and right to match yin and yang. This differs from the circular diagram and is something that Zhu and other scholars have not fully explained.

先王定城郭宮室甸服之制，以辨內外，朝聘以時，至寒暑不怨諮，叛亂備而民生遂。何其慎邪。庖羲氏之方圖，誘厥矣。夫乾坤視八卦，故凡與乾坤並列者皆居外。次乾坤而為兌艮，故凡與兌艮並列者皆居次外。次兌艮為離坎，故凡與離坎並列者皆居次內。次離坎為震巽，故凡與震巽並列者皆居內。內以應外，外以衛內。內外之辨不亦詳且密哉。

In ancient times, the sovereigns established the rules for cities, palaces, and the graded system of the land, to distinguish between inner and outer areas. They held court ceremonies and diplomatic visits according to the seasons, so people did not complain even when they had to travel through the cold and heat. Rebellion was prevented and the people's livelihood was smoothly carried out — how careful was their intention. The square diagram drawn by Fuxi had already revealed this principle. The trigrams Qian and Kun govern all the eight trigrams, so those trigrams listed together with Qian and Kun are placed at the outermost layer. Then come Dui and Gen, so those trigrams listed together with Dui and Gen are placed at the second outer layer. Then come Li and Kan, so those trigrams listed together with Li and Kan are placed at the second inner layer. Then come Zhen and Xun, so those trigrams listed together with Zhen and Xun are placed at the innermost layer. The inner layer corresponds with the outer layer, and the outer layer guards the inner layer — is this not sufficiently detailed and meticulous in distinguishing inner and outer?

天氣上升，地氣下降，則不交而物不生。地氣上升，天氣下降，則相交而物生。相交者，天交乎地，地交乎天也。其不交者，天與天交而地與地交也。不交乎此，則交乎彼矣。不交，則天地或幾乎息矣。相交而生物者，天地之用也。不交而不生物者，天地之體也。有體而後有用，故有貞而後有元，有不生物而後有生物。

Heavenly Qi rises continuously while earthly Qi descends constantly; when they move apart and do not meet, all things cannot be generated. When earthly Qi rises and heavenly Qi descends, they meet and thus all things are generated. By meeting, it means that heaven meets with earth and earth meets with heaven. By not meeting, it means that heaven meets only with heaven and earth meets only with earth. If it does not meet here, it must meet there. If there is no meeting at all, heaven and earth would almost cease to function. The generation of all things comes from their meeting; the essence of heaven and earth is their not meeting. First there is the essence, then there is the function. Therefore, first there is the 'Zhen' of winter concealment, then there is the 'Yuan' of spring generation. First there is the aspect of not generating things, then there is the aspect of generating things.

天之卦乾兌離震，自相交而生無妄、大壯十二卦，天交天也。即為天之體。地之坤卦艮巽坎自相交而生觀、升十二卦，地交地也。即為地之體。天之卦而交坤艮坎巽得恆、否、豫、姤十六卦，天交乎地也。地之卦而交乾兌離震得泰、益、復、小畜十六卦，地交乎天也。即為天地之用。於是，即此得聲音色味與夫飛走草木情性形體之變，此邵子前知之學也。

The four trigrams belonging to Heaven are Qian, Dui, Li, and Zhen. They interact with each other to produce twelve hexagrams such as Wuwang and Dazhuang. This is the interaction of Heaven with Heaven, representing the essence of Heaven. The four trigrams belonging to Earth are Kun, Gen, Xun, and Kan. They interact with each other to produce twelve hexagrams such as Guan and Sheng. This is the interaction of Earth with Earth, representing the essence of Earth. The four trigrams of Heaven interact with Kun, Gen, Kan, and Xun to produce sixteen hexagrams such as Heng, Pinyin, Yu, and Gou. This is the interaction of Heaven with Earth. The four trigrams of Earth interact with Qian, Dui, Li, and Zhen to produce sixteen hexagrams such as Tai, Yi, Fu, and Xiaoxu. This is the interaction of Earth with Heaven. These two categories represent the functions of Heaven and Earth. From this, one can derive sounds, colors, smells, and the various changes in the nature and forms of birds, beasts, plants, and trees. This is exactly the system of knowledge that Shao Yong used to foresee the future.

天何依乎，依乎地也。地何附乎，附乎天也。天地相依附，而天地之內千變萬化。所謂不貳不測者，不外乎一經一緯、一方一圓、一動一靜間也。先天圖圜乎外方乎內。夫子欲取方圖於外以別地，而虛圜圖之內以象天。實不若天包地外，地居天中，有依附之勢為不易也。天圜於外，圜則運行而不息。地方於內，方以相交而成功。於是陰陽之妙用大無外小無內，悉包舉於斯而莫之或遺矣。

What does heaven rely on? It relies on earth. What does earth depend on? It depends on heaven. Heaven and earth rely on each other, thus generating myriad changes within them. The "Middle Way" says, "Its nature is not dual, so its generation of things is unpredictable," which is no different from the interplay of one vertical and one horizontal, one square and one circle, one movement and one stillness. The Earlier Heaven diagram has a circular pattern on the outside and a square pattern inside. A senior master once wanted to move the square pattern to the outside to represent earth, and leave the center of the circular pattern empty to symbolize heaven. In reality, this is not as fixed as the current arrangement where heaven is outside and earth is inside, with heaven encompassing earth and earth residing in the center of heaven, forming a mutual reliance and embracing relationship. Heaven is circular on the outside, allowing it to move ceaselessly; earth is square on the inside, enabling it to interconnect and produce all things. In this way, the subtle workings of yin and yang, vast without boundaries and minute without limits, are all encompassed within this diagram, with nothing left out.

《麻衣易》謂卦有反對。反者，即綜卦之謂也。正則為屯，倒則為蒙。正則為需，倒則為訟。諸卦相綜悉視此。其不得綜者凡八。曰乾、坤、坎、離、頤、大過、中孚、小過。《麻衣》所謂對卦，即錯卦也。合錯綜而言得三十六卦，邵子所謂三十六宮也。以此言之也，方圖圓圖橫圖之外，不可不知錯綜之圖。

The Ma Yi Yi says that in the "Say卦" there are "reverse" and "opposite" hexagrams.the so-called "reverse" refers to what later scholars call the "inverted hexagram" — turning a hexagram upside down. Looking at it normally, it is Zhun; turning it upside down, it becomes Meng. Looking at it normally, it is Xu; turning it upside down, it becomes Song. The principle of hexagrams being inverted is like this for each hexagram. Among them, there are eight hexagrams that remain the same when turned upside down and thus cannot form an inverted hexagram, namely Qian, Kun, Kan, Li, Yi, Da Guo, Zhong Fu, and Xiao Guo. The "opposite hexagram" mentioned in the Ma Yi refers to what later scholars call the "opposite hexagram" — exchanging the yin and yang of all six lines. When combining the opposite and inverted hexagrams, the sixty-four hexagrams reduce to thirty-six different forms, which is what Shao Yong called the "Thirty-six Palaces." According to this, in addition to the square diagram, circular diagram, and horizontal diagram, one must also understand the opposite and inverted diagrams.

十翼之有《雜卦傳》，固專為錯綜卦言之也。《彖傳》《本義》以卦變言者十有五卦，曰訟、隨、蠱、噬嗑、賁、無妄、大畜、晉、睽、蹇、解、升、鼎、漸、渙是也。《程傳》論卦變，多本於乾坤。《本義》但取兩爻相比為變。渙卦柔得位乎外則不合，朱子自亦疑之。今照咸恆二卦剛上柔下柔上剛下之例，皆以卦綜言之，於十五卦皆合。然兩卦雖有錯綜，至錯綜之或先或後，自當因名以求其義。如《序卦》所云，不可易也。

The inclusion of the "Zagua Transmission" in the "Ten Wings" was originally specifically for explaining the opposite and inverted hexagrams. In Zhu Xi's "The Original Meaning of the Zhou Changes," fifteen hexagrams are explained using the concept of "hexagram transformation," namely: "Strife," "Following," "Restlessness," "Breaking the Bones," "Brightness," "No False Movement," "Great Accumulation," "Progress," "Strife," "Obstruction," "Resolution," "Rising," "Tripod," "Gradual Progress," and "Dispersal." Cheng Yi's "Yichuan Commentary on the Changes" discusses hexagram transformation, mostly tracing its origin to the hexagrams of Heaven and Earth. However, "The Original Meaning" only uses the exchange of adjacent lines as transformation. But the "Judgment" of the "Dispersal" hexagram says "the flexible line is in the outer position," which cannot be explained by this method, and Zhu Xi himself had doubts about it. Now, following the precedent of the "Salty" and "Constant" hexagrams, which state "the strong above and the flexible below" and "the flexible above and the strong below," if we universally use the inverted hexagram to explain these fifteen hexagrams, none of them will be difficult to understand. However, although two hexagrams may have opposite and inverted relationships, the question of which comes first and which comes later among these relationships should still be determined by examining the meaning of the hexagram names, just as the "Sequence of Hexagrams" has established the order, which should not be arbitrarily changed.